Fantasy Opera | The Theater of Memory Log Downloaded on 4/6/2026, 5:47:45 PM Prologo The soft light of morning gradually sharpens to midday as vineyards, villages, and fishing harbors creep past the carriage window. You try to ignore the bumps and lurches of the rough dirt road, focusing your attention on the scenery and thoughts of the destination that awaits. This morning, you left your home city of Lyra — a wonderland of canals and gondolas, and the cosmopolitan center of this region — to make the half-day's carriage ride to the charming seaside resort town of Sirenetta. You've been hired by Teatro di Stile Antico: a brand new opera house located in Sirenetta. It's been the talk of Lyra lately, and the grand opening in a couple of weeks is hotly anticipated. The nobility and middle class alike migrate to the surrounding towns during the summer months, so the new opera house is sure to capture the patronage of this seasonal population. Lyra and the surrounding area is already host to numerous such venues, but the public has a seemingly insatiable appetite for art, music, and spectacle. Alongside this cultural flourishing, however, has come a rise in peculiar crimes targeting the performing arts. An unfortunate phenomenon, to be sure; but it does provide a talented private investigator such as yourself with a steady stream of work. » Continue. A few hours later... Gilded double doors swing open and welcome you inside. Tiers of seats wrap around an orchestra pit, which sits below a grand proscenium stage. Every inch of the space is ornamented with elegant woodcarvings and pastel-colored paintings depicting images of nature, music, and magic. Candelabras and chandeliers cast an enchanting light throughout. This is the Teatro di Stile Antico. The theater is an architectural marvel, which promises to be matched by the musical excellence of its all-star orchestra. » Continue. "Thank you so much for coming, investigator," your host says as he walks up from behind and leads you further into the space. Your newest client, Maestro Pietro Pergolesi, is the director of the Teatro di Stile Antico and the conductor of its orchestra. The middle-aged dragonborn man has a stately bearing and a crown of horns that enhance his already impressive draconic height. The Maestro's vibrant, pearlescent scales shift colors in the light, oscillating between teal green and pale pink. Most of his form, however, is covered by voluminous black robes topped by a white collar: the professional garments of an orchestral conductor or musician. Imposing though he may be in appearance, Pietro's manner is gentle and refined. "I'm familiar with the work you did for the Fantasia. Francesca couldn't speak highly enough of you," the conductor continues. His voice rings out with the crisp enunciation of one who is trained in theater or vocal performance. "She assured me that if anyone can sort out our strange goings-on, you could." He refers, of course, to Francesca Fata: the impresario of the Teatro della Fantasia. She is a former client whose season premiere you saved from a magical crime. Choices marked with the ♡ symbol will help to shape your character's personality. Visit the "How to Play" screen to learn more. » "Tell me what's troubling you. How can I help?" ♡ (Earnest) "I appreciate your kindness," Pietro replies with a warm smile. "Every single member of our cast and orchestra has been plagued by supernaturally vivid recurring dreams," the Maestro explains as the two of you approach the vacant orchestra pit. "Everyone has a different dream, but each person has that same dream every night. We have no idea what could be causing this, but it seems more than likely to me that magic is at work. How else could twenty people spontaneously be afflicted in this way?" he asks. The ➔ symbol next to a choice indicates that you will return to this list to select another option if any are still available. » "When did these dreams start occuring?" ➔ "The dreams began the night of our first rehearsal in the theater. That was about one week ago," Pietro replies. "We are the very first ensemble to make music inside these walls so, as you can imagine, rumors are already spreading about our brand new theater. The orchestra gossips that it must be cursed or haunted." » "Is anyone else having these dreams?" "The staff and I seem to be unaffected. It is only the performers who are dreaming," Pietro explains. "The poor musicians, getting such poor quality rest... They're having trouble keeping their eyes open long enough to read the sheet music! Everyone's getting their sextuplets mixed up with their sixteenth notes," he bemoans. "The artists can tell you all about it themselves," the Maestro continues, nodding to the handful of robed individuals who have begun to trickle into the orchestra pit and onto the stage. » Continue. "My wish is that you will be able to identify the source of these supernatural dreams," Pietro implores. "Is this magic, as I suspect? If so, who has cast it? And why?" "As you well know, unlicensed spellcasting is against the law. If someone has been dabbling in malevolent magic, we will see them brought to justice." "We will begin today's rehearsal shortly, but you should have plenty of time to interview the cast and orchestra. And it goes without saying that you have free rein to investigate the theater itself," he adds. "I will be nearby in case any questions arise." With a polite nod, Pietro departs and leaves you to consider your next steps. So the musicians are plagued by supernatural dreams. And it may have something to do with the new theater. How will you approach this investigation? What skills and knowledge will you draw upon? » Continue. Choose Your Character After the successful investigation at the Teatro della Fantasia, you were able to recruit a small team of private investigators and form an agency specializing in crimes targeting the performing arts. When you received notice of Maestro Pietro's concerns, your colleagues knew that you were the perfect person from the team to send on this job. Your choice of character determines the skills and knowledge you will roleplay with. To learn more about how gameplay works (a little different than in the first Fantasy Opera game!) and how it is influenced by character customization, visit the "How to Play" screen. Who are you? Custom Character - Choose your own name, species, pronouns, skills, and knowledge. Giuseppe (he/him) - A charismatic young dragonborn with an exceptional instinct for magic (as an investigator — not a spellcaster), Giuseppe's family moved to Lyra from the rural southern islands when he was a child. He picked up a fair bit of knowledge about architecture over the years, but has little education in the area of music. Skills: Charm +2 | Observe Knowledge: Music | Magic +2 | Architecture Isabella (she/her) - A mature, distinguished gnome with an analytical mind. Isabella has a deep interest in architecture and some familiarity with music, inspired by the culturally rich environment of Lyra in which she was born and raised. However, she knows next to nothing about the practice of magic and prefers to keep a respectable distance from it. Skills: Charm | Observe +2 Knowledge: Music | Magic | Architecture +2 Celeste (she/her) - This middle-aged half-orc is a skilled amateur lute player with a passing knowledge of architecture, cultivated through her travels to cities throughout the region. Celeste is as learned as she is charming; magic, however, is unfamiliar territory for her. Skills: Charm +2 | Observe Knowledge: Music +2 | Magic | Architecture Amabile (they/them) - This young half-elf brings an attention to detail in their work as both an amateur violinist and an investigator. Amabile is quietly curious about magic, which has led them to pursue some knowledge on the subject; but architecture is outside their scope of learning. Skills: Charm | Observe +2 Knowledge: Music +2 | Magic | Architecture » I am a custom character. What is your name? Apollo You are Apollo. What is your species? To learn more about the fantasy species in this story, visit the "How to Play" screen. » Tiefling. You are Apollo the tiefling. What are your pronouns? » He/him. Example: "I heard that he is playing a game. This is his favorite type of game to play. Gaming is a favorite activity of his. I'd like to play a game with him." Does this sound right? » Yes. You are Apollo the tiefling (he/him). You don't know where this investigation may take you. But whatever it is, you're confidently up to the challenge. Especially if you can rely on the skill that you've mastered above all others. » My skills of observation and attention to detail. (Observe) You have exceptional powers of observation. You read people easily and notice details about your environment. No one is equally good at all things: social skills aren’t your strongest. But you may still be able to rely on them, in a pinch. You also have a reputation for knowledge in an area that is highly relevant to this job. » Architecture. You have expert knowledge of architecture. You are familiar with architectural styles and methods of design. Architecture might be your passion, but that’s not the only interest you’ve picked up. » Magic. You have decent knowledge of magic. You are aware of some basic methods of spellcasting, and you can occasionally sense the presence of magical auras. As for music... Sometimes it sounds nice. Sometimes it doesn’t. Maybe you should’ve paid more attention in your lessons? Oh well. You are Apollo the tiefling (he/him). Skills: Charm | Observe +2 Knowledge: Music | Magic | Architecture +2 » Confirm. One last question before you proceed: This game includes brief, infrequent updates about scoring, with guidance about which activities in the game will contribute to your final score. Would you like to see scoring information while you play? Either way, you'll get a summary of your final score at the end of the game! » No, thank you. I'd prefer not to think about my score while playing. Atto Primo Musicians and singers have started to trickle out from the backstage, preparing for rehearsal. In the meantime, Maestro Pietro has invited you to interview the artists and inspect the theater's interior. You consider where to begin your investigation. » Interview the singers and orchestra. ➔ Scanning the pit and stage, you see that some singers and musicians have arrived early to prepare for rehearsal. They are warming up their voices and instruments; their exercises and florid passages overlap into a rather pleasant cacophony. Two singers stand onstage in their everyday clothes. A dwarven woman is practicing in a high soprano register. A minotaur paces the stage, practicing an excerpt in his low, booming bass. In the pit, you see a human playing a trumpet; a tiefling playing a harpsichord; and a half-orc playing a stringed instrument that you can't identify. The musicians all wear formal black robes with white collars. » Examine the theater. ➔ You turn your attention to the theater's interior. Standing between the orchestra pit and the audience seating, you orient yourself to the space. A proscenium stage rises above the pit. It is decorated with elegant scenery depicting a pastoral meadow surrounded by forest and mountains. The orchestra pit itself is set below the level of the floor, allowing a clear view from the audience to the stage. Turning around, you see the largest area of the theater: the seating for the audience. You are familiar with the architect's portfolio. Alvisa Palladio has been working in Lyra for hundreds of years (thanks to her elven lifespan), and designed many of the major public buildings and prominent homes in the region. [☆ Architecture] You will see some text or choices labeled with the ☆ symbol and a condition. These are available based on your stats, character attributes, or checks you have previously passed, and do not depend on luck. » Examine the seating. ➔ The audience seating is arranged into four distinct levels, which are graded from the orchestra all the way up to the sky-painted ceiling of the theater. Aisles section each of the four tiers into five wedge-shaped segments, which fan from the orchestra pit at the center of the theater to the outer walls of the space. The tiers and aisles separate the seating into twenty sections. And at the front of each section is a wide wooden panel with a vibrant painting of a magical creature. » Recall this style of theatrical architecture. [☆ Architecture] ➔ The structure of the interior appears to follow a loose interpretation of an ancient style of theater. The audience seating is arranged in a semi-circular shape, radiating outwards from the pit and stage. The effect is a harmonious relationship in which the audience seating feels like a mirror of the orchestra and stage. While not unheard of, the ancient influence is much stronger here than in most contemporary theaters. Perhaps you may ask Maestro Pietro for an interview with the architect to inquire about these design choices. As you learn new information and collect clues, these are added to your "Notepad" in the game menu. » Examine the paintings of magical creatures. Approaching the lowest tier of seats, you study the paintings at the front of the five sections. Arranged from left to right, the panels show: Phoenix | Griffin | Dragon | Unicorn | Siren Each set of paintings appear to align on the vertical axis; so the farthest left section of every tier, for example, shows a phoenix, while the farthest right section of every tier shows a siren. The magical creatures these paintings represent are every bit as real as a tiefling such as yourself; the town of Sirenetta is named, after all, for the sirens that occupy the islands off of its coast. But you recall that these exceptionally rare species have acquired certain symbolic meanings, for which they are referenced in culture and magic. You will make "checks" based on your skills and knowledge. These will be labeled with the ⚃ symbol and the stat that the check uses. Your success will depend on a combination of stats and luck. For more information, visit "How to Play" in the game menu. » Recall the architectural symbolism of these creatures. [☆ Architecture] You recall the city of Lyra's Temple of the Phoenix, known for its lifelike phoenix statues, which is commonly used for rituals related to rebirth. The marriage temple, where rites of love take place, has phenomenal tapestries featuring unicorns. Several more examples come to mind. Griffin statues protect the bank. Dragons indicate destruction at the city armory. And symbols of sirens are commonly seen warning against temptation at sobriety support centers. Perhaps you may ask Maestro Pietro about the creatures' symbolic relevance to this theater. » Examine the pit. ➔ The pit is set up with stools and music stands for fifteen musicians and a conductor. A few of the musicians are warming up, and many more of the instruments are resting here, awaiting their players' return. The conductor's large music stand, which has the shape of a lyre (the insignia of Lyra, the nearby city), is placed at the edge of the pit so that the maestro may face the musicians directly. You will have an opportunity to observe rehearsal here later today. » Finishing interviewing the artists. ➔ You return your attention to the artists who Maestro Pietro has asked you to interview. A handful of artists are still here, warming up for rehearsal. » Interview the string player. ➔ The half-orc is sitting in the pit, tuning and testing the strings of the string instrument that rests between her knees. She looks at you briefly and offers a soft smile and nod. The musician has the broad frame, tusks, and gray-green skin typical of half-orcs. She wears her curly hair short. "Hello there! You're here to help us out with these weird dreams, right? They're really interfering with rehearsals. Although my recurring dream is actually lovely," she admits. "Much nicer than my usual dreams." » "Please, tell me. I'd love to hear all about it." ♡ (Earnest) "Of course!" the musician replies. "You're sweet." "I'm Zilia, by the way. I play the viola da gamba," she adds, shaking your hand. "Every night, I have the same dream. It takes place in a beautiful, sunlit meadow on a summer's day." Zilia's face glows as she recounts the scenario. "I'm running through the grass with a beloved pet dog. I'm smiling and laughing as he runs excitedly with me, barking happily. Our bond is the best feeling: light, joyful, carefree." "There are a couple odd things about it, though. I've never actually had a pet dog. And this dream dog is either very large, or I am very small; no taller than a young girl." "Have you had a chance to speak with anyone else? What do you think of our dreams?" » "You're the first person I've spoken to." "In that case, while you're here I can catch you up a little on some of my colleagues' dreams," she continues. You carefully record the details of each dream that Zilia describes to you, including her own. Once dreams are described to you, they are added to the "Dreams" screen in the game menu. An activity later will guide you through analyzing most of these dreams. You won't be required to remember them or study them in advance. The second sackbut player has a dream about drinking wine. He's depressed about getting rejected by a music teacher, and so he drinks his troubles away. But he's only a teenager, and can't hold his alcohol very well. In reality, the sackbut player was trained by the finest teacher in the city and he doesn't drink wine at all. And the harpist has a dream about making a first deposit into a savings account at the Bank of Lyra after the first big paycheck from a new job. She said it felt like protecting against the uncertainties of the future. But the harpist has never actually had an account at that bank. » Move on. You thank Zilia for her time, and move on. » Interview the harpsichord player. ➔ The harpsichordist is practicing scales. Her clawed fingers fly virtuosically over the keys, which produce sparkling music. Your fellow tiefling notices your approach and offers a broad smile. She has wild, black hair that frames her crimson face and horns in dramatic waves; and a twinkle in her yellow eyes, in front of which sit large, round spectacles. "Ah! Hello, kin. Are you the private investigator? I'm Lionella. Thanks for coming!" she exclaims cheerfully. You introduce yourself, and ask about her dream. "It's very abstract," she replies, "so I haven't really figured out what it means. But the way it feels is just so potent." "I've been dreaming of a new beginning; a fresh start to a career. I see myself with pencil and paper, making images. Designing, envisioning, creating. It makes me feel... invigorated!" she explains, gesturing upwards with her hands and smiling brightly. "I've always been terrible at drawing. Even my handwriting is awful. So the dream is kind of fun!" » "What kinds of images or designs do you make in this dream?" "I couldn't say. The details are too vague. You know how there are some things you can never do in dreams? I think writing and drawing is like that, for me," she explains with bubbly enthusiasm. "But I do remember using all sorts of tools; like rulers, compasses, stencils, and templates." » Think: Could this dream describe a career in architecture? [⚃ Architecture] You wonder whether Lionella may be dreaming of a career in architecture. [Dice Roll: 2 on a 4-sided die] You rolled a 2 on a four-sided die and added 2 from your Architecture knowledge. Your score: 4. Difficulty: 4. Architecture Check: Success! The tools that Lionella described would certainly be used by an architect. But they could also be used by other sorts of artists and designers, as well. A fresco painter, for example; or an engineer. "Our dreams are all so diverse, though," she adds. Lionella goes on to describe the recurring dreams experienced by three of her colleagues. You carefully record the details of each dream that she describes to you. The double bassist dreams that childhood friends are stealing oranges from the neighbor's orchard, but he resists the draw to participate because it's wrong to steal. In reality, the bassist grew up in the heart of the city far from any orchard. The tenor dreams of a beloved pet dog lying at his feet while he sits in a rocking chair by a fireplace. In real life, the singer himself has a pet cat and no fireplace. And the contralto dreams of divorcing a wife after decades of marriage. The wife has gray-black hair and hazel eyes. But in reality, the contralto is married to a man; and as far as she knows, their relationship is very stable. » "It's a strange mixture of stories. I hope I can make sense of it all." ♡ (Humble) "Don't underestimate yourself," Lionella urges. "I'm friends with Claudio and Leo from the Teatro della Fantasia. They told me all about what you did there. I have no doubt you'll be able to help us out." » Move on. You thank Lionella for her time, and move on. » Interview the bass singer. ➔ You walk over to the bass singer. The pacing minotaur towers intimidatingly over your average tiefling stature. Long, curling horns extend from his bovine head, and the floor of the wooden stage seems to tremble whenever he hits his lowest notes. He pauses practice upon seeing you approach. You introduce yourself, and are met with a hearty handshake. "A pleasure to meet you, Apollo. I am Anbrozo, bass soloist. I can't tell you how eager we all are to be rid of these dreams. How can I ever be expected to perfect the role of Taurus, the Emperor of Ancient Lyra, without my beauty sleep?!" he implores, placing dramatic emphasis on his words with hand gestures and flourishes of his horned head. The audience will surely appreciate the species-accurate casting of the famous emperor, you muse. » "You must be awfully busy. Thank you for sparing a moment to speak." ♡ (Humble) "Of course, of course," Anbrozo replies with a wave of his hand. "Now, I expect you want to hear the subject of my dream. It has come to me every night since the first, and it is exactly the same each time," he explains. "It is remarkably vivid, as though I were reliving a memory." "In this dream, I find myself in the presence of a blue-skinned tiefling woman. We are sitting together in a dark room, with a book on a table between us. There are strange magical symbols in the pages of this book. The symbols glow and cast an eerie light. I don't know who this tiefling character is, but I would bet anything that she is a mage!" "Seeing these glowing symbols gives me an overwhelming feeling. I can describe it only as a craving for power. I have felt nothing like it in my waking life." "The only other thing I can glean from this scenario is that, in this dream, I feel like an older man — much older than I stand before you — but I do not know how I know that, nor what I look like!" » Think: What could these glowing symbols mean? [⚃ Magic] ➔ On Fail You search your knowledge of magic, considering the obscure symbols in the dream Anbrozo described. [Dice Roll: 2 on a 4-sided die] You rolled a 2 on a four-sided die and added 0 from your Magic knowledge. Your score: 2. Difficulty: 5. Magic Check: Failed. Unfortunately, Anbrozo's description is far too vague for you to make any sense of these glowing symbols. » "Can you tell me what the symbols were, or what they looked like?" ➔ "I have never touched magic, so I am afraid I cannot offer any more detail about what I witnessed," Anbrozo replies. "It is all quite inscrutable." » Move on. "I expect you won't have time to interview every single one of us before rehearsal begins," the minotaur continues. "The singers and musicians have all been comparing notes, so I can relay some of the dreams the others have had." Anbrozo proceeds to describe a few of his colleagues' dreams. You carefully record the details of each dream that he describes to you, including his own. The second violinist has an intense dream about protecting a best friend against a bully as a little kid. The dream always ends with him taking a punch and awakening from sleep with a brutal jolt. Both the friend and the bully in the dream are strangers to him. The recorder player has an uncomfortable dream about going through puberty. He feels excited about becoming a new version of himself, but terribly awkward at the same time. And the first theorbo player has a joyful dream of getting married to a first love. However, the black-haired, hazel-eyed woman in the dream is a stranger to the musician and bears no resemblance to her real-life spouse. » Move on. You thank Anbrozo for his time, and move on. » Interview the trumpet player. ➔ The human offers only a glance of acknowledgement as you approach him where he sits in the orchestra pit. He is focused on snaking a cleaning brush through his instrument. The brown-haired, freckled man bears a distant expression in his eyes. » "Sorry to interrupt. Do you have a moment for a few questions?" ♡ (Humble) He pauses, looking up from his task with a flat expression. "Sure. Is this about my dream?" "Reliving this same scenario, night after night... it's been torture, really," he admits with a heavy sigh. » "Would you be willing to describe your dream? It'd be really helpful." ♡ (Earnest) He shrugs noncommittally. "Don't think I have much of a choice. I'm Clario, by the way. I play the trumpet, if you couldn't tell," he adds, limply lifting the instrument in his hand." "In my dream, I'm seeing through the eyes of a very young man. Maybe a teenager. A music teacher has refused to continue training me. He told me that I don't have the talent to make a career out of music. It makes me so angry that I smash my flute," he explains, visibly wincing at the memory. "I don't play the flute, myself. And all of my teachers have praised my skill. But this dream is just so real. So painful. It feels like it really happened to me." » Move on. "The viola player has been having an angry dream, too," Clario continues. He describes the recurring dreams experienced by three of his colleagues. You carefully record the details of each dream that he describes to you, including his own. The viola player dreamt that a little sister ruined her birthday cake, so she smashed the sister's toy hobby horse in revenge. The musician doesn't recognize the sister in the dream, but described her as having brown hair and bright blue eyes. The coloratura soprano dreams of watching spring crocuses bloom in the public gardens of Lyra through the eyes of an older person. And the second theorbo player dreams of cheating on a wife with another woman. An apprentice, he thinks. But the theorbo player has never even had a wife. "Really hope you can put a stop to this. I... I don't think I can stand it any longer," Clario says quietly, staring vacantly into the middle distance. » Move on. You thank Clario for his time, and move on. » Interview the soprano singer. ➔ The dwarf offers you a curt nod of greeting as you approach. "Good day. I'm Giustiniana, lyric soprano." Her round face has a medium brown complexion, and her coily black hair is cut short. Her manner is matter-of-fact, but her eyes seem troubled. "Maestro Pietro mentioned you were coming. We could certainly use your help. We're all under a lot of pressure preparing for opening night here, and the dreams are quite distracting," she quickly explains in a business-like tone. » Try to read Giustiniana's mood, and respond accordingly. [⚃ Observe] You observe Giustiniana's tone and body language, sussing out how best to handle this interaction. [Dice Roll: 2 on a 4-sided die] You rolled a 2 on a four-sided die and added 2 from your Observe skill. Your score: 4. Difficulty: 4. Observe Check: Success! The soprano is clearly anxious about missing her usual warm-up time in order to speak to you. "Thank you for speaking with me. I promise I won't spend a moment longer on this interview than necessary," you say calmly. Giustiniana visibly relaxes at your words. "Thank you, investigator," she replies. "Some of us are taking the dreams worse than others," she continues. "Some people's dreams aren't too bad; rather pleasant, even. Others... Well, not so pleasant." Giustinia describes four recurring dreams that her colleagues have had. You carefully record the details of each dream that she describes to you. The first violinist dreams of watching spring crocuses bloom on a farm through the eyes of a young child. He does not recognize the farm. The guitarist dreams of standing next to a wife with jet black hair and hazel eyes, watching their first home together burn down in a fire. It's not actually his wife, or his home, but he says it feels as real as anything. The cornetto player dreams that she is protecting a little sister with brown hair and bright blue eyes. A thief has gotten into their family home, so they hide in a closet and wait for the burglar to leave. But in reality, she doesn't have a sister and her home was never robbed. And the first sackbut player dreams of holding hands with someone who she thinks of as her first girlfriend. But the teenaged girl in the dream, who has jet black hair and hazel eyes, is someone she's never actually seen in real life. » "These dreams run the gamut. What do you think could be causing them?" ♡ (Earnest) "Personally, I'm assuming the theater is haunted," Giustiniana replies dispassionately. "My own dream isn't too bad, thankfully. I'm the only one whose dream seems to have something in common with my own personal experience." "I've been dreaming of being here — in the Teatro di Stile Antico — preparing for the grand opening. Except I'm not singing or rehearsing. I just have these abstract flashes of images: hammers and chisels, rope pulleys, paintbrushes. Like I'm helping to create the theater itself." "Anyway, I hope you can make some sense of all that. I'm too busy memorizing arias to give it much thought, myself!" she concludes hastily, looking impatient to return to her warm-up. » "There's more to your dream, isn't there? Go on, tell me." [☆ Already put her at ease] Hesitating for a moment, Giustiniana sighs and relents. "Yes, you're right. There is something else. It all just seems so strange, that I'm a little embarrassed to even say it aloud!" "In this dream, I feel like I'm seeing everything through someone else's eyes. And this person is much older than me. And there's this weird emotion it gives me. A feeling of... being guarded? Like the theater itself is some sort of armor. Like I can use it to protect myself." "I know, I know. A theater as armor?! It just doesn't make any sense," Giustiniana exclaims with a shake of her head. » Move on. You thank the soprano for her time, and move on. » Finish examining the theater. You return your attention to the theater's interior. » Examine the stage. ➔ The onstage forest is suggested by rows of two-dimensional trees, and a painted cloth backdrop of distant mountains, clouds, and blue sky beyond gives the impression of a vast space. The scenic elements appear to be controlled by mechanisms of some sort. The overall effect has a remarkable illusion of depth: clearly, the scenic designer is utilizing some clever visual tricks. » Observe the scenery closely. What techniques are being used? [⚃ Architecture] You closely inspect the scenic elements: the two-dimensional trees and the cloth backdrop. [Dice Roll: 4 on a 4-sided die] You rolled a 4 on a four-sided die and added 2 from your Architecture knowledge. Your score: 6. Difficulty: 4. Architecture Check: Success! As far as you can tell, the scenery has been crafted through a clever use of innovative, modern stagecraft and trompe l'oeil painting techniques that give the impression of three-dimensionality. Nonetheless, the visual illusion is uncanny. You can't be completely confident that no spellcraft is at play. Perhaps you may ask Maestro Pietro for an interview with the scenic designer. » Move on. You return your attention to the rest of the theater. » Continue. The rest of the singers and orchestra have now arrived. Maestro Pietro announces the start of rehearsal. You find a seat in the audience and quietly observe as they begin to play through excerpts of the score. The cast is not in costume today and the set changes are not yet fully operational; the performers appear to be focusing exclusively on refining their musical performance. Pietro had explained that this is a production of The Tyranny of Taurus, a beloved classic by the composer Cecilia Tiepolo with a libretto adapted from the ancient epic of the same name. The music is bright and bracingly rhythmic, with florid brass solos buoyed by the strumming of plucked instruments and the chugging of harpsichord and strings. Giustiniana's soprano projects powerfully through the space as she embodies the might of Regina, Taurus's military-minded wife and empress. Anbrozo's rich bass rumbles in the rafters as he sings of conquering the coast in the name of Lyra. » Continue. There are a total of five singers onstage and fifteen musicians in the pit. It seems that every single one of the twenty performing artists has been afflicted by strange dreams, and you have now heard each of their stories. Surely, then, there must be a reason that all of the performers, and only the performers, are experiencing these dreams. You watch the rehearsal, searching for anything relevant that you can find. » One of the dreams involved smashing a flute. Try looking for a flutist. [⚃ Observe] ➔ The trumpet player described a dream in which he smashed his flute out of anger (despite not playing flute himself). You scan the orchestra for a flutist. [Dice Roll: 1 on a 4-sided die] You rolled a 1 on a four-sided die and added 2 from your Observe skill. Your score: 3. Difficulty: 4. Observe Check: Failed. Dazzled by the music and let down by your lack of expertise, you struggle to distinguish between all the different woodwind instruments. » Observe how all the musicians perform their instruments. [⚃ Observe] ➔ You observe the musicians closely, studying how they produce sound with each of their instruments. [Dice Roll: 4 on a 4-sided die] You rolled a 4 on a four-sided die and added 2 from your Observe skill. Your score: 6. Difficulty: 4. Observe Check: Success! The conductor is positioned at the front of the pit, beyond the front row of the audience. In front of him sits the section of string instruments that all perform with bows. Instruments such as the recorder or trumpet appear to rely on their use of breath and blowing. The other musicians are a more diverse bunch; but, after further consideration, it occurs to you that all produce their sound by plucking strings (the harp, guitar, and theorbos pluck with their fingers; the harpsichord appears to have strings plucked by the mechanism inside the body of the instrument). This orchestra, then, could be understood as having three distinct sections: bowed strings, wind & brass, and plucked strings. The singers, who perform on the stage raised above and behind the pit, form a fourth section of performers. » One of the dreams involved smashing a flute. Look for a flutist. [☆ Examined orchestra] ➔ The trumpet player described a dream in which he smashed his flute out of anger (despite not playing flute himself). You've already closely examined the orchestra, and there isn't a single flutist in this ensemble. The nearest thing is the recorder player, and he doesn't seem to play any other woodwind instruments. » Try to detect the presence of magic. Is the music enchanted? [⚃ Magic] ➔ You close your eyes and attune your magical instincts on the rehearsal. [Dice Roll: 1 on a 4-sided die] You rolled a 1 on a four-sided die and added 0 from your Magic knowledge. Your score: 1. Difficulty: 5. Magic Check: Failed. The music is distractingly beautiful, and you struggle to summon the adequate focus to detect the presence of magic. » Move on. You continue to watch rehearsal for some time, allowing your mind to wander from your investigation for a little while and indulge in the pleasure of listening. The rehearsal concludes and the ensemble disbands for the time being, giving you a moment to speak with Maestro Pietro before retiring to your lodgings. » Continue. You approach Maestro Pietro, who is presently sitting in the front row of the seats reading through the opera score and silently conducting in the air. "Apollo!" he exclaims, revealing a bright mouthful of reptilian teeth. "I do hope you enjoyed rehearsal, and that you've had a fruitful start to your investigation." "Making progress, I hope? Is there anything I may help you with?" » "What is the significance of the magical creatures that decorate the audience?" ➔ "Ah! That would be a question for our decorative painter, Vitale Tintoretto. I do not know why he selected those particular magical creatures. Aren't they marvelous?" "I will let him know you have questions and request his presence here tomorrow," Pietro explains. » "May I interview the scenic designer? I have questions about the stage set." ➔ "Certainly. I believe our scenic designer, Gentile Lombardo, is planning to join us tomorrow to oversee the operation of the scenic mechanisms for our first dress rehearsal. Please, return and speak with them then," Pietro replies. » "May I interview the architect? I have questions about the theater's design." ➔ "But of course. I will contact our architect, Alvisa Palladio, and request her presence. I believe she is still in Sirenetta; if she is available tomorrow, I will make sure you have the opportunity to speak with her." "Alvisa is quite the visionary!" Pietro exclaims. » Move on. "I will see you here again tomorrow. By the way, I've asked the housekeeper at the Villa Sirenetta to prepare a bed for you in the musicians' quarters. Most of the opera company is residing there for the duration of our rehearsal and production period. I anticipated you would need to stay here in town, as well, until your investigation is completed." While the Villa Sirenetta is a beautiful location, you expect that a bed in the musicians' quarters will not be particularly luxurious. » "The musicians' quarters sound perfect, thank you." ♡ (Humble) Pietro smiles warmly. "I am glad to hear that! Have a restful evening." » Continue. Intermezzo You leave the Teatro di Stile Antico and step out into the warm air of summer evening. The cobblestones reflect golden hour light as you weave your way through the narrow streets of the coastal village and find a trattoria to dine in. While you enjoy your meal, a memory of the first time you visited Sirenetta comes to mind. Your family took a summer vacation here when you were ten years old. Mother would smile affectionately as you identified the different styles of column capitals on the buildings on the piazza. You were precocious in your burgeoning love of architecture. Mother encouraged your earnest interest. "There's no shame in caring, Apollo," she would say; a lesson you carry with you to this day. » Continue. After dinner, the gentle bustle of a sleepy town follows you to the centrally-located Villa Sirenetta: a once-luxurious abode for nobles that has been converted into a guest house. The housekeeper shows you to the musicians' lodgings that Pietro mentioned. Your room is austere, offering nothing more than a single bed, a chamber pot, candlelight, and a small window that looks onto the stone wall of a neighboring structure. There is privacy and quiet, at least. You sit on the bed, put your feet up, and settle in with your notes from the day. » Continue. You consider the Maestro's request: first, to find the source of the strange dreams. And then, if it is indeed a magic spell, to identify the spellcaster (or casters) so that they may be arrested. You've been promised interviews tomorrow with the architect, scenic designer, and decorative painter for the Teatro di Stile Antico. Those conversations may shed further light on what you learned today. In the meantime, however, you've already gathered a lot of information. The twenty dreams you heard must be connected somehow. If you could find the nature of their connections, perhaps that would bring you closer to finding their source. And your analysis this evening could help guide your interviews tomorrow. » Analyze the dreams. Twenty dreams is a great deal to consider all at once. To narrow your focus, you pick just two dreams from the list and compare them. What connects this pair of dreams? The first theorbo player has a joyful dream of getting married to a first love. However, the black-haired, hazel-eyed woman in the dream is a stranger to the musician and bears no resemblance to her real-life spouse. The guitarist dreams of standing next to a wife with jet black hair and hazel eyes, watching their first home together burn down in a fire. It's not actually his wife, or his home, but he says it feels as real as anything. » Romantic relationship. You notice that both dreams feature a wife. Do you notice another theme that connects this pair of dreams? The first theorbo player has a joyful dream of getting married to a first love. However, the black-haired, hazel-eyed woman in the dream is a stranger to the musician and bears no resemblance to her real-life spouse. The guitarist dreams of standing next to a wife with jet black hair and hazel eyes, watching their first home together burn down in a fire. It's not actually his wife, or his home, but he says it feels as real as anything. » Adulthood (prime of life). You notice that both dreams take place during the prime of adulthood. Do you notice another theme that connects this pair of dreams? The first theorbo player has a joyful dream of getting married to a first love. However, the black-haired, hazel-eyed woman in the dream is a stranger to the musician and bears no resemblance to her real-life spouse. The guitarist dreams of standing next to a wife with jet black hair and hazel eyes, watching their first home together burn down in a fire. It's not actually his wife, or his home, but he says it feels as real as anything. » I see no more connections. You've found 2 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? Giustiniana the lyric soprano dreams of helping to prepare the theater for its grand opening. She experiences it through the eyes of an older person. It feels like the theater itself is protecting her. Anbrozo the bass dreams of being late in life, sitting in a dark room across from a tiefling woman who had a book of glowing symbols. He felt a craving for power. » Old age. You notice that both dreams take place during a later stage in life. Do you notice another theme that connects this pair of dreams? Giustiniana the lyric soprano dreams of helping to prepare the theater for its grand opening. She experiences it through the eyes of an older person. It feels like the theater itself is protecting her. Anbrozo the bass dreams of being late in life, sitting in a dark room across from a tiefling woman who had a book of glowing symbols. He felt a craving for power. » I see no more connections. You've found 3 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? Clario the trumpet player dreams of smashing a flute in anger when he was rejected by a music teacher as a teenager. But he has never played the flute, nor been rejected by any music teacher. The second sackbut player has a dream about drinking wine. He's depressed about getting rejected by a music teacher, and so he drinks his troubles away. But he's only a teenager, and can't hold his alcohol very well. In reality, the sackbut player was trained by the finest teacher in the city and he doesn't drink wine at all. » Study of music. You notice that both dreams have to do with being a musician, and being rejected by a music teacher. Do you notice another theme that connects this pair of dreams? Clario the trumpet player dreams of smashing a flute in anger when he was rejected by a music teacher as a teenager. But he has never played the flute, nor been rejected by any music teacher. The second sackbut player has a dream about drinking wine. He's depressed about getting rejected by a music teacher, and so he drinks his troubles away. But he's only a teenager, and can't hold his alcohol very well. In reality, the sackbut player was trained by the finest teacher in the city and he doesn't drink wine at all. » Adolescence. You notice that both dreams take place during adolescence. Do you notice another theme that connects this pair of dreams? Clario the trumpet player dreams of smashing a flute in anger when he was rejected by a music teacher as a teenager. But he has never played the flute, nor been rejected by any music teacher. The second sackbut player has a dream about drinking wine. He's depressed about getting rejected by a music teacher, and so he drinks his troubles away. But he's only a teenager, and can't hold his alcohol very well. In reality, the sackbut player was trained by the finest teacher in the city and he doesn't drink wine at all. » I see no more connections. You've found 5 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? The second violinist has an intense dream about protecting a best friend against a bully as a little kid. The dream always ends with him taking a punch and awakening from sleep with a brutal jolt. Both the friend and the bully in the dream are strangers to him. The viola player dreamt that a little sister ruined her birthday cake, so she smashed the sister's toy hobby horse in revenge. The musician doesn't recognize the sister in the dream, but described her as having brown hair and bright blue eyes. » Childhood. You notice that both dreams take place during childhood. Do you notice another theme that connects this pair of dreams? The second violinist has an intense dream about protecting a best friend against a bully as a little kid. The dream always ends with him taking a punch and awakening from sleep with a brutal jolt. Both the friend and the bully in the dream are strangers to him. The viola player dreamt that a little sister ruined her birthday cake, so she smashed the sister's toy hobby horse in revenge. The musician doesn't recognize the sister in the dream, but described her as having brown hair and bright blue eyes. » I see no more connections. Childhood. Adolescence. Adulthood. Old age. You've found each of these four stages of life represented within this group of dreams. Collectively, the dreams seem to tell a larger story. » Continue. You've found 6 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? The guitarist dreams of standing next to a wife with jet black hair and hazel eyes, watching their first home together burn down in a fire. It's not actually his wife, or his home, but he says it feels as real as anything. The contralto dreams of divorcing a wife after decades of marriage. The wife has gray-black hair and hazel eyes. But in reality, the contralto is married to a man; and as far as she knows, their relationship is very stable. » Destruction. You notice that both dreams feature destruction: the burning of a home, and the ending of a marriage. Do you notice another theme that connects this pair of dreams? The guitarist dreams of standing next to a wife with jet black hair and hazel eyes, watching their first home together burn down in a fire. It's not actually his wife, or his home, but he says it feels as real as anything. The contralto dreams of divorcing a wife after decades of marriage. The wife has gray-black hair and hazel eyes. But in reality, the contralto is married to a man; and as far as she knows, their relationship is very stable. » Love. You hesitate. Are you sure both dreams feature the emotion of love as a central theme? Do you notice another theme that connects this pair of dreams? The guitarist dreams of standing next to a wife with jet black hair and hazel eyes, watching their first home together burn down in a fire. It's not actually his wife, or his home, but he says it feels as real as anything. The contralto dreams of divorcing a wife after decades of marriage. The wife has gray-black hair and hazel eyes. But in reality, the contralto is married to a man; and as far as she knows, their relationship is very stable. » I see no more connections. You've found 7 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? The second theorbo player dreams of cheating on a wife with another woman. Some sort of apprentice. But the theorbo player has never even had a wife. Anbrozo the bass dreams of being late in life, sitting in a dark room across from a tiefling woman who had a book of glowing symbols. He felt a craving for power. » Temptation. You notice that both dreams feature temptation, as seen through infidelity and a craving for magical power. Do you notice another theme that connects this pair of dreams? The second theorbo player dreams of cheating on a wife with another woman. Some sort of apprentice. But the theorbo player has never even had a wife. Anbrozo the bass dreams of being late in life, sitting in a dark room across from a tiefling woman who had a book of glowing symbols. He felt a craving for power. » I see no more connections. You've found 8 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? The cornetto player dreams that she is protecting a little sister with brown hair and bright blue eyes. A thief has gotten into their family home, so they hide in a closet and wait for the burglar to leave. But in reality, she doesn't have a sister and her home was never robbed. The viola player dreamt that a little sister ruined her birthday cake, so she smashed the sister's toy hobby horse in revenge. The musician doesn't recognize the sister in the dream, but described her as having brown hair and bright blue eyes. » Sister. You notice that both dreams feature a little sister. Do you notice another theme that connects this pair of dreams? The cornetto player dreams that she is protecting a little sister with brown hair and bright blue eyes. A thief has gotten into their family home, so they hide in a closet and wait for the burglar to leave. But in reality, she doesn't have a sister and her home was never robbed. The viola player dreamt that a little sister ruined her birthday cake, so she smashed the sister's toy hobby horse in revenge. The musician doesn't recognize the sister in the dream, but described her as having brown hair and bright blue eyes. » Destruction. You hesitate. Are you sure both dreams feature something being destroyed? Do you notice another theme that connects this pair of dreams? The cornetto player dreams that she is protecting a little sister with brown hair and bright blue eyes. A thief has gotten into their family home, so they hide in a closet and wait for the burglar to leave. But in reality, she doesn't have a sister and her home was never robbed. The viola player dreamt that a little sister ruined her birthday cake, so she smashed the sister's toy hobby horse in revenge. The musician doesn't recognize the sister in the dream, but described her as having brown hair and bright blue eyes. » I see no more connections. Your analysis has brought many commonalities between these dreams to the forefront of your attention. The pieces are starting to come together, now; they form a bigger picture. The dreams could be understood as the story of one person, following their career and relationships as they evolve through each stage of life. Or the dreams could depict the stories of four individuals who are each in different stages of life, from childhood to old age. » The dreams tell the life story of one person. You think these dreams may be understood collectively as the life story of a single individual, from childhood to old age. They may even be this person's memories. You record the details of their life that you have identified so far into your notepad. You've found 9 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? Zilia the viola da gamba player dreams of running through a meadow with a beloved pet dog on a summer's day. She is child-sized (or the dog is huge). The musician has never had a dog of her own. The tenor dreams of a beloved pet dog lying at his feet while he sits in a rocking chair by a fireplace. In real life, the singer himself has a pet cat and no fireplace. » Dog. You notice that a pet dog appears in both dreams. Although not necessarily the same dog. Do you notice another theme that connects this pair of dreams? Zilia the viola da gamba player dreams of running through a meadow with a beloved pet dog on a summer's day. She is child-sized (or the dog is huge). The musician has never had a dog of her own. The tenor dreams of a beloved pet dog lying at his feet while he sits in a rocking chair by a fireplace. In real life, the singer himself has a pet cat and no fireplace. » Love. You notice that both dreams feature the dreamer's love for their pet dog. Do you notice another theme that connects this pair of dreams? Zilia the viola da gamba player dreams of running through a meadow with a beloved pet dog on a summer's day. She is child-sized (or the dog is huge). The musician has never had a dog of her own. The tenor dreams of a beloved pet dog lying at his feet while he sits in a rocking chair by a fireplace. In real life, the singer himself has a pet cat and no fireplace. » I see no more connections. You've found 11 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? The first violinist dreams of watching spring crocuses bloom on a farm through the eyes of a young child. He does not recognize the farm. The coloratura soprano dreams of watching spring crocuses bloom in the public gardens of Lyra through the eyes of an older person. » Crocus flowers. You notice that crocus flowers appear in both dreams. Do you notice another theme that connects this pair of dreams? The first violinist dreams of watching spring crocuses bloom on a farm through the eyes of a young child. He does not recognize the farm. The coloratura soprano dreams of watching spring crocuses bloom in the public gardens of Lyra through the eyes of an older person. » Rebirth. You notice that both dreams feature rebirth, as seen through the blooming of flowers in spring. Do you notice another theme that connects this pair of dreams? The first violinist dreams of watching spring crocuses bloom on a farm through the eyes of a young child. He does not recognize the farm. The coloratura soprano dreams of watching spring crocuses bloom in the public gardens of Lyra through the eyes of an older person. » I see no more connections. You've found 13 out of 15 connections. There may be more connections yet to uncover. You pick two more dreams from the list and compare them. What connects this pair of dreams? The harpist has a dream about making a first deposit into a savings account at the Bank of Lyra after the first big paycheck from a new job. She said it felt like protecting against the uncertainties of the future. But the harpist has never actually had an account at that bank. Giustiniana the lyric soprano dreams of helping to prepare the theater for its grand opening. She experiences it through the eyes of an older person. It feels like the theater itself is protecting her. » Career. You notice that both dreams have to do with a career: getting a first paycheck, and helping to prepare the theater for its grand opening. Do you notice another theme that connects this pair of dreams? The harpist has a dream about making a first deposit into a savings account at the Bank of Lyra after the first big paycheck from a new job. She said it felt like protecting against the uncertainties of the future. But the harpist has never actually had an account at that bank. Giustiniana the lyric soprano dreams of helping to prepare the theater for its grand opening. She experiences it through the eyes of an older person. It feels like the theater itself is protecting her. » Protection. You notice that both dreams feature protection: the bank deposit protects money for the future, and the theater itself is felt as a form of protection. Do you notice another theme that connects this pair of dreams? The harpist has a dream about making a first deposit into a savings account at the Bank of Lyra after the first big paycheck from a new job. She said it felt like protecting against the uncertainties of the future. But the harpist has never actually had an account at that bank. Giustiniana the lyric soprano dreams of helping to prepare the theater for its grand opening. She experiences it through the eyes of an older person. It feels like the theater itself is protecting her. » I see no more connections. Rebirth. Protection. Destruction. Love. Temptation. These are the symbolic meanings of the phoenix, griffin, dragon, unicorn, and siren. And you've identified all five of these as recurring themes within this group of twenty dreams. Surely this couldn't be a coincidence? » Continue. You've found 15 out of 15 connections. This has been a very productive session of dream analysis. You may have enough information now to draw some connections between the content of the dreams and the architectural design of the theater itself. Reviewing your notes about the theater's design, you decide to employ your favorite visualization technique. » I draw a plan of the theater. You lean forward, grab a pencil and paper, and recreate the interior of the Teatro di Stile Antico in a rough floor plan. Your architectural knowledge comes in handy as you methodically recreate your notes in visual form, searching for connections. You focus on a particular feature of the theater. » Consider the division of the audience into four tiers. ➔ You contemplate your sketch of the theater. The audience's seats are arranged into four tiers. Does this architectural feature have significance? If so, what does it relate to? » The stages of life depicted in the dreams. You believe that the dreams tell the story of a single individual through four stages of their life. There are four tiers of the theater and four life stages depicted in the dreams. Perhaps these correspond to each other in some way. What else, if anything, do the dreams about each life stage have in common with each other? » The paintings of magical creatures. There are four stages of life in the dreams, and five sets of magical creatures. The numbers don't match, exactly, so how do these connect? For now, the answers elude you. You put away your notes, snuff out the candles, and roll over in bed. Thoughts of the performers' dreams persistently run through your mind until you finally doze off into sleep. » Go to sleep. The sound of a lone violin echoes plaintively through the darkness. Its sinewy melody weaves hazily through your sleep. The violin shifts into a brighter key. The light of day emerges. You are looking through the eyes of a child at purple crocus flowers in bloom. Rebirth. A second violin joins in, harmonizing with the first. You are shielding your best friend from a bully. Protection. Suddenly, a third instrument joins in: the viola. You smash your sister's toy. Destruction. The buttery sound of the viola da gamba. Your pet dog runs by your side. Love. The sonorous double bass. You resist friends' urgings to steal oranges. Temptation. » Continue. The melodious recorder is added to the orchestra. You are going through puberty. Rebirth. The mighty sackbut. You hold hands with your first girlfriend. Love. The clarion sound of the cornetto. You hide your little sister from a burglar. Protection. A trumpet fanfare pierces through the ensemble. You smash your flute. Destruction. A second sackbut. You drown your sorrows in wine. Temptation. » Continue. The harpsichord joins the fray in long, running lines. Starting your new career. Rebirth. The harp plinks a series of sparkling chords. Saving money from your first paycheck. Protection. The theorbo plucks a bassline. Marrying your teenage sweetheart. Love. The guitar strums restlessly. Your first house burning down. Destruction. A second theorbo joins in discordant conflict. Having an affair. Temptation. » Continue. The coloratura soprano sings: "Rebirth!" Watching crocuses bloom, like you do every spring. The lyric soprano joins: "Protection!" Helping to create the theater. The contralto bellows: "Destruction!" Divorcing the love of your life. The tenor soars: "Love!" Another pet dog, who reminds you of the first. The bass booms: "Temptation!" You crave the power of a magic book. » Continue. You are standing in the Teatro di Stile Antico. The singers and orchestra play on, creating a thrilling symphony of sound as they recount the events of your life through music. But the orchestra pit is empty. The stage is vacant. The artists are nowhere to be seen. » Turn around. You turn around to see the musicians are scattered across all four tiers of the audience. They stand in the seats, playing and singing. Threads of an eerie violet light flow from their instruments into their ears; and then, abruptly, are severed. » Wake up. Atto Secondo The sound of footsteps awakens you as people head down the hallway outside your door. The musicians are up early, you think, as you rub the sleep out of your eyes. Last night's dream was incredibly vivid. Was it magical, like the dreams that the performers have had? Or was this merely the product of an overworked mind? This wouldn't be the first time you found answers by making subconscious connections. You went to bed missing some of the finer details of your investigation. It seems what you really needed was to sleep on it. Every bowed string player dreams of childhood. Every wind and brass player dreams of adolescence. Every plucked string player dreams about the prime of adulthood. And every singer dreams of old age. Perhaps there is a relationship, then, between the four stages of life and four sections of performers; as well as the four tiers of the audience. At the end of your dream, you saw the musicians playing from the seats of the audience. In that brief glimpse, you could not see precisely where each stood; but the magical thread that tied the theater's memories to their minds appeared to be severed. » Continue. Now you understand much more about the meaning of the dreams. But you still need to find out who is responsible for their magic, and put an end to it. Since the dreams tell a life story through memories, you already know a great deal about the person they came from. And Anbrozo's dream, which depicts the temptation of magic, suggests that these may be the memories of the very person who cast the spell. Giustiniana's dream revealed that the memories came from someone who was involved in creating the Teatro di Stile Antico. Lionella's dream further clarifies that this individual is some sort of artist or designer. All three of the people you are scheduled to interview today — the architect, scenic designer, and decorative painter — meet this description. Could one of them be the culprit? Furthermore, the memories give you a great deal of information with which to further narrow your suspect list. This individual has had pet dogs throughout their life; a love of crocus flowers; a little sister; was previously married; and has a history of playing the flute. And you can be certain that this life story belongs to someone who is mature in age. » Continue. You prepare for the day and step out of your room, greeting a few familiar faces in the sitting room of the villa on your way out. "See you later at rehearsal, Apollo!" says Lionella, the harpsichord player, with a cheery wave. "Ugh, another miserable night," you overhear Clario, the trumpet player, remark to Lionella after you pass. "That investigator doesn't seem very confident. I sure hope he can stop these dreams. And soon." » Continue. You return to the Teatro di Stile Antico, where Maestro Pietro already awaits you. He stands next to a hobgoblin and a human, neither of whom you recognize. "Good morning, investigator! I hope you slept well." Pietro turns to his guests. "Please, allow me to introduce you. This is Apollo, the private investigator I mentioned; he was highly recommended by my dear friend, Francesca Fata of the Teatro della Fantasia." » Continue. "Apollo, this is Gentile Lombardo, our scenic designer," Pietro explains, gesturing to the hobgoblin. "They are the finest in the business. Right on the cutting edge of modern stagecraft." Gentile has a jovial affect, which is accentuated by a pastel pink-and-teal doublet that complements their crimson complexion. Their youthful energy defies the advanced age evidenced by their deep wrinkles and gray-white hair, which is combed into a ponytail behind their wide ears. "A pleasure to meet you!" Gentile exclaims, and offers you a firm handshake. » Try to get a read on Gentile. Are they genuine? [⚃ Observe] You shake Gentile's hand and take a moment to study them. Is there more here than meets the eye? [Dice Roll: 2 on a 4-sided die] You rolled a 2 on a four-sided die and added 2 from your Observe skill. Your score: 4. Difficulty: 4. Observe Check: Success! Gentile has a warm expression on their face and carries themself with open, relaxed body language. If they're nervous or guilty, they must be masterful at hiding it. » Continue. Pietro turns to the human man standing next to Gentile. "And this is Vitale Tintoretto, our decorative artist. He is responsible for all of the splendid paintings that adorn the interior of the theater," he explains. "Vitale is a frequent and favorite collaborator of our architect." Vitale is a modest-looking fellow with a slightly slumped posture. He wears a plain yet tasteful doublet and small, round spectacles on his nose. With his balding, wispy white hair and weathered skin, you would place him at roughly the same age as Gentile. He speaks slowly and deliberately in a rather quiet, pinched tone. "Thank you for visiting our theater, investigator," Vitale says, offering his hand. » Try to get a read on Vitale. Is he genuine? [⚃ Observe] You shake Vitale's hand and take a moment to study him. Is there more here than meets the eye? [Dice Roll: 4 on a 4-sided die] You rolled a 4 on a four-sided die and added 2 from your Observe skill. Your score: 6. Difficulty: 4. Observe Check: Success! Vitale has a very neutral affect that is difficult to read. Yet you suspect that he is making an effort to project blandness, in order to mask some other emotion. This makes you suspicious. » Continue. Maestro Pietro addresses you. "Of course, I haven't forgotten that I promised you an interview with our architect, Alvisa Palladio. She should be arriving any moment. And the musicians will be arriving for our first dress rehearsal later today." "In the meantime, please ask Gentile and Vitale as many questions as you need. I am sure they will be most helpful," Pietro replies, briefly glancing at the two artists with a small, nervous smile. » Start with Vitale. You request a conversation with Vitale, and he obliges. The two of you walk down the aisles and stand between the pit and the audience. "How may I help you today, investigator?" he asks. » Ask him about the dreams. Watch his reaction. [⚃ Observe] ➔ "Has Maestro Pietro told you about the strange dreams that the performers have been having? What do you make of it all? Do you have any idea what could be causing this phenomenon?" You ask. [Dice Roll: 3 on a 4-sided die] You rolled a 3 on a four-sided die and added 2 from your Observe skill. Your score: 5. Difficulty: 4. Observe Check: Success! Vitale avoids eye contact as he replies, and you detect the slightest wobble in his voice. He may be hiding something. "Yes, the Maestro mentioned the dreams. It is all exceedingly strange. I can't even imagine what could cause something like that," he replies. » Ask about the paintings of magical creatures. ➔ "These paintings of magical creatures that decorate the audience are quite striking," you observe, gesturing to the wooden panels at the front of the audience. "What was your inspiration for this artistic choice?" Vitale walks over to the nearest panel, which is painted with a griffin. He looks at the creature as he lightly runs a weathered hand over his own brushwork. "Ah, yes. I am rather proud of these," he says. "The architect, Alvisa, asked me to reference imagery that harkens back to Lyra's founding. She was interested in evoking the ancient period." » Is he telling the whole truth? [☆ Suspicious of Vitale] ➔ Based on your earlier observations of Vitale, you suspect he may be withholding information. The slight waver in his voice betrays him. Somewhere in this explanation about these magical creatures, Vitale is hiding something from you. » "Please, tell me more about these creatures." [⚃ Charm] "I'm very interested to learn more about these paintings," you urge. "Especially their symbolic significance." [Dice Roll: 4 on a 4-sided die] You rolled a 4 on a four-sided die and added 0 from your Charm skill. Your score: 4. Difficulty: 4. Charm Check: Success! Vitale appears to have let his guard down a little, thanks to the enthusiasm you expressed for his work at first meeting. "You may have heard that the phoenix is thought to represent rebirth. The griffin, protection; the dragon, destruction; the unicorn, love; and the siren, temptation." "The stage of this theater will host a wide range of dramas and comedies. The architect and I thought it appropriate to showcase such a range of themes in the decor, as well." » Move on. You continue the interview. » "I take it you work closely with Alvisa Palladio, the architect?" ➔ "Pietro mentioned you frequently collaborate," you say. "That is true. This the fifth project for which Alvisa has contracted my services. She is the finest architect in the Lyra region. I can only be grateful that she finds my work suitable for her projects," Vitale explains. There is a marked lack of genuine enthusiasm in his tone. » Can I tell how he really feels about Alvisa? [⚃ Observe] You observe closely as Vitale discusses his employer. [Dice Roll: 4 on a 4-sided die] You rolled a 4 on a four-sided die and added 2 from your Observe skill. Your score: 6. Difficulty: 4. Observe Check: Success! You detect a very subtle hint of resentment towards Alvisa in his voice. » "Have you ever felt that Alvisa doesn't value your contributions?" ♡ (Earnest) Vitale raises his eyebrows in surprise at your empathetic remark. You detect a glimmer of emotion. "I couldn't speak ill of my employer," he replies simply. » "Tell me more about yourself." ➔ "Oh? What do you wish to know?" the painter asks, visibly uncomfortable with your line of questioning. » "Have you ever played the flute?" ➔ "I have dabbled in music. But that is far in the past." Vitale raises an eyebrow at your question, which seemed to come out of nowhere. » "How do you feel about crocus flowers?" ➔ "I like crocuses. Who doesn't? They're very lovely." "These are rather personal questions. Is this all quite necessary?" Vitale appears increasingly uncomfortable. His patience may not last much longer. » "Let's change the subject." Vitale looks relieved. » End the interview. You thank Vitale for his time and move onto your next interview. Gentile accepts your invitation to speak, and guides you up a few steps to a stage door, through the wings backstage, and onto the stage itself. "What would you like to know, Apollo?" the designer asks. » Ask them about the dreams. Watch their reaction. [⚃ Observe] ➔ "Has Maestro Pietro told you about the strange dreams that the performers have been having? What do you make of it all? Do you have any idea what could be causing this phenomenon?" You ask. [Dice Roll: 2 on a 4-sided die] You rolled a 2 on a four-sided die and added 2 from your Observe skill. Your score: 4. Difficulty: 4. Observe Check: Success! Gentile's face falls, and they shake their head sympathetically. They seem genuinely troubled by the performers' plight. "Yes, I feel terrible for the artists," they reply. "Preparing for a world premiere is a tremendous amount of work, and the artists need their rest!" » "Can you tell me more about the special effects in your stage scenery?" ➔ "I would be delighted!" Gentile walks around the stage, gesturing at the features of the scenery as they describe their design and engineering. "The backdrops employ the art of perspective to create the illusion of depth," Gentile explains. "Seen from a distance, the back of the stage will appear as though it were a vast space." "This is a wing and groove system," they continue, pointing out the layered rows of nearly life-size painted trees displayed onstage. "When we transition between acts, my stagehands will slide these set pieces into the wings to reveal a new backdrop. Thus, we are transported from the wilds of the forest outside of Lyra to the steps of Taurus and Regina's palace!" Gentile walks into the center of the stage and directs your attention upwards. Scenic elements hover directly above you, suspended out of the audience's view by ropes attached to cranks. "When the time arrives for the divine phoenix to visit Taurus and place upon him the task of founding Lyra," Gentile continues, "the phoenix will be lowered into view by the use of a counterweighted pulley system. The audience will surely be mesmerized by the phoenix as it appears to hover in the sky!" "I hope you will join us for the premiere performance, so you may see all of this in action for yourself." » Ask if they used magic. Watch their reaction. [⚃ Observe] ➔ "Have you ever used magic for your scenic effects?" You inquire. "Never!" Gentile scoffs. "I am fascinated by the creative challenges that my work presents. Criminality aside, magic would take all the fun out of it!" [Dice Roll: 1 on a 4-sided die] You rolled a 1 on a four-sided die and added 2 from your Observe skill. Your score: 3. Difficulty: 4. Observe Check: Failed. Gentile seems quite adamant in their denial; that is all you can glean. » "Thank you for the tour. I have a few other questions for you." "My pleasure. What else would you like to know?" Gentile asks. » "What's your opinion of Vitale Tintoretto, the scenic designer?" [⚃ Charm] ➔ "Please, tell me your honest thoughts," you urge. [Dice Roll: 1 on a 4-sided die] You rolled a 1 on a four-sided die and added 0 from your Charm skill. Your score: 1. Difficulty: 4. Charm Check: Failed. Gentile smiles and offers only a neutral, diplomatic response. "Vitale is a wonderfully skillful painter. This is my first time working alongside him, but I believe he has collaborated with Alvisa on several projects before this." » "What's your opinion of Alvisa Palladio, the architect?" [⚃ Charm] ➔ "Please, tell me your honest thoughts," you urge. [Dice Roll: 4 on a 4-sided die] You rolled a 4 on a four-sided die and added 0 from your Charm skill. Your score: 4. Difficulty: 4. Charm Check: Success! "Alvisa is, as I am sure you are aware, a brilliant architect. I don't know her terribly well on a personal level. She strikes me as an honest person, although she can be a bit, well, aloof," Gentile continues. "I have found that is not so unusual from someone who is several centuries old. But her temperament has the tendency to rub some people the wrong way." » "Tell me more about yourself." ➔ "What would you like to know? I'm an open book," Gentile replies with a smile. » "Do you have a younger sister?" ➔ "I just have an older brother. He works for the City Guard. But no sister, I'm afraid!" Gentile responds. » "Have you ever had a pet dog?" ➔ "Yes! Cocco is the latest in a long line," Gentile explains. "I can no longer wear dark-colored doublets, I'm afraid, for I cannot manage to keep his white fur off of them." » "Have you ever been married?" ➔ "Indeed, I've been happily married for many years," Gentile replies with a warm smile. "My partner and I have been in love since we were practically children." » "Let's change the subject." Gentile nods in agreement. » End the interview. You thank Gentile for their time and move onto your next interview. Maestro Pietro approaches you with a new guest in tow. The elven woman is markedly refined in her manner, and dressed in an elegant satin gown with a lace collar. Her gray hair is tightly pulled back into a bun, which shows off her slanted brows, sharp cheekbones, and olive complexion. She has a severity and seriousness about her that is altogether intimidating. "Apollo, allow me to introduce Alvisa Palladio: our superstar architect. I will leave you two to get acquainted!" Pietro leaves, and Alvisa turns to address you. She skips the niceties altogether. "Maestro Pietro has informed me of the strange dreams experienced by the cast and orchestra," Alvisa says. "I don't know how my work would be of relevance to your investigation; but Pietro is a valued colleague and friend, so I will certainly aid you." » "It's an honor to meet the architect behind Lyra's greatest buildings." [☆ Architecture] ➔ You compliment Alvisa on her professional accomplishments, hoping it may help to warm her to you. "You're familiar with my work, then," she replies with a small smile. "Pietro did well to choose you for this investigation." » "I noticed your design is influenced by the ancient theaters." [☆ Architecture] ➔ Alvisa smiles approvingly. "Correct. This was the inspiration for the theater's name," she explains. "Teatro di Stile Antico is my tribute to the ancient ideal of theatrical design. There is a harmonious geometric relationship between the graded tiers of the audience and the stage. Although the ancient architects built their designs around relationships of seven, I have taken some liberties to adapt the concept for this smaller space." "The seating radiates outwards from the orchestra pit and stage in a semi-circular shape," Alvisa continues. "Those two sides of the theater — the seating one side, and the pit and stage on the other — reflect and balance each other." » Ask about the paintings of magical creatures. ➔ "What can you tell me about the paintings of magical creatures that decorate the audience? Is there a special significance to them?" You ask. "Oh, the phoenixes, griffins, and such? Those were Vitale's. I just asked him to reference ancient design conventions. But I don't concern myself with the surface details," she replies dismissively. » Can I tell how she feels about Vitale? [⚃ Observe] ➔ On Fail You study how Alvisa speaks about Vitale. [Dice Roll: 1 on a 4-sided die] You rolled a 1 on a four-sided die and added 2 from your Observe skill. Your score: 3. Difficulty: 4. Observe Check: Failed. Alvisa's manner is so aloof towards nearly everything that it's difficult to distinguish her feelings towards Vitale in particular. » "How do you and Vitale work together?" [⚃ Charm] ➔ On Fail You urge Alvisa to tell you more about her working relationship with Vitale. [Dice Roll: 2 on a 4-sided die] You rolled a 2 on a four-sided die and added 0 from your Charm skill. Your score: 2. Difficulty: 4. Charm Check: Failed. "I assign him tasks, and he executes them. Simple enough," she replies curtly. » Move on. You continue the interview. » "Is it possible for a theater to store memories? Or transfer memories between people?" ➔ Alvisa looks directly at you, brows raised in surprise. "Well! That is quite a question." "I don't know about transferring memories. But the spatial representation of memory is very interesting," she explains. Her eyes brighten: this is the first topic you've discussed that she seems to find genuinely engaging. "Have you ever heard of a 'memory palace'?" she asks. » "Yes, certainly. But please, go on." [☆ Architecture] ➔ "Then you will know that memory palaces were a mnemonic technique devised by ancient orators. They would imagine a space in their minds in which they would store information. Then they could recall this 'stored' information by imagining themselves moving through their mental environment." "There has been some interest in the modern era in creating physical spaces that mirror this concept. Metaphorically speaking, that is. Although at least one mage has claimed to be able to store real memories within architectural designs. A charlatan, naturally," she adds with a wave of her hand. » Ask if she's certain it's impossible. Observe her response. [⚃ Observe] ➔ "Are you quite certain it's impossible? To store memories inside architecture, I mean?" You ask. Alvisa considers your question. "Well, I confess that I know nothing of the workings of spellcraft. I suppose nearly anything is possible, with the right ingredients and a devious mind." [Dice Roll: 4 on a 4-sided die] You rolled a 4 on a four-sided die and added 2 from your Observe skill. Your score: 6. Difficulty: 4. Observe Check: Success! As far as you can tell, Alvisa is telling the truth. » Persuade her to reveal the identity of this charlatan. [⚃ Charm] ➔ "Who is this charlatan? Even if they're not legitimate, I would like to know more about them," you plead. [Dice Roll: 3 on a 4-sided die] You rolled a 3 on a four-sided die and added 0 from your Charm skill. Your score: 3. Difficulty: 4. Charm Check: Failed. "I wouldn't want to promote their work by repeating their name. I put no stock in these things," Alvis replies, dismissing your request. » Move on. You continue the interview. » "Tell me more about yourself." ➔ "Myself? My personal life is hardly relevant to your investigation, is it?" Alvisa replies sharply. She pauses, then sighs. "But I did promise Maestro Pietro I would cooperate. So. What do you want to know?" » "Do you have a younger sister?" ➔ "Yes, I do have a younger sister. Arcangela Palladio. I take it you've heard of her? She's an accomplished art critic." » "Have you ever played the flute?" ➔ "Yes, actually, I do play the flute," she replies, raising an eyebrow. "I'm a bit of an amateur musician. How would you know that?" "Is this interrogation going somewhere?" Alvisa asks, quickly growing impatient. "I'll answer just one more question." » "How do you feel about crocus flowers?" She lets out a small laugh. "What a trivial question. I don't especially care for crocuses." "Alright, now. I've entertained this long enough. If you have no more questions of substance about my architectural design, I will excuse myself," Alvisa concludes. » End the interview. You thank Alvisa for her time, and return to Maestro Pietro. "Well, Apollo. What do you think? Are you any closer to identifying the source of the dreams?" the Maestro asks eagerly. Your answers will be final. But even if you don't offer the correct solutions right now, you can still resolve the story! » "I believe I've found the source of the dreams. And I may know who is responsible." "Really?!" he exclaims. "Please, enlighten me! What do you think is the source of these strange dreams?" » "The decorative paintings of creatures are magical talismans used to store memories." "Incredible!" Pietro responds with a gasp. "And how did you determine that?" You explain what you deduced: that the paintings of creatures have been imbued with magic, which has been used to store someone's memories and instill them into the musicians' dreams. "Each of the twenty dreams relate to the symbolism of the five magical creatures that decorate the seating," you say. "The dreams also depict four stages of life, which correspond to the four tiers of the audience — as well as the four sections of performers." "Remarkable! How ever did you make those connections?" Pietro asks. » "Methodical analysis of the dreams and the theater's design." [☆ Completed analysis] "Most impressive, investigator!" Pietro replies with approval. "I must ask, then: Who do you believe is responsible for this enchantment?" he says. » "Vitale, the decorative painter." "Really?!" Pietro whispers in reply, sounding scandalized. "What has led you to suspect Vitale?" » "His biography aligns with the dream memories." [☆ Asked personal questions] ➔ You explain the overlap between the life story seen in the memories and Vitale's own characteristics. He likes crocuses. He studied music long ago. And he is mature in age. You wouldn't be surprised if there are many other commonalities, as well. "That is most interesting! I am sure there are many others with those traits, as well. But it certainly casts suspicion on him, in combination with everything else you have mentioned," Pietro replies. "Do you have any other reason to suspect Vitale?" » "He is resentful of Alvisa." [☆ Detected resentment] ➔ "Perhaps he wished to sabotage Alvisa's achievement as an architect? How disconcerting," Pietro replies warily. "What else has led you to suspect Vitale?" » "He was acting very suspicious when I interviewed him." [☆ Detected lying] ➔ "Hmm," Pietro says, rubbing his scaly chin. "I trust your keen instincts, Apollo." "Do you have any other reason to suspect Vitale?" » "He was responsible for painting the magical creatures." ➔ Since Vitale alone created the paintings decorating the theater, you explain, he could have tampered with them in order to place the enchantment. "If the paintings are indeed enchanted, then your suspicion of Vitale is quite logical!" Pietro agrees. "What else has led you to suspect Vitale?" » "That is reason enough for me to suspect him." "Is there some way we could prove your theory? Or a way to put an end to the dreams, at least?" the Maestro asks. You recall last night's dream. The musicians were standing in the audience. When they played music from the seats, they severed the magical thread that tied the theater to their minds. Could this work in reality? » "Maybe? I have an idea. Could you bring the musicians here?" ♡ (Humble) "Of course! I dearly hope your idea works. Although I appreciate your caution against false hope," Pietro replies. "The artists will arrive shortly for rehearsal, and I will direct them to follow your instructions," he says. "In the meantime, I will go and ask Alvisa, Vitale, and Gentile to stay here a little while longer. I would like them to witness whatever comes next." » Continue. It isn't long before the singers and musicians of the Teatro di Stile Antico filter into the theater for what they believe to be their regularly-scheduled rehearsal. The Maestro instructs you to stand next to him, near the edge of the pit. Once they have assembled, the Maestro speaks up. Alvisa, Vitale, and Gentile sit in the front row of the audience to observe the proceedings. "Your attention, please!" Pietro's authoritative voice projects out over the crowd. "Apollo has requested your assistance in his ongoing investigation. Follow his instructions as you would my own." The artists turn their attention to you: a sea of questioning faces. The theater is dead silent. » "If you'd humor me, I'd like to try an experiment." ♡ (Humble) Brief glances of confusion and curiosity are exchanged between the performers. They return their attention to you. The artists must leave the stage and pit and stand in the audience seating, you explain; and the orchestra should bring their instruments. The crowd shuffles backstage and flows out from the stage door into the theater. » Continue. Anbrozo the bass singer steps out from the crowd and approaches you first. "I'm at your command, Apollo. Where in the audience would you like me to stand?" he asks. You recall the minotaur's dream of old age and the temptation of magical power. » "The fourth tier." Anbrozo nods and walks along the steps of the aisles, climbing all the way up to the fourth tier of seats. You consider which section of the fourth tier to direct him towards. » "Stand behind the siren." You call to Anbrozo, directing him to move behind the panel painted with the siren. He follows your instruction; and you ask him to sing. "What shall I sing? Anything in particular?" Anbrozo inquires. » "Sing your favorite passage from the score." ♡ (Earnest) Anbrozo smiles, nods, and takes a deep breath. He opens his bovine mouth and begins to sing an achingly beautiful melody, which starts very softly in his middle register and crescendos into a powerful low note. After just a few moments of this, you notice the painting of the siren on the panel in front of Anbrozo begin to glow with violet light. Threads of the luminous magical energy travel between the siren and Anbrozo's throat, and then to his ears. The Maestro, the theater's three designers, the orchestra, and all the other singers look on in astonishment. The violet thread glows more intensely as Anbrozo sings on. As he does so, your vision becomes clouded with a vivid memory of his dream: the glowing book and the tiefling mage. The vision ends. The magical thread abruptly severs and snaps. The illumination has disappeared from both the siren and Anbrozo himself. The bass immediately ceases his singing, and looks down at you in astonishment. "What was that?!" he exclaims. You've broken the spell on 1 out of 5 performers. » Continue. Everyone in the room glances at each other in amazement. "Did anyone else here see a vision of a book that was glowing? And a tiefling woman?" the Maestro asks, polling the crowd. Nods of murmurs of 'yessir' and 'me too!' echo through the crowd. It seems that Anbrozo's performance not only broke the enchantment that he himself was under, but revealed the memory for all present to see. You glance over at the theater's three designers. Gentile and Alvisa look just as shocked as everyone else; Vitale, however, looks like he's going to be sick. It seems your suspicion of the painter was very well-placed. » Continue. Clario, the trumpet player, approaches you next. You recall his dream of smashing a flute in anger when rejected by his music teacher. "Please, tell me where to stand! I can't get rid of this dream fast enough," he says. » "The second tier." Clario follows your instruction, making his way to the second tier. You direct him to stand behind one of the painted panels. » The dragon. The trumpet player moves behind the panel painted with the dragon. He brings his trumpet to his lips, takes a deep breath, and plays. Just as it did before, a magical glow emanates from the painted dragon, travels to the bell of Clario's trumpet, and into his ears. Everyone present is visited by the memory-vision of smashing a flute in anger. The magical thread snaps. Clario lowers his trumpet and smiles down at you for the very first time since you met him. You glance over at Vitale. The man is slumped over in his seat with face in hands. You've broken the spell on 2 out of 5 performers. Three more artists approach you: Lionella the harpsichord player, Zilia the viola da gamba player, and Giustiniana the soprano. » Guide Lionella. Lionella approaches with a smile. You remember her dream of starting a new career. "You're really doing it!" she says brightly. "You're so humble. But I just knew you had it in you." "I can't exactly haul my harpsichord into the seats," she adds with a laugh. "But I have a decent voice. So I'll try singing instead. Where should I stand, Apollo?" » "The third tier." Lionella follows your instruction and walks to the third tier. You direct her to stand behind one of the painted panels. » The phoenix. The musician moves behind the panel painted with the phoenix. She takes a deep breath and begins to sing in a pleasantly clear, youthful voice. At the sound of her voice, the phoenix glows. Everyone viscerally experiences the excitement of beginning a new career as a designer. The magic thread snaps, and Lionella is freed of her enchantment. You've broken the spell on 3 out of 5 performers. » Guide Zilia. Zilia walks up to you with a relaxed expression and instrument in tow. She's been dreaming about a childhood pet dog, you recall. "My turn?" she asks with a smile. » "The first tier." Zilia follows your instruction and walks to the first tier. You direct her to stand behind one of the painted panels. » The unicorn. The musician moves behind the panel painted with the unicorn. She sits in the chair, settles her viola da gamba on the floor, and begins to bow. At the sound of her gamba, the unicorn glows. Everyone is delighted by the vision of running with a pet dog through a meadow. The magic thread snaps, and Zilia is freed of her enchantment. You've broken the spell on 4 out of 5 performers. » Guide Giustiniana. You summon Giustiniana, and she stands before you eagerly. You recall her dream of helping to build the theater in her mature years, and that the theater felt like her armor. "I don't know how you figured this out, Apollo, but I am absolutely relieved you did! Now, where should I stand?" she asks. » "The fourth tier." Giustiniana follows your instruction and walks to the fourth tier. You direct her to stand behind one of the painted panels. » The griffin. The soprano moves behind the panel painted with the griffin. She takes a deep breath and begins to sing. At the sound of her voice, the griffin glows and all who are present witness her vision of the construction of the theater. Giustiniana's magic thread snaps. She sighs in relief. You've broken the spell on 5 out of 5 performers. » Continue. Everybody present has now seen your theory put in practice, and the pattern behind the magic has been clearly demonstrated. The bowed string players, all of whom dream of childhood, must stand in the first and lowest tier. The wind and brass players, all of whom dream of adolescence, must stand in the second tier. The plucked string players dream of adulthood, and therefore must stand in the third tier; and the singers, with their dreams of old age, stand in the fourth. Finally, all must stand behind the panel painted with the magical creature that signifies the theme of their dream. With this in mind, you assist the remaining three singers and twelve musicians in finding their locations in the seats. They go in twos, then threes at a time. The visions flow into everyone's minds, exposing the twenty memories with all of their joys and heartaches. It takes some time, but eventually every single artist is freed of their enchantment. The cacophony of singing and instruments ceases. The quiet sound of sobbing breaks through the silence. » Continue. Vitale weeps, face in hands, as he remains seated in the front row. All eyes turn to him once the crowd becomes aware of his emotional display. "I'm sorry. I'm so, so sorry," he manages to get out, his voice strained behind heaving sobs. "It's all my fault. But I... I never meant it to happen like this. No, not like this." Gentile, who sits to Vitale's side, reaches into their pocket and produces a handkerchief. The weeping painter accepts it gratefully. Even Alvisa, who sits to Vitale's other side with a confused expression, holds out a hand and stiffly pats him on the back in a comforting gesture. "Why don't you start from the beginning, Vitale," Maestro Pietro asks in a calm, even tone. "What exactly did you do? And why did you do it?" » Continue. Vitale takes a few breaths and stills his tears before speaking. "Long before construction began on this theater, I caught wind of a rumor. A mage could store memories in buildings: a 'memory palace' made real," he explains. "As soon as I heard that, I was captivated." "I asked around, bribed the right people, and eventually acquired an invitation to meet with the mage. She explained that the spell she crafted had yet to be carried out. I could be the very first person to have my life story held by a building." "I'd never used magic before. But she gave me detailed instructions. She said that if I painted the five magical creatures in powerful locations within the theater, and embedded them with talismanic symbols from her spellbook, I could channel my memories into them." "I copied Alvisa's architectural plans and brought them to the mage; together, we devised a version of her spell that would utilize the design of the space to its fullest power." Alvisa crosses her arms and inches away from Vitale, growing colder at his confession. » Wait for him to continue. "I was instructed to store my memories within the talismans by playing the flute at each painting," Vitale continues. "I waited every night until I could have time alone in the theater to enchant the paintings with my flute. Thus, the memories were enshrined into this theater through music." » Wait for him to continue. "I was told that each tier of the audience's seating would store the memories of each stage of my life. And these memories would be reflected into the minds of the musicians whose positions in the pit, and onstage, mirrored the talismans' locations," Vitale continues, sheepishly keeping his eyes on the floor. "I regret to say that the spell worked all too well. Far better than I imagined." "I never stopped to think about what this might really mean in practice. I had no idea that the musicians would be tortured by my memories in their dreams! I suppose I thought it would all be a bit... subtler than that. A passing thought. A feather-light touch from another's mind. A brief moment of communion, perhaps." "But the mage was a little vague on how it would actually work. And in my eagerness, I didn't ask very many questions." » "Why were you so eager to relay your memories in the first place?" "In recent years I've become preoccupied with the fear of my own impending mortality," Vitale admits, his gaze growing distant. "Consumed by it, even." "I've made no real mark on this world. My paintings will surely be forgotten. They will fade, crack, and chip; even these enchanted paintings will only last so long. And the few people who have known me and still think of me fondly will soon pass, too." "Who will remember me when I'm gone? What will happen to the story of my life? To my self?" he explains, growing more impassioned. "The first time I held my infant niece in my arms... The debut of my frescoes at the Temple of the Phoenix, which garnered so much praise... Those are the sorts of precious memories I wish others would carry forward after I am gone." "Alvisa's work is lasting. Made of marble. She has already lived for centuries, and her name will live on for many centuries more," the painter continues, avoiding eye contact with his employer. "I was jealous. I admit it. I wanted a legacy like hers, even if nobody would ever know it was me. And so I resorted to magic." » "You preserved some memories that most people would rather forget. Why?" ➔ Vitale laughs bitterly. "Can you believe it? All the worst moments of my life, enshrined in magic and inflicted onto other people? I had no idea that would happen!" "But there was no way for me to control which memories would be captured," he continues. "The mage said my most pivotal moments, big or small, would naturally come to the surface. The events that shaped and defined my story." "It was never my purpose to expose my greatest sources of shame. I assure you, I'm well aware that I have utterly humiliated myself," he adds with a grimace. » "If you are truly remorseful, why didn't you confess as soon as you learned what was happening?" ➔ "I didn't want to be caught. To be humiliated. Like I am now." Vitale looks down and away. "I know you must think I'm a coward. And you'd be right." » "I think I know why we were able to deactivate the magic." [☆ Architecture] ➔ "The musicians perform from the stage and pit, facing the talismans; and the memories are reflected back to them," you explain. "Based on Vitale's explanation, that is how the spell was meant to work." "I believe that having the musicians perform next to the talismans reversed the conditions of the spell," you continue. "That would be consistent with Alvisa's design, which revolves around the symmetry between audience and stage." "You are quite right, I expect," Vitale replies. "Although the mage never told me that was possible." » "Now that the spell is broken, are your memories still stored here?" ➔ "I believe they may be," Vitale replies gravely. "I wouldn't be surprised if the musicians will be re-enchanted just as soon as they perform from the pit and stage again." Frustrated groans ripple through the crowd of onlookers. Vitale winces at the sound. "Something more permanent will need to be done to rid the theater of my memories, I'm afraid," he adds. » "Well, now we all know what happened." The musicians start to chatter excitedly about the day's events. Pietro requests a more private conversation and pulls you aside. The two of you leave Vitale with Alvisa, who is quite furious at her employee's deception. "It appears your suspicion was spot-on! Vitale is at fault, after all. And your theory about the talismans was precisely correct!" Pietro says. "Vitale's actions were surely in violation of the laws against unlicensed magic. But you are the investigator here, and have far more experience than I do with dealing with criminal acts." "How would you recommend we handle this situation, Apollo?" he asks. Typically, you would report Vitale to Lyra's City Guard. For a magical crime such as this one, with no lasting harm done, the sentence may not be all that harsh. Then again, sabotaging an entire opera company by enchanting it with your life's memories is unprecedented. There is no prescribed punishment, and you're not quite certain how a judge would interpret it. » "The musicians were the victims of Vitale's actions. Why don't we let them decide?" "That does seem a very fair course of action," Pietro observes. "Thank you for your counsel." The Maestro steps forward to address the group. "Singers and orchestra! We request your guidance. Apollo has pointed out that the enchantment Vitale placed on this theater harmed you above all others, so you should be the ones to decide how we proceed." "If you deem it appropriate, we will report Vitale to the City Guard. That will ensure he is properly sentenced by the law for magical crime." "But if you feel that his humiliation was punishment enough, we can choose to let him go. I would only require Vitale to take responsibility for promptly removing the enchantment from our theater." "Now — all in favor of reporting Vitale to the City Guard, please raise your hand!" he announces. Several palms quickly shoot up into the air. You see Clario the trumpet player and Anbrozo the bass. The violinist who dreamt of being punched by the childhood bully raises his hand eagerly, quickly followed by the theorbo player who dreamt of Vitale's infidelity and the guitarist who watched the artist's home burn in a fire. A number of other hands are raised, a little more hesitantly. You study the group with their hands down. Predictably, it appears to consist largely of people who'd dreamt of positive scenarios; although you are a little surprised to see the cornetto player, who dreamt of protecting Vitale's sister during a robbery, as well as the poor recorder player who was forced to relive puberty every night. Pietro takes a quick count of raised hands, and finds it is just one hand greater than a tie. By a very narrow margin, then, the artists choose to report Vitale to the City Guard. » Continue. Epilogo Gilded double-doors swing open once again, welcoming you into the Teatro di Stile Antico. But tonight is different: the theater is packed from wall-to-wall with excited operagoers. The grand opening has finally arrived, and you've been invited as an honored guest. And you chose someone special to join you. » My partner Benetto is here with me. Benetto walks at your side. The gnomish man wore his finest doublet and trousers for the occasion. Rich burgundy satin accentuates your partner's witty green eyes, and the high collar of his doublet draws focus to the dimpled smile you've always loved. "You described the theater perfectly," Benetto observes, looking up and around at the space. "It's just as exquisite as I'd expected!" "Thank goodness the Maestro called on your services, my dear, or this evening might not be happening at all!" he adds proudly. "I've always said your powers of observation are unparalleled." The two of you people-watch as you wind your way through the crowd. You see Gentile making small talk with the Duke and Duchess of Valfiore. Alvisa is here, as well, engaged in focused conversation with Francesca Fata: impresario of the Teatro della Fantasia. And Maestro Pietro stands in the orchestra pit, from which he converses with the great composer and conductor Cecilia Tiepolo. You arrive at your reserved seats in the first tier. (Out of superstition, you had requested that Pietro seat you in the section formerly emblazoned with a unicorn; it seemed the most benign, of the available options.) » Continue. It has been two weeks since you exposed the theater's magic and Vitale made his confession. Meanwhile, Vitale worked diligently at scrubbing the magical talismans from the surfaces of the theater and replacing them with new, enchantment-free decorations. A few experimental rehearsals demonstrated to the Maestro's satisfaction that Vitale's memories would not find their way into the musicians' minds. After this work was complete, Pietro sent word for the City Guard. The painter was accepting of his fate, and went peacefully. You later visited Frescobaldi, Head of the City Guard, to check in. The elven Guardian explained that, after hearing Vitale's case, he decided that the painter would be a valuable asset. He was allowed to walk free on two conditions. First, Vitale was sentenced to community service. He will be busy for a long time painting lavish murals at schools and community centers, Frescobaldi explained. Which is just as well, you think, since the artist will not be hired again by Alvisa Palladio any time soon. Additionally, Vitale will be required to work for the Guard as a criminal informant for the foreseeable future. It took no convincing for the painter to reveal what he knew of the tiefling mage. He felt that she had preyed on his weakness, and he was as eager as anyone to see her magical practices put to an end. She called herself Lunetta, he said, and had a secret shop hidden at the back of an osteria downtown. The entrance was usually guarded by a tough-looking kobold; tell him the password is sforzando, Vitale explained. But this intelligence was of little use: the Guardians discovered that the mage had long since relocated and left no trace. Their search for the tiefling mage continues. » Continue. You glance over to Pietro to see him waving to you in greeting. You invite Benetto to join you, and walk over to the orchestra pit to say hello to the Maestro. "Good evening, Apollo! I'm thrilled you could join us tonight. This is all thanks to you, after all," he says, sweeping a robed arm outwards and gesturing at the assembly of sparkling guests. » "I expect the opera to sound much nicer than rehearsals, now that everyone has caught up on sleep." ♡ (Playful) "Ha! We'll strive not to disappoint you!" Pietro replies with a wink. "But, where are my manners?" he continues, turning to your companion and introducing himself. Benetto introduces himself in turn. "It was a pleasure working with your partner," Pietro tells him. "Apollo's care and consideration put us all at ease in the midst of a stressful time." "That sounds just like him," Benetto replies with a soft smile. Pietro shifts his attention to someone behind you. "Ah, Alvisa!" he exclaims. » Continue. The elven architect walks up beside you and shakes your hand. "Good evening, Apollo. I'm glad you could join us," Alvisa says with genuine warmth. "I'm very grateful for what you did. I still can't believe I allowed Vitale to get away with all of that right under my nose. To use my own architectural project as the set-up for a spell? I haven't quite recovered from the embarrassment, I'm afraid." "Gentile has referred a few candidates to replace Vitale as my lead decorative painter on future projects," she continues, "but I wonder if I might hire you to do background checks on potential hires. I want to do every last bit of due diligence to avoid a repeat of this recent incident!" » "Of course, it would be my pleasure do some background checks for you." Alvisa's face brightens. "Wonderful. I will be in touch." You bid Pietro and Alvisa good evening and take your seat. » Continue. The curtains are drawn to reveal the first of Gentile's spectacular scenic designs. The Maestro lifts his arms and brings them down in a graceful gesture, igniting the orchestra in a rousing overture. Thus The Tyranny of Taurus begins, flowing seamlessly into several acts of scenes, musical set pieces, and instrumentals. The climax of the show arrives when the emperor is visited by the divine phoenix and tasked with the founding of Lyra. Anbrozo and Giustinia (despite their height difference of two and a half feet) look suitably majestic costumed in satin togas and gold-leafed crowns. The minotaur holds a powerful low note, the soprano a shimmering high note, both of their arms raised upwards as the "phoenix" lowers from the heights above the stage and appears to hover in the painted sunset sky. The audience erupts into roars of applause and gasps of delight at the visual spectacle. You sigh with the satisfaction of a job well done. The Teatro di Stile Antico is no longer haunted by memories of a troubled past. But many wonderful, new memories are sure to be made within this theater's walls. » See my final score. Final Score Intermezzo Identified the creatures' symbolism as recurring themes: 5 out of 5 points. Identified the four life stages as recurring themes: 4 out of 4 points. Bonus dream themes found: 6 out of 6 points. Interpreted the dreams as the life story of an individual: 5 out of 5 points. Drew a connection between the four tiers of the audience with the four stages of life and the four sections of performers: 0 out of 5 points. Atto Secondo Identified the source of the spell (the paintings): 25 out of 25 points. Identified Vitale as the prime suspect: 25 out of 25 points. Guided the musicians to their correct locations: 25 out of 25 points. Total: 95 out of 100 points. The End Behind the Game - Learn about the real-world historical inspirations behind the game.