| VERION 2.5/3.0 (1995/08/17) | VERSION
4.0 (1995/09/18) [partial] VERSION 4.1 (1995/09/27) |
LIST OF TEXT (A) | LIST OF TEXT (B) | RUFFINI'S NOTES ON VER 2.5/3.0 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The
player aligns
Venus on the Orrery and, after the player falls through the bottom of
the Orrery, the portal becomes a waterfall. The player steps through
the portal and immediately experiences the sensation of passing through
a waterfall [qt_actor]. The player then finds herself flying over a large body of water then notices a small house in the distance. As she approaches the house, she finds herself hurtling over the edge of an enormous dam. She realizes that the small house she saw was simply one of a series of small pump houses leading down to a palatial Venetian-style glass structure. Along one side of the structure a massive spillway cascades water down stone tiers and ends at the head of a large river. An entire wing of the structure seems to have collapsed into the river. The player circles the structure and lands on a small porch attached to the Practice Room. Floating on the porch is a small model of the planet Venus. NOTE:
|
The
player aligns Venus on the Orrery and, after the player falls through
the bottom of the Orrery, the portal becomes a waterfall. The player
steps through the portal and immediately experiences the sensation of
passing through a waterfall [qt_actor]. The player then finds herself flying over a large body of water then notices a small house in the distance. As she approaches the house, she finds herself hurtling over the edge of an enormous dam. She realizes that the small house she saw was simply one of a series of small pump houses leading down to a palatial Venetian-style glass structure. Along one side of the structure a massive spillway cascades water down stone tiers and ends at the head of a large river. An entire wing of the structure seems to have collapsed into the river. The player circles the structure and lands on a small porch attached to the Practice Room. Floating on the porch is a small model of the planet Venus. NOTE:
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Flood Control Dam 69053 [Flood Control Dam #7 in final game] |
I take this dam to be Flood Control Dam #5, or #69035, or what have you, and thus should point out that I neglected to place it on my map, somewhat to the north of the conservatory. |
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| 14.01 Story Information In the watery Conservatory world, the player learns about Alexandria's musical genius and how she and Lucien fell in love during Alexandria's musical debut. The player also learns how Sophia was charged with raising Alexandria and Sophia's romantic involvement with General Kaine. The conservatory has three levels:
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14.01 Story Information In the watery Conservatory world, the player learns about Alexandria's musical genius and how she and Lucien fell in love during Alexandria's musical debut. The player also learns how Sophia was charged with raising Alexandria and Sophia's romantic involvement with General Kaine. The conservatory has three levels:
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| 14.03 The Practice Room The player begins her Conservatory exploration on a small balcony attached to the Practice Room. From the porch [Node 1], the player can see the huge dam behind the structure and a foggy vista of a huge river. To the S she can see the remnants of a wing of the structure which has been mostly washed away. The roar of the dam spillway can be heard in the distance [audio_actor]. A delicate model of Venus floats serenely at the player's waist level [animation actor]near the porch railing [Node 1C]. Clicking on the planet will return the player to the Orrery Room [qt_actor]. Clicking on the open archway to the Practice Room [1A] takes the player inside the structure. The Practice Room contains:
At the far end of the room [at Node 5] an archway leads to a door to the Lobby. Two stairs on either side of the stage lead to a corridor/gallery area containing class photos and a painting entitled "Harmony of the Spheres". Another stairway in the NE corner of the room [at Node 8] leads up to the landing between the Lobby and the Lounge. Still another archway [S of Node 3] leads to the part of the structure that has been swept away taking part of the S wall of the room with it. A dilapidated sign with an arrow reads "CLASSROOMS & STAFF OFFICES" and points to the destroyed part of the building [text_actor], but a jumble of hanging debris blocks the player from exploring in this direction. |
14.03 The Practice Room The player begins her Conservatory exploration on a small balcony attached to the Practice Room. From the porch [Node 1], the player can see the huge dam behind the structure and a foggy vista of a huge river. To the S she can see the remnants of a wing of the structure which has been mostly washed away. The roar of the dam spillway can be heard in the distance [audio_actor]. A delicate model of Venus floats serenely at the player's waist level [animation actor] near the porch railing [Node 1C]. Clicking on the planet will return the player to the Orrery Room [qt_actor]. Clicking on the open archway to the Practice Room [1A] takes the player inside the structure. The Practice Room contains:
side of the stage lead to a corridor/gallery area containing class photos and a painting entitled "Harmony of the Spheres". Another stairway in the NE corner of the room [at Node 8] leads up to the landing between the Lobby and the Lounge. Still another archway [S of Node 3] leads to the part of the structure that has been swept away taking part of the S wall of the room with it. A dilapidated sign with an arrow reads CLASSROOMS & STAFF OFFICES" and points to the destroyed part of the building [text-actor], but a jumble of hanging debris blocks the player from exploring in this direction. |
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| 14.03.01 The Violin Case On the edge of the stage near the steps going up from the floor to the stage [Node 3] is a violin case. The player can click on the case to a CLOSE-UP of it [Node 3E] and click on the close-up to OPEN it [animation_actor]. This case dos not contain a violin, but does contain a photo of Alexandria, Malveaux and a small cat (the player may have already seen a copy of this photo in Malveaux's bedroom in the Monastery) tucked into the lid of the case. A small rip can be seen in the green velvet lining the case. If the player clicks on the rip from Node 3E, the fabric pulls back [animation actor]to reveal a note. Clicking on the note brings it up to the player's view [animation_actor]. The note reads: L-
Meet me behind the backdrops at midnight. I think I have found something that may shed some light on the Director's strange goings-on. -A Clicking on the note again replaces the note in the case [animation_actor]. |
14.03.01 The Violin Case On the edge of the stage near the steps going up from the floor to the stage [Node 3] is violi case. The player can click on the case to a CLOSE-UP of it [Node 3E] and click on the close-up to Nit [animation_actor]. This case does not contain a violin, but does contain a photo of Alexandria, Malveaux and a small cat (the player may have already seen a copy of this photo in Malveaux's bedroom in the Monastery) tucked into the lid of the case. A small rip can be seen in the green velvet lining the case. If the player clicks on the rip from Node 3E, the fabric pulls back [animation_actor] to reveal a note. Clicking on the note brings it up to the player's view [animation_actor]. The note reads L-
Meet me behind the backdrops at midnight. I think I have found something that may shed some light on the Director's strange goings-on. -A Clicking on the note again replaces the note in the case [animation_actor]. |
VB3ES21 VB3EB31A: Far shot add photo or text VB3EB41A Photo of Alex; Add text: To my darling child. May you always play the Harmony of the Spheres. VB3EB51A (Violin Case Note) Font : Wild Thing Alexandria I will meet you behind the stage tomorrow at midnight. I think I have discovered something strange. Lucien |
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| 14.03.02 The Wall Chart The player can click on the Wall chart at Node 2 to get a CLOSE-UP of it [2E]. The CLOSE-UP shows a graphic representation of an overhead view of an orchestra with eight groups of four chairs. In each of the eight groups of chairs is one of the following labels [text_actors]:
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14.03.02 The Wall Chart The player can click on the Wall chart at Node 2 to get a CLOSE-UP of it [2E]. The CLOSE-UP shows a graphic representation of an overhead view of an orchestra with eight groups of four chairs. In each of the eight groups of chairs is one of the following labels [text_actors]:
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Wall Chart |
I seem to remember a New Zork Times article mentioning two musical instruments named the Trombuoy and the Danvictorhorn, and would prefer these over the only somewhat more cheesy Miano and/or Fleezle and Popperkeg. The name Frobophone however is perfect. |
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| 14.03.03 The Practice Room Stage
& Instrument Puzzle If the player steps onto the stage, she will see strewn about the Stage in three TILT-DOWN views [ 4E, 4F, 4G], a violin and seven strange-looking instruments. As the player will discover later, these instruments are the same as those listed on the Wall Chart. Again, the Wall Chart has no illustrations of the instruments. NOTE: the chairs on the raised Practice Room Stage are positioned exactly like those on the Wall Chart -- in eight groups of four chairs. The Stage has an ornate wooden railing that prevents the player from seeing the seats of the chairs and the instruments unless she is standing on the stage at Node 4. From her position on stage, the player can click on the 11 instruments at her feet to hear its sound [audio_actor]or double-click on it to turn it into a cursor object(the 3 "extra" instruments are red herrings). When the object has become a cursor object, she can place the instrument on any of the chairs. If the player tries to leave with any of the instruments, the instrument will return to its most recent position as the player leaves the stage [audio_actor]. To solve the instrument puzzle, the player must:
If the player arranges the instruments in proper order the following reward occurs: The lights dim [animation_actor] and the player hears an orchestra warming up and starting the familiar Return to Zork Overture [audio_actor]. Several bars into the piece the player hears the violin come in late and a loud tapping as the conductor interrupts the playing. SOPHIA (V.0.)
Alexandria,
how many times have I told you? Even prodigies need to practice. Focus
on the first and sixth notes. The first and sixth... notes.The music rises again for several bars before fading out. As the music fades the lights return to normal. Once the player has solved the puzzle she may step onstage and replay the sequence simply by clicking on any of the instruments. |
14.03.03 The Practice Room Stage
& Instrument Puzzle If the player steps onto the stage, she will see strewn about the Stage in three TILT-DOWN views [ 4E, 4F, 4G], a violin and seven strange-looking instruments. As the player will discover later, these instruments are the same as those listed on the Wall Chart. Again, the Wall Chart has no illustrations of the instruments. NOTE: the chairs on the raised Practice Room Stage are positioned exactly like those on the Wall Chart -- in eight groups of four chairs. The Stage has an ornate wooden railing that prevents the player from seeing the seats of the chairs and the instruments unless she is standing on the stage at Node 4. From her position on stage, the player can click on the 11 instruments at her feet to hear its sound [audio_actor] or double click on it to turn it into a cursor_object the 3 "extra" instruments are red herrings). When the object has become a cursor object, she can place the instrument on any of the chairs. If the player tries to leave with any of the instruments, the instrument will return to its most recent position as the player leaves the stage [audio_actor]. To solve the instrument puzzle, the player must:
If the player arranges the instruments in proper order the following reward occurs: The lights dim [animation_ actor] and the player hears an orchestra warming up and starting the familiar Return to Zork Overture [audio_actor]. Several bars into the piece the player hears the violin come in late and a loud tapping as the conductor interrupts the playing. SOPHIA (V.0.)
Alexandria, how many times have I told you? Even prodigies need to
practice. Focus on the first and sixth notes. The first and sixth...
notes.The music rises again for several bars before fading out. As the music fades the lights return to normal. Once the player has solved the puzzle she may step onstage and replay the sequence simply by clicking on any of the instruments. |
Sophia to Alexandria SOPHIA Alexandria,
did you learn nothing at the Conservatory? Remember the notes--C,
D, E, B, G. Their timbre is the Harmony of the Spheres. C, D, E,
B, G. Without the Harmony of the Spheres, there can be no purity
of the soul.(exasperated) You're not thinking, child. Conentrate! C, D, E, B, G. |
[alternate version] Alexandria, have you learned nothing under my tutelage? The notes are C, D, E, B, G. Their cadence is the Harmony of the Spheres. Without the Harmony of the Spheres, there can be no purity of the soul. Are you with us today, child? C, D, E, B, G. How can you forget the notes? |
The instructional record could perhaps include some kind of historical comment, such as "This has been the traditional orchestral arrangement since the early days of the Frobozz Philharmonic Orchestra in the 730s." |
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| 14.03.04
The Gramophone When the player clicks on the large strange-looking gramophone with several pipes in the corner [5C] she sees a CLOSE-UP of the gramophone [5E-B1]. If she clicks on the close-up she will get an OVERHEAD view of the turntable area which includes:
In order to play a record the player must:
If the player clicks the small brass forward/backward switch, the record on the platter gramophone will spin BACKWARDS (if the platter is stopped) or slow down and then play BACKWARDS (if the platter is already spinning). The player hears the following warning from the Nemesis over and over until the player clicks on the brass switch once again: NEMESIS (V.0.)
GET OUT OF THIS PLACE!On a raised walkway behind the stage is a painting labelled "The Harmony of the Spheres" [text_actor]. On one wall of the gallery is a class photos. Clicking on the wall at 7A brings a CLOSE-UP of the photo class into view [7E]. |
14.03.04
The Gramophone When the player clicks on the large strange-looking gramophone with several pipes in the corner [5C] she sees a CLOSE-UP of the gramophone [5E-B1]. If she clicks on the close-up she will get an OVERHEAD view of the turntable area which includes:
In order to play a record the player must:
If the player clicks the small brass forward/backward switch, the record on the platter gramophone will spin BACKWARDS (if the platter is stopped) or slow down and then play BACKWARDS (if the platter is already spinning). The player hears the following warning from the Nemesis over and over until the player clicks on the brass switch once again: NEMEESIS (V.0.)
GET OUT OF THIS PLACE!On a raised walkway behind the stage is a painting labeled "The Harmony of the Spheres" [text_actor]. On one wall of the gallery is a class photos. Clicking on the wall at 7A brings a CLOSE-UP of the photo class into view [7E]. |
A possible caption for the class photo would be "Frobozz Philharmonic Orchestra, Frigid River Branch Conservatory, Graduating Class of 950 GUE" or some other suitable date. |
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| Second Alexandria Record As the record begins to play, we hear the murmur of a CROWD during an intermission of a concert -- followed by the twang of some kind of MICROPHONE as it is adjusted. Then, Sophia's voice -- SOPHIA For
the final performance of the evening, it gives me great pleasure to
present to you, in her debut performance, the newest and most gifted
prodigy of my Conservatory -- Alexandria Wolf.Sounds of polite APPLAUSE grow and then die out. SOPHIA Alexandria will favor us with her interpretation of the classical Harmony of the Spheres.(a beat) Alexandria?The sounds now favor us with her interpretation of the lyrical Harmony of the Spheres. We hear the muffled noise of the SOUND SYSTEM adjusting and then the beautiful, plaintive melody of Alexandria's VIOLIN PLAYING. After the music concludes, vigorous APPLAUSE from the audience grows and then dies out. After a beat of silence, a series of MUSICAL NOTES -- a lilting pattern of Orchestra instruments -- SOUNDS as if to signal the close of the concert. Again, the muffled noise of someone taking the LOUDSPEAKER. SOPHIA Thank
you. Now that the classic Zork anthem of convocation has
concluded our Philharmonic Orchestra, our volunteers will be
circulating the Conservatory coffers. Please give generously.
Good night. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| "Introduction to Frobozzica" Record Player A gramophone crackles, and then a VOICE begins to speak in a smooth, didactic monologue. VOICE (ON RECORD) Since
732 GUE, the Frobozz Philharmonic Orchestra has consisted of nine
instrumental sections that align to form a crescent moon shape, filling
half of the orchestral amphitheater. In the front row, stage left, are the Violins. The platypus-gut strings, when drawn, emit a distinctively plantive, haunting wail. To the right of the Violins are the Nambinos. The Nambino is an Antharian percussion instrument that draws its design from the shipyard drums of the Port of Marba. The thundering, staccato sound of the Nambino amplifies as it echoes through the four apertures (nambs) of the drum casing. To the right of the Nambinos are the Mianos. The Miano is a type of Accardian lyre that has sometimes been employed by conjurers for use in musical incantations. The soft, somber notes of the Miano are played always in a minor. In the front row, stage right, are the Fleezles. The peculiar timbre of the Fleezle -- something like the low gurgle of the Grue -- sounds as air is pushed through a series of brass fleezle valves on the curving neck of the horn. In the back row, stage left, are the Wertmezers. This popular folk instrument, and the shrill, harmonic blast it produces, originated in the rural divides of the Frigid River Valley. Many musicians have argued that the Wertmezer does not belong in the Frobozz Philharmonic. To the right of the Wertmezers are the Gederaglinis. One of the more ancient of the reed instruments, the Gederaglini sounds its low, hollow timbre as air resonates through its central gourd. It can be played from either end. To the right of the Gederaglinis are the Frobophones. First introduced as accompaniment to the Borphee Metropolitan Opera, this high, piccolo-type horn plays off the much deeper Fleezle in most Orchestral movements. In the back row, stage right, are the Popperkegs. As the keg clasp is moved back and forth along the tubular body of the instrument, the Popperkeg's pitch raises and lowers accordingly. Whole melodies played on the Popperkeg are often variations of just one note. The four other instruments of Zork -- the Verni, the Oomba, the Bass Chokophone, and the Piano -- are not technically considered part of the Frobozz Philharmonic Orchestra. However, these instruments, popularized by the alternative music scene of Quendor, which includes groups like "The Cruel Puppets," "Curse Day" and "Soundungeon." Most Orchestras have four of each of these eight instruments. Proper placement of these instruments, according to the Zork Orchestral layout, is critical to ensuring the success of the concert. When the Player clicks on the VIOLIN section of the Zork Orchestral Layout, a VIOLIN SOUNDS. VOICE When the Player clicks on the MIANO section, a noise like a harp -- a MIANO -- SOUNDS. VOICE When the Player clicks on the FLEEZLE section, a noise like a clarinet -- a FLEEZLE -- SOUNDS. VOICE When the Player clicks on the WERTMEZER section, a noise like an accordion -- a WERTMEZER -- sounds. VOICE When the Player clicks on the Gederaglini section, a strange horn -- a GEDERAGLINI -- SOUNDS. VOICE When the Player clicks on the FROBOPHONE section, a sound like a French Horn -- a FROBOPHONE -- SOUNDS. VOICE When the Player clicks on the POPPERKEG section, a thumping sound -- a POPPERKEG -- SOUNDS. VOICE [What is the Player doing when the concluding "VOICE" dialogue occurs?] VOICE | [various alternate fragmented earlier revisions to the text] The Violin -- the most soulful of the Z'orchestral instruments -- sounds a plaintive, haunting melody when the bow draws across its fine... ...irus-gut strings, when drawn, add a plaintive note to their haunting melodies. ...steel Marba. The thundering, resonant sound of the.... ...of the drum casing, creating a "droning" overtone. ....-- sounding when its strings are hit with a Miano stick -- most often... ...plucked with a Miano stick, the lyre sounds soft, somber notes -- usually in a minor key. ...se in musical incantations. ...the Fleezles. The medium pitch of this wind instrument fluctuates as in the reed, and past... The Fleezle is a wind instrument with a medium pitch that fluctuates as... ...are the Wertmezers. The two-player folk instrument requires one player to play the keys and one to pump the bellows -- producing a disjointed,... ...the Frigid River Valley. Current arguments debate whether the Wertmezer’s at all... Originating in the Frigid River Valley, this unsophisticated, unwieldy instrument is the least respected member of the Orchestra. ...more ancient of the horn, the Gederaglini sounds its strange... ...es through its central gourd. Two players blow from either end at the same time, varying pitch as they cover more or less of the gourd apertures. ...ancient Gederaglini horn is often played ceremoniously at weddings. ...from either end at once... Its notes... amplify as they resonate The Frobophone is a twisted... ...Opera, this twisted-sounding horn... The Popperkeg emits a thumping sound when hit with the palm. ...by musical groups like... | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 14.04 The Lobby The Lobby is a vast space, elegant and lavish. Paintings and frescoes of waterscapes and fountains adorn the walls. However, everything is faded and mildewed — mold creeps across most of the canvases and water stains the expensive oriental rug underfoot. When the player enters, she hears the sound of thunder followed by the sound of strong rain [audio_actors]. Rain will continue whenever the player is in the Lobby, Dormitory or Sophia's room or when the player returns to the Practice Room. Rain will not be heard in the more interior spaces. At Node 1B, the player hears a solitary drip coming from directly in front of her [audio_actor]. |
14.04 The Lobby The Lobby is a vast space, elegant and lavish. Paintings and frescoes of waterscapes and fountains adorn the walls. However, everything is faded and mildewed — mold creeps across most of the canvases and water stains the expensive oriental rug underfoot. When the player enters, she hears the sound of thunder followed by the sound of strong rain [audio_actors]. Rain will continue whenever the player is in the Lobby, Dormitory or Sophia's room or when the player returns to the Practice Room. Rain will not be heard in the more interior spaces. At Node 1B, the player hears a solitary drip coming from directly in front of her [audio_actor]. |
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| 14.04.01
Eye Candy: Dripping Blood When the player turns and looks up [1E-TILT-UP], she sees water dripping [animation_actor] from the ceiling. When the water hits the floor, it turns to blood and stains the carpet [animation_actor]. If the player looks down [1F-TILTDOWN] and watches for three seconds, she will see the stain become the ragged shape of a valentine heart [animation_actor]. Two large shuttered windows on the side of the boarded-up front door provide a glimpse of the surroundings. Through the broken shutters [3C and 8A], the player sees that the Conservatory is located on a promontory on the shores of an enormous river [animation_actor]which vanishes into the haze. |
14.04.01
Eye Candy: Dripping Blood When the player turns and looks up [1E-TILT-UP], she sees water dripping [animation_actor] from the ceiling. When the water hits the floor, it turns to blood and stains the carpet [animation_actor]. If the player looks down [1F-TILTDOWN] and watches for three seconds, she will see the stain become the ragged shape of a valentine heart [animation_actor]. Two large shuttered windows on the side of the boarded-up front door provide a glimpse of the surroundings. Through the broken shutters [3C and 8A], the player sees that the Conservatory is located on a promontory on the shores of an enormous river [animation_actor] which vanishes into the haze. |
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| 14.03.02
The Dedication Plaque To the left of the door and left window [8D], the player will see a plaque of marble. If the player clicks on the plaque she will see a CLOSE-UP of it [8E]. It reads "Zork Musical Academy for Girls, General Thaddeus Kaine, Principal Founder" [text_actor]. Above the plaque is a picture of the conservatory under construction. A large sign on the photo reads "Another fine building by Frobozz Building Consortium" [text_actor]. The picture shows that a deep hole has been dug to create the foundation for the building. Next to the picture is a flattering portrait of a younger Kaine. The player can turn N in the Lobby to see the doors marked "Auditorium" [text_actor]. On the NE wall is the open door to the Director's Office [at 7A]. From the lobby near the Auditorium a baroque staircase leads to the Lounge on the second level [at 2D]. A locked door on the opposite side of the staircase [at 4D] is a door marked "Basement — No Entry" [text_actor]. This door leads to the boiler room, but can only be used if opened from the other side first. Once the player has used this doorway from the other side (i.e., from the Basement) it will remain open to the player. |
14.03.02
The Dedication Plaque To the left of the door and left window [8D], the player will see a plaque of marble. If the player clicks on the plaque she will see a CLOSE-UP of it [8E]. It reads "Zork Musical Academy for Girls, General Thaddeus Kaine, Principal Founder" [text_actor]. Above the plaque is a picture of the conservatory under construction. A large sign on the photo reads "Another fine building by Frobozz Building Consortium" [text_actor]. The picture shows that a deep hole has been dug to create the foundation for the building. Next to the picture is a flattering portrait of a younger Kaine. The player can turn N in the Lobby to see the doors marked "Auditorium" [text_actor]. On the NE wall is the open door to the Director's Office [at 7A]. From the lobby near the Auditorium a baroque staircase leads to the Lounge on the second level [at 2D]. A locked door on the opposite side of the staircase [at .4D] is a door marked "Basement — No Entry" [text_actor]. This door leads to the boiler room, but can only be used if opened from the other side first. Once the player has used this doorway from the other side (i.e., from the Basement) it will remain open to the player. |
Dedication Plaque: Zork Musical Acadamy for Girls, General Thaddeus Kaine, Principal Founder |
You could use the Zork Musical Academy over the Frobozz Philharmonic Orchestra, but if you choose the latter, which we already know to exist, the plaque would then read: "General Thaddeus Kaine, Principal Donor for the Frigid River Branch Conservatory." A construction company less likely to surprise experienced players would be the Frobozz Magic Construction Company over the Frobozz Building Consortium. |
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| 14.04.03
The Ripped Poster The interior of the lobby seems frozen in space and time. The player examines the walls. She notices a large easel -like marquee in the Lobby's NW corner [4A]. If the player clicks on the marquee, she gets a CLOSE-UP view of the poster [4E]. The marquee is of Alexandria Wolfe's first recital, called "Harmony of the Spheres," and contains a stylized portrait of Alexandria playing the violin [text_actor]. The poster is ripped down the center. If the player clicks on the marquee, the sagging corners from the rip momentarily straighten to show the complete poster, but quickly drop away again [animation_actor]. NOTE: The marquee poster is visible only from Node 4E. It is hidden in shadow or blocked by columns from Node 4 and other nodes in the Lobby. This is to avoid game state problems. |
14.04.03
The Ripped Poster The interior of the lobby seems frozen in space and time. The player examines the walls. She notices a large easel -like marquee in the Lobby's NW corner [4A]. If the player clicks on the marquee, she gets a CLOSE-UP view of the poster [4E]. The marquee is of Alexandria Wolfe's first recital, called "Harmony of the Spheres,'' and contains a stylized portrait of Alexandria playing the violin [text_actor]. The poster is ripped down the center. If the player clicks on the marquee, the sagging corners from the rip momentarily straghten to show, the complete poster, but quickly drop away again [animation_actor]. NOTE: The marquee poster is visible only from Node 4E. It is hidden in shadow or blocked by columns from Node 4 and other nodes in the Lobby. This is to avoid game state problems. |
Poster Alexandria Wolfe plays the Harmony of the Spheres, Box C, Oracle 15, 943 |
Given
your description of the interior of the lobby as "frozen in space and
time," now seems like an appropriate place to make further comments on
this peculiar angle. I have urged you elsewhere to be very careful with
the concept of the Forbidden Lands. You imply throughout the game that
the Forbidden Lands have been abandoned since the fall of the empire in 883, which would place all the flashback action in the 870s or 880s, thus making the Zork I thief over 80 years old. As I have already mentioned, this is highly unlikely; furthermore, such a long period of abandon would have done -much- more damage to the area than we have seen so far. I find it much more likely to imagine that the bulk of the action took place in 947 or early 948, and thus the area has been abandoned for maybe six months or a year, perhaps in the wake of a new series of invasions from barbarian tribes, Syovar, Ellron and whoever else after the "death" of Kaine led to the defeat of his armies in the field., thus accounting for the otherwise inexplicable and gratuitous devastation. |
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| 14.04.04
The Usher - LIVE ACTION SEQUENCE If the player clicks on the double doors to the auditorium [5A], they will open [animation_actor] to reveal a female USHER. She steps toward the camera in a MEDIUM CLOSE-UP -- she's old, heavyset and slow moving. USHER
Too late. We're closed. Sorry.(sarcastic flight
attendant)
Thanks for coming. Buh-bye.If the player tries later, the doors open and the Usher stands there as before. USHER
Show? Show's over. You missed it. (sarcastic)
It's called punctuality.
Look into it.If the player tries later, the doors open and the Usher stands there as before. USHER
Show? Here? Where have you been all your life? (sarcastic)
Show. Yeah, right. That's a good one.The doors will not open again until the player solves the marquee puzzle. |
14.04.04
The Usher - LIVE ACTION SEQUENCE If the player clicks on the double doors to the auditorium [5A], they will open [animation_ actor] to reveal a female USHER. She steps toward the camera in a MEDIUM CLOSE-UP -- she's old, heavyset and slow moving. USHER
Too late. We're closed. Sorry.(sarcastic flight
attendant)
Thanks for coming. Buh-bye.If the player tries later, the doors open and the Usher stands there as before. USHER
Show? Show's over. You missed it. (sarcastic)
It's called punctuality.
Look into it.If the player tries later, the doors open and the Usher stands there as before. USHER
Show? Here? Where have you been all your life? (sarcastic)
Show. Yeah, right. That's a good one.The doors will not open again until the player solves the marquee puzzle. |
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| 14.04.05
The Ticket Booth On the N wall of the Lobby near the Director's office [6A] stands a small wooden booth marked "Tickets" [text_actor]. The player walks to the ticket booth and sees the booth's interior in shadow with stacks of mildewed tickets standing in racks. If the player clicks on the booth at 6A she gets a CLOSE-UP view [6E] of the ticket widow with a small depression in the wooden counter. NOTE: The depression in the counter is only visible from 6A. This is to avoid game state problems. When the player solves the marquee/poster puzzle and returns to the ticket booth, she will see a single ticket on the counter in the depression, but only from Node 6E. If she clicks on the ticket it will turn into a cursor_object. She must click on the Auditorium with the ticket to gain access to the auditorium. |
14.04.05
The Ticket Booth On the N wall of the Lobby near the Director's office [6A] stands a small wooden booth marked "Tickets" [text_actor]. The player walks to the ticket booth and sees the booth's interior in shadow with stacks of mildewed tickets standing in racks. If the player clicks on the booth at 6A she gets a CLOSE-UP view [6E] of the ticket widow with a small depression in the wooden counter. NOTE: The depression in the counter is only visible from 6A. This is to avoid game state problems. When the player solves the marquee/poster puzzle and returns to the ticket booth, she will see a single ticket on the counter in the depression, but only from Node 6E. If she clicks on the ticket it will turn into a cursor_object. She must click on the Auditorium with the ticket to gain access to the auditorium. |
Ticket |
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| 14.05
The Director's Office The player enters the Director's Office — once warm and inviting with elegant furniture and plush rugs that exude coziness. The door to the Director's Office has swollen from the damp in the open position. The Director's Office contains:
|
14.05
The Director's Office The player enters the Director's Office — once warm and inviting with elegant furniture and plush rugs that exude coziness. The door to the Director's Office has swollen from the damp in the open position. The Director's Office contains:
|
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| 14.05.01
The Desk On the desk are a variety of objects including:
At 3E, the player sees that the gas lamp has a pull-down sparker chain which she can click on to pull down [animation_actor, audio_actor]. Also visible on the lamp is a hole which would contain a knob to control the gas -- but the knob is missing. Also on the desk the player can see a large blotter. NOTE: Both drawers only open enough to be seen from 3F and 3G. The doors look the same from Node 3 whether they are open or closed. |
On the desk are a variety of objects including:
At 3E, the player sees that the gas lamp has a pull-down sparker chain which she can click on to pull down [animation_actor, audio_actor]. Also visible on the lamp is a hole which would contain a knob to control the gas -- but the knob is missing. Also on the desk the player can see a large blotter. NOTE: Both drawers only open enough to be seen from 3F and 3G. The doors look the same from Node 3 whether they are open or closed. |
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| 14.05.01.01
The Left Drawer - The Report Card and Malveaux Letters If the player clicks on the left drawer [from 3G], it opens [animation_actor]. Inside is a file on Alexandria which opens when the player clicks on it [animation_actor]. In the file are letters and a report card [text_actors]. The player must click on them to raise them to her POV and click on them again to flip through them [animation_actors]. The report card gives Alexandria high marks for performance, dedication and detailed playing. However, the artistic ability and concentration sections are low. Letter from Malveaux: The Grand Inquisitor
has
commanded that I remove Alexandria from the monastery. With her talent
for music, I think it would be good for me to transfer her to your
conservatory. [text_actor]
Letter from Malveaux: I have done what I
can. I have explained to her the significance of her virtue and why
Lucien Kaine with his troubled youth, his questionable morals, and his
strange disposition is not right for her. I can't do much more.
[text_actor]
Letter from Malveaux: Dr. Sartorius is a
brilliant man. He and
I believe that this experiment will be the most legendary one in all of
mankind. We are making great progress. [text_actor]
NOTE: When the player leaves Node 3F or 3G, the letters and/or report card return to their respective drawers. |
14.05.01.01 The Letter Drawer - The Report Card and Malveaux Letters If the player clicks v the left drawer [from 3G], it opens [animation_actor]. Inside is a file on Alexandria which opens when the player clicks on it [animation_actor]. In the file are letters and a report card [text_actors]. The player must click on them to raise them to her POV and click on them again to flip through them [animation_actors]. The report card gives Alexandria high marks for performance, dedication and detailed playing. However, the artistic ability and concentration sections are low. Letter from Malveaux: The Grand Inquisitor
has commanded that
I remove Alexandria from the monastery. With her talent for music, I
think it would be good for me to transfer her to your conservatory.
[text_actor]
Letter from Malveaux: I have done what I
can. I have explained to her
the significance of her virtue and why Lucien Kaine with his troubled
youth, his questionable morals, and his strange disposition is not
right for her. I can't do much more. [text_actor]
Letter from Malveaux: Dr.
Sartorius is a brilliant man. He and I believe at this experiment will
be the most legendary one in all of mankind, We are making great
progress. [text_actor]
NOTE: When the player leaves Node 3F or 3G, the letters and/or report card return to their respective drawers. |
File on Alexandria Includes photo VE3GB31A (reason for Cabal/ Sophia’s part) Font: Rage Italic Ottobur 15, 937 Dear Sophia The time has come. I think you will be proud of me when you see her. She is a charming, brilliant child. Her music is unschooled but I hear in it somewhere the harmony of the spheres. It is there for you to distill. Fondly, Malveaux VE3GB41A (reason of Cabal/ Lucien motive to stop him) Font:Rage Italic Arch 2, 944 Dearest Sophia, I have much unsettling news. It has come to my attention that Lucien Kaine with his troubled rebellious spirit and his strange disposition has been bothering Alexandria. Please, you should know better than me that Alexandria needs to study and perfect her art. Father Malveaux VE3GB51A (beginnings of cabal) [[Very old letter/with map of the temple of the ancients]] Rage Italic Frobuary 12, 924 Dear Sophia, Dr. Sartorius is a brilliant man. This experiment will be the biggest breakthrough since the beginning of Zork. If you are still interested, meet us at the Temple of Agrippa. But be careful. There are those that would kill us for our secrets. Father Malveaux |
Ottobur 15, 937 Dear Sophia – The time has come. I think you will be proud of me when you see her. She is a charming, brilliant child -- and I have grown to care for little Alexandria as if her parenting were my only office. Her music is unschooled, but I hear in it -- somewhere -- the harmony of the spheres. It is there for you to distill. I expect much work, and great things, from the both of you. Fondly, Malveaux Arch 2, 944 Dearest Madame Sophia, I have much unsettling news. It has come to my attention that Lucien Kaine, with his troubled, rebellious spirit -- and his strange disposition -- has been bothering Alexandria. Under your own roof, Madame! I fear she knows little of the ways of men -- who are not monks, that is. Please -- you should know better than I -- Alexandria needs to study and perfect her art. Father Malveaux Frobuary 12, 924 Dear Sophia, Dr. Sartorius is a brilliant man. This experiment, will be the biggest breakthrough since the beginning of Zork. If you are still interested, make your way to the Temple of Agrippa. But -- take great care, and do not speak of it. There are those who misunderstand Alchemy -- those who would kill for our secrets, in their search for gold. Father Malveaux |
The Grand Inquisitor comment I made earlier still stands; the reference should probably be replaced with one of the two suggested options. |
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| 14.05.01.02
The Right Drawer - The Kaine Letters If the player clicks on the right drawer, it opens [animation_actor]. The player clicks on the bundle of letters inside, and they untie [animation_actor]. The letters then fill the screen. If the player clicks on the bundle or on a letter it will flip to the next letter in sequence [animation_actor]. When the player clicks outside of a letter, they return to their bundle [animation_actor]. All the letters are from Kaine [text_actors]. Letter: Sophia please
forgive me. I made a
mistake. I know it would be a cliche to say that it meant nothing to me
— but it is true. I know that I am not communicative in the way you
want me to be. I love you. Please forgive me. I will do anything for
your forgiveness.
Letter and check: Sophia, I have
enclosed a check
for 750,000 Zorkmids for the improvement of the stage. Please take this
as a token for my plea for forgiveness.
Letter from battle: Sophia,
it is rainy and grim here. The fields are muddy and littered with
corpses. I am tired of this, and all I want in the world is to return
to my castle and back to you. The Battle at Flood Control Dam #3 was
more brutal than I expected. Baron Von Zandt and his Grue hordes
somehow had found out about my strategy. Our surprise attack was
foiled, and I lost half my men. Von Zandt is becoming more and more
powerful. Unless I do something, he may gain control of the entire
terrain. Morale is low. The worst are the damn night attacks of the
Grues. We barely have enough torches to light a fourth of our camp for
more than a few more nights.
Letter from battle: Sophia, the battle
against the Grues continues, and I believe we are winning. Lieutenant
Ramsey is a loyal and fierce warrior and has proved an effective
leader; I will make him the keeper of my castle if we escape this war
alive. I miss you and I think about you constantly. We must finally be
together. Sophia, will you please check in on Lucien. I know that you
are uncomfortable around him, but I have not heard from him, and I am
concerned. He is going through a strange phase.
Letter from Kaine: I
have tried to control him. I talked to Dr. Sartorius who proscribed
Prozork for him but he refuses to take it. He has been searching my
room, reading my private papers and he is suspicious of me. I have been
forced to lock my room. I am at a loss. He is in love with this girl.
Nothing I say or do will stop him. I try to be forceful but he is my
son. It is hard for me to deny him that which he wants most. I know it
is a phase and that it is best for him, still it is hard.
NOTE: When the player leaves Node 3F or 3G, the letters and/or report card return to their respective drawers. |
14.05.01.02 The
Right Drawer - The Kaine Letters If the player clicks on the right drawer, it opens [animation_actor]. The player clicks on the bundle of letters inside, and they untie [animation_actor]. The letters then fill the screen. If the player clicks on the bundle or on a letter it will flip to the next letter in sequence [animation_actor]. When the player clicks outside of a letter, they return to their bundle [animation_actor]. All the letters are from Kaine [text_actors]. Letter: Sophia please
forgive me. I made a mistake. I know it would be
a cliche to say that it meant nothing to me — but it is true. I know
that I am not communicative in the way you want me to be. I love you.
Please forgive me. I will do anything for your forgiveness.
Letter and check: Sophia, I have
enclosed a check for 750,000 Zorkmids
for the improvement of the stage. Please take this as a token for my
plea for forgiveness.
Letter from battle: Sophia, it is rainy
and grim here. The fields are
muddy and littered with corpses. I am tired of this, and all I want in
the world is to return to my castle and back to you. The Battle at
Flood Control Dam #3 was more brutal than I expected. Baron Von Zandt
and his Grue hordes somehow had found out about my strategy. Our
surprise attack was foiled, and I lost half my men. Von Zandt is
becoming more and more powerful. Unless I do something, he may gain
control of the entire terrain. Morale is low. The worst are the amn
night attacks of the Grues. We barely have enough torches to light a
fourth of our camp for more than a few more nights.
Letter from battle: Sophia, the battle
against the Grues continues, and
I believe we are winning. Lieutenant Ramsey is a loyal and fierce
warrior and has proved an effective leader; I will make him the keeper
of my castle if we escape this war alive. I miss you and I think about
you constantly. We must finally be together. Sophia, will you please
check in on Lucien. I know that you are uncomfortable around him, but I
have not heard from him, and I am concerned. He is going through a
strange phase.
Letter from Kaine: I have tried to
control him. I talked to Dr.
Sartorius who proscribed Prozork for him but he refuses to take it. He
has been searching my room, reading my private papers and he is
suspicious of me. I have been forced to lock my room. I am at a loss.
He is in love with this girl. Nothing I say or do will stop him. I try
to be forceful but he is my son. It is hard for me to deny him that
which he wants most. I know it is a phase and that it is best for him,
still it is hard.
NOTE: When the player leaves Node 3F or 3G, the letters and/or report card return to their respective drawers. |
Letters from Kaine: VE3FB31A (politics/love – letter from battle) Font: Tiger Rag SHOULD BE FILTHY AND RUMPLED Augur 14, 935 Sophia, It is rainy and grim here. The fields are muddy and littered with corpses. I am tired of all this. All I want in the world is to return to my castle. The battle at Flood Control Dam number 678 was more brutal than I expected. Ellron, backed by the Enchanters, has discovered some magical scroll which causes weapons to turn to fudge. It is disheartening and sticky. Thinking of you, Kaine VE3FB41A (sympathy for Kaine/why stop romance – letter from battle) Font: Tiger Rag SHOULD BE FILTHY AND RUMPLED Jam 2, 943 Sophia, I am close to giving up on my son. Lately, he has become increasingly paranoid, searching my room, reading private papers. I am at a loss. He is in love with that girl and nothing I say will stop him. I try to be forceful but he is my son. It is hard for me to deny him that which he wants most. K. VE3FB51A Font: Tiger Rag SHOULD BE FILTHY AND RUMPLED Mumberbur 14, 940 S --And so the holidays pass, and still, we are nowhere near each other. Liz and I are fighting again, which does dampen the festivities somewhat. It's not that she questions my formal loyalties to her and my family -- she knows I will never leave her -- but I suppose I can hardly blame her if she feels my heart is a bit -- distracted. You know, better than any, how I hate to discuss these matters -- as if I were a gossiping girl. I live where I live, and I love whom I love. Praise Yoruk -- that is all there is to say on the subject --K. |
Augur 14, 935 Sophia, It is rainy and grim here. The fields are muddy and littered with corpses. I am tired of all this. All I want in the world is to return to my castle. The battle at Flood Control Dam number 678 was more brutal than I expected. Ellron, backed by the Enchanters, has discovered some magical scroll which causes weapons to turn to fudge. It is disheartening and sticky. Liz wrote that she is considering spending the fall at her mother's villa in Antharia. Say the word and I will further convince her to make the retreat to the restorative island clime. For her health, you know -- and for mine. Kaine Jam 2, 943 Sophia, You say I seem wrathful -- Aye, that and far beyond -- I am close to giving up on my son. Lately, Lucien has become supicious -- nearly paranoid -- searching my room, pilfering my private papers. I am at a loss. He is in love with that girl -- your precious "prodigy," I know -- and nothing I say will stop him. You say to be forceful -- and I try -- but he is my only son. It is hard for me to deny him that which he wants most. So, what then? K. |
References to Baron Von/Van Zandt and his Grue hordes should be replaced with "Lord Ellron and his men" or "Lord Ellron and his trollish mercenaries", in each reference throughout his letters. |
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| 14.05.02
The Bookstand At Node 4 is a bookstand containing a closed book titled "On Music and Perfection". The player can click on the book at 4B to get a CLOSE-UP of the book [4E]. The player can click on the book in the CLOSE-UP to open the book to a bookmark [animation_actor] and read the passage [text_actor]. The player must click on the book again to close it. NOTE: The book is only visible from Node 4E due to wooden rails around the top of the bookstand. Above the book is a photo of Alexandria's class. Clicking on the photo at 4A brings a CLOSE-UP of the photo into view [4F]. The photo is in two sections. One section has a series of eight pictures, each with a different student in it. Alexandria is in the center, smiling brightly. The second part of the image is a group photo. Alexandria is off to the side; she is slightly separated from the other girls. |
14.05.02 The
Bookstand At Node 4 is a bookstand containing a closed book titled "On Music and Perfection". The player can click on the book at 4B to get a CLOSE-UP of the book [4E]. The player can click on the book in the CLOSE-UP to open the book to a bookmark [animation_actor] and read the passage [text_actor]. The player must click on the book again to close it. NOTE: The book is only visible from Node 4E due to wooden rails around the top of the bookstand. Above the book is a photo of Alexandria's class. Clicking on the photo at 4A brings a CLOSE-UP of the photo into view [4F]. The photo is in two sections One section has a series of eight pictures, each with a different student in it. Alexandria is in the center, smiling brightly. The second part of the image is a group photo. Alexandria is off to the side; she is slightly separated from the other girls. |
BOOK STAND: On Music and Perfection: Musings on the Power of Melody VE5JB21A INSIDE HARMONY OF THE SPHERES (FOR SOPHIA -- this is from alchtext b) NEUTRAL BOOK TEXT that the Whole of Astrologie is an Arte Musicall, which Reflecteth the operations and effects of the Musicall Note. The Pure Sound, the Subtile Light, the Secrete Influence of the Harmony of the Stars and Planets Dwells in every Element. Of all the Music of the Spheres, this is the Greatest: Only the One Harmony of the Spheres has the power to hold and fix the Celestiall Influences, to keep them from recoyling back into their Divyded, Inanimate Spheres. In this Simple Way of Nature is the Mastery is to be Attained. But What is the Harmony, and How is it to be Discovered? There is in Music a certain Melody, a Singular Array of Notes, which, when Played with a Pure Hand, applyes itself to Matter. By this Arte may the One Spirit be united to the Universall, and cause a Chain of Perfect Effect and Proportion. For the Magicall Properties of the Music of the Spheres draw entirely from the Perfection of Musicall Proportions. The String of the Instrument is the Limpid Spirit of Man, Extending from the Implementors to the Earth, and Partaking of both Extremes. Musicall Notes that Lie along this String Note the Stages of the Spirit as it Desends into the Corpus, and Climbs back to the Implementors after Death. If this Scale is played in the Order True and Desined, the Limpid String passes through Terra, Aqua, Aer, Ignis -- each Element on the Earth: Within Two Octaves -- That of Matter and of Spirit -- the Ordering of the Elements is the Ordering of the Notes along the String. When the Musician Hears the Harmony of the Spheres and yet Plays in Error, the Cosmos Reflects this Discord: But what Bliss (Just cut from the top, Scott.) (There's two more Conservatory books) MUSINGS ON POWER OF MELODY (FOR SOPHIA) when the Magicall Properties of the Music of the Spheres draw entirely from the Perfection of Musicall Proportions. The String of the Instrument is the Limpid Spirit of Man, Extending from the Implementors to the Earth, and Partaking of both Extremes. Musicall Notes that Lie along this String Note the Stages of the Spirit as it Desends into the Corpus, and Climbs back to the Implementors after Death. If this Scale is playÕd in the Order True and Desined, the Limpid String passes through Terra, Aqua, Aer, Ignis -- each Element on the Earth: Within Two Octaves -- That of Matter and of Spirit -- the Ordering of the Elements is the Ordering of the Notes along the String. When the Musician Hears the Harmony of the Spheres and yet Plays in Error, the Cosmos Reflects this Discord: But what Bliss |
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| 14.05.03
The Side Table, Jeweled Box & Tuning Fork On a side table visible from 5D sits a small jeweled box. The player can click on this view to get a CLOSE-UP of the box [5E]. Clicking on the CLOSE-UP opens the box to reveal an silver tuning fork engraved "With Love, — K" [animation_actor, text_actor]. The fork rotates and floats toward the player's POV. The player must click on the tuning fork to turn it into a cursor_object. NOTE: The arrangement of objects on the side-table prevents the player from seeing the state of the box (open or closed) unless the player is at 5E. |
14.05.03
The Side Table, Jeweled Box & Tuning Fork On a side table visible from 5D sits a small jeweled box. The player can click on this view to get a CLOSE-UP of the box [5E]. Clicking on the CLOSE-UP opens the box to reveal an silver tuning fork engraved "With Love, — K" [animation_actor, text_actor]. The fork rotates and floats toward the player's POV. The player must click on the tuning fork to turn it into a cursor_object. NOTE- The arrangement of objects on the side-table prevents the player from seeing the state of the box (open or closed) unless the player is at 5E. |
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| 14.05.04
The Piano & Tuning Fork Holder In the corner of the office stands a grand piano with its top propped open. The player can see the open keyboard from 6C and can click on the keyboard to get a CLOSE-UP of it [6E]. Its keyboard lid is raised. To the left of the keyboard is a small polished wooden block with a hole in it. Clicking on the block with the tuning fork cursor_object puts the base of the tuning fork into the holder and rings it [animation_actor, audio_actor]. NOTE: The tuning fork base and tuning fork are only visible from 6E. The player can click on the tuning fork again to hear the sound producing a tone as it oscillates [animation_actor] and hums [audio_actor]. The tone is tinny and clear -- like the sound of a piano. The player then depresses the keys on the piano [animation_actors, audio_actors]. The piano keys return to their original position when the player releases the mouse button. The player attempts to match the tone of the tuning fork with the individual piano keys [audio_actor]. Several of the keys produce no sound. When the appropriate key is reached, however, the player hears a something metallic drop inside the piano instead of the correct tone [audio_actor]. The player must return to Node 5 and click on the back of the piano at 5B to get a CLOSE-UP of it [5F]. The player must click again on the CLOSE-UP to get an EXTREME CLOSE-UP of small section of the soundboard and strings [5F]. Inside the piano at Node 5F, the player finds a small knob at the base of the hammers. The player clicks on the knob, and it becomes a [cursor_object]. The knob has a distinctive shape and the player will realize that it fits into the hole in the base of the gas lamp on the desk. |
14.05.04
The Piano & Tuning Fork Holder In the corner of the office stands a grand piano with its top propped open. The player can see the open keyboard from 6C and can click on the keyboard to get a CLOSE-UP of it [6E]. Its keyboard lid is raised. To the left of the keyboard is a small polished wooden block with a hole in it Clicking on the block with the tuning fork cursor_object puts the base of the tuning fork into the holder and rings it [animation_actor, audio_actor]. NOTE: The tuning fork base and tuning fork are only visible from 6E. The player can click on the tuning fork again to hear-the sound producing a tone as it oscillates [animation_ actor] and hums [audio_actor]. The tone is tinny and clear -- like the sound of a piano. The player then depresses the keys on the piano [animation-actors, audio_actors]. The piano keys return to their original position when the player releases the mouse button. The player attempts to match the tone of the tuning fork with the individual piano keys [audio_actor]. Several of the keys produce no sound. When the appropriate key is reached, however, the player hears a something metallic drop inside the piano instead of the correct tone [audio_actor]. The player must return to Node 5 and click on the back, f the piano at 5B to get a CLOSE-UP of it [5F]. The player must click again on the CLOSE-UP to get an EXTREME CLOSE-UP of small section of the soundboard and strings [5F]. Inside the piano at Node 5F, the player finds a small knob at the base of the hammers. The player clicks on the knob, and it becomes a [cursor_object]. The knob has a distinctive shape and the player will realize that it fits into the hole in the base of the gas lamp on the desk. |
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| 14.05.05
The Blotter Blueprint When the player inserts the knob into the base of the gas lamp at 3E, and pulls the sparker chain [animation_actor], the lamp glows on [animation_actor] and reveals previously invisible markings on the blotter [animation_actor]. It is a blueprint of the side view of the Conservatory that indicates that the building has one additional level below the Auditorium and Stage, including a prop room and a boiler room [text_actor]. An arrow below the Boiler Room points downward and "5:20" has been scratched into the blueprint below the Boiler Room [text_actor]. NOTE: The modified blotter is only visible from 3E. This is to avoid game state problems. |
14.05.05
The Blotter Blueprint When the player inserts the knob into the base of the gas lamp at 3E, and pulls the sparker chain [animation_actor], the lamp glows on [animation_actor] and reveals previously invisible markings on the blotter [animation_actor]. It is a blueprint of the side view of the Conservatory that indicates that the building has one additional level below the Auditorium and Stage, including a prop room and a boiler room [text_actor]. An arrow below the Boiler Room points downward and "5:20" has been scratched into the blueprint below the Boiler Room [text_actor]. NOTE: The modified blotter is only visible from 3E. This is to avoid game state problems. |
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| 14.05.06
The Record Bin Near the door at 7D is a wooden record bin, The player can click on it to get a close-up of it [7E]. From here, the player can flip through 5 or 6 records though she may take only two: "Introduction to the Zorchestra" (containing clues to the Practice Room Puzzle) and "Alexandria Wolfe: Debut" (containing clues to the Orchestra Pit puzzle). |
14.05.06
The Record Bin Near the door at 7D is a wooden record bin, The player can click on it to get a close-up of it [7E]. From here, the player can flip through 5 or 6 records though she may take only two: "Introduction to the Zorchestra" (containing clues to the Practice Room Puzzle) and "Alexandria Wolfe: Debut" (containing clues to the Orchestra Pit puzzle). |
RECORD BIN: --J.S. Flathead's Concerto for Woodwinds and Waterfalls --Overture for Rack and Pendulum |
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| 14.06
The Lounge The player ascends the staircase from the Lobby and finds herself in the second level Lounge area. Between the two levels is a landing and archway [at 1C] which the player click on to go down the stairs to the Practice Room gallery [animation_actor]. The Lounge is directly above the lobby and its center is open to the Lobby below. On the far wall is Sophia's Bedroom, to the R is an open door to a large student Dormitory. At the head of the stairs [between Nodes 2 and 3] are two brass pillars and a theatre rope with a sign marked "Private" [text_actor]. The player can squeeze by them to get to the corridor beyond. A similar rope and sign setup appears between Nodes 5 and 8. The player can enter the open doorway at Node 4B to enter the Dormitory or open the door at Node 5A to enter Sophia's Chambers. A door in the wall at 6A opens only from the inside (Auditorium Boxes). As the player enters the Lounge, she hears the sound of violin music coming from the student dormitory [audio_actor]. |
14.06 The Lounge The player ascends the staircase from the Lobby and finds herself in the second level Lounge area. Between the two levels is a landing and archway [at 1C] which the player click on to go down the stairs to the Practice Room gallery [animation_actor]. The Lounge is directly above the lobby and its center is open to the Lobby below. On the far wall is Sophia's Bedroom, to the R is an open door to a large student Dormitory. At the head of the stairs [between Nodes 2 and 3] are two brass pillars and a theatre rope with a sign marked "Private" [text_actor]. The player can squeeze by them to get to the corridor beyond. A similar rope and sign setup appears between Nodes 5 and 8. The player can enter the open doorway at Node 4B to enter the Dormitory or open the door at Node 5A to enter Sophia's Chambers. A door in the wall at 6A opens only from the inside (Auditorium Boxes). As the player enters the Lounge, she hears the sound of violin music coming from the student dormitory [audio_actor]. |
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| 14.07
The Student Dormitory The Student Dormitory contains:
Beds, desks and dressers line both sides of this long room. At 1C the player sees the Dormitory continue on for 20 more sections but her way is blocked by a sofa. All the beds are made and the dressers are neat. Only one bed [at Node 4] bear any signs of recent use. Unlike the other areas, this space contains a vanity as well as a dresser. Hanging above the dresser is a picture of Alexandria as a child with a violin. She is standing next to a group of monks. She looks happy and proud. |
14.07
The Student Dormitory The Student Dormitory contains:
Beds, desks and dressers line both sides of this long room. At 1 C the player sees the Dormitory continue on for 20 more sections but her way is blocked by a sofa. All the beds are made and the dressers are neat. Only one bed [at Node 4] bear any signs of recent use. Unlike the other areas, this space contains a vanity as well as a dresser. Hanging above the dresser is a picture of Alexandria as a child with a violin. She is standing next to a group of monks. She looks happy and proud. |
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| 14.07.01
Sophia Counsels Alexandria Hallucination - LIVE ACTION SEQUENCE On the bed is a small mirror and a doll. If the player clicks on the mirror she will see a flashback of Sophia and Alexandria. Sophia is in a black void, lit only by the light of an oil lamp. She talks quietly, regressing into her heart. She speaks with thought and deep commitment. SOPHIA
I know the power of love. It attacks your
heart until you have no power to fight. Sometimes it picks men who'll
only hurt you. It becomes stronger than you, and sometimes you end up
doing stupid things, enduring infidelities... and still there's nothing
you can do because you love
him.She realizes she is revealing more than she wants to, and smiles wanly. The camera angle now changes to reveal THE BED. Sophia is talking to Alexandria, who lies in the bed. Sophia sits on its edge. ALEXANDRIA
I'm in love with Lucien, and that's my business.SOPHIA
Alexandria,
I want you to find love. But I don't want you lose anything by finding
it. I was a pianist. I wasn't like you--a genius--but some thought I
had talent. Some thought I could be... great. And I gave it up because
I thought I was in love.ALEXANDRIA
I want to make my own mistakes.SOPHIA
I listen to your music, to the passion and brilliance of it, and I know
that you are not ordinary. Don't you see that?(continues, undaunted) Sophia leans forward and puts her hands on Alexandria's arms. SOPHIA
You are brilliant. Important.(whispers)
Magical. Please don't throw away this power.ALEXANDRIA
I won't. I'll always play the violin. Even after I die. I'll play.SOPHIA
It's not worth it. Let him wait. Please. Don't leave.She gets up, kisses Alexandria on the forehead, and picks up the lamp to leave as the scene fades. |
14.07.01
Sophia Counsels Alexandria Hallucination - LIVE ACTION SEQUENCE On the bed is a small mirror and a doll. If the player clicks on the mirror she will see a flashback of Sophia and Alexandria. Sophia is in a black void, lit only by the light of an oil lamp. She talks quietly, regressing into her heart. She speaks with thought and deep commitment. SOPHIA
I know the power of love. It attacks your
heart until you have no power to fight. Sometimes it picks men who'll
only hurt you. It becomes stronger than you, and sometimes you end up
doing stupid things, enduring infidelities... and still there's nothing
you can do because you love
him.She realizes she is revealing more than she wants to, and smiles wanly. The camera angle now changes to reveal THE BED. Sophia is talking to Alexandria, who lies in the bed. Sophia sits on its edge. ALEXANDRIA
I'm in love with Lucien, and that's my business.SOPHIA
Alexandria,
I want you to find love. But I don't want you lose anything by finding
it. I was a pianist. I wasn't like you--a genius--but some thought I
had talent. Some thought I could be... great. And I gave it up because
I thought I was in love.ALEXANDRIA
I want to make my own mistakes.SOPHIA
I listen to your music, to the passion and brilliance of it, and I know
that you are not ordinary. Don't you see that?(continues, undaunted) Sophia leans forward and puts her hands on Alexandria's arms. SOPHIA
You are brilliant. Important.(whispers)
Magical. Please don't throw away this power.ALEXANDRIA
I won't. I'll always play the violin. Even after I die. I'll play.SOPHIA
It's not worth it. Let him wait. Please. Don't leave.She gets up, kisses Alexandria on the forehead, and picks up the lamp to leave as the scene fades. |
In reference to Sophia's extremely affectionate comments, I find it hard to understand why they have been so nurturing of her when they know they have to kill her. In fact, why have they let her lead any kind of life at all? Perhaps some alchemical text in the game should provide an explanation in the fact that the sacrifice needs to be a normal human in all respects. Even this however would not account for how badly Sophia seems to have prevented herself from becoming attached to the victim. |
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| 14.07.02
The Doll If the player clicks on the doll, she gets a CLOSE-UP of it [4F] and sees a tag reading "To my darling Alexandria. Love, Sophia" [text_actor]. If the player clicks on the doll in close-up it turns into a frightening apparition of the Nemesis [animation_actor]. |
14.07.02
The Doll If the player clicks on the doll, she gets a CLOSE-UP of it [4F] and sees a tag reading "To my darling Alexandria. Love, Sophia" [text—actor]. If the player clicks on the doll in close-up it turns into a frightening apparition of the Nemesis [animation_actor]. |
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| 14.07.03 The
Floorboard Hiding Place At Node 4C the player will notice a oddly colored floorboard. The player can click on the floorboard to get a TILT-DOWN view of the floorboard [4M]. If the player clicks on the floorboard at 4M the floorboard moves aside [animation_actor, audio_actor] to reveal a bundle of love notes. The player can click on these notes rise to the player's POV, then shuffle them to see each individual note [animation_actors]. Clicking outside the notes return them to the hiding place [animation_actor]. When the player moves back from the floorboard, the letters return to the hiding place and the floorboard slips back into place with a creak [animation_actor, audio_actor]. |
14.07.03 The
Floorboard Hiding Place At Node 4C the player will notice a oddly colored floorboard. The player can click on the floorboard to get a TILT-DOWN view of the floorboard [4M]. If the player clicks on the floorboard at 4M the floorboard moves aside [animation_actor, audio_actor] to reveal a bundle of love notes. The player can click on these notes rise to the player's POV, then shuffle them to see each individual note [animation_ actors]. Clicking outside the notes return them to the hiding place [animation_actor]. When the player moves back from the floorboard, the letters return to the hiding place and the floorboard slips back into place with a creak [animation_actor, audio_actor]. |
VK4MB21A Looking at floorboards/ add some text VK4MB31A (Lucien suspicious: flee) Dismembur 12, 944 Alexandria, I know there is something going on with my father. At first I thought it was something to do with Thaddium. Now I think it is something even more dangerous. We must go. Lucien VK4MB41A (separate lovers) Font: Rage Italic Suspendur 1, 944 Dear girl, Please do not be upset. Madame Sophia wants the best for you. We all believe in your magical talent. You are one of those people for whom life has chosen a special destiny. Be pure of heart and spirit. Your loving father Alexandria, My father wants me to join his army in their fight against the Enchanter’s Guild and Ellron. Magic and Power and Politics. When did things get so complicated and corrupt? My father says he fights in the name of honor and truth. No truth I know of. Medicine, Education, Law and Religion; they mean nothing to me. My only truth is you and your music. Lucien |
Dismembur 12, 944 Alexandria – I know there is something going on with my father. I am sure of it. At first, I thought it was something to do with Thaddium, and his tiresome battles with Ellron. Now I suspect it is far more dangerous than that. My father would not harm us -- but I fear he cannot save us, either. We must go, love. Remember -- you once trothed to spend the rest of your life with me -- That life begins at sunset, three days hence -- and then, an eternity. Beyond that, what care I? Your own Lucien. Suspendur 1, 944 My dear girl, Please do not be upset. Madame Sophia wants only the best for you. You will always be my child, my only family. But you must always remember that you are one of those people for whom life has chosen a special destiny. We all believe in your magical talent. Be pure of heart and spirit, and I shall always be Your loving father Alexandria, My father wants me to join his army in their fight against the Enchanter’s Guild and Ellron. Always Ellron! He's been our nemesis for so long, I feel as if I know him -- and his black magicians -- intimately. Magic and Power and Politics. When did things get so complicated and corrupt? My father says he fights in the name of honor and truth. No truth I know of. Medicine, Education, Law and Religion; they mean nothing to me. My only truth is you and your music. Lucien |
[early version - this is not part of Ruffini's notes, but column is being used for another version of the List of Text material] I paint, I write, I draw and I miss you. My father wants me to join his army in their fight against the Enchanter's Guild and Ellron. Magic and Power and Politics. When did things get so complicated and corrupt? In the name of Truth. No truth I know of. Medicine, Education, Law and Religion; they mean nothing to me. My only truth is you and your music. L |
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| 14.07.04
The Seascape Painting The player sees a painting hanging above Alexandria's bed at 4B. It is a dainty picture: a tame seascape with soft, pastel colors. The player can click on the painting to get a CLOSE-UP of it [4G]. As the player examines the painting further, however, she notices that at the corner of the painting, there are some marks of magenta, red and black inconsistent with the tone of the image. If the player clicks on the original painting anywhere besides the special area, the player returns to normal room view. When the player clicks on this tiny portion, the section zooms into close up view [animation_actor]. This is clearly not a portion of the seascape painting — it is a piece of another painting that is hidden behind it. When the player clicks again, she is rewarded with a [animation_actor]in which the painting zooms out and the hidden painting appears in front of the seascape briefly. The painting was created by Lucien. It is an erotic and blazing sketch of two lovers. It is signed with an unintelligible scrawl that appears to start with an "L". The painting dissolves and for a few seconds, the player sees Alexandria and Lucien, their naked bodies intertwined [video actor]. The bodies dissolve and disappear into two wisps of smoke which drift up and are gone [qt_actor]. The player is left examining the erotic painting devoid of its subjects. Clicking anywhere returns the player to the view from Node 4B. |
14.07.04
The Seascape Painting The player sees a painting hanging above Alexandria's bed at 4B. It is a dainty picture: a tame seascape with soft, pastel colors. The player can click on the painting to get a CLOSE-UP of it [4G]. As the player examines the painting further, however, she notices that at the corner of the painting, there are some marks of magenta, red and black inconsistent with the tone of the image. If the player clicks on the original painting anywhere besides the special area, the player returns to normal room view. When the player clicks on this tiny portion, the section zooms into close up view [animation_ actor]. This is clearly not a portion of the seascape painting — it is a piece of another painting that is hidden behind it. When the player clicks again, she is rewarded with a [animation_actor] in which the painting zooms out and the hidden painting appears in front of the seascape briefly. The painting was created by Lucien. It is an erotic and blazing sketch of two lovers. It is signed with an unintelligible scrawl that appears to start with an "L". The painting dissolves and for a few seconds, the player sees Alexandria and Lucien, their naked bodies intertwined [video_actor]. The bodies dissolve and disappear into two wisps of smoke which drift up and are gone [qt_actor]. The player is left examining the erotic painting devoid of its subjects. Clicking anywhere returns the player to the view from Node 4B. |
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| 14.07.05
The Music Box The player finds a music box on the dresser at Node 4. If the player clicks on the box she will get a CLOSE-UP of it [4E]. It is engraved with an elaborate miniature orchestra, and, at its center, is a violinist. When the player clicks on a small crank at 4E, the crank turns, the box opens [animation_actor] and a mechanical violin plays a beautiful melody [audio_actor]. NOTE: The cover and interior of the music box is visible only from Node 4E. |
14.07.05
The Music Box The player finds a music box on the dresser at Node 4. If the player clicks on the box she will get a CLOSE-UP of it [4E]. It is engraved with an elaborate miniature orchestra, and, at its center, is a violinist. When the player clicks on a small crank at 4E, the crank turns, the box opens [animation_ actor] and a mechanical violin plays a beautiful melody [audio_actor]. NOTE: The cover and interior of the music box is visible only from Node 4E. |
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| 14.07.05.01
The Broken Necklace If the player clicks on the miniature orchestra it will open to reveal a broken silver necklace and locket [animation_actor]. |
14.07.05.01 The
Broken Necklace If the player clicks on the miniature orchestra it will open to reveal a broken silver necklace and locket [animation_actor]. |
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| 14.07.05.02
Hallucination: The Locket - LIVE ACTION SEQUENCE If the player clicks on the broken locket at 4E, she gets a CLOSE-UP of the locket, and see that it contains a minute picture of a violin on it. And a picture of Alexandria's mother, Zoe Wolfe. If the player clicks on the close-up, we DISSOLVE to a matching shot of the real violin on the floor of the stage, a bow next to it. The CAMERA PICKS OUT an unbroken locket next to the violin as a hand reaches into the frame to pick it up. The scene CUTS on this movement to a MEDIUM WIDE SHOT of Lucien in the background and Alexandria in the foreground. Alexandria coolly studies Lucien - who stands nearer center stage - like he's an object. He's lowered his shirt for her gaze. He's very awkward and self-conscious. Alexandria moves away from the camera to join Lucien. CUT TO A MEDIUM 2-SHOT of the two lovers. LUCIEN
I feel like a fool.ALEXANDRIA
Mmm. A beautiful fool.She thrusts her arm at him - a delicate silver chain spills out of her clenched fist. She opens it and shows him a locket. ALEXANDRIA
It's for you. I want you to wear it.He nods, transfixed. She rises on tiptoe to clasp the locket around his neck. Their faces are close -- and moving closer, into an embrace. But... SOPHIA O.S.
Alexandria.(calmly) Lucien pulls back, guiltily. The moment is broken, but Alexandria still tries to kiss Lucien -- to spite the meddling Sophia. Lucien refuses, drawing his shirt back on. SOPHIA
Lucien.(staring as he
dresses)
What a ... pleasant ... surprise.(to Alexandria)
Your locket.Lucien, very self-conscious, slips the locket from around his neck. SOPHIA
I've never seen it off you.Alexandria won't deign to answer. Sophia takes the locket in her hand, pretending to admire it. SOPHIA
It's lovelyThen she "accidentally" drops it. SOPHIA
(feigned upset)
Oh!The broken part of the locket falls on the floorboards, bounces, then slides through a crack in the floor. The player's POV instantly shifts to a room below the stage. Light from the stage above slivers through cracks in the floorboards. The broken piece of the locket tumbles through the crack and continues it's downward flight. It comes to rest on the floor, near a pool of water, glittering in the darkness. |
14.07.05.02
Hallucination: The Locket - LIVE ACTION SEQUENCE If the player clicks on the broken locket at 4E, she gets a CLOSE-UP of the locket, and see that it contains a minute picture of a violin on it. And a picture of Alexandria's mother, Zoe Wolfe. If the player clicks on the close-up, we DISSOLVE to a matching shot of the real violin on the floor of the stage, a bow next to it. The CAMERA PICKS OUT an unbroken locket next to the violin as a hand reaches into the frame to pick it up. The scene CUTS on this movement to a MEDIUM WIDE SHOT of Lucien in the background and Alexandria in the foreground. Alexandria coolly studies Lucien -who stands nearer center stage - like he's an object. He's lowered his shirt for her gaze. He's very awkward and self-conscious. Alexandria moves away from the camera to join Lucien. CUT TO A MEDIUM 2-SHOT of the two lovers. LUCIEN
I feel like a fool.ALEXANDRIA
Mmm. A beautiful fool.She thrusts her arm at him - a delicate silver chain spills out of her clenched fist. She opens it and shows him a locket. ALEXANDRIA
It's for you. I want you to wear it.He nods, transfixed. She rises on tiptoe to clasp the locket around his neck. Their faces are close -- and moving closer, into an embrace. But... SOPHIA O.S.
Alexandria.(calmly) Lucien pulls back, guiltily. The moment is broken, but Alexandria still tries to kiss Lucien -- to spite the meddling Sophia. Lucien refuses, drawing his shirt back on. SOPHIA
Lucien.(staring as he
dresses)
What a ... pleasant ... surprise.(to Alexandria)
Your locket.Lucien, very self-conscious, slips the locket from around his neck. SOPHIA
I've never seen it off you.Alexandria won't deign to answer. Sophia takes the locket in her hand, pretending to admire it. SOPHIA
It's lovelyThen she "accidentally" drops it. SOPHIA
(feigned upset)
Oh!The broken part of the locket falls on the floorboards, bounces, then slides through a crack in the floor. The player's POV instantly shifts to a room below the stage. Light from the stage above slivers through cracks in the floorboards. The broken piece of the locket tumbles through the crack and continues it's downward flight. It comes to rest on the floor, near a pool of water, glittering in the darkness. |
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| 14.07.06
The Desk & Posters When the player clicks on the desk she sees a CLOSE-UP of the folder on the desktop [4H]. If she clicks on the folder in the CLOSE-UP, it opens [animation_actor]. Inside the folder is a pile of 6 posters advertising performances at the Conservatory. Clicking outside the folder closes it [animation_actor]. If the player clicks on the pile of posters, the top will turn over to form a face down pile on the left [animation_actor]. If the player clicks on the folded over side, the previous poster will be visible [animation_actor]. There are six posters in all. The first five are all similar, each showing slightly different violins in different positions. They advertise Alexandria's concerts and recitals [text_actor]. The last one is of Alexandria's first performance. The poster shows a young Alexandria with the violin just like the ripped poster downstairs. Double clicking on this poster only turns it into a cursor_object. After exploring the dormitory, the player is motivated to get into the auditorium and to the stage where she believes she may find the locket and the special room indicated in the blueprint on the blotter in the Director's Office. NOTE: The top edge of a chair blocks the player from seeing the folder or posters from anywhere else in the room other than at 4H. |
14.07.06 The Desk
& Posters When the player clicks on the desk she sees a CLOSE-UP of the folder on the desktop [4H]. If she clicks on the folder in the CLOSE-UP, it opens [animation_ actor]. Inside the folder is a pile of 6 posters advertising performances at the Conservatory. Clicking outside the folder closes it [animation_actor]. If the player clicks on the pile of posters, the top will turn over to form a face down pile on the left [animation_actor]. If the player clicks on the folded over side, the previous poster will be visible [animation_actor]. There are six posters in all. The first five are all similar, each showing slightly different violins in different positions. They advertise Alexandria's concerts and recitals [text_actor]. The last one is of Alexandria's first performance. The poster shows a young Alexandria with the violin just like the ripped poster downstairs. Double clicking on this poster only turns it into a cursor_object. After exploring the dormitory, the player is motivated to get into the auditorium and to the stage where she believes she may find the locket and the special room indicated in the blueprint on the blotter in the Director's Office. NOTE: The top edge of a chair blocks the player from seeing the folder or posters from anywhere else in the room other than at 4H. |
Posters |
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| 14.07.07
The Vanity & The 2 Books If the player clicks on the books on top of the vanity from Node 4, she will get a CLOSE-UP of a book titled "The Path to Musical Perfection" [4K]. If the player clicks on the close-up, the book will open to the title page where the player will see a handwritten note "To Alexandria-- May you be as pure as your music. Love Sophia" [text_actor]. At 4L is another book with an elaborate cover. The player can click on the close-up to open it and read through several letter contained within it [animation_actors, text_actors]. NOTE: The books are only visible from Node 4L as they are screened by the contents of the vanity. |
14.07.07 The Vanity
& The 2 Books If the player clicks on the books on top of the vanity from Node 4, she will get a CLOSE-UP of a book titled "The Path to Musical Perfection" [4K]. If the player clicks on the close-up, the book will open to the title page where the player will see a handwritten note "To Alexandria-- May you be as pure as your music. Love Sophia" [text_actor]. At 4L is another book with an elaborate cover. The player can click on the close-up to open it and read through several letter contained within it [animation_actors, text_actors]. NOTE: The books are only visible from Node 4L as they are screened by the contents of the vanity. |
VK4KB11 The Musings on the Power of Melody/ Text Art VK4KB21A/ font of book/ inscription by Sophia Note: this is an ugly image: redo if possible Oracle 5, 939 Alexandria, the path to purification is through the magic of the notes. Love Sophia. VK4KB31A/ font of book Close up of book/ this one looks ok/ font of book VK4LB11A/ incorrect wide VK4LB31/font of book MUSINGS ON POWER OF MELODY (FOR ALEXANDRIA) (LEFT PAGE) As Nature worketh Joyously in this manner, so much more Joyously, when Musick is joined with Nature. For Musick prepareth the Soul for Nature, and prepareth the Soul for the End of Nature. For in the Soul are these Six Notes, and in these Six Notes wilt Thou Findeth the Soul of the World. In the Soul of the World is the One Soul of All Things Mysterium Magnum -- endless question and quest come to rest. (RIGHT PAGE) So Lies the Great Work of our Philosophie, to maketh in the Forme, in the Soul as in the Golde Chemicall, the One Perfection. More Naturall than Nature, more Vertuous than Vertue, more Pure than Purity -- the One Stone of the Five, the quint essentia. The Way of the Wise passes through the Twinne Temples of Nature and Musick in her Glorie and Workes. Six Notes! In All of Musick, there are but Six Notes of Consequence. Possess these Six Notes, and Thou wilt Possess the gloria mundi . The Darknesse of all Flesh will Flee from Thee -- and the Implementors will Brim Thy Coffers with the Richesse of the Eternities. Not even Yoruk has known this Gold, the Gold of Oblivion and Bliss, the Gold of Youth and Endlesse Return. PATH TO MUSICAL PERFECTION (FOR ALEXANDRIA) (LEFT PAGE) Whole dispositions, vertues, and naturall motions, depend on the Activitie of the heavens and the Harmony of the heavenly Spheres. These Harmonies linke the visible with the invisible -- causing the superiore, spirituall Essences to descende and converse below with the lower, corporeall Flesh. When this Occures, all of Nature grows in turn strangely exalted, bearing, for one Brefe Moment, the stamp of heavenly impression. In this One Moment we do see the elements of the world -- Terra, Aer, Aqua, Ignis -- Quicken with Animus, with Life, with Being. The Stellar Harmonies, the Music of the Cosmos, can be found in the simplest of melodie and chord, if the Order of the Notes reflects the true Order of the Spheres, both Fixed and Mutable. It is (RIGHT PAGE) If the true Order is Made Known, and the Harmony of the Spheres is Play'd with a Hand both Pure and Worthe, the Panacea -- Elixir of Life and One Quintessence -- will Appeare and the Great Work will Make of itself Manifest. Of this Greatnesse there can be no doubte: He that has once the flower of the sun, The perfect ruby, which he calls elixir Not only can do that, but by its virtue Can confer honour, love, respect, long life, Give safety, valour, yea, and victory To whom he will. In eight and twenty days I'll make an old man, of fourscore, a child. -- Ben Jonson |
MUSINGS ON POWER OF MELODY (FOR ALEXANDRIA) As Nature worketh Joyously in this manner, so much more Joyously, when Musick is joined with Nature. For Musick prepareth the Soul for Nature, and prepareth the Soul for the End of Nature -- which is the Great Work of our Philosophie, to maketh in the Forme, in the Soul as in the Golde Chemicall, more Naturall than Nature, more Vertuous than Vertue, more Pure than Purity -- the One Perfect Stone of the Five, thequint essentia. Six Notes! In All of Musick, there are but Six Notes of Consequence. Possess these Six Notes, and Thou wilt Possess the gloria mundi -- and the Darknesse of all Flesh will Flee from Thee -- and the Implementors will Brim Thy Coffers with the Richesse of the Eternities. Not even Yoruk has known this Gold, the Gold of Oblivion |
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| 14.08
Sophia's Chambers Leading W from the Lounge is Sophia's Bedroom. The player explores Sophia's chambers to find that the headmistress has feminine and classic taste. Her room is appointed with ornate furniture. On the wall she has various paintings of water nymphs and seascapes. |
14.08 Sophia's
Chambers Leading W from the Lounge is Sophia's Bedroom. The player explores Sophia's chambers to find that the headmistress has feminine and classic taste. Her room is appointed with ornate furniture. On the wall she has various paintings of water nymphs and seascapes. |
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| 14.08.01
Hallucination: Kaine and Sophia Forever - LIVE ACTION SEQUENCE The player enters an area surrounded by a maze of sheer white privacy screens to find an ornate claw-foot bathtub with an engraved "S" on the bottom interior of the tub. If the player clicks on the "S", the scene CUTS TO a close-up of the bottom of the tub as water fills it. As the water fills the player's POV the scene DISSOLVES to a MEDIUM SHOT of Kaine taking a bath in the tub, his body largely obscured by the rim of the tub, the steam in the room. The scene PULLS BACK to show the silhouette of Sophia behind the sheer white screen. She holds a flower. SOPHIA
I'll have him.(dryly) She drops the petal and plucks another: SOPHIA
I'll have him not.She drops and plucks. SOPHIA
I'll have him...Sophia comes out from behind the screen, the clinging gown covering her body and backlit by the strong light. She crosses to Kaine, then bends down to him in the bathtub. She runs the flower over his chest. She plucks a petal, her smile lascivious, her tone mocking. She drops the petal on his belly and plucks another: SOPHIA
...Not.(sexual, teasing) He takes the flower from her and tosses it to the floor. KAINE
Stop.He laces his fingers through her pearl necklace and slowly pulls her face towards his. They kiss, then draw apart, but he keeps his hold on the necklace. KAINE
You make me wild.She brings her lips teasingly close to his mouth. SOPHIA
As wild as...(then his earlobes)
your...(impressed)
two young mistresses?He looks surprised but unashamed. They arouse each other by their exchange. KAINE
Only two?SOPHIA
I have eyes everywhere and I know all your games.KAINE
I should beat you for your impudence.(sexual, teasing) SOPHIA
I should beat you for your faithlessness. But I don't care.Her tone is sensual. This thought really excites her. SOPHIA
Because
you and I are going to be together forever. And when your young
mistresses are old -- when lust is just a dim memory -- and all they
care about is finding food soft enough for their toothless gums...Sophia climbs into the tub with Kaine. SOPHIA
We'll still be just like this. Just like this.She's incredibly erotic, moving on top of him. As the scene ends, the pair sink down into the tub together, and the scene dissolves to the player's original POV of the tub. |
14.08.01
Hallucination: Kaine and Sophia Forever - LIVE ACTION SEQUENCE The player enters an area surrounded by a maze of sheer white privacy screens to find an ornate claw-foot bathtub with an engraved "S" on the bottom interior of the tub. If the player clicks on the "S", the scene CUTS TO a close-up of the bottom of the tub as water fills it. As the water fills the player's POV the scene DISSOLVES to a MEDIUM SHOT of Kaine taking a bath in the tub, his body largely obscured by the rim of the tub, the steam in the room. The scene PULLS BACK to show the silhouette of Sophia behind the sheer white screen. She holds a flower. SOPHIA
I'll have him.(dryly) She drops the petal and plucks another: SOPHIA
I'll have him not.She drops and plucks. SOPHIA
I'll have him...Sophia comes out from behind the screen, the clinging gown covering her body and backlit by the strong light. She crosses to Kaine, then bends down to him in the bathtub. She runs the flower over his chest. She plucks a petal, her smile lascivious, her tone mocking. She drops the petal on his belly and plucks another: SOPHIA
...Not.(sexual, teasing) He takes the flower from her and tosses it to the floor. KAINE
Stop.He laces his fingers through her pearl necklace and slowly pulls her face towards his. They kiss, then draw apart, but he keeps his hold on the necklace. KAINE
You make me wild.She brings her lips teasingly close to his mouth. SOPHIA
As wild as...(then his earlobes)
your...(impressed)
two young mistresses?He looks surprised but unashamed. They arouse each other by their exchange. KAINE
Only two?SOPHIA
I have eyes everywhere and I know all your games.KAINE
I should beat you for your impudence.(sexual, teasing) SOPHIA
I should beat you for your faithlessness. But I don't care.Her tone is sensual. This thought really excites her. SOPHIA
Because
you and I are going to be together forever. And when your young
mistresses are old -- when lust is just a dim memory -- and all they
care about is finding food soft enough for their toothless gums...Sophia climbs into the tub with Kaine. SOPHIA
We'll still be just like this. Just like this.She's incredibly erotic, moving on top of him. As the scene ends, the pair sink down into the tub together, and the scene dissolves to the player's original POV of the tub. |
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| 14.08.02
Sophia's Alchemy Book The player continues to explore her room and finds a cryptic book on top of a dressing table. The player clicks and the book opens [animation_actor]. The first page shows a strange device. If the player notes the strange device, she will learn the secrets of distillation and use of mandrake and roots [text_actor]. The process involves purifying the essences of items from nature to make the sacred copper. Turning the page, the player finds some letters [text_actor]and a rough sketch. Sketch on Asylum letterhead: With four elements: Water is circled for Sophia. Letter from Kaine: As you say, Dr.
Sartorius is a strange but fascinating man.
I agree he has ideas that while almost fanatical, could be the final
solution. As you know, I am not prone to dappling into strange
self-indulgent philosophies or experiments, but this might be finally
the means of securing ultimate power.
Sartorius letter: Madame
Sophia,
I have much to prepare. I don't think you understand the intricacies of this philosophy. This is not cooking, this is science. This is the true mystery of life. Nonetheless, I agree. We cannot wait anymore. We must take a risk. The Temple of Accardi. Malveaux letter: I have spoken to Dr.
Sartorius, and we are both ready. My
fevers are worse, and now I constantly burn. I have very little time
left, and I am ready to begin my leap of faith.
Kaine letter: General Von Zandt is
at my gates, threatening to destroy the little
power I have left. You are right — we must act now.
|
14.08.02 Sophia's
Alchemy Book The player continues to explore her room and finds a cryptic book on top of a dressing table. The player clicks and the book opens [animation_actor]. The first page shows a strange device. If the player notes the strange device, she will learn the secrets of distillation and use of mandrake and roots [text_actor]. The process involves purifying the essences of items from nature to make the sacred copper. Turning the page, the player finds some letters [text_actor] and a rough sketch. Sketch on Asylum letterhead: With four elements: Water is circled for Sophia. Letter from Kaine: As you say, Dr.
Sartorius is a strange but
fascinating man. I agree he has ideas that while almost fanatical,
could be the final solution. As you know, I am not prone to dappling
into strange self-indulgent philosophies or experiments, but this might
be finally the means of securing ultimate power.
Sartorius letter: Madame Sophia,
I have much to prepare. I don't think you understand the intricacies of this philosophy. This is not cooking, this is science. This is the true mystery of life. Nonetheless, I agree. We cannot wait anymore. We must take a risk. The Temple of Accardi. Malveaux letter: I have spoken to Dr.
Sartorius, and we are both ready.
My fevers are worse, and now I constantly burn. I have very little time
left, and I am ready to begin my leap of faith.
Kaine letter: General Von Zandt is
at my gates, threatening to
destroy the little power I have left. You are right — we must act now.
|
VLBEA10/VLBEA11/VLBEA1Z Alchemy book: Good Alchemy vs. Bad Alchemy from Sartorius VLBEB21 Open book/ page does not look good VLBEB31 Open book/page does not look good Through the centuries, all have been in search of the quintessence or the essence of all all life. The ancients believed that this final elixir could only be found by distilling and purifying the cardinal metals through the use of the four elements. It is rumoured that a deviant sect found the elixir through the purification of the soul and the reunion of love, male and female. This theory has never been proven. Picture What is the fifth essence but the mystical blood of life, the blood which when purified, distilled and purged forms an essence beyond and above all. VL5EA10 (Kaine’s Motivation) Very old letter Font: Tiger Rag Mumberbur 20, 924 Dear Sophia Dr. Sartorius is a strange but fascinating man. As you know I am not prone to dappling into strange self-indulgent philosophies or experiments, but this might be the only way of securing ultimate power in this perpetually unstable world. The philospher’s stone. Kaine VL5EA11 (New letter: cabal must murder) Mage 5, 945 Madame Sophia, I have much to prepare. This is not cooking, this is science. Nonetheless, you are right-- we cannot wait any longer. We must take a risk. The Temple of Agrippa. We must complete the act that we have waited for. It is our only chance. Dr. Sartorius |
Mumberbur 20, 924 Sophia Dr. Sartorius is a strange but fascinating man. As you know, I am not prone to dappling into strange, self-indulgent philosophies -- or womanish New Age experiments -- but there is something to the man, of that there can be no doubt. And still I wonder -- might the Doctor's way be the only way of securing power in this perpetually unstable world? I could have great use for him -- and his philosopher's stone -- in my campaign against the Enchanters. I cannot hold them back much longer. Say nothing -- I will write you of this further. Kaine VL5EA12 Mage 5, 945 Madame Sophia, I have much to prepare. This is not cooking, this is science. Nonetheless, you are right -- we cannot wait any longer. We must take a risk. [[I will summon he others.]] Meet me at the Temple of Agrippa. I will summon the others. What has begun must take its course. It is our only chance -- before we our destroyed -- our work -- everything -- all of us --Sartorius |
[Ruffini column used for placeholder for alternate version of letter] Mumberbur 20, 924 Sophia Dr. Sartorius is an odd but fascinating man. As you know, I am not prone to dabbling in strange, self-indulgent philosophies... but there is something to the man, of that there can be no doubt. And still I wonder, might the Doctor's methods be the only way of securing power in this perpetually unstable world? I could have great use for him and his philosopher's stone in my campaign against the Enchanters. I cannot hold them back much longer. Say nothing; I will write you of this further. Kaine Again, the Temple of Accardi references should be changed. |
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| 14.08.03 Sophia's
Books A small bookshelf is attached to the wall. On it, Sophia has the following books [text_actor]: Great Wines of the New Empire, Crimes and Penalties, and On Men. Also, Malveaux's religious text is here. |
14.08.03 Sophia's
Books A small bookshelf is attached to the wall. On it, Sophia has the following books [text_actor]: Great Wines of the New Empire, Crimes and Penalties, and On Men. Also, Malveaux's religious text is here. |
It sounds like you just want the titles of the books showing, and nothing more. If this is not true, let me know, and I could write some of the text for each of these books. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 14.08.04
The Clippings Framed below the shelf are two newspaper clippings. One details a review of Sophia's performance. There are nice words about her appearance and style, but the reviewer gives her negative comments about her playing [text_actor]. The second frame contains an aged notice about the construction of the Academy under the guidance of Sophia Hamilton. |
14.08.04 The
Clippings Framed below the shelf are two newspaper clippings. One details a review of Sophia's performance. There are nice words about her appearance and style, but the reviewer gives her negative comments about her playing [text_actor]. The second frame contains an aged notice about the construction of the Academy under the guidance of Sophia Hamilton. |
Newspaper Clippings Clipping #1: Sophia Hamilton of the Frobozz Philharmonic Orchestra Promises Greatness: 918 Clipping #2: Sophia Hamilton Builds her own Acadamy: The Zork Musical Acadamy. Funds form Thaddeus Kaine. Frigid River Branch Conservatorory, 920 |
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| 14.09
Return to the Lobby The player returns with the poster from the Dormitory to the Lobby. When the player takes the debut poster cursor object and clicks on the ripped poster in the marquee at Node 4E, it replaces the ripped poster [animation_actor]. An audio_actor indicates that something magical has taken place and the poster glows with a strange light. As the player places the complete poster in the marquee, the player turns and notices that the entire space has changed. All of the aging of the room has been reversed — the mildew has disappeared and lamplight has brightened the cavernous room [animation_actor]. After the performance (see below) the lobby returns to its rundown state [game_state_actor]. Also, the new poster is not removable. The player suddenly hears the murmur of voices, the tinkling of glasses, small laughter [audio_actor]. In the direction of the auditorium, the player hears an orchestra preparing [audio_actor]. The rain has stopped. |
14.09 Return to the
Lobby The player returns with the poster from the Dormitory to the Lobby. When the player takes the debut poster cursor_object and clicks on the ripped poster in the marquee at Node 4E, it replaces the ripped poster [animation_actor]. An audio_actor indicates that something magical has taken place and the poster glows with a strange light. As the player places the complete poster in the marquee, the player turns and notices that the entire space has changed. All of the aging of the room has been reversed — the mildew has disappeared and lamplight has brightened the cavernous room [animation_actor]. After the performance (see below) the lobby returns to its rundown state [game_state_actor]. Also, the new poster is not removable. The player suddenly hears the murmur of voices, the tinkling of glasses, small laughter [audio_actor]. In the direction of the auditorium, the player hears an orchestra preparing [audio_actor]. The rain has stopped. |
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| 14.10
The Auditorium Revisited - LIVE ACTION SEQUENCE Once the player has completed the marquee puzzle, she can click on the doors again at Node 5A to reveal the YOUNG USHER. The YOUNG USHER steps into view, from inside the auditorium. It's the same uniformed woman -- now young and vivacious. YOUNG USHER
Hurry! It's nearly time. Get your ticket.If the player returns with the ticket from the Ticket Booth (see below) and clicks on the door: YOUNG USHER
Just in time.(reads the ticket)
Box C.The usher's lips curve into an evil smile. She speaks with the voice of the Nemesis. YOUNG USHER/NEMESIS
Enjoy the show.The usher dissolves, the scene returns to the player's normal POV and the ticket disappears. The doors remain open and the player can move up the staircase on the left side of the short corridor leading into the auditorium. The right side has been roped off and a sign marked "FULL" hangs from the rope [text_actor]. |
14.10 The
Auditorium Revisited - LIVE ACTION SEQUENCE Once the player has completed the marquee puzzle, she can click on the doors again at Node 5A to reveal the YOUNG USHER. The YOUNG USHER steps into view, from inside the auditorium. It's the same uniformed woman -- now young and vivacious. YOUNG USHER
Hurry! It's nearly time. Get your ticket.If the player returns with the ticket from the Ticket Booth (see below) and clicks on the door: YOUNG USHER
Just in time.(reads the ticket)
Box C.The usher's lips curve into an evil smile. She speaks with the voice of the Nemesis. YOUNG USHER/NEMESIS
Enjoy the show.The usher dissolves, the scene returns to the player's normal POV and the ticket disappears. The doors remain open and the player can move up the staircase on the left side of the short corridor leading into the auditorium. The right side has been roped off and a sign marked "FULL" hangs from the rope [text_actor]. |
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| 14.10.01 The
Auditorium Boxes When the player enters the auditorium, she is struck by the lavish architecture of this space. Just beyond the doors is a staircase leading up to the balcony level with a sign reading "Boxes" [text_actor] and an arrow pointing up the stairs. The orchestra level is cordoned off with a rope also marked FULL. This rope will disappear after the performance. When the player goes up the left hand auditorium stairs, she can enter the Second Floor balcony area which contain only box seats (Numbered 1 through 5). The player must continue up the same set of stairs to the Third Level Boxes to find a door marked "Box C." She locates Box C at node F and enters. The player may not enter any box but C. The player can exit the second level of the Auditorium boxes through double doors to the Lounge. |
14.10.01 The
Auditorium Boxes When the player enters the auditorium, she is struck by the lavish architecture of this space. Just beyond the doors is a staircase leading up to the balcony level with a sign reading "Boxes" [text_actor] and an arrow pointing up the stairs. The orchestra level is cordoned off with a rope also marked FULL. This rope will disappear after the performance. When the player goes up the left hand auditorium stairs, she can enter the Second Floor baIcony area which contain only box seats (Numbered 1 through 5). The player must continue up the same set of stairs to the Third Level Boxes to find a door marked "Box C." She locates Box C at node F and enters. The player may not enter any box but C. The player can exit the second level of the Auditorium boxes through double doors to the Lounge. |
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| 14.10.02 Box C
& Alexandria's First Performance If the player enters Box C (the door closes automatically) and gets a view of the auditorium stage [GB]. If she clicks on the chair she will get a CLOSE-UP of it [GE]. If she clicks on the close-up, her POV will change as if she is sitting in the chair. If she clicks on the glasses on the railing she will get a CLOSE-UP of them. If she clicks on the close-up she will see the following: The lights go down as the scene dissolves to an elevated long shot of Alexandria performing on the stage below as seen through the opera glasses [JA]. She is nearing the end of her piece. Her music is complex, perhaps even atonal, daring, compelling, unafraid to shock and a little strange - in fact, it reflects the musician's persona. She finishes. There is no response from the audience ... only a long silence. A glimmer of uncertainty comes over Alexandria's face. Then, from the box opposite, comes the sound of one person clapping. The glasses pick up a man in a box adjacent to the stage giving her a standing ovation as a spotlight hits him from above. If the player clicks on the man in the spotlight, the scene CUTS TO a MEDIUM CLOSE-UP of Lucien in the box applauding enthusiastically. They hold each other's gaze. Lucien continues his solitary approbation. As the lights dim the scene DISSOLVES to the player's original POV at Node GB in Box C. The opera glasses return to the railing. The door in Box C opens automatically [animation_actor] and the player must return down the auditorium stairs to the first level and continue her exploration either by returning to the Lobby via the exit to the Lounge or walking down through the First Level of the Auditorium toward the stage. |
14.10.02 Box C
& Alexandria's First Performance If the player enters Box C (the door closes automatically) and gets a view of the auditorium stage [GB]. If she clicks on the chair she will get a CLOSE-UP of it [GE]. If she clicks on the close-up, her POV will change as if she is sitting in the chair. If she clicks on the glasses on the railing she will get a CLOSE-UP of them. If she clicks on the close-up she will see the following: The lights go down as the scene dissolves to an elevated long shot of Alexandria performing on the stage below as seen through the opera glasses [JA]. She is nearing the end of her piece. Her music is complex, perhaps even atonal, daring, compelling, unafraid to shock and a little strange - in fact, it reflects the musician's persona. She finishes. There is no response from the audience ... only a long silence. A glimmer of uncertainty comes over Alexandria's face. Then, from the box opposite, comes the sound of one person clapping. The glasses pick up a man in a box adjacent to the stage giving her a standing ovation as a spotlight hits him from above. If the player clicks on the man in the spotlight, the scene CUTS TO a MEDIUM CLOSE-UP of Lucien in the box applauding enthusiastically. They hold each other's gaze. Lucien continues his solitary approbation. As the lights dim the scene DISSOLVES to the player's original POV at Node GB in Box C. The opera glasses return to the railing. The door in Box C opens automatically [animation_actor] and the player must return down the auditorium stairs to the first level and continue her exploration either by returning to the Lobby via the exit to the Lounge or walking down through the First Level of the Auditorium toward the stage. |
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| 14.10.03
The Auditorium First Level The player will be motivated to get to the stage. The player returns to the First Level of the Auditorium and walks forward to the Orchestra Pit. The sign preventing the player from entering the main auditorium is gone, but the seats on the sides are roped off. The stage curtains are closed and only a small Prompter's Box breaks the apron of the stage. As the player approaches the Orchestra Pit at 5A, the lights go off, leaving a red glowing exit sign above the main entry (behind the player) [5C]. The player must click forward at 5A in order to enter the Orchestra Pit. |
14.10.03 The
Auditorium First Level The player will be motivated to get to the stage. The player returns to the First Level of the Auditorium and walks forward to the Orchestra Pit. The sign preventing the player from entering the main auditorium is gone, but the seats on the sides are roped off. The stage curtains are closed and only a small Prompter's Box breaks the apron of the stage. As the player approaches the Orchestra Pit at 5A, the lights go off, leaving a red glowing exit sign above the main entry (behind the player) [5C]. The player must click forward at 5A in order to enter the Orchestra Pit. |
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| 14.11 The Orchestra
Pit The player finds herself in the darkened orchestra pit with only a glowing baton on the stand in front of her [1A]. if the player clicks on the Baton it becomes a cursor_object. By moving the glowing baton cursor_object around the orchestra pit, and clicking at various points, she will hear 5 bars of the "Alexandria Wolfe: Debut" record album that she heard in the Practice Room. But the bars will not be in order. If the player tries to move forward, she will run into music stands and instruments with a CRASH [audio_actor]. The player can only click forward. If the player clicks forward three times she will find herself back at Node 1 facing the darkened orchestra pit, the glowing baton on the stand in front of her. To solve the puzzle, the player must click on the 5 dark areas in the correct sequence. If we assume the areas extend from left to center to right while the player is at Node 1 A: FAR LEFT - LEFT OF CENTER - CENTER - RIGHT OF CENTER - FAR RIGHT then the correct sequence is:
If the player clicks on the 5 positions in the correct sequence, she will hear a LOUD version of the piece she heard in the Practice Room [audio_actor]. As the music fades, the lights rise to reveal the instruments on the chairs [animation_actor], and the player hears: ALEXANDRIA (V.0.)
Help me...The baton returns to the music stand [animation_actor]. The player can pick up the baton and will instantly hear the same audio sequence of music and Alexandria's plea. With the lights on the player can click forward through the chairs to reach the Prompter's Box stairs. Clicking on the stairs takes the player up through the prompter's box, through the curtains and onto the stage [animation_actor]. |
14.11 The Orchestra
Pit The player finds herself in the darkened orchestra pit with only a glowing baton on the stand in front of her [1A]. if the player clicks on the Baton it becomes a cursor_object. By moving the glowing baton cursor_object around the orchestra pit, and clicking at various points, she will hear 5 bars of the "Alexandria Wolfe: Debut" record album that she heard in the Practice Room. But the bars will not be in order. If the player tries to move forward, she will run into music stands and instruments with a CRASH [audio_actor]. The player can only click forward. If the player clicks forward three times she will find herself back at Node 1 facing the darkened orchestra pit, the glowing baton on the stand in front of her. To solve the puzzle, the player must click on the 5 dark areas in the correct sequence. If we assume the areas extend from left to center to right while the player is at Node 1A: FAR LEFT - LEFT OF CENTER - CENTER - RIGHT OF CENTER - FAR RIGHT thenthe correct sequence is:
If the player clicks on the 5 positions in the correct sequence, she will hear a LOUD version of the piece she heard in the Practice Room [audio_actor]. As the music fades, the lights rise to reveal the instruments on the chairs [animation_actor], and the player hears: ALEXANDRIA (V.0.)
Help me...The baton returns to the music stand [animation_actor]. The player can pick up the baton and will instantly hear the same audio sequence of music and Alexandria's plea. With the lights on the player can click forward through the chairs to reach the Prompter's Box stairs. Clicking on the stairs takes the player up through the prompter's box, through the curtains and onto the stage [animation_actor]. |
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| 14.12 The Stage The player may now click on a set of steps which lead up to the stage [qt_actor]. The player investigates the stage. In the center of the stage, she will see a crack at Node 4 which she may click on for a CLOSE-UP/TILT-DOWN view of it. Through the crack can be seen the Prop Room below. The player clicks on the crack, she hears Alexandria call out after her locket [audio_actor]. ALEXANDRIA (V.O.)
My locket... |
14.12 The Stage The player may now click on a set of steps that lead up to the stage [qt_actor]. The player investigates the stage. In the center of the stage, she will see a crack at Node 4 which she may click on for a CLOSE-UP/TILT-DOWN view of it. Through the crack can be seen the Prop Room below. The player clicks on the crack, she hears Alexandria call out after her locket [audio_actor]. ALEXANDRIA (V.0.)
My locket... |
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| 14.12.01
The Backdrops Puzzle The backdrops puzzle contains:
NOTE: The sandbags and pegs are blocked by a curtain so they are visible only from Node 8F. The player must click on the translucent curtain at Node 8B to move it aside [animation_actor] and see the close-up at 8F. If the player looks down [8F] she will see on the floor next to the ropes a sandbag [cursor_object]. If the player clicks and holds onto a sandbag, she can move it to a rope. The rope will wrap around the sandbag and will lower under the weight of the sandbag [animation_actor]. The player hears an ominous creaking sound [audio_actor] as the rope lowers. If the player clicks-and-drags a rope to one of the pegs at this point, the rope will tie itself off to the peg [animation_actor]and the sandbag on the rope will fall out of the frame to the stage floor with a thud [audio_actor]. The player can only tie one of the ropes to each of the three pegs. If the player clicks on a sandbag already attached to a rope, the sandbag will drop, the rope will raise [animation_actor] and pulley sounds will be heard [audio_actor]. If the player clicks on a rope that has been tied off to a peg, we hear the rope untie and hear the backdrops crash to the floor as the rope rises [animation_actor, audio-actor]. If the player turns to observe the backdrops at 8E, she will notice backdrops in two positions: the starting (i.e., lowered) position and the raised position. She will see at 8E the forward-most lowered backdrop. At 8H she will see the forward-most raised backdrop. In this way, the player can see all the backdrops. The player will note that the ropes are in the same order as the backdrops from left (1, front) to right (7, back). The player must line up the three backdrops that have doorways in the same place behind one another. Once the player does, she can traverse all the way to the back of the stage. To do this, the player must raise backdrops 1, 3 , 4, and 6 by tying three ropes off to the wall pegs and weighting the fourth down with the sandbag. When the player does this the backdrops reveal consecutive right-side doorways in backdrops 2, 5 and 7 .
Clicking on the doorway on backdrop 2 from Node 8E will take the player to Node B between the lowered backdrops. Clicking forward will take the player to Node A , where she can click on the trap door to open it [animation_actor] and gain entry to the Prop Room steps. If the player leaves Node 8, any tied off ropes and backdrops will fall and the puzzle will reset [animation_actor, audio_actor]. When the player returns to the stage with the backdrops arranged correctly, a set of stairs will be seen through the backdrops. Clicking on the stairs takes the player through the backdrops and down to the Prop Room [qt_actor]. |
14.12.01 The
Backdrops Puzzle The backdrops puzzle contains:
Most prominent on the stage is the hanging rear backdrop. Set in the right side of the backdrop appears to be a theatrical doorway. From 8E, the player can get a close-up of the door. In the close-up, she can see that the theatrical doorway forms an opening in the curtain, and in the shadows beyond this opening she can see a second backdrop. The second backdrop has no opening and blocks her hopes of advancing. The Stage Manager's Podium Diagonally across the stage from the door in the backdrop, the player finds the stage manager's podium, tucked against the edge of the stage. The top of the podium is covered with a sliding curtain; a clipboard hangs at the side of the podium. Both clipboard and curtain are active. The Clipboard The player clicks on the clipboard, and it animates, lifts, and fills her POV [animation_actor]. The clipboard has seven pieces of paper. The pages are labeled, "B1," "B2," up to "B7". Although she doesn't know it yet, these are drawings of the seven backdrops that hang at the back of the stage. She can click on each page to flip through the papers [animation_actor]. Flipping through the Drawings In examining the drawings, the player will see the following diagrams, each with a door set somewhere in the backdrop:
The player recognizes the first of these immediately as the backdrop facing the stage. She may also recognize a small part of the second backdrop, which she saw through the opening in the first backdrop. She will also notice that three of the backdrops have doors on the right. She will reason that removing the other backdrops will open a path through the backdrops to the back of the stage. When she clicks outside of the clipboard, her view returns to the surround, and the clip board animates and returns to the podium [animation_actor]. The Podium Having observed the order of the backdrops, she turns her attention to the podium. The curtain is active. She clicks on it, and it slides open to reveal a panel, which is labeled: "Frobozz Magnetic Opera Set Control Device" [text_actor]. There are eight buttons on the panel. It looks something like this:
The buttons are made of clear glass. None are lit. Button number 1 appears to have melted from an electrical short circuit. All of the buttons except number one are active. Turning On the Device When the player presses "RESET," the button turns red. She hears a humming sound of machinery warming up [audio_actor]. NOTE: If she clicks on the other buttons before the device is on, the button clicks [audio_actor], but nothing happens. She must first press "RESET." Moving the Curtains When she clicks on the numbered buttons, the buttons depress and light [animation_actor]. Also, from the direction of the backdrop, she hears a loud mechanical sound like gears turnings. While she cannot see a change from here, she has raised one of the backdrops. The player must line up the three backdrops that have doorways in the same place behind one another. Once the player does, she can traverse all the way to the back of the stage. Remembering the sketches on the clipboard, she sets the curtains as follows:
Leaving the Podium When she clicks to leave the podium, the curtains automatically close [animation_ actor]. When she returns, the buttons will be set in the same way that she left them. Walking Through The Curtain Once she has raised curtains 2, 3, 4, and 6, she can walk through the door on the right side of the backdrop. As she walks through, she will pass the backdrops that she had previously only seen in sketches [animation_actor]. Mistake: Trying to Raise More Than Four Backdrops If she tries to raise more than four backdrops (by pressing five curtain buttons), she will hear a sparking sound and the device will blow its circuit breaker; all of the buttons pop out, and become clear again [animation_actor]. To continue, she must press "RESET" and restart the machine. Option: Looking through the first backdrop If the player returns to the back of the stage to look through the theatrical door in the first backdrop, she can see the effect of her manipulations. She will see as far as the first lowered curtain without a doorway. If she looks through more than one doorway, she notice that the doorways differ slightly. If she has lined up the doors properly, she can see a red backstage light shining through all three doors. The possibilities that she can see are:
Behind the backdrops, the player finds a trap door. The trap door is active. She can click on the trap door to open it [animation_actor]. A set of stairs lead down. The stairs are active. Clicking on the stairs takes the player through the backdrops and down to the Prop Room [qt_actor]. |
For Backdrop I, I do not have the Zork I room descriptions at hand, but you should definitely go back and look them over to ensure accuracy. I am not at all sure what any of the other backdrops are supposed to be. If you have something specific in mind, could you let me know so I could comment on them? |
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| 14.13 The Prop Room
The Prop Room contains:
In the ceiling of the room is a narrow crack and on the floor is another crack. The player sees a prop swan attached by cables to the rafters. In back of the swan is a large marching-band style drum on its side. The player can continue on to Node 6 or click on the swan to enter it [4]. If the player clicks on the swan she will be seated in the swan and see a hand crank in front of her [4A]. If the player goes to Node 6 instead and then to Node 7, she will see a pull rope at 7C. Clicking on the rope, will get a CLOSE-UP of it as is moves down and back to its original position [7E]. A trap door on the ceiling will spring open with a loud crash and a life-size Nutcracker-style doll falls through the trap door, bounce off the drum and fly into the jumble of junk [animation_actor, audio_actor]. At 7B, the player will see a Radio. By clicking on the radio she will get a CLOSE-UP view of it [7F] showing a radio dial. The player can click on the radio dial from this close-up and the player will hear various audio clips [animation_actor, audio_actors]. Assuming the player returns to the swan at Node 4: By clicking on the crank, it will turn and the player's POV will rise to Node 5, a position near the ceiling of the Prop Room. The player can TILT-DOWN from Node 5 to see the drum, then click on the drum to jump onto it (hoping, perhaps, to bounce up to the trap door in the prop room ceiling. The player falls with a crash through the drum, through the floor below it and into the Boiler Room floor [animation_actor, audio_actor]. Note: The player can only see the drum cover from the tilt-down Node 5E. |
14.13 The Prop Room The Prop Room contains:
In the ceiling of the room is a narrow crack and on the floor is another crack. The player sees a prop swan attached by cables to the rafters. In back of the swan is a large marching-band style drum on its side. The player can continue on to Node 6 or click on the swan to enter it [4]. If the player clicks on the swan she will be seated in the swan and see a hand crank in front of her [4A]. If the player goes to Node 6 instead and then to Node 7, she will see a pull rope at 7C. Clicking on the rope, will get a CLOSE-UP of it as is moves down and back to its original position [7E]. A trap door on the ceiling will spring open with a loud crash and a life-size Nutcracker-style doll falls through the trap door, bounce off the drum and fly into the jumble of junk [animation_actor, audio_actor]. At 7B, the player will see a Radio. By clicking on the radio she will get a CLOSE-UP view of it [7F] showing a radio dial. The player can click on the radio dial from this close-up and the player will hear various audio clips [animation_actor, audio_actors]. Assuming the player returns to the swan at Node 4: By clicking on the crak, will turn and the player's POV will rise to Node 5, a on near the ceiling of the Prop Room. The player can TILT-DOWN from Node 5 to see the drum, then click on the drum to jump onto it (hoping, perhaps, to bounce up to the trap door in the prop room ceiling. The player falls with a crash through the drum, through the floor below it and into the Boiler Room floor [animation_actor, audio_actor]. Note: The player can only see the drum cover from the tilt-down Node 5E. |
So far, there is nothing terribly Zorkish in this room. Perhaps some magic wands or scrolls or spell books would be appropriate, or perhaps canvases with color copies of the art in the Zork Zero packaging. I could even see the Nutcracker shaped in a crude imitation of a Flathead. |
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| 14.15
The Boiler
Room The Boiler Room is a claustrophobic room directly below the Prop Room in which steam rises and water drips from innumerable pipes. Looking up from Node 1 the player can see up through the hole she just fell through. In the center of the room is a strange water pump with what looks like a catch basin set into the floor beneath it. Balancing on the edge of the basin is Alexandria's locket at 3E. Clicking on it causes it to slip into the basin [animation_actor]. If the player clicks on the basin she sees a close up of the water — and the locket at the bottom of a mysterious submerged room below the basin [3F]. If the player clicks on the water, she will dive into the Submerged Room (see below); clicking anywhere else returns her to normal view. At this point the player can exit through a door on the far wall of the Boiler Room [3B] and exit to the Lobby [qt_actor]. Another door set into the opposite wall [at 2A] is marked "Entry Forbidden" [text_actor]. But this door is also blocked by a fallen pipe and the player cannot open it. |
14.15
The Boiler
Room The Boiler Room is a claustrophobic room directly below the Prop Room in which steam rises and water drips from innumerable pipes. Looking up from Node 1 the player can see up through the hole she just fell through. In the center of the room is a strange water sums with so ks like a catch basin set into the floor beneath it. Balancing on the edge of the basin is Alexandria's locket at 3E. Clicking on it causes it to slip into the basin [animation_actor]. If the player clicks on the basin she sees a close up of the water — and the locket at the bottom of a mysterious submerged room below the basin [3F]. If the player clicks on the water, she will dive into the Submerged Room (see below); clicking anywhere else returns her to normal view. At this point the player can exit through a door on the far wall of the Boiler Room [3B] and exit to the Lobby [qt_actor]. Another door set into the opposite wall [at 2A] is marked "Entry Forbidden" [text_actor]. But this door is also blocked by a fallen pipe and the player cannot open it. The Lever The player also notices a lever on one of the machines. The lever is active. When she clicks on it, she sees a close-up of the lever. Beside the lever she can now also see a dial. The arrow of the dial is pegged to the left at zero. The lever is still active. When she clicks again on the active lever, the lever pulls down, the sound of gas igniting is heard; and the lever pops back into the original position [animation_actor]. The dial doesn't move. |
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| 14.16
The Submerged
Room The submerged room looks like an ancient but elegant bathhouse with furniture and an elaborate decor of carved stone fountains and arches. In the center of the room is an elaborate bathtub/pool. The light from above bends and reflects strangely in this underwater room. Bubbles float past the player's view. Initially there is a steady stream, but as the player stays under water, the bubbles decrease in frequency. If the player looks up from Node 1, she can see the boiler room through the bottom of the pump basin. Clicking on the opening exits the Submerged Room [qt_actor] and returns the player to the Boiler Room. The payer can continue down to Nodes 2 and 3. The locket sits on the bottom of the pool and the player must click on it at 3F to pick it up [cursor object]. Strange objects float past the player as she examines the space [animation_actors]. The player locates the locket glittering at the bottom of the room. When the player clicks on the locket, the Nemesis appears. Red eyes appear before the player, followed by a ripple in the water [animation_actor]. The player hears the Nemesis speak as if in her head. NEMESIS
You cannot keep away, can you?The water begins to swirl in a whirlpool; the room spins around [animation_actor]. The room will spin three times [at Node 3]. Each spin will take the player past the doorway. If the player clicks on the doorway in time, she will stop and can complete the locked door puzzle. If the player waits or misses the doorway, the screen goes black and the player dies. The door in the wall appears to be the only other way out of the room. Above the door is a clock with its hour and minute hand on 12. Recalling the time scratched on the blueprint inside the violin case in the Practice Room, the player clicks and drags the arms of the clock to 5:20 [at 4E]. When the player does so, she hears a locking mechanism open with a "click" [audio_actor] and the door opens. Clicking on the opening will take the player though an identical submerged room on the other side of the door up through a manhole in the Alchemy Lab floor [qt_actor]. But the player drops the locket in the rush to the surface. |
14.16 The Submerged
Room The submerged room looks like an ancient but elegant bathhouse with furniture and an elaborate decor of carved stone fountains and arches. In the center of the room is an elaborate bathtub/pool. The light from above bends and reflects strangely in this underwater room. Bubbles float past the player's view. Initially there is a steady stream, but as the player stays under water, the bubbles decrease in frequency. If the player looks up from Node 1, she can see the boiler room through the bottom of the pump basin, Clicking on the opening exits the Submerged Room [qt_actor] and returns the player to the Boiler Room. The player can continue down to Nodes 2 and 3. The locket sits on the bottom of the pool and the player must click on it at 3F to pick it up [cursor_object]. Strange objects float past the player as she examines the space [animation—actors]. The player locates the locket glittering at the bottom of the room. When the player clicks on the locket, the Nemesis appears. Red eyes appear before the player, followed by a ripple in the water [animation_actor]. The player hears the Nemesis speak as if in her head. NEMESIS
You cannot keep away,
can you?
The water begins to swirl in a whirlpool; the room spins around [animation_actor]. The room will spin three times [at Node 3]. Each spin will take the player past the doorway. If the player clicks on the doorway in time, she will stop and can complete the locked door puzzle. If the player waits or misses the doorway, the screen goes black and the player dies. The door in the wall appears to be the only other way out of the room. Above the door is a clock with its hour and minute hand on 12. Recalling the time scratched on the blueprint inside the violin case in the Practice Room, the player clicks and drags the arms of the clock to 5:20 fat 4E]. When the player does so, she hears a locking mechanism open with a "click" [audio_actor] and the door opens. Clicking on the opening will take the player though an identical submerged room on the other side of the door up through a manhole in the Alchemy Lab floor [qt_actor]. But the player drops the locket in the rush to the surface. |
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| 14.17
The Alchemy
Lab ENTRY The player emerges from a wash basin set into one corner of the room and faces a space unlike anything she has yet seen. Arching walls of limestone rise from a floor of white pristine sand. From the ceiling hang stalagmites streaked in greens, browns, and golds, hues of iron and copper deposited through years of patient dripping. Across the room lies a large raised pool, perhaps three or four meters across. The lip of the pool falls in flowing white lines of calcium, soft and billowing, remnants of a once active hot spring. A single electric light hangs directly above the pool and casts eerie elongated shadows from the stalagmites against the wall. Except for the light and, stapled into the rock, a wire running from the basin up the rear wall and over the player's head, the room appears empty of any machinery. Close by, two enormous crystals rises from the sand on either side of the basin, one slightly larger than the other. They are active, if the player clicks on one, she will get a close up. If she clicks again, she will hear a faint humming. THE POOL From the basin, the player may advance immediately to the pool as well as right and left through the shadows. Upon approaching the pool, she immediately notices that the bulb is not the room's only light source. A faint glow emanates from water and directly across the room, she can make out a warm white glow against the far wall where the chamber appears to turn. Clicking on the pool, she tilts down to look through clear water. There, she sees a copper ball, apparently suspended the liquid. Below the ball, she can just make out a smooth sandy floor and the shadow of the ball. If the player clicks on the pool, a flake of white calcium animates, breaks off and falls into the pool, which immediately bubbles with heat. If the player clicks again on the pool without clicking on something else, she dives into the pool and is boiled alive. The player can move right and left around the pool towards the lit passage as well as move back to the basin. She soon discovers that she may tilt down to the pool from the four directions of the compass. Ease and west, she may also approach the shadowy walls. At the farthest side from the basin, she may approach the lit passage. THE CHAMBER OF AIR Preferring to avoid a scalding death, the player approaches the lit passage. She can now see that this chamber is shaped like an upside-down comma with the passage as its tale. She also discovers a second, larger pair of crystals. Following the passage, she will hear the faint rush of the river, and at the end of the passage, discover a single shaft of light falling from a round hole drilled into the chamber's ceiling. Below the hole rises a calcium cone as high as the pool, but less than a meter across the base and half that at its rim. Soot streaks the cone and darkens parts of the ceiling. What appears to be an iron bucket is jammed into the top of the cone. A long iron chain runs from the handle of the bucket down towards the floor. When she tilts down, the player can follow the chain to a rusty staple driven into the floor. Beside the staple are four colored rings of varying sizes. From the hole above comes the faint sound of the river. The bucket, chain and rings are all active. If the player clicks on the chain, it animates and tries to pull the staple from the floor; the staple groans faintly but remains firm. If the player clicks on the bucket, it pops violently from the cone and flies upwards in a shower of sparks; as the chain snaps taught, a horrible shrieking of metal reverberates from the walls. A primordial growling drowns out the faint sounds of the river, and a dull red glow comes from the opening in the cone. The bucket is now upside-down, suspended by the force of the air column, the chain pulled taught. If the player clicks on the bucket or chain, the bucket animates and moves out of the stream of air. The chain slackens for a moment, but then becomes taught again, and the bucket returns to its previous place. If the player tilts down, she sees that one end of the staple has ripped free of the stone. If she now clicks on the chain, the chain animates and slackens, and the last link slips off the freed end of the staple. The bucket and chain become her icon. If she then clicks on a ring, the bucket and chain fall to the ground and are replaced by that ring. If she returns to the cone top, the north, east, west and south edge of the rim has become active. If she clicks on the rim with a ring, the ring appears at that direction, balanced on the edge of the cone and a faint whistling is heard similar to what the wind makes when blowing past a post. She may repeat this with up to four rings, each time raising the pitch of the whistle. When she places the fourth ring, the whistle rises to a shriek and the rings animate, begin to rise, then fly apart and fall back onto the ground. THE BUCKET AND THE POOL Once the player has the bucket, she will want to return to the pool. There, she will activate one of the four tilt nodes to look down into it. If she then clicks the bucket and chain onto the pool, the bucket animates, sinks through the water, and begins to swing back and forth trying to scoop up the copper ball. Twice, it misses, then, on its third swing, the bucket appears to be right on target, but before the bucket can reach the ball, the bucket strikes something. A single note sounds, and beneath the ball, a colored ring appears, centered between the player and the ball so as to block the bucket. If the player tries to get around this obstacle by selecting a different node, this repeats exactly except that the rings vary in size and appearance as follows. One, they are of different colors. Two, the northern ring is unmarked except where covered by the ball; the eastern ring and western rings are marked by curved black bands on the northwest and northeast side respectively; and the southern ring is marked twice on its northeast and northwest sides. SOLVING THE HARMONY OF THE CIRCLES After viewing all of the rings, the player will notice that they correspond in color and in ratio to the rings beside the cone. She will also notice that the bands appear just as the shadow cast by its neighboring ring would appear. She deduces from this that the southern ring must be the lowest ring and the northern ring the highest. Going to the cone, she will place the rings in the appropriate positions north, south, east and west, taking care to place the southern ring first and the northern ring last. The moment she places the northern ring, the rings sound a harmonic cord and glow with a shiny coppery hue. As they rise up on the wind column, they appear to fuse into a single mass; instead of flying apart, they elevate and hover before the player. If the player now returns to the pool and tilts down to look into it, she will see an animation. A larger version of the joined rings rises through the water towards her; strangely though, the bronze ball rises even more quickly, breaks the surface of the water and continues on into the air embedded in solid crystal. The rings reach the surface and stop, and the pool completes its transformation into a solid crystalline mass, catalyzed by the strange rings. The tilt nodes are now replaced by a close-up of this crystalline column. If the player clicks on it, it hums, but only for a short moment. The ball is not active. THE CRYSTALS As she moves counterclockwise from the basin about the outside of the room, the player will notice a two crystals rising beside each of the four main nodes except the western node, where she will find one crystal. The crystals appear similar, but become sequentially larger. She may click on any crystal and get a close-up. A second click from the close-up produces a hum. At the last node (which has the largest crystal) she will notice a hot recess in the wall. Clicking on the recess, she will see eight metal rods sticking out of the sand in a neat row. Behind then, a wooden box is screwed into the rock. If she clicks on a rod, it will animate, lift from the sand and reveal a tuning fork. If the player clicks on the box while holding a fork, she will hear a note played from the fork. SOLVING THE CRYSTAL PUZZLE The forks will sound a note when used with the wooden box or with the seven large crystals. With the crystals, the fork animates, begins to sound and then the base lowers onto the crystal. For any given crystal, seven of the forks will be muted the moment the base of the fork touches the crystal. The eighth fork will set up a sympathetic resonance that will echo through the chamber for some time. If the player pays attention to Sophia's speech in the practice room, the player will know that the first, third, and sixth tones form the harmony of the spheres. (THESE NUMBERS ARE EXAMPLES ONLY.) However, the player will discover that the fork with the lowest tone (the first in a scale) will not play on any of the crystals. Once the player solves the Harmony of the Circles, she will have a crystal to play the lowest tone, by only for a brief time. Because of this, she must first strike the third and sixth crystals first, and then return to the pool and sound the first. When she does this, the sounds will merge and grow in pitch. She will loose her POV, hear a terrific cracking sound, and look up towards the ceiling. A tiny stalagmite breaks away, and fall through the air as the sound continues to rise. When the rock strikes the massive crystalline form, the crystal explodes and the ball falls to the frozen surface of the pool in a shower of gleaming shards. The player can now take the ball. The Cork Board Tacked messily on a cork board are various notes to Sophia. Letter from Sartorius: Yes, I did a
magnificent job with Countess
Orlanda's skin. It went from the skin of a wrinkled hag to the skin of
young child. The fact that she never followed the careful instructions
I dictated to her illustrates her own stupidity. I could do the same
thing for you. I am currently experimenting on something that could be
much more powerful. By the way, I understand you have been
experimenting with herbs and natural substances. Could you share some
of those with me?
Sketch: Note with Malveaux's handwriting. Has a sketch of the temple. The Temple of Accardi is under a total Solar Eclipse. As the water of
ablution, the dew falls from heaven, purifies the body,
and makes it ready to receive the soul; in other words, it brings about
the albedo, the white state of innocence, which like the moon and a
bride awaits the bridegroom. — Carl Jung, Mysterium Conjunctionis
Mercury and Sulfur,
Sun and Moon, agent and patient, matter and form
are the opposites. When the virgin or feminine, earth is thoroughly
purified and purged from all superfluity, you must give it a husband
meet for it; for when the male and female are joined together by means
of the sperm, a generation must take place in the menstruum. The
substance of Mercury is known to the Sages as the earth and matter in
which the Sulfur of nature is sown, that it may thereby putrefy, the
earth being its womb.
...thou wilt find the Earth surrounded with the water, and that water heated, and stirred by the Sun and his starrs, abstracts from the Earth the pure, subtil, saltish parts, by which means the water is thickened, and coagulated as with a Rennet: out of these two Nature generates all things. Gold and Silver, Pearls and Diamonds are nothing else but water, and salt of the Earth concocted. Thomas Vaughan, Magia Adamica
...take the animal
vegetable, and mineral stone, the stone which is
neither a stone, nor has the nature of a stone, although it is created
resembling some stones of mountains and mines, for it also resembles
vegetables and animals. And it exists in every place and time, and with
every man. And it has all colours, and in it there are present all the
elements. It is the microcosm. I shall name it to thee according to its
common names. Take the egg, I mean the philosophers' egg. Divide it
into four parts, each part being a nature (or element). Then compound
it equally and temperately in such a way that the various parts should
join but one counteract each other.
Secretum Secretorum
Clicking on the copper metal returns the player to the temple. |
14.17 The Alchemy
Lab The Alchemy Lab contains:
Entering the Lab The player emerges from a wash basin set into one corner of the room and faces a space unlike anything she has yet seen. Arching walls of limestone rise from a floor of white pristine sand. From the ceiling hang stalagmites streaked in greens, browns, and golds, hues of iron and copper deposited through years of patient dripping. Between her and the hole lies a large raised pool, perhaps three or four meters across. The lip of the pool falls in flowing white lines of calcium, soft and billowing, remnants of a once active hot spring like the basins of Yellowstone. A single electric light hangs directly above the pool and casts eerie elongated shadows from the stalagmites against the wall. NOTE: While she can make out the edges of the pool from a distance, stalagmites, stalactites, or partially eroded rock partitions block her view to the center of the pool. TO AVOID GAME STATE CHANGES, SHE CAN ONLY VIEW THE CENTER OF THE POOL FROM THE CLOSEST NODES. FROM ANY OTHER NODE, SHE CAN SEE ONE OR BOTH EDGES OF THE POOL, BUT THE CENTER IS OBSCURED BY AN INTERVENING OBSTACLE. The room has a natural feel to it, but the player notices several incongruities immediately. Across the room, a metal pipe runs from an indentation in the east wall to the pool. The pipe is large like the piping of a refinery and is half-buried in the sand. Close by on her right, two enormous crystals rise from the sand on either side of the basin, one slightly larger than the other. Close by on her left, a crystal column mounted with a crystal fish head rises from the sand: The fish head faces the player. The fish head, the crystals, and the basin are all active. Beside the door is a cork board. The Pool Intrigued by the pool, the player advances towards it. Upon approaching the pool, she immediately notices that the bulb is not the room's only light source. The pool appears to be glowing faintly. From the edge of the pool the player also notices a large metal grate such as one sees on coal burning stoves. The pool and the grate are both active. Clicking on the pool, the pool fills her POV so that she can see the edges of the pool as well as its bottom. The water is calm but murky. What she can see of the bottom of the pool appears smooth and calcitic. The Grate and Dial Timer Bored with the pool, the player returns to the surround and clicks the grate. She sees a close-up of the grate. The pipe should be partially visible in this close-up so that the player gets an added clue that these two are connected. On the pipe is a timer. The grate is active. The timer is active. When she clicks again on the grate, it gives her a close-up. Through the grate, she can make out a dark interior that resembles the inside of a furnace. The Timer on the Pipe Connecting the cool pool and the grate, the player goes searching for fuel. She notices the timer immediately. She clicks on it and sees a close-up of the timer. She can set the timer for as long as two minutes by clicking on the dial of the timer and turning it clockwise as far as it will go [animation_actor]. When she does this, she hears a hissing sound like gas escaping from a stove [audio_actor]. Following the Pipe Since the dial doesn't appear to have ignited the furnace, the player decides to follow the pipe to the wall and see where the pipe leads. The Boiler Room Door The pipe disappears through the wall beside a convex cylindrical metal indentation. Also, beside the indentation the player notices two crystals, both larger than the crystals near the basin. The indentation is active. The crystals are active. The player clicks on the indentation and goes to a close-up. In the close-up she can see a switch on the edge of the metal. The switch is active. When she clicks on the switch, it turns with a "thunk" like a bolt being thrown [animation_actor]. The entire panel is now active. When she now clicks on the panel, it swings open like a door and reveals the boiler room. Return to the Boiler Room Clicking on the doorway, she enters the boiler room. The door closes behind her [audio_actor], but the false boiler that hid the door is active. She can click on the door and it will open and she will pass back into the alchemy lab [animation_actor]. Once in the boilder room, she remembers the lever. She clicks on it for a close-up, and then clicks on the lever. The lever lowers as before and makes the same burning sound as before; this time, the burning noise becomes louder and the arrow of the dial shows that the device is working [animation_actor]. The Boiling Pool The player returns to the lab. When she arrives, she hears the sound of boiling water [audio_actor]. She reaches the pool and clicks for a close-up. The pool is boiling and the walls of the pool glow red [animation_actor]. NOTE: THE POOL WILL BOIL AS LONG AS THE TIMER IS ON. IF THE TIMER GOES OFF, THE POOL WILL COOL. THEN SHE WILL HAVE TO RESET THE TIME AND PULL THE LEVER AGAIN. The Dark Recess The player still is uncertain what she should do with her boiling pool. She has yet to examine the western wall of the room, so she begins her search there. On the west wall, she finds three crystals, all larger than the crystals that she found beside the basin and beside the door. She also finds a dark recess. The crystals and recess are both active. When she clicks on the recess, she sees a close-up of the recess. The recess is very shadowy, but she can make out a large number of greenish stalagmites and stalactites. These are active. If she clicks on them, one breaks away [animation_actor] and becomes her cursor [cursor_object]. If she wastes a stalagmite, she can always take another. The recess is too dark for the player to see any difference in the recess before and after she takes a green stalagmite. Throwing the Stalagmite in the Boiling Pool Knowing that she is seekingcopper and seeking to purify the stalagmite, she carries it to the pool. There, she clicks on the close-up; the pool is now active. When she clicks on the pool with the greenish stalagmite, it animates and falls into the boiling pool [animation_actor]. A tremendous rumbling is heard, and from the water, an enormous black crystal emerges like a glass island [animation_actor]. This crystal is larger than any of the other crystals in the room. Except for its size, the black crystal looks just like a black version of the other crystals. A Mistake: Throwing the Stalagmite into the Pool When It Is Cold If she throws the stalagmite in the pool when it is cold, the stalagmite animates and is thrown into the water [animation_actor]. The stalagmite sinks to the bottom and disappears in the shadows. She must heat the pool first and then throw in another stalagmite. The Fire Dies Down The creation of the crystal appears to have drained the energy from the furnace. The timer clicks off as if it lasted just long enough to fuel the black crystal. The pool is now cool, but the water is dark and almost inky. Opening the Crystal Head She has examined everything except the crystal fish head. Now, she returns to it. The fish head and column are active. When she clicks, she sees a close up of the fish head.) The fish head is active. She clicks on the fish head from the close-up, and the fish head tilts back as if hinged to the back of the column; from the column, a round white tablet emer es [animation_actor]. (This device works like a PEZ except that the tablet is not forced forwards.) The tablet is active; if she clicks on it, it becomes her cursor [cursor_object] and the head closes [animation_actor]. If she leaves without taking the tablet, she hears the clink of crystal as the head closes [audio_actor]. The head appears unchanged. Using the Tablet Taking the tablet to the pool, she clicks for a close-up of the pool. The pool is active. When she clicks again with the tablet as a cursor, the tablet is thrown into the water; the water begins to fizz as if treated with Alka-seltzer; this fizzing will become more and more powerful with masses of gas pouring from the pool; simultaneously, the black crystal begins to drain of color; at the moment that it is about to become clear, the air pressure in the chamber cracks a small fissure in the ceiling and a small shaft of pure, clean sunlight rushes into the room; the pool and the crystal are both now clear [animation_actor]. Inside the clear crystal, the player can now see a ball of copper. Throwing the Tablet in the Cold Pool Without A Crystal If she throws a white tablet in the cold pool, the tablet animates, is thrown into the water, and the water begins to fizz; when the fizzing stops, the water is noticeably clearer, but immediately darker colors begin to cloud the water and it returns to its previous state [animation_actor]. This is a clue to her proper action. Throwing the Tablet in the Boiling Pool If she throws the white tablet in the boiling pool, the tablet animates, is thrown into the pool, the pool fizzes slightly, but she cannot see any other change [animation_actor]. The pool keeps boiling. Creating Harmony in Crystal Having purified the large crystal, she now finds that it is active. When she clicks on it, the crystal sounds a deep note, but only for a few moments. The note fom the pool crystal reminds the player of the other crystals. She has not examined them closely, and now she returns to them. Travelling around theroom, she finds seven other crystals, two by the basin, two by the door, and three by the dark recess. The crystals are—arranged in order of size, beginning with the smallest at the basin and increasing counterclockwise around the room. All seven of the crystals are active. (Ideally, they are active from the surrounds) When she clicks a crystal, a note sounds [audio_actor]; the larger the crystal, the lower the note. Each note sounds for twenty-seconds so she can combine notes to form simple harmonies [audio_actor]. She also notices that the seven notes plus the center crystal form a perfect octave. Solving the Crystal Puzzle Now, the player remembers Sophia's speech in the practice room. Sophia stressed that the combination of five tones form the Harmony of the Spheres. This was also repeated in the sheet music the wall. (THESE NUMBERS TBD.) She deduces that she must sound these five tones. In music, though, the lowest tone is the first tone. Therefore, she reasons the largest crystal will sound note one, and so on to the smallest crystal, which will sound note eight. Since the pool crystal sounds for only three seconds, she also realizes that she must sound this crystal last in the harmonic. Reward for the Crystal Puzzle When she sounds the five crystals in harmony, the notes merge and grow in pitch. She hears a single cracking sound and sees that the top of the crystal has cracked open to expose the ball; at the same time, a drop of water falls from one of the stalagmites above the ball. When the drop strikes ball, the crystal explodes and the ball transforms into Sophia's alchemical symbol and falls to the frozen surface of the pool in a shower of gleaming shards of crystal. The coppery symbol is active. Clicking on the symbol returns the player to the Temple. To Solve the Alchemy Lab Puzzle, the player must
Tacked messily on a cork board are various notes to Sophia. Letter from Sartorius: Yes, I did a
magnificent job with Countess
Orlanda's skin. It went from the skin of a wrinkled hag to the skin of
young child. The fact that she never followed the careful instructions
I dictated to her illustrates her own stupidity. I could do the same
thing for you. I am currently experimenting on something that could be
much more powerful. By the way, I understand you have been
experimenting with herbs and natural substances. Could you share some
of those with me?
Sketch: Note with Malveaux's handwriting. Has a sketch of the temple. The Temple of Accardi is under a total Solar Eclipse. As the water of
ablution, the dew falls from heaven, purifies the body,
and makes it ready to receive the soul; in other words, it brings about
the albedo, the white state of innocence, which like the moon and a
bride awaits the bridegroom. — Carl Jung, Mysterium Conjunctionis
Mercury and Sulfur,
Sun and Moon, agent and patient, matter and form
are the opposites. When the virgin or feminine, earth is thoroughly
purified and purged from all superfluity, you must give it a husband
meet for it; for when the male and female are joined together by means
of the sperm, a generation must take place in the menstruum. The
substance of Mercury is known to the Sages as the earth and matter in
which the Sulfur of nature is sown, that it may thereby putrefy, the
earth being its womb.
...thou wilt find the Earth surrounded with the water, and that water heated, and stirred by the Sun and his starrs abstracts from the Earth the pure, subtil, saltish parts, by which means the water is thickened, and coagulated as with a Rennet: out of these two Nature generates all things. Gold and Silver, Pearls and Diamonds are nothing else but water, and salt of the Earth concocted. Thomas Vaughan, Magia Adamica
...take the animal
vegetable, and mineral stone, the stone which is
neither a stone, nor has the nature of a stone, although it is created
resembling some stones of mountains and mines, for it also resembles
vegetables and animals. And it exists in every place and time, and with
every man. And it has all colours, and in it there are present all the
elements. It is the microcosm. I shall name it to thee according to its
common names. Take the egg, I mean the philosophers' egg. Divide it
into four parts, each part being a nature (or element). Then compound
it equally and temperately in such a way that the various parts should
join but one counteract each other.
Secretum Secretorum
Clicking on the copper metal returns the player to the temple. |
Alchemy book Thou wilt find the Earth, surrounded with the water, and that water heated, and stirred by the Sun and the starrs, abstracts from the Earth the pure, saltish parts-- by which the crystal forms. The Earth is purged and by the harmony of the worlds and purified by the touch of water. Picture As the water of ablution, the dew falls from heaven, purifies the body and makes it ready to receive the soul; it brings about the albedo, the white state of innocence which like the moon and a bride awaits the bridegroom. Picture |
This is another place where the reference to the Temple of Accardi should be changed if the sketch is to be labeled. |
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| 14.18 The Return to
the Temple As the player place the metal object on the altar, the altar seeps blood, which flows quickly into a central pool. If the player clicks on the pool she will get a CLOSE-UP of the pool. If she clicks on this close-up it will DISSOLVE to the FLASHBACK scene of the murder of Sophia from Nemesis' POV, as follows: The player's POV approaches Sophia, bends down and grabs THE CORDING that secures her alchemical medallion around her neck. She COWERS as she looks toward the CAMERA. SOPHIA
Please! Don't kill me.The player's hand pulls the cord relentlessly TIGHT... TIGHTER... until Sophia falls limp ... and DEAD. As the scene ends the scene DISSOLVES to the player's original POV of the altar with the metal object in place and the blood gone. A BRILLIANT BEAM OF LIGHT lights up Sophia's sarcophagus.] |
14.18 The Return to
the Temple As the player place the metal object on the altar, the altar seeps blood, which flows quickly into a central pool. If the player clicks on the pool she will get a CLOSE-UP of the pool. If she clicks on this close-up it will DISSOLVE to the FLASHBACK scene of the murder of Sophia from Nemesis' POV, as follows: The player's POV approaches Sophia, bends down and grabs THE CORDING that secures her alchemical medallion around her neck. She COWERS as she looks toward the CAMERA. SOPHIA
Please! Don't kill me.The player's hand pulls the cord relentlessly TIGHT... TIGHTER... until Sophia falls limp ... and DEAD. As the scene ends the scene DISSOLVES to the player's original POV of the altar with the metal object in place and the blood gone. A BRILLIANT BEAM OF LIGHT lights up Sophia's sarcophagus.] |
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| 14.19 Sophia's
Metal Response. If the player clicks on the highlighted sarcophagus, she is TRANSPORTED to a MEDIUM LOW-ANGLE SHOT of Sophia in the medallion portion of her sarcophagus. Sophia materializes - visible, strong, her powers restored. SOPHIA
You've done well. I thank you. Try to understand. With Lucien and
Alexandria, I had to intervene. It was my duty... and ... I had
obligations.(faltering)
I didn't mean wrong. But I accept the guilt. We knew we would be
persecuted --but I thought Lucien and Alexandria would be safe. As is
it turned out, the nemesis was not discriminating in his taste for
murder. Please help us -- we need to complete the ceremony to create
the quintessence. Get the other alchemical metals. Hurry.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. |
14.19 Sophia's
Metal Response. If the player clicks on the highlighted sarcophagus, she is TRANSPORTED to a MEDIUM LOW-ANGLE SHOT of Sophia in the medallion portion of her sarcophagus. Sophia materializes - visible, strong, her powers restored. SOPHIA
You've done well. I thank you. Try to understand. With Lucien and
Alexandria, I had to intervene. It was my duty... and ... I had
obligations.(faltering)
I didn't mean wrong. But I accept the guilt. We knew we would be
persecuted --but I thought Lucien and Alexandria would be safe. As is
it turned out, the nemesis was not
discriminating in his taste for murder. Please help us -- we need to
complete the ceremony to create the quintessence. Get the other
alchemical metals. Hurry.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. |
Once again, I must wonder what the difference is between the Nemesis and Lucien. Either the characters or I am horribly confused. |
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| 14.19.01 Sophia's
"No Metal" Response If the player has gone to the Conservatory without finding the metal object, she is transported back to the Orrery Room by clicking on the Venus model on the Practice Room porch. If the player goes directly to Sophia's sarcophagus after returning, the player sees Sophia in the glass case at the foot of her sarcophagus very much like the player first met her. But now the image is of a woman in even greater torment, almost as if she were drowning and clawing desperately for the surface. |
14.19.01 Sophia's
"No Metal" Response If the player has gone to the Conservatory without finding the metal object, she is transported back to the Orrery Room by clicking on the Venus model on the Practice Room porch. If the player goes directly to Sophia's sarcophagus after returning, the player sees Sophia in the glass case at the foot of her sarcophagus very much like the player first met her. But now the image is of a woman in even greater torment, almost as if she were drowning and clawing desperately for the surface. |
General remarks about the conservatory: I note on our 6 September brainstorming document, the idea that "maybe this school is the one girls go to before they go to the Frobozz Philharmonic school." This seems like a reasonable idea, and thus the Frigid River Branch Conservatory could be replaced with Young Woman's Preparatory School, or something to that effect. In the same document, you ask about the politics in relation to the conservatory. This is a very difficult question to answer. The conservatory is certainly located in disputed territory, which accounts for the devastation that has been brought upon it. Since the four feel comfortable sending her there, and since Sophia is so closely involved in the place, it is unlikely that it is firmly in Syovar's territory, despite the fact that it is located nearly halfway between Kaine's castle and Syovar's strongest positions. It is thus possible that the eastern edges of the Frigid River are something of a no-man's land, the few rich elite still left all around the Eastlands all feeling free to frequent the place. Given this, it is highly likely that Alexandria would come into contact with some elements undesirable to the four alchemists, ie people owing allegiance to Syovar, or people professing magical orthodoxy as opposed to alchemy, thus further widening the rift between Alexandria and her quartet of parents. |