| VERION 2.5/3.0 (1995/08/17) | VERSION 4.1 (1995/09/27) | LIST OF TEXT (A) |
LIST OF TEXT (B) | RUFFINI'S NOTES ON VER version 2.5/3.0 |
| This
portal world reveals the character of Dr. Sartorius. It is the air
world and that theme is resonated whenever possible in this
environment. When the player aligns Jupiter with the Orrery, the player
falls to the bottom of the Orrery as sees clouds racing past
[qt_actor]]. The player now begins to drop, and rotate around an enormous syringe-shaped cylindrical structure thrust into a blue-white glacier. After a full rotation around the structure, the player sees a floating platform vibrating in the wind above the top story of the structure. The player enters the clouds again, and the screen goes white. The white fades and the player finds herself on a narrow porch outside the Asylum entry. She hears the cracking of the enormous sheets of ice around her and the frigid wind whistling through the iron chains holding the structure to the ice. A representation of the planet Jupiter spins slowly at the point of landing. The player can click on this planet anytime in order to return to the Orrery. |
This
portal world
reveals the character of Dr. Sartorius. It is the air world and that
theme is resonated whenever possible in this environment. When the
player aligns Jupiter with the Orrery, the player falls to the bottom
of the Orrery as sees clouds racing past [qt_actor]. The player now begins to drop, and rotate around an enormous syringe-shaped cylindrical structure thrust into a blue-white glacier. After a full rotation around the structure, the player sees a floating platform vibrating in the wind above the top story of the structure. The player enters the clouds again, and the screen goes white. The white fades and the player finds herself on a narrow porch outside the Asylum entry. She hears the cracking of the enormous sheets of ice around her and the frigid wind whistling through the iron chains holding the structure to the ice. A representation of the planet Jupiter spins slowly at the point of landing [animation_actor]. The player can click on this planet anytime in order to return to the Orrery. |
Fonts Alexandria: Papyrus Sartorius: John Handy Lucien: Wild Thing Malveaux: Rage Italic Sophia: Rapier Kaine: Tiger Rag Books Old Style: Castle Caslon Antique Century Schoolbook Sartorius’ dad font Enchanters Guild font Syovar letters font ASYLUM GENERAL 5 general brain and skeleton diagrams 2 diagrams of conception |
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| 12.01 The Asylum The Asylum is a cylindrical twenty four-story structure about 100' in diameter 23 stories above ground, and one story below ground. The structure is secured to the ice by means of enormous iron chains which are themselves encased in blue-white ice. If the player advances closely to any window in the structure, she hears the sound of the air rushing outside [audio_actor] and sees time-lapse footage of clouds zipping by the structure at incredible speed [qt_actor]. There is a circular courtyard which connects all the rooms on each level. The building has Piranesi qualities — a combination of industrial and medieval. If the player enters this courtyard and looks up, she will see a platform floating above the upper story of the structure. Huge steel balls float gently in the column of air rushing up from the fan in the floor (each floor has a ball numbered according to the floor). The player makes the connection that an unseen shaft of air flowing through the central tower keeps the balls and the platform floating. The Asylum has four levels accessible to the player:
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12.01 The Asylum The Asylum is a cylindrical twenty four-story structure about 100' in diameter — 23 stories above ground, and one story below ground. The structure is secured to the ice by means of enormous iron chains which are themselves encased in blue-white ice. If the player advances closely to any window in the structure, she hears the sound of the air rushing outside [audio_actor] and sees time-lapse footage of clouds zipping by the structure at incredible speed [qt_actor]. There is a circular courtyard which connects all the rooms on each level. The building has Piranesi qualities — a combination of industrial and medieval. If the player enters this courtyard and looks-up, she will see a platform floating above the upper story of the structure. Huge steel balls float gently in the column of air rushing up from the fan in the floor (each floor has a ball numbered according to the floor). The player makes the connection that an unseen shaft of air flowing through the central tower keeps the balls and the platform floating. The Asylum has four levels accessible to the player:
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| 12.02 Story Information In the Asylum world, the player learns about Dr. Sartorius, scientist and torturer who has been obsessed with learning the secret of how to create life. The player learns of Sartorius' questionable medical career and of Sartorius' involvement in the conspiracy. He chose a female patient and used medical techniques to impregnate her with what would become Alexandria, using a special technique to ensure that Alexandria would be the perfect specimen for their alchemical ritual. |
12.02 Story Information In the Asylum world, the player learns about Dr. Sartorius, scientist and torturer who has been obsessed with learning the secret of how to create life. The player learns of Sartorius' questionable medical career and of Sartorius' involvement in the conspiracy. He chose a female patient and used medical techniques to impregnate her with what would become Alexandria, using a special technique to ensure that Alexandria would be the perfect specimen for their alchemical ritual. |
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| 12.03 The First Level When the player aligns the shadow of Jupiter on the wall of the Orrery Room the player hurtles through space toward an enormous cylindrical building. By traveling around the first level, the player learns about Sartorius' shady medical reputation, his interest in the macabre, his sadomasochistic streak and his obsession with a beautiful woman (Alexandria's mother) whom he "treated" and eventually killed. Only the Reception Room, Records Room and the Examination Room are open to the player on this level -- all others are locked. The player also learns that Sartorius conducted weird experiments — and learns clues to the location of the Alchemy lab. Suspecting that the lab may be on the floating platform, the player realizes that his goal is to find the key to the main elevator, ascend the elevator, find the secret elevator and reach Sartorius' Alchemy Lab. A floating model of the planet Jupiter at the point the player arrives at the Asylum serves as the portal back to the Temple — the player can click on it at any time and return to the Orrery. Clicking on the planet dissolves the player back to the temple space [qt_actor]. Any objects carried at that time will be dropped on the floor of the platform for later retrieval. |
12.03 The First Level When the player aligns the shadow of Jupiter on the wall of the Orrery Room the player hurtles through space toward an enormous cylindrical building. By traveling around the first level, the player learns about Sartorius' shady medical reputation, his interest in the macabre, his sadomasochistic streak and his obsession with a beautiful woman (Alexandria's mother) whom he "treated" and eventually killed. Only the Reception Room, Records Room and the Examination Room are open to the player on this level -- all others are locked. The player also learns that Sartorius conducted weird experiments — and learns clues to the location of the Alchemy lab. Suspecting that the lab may be on the floating platform, the player realizes that his goal is to find hekey to the main elevator, ascend the elevator, find the secret elevator and reach Sartorius' Alchemy Lab. Abandoning the Asylum A floating model of the planet Jupiter at the point the player arrives at the Asylum serves as the portal back to the Temple — the player can click on it at any time and return to the Orrery. Clicking on the planet dissolves the player back to the temple space [qt_actor]. Any objects carried at that time will be dropped on the floor of the platform for later retrieval. |
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| 12.04 Reception Room The player enters the Asylum portal via a small porch on the exterior of the structure above the surface of the ice. When the player enters the Reception Room, he sees two enormous medical illustrations on the walls to the right and left as well as some impressive diplomas from Zork medical schools [text_actors], including a D. T. (Doctor of Thaumaturgy) degree from GUE Tech. INSERT CLUE TO ASYLUM ALCHEMY PUZZLE IN THIS ROOM There are other odd pieces of decor such as a photo of Dr. Sartorius grinning deviously as he performs a disturbing medical experiment and an alarming sketch of medical anomalies. |
12.04 Reception Room This room includes:
The player enters the Asylum portal via a small porch on the exterior of the structure above the surface of the ice. When the player enters the Reception Room, she sees two enormous medical illustrations on the walls to the right and left as well as some impressive diplomas from Zork medical schools [text_actors], including a D. T. (Doctor of Thaumaturgy) degree from GUE Tech. Dedication Plaques Beside the doorway into the rest of the Asylum, a large plaque reads, "Dedicated to My Sister Lucretia, Struck Down By the Madness of God. 680. Duncanthrax." [text_actor] On the other side of the door way, a second plaque says, "Statement of Purpose: To fill the darkest corners of the human mind with the sweet air of Reason. Although many of the devices herein may seem cruel, let us remember that this is done with the understanding that people may be cured. Man must never abandoned his fellow man, even beyond the borders of the sane." A steel double door blocks entrance to the rest of the asylum. A sign on the door reads, "Authorized Entry Only. All Visitors Must Register With the Reception Desk" [text_actor]. On the right wall, a desk faces into the room. The Door Eager to advance to the rest of the Asylum, the player heads for the double doors. When the player steps in front of the door, a melodious voice sounds, "Visiting hours are over" [audio_actor]. The doors will not open. Beside the door is a slot in the wall. Curious, the player clicks on the bowl. She sees a close-up of it. The bowl is empty. The Desk Unable to open the doors, the player examines the sign on the door. She concludes that she must register as a visitor, so she heads for the desk. When she reaches the desk, she notices a large metal bound book on the near edge. At the far side she sees an grey metal machine a red button and a machine like an old credit card recorder. From the west side of the desk, only the metal book is active. A sign on desk says, "After Hours. Emergency Admittance Only." [text_actor] The Book The player clicks on the book; the book opens at the same time her POV zooms towards the open book. The first page of the book says, "Erasmus Sartorius Psychopathology Self-Diagnosis Benchmark" [text_actor]. The pages appear to be made of metal. At the edge of the book is a steel pencil chained by the thick wire to the inside of the book. Up the right side of the pages is a vertical bar filled with square holes such as one sees in a voting booth. Starting the Exam At the bottom of the first page, the player reads, "Begin," [text_actor] and the hole beside this is active. When she clicks on it, the page animates, and a tiny metal arm turns the page [animation_actor]. Page One The player sees a charcoal sketch of a dog barking. Beneath the sketch are three lines of text, which say: 1. "A dog barking
joyfully, man's best friend" [text_actor]
2. "A child screaming for help" [text_actor] 3. "You can't test for human nature" [text_actor] The three square holes next to each line are active. When she clicks on one, the page turns [animation_actor]. Page Two The player sees a photo of a beached whale. Three lines of text say: 1. "Our friend, the
whale." [text_actor]
2. "A foolish mammal who like all men deserved his fate." [text_actor] 3. "You can't manipulate my sympathy." [text_actor] The squares are active. When she clicks on one, the page turns. Page Three The player sees a sketch of two people kissing. Three lines of text say: 1. "Sweet love, the
thing of spring." [text_actor]
2. "And then, so soon, the ripping and tearing of birth." [text_actor] 3. "You can't hold human emotion within reason." [text_actor] The three square holds beside the text are active. When the player clicks on an answer, the book closes. She hears: "Please wait while your answers are evaluated." [audio_actor]. The Right Answer When the player answers with answer three to all questions, she hears the melodious voice say: "Code 5. Code 5. Security attendants to Reception. Security attendants to Reception. Reception Nurse, admit patient immediately. Reception Nurse, admit patient immediately. This message will not repeat. This message will not repeat." [audio_actor]. The book is no longer active. The Wrong Answer One If the player answers any questions with answer one, she hears, "Please return during visiting hours. Patient impersonation is forbidden." [audio_actor] The book is still active. The Wrong Answer Two If the player answers all questions with answer two or with a combination of answer two and answer three, she hears, "Please return for a consultation during business hours. We accept all major coverage plans." [audio_actor]. The book is still longer active. Admitting the Patient Despite the announcement, no attendant arrives, and soon the player realizes that the Asylum is no longer staffed. While she is not about to be put in a straight-jacket, she realizes that she still needs to get inside the Asylum and that to do so, she will need to be admitted. As the announcement said, she needs a Reception Nurse. Selecting Payment Below the book is a sign: "Form of Payment" [text_actor]. Beneath the sign is a slot. Below the slot is a channel for sliding a card through (as in some supermarkets). Beside the channel is a sign, "Slide Coverage Card." [text_actor]. There is a button below the channel. The Button The button is labeled: "For charity, press here' [text_actor]. When the player presses the button, she hears, "Charity Case Admitted" [audio_actor]. A card pops out of the slot. The card is active. When the player clicks on it, it becomes her cursor [cursor-object]. Unlocking the Door Remembering the slot beside the door, the player takes the card and inserts it into the door's slot. She hears a sexy male voice say, "Welcome to the Asylum, a non-profit institution. We hope your stay will be a pleasant one" [audio_actor]. The door is now active. If she clicks on it, it opens and she passes through before the door shuts again [animation-actor]. From now on, the door is active and will always open. When the player exits through the door, she will hear: "Warning. Warning. Code 5 Patients should be accompanied by a attendant at all times" [audio_actor]. She will hear the greeting again if she then re-enters. Solving the Door Puzzle
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DIPLOMA At the honorable city of Borphee, The Great Underground Empire Institute of Technology hereby presents Erasmus Sartorius a Doctorate in The Science of Enchantment, Jam 7, 918 The Esteemed Gurtho Zilbot DIPLOMA #2 Dr. Sartorius Antharia University By the authority vested in this institution by His Royal Highness Idwit Oogle Flathead you are honored with a degree in Home Thaumauturgy and Science. Jam 23, 915 GUE FRAMED EXPULSION LETTER Dearest Mr. Sartorius, Although we understand your need to pursue a meaningful curriculum, we strongly object to being called "fat, flat-headed brogomoids." Therefore, I must inform you that, in the name of the Moss League of Colleges, you are hereby expelled. Have a nice day, Dr Belzork Anthrax, President of Galepath University, of the Moss-League Universities Ottobur 11, 914 DEDICATION PLAQUES (1 dedication plaque with drawing) Beside the doorway into the rest of the Asylum, a large plaque reads, "Dedicated to My Sister Lucretia, Struck Down By the Madness of God. 680. Duncanthrax." [text_actor] On the other side of the door way, a second plaque says, "Statement of Purpose: To fill the darkest corners of the human mind with the sweet air of Reason. Although many of the devices herein may seem cruel, let us remember that this is done with the understanding that people may be cured. Man must never abandoned his fellow man, even beyond the borders of the sane." |
For the "two enormous medical illustrations," I recommend dissections, cross-sections, or skeletal or muscular diagrams of perhaps a brogmoid, a platypus, or a dornbeast such as the one pictued in the Beyond Zork and Sorcerer packaging. For the Doctor of Thaumaturgy degree from GUE Tech, I think that given what we've been assuming about the age of the respective characters, the date of this degree is likely to be sometime previous to the 880s, and could probably have some comment: "By the authority vested in this institution by His Royal Highness Idwit Oogle Flathead," or something similar. For his undergraduate work, or the Quendoran equivalent, it is possible that he began at the more prestigious Galepath University, but was forced to leave under mysterious circumstances, finishing his work at Antharia University. It would not be out of keeping with his twisted personality to have put his Galepath University expulsion letter on display next to his diplomas. This could hint at some of his sadistic experiments, with a date as early as the 860s. |
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| 12.05 The Courtyard The player leaves the Reception Room and from here can enter the First Level Catwalk. In order to go into any other open room or to the elevator, the player must walk around this catwalk. The player will see that there are many floors above the first level and one floor below. If she looks down from the catwalk to the center of the column she will see a large fan spinning below. This is this fan which apprently keep the steel balls and platofrm floating. A large steel ball with the number "1" stenciled on it floats gently in the column of air in the center of the courtyard. |
12.05 The Courtyard The player leaves the Reception Room and from here can enter the First Level Catwalk. In order to go into any other open room or to the elevator, the player must walk around this catwalk. The player will see that there are many floors above the first level and one floor below. If she looks down from the catwalk to the center of the column she will see a large fan spinning below. This is the fan which apparently keeps the steel balls and platform floating. A large steel ball with the number "1" stenciled on it floats gently in the column of air in the center of the courtyard. |
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| 12.06 The Elevator An ornate elevator follows a track up the inside wall of the tube. The player sees the elevator at rest with its door open. The player enters the elevator then turns to see the elevator control panel. To panel consists of a vertical row of brass buttons marked "B" through "20". Next to each button is a key slot with two designations: ON and OFF. Only the "1" and "B" buttons are highlighted and contain keys switched to the ON position. These keys cannot be removed. Clicking on the key slots or on the other buttons is useless without a key. The player realizes that to go to the upper floors she must find the key to operate the elevator. If the player wishes she may press "B" which will take her to the Basement Level. |
12.06 The Elevator An ornate elevator follows a track up the inside wall of the tube. The player sees the elevator at rest with its door open. The far wall of the elevator is made of glass. Through the wall the player can see the wintery wasteland outside of the Asylum. The player enters the elevator then turns to see the elevator control panel. The panel consists of a vertical row of brass buttons marked "B" through "20". Next to each button is a key slot with two designations: ON and OFF. Only the "1" and "B" buttons contain keys switched to the ON position. These keys cannot be removed. Clicking on the key slots or on the other buttons is useless without a key. The player realizes that to Igo to the upper floors she must find the key to operate the elevator. If the player wishes she may press "B" which will take her to the Basement Level. When she clicks on "B", the elevator will descend; through the wall of glass, she sees the ground rising towards her [animation_actor], |
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| 12.07 Records Room As the player explores the Level 1, she will see a door marked "RECORDS" [text_actor]. If she clicks on this door it will swing open silently on its hinges to reveal the room beyond [animation_actor]. The Records Room is filled with stacks of old newspapers bound in twine and dusty shelves overflowing with outdated medical journals and worm-eaten medical texts. In the center of the room is an enormous fan set into the floor. A narrow walkway strewn with file drawers circles the fan. Rack upon rack of dark wooden file cabinets with countless drawers fill the walls of the room from floor to ceiling. Some drawers have missing handles, others have yellowed files spilling out of them. As the player enters the Records Room, a sudden gust of wind [audio_actor] causes a file from one of the cabinets to flutter to the floor at the player's feet [animation actor]. If the player clicks on this file she will see it fill the player's POV and open [animation_actor] to reveal a two-page record and photo of a woman named Zoe Wolfe. The record indicates the woman died. This file is mostly unreadable except for a small checked box with the words "obstetrical subject" [text_actor] next to it. A line next to that box reads "implant successful" [text_actor]. If the player approaches the top files of the stacks of documents strewn along the walkway and looks down, she will see words like "died mysteriously", "died trying to escape", "died of blows to the head — source unknown", "cause of death undetermined" [text_actors]. However, she will not be able to pick any files from the stacked piles. |
12.07 Records Room As the player explores Level 1, she will see a door marked "RECORDS" [text_actor]. If she clicks on this door it will swing open silently on its hinges to reveal the Records Room [animation_actor]. The Records Room is filled with stacks of old newspapers bound in twine and dusty shelves overflowing with outdated medical journals and worm-eaten medical texts. In the center of the room is an enormous fan set into the floor. A narrow walkway strewn with file drawers circles the fan. Rack upon rack of dark wooden file cabinets with countless drawers fill the walls of the room from floor to ceiling. Some drawers have missing handles, others have yellowed files spilling out of them. There are 5~6 files total. As the player enters the Records Room, a sudden gust of wind [audio_actor] causes a file from one of the cabinets to flutter to the floor at the player's feet [animation_actor]. If the player clicks on this file she will see it fill the player's POV and open [animation_actor] to reveal a two-page record and photo of a woman named Zoe Wolfe. The record indicates the woman died. This file is mostly unreadable except for a small checked box with the words "obstetrical subject" [text_actor] next to it. A line next to that box reads "implant successful" [text_actor]. If the player approaches the top files of the stacks of documents strewn along the walkway and looks down, she will see words like "died mysteriously", "died trying to escape", "died of blows to the head — source unknown", "cause of death undetermined" [text_actors]. However, she will not be able to pick any files from the stacked piles. |
BOOKS
ZOE WOLFE FILE File: Zoe Wolfe: (photo of Zoe Wolfe for internal file) Healthy female; 25. obstetrical subject, implant successful Death of natural causes |
For the titles of the outdated medical journals, I recommend:
For the worm-eaten medical texts, I recommend:
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| 12.07.02 The Records Room
Continued The player can continue to explore and click on files from the open file drawers strewn about the floor. One file is marked "Lucien Kaine." The left-hand page is unreadable from the accumulated grime, but the attached photo looks vaguely like the Nemesis. On the right-hand page, most of the text is smudged with grime and is unreadable, but the words "mental anomaly" and "father concerned" [text_actor] can be clearly read. The player can click on the file to reveal a letter beneath it. Letter from Kaine: Dr. I am writing
concerning an uncomfortable matter. My
son, Lucien, has been behaving strangely. It appears he is infatuated
with Alexandria and nothing I say or do can deter him. He is close to
fanatical about the subject--spends days in a room painting her image
over and over. He is obsessed. We have never had any such behavior in
the Kaine family and I am unclear how to handle him. If his mother were
still alive, she would know how to handle matters of the heart. As for
myself, I have no solution. Please I ask for your help and
recommendations.
If the player clicks on the file again, it will fall to the floor [animation_actor], and the player is free to explore the records room further or look at the file again later. The record cannot be carried. One file drawer looks neater than the rest. If the player approaches it she can click on it to open the drawer [animation_actor]. She will see four file folders labeled "Malveaux," "Sophia," "Kaine, Sr." and "Lucien Kaine." If the player clicks on the Malveaux folder, it will open [animation_actor] to reveal a medical record. Inside are three letters in succession [text_actors] which the player can click on to leaf through: Letter 1 from Malveaux: I find
myself getting weaker and I find I have strange fevers which leave me
sweating profusely. At nights, I burn as if on fire. I thought I would
be ready for death. I have spent my life preparing for the afterlife.
But in my heart I am not prepared. I am ready to do experiments, risky
as they may be. My mind is open.
Letter 2 from Malveaux: Thank you
doctor. You are truly a misunderstood genius. For the first time in
many months, I have hope of a life without pain.
Letter 3 from Malveaux: I believe doctor
that we have discovered a science and
philosophy that will relieve of us of the binds of mortality and our
bodies. It is a science that will surely transform the world.
The player can examine the folder and notice that Lucien has been examined and treated. He was also proscribed "Prozork" and diagnosed as having obsessive disorder. |
The Files in the Record Room The player can continue to explore and click on files from the open file drawers strewn about the floor. One file is marked "Lucien Kaine." The left-hand page is unreadable from the accumulated grime, but the attached photo looks vaguely like the Nemesis. On the right-hand page, most of the text is smudged with grime and is unreadable, but the words "mental anomaly" and "father concerned" [text_actor] can be clearly read. The player can click on the file to reveal a letter beneath it. Letter from Kaine: Dr. I am
writing concerning an uncomfortable matter. My son, Lucien, has been
behaving strangely. It appears he is infatuated with Alexandria and
nothing I say or do can deter him. He is close to fanatical about the
subject--spends days in a room painting her image over and over. He is
obsessed. We have never had any such behavior in the Kaine family and I
am unclear how to handle him. If his mother were still alive, she would
know how to handle matters of the heart. As for myself, I have no
solution. Please I ask for your help and recommendations.
If the player clicks on the file again, it will fall to the floor [animation_actor], and the player is free to explore the records room further or look at the file again later. The record cannot be carried. One file drawer looks neater than the rest. If the player approaches it she can click on it to open the drawer [animation_actor]. She will see four file folders labeled "Malveaux," "Sophia," "Kaine, Sr.", "Lucien Kaine," and "Patient X." If the player clicks on the Malveaux folder, it will open [animation_actor] to reveal a medical record. Inside are three letters in succession [text_actors] which the player can click on to leaf through: Letter 1 from Malveaux: I find myself
getting weaker and I find I have strange
fevers which leave me sweating profusely. At nights, I burn as if on
fire. I thought I would be ready for death. I have spent my life
preparing for the afterlife. But in my heart I am not prepared. I am
ready to do experiments, risky as they may be. My mind is open.
Letter 2 from Malveaux: Thank you doctor.
You are truly a misunderstood
genius. For the first time in many months, I have hope of a life
without pain.
Letter 3 from Malveaux: I believe doctor
that we have
discovered a science and philosophy that will relieve of us of the
binds of mortality and our bodies. It is a science that will surely
transform the world.
The player can examine the folder and notice that Lucien has been examined and treated. He was also prescribed "Prozork" and diagnosed as having obsessive disorder. The "Patient X" folder is active. If she clicks on it, she see a mutilated page covered in crayon as if by an angry child. She can just make out "evil," "bloated stomach," "gaseous humors out of balance. Helium injection should empty excess liquid." This note is misdirection to obscure the true identity of the Nemesis as well as a hint to the final alchemy puzzle. |
AB2EB31 Font: Rage Italic Lucien Kaine file (photo of Lucien for internal file) AB2EB21 File: Malveaux: (photo) Font: Rage Italic Augur 5, 923 Dear good doctor, I find myself getting weaker and I find I have strange fevers which leave me sweating profusely. At nights, I burn as if on fire. I thought I would be ready for death. I have spent my life preparing for the afterlife. But in my heart I am not prepared. I am ready to do experiments, risky as they may be. My mind is open. Yours truly, F. Malveaux AB2EB31 Font: Rage Italic Estuary 20, 924 Thank you doctor. You are truly a misunderstood genius. For the first time in many months I have hope of a life without pain. Knowing our need for further apprentices, I spoke to Madame Sophia of the Frigid River Branch Conservatory. I believe she is the perfect person to assist us in our quest. Francois AB2EB41 Font: Rage Italic Dear Erasmus, I believe doctor that we have discovered a science and philosophy that will relieve of us of the binds of mortality and our bodies. It is a science that will surely transform the world. Francois Misdirection File (photo is black) The “Patient X” folder is active. If she clicks on it, she see a mutilated page covered in crayon as if by an angry child. She can just make out “evil,” “bloated stomach,” “gaseous humors out of balance. Helium injection should empty excess liquid.” This note is misdirection to obscure the true identity of the Nemesis as well as a hint to the final alchemy puzzle. |
Estuary 20, 924 Thank you doctor. You are truly a misunderstood genius. For the first time in many months I have hope of a life without pain. Knowing our need for further apprentices, I spoke to Madame Sophia – perhaps you know? – of the Frigid River Branch Conservatory. I believe she is the perfect person to assist us in our quest. Francois Dear Erasmus, I cannot sleep -- the weight of invention presses upon me. I believe, Doctor, that we have discovered a science – a philosophy -- that will relieve of us of the binds of mortality and of our bodies. It is a science that will surely transform the world -- Yoruk will praise this Great Work! Francois |
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| 12.07.01 The Inspection Area The player can make her way around the narrow walkway surrounding the rotating fan. If the player follows the walkway it will lead to a staircase down to a small circular room below the giant fan. This is the Inspection Area and the first of many sites of Sartorius' diabolical experiments. A narrow walkway leads to a small circular platform directly below the fan. |
12.07.01 The Inspection Area In the Record Room, the player can also make her way around the narrow walkway surrounding the rotating fan. If the player follows the walkway it will lead to a staircase down to a small circular room below the giant fan; the player clicks to descend down the stairs and past the fan [animation_ actor]. This is the Inspection Area and the first of many sites of Sartorius' diabolical experiments. A narrow walkway leads to a small circular platform directly below the fan. |
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| 12.07.02 Hallucination: Sartorius
Finds a Host The player enters the inspection area of the Records Room and sees an elaborate flashlight standing on its lens end on top of a table to the left of the doorway. If she clicks on the table we get a CLOSE-UP the flashlight. When the player clicks on the close-up of the flashlight it lights up, elevates and rotates. As it rotates towards the player, she HEAR A MASSIVE SWITCH engage as the flashlight switches on. Its blinding light fills the screen. The player's view DISSOLVES into a view of the room from the area between the two doors into the inspection area. A slowly rotating fan set into the ceiling intermittently breaks the light from above the scene giving it an eerie strobe-like quality. The same flashlight is now in CLOSE-UP in Sartorius' hand as he points its light toward the CAMERA. He moves the light to below his face (still in CLOSE-UP) giving him a sinister appearance. As he turns away, we CUT TO a MEDIUM SHOT of THREE FEMALE PATIENTS in flimsy hospital gown stand in a row. One is barely out of her teens, one is in her mid-twenties, the other in her early thirties. They are all lunatics. The YOUNGEST PATIENT picks imaginary insects off her body, throws them to the floor and steps on them - incessantly - so that she is in constant, tormented movement, accompanied by little moans. She is well groomed and clean, but her features are extreme. THE OLDEST PATIENT is heavyset, with a fixed gaze on a plastic doll that she cradles in her arms, twirling its artificial hair, as she rocks, humming. The third, ALEXANDRIA'S MOTHER, ZOE WOLFE, has filthy, matted hair, a smudged face, a mud-caked body - but she's gorgeous. Her paranoid eyes are fixed on a spot on the floor; her arms are crossed over her breasts, shielding them. She is also wearing a beautiful locket. SARTORIUS places his fingertips on the first patient's head and conducts a phrenological examination. He jots notes on a clipboard that hangs by a chain around his neck. He performs the same examination on the other patients, feeling bumps and jotting notes. Finally, he stands in front of Alexandria's mother, still writing. He notices the locket around her neck and looks at her thoughtfully. As the scene ends we DISSOLVE to our original POV of the table and flashlight. |
12.07.02 Hallucination: Sartorius
Finds a Host The player enters the inspection area of the Records Room and sees an elaborate flashlight standing on its lens end on top of a table to the left of the doorway. If she clicks on the table we get a CLOSE-UP of the flashlight. When the player clicks on the close-up of the flashlight, it lights up, elevates and rotates. As it rotates towards the player, she HEARS A MASSIVE SWITCH engage as the flashlight switches on. Its blinding light fills the screen. The player's view DISSOLVES into a view of the room from the area between the two doors into the inspection area. A slowly rotating fan set into the ceiling intermittently breaks the light from above the scene giving it an eerie strobe-like quality. The same flashlight is now in CLOSE-UP in Sartorius' hand as he points its light toward the CAMERA. He moves the light to below his face (still in CLOSE-UP) giving him a sinister appearance. As he turns away, we CUT TO a MEDIUM SHOT of THREE FEMALE PATIENTS in flimsy hospital gown stand in a row. One is barely out of her teens, one is in her mid-twenties, the other in her early thirties. They are all lunatics. The YOUNGEST PATIENT picks imaginary insects off her body, throws them to the floor and steps on them - incessantly - so that she is in constant, tormented movement, accompanied by little moans. She is well groomed and clean, but her features are extreme. THE OLDEST PATIENT is heavyset, with a fixed gaze on a plastic doll that she cradles in her arms, twirling its artificial hair, as she rocks, humming. The third, ALEXANDRIA'S MOTHER, ZOE WOLFE, has filthy, matted hair, a smudged face, a mud-caked body - but she's gorgeous. Her paranoid eyes are fixed on a spot on the floor; her arms are crossed over her breasts, shielding them. She is also wearing a beautiful locket. SARTORIUS places his fingertips on the first patient's head and conducts a phrenological examination. He jots notes on a clipboard that hangs by a chain around his neck. He performs the same examination on the other patients, feeling bumps and jotting notes. Finally, he stands in front of Alexandria's mother, still writing. He notices the locket around her neck and looks at her thoughtfully. As the scene ends we DISSOLVE to our original POV of the table and flashlight. |
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| 12.08 Examination Room Returning through the central courtyard, the player enters the Examination Room. As the player enters the room she notices a narrow table with 4 embalmed human heads sitting on it. Various engraved plaques indicate the source of the head -- FUGITIVE, MURDERER, THIEF, CHILD STEALER [text_actors]. In the center of the table above a blank plaque is an empty space for a fifth head. The player can click on any of the 4 heads or on the empty space to get a CLOSE-UP of that particular head or of the empty space. In the center of the table is a pencil-like probe which sends out sparks and gives an electrical hiss when the player clicks on it. When the player clicks on the empty space with the SEVERED HEAD cursor object, a CG head appears in the empty space. Its brain is partially exposed and its face looking down. When the player looks down at the head and clicks on it, it MORPHS into a SEVERED HEAD and JERKS UP to face the player. The player can probe the areas of the exposed brain corresponding to longterm memory, aggression, love, sex, reason, and short-term memory as marked on the ceramic head. The head responds as follows: SEVERED HEAD
Guy was scheduled for a lobotomy. He wanted out, stole a key, how crazy is that? Guards caught him. Strip search time. He did the only thing he could do. (simulates
swallowing and gagging sounds)
Works for me.
SEVERED HEAD
Come on, right here, you want a piece of me, right here, right now!(aggressive) SEVERED HEAD
I'll chew your freaking face off.SEVERED HEAD
God, you're beautiful.SEVERED HEAD
Come in a little closer, okay? I think I love you. 36-24-36.SEVERED HEAD
Heads are parts of bodies. I am a head. Thus, it would be only logical
to conclude that I must be part of a body.(looks at himself -
a beat)
I must also infer that a different part of my brain must be feeling
rather concerned about this issue right now.SEVERED HEAD
Reminds me of a joke. Knock-knock. (looks at us,
startled)
Who's there? Hello? Is anybody there?(confused)
Hey -- is this some kind of a joke?After each speech the Severed Head nods asleep and MORPHS back into CG head. Once the Severed Head is on the shelf, the player may not remove it. Hearing the stomach clue, the player will attempt to retrieve the key by x-raying the stomach (see above). |
12.08 Examination Room Returning through the central courtyard, the player enters the Examination Room. As the player enters the room she notices a narrow table with 4 embalmed human heads sitting on it. Various engraved plaques indicate the source of the head -- FUGITIVE, MURDERER, THIEF, CHILD STEALER [text_actors]. In the center of the table above a blank plaque is an empty space for a fifth head. The player can click on any of the 4 heads or on the empty space to get a CLOSE-UP of that particular head or of the empty space. In front of the empty space is a long box. Six morse code type switches are set on top of the box, and pairs of wires run away from each of these switches. The player also notices a ceramic brain. The brain is turned away from the player so that she can see the details of the brain's shape. Lines are drawn on the brain to divide it into difference sections, and each section is labeled: long-term memory, aggression, love, sex, reason, and short term memory. This is a clue for how to interact with the severed head from the Morgue. Returning from the Morgue to the Examination Room After getting the head from the Morgue (see below), the player remembers the empty space in the Examination Room. Carrying the head as her cursor, she clicks on the empty space with the SEVERED HEAD [cursor_object]. A CG head appears in the empty space with six wires stuck into its partially exposed brain. When the player looks closely, she notices that each wire corresponds to one of the section of brain mapped out on the ceramic head. Each wire is connected to morse code type switch. The head is active. When the player looks down at the head and clicks on it, it MORPHS into a SEVERED HEAD and JERKS UP to face the player [animation_actor]. All six switches are now active. If the player clicks on a switch, she will hear one of the areas of the exposed brain corresponding to long-term memory, aggression, love, sex, reason, and short-term memory as marked on the ceramic head. The head responds as follows: SEVERED HEAD
(LONG-TERM MEMORY)
Guy
was scheduled for a lobotomy. He wanted out, stole a key, how crazy is
that? Guards caught him. Strip search time. He did the only thing he
could do.(simulates
swallowing and gagging sounds)
Works for me.SEVERED HEAD
(AGGRESSION)
Come on, right here, you want a piece of me, right here, right now!(aggressive) SEVERED HEAD (STILL
AGGRESSION)
I'll chew your freaking face off.SEVERED
HEAD (SEX)
The head's mouth parts. His tongue runs across his lips. His voice
drops, low and sexy.God, you're beautiful. SEVERED HEAD (LOVE)
Come in a little closer, okay? I think I love you. 36-24-36.SEVERED HEAD
(REASON)
Heads are parts of bodies. I am a head. Thus, it would be only logical
to conclude that I must be part of a body.(looks at himself -
a beat)
I must also infer that a different part of my brain must be feeling
rather concerned about this issue right now.SEVERED HEAD
(SHORT-TERM MEMORY)
Reminds me of a joke. Knock-knock.(looks at us,
startled)
Who's there? Hello? Is anybody there?(confused)
Hey -- is this some kind of a joke?After each speech the Severed Head nods asleep and MORPHS back into CG head. Once the Severed Head is on the shelf, the player may not remove it. Hearing the stomach clue, the player will attempt to retrieve the key by x-raying the stomach (see above). |
Diagrams of heads and brains plaques Plaques: PSYCHOTIC, AMNESIAC, GENIUS, PACIFIST |
It might be amusing to have an embalmed Flathead labeled "KING". |
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| 12.08.01 Zork X-Ray Machine The X-ray machine is located in a small alcove at the far end of the Examination Room. The machine consists of a large hanging tube like an old-fashioned dentist's x-ray, a squat cylindrical sample holder, a rotational device and a viewport. The rotation device automatically selects body parts held in sample jars for the player to x-ray. If the player clicks on the rotational device it will place a jar in the sample holder and the player can see its contents through the viewport--hazy green images of the organs inside. The player can click on the machine once again to automatically retrieve the jar and place it back on the endless circular chain of body parts, leaving the sample holder empty until the player clicks on the the rotating machine once again. In this way, the player can review every body part contained in the rotating device. On a shelf near the x-ray machine is a small wooden box which turns into a cursor object when the player clicks on it. The box contains an old-fashioned circular combination lock with tick marks "1" through "60". The player can click and the drag the dial to the right and left [animation_actor]. Once a jar has been x-rayed, the player can click on it on the rotational device and it will become a cursor object. If the player places the locked box in the empty sample holder in the x-ray machine, the viewport shows that the box contains a container with a stomach. Scatched into the inner walls of the box behind the stomach the player sees two numbers; the first 3 numbers appear to be blocked by part of the stomach. Inside the stomach is a key. The last two numbers are "20 and "18." By clicking on this jar the player will pick up the stomach containing the key [cursor_object]. The player can take it to the boiling jar to dissolve away the stomach and recover the skeleton key. The stomach jar itself is left behind in the X-ray machine until another jar is X-rayed. If the player wishes to review any of the sample jars later, she can click on the turntable and it will rotate clockwise. There are as many spaces in the holder as there are jars (plus one extra space for the box jar). If the player clicks on the area surrounding the machine, the jar is left in the machine, but the player's view returns to the normal one. |
12.08.01 Zork X-Ray Machine The X-ray machine is located in a small alcove at the far end of the Examination Room. The machine consists of a large hanging tube like an old-fashioned dentist's x-ray, a mechanical arm, a rotational device filled with jars like a very large spice rack, and a viewport. There is a jar in the sample holder. From beneath the rotational device, a suction tube extends into the room. The machine is active. When she clicks on the machine, she sees a close-up of it. There are three buttons on the X-ray machine. All three are active. If she clicks on the first button, the arm animates, reaches down and grabs the jar; the arm lifts the jar to the opening of the suction tube, and with a swoosh, the jar is sucked into the machine; [animation_actor]. The sample holder is now empty. When the player clicks on the second button, the arm animates again; it takes the farthest left jar from the rotational device and places the jar in the sample holder; then the rotational device turns to the left so that the device is again entirely filled with jars [animation_actor]. THIS PREVENTS STATE CHANGE. When the player clicks on the third button, the X-ray machine charges and begins to glow; the player can see through whatever sample is in the sample tray [animation_actor]. The Box On a shelf near the x-ray machine is a small wooden box which turns into a cursor object when the player clicks on it. The box contains an old-fashioned circular combination lock with tick marks "11" through "60". The player can click and the drag the dial to the right and left [animation_actor]. X-Raying the Locked Box If the player places the locked box in the empty sample holder in the x-ray machine and activates the X-ray machine, the viewport shows that the box contains a square jar containing a stomach. Scratched into the inner walls of the box behind the stomach the player sees two numbers; the first 3 numbers appear to be blocked by part of the stomach. The last two numbers are "20 and "18." Inside the stomach the player can also see a key. Opening the Box With these last two numbers and the three numbers from the severed head (36-24-36) the player can open the box. The complete combination to the box is 36-24-36-20-18. The player must open the box while it is in the sample holder. The Box Unlocked By clicking on this jar, it will become the player's cursor [cursor_object]. The jar contains a stomach which contains the key to the 20th Floor. The player can take the jar to the boiling jar to dissolve away the stomach and recover the skeleton key. If the player wishes to review any of the sample jars later, she can click on the turntable and it will rotate clockwise. There are as many spaces in the holder as there are jars (plus one extra space for the box jar). If the player clicks on the area surrounding the machine, the jar is left in the machine, but the player's view returns to the normal one. |
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| 12.08.02 Boiling Machine In another part of the room, there is a barrel-shaped burner with a large glass jar filled with a transparent liquid sitting on an iron tripod over a gas burner. Inside the liquid, at the bottom of the jar, is a liver. A prominent lever has two markings, OFF and ON. If the player clicks the lever ON, the flame ignites and the liquid immediately begins boiling [qt_actor]. As the beaker bubbles, the liquid in the jar tuns red and the liver is no longer visible. After ten seconds, the flame dies down, and the liquid turns clear. The liver has dissolved. Once the contents have dissolved, a mechnical arm takes the jar and dumps it into a covered bin labelled "GUE MUNICIPAL RECYCLING PROGRAM BIN XCB76/455.123AQ" [text actor]. If the player places the combination-dial box in the burning liquid it won't burn and the mechanical arm will not retrieve it for recycling The player must click on the box (changing it back into a cursor_object) and return the box to its original position. Next she must open it using the correct combination (the 3 numbers from the Severed Head "36-24-36" plus the 2 numbers from the peice of paper seen in the x-ray of the box "20-18.") The box lid pops open, revealing the jar with the stomach inside. The player then clicks on the jar [cursor_object] and puts it on the boiling station. The player can take the stomach [cursor_object] and click on the boiling jar, transferring it to the jar. The stomach sinks to the bottom of the jar [animation_actor]. Once again, the player must click on the Bunsen burner to activate the flame and boil the liquid. This time, the stomach tissue disintegrates, and a key drops to the bottom of the jar [qt_actor]. If the player puts the stomach in with the liver, the first burn will also reveal the key while dissolving the stomach and liver [animation actor]. The player cannot get to the key without the tongs. If the player clicks on the tongs, they will reach into the jar and attempt to pull out any object in the jar [animation_actor]. If the player tries to remove an organ from the jar without boiling it away, it will slip off just as the tongs reach the liquid surface, and sink down once again [animation_actor]. If the player clicks on the key with the tongs the key will replace the tongs as the cursor object and the tongs will fall to the floor. Clicking on the key tuns it into a [cursor_object] which the player can use to operate the elevator to access the other levels of the Asylum above the ground floor and Basement.. |
12.08.02 Boiling Machine In another part of the room, there is a barrel-shaped gas burner. A tripod straddles the burner, and sitting on the tripod is a large glass vat filled with a murky liquid. Beside the burner, a mechanical arm extends from the rim of a wheel. Beneath the wheel is a covered bin labeled, "GUE MUNICIPAL RECYCLING PROGRAM BIN XCB76/455.123AQ" [text_actor]. The hand of the arm is active. Noticing that the hand is the perfect size to hold a jar, the player takes a jar from the refrigerator or from the X-ray machines and clicks on the hand. The hand animates and grabs onto the jar; the wheel turns and lifts the arm in a long arc; as the arm passes twelve o'clock, the centrifugal force of the wheel flings the contents of the jar into the vat; the wheel continues to turn, and when the arm passes over the bin, the lid opens and the hand releases the jar, which falls into the bin [animation_actor]. No matter the number of jars dumped into the van, the liquid is too murky to see any difference. THIS PREVENTS STATE CHANGE. Near the vat, a prominent lever has two markings, OFF and ON. The lever is active. If the player clicks the lever ON, the flame ignites and the liquid immediately begins boiling [animation_ actor]. As the beaker bubbles, the liquid in the jar tuns red and the liver is no longer visible. After ten seconds, the flame dies down, and the liquid turns clear. After Opening The Box After opening the box, the player can take the jar with the stomach and click on the mechanical hand. The arm flings the contents of the jar into the vat, then drops the jar into recycling. The stomach disappears into the murk [animation_actor]. Once again, the player must click on the lever to activate the flames and to boil the liquid. The liquid clears and the player can see something glinting at the bottom of the vat [qt_actor]. (THIS GLINT IS ONLY VISIBLE FROM THE FLAT VIEW AND DOES NOT CREATE A STATE CHANGE.) If the player now clicks on the vat, she sees an over-view of it; inside the vat she can see a key. The key is active. When she clicks on the key, it becomes her cursor [cursor_object]. The player can use the key to operate the elevator to access the 20th Floor of the Asylum above the ground floor and Basement.. |
The boiling machine label is very realistic. |
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| 12.09 Basement Level Passing once again through the courtyard the player enters the elevator. If the player has the key from the stomach jar she can insert the key into the key slot only next to the button for Floor 20. She must clik on the inserted kley to turn it ON. The button for floor "20" will light up, but the others will remain dim. The player presses button 20 and trvels to the twentieth floor. The button marked "B" is continuously lit and the player can press it to access the Basement Level. |
12.09 Basement Level Passing once again through the courtyard the player enters the elevator. If the player has the key from the stomach jar she can insert the key into the key slot only next to the button for Floor 20. She must click on the inserted key to turn it ON. The button for floor "20" will light up, but the others will remain dim. The player presses button 20 and travels to the twentieth floor. The button marked "B" is continuously lit, and the player can press it to access the Basement Level. |
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| 12.10 Skull Crypt Stepping out from the elevator car, the player finds herself on a catwalk simlar to the one on Floor 1. The only doorway is on the far side of the catwalk. As the player enters she sees a large rectangular room without windows. In the center of the room is a large box-like structure with hundreds of niches containing skulls. The purpose of the room was for the study of criminally insane skull shapes and sizes — the researchers of the Asylum believed that insanity could be understood from studying the skull. Each niche bears an individual label. Through the center of this structure is a short tunnel. In the center of the tunnel to the player's right is a device that looks like a small wooden water wheel but instead of paddles each section contains 20 skulls of various shapes and sizes. None of the skulls in the machine has any label or other markings. Every time the player clicks on this wheel the wheel rotates one step down, making the next skull active. In the far wall is a shut door with no handle. The player cannot open this door. |
12.10 Skull Crypt Stepping out from the elevator car, the player finds herself on a catwalk similar to the one on Floor 1. The only doorway is on the far side of the catwalk. As the player enters she sees a large rectangular room without windows. In the center of the room is a large box-like structure with hundreds of niches containing skulls. The purpose of the room was for the study of criminally insane skull shapes and sizes — the researchers of the Asylum believed that insanity could be understood from studying the skull. Through the center of this structure is a short tunnel. In the center of the tunnel to the player's right is a door. Inside the door, the player discovers a water wheel type machine that is designed so that the skulls cannot be seen until they are in the area where they can be removed. There are twelve different skulls randomly placed in the sixteen positions contained in the wheel. (The open spots make it easier to put unwanted skulls back without having to find the original spot.) None of the (skulls in the machine has any label or other markings. Every time the player clicks on this wheel the wheel rotates one step down, making the next skull active [animation_actor]. Also, the niches are curved to prevent game state changes. In the far wall of the skull crypt is a shut door with no handle. The player cannot open this door. |
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| 12.10.01 Skull Puzzle Opposite the skull selection wheel are five empty niches labeled [text_actors]: skullous flatheadem, homotroll caninous, homo sapien and monoptic erectoclops. The label on the fifth space is unreadable. Among the 20 skulls on the skull selection device there are five famous Zorkians, including the Cyclops, a member of the Flathead royal family, a dwarf, a wizard, and a troll. Each skull has distinctive features (the Flathead is flat, the Cyclops skull has only one eye socket, the dwarf head is small, the wizard's head is normal, and the troll's head is ghoulishly proportioned.). When the player clicks on each skull , the skull speaks [audio actor] as the character, introducing himself and his role in the Zork Great Underground Empire and a cryptic clue to the solution of the severed head/boiling jar puzzle in the Examination Room. The player may click on a head in the selection device to pick it [cursor_object]. If the player clicks a skull on a niche already containing a skull, the player places the new skull in the niche; the old one becomes the cursor_object. |
12.10.01 Skull Puzzle Opposite the skull selection wheel are five empty niches labeled [text_actors]: skullous flatheadem, homotroll caninous, homo sapien and monoptic erectoclops. The label on the fifth space is unreadable. Among the 20 skulls on the skull selection device there are five famous Zorkians, including the Cyclops, a member of the Flathead royal family, a dwarf, a wizard, and a troll. Each skull has distinctive features (the Flathead is flat, the Cyclops skull has only one eye socket, the dwarf head is small, the wizard's head is normal, and the troll's head is ghoulishly proportioned.). When the player clicks on each skull, the skull speaks [audio_actor] as the character, introducing himself and his role in the Zork Great Underground Empire and a cryptic clue to the solution of the severed head/boiling jar puzzle in the Examination Room. The player may click on a head in the selection device to pick it [cursor_object]. If the player clicks a skull on a niche already containing a skull, the player places the new skull in the niche; the old one becomes the cursor_object. |
You did not provide text for the five skulls, so it is hard to tell what you have in mind, but you should make sure that you avoid thinking of the cyclops, the wizard, and the troll as the cyclops, wizard, and troll from the Zork Trilogy. Those events happened very recently, so the skulls would be out of place, especially as things like the Zork I cyclops might still be alive. |
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| 12.10.02 The Normal Skull The player clicks on the only "normal" skull from the selection device, and places it in the niche with the unreadable label, the skull's eyes turn white [animation_actor], and the door to the morgue hisses open [animation_actor]. There is no way to retrieve the skulls once the door is open. |
12.10.02 The Normal Skull The player clicks on the only "normal" skull from the selection device, and places it in the niche with the unreadable label, the skull's eyes turn white [animation_actor], and the door to the morgue hisses open [animation_actor]. There is no way to retrieve the skulls once the door is open. This puzzle can be completed in any order. |
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| 12.11 Morgue The morgue is a dark, dank place with a series of body-sized drawers set into the walls. Along one wall is a gruesome device caked with what looks like dried blood. Various heads and other body parts are strewn around the room. The player can open 5 drawers and all but one have their heads removed. The player can click on the headed body and the drawer will turn into a cart. The player must wheel the cart to the contraption, click on the machine. The cart will follow the player around the room [audio_actor] but will not follow the player outside the room. Top operate the machine, the player must return to the three-levered device. The rightmost lever will raise the cart into the machine. The center lever will cause the gullotine blade to snap down and sever the head from the body. The head will fall out of the bottom of the cart and into a circular basket. Clicking on the left lever lowers the basket. Finally, the player must walk up to the head in the basket and click on it [cursor_object]. |
12.11 Morgue The morgue is a dark, dank place with a series of body-sized drawers set into the walls. Along one wall is a gruesome device caked with what looks like dried blood. The device has two parts: a bed-sized platform ending in a basket and above the platform, a vicious cutting blade. Near the device, a lever is set into the wall. Various heads and other body parts are strewn around the room. The player can slide 18 refrigerator drawers open and close. Inside one drawer, she finds a body with a head, inside the other drawers, she finds bodies without heads. The player can double click on the head or the body and the body will become a cursor [cursor_object]. To operate the gruesome device, the player must return to the lever. The lever is set at the top of an L-shaped groove. If the player clicks on the bed-sized platform with a body as her cursor, the body animates and is stretched out on the platform. The shoulders of the body are flush with the end of the platform and the basket. If she places the body with a head on the platform, the head will stick out over the basket. When she then pulls down on the lever, the platform rises into the heart of the machine. The blade is now positioned directly between the end of the platform and the basket. Now, pulling the lever right by dragging on it with the mouse causes the guillotine blade to snap down. If the body with head is on the platform, the blade will sever the head from the body. The head then falls out of the bottom of the cart and into a circular basket. Returning the lever to the corner of the L causes the platform and basket to lower. Finally, the player must walk up to the head in the basket and click on it [cursor_object]. |
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| 12.12 Returning from the Morgue
to the Examination Room [this section was present here in draft 2.5, but has been moved to the Examination room in order to parallel the text of the later draft] |
12.12 Returning from the Morgue
to the Examination Room (moved to Examination Room as per CB's request) |
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| 12.12.01 Return to the Boiling Jar [this section was present here in draft 2.5, but has been moved to the Examination room in order to parallel the text of the later draft] |
12.12.01 Return to the Boiling
Jar (moved to Examination Room as per CB's request) |
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| 12.14 The Twentieth Floor On the 20th level , the player is looking for further access up the tower. When the player arrives at this level, she sees a door frame in front of her opposite the elevator door. It does not contain a door, however. Instead it has a weird geometric pattern (like a Magic Eye painting) which seems to keep shifting around, as if out of focus slightly [animation_actor]. The player exits the tower to a narrow circular catwalk surrounding the tower and walks across another catwalk to one of the three accessible rooms. |
12.14 The Twentieth Floor On the 20th level , the player is looking for further access up the tower. When the player arrives at this level, she sees a door frame in front of her opposite the elevator door. It does not contain a door, however. Instead it has a weird geometric pattern (like a Magic Eye painting) which seems to keep shifting around, as if out of focus slightly [animation_actor]. The player exits the tower to a narrow circular catwalk surrounding the tower and walks across another catwalk to one of the three accessible rooms. |
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| 12.14.01 Story Information On the 20th level, the player learns about Sartorius' sick methods of treatment. In particular, the player sees him treating the woman he saw on the first level. the player learns further details about Sartorius unconventional and suspect medical practices, how he was kicked out of medical school and forbidden to practice. The player learns about Sartorius' obsession with reviving the dead. As the player explores the level, she sees evidence of an electrical disturbance in the structure. Every so often, the lights in the place black out and then turn back on [animation_actors]. |
12.14.01 Story Information On the 20th level, the player learns about Sartorius' sick methods of treatment. In particular, the player sees him treating the woman he saw on the first level. the player learns further details about Sartorius unconventional and suspect medical practices, how he was kicked out of medical school and forbidden to practice. The player learns about Sartorius' obsession with reviving the dead. As the player explores the level, she sees evidence of an electrical disturbance in the structure. Every so often, the lights in the place black out and then turn back on [animation_actors]. |
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| 12.15 Surgical Theater The player enters through double doors into a circular surgical theater. This circular room has three steep tiers of railings over which students would stand to observe the surgical procedure demonstrated in the room's center. A rotating fan in the wall lends a strange air to the place. The center of the room contains a old-style white metal operating table. On a small counter near the operating table is a rusty brass syringe with a long needle. A series of five microscopes are on a work bench. They show different slides of cells. The first scope has a single large cell in it alone. The second has the same cell surrounded by a number of smaller fish like cells. The third slide shows one of the smaller cells attacking the bigger one. The fourth shows the smaller cell inside the big one. Finally, the fifth shows the large cell now much larger. When the player looks in this scope, she sees the cell vibrate [qt_actor]. The player hears a hum that sounds somewhat musical [audio_actor]. A series of books on conception sit neatly on a shelf above the microscope table [spines are text_actors]. On the wall the player sees various diagrams of examples of conceptions. The player also finds a diagram which implies a strange ritual involving the conception process. |
12.15 Surgical Theater The player enters through double doors into a circular surgical theater. This circular room has three steep tiers of railings over which students would stand to observe the surgical procedure demonstrated in the room's center. A rotating fan in the wall lends a strange air to the place. The center of the room contains a old-style white metal operating table. On a small counter near the operating table is a rusty brass syringe with a long needle. A series of five microscopes are on a work bench. They show different slides of cells. The first scope has a single large cell in it alone. The second has the same cell surrounded by a number of smaller fish like cells. The third slide shows one of the smaller cells attacking the bigger one. The fourth shows the smaller cell inside the big one. Finally, the fifth shows the large cell now much larger. When the player looks in this scope, she sees the cell vibrate [animation_actor]. The player hears a hum that sounds somewhat musical [audio_actor]. A series of books on conception sit neatly on a shelf above the microscope table [spines are text actors]. For example:
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AJ9MB11A This is close ups of books in electrode room. Add font to books which say: The Embryo: Mystical Conception and Creation Planetary Coordinates for the Pure Soul The Connection between Birth and the Stars Constellation Movement and Planets: Controlling the Spheres; Dr. Sartorius The Thaumaturgical properties of Music and the Five notes Create New Asset: AJ9MB21 Photoshop: Add book closed with title: The Embryo: Mystical Conception and Creation Book Antiqua 19 (word snapshot) The Embryo: Mystical Conception and Creation ...he to whom the whole course of Natures lyes open rejoyceth not so much that he can make Gold or Silver or the Devills to become subject to him, as that he sees the Heavens open, the Angells of Yoruk Ascending and Desending, and bequeathing to this One Earth, in perfect conception, the Pure Birth of the Corpus Spiritus -- the Perfect Human Spirit. The Mystical Conception can occurre but every seventh solstice, when a Perfect Alignment of the sphere of the fixed stars follows the spheres of the planets -- Saturn, Jupiter, Mars, Sun, Venus, Mercury, the sphere of the moon and then the sphere of the four elements. The Mystical Conception, followed by the Pure Birth, lyes fallow without the lyfe lyved in Harmony with the Spheres. Create New Asset: AJ9MB31 Open it and should have Diagrams of examples of conception pictures of cells |
[NOTE, “SUN” is deleted from the final version] |
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| 12.15.01 Hallucination: The
Conception This circular room has three steep tiers of railings over which students would stand to observe the surgical procedure demonstrated in the room's center. A rotating fan in the wall lends a strange air to the place. The center of the room contains a old-style white metal operating table. On a small counter near the operating table is a rusty brass syringe with a long needle. If the player clicks on the syringe, she will get a CLOSE-UP of it. If she clicks on the close-up, the view will DISSOLVE to a MEDIUM SHOT of a clean new brass syringe in Sartorius' hand. Alexandria's mother sits on a treatment table; Sartorius (in surgical garb) putters, setting up his equipment. ALEXANDRIA'S MOTHER
Please, I can't. It's ... a sin. It's wrong.MALVEAUX
Never. Your child will be conceived in purity.ALEXANDRIA'S MOTHER
How...MALVEAUX
Miraculously. Divinely. And the child? Her destiny is great.Malveaux's words work their soothing magic. Alexandria's mother begins to calm. MALVEAUX
Yes. And your name will be blessed, for bringing this child to the
Great Empire.Sartorius turns - he's holding the syringe, prepared for artificial insemination. Malveaux can barely repress a wince. He speaks softly. MALVEAUX
It's time.Alexandria's mother sees what's coming but her trust in Malveaux is strong. Summoning up her courage, she lies down. Sartorius steps forward with that nasty syringe. SARTORIUS
Relax, dear.THE SYRINGE STABS down towards the woman's belly ... and DISSOLVES to our original POV of the syringe on the counter. |
12.15.01 Hallucination: The
Conception This circular room has three steep tiers of railings over which students would stand to observe the surgical procedure demonstrated in the room's center. A rotating fan in the wall lends a strange air to the place. The center of the room contains a old-style white metal operating table. On a Wall counter near the operating table is a rusty brass syringe with a long needle. If the player clicks on the syringe, she will get a CLOSE-UP of it. If she clicks on the close-up, the view will DISSOLVE to a MEDIUM SHOT of a clean new brass syringe in Sartorius' hand. Alexandria's mother sits on a treatment table; Sartorius (in surgical garb) putters, setting up his equipment. ALEXANDRIA'S MOTHER
Please, I can't. It's ... a sin. It's wrong.MALVEAUX
Never. Your child will be conceived in purity.ALEXANDRIA'S MOTHER
How...MALVEAUX
Miraculously. Divinely. And the child? Her destiny is great.Malveaux's words work their soothing magic. Alexandria's mother begins to calm. MALVEAUX
Yes. And your name will be blessed, for bringing this child to the
Great Empire.Sartorius turns - he's holding the syringe, prepared for artificial insemination. Malveaux can barely repress a wince. He speaks softly. MALVEAUX
It's time.Alexandria's mother sees what's coming but her trust in Malveaux is strong. Summoning up her courage, she lies down. Sartorius steps forward with that nasty syringe. SARTORIUS
Relax, dear.THE SYRINGE STABS down towards the woman's belly ... and DISSOLVES to our original POV of the syringe on the counter. |
As for Malveaux's reference to the Great Empire, if the act of conception took place before 883 GUE, he would probably refer to it as the Kingdom of Quendor or the Great Underground Empire. If the conception happened after 883, which is what I have stated elsewhere, then he might say either the lands of Quendor or the lands of the fallen Empire. |
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| 12.16 Patient Ward We enter a large room filled with empty beds, empty fans spinning lazily from the ceiling. Beneath one bed is a pair of forceps. If we click on them we get a CLOSE-UP of the forceps. If we click on the close-up, the close-up DISSOLVES to a pair of bloody forceps in the hands of Sartorius as he stands bear a bed containing Alexandria's mother. 12.16.01 Hallucination: The Birth As the player enters the room, fans spin lazily from the ceiling. Beneath one bed is a pair of forceps. If she clicks on them she gets a CLOSE-UP of the forceps. If she clicks on the close-up, the close-up DISSOLVES to a pair of bloody forceps in the hands of Sartorius as he stands by a bed containing Alexandria's mother. [this is a revision of the above paragraph that was contained in the same draft of the design documents immediately following this section. I have dislocated it here where it should have been properly placed if the first paragraph had been properly overwritten] The Four Alchemists stand nearby in a MEDIUM SHOT. Alexandria's mother lies on her side, fetal position, gazing with pure love at her newborn infant, who is on the bed in the tiny circle of space between her mother's bent knees and arms. It's a moment of bonding and it's lovely. Sophia and Sartorius, in doctor's garb, look exhausted but really gratified - they've obviously assisted in the birth. Kaine and Malveaux are visitors/well-wishers. Sartorius is pumped up. SARTORIUS
This is the Genesis moment.(giddy laugh)
Now I know how God felt.Sophia laughs. She teases him, but with less of an edge than usual. They've bonded through birthing this baby. SOPHIA
Who'd have dreamed Sartorius -- the great man of science -- would get
so excited over... (dryly)
a little bitty wrinkly baby.SARTORIUS
Baby? That's not a baby. That's a formula. The key to unlocking the
most hidden knowledge in the universe.As the scene ends, we return to our original POV of the forceps. The player enters the patient ward from the catwalks. The ward resembles early asylums with rows of hospital beds and curtained-off spaces. At the far end of the room is a raised platform presumable for observing the patient in their beds below. |
12.16 Patient Ward (deleted as per CB's instructions 9/25) |
Again, although we do not know whether or not there was any kind of monotheistic system in the Zork world, I would urge you to replace "how God felt" with "how the Implementors felt". |
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| 12.18 Electrode Room When the player enters the electrode room, she sees a room made up of narrow walkways with an impossibly high ceiling. A column of fans are set into the wall near the door. |
12.18 Electrode Room When the player enters the electrode room, she sees a room made up of narrow walkways with an impossibly high ceiling. A column of fans are set into the wall near the door. |
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| 12.18.01 Insane Patient Sequence As the player enters the room she sees a large complex machine attached to a chair. Part of the machinery consists of a panel of buttons which face the player as she faces the stairway. If she clicks on one of the prominent buttons on the panel of the machine, she see an INSANE PATIENT walk up the stairs revealing herself. She is a YOUNG FEMALE PATIENT in a hospital gown. Her eyes are wild; her shoulder twitches rhythmically, out of control. She approaches the player before stopping in a MEDIUM SHOT. PATIENT
(staring)
You don't look so good. You're here for a treatment, aren't you? (examines her empty
palm)
I'm sorry -- you're not on the schedule. You'll have to wait in the
waiting room.(a beat: taps
fingers impatiently)
Okay. That's long enough.(grins, motions)
I'm Doctor Sartorius ... and I'll give you a treatment you'll never
forget. Sit.(menacing)
Sit down.When the Patient finishes her first dialogue she CROSSES to a curtained niche, and pulls the curtain shut behind her. If the player presses the button again she hears only a voice-over -- the curtain does not open, nor does the Patient come out. PATIENT
Please sit down. Don't be afraid. I'm very good at this -- but I'm
better at lobotomies.If the player leaves this room at this point and returns to it later, the following dialogue occurs: PATIENT
Look, all you need is a slight adjustment. Now can you cooperate, or do I need to use restraints? (smiles
sadistically)
Oh, you like that idea, eh?PATIENT
Go ahead. Get in the chair. I think you may be surprised by how it makes you feel. (grins)
It's electrifying.If the player clicks on the chair, her POV SHIFTS to an upward view of the top of the machine and on the ceiling beyond it. She hears the PATIENT approach and she enters the frame briefly in a CLOSE-UP looking at the player before moving out of the frame and behind the player. PATIENT
There's a reason they call this the Ecstasy Treatment. (seductive whisper) (regular voice)
I'm not sure what it is, but I'm sure there is one.PATIENT
There. Now brace yourself. Looking Glass time.The player hears the sound of clasps being locked [audio_actor]. The patient operates the machine, and the player receives a strange visual effect. When the player is released, she suddenly sees new things that she never saw before (and the syringe is gone). Colors are all shifted out of balance. Also, she sees cracks in the entire building. If the player returns through the portal in this state, her vision will be correct in the temple or other lands. Once she returns to the Asylum, the crazy effect will be back in place. The player can click on the machine and sparks will jump [audio–actor], [animation actor], but cannot operate the machine from the chair. |
12.18.01 Insane Patient Sequence As the player enters the room she sees a large complex machine attached to a chair. Part of the machinery consists of a panel of buttons which face the player as she faces the stairway. If she clicks on one of the prominent buttons on the panel of the machine, she see an INSANE PATIENT walk up the stairs revealing herself. She is a YOUNG FEMALE PATIENT in a hospital gown. Her eyes are wild; her shoulder twitches rhythmically, out of control. She approaches the player before stopping in a MEDIUM SHOT. PATIENT
(staring)
You don't look so good. You're here for a treatment, aren't you? (examines her empty
palm)
I'm sorry -- you're not on the schedule. You'll have to wait in the
waiting room.(a beat: taps
fingers impatiently)
Okay. That's long enough.(grins, motions)
I'm Doctor Sartorius ... and I'll give you a treatment you'll never
forget. Sit.(menacing)
Sit down.When the Patient finishes her first dialogue she CROSSES to a curtained niche, and pulls the curtain shut behind her. If the player presses the button again she hears only a voice-over -- the curtain does not open, nor does the Patient come out. PATIENT
Please sit down. Don't be afraid. I'm very good at this -- but I'm
better at lobotomies.If the player leaves this room at this point and returns to it later, the following dialogue occurs: PATIENT
Look, all you need is a slight adjustment. Now can you cooperate, or do I need to use restraints? (smiles
sadistically)
Oh, you like that idea, eh?PATIENT
Go ahead. Get in the chair. I think you may be surprised by how it makes you feel. (grins)
It's electrifying.If the player dicks on the chair, her POV SHIFTS to an upward view of the top of the machine and on the ceiling beyond it. She hears the PATIENT approach and she enters the frame briefly in a CLOSE-UP looking at the player before moving out of the frame and behind the player. PATIENT
There's a reason they call this the Ecstasy Treatment. (seductive whisper) (regular voice)
I'm not sure what it is, but I'm sure there is one.PATIENT
There. Now brace yourself. Looking Glass time.The player hears the sound of clasps being locked [audio_actor]. The patient operates the machine, and the player receives a strange visual effect. When the player is released, she suddenly sees new things that she ever saw before. Colors are all shifted out of balance. Also, she sees cracks in the entire building. This effect will last for thirty seconds to a minute and then disappear. If the player tries to return to the Temple, the effect will disappear. To restore the this range effect, the player must return for another treatment. The player can click on the machine and sparks will jump [audio_actor], [animation_actor], but cannot operate the machine from the chair. |
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| 12.19 Sartorius' Private Elevator
to the Upper Levels The player returns to the door frame of strangely-shaped geometric figures. In the shocked state, the player will see a normal elevator door across from the elevator door she originally came up on. Clicking on the door handle opens the elevator door [animation_actor]. Unlike the public elevator, this elevator has only two buttons because it goes up only one floor -- to Sartorius' private chambers. |
12.19 Sartorius' Private Elevator
to the Upper Levels The player returns to the door frame of strangely-shaped geometric figures. In the shocked state, the player will see a normal elevator door across from the elevator door she originally came up on, which is now geometrically out of focus. Clicking on the door handle opens the elevator door [animation_actor]. Unlike the public elevator, this elevator has only two buttons because it goes up only one floor -- to Sartorius' private chambers. |
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| 12.20 Sartorius' Chambers The player enters Sartorius' chambers from the private elevator car. The chambers are arranged in a series of three short corridors reminiscent of a submarine. From the contents of his room, the player sees that Sartorius is obsessed with the origins of life and creating life. But the furnishings are relatively Spartan — this man has clearly dedicated himself to science. Diagrams of evolution are on one wall. Another has a blow up of a cell; the center is a blank circle. Next to it is a picture of Sartorius' father: a doctor in front of his research lab. Dr. Sartorius as a child holding a sick medical instrument and appearing to be operating on a doll. Portraits of various medical pioneers line the walls, as though Sartorius considers his father and himself among them. Among the books lying on the shelves are the following books bound in dull colored leather [book spines are text_actors]:
In a special brass stand is a copy of Malveaux's Revelation and Eternity [text_actor]. Several other books (whose titles have since worn off) by the following authors:
Mammon: He that has once the flower of the sun, The perfect ruby, which he calls elixir, Not only can do that, but, by its virtue Can confer honour, love, respect, long life, Give safety, valour, yea, and victory To whom he will. In eight and twenty days I'll make an old man, of fourscore, a child. If the player clicks on the copy of Summa Perfectionis by Geber it will open [animation actor]to the following page [text actor]: ...a Mettallick
Body, Citrine, ponderous, mute,
fulgid, equally digested in the Bowels of the Earth, and very long
washed with Mineral Water; under the Hammer extensible, fusible and
sustaining the trial of the Cupel.... According to this Definition, you
may conclude, that nothing is true gold unless it hath all the causes
and differences of the Definition of Gold.
Gold is of all metals the most precious, and it is the Tincture of Redness; because it tingeth and transforms every Body. It is calcined and dissolved without profit, and is a Medicine rejoycing, and conserving the Body in Youth. The player can further investigate a desk set into one of the walls. In one corner of the desk, the player finds a letter. Letter 1 from Kaine: Sophia tells me you
have been having some financial
troubles as the medical establishment has sought to shut down your fine
institution. In the spirit of supporting a medical and research
facility, I hereby include a check for 500,000 zorkmids. Please be
discreet in allowing information about this donation to be disseminated
although I would appreciate a receipt for tax purposes.
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12.20 Sartorius' Chambers The player enters Sartorius' chambers from the private elevator car. The chambers are arranged in a series of three short corridors reminiscent of a submarine. From the contents of his room, the player sees that Sartorius is obsessed with the origins of life and creating life. But the furnishings are relatively Spartan — this man has clearly dedicated himself to science. Diagrams of evolution are on one wall. Another has a blow up of a cell; the center is a blank circle. Next to it is a picture of Sartorius' father: a doctor in front of his research lab. The next shows Dr. Sartorius as a child holding a sick medical instrument apparently as he operates on a doll. Portraits of various medical pioneers line the walls, as though Sartorius considers his father and himself among them. Among the books lying on the shelves are the following books bound in dull colored leather [book spines are text_actors]:
In a special brass stand is a copy of Malveaux's Revelation and Eternity [text_actor]. Several other books (whose titles have since worn off) by the following authors:
Mammon: He that has once the flower of the sun, The perfect ruby, which he calls elixir, Not only can do that, but, by its virtue Can confer honour, love, respect, long life, Give safety, valour, yea, and victory To whom he will. In eight and twenty days I'll make an old man, of fourscore, a child. If the player clicks on the copy of Summa Perfectionis by Geber it will open [animation_actor] to the following page [text_actor]: ...a
Mettallick Body, Citrine, ponderous, mute, fulgid, equally digested in
the Bowels of the Earth, and very long washed with Mineral Water; under
the Hammer extensible, fusible and sustaining the trial of the
Cupel.... According to this Definition, you may conclude, that nothing
is true gold unless it hath all the causes and differences of the
Definition of Gold.
Gold is of all metals the most precious, and it is the Tincture of Redness; because it tingeth and transforms every Body. It is calcined and dissolved without profit, and is a Medicine rejoycing, and conserving the Body in Youth. The player can further investigate a desk set into one of the walls. In one corner of the desk, the player finds a letter. Letter 1 from Kaine: Sophia tells me you
have been having some financial
troubles as the medical establishment has sought to shut down your fine
institution. In the spirit of supporting a medical and
research
facility, I hereby include a check for 500,000 zorkmids. Please be
discreet in allowing information about this donation to be disseminated
although I would appreciate a receipt for tax purposes.
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Photo of Sartorius’ father on wall Picture of Cell Picture of Famous Inventor BOOK TITLES: · The World is Round: The Conpiracy of the Brogomoids: Dr. Z, Stagaster · Dimwit and the Flatheads Exposed: G. Scarvitz · Constellation Movement and Planets: Controlling the Spheres; Dr. Sartorius · The Thaumaturgical properties of Music and the Five notes The Alchemist, Ben Jonson If the player clicks on The Alchemist by Ben Jonson, the book will open [animation_actor] to the following passage [text_actor]: Mammon: He that has once the flower of the sun, The perfect ruby, which he calls elixir, Not only can do that, but, by its virtue Can confer honour, love, respect, long life, Give safety, valour, yea, and victory To whom he will. In eight and twenty days I'll make an old man, of fourscore, a child. If the player clicks on the copy of Summa Perfectionis by Geber it will open [animation_actor] to the following page [text_actor]: Gold is of all metals the most precious, and it is the Tincture of Redness; because it tingeth and transforms every Body. It is calcined and dissolved without profit, and is a Medicine rejoycing, and conserving the Body in Youth |
I like the idea of diagrams of evolution; these could perhaps show how brogmoids, trolls, gnomes, elves, dwarves, and humans are all related on the same evolutionary family tree, perhaps with brogmoids as the common ancestor. As for the portraits of various medical pioneers, some potential names to use include Thwack of Mareilon, Frobar Spenseboz, and Leonardo Flathead. Perhaps you could avoid mentioning the dates associated with the publication of these books. It only heightens the impression that they are external to the Zork world. The same comment goes for the books on p. 122, section 12.23. The repetition of Kaine's philanthropic tendencies are a little strange, and I assume intentional. What is the meaning that you are trying to convey here? |
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| 12.20.01 Scale Model In another wall cabinet is a scale model of the Asylum approximately 2' high. An "ON"/"OFF" switch [text_actor] is set into its base. When the player clicks on the switch, she will hear a small motor whir, see the lights come on in the model and the disk float above the central tower on the column of air [animation_actor]. As the disk leaves the model, the player will see a small iris on top of the central tower on which she can click to lower or raise the disk floating above it. Switching off the model lowers the platform [animation actor]. |
12.20.01 Scale Model In another wall cabinet is a scale model of the Asylum approximately 2' high. A "ON"/"OFF" switch [text_actor] is set into its base. When the player clicks on the switch [animation_actor], she will hear a small motor whir, see the lights come on in the model and the disk float above the central tower on the column of air [animation_actor]. As the disk leaves the model, the player will see a small iris on top of the central tower on which she can click to lower or raise the disk floating above it. Switching off the model lowers the platform [animation_actor]. |
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| 12.20.02 Sartorius' Journal In another wall cabinet is Sartorius' journal. Tucked into the book is a chart depicting the alchemical correspondences between the four elements and each character. The player must click on the journal to open it [animation_actor] and see the chart. Clicking again on the journal turns a page [animation_actor] and displays the following text [text actor]: Every day I get
closer to the truth. The others they
all want the elixir for their mundane, personal reasons. I want the
elixir for its pure knowledge, in the pursuit of the spiritual, of
the final truth. Truth and answers. I think of my father's works. I
will carry on the search for the ultimate answer.
Clicking again on the journal turns a page [animation_actor] to another entry [text_actor]: We will meet during
the solar eclipse at the temple of Accardi.
Clicking again on the journal turns a page [animation_actor] to another entry, this time an annotated sketch of the temple and a solar eclipse. Clipped to the page is a note [text_actor] from Sophia: Doctor, I
understand you are still perfecting the science of the ritual. It is
too late. At some point, one must take a risk and move. Patience has
its place and so does action. During the next solar eclipse we must
make our move. At the Temple of Accardi. I will take care of the
details.
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12.20.02 Sartorius' Joumal In another wall cabinet is Sartorius' journal. Tucked into the book is a chart depicting the alchemical correspondences between the four elements and each character. The player must click on the journal to open it [animation_actor] and see the chart. Clicking again on the journal turns a page [animation_actor] and displays the following text [text_actor]: Every day I get
closer to the truth. The others they
all want the elixir for their mundane, personal reasons. I want the
elixir for its pure knowledge, in the pursuit of the spiritual, of the
final truth. Truth and answers. I think of my father's works. I will
carry on the search for the ultimate answer.
Clicking again on the journal turns a page [animation_actor] to another entry [text_actor]: We will meet during
the solar eclipse at the temple of Accardi.
Clicking again on the journal turns a page [animation_actor] to another entry, this time an annotated sketch of the temple and a solar eclipse. Clipped to the page is a note [text_actor] from Sophia: Doctor,
I understand you are still perfecting the science of the ritual. It is
too late. At some point, one must take a risk and move. Patience has
its place and so does action. During the next eclipse we must make our
move. At the Temple of Accardi. I will take care of the details.
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[also a note in an earlier design document:] Photo of two in journal: Front page contains a happy photo of Sartorius and his father. Sartorius has written underneath: "Father, I will carry out your dream." AL6NB11A Font: John Handy Mage 7, 919 Magic no longer interests me. The Enchanters Guild started out with noble intentions, and now are simply out for power and money. Alchemy is the secret. But the science is young and unknown. Through its practice, I may learn the secret of all life itself -- the Philosopher’s Stone. Page 2 Photo of Dr. Sartorius with needle in air. Scribbled underneath: Font: John Handy I remember my first surgery. It was magical. Page 3 Font: John Handy Oracle 7, 924 I am frustrated. I have devoted myself to completing my father’s quest, but I now realize I cannot find the knowledge myself. One man cannot find the alchemical secret alone. Each element requires absolute mastery. Each metal requires its own adept. I must enlist others in my search... Page 4 Font: John Handy Mumberbur 20, 929 [924 in an earlier version] Every day I get closer to the truth. The others all want the elixir for their mundane reasons. I search for the elixir because I search for the final spiritual truth. I think of my father’s work. One day soon I will possess the secret of eternal life; the quintessence. Page 5 (book with picture) Font: John Handy Ottobur 20 The fifth essence is the quintessence; the elixir of life or the philosopher’s stone. The fools through the centuries have looked at metals, vapours and gases. It is none of this -- it is blood -- the blood of innocence, the absolute spirit of innocence. But where does this blood exist? How does one distill its purity? These are questions beyond me. AL9HB21A/letter (Top of Desk) Font: Century Schoolbook Mage 15, 925 Dr. Sartorius, It has been called to our attention that you have been practicing unorthodox and unauthorized magic. As you know, it is in violation of Magic Code #6547 for a non-guildmember to engage in any magical practice. Cease and Desist or we will file for Fudgunctive Relief. The Enchanters Guild AL9HB31A/letter Font: Rapier Jam 17, 945 Dr. Sartorius I understand you are still perfecting the science of the ritual but I believe it is all but too late. We must act now. If we do not, the quintessence will slip through our fingers. The rest of us have everything arranged -- it must occur at the Temple of the Ancients tomorrow night. Sophia AL9HB41A JACK HANDY FONT Dear Dr. Frobbian, Open your puny mind! Madness is a disease, not a state of mind. I see that every day in my patients; forgotten waifs who have only me to defend them. And defend them I shall. Like any disease, if Madness can be studied, it can be cured. How can I cure the body of disease if I am forbidden to open the body to study it? If I am denied funding for x-rays and medication and a staff of Physicians? My Asylum should be a place of progress, not the final resting place for the damned! Where, by the way, they will meet you and the whole lot of the bloody Guild [NOTE: this is an unfinished letter, can the end of “Guild” trail off into a scribble or a blot of ink, so it doesn’t seem so weird that he never sent it?] - Dr. Sartorius AL9HB71 FONT: John Handy Pure Helium and Earth in the state of Water: carries off impurity. The water of battling airs: draws out impurity. Earth and the pure breath of life: softens impurity. AL9GB11A After writing other notes, add text to this view. AL6gB11/far shot of open books/add matching image from close ups AL6KB11A/lab book/open AL6JB11A/Ancient Alchemy Book - The Blood Alchemist On left side of the open book is an inscription by Sartorius’ dad: [was originally intended to be a scribbled note] Son, I now lie on my deathbed. I was so close in my work and my studies. The quintesence still alludes me. Follow the new school of alchemy. There are rumours that there is an ancient underground temple; a shrine which has the powers to create the philosopher’s stone. I have read that it was created by an old engineer of Duncanthrax, C. Agrippa -- but his work disappeared. Perhaps you will find it. Your loving father Font: Caslon Antique On the right side is the title: “The Blood Alchemist by Sartorius” AL6JB21A Use same background as AL6JB11A (Purification of the Blood) Font:Caslon Antique Left side Purifying the blood may be through a conception purified by the magical alignment of the stars. The blood must be further refined. The soul continuously cleansed. This can only be through music. I have heard it rumoured that in this universe there is a series of notes which contain magical properties and will distill the soul. It is purity of soul and spirit that then will purify the blood and create the fifth essence. Right Side Font:Caslon Antique Text with picture: drawing The quintessence can only be obtained through blood. Pure blood. This person must be pure of heart, pure of spirit, conceived in purity, conceived when the sun and moon are aligned as one. NEW PAGE ADDED TO NEW BLOOD ALCHEMISTS BY LEWIS SARTORIUS (!) SOME KIND OF CHART. I DON'T KNOW THE SCIENTIFIC SYMBOLS FOR ELEMENTS - DO YOU? [FLOURINE SIGN] GIVEN THAT FLORINE IS PRESENT IN THIS ATMOSPHERE [HELIUM SIGN] HELIUM RAISES [OXYGEN SIGN] OXYGEN ALONE IS WITHOUT EFFECT [HYDROGEN SIGN AND OXYGEN SIGN] HYDROGEN AND OXYGEN BURNS COOLY AND CREATES WATER. AL6K - Sartorius Alchemy Book ...an abiding belief that what was effective in the Macrocosm was effective in the Microcosm, and vice versa, which is why Dr. Koepp became involved with the science of the miniature to begin with. Every one of his large-scale architectural achievements, including the Opera Frobozzica, the Off-White House, and the Gray Mountains Asylum, became an exercise in perfect proportionality. Dr. Koepp later miniaturized these buildings, and resolved major construction issues such as faulty foundations, weak support beams, and potential flood and slide zones by performing extensive testing on the miniature models. Reportedly, the miniature hall of the Opera Frobozzica was said to work as a kind of central control for the greater structure itself; and in fact, the only way the concert hall could be properly lit was by switching on the stage lights in the model. This relationship later became problematic when the Diva Maria Calloused grew so substantial in person that neither she, nor her enlarged entourage, could fit their plump fingers inside the miniature Opera, and had no choice but to sing a season entirely in the dark. Eventually, Dr. Koepp became so obsessed with the science of miniaturization that he stopped working in the larger scale altogether. His later works grew smaller and smaller until they could no longer be seen by the naked eye. His famous bottomographical map of the Great Under-ground Empire, carved out of a single grape, led to an appointment as State Miniaturist. His revisionist rendering of the massive statue of Lord Dimwit Flathead the Excessive, once towering nine bloits high above the Frigid River Valley, now etched upon a lone grain of rice, is said to be one of the best likenesses of the late Lord. This cannot be confirmed, as it cannot be seen, but it is likely to be true, considering that the other depictions of His Flatness have never been incredibly accurate, according to the preferences of this the Lord Dimmest of Wits. No one knows what happened to Dr. Koepp in his later years. |
Mage 7, 919 Magic no longer interests me. The Enchanters Guild now seems concerned only with power and money. Alchemy, the chance to solve the Great Mystery of the universe, is all I can think of now. There is so much suffering, so much pain and death. My father's science leaves much work to be done; but I will find the Philosopher's Stone and prove his name within the mocking circles of Science. My first surgery. It was magical. Oracle 7, 924 I am frustrated. I have devoted my career to completing my father’s quest, but I now realize that one man cannot find the alchemical secret alone. Each element requires absolute mastery. Each metal requires its own Adept. I must enlist others in my search; but I must take care. Alchemy draws vain fools, in search of common gold, and I must seek out only my more enlightened brothers. Mumberbur 20, 929 Every day I get closer to the truth. The others all want the elixir, each for his own mundane reason. I, on the other hand, search for the final spiritual truth. One day soon I will possess the secret of eternal life; the Quintessence. I will have perfect knowledge, knowledge enough to halt the growing evil that threatens us. This is powerful magic, and there is a powerful resistance; but we must not let it stop our work. Ottobur 20, 929 The fifth essence is the Quintessence: the elixir of life, the philosopher’s stone. Alchemist fools through the centuries have looked at metals, vapours and gases. And Love! What rot! It is none of this, it is blood – this much my father knew. The blood, the essence of innocence. But where does this blood exist? How does one distill its purity? I am surrounded by blood every day, the spilt blood of the suffering. Yet the answers elude me. I am a disappointment. Jam 17, 945 Dr. Sartorius I understand you are still perfecting the science of the ritual, but I believe it is all but too late. We must act now; if we do not, the quintessence will slip through our fingers. I know he has threatened even you, haunting the asylum. Our work must be completed at the Temple of the Ancients. Write and I will arrange to meet you there. Soon, Doctor. Sophia (another version) My Son; I now lie on my deathbed. I leave so much work undone. I sense I am close to the truth, yet the quintessence still eludes me. There are rumours of an ancient underground temple; a shrine which has the power to create the philosopher’s stone. It was created by an engineer named Agrippa, but his work disappeared. Find it. -Your Loving Father. AL6JB21A THE BLOOD ALCHEMIST (LEFT SIDE) ...have attempted the regimen of Calcination, where Putrefying Corruption, like to the blackest Scum of boiling bloody Broath or melted Pitch, comes forth within a fortnight. I have administered to the Specimen both Sulphur and Acid until my own skin has eaten through to the Bone. I have Rendered from the Boilt Specimen a Smoking Stench both Noxious and Lethal and a gaseous Vapor of a sickly greenish hue. My Experimentation has been thorough and purposeful - Yet the results of my trials remain fixed: Pure Blood cannot be distilled by the mere addition of tincture to Flegmatick Substance in a laboratory. Pure Blood -- the virgin elixir of the quint essentia -- can only be achieved when a Pure Conception, ruled by the Mysticall Conjunksion of the Cosmos, is followed by a Pure Birth, and the Pure Instrucksion of the Soul in the Musicall Harmony of the Spheres. The Blood and Soul of the quint essentia must be Desined, Preserv'd, Cleansed and Edifyed, from conception to maturity -- Cultivated from Ovum to Maturitum. (RIGHT SIDE: TEXT WITH DRAWING) Pure Blood will yield the quint essentia. The Donor must be Pure of Heart, Pure of Spirit, Pure of Birth -- Conceived when the Sun Holds the Moon as One. [the original version of this text has only one change -- it had "Dr Ruffini" in place of "Dr. Koepp"] |
All that is necessary here is to replace all the references to the Temple of Accardi with whichever more appropriate name you might choose. [this is not from Ruffini's notes, but decided to use this column instead of creating a new for an alternate version of the text] Jam 17, 945 Dr. Sartorius; I understand you are still perfecting the science of the ritual, but we must act now; if we do not, the quintessence will slip through our fingers. I know he has threatened even you, haunting the asylum. Our work must be completed at the Temple of the Ancients. Write and I will arrange to meet you there. Soon, Doctor. Sophia My Son -- I now lie on my deathbed -- I am sure of it. I leave so much work undone. I sense I am close to the truth, yet the quintessence still eludes me. Follow the new school of alchemy. There are rumours -- an ancient underground temple -- a shrine which has the power to create the Philosopher's Stone. I read that it was created by an old engineer of Duncanthrax named Agrippa, but his work has disappeared. Find it. Your loving Father. |
| 12.20.03 Sartorius' Personal Files In yet another wall cabinet is a sheaf of papers including stacks of letters [text_actors] which the player can click on to leaf through [animation_actor] including the following:
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12.20.03 Sartorius' Personal Files In yet another wall cabinet is a sheaf of papers including stacks of letters [text_actors] which the player can click on to leaf through [animation_actor] including the following:
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AL9GB11A - ASYLUM LETTER (IN a hurried, unrecognizable font) Good Doctor, My son, since your cure, has kept something of his Magic Eye. He still sees things that cannot be seen, hears things. I do not know when exactly his is the voice of truth, and when it is the raving of the madman. But for a fortnight, now, he has wept for you, his only friend, day and night. He begged me to write you, a warning. There is great danger abroad, a great evil waiting for you. You will soon be dead, he cries! The Asylum will be destroyed, and your great work will go unfinished. He fears powers have been disturbed, and the innocent will pay. Good luck, Doctor. May Yoruk be with you. - S.J.M. NEW LETTER - SARTORIUS BEDROOM CREATE ASSET - LIKE JOURNAL ENTRY M. I am no closer to my alchemical metal - the purified tin alloy. In my experiments with the four elements, I have found that the air burns when it is purified, alone. It turns to water when I add hydrogen. And I have discovered that I can raise a balloon with this strange essence, helium. Earth, fire, water, air. How this brings me closer to making tin, I know not. At this rate, we will never unite the metals. (maybe like an unfinished letter?) MISC LETTER Dear Dr. Sartorius I believe I have stumbled onto a place of power and magic. I believe it was built by Agrippa, an engineer of the time of Duncanthrax who built the great underground highway. It appears that Agrippa shut off this temple, using it for his own rituals which I believe may have involved alchemy. I found the map of this place in the secret catacombs below this monastery. We must meet there. Malveaux, 923 |
I
would recommend the following replacements for the places mentioned in
the files of Sartorius: The Medical Guild of Zork could become the Quendoran Medical Association, again avoiding the question behind the meaning of the word Zork. University of North Zork could become Galepath University, allowing us to avoid the idea that Zork is an actual physical place. It has seemed to be more of a concept than a location in previous references. I don't think the Shanbars existed yet at this point. Perhaps you could replace that reference with Port Foozle? Or Tumper? |
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| 12.20.03 Sartorius' Bed &
Music Box On a bed in the center corridor of the Chamber is a simple bed with a music box on the pillow. Clicking on the music box plays a short tune [audio_actor] and the box opens to reveal a desiccated human hand on a bed of red velvet. The player can click on this hand and it will transform into a cursor_object. Across from the bed is a staircase leading upward. |
12.20.03 Sartorius' Bed &
Music Box On a bed in the center corridor of the Chamber is a simple bed with a music box on the pillow. Clicking on the music box plays a short tune [audio_actor] and the box opens to reveal a reflex hammer on a bed of red velvet. The player can click on this hammer and it will transform into a cursor_object. Across from the bed is a staircase leading upward. |
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| 12.21.02 Confrontation with the
Nemesis [in draft 2.5, this section is located after 12.21] When the player walks near the pillar door [animation_actor], she hears an ominous electrical rumbling [audio_actor]. She sees that various body parts in the room have fused together [video_actor] into a hideous monster who stands threateningly in front of the door. The red eyes and voice reveals that Nemesis has appeared to thwart the player. The Nemesis touches the panel, and it lights up with sparks [animation_actor]. A sudden surge in the primitive electrical power system in the Asylum sends a shower of sparks dancing over the Nemesis. Screaming as it short-circuits in a shower of electrical sparks, the monster/Nemesis disintegrates into its component body parts [animation_actors]. However, the door panel still glows and crackles [animation_actor] and [audio_actor]. If the player attempts to touch the door panel or the keypad, sparks shoot out and the player dies. |
12.21.02 Confrontation with the
Nemesis (moved as per CB 9/25) As soon as the player reaches the top of the stairs, she is confronted by a monstrous collection of body parts animated as if by electricity. This is the Nemesis. Behind the Nemesis she notices a door with an electrical panel. When the player walks near the pillar door [animation_actor], she hears an ominous electrical rumbling [audio_actor]. She sees various body parts fused together [video_actor] into a hideous monster who stands threateningly in front of the door. The red eyes and voice reveals that Nemesis has appeared to thwart the player. Then Nemesis warns the player to "Get Out," and then attacks the door panel. The Nemesis touches the panel, and it lights up with sparks [animation_actor]. A sudden surge in the primitive electrical power system in the Asylum sends a shower of sparks dancing over the Nemesis. Screaming as it short-circuits in a shower of electrical sparks, the monster/Nemesis disintegrates into its component body parts [animation_ actors]. However, the door panel still glows and crackles [animation actor] and [audio_actor]. If the player attempts to touch the door panel or the keypad, sparks shoot out and the player dies. |
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| 12.21 Skeletal Anatomy Room A the top of the narrow stairs leading up from Sartorius Chambers is a large circular room lined with display cases -- like a diabolical aquarium. As the player approaches the cases, she will see portions of various body systems and sparks. As the sparks flash, some of the body parts with move slightly [animation_actors]. This is Sartorius' personal museum of human anatomy containing a variety of skeletons and musculature. This is where Sartorius studied physiology and anatomy. On the wall are illustrations of the human body. In the center of the room is a thick pillar. On the far side of the pillar the player sees a closed door bordered by a strange looking keypad and two small display cases filled with various body parts. |
12.21 Skeletal Anatomy Room A the top of the narrow stairs leading up from Sartorius Chambers is a large circular room lined with display cases -- like a diabolical aquarium. As the player approaches the cases, she will see portions of various body systems and sparks. As the sparks flash, some of the body parts with move slightly [animation_actors]. Underneath each cabinet is a description of what the body parts are doing. This is Sartorius' personal museum of human anatomy containing a variety of skeletons and musculature. This is where Sartorius studied physiology and anatomy. On the wall are illustrations of the human body. In the center of the room is a thick pillar. On the far side of the pillar the player sees a closed door bordered by a strange looking keypad and two small display cases filled with various body parts. In one case the player notices a hand poised about a shorthand machine. The sign below says, "Hand Donated By X, My Beloved Assistant." [text_actor]. Other items TBD between CB and art house. Opening the Cases The cases are locked. If the player takes the reflex hammer from Sartorius' Music Box, she will notice the case windows are active. If she clicks on the windows with the hammer, the hammer animates and breaks the window [animation_actor]. She can then click on whatever body part is in the case and the body part will become her cursor [cursor_object]. |
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| 12.21.03 Opening the Door If the player takes the hand from the music box in Sartorius' Chambers and clicks on the key pad with it, the hand will tap a code into the buttons, apparently unaffected by the electrical currents surging across the keypad and the door. The door will open [animation_actor] with a loud "thunk" [audio_actor], revealing a ladder leading upwards. The hand drops to the floor and runs away (a la "Thing") [animation_actor]. Two finger snaps are heard [audio_actor]. The player clicks on the ladder and climbs up [qt_actor]. Wind is heard while climbing [audio_actor]. |
12.21.03 Opening the Door If the player takes the hand from the display case in the Skeletal Anatomy Room and clicks on the key pad with it, the hand will tap a code into the buttons, apparently unaffected by the electrical currents surging across the keypad and the door. The door will open [animation_actor] with a loud "thunk" [audio_actor], revealing a ladder leading upwards. The hand drops to the floor and runs away (a la "Thing") [animation_actor]. Two finger snaps are heard [audio_actor]. The player clicks on the ladder and climbs up [qt_actor]. Wind is heard while climbing [audio_actor]. Solving the Door Panel Puzzle
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| 12.22 The Platform Stepping off the elevator onto a large open platform, the player sees an iris-like shutter surrounding the air shaft opening. Looking up, the player sees another platform floating 20' above her, apparently being held up by the column of air. |
12.22 The Platform Stepping off the elevator onto a large open platform, the player sees an iris-like shutter surrounding the air shaft opening. Looking up, the player sees another platform floating 20' above her, apparently being held up by the column of air. |
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| 12.22.01 Closing the Iris There is a small black control box with four levers set horizontally into the floor near the far wall of the otherwise empty and dark roof top. When she clicks the levers, the flood lights turn on. She will notice the iris open and close [animation_actor] depending on how much light is on. Looking up she will also see the floating platform growing nearer and farther with each click [animation_actor]. Realizing that adjusting the iris will alter the flow of air through the shaft, and thereby the level of the platform above it, the player clicks on the four levers. With all four levers switched on, the platform lowers far enough to be reached. |
12.22. 01 Closing the Iris The iris is controlled via a set of four levers. Three of the circular levers are located at nodes 3, 4 and 7. The final lever is at node 5. Beside each lever is a light. The puzzle is based on light and color. The player must rotate the circular levers so that a light next to the lever becomes the brightest most saturated color possible. The controls represent yellow, red and blue. The light will cycle through colors from gray to true absolute color. When all three levers are in this position, the fourth lever becomes active. The fourth control controls a display that ranges from black to white. When the control is at full white, the iris has closed down enough to allow the player to board the Alchemy lab. The lab will lower in relationship to the brightness of the light on his control. If the player leaves the node without lowering the platform all the way, it will rise back to its normal position. Once the lab is lowered, it is accessible from node 8. |
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| 12.23 The Alchemy Lab When the platform reaches the iris, the player can walk up a short series of steps to the platform to find that she has finally discovered Sartorius' Alchemy lab. The lab contains various equipment including a workbench with a bell jar with a deflated balloon over its mouth. A large Alchemical dial indicating Sartorius' association with ether hangs on a rusty nail. Arrayed on a shelf are several alchemical texts, including:
The player enters finds a large clear table with a strange clear ball. In the center of the ball is a long stick with a strange dull tin ball in the middle. There are two canisters on the walls with spigots at the tops. The canisters are marked indicating oxygen and nitrogen. On the opposite wall, there is a canister with helium inside it. At the base of the table, there are two electrodes. They are attached to two batteries. If the player clicks on the glass ball, nothing happens. If the player turns the spigots of oxygen and nitrogen, the glass ball appears to fill but nothing happens to the tin ball. If the player turns on the helium, the glass ball lifts gently [qt_actor]. like a miniature hot air balloon, revealing a tin ball. The player can click on the ball but nothing happens. The batteries have connectors to water faucets. The player clicks on the spigot of the water which charges the batteries. When the batteries are charged, they change color from black to red [animation_actor]. When the batteries are charged, the player is able to click the switches on the two electrodes. They flip [animation_actor] and a current of electricity is zapped to the glass ball [animation_actor]. The ball begins to glow in strange colors [animation_actor]. Through the strange colors of the glass ball, the player can see the small tin ball in the center begin to hum and vibrate — it changes from its dull hue to a vibrant silver, and the symbol of Sartorius is imprinted [animation_actor]. The player attempts to get the ball by clicking on the glass ball, but nothing happens. If the player then turns the spigot containing the helium, the ball fills with helium, and the tin is gently lifted [animation_actor]. The player can now retrieve the metal. The player is then transported to the temple. |
12.23 The Alchemy Lab When the platform reaches the iris, the player can walk up a short series of steps to the platform to find that she has finally discovered Sartorius' Alchemy lab. The lab contains various equipment including a workbench with a bell jar with a deflated balloon over its mouth. A large Alchemical dial indicating Sartorius' association with ether hangs on a rusty nail. Arrayed on a shelf are several alchemical texts, including:
The Transparent Ball and The Impure Metal The player enters and finds a large clear table with a strange clear ball. The ball rests in a circular mount. Four metal rods rise from the table through the mount and into the middle of the clear ball. At the end of the rods is a lump of metal. Between the rods and directly below the metal is a casting mold. On the table there is a lever. The lever is active. The Gas Canisters There are two canisters on the walls with spigots at the tops. The canisters are marked indicating oxygen and hydrogen. On the opposite wall, there is a canister with helium inside it. Tubes run from the canisters to the circular mount at the base of the clear ball. The cannisters are active. The Electrodes and Batteries At the base of the table, there are two electrodes. They are attached to two batteries. Above the batteries are spigots. The spigots are active. Examining the Hydrogen and Oxygen When the player clicks on either cannister, she sees a close-up of the top of both canisters. The hydrogen canister shows twice the pressure of the oxygen canister. The canisters have separate valves. The hydrogen valve is turned on; the oxygen valve is turned off. Both valves are active. Miscues: Playing With The Glass Ball If the player clicks on the glass ball, nothing happens. If the player turns the spigots of oxygen and hydrogen, the player hears a hissing [audio—actor] but nothing happens to the ball. If the player turns on the helium, the glass ball lifts gently [qt_actor] like a miniature hot air balloon, revealing a clay ball. The player can click on the metal lump but nothing happens; the four rods effectively hold the lump . The clear ball will only hover for a few seconds and then descend. The Batteries When the player clicks on the spigots, she sees a close-up of the spigots attached to hoses that run into the batteries. The player clicks on the spigot of the water which charges the batteries. When the batteries are charged, they change color from black to red [animation_actor]. When the batteries are charged, the player is able to click the switches on the two electrodes. They flip [animation_actor] and a current of electricity is zapped to the glass ball [animation_actor]. The ball begins to glow in strange colors [animation_actor]. Then the ball returns to normal. Igniting the Hydrogen/Oxygen Having seen the electric effect, the player will remember the hydrogen and oxygen. She turns off the hydrogen and turns on the oxygen. This fills the ball with hydrogen and oxygen; then, she clicks on the electric switch. When she does, the ball is filled with flame [animation_actor]. When she examines the clear ball, she can see that the metal lump has become red hot and almost molten. The Lever The player then clicks on the lever; the four arms retract and the metal fills the casting mold [animation_actor]. The metal is still hot and molten. Miscue: Clicking on the Lever Too Soon If the metal isn't molten and the player clicks on the lever, the four arms retract, but when the lump of metal reaches the mold, the player hears the grinding of gears; the lever flips back into place and the arms elevate again [animation_actor]. Creating Water The player returns to the canisters of hydrogen and oxygen. She turns on the hydrogen. She then returns to the batteries and sparks the ball again. This time, as the gases meet and burn, they create water, which gradually fills the balls and finally extinguishes the fire; the ball is full of water; the cast metal is cooled, and then the water drains away [animation actor]. The player hears the hissing of the hydrogen and oxygen diminish as the canisters empty [audio_actor]. If the player now looks at the pressure gauges, she will see that the two canisters are empty. madding Helium Remembering the files mentioning helium, the player now turns on the helium valve; the ball begins to shake and then to rise like a helium balloon [animation_actor]. Inside the clear ball, the dull metal ball begins to vibrate — it changes from its dull hue to a vibrant silver [animation_actor]. The player can reach beneath the, clear ball and take the metal symbol. When she does, she is transported back to the Temple. To Solve the Alchemy Puzzle
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Alchemy Books Stack of Alchemy Books Titles appear on the spine ·Books of Greater Surgery, Paracelsus (1536-7) · New Experiments, Robert Boyle (1662) Poems, George Ripley ·The Secret of Secrets, Roger Bacon (ed.) Monas Hieroglyphics, John Dee (1564) Euphrates, Thomas Vaughan (1655) Nei P'ien, Ko Hung Philosophy to the Athenians, Paracelsus Painting showing the four elements Dedication Plaque: One day, perhaps a great union will be formed between Magic and Science, and the final mysteries will be solved. Ozmar, 821 GUE |
For the marked initials next to the element symbols, I cannot recall if you have settled on full names for each character. I know that Thaddius Kaine is the General's full name, but I do not know whether Malveax and Sartorius are first names or last. At any rate, it might not be obvious that the letters in question are initials, if the full names of three of the characters are not to be found in the game. |
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| 12.24 Return to the Temple When the player clicks on the tin, the player has the appropriate vision of the rings. The player finds herself standing before the altar. The tin hovers in position. The player clicks the tin, and it settles into its slot [animation_actor]. As the player places the metal object on the altar, it seeps blood, which flows quickly into a central pool. If the player clicks on the pool she sees a CLOSE-UP of the pool. |
12.24 Return to the Temple When the player clicks on the tin, the player has the appropriate vision of the rings. The player finds herself standing before the altar. The tin hovers in position. The playerclicks the tin, and it settles into its slot [animation_ actor]. As the player places the metal object on the altar, it seeps blood, which flows quickly into a central pool. If the player clicks on the pool she sees a CLOSE-UP of the pool. |
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| 12.25 The Flashback If the player clicks on this close-up it DISSOLVES to the FLASHBACK scene of the murder of Sartorius from Nemesis' POV, as follows: Sartorius looks up, startled, toward the Nemesis. He starts to move away, but before he can run, the Nemesis flings a candle at him. It hits Sartorius, and the ceremonial robe he wears BURSTS INTO FLAME. As he is engulfed by fire, the scene DISSOLVES to the player's original POV of the altar with the metal object in place and the blood gone. A BRILLIANT BEAM OF LIGHT lights up Sartorius' sarcophagus. |
12.25 The Flashback If the player clicks on this close-up it DISSOLVES to the FLASHBACK scene of the murder of Sartorius from Nemesis' POV, as follows: Sartorius looks up, startled, toward the Nemesis. He starts to move away, but before he can run, the Nemesis flings a candle at him. It hits Sartorius, and the ceremonial robe he wears BURSTS INTO FLAME. As he is engulfed by fire, the scene DISSOLVES to the player's original POV of the altar with the metal object in place and the blood gone. A BRILLIANT BEAM OF LIGHT lights up Sartorius' sarcophagus. |
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| 12.26 Sartorius' Metal Response. If the player clicks on the highlighted sarcophagus, she is TRANSPORTED to a MEDIUM LOW-ANGLE SHOT of Sartorius in the medallion portion of his sarcophagus. His image is distinct, his voice is strong, and though still a ghost, he's freed from the debilitating torture of his earlier state. He responds to the return of his metal like a man in a burning desert after a drink of cool water. SARTORIUS
Good work. Ah. I can smell my laboratory, my asylum. (looks up)
What's that? You learned the truth about Alexandria's conception? You
question our methods? Understandable.He assumes a lecturing tone. SARTORIUS
The
science of alchemy is precise and demanding. So we created a girl whose
conception and birth met specified planetary coordinates. She was
magical-- the most important thing in the world to us. If only we could
have saved her from the Nemesis.(hopefully)
But, you see, I know
the secret to bring us, and Alexandria and Lucien back to life. There
is a chance we can all live again! Find the remaining metals.The player now either advances on to another portal world in search of another metal or, if this is the last element, the endgame begins. |
12.26 Sartorius' Metal Response. If the player clicks on the highlighted sarcophagus, she is TRANSPORTED to a MEDIUM LOW-ANGLE SHOT of Sartorius in the medallion portion of his sarcophagus. His image is distinct, his voice is strong, and though still a ghost, he's freed from the debilitating torture of his earlier state. He responds to the return of his metal like a man in a burning desert after a drink of cool water. SARTORIUS
Good work. Ah. I
can smell my laboratory, my asylum.
(looks up)
What's that? You
learned the truth about Alexandria's conception? You question our
methods? Understandable.
He assumes a lecturing tone. SARTORIUS
The
science of alchemy is precise and demanding. So we created a girl whose
conception and birth met specified planetary coordinates. She was
magical-- the most important thing in the world to us. If only we could
have saved her from the Nemesis.(hopefully)
But, you see, I know
the secret to bring us, and Alexandria and Lucien back to life. There
is a chance we can all live again! Find the remaining metals.The player now either advances on to another portal world in search of another metal or, if this is the last element, the endgame begins. |
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| 12.26.01 Sartorius "No Metal"
Response If the player has gone to the Asylum without finding the metal object, she are transported back to the Orrery Room. If she goes directly to Sartorius' sarcophagus after her return, she sees Sartorius in the glass case at the foot of his sarcophagus very much like the player first met him -- in great torture. |
12.26.01 Sartorius "No Metal"
Response If the player has gone to the Asylum without finding the metal object, she are transported back to the Orrery Room. If she goes directly to Sartorius' sarcophagus after her return, she sees Sartorius in the glass case at the foot of his sarcophagus very much like the player first met him -- in great torture. |
General comments about the asylum:
My initial report contained some of the reasons why Sartorius was
forced to flee the Westlands. I imagine that he ended up in the Grey
Mountains, instead of the Desert River area with his companions,
because of his connections to the previous custodian of the asylum, who
entrusted it into his hands at his death. Although I did not see any specific places where this might fit in, it would be nice to show either living and caged creatures, or diagrams of dead creatures, that were subjects of his experiments. This would specifically involve taking some of the more famous Zork creatures, such as the dornbeasts and brogmoids that we have images of in the Sorcerer and Beyond Zork packaging, and crossing them, implying strange genetic breeding experiments. At any rate, there is very little material to draw on to come up with any correspondence with current physicians, or to mention any insane contemporaries. I believe I have already mentioned Lucrezia Flathead, who, although long dead, was insane enough and famous enough to be seen as the inspiration for the modern Quendoran scientific study of criminal insanity. |