Zork Nemesis Design Document: Section 13

ZORK NEMESIS DESIGN DOCUMENT: Part 13 - Castle

VERION 2.5/3.0 (1995/08/17)

VERSION 4.0 (1995/09/18)

VERSION 4.1 (1995/09/27)
(seems the same as v4.0 except for final puzzle)

LIST OF TEXT (A)

LIST OF TEXT (B)

RUFFINI'S NOTES ON VER 2.5/3.0 & 4.0

The player aligns the Orrery so that the shadow of Mars falls on the right wall of the Orrery Room. After the player falls through the bottom of the Orrery Room, the player sees a wall of red desert rock. Although appearing mostly solid, the rock shimmers slightly. The player moves into the rock, which begins to deform [qt_actor]. The sound of rumbling is heard as the red rock begins to crack [audio_actor].

Suddenly, the rock breaks away, and the player is moving over a battlefield; the player is dodging bomb blasts and tracer bullets [animation_actor].

The player's POV speeds toward an enormous fortress-like structure half-buried in the shifting sands of a limitless desert. The structure reminds the player of a Victorian greenhouse, but where the greenhouse would have had glass, this structure has thick plates of shell-pocked corroded iron. Some of the upper levels of the structure have crumpled as if under a ferocious military assault. Sticking out from what appears to be the front of the building is a squat zig-zag bunker with an enormous tank-like vehicle parked at the end of the bunker.

The player ends her journey on a small porch hidden among the ironclad towers of the structure. A small model of Mars floats next to her. In front of her is a sliding iron door leading to the Castle Entry Hall.

The player aligns the Orrery so that the shadow of Mars falls on the right wall of the Orrery Room. After the player falls through the bottom of the Orrery Room, the player sees a wall of red desert rock. Although appearing mostly solid, the rock shimmers slightly. The player moves into the rock, which begins to deform [qt_actor]. The sound of rumbling is heard as the red rock begins to crack [audio_actor].

Suddenly, the rock breaks away, and the player is moving over a battlefield; the player is dodging bomb blasts and tracer bullets [animation_actor].

The player's POV speeds toward an enormous fortress-like structure half-buried in the shifting sands of a limitless desert. The structure reminds the player of a Victorian greenhouse, but where the greenhouse would have had glass, this structure has thick plates of shell-pocked corroded iron. Some of the upper levels of the structure have crumpled as if under a ferocious military assault. Sticking out from what appears to be the front of the building is a squat zig-zag bunker with an enormous tank-like vehicle parked at the end of the bunker.

The player ends her journey on a small porch hidden among the ironclad towers of the structure. A small model of Mars floats next to her. In front of her is an open archway leading into the Castle Entry Hall.

NOTE:

All text in letters and books and all V.O. dialogue is placeholder only.
Numbers in [brackets] refer to Node Map references.
Views involving game-state changes are visible only at the views where the change occurs (unless otherwise noted).

The player aligns the Orrery so that the shadow of Mars falls on the right wall of the Orrery Room. After the player falls through the bottom of the Orrery Room, the player sees a wall of red desert rock. Although appearing mostly solid, the rock shimmers slightly. The player moves into the rock, which begins to deform [qt_actor]. The sound of rumbling is heard as the red rock begins to crack [audio_actor].

Suddenly, the rock breaks away, and the player is moving over a battlefield; the player is dodging bomb blasts and tracer bullets [animation_actor].

The player's POV speeds toward an enormous fortress-like structure half-buried in the shifting sands of a limitless desert. The structure reminds the player of a Victorian greenhouse, but where the greenhouse would have had glass, this structure has thick plates of shell-pocked corroded iron. Some of the upper levels of the structure have crumpled as if under a ferocious military assault. Sticking out from what appears to be the front of the building is a squat zig-zag bunker with an enormous tank-like vehicle parked at the end of the bunker.

The player ends her journey on a small porch hidden among the ironclad towers of the structure. A small model of Mars floats next to her. In front of her is an open archway leading into the Castle Entry Hall.

NOTE:

All text in letters and books and all V.O. dialogue is placeholder only.
Numbers in [brackets] refer to Node Map references.
Views involving game-state changes are visible only at the views where the change occurs (unless otherwise noted).

Unless I have misunderstood the technological level of Quendoran warfare, the player would not be "dodging bomb blasts and tracer bullets," at least not without a few things seeming grossly out of place. Cannon explosions and burning arrows are much more likely.

The "enormous tank-like vehicle" should also be handled with extreme care; if it is possible to make it appear that it moves by magical powers, or by such devices as hand-powered or beast-powered gears and cranks, this would be infinitely preferable to the puzzle of explaining a fully-mechanized motor engine in the Zork world.

13.01 Background
In Kaine's castle, the player learns about Kaine's and Lucien's relationship. She also discovers some of Kaine's background, and the reason for his success as a soldier.

The house has three levels, one of which is initially hidden:

First Level

Entrance Hall Armory

Treasure Room
Ballroom

Second Level

Kaine's Bedroom
Lucien's Bedroom

Game Room

Basement Level

Dungeon

Torture Room

Outside

Battle Tank & Bunker
Alchemy Lab

First Level

Entrance Hall Armory

Treasure Room
Ballroom

Second Level

Kaine's Bedroom
Lucien's Bedroom

Game Room

Basement Level

Dungeon

Torture Room

Outside

Battle Tank & Bunker
Alchemy Lab

First Level

Entrance Hall Armory

Treasure Room
Ballroom

Second Level

Kaine's Bedroom
Lucien's Bedroom

Game Room

Basement Level

Dungeon

Torture Room

Outside

Battle Tank & Bunker
Alchemy Lab

5-10 castle related paintings

13.02 The Entrance Hall

The player immediately notices in the distance the sounds of explosions and cannon fire [audio_actor]. As she explores the Castle these sounds increase in frequency and volume.

The player can click on the floating model of Mars [animation_actor] to return to the Orrery Room.

The player enters the Castle through an iron door on the Second Level of the Entry Hall. Two grand staircases lead down to a foyer containing a huge wheeled ornamental cannon. Halfway down the W staircase is a curved hall leading to Kaine's Bedroom, a similar hall off the E staircase leads to Lucien's Bedroom and the Game Room.

To the S of the cannon is the Castle's main door. To the N of the cannon through a set of double doors is an elegant ballroom. The hall to the E of the cannon leads to the locked door of the Armory. To the W of the foyer is a short hall leading to the Treasure Room, its reinforced door burst from its hinges as if by a shell concussion.

13.02 The Entry Hall
The Entry Hall contains

A huge wheeled ornamental cannon
An armored knight with an empty scabbard and a note
A suit of armor with a movable visor
A portrait of King Dimwit Flathead
A portrait of Kaine
Two tapestries depicting battles from the Grue Wars

The player begins her Castle exploration on a small porch attached to the upper level of the Entrance Hall. The moment that the player arrives, she notices in the distance the sounds of explosions and cannon fire [audio_actor]. As she explores the Castle these sounds increase in frequency and volume.

From the porch [Node 1] the player looks to the S towards an archway. If she turns around, she can look to the N over the exterior of the Castle towards a battle-scarred landscape of trenches and shell craters. At the NW corner of the porch [Node 1B] floats a model of Mars [animation_actor]. The player can click on this for a close-up of the planet [Node 1E], and then from the close-up, click on Mars to return to the Orrery Room.

Into the Entry Hall
Clicking on the open archway [1A] takes the player inside the structure to the Entry Hall. Two grand staircases lead down to a foyer containing a huge wheeled ornamental cannon. Halfway down the W staircase is a hall leading to the Second Level Corridor. A similar hall off the E staircase leads to this same corridor.

On the first floor, there are four entrances to the Entry Hall. To the S of the cannon is the Castle's main door [S of Node A]. To the N of the cannon through a set of open double doors [Node D] is an elegant ballroom. The hall to the E of the cannon leads to the locked door of the Armory [E of Node C]. To the W of the foyer is a short hall leading to the Treasure Room; its reinforced door is burst from its hinges as if by a shell concussion [W of Node 8].

13.02 The Entry Hall
The Entry Hall contains

A huge wheeled ornamental cannon
An armored knight with an empty scabbard and a note
A suit of armor with a movable visor
A portrait of King Dimwit Flathead
A portrait of Kaine
Two tapestries depicting battles from the Grue Wars

The player begins her Castle exploration on a small porch attached to the upper level of the Entrance Hall. The moment that the player arrives, she notices in the distance the sounds of explosions and cannon fire [audio_actor]. As she explores the Castle these sounds increase in frequency and volume.

From the porch [Node 1] the player looks to the S towards an archway. If she turns around, she can look to the N over the exterior of the Castle towards a battle-scarred landscape of trenches and shell craters. At the NW corner of the porch [Node 1B] floats a model of Mars [animation_actor]. The player can click on this for a close-up of the planet [Node 1 E], and then from the close-up, click on Mars to return to the Orrery Room.

Into the Entry Hall
Clicking on the open archway [1A] takes the player inside the structure to the Entry Hall. Two grand staircases lead down to a foyer containing a huge wheeled ornamental cannon. Halfway down the VV staircase is a hall leading to the Second Level Corridor. A similar hall off the E staircase leads to this same corridor.

On the first floor, there are four entrances to the Entry Hall. To the S of the cannon is the Castle's main door [S of Node A]. To the N of the cannon through a set of open double doors [Node D] is an elegant ballroom. The hall to the E of the cannon leads to the locked door of the Armory [E of Node C]. To the W of the foyer is a short hall leading to the Treasure Room; its reinforced door is burst from its hinges as if by a shell concussion [W of Node 8].

The tapestries of the Grue Wars should, as I believe I indicated earlier, be changed to images of Kaine's other victories. [on ver 4.0]

13.02.01 Eye Candy
Dominating the Entrance Hall foyer is a huge painting showing General Kaine. On another wall, a prominent painting showing Dimwit Flathead's self coronation (based on Napoleon's) rests in a gold frame of the west wall. Clicking on the painting plays a [animation actor]of Dimwit lowering the crown onto his head. It slips off to one corner of his head. The painting returns to normal.

Dozens of brutal-looking weapons (maces, knives, swords, pikes, halberds, clubs, numchuks, etc.) line the walls of the massive Entrance Hall in crude displays.

On the N wall of the foyer hang two tapestries depicting Kaine's battles against the Grues. Above the tapestries is the landing through which the player entered. Below the tapestries is a double doorway.

13.02.01 Eye Candy
Dominating the Entrance Hall foyer is a huge painting showing The Battle of Flood Control Dam #3 [AG]. On another wall, a prominent painting showing Dimwit Flathead's self-coronation (based on Napoleon's) rests in a gold frame of the south-west wall [AF]. Clicking on the painting plays an [animation_actor] of Dimwit lowering the crown onto his head. It slips off to one corner of his head. The painting returns to normal.

The player also notices dozens of brutal-looking weapons (maces, knives, swords, pikes, halberds, clubs, numchuks, etc.) that line the walls of the massive Entrance Hall in crude displays. In the center of the room, she also notices a massive cannon [between Node 9 and Node D]. The player may also click on the cannon for a close-up [9E-B1]. She can also get views of the ceiling of the Hall at Node 9 [9F], Node A [AF], and Node 2 [2E].

13.02.01 Eye Candy
Dominating the Entrance Hall foyer is a huge painting showing The Battle of Flood Control Dam #3 [AG]. On another wall, a prominent painting showing Dimwit Flathead's self-coronation (based on Napoleon's) rests in a gold frame of the south-west wall [AF]. Clicking on the painting plays an [animation_ actor] of Dimwit lowering the crown onto his head. It slips off to one corner of his head. The painting returns to normal.

The player also notices dozens of brutal-looking weapons (maces, knives, swords, pikes, halberds, clubs, numchuks, etc.) that line the walls of the massive Entrance Hall in crude displays. In the center of the room, she also notices a massive cannon [between Node 9 and Node D]. The player may also click on the cannon for a close-up [9E-B1]. She can also get views of the ceiling of the Hall at Node 9 [9F], Node A [AF], and Node 2 [2,E].

Paintings of Battles:
--Battle of Stonewall: 747 GUE
--Battle of Fort Griffspotter: 665 GUE
--The Diablo Massacre: 666 GUE --Yipple Rebellion
--King Dimwit Flathead
--Rich Person

The paintings sound very good. [on ver 2.5/3.0]

On the same note, you should make sure that the Battle of FCD #3 is shown to be against humans, trolls, or orcs, not grues. [on ver 4.0]

As for the weapons, there are not to the best of my knowledge any military weapons that are unique to the Zork world. Typical of Zork humor would be weapons that defeated their own purpose: cannons that pointed both at the defender and the attacker, swords without handles, spears that boomerang, etcetera. [on ver 2.5/3.0]

A few quick comments regarding Kaine's battles against the Grues:

Grues cannot survive in the light.
Humans need light to see, and thus to fight.
No one who has ever seen a grue has lived to tell the tale.

These three facts combine to make a battle against the grues highly improbable, and tapestries depicting such a battle even more so. More likely possibilities include Kaine's suppression of tax riots in a random Eastland city, Kaine's battles against Ellron, or Kaine's battles against barbarian hordes of trolls and orcs invading the Eastlands after the fall of the Empire.[on ver 2.5/3.0]

13.03 The Armored Knight
Against the wall of the short passage leading to the Armory stands a knight in armor standing at attention. A beautiful jeweled scabbard hangs at his side. However, there is no sword in it.

In a joint in the armor is a note from Sophia to Kaine, its edge barely sticking out from the two adjoining plates and its text is reflected in reverse on the shiny armor [text_actor]. The player can click on it to read it and the letter fills the frames [animation_actor, text_actor].

Note from Sophia:

I saw him at Alexandria's performance. What was he doing there? I know that you have done all that you can, but your son is a dangerous influence. I know of his reputation. Keep him away from here. I have this feeling about him and my feeling tells me he will be the ruin of all of us and all our dreams.

The E door (past the knight in armor) is closed and locked. The player suspects that the empty scabbard may need to be filled and continues to explore.

13.03 The Armored Knight
Against the wall of the short passage leading to the Armory stands a knight in armor standing at attention [CD]. A beautiful jeweled scabbard hangs at his side. However, there is no sword in it. The player may click on the knight to see to a close up [CE-B1] of the knight. From this view, the player can click on the scabbard for an even closer view of the empty scabbard [CE-B3].

From the medium close up [CE-B1] a note is visible, stuck into a joint in the armor. The player can further click on the note for a closer view of the note [CE-B2]. The note from Sophia to Kaine, barely sticks out from the two adjoining plates and its text is reflected in reverse on the shiny armor [text_actor]. The player can click on it to read it and the letter fills the frame [animation_actor, text_actor].

Note from Sophia:

The E door (past the knight in armor) is closed and locked (E of Node C). The player suspects that the empty scabbard may need to be filled in order for this door to open and she continues to explore.

NOTE: Five distinctive suits of armor from different eras (samurai, medieval, modern, etc.) are located throughout the Castle. Two suits of armor are located in the Entry Hall, two in the Secon...
[do to some error in the duplication of the pages in the hardcopy, some of the text was lost here]

13.03 The Armored Knight
Against the wall of the short passage leading to the Armory stands a knight in armor standing at attention [CD] A beautiful jeweled scabbard hangs at his side. However, there is no sword in it. The player may click on the knight to see to a close up [CE-B1] of the knight. From this view, the player can click on the scabbard for an even closer view of the empty scabbard [CE-B3].

From the medium close up [CE-B1] (a note is visible, stuck into a joint in the armor. The player can further click on the note for a closer view of the note [CE-B2]. The note from Sophia to Kaine, barely sticks out from the two adjoining plates and its text is reflected in reverse on the shiny armor [text_actor]. The player can click on it to read it and the letter fills the frame [animation_actor, text_actor].

Note from Sophia:

The E door (past the knight in armor) is closed and locked (E of Node C). The player suspects that the empty scabbard -may need to be filled in order for this door to open and she continues to explore.

NOTE: Five distinctive suits of armor from different eras (samurai, medieval, modern, etc.) are located throughout the Castle. Two suits of armor are located in the Entry Hall, two in the Second Level corridor and a final suit of armor in the Armory itself. The player must notice the positions on the visors on each of these suits of armor in order to solve the Armory Stained Glass Puzzle (see below) and enter the Dungeon and Torture Room.

I have problems with the idea of samurai armor, as there is nothing in any way similar to Asian culture in the Zork world. I will comment more on this later. [actually this is one of the few things Ruffini is wrong about -- you can see a samurai in the Beyond Zork scrystone]

13.04 The Nemesis Appears
If the player clicks on the armor, the visor begins to glow with a strange light [animation_actor] and two white eyes pierce the darkness inside the helmet. It is the Nemesis.

NEMESIS V.O.
[INSERT V.O. DIALOGUE]

Clicking on the figure again produces no response unless the player clicks on it with the sword from the Ballroom (see below).

[do to some error in the duplication of the pages in the hardcopy, some of the text was lost here]

13.04 The Nemesis Appears
If the player clicks on the armor from the close-up [CE-B1], the visor begins to glow with a strange light [animation_actor] and two white eyes pierce the darkness inside the helmet. It is the Nemesis.

NEMESIS V.O.

[INSERT V.O. DIALOGUE TBD]

The player can also click on the visor to move it up [CE-B5] and down [CE-B6] (this knight is part of
the Stained Glass/Armored Knight Puzzle).

Clicking on the scabbard area produced no response unless the player clicks on it with the sword from the Ballroom (see below).

13.05 The Retired Soldier
If the player clicks on the main door S of the foyer, it opens to REVEAL AN OLD RETIRED SOLDIER outside guarding the castle. He peers in at the player as he speaks to her. At the end of each speech, the Retired Soldier closes the door.

RETIRED SOLDIER

Good lord, who are you? Never mind, get inside, quick now. The horde's nearly broke through. Castle's deserted. I'm the only one left -- but I won't desert General Kaine. Not this bloke. What're you grinnin' at?

Scowling, he makes a fist -- and coughs. He uses his fist to cover his mouth. The soldier slams the door [animation_actor].

If the player clicks on the door again, it opens [animation_actor, audio_actor] and the soldier appears once more [video_actor].

RETIRED SOLDIER

You can't leave now -- you'll be pilloried. I'll lock you in the stockade if I have to.

RETIRED SOLDIER

Get away from the door -- you dumb hungus.

RETIRED SOLDIER

Come inside.

(smile)

I'm not much, but I'm the only chance you've got.

If the player clicks on the main doors after having solved the War Room puzzle the Retired Soldier exclaims:

RETIRED SOLDIER

I don't know how you did it, but - HALLELUIA!

If the player attempts to go outside again, the door will not open. The player will randomly hear the Retired Soldier say one of the following [audio_actor]:

RETIRED SOLDIER

"Stand back; you never know when that cannon's gonna get lucky."

RETIRED SOLDIER

"Take cover. You don't want be buried in dirt and rubble."

RETIRED SOLDIER

"Get away from the door, fool."

[do to some error in the duplication of the pages in the hardcopy, some of the text was lost here]

[the text resumes here] The soldier slams the door [animation_actor].

If the player clicks on the door again, it opens [animation_actor, audio_actor] and the soldier appears once more [video_actor].

RETIRED SOLDIER

You can't leave now -- you'll be pilloried. I'll lock you in the stockade if I have to.

RETIRED SOLDIER

Get away from the door -- you dumb hungus.

RETIRED SOLDIER

Come inside.

(smile)

I'm not much, but I'm the only chance you've got.

If the player clicks on the main doors after having solved the War Room puzzle the Retired Soldier exclaims:

RETIRED SOLDIER

I don't know how you did it, but - HALLELUIA!

If the player attempts to go outside again, the door will not open. The player will randomly hear the Retired Soldier say one of the following [audio_actor]:

RETIRED SOLDIER

"Stand back; you never know when that cannon's gonna get lucky."

RETIRED SOLDIER

"Take cover. You don't want be buried in dirt and rubble."

RETIRED SOLDIER

"Get away from the door, fool."

13.05 The Retired Soldier
If the player clicks on the main door S of the foyer [S of Node A], it opens to REVEAL AN OLD RETIRED SOLDIER outside guarding the castle. He peers in at the player as, he speaks to her. At the end of each speech, the Retired Soldier closes the door.

RETIRED SOLDIER

You can't leave now -- you'll be pilloried. I'll lock you in the stockade if I have to.

RETIRED SOLDIER

Get away from the door -- you dumb hungus.

RETIRED SOLDIER

Come inside.

(smile)

I'm not much, but I'm the only chance you've got.

If the player clicks on the main doors after having solved the War Room puzzle the Retired Soldier exclaims:

RETIRED SOLDIER

I don't know how you did it, but - HALLELUIA!

If the player attempts to go outside again, the door will not open. The player will randomly hear the Retired Soldier say one of the following [audio_actor].

RETIRED SOLDIER

"Stand back; you never know when that cannon's gonna get lucky."

RETIRED SOLDIER

"Take cover. You don't want be buried in dirt and rubble."

RETIRED SOLDIER

"Get away from the door, fool."

"You dumb hungus" is a very nice touch. [on ver 2.5/3.0]

13.06 Suit of Armor
Investigating the entire Entry Hall, the player notices a visored suit of armor standing on the N wall of the west corridor [near 8]. This knight is a part of the Armory Room puzzle. The player can click on the armor for a close-up of the knight [8E-B1] and then click on the visor to open [8E-B2] and close it again [return to 8E-B1].

13.06 Second Level Corridor

The player is motivated to go up the NW staircase to the Second Level Corridor. The player clicks on the W staircase and he travels halfway up the stairs to the curved hall leading W [qt_actor].

The first room on the player's left down the curved hallway is Kaine's Bedroom. Several others doors lead off of the curved hallway but these doors have been blocked by fallen timbers and other war damage.

13.06 Second Level Corridor
The Second Level Corridor contains:

Two suits of armor (part of the Armory Stained Glass puzzle)

The player is motivated to go up the NW staircase to the Second Level Corridor. She clicks on the W staircase and travels halfway up the stairs to the hall leading W [qt_actor] [Node 5 of the Entry Hall]. (The player may also travel up the NE staircase [qt_actor] to a matching hall [at Node 3 of the Entry Hall], which leads east.)

Following the NW corridor [from Node 5], the player reaches an intersection with a second corridor [Node 1]. To the left, this intersecting corridor is blocked by rubble. To the right, a small flight of stairs leads to a central landing. Directly ahead of the player is suit of armor and just beyond it is the door to Kaine's Bedroom.

Alternatively, following the NE corridor [from Node 3 of the Entry Hall], the player reaches an intersection with a second corridor [Node 3]. To the right, the corridor is blocked by rubble. To the left, a small flight of stairs leads to a central landing. Directly ahead of the player is a suit of armor, and just beyond it is the door to Lucien's Bedroom.

The Second Level Suits of Armor
These two suits of armor are part of the Armory puzzle. The player clicks on them for a close-up of their helmets [1E-B1, 3E-B1]. She discovers that the visors on both knights are active, and when she clicks on the visors, they open and close [1E-B2, 3E-B2]. The position of the visors here must match the position of the visor of the appropriate knight seen in the stained glass of the Armory in order to open the door to the Dungeon.

13.06 Second Level Corridor
The Second Level Corridor contains:

Two suits of armor (part of the Armory Stained Glass puzzle)

The player is motivated to go up the NW staircase to the Second Level Corridor. She clicks on the staircase and travels halfway up the stairs to the hall leading W [qt_actor] [Node 5 of the Entry Hall]. (The player may also travel up the NE staircase [qt_actor] to a matching hall [at Node 3 of the Entry Hall], which leads east.)

Following the NW corridor [from Node 5], the player reaches an intersection with a second corridor [Node 1]. To the left, this intersecting corridor is blocked by rubble. To the right, a small flight of stairs leads to a central landing. Directly ahead of the player is suit of armor and just beyond it is the door to Kaine's Bedroom.

Alternatively, following the NE corridor [from Node 3 of the Entry Hall], the player reaches an intersection with a second corridor [Node 3]. To the right, the corridor is blocked by rubble. To the left, a small flight of stairs leads to a central landing. Directly ahead of the player is a suit of armor, and just beyond it is the door to Lucien's Bedroom.

The Second Level Suits of Armor
These two suits of armor are part of the Armory puzzle. The player clicks on them for a close-up of their helmets [1E-B1, 3E-B1]. She discovers that the visors on both knights are active, and when she clicks on the visors, they open and close [1E-B2, 3E-B2]. The position of the visors here must match the position of the visor of the appropriate knight seen in the stained glass of the Armory in order to open the door to the Dungeon.

13.07 Kaine's Bedroom

The player enters the large bedroom.

Under the bed is a copy of Ben Jonson's The Alchemist.

If the player clicks on it, the book will open to the following passage [animation_actor]:

Tis a stone and not,
A stone; a spirit, a soul, and a body,
Which if you do dissolve it, it is dissolv'd,
If you coagulate it, it is coagulated,
If you make it flie, it flieth.

On the table next to the bed is Malveaux's book Revelation & Eternity [text_actor].

A crumpled note on the floor [text_actor] reads:

Your son will try to elope with A tonight, Come to St. Yoruk's at once!

Clipped to this note is another, also crumpled [text_actor]:

Alexandria, we must get out of here. I don't know what is going on but I believe my father is involved. I don't know what they want...

[THIS ROOM TO CONTAIN CLUE TO METAL CASTING PUZZLE TBD]

In a bookshelf in the room, the player finds what appears to be a photo album. The player can click on to open and leaf through [animation_actor].

The file contains newspaper clippings [text_actors] as follows:

Major and Elizabeth Kaine beam with pride at their lovely new boy, Lucien.
Thaddeus Kaine of Desert River Province is granted a knighthood and promotion from Major to General for putting down the Grue rebellion.
Kaine's feud with his old nemesis von Zandt boils over again in dispute over farmlands near the Desert River.

13.07 Kaine's Bedroom
Kaine's bedroom contains:

A campaign trunk
A night table with a book written by Malveaux
A bookcase of famous Zork titles with a photo album on top of it
A campaign desk without a lid
Two notes crumpled together
A bayonet stabbed through a note into the back of the desk
A letter spike with letters, resting on top of the desk
A map of the environs and note regarding its defenses

The player enters the large bedroom. The bedroom is dominated by a large bed flanked by night tables. A campaign trunk rests at the end of the bed. In the northeast corner is a bookshelf. Across from the bed, in the opposite corner of the room is a desk.

Besides the door to the hall, the player can exit through an open door to the Game Room [Node A] or to through a rear archway to the Treasury Room [Node 7].

Under the Bed
Under the bed is a copy of Ben Jonson's The Alchemist [near 9A]. The player can tilt down to see the corner of the book clearly [9E-B1 ]. If the player clicks on it, the book will open [animation_actor] to the following passage [9E-B2]:

Tis a stone and not,
A stone; a spirit, a soul, and a body,
Which if you do dissolve it, it is dissolv'd,
If you coagulate it, it is coagulated,
If you make it flie, it flieth. [text_actor]

NOTE: The corner of the book should be visible from Nodes other than Node 9 so that the player knows to tilt down.

The Right Night Table
On the table next to the bed [6E] is Malveaux's book Revelation & Eternity [text_actor].

The Crumpled Note
A crumpled note on the floor [7E-B1] [text_actor] reads:

Your son will try to elope with A tonight, Come to St. Yoruk's at once!

Clipped to this note is another note [7E-B2], also crumpled, [text_actor]:

Alexandria, we must get out of here. I don't know what is going on but I believe my father is involved. I don't know what they want...

The Book Shelf: The Album
In one corner of the room [Node A] is a bookshelf with what appears to be a photo album. The player may click on the shelf for a medium close up of the album [AE-B1] and then on the album [AE-B2] for a close-up of the closed album. The player can now click on the album to open it and leaf through its pages [animation_actor].

The book contains newspaper clippings [text_actors] [AE-B3, AE-B4, AE-B5] as follows:

Major and Elizabeth Kaine beam with pride at their lovely new boy, Lucien.
Thaddeus Kaine of Desert River Province is granted a knighthood and promotion from Major to General for putting down the Grue rebellion.
Kaine's feud with his old nemesis von Zandt boils over again in dispute over farmlands near the Desert River.

The Book Shelf: Famous Zork Titles
Besides collecting weapons of injury, Kaine collected books. On the book shelves [AE], the player notices a number of the most famous titles of Zork literature. From the medium close up of the album and bookshelf, the player can click on these famous titles (TBD) [AE-B6, AE-B7, AE-B8, AE-B9]. Three additional books can also be opened and read (contents TBD). Each title opens [animation_actor] when the player clicks on it.

13.07 Kaine's Bedroom
Kaine's bedroom contains:

A campaign trunk
A night table with a book written by Malveaux
A bookcase of famous Zork titles with a photo album on top of it
A campaign desk without a lid
Two notes crumpled together
A bayonet stabbed through a note into the back of the desk
A letter spike with letters, resting on top of the desk
A map of the environs and note regarding its defenses

Tis a stone and not,
A stone; a spirit, a soul, and a body,
Which if you do dissolve it, it is dissolv'd,
If you coagulate it, it is coagulated,
If you make it flie, it flieth. [text_actor]

Your son will try to elope with A tonight, Come to St. Yoruk's at once!

Clipped to this note is another note [7E-B2], also crumpled, [text_actor]:

Alexandria, we must get out of here. I don't know what is going on but I believe my father is involved. I don't know what they want...

Major and Elizabeth Kaine beam with pride at their lovely new boy, Lucien.
Thaddeus Kaine of Desert River Province is granted a knighthood and promotion from Major to General for putting down the Grue rebellion.
Kaine's feud with his old nemesis von Zandt boils over again in dispute over farmlands near the Desert River.

Picture of Lucien on table
Picture of Sophia on table

CGAEB21A
Photo Album

RIGHT HAND SIDE: Kaine and Liz with baby
LEFT HAND SIDE: Liz Kaine

CGAEB31A
RT HAND SIDE:
Thaddeus Kaine of Desert River Province Granted Knighthood, Mumberbur 7, 923: (With picture of Kaine)

Thaddeus Kaine of Desert River Province, famous for his battle against the barbarian hordes, was granted knighthood today. In an elaborate ceremony at Syovar’s palatial estate in Aragain, Syovar anointed Thaddeus Kaine to the applause of various well-wishers, including Sophia Alexander of the Desert River Branch Conservatory and Francois Malveaux, noted author of “The Brogomoid Fallacies”. In the name of the rightful and unified Kingdom of Zork, Syovar thanked General Kaine for his struggle to defeat the barbarian and trollish hordes that have been recently threatening the Kingdom.

CGAEB41A
(picture of Kaine angry)

Kaine and Ellron: Dispute Turns to War.
Fight Over Border Regions between former Aragain and Desert River Province.

Mage 20, 924
The ever increasing tensions between Lord Ellron and Sir General Kaine reached their height yesterday evening, when Lord Ellron declared war on General Kaine. The fight has become even more critical because of Kaine’s rumoured creation of Thaddium, the lethal zirradiated ore. Ellron, now aligned with the increasingly powerful and political Enchanters Guilds of the Westlands has been rumoured to have purchased a lethal scroll from Wizard Zilzoz. The results of this never-ending feud should have a major impact on Syovar and whether his empire is able to expand and unite the entire Zork lands.

PAGE ADDED TO KAINE'S SCRAPBOOK IN HIS BEDROOM: THIS IS LIKE A SCRAP OF PAPER , SO YOU CAN CUT OFF EITHER END OF THE TEXT. I DON'T WANT IT TO SEEM LIKE A BIG LONG LETTER. JUST A SCRAP. YOU CAN EVEN UNDERLINE IT OR SOMETHING IF YOU WANT.

must advise you that of greatest importance is the temperature at which you attempt to cast the metal. Casting at too cool of a temperature is useless. Casting with too intense of heat can have fatal results, of which proof is my recently destroyed laboratory in Fenshire

Zork Titles: Books
M. Agrippa: The Construction of the Empire
Ozmar: De administribus frobica
Bilmum Foobar: A History of Early Quendor
Cezil Bi: Magic during Wartime
Harnessing the Earth: The Magic of Minerals

In regards to the newspaper clippings, I would repeat my earlier comment that the Grue Rebellion should be replaced with something more likely, and that Von/Van Zandt be dismissed for Lord Ellron. [on ver 2.5/3.0]

Here are some possible famous Zork titles for this section:

Gustar Woomax and Wilbar Memboob, The Granola Riots
Harv Dornfrob, The Seventy Year Snidgel
Mumboz Agrippa, The Construction of the Empire
Ozmar, De administribus frobica
Bilmum Foobar, A History of Early Quendor

Also see all of my earlier comments regarding the suggested changes to the Von/Van Zandt subplot.

[on ver 4.0]

13.07.01 Kaine's Desk
On the N wall is a desk with a hinged flap. Once the flap is lowered [animation_actor], it reveals the writing space and some small drawers. An oval portrait of a woman sits on top of the desk its frame trimmed in mourning black. The area around the drawers is neatly engraved. Clicking on the engravings in the center opens two secret compartments [animation_actor]. Clicking again will close either compartment [animation_actor], although there is no reason to do so.

Inside the right compartment, the player finds a picture of a very sexy Sophia. Next to the picture are various letters wrapped in several ribbons. All are written in a feminine hand and are signed "Sophia." The ribbons fall free after the player clicks on the letters and the player can pick up the ribbons [cursor_objects].

Note 1:

Do you think that money will buy me? Do you think that is the way for forgiveness and apologies? This is the worse insult you could cast my way. Save it for another woman.

Note 2:

I have seen him outside the school. I know something is going on. She has become increasingly defiant and rebellious.

Note 3:

I caught the two together on the stage of the conservatory. Imagine the nerve of the girl! Does she think I am an idiot? She brazenly disregards all rules of the school and certainly all rules of decency.

In the left compartment, the player finds a letter from Sartorius [text_actor]. He is worried about Lucien's behavior.

I conducted a careful examination of Lucien and have found that he is a deeply troubled man who most likely should be institutionalized and subject to my ecstatic-shock therapy. The sooner you bring him, the more likely we will be able to stop his deviant obsessions.
Sartorius

By the way, thank you for your generous donation. Finally I meet someone from the community who understands true brilliance.

On the top of the desk is an annotated map of the castle and its environs. Prominent is a large building labeled "Irondune" and a small crag jutting from the desert south of the castle.

Clipped to the above letter and map is an intelligence report. Most of the text is smudged except for the following phrase:

Therefore, we have little doubt that if von Zandt continues on his course he will become the largest landowner in the Empire within two years.

Impaled on a metal paper spike resembling a sword on the desk are three folded notes. The player can click on them to open each of them [animation_actors].

General Kaine,
Your refusal to acknowledge the persistent inquiries from myself and my attorneys leave me little choice but to pursue legal action in the West Empire district courts. I believe that I have the evidence that will convey the southeast quadrant of your lands back to me and that I will carry the day in all other matters. The time for compromise has ended.
Van Zandt

Stuck into the back of the desk with a bayonet is the following scribbled note:

I think there is only one solution to this mess. We must expedite the process. It cannot wait. The next eclipse will be in three day's time. This is our only chance. Do what you must. It cannot wait.
- S

13.07.01 Kaine's Desk
In the SW corner of the room is a old-style writing desk [at Node 3]. The back of the desk rises the desk top like an old campaign desk. Compartments and drawers fill the center of the back, flanked by two engraved panels. Although she cannot open them immediately, these panels hide secret compartments. Also, above the bank of drawers on the top of the desk, the player notices a metal letter spike in the shape of a sword. The sword and the desk are both active.

The Desk Close-up
Clicking on the desk will give the player a close-up engraved panels, the drawers, and the desk top [3E-B1]. The engraved panel depicts a barren landscape; from the ground, arms reach into the air, fingers clenched as if in torment. Sitting in the center of the desk is a book titled, "The Joy of Encryption." The player also notices that both of these panels, right and left, are active.

The Code Book
Curious about the book, the player clicks on it, and the book opens [animation_actor] to a dog-eared page. The page is about encryption and hiding secrets in the home. Kaine has underlined the phrases, "Everyone forgets a code now and again" [3E-BB]. When she clicks again, the pages flip to the next dog-eared section [animation_actor], where Kaine has underlined, "The best secret is the secret you don't have to hide" [3E-BC]. When the player clicks again, she flips through to the back cover [animation_actor] and finds written in Kaine's authoritarian hand, the phrase, "Encryption is a game" [3E-BD]. When the player clicks outside of the text, the book closes [animation actor], and she returns to the close-up of the desk [3E-B1]

The Secret Compartment, Right Side
When she clicks on the right engraved panel, she sees a close up of the tormented souls reaching upwards from the earth [3E-B2]. Between two arms, she can make out a face that is active to her cursor. When she clicks on it, the carved face sinks into the wood and the secret compartment swings open [animation_actor].

Inside the compartment, she sees three neatly rolled letters and a photograph. When she clicks on the letter or photo, it rises to fill almost her entire POV. [animation actor]. All of the letters [3E-B4, 3E-B5, 3E-B6] are written in a feminine hand and are sign "Sophia." Beneath to the letters, she also finds a picture of a very sexy Sophia [3E-B8]. Clicking on the papers will cause them to flip and reveal the next page [animation_actor]:

The letters read:

Note 1:

Do you think that money will buy me? Do you think that is the way for forgiveness and apologies? This is the worse insult you could cast my way. Save it for another woman.

[text_actor]

Note 2:

I have seen him outside the school. I know something is going on. She has become increasingly defiant and rebellious.

[text_actor]

Note 3:

[text_actor]

After reading the letters, the player can click outside the letter and it will return to the secret compartment [animation_actor]. If she clicks on the open compartment door [3E-B2], it will close [animation_actor] and she will return to the close-up of the desk top and drawers [3E-B1].

The Secret Compartment, Left Side
When she clicks on the left panel, she sees a close-up of the left panel [3E-B3]. What she thought was only sand, now appears to have the shape of just buried heads. In the center of a panel, one man's head can be seen clearly, sand filling his mouth and spilling over his lips. When she clicks on the carved mouth, the section of wood sinks into the desk [animation_actor] and the secret compartment opens.

Inside the compartment, she sees a small glass vial [3E-BA] and a letter [3E-B7]. The vial is made of a smoky red glass. A label reads, "Do Not Shake." The vial is filled with nitroglycerin. If the player clicks on the vial, it will become her cursor. She will need to use the vial to blow open the lock on the trunk.

Beside the vial, she also notices a letter. If she clicks on it, the letter will animate and fill her POV. [animation_actor]. The letter [text_actor] in the left secret compartment [3E-B7] is from Sartorius. It reads:

After reading the letters, the player can click outside the letter and it will return to the secret compartment [animation_actor]. If she clicks on the open compartment door [3E-B3], it will close [animation_actor] and she will return to the close-up of the desk top and drawers [3E-B1].

The Letter Spike
From the surround view [Node 3], the player notices a metal letter spike that rests on top of the back of desk. The letter spike resembles a sword. Clicking on the spike gives the player a close-up [3F-B1] in which she sees that a folded note [text_actor] is impaled on the spike. She can click on the spike, and the letter will animate and lift to fill the POV. [animation_actors] [3F-B2].

The letter [text_actor] reads as follows:

The Bayonet in the Desk
Stuck into the back of the desk with a bayonet is a scribbled note. The note [5F-B2] reads:

[text_actor]

13.07.01 Kaine's Desk
In the SW corner of the room is a old-style writing desk [at Node 3]. The back of the desk rises the desk top like an old campaign desk. Compartments and drawers fill the center of the back, flanked by two engraved panels. Although she cannot open them immediately, these panels hide secret compartments. Also, above the bank of drawers on the top of the desk, the player notices a metal letter spike in the shape of a sword. The sword and the desk are both active.

The Desk Close-up
Clicking on the desk will give the player a close-up engraved panels, the drawers, and the desk top [3E-B1]. The engraved panel depicts a barren landscape; from the ground, arms reach into the air, fingers clenched as if in torment. Sitting in the center of the desk is a book titled, "The Joy of Encryption." The player also notices that both of these panels, right and left, are active.

The Code Book
Curious about the book, the player clicks on it, and the book opens [animation_actor] to a dog-eared page. The page is about encryption and hiding secrets in the home. Kaine has underlined the phrases, "Everyone forgets a code now and again" [3E-BB]. When she clicks again, the pages flip to the next dog-eared section [animation_actor], where Kaine has underlined, "The best secret is the secret you don't have to hide" [3E-BC]. When the player clicks again, she flips through to the back cover [animation_actor] and finds written in Kaine's authoritarian hand, the phrase, "Encryption is a game" [3E-BD]. When the player clicks outside of the text, the book closes [animation_actor], and she returns to the close-up of the desk [3E-B1].

The Secret Compartment, Right Side
When she clicks on the right engraved panel, she sees a close up of the tormented souls reaching upwards from the earth [3E-B2]. Between two arms, she can make out a face that is active to her cursor. When she clicks on it, the carved face sinks into the wood and the secret compartment swings open [animation_actor].

Inside the compartment, she sees three neatly rolled letters and a photograph. When she clicks on the letter or photo, it rises to fill almost her entire POV. [animation actor]. All of the letters [3E-B4, 3E-B5, 3E-B6] are written in a feminine hand and are sign "Sophia." Beneath to the letters, she also finds a picture of a very sexy Sophia [3E-B8]. Clicking on the papers will cause them to flip and reveal the next page [animation_actor]:

The letters read:

Note 1:

Do you think that money will buy me? Do you think that is the way for forgiveness and apologies? This is the worse insult you could cast my way. Save it for another woman.

[text_actor]

Note 2:

I have seen him outside the school. I know something is going on. She has become increasingly defiant and rebellious.

[text_actor]

Note 3:

After reading the letters, the player can click outside the letter and it will return to the secret compartment [animation actor]. If she clicks on the open compartment door [3E-B3], it will close [animation-actor] and she will return to the close-up of the desk top and drawers [3E-B1].

The Letter Spike
From the surround view [Node 3], the player notices a metal letter spike that rests on top of the back of desk. The letter spike resembles a sword. Clicking on the spike gives the player a close-up [3F-B1] in which she sees that a folded note [text_actor] is impaled on the spike. She can click on the spike, and the letter will animate and lift to fill the POV. [animation_actors] [3F-B2].

The letter [text_actor] reads as follows:

The Bayonet in the Desk
Stuck into the back of the desk with a bayonet is a scribbled note. The note [5F-B2] reads:

[text_actor]

CGAGB11A
(far shot of joy of encryption)
text art

CGAHB11
Font: Century Schoolbook
Page should be filled with text but the most apparent is:
“Everyone forgets a code now and again”

(Excerpts from the Joy of Encryption)
...were charged with the difficult mission of protecting Lord Dimwit from the riotous residents of the Frigid River Valley, who opposed the giant statue his Royal Excessively Highness was constructing at the expense of their neighborhood. Flathead's men were told to memorize the last line of the popular Zorkian anthem, "You Ain't Nothin' But a Hellhound." This signal would distinguish Flathead's undercover men from the local marauders. But – everyone forgets a code now and then -- and when it came right down to swordpoint – who knows the last line to that song, anyway? With his men stammering "You ain't nothin' but a Hellhound," which is the first line, rather than, "You ain't no friend of mine," which is indeed the last, Lord Dimwit lost three thousand of his best men, and vowed to make Elvis Flathead required listening for his troops in the future.

CGAHB21
Font: Century Schoolbook
Page should be filled with text but the most apparant is.
“The best secret is the secret you don’t have to hide”

(Further Excerpts from the Joy of Encryption)
In a battle between Mathematics and Magic, Magic will always have the upper hand. In the course of Vice-Regent Syovar's campaign against the powerful Enchanter's Guild, Syovar's spies would attempt to send encrypted reports back to the Castle of Zork, only to find that the numbers would rearrange themselves before the very eyes of the code breakers, forming nonsensical non-sequiturs such as "Thaumaturgy is a walk on a slippery walk," and "Religion is a smile on a Yipple." Syovar then implemented the "Zenigma" mechanical encryption device, replacing the more fallible mathematic mnemonic systems, with pulsing electricity. Clearly, where Wizards are concerned, the best secret is the secret you don't have to hide.
(THE LAST SENTENCE CANNOT BE CUT TO MAKE THE PAGE FIT: IT IS THE CLUE. CUT FROM THE TOP.)

CGAHB31
Font: Century Schoolbook
Page should be filled with text but the most apparent is.
“Encryption is a game”

(HANDWRITING)
the outset it appears to be a very straightforward encryption scheme: The immediate, logical assumption would be that, by doing a rudimentary exchange of the numerical base conversions for the corresponding characters, one could establish an initial translational table of values. Applying this method, we can reconstruct the first message fragment to be “While the sun is between the second and third quarter...” However, the creators of this scheme predicted such an obvious decryption approach, and took measures to ensure that any such attempt would not only fail to produce the “real” message, but, through careful wording by the encrypting party, would result in a convincingly realistic false message, with occasionally humorous, and often disastrous results. Cryptologists have long considered their science to be more entertainment than work; it is certainly none the less so in Zork, with its peculiar Quendoran fondness for the odd puzzle and palimpsest. To the Enchanters, encryption is a game, a Magical way of life. Have you ever had the experience of a furious Enchanter rushing at you as you leave the market, screaming at the top of his lungs, "Zooka! Zooka! Zoo --" only to stop dead in his tracks, unable to remember if he is casting a spell that will bless you with sharp hearing for the remainder of your natural life, or turn your recently purchased eggs into overripe cabbage? Odds are, he's attended a top Thaumaturgical College, been given a book with a few decent, fairly powerful spells, and spent a good deal of time trying to memorize all of the trendy new incantations. But, let's face it, if those magic words weren't encrypted, he'd be out of a job. You

Note 1:
Dear Kaine,
I am concerned. I saw Lucien at Alexandria's performance last night. They seemed to have some connection. What was he doing there? Keep him away.

Note 2:
Kaine,
I caught the two together on the stage. Imagine the nerve! Do something about your son. He is poison to her and to us.

CG3KB11A
Font: John Handy

Jelly 15, 924
Dear Major Kaine,
I am pleased that you have joined us in our quest for the meaning of all life. In answer to your inquiry, the process of distillation of alchemy is essential to its success. All alchemical processes must involve the presence of earth, air, water and fire which are used to distill the essence of the metal or substance. This is important. The order of the processes, the colors that result are part of the mystery revealed through experimentation.
Dr. Erasmus Sartorius

CG3LB11A (on metal spike – persecution of alchemists/motivation for Eternal Life: Battle between Lord Ellron)
FONT: Zapf Chancery 25

Augur 5, 943
As I predicted, your meager attempts to harness the magic of Thaddium were futile. The Enchanters’ Guild is now supporting my cause and we have something more powerful than Thaddium. In five years, your castle will be nothing more than dust blowing in a wasteland.
Lord Ellron

CG3LB21A/ LETTER TBD

[Letter in earlier version]
(Bayonet – Time for Sacrifice)
There is only one solution to this. We must act now. The eclipse will occur in three days. This is our only chance. Do what you must. It cannot wait.
Sophia

[originally two different notes -- and originally intended to be in knight's scabbard in castle entry]

CG5FB11A
Font: Rapier

Oracle 22, 945
I saw him at Alexandria’s performance. What was he doing there? Keep him away from her. I have this feeling about him and my feeling tells me he will be the ruin of all of us [and all our dreams].

["and all our dreams" was present in one draft but not in another]

Jelly 15, 924
Dear General Kaine,
I am pleased that you have joined us in our quest for the meaning of all life -- and I am quite encouraged by your zeal. But, please, General, do not continue with your unsupervised experiments. The Order of the elements is vital to the success of the Work. Improperly combined, the elements bring only Death! A visit to my asylum would chill you to the bone with evidence of such dangers. Let us meet at once.
Dr. Erasmus Sartorius

Kaine –
Your pathetic attempts to harness the lethal magic of Thaddium were futile. The Guild is now supporting my cause and we have something far more powerful than Thaddium. In five years, your precious Irondune will be nothing more than dust blowing in a wasteland, and your men as weak and womanish as your own Lucien.
-Ellron

[another version of above letter]
Augur 5, 943
As I predicted, your pathetic attempts to harness the lethal magic of Thaddium were futile. The Enchanters’ Guild is now supporting my cause and we have something far more powerful than Thaddium, Kaine. In five years, your precious Irondune will be nothing more than dust blowing in a wasteland -- and your men, as weak and womanish as your own Lucien.
Ellron

A more likely reading of the first sentence would be: "Therefore, we have little doubt that if Ellron is allowed to continue unmolested, his control over the former imperial territories in the east will be second only to that of Syovar himself."

If you follow my initial suggestion of replacing Van/Von Zandt with Ellron, then the name in the letter should be changed, as well as the following phrases:

"pursue legal action in the West Empire district courts" could become "appeal to the authority of King Syovar."

"will convey the southeast quadrant of your lands back to me" could read "allow me to resume my rightful claim to the border regions between the former Aragain and Desert River Provinces" [on ver 2.5/3.0]

13.07.02 The Trunk

In the right secret compartment of Kaine's is a brass key. Clicking on it transforms it into a [cursor_object]. This key opens the locked campaign trunk at the foot of Kaine's bed.

The player clicks on the trunk, and the key inserts into the lock and turns [animation_actor]; the trunk opens as soon as the lock is unlocked [animation_actor], Once the key is in the lock, it is not removable, and there is no way to close the trunk's lid.

Inside the trunk, the player finds wrapped in bundles Kaine's great military strategies and his analysis of the most famous battles of all time. Each sheaf of papers is wrapped in ribbon. This is the direct clue for the War Room puzzle. A parchment is sealed with Kaine's emblem. Clicking on it breaks the seal and causes the paper to unroll [animation_actor]. It reads:

Plans for defending Irondune: Irondune is built in such a way to withstand attacks for many months with only the smallest army. Proper defense requires disabling any artillery fire against the structure. To defeat the army, move in heavy reinforcement troops from neighboring lands.

[text_actor].

Beneath the battle plans are several letters tied neatly with string. By clicking on them the string unties [animation actor]and reveals three letters [text_actors]
written to Kaine by Sophia. Each letter is grimy with the blood and sweat of battle.

Letter 1:

Dear Thaddeus,
Though you are far away, all the Eastern provinces are proud of your recent successes. I only wish that the rebellion will end soon and you are in my arms once again.
Sophia

Letter 2:

Darling Thaddeus,
Damn those filthy dark-loving Grues for keeping you away from me! I hate all of them. I know you have little time to read, so I will keep my letters short. I love you I love you I love you!
Sophia

Letter 3:

Thad my Love,
I hear that you have crushed the rebellion and are coming home soon. We are preparing to ring the monastery bells for you as soon as we see your wagon train on the road to the south. Bring back a Grue ear for my charm bracelet!
Sophia

13.07.02 The Trunk
The Locked Trunk
Having explored the rest of the room, the player turns her attention to the trunk at the foot of Kaine's bed [5A]. Although she can click on the trunk for a close-up of the trunk [5E], the trunk will not open -- it is locked. A large brass lock is built into the trunk; the keyhole should be prominent enough to attract the players attention. Both the keyhole and the lid of the trunk are active to the cursor. When she clicks on the lid, the lid moves slightly, and she can hear clinking of the lock [animation_actor].

Opening the Trunk
The key to opening the trunk is the glass vial found in the right secret compartment of Kaine's desk [3E-BA]. With the vial as her cursor object, the player clicks on the trunk's keyhole. The vial animates and pours liquid into the lock; a moment passes, and then the lock flashes and the trunk blows open [animation_actor, audio_actor].

Inside the Trunk: The Map
With the trunk open, the player sees a close-up of its contents [5E-B4], a mixture of scrolls detailing Kaine's great military strategies and of old love letters.
One scroll is sealed with Kaine's emblem, and this role is active. This is the direct clue for the War Room puzzle. Clicking on the parchment breaks the seal and causes the paper to unroll [animation_actor] and reveal a map and note [5E-B5]. The note reads:

[text_actor].

Inside the Trunk: Sophia's Old Love Letters
Beneath the battle plans are several letters tied neatly with string. By clicking on them the string unties [animation_actor] and reveals three letters [text_actors] written to Kaine by Sophia [5E-B6, 5E-B7, 5E-B8]. Each letter is grimy with the blood and sweat of battle.
The letters read:

Letter 1:

Dear Thaddeus,
Though you are far away, all the Eastern provinces are proud of your recent successes. I only wish that the rebellion will end soon and you are in my arms once again.
Sophia

Letter 2:

Letter 3:

Closing the Trunk
If the player clicks outside of the trunk, the trunk lid will fall forward with a crash [animation_actor] and the player will return to the close-up of the closed trunk [3E-B1]. To avoid state change problems, the damage to the lock should be so minor that the player only notices it from this close up. If the player clicks on the trunk lid again, it will open [animation_actor] to the same view of the interior [3E-B4] as before.

13.07.02 The Trunk
The Locked Trunk
Having explored the rest of the room, the player turns her attention to the trunk at the foot of Kaine's bed [5A]. Although she can click on the trunk for a close-up of the trunk [5E], the trunk will not open -- it is locked. A large brass lock is built into the trunk; the keyhole should be prominent enough to attract the players attention. Both the keyhole and the lid of the trunk are active to the cursor. When she clicks on the lid, the lid moves slightly, and she can hear clinking of the lock [animation_actor].

Opening the Trunk
The key to opening the trunk is the glass vial found in the right secret compartment of Kaine's desk [3E-BA]. With the vial as her cursor object, the player clicks on the trunk's keyhole. The vial animates and pours liquid into the lock a moment passes, and then the lock flashes and the trunk blows open [animation_actor, audio_actor].

Inside the Trunk: The Map
With the trunk open, the player sees a close-up of its contents [5E-B4], a mixture of scrolls detailing Kaine's great military strategies and of old love letters.
One scroll is sealed with Kaine's emblem, and this role is active. This is the direct clue for the War Room puzzle. Clicking on the parchment breaks the seal and causes the paper to unroll [animation_actor] and reveal a map and note [5E-B5]. The note reads:

Dear Thaddeus,
Though you are far away, all the Eastern provinces are proud of your recent successes. I only wish that the rebellion will end soon and you are in my arms once again.
Sophia

Letter 2:

Letter 3:

The Map for Defending Irondune

CG5JB11A
(Sophia’s Old Love Letters)

Font: Rapier

Ottobur 16, 930
Dear Thaddeus
I lie here in my bed and listen to The Poetics and I miss you. Damn Ellron. I know you are fighting for what you believe in. I’m fighting for what I believe in too: our eternal life together.
Love,
Sophia

CG5JB21A
Font: Rapier

Mumberbur 3,943
Dear Love,
I read about Ellron and his alliance with The Enchanters Guild. These are dangerous times. But I take heart, knowing that we are growing stronger, deciphering some of the secrets of this magical science. Soon we will not worry about power.
Sophia

CG5JB31A
Font: Rapier

Jam 16, 929
Darling Thaddeus,
I hear that you have crushed the barbarian hordes and Syovar seems content. In your absence, Ellron has discovered a powerful scroll and I am scared. The Enchanters’ Guild and others if they learn our secrets they surely will kill us.
Sophia

Ottobur 16, 930
Dearest Thaddeus –
I lie here in my bed and listen to The Poetics and I miss you. Damn Ellron. I know you are fighting for what you believe in. I hate him for what he's done to you, and I hate him even more for keeping you from me. But still, there are those I hate more. I'm so jealous, Thaddeus; you can pick up a sword and gore your enemy in the name of all you love. My enemy is bosomy and soft-spoken -- and she wears a dress and sleeps in your bed, my heart. Would that I could be your wife, that we could have a family... something more than stolen moments, this lost life of mine. I cling to our dear Mad Doctor and his dreams of oblivion. For an eternity with you, I will endure all his pretentious, alchemical trumpetings -- and fifty Lady Kaines -- and a hundred Ellrons!
As ever,
Sophia

Mumberbur 3,943
Kaine,
I read about Ellron and his alliance with The Enchanters Guild, and I wept for you. These are dangerous times, and I will not sleep until all those who mean you harm are put to eternal rest. But I take heart, knowing that we are deciphering more secrets of this magical science with each new day. Soon, love, we will not worry about power...
Sophia

Jam 16, 929
Darling Thaddeus,
Crushed the barbarian hordes and even the grand Syovar seems content! Congratulations on your recent victories; but take heed upon your return. The battle is far from over. In your absence, Ellron has discovered a powerful scroll and I am scared. We are deep into the Great Work. If they learn of our secrets, the Enchanters' Guild, and others, will surely kill us.
Sophia

This last sentence of military advice strikes me as a little obvious. In fact, what it suggests is pretty much always sound advice not exclusive to this situation. Perhaps it could be changed to something a little more specific. [on ver 4.0]

The analyses of the most famous battles of all time should include the following:

The Diablo Massacre of 666 GUE, when Duncanthrax's armies defeat the natives in the Eastlands in a massacre at Zorbel Pass.
The Battle of Fort Griffspotter in 665 GUE, a naval battle off the coast of the Westlands in which Duncanthrax's navy crushed the Antharian Armada.
The Battle of the Stonewall in 747 GUE, an underground battle in which T. J. Flathead leads agarrison against rebellious natives who were actually nowhere near the site of the "battle". In typical Zorkish fashion, Flathead's tactics were considered brilliant, despite his high casualty rate.
The Yipple Rebellion, crushed by Dundor of Vriminax in 466 GUE. My book on Zork history places it at Galepath against yipples much larger and more powerful than those described in the Sorcerer packaging. [on ver 2.5/3.0]

The letters from Sophia need to be altered, in keeping with whichever alternative to the Grue Rebellion that you choose. [on ver 2.5/3.0]

CG1FB11A: Image is too dark. Needs book titles.

CG3GB11A (motivation for Thaddium/Zork Politics)
Font: Castle

Arch 7, 925
Since the destruction of the GUE, the barbarians have begun their massive invasions in the north. The Quendoran military force is suffering under their attacks. I have been made aware of the presence of Thaddium in your vicinity and a particular invention which may assist me in may battles.   Whatever you require to fund, your experiment, I will gladly provide.
---Syovar, General of the Royal Quendoran Army and Vice regent to the Exiled Kings of the Great Underground Empire

CG21A21A (Motivation for Thaddium/Zork Politics)
Font: Castle

Estuary 29, 925
[earlier version is dated at 926]
The Enchanters’ Guild is gaining strength in their power and magic. They have formed a unified coalition and I am losing control of the Westlands. I believe Lord Ellron is now under their control. I can no longer rely on the magic of the scroll. Syovar--

CG3GB31A
TBD

CGAFB11
Books lying on table: This needs Photoshop title

Create new asset: CGAFB21

Close up of Alchemy Book

The New Blood Alchemists: Reaching Beyond the 5th Essence.
Font: Neutral

Create new asset: CG9EB31S (Alchemy Book: Creating the Philsopher’s Stone)

Has picture in it

Creating the Philosopher’s Stone is a dangerous, time consuming and complex process. The alchemist must develop a sophisticated knowledge of the workings of the baser metals. The six metals of Alchemy are, Iron, Tin, Lead, Copper, then Silver and Gold.

CG9EB41S: recon asset
The goal of Alchemy is to always move from the impure to the pure. Therefore, the first step in Alchemy is distilling and purifying each metal into its virgin, unformed and passive state. Through numerous, time-consuming and dangerous practices this First Matter can be transformed into the Philosopher’s Stone.

The primary operations of the metalworking involve the extraction of the pure metal from the impure ore through smelting and refining, alloying or mixing two metals, and the creation of agents to dissolve or purify or treat the metals to add hardness, fusibility or color.

CGAG - talk to me before cutting this as Will wrote it and there are clues in it.

Dear Kaine,
I have long dwelt on the power of air, but not considered it as a source of Purification. At such velocities as your blueprints describe, I feel sure it would tear impurities from even the very core of evil. I am certain none but the purest metal could withstand it. Destruction or purity. A perfect solution.

Still, I have some misgivings. Before Air, your plans suggest the simultaneous combination of forces of Fire, Water and Earth. This must necessarily be an explosive combination, but not an impossible problem. I have long experimented with injection molding for limb replacement. As long as the mold is inserted into the case holding before applying heat, my experiments have been successful.

Sartorius

General;
I have found some items pertinent to your collection - the most remarkable weapons of assassination: a sword that masks as a snake, and a clever cannon disguised as a cat. Lord Flathead himself commissioned the menagerie of arms to show that his compassion for animals runs as deep as his nature is violent. I will arrange a showing at your convenience.
Sincerely,
M.K. Frobbsworth

CAN THE FOLLOWING TWO LETTERS BE ADDED TO CG3H OR CG3F?
LETTER ONE, IN KAINE'S DESK DRAWER

Captain,
I am missing twenty sacks of gunpowder. How can I defeat my enemies abroad when Irondune itself is not secure? Look into it.
Kaine

LETTER TWO, IN KAINE'S DESK DRAWER

Five brave fellows
stand guard over my dungeon;
three are blind,
two can see,
but as a whole they form the key.

BLOOD ALCHEMY (FOR KAINE)

    The Four Elements corresponde to the Four Humours: The Fire is the Yellow Bile cholera; the Air is the Blood sanguis; the Water is the Phlegm pituita; and the Earth is the Black Bile melancholia. Of these Four Humours, we know Blood Reynes as thÕ Element Primordial. The Blood of Man is a Resevoir of Nourishment both Spirituall and Substantiall: and it is the Work of the Blood to Mete Such Nourishments from Head to Heart, Quickening the Dead Bones, and Raising the Vile Body to the Sphere of the Immortal Soul. In the Purification of the Blood Lyes the Purification of All Things: In the Worthe of the Blood Lyes the Worthe of All Things; In the Causte of the Blood is the Causte Paide For All Things. There is Only This Waye, and None Othere. In this Bloodie Fifthe Elemente Lyes

BLOOD ALCHEMY 2 (FOR KAINE)

Choler, Blood, Phlegm: the planetary spheres correspond to anatomical articulations. The Sun is the heart. Choler, or the gall bladder, large and fleshy feet indicate foolishness in love, adultery, and love of injustice; hairy arms indicate insanity, or rusticity, a nose that nearly reaches the mouth denotes a worthy and magnanimous nman, baldness is a sign or subtlety and astuteness. Large ears denote good memory and longevity, prudence by prominent upper lips.

CREATING THE PHILOSOPHER'S STONE (FOR KAINE)

Vain Puffers who spend too much Time at the Bellows, Seeking in our Sacred Science a Slight Banker’s Craft! Sifting through vile ashes, FoolÕs Gold in thy fingers. What Thou reapeth, keepeth, for Thine Inheritance shall be Noxious Fumes, and Burns Blacker than thy Hearts. This Swindling Sophistry belongeth not to the One Great Work but the One False Implementor! All Zork will Cheer thy Ruin!
      True Alchemy Careth not for the Gold of this Small Place: He that hath everything, needeth nothing. When the Aer and the Terra, the Aqua and the Ignis, Molten with their Metals and the One Element that Maketh them Whole -- then what is Wrong shall be made Right -- what is Unknown become Known -- what is Lost shall be Found. For this is the Corpus Glorificationes, the Elixir of Life, the End to All!

Font: Castle 19

Arch 7, 925
General Kaine;
I have been made aware of the presence of Thaddium in your vicinity and of a particular invention which may assist me in my battles. Whatever you require to fund your experiment, I will gladly provide.

-Syovar,
Vice regent and General of the Royal Quendoran Army

Font: Castle 19

Estuary 29, 925

The Enchanters’ Guild as formed a coalition and I am losing control of the Westlands. Lord Ellron is under their control. I can no longer rely on the magic of the scroll.
-Syovar

13.08 Lucien's Bedroom

If the player clicks on the NE staircase from the foyer, she will travel halfway up the staircase to the curved hallway leading E to Lucien's Bedroom.

Lucien's bedroom contrasts greatly with that of his father. The room is simple but is decorated with vast canvases and easels. A small wooden artist's model stands on a table holding down a prescription for Prozork from Sartorius [text_actor]. He is obviously a painter. Other than his painting utensils and canvases, his room is Spartan with only a simple bed and desk as furniture.

[section 13.08.01 follows here in version 2.5, but I have dislocated it to where the parallel text appears in versions 4.0 and 4.1. Several other sections from version 2.5 have been rearranged to follow the revised order in the later drafts.]

13.08 Lucien's Bedroom
Lucien's Bedroom contains:

A small table with a painter's model and with a palette and brush
A large easel set beside the small table
A partially burned painting
A book of violin music from Alexandria
An armoire
A pillow-shaped gunpowder charge just visible under the armoire
A messy table strewn with art supplies
A hanging mirror
A crumpled prescription for Prozork

The player makes her way back to the Second Level Corridor. From there, she crosses up the stairs and then down again to the door to Lucien's Room. When the player clicks on the door to Lucien's Room, it opens, the player passes through the doorway, and then the door closes behind her [qt_actor].)

The only exits lead to the Second Level Corridor [1 C] or to the Game Room [near Node 6] through undecorated wooden doors.

Lucien's bedroom contrasts greatly with that of his father. Other than his painting utensils and canvases, his room is Spartan with only plain furniture. The room is simple but is decorated with vast canvases and easels. From the corridor door, an armoire and an unmade bed sit to the left. A messy table occupies the far wall.

To the near right, on a paint-splattered table stands a small wooden artist's model which looks a bit like a crazy marionette. Beside the model is a large easel, and in the right corner is a dirty fireplace. The room is messy and passionate, but with the soft edges of a sentimental man. It also leaves no doubt that Lucien is obviously a painter.

The Painter's Table and Easel
Intrigued by the odd model, the player first examines the painter's table. When she clicks on the table, she sees a close-up of the table top and the artist's model [2E-B1]. Beside the model is a paint palette and a sketch. Both are active.

The Sketch
All of Lucien's skill and wit has gone into the creation of this bitter and sarcastic parody of his father. The work is done in black ink, but as she watches the ink begins to bleed in red rivulets down the page [animation_actor].

13.08 Lucien's Bedroom
Lucien's Bedroom contains:

A small table with a painter's model and with a palette and brush
A large easel set beside the small table
A partially burned painting
A book of violin music from Alexandria
An armoire
A pillow-shaped gunpowder charge just visible under the armoire
A messy table strewn with art supplies
A hanging mirror
A crumpled prescription for Prozork

The player makes her way back to the Second Level Corridor. From there, she crosses up the stairs and then down again to the door to Lucien's Room. When the player clicks on the door to Lucien's Room, it opens, the player passes through the doorway, and then the door closes behind her [qt_actor].)

The only exits lead to the Second Level Corridor [1 C] or to the Game Room [near Node 6] through undecorated wooden doors

Lucien's bedroom contrasts greatly with that of his father. Other than his painting utensils and canvases, his room is Spartan with only plain furniture. The room is simple but is decorated with vast canvases and easels. From the corridor door, an armoire and an unmade bed sit to the left. A messy table occupies the far wall.

To the near right, on a paint-splattered table stands a small wooden artist's model which looks a bit like a crazy marionette. Beside the model is a large easel, and in the right corner is a dirty fireplace. The room is messy and passionate, but with the soft edges of a sentimental man. It also leaves no doubt that Lucien is obviously a painter.

The Painter's Table and Easel
Intrigued by the odd model, the player first examines the painter's table. When she clicks on the table, she sees a close-up of the table top and the artist's model [2E-B1]. Beside the model is a paint palette and a sketch. Both are active.

The Sketch
All of Lucien's skill and wit has gone into the creation of this bitter and sarcastic parody of his father. The work is done in black ink, but as she watches the ink begins to bleed in red rivulets down the page [animation_actor].

5-7 pieces of Lucien’s artwork

13.08.02 The Burned Painting
A broken easel lies near the fireplace. The charred remains of paintings and the rest of the easel are inside, lying in ashes. A painting appears to be of a nude woman. Clicking on the ashes clears them away [animation_actor], and Alexandria's face becomes visible then quickly fades.

13.08.02 The Burned Painting
A broken easel lies near the fireplace [3C]. The charred remains of paintings and the rest of the easel are inside, lying in ashes. The player may click on it for a close-up [3E-B1]. It appears to be of a nude woman. Clicking on the ashes clears them away [animation actor], and Alexandria's face becomes visible then quickly fades.

13.08.02 The Burned Painting
A broken easel lies near the fireplace [3C]. The charred remains of paintings and the rest of the easel are inside, lying in ashes. The player may click on it for a close-up [3E-B1]. It appears to be of a nude woman. Clicking on the ashes clears them away [animation_actor], and Alexandria's face becomes visible then quickly fades.

13.08.04 Hallucination: Kaine Finds the Nude Painting
If the player clicks on a paint brush on a paint palette, the COLORS SWIRL and DISSOLVE to a scene showing Lucien painting intently. ON THE CANVAS, a beautiful and erotically charged portrait of Alexandria.

BACK TO SCENE Kaine approaches, checks out the painting. Lucien sits—jaws clenched — daring his father to speak.

KAINE
(about the painting)

Is this your imagination or your memory?

Lucien hesitates. Kaine makes the right conclusion. He "hemms."

KAINE

The archbishop would take a very dim view of your bedding his daughter.

LUCIE

I want to marry her.

KAINE
(amused indifference)

An orphan, without a name?

LUCIEN

She can have mine.

Kaine speaks in a tone of camaraderie, but he knows he's being ugly in the subtext.

KAINE

Let me ask you something. It was easy, am I right? She gave herself to you? It was even her idea, perhaps?

The slur on her character angers Lucien. If this were anyone but his father ... his voice is menacing.

LUCIEN

Don't talk about her like that.

KAINE

Go ahead, amuse yourself, if you must. For Godsakes, be discreet.

He turns passionate, threatening.

KAINE

But remember this. She will never have your name.

The CAMERA MOVES IN to Lucien's brush as he touches it with his palette. COLORS SWIRL in the palette as the scene DISSOLVES to the player's original POV.

13.08.04 Hallucination: Kaine Finds the Nude Painting
If the player clicks on a paint brush on a paint palette [2E-B1], the COLORS SWIRL and DISSOLVE to a scene showing Lucien painting intently. ON THE CANVAS, a beautiful and erotically charged portrait of Alexandria.

BACK TO SCENE Kaine approaches, checks out the painting. Lucien sits—jaws clenched — daring his father to speak.

KAINE
(about the painting)

Is this your imagination or your memory?

Lucien hesitates. Kaine makes the right conclusion. He "hemms."

KAINE

The archbishop would take a very dim view of your bedding his daughter.

LUCIE

I want to marry her.

KAINE
(amused indifference)

An orphan, without a name?

LUCIEN

She can have mine.

Kaine speaks in a tone of camaraderie, but he knows he's being ugly in the subtext.

KAINE

Let me ask you something. It was easy, am I right? She gave herself to you? It was even her idea, perhaps?

The slur on her character angers Lucien. If this were anyone but his father ... his voice is menacing.

LUCIEN

Don't talk about her like that.

KAINE

Go ahead, amuse yourself, if you must. For Godsakes, be discreet.

He turns passionate, threatening.

KAINE

But remember this. She will never have your name.

The CAMERA MOVES IN to Lucien's brush as he touches it with his palette. COLORS SWIRL in the palette as the scene DISSOLVES to the player's original POV.

The Canvas
Startled and surprised by her vivid hallucination, the player now feels intensely curious about the rest of Lucien's paintings. Hoping for another image, she clicks on the blank canvas beside the table. When she does, she sees a close-up of the canvas on a simple easel [2F-B1]. As she hoped, the canvas is active, but when she clicks on it, nothing happens. She does notice a paintbrush in the tray of the easel.

Painting the Canvas
Curious, she clicks on the paintbrush, which becomes her cursor [cursor_object]. The canvas is still active, and when she holds down the mouse and moves the brush across the canvas, a picture begins to appear [animation_actor], a simple map of Irondune and the surroundings sketched by Lucien. Near a small crag, Lucien has drawn an "X," his father's alchemical song, and a question mark. After a moment, the painting fades. The player is now motivated how to get to the secret place marked on the hidden map.

KAINE
(about the painting)

Is this your imagination or your memory?

Lucien hesitates. Kaine makes the right conclusion. He "hemms."

KAINE

The archbishop would take a very dim view of your bedding his daughter.

LUCIE

I want to marry her.

KAINE
(amused indifference)

An orphan, without a name?

LUCIEN

She can have mine.

Kaine speaks in a tone of camaraderie, but he knows he's being ugly in the subtext.

KAINE

Let me ask you something. It was easy, am I right? She gave herself to you? It was even her idea, perhaps?

The slur on her character angers Lucien. If this were anyone but his father ... his voice is menacing.

LUCIEN

Don't talk about her like that.

KAINE

Go ahead, amuse yourself, if you must. For Godsakes, be discreet.

He turns passionate, threatening.

KAINE

But remember this. She will never have your name.

Hidden in drawers and under the bed are 100 objects which look like small round flat pillows.
In reality, these are gunpowder charges that Lucien has apparently hidden from his father in protest of the latter's militarism. The player can pick them up [cursor_object] and use them to fire the foyer cannon to blow down the wall to the War Room (see below).

Beside the Bed
Having seen the easels, the player turns her attention to the bed and armoire. On the floor beside the bed, she notices a crumpled piece of paper. When she clicks to tilt-down [5G-B1], she discovers that she can see under the armoire where there appears to be a pillow. The pillow and note are both active.

The Note
Lucien has crumpled this paper and hurled it here. When the player clicks on it, it animates and flattens [animation_actor]. The player can read Lucien's prescription for Prozork from Sartorius [text_actor].

The Pillow Gunpowder Charge
Hidden under the armoire is an object which look like a small round flat pillow. When the player tilts down [5G-B1] to see the note, she notices the pillow. In reality, the pillow is a gunpowder charge that Lucien has apparently hidden from his father in protest of the latter's militarism. The player can pick it up [cursor_object] and use it to fire the Foo-Dog cannon to blow down the wreckage separating the Treasury Room from the War Room (see below).

I will comment more on the Foo-Dog later; for now, suffice it to say that it stands out as bizarre. [on ver 4.0]

Tucked into the frame of a small mirror is an official GUE draft notice [text_actor] that informs the player that Lucien Kaine has been selected to begin military service "for the glory of the Empire."

On the bed is a picture book of violins which the player can open [animation_actor] to read the inscription [text_actor] above the frontispiece:

To Lucien, My only audience. -- Alexandria.

The Mirror
When she stands from viewing the note, she looks directly at a small mirror on the wall [5D-B1]. A piece of paper appears to be tucked into the frame, which is active. When she clicks on the frame, she sees a close-up of the mirror and the note [5F-B1], which is an official GUE draft notice [text_actor] that informs the player that Lucien Kaine has been selected to begin military service "for the glory of the Empire."

The Bed
Turning from the mirror, the player notices a book caught in the folds of bedding. The book is active. When she clicks on it, she sees a close-up [5E-B1] of the book, a printed copy of Alexandria's "Harmony of the Spheres" sheet music. The book is still active, and when she clicks on the book, it opens [animation_actor]. The inscription [text_actor] above the frontispiece reads:

To Lucien, My only audience. -- Alexandria.

The Mirror
When she stands from viewing the note, she Iooks directly at a small mirror on the wall [5D-B1]. A piece of paper appears to be tucked into the frame which is active. When she clicks on the frame, she sees a close-up of the mirror and the note [5F-B1], which is an official GUE draft notice [text_actor] that informs the player that Lucien Kaine has been selected to begin military service "for the glory of the Empire."

The Bed
Turning from the mirror, the player notices a book caught in the folds of bedding. The book is active. When she clicks on it, she sees a close-up [5E-B1] of the book, a printed copy of Alexandria's Harmony of the Spheres" sheet music. The book is still active, and when she clicks on the book, it opens [animation_actor]. The inscription [text_actor] above the frontispiece reads:

To Lucien, My only audience. -- Alexandria.

Lucien’s Draft Notice

Lucien Kaine
By the Powers Vested by the Authority of Syovar, General of the Royal Quendoran Army, you are hereby drafted into the ranks of the military forces of The Desert River Regiment.

Sheet Music
"Harmony of the Spheres" sheet music. The book is still active, and when she clicks on the book, it opens [animation_actor]. The inscription [text_actor] above the frontispiece reads:
"To Lucien, My only audience. -- Alexandria."

Unless the thief in Zork I was older than approximately 80 years of age, which seems highly unlikely, then Lucien would -not- have been drafted by the empire. His probable age in Zork I, around thirty years, means he would have received a draft notice in the 930s or 940s, and it would have been thus from either Syovar's Kingdom of Zork, which makes little sense, or from his own father's Desert River militia, which seems more likely. His refusal of this draft notice would of course be a further tension between he and his father. This logic allows us to solve several other problems; assuming Lucien and Alexandria to be around the same age, then Alexandria's birth would be sometime in the late 910s or early 920s, probably the latter, which was an unanswered question earlier in this report. Further, this emphasizes the notion that the Forbidden Lands have not been entirely in stasis since the fall of the empire, but have merely been in extreme isolation: no one would be issuing draft notices in a land that had been in suspended animation, nor would Kaine's castle be under attack during the course of this game if no one had traveled to these regions since the collapse of the Empire. [on ver 2.5/3.0]

13.08.01 The Unfinished Love Letter

Lucien's desk also has a secret compartment, similar to the one in Kaine's room, which is presently open. (The open compartment is a clue to the desk in Kaine's room.) Clicking on the compartment will open and close it alternatively [animation_actor].

Inside the compartment, Lucien has a note [text_actor] to Alexandria. Most of it has been crossed out roughly, as if the letter were started and then abandoned. The legible part reads:

I cannot understand... still love... Cannot bear the ....

Clipped to the note is a ticket to a debut concert by one Alexandria Wolfe (the ticket is identical to one seen in the Conservatory).

The Table
Crossing towards the door to the game room, the player stops to look at Lucien's table. The table is active, and when she clicks on it, she gets a close up of the table top [4E]. The table is pilled with papers, sketches, nails, and bits of paint and canvas, but Lucien has cleared a small space for a piece of paper, which is active.

When she clicks on it, she discovers note [text_actor] from Lucien to Alexandria. Most of it has been crossed out roughly, as if the letter were started and then abandoned. The legible part reads:

I cannot understand... still love... Cannot bear the ....

Clipped to the note is a ticket to a debut concert by one Alexandria Wolfe (the ticket is identical to one seen in the Conservatory).

The player can also click through three other notes [text_actors, TBD] and three other books [text_actors, TBD].

I cannot understand... still love... Cannot bear the ....

Ticket Stub (same as in Conservatory)

Letters from Alexandria:

CH4HB21 - CASTLE LETTER FROM A TO L WITH TICKET (in whatever has been Alexandria's font.)

Lucien,
Thank you for coming to my concert. I fear I said too much; I didn't want to fight. It's just that I don't understand your relationship with your father. If you don't believe in Kaine's wars, if you won't fight his battles, just tell him. Don't sabotage his campaign against Ellron, and don't steal from him. He is a good man, who has raised a good son. You must know he loves you, as do I, your devoted
Alexandria

CH4HB31
CASTLE LETTER, SAME FONT, NO TICKET

Lucien,
I love you. Have I written you that today? I'm distracted and playing quite horribly. I have been having the nightmares again, the same ones. My father is performing some Zorkastrian fire ritual, and the flames leap up, higher and higher, until they devour him.   He screams in pain but I cannot move. Then the sky grows dark and I cannot see the sun. I don't know what it means. I know I worry as his illness worsens. Come tonight. I am afraid.
Alexandria

Font: Papyrus
Lucien, you are right. something is going on. We must leave. I wrote Father telling him everything and asking him to marry us. Father will miss me, but he’ll understand. We will escape to the Westlands. I’m not frightened, Lucien; I know everything will be all right, if I am with you. Does that sound childish? I've never felt more a woman—and I am, as always,
your
Alexandria

CH4HB41 - CASTLE LETTER
FROM A TO L WITH TICKET
(in whatever has been Alexandria’s font.)

Lucien,
You say you understand my music, but I have always been told my music was about purity and harmony and I sensed nothing of purity in your proposition last night. I fear my new friend is a charlatan! Or is it that my life, up to now, has been entirely too pure? This is, no doubt, an arena in which you are sure to make certain recommendations. Perhaps you understand my music all too well.
Alexandria

Newspaper clip with picture
Thaddium Accident Kills Many: Discoverer General Kaine claims freak accident.
- Arch 7, 944.

- CHECK THIS ON E OUT WITH CECELIA.
LOVE ALCHEMY (FOR WHERE? ASK CECELIA -- PERHAPS THIS SHOULD GO IN THE BOOK ON LUCIEN'S BED. ALTHOUGH IT IS SARTORIUS WHO KNOWS ABOUT AGRIPPA.)

C. AGRIPPA THE ALCHEMICAL WEDDING: LOVE AS THE FIFTH ELEMENT

(LEFT PAGE)

Study me then, you who shall lovers bee,
At the next world, that is at the next Spring,
For I am every dead thing
In whom Love wrought new Alchimie.
                            -- J. Donne

Sun and Moon, fixed and volatile, male and female, gold and silver, king and queen: the endless battle of opposites, yet not the One can exist without the Other. This is Love, consecrating the mystical marriage of Alchemy. The union of opposites results in Harmony -- the Harmony which begets Harmony. Without Love -- no fertility, no unity, no Quintessence.
    Though my newer colleagues dispute this aged Truth, of this one principle am I certain. Without Love, there can be no Quintessence -- Because without Love, what care have I for an Eternity—

CASTLE LETTER, SAME FONT, NO TICKET

My love,
Purity is entirely overrated.
A.

[the "purity overrated" letter is from an earlier draft, and I am glad it was cut out, otherwise it would have contradicted the wrong ending of the game, where the alchemists' ritual is successful -- showing that she would have had to have been a virgin sacrifice]

13.08.04.01 The Game Room

The Castle's Game Room is located in the middle of the curved Second Level Hallway halfway between Kaine's Bedroom and Lucien's Bedroom. Though the corridor itself has been badly damaged, the Game Room looks relatively unscathed. The room contains a billiard table with balls, darts, cards, gambling tables, and a pachinko-style Zork pinball machine. The player can shuffle cards (or press a lever) on the pinball machine to operate it [animation_actors, audio_actors].

If the player moves to the billiard table and clicks on the cue ball, the cue ball will shoot toward a group of billiard balls and six of them will fall into pockets [animation_actor]. The player hears the balls rumbling underneath the table [audio_actor]. If the player looks down she will see the balls have lined up in wooden channel.

In order to set the coordinates for the Alchemy Lab in the Battle Tank, the player must know the correct sequence of these 6 numbers on the balls.

13.08.04.01 The Game Room
The Game Room contains:

a billiard table with six numbered balls, a cue ball, and a long mechanical arm that places the balls and takes the shots
a Dimwit Foosball Game
a card table
a pachinko-style Zork pinball machine
a deck of cards in two piles
a double Fanucci table

The Castle's Game Room is located in the middle of the curved Second Level Hallway halfway between Kaine's Bedroom and Lucien's Bedroom. From the Second Level Corridor, the player descends through an archway and down a short flight of stairs to the game room floor [Node 3]. To her right and left, the stairs turn and descend into the Ballroom [from Nodes 5 and 6]. A raised balcony surround the perimeter of the Game Room and gives the player access to Kaine's bedroom and Lucien's Bedroom.

Though the corridor itself has been badly damaged, the Game Room looks relatively unscathed. The equipment appears clean and well maintained, especially the pool table.

All of the machines operate in the room, and the player is sorely tempted to play with them. If she is very attentive, she will notice that all of the machines are slightly out-of-true except for the pool table.

The Dimwit Foosball Game
The player is immediately intrigued by the Dimwit Foosball Game [7E]. When she clicks on it for a close-up [7E-B1], she recognizes the tiny figures as the twelve famous Flatheads (whose pictures are sketched in the material for Zork Zero). The figures are arranged in teams of six, three to a stick. Only two of the sticks move. When she clicks on the right stick, the three figures spin [animation_actor]. When she clicks on the left stick, the stick spins except for the figure of Dimwit Flathead, which has broken loose and hangs impotently upside down [animation_actor].

Zork Pachinko
Near the Foosball, the player notices a tall metal and glass machine, the Zork Pachinko, game [4E]. She clicks for a close-up [4E-B1] and discovers a red lever on the side of the machine. The lever is active. When she clicks on it, a ball shoots up and then bounces down through the metal pins [animation_actor]. The ball will fall one of three ways, all animated [animation_actor]. After each shot the game randomly congratulates the player with, "Great shot," "Nice going," or "Grue bait!" [audio_actors].

Double Fanucci
The player next notices the Double Fanucci board. Double Fanucci is a card game that is virtually impossible to win. When the player clicks on the game, she gets a close-up of the cloth table and an array of buttons at the end of the table. These buttons would be used for playing the game, but only two of them still work: "Deal," and "Hit". The other buttons are cracked and water stained.

If she presses "Deal," an metal arm will emerge and deal two cards [animation actor] [7F-B2]. The cards are also water stained and completely illegible. If she presses, "Deal" again, the arm will retrieve the cards [animation_actor], saying, "Tough luck." If she presses, "Hit," the arm will throw out another card [animation_actor] and the player will hear, "What a monkey!" Before she can react, the arm then retrieves the three cards [animation_actor].

If the player presses "Deal, and then leaves the two cards on the table, she hears, "I should give you a typewriter," and the arm clears away the cards and disappears [animation_actor].

Within these parameters, the game will repeat.

The Card Table
Tired of Fanucci, the player tries her luck at the card table [5E]. She clicks on the table and sees a close-up of a deck of cards separated into two piles [5E-B1]. The cards are active. The back of the cards are decorated with two small stick figures that look to be dancing. When she clicks on the cards, the cards animate and shuffle themselves [animation_actor]. Like a child's cartoon, the stick figures appear to come to life; they embrace and then a third figure enters from the edge of the card and kills them both.

The cards now form a single stack [5E-B2]. If the player clicks on them again, the cards separate [5E-B1], and she can repeat the shuffling.

The Pool Table
Having tired of the other games, the player finally turns her attention to the largest of the games, the pool table. The pool table [8A] has only seven balls, but when the players enters the room, the balls are all under the table in the gutter. The table has a glass window over the gutter like a pool table at a bar. Just like a pool table at a bar, the player can look through the window at the end of the table [8F-B1] to see the balls, but cannot touch them.

When the player first clicks on the table for a close-up of the table top and sides [8E-B1] no balls are visible. She immediately notices a long hollow arm, which rises into the air on the other side of the table. The arm is hollow and slightly wider than a pool ball. The player doesn't know it yet, but this arm both sets up tricks shots and then shoots the shots.

Setting Up The Shot
From her view down onto the table [8E-B1], she also notices a control panel set into the near side of the table. The panel reads, "Great Shots of History"
[text actor]. Below the table, she finds a vertical row of five buttons with a label beside each [text_actor]:

Button 1    Candles and Broomsticks
Button 2    Shaving a Cat
Button 3    Fishing in the Desert
Button 4    Triple splitter
Button 5    SHOOT

Shooting The Shots
Curious, the player clicks on the first button. The arm immediately animates, and with the sucking sound of a vacuum, neatly drops seven balls on the table. [animation_actor] [8E-B2]. She has set up the first specialty shot. Until she sinks the balls, the first four buttons are active, but when she clicks on them, nothing happens. To reactivate the buttons, she must first sink the balls.

With the balls ready, she clicks on the "SHOOT" button. A stick emerges from the hollow arm, lines up behind the cue ball, and takes a shot; the balls ricochet around, bounce a few times, and are sunk [animation_actor].

She can repeat this for buttons one through four. Each set up [8E-B2, 8E-B3, 8E-B4, 8E-B5] looks different and leads to a different shot [animation_actor].

Also although each shot sinks all every ball, the four shots sink the balls in different orders.

NOTE: To avoid games state problems, the pool table surface should be sunken far enough that the position of the balls can only be seen in the close-up [8E].

Looking At The Sunken Balls
By clicking on the side of the table, the player can look at the end of the table and see the sunken balls. From right to left, they appear in the order in which the balls were sunk. The balls are behind glass, so they are not active. When looking at them from the end of the table, the player cannot touch the balls. But this doesn't mean they don't change.

If she looks at the balls before taking a shot, she would have seen them in this order: cue, 1, 3, 4, 5, 7, 9 [8F-B1]. The balls will only appear in this order until she sets up a shot. Once she has set up and taken a shot, the balls will appear in a new order.

After shot 1, the balls appear like this: cue, 5, 9, 3, 1, 7, 4
After shot 2, the balls appear like this: cue, 9, 5, 3, 4, 7, 1
After shot 3, the balls appear like this: cue, 3, 5, 9, 1, 4, 7
After shot 4, the balls appear like this: cue, 1, 7, 9, 5, 3, 4

If the balls are on the table, she will see no sunken balls at the end of the table.

Solving The Pool Table/Tank Navigation Puzzle
This order of these balls is very important. Kaine has programmed these shots as a way to remember six digit numbers that start his machines. Most of his war machines have been destroyed, but the tank -- at the end of the bunker outside the castle -- remains.

After reading Kaine's underlined passages about encryption from the book on his desk [3EBA-3EBE], the player understands that Kaine hides his codes in plain view and in games. Then, after seeing the tank, the player suddenly connects the six numbers on the pool table with the six numbers required for the tank's navigation. She returns to the game Room and reads the list of names. Only one has anything to do with sand, so she sets up that shot and sinks it. She then notes the order of balls created by that shot.

In order to solve the puzzle, the player must:

click on button 3 and set up the "Fishing in the Desert" shot
click on the "SHOOT" button, button number five
look at the sunken balls and note the order of the balls: 3, 5, 9, 1, 4, 7
use the six number combination in the Battle Tank navigation dials

For more about the Battle Tank puzzle, see the section in this design document, "Bunker and Battle Tank."

13.08.04.01 The Game Room
The Game Room contains:

a billiard table with six numbered balls, a cue ball, and a long mechanical arm that places the balls and takes the shots
a Dimwit Foosball Game
a card table
a pachinko-style Zork pinball machine
a deck of cards in two piles
a double Fanucci table

The Castle's Game Room is located in the middle of the curved Second Level Hallway halfway between Kaine's Bedroom and Lucien's Bedroom. From the Second Level Corridor, the player descends through an archway and down a short flight of stairs to the game room floor [Node 3]. To her right and left, the stairs turn and descend into the Ballroom [from Nodes 5 and 6]. A raised balcony surround the perimeter of the Game Room and gives the player access to Kaine's bedroom and Lucien's Bedroom.

Though the corridor itself has been badly damaged, the Game Room looks relatively unscathed. The equipment appears clean and well maintained, especially the pool table.

All of the machines operate in the room, and the player is sorely tempted to play with them. If she is very attentive, she will notice that all of the machines are slightly o ut-of-true -except for the pool table.

The Dimwit Foosball Game
The player is immediately intrigued by the Dimwit Foosball Game [7E]. When she clicks on it for a close-up [7E-B1], she recognizes the tiny figures as the twelve famous Flatheads (whose pictures are sketched in the material for Zork Zero). The figures are arranged in teams of six, three to a stick. Only two of the sticks move. When she clicks on the right stick, the three figures spin [animation_actor]. When she clicks on the left stick, the stick spins except for the figure of Dimwit Flathead, which has broken loose and hangs impotently upside down [animation_actor].

Zork Pachinko
Near the Foosball, the player notices a tall metal and glass machine, the Zork Pachinko game [4E]. She clicks for a close-up [4E-B1] and discovers a red lever on the side of the machine. The lever is active. When she clicks on it, a ball shoots up and then bounces down through the metal pins [animation_actor], The ball will fall one of three ways, all animated [animation_actor]. After each shot the game randomly congratulates the player with, "Great shot," "Nice going," or "Grue bait!" [audio_actors].

Double Fanucci
The player next notices the Double Fanucci board. Double Fanucci is a card game that is virtually impossible to win. When the player clicks on the game, she gets a close-up of the cloth table and an array of buttons at the end of the table. These buttons would be used for playing the game, but only two of them still work: "Deal," and "Hit". The other buttons are cracked and water stained.

If she presses "Deal," an metal arm will emerge and deal two cards [animation_actor] [7F-B2]. The cards are also water stained and completely illegible. If she presses, "Deal" again, the arm will 'retrieve the cards [animation_actor], saying, "Tough luck." If she presses, "Hit," the arm will throw out another card [animation_actor] and the player will hear, "What a monkey!" Before she can react, the arm then retrieves the three cards [animation_actor].

If the player presses "Deal, and then leaves the two cards on the table, she hears, "I should give you a typewriter," and the arm clears away the cards and disappears [animation_actor].

Within these parameters, the game will repeat.

The Card Table
Tired of Fanucci, the player tries her luck at the card table [5E]. She clicks on the table and sees a close-up of a deck of cards separated into two piles [5E-B1]. The cards are active. The back of the cards are decorated with two small stick figures that look to be dancing. When she clicks on the cards, the cards animate and shuffle themselves [animation_actor]. Like a child's cartoon, the stick figures appear to come to life; they embrace and then a third figure enters from the edge of the card and kills them both.

The cards now form a single stack [5E-B2]. If the player clicks on them again, the cards separate [5E-B1], and she can repeat the shuffling.

The Pool Table
Having tired of the other games, the player finally turns her attention to the largest of the games, the pool table. The pool table [8A] has only seven balls, but when the players enters the room, the balls are all under the table in the gutter. The table has a glass window over the gutter like a pool table at a bar. Just like a pool table at a bar, the player can look through the window at the end of the table [8F-B1] to see the balls, but cannot touch them.

When the player first clicks on the table for a close-up of the table top and sides [8E-B1] no balls are visible. She immediately notices a long hollow arm, which rises into the air on the other side of the table. The arm is hollow and slightly wider than a pool ball. The player doesn't know it yet, but this arm both sets up tricks shots and then shoots the shots.

Setting Up The Shot
From her view down onto the table [8E-B1], she also notices a control panel set into the near side of the table. The panel reads, "Great Shots of History" [text_actor]. Below the table, she finds a vertical row of five buttons with a label beside each [text_actor]:

Button 1    Candles and Broomsticks
Button 2    Shaving a Cat
Button 3    Fishing in the Desert
Button 4    Triple splitter
Button 5    SHOOT

Shooting The Shots
Curious, the player clicks on the first button. The arm immediately animates, and with the sucking sound of a vacuum, neatly drops seven balls on the table. [animation_actor] [8E-B2]. She has set up the first specialty shot. Until she sinks the balls, the first four buttons are active, but when she clicks on them, nothing happens. To reactivate the buttons, she must first sink the balls.

With the balls ready, she clicks on the "SHOOT" button. A stick emerges from the hollow arm, lines up behind the cue ball, and takes a shot; the balls ricochet around, bounce a few times, and are sunk [animation_actor].

She can repeat this for buttons one through four. Each set up [8E-B2, 8E-B3, 8E-B4, 8E-B5] looks different and leads to a different shot [animation_actor].

Also although each shot sinks all every ball, the four shots sink the balls in different orders.

NOTE: To avoid games state problems, the pool table surface should be sunken far enough that the position of the balls can only be seen in the close-up [8E].

Looking At The Sunken Balls
By clicking on the side of the table, the player can look at the end of the table and see the sunken balls. From right to left, they appear in the order in which the balls were sunk. The balls are behind glass, so they are not active. When looking at them from the end of the table, the player cannot touch the balls. But this doesn't mean they don't change.

If she looks at the balls before taking a shot, she would have seen them in this order: cue, 1, 3, 4, 5, 7, 9 [8FB1]. The balls will only appear in this order until she sets up a shot. Once she has set up and taken a shot, the balls will appear in a new order.

After shot 1, the balls appear like this: cue, 5, 9, 3, 1, 7, 4
After shot 2, the balls appear like this: cue, 9, 5, 3, 4, 7, 1
After shot 3, the balls appear like this: cue, 3, 5, 9, 1, 4, 7
After shot 4, the balls appear like this: cue, 1, 7, 9, 5, 3, 4

If the balls are on the table, she will see no sunken balls at the end of the table.

Solving The Pool Table/Tank Navigation Puzzle
This order of these balls is very important. Kaine has programmed these shots as a way to remember six digit numbers that start his machines. Most of his war machines have been destroyed, but the tank -- at the end of the bunker outside the castle -- remains.

After reading Kaine's underlined passages about encryption from the book on his desk [3EBA-3EBE], the player understands that Kaine hides his codes in plain view and in games. Then, after seeing the tank, the player suddenly Connects-the six numbers on the pool table with the six numbers required for the tank's navigation. She returns to the game Room and reads the list of names. Only one has anything to do with sand, so she sets up that shot and sinks it. She then notes the order of balls, created by that shot.

In order to solve the puzzle, the player must:

click on button 3 and set up the "Fishing in the Desert" shot
click on the "SHOOT" button, button number five
look at the sunken balls and note the order of the balls: 3, 5, 9, 1, 4, 7
use the six number combination in the Battle Tank navigation dials

For more about the Battle Tank puzzle, see the section in this design document, "Bunker and Battle Tank."

CJ2LB21A:
Inside Double Fanucci book: 2 Sides/Font

(Divide this text up into two pages - and cut it down - however you like. It’s all gibberish. Use whatever font you like. It’s a rule book to a kind of gambling.)

composes the abridged version of the second subset to the eleventh chapter of the outline of the first set of rules which is used in the Borphee Double Fanucci Championships, which is not to be confused with the abridged version of the second subset to the eleventh chapter of the addendum of the first set of rules which is used in the Borphee Double Fanucci Championships. That is still under its seventh series of revisions, and must await approval by the Double Fanucci and Related Fanucci Spin-offs chapter of the Greater Gaming Guild in Port Foozle.
There has been much recent debate among Guild members over the proposed elimination of the Undertrump, Muttonate, Divide and Ionize moves. Whereas the Guild apologizes formally for any offense taken by Trumps, Mutton, Divides and Ions in the Empire, we have no reason to take action, until the offended parties petition the Guild themselves. Which, you should note, is not the same thing as partitioning the Guild, as several Mutton attempted to do last week. Though the new walls are greatly appreciated, and do much in the way of wall space, the proper channels of petition convention must be observed for the petition to be legally filed.
The Rules Committee of said Greater Gaming Guild had issued only Amendments #494 through 575 by the time this book had gone to press. Thus, though we have accordingly included the expanded version, the 250 card instead of the 174 card version of the Double Fanucci Deck, and have thus included, along with the Mazes, Books, Rain, Bugs, Fromps, Inkblots, Scythes, Plungers, Faces, Time, Lamps, Hives, Ears, Zurfs, and Tops, with the face cards of Granola, Death, Light, Snail, Beauty, Time, Grue, Lobster and Jester, the additional suits which now include: Caves, Corbies, Rat-Ants, Edible Rocks, Lyres, Ships, Ales, Slugs, Talismen, Yipples, Insecurity and Loaves - we have not included any Abridgments or Addendum with reference to any changes in the Point System, or the related Numerical Values of each of the many thousand approved Game Plays. And of course, any of the many changes made to these Abridgements or Addendum in accordance with the House Rules of the various casinos, is not our responsibility. Provided those rules have been rightly registered with the House Rules Division of the Double Fanucci and Related Spin-offs chapter of the Greater Gaming Guild in Port Foozle.

Panel which lists great shots of history

The Game Room. Necessary games would certainly include Double Fanucci and Peggleboz, both visually depicted in Zork Zero, as well as chess, potentially with pieces resembling Zork figures: a brogmoid for a pawn, a dornbeast for a bishop, a Flathead for a king, etc. The pinball machine should also have many Zork images: Dimwit, a hellhound, a hungus, granola, a castle, etc. Essentially any image from the Beyond Zork or Sorcerer packaging would be fine, as well as anything else suitably abnormal. [on ver 2.5/3.0]

The Flathead Foosball and the Zork Pachinko games are nice touches, but the way Double Fanucci is being handled sounds incorrect. Please check the Zork Zero version of the game for how the game is dealt, and how the cards look, and adjust this section accordingly. [on ver 4.0]

13.08.05 The Ballroom

Returning downstairs, the player enters the ballroom through the double doorway in the N wall of the entry room.

The ballroom has a beautifully inlaid parquet floor, highly polished. On the wall across from the door is the Kaine Coat of Arms, a prominent emblem of yellow, orange and red.

The room is mostly empty. Some tables and chairs are pushed against the wall, out of the way. A fireplace dominates the N wall of the room.

On the E wall of the room the player finds the handle of a sword. If the player clicks on it she can pick it up [cursor_object].

She will notice an elaborate display of arms above the fireplace. One of the swords does not have a handle.

13.08.05 The Ballroom
The Ballroom contains:

A large fireplace
A sword blade without a handle
A sword handle without a blade
Stuffed animal heads impaled with weapons

Having finished her search of the upstairs, the player returns to the first floor. She enters the ballroom via the open double doorway in the N wall of the Entry Hall or via the stairs from the Game Room.

What she discovers is both elegant and disturbing. The ballroom has a beautifully inlaid parquet floor, highly polished. A high ceiling adds grace to the room, and above the great hearth, the Kaine Coat of Arms regally commands the northern wall in sweeping colors of yellow, orange and red [7A]. Against this back ground, she cannot miss the rows of animal heads hung from the wall, each animal still impaled by the weapon of its demise.

Besides the heads, the room is mostly empty. If she examines the animals closely, she will notice a bear [5B] has not only been impaled by a spear, but has a sword handle on its head. The bear head is active, and if she clicks on it, she will get a close-up of the bear head [5E-B1]. Looking closely, she notices the sword handle is not embedded, but only balanced on the bear. If the she clicks on the handle, and she can pick it up [cursor object].

Traveling further down the hall, she notices an elaborate display of arms above the fireplace and below the coat of arms [7A]. She can click on the display for a close-up [7E]. One of the swords does not have a handle.

13.08.05 The Ballroom
The Ballroom contains:

A large fireplace
A sword blade without a handle
A sword handle without a blade
Stuffed animal heads impaled with weapons

Having finished her search of the upstairs, the player returns to the first floor. She enters the ballroom via the open double doorway in the N wall of the Entry Hall or via the stairs from the Game Room.

What she discovers is both elegant and disturbing. The ballroom has a beautifully inlaid parquet floor, highly polished. A high ceiling adds grace to the room and above the great hearth, the Kaine Coat of Arms regally commands the northern wall in sweeping colors of yellow, orange and red [7A]. Against this back ground, she cannot miss the rows of animal heads hung from the wall, each animal still impaled by the weapon of its demise.

Besides the heads, the room is mostly empty. If she examines the animals closely, she will notice a bear [5B] has not only been impaled by a spear, but has a sword handle on its head. The bear head is active, and if she clicks on it, she will get a close-up of the bear head [5E-B1]. Looking closely, she notices, the sword handle is not imbedded, but only balanced on the bear. If the she clicks on the handle, and she can pick it up [cursor_object].

Traveling further down the hall, she notices an elaborate display of arms above the fireplace and below the coat of arms [7A]. She can click on the display for a close-up [7E]. One of the swords
does n ot have a handle.

13.08.06 Hallucination: The Sword Fight
If the player clicks on the sword blade in the heraldic array of weapons above the fireplace she will see a CLOSE UP of a sword. If she clicks on this sword blade, the scene DISSOLVES to a CLOSE UP of the sword in a scabbard on Kaine's waist. In a short scabbard on Kaine's waist also hangs a dagger.

Kaine CROSSES to Lucien. Lucien is sitting in a corner near the fireplace sketching a violent scene. Kaine, dressed in battle gear, approaches him. He pulls the sword from the scabbard and offers it to Lucien.

KAINE

Take it.

Lucien paints, faintly indicates "no." Kaine throws Lucien's sword to the ground.

KAINE
(disgust)

You should be with me. You belong by my side.

Lucien paints calmly.

KAINE

Children draw pictures. Men fight.

No response from Lucien.

KAINE
(greater disgust)

If you didn't sleep with the archbishop's daughter, I wouldn't even know you were a man.

That riled him. His raises his eyes to his father's.

LUCIEN

I don't want you to talk about her.

KAINE
(amused)

Who? Your whore? Maybe I'll try her myself.

Lucien leaps to his feet, knocking over his easel. Lucien grabs the dagger from Kaine's belt. He forces it to Kaine's throat, pinning his father against the wall.

KAINE

Finish.

LUCIEN

Father, I'm...

Shocked at himself, Lucien relaxes the weapon. Kaine puts his hand to Lucien's dagger tip. He shows his teeth in a wolfish smile.

KAINE

I said finish it.

He presses the dagger into his own flesh, drawing blood as the vision fades.

The player now holds the complete sword. Clicking on its holder will return it to above the fireplace [animation_actor].

13.08.06 Hallucination: The Sword Fight
If the player clicks on the sword blade in the heraldic array of weapons above the fireplace [7E] while she is carrying the handle, she will see a CLOSE UP of a sword. If she clicks on this sword blade, the scene DISSOLVES to a CLOSE UP of the sword in a scabbard on Kaine's waist. In a short scabbard on Kaine's waist also hangs a dagger.

Kaine CROSSES to Lucien. Lucien is sitting in a corner near the fireplace sketching a violent scene. Kaine, dressed in battle gear, approaches him. He pulls the sword from the scabbard and offers it to Lucien.

KAINE

Take it.

Lucien paints, faintly indicates "no." Kaine throws Lucien's sword to the ground.

KAINE
(disgust)

You should be with me. You belong by my side.

Lucien paints calmly.

KAINE

Children draw pictures. Men fight.

No response from Lucien.

KAINE
(greater disgust)

If you didn't sleep with the archbishop's daughter, I wouldn't even know you were a man.

That riled him. His raises his eyes to his father's.

LUCIEN

I don't want you to talk about her.

KAINE
(amused)

Who? Your whore? Maybe I'll try her myself.

Lucien leaps to his feet, knocking over his easel. Lucien grabs the dagger from Kaine's belt. He forces it to Kaine's throat, pinning his father against the wall.

KAINE

Finish.

LUCIEN

Father, I'm...

Shocked at himself, Lucien relaxes the weapon. Kaine puts his hand to Lucien's dagger tip. He shows his teeth in a wolfish smile.

KAINE

I said finish it.

He presses the dagger into his own flesh, drawing blood as the vision fades.

The player now holds the complete sword and the mounting on the north wall is empty [7E-B2]. Clicking on its mounting will return the sword [animation_actor] [7E-B3] although the player will need to use the sword soon enough to enter the Armory.

KAINE

Take it.

Lucien paints, faintly indicates "no." Kaine throws Lucien's sword to the ground.

KAINE
(disgust)

You should be with me. You belong by my side.

Lucien paints calmly.

KAINE

Children draw pictures. Men fight.

No response from Lucien.

KAINE
(greater disgust)

If you didn't sleep with the archbishop's daughter, I wouldn't even know you were a man.

That riled him. His raises his eyes to his father's.

LUCIEN

I don't want you to talk about her.

KAINE
(amused)

Who? Your whore? Maybe I'll try her myself.

Lucien leaps to his feet, knocking over his easel. Lucien grabs the dagger from Kaine's belt. He forces it to Kaine's throat, pinning his father against the wall.

KAINE

Finish.

LUCIEN

Father, I'm...

Shocked at himself, Lucien relaxes the weapon. Kaine puts his hand to Lucien's dagger tip. He shows his teeth in a wolfish smile.

KAINE

I said finish it.

13.08.06 The Treasure Room

The Treasure Room on the W side of the Entrance Hall is open, its thick door blown off and laying on the ground. Inside the room are huge shelves filled with elaborate rare textiles, gold ornaments, buckets of jewels and other war plunder -- the source of Kaine's wealth and the reason for his influence. Ten of the larger gold objects can be picked up [cursor_objects]. Just as with the alarm system in the Monastery relics Room, if the player tries to leave with an object it will return to the shelf as she steps in the Entry Hall.

On the far wall of the Treasure Room is a thick stone wall with an archway. Through a confusion of debris the player sees a room beyond the archway filled with large battle dioramas, armies of miniature soldiers and siege weapons. The player's path to this room has been blocked by huge timbers and fallen debris.

13.08.06 The Treasure Room
The Treasure Room contains:

A Foo dog cannon that looks like an enormous iron Oriental guard dog mounted on a platform
A bowl of golden bones on the cannon platform
A cute bunny
A fancy umbrella
A gilded hand mirror
A miniature grandfather clock
A collector's edition book
A gold candlestick
A music box
An elegant comb set into a hairpiece on a wood head

Although the player can also take the stairs from Kaine's room [near Node B], she will probably find her way there from the Entrance Hall [W of Node 8 of the Entry Hall].

Once the source of Kaine's wealth, the Treasure Room is now torn open like so much rotting carrion, its thick door blown off and laying on the ground. Yet despite its violent evisceration, the room emanates wealth. Inside the room are mounds of treasure, rare elaborate textiles, gold ornaments, buckets of jewels and other war plunder -- the source of Kaine's wealth and the reason for his influence.

Eye Candy
Besides close-ups of treasure, the player finds seven objects that animate. These are Kaine's special collection of rare devices of assassination. When the player clicks on an item, she sees a close-up of each item; if she then clicks on the item again, the item animate and reveal their method of assassination. The items do the following:

A cute bunny turns into a dagger [animation_actor] [3H]
A fancy umbrella closes in a ring of spikes [animation_actor] [4F]
A gilded hand mirror fires a bullet [animation_actor] [6H]
A miniature grandfather clock opens and drops a guillotine where someone would reach in to wind it [animation_actor] [3F]
A collector's edition book emits poison gas when opened [animation_actor] [3E]
A gold candlestick becomes a flamethrower [animation_actor] [4G]
A music box fires a poison dart when opened [animation_actor] [5H]
A spiked comb that lifts out of a hairpiece and stabs at the player [animation_actor] [4H]

Looking at the Debris
When she has finished looking at the assassination tools, she makes her way to the end of the room. Here, the walls have been severely damaged and have partially collapsed inward. On the far wall of the Treasure Room [N of Node 6] is a thick stone wall with an archway. Through a confusion of debris she sees a room beyond the archway filled with large battle dioramas, armies of miniature soldiers and siege weapons. Her path to this room has been blocked by huge timbers and fallen debris. If the player clicks on the debris, she sees a close-up of the debris [6F-B1] without any apparent way to pass it.

Looking into the War Room
She skirts the debris to the East, but instead of bypassing the wreckage, she finds herself on a raised balcony above the War Room [Node B]. She notices the War Room is active, and she can click on the room below. When she does, she gets a close-up of the War Room [BE-131 ], but she still cannot get down to the models.

13.08.06 The Treasure Room
The Treasure Room contains:

A Foo dog cannon that looks like an enormous iron Oriental guard dog mounted on a platform
A bowl of golden bones on the cannon platform
A cute bunny
A fancy umbrella
A gilded hand mirror
A miniature grandfather clock
A collector's edition book
A gold candlestick
A music box
An elegant comb set into a hairpiece on a wood head

Although the player can also take the stairs from Kaine's room [near Node B], she will probably find her way there from the Entrance Hall [W of Node 8 of the Entry Hall].

Once the source of Kaine's wealth, the Treasure Room is now torn open like so much rotting carrion, its thick door blown off and laying on the ground. Yet despite its violent evisceration, the room emanates wealth. Inside the room are mounds of treasure, rare elaborate textiles, gold ornaments, buckets of jewels and other war plunder -- the source of Kaine's wealth and the reason for his influence.

Eye Candy
Besides close-ups of treasure, the player finds seven objects that animate. These are Kaine's .special collection of rare devices of assassination. When the player clicks on an item, she sees a close-up of each item; if she then clicks on the item again, the item animate and reveal their method of assassination. The items do the following:

A cute bunny turns into a dagger [animation_actor] [3H]
A fancy umbrella closes in a ring of spikes [animation_actor] [4F]
A gilded hand mirror fires a bullet [animation_actor] [6H]
A miniature grandfather clock opens and drops a guillotine where someone would reach in to wind it [animation_actor] [3F]
A collector's edition book emits poison gas when opened [animation_actor] [3E]
A gold candlestick becomes a flamethrower [animation_actor] [4G]
A music box fires a poison dart when opened [animation_actor] [5H]
A spiked comb that lifts out of a hairpiece and stabs at the player [animation_actor] [4H]

I am not at all sure about the phrase "Foo dog". I hope that the phrase itself is not used during the game. It sounds much too silly. I feel the same way about the Cat-Shaped Cannon on p. 148, as well as about the description of the cannon. Is the point to disguise a weapon in a non-ferocious disguise, as a deception? Although a weapon that hurled golden bones
would be entirely typical of Dimwit, it does sound somewhat silly, and will likely tamper with the otherwise very sober tone of the game. [on ver 4.0]

For the "Ten of the larger gold objects" you could perhaps consider using piles of the Zork Trilogy or Return to Zork zorkmids. [on ver 2.5/3.0]

In order to gain access to the War Room the player has to do the following:

Click on the foyer cannon to make the cannon follow her into the Treasure Room [cursor_object, audio_actor].
Get one of the 10 ribbons wrapping the letters in Kaine's Bedroom and insert it into the fuse hole of the cannon in the foyer.
Get one of the 10 cloth wrapped powder charges from Lucien's Bedroom and click on the cannon in the foyer with the powder charge.
Insert the gold and silver treasure from the Treasure Room in the mouth of the cannon.
Get a burning brand from the fireplace in the Torture Room to light the fuse and fire the cannon, blowing away the debris blocking the War Room.

The player must place at three items in the cannon before firing it in order to blow away the debris blocking the path to the War Room. If she places three items in the cannon, and fires the cannon according to instructions, an enormous explosion will clear away the debris [animation_actor]. If the player puts the powder and objects in in the wrong sequence the fuse will burn out and the cannon will tip forward, releasing its contents on the ground

The Foo Dog Cannon
Frustrated, the player returns to the rest of the Treasure Room. At the south end of the Treasure Room, the player notices a large iron Oriental-style dog mounted to a large metal platform [2D]. Also mounted to the platform directly in front of the dog, is a bowl of golden bones. The dog's tail hangs down, and his ears perk up. The dog's mouth is open and very round. The player can see a close-up of the FooDog's head at 2F-B1.

If the player has been to the Armory, she may recognize a similarity between this animal and the picture of Chloe the Cat-Shaped Cannon in the "Age of Powder" display [4E-B1 of the Armory]. The Foo dog cannon was also built for Dimwit and is a fully functional cannon. She also notices that the head and tail of the large metal dog are active.

When the player clicks on the tail, she gets a close-up of the back of the Foo dog [3F-B1 ]. The tail is still active. If she clicks on the tail, the tail animates. The tail turns to a horizontal position, and with a creak, the back of the Foo dog swings open [animation_actor] [3F-B2]. This reveals the barrel of the cannon. A faint amount of light trickles through the cannon. The barrel is active.

If the player clicks on the barrel when she is not carrying anything, her POV will zoom into the barrel and she will look through the cannon at the debris on the far end of the Treasury Room [animation_actor] and then return to the view of the open cannon [3F-B2]. The player will now suspect that she must fire the cannon to clear the wreckage.

If she clicks on the barrel when she is carrying the gun powder pillow charge from Lucien's Room [found under the armoire], the pillow charge is inserted into the back of the cannon, and the cannon swings closed [animation_actor]. The dog's tail now stands straight up [3F-B3], and is active. The cannon is now ready to fire.

Firing the Foo Dog Cannon
After putting the gun powder pillow charge in the back of the cannon, the player is ready to fire the cannon. If she clicks on the raised tail, the tail lowers with a click and the cannon fires with a bang and a cloud of smoke [animation_actors, audio_actor].

She may fire the cannon as often as she likes (the gunpowder charge provides unlimited firings), but until she loads the ammunition, the cannon will do no damage.

Ammunition for the Foo Cannon
Having tired of firing the cannon without clearing the wreckage, the player returns to the surround view of the Foo Dog cannon [Node 2]. As before, both the head and tail of the Foo Dog cannon are active. When she clicks on the head of the cannon, she sees a close up of the head of the Foo dog and of the bowl of bones mounted on the platform in front of the dog. She will also notice that the dog's ear is active.

If she clicks on the dog's ear, the ear turns with a click; the head lowers, and an unseen mechanism raises the bowl and dumps the bones into the dog's mouth; the dog's head then returns to its previous position [animation_actor]. The ear is no longer active. The cannon is loaded with its ammunition.

The Final Shot
The player now returns to the surround node [Node 2], and then clicks on the dog's rear. The dog's tail is active. If she clicks on the tail, the tail lowers with a click, and the gun fires with a roar and a cloud of smoke; only this time, the player also hears a tremendous concussion as the bones hit the debris [N of Node 6] [animation_actor].

If the player now goes to Node 6 and clicks on the debris, she will notice the debris has changed [6F-B2] -- a small hole has been opened in the wreckage. The hole is active. If she clicks on it, she passes through to the War Room.

Solving the Foo Dog Puzzle
To recap, this is the least number of steps required to enter the War Room:

Click on the tail of the Foo dog. The tail turns sideways and the back of the Foo dog opens [animation_actor].
With the gun powder charge pillow from Lucien's room, click on the opening on the back of the Foo dog. The charge animates again, inserts into the dog, the dog closes, and the tail raises to stand at attention [animation_actor].
Click on the ear of the Foo dog. The ear then turns, the Foo dog bends down, and a mechanism beneath the platform lifts the bowl of bones and tips the bones into the Foo dog's mouth [animation_actor].
Pull on the Foo dog's tail. The tail lowers and then snaps back; the player hears the click of a firing pin releasing followed by the roar of the cannon firing; the gold bones are hurled to the other end of the Treasure Room and strike the debris blowing up smoke [animation_actor].
If the player now examines the debris by clicking on it [6F-B2], she finds a small opening has been cleared to the War Room.

The Foo Dog Cannon
Frustrated, the player returns to the rest of the Treasure Room. At the south end of the Treasure Room, the player notices a large iron Oriental-style dog mounted to a large metal platform [2D]. Also mounted to the platform directly in front of the dog, is a bowl of golden bones. The dog's tail hangs down, and his ears perk up. The dog's mouth is open and very round. The player can see a close-up of the FooDog's head at 2F-B1.

If the player has been to the Armory, she may recognize a similarity between this animal and the picture of Chloe the Cat-Shaped Cannon in the "Age of Powder" display [4E-B1 of the Armory]. The Foo dog cannon was also built for Dimwit and is a fully functional cannon. She also notices that the head and tail of the large metal dog are active.

When the player clicks on the tail, she gets a close-up of the back of the Foo dog [3F-131]. The tail is still active. If she clicks on the tail, the tail animates. The tail turns to a horizontal position, and with a creak, the back of the Foo dog swings open [animation_actor] [3F-B2]. This reveals the barrel of the cannon. A faint amount of light trickles through the cannon. The barrel is active.

If the player clicks on the barrel when she is not carrying anything, her POV will zoom into the barrel and she will look through the cannon at the debris on the far end of the Treasury Room [animation_ actor] and then return to the view of the open cannon [3F-B2]. The player will now suspect that she must fire the cannon to clear the wreckage.

If she clicks on the barrel when she is carrying the gun powder pillow charge from Lucien's Room [found under the armoire], the pillow charge is inserted into the back of the cannon, and the cannon swings closed [animation_actor]. The dog's tail now stands straight up [3F-B3], and is active. The I cannon is now ready to fire.

Firing the Foo Dog Cannon
After putting the gun powder pillow charge in the back of the cannon, the player is ready to fire the cannon. If she clicks on the raised tail, the tail lowers with a click and the cannon fires with a bang and a cloud of smoke [animation_actors, audio_actor].

She may fire the cannon as often as she likes (the gunpowder charge provides unlimited firings), but until she loads the ammunition, the cannon will do no damage.

Ammunition for the Foo Cannon
Having tired of firing the cannon without clearing the wreckage, the player returns to the surround view of the Foo Dog cannon [Node 2]. As before, both the head and tail of the Foo Dog cannon are active. When she clicks on the head of the cannon, she sees a close up of the head of the Foo dog and of the bowl of bones mounted on the platform in front of the dog. She will also notice that the dog's ear is active.

If she clicks on the dog's ear, the ear turns with a click; the head lowers, and an unseen mechanism raises the bowl and dumps the bones into the dog's mouth; the dog's head then returns to its previous position [animation_actor]. The ear is no longer active. The cannon is loaded with its ammunition.

The Final Shot
The player now returns to the surround node [Node 2], and then licks on the dog's rear. The dog's tail is active. If she clicks on the tail, the tail lowers with a click, and the gun fires with a roar and a cloud of smoke; only this time, the player also hears a tremendous concussion as the bones hit the debris [N of Node 6] [animation_actor].

If the player now goes to Node 6 and clicks on the debris, she will notice the debris has changed [6F-B2] -- a small hole has been opened in the wreckage. The hole is active. If she clicks on it, she , passes through to the War Room.

Solving the Foo Dog Puzzle
To recap, this is the least number of steps required to enter the War Room:

Click on the tail of the Foo dog. The tail turns sideways and the back of the Foo dog opens [animation_actor].
With the gun powder charge pillow from Lucien's room, click on the opening on the back of the Foo dog. The charge animates again, inserts into the dog, the dog closes, and the tail raises to stand at attention [animation_actor].
Click on the ear of the Foo dog. The ear then turns, the Foo dog bends down, and a mechanism beneath the platform lifts the bowl of bones and tips the bones into the Foo dog's mouth [animation_actor].
Pull on the Foo dog's tail. The tail lowers and then snaps back; the player hears the click of a firing pin releasing followed by the roar of the cannon firing; the gold bones are hurled to the other end of the Treasure Room and strike the debris blowing up smoke [animation_actor].
If the player now examines the debris by clicking on it [6F-B2], she finds a small opening has been cleared to the War Room.

13.09 Entrance to the Armory

The player now returns to the Entrance Hall. The locked door to the Armory is controlled by the Knight in the Entrance Hall.

Placing the sword from the Ballroom in the knight's scabbard [animation_actor] opens the door [animation_actor]. Once the sword is in the scabbard, it may not be retrieved again.

13.09 Entrance to the Armory
If the player doesn't solve the Foo dog cannon puzzle, she will soon turn her attention to the entrance to the armory. She now returns to the Entrance Hall and remembers the empty scabbard of the east knight. As she guessed, the locked door to the Armory [E of Node C of the Entry Hall] is controlled by the Knight in the Entrance Hall [near Node C of the Entry Hall].

Placing the sword from the Ballroom in the knight's scabbard [animation_actor] opens the door [animation_actor]. Once the sword is in the scabbard, it may not be retrieved again.

13.10 Armory

The walls of this room are decorated with swords, knives, and spears arranged on the east wall in a fan pattern. Shields and other weapons are arranged on the west wall and ceiling as well. The player examines the room and finds that the weapons are a fantastic collection from all over the world. Several of the weapons are animation and [audio_actors] producing sounds of sword hitting sword, sword hitting shield, etc.

13.10 Armory
The Armory contains:

Six displays of weapons set out like a museum exhibit
A suit of armor
A lead container filled with radioactive Thaddium formed into a cylinder
A prototype transformer (the TED), long, cylindrical, and larger than the Thaddium cylinder
Five stained glass windows each depicting one of the suits of armor found in the Castle

The walls of this room are decorated with swords, knives, and spears arranged on the wall in patterns. Shields and other weapons are arranged on the walls and ceiling as well. The player examines the room and finds that the weapons are grouped by historical era. Several of the weapons are animation and [audio_actors] producing sounds of sword hitting sword, sword hitting shield, etc.

The Suit of Armor
In the NW corner, the player quickly discovers another suit of armor. The suit is active. When she clicks on it, she sees a close-up of the head and shoulders of the armor [9F-B1]. Like the other four suits of armor that she has seen, this suit has a visor; this one closed. The visor is active. When she clicks on the visor, it opens [animation_actor] [9F-B2]. She can now click on it to open it again [animation_actor] [9FB1].

13.10 Armory
The Armory contains:

Six displays of weapons set out like a museum exhibit
A suit of armor
A lead container filled with radioactive Thaddium formed into a cylinder
A prototype transformer (the TED), long, cylindrical, and larger than the Thaddium cylinder
Five stained glass windows each depicting one of the suits of armor found in the Castle

The walls of this room are decorated with swords, knives, and spears arranged on the wall in patterns. Shields and other weapons are arranged on the walls and ceiling as well. The player examines the room and finds that the weapons are grouped by historical era. Several of the weapons are animation and [audio_actors] producing sounds of sword hitting sword, sword hitting shield, etc.

The Suit of Armor
In the NW corner, the player quickly discovers another suit of armor. he suit is active. When she clicks on it, she sees a close-up of the head and shoulders of the armor [9F-B1]. Like the other four suits of armor that she has seen, this suit has a visor; this one closed. The visor is active. When she clicks on the visor, it opens [animation_actor] [9F-B2]. She can now click on it to open it again [animation_actor] [9FB1].

Thaddium was the King of Quendor in the 5th and 6th centuries, so this is an amusing name for a natural element. However, I do not think any change is necessary. [on ver 4.0]

For the fantastic collection of weapons from all over the world, there would be little explicit way to show this short of labeling the weapons in a manner similar to this:

Kovalli Desert Tribesmen, c. 570 AE
Antharian Armada, 665 AE
Kaldorn Militia, 890 AE
Fenshire Troll Tribe, 860s AE
Orexian Villagers, c. 476 AE [on ver 2.5/3.0]

13.10.01 The Helmet Puzzle
On the wall of the Armory are 5 stained glass windows with crusade knights depicted in the glass. Three of the knights have their visors raised, two are lowered.

On the east wall, five suits of armor are displayed in front of the fan of swords. The suits match the suits of the knights in the stained glass, but are not in the same order. The player will recognize the similarities of the knights armor and heraldry and, on closer inspection, notice the pattern of raised face shields.

The player then matches the pattern of raised shields by advancing to each suit of armor and raising the appropriate shields. Clicking on the helmet changes the helmet from raised to lowered and back again [animation_actor].

When the last shield has been set correctly, a fanfare plays [audio_actor], and the player hears a metallic creaking to the left [audio_actor]. When the player turns, she will see that a panel has slid open in the north wall, revealing a staircase down. If the player changes the arrangement of the shields, the metallic creaking will indicate that the panel has slid closed [audio_actor].

13.10.01 The Helmet Puzzle
On the wall of the Armory [E of Node 3] are five stained glass windows with suits of armor depicted in the glass. The suits stands as if the suit were being worn, but the player cannot see faces within any of the suits. Each of the suits also has a visor, which is either open or closed. The player can click on each stained glass window for individual close-ups [3E, 3F, 3G, 3H, 3I].

Note: Each suit of armor in the glass corresponds to a suit of armor found in the castle (one in the Entry Hall, two in the Second Level Corridor, one in Kaine's room, and one here in the Armory). The styles of armor should be very different. For instance, she sees:

A Roman soldier with his visor up
A Medieval knight with his visor down
A Japanese samurai with his visor up
A Conquistador with his visor up
A German peasant in chainmail with his visor down

Three of the knights have their visors raised, two are lowered. These are the key to the visored knights; the player must set each visor on the real suit of armor into the same position as the suit in the glass. (Some suits already match; some do not so that reversing the original state of each suit does not solve the puzzle.)

The player solves the puzzle by doing the following:

She notices the five knights on the east wall and observes each.
She click on each visored knight in the castle and make sure the visor on the suit of armor matches the visor in the picture on the wall.

The Puzzle Solved
After matching all of the other visors, the player positions the visor on the suit in the Armory [9F]. A fanfare plays [audio_actor], and the player hears a metallic creaking to the left [audio_actor]. When the player turns, she will see that a panel has slid open in the north wall, revealing a staircase down. If the player changes the arrangement of the visor in the Armory [9F], the metallic creaking will indicate that the panel has slid closed [audio_actor].

NOTE: The player must set the suit in the armory last. If she changes the suits in the other rooms after the door is open, the door will be closed when she returns.

13.10.01 The Helmet Puzzle
On the wall of the Armory [E of Node 3] are five stained glass windows with suits of armor depicted in the glass. The suits stands as if the suit were being worn, but the player cannot see faces within any of the suits. Each of the suits also has a visor, which is either open or closed. The player can click on each stained glass window for individual close-ups [3E, 3F, 3G, 3H, 31].

Note: Each suit of armor in the glass corresponds to a suit of armor found in the castle (one in the Entry Hall, two in the Second Level Corridor, one in Kaine's room, and one here in the Armory). The styles of armor should be very different. For instance, she sees:

A Roman soldier with his visor up
A Medieval knight with his visor down
A Japanese samurai with his visor up
A Conquistador with his visor up
A German peasant in chainmail with his visor down

Three of the knights have their visors raised, two are lowered. These are the key to the visored knights; the player must set each visor on the real suit of armor into the same position as the suit in the glass. (Some suits already match; some do not so that reversing the original state-of each suit does not solve the puzzle.)

The player solves the puzzle by doing the following:

She notices the five knights on the east wall and observes each.
She click on each visored knight in the castle and make sure the visor on the suit of armor matches the visor in the picture on the wall.

The Puzzle Solved
After atching all of the other visors, the player positions the visor on the suit in the Armory [9F]. A fanfare plays [audio_actor], and the player hears a metallic creaking to the left [audio_actor]. When the player turns, she will see that a panel has slid open in the north wall, revealing a staircase down. If the player changes the arrangement of the visor in the Armory [9F], the metallic creaking will indicate that the panel has slid closed [audio_actor].

NOTE: The player must set the suit in the armory last. If she changes the suits in the other rooms after the door is open, the door will be closed when she returns.

As for the different brands of armor, I should point out that none of these nationalities or time periods exist in the Zork world. It is reasonable to use differing styles, and perhaps label them with groupings similar to the ones I gave for the weapons collection earlier, but to hint this specifically at real-world historical elements in this fashion is, I tihnk, I mistake. [on ver 4.0]

13.10.02 The History of Weaponry
In the six cases around the room, Kaine has arrayed the history of weaponry. Each case is labeled and divided into an age of warcraft:

The Age of Barbarity [6E] [text_actor]
The Age of Archery [7E] [text_actor]
The Age of Powder [4E] [text_actor]
The Age of Kaine [6E, 6F] [text_actor]
The Age of the Future [5E] [text_actor]

The Age of Barbarity
The Age of Barbarity displays clubs, axes, leather shields, leather armor, rocks, sticks, slings, and other primitive weapons. Some of the weapons look as if they have been used. If a player clicks on the used weapons, she hears the dead cries of their victims [audio_actor].

The Age of Archery
The Age of Archery displays cross bows, short bows, composite bows and long bows as well as various bolts and fletchers. The case also includes various defenses against the bow-visored helmets, large shields and sketches of fortifications with arrow slits and metal roofs to protect defenders.

The Age of Powder
The Age of Powder displays guns, cannons, bombs, and rockets as well as various fortifications designed to defeat them [4E]. In the section devoted to cannons, the player finds a large sketch of a cannon designed for Dimwit Flathead; the cannon is shaped like a large cat. The text [text_actor] beside the sketch reads:

A sketch of Chloe the Cannon. While no examples remain of this cannon, some historians claim it was only one of a twelve specialty cannons Thomas E. Flathead designed for his brother. Not noted for how far it fired, as for what it fired, Chloe could toss an iron fur ball over two hundred yards.

This is one of the cannons designed especially for the mad king Dimwit. Another is the Foo dog cannon found in the Treasury Room. As a clue, the two should be stylistically similar so that the player is prompted to think that the Foo Dog might be a cannon.

The Age of the Future
This case contains Kaine's sketch and models of futuristic weapons. Not of the weapons work, but the sketches are very graphic. They show what Kaine imagines the weapons will do to the targets: turning skin inside out, turning blood to ice, driving the enemy mad, boiling the enemy from the inside out. If the player clicks on the sketches, she hears the cries of the victims of these weapons. [audio_actors].

The Age of Kaine
Thaddeus Kaine was never a particularly humble man, and from this case, one could guess that his pride extends to weapons design. The weapons in this case were all designed by Kaine, and each is more brutal than the last. The display consists of two cases, both of which are active. The player can click on either case for a close-up of the case [6E-B1, 6F-B1].

Particularly notable are two of his most dangerous discoveries: Thaddium and the Thaddium Elemental Diverter (TED). These are display in neighboring cases [6E, 6F].

The Thaddium Container
When she clicks for a close-up of the left case [6F-B1], she player finds a square lead container. A label reads on the case reads: "Warning: Refined Thaddium! Expose to Air at Your Own Risk." [text_actor] The lid of the case is active.

If she clicks on the lid, it animates and opens [6F-B2] to reveal a glowing metal cylinder slightly smaller than the TED [animation_actor]. The lid and the metal are both active. At the same time that the lid opens, an alarm sounds in the room, and the player hears,

WARNING VOICE (V.0.)

Thaddium particles detected; fatality predicted in forty-five seconds.

The WARNING VOICE will continue counting down until the Thaddium is shielded by lead (either in the Thaddium container or in the TED). If the voice reaches zero, the screen blacks out and the player dies.

The player may click on the open lid to close it [animation actor] [return to 6F-B1]. If she closes the lid, the warning voice will become silent.

The player may also click on the Thaddium to take it [cursor_object]. If the player takes the Thaddium, she must return it to a shielded container before the WARNING VOICE reaches zero.

The Thaddium Elemental Diverter (TED)
If the player clicks on the right case, she will see a close-up of the display [6E-B1]. She notices a cylindrical lead device shaped like a portable electric screwdriver. On it is written in bold letters: "Thaddium Elemental Diverter, Prototype #1." [text_actor]. The device is slightly cracked. Beside the device, the player finds a newspaper clipping with a picture of a destroyed building. The headline read: "More Trouble At Thaddius Manufacturing." [text_actor]

A red button on the TED is active. If the player clicks on the red button, the top of the TED slides open [animation actor] [7E-B2]. The red button and the interior of the TED are both active. If the player clicks on the red button again, the TED slides closed [animation actor] [7E-B1].

What to do with the Thaddium
The player soon realizes that the Thaddium must be kept in a safe container or she will die. After seeing the tank, (see the Bunker and Battle Tank section), she also knows that the tank needs power. She also notes the similarity in shape between the interior of the TED and the Thaddium charge and decides to combine these to create a power source.

With this in mind, she clicks on the interior of the TED while the Thaddium is her cursor, and the Thaddium slides perfectly into the TED; the TED's lid closes [animation_actor]. The WARNING VOICE falls silent, and a green light appears on the TED [animation_actor] [7E-B3]. If the player clicks on the TED now, it becomes the cursor [cursor_object] leaving the case without TED [7E-B4]. The player may continue in any manner that she desires.

After one minute, the TED turns red [cursor_object], and the WARNING VOICE announces:

WARNING VOICE (V.0.)

Warning! Warning! TED detected! Evacuate to safe distance immediately. Repeat evacuate to safe distance immediately. Fatal radius, five miles.

The TED begins to hum [audio_actor], a sound that will increase in pitch and intensity until it explodes. The player can drop the TED on the counter, but it will continue to hum. If the player runs, she will die, consumed by fire moments after her blood begins to boil from intense microwave exposure. A safe place must be found for the TED.

Solving the TED
These are the minimum steps needed to use the TED:

The player opens the lead container [6F] and removes the Thaddius [cursor_object].
She places the Thaddius in the TED [6E].
She takes the TED and runs as fast as she can to the Battle Tank. In the Battle Tank, she insert the TED into the power slot [6F of the Bunker & Battle Tank].
The TED will now fall silent until she activates the Battle Tank.

13.10.02 The History of Weaponry
In the six cases around the room, Kaine has arrayed the history of weaponry. Each case is labeled and divided into an age of warcraft:

The Age of Barbarity [6E] [text_actor]
The Age of Archery [7E] [text_actor]
The Age of Powder [4E] [text_actor]
The Age of Kaine [6E, 6F] [text_actor]
The Age of the Future [5E] [text_actor]

The Age of Barbarity
The Age of Barbarity displays clubs, axes, leather shields, leather armor, rocks, sticks, slings, and other primitive weapons. Some of the weapons look as if they have been used. If a player clicks on the used weapons, she hears the dead cries of their victims [audio_actor].

The Age of Archery
The Age of Archery displays cross bows, short bows, composite bows and long bows as well as various bolts and fletchers. The case also includes various defenses against the bow--visored helmets, large shields--and sketches of fortifications with arrow slits and metal roofs to protect defenders.

The Age of Powder
The Age of Powder displays guns, cannons, bombs, and rockets as well as various fortifications designed to defeat them [4E]. In the section devoted to cannons, the player finds a large sketch of a .cannon designed for Dimwit Flathead; the cannon is shaped like a large cat. The text [text_actor] beside the sketch reads:

This is one of the cannons designed especially for the mad king Dimwit. Another is the Foo dog cannon found in the Treasury Room. As a clue, the two should be stylistically similar so that the player is prompted to think that the Foo Dog might be a cannon.

The Age of the Future
This case contains Kaine's sketch and models of futuristic weapons. Not of the weapons work, but the sketches are very graphic. They show what Kaine imagines the weapons will do to the targets: !turning skin inside out, turning blood to ice, driving the enemy mad, boiling the enemy from the inside out. If the player clicks on the sketches, she hears the cries of the victims of these weapons. [audio_actors].

The Age of Kaine
Thaddeus Kaine was never a particularly humble man, and from this case, one could guess that his pride extends to weapons design. The weapons in this case were all designed by Kaine, and each is more brutal than the last. The display consist of two casesoth of which are active. The player can click on either case for a close-up of the case [6E-B1, 6F-B1].

Particularly notable are two of his most dangerous discoveries: Thaddium and the Thaddium Elemental Diverter (TED). These are display in neighboring cases [6E, 6F].

The Thaddium Container
When she clicks for a close-up of the left case [6F-B1], she player finds a square lead container. A label reads on the case reads: "Warning: Refined Thaddium! Expose to Air at Your Own Risk [text_actor] The lid of the case is active.

If she clicks on the lid, it animates and opens [6F-B2] to reveal a glowing metal cylinder slightly smaller than the TED [animation_actor]. The lid and the metal are both active. At the same time that the lid opens, an alarm sounds in the room, and the player hears,

WARNING VOICE (V.0.)

Thaddium particles detected; fatality predicted in forty-five seconds.

The WARNING VOICE will continue counting down until the Thaddium is shielded by lead (either in the Thaddium container or in the TED). If the voice reaches zero, the screen blacks out and the player dies.

The player may click on the open lid to close it [animation_actor] [return to 6F-B1]. If she closes the lid, the warning voice will become silent.

The player may also click on the Thaddium to take it [cursor_ object]. If the player takes the Thaddium, she must return it to a shielded container before the WARNING VOICE reaches zero.

The Thaddium Elemental Diverter (TED)
If the player clicks on the right case, she will see a close-up of the display [6E-B1]. She notices a cylindrical lead device shaped like a portable electric screwdriver. On it is written in bold letters: "Thaddium Elemental Diverter, Prototype #1." [text_actor]. The device is slightly cracked. Beside the device, the player finds a newspaper clipping with a picture of a destroyed building. The headline read: "More Trouble At Thaddius Manufacturing." [text_actor]

A red button on the TED is active. If the player clicks on the red button, the top of the TED slides open [animation_ actor] [7E-B2]. The red button and the interior of the TED are both active. If the player clicks on the red button again, the TED slides closed [animation_actor] [7E-B1].

What to do with the Thaddium
The player soon realizes that the Thaddium must be kept in a safe container or she will die. After .seeing the tank, (see the Bunker and Battle Tank section), she also knows that the tank needs power. She also notes the similarity in shape between the interior of the TED and the Thaddium charge and decides to combine these to create a power source.

With this in mind, she clicks on the interior of the TED while the Thaddium is her cursor, and the Thaddium slides perfectly into the TED; the TED's lid closes [animation_actor]. The WARNING VOICE falls silent, and a green light appears on the TED [animation_ actor] [7E-B3]. If the player clicks on the TED now, it becomes the cursor [cursor_object] leaving the case without TED [7E-B4]. The player may continue in any manner that she desires.

After one minute, the TED turns red [cursor_object], and the WARNING VOICE announces:

WARNING VOICE (V.0.)

Warning! Warning! TED detected! Evacuate to safe distance immediately. Repeat evacuate to safe distance immediately. Fatal radius, five miles.

The player opens the lead container [6F] and removes the Thaddius [cursor_object].
She places the Thaddius in the TED [6E].
She takes the TED and runs as fast as she can to the Battle Tank. In the Battle Tank, she insert the TED into the power slot [6F of the Bunker & Battle Tank].
The TED will now fall silent until she activates the Battle Tank.

History of War

Photos of Thaddium Effects

I would expect to see a Period of Metallurgy or Metal-Working between those of Barbarity and Archery. After all, swords and spears should probably be included somewhere. This would allow the following dates to accompany the labels:

Barbarity: to circa 1000 BE
Metallurgy: circa 1000 BE to 200 BE
Archey: 200 BE to 660 AE
Powder: 660 AE to 883 AE
Kaine: 883 AE to the Present

13.12 Dungeon

Descending the stairs [qt_actor], the player enters the Dungeon. The floor is made of dirt, and the walls are gray stone not unlike that of a medieval castle. Both the eastern and northern walls have archways.

The eastern wall has a heavy door which may be opened and closed by clicking on it from either the Basement or the Dungeon [animation_actor].

The columns and walls each have chains and hooks previously used to restrain prisoners.

One of the walls has graffiti art on it, visible as the player enters the room. One of the pieces of graffiti bears Lucien's signature. It shows Lucien at the bottom of a pit. Four faces are above him, laughing. They represent Sartorius, Kaine, Malveaux and Sophia.

Next to the graffiti is a barred window with a missing bar, high in the wall. Below it is a rough wooden bed. When the player clicks on it, she hears a flashback [audio actor].

13.12 Dungeon
The Dungeon contains:

A metal keycard punched full of holes, which is hanging on the wall
A metal bench with a very large hole in the employee bathroom
A metal bench with a very large hole in the Lucien's cell
Lucien's graffiti
The Lucien's sketch (vaguely visible through the cell door window)
Eight doors

Descending the stairs [qt_actor], the player enters the Dungeon. The floor is made of dirt, and the walls are gray stone not unlike that of a medieval castle.

The columns and walls each have chains and hooks previously used to restrain prisoners. The player notices eight doors, and an archway on the east wall [Node 3, Node 4] where stairs lead down to the torture room.

The Keyholes
There are eight doors in the room, all locked. Only the northern door on the west wall [1B] has no keyhole. Seven of the doors have large keyholes that would require a massive skeleton key. The player should notice these keyholes from the nearest surround view.

The Guard's Chamber
The northern door on the west wall [1B] has no key hole. The player does notice a slot in the door just below a small plate. The slot and plate are active. If the player clicks on them, she will see a close-up of the slot and plate [1E-B3]. The plate reads [text_actor], "Thaddius Manufacturing." Although she may not realize it immediately, the slot is a designed for a special key card that she can find hanging on the far wall [5F-B1].

Besides the slot, a larger sign is visible beneath the door's barred window. When the player clicks on the window to see into the cell [1E], she can also read the sign: "Employees Only." [text_actor] Inside the cell, she sees only what appears to be a raised, knee-high metal box set against the wall. On top of the box is a large hole. Also on the wall hangs a pair of pants. Although this is the guard's bathroom, the door is kept locked because the chamber shares a common sewer system with Lucien's cell. The guards keep the key hanging on a nail on the east wall.

The Common Cells
The four doors on the south wall [S of Node 2 and Node 3] and the two southern-most doors on the west wall [W of Node 2] are all identical. Each door has a barred window that the player can click on to see inside the cell [2E, 2F, 2G, 2H, 3E,3F].

When she clicks on a window, her POV. zooms forward and she finds herself looking through the bars [animation_actor]. The interiors are also identical with a bare cot on the left side and with a board with a large hole cut into it running along the back wall.

Looking Into Lucien's Cell
Having peeked into the other cells, the player reaches the door on the north wall. This door, on the north wall is slightly larger and fancier than the other doors, but otherwise very similar. The window is active.

When she clicks on it, her POV. zooms towards the bars and she finds herself looking into Lucien's cell [5E-B1]. Looking through the bars, she sees a large cell with a padded cot. In the corner of the cell, the player can also see a polished knee-high metal box with a large hole in it; this looks just like the box in the Guard's Bathroom. She also notices etchings on the far wall, but she can't quite make out what these say. She should be able to make out a large "L," the beginning of Lucien's signature. Seeing this, she will want to read the etchings.

Getting into Lucien's cell
Having decided that she must get into Lucien's cell, the player begins hunting for a key to unlock the door. The keyholes remind her that she needs a key, but she cannot find a skeleton key. Nor can she get to the pants that she has seen in the guards' chamber.

As she searches, she notices a shiny metal rectangle on the west wall about the size of a credit card. The rectangle is active. If she clicks on it [5F-B1], she will see a close-up of a metal card punched with seven round holes. The head of a nail extends through one of the holes. The card is active, and when she clicks on it, the card becomes her cursor [cursor_object].

Remembering the slotted door, the player takes the card and clicks on the close-up of the slot [1E-B1]. The slot is active. When she clicks on the slot with the punched metal card, the card animates and inserts into the slot, and she hears a satisfying click [animation_actor] [1E-B2]. The card remains in the slot, but the door is now unlocked. If she clicks on the door again, it opens [animation_actor] and she returns to the surround view.

Inside The Guard's Chamber
Once inside the guards' chamber, the player immediately notices that both the pants and the hole in the box are active. When she clicks on the pants, a note emerges from the pocket [animation_actor]. It reads, "Remember to buy a belt," in a scratchy scrawl [text_actor]. When she clicks outside of the note, it returns to the pocket [animation_actor].

Through the Sewer
Frustrated not to find a key in the pants, the player clicks on the metal box. She sees a close-up of the box [7E-B1] and notices that the dark hole is active. She also hears the slushing of water [audio_actor]. Reluctantly, she clicks on the hole. Her POV drops through the hole and travel along the surface of the Castle sewer accompanied by appropriate slushing and squishing sounds and then ascends through the second hole in the box in Lucien's cell [animation_actor] [at Node 6]. To get out of the cell, the player can click on the hole in the prisoner's cell and descend through the muck again [animation_actor].

Solving the Puzzle of the Locked Door
To enter Lucien's cell, the player must do the following:

The player notices that Lucien's cell and the Guard's chamber have identical bench-style boxes with large holes.
She discovers that the hanging metal card will unlock the door marked, "Employees Only" [5F-B1].
She clicks on the box in the guard's chamber for a close-up [7E-B1] and then click on the dark hole to travel to the cell [animation_actor].

Inside Lucien's Cell
Inside Lucien's cell, the player finds three etchings, all active. Also active are the bed and the box.

The Etchings
When she clicks on one of them, she sees a close-up of each etching [6E-B2, 6E-B3, 6E-B4]. If she clicks again on an etching, she returns to the surround view.

The first is a piece of graffiti art which bears Lucien's signature. It shows Lucien at the bottom of a pit. Four faces are above him, laughing. They represent Sartorius, Kaine, Malveaux and Sophia. Lucien has signed this with an enormous L [6E-B2] [text_actor].

The second etching in the wall is a sketch of two objects that if placed together form Kaine's alchemical sign. Beside this, Lucien has written, "I see these everywhere; what do they mean?" [text actor] [6E-B3].

NOTE: This image is critical for solving the final alchemy puzzle. The two shapes correspond to two of the metal forms that the player will find hanging on the wall at the Alchemy Lab. Used together, these two pieces will create the mold for lead.

The last etching is a map. It places the castle near the Forbidden Lands and show a way to get to the Forbidden Lands [6E-B4] [text_actor].

The Bed
Next to the graffiti is a barred window with a missing bar, high in the wall. Below it is a rough wooden bed. When the player clicks on the bed, she hears a flashback [audio_actor].

13.12 Dungeon
The Dungeon contains:

A metal keycard punched full of holes, which is hanging on the wall
A metal bench with a very large hole in the employee bathroom
A metal bench with a very large hole in the Lucien's cell
Lucien's graffiti
The Lucien's sketch (vaguely visible through the cell door window)
Eight doors

Descending the stairs [qt_actor], the player enters the Dungeon. The floor is made of dirt, and the walls are gray stone not unlike that of a medieval castle.

The columns and walls each have chains and hooks previously used to restrain prisoners. The player notices eight doors, and an archway on the east wall [Node 3, Node 4] where stairs lead down to the torture room.

The Keyholes
There are eight doors in the room, all locked. Only the northern door on the west wall [1B] has no keyhole. Seven of the doors have large keyholes that would require a massive skeleton key. The player should notice these keyholes from the nearest surround view.

The Guard's Chamber
The northern door on the west wall [1B] has no keyhole. The player does notice a slot in the door just below a small plate. The slot and plates are active. If the player clicks on them, she will see a close-up of the slot and plate [1E-B3]. The plate reads [text_actor], "Thaddius Manufacturing." Although she may not realize it immediately, the slot is a designed for a special key card that she can find hanging on the far wall [5F-B1].

Besides the slot, a larger sign is visible beneath the door's barred window. When the player clicks on the window to see into the cell [1E], she can also read the sign: "Employees Only." [text_actor] Inside the cell, she sees only what appears to be a raised, knee-high metal box set against the wall. On top of the box is a large hole. Also on the wall hangs a pair of pants. Although this is the guard's bathroom, the door is kept locked because the chamber shares a common sewer system with Lucien's cell. The guards keep the key hanging on a nail on the east waIl.

The Common Cells
The four doors on the south wall [S of Node 2 and Node 3] and the two southern-most doors on the west wall [W of Node 2] are all identical. Each door has a barred window that the player can click on to see inside the cell [2E, 2F, 2G, 2H, 3E,3F].

When she clicks on a window, her POV. zooms forward and she finds herself looking through the bars [animation_actor]. The interiors are also identical with a bare cot on the left side and with a board with a large hole cut into it running along the back wall.

Looking Into Lucien's Cell
Having peeked into the other cells, the player reaches the door on the north wall. This door, on the north wall is slightly larger and fancier than the other doors, but otherwise very similar. The window is active.

When she clicks on it, her POV. zooms towards the bars and she finds herself looking into Lucien's cell [5E-B1]. Looking through the bars, she sees a large cell with a padded cot. In the corner of the cell, the player can also see a polished knee-high metal box with a large hole in it; this looks just like the box in the Guard's Bathroom. She also notices etchings on the far wall, but she can't quite make out what these say. She should be able to make out a large "L," the beginning of Lucien's signature. Seeing this, she will want to read the etchings.

Getting into Lucien's cell
Having decided that she must get into Lucien's cell, the player begins hunting for a key to unlock the door. The keyholes remind her that she needs a key, but she cannot find a skeleton key. Nor can she get to the pants that she has seen in the guards' chamber.

As she searches, she notices a shiny metal rectangle on the west wall about the size of a credit card. The rectangle is active. If she clicks on it [5F-B1], she will see a close-up of a metal card puns ed with seven round holes. The head of a nail extends through one of the holes. The card is active, and when she clicks on it, the card becomes her cursor [cursor_object].

Remembering the slotted door, the player takes the card and clicks on the close-up of the slot [1E-B1]. The slot is active. When she clicks on the slot with the punched metal card, the card animates and inserts into the slot, and she hears a satisfying click [animation_actor] [1E-B2]. The card remains in the slot, but the door is now unlocked. If she clicks on the door again, it opens [animation_actor] and she returns to the surround view.

Inside The Guard's Chamber
Once inside the guards' chamber, the player immediately notices that both the pants and the hole in the box are active. When she clicks on the pants, a note emerges from the pocket [animation_actor]. It reads, "Remember to buy a belt," in a scratchy scrawl [text_actor]. When she clicks outside of the note, it returns to the pocket [animation_actor].

Through the Sewer
Frustrated not to find a key in the pants, the player clicks on the metal box. She sees a close-up of the box [7E-B1] and notices that the dark hole is active. She also hears the sloshing of water [audio_actor]. Reluctantly, she clicks on the hole. Her POV drops through the hole and travel along the surface of the Castle sewer accompanied by appropriate sloshing and squishing sounds and then ascends through the second hole in the box in Lucien's cell [animation_actor] [at Node 6]. To get out of the cell, the player can click on the hole in the prisoner's cell and descend through the muck again [animation_actor].

Solving the Puzzle of the Locked Door
To enter Lucien's cell, the player must do the following:

The player notices that Lucien's cell and the Guard's chamber have identical bench-style boxes with large holes.
She discovers that the hanging metal card will unlock the door marked, "Employees Only" [5F-B1].
She clicks on the box in the guard's chamber for a close-up [7E-B1] and then click on the dark hole to travel to the cell [animation_actor].

Inside Lucien's Cell
Inside Lucien's cell, the player finds three etchings, all active. Also active are the bed and the box.

The Etchings
When she clicks on one of them, she sees a close-up of each etching [6E-B2, 6E-B3, 6E-B4]. If she clicks again on an etching, she returns to the surround view.

The first is a piece of graffiti art which bears Lucien's signature. It shows Lucien at the bottom of a pit. Four faces are above him, laughing. They represent Sartorius, Kaine, Malveaux and Sophia. Lucien has signed this with an enormous L [6E-B2] [text_actor].

The second etching in the wall is a sketch of two objects that if placed together form Kaine's alchemical sign. Beside this, Lucien has written, "I see these everywhere; what do they mean?" [text_actor] [6E-B3].

NOTE: This image is critical for solving the final alchemy puzzle. The two shapes correspond to two of the metal forms that the player will find hanging on the wall at the Alchemy Lab. Used together, these two pieces will create the mold for lead.

The last etching is a map. It places the castle near the Forbidden Lands and show a way to get to the Forbidden Lands [6E-B4] [text_actor].

The Bed
Next to the graffiti is a barred window with a missing bar, high in the wall. Below it is a rough wooden bed. When the player clicks on the bed, she hears a flashback [audio_actor].

Lucien’s grafitti

Lucien’s sketch of elements

Map of Temple

13.12.01 Hallucination: Lucien's Escape ("The Bribe")
The player hears A GUARD approaching the cell. Someone inside leaps to his feet. The guard quietly opens the cell door.

GUARD (V.0.)
(whispers as he receives the money)

The Temple.

The vision fades as Lucien flees.

13.12.01 Audio Hallucination: Lucien's Escape ("The Bribe")
The player hears A GUARD approaching the cell. Someone inside leaps to his feet. The guard quietly opens the cell door.

GUARD (V.0.)
(whispers as he receives the money)

The Temple.

The footsteps fade as Lucien flees.

13.12.01 Audio Hallucination: Lucien's Escape ("The Bribe")
The player hears A GUARD approaching the cell. Someone inside leaps to his feet. The guard quietly opens the cell door.

GUARD (V.0.)
(whispers as he receives the money)

The Temple.

The footsteps fade as Lucien flees.

13.12.02 The Torture Room

Adjoining the Dungeon is a small room containing various objects of modern and medieval torture.

By clicking on the iron maiden, thumbscrews, iron mask, pincers (in any order) the player hears the spirits of four captured soldiers say the following:

SPIRIT #1 V.O.

Put the fuse in the fuse hole...

SPIRIT #2 V.O.

Put the powder in the cannon's mouth..

SPIRIT #3 V.O.

Light the fuse...

SPIRIT #4 V.O.

And repeat as necessary...

These steps are critical for the player to know before firing the foyer cannon in the Treasure Room to break down the debris to the War Room.

13.12.02 The Torture Room
The Torture Room contains:

A rack
A thumbscrew
A skin flayer
A human cage
A head press
An iron maiden

Adjoining the Dungeon is a small room containing various objects of modern and medieval torture.

Eye Candy
When the player clicks on the iron maiden [6E], it slams shut with a scream [animation_actor]. When the player clicks on the human cage [7F], it rotates and a prisoner groans for water [audio_actor]. Other devices can also be seen (TBD) [4F, 2E, 6F].

The Captured Soldiers
By clicking on the thumbscrews [4E], skin flayer [7E], head press [3E], or rack [5E] the player sees the device animate as if to slowly inflict pain [animation_actor]. The player also hears the one of the four captured soldiers groan and beg for mercy. If the player holds down the mouse button, the device continues to increase the level of pain until the spirit soldier confesses. If all four devices are used (in any order) to break the soldiers, the player hears the spirits of four captured soldiers say the following [audio_actors]:

NOTE: This is not the final audio. The final audio will have something to do with military secrets: the FOO cannon, the TED, etc.

SPIRIT #1 V.O.

A tail is more than half the story...

SPIRIT #2 V.O.

Powder to the rear...

SPIRIT #3 V.O.

Its always listening for when you'll feed it...

SPIRIT #4 V.O.

All dogs hate that; do it again and he just might explode...

These steps are critical for the player to know before firing the Foo Dog cannon in the Treasure Room to break down the debris to the War Room.

13.12.02 The Torture Room
The Torture Room contains:

A rack
A thumbscrew
A skin flayer
A human cage
A head press
An iron maiden

Adjoining the Dungeon is a small room containing various objects of modern and mediaeval torture.

Eye Candy
When the player clicks on the iron maiden [6E], it slams shut with a scream [animation actor]. When the player clicks on the human cage [7F], it rotates and a prisoner groans for water [audio_actor]. Other devices can also be seen (TBD) [4F, 2E, 6F].

The Captured Soldiers
By clicking on the thumbscrews [4E], skin flayer [7E], head press [3E], or rack [5E] the player sees the device animate as if to slowly inflict pain [animation_actor]. The player also hears the one of the four captured soldiers groan and beg for mercy. If the player holds down the mouse button, the devicecontinues to increase the level of pain until the spirit soldier confesses. If all four devices are used (in
any order) to break the soldiers, the player hears the spirits of four captured soldiers say the following 'audio_actors]:

NOTE: This is not the final audio. The final audio will have something to do with military secrets: the FOO cannon, the TED, etc.

SPIRIT #1 V.O

A tail is more than half the story...

SPIRIT #2 V.O.

Powder to the rear...

SPIRIT #3 V.O.

Its always listening for when you'll feed it...

SPIRIT #4 V.O.

All dogs hate that; do it again and he just might explode...

These steps are critical for the player to know before firing the Foo Dog cannon in the Treasure Room to break down the debris to the War Room.

Do the sounds of the various torture instruments need to be added to the VO?

TORTURE ROOM SPIRITS

skin flayer spirit

You underestimate me.

(screaming)

Radio Code Five. Circle back! Circle back!

skin flayer spirit
(screaming)

Listen to me. I beg you. I'm not your man. I'm no spy.

(screaming)

head press spirit

I won't tell you a bloody thing.

(Screams)

Code Nine. Split the troops.

(more screaming)

head press spirit

I swear. In the name of Yoruk. I don't know anything!

(screaming)

rack spirit
(screaming)

Not the rack!

(quickly)

Radio Code Six. Infiltrate. That's all I know.

rack spirit

Talk to Carlos. He's your man.

(screaming)

He'd sell his own mother to Ellron for a Zorkmid.

codifyer spirit

Whatever you got, I can take it.

(screams)

Three is retreat. Three is retreat.

codifyer spirit
(screaming)

What codes? What the --

(screaming)

I don't know any Radio Codes.

iron maiden spirit
(Screaming into speaking)

Stop -- I'll tell you -- Code 10 -- Decoy the enemy.

iron maiden spirit
(screaming)

Stop. I did it. I stole the bloody codebook.

(screaming)

It's in the General's Dungeon. Just let me live.

(screaming - then silence)

breaking wheel spirit
(Screaming into speaking)

Number twelve. Destroy the cannon. Destroy the cannon.

breaking wheel spirit

In the name of the Implementors, you've got to believe me. I don't know any radio codes.

stocks spirit

Go ahead. I'd rather die now than be hung for treason later.

(intense screaming begins and then abruptly ends.)

stocks spirit
(scream)

I would never double cross you, sir.

(scream)

I didn't steal nothin'.

hanging cages spirit

Code Number One. Build the Bridge.

(scream)

Please - I'm too young to die.

(scream)

hanging cages spirit
(scream -- into groan)

Oh, do it again. That feels so great.

(scream)

You can do better than that. Come on.

[Carlos is changed to Dr. Cove in the final version of the game]

13.13 The War Room
Once the player has blown away the debris blocking her path, she can enter the War Room through the archway on the far wall of the Treasure Room. The room extends to the west. Along the south, west and north walls, massive battlefield models are displayed. Toy soldiers are arranged in intricate patterns depicting some of Kaine's greatest battles.

The player notes that there are four dioramas. The first diorama depicts the battle of Genghis Khan and the Chinese warlords. The second shows the Greeks with the Trojan Horse. The third shows another less recognizable battle. These three are fully static representations with various painted soldiers representing the warring factions.

The fourth diorama is a castle. The player recognizes it as Kaine's castle. The player also notices that, in fact, the diorama of the castle is surrounded by hundreds of vicious toy soldiers who are bombarding the castle with a animated cannon [animation_actor] (essentially the cannon from outside scaled to a smaller size).

The player further understands that every time the toy castle is bombarded by the canon, the "real" castle also quakes with the blast [audio_actor]. The player makes the association that the toy castle and the real one are the same. She also makes the association that if she can defeat the toy soldiers, she will have defeated the real ones.

The player studies the landscape of the castle — rolling desert for miles around and a natural stone bridge. A sharp-eyed player will notice a small mountain in the otherwise barren landscape

A diorama depicting the battle outside of Irondune
A diorama depicting the Trojan War
A diorama depicting the Battle of Flood control Dam #3
A diorama depicting Genghis Khan in combat
A diorama depicting another battle

The player notes that there are four dioramas. The first diorama depicts the battle of Genghis Khan and the Chinese warlords [3E]. The second shows the Greeks with the Trojan Horse [2E]. The third shows another less recognizable battle [6E]. These three are fully static representations with various painted soldiers representing the warring factions. The fourth diorama is of The Battle of Flood Control Dam. The fifth diorama is a castle [7E]. The player recognizes it as Kaine's castle. The player also notices that, in fact, the diorama of the castle is surrounded by hundreds of vicious toy soldiers who are bombarding the castle with a animated cannon [animation_actor] (essentially the cannon from the Entry Hall scaled to a smaller size).

The player further understands that every time the toy castle is bombarded by the canon, the "real" castle also quakes with the blast [audio_actor]. The player makes the association that the toy castle and the real one are the same. She also makes the association that if she can defeat the toy soldiers, she will have defeated the real ones.

The player studies the landscape of the castle — rolling desert for miles around and a natural stone bridge. A sharp-eyed player will notice a small mountain in the otherwise barren landscape of the diorama.

A diorama depicting the battle outside of Irondune
A diorama depicting the Trojan War
A diorama depicting the Battle of Flood control Dam #3
A diorama depicting Genghis Khan in combat
A diorama depicting another battle

The player notes that there are four dioramas. The first diorama depicts the battle of Genghis Khan and the Chinese warlords [3E]. The second shows the Greeks with the Trojan Horse [2E]. The third shows another less recognizable battle [6E]. These three are fully static representations with various painted soldiers representing the warring jactions. The fourth diorama is of The Battle of Flood Control #3. The fifth diorama is a castle [7E]. The player recognizes it as Kaine's castle. The player also notices that, in fact, the diorama of the castle is surrounded by hundreds of vicious toy soldiers who are bombarding the castle with a animated cannon [animation_actor] (essentially the cannon from the Entry Hall scaled to a smaller size).

The player further understands that every time the toy castle is bombarded by the canon, the "real" castle also quakes with the blast [audio_actor]. The player makes the association that the toy castle and the real one are the same. She also makes the association that if she can defeat the toy soldiers, she will have defeated the real ones.

The player studies the landscape of the castle — rolling desert for miles around and a natural stone bridge. A sharp-eyed player will notice a small mountain in the otherwise barren landscape of the diorama.

I'd avoid any reference to Genghis Khan or the Greeks. Use instead one or two of the famous Quendoran battles I mentioned earlier, with toy soldier trolls or Antharians or Quendorans accordingly. [on ver 2.5/3.0]

I repeat my earlier comments about the problems inherent in using the Trojan War and Genghis Khan.[on ver 4.0]

13.13.01 Defeating the Attackers
The player clicks on the castle diorama and is presented with a close up view of the scene. Part of the next diorama is also visible, connected by a bridge across the table. A General of the army on the next table is near the bridge. The general figure has a thin handle sticking out of it (to indicate that it is movable). The cannon also has a handle. Only these two pieces are movable.

Next to the front door of the castle, a figure of the Retired Soldier stands.

If the player clicks and holds the General's handle, she can move the General [animation_actor] anywhere over the landscape. If the player places the soldier on the natural stone bridge, or near the castle, the general's army will attempt to cross the bridge (as a cloud of dust) [animation_actor]. The toy cannon will turn and fire at the bridge [animation_actor]. The General calls for retreat, and he and the army move across the bridge back to their diorama [audio_actor, animation_actor].

TOY GENERAL

"Retreat! Fall back!"

If the player clicks on the cannon, she can also move it on the diorama [animation_actor]. If the player moves the cannon to the front door of the castle, the Retired Soldier will yell a "thank you" [audio_actor].

RETIRED SOLDIER

"Bless the maker!"

The Soldier will slide over to the canon and fire at the attackers [animation_actor]. The attacking army will start to pull back [animation_actor]. The Soldier will continue to fire the cannon, but the army will not be defeated. If the player moves it anywhere else, two of the attacking army will go over and move it back to the hill [animation_actor].

TOY GENERAL

"Retreat! Fall back!"

RETIRED SOLDIER

"Bless the maker!"

13.13.01 Defeating the Attackers
The player clicks on the castle diorama and is presented with a close up view of the scene. Part of the next diorama is also visible, connected by a bridge across the table. A General of the army on the next table is near the bridge. The general figure has a thin handle sticking out of it (to indicate that it is movable). The cannon also has a handle. Only these two pieces are movable.

Next to the front door of the castle, a figure of the Retired Soldier stands.

If the player clicks and holds the General's handle, she can move the General [animation_actor] anywhere over the landscape. If the player places the soldier on the natural stone bridge, or near the castle, the general's army will attempt to cross the bridge (as a cloud of dust) [animation_ actor]. The toy cannon will turn and fire at the bridge [animation_actor]. The General calls for retreat, and he and the army move across the bridge back to their diorama [audio_actor], [animation_actor].

TOY GENERAL

"Retreat! Fall back!"

RETIRED SOLDIER

"Bless the maker!"

13.13.03 Moving the Good Army Into Position
With the canon in place by the castle, the player moves the general anywhere across the bridge [animation_actor]. His army follows as a cloud of dust [animation_actor] (that is we cannot see the actually pieces move as they kick up so much dust as to obscure the movement). The player hears horses and yells as it moves [audio_actor].

When the army crosses the natural bridge, the attacking army will form it's own differently colored cloud of dust [animation_actor]. The two clouds meet and swirl together [animation_actor]. Swords and shield sounds are heard. Death screams pierce the air [audio_actors]. Soon the dust parts, and the army from the other table is left standing. The attacking army is gone [animation_actor]. The general moves back across the bridge [animation_actor], and his army (as a cloud of dust again) follows him [animation_actor]. Sounds of horses and movement accompany it [audio_actor] as it moves across the bridge and out of frame.

The player notices that all the explosions and bombardment have stopped. For the first time in this world, there is silence.

At any time during this puzzle, if the player clicks on the wall behind the diorama, the player is zoomed out back to the room.

13.13.03 Moving the Good Army Into Position
With the canon in place by the castle, the player moves the general anywhere across the bridge [animation_actor]. His army follows as a cloud of dust [animation_actor] (that is we cannot see the actually pieces move as they kick up so much dust as to obscure the movement). The player hears horses and yells as it moves [audio_actor].

When the army crosses the natural bridge, the attacking army will form its own differently colored cloud of dust [animation_actor]. The two clouds meet and swirl together [animation_actor]. Swords and shield sounds are heard. Death screams pierce the air [audio_actors]. Soon the dust parts, and the army from the other table is left standing. The attacking army is gone [animation_actor]. The general moves back across the bridge [animation_actor], and his army (as a cloud of dust again) follows him [animation_actor]. Sounds of horses and movement accompany it [audio_actor] as it moves across the bridge and out of frame.

The player notices that all the explosions and bombardment have stopped. For the first time in this world, there is silence.

At any time during this puzzle, if the player clicks on the wall behind the diorama, the player is zoomed out back to the room.

13.13.03 Moving the Good Army Into Position
With the canon in place by the castle, the player moves the general anywhere across the bridge [animation_actor]. His army follows as a cloud of dust [animation_actor] (that is we cannot see the actually pieces move as they kick up so much dust as to obscure the movement). The player hears horses and yells as it moves [audio_actor].

When the army crosses the natural bridge, the attacking army will form its own differently colored cloud of dust [animation_actor]. The two clouds meet and swirl together [animation_actor]. Swords and shield sounds are heard. Death screams pierce the air [audio_actors]. Soon the dust parts, and the army from the other table is left standing. The attacking army is gone [animation_ actor]. The general moves back across the bridge [animation_actor], and his army (as a cloud of dust again) follows him [animation_ actor]. Sounds of horses and movement accompany it [audio_actor] as it moves across the bridge and out of frame.

The player notices that all the explosions and bombardment have stopped. For the first time in this world, there is silence.

At any time during this puzzle, if the player clicks on the wall behind the diorama, the player is zoomed out back to the room.

13.15 Outside: The Bunker
The player exits the main door and sees her newly quiet surroundings. Just outside the main door is a small zig-zag path dug into the earth reminiscent of a World War I trench bunker. The walls consists of thickly-layered sandbags, some of which leak sand with a hiss [audio_actor]. The roof of the bunker consists of metal plates scavenged from the walls of the castle. Brilliant desert sunlight punches through the spaces between the rough walls and the makeshift roof.

13.15.01 The Battle Tank
The far end of the path is blocked by a odd-looking vehicle. Roughly the size of a dump truck, this machine looks like a cross between a DaVinci sketch of a war vehicle and an early British battle tank. A ramp extends down to an entry port in the tank as if inviting the player inside.

The player clicks on the portal and enters the driver's seat of the tank [animation_actor].

Through a small viewport the player can see the surrounding desert, plat for literally miles around.

Below the viewport is a series of 6 dials numbered 0-9, currently set to 0-0-0-0-0-0.

If player enters wrong coordinates, the tank will roar to life but the player will always find herself surrounded by a flat desert. Resetting the coordinates to 0-0-0-0-0-0 brings the player back to Bunker.

The player must recall the six numbers from the billiard table in the Game Room and click on the dials to enter this sequence (3-5-9-1-4-7). When she does the portal door closes, the tank vibrates and roars to life and the player finds herself approaching a ragged spire across the wastes.

The POV looks as though the tank will crash but at the last minute, the tank bursts through a thin wall of sand and enters the cave containing Kaine's Alchemy Lab.

An operator's chair
An energy dial
A coordinate display and dial
A power transducer unit
A slot set into the back wall with a label, "Thaddius Manufacturing" [text_actor]
A lead suit behind the door locked with a slotted key

The player clicks on the portal and enters the tank [Node 6]. From here, she notices a large dial set into the wall. She can click on this for a close-up [6G]. When she first arrives in the tank the point lies on the far left of the dial (at zero). After she puts the TED into the Power Transducer Unit, the dial will jump to full (the edge of red) [6G-B2]. When the player activates the tank with the TED installed, the dial will move into the red [6G-B3].

She will also notice an large sign in the rear of the tank reading, "Power Transducer Unit" [text_actor]. The sign is set above a closed panel. If she clicks on the panel or the sign, she will get a close-up of them [6F]. She can now click on the panel, which slides open and reveals a cylindrical recess that would just fit a TED. If she is carrying the TED, it animates and inserts into the recess [animation_actor]. When she turns away, the panel hisses closed behind her [audio_actor]. She may remove the TED at any time, but the tank will not move without the TED.

Above the "Power Transducer Unit" she notices a slot in the wall with a small label. It is active. If she clicks on it, she will see a close-up of slot and label. The slot is active, and she can read, "Thaddius Manufacturing" [text_actor] on the label. If she tries to click the key from the Dungeon on the slot, nothing happens. The key to this slot door is found in the Alchemy Lab.

Finally, the player notices the driver's seat. When she click on this, her POV moves forward and down into the driver's seat of the tank [animation_actor]. Through a small viewport the player can see the surrounding desert, flat for literally miles around. One side of the window is an unmarked button; on the other side of the window is a button marked "Start." [text_actor]. When she first presses this button, nothing happens. If she presses this button after powering the tank with the TED, but before resetting the coordinates, the doors close, the tank roars to life, idles for a minute, and then goes silent; the doors reopen [animation_actor].

At the bottom of the window is a sign, "Coordinate Control." [text_actor]. When the player clicks on this, her view tilts down to reveal a series of 6 dials numbered 0-9, currently set to 0-0-0-0-0-0. If she has powered the tank with the TED and sets the numbers to anything but (3-5-9-1-4-7), the tank roars to life and drives into the middle of the desert [animation_actor]. Resetting the coordinates to 0-0-0-0-0-0 brings the player back to Bunker.

The player must recall the six numbers from the billiard table in the Game Room and click on the dials to enter this sequence (3-5-9-1-4-7). If she has powered the tank, properly set the coordinates, and pressed the "Start" button, the portal door closes, the tank vibrates and roars to life and the player finds herself approaching a ragged crag. Suddenly, an alarm sounds:

ALARM (V.0.)

Thaddium energy spike detected. Energy release required immediately. Repeat, energy release required immediately.

This is accompanied by a humming sound [audio_actor] very like that heard when the TED was first assembled. A moment later the tank grinds to a halt before the crag. The alarm adds:

ALARM (V.0.)

Blockage detected. Thaddium energy spike detected. Energy release required.

Tracks disappear beneath a large rock slide.

If the player now presses the unmarked button, a blast of energy is released from the tank and clears the debris [animation_actor] and a doorway is reveal. If the player clicks again on "Start," the tank hums to life and enters the archway, once inside, the tank is lowered through the earth as the player watches [animation_actor]. She has reached the Alchemy Lab.

Solving the Tank Puzzle
To recap, to solve the Tank Puzzle, the player must:

Get the coordinates from the Game Room.
Assemble the TED in the armory.
Insert the TED into the Transducer.
Set the coordinates from the Game Room and press "Start."
Press the unmarked button
Press "Start" again

An operator's chair
An energy dial
A coordinate display and dial
A power transducer unit
A slot set into the back wall with a label, "Thaddius Manufacturing." [text_actor]
A lead suit behind the door locked with a slotted key

The player clicks on the portal and enters the tank [Node 6]. From here, she notices a large dial set into the wall. She can click on this for a close-up [6G]. When she first arrives in the tank the point lies on the far left of the dial (at zero). After she puts the TED into the Power Transducer Unit, the dial will jump to full (the edge of red) [6G-B2]. When the player activates the tank with the TED installed, the dial will move into the red [6G-B3].

She will also notice an large sign in the rear of the tank reading, "Power Transducer Unit" [text actor]. The sign is set above a closed panel. If she clicks on the panel or the sign, she will get a close-up of them [6F] She can now click on the panel, which slides open and reveals a cylindrical recess that would just fit a TED. If she is carrying the TED, it animates and inserts into the recess [animation_actor]. When she turns away, the panel hisses closed behind her [audio_actor]. She may remove the TED at any time, but the tank will not move without the TED.

Above the "Power Transducer Unit" she notices a slot in the wall with a small label. It is active. If she clicks on it, she will see a close-up of slot and label. The slot is active, and she can read, "Thaddius Manufacturing," [text_actor] on the label. If she tries to click the key from the Dungeon on the slot, nothing happens. The key to this slot door is found in the Alchemy Lab.

Finally, the player notices the driver's seat. When she click on this, her POV moves forward and down into the driver's seat of the tank [animation_actor]. Through a small viewport the player can see the surrounding desert, flat for literally miles around. One side of the window is an unmarked button, on the other side of the window is a button marked "Start." [text_actor]. When she first presses this button, nothing happens. If she presses this button after powering the tank with the TED, but before resetting the coordinates, the doors close, the tank roars to life, idles for a minute, land then goes silent; the doors reopen [animation_actor].

At the bottom of the window is a sign, "Coordinate Control." [text_actor]. When the player clicks on this, her view tilts down to reveal a series of 6 dials numbered 0-9, currently set to 0-0-0-0-0-0. If she 'has powered the tank with the TED and sets the numbers to anything but (3-5-9-1-4-7), the tank roars to life and drives into the middle of the desert [animation_actor]. Resetting the coordinates to 0-0-0-0-0-0 brings the player back to Bunker.

The player must recall the six numbers from the billiard table in the Game Room and click on the dials to enter this sequence (3-5-9-1-4-7). If she has powered the tank-, perly set the coordinates and pressed the "Start" button, the portal door closes, the tank vibrates and roars to life and the player finds herself approaching a ragged crag. Suddenly, an alarm sounds:

ALARM (V.0.)

Thaddium energy spike detected. Energy release required immediately. Repeat, energy release required immediately.

This is accompanied by a humming sound [audio_actor] very like that heard when the TED was first assembled. A moment later the tank grinds to a halt before the crag. The alarm adds:

ALARM (V.0.)

Blockage detected. Thaddium energy spike detected. Energy release required.

Tracks disappear beneath a large rock slide.

If the player now presses the unmarked button, a blast of energy is released from the tank and clears the debris [animation_ actor] and a doorway is reveal. If the player clicks again on "Start," the tank hums to life and enters the archway, once inside, the tank is lowered through the earth as the player watches [animation_actor]. She has reached the Alchemy Lab.

Solving the Tank Puzzle
To recap, to solve the Tank Puzzle, the player must:

Get the coordinates from the Game Room.
Assemble the TED in the armory.
Insert the TED into the Transducer.
Set the coordinates from the Game Room and press "Start."
Press the unmarked button
Press "Start" again

In my opinion, the entire Thaddium/Battle Tank segment is far too technically advanced to be realistic. At every point at which you can make something technical appear to be something magical instead, I would urge you to do so. (on ver 4.0)

13.16 Kaine's Alchemy Lab

Kaine's Alchemy Lab is set in an underground workshop which was once the weapons shop of his castle. Near the carg is a small device that looks like a water wheel but is driven by the steady flow of sand.

As the player enters the building, she sees a forge and an anvil on one side of the room. Racks of various ores, chunks of partially melted metal, sit neatly in shelves and bins. The room is very orderly. On one wall is a chart of all the necessary Alchemical components [text_actor] showing Kaine's earth symbol.

On one wall there is a odd painting showing a castle with four towers displaying a dragon emblazoned on one wall with a black toad. Within the castle is an alchemical bath, and from this rises a pillar which supports an astonishing structure in the form of a castle with seven towers which is once more an alchemical bath. King Sol and Queen Luna are bathing therein.

Pinned to the workbench is a page that has been ripped out of a book [text_actor]:

As to how the son of man is generated by the philosopher and the fruit of the virgin is produced, it is necessary that he be exalted from the earth and cleansed of all earthliness; then he rises as a whole into the air and is changed into spirit. Thus the word of the philosophers is fulfilled:He ascends from earth to heaven and puts on the power of Above and Below, and lays aside his earthly and uncleanly nature.

In addition to various weapon-making tools, several iron objects, each about 1' across, hang from an overhead iron rack. The interesting thing about these objects is that if two of the objects are placed next to each other, they form the elemental symbols for each Alchemist — including Kaine's Earth symbol. On another shelf is a row of steel molds for toy soldiers with a small pile of molded, but unpainted toy soldiers next to it.

In the center of the room is a hemispheric cauldron held up in a hollow cylinder of mortarless firebrick 3' in diameter and 4' high. Between the firebricks, one can see a dull red glow indicating that the remnants of a fire stills burns in its center.

Attached to one side of the firebrick cylinder is a square chute leading up to the ceiling of the room. At eye level there is a metal lever, which when pulled [animation_actor] emits a sound like a load of coal or some other Zorkian solid fuel tumbling through the chute into the cylinder [audio_actor]. Each time the player clicks on the lever, she releases 1 unit of coal into the firebrick cylinder [animation_actor].

On the floor next to the firebrick cylinder is a 2' square sandbox filled with sand. In order to complete the puzzle, the player must select the two components of the earth symbol hanging on the rack [cursor_object], then click each object on the sandbox to create an imprint in the shape of the symbol in the sand [animation_actor].

[for the rest of this section relating to the creation of iron, this early draft differs wildly from the later]

The cauldron is roughly the size of a soup kettle and has a small channel running from the lip of the cauldron to the sandbox. Just below the lip of the cauldron is a flat lump of solid gray metal, looking as if it were once molten within the cauldron.

On the opposite side of the firebrick cylinder at its base is a large bellows. Above the bellows is a rope with a small loop on its end that moves up and down once per second in time with the rotations of the sandwheel outside the building. The player must click on the loop to attach it to the handle of the bellows [animation_actor]. (The player can take it off as well, but the fire will die down if she does.) When the player attaches the loop to the handle the up and down movement of the rope moves the bellows up and down [animation_actor]. As the bellows moves up and down the glow inside the firebrick cylinder goes from dull red to orange to yellow to white [animation_actor].

In order to liquefy the cool solid metal in the cauldron, the player must add at least three units of coal to the cylinder by clicking on the coal chute lever at least three times. The player must also let the bellows go through at least 5 up/down cycles before the light inside the firebrick indicates the flame inside is white hot. Only when both of these conditions are met will the cooled metal inside the cauldron liquefy.

Once the flame in the cylinder is white hot, the cooled metal in the cauldron begins to glow (from red to bright orange), break up and melt into a uniformly colored white-orange molten mass.

If the fire dies down below yellow at any point in the process the player will need to add more coal. But even when the cooled metal in the cauldron liquefies, the molten metal still does not reach the lip of the cauldron, so no molten metal can flow into the sand mold.

The player must pick up one iron soldier [cursor_object] and then click on the cauldron to add it to the molten metal already in the cauldron. As the iron soldier melts, it raises the level of the molten metal inside the cauldron so that a small river of molten metal flows down the channel at its lip into the sandbox and into the indentations the player has created with two of the hanging iron objects.

If the player has used two objects to make an impression of the earth symbol in the sandbox, manipulated the coal chute to add at least 3 units of coal to the cylinder, allowed the loop to move the bellows properly at least 5 times, and has added a toy soldier to the cauldron, she will be rewarded with a river of metal flowing into the mold via the channel, thereby creating the earth symbol. Clicking on the iron transports the player back to the temple.

13.16 Kaine's Alchemy Lab
The Lab contains:

a workbench
a skeleton clutching a metal card with six holes punched into the card
a box filled with sand
twelve metal objects hanging from chains
a pool of water filled with graphic rods
a Thaddium-powered casting cauldron
a control panel with three numerical dials
twelve graphite rods

The door of the Battle Tank opens to reveal a narrow passage into the rock. A whirring sound can be heard [audio_actor]. The opening is active.

When the player clicks on the opening, she advances to a moving walkway and is rushed through the dark recesses of the earth [animation_actor]. She emerges in the laboratory [Node 1]. The room is strangely decorated and contains a work bench.

Here, on one wall there is a odd painting showing a castle with four towers displaying a dragon emblazoned on one wall with a black toad. Within the castle is an alchemical bath, and from this rises a pillar which supports an astonishing structure in the form of a castle with seven towers which is once more an alchemical bath. King Sol and Queen Luna are bathing within it.

The Workbench
Pinned to the workbench is a page that has been ripped out of a book [text_actor]:

As to how the son of man is generated by the philosopher and the fruit of the virgin is produced, it is necessary that he be exalted from the earth and cleansed of all earthliness; then he rises as a whole into the air and is changed into spirit. Thus the word of the philosophers is fulfilled: He ascends from earth to heaven and puts on the power of Above and Below, and lays aside his earthly and uncleanly nature.

In addition to various weapon-making tools, several iron objects, each about 1' across, hang from an iron rack. The rack consists of a circular rim 3' in diameter that sits on four 3' iron legs. The tools hang from a slightly smaller wheel which rests in a channel of the outer rim. It appears that this inner wheel rotates so that each iron object can move to the front of the rack. In the front of the outer rim is a yellow button.

The interesting thing about these objects is that if two of the objects are placed next to each other, they form the elemental symbols for each Alchemist — including Kaine's Earth symbol. From Lucien's sketch in the Dungeon, the player knows which two form Kaine's sign.

Also beside the rack is a box filled with sand. The box is set on top of a slightly raised platform that has a single flip switch. The edge of the rack is almost over the box so that someone could easily press the foremost iron object into the sand. The box of sand is active.

The player can also inspect three books on the workbench [animation_actors, text_actors, contents TBD].

Creating the Mold
If the player clicks on the box of sand, she sees a close-up of the top of the work bench [2E-B1]. The view includes: the foremost iron object, the box on its stand, the flip-switch and a small yellow button set into the metal rack. All four are active.

If she clicks on the iron object, she can drag it down and make an imprint in the sand [animation_actor]. She can make as many imprints as she likes, but after three, the sand is too messy to make out any shapes.

If she clicks on the yellow button, the rack turns and reveals a new iron object.

If she clicks on the flip switch, the platform vibrates and the sands makes a swishing sound [animation_actor]. Any imprints are erased and the sand is smooth again.

If the player clicks on the box, the player lifts the box from its platform and the box becomes her cursor [cursor_object].

The Mine Shaft Down
Near the bench a tunnel leads into the rock. The tunnel ends almost immediately in a simple elevator platform. The platform has two buttons, one red, one green. Both are active.

If the player clicks on the red button, she will begin to descend [animation_actor] through a vertical tunnel of strange glowing rock. An alarm sounds, and she hears:

ALARM VOICE (V.0.)

Unprotected personnel prohibited.

The lighting on the wall becomes increasingly bright. If she continues, she will die as the light, heat and radiation overwhelm her.

If she clicks on the green button, the elevator ascends and she returns to safety.

Graphite Rod Pool View
Unable to descend, the player further explores the cave. On the darker side of the cave, opposite the workbench, she discovers a second tunnel. This tunnel is longer and very dark at first.

She emerges from the tunnel onto a small ledge. Far below her she can see a pool of water criss-crossed by a walkway. The pool appears to be filled with many rods. The walkway ends in a large piece of machinery that looks to be set on top of an enormous fan. (The Graphite Pool Room is described in greater detail below). The player is motivated to find a way to travel to this place via the elevator.

On the ground beside the ledge is a skeleton clutching a metal card punched with six holes.

She can click on the skeleton for a close-up [4E-B1] and then can click on the card to take it [cursor_object].

The Radiation Suit
Taking the card, the player remembers the slotted door in the tank. She returns via the automatic walkway [animation_actor] and enters the tank. When she inserts the card, a door appears in the tank wall and then opens; a silvery suit emerges on a mechanical arm, and then rotates to turn the back of the suit towards the player [animation_actor].

If she clicks on the seam at the back of the suit, it opens and she enters the suit [animation_actor]. Her POV becomes that of the suit's view plate. The world appears more shadowy. She can otherwise navigate normally.

If she returns to the elevator [Node 5], she will descend without hearing a warning and enter the graphite rod pool room. The player concludes that the suit has protected her from the radiation that otherwise would have killed her.

13.16 Kaine's Alchemy Lab
The Lab contains:

a workbench
a skeleton clutching a metal card with six holes punched into the card
a box filled with sand on a stand beneath a small chute
eight metal objects hanging from chains
a pool of water
a Thaddium-powered casting cauldron over an enormous fan
a control panel for the rods
a control panel for the cauldron and fan
twelve graphite rods
a pair of bracket designed to hold molds; one of the brackets has a blank mold already inserted, and the other is empty

The door of the Battle Tank opens to reveal a narrow passage into the rock. A whirring sound can be heard [audio_actor]. The opening is active.

As it is the player's only pathway, she clicks on the opening. When the player clicks on the opening, she advances to a moving walkway and is rushed through the dark recesses of the earth [animation_ actor]. She emerges in the laboratory [Node 1]. The room is strangely decorated and contains a work bench.

Eye Candy
Here, on one wall there is a odd painting showing a castle with four towers displaying a dragon emblazoned on one wall with a black toad. Within the castle is an alchemical bath, and from this rises a pillar which supports an astonishing structure in the form of a castle with seven towers which is once more an alchemical bath. King Sol and Queen Luna are bathing within it.

Pinned to the workbench is a page that has been ripped out of a book [text_actor]:

As to how the son of man is generated by the philosopher and the fruit of the virgin is produced, it is necessary that he be exalted from the earth and cleansed of all earthliness; then he rises as a whole into the air and is changed into spirit. Thus the word of the philosophers is fulfilled: He ascends from earth to heaven and puts on the power of Above and Below, and lays aside his earthly and uncleanly nature. The player can also inspect three books on the workbench

[animation_actors, text_actors, contents TBD].

The Workbench
Tired of text and paintings, the player examines the tools on the bench. She notices a metal box filled with sand beside a rack of tools. The rack is circular and about three feet high. From the rack hangs several iron molds, each about 1' across. She also notices a yellow button on the rack.

The box is active.

The Molds
Studying the eight molds carefully, the player notices that the molds are oddly familiar. If she pairs the molds, she can form the elemental symbols of each of
Alchemist — including Kaine's Earth symbol.

Kaine's symbol	Molds 2 and 7
Sophia's symbol	Molds 1 and 3
Sartorius' symbol	Molds 4 and 5
Malveaux's symbol	Molds 6 and 8

Remembering Lucien's sketch in the Dungeon, the player realizes that she should combine molds 2 and 7 to make Kaine's symbol. She also notices the box of sand.

Creating the Mold for Kaine's Symbol
When she clicks on the box of sand, she sees a close-up of the top of the work bench [2E-B1]. The view includes: the foremost iron object, the box on its stand, a sand chute, a flip-switch and a small yellow button set into the metal rack. All five are active.

She wants to create a mold with mold 2 and 7, but she can only reach mold 1. She clicks on the yellow button, and the rack turns and reveals a mold 2 [animation_actor]. Mold 2 is active.

When she clicks on mold 2, she discovers that she can drag it down and make an imprint in the sand [animation_actor]. She then clicks on the yellow button six times until she can see mold 7 [animation_actor]. Using mold 7, she makes a second imprint in the sand, a perfect match to Kaine's 'symbol [animation_actor].

Missteps: Making Other Molds
Using any of the molds, the player can drag down a mold and make an imprint in sand, for a total of eight shapes [animation_actor]. After her third imprint, however, the sand becomes too mess to make out any shapes.

Correcting Missteps: Starting the Mold Over
If she makes a mistake or makes a third imprint, she will want to begin again. Noticing the flip switch, she clicks on it; the platform vibrates and the sand makes a swishing sound; any imprints are erased and the sand is smooth again [animation_actor].

Taking the Box
Having completed the mold of Kaine's symbol. the player clicks on the box: the box rises-from its platform and the box becomes her cursor [cursor_object].

The Mine Shaft Down
From the bench, the player notices a tunnel leading into the rock. Taking the box, she enters the tunnel which ends almost immediately in a simple elevator platform. The platform has two buttons, one red, one green. Both are active.

When she clicks on the red button, she begins to descend [animation_actor] through a vertical tunnel of strange glowing rock. An alarm sounds, and she hears:

ALARM VOICE (V.0.)

Unprotected personnel prohibited.

The lighting on the wall becomes increasingly bright. Rightly terrified, she clicks on the green button; the elevator begins to ascend again [animation_actor] and the warning ends.

Misstep: Continuing Down
If she continues, she will die as the light, heat and radiation overwhelm her.

Graphite Rod Pool View
Unable to descend, the player decides to explore the cave further. On the darker side of the cave, opposite the workbench, she discovers a second tunnel. This tunnel is longer than the first and very dark at first.

She emerges from the tunnel onto a small ledge. Far below her she can see a pool of water criss-crossed by a walkway. The pool appears to be filled with many rods. The walkway ends in a large piece of machinery that looks to be set on top of an enormous fan. (The Graphite Pool Room is described in greater detail below). The player is motivated to find a way to travel to this place via the elevator.

The Slot Key
On the ground beside the ledge she notices a skeleton clutching a metal card punched with six holes. The skeleton is active.

Curious, she clicks on the skeleton for a close-up [4E-B1] and then clicks on the card to take it [cursor_object].

The Radiation Suit
Taking the card, the player remembers the slotted door in the tank. She returns via the automatic walkway [animation_actors] and enters the tank. When she inserts the card, a door appears in the .tank wall and opens; a silvery suit emerges on a mechanical arm, and then rotates to turn the back of the suit towards the player [animation actor]. The seam of the suit is active.

When she clicks on the seam at the back of the suit, it opens and she enters the suit [animation_ actor]. Her POV becomes that of the suit's view plate, perfectly rectangular but bordered with the edge of the visor. She can otherwise navigate normally.

Taking the Elevator With the Suit
Hoping that she is indeed protected, she retrieves the mold and then returns to the elevator [Node 5]. This time when she clicks on the red button, she descends without hearing a warning and enter the graphite rod pool room. As she suspected, the suit has protected her from the radiation that otherwise would have killed her.

Alchemical picture
Alchemical page

Alchemy Book
The Fifth Essence is the spirit -- one which is cleansed and purified by the harmony of the spheres.

When the purified spirit is released it will bathe the metals with its breath and the Elixir will be found.

Coal works fine here. I cannot think of anything Zork-specific that we have seen in any of the previous games. [ver 2.5/3.0]

The Graphite Rod Pool
She emerges at the end of a ramp extending over a pool of water. In the water she can see 12 graphite rods. The walls of the underwater chamber appear to glow. Although the player doesn't know it yet, only the graphite rods keep this room from reaching a state of melt-down.

In the center of the room at end of the walkway, she notices a large piece of machinery. This appears to consist of a cauldron mounted above a massive fan.

The Walkway
As she advances towards the walkway, she notices a control panel set into the rail [Node 7]. The panel is active.

If she clicks on the panel, she will see a close-up of the panel and the pool beyond it. The panel displays two numbers, each set above a dial, and beside these has a rocker switch. In the pool beyond, the player will notice the 12 rods. The dials and switch are active.

Operating the Rods
If the player clicks on the dials, the numbers above them changes. Each dial has four settings (1~4). The player changes these by clicking on the dial.

When the player examines the rocker switch, she notices it has three settings. It begins in (center) neutral. If the player clicks on the switch and presses up, she hears a whirring of machinery [audio_actor]. This sound will continue for up to a thirty seconds. She will also notice one of the rods rising out of the pool [animation_actor]. When the whirring stops, so does the rod. As she watches, the water appears to become more active and the boiling sound increases in intensity.

If she now clicks the rocker switch to the down position, the rod will descend again [animation_actor]. After a thirty seconds the whirring stops. The rod is now noticeably lower than the other rods. Also, the water appears to have become less active and the noise of the room has decreased.

When the player changes the settings of the dials and then hits the rocker switch, a different rod moves. The player will conclude that the two dials refer to the row and column that the rocker switch will effect.

If the player lifts more than six rods for fifteen seconds each and then waits for two minutes, she will hear:

ALARM VOICE (V.0.)

Thaddium reaching cascade levels.

If she does not lower at least one of the rods, the light level of the room will increase dramatically. With a flash, the player will expire [animation_actor].

The Fan And Cauldron

The metal walkway ends five feet from the center of the pool.

In the exact center of the pool rises a metal column, ending just below eye level. On top of the column a cauldron is mounted in a mechanical bracket. The cauldron is roughly the size of a soup kettle. Below the cauldron are four enormous fan blades in a ring set into the column (as if the column were the axle of a giant fan).

Metal tubes run from the water to two machines, but the machinery is silent. A single rod set between the fan and the cauldron extends towards the edge of the walkway. The rod ends in a square bracket, which is active. The player also notices a panel set into the railing in front of the bracket.

Loading the Arm
If she is carrying the sand box and she clicks on the bracket, the sand box animates, drops into the bracket, and the arm retracts [animation_actor]. The box is now held just below the cauldron and just above the fan ring. A small channel running begins at the lip of the cauldron and ends just above the sandbox. The panel is still active.

The Panel
If she clicks on the panel, she gets a close-up of the panel but can still see the cauldron beyond it [8E-B1]. The panel has three buttons on it. Labels above the buttons read, "Return," [text_actor] and "Tilt" [text_actor] and "Fan" [text_actor].

If the player clicks on the "Tilt" button, the cauldron animates and tilts towards her [animation_actor]. Inside the cauldron she can see solid lumps of metal.

If the player has lifted one to three rods, the metal will appear to be partially melted.

If she has lifted between four and six rods, the metal will be melted completely. It will pour into the mold, or if the mold has not been placed in the arm, the cauldron will pour into the pool.

If she has not moved the rods, she clicks on "Fan," and nothing happens. If she has lifted four rods, the fan begins to whirr madly for a few moments [animation_actor].

If the player clicks on the "Return" button, the arm extends towards the player. From the surround, she can click on the sand box and take it [cursor_object].

Making Lead
To solve the puzzle, the player must notice that lifting the rods [Node 7] increases the activity in the pool. This in turn heats the cauldron and melts the solid metal. She must lift at least four rods for ten seconds each. If she has lifted some rods, but not enough of them, the metal in the cauldron will appear chunky and not fully melted [animation_actor].

With the rods properly set, when the player presses "Tilt," the cauldron will pour. If the player has set the sand box mold created on the workbench into the arm, the lead will pour into the mold [animation_actor].

Now, the player clicks on "Fan," and the fan whirls, scouring away the sand mold and leaving only polished metal [animation_actor]. The lead object becomes the player's cursor object.

The Graphite Rod Pool
She emerges at the end of a ramp extending over a pool of water. In the water to her right, she can wee 12 graphite rods. The walls of the underwater chamber appear to glow. Although the player doesn't know it yet, only the graphite rods keep this room from reaching a state of melt-down.

In the center of the room at end of the walkway, she notices a large piece of machinery.

The Walkway
As she advances towards the walkway, she notices a control panel set into the rail [Node 7]. The panel is active.

When she clicks on the panel, she sees a close-up of the panel and the pool beyond it. The rods in the pool form a three-by-four array in front of her, and she notices that the rods vary in length. On the panel she sees two numbers, each set above a dial; beside these is a button and a gauge. The button and dials are active.

1 1 BUTTON GAUGE
DIAL DIAL

The gauge has three areas: yellow, green and red. The green area is very thin. When she first arrives, she notices that the gauge indicates yellow.

Operating the Rods
When she clicks on the button, she hears a mechanical sound and the rod in the front left corner rises out of the pool; and the boiling increases [animation_actor]. Also the needle on the gauge begins to fluctuate; it moves towards the green section and then stops [animation_actor]. When she clicks on the button again, the rod descends; the boiling decreases and the gauge returns to its original state [animation_actor].

Still not sure of what to do, the player clicks on the first dial and the number advances to 2 [animation_actor]. Once again, she clicks on the button; this time the second rod back on the left side rises out of the water and the gauge moves; she notices that the second rod rises approximately twice as high as the first rod and that the gauge moves twice as far towards green as the it did with the first rod [animation actor].

Understanding the Rods
The player deduces that the numbers above each dial stand for row and column. This means that by cycling through the settings, she can select any of the twelve rods, and then by pressing the button, she can raise or lower that rod. She also guesses that she wants the gauge to read green and that this will require some combination of the twelve rods. Lastly she notes that some rods are longer than others and that the longer the rod the greater the changeon the dial. By changing the dials, she can select sunken rods and press the button to raise them; she can also select raised rods and press the buttons to lower them.

Solving the Rod Puzzle
The gauge is divided into 100 increments. The player wants the gauge to fall in the green, that is to say, between 60 and 65. Each rod has a set length and a corresponding value as follows:

Rod Number	Length of Rod	Gauge increases by
Rod 1	5 feet	5
Rod 2	10 feet	10
Rod 3	15 feet	15
Rod 4	12 feet	12
Rod 5	20 feet	20
Rod 6	11 feet	11
Rod 7	7 feet	7
Rod 8	4 feet	4
Rod 9	8 feet	8
Rod 10	17 feet	17
Rod 11	13 feet	13
Rod 12	22 feet	22

To solve to puzzle, the player must raise any combination of rods that have a combined length of between 60 and 65 feet.

Misstep: Creating Meltdown
If the player lifts more than sixty-five feet of rods, the chamber will rise to dangerous levels of heat. `The gauge immediately moves into the red, and if she does not lower a rod within the next thirty seconds, she will hear:

ALARM VOICE (V.0.)

Thaddium reaching cascade levels.

If she does not lower at least one of the rods, the light level of the room will increase dramatically; with a flash, the player will expire [animation_actor].

If within a minute, she reduces the raised rod footage to less than 65 feet, the warning system will reset and melt down be averted.

The Fan And Cauldron
Having manipulated the rods to reach the optimum setting of green, the player continues to the end of the walkway, which ends five feet from the center of the pool.

In the exact center of the pool rises a metal column, ending just below eye level. On top of the column a cauldron is mounted in a mechanical bracket. The cauldron is roughly the size of a soup kettle. Below the cauldron are four enormous fan blades in a ring set into the column (as if the column were the axle of a giant fan). Between the fan and the cauldron is a rod which extends towards the player. At the end of the rod is a pair of metal brackets like bookends. One of the brackets holds a clay block exactly the same size as the box with the mold. The other bracket is empty and active.

Metal tubes run from the water to two machines, but the machinery is silent.

The player also notices a panel set into the railing in front of the bracket. The panel is active.

Loading the Arm
Noticing the similarity between the brackets and the box mold, the player clicks on the bracket with her sand mold; the box animates and slips into the bracket; the two brackets close together and the arm retracts [animation_actor]. The player notices that pressed together, the brackets form a box with a small hole in the top. With the rod retracted, the box is now waits just below the cauldron, and the player notices a small channel running from the lip of the cauldron and to the hole in the combined brackets. The panel is still active.

The Panel
When she clicks on the panel, she gets a close-up of the panel but can still see the cauldron beyond it [8E-B1]. The panel has three buttons on it. Labels above the buttons read, "Return," [text_actor] and "Tilt" [text_actor] and "Fan" [text_actor].

Tilting the Cauldron
Guessing that she should pour something from the cauldron into the mold, the player clicks on the 'Tilt" button. When she does, the cauldron animates and tilts towards her [animation_actor] and a stream of molten lead pours from the cauldron into the mold.

Misstep: The Lead is Solid
If all of the rods are still lowered, then when she presses "Tilt," the cauldron will tilt, but inside the cauldron she will see solid lumps of metal [animation_actor].

Misstep: The Lead is Partially Melted
If the player has not lifted enough rods to reach the green section of the gauge, then when she clicks on "Tilt" the cauldron will tilt, but the metal will appear to be partially melted [animation_actor].

Misstep: The Mold is Missing
If she hasn't placed the mold in the bracket, then if the lead is hot enough to pour, the lead will pour into the pool [animation_actor].

Misstep: Retrieving the Mold Without Casting
If the player clicks on the "Return" button, the arm extends towards the player [animation_actor]. From the surround, she can click on the box and take it [cursor_object].

Clearing Away the Sand
Having cast the mold, the player wants to retrieve the mold. She clicks on "Return," and arms extend open [animation_actor]. She can see her mold towards her; the brackets mold of sand filled now with cooling lead; the lead is blackened and sooty. The box is active.

This clearly is not what she wants, so out of desperation, she clicks on the "Fan" button. When she does, brackets close again, and the arm retracts to its casting position [animation_actor]; then the fan begins to turn and as it reaches maximum strength, the brackets open and drop the sand and casting into the air column; the ferocious power of the air not only holds up the casting, but scouring away the sand mold and leaving only polished symbol of Kaine [animation_actor].

The player can now click on Kaine's symbol. The lead object becomes the player's cursor_object.

Another Solution: Turning on the Fan Immediately After Casting
lf the player clicks on the "Fan" button immediately after casting, the fan begins to rotate, and the 'brackets open and drop the lead and sand cast into the air stream; the air stream blasts away the sand and polishes the metal [animation_actor].

NOTE: Both solutions can use the same animation. The first solution needs only to add an animation where the brackets close around the lead and sand mold and the arm retracts.

Misstep: Taking the Half-finished Casting
If she takes the half-finished casting, she will have to return it to the bracket and press "Fan," in order to finish the symbol.

Misstep: The Wrong Casting With the Fan
The player can cast any symbol that they like. If they use the fan on the wrong symbol, the symbol will be blast into pieces [animation_actor]. The fan will then stop and the brackets will close. If the prayer clicks on the "Return" button, the brackets will extend towards her and then open. The empty box will be active. If she clicks on it, it becomes her cursor [cursor_object].

Misstep: Taking the Wrong Casting
If the player clicks on the "Return" button, the arm will extend and the brackets open; the casting appears exactly the same no matter what shapes the player pressed into the mold. A sheet of lead fills the top of the mold facing the player with the casting set into the sand on the other side of the sheet. To finish the puzzle, the player must use the fan on the wrong casting and begin again.

Resetting the Mold
If the player casts the wrong mold and then uses the fan on it, she will be left with an empty mold. She can take this mold and return to the workbench. The box stand is active.

If she clicks on the stand with the empty box, the box will animate and appear on the stand, which will 'depress as if weighed down; sand will pour from the chute above the box [animation_actor]. The player can now begin the molding and casting process again.

NOTE: To save on art, either the stand only becomes active if the player has an empty box, or the contents of the box cannot be seen by the player.

Misstep: Giving Up and Returning in the Tank
If out of frustration the player tries to return to the Castle, the tank will not run as long as she wear the suit. She will hear, "Warning: Workplace Law Forbids the Operation of Armored Vehicles While Wearing Protective Gear" [audio_actor].

The hook is active though. If she clicks on it, she sees the reverse of the animation of her entering the suit [animation_actor]. She can now return to the castle.

13.17 Return to the Temple
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.

If she clicks on this close-up it DISSOLVES to the FLASHBACK scene of the murder of Kaine from Nemesis' POV, as follows:

The player's POV turns to Kaine and LUNGES at him with a huge KNIFE. The knife finds its mark, and SLICES open his chest with a mighty blow.

As the scene ends it 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 Kaine's sarcophagus.

13.19 Kaine's Metal Response.
If the player clicks on the highlighted sarcophagus, she is TRANSPORTED to a MEDIUM LOW-ANGLE SHOT of Kaine in the medallion portion of his sarcophagus.

Kaine appears, his outline distinct, his voice strong, the combined effect of his alchemical element and metal giving him a previously unseen vigor. He breathes deeply.

KAINE

Now you've seen everything I had. An army. Vast lands, unimaginable wealth. And my son, Lucien.

(beat -- then, disdainfully)

I see it so clearly now. I was wrong. I thought Alexandria was just an impulse for him, a bedsport. You see I had plans for him. I didn't understand this... love ... he spoke of.

(suppressed emotion)

I have fought many battles in my life. I have suffered defeat, and I have survived. But the murder of my son and my own guilt -- this I can barely survive. Give me a chance to make amends. Let me bring back my son from the grave. Finish gathering the metals and help us create the philosopher's stone. Please.

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.

KAINE

Now you've seen everything I had. An army. Vast lands, unimaginable wealth. And my son, Lucien.

(beat -- then, disdainfully)

I see it so clearly now. I was wrong. I thought Alexandria was just an impulse for him, a bedsport. You see I had plans for him. I didn't understand this... love ... he spoke of.

(suppressed emotion)

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.

KAINE

Now you've seen everything I had. An army. Vast lands, unimaginable wealth. And my son, Lucien.

(beat -- then, disdainfully)

I see it so clearly now. I was wrong. I thought Alexandria was just an impulse for him, a bedsport. You see I had plans for him. I didn't understand this... love... he spoke of.

(suppressed emotion)

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.

13.19.01 Kaine's "No Metal" Response
If the player has gone to the Castle without finding the metal object, she can transport back to the Orrery Room by clicking on the Mars planet model. If the player goes directly to Kaine's sarcophagus after her return, she sees Kaine in the glass case at the foot of his sarcophagus very much like she first met him, only now in even greater agony. He gasps in the throes of death.