Example Transcript:

Tableaux Vivants

A House of Living Pictures by Lamp Post Projects

Transcript of a complete playthrough. This demonstrates just one possible route through this story, which is largely non-linear. It represents a thorough (but non-exhaustive!) playthrough.

'To myself'.

These are the words that lie before me. The pen I hold is poised over the paper, and I recognise the handwriting as my own; yet I have no recollection of beginning this letter, nor the message that was meant to follow.

I angle the stationery against pale grey light, and observe that the ink is still wet. I must have written these words mere moments ago.

Though I cannot offer any explanation for it, I am struck by the impression that this note was of grave importance.

To recall what I had intended to write inspires an urgent curiosity in me.

~ ථ ~

[Press any key to proceed.]

Tableaux Vivants

A House of Living Pictures by Lamp Post Projects

Release 1 / Serial number 260808 / Inform 7 v10.1.2

The Study

I look up from the mysterious missive and find myself alone in a room. I do not recognise my surroundings at a glance, yet they feel uncannily familiar: as though I had been here once as a young child, when I had only just begun to form memories.

I can see a desk (on which are a bookmark, an unfinished letter, a pen, and an inkwell) here.

An exit leads west.

[Type HELP for instructions on how to play, including a list of useful commands.]

>help

• "Tableaux Vivants" is a work of parser-based interactive fiction. Progress through the story and solve its puzzles by typing simple commands. (Commands are capitalized here for reference, but are not case-sensitive.) The game cannot be lost: it will never reach an unwinnable state, and there are no 'game over' scenarios. You are free to explore and experiment.

• The bar at the top of the screen lists your location, available exits, and current score. Scoring is provided primarily to help you track your progress.

• Bold words highlight objects, concepts, and characters that are unexamined (and are most worth examining), or otherwise have unexplored potential; as well as exits to rooms that have not yet been visited. (Objects are automatically examined when you first take them.) You may toggle bold text with HIGHLIGHTS OFF.

• Objects with long names (like 'The Hobbit, or There and Back Again') can almost always be referred to with generic terms ('book') or abbreviations ('hobbit').

• Type VERBS for a complete list of commands you'll need to use inside the game's world. FULL VERBS shows a more detailed explanation of these commands.

• THINK to track active goals, or THINK ABOUT (something) to request a context-sensitive hint. (Available hint topics are listed under THINK.)

• SAVE your game; RESTORE a saved game; or UNDO an action.

• Display the CREDITS.

• Type CW for content warnings (which include very minor spoilers).

• Display your ACHIEVEMENTS. (It is possible to unlock all achievements in a single game. They will not persist between saves.)

>full verbs

• NORTH, SOUTH, EAST, WEST, UP, DOWN (or N, S, E, W, U, D) - Travel between rooms.

• LOOK (or L) - Repeat the description of your location.

• EXAMINE or X (something/someone) - Learn more about an object or character.

• INVENTORY (or I) - Review the list of items you carry or wear.

• TAKE (something) / DROP (something) - Add or remove items from your inventory.

• PUT (something) ON (a surface) / PUT (something) IN (a container) - Move objects around the environment.

• UNLOCK (something) / OPEN (something) - Gain access to doors or containers that are locked or closed.

• WEAR (something) - Put on clothing or accessories.

• LIGHT or BURN (something) - Illuminate something with flame.

• TALK TO (someone) - Start a conversation with a character.

• GIVE (something) TO (someone) - Offer an item to a character.

• LISTEN TO (something/someone) - Learn about sounds made by characters or things in the environment. Type LISTEN without a focus to hear ambient sound.

• SMELL (something/someone) / PET (something) / EAT (something) / WRITE (something) - A few more ways to interact with characters, objects, and gain information about the environment.

• FIND BOOK ABOUT or RESEARCH (a topic) - Look for books or information in the study. Try simple nouns and phrases for topics (like 'research ouroboros').

These are all of the actions you might need to take inside the game's world, although synonyms for the above will often be accepted and other actions may be possible.

For a briefer version of this list, type VERBS.

For a list of other useful commands, type HELP.

>credits

"Tableaux Vivants" is a production of Lamp Post Projects (lamppostprojects.com). Written by Nell.

Tested by John Ayliff, DemonApologist, Allyson Gray, John Resig, Andrew Schultz, and Tabitha.

Coded in Inform 7 (v. 10.1.2) and released with Quixe (v. 2.2.1). Includes the extensions Exit Lister by Eric Eve, Achievements by Juhana Leinonen, and Basic Screen Effects by Emily Short. Extensions are released under a CC-BY-4.0 license: https://creativecommons.org/licenses/by/4.0.

This game does not contain any AI-generated content.

Contact lamppostprojects@gmail.com with questions or comments.

>cw

Content warnings: Amnesia/dissociation. Brief appearances of alcohol, a dead mouse, and period-typical sexism & homophobia.

>achievements

Achievements:

• Animal Lover: (Locked)

• Arts & Crafts: (Locked)

• Avid Reader: (Locked)

• Dinner for One: (Locked)

• Fire Breather: (Locked)

• Green Thumb: (Locked)

• I Remember Everything: (Locked)

The Study

I can see a desk (on which are a bookmark, an unfinished letter, a pen, and an inkwell) here.

An exit leads west.

>x me

I am clothed in a tea gown. Long, dark hair falls along my back.

I know little else of myself. My name, occupation, and all relevant facts seem to escape my recollection.

>x gown

A silk tea gown of pale peach and cream white. It has a pleated bodice, a skirt embroidered with daisies, and collar and cuffs fringed with ruffled lace. I feel quite comfortable in this garment (although it seems rather too informal to wear outside one's home).

I am carrying:

a tea gown (being worn)

>listen

The room is unusually quiet, as if dampened by a thick insulation. I am confronted by the sound of my own breathing, which is slow and steady.

>x window

A double-hung window, tall and narrow, lets in the pale grey light of the outdoors. The view overlooks a formal garden, which appears to be well-maintained.

>x shelves

The tall wooden shelves, fixed to the wall, contain a voluminous library. The books (which must number in the hundreds) appear to encompass a range of topics. I notice an emphasis on literature, books of natural science and botany, and works of art history and criticism.

I am drawn to a book that is prominently displayed on a shelf with its cover facing outward.

>x book

The cover reads 'The Mysterious Key and What It Opened' (1867) by Louisa May Alcott. Curiously, every page of the book is blank; except for the first, which bears the symbol of an ouroboros (a snake eating its own tail) with the monogram 'T.V.' in its centre.

>x wall

The wall is covered in an elegant wallpaper: branches bearing stippled lemons, pomegranates, and flowers intertwine in an abstract floral pattern against a background of gentle blue. I recognise the design as 'Fruit' by William Morris.

The wallpaper is slightly sun-faded. This is evidenced by areas of vibrant colour, which define four rectangular spaces where pictures must have hung at some point. The empty spaces vary in size: the smallest is about forty centimetres wide, while the largest appears to be over two and a half metres tall.

Hooks are still attached to the wall; perhaps the artworks were only recently removed.

>x desk

A drop-front writing desk made of stained oak. It has built-in storage (including a drawer) for supplies, papers, and sundry mementos.

On the desk are a bookmark, an unfinished letter, a pen, and an inkwell.

>open drawer

It seems to be locked.

>x bookmark

A large, sturdy bookmark made of brown leather with a purple tassel. The embossed surface bears the symbol of an ouroboros (a snake eating its own tail) with the monogram 'T.V.' in its centre.

>x letter

A sheet of paper that reads: 'To myself'. It is otherwise blank.

>x pen

A dip pen with a mother-of-pearl handle and a gold nib.

>x ink

An inkwell made of rock crystal and brass. It is filled with dark iron-gall ink.

>write

(the unfinished letter)

I am determined to finish this letter only once I can recall the message I meant to write.

>x book

>x bookmark

A large, sturdy bookmark made of brown leather with a purple tassel. The embossed surface bears the symbol of an ouroboros with the monogram 'T.V.' in its centre.

>put bookmark in book

(first taking the bookmark)

Taken.

I place the bookmark between the pages of 'The Mysterious Key and What It Opened'. The book abruptly vanishes into thin air, leaving a silver key in its place. I take it, holding both the key and the bookmark in my hands.

Remarkable!

~ ථ ~

I consider the implications of my discovery. Using this bookmark, I transformed a book into another form altogether — and these shelves are filled with books.

It may prove fruitful to find books here in the future; I expect I shall discover valuable information, or perhaps even more volumes that can be transformed into useful objects.

[Your score has just gone up by three points.]

>find books

I might find a book about a particular topic — but to read or acquire a specific title, I must name it.

[Try FIND BOOK ABOUT (topic) or RESEARCH (topic) to search for books and information.]

[The command FIND (topic) BOOK and several other variations are also accepted.]

[Use simple nouns and phrases for topics. For example: FIND BOOK ABOUT OUROBOROS.]

>find book about ouroboros

I find texts on mystical symbols, which yield the following:

The ouroboros (a serpent or snake shown in a loop eating its own tail) is an ancient symbol of Greek and Egyptian origin commonly associated with the cyclical nature of life, death, and rebirth.

This symbol became particularly significant to the mediaeval alchemists, whose work concerned the evolution of the human soul and the transmutation of matter.

The monogram of 'T.V.' that I have seen accompanying the ouroboros likely refers to something else entirely (a name, perhaps).

>research magic

I locate a small set of volumes published by the British Society for Magical Sciences and dated to 1872. These appear to be rhetorical works, devoted to the modern history of magic as a field of growing respectability and representation within the academy.

Modern magic strives to distinguish itself from the mysticism of the past. The author argues persuasively in favor of practical applications of magic, with a particular focus on industry and military.

Apart from these writings, the only references to magic in this library are those that appear in works of fiction.

>research myself

Extensive though this library may be, it cannot tell me what is in my heart or mind. Many of the answers I seek may be discovered only by restoring my memories.

I am carrying:

a silver key

a bookmark

a tea gown (being worn)

>x key

A small, silver key. It appears to fit the sort of lock you would find on a drawer or cabinet.

>unlock drawer

I unlock the drawer with the silver key.

>open drawer

I open the drawer, revealing a photograph and a locket.

>x photo

A photograph of three children standing in front of a mountain landscape, smiling, with arms linked.

Judging by the hairstyles and clothing of the children, and the quality of the photography, I would date this picture to about forty years ago.

>x locket

A silver locket pendant on a fine chain necklace. It holds a lock of golden hair.

The Study

Silence weighs so heavily here that the sound of my own breathing seems to intrude upon it. A solitary window lets in light from the north, and the walls are decorated with monumental bookshelves (on which I might find books); except for the southern wall, which is conspicuously empty.

I can see a desk (on which are an unfinished letter, a pen, and an inkwell) here.

An exit leads west.

As I begin to leave the study, I feel ill at ease. I absentmindedly rub my hand over my neck and just beneath my collarbone. There is an absence here: a weight I am accustomed to feeling, although I cannot recall what it is.

Before I venture any further, I wish to replace the item I am missing.

>wear locket

(first taking the locket)

My hands are already full, so I must unburden myself first — unless there is some way for me to carry many items at once.

The bookshelves have already yielded one useful object that had been disguised as a book. Perhaps I might find another.

>find book about a bag

I find a slim volume titled 'La Bourse (The Purse)' (1832) by Honoré de Balzac on a shelf of French literature.

Every page of the book is blank; except for the first, which bears the symbol of an ouroboros with the monogram 'T.V.' in its centre.

A copy of 'The Purse' now rests here.

[Your score has just gone up by two points.]

>put bookmark in book

I place the bookmark between the pages of 'The Purse'. The book abruptly vanishes into thin air, leaving a small purse in its place.

It is a chatelaine purse, which is attached to a chain and meant to be worn. I clasp the chatelaine onto the waist of my gown, and the purse conveniently hangs over my hip.

I still hold the bookmark in my hand.

>x purse

A small chatelaine purse made of metal mesh. It hangs from a chain, which is hooked to the waist of my gown. The silvered brass closure is decorated with a cast relief of violet flowers, and the interior of the purse is lined with green silk.

I am carrying:

a purse (being worn)

a bookmark

a silver key

a tea gown (being worn)

>put key in purse

The chatelaine purse practically swallows up the silver key, and I find that it takes up no room inside the purse at all — nor does it add any weight!

[Items will now be automatically moved in and out of the purse, as needed.]

[Your score has just gone up by two points.]

>wear locket

(first taking the locket)

I put on the locket, and find that the necklace's weight around my neck is pleasingly familiar. I do not know why this object feels significant, nor if I am any closer to recalling what I had meant to write in the letter; but I am emboldened to explore the rest of this house in search of anything that could awaken such recollections.

[Your score has just gone up by three points.]

>take photo

Taken.

The Study

I can see a desk (on which are an unfinished letter, a pen, and an inkwell) here.

An exit leads west.

The Drawing Room

The domestic space is generously sized and furnished to entertain guests, although the accumulation of dust here suggests that the room has not seen much use as of late. Natural light floods in from tall, narrow windows with both north and south aspects.

I can see a book and a potted plant here.

Exits lead east (to the study) and west.

>x windows

Double-hung windows let in the grey light of the outdoors. The view to the north overlooks a garden, while the view to the south looks out onto meadows bordered by forest.

>x north

At the front of the property, the formal garden appears to be well-maintained.

>x south

Behind the property, meadow stretches out towards the edge of a wild forest.

>x book

The cover reads 'On the Growth of Plants in Closely Glazed Cases' (1842) by Nathaniel Bagshaw Ward. Curiously, every page of the book is blank; except for the first, which bears the symbol of an ouroboros with the monogram 'T.V.' in its centre.

>put bookmark in book

I place the bookmark between the pages of 'On the Growth of Plants in Closely Glazed Cases'. The book abruptly vanishes into thin air, leaving a Wardian case in its place. I put the bookmark back into my purse.

>x case

A glazed terrarium suitable for growing delicate exotic plants, with a lidded top to allow access to the case's interior. The case is a wide box with a peaked roof (rather like a little house), and it is mounted to a sturdy wooden base with four turned legs similar to a side table. An embossed metal placard fixed to the front bears the symbol of an ouroboros with the monogram 'T.V.' in its centre.

>x plant

A potted oenothera lindheimeri, or 'clockweed'. It has delicate white flowers, and is native to America.

The symbol of an ouroboros, with the monogram 'T.V.' in its centre, is embossed onto the pot.

>smell plant

The clockweed has a foul odor that is not entirely dissimilar to cat urine.

>put plant in case

(first taking the clockweed)

I place the clockweed into the Wardian case and step back. The potted plant vanishes into thin air, and a clock now rests in its place.

Extraordinary! This Wardian case has transformative properties — just like the bookmark.

[Your score has just gone up by five points.]

>x clock

A mantel clock made from wood and hammered copper. The time-keeping mechanism seems to be broken.

The Drawing Room

I can see a Wardian case (in which is a clock) here.

Exits lead east (to the study) and west.

>smell

The house smells faintly of must.

>listen

I can make out the distant sound of voices from rooms to the west.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north appears to lead outside. I could also go east (to the drawing room) or south, from which I hear the sound of ebullient laughter. A staircase leads up.

>x staircase

A single flight of stairs decorated with a woven runner of ivy green. The newel post caps are made of wood, and carved in the shape of flowers.

>listen

Laughter echoes off the walls of the adjoining room to the south. I discern two distinct voices.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

A young man and woman are here, alternately sitting at the dining table and circling the room. They frequently punctuate the silence with spontaneous, jovial laughter. A cat and dog relax nearby.

Exits lead north (to the entrance hall) and west.

>x hearth

The cold hearth is set into the wall and surrounded by slate.

>x wallpaper

The wallpaper's repeating pattern shows birds and flowers perched amidst climbing vines on a garden trellis. Highlights of red-orange and soft blue stand out against the wallpaper's background of muted grey-brown tones. I recognise the design as 'Trellis' by William Morris.

>x young man

He is well-dressed in a grey doublet, a lace collar, and a broad-brimmed, plumed hat in the cavalier style, as would have been fashionable for a Dutch gentleman more than two centuries ago. His cheeks and nose are ruddy, and he bears an expression of delight and amusement. He continues to cycle through his ritual: making a toast, attempting to drink from his glass, and finding that it is empty.

Every so often, the man lifts up the glass he holds in his right hand, as if proposing a toast, which the woman watches with anticipation. But when he goes to take a sip, he discovers that his glass is empty. Both of them briefly frown in disappointment; then shrug, and carry on laughing at their shared joke.

They repeat this same ritual just minutes later, seemingly forgetting that the man is still without wine.

~ ථ ~

The pair is so full of mirth, despite the fact that they seem incapable of making their much-desired toast. As I watch them carry on in futility, I find myself developing a certain compassion for their odd plight.

I will not be at ease until I have assisted this young man with finding a suitable drink.

>x glass

A small wine glass, which is very much empty.

>talk to man

The man listens to me, then says something in a foreign language that I believe to be Dutch. He lifts the empty wine glass in his hand, then turns it upside down and shakes it as he puts on an exaggerated, comical frown. I cannot understand his words, but his gesture is universally comprehensible.

>x woman

She is well-dressed in the Dutch style of more than two centuries ago: a black bodice and skirt with a large white collar and cuffs. Like her companion, her cheeks and nose are rosy and she laughs and smiles with contagious mirth.

>talk to woman

The young woman listens to my words, then shrugs and says something in a foreign language that I believe to be Dutch. I don't believe she understands me; nor can I understand her.

>x table

The rustic table has turned legs and a tabletop made of long oak planks. It could seat up to eight diners, but only one place has been set.

>x cat

The short-haired calico cat carries a small (dead) mouse in her mouth. She appears very satisfied with her catch.

>x mouse

The mouse, which has expired, is a victim of the cat's keen hunting instincts.

>x dog

A hound with medium-length fur of caramel brown and white. She eagerly follows the young man about the room with a wagging tail and lolling tongue, and so I presume that he is her master.

>pet dog

The hound licks my hand excitedly, welcoming the attention.

>pet cat

I invite the cat to sniff my hand, and she purrs as she allows me to lightly stroke her head. She seems so comfortable with the gesture that I wonder if she recognizes my scent.

>pick up cat

She deftly darts away, evading me. She is far too agile to keep up with.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

A young man and woman are here, alternately sitting at the dining table and circling the room. They frequently punctuate the silence with spontaneous, jovial laughter. A cat and dog relax nearby.

Exits lead north (to the entrance hall) and west.

The Kitchen

The kitchen lacks provisions, and the range is cold.

I can see a book here.

The dining room is to the east, from which I can still hear the merry couple. A door leads down to the cellar.

>x range

A cast-iron range with built-in stove and oven. It is cold, lacking both flame and fuel.

>x book

The cover reads 'The Banquet (Il Convivio)' by Dante Alighieri (1304, translated by Sayer in 1887). Curiously, every page of the book is blank; except for the first, which bears the symbol of an ouroboros with the monogram 'T.V.' in its centre.

>put mark in book

I place the bookmark between the pages of 'The Banquet'. The book abruptly vanishes into thin air, leaving behind a decadent spread of foods in its place: a roast, a salad, some carrots, some grapes, and a trifle. I put the bookmark back into my purse.

>x roast

A string-tied beef sirloin that has been roasted to perfection and seasoned with rosemary.

>x salad

A simple dish of greens tossed with vinaigrette.

>x carrots

A dish of carrots that have been braised in butter.

>x grapes

A bunch of red grapes, which look ripe and juicy.

>x trifle

The sides of the glass bowl showcase the pudding's decadent layers: brandy-soaked sponge cake, jam, berries, custard, and whipped cream.

>eat it

My appetite seems to have abandoned me, for the moment. Perhaps I may yet recover it.

(first opening the cellar door)

It seems to be locked.

>unlock door with silver key

(first taking the silver key from the purse)

It doesn't fit this lock. There must be another key somewhere.

>take all

trifle: Taken.

grapes: (first putting the silver key into the purse to make room)

Taken.

salad: (first putting the trifle into the purse to make room)

I put the trifle into the purse and marvel as the dish of food floats within the infinite space, remaining upright and unspilled.

Taken.

carrots: (first putting the grapes into the purse to make room)

Taken.

roast: (first putting the salad into the purse to make room)

Taken.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

A young man and woman are here, alternately sitting at the dining table and circling the room. They frequently punctuate the silence with spontaneous, jovial laughter. A cat and dog relax nearby.

Exits lead north (to the entrance hall) and west (to the kitchen).

>put trifle on table

I set the trifle on the dining table. The young man and woman ignore my attempt at hospitality, only continuing to giggle and wander about the room.

>smell trifle

The trifle smells of brandy and fruit.

>smell me

I recognise the scent of violets in the faded perfume that lingers on my wrists.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north appears to lead outside. I could also go east (to the drawing room) or south (to the dining room), from which I hear the sound of ebullient laughter. A staircase leads up.

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north — from which emanates strange, animalistic sounds — as well as the south and east. A staircase leads back down to the entrance hall.

>listen

The noises emanating from the room to the north give the impression of a menagerie of large animals.

The Lily and Pomegranate Room

The bedroom is decorated with motifs of orange lilies and pomegranate fruits, from the wallpaper to the rugs.

It is difficult to notice many details of the room, however, as my eye is drawn to the enormous chimera that stares at me with three heads. She reclines in the middle of the space (and takes up most of it), producing a chorus of strange noises that echo off the walls.

The upstairs landing is back to the south.

>x wallpaper

The wallpaper is illustrated with lily flowers and pomegranate fruits in muted, pastel tones of orange and blue-green. I recognise the design as 'Lily and Pomegranate' by William Morris.

>x rugs

Finely woven rugs crafted in the Persian style, with abstracted fruit and flower motifs in pale oranges and greens.

>x chimera

A many-headed, many-legged beast. The hindquarters of her body consist of the scaled head, clawed feet, and wings of a draconic serpent, which hisses and projects thin shoots of flame out of her mouth. From the middle of the creature's body protrudes the horned head of a long-haired goat, accompanied by a pair of cloven-hoofed legs emerging (rather uselessly, it would seem) from the top of her back. At the front of her body is the head, mane, and paws of a noble lion.

It seems impossible that this monstrous creature from ancient Greek myth should exist at all; and all the more unlikely that she should have found her way into a domestic setting such as this. Yet she is vividly real: as is the cacophony of noises that she produces, and the pungent, animalistic scent that emanates from her (a heady blend of musk, dirt, and smoke, like a campfire at a barnyard).

>x serpent

The serpent head's features are generally snake-like, but with unusual ears, wings, and ridges along the back of its neck that mark it as a draconic creature. It periodically spews flames from its mouth.

>x goat

The goat head is covered in dense white fur, with two long horns. Her eyes stare at me unnervingly with their horizontal pupils.

>x lion

The lion head has tawny fur and a luxuriant mane. (It interests me that she would have the mane of a male lion, although the chimera is traditionally female.)

>listen to noises

The chimera makes a variety of sounds, each of which seem to be coming from a different part of her body. If I were to distinguish the vocalizations produced by listening to each of her three heads (serpent, goat, and lion), perhaps I could better understand their meaning.

>listen to serpent

The serpent head makes occasional hissing sounds. They are just as one would expect from an extremely large snake.

>listen to goat

The goat head bleats every so often; she sounds much like any domestic farm goat, but louder and more resonant (to the protest of my ears).

>listen to lion

The chimera periodically lets out a low growl — a noise which, at first consideration, I had assumed came from the lion head.

As I listen more closely, however, I discern that the sound is originating from elsewhere: the chimera's stomach (which is, presumably, shared by all three heads). She sounds quite hungry. Thankfully, she has made no moves to attack me; perhaps she does not have the taste for human flesh.

~ ථ ~

The growls of her stomach inspire a great sympathy within me. I feel the chimera's hunger acutely — it is a hunger I desperately wish to satiate, although I feel neither the pangs nor cravings of appetite within my own body.

I must find a suitable meal for this creature.

>pet chimera

I dare not pet such a fearsome beast. I would surely lose a hand.

I am carrying:

a roast

some carrots

a locket (being worn)

a purse (being worn)

a salad

some grapes

a silver key

a photograph

a bookmark

a tea gown (being worn)

>give roast to lion

Catching the scent of the roast the lion head opens her mouth wide open, revealing long, sharp teeth. I toss the food to her, keeping my fingers far from her bite. She voraciously chews the meat and swallows it down.

The lion's appetite seems satiated, for the moment; however, she is but one third of the chimera. I must now attend to another of the creature's heads.

[Your score has just gone up by one point.]

>give salad to goat

(first taking the salad from the purse)

Catching the scent of the salad, the goat head reaches over to eat the treat out of my hand. She crunches loudly as she chews the salad, making swift work of it.

The goat's appetite seems satiated, for the moment; however, she is but one third of the chimera. I must now attend to another of the creature's heads.

[Your score has just gone up by one point.]

>give grapes to serpent

(first taking the grapes from the purse)

The serpent head gives the grapes a quick sniff, then turns away in disinterest.

None of the remaining dishes provided by 'The Banquet' are likely to appeal to her palate. To feed the serpent head, I must search for yet another source of food.

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north (the Lily & Pomegranate Room) — from which emanates strange, animalistic sounds — as well as the south and east. A staircase leads back down to the entrance hall.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north appears to lead outside. I could also go east (to the drawing room) or south (to the dining room), from which I hear the sound of ebullient laughter. A staircase leads up to the second floor.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

A young man and woman are here, alternately sitting at the dining table and circling the room. They frequently punctuate the silence with spontaneous, jovial laughter. A cat and dog relax nearby.

On the dining table is a trifle.

Exits lead north (to the entrance hall) and west (to the kitchen).

>x cat

The short-haired calico cat carries a small (dead) mouse in her mouth. She appears very satisfied with her catch.

>take mouse

I reach down and attempt to snatch the mouse from the cat's jaws, but she deftly darts away, protective of her trophy. She is far too agile for me to keep up.

>play with cat

I would need to give the cat a suitable toy.

The Entrance Hall

A corridor from which I may access other parts of the house.

The Garden (Entrance)

Low, sculpted box hedges enclose a well-trimmed lawn and border a brick footpath that leads through the garden. Openings in the hedges are decorated with arched trellises, which are covered in climbing rose vines. A carriage road borders the garden to the west, leading away from the house and towards the public world.

A horse grazes on the vegetation.

The house is south from here, while the garden continues to the north and east.

>x hedges

The box hedges define the outdoor space in a pleasingly architectural manner.

>x footpath

Worn, brick-laid footpaths, with moss growing in their cracks.

>x roses

Rose vines in full bloom climb up decorative arched trellises, which are placed into openings between the hedges.

>x road

The carriage road leads away from the house, but I dare not leave the premises until I gain further clarity about the nature of my circumstances.

>x house

The comfortably-sized country home sports honey-colored limestone, bay windows, and a peaked slate roof. It is well-maintained, although creeping ivy threatens the masonry.

>x horse

The large Arabian stallion saunters casually through the garden, munching the plantings (to the detriment of the landscaping). He has been equipped with a bridle, bit, and reins, but lacks a saddle.

The horse wanders north, following his nose.

The Garden (North)

Brick footpaths continue through the garden, lined on either side by plantings of small, symmetrical trees.

A man is here, imperiously marching along on the garden path.

A horse grazes on the vegetation.

The garden continues south (back towards the house), while a greenhouse lies to the east.

>pet horse

I stroke the horse's pinto-coloured hide. He seems healthy and well-groomed.

[Achievement Unlocked: Animal Lover]

>x trees

Young dogwood trees, which are long past their flowering season.

>x man

The regal-looking man bears a perfect resemblance to the former French general and emperor, Napoleon Bonaparte. He is dressed in an exceptionally fine military outfit circa 1800: his bicorn hat and coat are navy blue and red with gold borders, and his flowing cape and pants are a striking goldenrod yellow. One of his hands is clothed in a riding glove, while the other is bare.

This 'Napoleon' walks the paths of the garden in evident frustration.

>talk to man

He turns to me and speaks in French (in which I am quite fluent): "You!" he barks. "Someone has stolen my saddle! Was it you?"

Shocked, I deny his accusation.

"Well, then. You may not have taken it, but you must find it," he pronounces, as if he had the authority to command me. "I cannot leave this accursed place without it."

~ ථ ~

I am incensed that this man treats me as his servant! Although I have little interest in helping such an arrogant individual, I am rather eager to see him depart.

It seems I must find this saddle to rid the gardens of his presence.

Napoleon marches off in frustration towards the south.

The horse saunters over.

I am carrying:

some grapes

some carrots

a locket (being worn)

a purse (being worn)

a silver key

a photograph

a bookmark

a tea gown (being worn)

>feed carrots to horse

The horse eagerly accepts my offering of the carrots, and devours them in a few quick bites.

The Garden (North)

Brick footpaths continue through the garden, lined on either side by plantings of small, symmetrical trees.

The garden continues south (back towards the house), while a greenhouse lies to the east.

The horse wanders south, following his nose.

The Greenhouse

A one-room structure made entirely of glazed panels held together by a cast-iron frame. The greenhouse is, disappointingly, largely devoid of greenery; although there are discoloured circles on the brick floor of the structure, suggesting that more potted plants may have sat here not long ago and have been removed.

I can see a potted plant here.

The outdoor areas of the garden lie to the south and west.

>x floor

The floor is made of bricks and in good condition, save for the circles of discolouration where potted plants once rested. I see marks left by eight plants in total, including the one currently resting here.

>x plant

An epipremnum pinnatum, or 'Skeleton Key' pothos. Its leaves are unusually shaped with long, pointed tips. Native to Southeast Asia and the Pacific Islands.

The symbol of an ouroboros, with the monogram 'T.V.' in its centre, is embossed onto the pot.

>take it

Taken.

The Garden (East)

A decorative stone fountain flows with water in the centre of a colourful display of flowers, which is well-defined by brick footpaths and surrounded by low hedges.

Napoleon is here, imperiously marching along on the garden path.

A horse grazes on the vegetation.

The garden continues west (back towards the house), while a greenhouse lies to the north.

>x fountain

A stone grotesque sculpted in the form of a chimera, which spouts water from all three of its monstrous heads (a lion, goat, and serpent). Somehow it manages to be both peaceful and unsettling.

>listen

The burbling sounds of the water fountain soothe my nerves.

The horse wanders west, following his nose.

>x flowers

Roses, violets, columbines, and lilies in full bloom and artfully arranged. Most are planted directly into the soil, but a beautiful potted woolflower and torch lily also complement the display of colour.

Napoleon marches off in frustration towards the west.

>smell flowers

The scents of lush vegetation and flowers linger in the air.

>take woolflower

(first putting the grapes into the purse to make room)

Taken. A celosia, known as a 'woolflower'. It has brilliant blooms of magenta, yellow, and orange, with a fuzzy texture that gave the plant its name. Native to Africa.

The symbol of an ouroboros, with the monogram 'T.V.' in its centre, is embossed onto the pot.

>take lily

(first putting the Skeleton Key pothos into the purse to make room)

Taken. A potted kniphofia, or 'torch lily'. Once matured, it will grow tall stalks ending in bright orange-yellow flower heads. Native to Africa.

The symbol of an ouroboros, with the monogram 'T.V.' in its centre, is embossed onto the pot.

Napoleon walks over, scouring the ground for his saddle.

The Garden (Entrance)

The house is south from here, while the garden continues to the north and east.

The horse saunters over.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north provides access to the garden. I could also go east (to the drawing room) or south (to the dining room), from which I hear the sound of ebullient laughter. A staircase leads up to the second floor.

The Drawing Room

I can see a Wardian case (in which is a clock) here.

Exits lead east (to the study) and west (to the entrance hall).

I am carrying:

a torch lily

a woolflower

a locket (being worn)

a purse (being worn)

a Skeleton Key pothos

some grapes

a silver key

a photograph

a bookmark

a tea gown (being worn)

>put lily in case

Having witnessed the Wardian case's unusual properties, I am wary of what would happen if it were to contain more than one object at once. I first remove the clock and then set it aside.

I place the torch lily into the Wardian case and step back. The potted plant vanishes into thin air, and a gas lamp lighter torch now rests in its place. It sticks out of the open top of the Wardian case.

>take torch

Taken. The gas lamp lighter torch is made from a tube of brass with a turned wood handle. The valve appears to be broken; to illuminate the torch, I would need to locate a source of flame and light the fuel-soaked wick directly.

>put woolflower in case

I place the woolflower into the Wardian case and step back. The potted plant vanishes into thin air, and a skein of yarn now rests in its place.

>take yarn

Taken. Soft wool yarn dyed in burgundy red.

>put pothos in case

(first putting the torch into the purse to make room)

(first taking the Skeleton Key pothos from the purse)

I place the Skeleton Key pothos into the Wardian case and step back. The potted plant vanishes into thin air, and a skeleton key now rests in its place.

>take key

(the skeleton key)

Taken. A brass key that may fit any simple door lock.

The Entrance Hall

A corridor from which I may access other parts of the house.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

A young man and woman are here, alternately sitting at the dining table and circling the room. They frequently punctuate the silence with spontaneous, jovial laughter. A cat and dog relax nearby.

On the dining table is a trifle.

Exits lead north (to the entrance hall) and west (to the kitchen).

>give yarn to cat

I dangle the skein of yarn in front of the cat, and she is so captivated by it that she drops the mouse on the ground.

She plays with the skein of yarn, pouncing and chasing it with adorable ferocity.

[Your score has just gone up by two points.]

>take mouse

Taken.

The Kitchen

The kitchen lacks provisions, and the range is cold.

The dining room is to the east, from which I can still hear the merry couple. A door leads down to the cellar.

>unlock door

I unlock the cellar door with the skeleton key.

(first opening the cellar door)

The Cellar (in Darkness)

The cellar is shrouded in darkness. Without a source of light, I am likely to trip and fall.

Steps lead back up through the cellar door into the kitchen.

The Kitchen

The kitchen lacks provisions, and the range is cold.

The dining room is to the east, from which I can still hear the merry couple. A door leads down to the cellar.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

A young man and woman are here, alternately sitting at the dining table and circling the room. They frequently punctuate the silence with spontaneous, jovial laughter. A cat and dog relax nearby.

On the dining table is a trifle.

Exits lead north (to the entrance hall) and west (to the kitchen).

The Entrance Hall

A corridor from which I may access other parts of the house.

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north (the Lily & Pomegranate Room) — from which emanates strange, animalistic sounds — as well as the south and east. A staircase leads back down to the entrance hall.

The Lily and Pomegranate Room

The bedroom is decorated with motifs of orange lilies and pomegranate fruits, from the wallpaper to the rugs.

The upstairs landing is back to the south.

>x serpent

>light torch with flames

(first taking the torch from the purse)

(first putting the skeleton key into the purse to make room)

Taken.

Taking care not to startle the chimera, I hold the torch in front of her serpent head and mutter reassurances to her in a gentle tone. She seems to comprehend my need, and lets out a thin stream of flame to light the fuel-soaked wick of the gas lamp lighter torch.

[Achievement Unlocked: Fire Breather]

>give mouse to serpent

The serpent tastes the air with her forked tongue and, having caught the scent of the mouse, opens her jaw in invitation. I toss the meal to her, which she deftly catches out of the air and swallows down in a single bite.

The appetites of all three heads have now been sated. They vocalize in unison — the lion lets out a mighty roar, which nearly covers the goat's bleating and the serpent's hissing — before they vanish from sight.

Looking down from the empty space where the chimera once stood, I find that a drawing now rests on the ground. No other trace of her remains.

~ ථ ~

A maelstrom abruptly awakens within me, yet I cannot distinguish any single emotion. Whether euphoria, rage, despair, envy, or sheer absurdity, this storm of sensibility surges so fiercely that several moments pass before I become aware of the sound of myself screaming aloud at the top of my lungs.

It is as though I were the chimera herself: lost to chaos and roaring with many heads.

I cease this screaming and catch my breath, attempting to calm the eruption of spirit.

~ ථ ~

Memories arise as I recover from the outburst. The decades of futile love that I have carried for Eudocia, just as I carry a piece of her golden hair in the locket that I wear. The day I impulsively burned two years’ worth of research notes in a fit of frustration. The tenderness that arose in me when I observed wild boar piglets in a forest. The presence of divinity that was impressed upon my soul when I witnessed a lightning storm over the moor of Twyn Llech.

As my breathing slows, I realize that curing the chimera's hunger has only reawakened my own insatiable yearnings — and my passionate, irrational nature.

~ ථ ~

In the wake of these recollections, my current circumstance weighs more heavily. Ever since I discovered my unfinished letter this morning, curiosity about my predicament has animated my actions; but now my capacity for fear reemerges, as well.

~ ථ ~

Finally, my name comes to me: Theodora Violet Drake.

I am quite certain that this house is my home. I even recall the name of my pet cat, Beatrix.

All of this arrives in one epiphany, yet the particulars are maddeningly incomplete. Missing pieces of my story linger at the edge of my awareness. I still do not know what I had intended to write in the letter to myself; but dispelling this illusion seems to have begun the process of remembering.

~ ථ ~

The Lily and Pomegranate Room

The bedroom is decorated with motifs of orange lilies and pomegranate fruits, from the wallpaper to the rugs. It is entirely placid in the chimera's absence.

I can see a drawing here.

The upstairs landing is back to the south.

[Your score has just gone up by sixteen points.]

>x locket

A silver locket pendant on a fine chain necklace. It holds a lock of golden hair, which I now recall belonged to Eudocia: my unrequited love.

As I study the locket, a memory is reawakened.

~ ථ ~

When I pleaded with Eudocia for a lock of her golden tresses, at first she laughed and teased. She told me I was too sentimental; but still, she indulged my request. I had her hair set within a silver locket. It has always been a precious treasure. Decades later, I still wear this necklace in my private hours.

I may have locked the necklace in my desk to deter myself from indulging in my frivolous, nostalgic yearning; or perhaps I had hoped to forget Eudocia altogether.

No doubt she would think me a fool for clinging to the follies of girlhood. She was always by far the more pragmatic between us.

[Your score has just gone up by one point.]

>x drawing

A reproduction of 'A chimera' (ca. 1590-1610), attributed to Jacopo Ligozzi. The drawing is mounted and labeled in a gilded frame.

The chimera is just as I saw her in life, but rendered here in a drawing of ink wash, chalk, and pencil on toned paper. She is rather charming, and far less frightening, in this diminutive form.

>take it

Taken.

The Lily and Pomegranate Room

The bedroom is decorated with motifs of orange lilies and pomegranate fruits, from the wallpaper to the rugs. It is entirely placid in the chimera's absence.

The upstairs landing is back to the south.

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north (the Lily & Pomegranate Room), as well as the south and east. A staircase leads back down to the entrance hall.

The Entrance Hall

A corridor from which I may access other parts of the house.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

A young man and woman are here, alternately sitting at the dining table and circling the room. They frequently punctuate the silence with spontaneous, jovial laughter. A cat and dog relax nearby.

On the dining table is a trifle.

Exits lead north (to the entrance hall) and west (to the kitchen).

The Kitchen

The kitchen lacks provisions, and the range is cold.

The dining room is to the east, from which I can still hear the merry couple. A door leads down to the cellar.

The Cellar

Cool air emanates from the brick walls and shelves of this windowless room. It is illuminated by the torch I carry, which casts flickering light against its walls.

I can see a book here.

Steps lead back up through the cellar door into the kitchen.

>x book

The cover reads 'Wine, the vine and the cellar' (1863) by Thomas George Shaw. Curiously, every page of the book is blank; except for the first, which bears the symbol of an ouroboros with the monogram 'T.V.' (for 'Theodora Violet') in its centre.

>put mark in book

I place the bookmark between the pages of 'Wine, the vine and the cellar'. The book abruptly vanishes into thin air, leaving behind a bottle of wine in its place. I take the wine and stow it in my purse, along with the bookmark.

[Your score has just gone up by five points.]

>x wine

An 1880 bottle of Companhia Vinicola da Madeira.

The Kitchen

The kitchen lacks provisions, and the range is cold.

The dining room is to the east, from which I can still hear the merry couple. A door leads down to the cellar.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

A young man and woman are here, alternately sitting at the dining table and circling the room. They frequently punctuate the silence with spontaneous, jovial laughter. A cat and dog relax nearby.

On the dining table is a trifle.

Exits lead north (to the entrance hall) and west (to the kitchen).

>give wine to man

(first putting the torch into the purse to make room)

I put the torch into the purse, relieved to note that its flame remains lit and safely suspended in infinite space.

(first taking the bottle of wine from the purse)

I remove the cork from the bottle and tip wine into the man's empty glass. He watches with delight as I fill it to the brim.

The woman and dog rush over to join the drinker. The man's partner leans against him, placing her hand on his chest. She looks directly at me and continues to chortle at the joke the lovers share, which I will never have the privilege of knowing.

The man raises his glass to some unseen entity above and vanishes into thin air, along with the woman and dog. Only my pet cat, Beatrix, is left behind.

Looking down from the empty space where the trio once stood, I find that a painting now rests on the ground.

~ ථ ~

Now that the revelers are gone, I feel their absence most acutely. The room is oppressive in its vacancy.

The never-ending merriment they shared seemed to epitomize the delights of companionship. Now I, too, yearn for fellowship: to know another's mind, to share in their pleasure and sadness, suddenly seems to me the greatest gift that one could enjoy.

A lifetime of relationships return to me. Mother, father, and my dear brother Charlie, whose gift to me awaits his return upstairs. Aunt Elizabeth, who I so admired. Regina and Thomas, my closest childhood companions, whose photograph I have kept. Horace, with whom I shared a brief, ill-fated engagement. And, of course, Eudocia: the object of my unrequited obsession.

Others move through my thoughts whose names I do not recall, and might never have known. The elderly man who, unconcerned with my age and sex, spoke with me of Plato in the bookshop when I was seventeen. The children lost at the zoo who I guided back to their parents. The woman who was overcome with emotion as we looked upon Michelangelo's 'Atlas Slave'.

~ ථ ~

And now I recall the absolute and seemingly inescapable solitude of my present existence. Every person who was once a part of my life has either passed away, or left me to live out my days in seclusion.

The moment the Dutch couple completed their toast, my loneliness returned.

~ ථ ~

With a heavy sigh, I come to my senses. Another part of myself has been restored, but these revelations have been more bitter than sweet. I still do not know what I had intended to write in the letter to myself; but I come nearer to the answer with each illusion that I dispel.

~ ථ ~

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

On the dining table is a trifle.

I can see a painting and Beatrix here.

Exits lead north (to the entrance hall) and west (to the kitchen).

[Your score has just gone up by fifteen points.]

>x photo

A photograph of a child I do not recognise with Regina and Thomas, my childhood friends. The trio stands in front of a mountain landscape, smiling, with arms linked.

Judging by the hairstyles and clothing of the children, and the quality of the photography, I would date this picture to about forty years ago.

As I study the photograph, a memory is reawakened.

~ ථ ~

It was the summer that Regina and I spent with our friend Thomas at his family's cottage in the Lake District. We were but seven and eight years old, and the journey seemed a grand adventure to us. I recall that Thomas's mother was a passionate amateur enthusiast of photography, and she convinced us children to pose for this group portrait.

That summer was among the most formative of my life. It was (to my knowledge) the first time that I ever encountered magic.

~ ථ ~

The three of us were quite energetic and oftentimes went fell walking with Thomas's uncle as chaperone. One afternoon, I spotted a kestrel and followed her as she travelled between trees and rock ledges. Distracted by my interest in the majestic raptor, I found myself lost on the moor and separated from the group.

As I called out for help and strove to find my way back to my companions, the landscape under my feet seemed to shift and move as it guided my path directly to them. Although it was only a short distance I had traveled, as I would later discover, the event forever changed my view of the world.

[Your score has just gone up by one point.]

>x painting

(the painting)

A reproduction of 'Young Man and Woman in an Inn' (1623) by Frans Hals. The large oil painting is mounted and labeled in a gilded frame.

The young man and woman are posed just as I last saw them, mid-toast, with the hound placing her snout into the man's hand. The trio is posed in front of a curtain, and another gentleman stands further into the interior of the inn.

>take it

I awkwardly lift 'Young Man and Woman in an Inn' from the ground, struggling with the large frame and canvas.

>x beatrix

My dear calico cat Beatrix plays with the skein of yarn, pouncing and chasing it with adorable ferocity.

>kiss beatrix

I place a tender kiss on the top of her head. She is soft, warm, and quite comforting.

The Dining Room

The room is dark and intimate. An unlit hearth is set into one wall, surrounded by heavy wood panelling, whilst the ceiling and other walls are decorated with colourful wallpaper.

On the dining table is a trifle.

I can see Beatrix here.

Exits lead north (to the entrance hall) and west (to the kitchen).

>eat trifle

Since feeding the chimera, I find that my appetite has returned. I eat with relish, filling my empty stomach with the trifle's decadent custard.

[Achievement Unlocked: Dinner for One]

Beatrix rubs against my leg as she passes me, wandering to another part of the house after having abandoned the yarn.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north provides access to the garden. I could also go east (to the drawing room) or south (to the dining room). A staircase leads up to the second floor.

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north (the Lily & Pomegranate Room), as well as the south and east. A staircase leads back down to the entrance hall.

The Violet and Columbine Room

My bedroom is decorated with motifs of purple violets and columbine flowers. A luxurious canopy covers my bed, next to which is a side table. A fire burns in the hearth, warming the space.

The upstairs landing is back to the west.

As I step into this room (my bedroom), a memory is reawakened.

~ ථ ~

When my older brother Charlie first moved to Punjab to teach, he was enthralled by the arts of the region. He had a gift shipped here soon after his arrival as a token of his promise that he would one day return home. 'Our paths may have diverged, my dear Teddy, but it is only temporary,' he wrote.

It has been twenty five years. Charlies visits only every few years and still has not yet retired nor returned to live in England. As I look upon this side table, I am reminded of his long absence.

I wonder if my brother will ever again share our home with me.

[Your score has just gone up by one point.]

>x side table

A small, octagonal side table made from wood and inlaid with ivory and ebony in geometric patterns of phenomenal intricacy. The style is Turkish, but the craftsmanship is Punjabi.

Examining the table more closely, I see a label glued to the underside of the tabletop. It reads: 'To Teddy — Love, Charlie. 1872'. A gift from my older brother, Charlie, who has always called me 'Teddy'.

>x bed

The four-poster bed is made from carved oak and draped in a canopy of muted, earthy tones of green, blue, and pink, woven into intricate floral patterns of abstracted violets and columbine flowers. I recognise the textile design as 'Violet and Columbine' by William Morris.

>get in bed

The bed appears to be quite comfortable, but I am far too alert to nap.

>x hearth

The brick hearth contains a lively fire, which illuminates the room with flickering light.

>smell fire

The fire has a pleasant odor of wood and smoke.

>listen

The flames crackle and pop.

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north (the Lily & Pomegranate Room)), as well as the south and east (the Violet & Columbine Room). A staircase leads back down to the entrance hall.

The Pink and Rose Room

The bedroom is decorated in hues of cream white and rose pink, from the wallpaper to the bedspread.

A red-haired woman lounges at a vanity here, surrounded by flowering rose bushes that seem to grow from nowhere and fill the room with their scent.

The upstairs landing is back to the north.

>x wallpaper

The walls are decorated with patterns of roses and carnations in white and soft, desaturated pink. I recognise the design as 'Pink and Rose' by William Morris.

[Achievement Unlocked: Arts & Crafts]

>x bed

The four-poster bed is covered in a large quilt, which is decorated with hexagons and flower motifs rendered in a patchwork of cream white and pastel pinks.

>x woman

(the red-haired woman)

The woman reclines languidly at the vanity and repeatedly draws a comb through her voluminous, strawberry-blonde hair, which sparkles with golden highlights even in this dim room. Her features are arranged into a neutral expression, and she gazes into the middle distance rather absently as if lost in a trance.

I am mesmerised by her beauty, whilst equally troubled by her weary, vacant look. I wish to know her story: how did she find herself here, and what occupies her mind?

>x vanity

A view of a luminous, sunlit forest looms beyond a silver frame, which is mounted on the wooden tabletop of the vanity. At first glance, I had thought it was a mirror; but there is no such view for it to reflect. (Could it be a window, then? Impossible, since it faces the interior of the building.)

>x comb

A large tortoiseshell comb runs through the woman's tresses.

>x roses

The room overflows with bushes covered in small white rose blossoms, which blush with hints of pink. Their mild scent is multiplied by their abundance, and they fill the air with an overwhelming sweetness.

>take rose

I am reticent to pick the roses: the flowers would serve me no purpose, and they look so beautiful upon the bushes.

>talk to redhead

The red-haired woman looks at me distantly, then speaks in a slow, rhythmic manner that suggests she is reciting lines memorised from a sonnet:

"One face looks out from all his canvases. One selfsame figure sits or walks or leans," she says. "We found her hidden just behind those screens. That..."

The woman falters, seemingly unable to speak the word that would follow.

~ ථ ~

I do not presently comprehend the significance of her recitation; nonetheless I am possessed by an uncanny empathy for her need, which I feel as entirely as my own. This woman lacks something — a thing that is so integral to her very being that she can hardly bear to live without it.

I am compelled to determine what she is missing, and supply it to her.

If only I could find the word she cannot bring herself to speak.

The woman sighs, then starts her recitation again from the beginning.

>listen

The red-haired woman continues to recite the three lines, which sound like fragments of a sonnet.

"One face looks out from all his canvases," she says.

>listen

The red-haired woman continues to recite the three lines, which sound like fragments of a sonnet.

"One selfsame figure sits or walks or leans," the woman continues.

>listen

The red-haired woman continues to recite the three lines, which sound like fragments of a sonnet.

"We found her hidden just behind those screens. That..." the woman falters, unable to continue. If only I could find the word she cannot bring herself to speak.

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north (the Lily & Pomegranate Room), as well as the south (the Pink & Rose Room) and east (the Violet & Columbine Room). A staircase leads back down to the entrance hall.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north provides access to the garden. I could also go east (to the drawing room) or south (to the dining room). A staircase leads up to the second floor.

The Drawing Room

I can see a clock and a Wardian case (empty) here.

Exits lead east (to the study) and west (to the entrance hall).

The Study

I can see Beatrix and a desk (on which are an unfinished letter, a pen, and an inkwell) here.

An exit leads west (to the drawing room).

>research sonnet

Searching for books of poetry, a particular volume catches my attention. The cover reads 'New Poems by Christina Rossetti: Hitherto Unpublished Or Uncollected' (1896). I flip through the pages of the poetry collection, stopping at a page that has been dog-eared. Titled 'In an Artist's Studio,' the poem reads:

'One face looks out from all his canvases,

One selfsame figure sits or walks or leans:

We found her hidden just behind those screens,

That mirror gave back all her loveliness.

A queen in opal or in ruby dress,

A nameless girl in freshest summer-greens,

A saint, an angel — every canvas means

The same one meaning, neither more nor less.

He feeds upon her face by day and night,

And she with true kind eyes looks back on him,

Fair as the moon and joyful as the light:

Not wan with waiting, not with sorrow dim;

Not as she is, but was when hope shone bright;

Not as she is, but as she fills his dream.'

A copy of 'New Poems by Christina Rossetti' now rests here.

[Your score has just gone up by three points.]

>research mirror

I examine the shelves with care and diligence. My search bears fruit: on a shelf of children's literature, I find 'Through the Looking-Glass, and What Alice Found There' (1871) by Lewis Carroll.

Every page of the book is blank; except for the first, which bears the symbol of an ouroboros with the monogram 'T.V.' (for 'Theodora Violet') in its centre.

A copy of 'Through the Looking-Glass, and What Alice Found There' now rests here.

[Your score has just gone up by two points.]

>put mark in book

('Through the Looking-Glass')

I place the bookmark between the pages of 'Through the Looking-Glass'. The book abruptly vanishes into thin air, leaving behind a mirror in its place.

I take the mirror, and hold it up. A face looks back at me in its reflection. She has a fair complexion, lightly etched by age; large, grey-blue eyes; and a long, narrow face framed by loose black hair, which sparkles with a few silver strands.

This face must be my own; yet the sight of it inspires no special sense of recognition within me.

I place the mirror, along with the bookmark, into my purse.

>x mirror

The round, hand-held mirror is set in a silver frame with a simplified floral motif embossed on the back.

The Drawing Room

I can see a clock and a Wardian case (empty) here.

Exits lead east (to the study) and west (to the entrance hall).

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north provides access to the garden. I could also go east (to the drawing room) or south (to the dining room). A staircase leads up to the second floor.

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north (the Lily & Pomegranate Room), as well as the south (the Pink & Rose Room) and east (the Violet & Columbine Room). A staircase leads back down to the entrance hall.

The Pink and Rose Room

The bedroom is decorated in hues of cream white and rose pink, from the wallpaper to the bedspread.

A red-haired woman lounges at a vanity here, surrounded by flowering rose bushes that seem to grow from nowhere and fill the room with their scent.

The upstairs landing is back to the north.

The woman sighs, then starts her recitation again from the beginning.

>give mirror to woman

(the red-haired woman)

(first putting 'A chimera' into the purse to make room)

(first taking the mirror from the purse)

The woman accepts the mirror, eagerly reaching forward to take it from me. She then slumps back into her seat and resumes combing her strawberry tresses. Holding the mirror before herself, she gazes down into the reflection that meets her — and then disappears.

Looking down from the empty space where the woman once sat, I find that a painting now rests on the ground. No other trace of the woman, her vanity, the rose bushes, or the mirror, remains.

~ ථ ~

Just as the woman saw herself in the mirror, I can suddenly see myself again.

I am forty-seven years old. I was born and raised here in Herefordshire. My scholarly accomplishments (although I cannot recall precisely what those are) are my greatest source of pride. In my finest moments, I am exceptionally intelligent, resourceful, and self-reliant.

~ ථ ~

This self-image that rises to the surface of my mind is not altogether displeasing, yet it is inextricably connected to a lifetime of sentiments that have contributed to my shame and self-dissatisfaction.

My own voice, chorused by the voices of numerous others, such that I cannot tell where mine ends and theirs begin, insists upon what I am, what I cannot be, what I must always be, and all the many ways in which I have fallen short of the expectations that have been placed on me, and which I have placed on myself.

I am too stubborn. I am not charming. I am not feminine enough to be an ideal woman, yet I could never earn that which is allotted to men. I am not insightful enough to be an artist, yet I am too easily influenced by the whims of my emotions to be a scientist. The list continues on and on, until I am so overcome that I can only double over and grasp my head in my hands as I ride the current that floods my mind.

The face I saw in the mirror, that visage with dark hair and a long face, was indeed my own. I have looked upon my reflection countless times, and now I recall it to be an external representation of my inner self; change though it may across the seasons of life. At times, I believe, the sight has pleased me. At other times, it has inspired unease.

~ ථ ~

Each memory that is restored reawakens my oldest and deepest wounds; and yet I am driven to persist in discovering the truth of what has happened to me.

~ ථ ~

The Pink and Rose Room

The bedroom is decorated in hues of cream white and rose pink, from the wallpaper to the bedspread. Now that the red-haired woman and the rose bushes have disappeared, the space feels oddly large and empty.

I can see a painting here.

The upstairs landing is back to the north.

[Your score has just gone up by fifteen points.]

>x me

I am clothed in a tea gown, and a chatelaine purse hangs from my waist. Long, dark hair falls along my back.

I have recently remembered that my name is Theodora Violet Drake, and this is my home; but many other details of my identity still escape my recollection.

>x painting

(the painting)

A reproduction of 'Lady Lilith' (1873) by Dante Gabriel Rossetti. The oil painting is mounted and labeled in a gilded frame.

The red-haired woman is just as I saw her in life: combing her hair and gazing into a hand mirror, seated at a vanity and surrounded by rose bushes, with a curious view of a luminous forest where the vanity's mirror should be.

>take it

Taken.

I am carrying:

'Lady Lilith'

'Young Man and Woman in an Inn'

a locket (being worn)

a purse (being worn)

'A chimera'

a bookmark

a torch (providing light)

a skeleton key

some grapes

a silver key

a photograph

a tea gown (being worn)

The Upstairs Landing

At the top of the stairs is a small landing that leads to three rooms.

There is a room to the north (the Lily & Pomegranate Room), as well as the south (the Pink & Rose Room) and east (the Violet & Columbine Room). A staircase leads back down to the entrance hall.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north provides access to the garden. I could also go east (to the drawing room) or south (to the dining room). A staircase leads up to the second floor.

As I step into the entrance hall, a memory is reawakened.

~ ථ ~

It was the day I said goodbye to Eudocia. She came by for one last tea before moving across the channel to Paris with the man she had just married. Our final hours together were filled with uncomfortable silences and averted eyes.

As I stood and watched her walk through the front door, once and for all I was resolved that, despite the moments we had shared, she had not truly loved me; and that I ought to finally give up any lingering hope that she someday would.

I have long since accepted the impossibility of our union. Yet I was never entirely rid of the torturous, inextinguishable longing for her presence — that is, until I was basked in blissful forgetfulness just hours ago.

[Your score has just gone up by one point.]

The Drawing Room

I can see a clock and a Wardian case (empty) here.

Exits lead east (to the study) and west (to the entrance hall).

The Study

I can see Beatrix, 'New Poems by Christina Rossetti', and a desk (on which are an unfinished letter, a pen, and an inkwell) here.

An exit leads west (to the drawing room).

>x beatrix

My dear calico cat, Beatrix, has curled up and fallen asleep here on the floor. Her midsection rises and falls with slow breaths.

>pet her

Beatrix looks so peaceful. I resist the temptation to disturb her sleep.

>research saddles

I find no obvious references to saddles in this library. There may be some other means by which I may come into possession of an object I desire.

>research plants

There are numerous books here on the topic of botany, plants, and gardening. If I narrow my search to the type of garden or growing conditions of the plants I am interested in, perhaps I shall find something useful.

>research potted plants

I come across a promising volume titled 'Choice Stove and Greenhouse Ornamental-Leaved Plants' (1876) by Benjamin Samuel Williams.

The title suggests that the book describes varieties of plants that thrive in greenhouses or Wardian cases, and may be cultivated in pots. But every page of the book is blank; except for the first, which bears the symbol of an ouroboros with the monogram 'T.V.' (for 'Theodora Violet') in its centre.

A copy of 'Choice Stove and Greenhouse Ornamental-Leaved Plants' now rests here.

[Your score has just gone up by five points.]

>put mark in book

(the 'Choice Stove and Greenhouse Ornamental-Leaved Plants')

I place the bookmark between the pages of 'Choice Stove and Greenhouse Ornamental-Leaved Plants'. The book abruptly vanishes into thin air, leaving behind an array of exotic plants in terracotta pots sitting on the ground. I put the bookmark back into my purse.

>x plants

There are several plants here, all originating from climes far outside of Britain. I examine each of them in turn and recognise a candletree, string-of-pearls, side-saddle flower, and a buttonwood.

>x candle

A potted senna alata, or 'candletree': a medicinal plant with yellow flowerheads. Native to America.

The symbol of an ouroboros, with the monogram 'T.V.' (for 'Theodora Violet') in its centre, is embossed onto the pot.

>x pearls

A potted curio rowleyanus, or 'string-of-pearls'. It is a succulent, creeping vine native to Africa.

The symbol of an ouroboros, with the monogram 'T.V.' (for 'Theodora Violet') in its centre, is embossed onto the pot.

>x saddle

A potted sarracenia purpurea, or 'side-saddle flower'. A carnivorous plant with deep purple pitchers. Native to America,

The symbol of an ouroboros, with the monogram 'T.V.' (for 'Theodora Violet') in its centre, is embossed onto the pot.

>x button

A potted glochidion, or 'buttonwood' plant. Once mature, it will take the form of a large shrub. Native to Australia.

The symbol of an ouroboros, with the monogram 'T.V.' (for 'Theodora Violet') in its centre, is embossed onto the pot.

>take plants

side-saddle flower: (first putting 'Young Man and Woman in an Inn' into the purse to make room)

Taken.

string-of-pearls plant: (first putting 'Lady Lilith' into the purse to make room)

Taken.

buttonwood plant: (first putting the side-saddle flower into the purse to make room)

Taken.

candletree plant: (first putting the string-of-pearls plant into the purse to make room)

Taken.

The Drawing Room

I can see a clock and a Wardian case (empty) here.

Exits lead east (to the study) and west (to the entrance hall).

>put saddle in case

(first putting the buttonwood plant into the purse to make room)

(first taking the side-saddle flower from the purse)

I place the side-saddle flower into the Wardian case and step back. The potted plant vanishes into thin air, and a saddle now rests in its place. It spills out of the open top of the Wardian case.

>take saddle

Taken. The seat of the finely-made horse saddle is covered with gold-trimmed red fabric, which coordinates perfectly with the military uniform worn by Napoleon.

>put pearls in case

(first putting the candletree plant into the purse to make room)

(first taking the string-of-pearls plant from the purse)

I place the string-of-pearls plant into the Wardian case and step back. The potted plant vanishes into thin air, and a pearl necklace now rests in its place.

>take pearl

Taken. A string of pearls: simple, elegant, and timeless.

>wear pearl

I put on the pearl necklace, which coordinates beautifully with my gown; although its elegance feels rather incongruous, as if I were pretending to dress up for a special occasion.

>put candletree in case

(first taking the candletree plant from the purse)

I place the candletree plant into the Wardian case and step back. The potted plant vanishes into thin air, and a candle now rests in its place.

>take candle

Taken. A long beeswax taper candle with a wine-red colour. It is unlit.

>put buttonwood in case

(first putting the saddle into the purse to make room)

(first taking the buttonwood plant from the purse)

I place the buttonwood plant into the Wardian case and step back. The potted plant vanishes into thin air, and a button now rests in its place.

[Achievement Unlocked: Green Thumb]

>take button

Taken. An everyday shirt button made from mother-of-pearl.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north provides access to the garden. I could also go east (to the drawing room) or south (to the dining room). A staircase leads up to the second floor.

The Garden (Entrance)

A horse grazes on the vegetation.

The house is south from here, while the garden continues to the north and east.

The Garden (North)

Brick footpaths continue through the garden, lined on either side by plantings of small, symmetrical trees.

The garden continues south (back towards the house), while a greenhouse lies to the east.

The Greenhouse

A one-room structure made entirely of glazed panels held together by a cast-iron frame. The greenhouse is, disappointingly, entirely devoid of greenery; although there are discoloured circles on the brick floor of the structure, suggesting that potted plants may have sat here not long ago and have been removed.

The outdoor areas of the garden lie to the south and west.

The Garden (East)

A decorative stone fountain flows with water in the centre of a colourful display of flowers, which is well-defined by brick footpaths and surrounded by low hedges.

Napoleon is here, imperiously marching along on the garden path.

The garden continues west (back towards the house), while a greenhouse lies to the north.

>give saddle to napoleon

(first putting the candle into the purse to make room)

(first taking the saddle from the purse)

Napoleon accepts the saddle, surprising me with a slight bow of gratitude. He promptly tracks down his horse, secures the saddle onto the stallion's back, and mounts his steed with a confident hoist and swing of his legs. He spares me no further regard as he takes the reins, turns his steed around, and follows the garden footpath onto the carriage road that leads away from the house.

Before he has even departed the property, both horse and rider vanish into thin air.

Looking down, I find that a painting now rests on the ground.

~ ථ ~

My heart quickens, and my hands and legs are suddenly restless with the yearning to grasp and run. It is as though I were the man, urging my steed ever onwards, riding faster and higher towards the craggy summit of a mountain.

An imagined destiny plays out in my mind. My work will be met with the highest acclaim. My name will be heralded in the annals of history. I will prove wrong those who doubted me, or sought to hinder my inevitable climb. And when I lay on my deathbed, I will know that all of my joy, suffering, and labours will have been justified; made worthwhile, in retrospect, by the merits of my accomplishments.

This is my nature: I am as ambitious as Napoleon himself.

~ ථ ~

But disappointments crowd in to crush this dream nearly as soon as it arises. All the fruitless efforts to gain traction with my research. The letters of rejection from scholarly journals. The flat looks of disinterest amongst the ladies whose support I solicited. The condescending smirks of the gentlemen of the societies to whom I promoted my theses.

Each and every breakthrough that I was certain would pave the way for my ascension to greatness was met with derision or, at best, indifference.

~ ථ ~

With such memories restored, I am increasingly wary of where my investigations lead. The person who I am discovering myself to be, and the life I am discovering myself to have been leading, is one that I am not entirely certain I wish to return to.

~ ථ ~

I feel certain that nearly all the missing facets of my mind have been restored. I believe that I am now ready to discover — or, perhaps, to finally decide — what I had intended to write in the letter to myself.

The answer, I expect, lies in my study.

~ ථ ~

The Garden (East)

A decorative stone fountain flows with water in the centre of a colourful display of flowers, which is well-defined by brick footpaths and surrounded by low hedges.

I can see a painting here.

The garden continues west (back towards the house), while a greenhouse lies to the north.

[Your score has just gone up by fifteen points.]

>x painting

(the painting)

A reproduction of 'Napoleon Crossing the Alps' (1801) by Jacques-Louis David. The monumental oil painting is mounted and labeled in a gilded frame.

Napoleon and his horse look just as they appeared to me in life; but in this painting, they are posed in front of a dramatic alpine landscape, with soldiers and canons in the distance. The stallion rears up on his hind legs as Napoleon looks toward the viewer and points up to the sky, his cape sweeping dramatically behind them.

>take it

Taken.

The Garden (Entrance)

The house is south from here, while the garden continues to the north and east.

The Entrance Hall

A corridor from which I may access other parts of the house.

An exit to the north provides access to the garden. I could also go east (to the drawing room) or south (to the dining room). A staircase leads up to the second floor.

The Drawing Room

I can see a clock and a Wardian case (empty) here.

Exits lead east (to the study) and west (to the entrance hall).

As I step into the drawing room, a memory is reawakened.

~ ථ ~

It was in my youth, when this house was still my parents' home. I was gathered in this room with mother and father, my friend Regina, and my brother Charlie. We played parlour games: the sculptor, pass the slipper, and the laughing game, among other favourites.

Regina's acting talents were on full display, and her elaborate performance of 'a hedgehog riding a bicycle' during charades made us all laugh merrily until our sides hurt. We were so engrossed that we failed to attend to the hour, and we children were kept up far past our bedtimes — I remember the distress on my mother's face when she realised how late it had grown.

It seems a lifetime ago when this house was last filled with such joy.

[Your score has just gone up by one point.]

[Achievement Unlocked: I Remember Everything]

>achievements

Achievements:

• Animal Lover: Pet all three pets.

• Arts & Crafts: Found all five designs by William Morris.

• Dinner for One: Recovered your appetite, then ate some food.

• Fire Breather: Used the chimera's flame to light the way.

• Green Thumb: Transformed every enchanted plant.

• I Remember Everything: Reawakened every memory.

• Avid Reader: (Locked)

The Study

I can see Beatrix, 'New Poems by Christina Rossetti', and a desk (on which are an unfinished letter, a pen, and an inkwell) here.

An exit leads west (to the drawing room).

>research william morris

I find references to the designer William Morris, who was born in 1834 and passed away last year. His work (which I adore) included wallpaper and textile designs as well as poetry and essays on socialism.

The Arts and Crafts movement to which Morris belonged critiques industrial society and the labour conditions of the factory, and promotes traditional methods of artisanship. On the subject of decorative arts, he said: 'have nothing in your houses that you do not know to be useful or believe to be beautiful.' It is a worthy tenet to follow.

>x wall

Hooks are still attached to the wall; perhaps the artworks were only recently removed.

>x hooks

Metal hooks designed for hanging pictures on the wall.

>research napoleon

The books on French art history make reference to a series of equestrian portraits by the Neoclassical painter Jacques-Louis David (1748-1825) depicting Napoleon Bonaparte (1769-1821) at the height of his military prowess as he leads troops across the Alps. I discover no direct guidance on how one might personally navigate an encounter with Napoleon, however, since he is long dead.

>hang napoleon

I locate the rectangle of unfaded wallpaper that matches the dimensions of 'Napoleon Crossing the Alps' and place it on the wall.

As soon as it hangs from the hook, the artwork adheres to the wallpaper with unnatural strength. Testing the frame's edges with my fingers, it will not budge; this painting cannot be removed again.

>research chimera

I find many titles related to Classical mythology and mediaeval bestiaries, which include references to the fearsome chimera: a female monster possessing the heads of a lion, a goat, and a serpent (the latter of which is also sometimes described as a snake or a dragon). None offer any guidance on how one should navigate an encounter with such a creature, since they are presumed to be fictional.

[Achievement Unlocked: Avid Reader]

>research chimera drawing

A book on Italian art of the Medici court in Florence mentions Jacopo Ligozzi, who was active circa 1600. A drawing titled 'A chimera' is listed among them, although no illustration is provided.

>hang chimera

I hang 'A chimera' on an empty hook. The frame adheres tightly to the wall.

>research young man

I discover books on the Dutch Golden Age of painters, including Frans Hals (1582-1666) of Haarlem, who was renowned for his expressive and realistic renderings of portraits and group scenes. His works included 'Young Man and Woman in an Inn' (alternately titled 'Yonker Ramp and His Sweetheart'), which depicts a cavalier toasting his glass, a smiling woman, and a dog in an interior.

>hang young man

I hang 'Young Man and Woman in an Inn' on an empty hook. The frame adheres tightly to the wall.

>research lady lilith

The books on British artists of this century include references to Dante Gabriel Rossetti (1828-1882): a founder of the Pre-Raphaelite Brotherhood, a painter, and a poet (as was his sister, Christina Rossetti). A specialist of mediaeval revivalism, Rossetti was noted for his historical, literary, and religious portraits of female figures. These include 'Lady Lilith', which depicts the biblical first wife of Adam as a woman combing her hair at a vanity.

I adore Rossetti's works, and I now recall that this painting in particular ('Lady Lilith') has always been one of my favourites.

>hang lady lilith

I hang 'Lady Lilith' on an empty hook. The frame adheres tightly to the wall.

With each illusion that I have dispelled, some portion of my mind has been restored. Now, as I hang the fourth painting on the wall, the last lingering memories that were obscured by the haze of these enchantments become clear to me at last.

~ ථ ~

I approach one of the bookshelves, and locate the spine of a clothbound book: a collection of Grimms' fairy tales, given to me on my tenth birthday by Regina (my dear childhood friend).

The book would appear unremarkable to anyone else, but now I remember the secret it holds.

>x fairy tales

I remove the book to inspect it. Pulling the book from the shelf triggers the hidden mechanism I installed within. The false wall behind it rotates on its hinges, revealing my hidden room to the east.

My Hidden Room

This private area of the study is small and crowded. The shelves contain specimens I have accumulated through decades of experiments into the science of enchantment, and tomes that showcase the breadth of scholarship I have consumed on the subject.

The journal that documents my projects of the past several months lies open.

My brother used to tease me for keeping my things secreted away like this (he would say it gave the impression that I was practicing dark, forbidden sorcery). But I have always been highly protective of my original research.

The study is back to the west.

>x shelves

The specimens and tomes on these shelves are the products of my decades of research into magic.

Spells of transmutation, illusion, and mental manipulation are my specialty. The art of transforming and altering everyday objects has been the locus of my finest accomplishments to date — turning keys into books or plants into keys, silencing rooms, granting infinite capacity to purses, and the like.

Such applications have been dismissed by my fellow scholars of magic as mere trivialities, unsuited to publication and unworthy of exhibition.

>x specimens

A collection of natural objects and unfinished projects. A mutated key, half-formed into a book, reminds me of past failures and the importance of practice.

>x tomes

My most valuable possession: a small but exceptionally well-curated library, which encompasses rare illuminated treatises of mediaeval alchemy as well as the more respectable modern publications of the British Society for Magical Sciences.

>x journal

I leaf through the pages, reminding myself of how and why I came to find myself this morning in a state of disorientation.

I recently arrived upon a breakthrough that I believed would, at last, garner the respect for my work that I had so long craved.

To sever the undesirable facets of the self; to sculpt the inner world, as though chiselling the excess from a block of marble; to improve upon the base reality of the mind, and empower humanity to achieve a new state of perfection; these were the subjects of my latest explorations. This, I believed, could revolutionise the human condition.

Naturally, such a displacement of psychic energy required a vessel. And that was how I came to imbue paintings with life.

~ ථ ~

In order to prove my theories to the public, I was determined to turn this magic on myself. Even if I had been able to recruit a willing participant, my ethics prevented me from experimenting with such risky enchantments on any other subject.

But I shall not lie and claim that intellectual rigor or professional aspirations were the sole animating purpose behind my investigations. No — I now recognise that I was operating with a far more pernicious impulse.

~ ථ ~

I have long yearned to remove those traits of character which have served to constrain and hinder my advancement through life. The habits of diffidence and self-abasement. The irrationality of emotion that all too often guides my actions. The excess of ambition that has led to such disappointment with my lot. And the loneliness that troubles and preoccupies my mind.

If I could extract these, the sources of my long suffering, from my very soul, then perhaps I could finally attain something akin to an ideal state.

Thus, I installed the enchantments one-by-one. I believe that, this morning, I had attempted to write down an explanation of what had happened; a warning, perhaps, of what was to come. But by the time I became aware of my growing disorientation, it was too late.

In removing these unwanted facets of mind, I had erased myself all but entirely.

~ ථ ~

With these memories restored, I may at last return to my desk and write the letter.

My Hidden Room

The journal that documents my projects of the past several months lies open.

The study is back to the west.

The Study

I can see a book of fairy tales, Beatrix, 'New Poems by Christina Rossetti', and a desk (on which are an unfinished letter, a pen, and an inkwell) here.

An exit leads west (to the drawing room).

A hidden room has been revealed to the east.

>write the letter

I put pen to paper once again.

'To myself'. How shall I complete this letter? I envision more than one possible path. Each represents an entirely different conclusion to this experiment.

Determined to evaluate my options carefully, I write not just one letter — but three.

~ ථ ~

I carry the letters upstairs to my bedroom, and stand before the hearth. The flames dancing within speak to me of both renewal and destruction.

The letter I choose to keep will determine the future that awaits me.

The others I shall burn.

~ ථ ~

The Violet and Columbine Room

My bedroom is decorated with motifs of purple violets and columbine flowers. A luxurious canopy covers my bed, next to which is a side table. A fire burns in the hearth, warming the space.

I can see a first letter, a second letter, and a third letter here.

The upstairs landing is back to the west.

>x first

In the first letter, I admonish myself never to repeat the experiment.

I warn of the disorientation that will befall me, and remind myself of the dangers of this line of research. I implore myself to set this magic aside entirely: not only for my own sake, but for the sake of mankind.

>x second

In the second letter, I describe how I should improve upon the experiment.

I posit that the fundamental mistake I have made was not in crafting the enchantments, but the scale of my first attempt. If I were to sever just one facet of myself — instead of four — I might hope to achieve some portion of my goals, while avoiding the total erasure of the self.

>x third

In the third letter, I give voice to my darkest impulses.

A great part of me yearns to embrace the blissful, placid oblivion of naiveté. The burdens I carry feel far heavier than ever before now that they have been lifted, and then returned to me.

This missive warns not to interfere with the illusions, and reassures me that I have reinstalled them with a purpose: to wipe the slate clean once again.

Ending #1

>burn second

Resolved in my decision, I place the second letter into the hearth and watch the flames consume the paper within moments — and with it, one of the futures I have rejected.

>burn third

My choice is made. I toss the third letter into the fire, and watch it turn to ash.

Determined never to allow this day's events to be repeated, I hope that I will heed the warnings within this letter if ever again I am tempted to cast these enchantments.

~ ථ ~

[Your next key press will clear the screen.]

One month later.

Hedgerows pass by the carriage window as I ride into the county town of Hereford. It has been a very long time since I have seen Regina, my oldest friend. When I wrote a letter inviting her to lunch, I was not entirely optimistic she would accept. She was occupied, no doubt, with many responsibilities. She would have little time for an old friend, I was sure, who has made no earnest attempts to maintain contact through the years, and whose work has always taken precedence over the seeming trivialities of social engagements.

Yet Regina accepted my invitation nonetheless. I hardly know what we shall have to discuss, or if any common sympathy remains between us. But if there is something of which I am certain, it is that I cannot allow myself to continue indefinitely in solitude.

~ ථ ~

As I step out of the carriage, a lingering question continues to gnaw at me:

Should I destroy all records of my experiment?

I have wrestled with this question countless times. As of yet, I have not brought myself to do it. It would be so easy to recreate my notes, I have reasoned, that it matters little whether the written records are extant. But, if I am to be entirely truthful, there is another reason for my turmoil.

I am not yet willing to set aside my discoveries entirely, nor the promise that I once believed they held — both for the magical sciences, and for myself.

~ ථ ~

The lady. The chimera. The general. The laughing couple. I still carry each of them with me, and constantly I am confronted with both their blessings and burdens. I hope that, one day, I will have the strength to set aside all impulses to banish them from my soul, and instead to finally make peace with them.

And if not peace — then, at least, acceptance.

~ ථ ~

*** The End ***

Ending #2

>burn first

Resolved in my decision, I place the first letter into the hearth and watch the flames consume the paper within moments — and with it, one of the futures I have rejected.

>burn third

My choice is made. I toss the third letter into the fire, and watch it turn to ash.

~ ථ ~

Determined to improve upon my experiment, I consider all that which I have lost and regained. Which facet of my character am I most eager to be rid of, and which least threatens the integrity of my memory and mind?

Self-image is essential to the coherence of my identity. And my ambition and relationships with others will be key to my future success.

Thus, there is only one artwork I can afford to re-enchant.

It takes me no more than a day to reset the enchantment. I imbue the artwork I selected with a portion of my spirit, repeating the process that I hope will lead me towards perfecting a revolutionary achievement.

~ ථ ~

[Your next key press will clear the screen.]

Six months later.

"You've done it, Teddy!"

Charlie rushes into the study and sets an envelope on my desk with a broad smile. "I do hope you will forgive me for opening it without you. I just couldn't wait!"

Even on the cusp of his sixtieth year, my older brother has still not lost his childlike enthusiasm — nor his impulsiveness.

After I wrote to him about the events of six months ago (my experiment and subsequent disorientation), he expedited his retirement from teaching in Punjab and finally moved back into our home with his wife, Sarah. (I told Charlie that he must not leave India for my sake alone. Although he assured me it was the right time regardless, I know my brother too well; his actions were guided by his concern for me.)

I focus my attention on the letter: an eagerly anticipated reply from the British Society for Magical Sciences. They have accepted my paper, 'On the Unburdening of Mind by Means of Animating Artworks', for publication, and have invited me to present a lecture at their monthly meeting in London.

At last, it is within my reach: the professional recognition I have worked towards for so long. I read the letter a second time, my thoughts turning towards the manner in which I might present my method in the upcoming lecture. (Is there sufficient time to find a subject for a live demonstration, I wonder?)

~ ථ ~

I sense my brother watching me, and look up to find his smile has fallen. "What's wrong?" I ask.

Charlie hesitates before responding. "I suppose I expected such news would... Well, you see, the old Teddy..." he trails off, then holds up his hand to prevent my interruption. "I know you don't wish me to speak of her. But the Society is finally convinced of the merits of your research. Why not lift the spell from yourself, now?

"It pains me to see you so changed," he continues, taking my hand in his. "Suppressing your 'irrationality', as you say, can hardly be worth all that you have lost.

"Please, sister. Let the chimera feast."

I struggle to formulate a reply that will satisfy him. It is not the first time my brother has brought his concerns to me, but I do not share them.

"And what would the Society think if I now disproved the effectiveness of my own methods?" I say. "No, I shall persist. What I have 'lost' is but a mere abstraction to me — but my path forward is real and vital."

Charlie is disappointed, but speaks no more of it today.

~ ථ ~

I lay in bed at night imagining the looks of astonishment and delight that will illuminate the faces of my audience when I present my lecture. The words of praise that will surely greet me from those who will read my paper.

The reverie is so absorbing that I hardly hear the noises of the creature next door as I drift off to sleep.

~ ථ ~

*** The End ***

Ending #3

>burn first

Resolved in my decision, I place the first letter into the hearth and watch the flames consume the paper within moments — and with it, one of the futures I have rejected.

>burn second

My choice is made. I toss the second letter into the fire, and watch it turn to ash.

~ ථ ~

Determined to return to oblivion, I hope that I will heed the warnings within this letter if ever again I am tempted to break the spells.

It takes me the better part of four days to reset each enchantment. I imbue the paintings with portions of my spirit, repeating the process that promises to free me from my burdens once again.

~ ථ ~

[Your next key press will clear the screen.]

Four days later.

'To myself'.

These are the words that lie before me. They are followed by an explanation that I have cast enchantments on myself, and that this is as it should be. She (my past self) implores me not to give in to my own curiosity. I must accept things as they are, she writes.

She insists that the woman in the bedroom must not be given a mirror. The man in the dining room must go without wine. The chimera upstairs will growl and hiss, but must never be fed; and the man in the garden must not saddle his horse.

Stunned, I do not know what to think. To advise myself against curiosity about such wondrous things as she describes suggests that a dire danger lies behind this magic. (Unless perhaps someone has forged my handwriting in an effort to deceive me.)

~ ථ ~

The walls are decorated with monumental bookshelves; except for the southern wall, which is conspicuously empty. The wallpaper is slightly sun-faded. This is evidenced by areas of vibrant colour, which define four rectangular spaces where pictures must have once hung.

This, I suppose, is where my past self (or the stranger who forged the letter) had meant for my investigation to stop.

But for good or ill, my curiosity is far too strong to suppress.

~ ථ ~

*** The End ***

In that game you scored 100 out of a possible 100, in 444 turns.

You unlocked 7 achievements out of 7.

Would you like to RESTART, RESTORE a saved game, QUIT, UNDO the last command, or list your ACHIEVEMENTS?

> achievements

Congratulations — you unlocked all achievements!

• Animal Lover: Pet all three pets.

• Arts & Crafts: Found all five designs by William Morris.

• Avid Reader: Found 8 or more useful or informative books in the study (out of 20 total).

• Dinner for One: Recovered your appetite, then ate some food.

• Fire Breather: Used the chimera's flame to light the way.

• Green Thumb: Transformed every enchanted plant.

• I Remember Everything: Reawakened every memory.