Start of a transcript of Flattened London A Fanwork in Two Dimensions by Carter Release 7 / Serial number 201004 / Inform 7 build 6M62 (I6/v6.33 lib 6/12N) Identification number: //EE691FFB-4923-422E-8598-FF45808A5A90// Interpreter version 1.3.5 / VM 3.1.2 / Library serial number 080126 Standard Rules version 3/120430 by Graham Nelson Simple Followers version 7/150410 by Emily Short Epistemology version 8/140830 by Eric Eve >help Flattened London has a lot of its commands in common with other parser-based text adventures. Use these commands the way you would in a simple sentence in real life (examine the hat, talk to the triangle, etc). The main ones, along with their abbreviations, are: Look (L) - Repeat the description of the room you are in. Examine (x) - Get a detailed description of a specific object. Go [direction] (N/S/NE/SW) - Move in the specified direction. You can also GO IN or OUT. Inventory (i) - Check your inventory. Get - Pick something up. Drop - Drop something. Talk to - Talk to someone Ask about (a) - Ask someone about something. Open/Close - Open or close something. Wait (z) - Wait one turn. Help - Review this list at any time. Undo - Undo the previous turn. Use this one sparingly! Restart - Restart the game. Save/Restore - Save and load the game. Quit - Quit the game. About - View pertinent legal information. Credits - View the credits. Amusing - See a 'for your amusement' list of things to try. You might also want to: PUT, ENTER, EXIT, DRINK, GIVE, WEAR, POUR, ATTACH, PUSH/PULL, DIG, LIGHT, CLEAN, READ, PLAY, RING, UNLOCK, or PET a person or thing. If you're stuck, you can type 'HELP (an object)' for a hint regarding the object. To have a conversation with someone, you can try TALKing TO them. You can also ASK them ABOUT something they've mentioned or an object in the world. To ask someone to do something, preface your command with their name (e.g. Robot, follow me). >about Fallen London is © 2019 and ? Failbetter Games Limited: www.fallenlondon.com. This is an unofficial fan work. Flatland is public domain. >l Your Cozy Home The rain falls south onto the roof of your home - a pentagon, just like the home of every other shape in the city. On a night like tonight, there's nothing you want to do more than sit back and relax with a nice cup of tea. A small mirror hangs on your wall. In front of you is a small scrap of paper you don't remember writing on. You can also see a mug (in which is some tea) here. >x me You make acute equilateral triangle, if you do say so yourself. >* groan That's not a verb I recognise. >i You are carrying nothing. >x mirror You check yourself out in the mirror. You make acute equilateral triangle, if you do say so yourself. >take mirror Taken. >* wasn't expecting that to work! That's not a verb I recognise. >l Your Cozy Home The rain falls south onto the roof of your home - a pentagon, just like the home of every other shape in the city. On a night like tonight, there's nothing you want to do more than sit back and relax with a nice cup of tea. In front of you is a small scrap of paper you don't remember writing on. You can also see a mug (in which is some tea) here. >x mug A nice china mug. In the mug is some tea. >drink it You take a small sip. The tea tastes earthy, and vaguely sweet. You hold the warm mug and prepare for a pleasant evening at home. >sit back I didn't understand that sentence. >relax with a nice cup of tea That's not a verb I recognise. >* Sorry, I'm a jerk You seem to want to talk to someone, but I can't see whom. >x scrap You never could read in dreams. Despite this, you find yourself compelled to pick up the note and shove it in your pocket. [PRESS ANY KEY TO CONTINUE] All of a sudden, things begin to shake. You find yourself being tossed back and forth, and you're pretty sure you hear your mug shatter. When the shaking subsides, you stagger out from the ruins of your home to find London in complete disorder. The great shift that befell London was ten years ago, and everything is different now. Hell, devils included, is a real place to the west of London, and impossible creatures live and work among ordinary shapes. Some believe London went DOWN, to a cavern beneath the earth, but any well regarded citizen knows those are little more than rumours. After all, there's no such thing as down. [PRESS ANY KEY TO CONTINUE] Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. A spare towel covers a small hand mirror lying in your room. It's been sanitized, of course, but one can never be too careful. In one corner of the room is an old wooden trophy case. A rack stands in the corner, brimming with hats. You wake up, shivering, the note still heavy in your pocket. >i You are carrying: a knapsack (open but empty) a compelling note >* Aww, lost the mirror You seem to want to talk to someone, but I can't see whom. >x me You make acute equilateral triangle, if you do say so yourself. >x towel Mud, blood, mirrors. This towel does it all. >x mirror The mirror is covered by the towel! >take twoel You can't see any such thing. >oops towel Taken. >x mirror You resist the urge to check yourself out in the mirror. You've seen the prisoners in the Labyrinth of Tigers, and you've no intention of joining them. >take mirror Taken. >l Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. A rack stands in the corner, brimming with hats. >wear towel You wear the towel like a fashionable scarf. You feel stupid. >* I mean that's fashion for you That's not a verb I recognise. >* Nicely done! That's not a verb I recognise. >x case An old trophy case, with thirteen slots of specific sizes and shapes. The case is empty. >x slots You can't see any such thing. >x rack Your elegant hat rack is more than capable of holding the one hat you own. It is the most important part of your identity, after all. In the rack are a detective's fedora, a captain's cap, a doctor's headpiece and a footpad's mask. >* ooh, disguises! You seem to want to talk to someone, but I can't see whom. >take all detective's fedora: So you're a detective, then? >x me Please answer yes or no.> yes Taken. Your other hats disappear. captain's cap: That isn't available. doctor's headpiece: That isn't available. footpad's mask: That isn't available. >* oh, is this like a class-selection? You seem to want to talk to someone, but I can't see whom. >undo Your Lodgings [Previous turn undone.] >undo Your Lodgings [Previous turn undone.] >l Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. A rack stands in the corner, brimming with hats. >x hat Which do you mean, the detective's fedora, the captain's cap, the doctor's headpiece or the footpad's mask? >fedora A hard-boiled hat for a hard-boiled shape. People call you 'Detective' when you go by. >x cap The cap of someone who's served in Her Most Circular Majesty's royal navy. People call you 'Captain' when you go by. >x headpiece The surgical hat of a medical professional. People call you 'Doctor' when you go by. >x mask The shadowy mask of a criminal. People call you 'Footpad' when you go by. >take cap So you're a captain, then? >yes Taken. Your other hats disappear. >* Different prompt for the yes/no Q would be nice That's not a verb I recognise. >* I like "Her Most Circular Majesty" That's not a verb I recognise. >* Like the joke, not necessarily the monarch You seem to want to talk to someone, but I can't see whom. >l Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >x door You can't see any such thing. >x windows Morning fog obscures the hustle and bustle of London. >open windows It isn't something you can open. >i You are carrying: a captain's cap a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >wear cap You put on the captain's cap. >x note Greetations, Sincere apologetics for the intrusion into your dream-world, but interception of this message would have been most introublematic. Your presence in my ancient store is thusly requirsted posthaste - I have need of your services, and am prepared to offer a colossiderable reward. Judging from the many portmalteaus, this was written by Mr. Pages - one of the Masters, the cabal of shadowy creatures that 'bought' London ten years ago. You aren't sure what store he's referring to, but many of London's older shops are on a street southwest of your lodgings. Perhaps Mr. Pages expects you to show up soon. >w Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >sw Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. A horse statue is on display in the window. >x shop You can't see any such thing. >x statue A valuable statue of a horse made from silver, apparently made by London's predecessors. It's on sale. >x antique You can't see any such thing. >x storefront You can't see any such thing. >x windows You can't see any such thing. >* Not much scenery here... That's not a verb I recognise. >e Antique Shop The place has a rather homey atmosphere. Ancient objects of all shapes and sizes are for sale along the walls, though most of them just look like junk. Outside, the desolate lane awaits. In the east wall of the shop is the door to a back room. Running the shop is a weary antiquarian. A rusty lamp catches your eye. A silver statue of a horse is on display. >x objects You can't see any such thing. >x junk You can't see any such thing. >x door The door to the back room of the antique shop. >x antiquarian A square who looks like she'd like nothing better than a nap. She occasionally looks up from the counter to check on you. >x lamp An old fashioned oil lamp. >x statue This silver horse statue is extremely valuable, and of the highest quality. But no one in London makes statues like this. This was lovingly crafted by the people that lived here before. >talk to antiquarian "This used to be the busiest antique shop in the city, you know. At least, until they cleaned the rubble up from main street and I stopped getting foot traffic. These days, I'm lucky to get a customer." She looks briefly sad. "I'm technically in the antiques business, but this place is just a glorified pawnshop, so feel free to ask me about any treasures you find - I might just have an answer." >show note to antiquarian The weary antiquarian is unimpressed. >ask antiquarian about note The antiquarian sighs. "He's in the back." >ask antiquarian about lamp "What, that? It's just a lamp, really. Basically worthless. You can have it, if you want." >ask antiquarian about horse "I'm afraid I can't tell you much about this piece. Probably from the fourth city, they did like horses. It's also rather valuable, and it's yours if you can give me something to replace it." >take lamp The antiquarian shrugs. "Sure. Not like it was going to sell anyway. No one wants to buy a rusty antique." >x lamp An old fashioned oil lamp. >rub lamp You rub the rusty lamp. >e (first opening the back room door) The Lair Of Mr. Pages Instead of the back room of an antique shop, you appear to have stumbled onto some kind of chair warehouse. A chairhouse, if you will. Antique furniture has been placed in neat piles around the room. The antique shop proper is west. Mr. Pages himself, conspicuously without his usual flock of guards and assistants, lounges in an old Queen Anne seat. This must be important. >* chairs That's not a verb I recognise. >x chairs You'd think Mr. Pages would collect books. He does, of course, and information in general. But he also collects antique chairs. >* Everyone needs a hobby That's not a verb I recognise. >x pages Mr. Pages' fondness for loquacious verbositude is well known. His species of origin is not. Whatever he is, he must be at least twice your size, exact shape obscured by a heavy leather coat. >x seat An antique chair. Well-loved, if the heavy scratches on the cloth are any indication. >x coat You can't see any such thing. >talk to pages "Ah, Captain. I do hope my missive wasn't too perplusing." Pages speaks in an urgent, grating screech. "After two thousand years, an entity has returned to the city. Back to spread its untruthidious gospel of the third dimension, no doubt." He spits. "I would have you perform a small task for me." Pages watches you carefully. "Well, Captain? Are you going to ASK me about it?" >ask pages about third dimension "The traitor would have us all believe that another dimension exists, beyond the two," Pages explains. "A square is to a line as this new plane is to us." You ask the obvious question. Does the third dimension exist? "No!" Pages screeches. His claws squeeze the armrest of his chair tightly, causing it to splinter. "It does not!" Maybe asking someone else will be more helpful. >ask pages about traitor "A perfidious shape," Pages hisses. "It has lied to us, and now it has returned, to lie to other shapes about the existence of the 'third dimension'. Disharmodious falsehoods, I assure you." >ask pages about pages "Mr. Iron rules iron," Pages says. "Knives and blades. Mr. Stones is the lord of stones, and Mr. Spices spices. I-" he gestures wildly to himself "-am the master of pages! Books and their pages!" He takes a deep breath before continuing to screech. "And chairs!" >ask pages about spices You don't know what you're talking about. >ask pages about chairs Mr. Pages grins sharply at you. "You like my collection? It is most sumptulent, yes?" With that many teeth, you are forced to agree with him. >ask pages about london Mr. Pages says nothing. Perhaps he's attempting to communicate with you telepathically. More likely, though, he doesn't know what you're talking about and is too proud to say it. >ask pages about shop You don't know what you're talking about. >ask pages about antiquarian Mr. Pages says nothing. Perhaps he's attempting to communicate with you telepathically. More likely, though, he doesn't know what you're talking about and is too proud to say it. >* I think this is a different response based on not recognizing the topic, vs. this character not having a response for it You seem to want to talk to someone, but I can't see whom. >ask pages about entity "A perfidious shape," Pages hisses. "It has lied to us, and now it has returned, to lie to other shapes about the existence of the 'third dimension'. Disharmodious falsehoods, I assure you." >ask pages about task "He is writing a book," Pages spits. He says it with such force that you are, for a moment, convinced that he hates all books. "A foul doctrine of third-dimensional lies. Your task is to track the entity to its lair-" And kill it? "No". Trained shapes have tried and failed to kill this creature. No, Pages just wants the book, so he can be sure it is destroyed properly. "There will be a reward", he adds when he sees you hesitate. >ask pages about reward "I should think that proving yourself to my imsteemed individuality would be reward enough," says Pages, puffing out his chest. "But I can offer you money. A plenteous sum. Enough to make you a very rich shape." >ask pages about lair "Its lair is undecealed," Pages says. "Incognonymous. Hobscure." He hands you a piece of paper. "You will need this." >x paper Greetations, Sincere apologetics for the intrusion into your dream-world, but interception of this message would have been most introublematic. Your presence in my ancient store is thusly requirsted posthaste - I have need of your services, and am prepared to offer a colossiderable reward. Judging from the many portmalteaus, this was written by Mr. Pages - one of the Masters, the cabal of shadowy creatures that 'bought' London ten years ago. You aren't sure what store he's referring to, but many of London's older shops are on a street southwest of your lodgings. Perhaps Mr. Pages expects you to show up soon. >i You are carrying: the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >x location A messy list that looks like it was written by someone with claws. Different parts of the city that the entity you're tracking might live in, though it's not clear what they all have in common. The document reads: The Shuttered Palace (in the west) The Forgotten Quarter (in the southwest) The Bazaar (in the south) >ask pages about location "My intelligencers have deducetigated the location of its lair," Pages says proudly. One of them, anyway." >* missing quotation That's not a verb I recognise. >save Ok. >w Antique Shop The place has a rather homey atmosphere. Ancient objects of all shapes and sizes are for sale along the walls, though most of them just look like junk. Outside, the desolate lane awaits. In the east wall of the shop is the door to a back room. Running the shop is a weary antiquarian. A silver statue of a horse is on display. >ask antiquarian about pages "What's there to tell? He likes antique chairs, but the others would complain that he's "soiling his image" if they found out about it. He pays to keep my shop open, so he gets a room to himself and first dibs on any chair that comes in." >ask antiquarian about traitor You don't know what you're talking about. >ask antiquarian about third dimension "Listen, if there really was some mythical other plane, we would be able to see it," the antiquarian says. "I don't agree with the government, especially not when tax season comes around, but they're right on this one." >ask antiquarian about third entity I only understood you as far as wanting to ask the weary antiquarian about the third dimension. >ask antiquarian about third lair I only understood you as far as wanting to ask the weary antiquarian about the third dimension. >w Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. A horse statue is on display in the window. >sw You can't go that way. >x locations You can't see any such thing. >i You are carrying: the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >x location A messy list that looks like it was written by someone with claws. Different parts of the city that the entity you're tracking might live in, though it's not clear what they all have in common. The document reads: The Shuttered Palace (in the west) The Forgotten Quarter (in the southwest) The Bazaar (in the south) >s Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >* Is this far enough awy from London that we're in a different city? That's not a verb I recognise. >* Possibly less confusing for folks who know Fallen london That's not a verb I recognise. >x gates You can't see any such thing. >s Dig Site A magnificent dig site, heading into the stone that encases a lot of the ruins. This one is almost abandoned, though. The excavation seems to have stopped at a large chunk of rock with a building embedded in it. The way out of the Forgotten Quarter is to the north. In the distance, looking almost translucent in the mist, is a pavilion. A bored archaeologist lies on a crate, worn out. A pickaxe rests on the ground nearby. >x rock It seems progress stopped on the excavations at the exact wrong time. A little more digging, and the ruin's front door would have been accessible. >x ruin You can't see any such thing. >x building It seems progress stopped on the excavations at the exact wrong time. A little more digging, and the ruin's front door would have been accessible. >x pavilion A distant pavilion. You have trouble keeping your eye on it. >x archaeologist A square, dressed in the neat clothing of an archaeologist. She looks tired. >talk to her You can't see 'her' (nothing) at the moment. >talk to wman You can't see any such thing. >talk to woman You can't see any such thing. >talk to archaeologist The last archaeologist squints at you. "You won't find anything here," she says. "That third dimension stuff is just talk." She sighs. "Not that it matters whether or not I was going to find anything, seeing as my crew quit. And when I was only a few pickaxe-swings away from victory, too." >ask archaeologist about traitor You don't know what you're talking about. >ask archaeologist about third dimension "I don't know what the third dimension is exactly, or if it's even real. I do know there used to be a cult that worshipped a shape they believed to be from the third dimension, and that they were wiped out by whatever the fourth city had for law enforcement. I'd hoped to find one of their ritual sites here, for my research into them, but apparently not." >ask archaeologist about third entity I only understood you as far as wanting to ask the last archaeologist about the third dimension. >ask archaeologist about entity You don't know what you're talking about. >ask archaeologist about lair You don't know what you're talking about. >ask archaeologist about crew The archaeologist sighs. "I suppose I should have told them up front that this expedition had to do with the third dimension. And they were right to be scared of getting arrested on the slim chance that we found something interesting. Only when they quit, my colleagues went too, and all the dockworkers, and now there's no one in London that'll even consider helping me with this. Shame, too. It's a good job." >ask archaeologist about expedition "I'm digging for a ritual site," the archaeologist explains. "We were making great progress until- well, until my team walked out on me." She shrugs. "I did what I could on my own, but I think I sprained something. It's frustrating. Now that I've found the damn building, I can't get through to it." >ask archaeologist about fourth city "They're the topic of my thesis," the archaeologist begins, clearly excited to have an audience. "The capital of the Mongol empire, vanished in its prime, subject of numerous conspiracy theories - turns out it ended up here. Wherever 'here' is, anyway. I'm studying a cult that cropped up in their later years." Her smile fades when you ask her what happened to them. "Wouldn't you rather hear about something else? Like my cult." >ask archaeologist about cult "I'm researching a geomesoteric cult that existed a few decades ago, back when this place - the whole fourth city - was a thriving metropolis, and London was somewhere else. They worshipped the third dimension, I think. By far the pinnacle of their worship was a pavilion located somewhere around here." >l Dig Site A magnificent dig site, heading into the stone that encases a lot of the ruins. This one is almost abandoned, though. The excavation seems to have stopped at a large chunk of rock with a building embedded in it. The way out of the Forgotten Quarter is to the north. In the distance, looking almost translucent in the mist, is a pavilion. A bored archaeologist lies on a crate, worn out. A pickaxe rests on the ground nearby. >ask archaeologist about pavilion The archaeologist looks puzzled. "The what?" You point to the pavilion in the distance. "There's nothing there, Captain. Are you feeling alright?" You decide to drop it. >take pickaxe The archaeologist watches you take the pickaxe. "Sure, take it," she says. "And do let me know what you find." >dig What do you want to dig? >building What do you want to dig the rock chunk with? >pickaxe You hit the chunk, hard. Flecks of stone fly off of it, exposing more of the door. >g You hit the chunk again. You've managed to get most of the way through. >g You chip away at the last of the rock blocking the door. The entrance to an ancient temple is now visible to the south. >s Ancient Temple You stand in a grand hall, built from a rich marble. Even weathered by time, it's magnificent. The exit is to the north. A side-room, so small that it seems like an afterthought, is to the west. Presumably there were other chambers here, but they've long since been buried in debris. >x marble You can't see any such thing. >w Lesser Chamber A cramped room that seems to have been carved into the rock rather than constructed. East, a jagged tunnel leads back into the temple you came from. A nodule of amber is here, in the center of the room. Whoever put it here obviously thought it was important. >x amber If you listen, you can almost hear the distant sound of gurgling. This lump of amber fills you with a warm, fuzzy feeling when you hold it. That makes it valuable, at least to you. >take it Taken. >x it If you listen, you can almost hear the distant sound of gurgling. This lump of amber fills you with a warm, fuzzy feeling when you hold it. That makes it valuable, at least to you. >listen to amber You hear nothing unexpected. >e Ancient Temple You stand in a grand hall, built from a rich marble. Even weathered by time, it's magnificent. The exit is to the north. A side-room, so small that it seems like an afterthought, is to the west. Presumably there were other chambers here, but they've long since been buried in debris. >n Dig Site A magnificent dig site, heading into the stone that encases a lot of the ruins. This one is almost abandoned, though. The way out of the Forgotten Quarter is to the north. In the distance, looking almost translucent in the mist, is a pavilion. The entrance to an ancient temple is visible to the south. A bored archaeologist lies on a crate, worn out. >show amber to archaeologist The last archaeologist is unimpressed. >ask archaeologist about amber "Amber, huh?" The archaeologist irritably smashes into a pebble, sending it flying. "Figures the temple I've been searching for for five odd years would turn out to just be some... Hive for a bunch of irregulars. And I was so sure it would be somewhere in this area, too. Circles damnit." >score There is no score in this story. >n Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >w In The Pavilion You stand in a grand pavilion. The other buildings on this street are weathered and broken, but here not a single thing is out of place. Outside and to the east is the way out of the Forgotten Quarter. An ornate rug covers most of the pavilion's southern side. >x rug An antique rug from the people who came before, in excellent condition. You're sure they wouldn't mind you having this. >move rug The rug seems to have been covering a tunnel in the south. >take rug Nothing obvious happens. >i You are carrying: an antique rug a lump of friendly amber a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >* oh, did MOVE take it? You seem to want to talk to someone, but I can't see whom. >s Winding Hall A long, serpentine hallway. The floor is covered in a rather detailed mural. To the north, the passage returns to the pavilion. South, the hallway continues. >x mural A large group of triangles is gathered around an unusual shape in what looks like worship. But that can't be right. Who in their right mind would worship a line? >x line You can't see any such thing. >s Twisty Hall You are still in a hallway that runs north-south. Another mural is etched into the floor. >x mural The mural depicts a battle between a group of triangles and a handful of circles. Despite the advantage granted to them by their points, the triangles appear to be losing. A rectangle stands in the distance, passively watching. It is the same color as the line in the previous mural, and is in the same location. >x rectangle You can't see any such thing. >s The Hallway Ends The hallway north ends in an oak door to the south. Near the door, and all around you, is a mural. >x door A solid oak door. After hundreds of years, you'd expect it to be rotten, but it seems well-maintained. >x mural In the mural, a small group of triangles gather around a circle in exaltation. Apart from the dead triangles, scattered around the mural, all is well. The lower classes are in their proper places at last. >open door You open the oak door. >s Ritual Room A huge chamber with an exit to the north. It smells faintly of smoke, and apart from an odd carving near the far wall, is completely empty. Something else about the room feels off, though you can't say what exactly. Eight candles have been placed at odd intervals around the room. The bones of a long-dead triangle rest against the far wall, clutching a bell. >* eek That's not a verb I recognise. >smell You smell nothing unexpected. >x carving A dot, then a line, then a square. Then some kind of irregular shape, like two squares crushed and smashed together. Next to it, something is written. ???? ?????? - PERFECTION in mongolian. But you never learned to read mongolian. So why do you know what that says? >* Good question! That's not a verb I recognise. >x candles Old tallow candles. Flammable. >x bones You get the sense that the dead triangle is watching you. >x bell An old bell. >take it Taken. >ring it A sudden gust of wind causes the candles to go out. The bell makes a pleasant ringing sound. >light candles What do you want to light the candles with? >i You are carrying: a bell an antique rug a lump of friendly amber a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >* Are we bell-book-and-candleing it here too? That's not a verb I recognise. >light lamp What do you want to light the rusty lamp with? >undo Ritual Room [Previous turn undone.] >undo Ritual Room [Previous turn undone.] >undo Ritual Room [Previous turn undone.] >undo Ritual Room [Previous turn undone.] >undo Ritual Room [Previous turn undone.] > I beg your pardon? >l Ritual Room A huge chamber with an exit to the north. It smells faintly of smoke, and apart from an odd carving near the far wall, is completely empty. Something else about the room feels off, though you can't say what exactly. Eight candles have been placed at odd intervals around the room. The bones of a long-dead triangle rest against the far wall. >light lamp with candles The lamp is not fueled. >* Ah That's not a verb I recognise. >i You are carrying: a bell an antique rug a lump of friendly amber a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >x candles Old tallow candles. Flammable. >s You can't go that way. >e You can't go that way. >n The Hallway Ends The hallway north ends in an oak door to the south. Near the door, and all around you, is a mural. >n Twisty Hall You are still in a hallway that runs north-south. Another mural is etched into the floor. >n Winding Hall A long, serpentine hallway. The floor is covered in a rather detailed mural. To the north, the passage returns to the pavilion. South, the hallway continues. >n In The Pavilion You stand in a grand pavilion. The other buildings on this street are weathered and broken, but here not a single thing is out of place. Outside and to the east is the way out of the Forgotten Quarter. Despite the fact that you've seen the pavilion from the outside, there is a tunnel leading south. >e Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >s Dig Site A magnificent dig site, heading into the stone that encases a lot of the ruins. This one is almost abandoned, though. The way out of the Forgotten Quarter is to the north. In the distance, looking almost translucent in the mist, is a pavilion. The entrance to an ancient temple is visible to the south. A bored archaeologist lies on a crate, worn out. >w You can't go that way. >ask archaeologist about bell The archaeologist frowns. "I'm afraid I can't help you there." >ask archaeologist about line You don't know what you're talking about. >ask archaeologist about ritual You don't know what you're talking about. >ask archaeologist about candles You describe the candles to her. She asks you to draw them. "Weird," she says. "That's one of my cult's holy symbols - think they called it a 'cube', whatever that means. "Where did you find these candles again?" You tell her. She doesn't believe you. >* Hmm That's not a verb I recognise. >n Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >n Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. A horse statue is on display in the window. >ne Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >e Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >i You are carrying: a bell an antique rug a lump of friendly amber a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >put all in case bell: The trophy case is closed. antique rug: The trophy case is closed. lump of friendly amber: The trophy case is closed. pickaxe: The trophy case is closed. theoretical location of a hideout: The trophy case is closed. rusty lamp: The trophy case is closed. sanitized mirror: The trophy case is closed. knapsack: The trophy case is closed. compelling note: The trophy case is closed. >open case You open the trophy case. >put all in case bell: The bell doesn't seem to fit. antique rug: The antique rug doesn't seem to fit. lump of friendly amber: The lump of friendly amber fits perfectly. pickaxe: The pickaxe doesn't seem to fit. theoretical location of a hideout: The theoretical location of a hideout doesn't seem to fit. rusty lamp: The rusty lamp doesn't seem to fit. sanitized mirror: The sanitized mirror doesn't seem to fit. knapsack: The knapsack doesn't seem to fit. compelling note: The compelling note doesn't seem to fit. >* oh, I thought the rug was a treasure. Seems old! You seem to want to talk to someone, but I can't see whom. >w Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >s Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. An out-of-work clay triangle is here, lounging in front of a door to the east. >x ground You can't see any such thing. >x triangle A triangle, but made from sturdy clay. One of the creatures that began to appear here and there after the shift, albeit to fill a role London's had for centuries. This one looks bored. >talk to triangle "I WAS NOT MADE FOR DOOR-WATCHING," says the clay triangle. "I WILL FOLLOW YOU, IF YOU CAN LEAD ME TO WORK." >* Well, I already did the digging, not sure what else there is yet You seem to want to talk to someone, but I can't see whom. >l Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. An out-of-work clay triangle is here, lounging in front of a door to the east. >e The clay triangle stops you. "MR. PENSTOCK HAS INSTRUCTED ME TO PREVENT TRESPASSERS," he says. "AND FOR A LACK OF ADEQUATE WORK, I WILL CONTINUE TO DO SO." >* I see That's not a verb I recognise. >w Empty Alleyway If you remember correctly, the garbage bin you found your trophy case in is somewhere around here. Sigils that hurt to look at gleam on the walls, and the alley exits to the east. >x bin A nondescript garbage bin. >x sigils They say that huge, fiery entities exist - not north, but above your fragile world. They say the stars have their own language, and that it looks something like this. But this is just graffiti, a cheap imitation of the real thing. Either way, it's enough to set a part of your shirt on fire. You pat it out. >u You don't believe such a direction exists. >light lamp with sigils The lamp is not fueled. >* oh right That's not a verb I recognise. >open bin It isn't something you can open. >search bin You find nothing of interest. >x bin A nondescript garbage bin. >l Empty Alleyway If you remember correctly, the garbage bin you found your trophy case in is somewhere around here. Sigils that hurt to look at gleam on the walls, and the alley exits to the east. >out But you aren't in anything at the moment. >e Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. An out-of-work clay triangle is here, lounging in front of a door to the east. >s You can't go that way. >se You can't go that way. >sw You can't go that way. >triangle, follow me The out-of-work clay triangle begins to follow you. >n Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. The out-of-work clay triangle arrives from the south. >sw Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. A horse statue is on display in the window. The out-of-work clay triangle arrives from the northeast. >s Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. The out-of-work clay triangle arrives from the north. >s Dig Site A magnificent dig site, heading into the stone that encases a lot of the ruins. This one is almost abandoned, though. The way out of the Forgotten Quarter is to the north. In the distance, looking almost translucent in the mist, is a pavilion. The entrance to an ancient temple is visible to the south. A bored archaeologist lies on a crate, worn out. The clay triangle and the last archaeologist stare at one another for a moment. The archaeologist takes in the triangle's strong, capable angles. The triangle takes in the vast amount of work to be done. "IT'S PERFECT," says the triangle. "When can you start?" says the archaeologist, already taking out her wallet. >* OK, more digging I suppose You seem to want to talk to someone, but I can't see whom. >z Time passes. >n Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >n Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. A horse statue is on display in the window. >ne Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >s Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. >e Penstock's Wicket The land agency of Penstock, a heptagon realtor with better things to do than man his own shop. The air in here is still and dusty. A door to the west leads back out to the bazaar, and an elevator shaft is to the east. A brass key is tucked away past the counter here. A metal cage-elevator looms in the back of the shop, situated precariously at the top of a long shaft south. >x key A small key, made from a sharp red brass. M.S. is written on a tag attached to it. >take it Taken. >x elevator A rickety cage-elevator on a chain. It won't fall, but you can't be sure of that. >enter it Elevator Shaft (in the cage-elevator) You are in a rickety metal cage-elevator, with a lever attached to it. The elevator is still. An elevator shaft is visible to the south, and the land agency is back to the west. >x lever A plain lever, waiting to be pulled. >x shaft A long elevator shaft, the right shape and size for a cage-elevator to go through. Of course, the elevator is mostly a matter of convenience, as the force of gravity isn't nearly strong enough to keep you from going north. >* Umm, a little confusing! You seem to want to talk to someone, but I can't see whom. >s The elevator blocks your path. >pull lever You pull the lever. The elevator starts to move. The elevator rushes south, past what looks like a shelf carved into the side of the shaft. >x shelf A niche in the side of the elevator shaft. Something wooden is inside. The elevator rushes south. >undo Elevator Shaft [Previous turn undone.] >pull lever You pull the lever. Nothing happens. The elevator rushes south. >undo Elevator Shaft [Previous turn undone.] >push lever You pull the lever. Nothing happens. The elevator rushes south. >undo Elevator Shaft [Previous turn undone.] >take wood You can't see any such thing. >take niche You can't see any such thing. >x niche You can't see any such thing. >open shelf It isn't something you can open. The elevator rushes south. >undo Elevator Shaft [Previous turn undone.] >take shelf Taken. The elevator rushes south. >i You are carrying: a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note The elevator stops in a vast cavern, far south of the ground. >* Was that intended? That's not a verb I recognise. >x shelf A niche in the side of the elevator shaft. Something wooden is inside. >open shelf It isn't something you can open. >take wooden You can't see any such thing. >x something You can't see any such thing. >z Time passes. >l Sundered Sea (in the cage-elevator) You are in a rickety metal cage-elevator, with a lever attached to it. The room is a vast, yawning cavern, a secret warehouse south of the ground. Fiery glyphs set into the walls illuminate deep pools and pits of ivory foam around you, and the scent of ammonia is thick in the air. North is an elevator shaft leading out, and east is an altar. >save Ok. >x glyphs Letters in the impossible language of above, spitting small showers of sparks into the room below. You don't even try to read them. They weren't intended for you. >smell You smell nothing unexpected. >x pools A foamy white substance sits in pits and pools here. You might call it snow if you didn't know any better, but you do know better, so you call it lacre. Better not get too close. >* What makes the pools deep? That's not a verb I recognise. >* Without depth? That's not a verb I recognise. >e You would have to get out of the cage-elevator first. >exit You get out of the cage-elevator. Sundered Sea The room is a vast, yawning cavern, a secret warehouse south of the ground. Fiery glyphs set into the walls illuminate deep pools and pits of ivory foam around you, and the scent of ammonia is thick in the air. North is an elevator shaft leading out, and east is an altar. A metal cage-elevator is here, attached to a chain. >x chain A massive, heavy chain spanning the length of the elevator shaft. You can only assume it is for the cage-elevator, but that doen't explain why they made it so sturdy. >e At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. A large pail rests next to the altar. >i You are carrying: a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >l At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. A large pail rests next to the altar. >x altar A large stone altar, about your size. Some writing has been carved into it. >x pail An old metal pail. The bottom is crusted with a snowy residue. >read altar One part lacre, one part shape. Add shape to lacre, combine in pail. Wait. Enjoy. They say people come down here with black glass knives and cut themselves. They say the snow-foam likes that. You don't have a knife, but theoretically, any 'aspect of the self' will do. >* This is confusing? That's not a verb I recognise. >take pail Taken. >w Sundered Sea The room is a vast, yawning cavern, a secret warehouse south of the ground. Fiery glyphs set into the walls illuminate deep pools and pits of ivory foam around you, and the scent of ammonia is thick in the air. North is an elevator shaft leading out, and east is an altar. A metal cage-elevator is here, attached to a chain. >x lacre A foamy white substance sits in pits and pools here. You might call it snow if you didn't know any better, but you do know better, so you call it lacre. Better not get too close. >* Do I? That's not a verb I recognise. >put lacre in pail You shovel some lacre into the pail. >put me in pail You do not stick one of your points into the pail. You'd look ridiculous. Not to mention foolhardy. Lacre does strange and terrible things to shape-flesh. Better try something less crucial to your continued existence. >i You are carrying: a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >x me You make acute equilateral triangle, if you do say so yourself. >break me Violence isn't the answer to this one. >e At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. >s Stairwell A passageway running north-south through the rock. The scent of ammonia wafts in from the north, and to the south, the tunnel gets darker. >s Darkness It is pitch dark, and you can't see a thing. >n Stairwell A passageway running north-south through the rock. The scent of ammonia wafts in from the north, and to the south, the tunnel gets darker. >i You are carrying: a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >n At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. >w Sundered Sea The room is a vast, yawning cavern, a secret warehouse south of the ground. Fiery glyphs set into the walls illuminate deep pools and pits of ivory foam around you, and the scent of ammonia is thick in the air. North is an elevator shaft leading out, and east is an altar. A metal cage-elevator is here, attached to a chain. >put lacre in lamp (the lacre in the rusty lamp) The rusty lamp only holds liquids! >i You are carrying: a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >e At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. >i You are carrying: a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >x me You make acute equilateral triangle, if you do say so yourself. >put me in pail You do not stick one of your points into the pail. You'd look ridiculous. Not to mention foolhardy. Lacre does strange and terrible things to shape-flesh. Better try something less crucial to your continued existence. >* I mean I'm pretty much all points That's not a verb I recognise. >put shape into pail You can't see any such thing. >l At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. >i You are carrying: a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror the spare towel (being worn) a knapsack (open but empty) a compelling note >put towl into pail You can't see any such thing. >put towel into pail (first taking it off) You drop the spare towel into the pail. >x pail An old metal pail. In the pail are the spare towel and a pailful of lacre. >take towel Taken. >dig me What do you want to dig yourself with? >pickaxe That's not something that can be mined. >l At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. >i You are carrying: the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror a knapsack (open but empty) a compelling note >ring bell The bell makes a pleasant ringing sound. >w Sundered Sea The room is a vast, yawning cavern, a secret warehouse south of the ground. Fiery glyphs set into the walls illuminate deep pools and pits of ivory foam around you, and the scent of ammonia is thick in the air. North is an elevator shaft leading out, and east is an altar. A metal cage-elevator is here, attached to a chain. >i You are carrying: the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror a knapsack (open but empty) a compelling note >pull chain It is fixed in place. >climb chain Little is to be achieved by that. >* Maybe differetn response to CLIMB? That's not a verb I recognise. >enter elevator You get into the cage-elevator. >pull lever You pull the lever. The elevator starts to move. The elevator rushes north, to your great relief. >z Time passes. The elevator rushes north, past what looks like a shelf carved into the side of the shaft. >exit The shaft is just wide enough to fit the elevator. You can't get out. The elevator screeches to a halt at the top of the shaft. >s The elevator blocks your path. >exit You get out of the cage-elevator. Elevator Shaft You are at the top of an elevator shaft. It continues to the south, and the land agency is back to the west. A metal cage elevator sits in the north of a long shaft south. >i You are carrying: the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror a knapsack (open but empty) a compelling note >push lever with pickaxe You can't see any such thing. >e You can't go that way. >in You can't go that way. >e You can't go that way. >l Elevator Shaft You are at the top of an elevator shaft. It continues to the south, and the land agency is back to the west. A metal cage elevator sits in the north of a long shaft south. >s The elevator blocks your path. >n You can't go that way. >s The elevator blocks your path. >enter elevator You get into the cage-elevator. >tie towel to lever You would achieve nothing by this. >i You are carrying: the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror a knapsack (open but empty) a compelling note >* I want to pull the lever without being in the cage That's not a verb I recognise. >x mirror You resist the urge to check yourself out in the mirror. You've seen the prisoners in the Labyrinth of Tigers, and you've no intention of joining them. >w You would have to get out of the cage-elevator first. >exit You get out of the cage-elevator. Elevator Shaft You are at the top of an elevator shaft. It continues to the south, and the land agency is back to the west. A metal cage elevator sits in the north of a long shaft south. >n You can't go that way. >w Penstock's Wicket The land agency of Penstock, a heptagon realtor with better things to do than man his own shop. The air in here is still and dusty. A door to the west leads back out to the bazaar, and an elevator shaft is to the east. >n You can't go that way. >w Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. >n Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >n Moloch Street Moloch Street, where shapes who have traded away their mortal souls begin their journeys towards hell. North is the entrance to the Labyrinth of Tigers, and west is the university. South, the street becomes less menacing. An old house with a brass-plated door stands in the east, passing judgement on everyone it sees. >x house A grandiose old home, with a brass-plated door and boarded up windows. As far as you can tell, the only people that have been here in the last ten years have been squatters. >x door A door made from sturdy oak, and then liberally covered in brass plating. >knock on door That's not a verb I recognise. >e (first opening the brass-plated door) It seems to be locked. >unlock door with key You unlock the brass-plated door. >e (first opening the brass-plated door) A House On Moloch Street The house abandoned. Locked or not, anything of any real value has been long since ransacked. A door to the west leads outside. An unspeakably hideous painting is still here - there's not a looter in London that would be caught dead with that thing. >* save That's not a verb I recognise. >save Ok. >x painting The wild asymmetry in the devil's face is bad enough. Together with the threatening swarm of crows in the background and the way the painting manages to suggest that Her Most Circular Majesty is a whore, this is by far the worst painting you've ever seen. The employment of lead-based paints means it's not even good kindling. No, the only way this painting might ever be useful would be as some sort of theft deterrent, placed in front of your chiefest treasures to ensure no one ever comes near them. >take it You notice something stashed away behind the painting. >i You are carrying: an unspeakably hideous painting the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a captain's cap (being worn) a sanitized mirror a knapsack (open but empty) a compelling note >x something You can't see any such thing. >l A House On Moloch Street The house abandoned. Locked or not, anything of any real value has been long since ransacked. A door to the west leads outside. A gold brick is here. >x brick A brick made from solid gold. Valuable, as gold bricks usually are. >take it Taken. >w Moloch Street Moloch Street, where shapes who have traded away their mortal souls begin their journeys towards hell. North is the entrance to the Labyrinth of Tigers, and west is the university. South, the street becomes less menacing. An old house with a brass-plated door stands in the east, passing judgement on everyone it sees. >s Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >e Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >put brick in case The solid gold brick fits perfectly. >w Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >n Moloch Street Moloch Street, where shapes who have traded away their mortal souls begin their journeys towards hell. North is the entrance to the Labyrinth of Tigers, and west is the university. South, the street becomes less menacing. An old house with a brass-plated door stands in the east, passing judgement on everyone it sees. >e A House On Moloch Street The house abandoned. Locked or not, anything of any real value has been long since ransacked. A door to the west leads outside. >e You can't go that way. >n You can't go that way. >w Moloch Street Moloch Street, where shapes who have traded away their mortal souls begin their journeys towards hell. North is the entrance to the Labyrinth of Tigers, and west is the university. South, the street becomes less menacing. An old house with a brass-plated door stands in the east, passing judgement on everyone it sees. >n The Labyrinth of Tigers Previously, one saw tigers at the zoo. Now, the tigers run the zoo. Some of the more mundane exhibits are to the west. The geometrical cells are east, and north is the Labyrinth's gift shop. South is the exit to Moloch Street. A tiger in a janitor's uniform can be seen scrubbing the walls. >x tiger A large, magnificent tiger, quietly mopping what looks like a bloodstain. >talk to tiget You can't see any such thing. >talk to tiger "Hey," the tiger says. "I'm a little busy right now. After I clean this, I need to go feed the penguins - and on top of that, the Cervine Shuffler in the next exhibit over won't take his pills." >ask tiger about zoo You don't know what you're talking about. >ask tiger about maze You don't know what you're talking about. >ask tiger about himself The tiger shrugs. It doesn't know what that is. >ask tiger about third dimension "Listen," he says. "I just work here. But I think that fellow in the geometrical knows something about other dimensions." >ask tiger about third cervine shuffler You don't know what you're talking about. >ask tiger about cervine shuffler The tiger sighs. "I don't know what's wrong with him," he says. "I put his pills in his tray, but he won't take them. How am I supposed to take care of these animals if they won't even take their pills?" >ask tiger about pis You don't know what you're talking about. >ask tiger about pills "They're supposed to get it to throw up," the tiger explains. "Just in case he ate something he wasn't supposed to. Or someone." The tiger shrugs. "To be fair, I wouldn't take them either if I were him. He only eats meat and meat-adjacent foods." >ask tiger about exhibits You don't know what you're talking about. >n Gift Shop Tigers hate cheap trinkets, and visitors to the labyrinth are too enthralled with the wonders of the natural world to pay a gift shop any mind. Nevertheless, the gift shop remains, gathering dust. South is the way out. A small food cart selling rubbery lumps has been set up near the back of the shop. Today, they are distributing free samples. >x card You can't see any such thing. >x cart LUMPS! The sign reads. RUBBERY! ENIGMATIC! FREE OF CHARGE! You suppose those are decent qualities for lumps to have. >* Good gag That's not a verb I recognise. >take lump As you take the lumps, something catches on one of your sides, and before you know it, the cart has completely collapsed. Oil pools at the base of the cart. >x it The cart has been almost completely destroyed. You suppose that should count as a public service. >put oil in lamp You pour the pint of fry oil into the rusty lamp. >l Gift Shop Tigers hate cheap trinkets, and visitors to the labyrinth are too enthralled with the wonders of the natural world to pay a gift shop any mind. Nevertheless, the gift shop remains, gathering dust. South is the way out. A pile of rubble is all that remains of a food cart. >take lump You already have those. >i You are carrying: some rubbery lumps an unspeakably hideous painting the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a pint of fry oil a captain's cap (being worn) a sanitized mirror a knapsack (open but empty) a compelling note >x lump Hot, greasy, fried food. As usual, you aren't quite sure what it is that's been fried, only that it came from something living. >l Gift Shop Tigers hate cheap trinkets, and visitors to the labyrinth are too enthralled with the wonders of the natural world to pay a gift shop any mind. Nevertheless, the gift shop remains, gathering dust. South is the way out. A pile of rubble is all that remains of a food cart. >s The Labyrinth of Tigers Previously, one saw tigers at the zoo. Now, the tigers run the zoo. Some of the more mundane exhibits are to the west. The geometrical cells are east, and north is the Labyrinth's gift shop. South is the exit to Moloch Street. A tiger in a janitor's uniform can be seen scrubbing the walls. >e Geometrical Cells Animals aren't the only thing kept in the Labyrinth of Tigers. You are in a wide room, the walls lined with various cells behind curtains. A sign reminds visitors not to bring mirrors into the exhibit. West is the exit. A plain green curtain covers a cage. >x curtain A plain green curtain. It's what's under it that's interesting. >save Ok. >x sign NO MIRRORS BEYOND THIS POINT, the sign reads. FOR YOUR OWN SAFETY AND FOR THE EFFICACY OF OUR PRISON, KEEP MIRRORS AND REFLECTIVE SURFACES AWAY FROM THE EXHIBITS, NO MATTER HOW THEY MIGHT PROTEST. >open curtain You open the curtain. A scruffy-looking square is behind it. >x square The square looks like it hasn't slept in a week. That doesn't stop it from making polite eye contact with you. It apparently hasn't forgotten its manners. >talk to square The square greets you politely. "Good day, Captain," it begins. "Don't suppose you'd mind giving us that mirror you've got there?" When you fail to give it the mirror, it sighs heavily. "You shapes are all the same." >ask square about mirror (the sanitized mirror) With a single word, you have the scruffy-looking square's full attention. "Listen," it says. "We realize you don't exactly trust us, but we want nothing more than to help you out." It pauses for dramatic effect, but continues before you can interrupt. "If you give us the mirror, we can upgrade it, so to speak. Wouldn't you like a portal to the land-behind-mirrors in your pockets?" It looks at you patiently. "You don't have to decide right now, just... think it over, will you? >ask square about us "You would ask about our nature?" The square hums. "I suppose you'd like a simple answer. We are the fingerkings, unwelcome in reality, forced to wear the skins of lesser shapes. We are not this square any more than you are your hat. We are the serpents that fester in dreams, and we will never go hungry." >give mirror to square The square thanks you, snatching the mirror. "Sanitized," it remarks coolly. "Disgusting, but we can work with that." The scruffy-looking square shoves itself into the mirror with a sickening crack and is gone. Your mirror falls to the south side of the cage, but something is different about it. >take mirror Taken. >x it A small mirror with green-tinted glass. When you touch the surface, it ever so slightly gives way. You could enter it, if you wanted to. >i You are carrying: a green-glass mirror some rubbery lumps an unspeakably hideous painting the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) a compelling note >* That seems fine That's not a verb I recognise. >w The Labyrinth of Tigers Previously, one saw tigers at the zoo. Now, the tigers run the zoo. Some of the more mundane exhibits are to the west. The geometrical cells are east, and north is the Labyrinth's gift shop. South is the exit to Moloch Street. A tiger in a janitor's uniform can be seen scrubbing the walls. >w Cervine Shuffler Out of the many animal exhibits here, this one seems the least likely to maim you. A tiger mopping the floors outside reassures you that that 'doesn't usually' happen. But why take chances? A large beast that only vaguely resembles a deer is here, shuffling morosely around its cage. Every so often, it makes a sickening rattle that could charitably be described as a cough. A scattering of pills is in the Shuffler's feeding trough, untouched. >save Ok. >x deer A huge, hairy creature with antlers and razor-sharp teeth. Its coughing sounds like the wheeze of a dying man. >x pills Large, slightly greasy pills. They might just cure the Shuffler of whatever ails it. That is, if it actually wanted to eat them. >take them Taken. >give pills to shuffler The Shuffler resists your attempts to feed it the pills. Dying or not, it doesn't seem to like the taste. >put pills in lumps You stuff the pills into the lumpy mass. Hopefully this will do something towards disguising their taste. >give lumps to deer The Shuffler sniffs the lumps cautiously. Then it opens its mouth and swallows them, not even bothering to chew. >z Time passes. Suddenly, the Cervine Shuffler begins to cough loudly. It gags and wheezes, straining to push something out from its throat. >z Time passes. After what feels like an eternity of hacking and sputtering, the Cervine Shuffler spits a smooth grey stone onto the floor. >x stone A smooth, grey stone. Valuable, and only occasionally hairy. >take it Taken. >* ick That's not a verb I recognise. >e The Labyrinth of Tigers Previously, one saw tigers at the zoo. Now, the tigers run the zoo. Some of the more mundane exhibits are to the west. The geometrical cells are east, and north is the Labyrinth's gift shop. South is the exit to Moloch Street. A tiger in a janitor's uniform can be seen scrubbing the walls. >i You are carrying: a bezoar a green-glass mirror an unspeakably hideous painting the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) a compelling note >* I feel like I'm more gathering treasures than finding the lair... That's not a verb I recognise. >s Moloch Street Moloch Street, where shapes who have traded away their mortal souls begin their journeys towards hell. North is the entrance to the Labyrinth of Tigers, and west is the university. South, the street becomes less menacing. An old house with a brass-plated door stands in the east, passing judgement on everyone it sees. >s Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >e Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >put bezoar in case The bezoar fits perfectly. >i You are carrying: a green-glass mirror an unspeakably hideous painting the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) a compelling note >x case An old trophy case, with thirteen slots of specific sizes and shapes. Three of the case's slots have been filled. In the trophy case are a bezoar, a solid gold brick and a lump of friendly amber. >put mirror in case The green-glass mirror doesn't seem to fit. >w Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >s Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. >w Empty Alleyway If you remember correctly, the garbage bin you found your trophy case in is somewhere around here. Sigils that hurt to look at gleam on the walls, and the alley exits to the east. >light lamp with sigils You light the rusty lamp. >e Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. >e Penstock's Wicket The land agency of Penstock, a heptagon realtor with better things to do than man his own shop. The air in here is still and dusty. A door to the west leads back out to the bazaar, and an elevator shaft is to the east. >s You can't go that way. >e Elevator Shaft (in the cage-elevator) You are in a rickety metal cage-elevator, with a lever attached to it. The elevator is going north. An elevator shaft is visible to the south, and the land agency is back to the west. >s The elevator blocks your path. >push lever You pull the lever. The elevator starts to move. The elevator rushes south, past what looks like a shelf carved into the side of the shaft. >z Time passes. The elevator rushes south. >z Time passes. The elevator stops in a vast cavern, far south of the ground. >s You would have to get out of the cage-elevator first. >exit You get out of the cage-elevator. Sundered Sea The room is a vast, yawning cavern, a secret warehouse south of the ground. Fiery glyphs set into the walls illuminate deep pools and pits of ivory foam around you, and the scent of ammonia is thick in the air. North is an elevator shaft leading out, and east is an altar. A metal cage-elevator is here, attached to a chain. >e At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. >s Stairwell A passageway running north-south through the rock. The scent of ammonia wafts in from the north, and to the south, the tunnel gets darker. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >x archway You can't see any such thing. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >* ugh That's not a verb I recognise. >save Ok. >i You are carrying: a green-glass mirror an unspeakably hideous painting the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) a compelling note >drop note Dropped. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >l Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >i You are carrying: a green-glass mirror an unspeakably hideous painting the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >drop mirror Dropped. >l Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >e Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >n Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >nw Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >ne Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >se Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >sw Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >take all green-glass mirror: Taken. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >drop mirror Dropped. >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >ii That's not a verb I recognise. >i You are carrying: an unspeakably hideous painting the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >drop painting Dropped. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >i You are carrying: the spare towel a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >drop towel Dropped. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >n Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see the spare towel here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >e Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see the spare towel here. >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >i You are carrying: a pail a pailful of lacre a shelf a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >drop shelf Dropped. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >i You are carrying: a pail a pailful of lacre a brass key a bell an antique rug a pickaxe the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >drop pickaxe Dropped. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see the spare towel here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >ne Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >e Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see the spare towel here. >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see the spare towel here. >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a shelf here. >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >se Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >sw Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see the spare towel here. >undo Winding Tunnels [Previous turn undone.] >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a pickaxe here. >undo Winding Tunnels [Previous turn undone.] >l Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a shelf here. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a pickaxe here. >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a shelf here. >undo Winding Tunnels [Previous turn undone.] >se Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >i You are carrying: a pail a pailful of lacre a brass key a bell an antique rug the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >drop key Dropped. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >nw Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a pickaxe here. >undo Winding Tunnels [Previous turn undone.] >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. > I beg your pardon? >i You are carrying: a pail a pailful of lacre a bell an antique rug the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >drop pail Dropped. > I beg your pardon? >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >e Tunnel's End The maze of tunnels in the west ends here, at a fancy door to the east. You can sense a presence behind the door, thrumming with power. You're close. >open door You open the fancy door. >e Euclid's Den A small room with rough cave walls, but an inhabited one. Cave paintings near the wall serve as decorations, and empty wine bottles are scattered all over the room. West is the exit. An old wooden desk is here, next to a chair. >x paintings The paintings are crude, but it's clear someone spent a lot of time on them. What they're of is anyone's guess - lines intersect each other at seemingly random intervals, shapes overlap one another and fold inwards. >x bottles Empty bottles of the cheapest alcohol you've ever seen. There must be hundreds of them. >take bottles That's hardly portable. >drink alcohol You can't see any such thing. >x desk A plain wooden writing desk that contains a set of drawers. >x chair An old chair with a curved back. It is made of wood, but surprisingly light. >take chair Taken. >x drawers A set of drawers built into the desk. They are closed. >open drawers You open the drawers, revealing a handwritten book. >x book A book the size of an encyclopedia, waiting to be read. ????????? is written on the cover in faded ink. >read it The book contains many detailed mathematical illustrations. Every page is filled to the brim with small, neat handwriting. Half of it is written in ancient greek, and the rest is in mongolian. Shame. It probably would have been fascinating. You find a small bookmark, tucked away between the pages. >x bookmark A thin bookmark with detailed geometrical patterns. The solid gold inlay makes it quite valuable. >take all handwritten book: As if on cue, a line- no, a square- appears out of nowhere behind you. >l Euclid's Den A small room with rough cave walls, but an inhabited one. Cave paintings near the wall serve as decorations, and empty wine bottles are scattered all over the room. West is the exit. An entity stands in the room, giving you a headache. An old wooden desk is here. >x entity He is an infinitely thin straight line - no, some kind of rectangle. Or is he a square? He keeps changing. Whatever he is, he is dressed in a simple robe, and has the look of someone from another time. As a square, he smiles sadly at you. >talk to entity "It hurts, being like this." The entity blinks at you, as though he's just realizing you're here. "But I'm being rude. You're here for the book, right?" >ask entity about euclid "I was just a geometer, once. I'd like to be that again - just a geometer. But instead, I get to be the square that moves in three dimensions. More importantly, I get constant headaches, because my flat brain can't handle the sheer... weight of it all. >ask entity about entity "I was just a geometer, once. I'd like to be that again - just a geometer. But instead, I get to be the square that moves in three dimensions. More importantly, I get constant headaches, because my flat brain can't handle the sheer... weight of it all. >ask entity about third dimension "Yes, the third dimension is real. Not that anyone wants to listen. They're all so scared that there could be something out there they don't understand, so they try to suppress it. The bats are in on it too, trying to keep people in the dark." He perks up. "But my book can change all that! Spread the truths of the third dimension to the common man." >ask entity about baats You don't know what you're talking about. >ask entity about bats "I heard they bought cities. Pages and the rest. I asked them for help with my research, and we made a deal. Of course, they only found out I wasn't the owner of Athens after." He shivers. "I still don't know if what they did was my payment, or my punishment for lying to them, but I can't say they didn't give me what I asked for." >ask entity about pages "I remember him." Euclid glares. "Listen, Captain, I don't care what he offers you - you can't let him have my book. He helped take down London, and he's not even fully three dimensional. If he had a guide to the third dimension, who knows what else he'd be able to do." >ask entity about london "I like this city. The mongolian city - the one before you guys - was alright, don't get me wrong, but they really had it out for me. Don't think they agreed with just how... irregular I am. Still, what happened to them was-" Euclid shudders. "I'll miss your city, when it's your turn to be replaced." Euclid clears his throat. "I want my book to go public, so people will know the truth, but at the same time, I'm not sure if we even should be meddling with the third dimension. Maybe it's better to keep people in the dark." He gives you a serious look. "I want to let you have my book, Captain. Give it to a library, sell it - hell, you could even burn the damn thing, it's in your hands now. I know you'll do the right thing with it, in the end." >* take down? That's not a verb I recognise. >ask entity about book "This was supposed to be my life's work," he says softly. "I wanted to prove that the third dimension was real so very badly. Back when I was Euclid the geometer, instead of being... like this." As he says this, he vanishes, only to reappear moments later. "I'm sorry, Captain. It's so hard to keep myself flat. My body just wants to drift up into space, I suppose. Add that to my list of regrets." >ask entity about regrets "This book was supposed to be a log of my travels. The places I saw, the things I learned. I wanted to enlighten people, wake them up to the glories of the third dimension. And even now, I still do. But I don't know if it was worth it, and I certainly don't want anyone trying to follow in my footsteps." >ask entity about footsteps "I don't know how it happened, exactly. The bats showed me a letter, or maybe it was a word, but something was wrong with it - it was too strong, or it wasn't made right or something. It made me pass out, and when I woke up, I could see so much more." Euclid sighs. "I can't stop seeing it, though. Even when I try, the third dimension is always right there, giving me one hell of a headache. I'd get rid of it, if I could." >ask entity about travels "I spent hundreds of years travelling the third dimension," Euclid says. "Even if I couldn't really get it, I figured I'd have a look. Thought I might find another civilization, resources, something. I found two things - You people, in that cavern the bats like to send people to, and nothing. Absolutely nothing. We're all alone in the universe." He shivers. "It was all for nothing." >ask entity about letter "It looked like a letter, but it was more like a brand. Some burning thing, more or less seared itself into my consciousness. I tried to recreate it once, but I ended up throwing out the cast because I couldn't get anything better than scrap metal. Something that important needs expensive, sentimental objects I just couldn't quite find." >ask entity about sigils The entity just stares at you. One of his lines fades in and out of reality. >take all There are none at all available! >w Tunnel's End The maze of tunnels in the west ends here, at a fancy door to the east. You can sense a presence behind the door, thrumming with power. You're close. >e Euclid's Den A small room with rough cave walls, but an inhabited one. Cave paintings near the wall serve as decorations, and empty wine bottles are scattered all over the room. West is the exit. An entity stands in the room, giving you a headache. An old wooden desk is here. >w Tunnel's End The maze of tunnels in the west ends here, at a fancy door to the east. You can sense a presence behind the door, thrumming with power. You're close. >save Ok. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a pail (in which is a pailful of lacre) here. >take all pail: Taken. pailful of lacre: There's no way you're going to touch that stuff. Not with your bare hands, anyway. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >nw Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >e Tunnel's End The maze of tunnels in the west ends here, at a fancy door to the east. You can sense a presence behind the door, thrumming with power. You're close. >undo Winding Tunnels [Previous turn undone.] >se Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >sw Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >undo Winding Tunnels [Previous turn undone.] >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see an unspeakably hideous painting here. >take all unspeakably hideous painting: Taken. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a compelling note here. >take all compelling note: Taken. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a green-glass mirror (empty) here. >take all green-glass mirror: Taken. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >se Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see the spare towel here. >take all spare towel: Taken. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >nw Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a shelf here. >take all shelf: Taken. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a pickaxe here. >take all pickaxe: Taken. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >se Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. You can see a brass key here. >take all brass key: Taken. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >se Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >sw Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >nw Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >n Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >undo Winding Tunnels [Previous turn undone.] >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >n Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >i You are carrying: a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note an unspeakably hideous painting a pail a pailful of lacre a handwritten book a bookmark a chair a bell an antique rug the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >* OK don't think I lost anything That's not a verb I recognise. >save Ok. >n Stairwell A passageway running north-south through the rock. The scent of ammonia wafts in from the north, and to the south, the tunnel gets darker. >n At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. >i You are carrying: a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note an unspeakably hideous painting a pail a pailful of lacre a handwritten book a bookmark a chair a bell an antique rug the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a captain's cap (being worn) a knapsack (open but empty) >put painting in pail You drop the unspeakably hideous painting into the pail. >take painting Taken. >put cap in pail (first taking it off) You drop the captain's cap into the pail. The liquid in the pail fizzes, sparks, and dissipates, turning a dull red. >put pail on altar Putting things on the altar would achieve nothing. The surface of the snow-foam warps and bubbles. The pail disintegrates and a snow-triangle, much smaller than you but with the same proportions, crawls out from its remains. >x snow-triangle An exquisite rendition of a shape, made from dense white foam. It makes acute equilateral triangle, if you do say so yourself. You see your snow-triangle start to unravel. A dusting of ivory powder falls from one of its sides. >x powder You can't see any such thing. >take triangle I don't suppose the snow-triangle would care for that. Your snow-triangle watches as one of its sides caves in. Snow-foam pools around it, viscous and thick. >* ick That's not a verb I recognise. >z Time passes. The snow-triangle stumbles towards you. It tries to cling to you, but its lines collapse. >z Time passes. The snow-triangle looks at you with what's left of its eye. Something shines there, bitter and sharp. "Goodbye," it says, and melts completely. >z Time passes. >l At The Altar Here in a broad cavern, across a sea of foamy pits, is a stone altar. West is a cage-elevator, situated on a flat stone clearing. A stairwell south leads even further into the bowels of the earth. A puddle is here, fizzing ever so slightly. A shard glints out from the middle of it. >x puddle All that remains of your snow-triangle. Your lost hat is nowhere to be seen. You can see a shard poking out from inside it. >x shard A glistening ivory shard. It is as cold and hard as ice, but it won't melt. You know it won't. It is valuable, whatever else it might be. >take it Taken. >save Ok. >w Sundered Sea The room is a vast, yawning cavern, a secret warehouse south of the ground. Fiery glyphs set into the walls illuminate deep pools and pits of ivory foam around you, and the scent of ammonia is thick in the air. North is an elevator shaft leading out, and east is an altar. A metal cage-elevator is here, attached to a chain. >i You are carrying: a snow shard an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a bookmark a chair a bell an antique rug the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >n Elevator Shaft You are in an elevator shaft. A great chain is here, spanning north to south. >x chain You can't see any such thing. >n Elevator Shaft You are in an elevator shaft. A great chain is here, spanning north to south. A discrete casket is here, nestled into a shelf carved into the rock. >x casket A plain casket, made from cheap wood. On its hinged lid, the phrase "SOOTHE & COOPER" is stencilled. >take it The casket is far too heavy for that. >open casket You open the discrete casket, revealing a heartmetal disc. >x disc A milky lump of silvery metal, about the size of a heart and quite smooth. You've never seen anything like this before, but there's no doubt it's valuable. >take it Taken. >save Ok. >* Not sure why this worked now? That's not a verb I recognise. >n Elevator Shaft You are at the top of an elevator shaft. It continues to the south, and the land agency is back to the west. >w Penstock's Wicket The land agency of Penstock, a heptagon realtor with better things to do than man his own shop. The air in here is still and dusty. A door to the west leads back out to the bazaar, and an elevator shaft is to the east. >w Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. >n Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >save Ok. >e Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >put all in case heartmetal disc: The heartmetal disc fits perfectly. snow shard: The snow shard fits perfectly. unspeakably hideous painting: The unspeakably hideous painting doesn't seem to fit. brass key: The brass key doesn't seem to fit. pickaxe: The pickaxe doesn't seem to fit. shelf: The shelf doesn't seem to fit. spare towel: The spare towel doesn't seem to fit. green-glass mirror: The green-glass mirror doesn't seem to fit. compelling note: The compelling note doesn't seem to fit. handwritten book: The handwritten book doesn't seem to fit. bookmark: The bookmark fits perfectly. chair: The chair doesn't seem to fit. bell: The bell doesn't seem to fit. antique rug: The antique rug doesn't seem to fit. theoretical location of a hideout: The theoretical location of a hideout doesn't seem to fit. rusty lamp: The rusty lamp doesn't seem to fit. knapsack: The knapsack doesn't seem to fit. >x case An old trophy case, with thirteen slots of specific sizes and shapes. Six of the case's slots have been filled. In the trophy case are a bookmark, a snow shard, a heartmetal disc, a bezoar, a solid gold brick and a lump of friendly amber. >* I mean I think I could be done? That's not a verb I recognise. >save Ok. >burn book What do you want to burn the handwritten book with? >lamp Maybe the public is better off in two dimensions. Maybe you just want to deny Pages his prize. Either way, ancient paper makes excellent kindling, and the book goes up in flames. With the book destroyed, the city is the same as it ever was. No ancient entity stumbles in, espousing the glories of the third dimension, and the lives of London's citizens are not uprooted in the slightest. Perhaps it's for the best. Change can be hard, and new dimensions can be dangerous. End your journey here? (You will be able to reverse this decision.) >yes Without the money promised to you, you quickly find yourself back at work. You return to your ship, and to the familiar waves of the unterzee. Eccentric scientists and dangerous cargo hire you to ferry them from port to port, and pretty soon, it's like nothing ever happened. Sometimes your crew sees you asking odd questions - "Why do they call it the unterzee? What is 'under'?" - but they quickly get you back on track. Every so often, you hear stories about a strange shape cropping up around London. If it's Euclid, though, he certainly isn't there for you, because you never see him again. The third dimension doesn't exist. Maybe it never has. [PRESS ANY KEY TO CONTINUE] *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Your Lodgings [Previous turn undone.] >l Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >i You are carrying: an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair a bell an antique rug the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >n You can't go that way. >w Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >s Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. >w Empty Alleyway If you remember correctly, the garbage bin you found your trophy case in is somewhere around here. Sigils that hurt to look at gleam on the walls, and the alley exits to the east. >e Bazaar Side-Streets The industrial bustle of London peaks here, not at the center of town but in the Bazaar that effectively owns the city. Something alien is here, thrumming at the edge of your consciousness and living inside the ground. A more ordinary street is to the north, and an alleyway is to the west. East is the door to a land agency. >n Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >sw Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. A horse statue is on display in the window. >s Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >i You are carrying: an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair a bell an antique rug the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >n Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. A horse statue is on display in the window. >e Antique Shop The place has a rather homey atmosphere. Ancient objects of all shapes and sizes are for sale along the walls, though most of them just look like junk. Outside, the desolate lane awaits. In the east wall of the shop is the door to a back room. Running the shop is a weary antiquarian. A silver statue of a horse is on display. >give rub to antiquarian You can't see any such thing. >oops rug The antiquarian takes the rug with poorly contained excitement. "A genuine fourth city rug? And look at that detail. Where did you even find a thing like this? Wait, on second thought, don't tell me. I could care less if it's stolen, it's mine now." There is a pause. "Oh right, you probably want something in return. Take the horse statue. Leave me to my prize." >* Ah, there we are You seem to want to talk to someone, but I can't see whom. >take horse The antiquarian nods as you take it. >w Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. >save Ok. >e Antique Shop The place has a rather homey atmosphere. Ancient objects of all shapes and sizes are for sale along the walls, though most of them just look like junk. Outside, the desolate lane awaits. In the east wall of the shop is the door to a back room. A beautiful old rug is spread out across the floor of the shop. There is no price tag. Running the shop is a weary antiquarian. >e The Lair Of Mr. Pages Instead of the back room of an antique shop, you appear to have stumbled onto some kind of chair warehouse. A chairhouse, if you will. Antique furniture has been placed in neat piles around the room. The antique shop proper is west. Mr. Pages himself, conspicuously without his usual flock of guards and assistants, lounges in an old Queen Anne seat. This must be important. >give book to pages Mr. Pages snatches the book from you, squirrelling it away in the folds of his robes. "You'll get your reward in due time," he hisses. "All in due time." He doesn't seem like he's planning on destroying it any time soon. Perhaps he really is the book collector his name makes him out to be. With the book firmly in the claws of Mr. Pages, your job is done. Your reward should arrive in 5-7 business days, and after that? Well, you don't know. Perhaps Pages will simply add the book to his collection, and it will never again see the light of day. Perhaps he's got bigger plans in store. Or perhaps the book didn't contain anything he didn't already know. This hardly matters to you, though. You're about to be a very rich Captain. End your journey here? (You will be able to reverse this decision.) >yes Any doubts over whether you did the right thing are very quickly assuaged when the money from Mr. Pages arrives on your doorstep, crate by heavy crate. It's a drop in the bucket for something like him, but for you it's enough to live not only comfortably, but glamorously. And that's only the beginning of it. Soon, other high-profile individuals start to make requests of you, each one taking you ever higher, ever closer to the shadowy bats at the very top. You don't hear from Euclid again. If he's happy with what happened to his book, if he feels betrayed, you never do find out. Not that it's really his book any more. It belongs to Mr. Pages now, along with the valuable knowledge inside. You're useful to the bats, and that means Pages trusts you enough to show you a little of what he's learned. He can move like Euclid, when he wants to. They talk about new cities sometimes. About bringing them 'down' to wherever London is, crushing it and its citizens 'under' their metropolitan weight. But that's not for a long time. You take another swig from your glass of expensive champagne, and close your eye. [PRESS ANY KEY TO CONTINUE] *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo The Lair Of Mr. Pages [Previous turn undone.] >w Antique Shop The place has a rather homey atmosphere. Ancient objects of all shapes and sizes are for sale along the walls, though most of them just look like junk. Outside, the desolate lane awaits. In the east wall of the shop is the door to a back room. A beautiful old rug is spread out across the floor of the shop. There is no price tag. Running the shop is a weary antiquarian. >w Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. >w You can't go that way. >sw You can't go that way. >s Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >w In The Pavilion You stand in a grand pavilion. The other buildings on this street are weathered and broken, but here not a single thing is out of place. Outside and to the east is the way out of the Forgotten Quarter. Despite the fact that you've seen the pavilion from the outside, there is a tunnel leading south. >s Winding Hall A long, serpentine hallway. The floor is covered in a rather detailed mural. To the north, the passage returns to the pavilion. South, the hallway continues. >s Twisty Hall You are still in a hallway that runs north-south. Another mural is etched into the floor. >s The Hallway Ends The hallway north ends in an oak door to the south. Near the door, and all around you, is a mural. >s Ritual Room A huge chamber with an exit to the north. It smells faintly of smoke, and apart from an odd carving near the far wall, is completely empty. Something else about the room feels off, though you can't say what exactly. Eight candles have been placed at odd intervals around the room. The bones of a long-dead triangle rest against the far wall. >read book The book contains many detailed mathematical illustrations. Every page is filled to the brim with small, neat handwriting. Half of it is written in ancient greek, and the rest is in mongolian. That, at least, you can read. It hurts. In any triangle two angles taken together in any manner are less than two right angles. Take it back. In right angled triangles the square on the side subtending the right angle is equal to the squares on the sides containing the right angle. I'm sorry. >* That's a spooky bit! That's not a verb I recognise. >ring bell A sudden gust of wind causes the candles to go out. The bell makes a pleasant ringing sound. >light candles What do you want to light the candles with? >lamp The candle's flames roar to life as you light them. Each one is a bright point of light, and for a moment, you can almost see the shape they form. >read book The book contains many detailed mathematical illustrations. Every page is filled to the brim with small, neat handwriting. Half of it is written in ancient greek, and the rest is in mongolian. That, at least, you can read. It hurts. In any triangle two angles taken together in any manner are less than two right angles. Take it back. In right angled triangles the square on the side subtending the right angle is equal to the squares on the sides containing the right angle. I'm sorry. >ring bell The bell makes a loud, hollow sound that makes contact with your lines and stays there. Your vision blurs. >g A sudden gust of wind causes the candles to go out. The bell makes a pleasant ringing sound. >light candles What do you want to light the candles with? >lamp The candle's flames roar to life as you light them. Each one is a bright point of light, and for a moment, you can almost see the shape they form. >ring bell The bell makes a loud, hollow sound that makes contact with your lines and stays there. Your vision blurs. >read book The book contains many detailed mathematical illustrations. Every page is filled to the brim with small, neat handwriting. Half of it is written in ancient greek, and the rest is in mongolian. That, at least, you can read. It hurts. In any triangle two angles taken together in any manner are less than two right angles. Take it back. In right angled triangles the square on the side subtending the right angle is equal to the squares on the sides containing the right angle. I'm sorry. >* Hmm, feels like I'm missing a step You seem to want to talk to someone, but I can't see whom. >save Ok. >n As you leave, the candles blow out. The Hallway Ends The hallway north ends in an oak door to the south. Near the door, and all around you, is a mural. >n Twisty Hall You are still in a hallway that runs north-south. Another mural is etched into the floor. >n Winding Hall A long, serpentine hallway. The floor is covered in a rather detailed mural. To the north, the passage returns to the pavilion. South, the hallway continues. >n In The Pavilion You stand in a grand pavilion. The other buildings on this street are weathered and broken, but here not a single thing is out of place. Outside and to the east is the way out of the Forgotten Quarter. Despite the fact that you've seen the pavilion from the outside, there is a tunnel leading south. >e Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >n Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. >w You can't go that way. >ne Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >n Moloch Street Moloch Street, where shapes who have traded away their mortal souls begin their journeys towards hell. North is the entrance to the Labyrinth of Tigers, and west is the university. South, the street becomes less menacing. An old house with a brass-plated door stands in the east, passing judgement on everyone it sees. >w University Quad Squares and nobleshapes of all sides and sizes are out and about on the university lawn. Paths to the south and east both lead back into the city. North is the entrance to the only public library in the city, and what looks like an engineering building is situated to the west. >n Library Front Desk You are at the library's front desk, to which a sign has been taped. The exit is in the south wall. A forest of bookshelves is accessible to the north. A librarian sits at the front desk, ignoring you. >x librarian A fierce-looking square, reading a book at unfathomable speeds. >x sign FOOD IS NOT ALLOWED IN THE LIBRARY, the sign reads. BUT YOU MAY: ASK ABOUT DIRECTIONS CHECK OUT A BOOK STUDY QUIETLY IT IS RECOMMENDED THAT YOU COME TO THE LIBRARY WITH AN IDEA AS TO WHAT YOU SEEK, the sign adds, OR YOU MAY BE HERE A WHILE. >x bookshelves You can't see any such thing. >talk to librarian The librarian ignores you, pointing to the sign. >ask librarian about third dimension The librarian shrugs. "Check geometry. Five hundred and ten." >give book to librarian The librarian takes the book gently, like she's afraid she'll hurt it. She says nothing for a long time. Then, as though it were the most ordinary thing in the world, she assigns it a number, and dumps it in a basket for shelving. What happens next is up to the librarian now. You can't be sure that Pages won't get his hands on it, or the church, or Her Most Circular Majesty. But it's a step in the right direction for math and science - a step not north or south, but up. End your journey here? (You will be able to reverse this decision.) >yes Without the money promised to you, you quickly find yourself back at work. You return to your ship, and to the familiar waves of the unterzee. Eccentric scientists and dangerous cargo hire you to ferry them from port to port, and pretty soon, it's like nothing ever happened. Sometimes your crew sees you asking odd questions - "Why do they call it the unterzee? What is 'under'?" - but they quickly get you back on track. A few months after the book is placed in the library, a bored student checks it out. He takes it to his friend, who studies ancient languages, and realizes the value of what he has. The book spreads rapidly around campus - Translations are made, and study groups formed. Progress is slow, of course, and it's still more or less illegal to discuss the third dimension as if it were real, but the book continues to seep into the public consciousness. Perhaps one day, Euclid's legacy will be complete. [PRESS ANY KEY TO CONTINUE] *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > undo Library Front Desk [Previous turn undone.] >* Good ending I think! That's not a verb I recognise. >* Until we summon the three-dimensional extraplanar entities to eat our souls That's not a verb I recognise. >* Seriously have you met humans, they're awful You seem to want to talk to someone, but I can't see whom. >n In The Stacks A long path, walled in by shelves, goes from west to east, and the exit is to the south. All around you are bookshelves. >x bookshelves In the bookshelves are a copy of Understanding The Language Of Stars and a copy of On Gravity. >take gravity Taken. >take all copy of Understanding The Language Of Stars: Taken. >w In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >take all copy of Cults And Rituals: A History: Taken. copy of On The Politics of London: Taken. >read cults The book is rather dry, but perhaps you'll get something out of it. According to this book, a small cult in the fourth city once chose to break off from the doctrines laid out for them by the circle, instead worshipping "third-dimensional beings", in clear defiance of scientific fact. When gathering, these cults would often perform elaborate rituals in attempts to summon these entities, though none have of these have been proven to work. In the year 1796, such a cult attempted an elaborate ritual, but they were massacred by fourth city authorities, and their ritual site reduced to ash. As you read, a set of instructions falls out from between the pages. >* here we are That's not a verb I recognise. >x instructions The instructions to some kind of rite, in shaky writing. 1. The shape the sacred shape never more never less always eight the sacred shape LIGHT THEM. 2. Ring the bell to get the audience's attention 3. Repeat after me. On the back is an incantation, though much of the ink is smudged. >* Ah, here's our reading matter You seem to want to talk to someone, but I can't see whom. >l In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. You can see a set of ritual instructions here. >i You are carrying: a copy of On The Politics of London a copy of Cults And Rituals: A History a copy of Understanding The Language Of Stars a copy of On Gravity a horse statue an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair a bell the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >take all set of ritual instructions: Taken. >read stars Most of the book is scorched beyond recognition. The parts you can read claim that not only do celestial beings beyond comprehension exist, but that their language has the power to 'substantially alter' a person's biology. It goes on to claim that those aspects of their language can be reproduced by ordinary shapes, with sufficiently powerful materials and a knowledge of what to write. You shut the book, tired of hearing more unsubstantiated claims by the honey-addled and the delusional. And afraid for your clothing, which tends to catch fire when you think about that sort of thing too hard. >read gravity "By a Law of Nature with us, there is a constant attraction to the South; and, although in temperate climates this is very slight-yet the hampering effect of the southward attraction is quite sufficient to serve as a compass in most parts of our earth. Moreover, the rain (which falls at stated intervals) coming always from the North, is an additional assistance; and in the towns we have the guidance of the houses, which of course have their side-walls running for the most part North and South, so that the roofs may keep off the rain from the North." - Edwin A. Abbott. Most of this has remained true even after London's change, though the rain comes from somewhere else now. >i You are carrying: a set of ritual instructions a copy of On The Politics of London a copy of Cults And Rituals: A History a copy of Understanding The Language Of Stars a copy of On Gravity a horse statue an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair a bell the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >read politics This "book" is nothing more or less than a series of rants about London's mayoral elections, which the author claims are both rigged and pointless. London, the author argues, is controlled by the chiropteran beasts that abducted London in the first place, not by some democratically elected mascot. Not to mention, Her Most Circular Majesty ought to be in charge, even if she did sell the city to them in a kind of elaborate devil's paw scenario. You shut the book with disgust. Monarchists. >w In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >take all copy of The Encyclopedia of Shapes: Taken. copy of A Dream I Had Last Saturday: Taken. >read shapes "Soldiers and the lowest classes of workmen are isosceles triangles. The middle class consists of equilateral triangles. Professional men and gentlemen are squares and pentagons. Next above these come the nobility, of whom there are several degrees, beginning at hexagons, and from thence rising in the number of their sides till they receive the honourable title of polygonal, or many-sided. Finally when the number of the sides becomes so numerous, and the sides themselves so small, that the figure cannot be distinguished from a circle, he is included in the circular or priestly order; and this is the highest class of all." - Edwin A. Abbott You shut the encyclopedia. You knew all this already. >read dream A Dream I Had Last Saturday is nothing more than rambling nonsense. In it, the author describes a dream they had about a dimension of straight, one-dimensional lines. He was apparently invisible to them, and was unable to explain the existence of the second dimension. That's the only part of the book you can make out, anyway. Censorship seems to have hit it hard, and more than half of the book is torn out or covered up. Shame. >w West Wing A cozy-looking study nook is at the end of a long corridor of books to the east. >x nook You can't see any such thing. >x books You can't use multiple objects with that verb. >x bookshelves You can't see any such thing. >take all There are none at all available! >w You can't go that way. >e In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >e In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >e In The Stacks A long path, walled in by shelves, goes from west to east, and the exit is to the south. All around you are bookshelves. >e In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >take all chess handbook: Taken. copy of Fire And Its Medicinal Uses: Taken. >x chess You crack open your copy of The Devil Went South To London: How To Win At Chess Against Immortal Entities. Renowned correspondant and chessmaster Letitia P. Eaglethorpe claims to have beaten Death at chess, not once but several times. She claims that anyone can do the same, provided they follow these instructions, with the first taking precedence over the last. 1. The circle is a powerful opponent, but pointless. Use something sharp. 2. The ideas and constructs of civilization can always be brought low by the wild animal's grand designs. 3. A stops B and B stops C. All things shall return to me. 4. Infinity stopped with a shot from a gun. To hinder a catspaw, move into a- *the ink is smudged too badly to read* 5. If all else fails, go north, into the edge and the black. >* hmm That's not a verb I recognise. >x fire Fire has no medicinal uses. >* cauterization? That's not a verb I recognise. >e In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >take all maze map: Taken. copy of The Indecent Squid-Creature Servant: Taken. >x map So the geometer stood at the ready, pacing nervously around his study. Soon, he'd been promised, it would all be complete. Even if he'd contacted them first, he hadn't expected them to actually respond, and he couldn't be more anxious if he tried. Not Eating, barely sleeping, even, in case the chiropterans wanted to make the exchange at night. Whether or not they could even give him what he'd asked for was unclear as well. Such Entities as them were not to be taken lightly, if they really wanted his entire city in exchange - and that was another thing. What he'd promised them he didn't own, and if they discovered they'd been tricked, they might not uphold their end of the bargain. Euclid shuddered at the thought. You shut the book. That's not a map at all. Must have been an error at the printer's. >* ah, there we are -- nice that one can brute force it without too much difficulty You seem to want to talk to someone, but I can't see whom. >* But this is cleverer That's not a verb I recognise. >x squid You can't see any such thing. >x indecenet You can't see any such thing. >oops indecent ACT I, SCENE III PRINCESS: Here to clean my chambers? I certainly hope your tentacles will be up to the task. My chambers are quite large, you see. SQUID-CREATURE: Hrshbrglargh. PRINCESS: Oh my. Do you think you could polish... this? SQUID-CREATURE: Blathrgthlgle. PRINCESS (Blushing): Well. >* LOL That's not a verb I recognise. >e East Wing A clean looking study nook is at the end of a long corridor of books to the west. A missing library card is here, neglected and crumbled up. >x card This library card belonged to Allen Rutherford, a pentagon in his 20s. Now it belongs to you. >take it Taken. >i You are carrying: a library card a copy of The Indecent Squid-Creature Servant a maze map a copy of Fire And Its Medicinal Uses a chess handbook a copy of A Dream I Had Last Saturday a copy of The Encyclopedia of Shapes a set of ritual instructions a copy of On The Politics of London a copy of Cults And Rituals: A History a copy of Understanding The Language Of Stars a copy of On Gravity a horse statue an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair a bell the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >w In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >w In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >e In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >e East Wing A clean looking study nook is at the end of a long corridor of books to the west. >e You can't go that way. >take all There are none at all available! >w In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >w In The Stacks A long path, walled in by literature, goes from west to east. All around you are bookshelves, packed with books. >w In The Stacks A long path, walled in by shelves, goes from west to east, and the exit is to the south. All around you are bookshelves. >s Library Front Desk You are at the library's front desk, to which a sign has been taped. The exit is in the south wall. A forest of bookshelves is accessible to the north. A librarian sits at the front desk, ignoring you. >s University Quad Squares and nobleshapes of all sides and sizes are out and about on the university lawn. Paths to the south and east both lead back into the city. North is the entrance to the only public library in the city, and what looks like an engineering building is situated to the west. >w The Department Of Manufactured Light In London, as it is everywhere else, the whole world is evenly lit during the day with little regard to walls or veils. The rules seem to be different here, and the whole room is like night apart from a gaslight on the wall. West is a door leading to a hallway, and east is the way back to the quad. >x gaslight A bright, flickering thing. Mounted to the wall. >x door You can't see any such thing. >take gaslight That's hardly portable. >w University Hallway A long hallway extends from a door to the east, and continues west for a while. A wall-mounted torch illuminates the room. >x torch An actual torch, straight out of the dark ages. Firmly attached to the wall. >take it It is firmly attached to the wall. >w Unlit Hallway You are in the middle of a broad hallway from east to west. Some unlit glass tubes are here. >x tubes An ordinary glass tube. If you look closely, you can see a colorful gas inside. >ring tubes You can't ring that. >x gas You can't see any such thing. >hit tubes Violence isn't the answer to this one. >w University Hallway A long hallway continues through a patch of darkness in the east, and ends in a door to the west labelled "TESTING LAB". A dull light flows out from the muddled glass windows of the door. >x door A simple door with a glass window. >w (first opening the testing lab door) Testing Lab Lamps and lights of all different kinds are scattered around the room here. A few small fires can be seen, and the scent of gasoline is heavy in the air. The exit is a nondescript door to the east. Welcome to the Laboratory of Manufactured Light. A pentagon sits in the lab, looking distressed. >x fires You can't see any such thing. >smell You smell nothing unexpected. >x pentagon The pentagon - A.R. according to his name tag - probably shouldn't have all that oil-stained clothing so close to an open flame. But you won't tell. >talk to pentagon The pentagon turns to greet you. "It's hopeless," he says. "My academic career, completely down the drain." >ask pentagon about academic career "I've been working on something," the pentagon explains. "A comprehensive analysis of fire that's sure to get me published. Only thing is, I need a particular compendium from the library. And since I lost my library card, the librarian won't let me take any more books out." >ask petnagon about compendium You can't see any such thing. >oopsn pentagon That's not a verb I recognise. >oops pentagon That's not a verb I recognise. >ask pentagon about compendium "Fire And Its Medicinal Uses", the pentagon says fondly. "Oh, I can just see the title now." >give card to pentagon Allen thanks you profusely. "Finally, I can check out books again." He digs around in his pockets for a bit before pulling something out. "Here," he says. "I found this in the lab the other day. You can have it." He hands you a stone. >give fire to pentagon The pentagon takes the book from you. "My research is saved," he says. "This is truly a great day for science. Why don't you take this as payment?" He hands you some kind of experimental device. >x stone A smooth, jagged rock, about the size of a small pebble. A hole has been bored in its center. >x device A metal device resembling an open-ended safety pin. One of its points has a metal disc screwed onto it, and one of its points is empty - it's missing something. When you click the ends together, nothing happens. >put device on stone Putting things on the sharp stone would achieve nothing. >put device in stone That can't contain things. >i You are carrying: an experimental device a sharp stone a copy of The Indecent Squid-Creature Servant a maze map a chess handbook a copy of A Dream I Had Last Saturday a copy of The Encyclopedia of Shapes a set of ritual instructions a copy of On The Politics of London a copy of Cults And Rituals: A History a copy of Understanding The Language Of Stars a copy of On Gravity a horse statue an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair a bell the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >* Hmm That's not a verb I recognise. >ask pentagon about stone (the sharp stone) "Flint, I think. It must have fallen off one of my inventions. Whatever. It's yours now." >ask pentagon about device "What, that?" The pentagon shrugs. "Part of a new invention I'm working on. The power of fire, at the tip of your fingertips. Or I guess the power of sparks." >put flint on device You slide the flint into place on the flint-and-steel lighter. >click lighter That's not a verb I recognise. >x lighter This lighter resembles a pair of tongs, with flint on one side and steel on the other. When you click the ends together, it creates a spark. >click lighter That's not a verb I recognise. >use lighter 'Use' isn't specific enough. Why don't you try: Lighting Drinking Attaching Digging Pulling Playing Unlocking Reading Drying Remember, you can type HELP at any time to review a list of commands. >light lamp with lighter The rusty lamp is already lit. >* That's a helpful convenience re use That's not a verb I recognise. >save Ok. >e University Hallway A long hallway continues through a patch of darkness in the east, and ends in a door to the west labelled "TESTING LAB". A dull light flows out from the muddled glass windows of the door. >e Unlit Hallway You are in the middle of a broad hallway from east to west. Some unlit glass tubes are here. >e University Hallway A long hallway extends from a door to the east, and continues west for a while. A wall-mounted torch illuminates the room. >e The Department Of Manufactured Light In London, as it is everywhere else, the whole world is evenly lit during the day with little regard to walls or veils. The rules seem to be different here, and the whole room is like night apart from a gaslight on the wall. West is a door leading to a hallway, and east is the way back to the quad. >e University Quad Squares and nobleshapes of all sides and sizes are out and about on the university lawn. Paths to the south and east both lead back into the city. North is the entrance to the only public library in the city, and what looks like an engineering building is situated to the west. >s Near The River You've got an excellent view of the stolen river, which is accessible to the south. The shuttered palace looms in the west, the entrance to the university is north, and east is a series of broad streets. >x river The former Thames is still a fixture of London life, and it still regularly spits up muddy garbage. It's just that now it spits up dead people, too. They say it runs straight through hell. >* save That's not a verb I recognise. >* the river is accessible? That's not a verb I recognise. >save Ok. >s Stolen Shores What was once the river Thames cuts through the middle of the city, depositing the dead and detritus alike on its muddy banks. The river itself is immediately south. The street is north, and the beach stretches on for a while to the west. >undo Near The River [Previous turn undone.] >* Man seems like there's still a lot of map -- and I suppose a lot of treasures That's not a verb I recognise. >e Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >e Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >put all in case flint-and-steel lighter: The flint-and-steel lighter doesn't seem to fit. copy of The Indecent Squid-Creature Servant: The copy of The Indecent Squid-Creature Servant doesn't seem to fit. maze map: The maze map doesn't seem to fit. chess handbook: The chess handbook doesn't seem to fit. copy of A Dream I Had Last Saturday: The copy of A Dream I Had Last Saturday doesn't seem to fit. copy of The Encyclopedia of Shapes: The copy of The Encyclopedia of Shapes doesn't seem to fit. set of ritual instructions: The set of ritual instructions doesn't seem to fit. copy of On The Politics of London: The copy of On The Politics of London doesn't seem to fit. copy of Cults And Rituals: A History: The copy of Cults And Rituals: A History doesn't seem to fit. copy of Understanding The Language Of Stars: The copy of Understanding The Language Of Stars doesn't seem to fit. copy of On Gravity: The copy of On Gravity doesn't seem to fit. horse statue: The horse statue fits perfectly. unspeakably hideous painting: The unspeakably hideous painting doesn't seem to fit. brass key: The brass key doesn't seem to fit. pickaxe: The pickaxe doesn't seem to fit. shelf: The shelf doesn't seem to fit. spare towel: The spare towel doesn't seem to fit. green-glass mirror: The green-glass mirror doesn't seem to fit. compelling note: The compelling note doesn't seem to fit. handwritten book: The handwritten book doesn't seem to fit. chair: The chair doesn't seem to fit. bell: The bell doesn't seem to fit. theoretical location of a hideout: The theoretical location of a hideout doesn't seem to fit. rusty lamp: The rusty lamp doesn't seem to fit. knapsack: The knapsack doesn't seem to fit. >i You are carrying: a flint-and-steel lighter a copy of The Indecent Squid-Creature Servant a maze map a chess handbook a copy of A Dream I Had Last Saturday a copy of The Encyclopedia of Shapes a set of ritual instructions a copy of On The Politics of London a copy of Cults And Rituals: A History a copy of Understanding The Language Of Stars a copy of On Gravity an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair a bell the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >x case An old trophy case, with thirteen slots of specific sizes and shapes. Seven of the case's slots have been filled. In the trophy case are a horse statue, a bookmark, a snow shard, a heartmetal disc, a bezoar, a solid gold brick and a lump of friendly amber. >w Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >sw Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. >s Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west, you can see a pavilion that seems more or less untouched. South is an archeological dig site. >w In The Pavilion You stand in a grand pavilion. The other buildings on this street are weathered and broken, but here not a single thing is out of place. Outside and to the east is the way out of the Forgotten Quarter. Despite the fact that you've seen the pavilion from the outside, there is a tunnel leading south. >s Winding Hall A long, serpentine hallway. The floor is covered in a rather detailed mural. To the north, the passage returns to the pavilion. South, the hallway continues. >s Twisty Hall You are still in a hallway that runs north-south. Another mural is etched into the floor. >s The Hallway Ends The hallway north ends in an oak door to the south. Near the door, and all around you, is a mural. >s Ritual Room A huge chamber with an exit to the north. It smells faintly of smoke, and apart from an odd carving near the far wall, is completely empty. Something else about the room feels off, though you can't say what exactly. Eight candles have been placed at odd intervals around the room. The bones of a long-dead triangle rest against the far wall. >x instructions The instructions to some kind of rite, in shaky writing. 1. The shape the sacred shape never more never less always eight the sacred shape LIGHT THEM. 2. Ring the bell to get the audience's attention 3. Repeat after me. On the back is an incantation, though much of the ink is smudged. >light candles What do you want to light the candles with? >lighter The candle's flames roar to life as you light them. Each one is a bright point of light, and for a moment, you can almost see the shape they form. >ring bell The bell makes a loud, hollow sound that makes contact with your lines and stays there. Your vision blurs. >repeat incantation That's not a verb I recognise. >say incantation (to yourself) There is no reply. >read incantation "I address you, who live in the directions of up and down." You begin to read aloud in a voice that is not your own, and in a language you've never heard before. "I call upon a world I will never be able to see, in its grand infinities, that it may speak to me, and that for a moment, that I might begin to understand. There is a shape beyond a circle, and it is you, it is Euclid, the square that has been squared, spare me your fate and give me your lines." You raise your voice. "I open the door!" [PRESS ANY KEY TO CONTINUE] You feel the world shake around you, hear the distant cry of an unfamiliar animal, but nothing appears. The triangle, resting against the wall behind you, stands shakily. >undo Ritual Room [Previous turn undone.] >save Ok. >read incantation "I address you, who live in the directions of up and down." You begin to read aloud in a voice that is not your own, and in a language you've never heard before. "I call upon a world I will never be able to see, in its grand infinities, that it may speak to me, and that for a moment, that I might begin to understand. There is a shape beyond a circle, and it is you, it is Euclid, the square that has been squared, spare me your fate and give me your lines." You raise your voice. "I open the door!" [PRESS ANY KEY TO CONTINUE] You feel the world shake around you, hear the distant cry of an unfamiliar animal, but nothing appears. The triangle, resting against the wall behind you, stands shakily. >* little bit of guess the verbiness there That's not a verb I recognise. >x triangle Unlike the skeleton you remember seeing, this triangle is alive. Even if they are bleeding slightly. >talk to triangle "I always wondered if it would have worked," the occultist says. "We were so close to completing the ritual, before- well, before. And we tried so hard. Our cult, that is." They sigh. "But after seventy years of waiting, I guess this was what I was waiting for." The occultist hands you a wooden comb, carved to resemble a hawk. "Thanks for trying, I suppose. For tying up that last loose end." >ask triangle about cult "I wouldn't say we were a cult. More like a friend group with religious interests in common. It was me, Batu, Odgerel, and a couple of others. I'm the only one who was able to stick around." The occultist shivers. "It was us against the emperor's finest. We never stood a chance." You smell smoke, and feel the temperature start to rise. "Our time's almost up," the occultist says. "I don't have anything to keep me here, not any more." >ask triangle about third dimension "Imagine a line that can only see in one dimension," the occultist begins. "It wouldn't know we - us two dimensioners - exist, and it certainly wouldn't be able to understand us. That's why I'm so sure the third dimension exists. And why we wanted this ritual to go well. Oh man, what I wouldn't give to see the third dimension..." >ask triangle about ritual The occultist looks blank. "Never heard of it," they say. Must be a London thing. >ask triangle about euclid The occultist looks blank. "Never heard of it," they say. Must be a London thing. >ask triangle about candles The occultist looks blank. "Never heard of it," they say. Must be a London thing. The building crashes and collapses as bits of wood turn into charcoal before your eyes. "Goodbye," says the occultist quietly. "And thank you." Burnt Rubble A clearing full of old, burnt rubble. Any structure that might have been here has been long since destroyed, but perhaps a few relics remain. East is the entrance to the Forgotten Quarter. The memory of smoke stings your eye. >x comb A wooden comb, carved and painted to look like a hawk. The fact that it's a genuine fourth city relic, albeit one in suspiciously good condition, makes it rather valuable. >x smoke You can't see any such thing. >x rubble You can't see any such thing. >search rubble You can't see any such thing. >l Burnt Rubble A clearing full of old, burnt rubble. Any structure that might have been here has been long since destroyed, but perhaps a few relics remain. East is the entrance to the Forgotten Quarter. >e Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west is a nondescript pile of rubble. South is an archeological dig site. >w Burnt Rubble A clearing full of old, burnt rubble. Any structure that might have been here has been long since destroyed, but perhaps a few relics remain. East is the entrance to the Forgotten Quarter. >x relics You can't see any such thing. >e Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west is a nondescript pile of rubble. South is an archeological dig site. >ne You can't go that way. >n Desolate Lane Most people prefer the wide, well-maintained main street to this dull, empty road. Most of the storefronts are vacant, windows boarded up, with the exception of one cozy-looking storefront. The lane connects with some broad streets in the northeast. South is the entrance to the city's archeological district. An antique shop is embedded in a wall of shops to the east. >ne Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >e Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >put comb in case The accipitrine comb fits perfectly. >l Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >x case An old trophy case, with thirteen slots of specific sizes and shapes. Eight of the case's slots have been filled. In the trophy case are an accipitrine comb, a horse statue, a bookmark, a snow shard, a heartmetal disc, a bezoar, a solid gold brick and a lump of friendly amber. >* Still five more! That's not a verb I recognise. >w Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >save Ok. >w Near The River You've got an excellent view of the stolen river, which is accessible to the south. The shuttered palace looms in the west, the entrance to the university is north, and east is a series of broad streets. >i You are carrying: a flint-and-steel lighter a copy of The Indecent Squid-Creature Servant a maze map a chess handbook a copy of A Dream I Had Last Saturday a copy of The Encyclopedia of Shapes a set of ritual instructions a copy of On The Politics of London a copy of Cults And Rituals: A History a copy of Understanding The Language Of Stars a copy of On Gravity an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >s Stolen Shores What was once the river Thames cuts through the middle of the city, depositing the dead and detritus alike on its muddy banks. The river itself is immediately south. The street is north, and the beach stretches on for a while to the west. >x detritus You can't see any such thing. >x banks You can't see any such thing. >e You can't go that way. >w West Banks The stolen river's western riverbanks end here. There's nothing but piles and piles of mud. To the east, the riverbank gets wider. You can see a lumpy object glint out at you, half buried in the mud. >x limp You can't see any such thing. >x lump You can't see any such thing. >x mud The problem with mud is that it's almost always located in such a way that makes it impossible to go around. If you want to get anywhere in this mud field, you're forced to let it splatter against one of your sides. Circles, you hate mud. >w You can't go that way. >x river The former Thames is still a fixture of London life, and it still regularly spits up muddy garbage. It's just that now it spits up dead people, too. They say it runs straight through hell. >search mud You find nothing of interest. >x object A small, hard-to-make-out item, dripping with mud. You think you can catch the gleam of brass, but beyond that, you can't identify it through the muck. >take it Taken. >i You are carrying: a lumpy object a flint-and-steel lighter a copy of The Indecent Squid-Creature Servant a maze map a chess handbook a copy of A Dream I Had Last Saturday a copy of The Encyclopedia of Shapes a set of ritual instructions a copy of On The Politics of London a copy of Cults And Rituals: A History a copy of Understanding The Language Of Stars a copy of On Gravity an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >x object A small, hard-to-make-out item, dripping with mud. You think you can catch the gleam of brass, but beyond that, you can't identify it through the muck. >clean object What do you want to clean the lumpy object with? >river The stolen river won't be very helpful with that. >* No? That's not a verb I recognise. >clean object with towel You make short work of the mud, revealing a brass ring. Your towel, however, is ruined. >* ah well That's not a verb I recognise. >x ring A shiny brass ring, of the kind often given by devils to their human admirers. Valuable, though perhaps not the sort of thing to be seen flaunting. >e Stolen Shores What was once the river Thames cuts through the middle of the city, depositing the dead and detritus alike on its muddy banks. The river itself is immediately south. The street is north, and the beach stretches on for a while to the west. >s You kick and thrash, trying to keep the muddy water from filling your lungs. >e You can't go that way. The water stings your eyes and burns your throat. Every breath you take just brings you closer to the river. If you can't get out now, it's over for you. >n Coughing and sputtering, you drag yourself out of the river like some kind of mud zombie. >* Hmm That's not a verb I recognise. >save Ok. >e You can't go that way. >s You kick and thrash, trying to keep the muddy water from filling your lungs. >s You can't go that way. The water stings your eyes and burns your throat. Every breath you take just brings you closer to the river. If you can't get out now, it's over for you. >s You can't go that way. As the waves take you, the last thing you hear is the roar of water. [PRESS ANY KEY TO CONTINUE] A Silent River A slow boat drifts down a silent river. Your surroundings are dark, but you can see everything with awful clarity. You can see the far shore in the distance, out of reach. A skeleton in robes sits at the front of the boat, guiding it along down the river. An ancient chess set is tucked away in a far corner of the boat. >* Oh, hello! You seem to want to talk to someone, but I can't see whom. >save Ok. >x shore You think you can see figures moving on the shore. They aren't shapes, but they could have been, at some point. They watch you, mesmerized. The river softly rocks the boat. >x death The boatman is a hexagon, with a bowler hat and hollow eyes. He smiles at you, like he knows a secret you can never understand. >talk to death The boatman looks at you inquisitively, and you think you see something glint in his empty eyes. "Would you care for a game of chess?" >x chess Please answer yes or no.> yes You think you see something in the water, but then you don't. The boat passes by the missing forest, where things that no longer exist are scattered like ashes. The boatman moves a circle to E2. His moves are smooth, confident. It's your turn. 1: Square to B7 2: Bishop to A6 3: Flint to H5 >x chess Please enter a number, 1-3. >3 You knock another of the boatman's pieces from the board triumphantly. He sighs. The boatman moves a flint to C6. He grins, saying nothing. It's your turn. 1: Square to C2 2: Flint to H3 3: Circle to B8 >* I'd really like to be able to read my book now... Please enter a number, 1-3. >1 You watch passively as the boatman captures several of your pieces. The boatman moves a bishop to B3. He stares at you with hollow eyes. It's your turn. 1: Square to H6 2: Bishop to C3 3: Catspaw to F4 >undo A Silent River [Previous turn undone.] >3 The boatman captures one of your pieces, unaware of the trap he's fallen into. Winning this game shouldn't take long at all. The boatman moves a circle to B7. He grins, saying nothing. It's your turn. 1: Square to E5 2: Flint to F8 3: Rook to A6 >1 You watch passively as the boatman captures several of your pieces. The boatman moves a rook to F7. He stares at you with hollow eyes. It's your turn. 1: Rook to A3 2: Catspaw to D6 3: Bishop to H2 >undo A Silent River [Previous turn undone.] >2 The boatman may have the advantage of age, but you've got strategies he's never heard of before. You take two of his pieces. The boatman moves a flint to H2. He stares at you with hollow eyes. It's your turn. 1: Catspaw to C9 2: Circle to D2 3: Flint to F6 >1 The boatman captures one of your pieces, unaware of the trap he's fallen into. Winning this game shouldn't take long at all. The boatman just stares when you finally capture his circle. He hands you one of his catspaws, to your surprise. "Take this," he says. "I don't often get a real opponent." His gaze lingers on you for a moment with something like respect, and then he turns back to the river. "We've arrived, by the way. You might as well get out." >out The sound of waves becomes louder and louder, until it is almost deafening. Just like that, you return to yourself. Stolen Shores What was once the river Thames cuts through the middle of the city, depositing the dead and detritus alike on its muddy banks. The river itself is immediately south. The street is north, and the beach stretches on for a while to the west. Your whole body aches. You must have washed onto the beach - they do say that the stolen river takes a trip through hell. Your brain is on fire. But at least you're alive. >x catspaw A catspaw. It can move diagonally, or in an L, or not at all, but never all at once. This one is made of a valuable coral that gleams like a brilliant gem. >* Fun! That's not a verb I recognise. >x chess You crack open your copy of The Devil Went South To London: How To Win At Chess Against Immortal Entities. Renowned correspondant and chessmaster Letitia P. Eaglethorpe claims to have beaten Death at chess, not once but several times. She claims that anyone can do the same, provided they follow these instructions, with the first taking precedence over the last. 1. The circle is a powerful opponent, but pointless. Use something sharp. 2. The ideas and constructs of civilization can always be brought low by the wild animal's grand designs. 3. A stops B and B stops C. All things shall return to me. 4. Infinity stopped with a shot from a gun. To hinder a catspaw, move into a- *the ink is smudged too badly to read* 5. If all else fails, go north, into the edge and the black. >* Not sure how helpful this is That's not a verb I recognise. >n Near The River You've got an excellent view of the stolen river, which is accessible to the south. The shuttered palace looms in the west, the entrance to the university is north, and east is a series of broad streets. >e Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >e Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >put all in case apocyan catspaw: The apocyan catspaw fits perfectly. brass ring: The brass ring fits perfectly. flint-and-steel lighter: The flint-and-steel lighter doesn't seem to fit. copy of The Indecent Squid-Creature Servant: The copy of The Indecent Squid-Creature Servant doesn't seem to fit. maze map: The maze map doesn't seem to fit. chess handbook: The chess handbook doesn't seem to fit. copy of A Dream I Had Last Saturday: The copy of A Dream I Had Last Saturday doesn't seem to fit. copy of The Encyclopedia of Shapes: The copy of The Encyclopedia of Shapes doesn't seem to fit. set of ritual instructions: The set of ritual instructions doesn't seem to fit. copy of On The Politics of London: The copy of On The Politics of London doesn't seem to fit. copy of Cults And Rituals: A History: The copy of Cults And Rituals: A History doesn't seem to fit. copy of Understanding The Language Of Stars: The copy of Understanding The Language Of Stars doesn't seem to fit. copy of On Gravity: The copy of On Gravity doesn't seem to fit. unspeakably hideous painting: The unspeakably hideous painting doesn't seem to fit. brass key: The brass key doesn't seem to fit. pickaxe: The pickaxe doesn't seem to fit. shelf: The shelf doesn't seem to fit. spare towel: The spare towel doesn't seem to fit. green-glass mirror: The green-glass mirror doesn't seem to fit. compelling note: The compelling note doesn't seem to fit. handwritten book: The handwritten book doesn't seem to fit. chair: The chair doesn't seem to fit. theoretical location of a hideout: The theoretical location of a hideout doesn't seem to fit. rusty lamp: The rusty lamp doesn't seem to fit. knapsack: The knapsack doesn't seem to fit. >x case An old trophy case, with thirteen slots of specific sizes and shapes. Ten of the case's slots have been filled. In the trophy case are a brass ring, an apocyan catspaw, an accipitrine comb, a horse statue, a bookmark, a snow shard, a heartmetal disc, a bezoar, a solid gold brick and a lump of friendly amber. >* Closing in That's not a verb I recognise. >w Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >w Near The River You've got an excellent view of the stolen river, which is accessible to the south. The shuttered palace looms in the west, the entrance to the university is north, and east is a series of broad streets. >save Ok. >w The Palace Gates The palace is shuttered, and its windows are boarded up. That's really all there is to say on the matter. The road you are on continues around the palace to the north and south. The Stolen River's banks are to the east. The palace looms in the west, but two gates prevent you from going any further. >x gates Wrought-iron gates. Only a miracle could get you through the tight bars, and you don't think one is forthcoming. >open gates Those gates only open from the inside, and no one is around to open them for you. Not that anyone would want to, anyway. >s The Palace South You are south of the palace. A red brick wall extends from the palace floor and continues south for a while. You could follow it, if you wanted. >x brick A sturdy looking wall made from red bricks. It clashes violently with the smooth limestone of the palace. >s The End Of A Wall A red brick wall to your west comes from the shuttered palace, far to the north, and ends in a large mass of rock to your immediate south. East, you recognize the distant ruins of the Forgotten Quarter, which are at least less empty than this place. >x mass A huge chunk of stone, as wide as the city and half as thick. There's a reason most people looking to go south go by sea. >dig mass What do you want to dig the mass of rock with? >pickaxe That's not something that can be mined. >* alas That's not a verb I recognise. >e Forgotten Gates You stand at the edge of an ancient city - The Forgotten Quarter. Or what's left of it, anyway. What wasn't destroyed by London was stripped away by looters, making the whole place feel rather empty. To the north, the empty ruins connect to an empty street. Far to the west is a nondescript pile of rubble. South is an archeological dig site. >w Burnt Rubble A clearing full of old, burnt rubble. Any structure that might have been here has been long since destroyed, but perhaps a few relics remain. East is the entrance to the Forgotten Quarter. >* noneuclidean! That's not a verb I recognise. >undo Burnt Rubble [Previous turn undone.] >undo Forgotten Gates [Previous turn undone.] >undo The End Of A Wall [Previous turn undone.] >n The Palace South You are south of the palace. A red brick wall extends from the palace floor and continues south for a while. You could follow it, if you wanted. >n The Palace Gates The palace is shuttered, and its windows are boarded up. That's really all there is to say on the matter. The road you are on continues around the palace to the north and south. The Stolen River's banks are to the east. The palace looms in the west, but two gates prevent you from going any further. >n The Palace Roof You are north of the palace, past the roof. You get the feeling that Her Most Circular Majesty doesn't particularly care for warmth, because all the chimneys have been covered up. The palace's front gates are east, and its more discreet back entrance is west. A barrier to the south keeps you away from the shingles. >x chimneys You can't see any such thing. >open chimney You can't see any such thing. >x chimney You can't see any such thing. >* Not getting in that way That's not a verb I recognise. >s The barrier stops you. >x barrier A spiked, wrought-iron fence. >x shingles You can't see any such thing. >open barrier It isn't something you can open. >i You are carrying: a flint-and-steel lighter a copy of The Indecent Squid-Creature Servant a maze map a chess handbook a copy of A Dream I Had Last Saturday a copy of The Encyclopedia of Shapes a set of ritual instructions a copy of On The Politics of London a copy of Cults And Rituals: A History a copy of Understanding The Language Of Stars a copy of On Gravity an unspeakably hideous painting a brass key a pickaxe a shelf the spare towel a green-glass mirror a compelling note a handwritten book a chair the theoretical location of a hideout a rusty lamp (providing light) a pint of fry oil a knapsack (open but empty) >sw The Palace Gates The palace is shuttered, and its windows are boarded up. That's really all there is to say on the matter. The road you are on continues around the palace to the north and south. The Stolen River's banks are to the east. The palace looms in the west, but two gates prevent you from going any further. >n The Palace Roof You are north of the palace, past the roof. You get the feeling that Her Most Circular Majesty doesn't particularly care for warmth, because all the chimneys have been covered up. The palace's front gates are east, and its more discreet back entrance is west. A barrier to the south keeps you away from the shingles. >undo The Palace Gates [Previous turn undone.] >l The Palace Gates The palace is shuttered, and its windows are boarded up. That's really all there is to say on the matter. The road you are on continues around the palace to the north and south. The Stolen River's banks are to the east. The palace looms in the west, but two gates prevent you from going any further. >nw You can't go that way. >n The Palace Roof You are north of the palace, past the roof. You get the feeling that Her Most Circular Majesty doesn't particularly care for warmth, because all the chimneys have been covered up. The palace's front gates are east, and its more discreet back entrance is west. A barrier to the south keeps you away from the shingles. >w The Palace West You are west of the palace, where the back entrance to the building is located. North is the roof, and to the south, you can see a basalt wall. >x wall It spans a great distance from the shuttered palace to a large mass of rock. >s Along The Basalt Wall You are south of the shuttered palace, following a basalt wall in the east. Further to the south, the wall disappears into a large mass of rock. Here, the wall has a small crack in it. >x crack A minor weakness in the wall. It's not nearly large enough to fit yourself through, but it's a good place to start. >dig crack with pickaxe With a few well-placed swings, you reduce this section of the wall to rubble. >s At The Corner You stand at a far corner of London, at the intersection of a basalt wall that marks the western border and a mass of rock that marks the south. To the west, the land becomes warped and unrecognizable - certainly nowhere you want to go. North is the way you came. >n Along The Basalt Wall You are south of the shuttered palace, following a basalt wall in the east. Further to the south, the wall disappears into a large mass of rock. A hole in the wall reveals a tunnel to the east. >e In Between This small, cramped tunnel runs from north to south between two parallel walls. A hole in the western wall leads outside. >w Along The Basalt Wall You are south of the shuttered palace, following a basalt wall in the east. Further to the south, the wall disappears into a large mass of rock. A hole in the wall reveals a tunnel to the east. >s At The Corner You stand at a far corner of London, at the intersection of a basalt wall that marks the western border and a mass of rock that marks the south. To the west, the land becomes warped and unrecognizable - certainly nowhere you want to go. North is the way you came. >x mass A huge chunk of stone, as wide as the city and half as thick. There's a reason most people looking to go south go by sea. >w If you consult a new map of London, you'll see that hell is to the west. You can't go to hell. There's still so much you wanted to do. >s It would take all day to go around the mass of rock. And it wouldn't get you anywhere, unless you have business in the inhospitable wasteland to the south. >e You can't go that way. >n Along The Basalt Wall You are south of the shuttered palace, following a basalt wall in the east. Further to the south, the wall disappears into a large mass of rock. A hole in the wall reveals a tunnel to the east. >n The Palace West You are west of the palace, where the back entrance to the building is located. North is the roof, and to the south, you can see a basalt wall. >e (first opening the back door) It seems to be locked. >s Along The Basalt Wall You are south of the shuttered palace, following a basalt wall in the east. Further to the south, the wall disappears into a large mass of rock. A hole in the wall reveals a tunnel to the east. >e In Between This small, cramped tunnel runs from north to south between two parallel walls. A hole in the western wall leads outside. >n Wine Cellar The palace's wine cellar is supposed to be intruder-free, but the trapdoor was left unlocked. Strangely, racks and racks of expensive wines still line the walls. South, the trapdoor leads back to the tunnels. West is a back door out. On one wall is a jeweled sword, apparently used to uncork wine. >x wine Wines from before London changed have a certain flavor to them you can't get anywhere else. But the wines made after are rich, and taste like home. Many, many bottles are arranged here. >take wine You take the decoy wine. >x decoy A bottle of wine, if 'wine' was the latest slang term for sand. Some thief apparently thought this would be a clever way to steal the palace's wine stores. They were probably right. >search bottles You find nothing of interest. >x wine (the bottle of decoy wine) A bottle of wine, if 'wine' was the latest slang term for sand. Some thief apparently thought this would be a clever way to steal the palace's wine stores. They were probably right. >* Hmm, someone already stole all this? You seem to want to talk to someone, but I can't see whom. >x sword A large, curving thing with a gem-encrusted handle. ...Is that a diamond? It certainly looks valuable. It's also decorative, not to mention blunt. >take it Taken. >s In Between This small, cramped tunnel runs from north to south between two parallel walls. A hole in the western wall leads outside. >s Further Between This small, cramped tunnel runs from north to south between two parallel walls. North is a hint of daylight. South, you see the ruins of an archway. >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >x stone You can't see any such thing. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >* Oh, back here? Or is this a different system You seem to want to talk to someone, but I can't see whom. >x maze So the geometer stood at the ready, pacing nervously around his study. Soon, he'd been promised, it would all be complete. Even if he'd contacted them first, he hadn't expected them to actually respond, and he couldn't be more anxious if he tried. Not Eating, barely sleeping, even, in case the chiropterans wanted to make the exchange at night. Whether or not they could even give him what he'd asked for was unclear as well. Such Entities as them were not to be taken lightly, if they really wanted his entire city in exchange - and that was another thing. What he'd promised them he didn't own, and if they discovered they'd been tricked, they might not uphold their end of the bargain. Euclid shuddered at the thought. You shut the book. That's not a map at all. Must have been an error at the printer's. >s Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >e Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >ne Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >sw Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >undo Winding Tunnels [Previous turn undone.] >se Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >undo Winding Tunnels [Previous turn undone.] >s Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >undo Winding Tunnels [Previous turn undone.] >ne Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >undo Winding Tunnels [Previous turn undone.] >undo Winding Tunnels [Previous turn undone.] >se Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >e Tunnel's End The maze of tunnels in the west ends here, at a fancy door to the east. You can sense a presence behind the door, thrumming with power. You're close. >e Euclid's Den A small room with rough cave walls, but an inhabited one. Cave paintings near the wall serve as decorations, and empty wine bottles are scattered all over the room. West is the exit. An entity stands in the room, giving you a headache. An old wooden desk is here. >* OK, same diff You seem to want to talk to someone, but I can't see whom. >w Tunnel's End The maze of tunnels in the west ends here, at a fancy door to the east. You can sense a presence behind the door, thrumming with power. You're close. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >w Winding Tunnels A complex system of tunnels forms a winding labyrinth, with exits in all directions. >w Tunnel Entrance You stand in the ruins of an archway, made from ancient stone. There is a complex series of tunnels to the south, and north is the way you came. >n Further Between This small, cramped tunnel runs from north to south between two parallel walls. North is a hint of daylight. South, you see the ruins of an archway. >n In Between This small, cramped tunnel runs from north to south between two parallel walls. A hole in the western wall leads outside. >n Wine Cellar The palace's wine cellar is supposed to be intruder-free, but the trapdoor was left unlocked. Strangely, racks and racks of expensive wines still line the walls. South, the trapdoor leads back to the tunnels. West is a back door out. >n You can't go that way. >w (first opening the back door) You unlock the door from the inside. The Palace West You are west of the palace, where the back entrance to the building is located. North is the roof, and to the south, you can see a basalt wall. >n The Palace Roof You are north of the palace, past the roof. You get the feeling that Her Most Circular Majesty doesn't particularly care for warmth, because all the chimneys have been covered up. The palace's front gates are east, and its more discreet back entrance is west. A barrier to the south keeps you away from the shingles. >* Hmm, I think it's just mirror-world left You seem to want to talk to someone, but I can't see whom. >enter mirror You push yourself into the mirror, cutting yourself slightly on jagged edges you didn't know were there. [PRESS ANY KEY TO CONTINUE] Amber Woods You are in a thick forest, where the ambient light is a soft shade of amber. You are in the land-behind-mirrors, home of the glass serpents. You are nowhere that is real. The forest stretches out in every direction. >save Ok. >x forest Lush trees, vines and ferns make up the dream-jungle you find yourself in. In the distance, you hear the cry of an exotic bird. >listen You hear nothing unexpected. >n Jungle Path A path from west to east snakes through the thick foliage. Off the path to the north, you can see something gleam. >n Brightest Grove You've never heard of an orchard with just one tree. Here it is, though. Densely packed trees surround you on all sides, but open up ever so slightly to the south. A gorgeous tree stands at the center of a wide clearing, lush with promises it may yet keep. >x tree The most beautiful tree you've ever seen shines when you look at it, forcing you to squint. Shining, silver sap drips slowly from the tree in rivulets, ready for collection. A glassy cluster of fruit hangs on the tree, waiting to be plucked. >x fruit A glassy cluster of fruit, like a fly's eye hewn from crystal. Solacefruit is rare, valuable, and entirely toxic. >take it You remove the fruit. Without it, the tree doesn't catch the light as nicely as it used to. >e The jungle is too thick for you to take more than a couple of steps in that direction. >s Jungle Path A path from west to east snakes through the thick foliage. Off the path to the north, you can see something gleam. >s Amber Woods You are in a thick forest, where the ambient light is a soft shade of amber. You are in the land-behind-mirrors, home of the glass serpents. You are nowhere that is real. The forest stretches out in every direction. >n Jungle Path A path from west to east snakes through the thick foliage. Off the path to the north, you can see something gleam. >w Jungle Path A path from the northwest bends around to the east. The trees here seem to grow in strange directions. >x trees Lush trees, vines and ferns make up the dream-jungle you find yourself in. In the distance, you hear the cry of an exotic bird. >nw Castle Gates North is the entrance to a sinuous structure of wood and thorns. Something shapeless lives here, you're sure of it. What remains to be seen, however, is whether or not they'll be able to catch you trespassing. Southeast, a path leads back into the forest. >x mirror A small mirror with green-tinted glass. When you touch the surface, it ever so slightly gives way. You could enter it, if you wanted to. >enter mirror As you step out from the mirror, you wake up in a cold sweat. [PRESS ANY KEY TO CONTINUE] Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >put all in case green-glass mirror: The green-glass mirror doesn't seem to fit. solacefruit: The solacefruit fits perfectly. jeweled sword: The jeweled sword fits perfectly. bottle of decoy wine: The bottle of decoy wine doesn't seem to fit. flint-and-steel lighter: The flint-and-steel lighter doesn't seem to fit. copy of The Indecent Squid-Creature Servant: The copy of The Indecent Squid-Creature Servant doesn't seem to fit. maze map: The maze map doesn't seem to fit. chess handbook: The chess handbook doesn't seem to fit. copy of A Dream I Had Last Saturday: The copy of A Dream I Had Last Saturday doesn't seem to fit. copy of The Encyclopedia of Shapes: The copy of The Encyclopedia of Shapes doesn't seem to fit. set of ritual instructions: The set of ritual instructions doesn't seem to fit. copy of On The Politics of London: The copy of On The Politics of London doesn't seem to fit. copy of Cults And Rituals: A History: The copy of Cults And Rituals: A History doesn't seem to fit. copy of Understanding The Language Of Stars: The copy of Understanding The Language Of Stars doesn't seem to fit. copy of On Gravity: The copy of On Gravity doesn't seem to fit. unspeakably hideous painting: The unspeakably hideous painting doesn't seem to fit. brass key: The brass key doesn't seem to fit. pickaxe: The pickaxe doesn't seem to fit. shelf: The shelf doesn't seem to fit. spare towel: The spare towel doesn't seem to fit. compelling note: The compelling note doesn't seem to fit. handwritten book: The handwritten book doesn't seem to fit. chair: The chair doesn't seem to fit. theoretical location of a hideout: The theoretical location of a hideout doesn't seem to fit. rusty lamp: The rusty lamp doesn't seem to fit. knapsack: The knapsack doesn't seem to fit. >x case An old trophy case, with thirteen slots of specific sizes and shapes. Twelve of the case's slots have been filled. In the trophy case are a jeweled sword, a solacefruit, a brass ring, an apocyan catspaw, an accipitrine comb, a horse statue, a bookmark, a snow shard, a heartmetal disc, a bezoar, a solid gold brick and a lump of friendly amber. >* Oh, almost done! You seem to want to talk to someone, but I can't see whom. >save Ok. >enter mirror You push yourself into the mirror, cutting yourself slightly on jagged edges you didn't know were there. [PRESS ANY KEY TO CONTINUE] Amber Woods You are in a thick forest, where the ambient light is a soft shade of amber. You are in the land-behind-mirrors, home of the glass serpents. You are nowhere that is real. The forest stretches out in every direction. >n Jungle Path A path from west to east snakes through the thick foliage. Off the path to the north, you can see something gleam. >w Jungle Path A path from the northwest bends around to the east. The trees here seem to grow in strange directions. >nw Castle Gates North is the entrance to a sinuous structure of wood and thorns. Something shapeless lives here, you're sure of it. What remains to be seen, however, is whether or not they'll be able to catch you trespassing. Southeast, a path leads back into the forest. >x castle You can't see any such thing. >x entrance You can't see any such thing. >x structure Trees have been bent and pushed together to create a magnificent castle. The warped gates are wide open. >x gates You can't see any such thing. >n Briar Hall Leafy walls make up a large entry hall. Tapestries can be seen on either side of the room. Off to the west, a passageway lined with thorns can be seen. East, the walls change from leaves to mahogany. Other, smaller passages pepper the wall like holes, but they are far too small for you to enter. >x tapestries The tapestries are a lethargic shade of green you recognize from the surrounding jungle. Each one depicts a writhing mass of snakes. >take all There are none at all available! >w The Cage-Den A cavernous room, with thorny walls and no windows. Cages made from stiff briars are here, wrapping painfully around their dead-eyed prisoners. Most of them are motionless, but one stirs to look at you when you enter the room. To the east, the rest of the castle beckons you. An imprisoned heptagon watches the room with its too-many eyes. >x cages The cages look like prickly vines, but they are rock solid. >x prisoners Limp, absent shapes. There must be hundreds of them - addicts, smugglers, stage magicians, certainly no one you recognize. Only their breathing marks them as living instead of dead. Out of the corner of your eye, you see a flash of green. A trick of the light. It's nothing. Don't worry about it. >x heptagon Each one of his seven eyes is fixed on you with rapt attention. He sees you looking at him, and coughs, politely. >talk to heptagon "Hello, Captain. I believe, taking into account the predicament I am in-" The briars squeeze the heptagon tighter, as if in response. "-that you can help me with a problem of mine." He smiles wearily. "And maybe, I can do you a favor as well." >ask heptagon about predicament "I've been their prisoner for quite a while now," the heptagon explains. "The kings behind mirrors. I can't say for how long, time is funny here." He continues as if he's talking about what he had for breakfast this morning. "They prefer more normal-looking shapes, so they've left me alone. But I'm tired of living in their castle, eating their 'food', watching the things they do to decent shapes." He leans towards you. "I want to escape, Captain. And I want you to help me. >ask heptagon about kings behind mirrors "They're nothing more than snakes," The heptagon spits. "Literal snakes. And the things that live in the corners of your eyes. You'll have to be careful around them, or they'll take your skin and wear it. Pompous bastards," he mutters to himself. "Trapped in some imaginary wasteland, and they call themselves kings." >ask heptagon about food "I can't help you there, Captain. All this time behind the glass hasn't been good for my mind." You think you hear a hissing sound. Quiet, at first, but getting louder. >ask heptagon about favor "It's nothing much," he says. "I can see in every direction, and sometimes, a little bit more. If you helped me, I could give you a fraction of that power. I'd understand if you didn't want it, but it's all I have to give." >ask heptagon about escape "Getting out's possible, in theory," the heptagon says. "Not as easy as getting in, but possible, using the same, ah, methods. This is the land-behind-mirrors, after all." The heptagon stares at you with a sudden hunger. "I know you have a mirror. Give it to me. Give it to me, please, Captain, I can't stay here any longer." >give mirror to heptagon The heptagon takes the mirror tenderly. "Thank you," he says. "You've done a good thing." With that he hurls himself into the mirror, not even bothering to pick his way around the sharp parts, and is gone, leaving the mirror behind. >take mirror Taken. >e Briar Hall Leafy walls make up a large entry hall. Tapestries can be seen on either side of the room. Off to the west, a passageway lined with thorns can be seen. East, the walls change from leaves to mahogany. Other, smaller passages pepper the wall like holes, but they are far too small for you to enter. The hissing won't stop. Not even when you plug your ears. >s As you pass through the threshhold, the hissing stops abruptly. Castle Gates North is the entrance to a sinuous structure of wood and thorns. Something shapeless lives here, you're sure of it. What remains to be seen, however, is whether or not they'll be able to catch you trespassing. Southeast, a path leads back into the forest. >n Briar Hall Leafy walls make up a large entry hall. Tapestries can be seen on either side of the room. Off to the west, a passageway lined with thorns can be seen. East, the walls change from leaves to mahogany. Other, smaller passages pepper the wall like holes, but they are far too small for you to enter. >e The Finger-Vaults The castle's treasure vault is located to the east. The imposing door has a small plaque attached to it. West is the exit. Six gas lamps are embedded in the vault door. A piano is set into one wall. >* So did I get powers or... That's not a verb I recognise. >* (Maybe that helps with the maze?) That's not a verb I recognise. >save Ok. >l The Finger-Vaults The castle's treasure vault is located to the east. The imposing door has a small plaque attached to it. West is the exit. Six gas lamps are embedded in the vault door. A piano is set into one wall. >x plaque PLAY THE SEQUENCE TO ENTER THE VAULT, the plaque reads. A piece of scratch paper is taped next to it. >x paper Some notes in borderline illegible handwriting. GREEN = RIGHT NOTE, RIGHT PLACE BLUE = RIGHT NOTE, WRONG PLACE PLAY SIX NOTES AT A TIME (A-G) Out of the corner of your eye, you see a flash of green. A trick of the light. It's nothing. Don't worry about it. >aaaaaa That's not a verb I recognise. >play aaaaaa You play 'AAAAAA' on the piano. One of the gas lamps lights up green. >w Briar Hall Leafy walls make up a large entry hall. Tapestries can be seen on either side of the room. Off to the west, a passageway lined with thorns can be seen. East, the walls change from leaves to mahogany. Other, smaller passages pepper the wall like holes, but they are far too small for you to enter. >s Castle Gates North is the entrance to a sinuous structure of wood and thorns. Something shapeless lives here, you're sure of it. What remains to be seen, however, is whether or not they'll be able to catch you trespassing. Southeast, a path leads back into the forest. >s The jungle is too thick for you to take more than a couple of steps in that direction. >n Briar Hall Leafy walls make up a large entry hall. Tapestries can be seen on either side of the room. Off to the west, a passageway lined with thorns can be seen. East, the walls change from leaves to mahogany. Other, smaller passages pepper the wall like holes, but they are far too small for you to enter. >n You can't go that way. >e The Finger-Vaults The castle's treasure vault is located to the east. The imposing door has a small plaque attached to it. West is the exit. Six gas lamps are embedded in the vault door. A piano is set into one wall. >play aaaaaa You play 'AAAAAA' on the piano. One of the gas lamps lights up green. >* Hmm, not sure it resets You seem to want to talk to someone, but I can't see whom. >play aaabbb You play 'AAABBB' on the piano. One of the gas lamps lights up green. Out of the corner of your eye, you see a flash of green. A trick of the light. It's nothing. Don't worry about it. >play bbbaaa You play 'BBBAAA' on the piano. One of the gas lamps lights up blue. >play aacccc You play 'AACCCC' on the piano. Three of the gas lamps light up green. Two of the gas lamps light up blue. >play cacacd You play 'CACACD' on the piano. One of the gas lamps lights up green. Three of the gas lamps light up blue. >*oops, that was dumb You seem to want to talk to someone, but I can't see whom. >play caccce You play 'CACCCE' on the piano. Two of the gas lamps light up green. Three of the gas lamps light up blue. >x paper Some notes in borderline illegible handwriting. GREEN = RIGHT NOTE, RIGHT PLACE BLUE = RIGHT NOTE, WRONG PLACE PLAY SIX NOTES AT A TIME (A-G) You think you hear a hissing sound. Quiet, at first, but getting louder. >play cacfcc You play 'CACFCC' on the piano. Two of the gas lamps light up green. Three of the gas lamps light up blue. >cacgcc That's not a verb I recognise. >play cagccc You play 'CAGCCC' on the piano. Three of the gas lamps light up green. Three of the gas lamps light up blue. >* Hmm. That's not a verb I recognise. >play agcccc You play 'AGCCCC' on the piano. Three of the gas lamps light up green. Three of the gas lamps light up blue. >play acgccc You play 'ACGCCC' on the piano. Four of the gas lamps light up green. Two of the gas lamps light up blue. >play gcaccc You play 'GCACCC' on the piano. Six of the gas lamps light up green. You hear a click in the vault door. One of the keys in the piano pops out. The hissing won't stop. Not even when you plug your ears. >take key (the ivory key) Taken. >e (first opening the vault door) Treasure Room Riches beyond your wildest imagination are here. Precious stones, artifacts, even gold coins float around in your peripheral vision. To the west is the door out of the vault. >take all There are none at all available! >take riches The riches go straight through your pockets. Apparently they're not real enough to be handled by someone like you. >w The Finger-Vaults The castle's treasure vault is located to the east. The imposing door has a small plaque attached to it. West is the exit. Six gas lamps are embedded in the vault door. A piano is set into one wall. >s You can't go that way. Something heavy and vicious has started to swim in your brain, and in the edge of your vision. >w Briar Hall Leafy walls make up a large entry hall. Tapestries can be seen on either side of the room. Off to the west, a passageway lined with thorns can be seen. East, the walls change from leaves to mahogany. Other, smaller passages pepper the wall like holes, but they are far too small for you to enter. >s As you pass through the threshhold, the hissing stops abruptly. The intrusions leave your brain. Castle Gates North is the entrance to a sinuous structure of wood and thorns. Something shapeless lives here, you're sure of it. What remains to be seen, however, is whether or not they'll be able to catch you trespassing. Southeast, a path leads back into the forest. >save Ok. >n Briar Hall Leafy walls make up a large entry hall. Tapestries can be seen on either side of the room. Off to the west, a passageway lined with thorns can be seen. East, the walls change from leaves to mahogany. Other, smaller passages pepper the wall like holes, but they are far too small for you to enter. >e The Finger-Vaults The castle's treasure vault is located to the east. The imposing door has a small plaque attached to it. West is the exit. Six gas lamps are embedded in the vault door. A piano is set into one wall. >e Treasure Room Riches beyond your wildest imagination are here. Precious stones, artifacts, even gold coins float around in your peripheral vision. To the west is the door out of the vault. >z Time passes. >z Time passes. Out of the corner of your eye, you see a flash of green. A trick of the light. It's nothing. Don't worry about it. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. You think you hear a hissing sound. Quiet, at first, but getting louder. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. The hissing won't stop. Not even when you plug your ears. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. Something heavy and vicious has started to swim in your brain, and in the edge of your vision. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. An image comes to you. A ball of serpents, twisted together and the purest green. You can't stop thinking about them. You'd like to stop thinking about them. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. A seething mass has lodged itself in your mind. Visitors aren't welcome in their castle. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. You're not quite sure if your mind is your own. You're not quite sure if your body is your own. The longer you stay in this castle, the more of your geometry belongs to the snakes. Get out. Get out now. >z Time passes. >z Time passes. >z Time passes. >z Time passes. >z Time passes. We are the kings behind mirrors. We are the glass serpents. We rule unreality, and soon, we will rule reality too. This triangle is ours, and will be ours, and has always been ours. The last thing you hear before you lose consciousness is high, many-voiced laughter. [PRESS ANY KEY TO CONTINUE] A Silent River A slow boat rests in a silent river. Your surroundings are dark, but you can see everything with awful clarity. The far shore is in the distance, out of reach. A skeleton in robes sits at the front of the boat, guiding it along down the river. >undo Treasure Room [Previous turn undone.] >z Time passes. We are the kings behind mirrors. We are the glass serpents. We rule unreality, and soon, we will rule reality too. This triangle is ours, and will be ours, and has always been ours. The last thing you hear before you lose consciousness is high, many-voiced laughter. [PRESS ANY KEY TO CONTINUE] A Silent River A slow boat rests in a silent river. Your surroundings are dark, but you can see everything with awful clarity. The far shore is in the distance, out of reach. A skeleton in robes sits at the front of the boat, guiding it along down the river. >x skeleton The boatman is a hexagon, with a bowler hat and hollow eyes. He smiles at you, like he knows a secret you can never understand. >talk to skeleton There's nothing more to be done between the two of you. You beat him at chess. >z Time passes. The boat passes by the missing forest, where things that no longer exist are scattered like ashes. >n If you step out now, you'll never find your way back. No, it's best not to wander off in a place like this. Apart from the boat, drifting gently down the river, nothing moves. >z Time passes. >z Time passes. >z Time passes. >n If you step out now, you'll never find your way back. No, it's best not to wander off in a place like this. The boat arrives at a shore to the north. You can see other shapes, waiting patiently there to be taken to their final destination. "Go on," the boatman prompts you. "Get out." >n The sound of waves becomes louder and louder, until it is almost deafening. Just like that, you return to yourself. Stolen Shores What was once the river Thames cuts through the middle of the city, depositing the dead and detritus alike on its muddy banks. The river itself is immediately south. The street is north, and the beach stretches on for a while to the west. Your whole body aches. You must have washed onto the beach - they do say that the stolen river takes a trip through hell. Your brain is on fire. But at least you're alive. >restore Ok. >* Oh, great, one chess win gets us a free pass forever? Good deal You seem to want to talk to someone, but I can't see whom. >l Castle Gates North is the entrance to a sinuous structure of wood and thorns. Something shapeless lives here, you're sure of it. What remains to be seen, however, is whether or not they'll be able to catch you trespassing. Southeast, a path leads back into the forest. >s The jungle is too thick for you to take more than a couple of steps in that direction. >e The jungle is too thick for you to take more than a couple of steps in that direction. >l Castle Gates North is the entrance to a sinuous structure of wood and thorns. Something shapeless lives here, you're sure of it. What remains to be seen, however, is whether or not they'll be able to catch you trespassing. Southeast, a path leads back into the forest. >s The jungle is too thick for you to take more than a couple of steps in that direction. >se Jungle Path A path from the northwest bends around to the east. The trees here seem to grow in strange directions. >e Jungle Path A path from west to east snakes through the thick foliage. Off the path to the north, you can see something gleam. >e Jungle Path A path from the west winds around to the south. It is easy to get lost here. >s Ruined Structure You stand at the center of a ruined structure. Bright green vines twist around bits of rubble. There was something for you here, once. But not any more. A path leads north, and to the east, the jungle becomes impassable. >x rubble Careful, geometrical lines carved into the ancient bricks mark this as a shape-made structure. It must have been something to behold, in its time. >* Hmm, is this linked to the pavilion? You seem to want to talk to someone, but I can't see whom. >x ivory If a piano's key were to exist, it would be made out of valuable ivory. >w Amber Woods You are in a thick forest, where the ambient light is a soft shade of amber. You are in the land-behind-mirrors, home of the glass serpents. You are nowhere that is real. The forest stretches out in every direction. >w Jungle You are in the jungle. Thick, leafy vines surround you, and in the distance, you can hear the chirping of many-throated birds. The region to the west is blocked off by densely-packed trees. >w The jungle is too thick for you to take more than a couple of steps in that direction. >n Jungle Path A path from the northwest bends around to the east. The trees here seem to grow in strange directions. >s Jungle You are in the jungle. Thick, leafy vines surround you, and in the distance, you can hear the chirping of many-throated birds. The region to the west is blocked off by densely-packed trees. >ne Jungle Path A path from the northwest bends around to the east. The trees here seem to grow in strange directions. >sw Jungle You are in the jungle. Thick, leafy vines surround you, and in the distance, you can hear the chirping of many-throated birds. The region to the west is blocked off by densely-packed trees. >e Amber Woods You are in a thick forest, where the ambient light is a soft shade of amber. You are in the land-behind-mirrors, home of the glass serpents. You are nowhere that is real. The forest stretches out in every direction. >sw Jungle The jungle is thick, and the air is heavy and warm. All around you are trees. Far to the south, through a curtain of leaves, you can see something shine with borrowed light. >s Mirror Fields You are in a field of mirrors at the edge of the jungle, each one fixed in the ground. Many reflect parts of London you recognize, but many don't reflect places at all. >x mirrors In the sea of mirrors, you find yourself drawn to two - a dark mirror and a red mirror. >x dark This mirror is made of a smoky glass that comes alive when you approach it. Reflected in the mirror is someone else's dream - A geometer prepares to make a bargain it knows it cannot uphold. It thinks, perhaps it hopes, that by the time its deception is discovered, it will be long gone from this dimension. >take dark The mirror resists. It wants to stay here, thank you very much. >enter dark You collide with the mirror. You are far too real to ever enter the dreams of others. >take dark The mirror resists. It wants to stay here, thank you very much. >x red The mirror reflects a boat, drifting slowly down a quiet river. The surface ripples, concealing something sharp. >take red The mirror resists. It wants to stay here, thank you very much. >enter red You push yourself halfway into the mirror. The glass slices your body like a swarm of knives, leaving your lines covered with delicate trails of blood. You could keep going, if you wanted. Or you could remove yourself. But is that really what you want? >g You push yourself further into the mirror. You feel hurt, and then woozy, and then everything goes dark. [PRESS ANY KEY TO CONTINUE] A Silent River A slow boat rests in a silent river. Your surroundings are dark, but you can see everything with awful clarity. The far shore is in the distance, out of reach. A skeleton in robes sits at the front of the boat, guiding it along down the river. >z Time passes. >z Time passes. The air here smells like soil and old things. The boat passes by the missing forest, where things that no longer exist are scattered like ashes. >z Time passes. >z Time passes. >z Time passes. Far in the distance, you hear someone scream. >z Time passes. >z Time passes. You think you see something in the water, but then you don't. The boat arrives at a shore to the north. You can see other shapes, waiting patiently there to be taken to their final destination. "Go on," the boatman prompts you. "Get out." >n The sound of waves becomes louder and louder, until it is almost deafening. Just like that, you return to yourself. Stolen Shores What was once the river Thames cuts through the middle of the city, depositing the dead and detritus alike on its muddy banks. The river itself is immediately south. The street is north, and the beach stretches on for a while to the west. Your whole body aches. You must have washed onto the beach - they do say that the stolen river takes a trip through hell. Your brain is on fire. But at least you're alive. >e You can't go that way. >n Near The River You've got an excellent view of the stolen river, which is accessible to the south. The shuttered palace looms in the west, the entrance to the university is north, and east is a series of broad streets. >e Broad Streets A public road. A muddy river connects with the street to the west, and Moloch Street is accessible in the north. The street is empty in the southwest and alien in the south. Your lodgings are to the east. >e Your Lodgings You are in your small apartment. It's a cool London morning, and your windows are ever so slightly fogged up. A door is set into the west wall of your home. In one corner of the room is an old wooden trophy case. >put key in case Which do you mean, the ivory key or the brass key? >ivory As the last item is placed snugly in the case that looks like it was built to hold it, the pieces start to fall into place. This was never a trophy case, it was a mold. And you have filled it - painstakingly, lovingly - with the treasures of the world. Brass from the devils, foam from the deepest pits, even the idea of ivory, stolen from the serpent lords themselves. The shape that you have made is not fire, but it burns. >x shape You can't see any such thing. >l Your Lodgings The only thing in the room is the burning symbol. Everything else is just background noise. A sigil of the correspondence - the language of the stars that do not exist - sits in your room and smolders. >x sign You can't see any such thing. >x sigil An Unmappable Direction. A raging inferno at the edge of your consciousness. A dot, then a line, then a square, and then you, as you were always meant to be. The sigil is a command, an exigent order followed by a shower of sparks. The sigil is two words. The sigil is: GO UP. >u Above It All You are not north of London but above it. Shapes go about their daily lives in little pentagonal buildings, and from here they might as well be ants. Only the Bazaar is anything other than flat, its spines and spires somehow managing to point up in ways you never noticed before now. You can see the rest of the world, the one London was stolen from so many years ago, as another flat plane far above you. When people claimed that London went down, they might have been right. And above all that? Space, an infinite cosmos of secrets, and the only way to go is up. >d You can do a lot of things now, but you can't phase through a solid plane. >u You're going to leave them in the dust. Flat, puny shapes, with flat, puny dreams. Yours is the third dimension now, and the greater universe, and abilities beyond mortal comprehension. It doesn't hurt you like it does Euclid because your awakening wasn't some poorly drawn sketch, given to a lazy liar by bats living large on borrowed power. You took the long road and built your own third-dimensional path with the things you've gathered, and now you're ready to leave this world behind for the cosmic wilderness. End your journey here? (You will be able to reverse this decision, but why would you want to?) >u Please answer yes or no.> yes Up past the gate, and up a little further. You depart for the infinite cosmos feeling giddy, but quickly decide it's not for you. There's nothing for you in this grand, empty place. What would you do? Live as a thrall to a monstrous star, burn both ends of the candle and yourself to a crisp? You return, reluctantly, to London, and to your life as a shape. Taking your new perspective with you, of course. As for the book? Well, it's yours, isn't it? Euclid gave it to you. And once you can get it translated, you'll know everything he knows about the third dimension. All the secrets and little tricks that come from two thousand years of exploration, tucked securely away in your pocket. You've been working on a new kind of ship, see. Heavy steel plating. Powerful engines. Everything you'll ever need up in the infinite void - you and your unfortunate crew. Maybe others will grasp your new ship's purpose. Maybe in the year 1906, Her Most Circular Majesty will lead an exodus out from the plane that is London, and start a series of colonies in the heavens above, and murder the sun in the name of the British Empire. Or maybe not. In the mean time, you assemble a crew that won't ask any questions and set a course for a few of the zee's most lucrative trading ports. It's remarkable how fast a ship can go when the ocean isn't in the way. [PRESS ANY KEY TO CONTINUE] *** The End *** Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last command? > quit