Start of a transcript of: A Simple Happening A Short Insignificant Tale by Leon Lin Release 1 / Serial number 240329 / Inform 7 v10.1.2 (Type ABOUT for more information, and HELP for help.) Inform 7 v10.1.2 Identification number: //33AFE42B-E141-4CBF-9E06-8919F457D1F2// Interpreter version 1.3.5 / VM 3.1.2 >* && Hi Leon! I'll be using my razorsharp wakizashi to slice your game into thin strips and poke at its innards. That's not a verb I recognise. >l Pleasant Garden This place is an attempt by Lord Saito to reproduce some local mountains and forests in miniature, using stones and plants. You've always felt this layout to be boring, and you feel a tinge of regret that you won't ever tell Lord Saito so. An entrance leading into Lord Saito's castle is to the south (which you won't be using). Lord Saito is sitting at the far end of the garden. Sitting with Lord Saito is a group of observers gawking at you. Koji stands around patiently. You can also see a lacquer tray (on which are a cup of sake, a mackerel, a tanto, a horsehair brush, an inkstone, an inkstick and a sheet of paper) here. Two of the observers are arguing, in low voices, about which flower is better, the hibiscus or cosmos. >* && some basics first... That's not a verb I recognise. >smell That doesn't have any particular odor. >listen You hear the murmurings of Lord Saito and the observers. "I wonder what will happen to his wife, Lady Yoko?" an observer says. >xyzzy Magic words only work in fantasy, not the real world. Koji yawns. >jump You should probably show some dignity in the face of death. An observer says, "I heard him brag that he could kill a bear with his bare hands." >fart That's not a verb I recognise. >x me You look as handsome and disheveled as always. One of the observers makes idle chit-chat about spotting carp in the nearby river. >i On the day you're to die, you're holding nothing, just like the day you were born. How poetic. You hear some of the observers talking about whether you look scared. >bow It's a little late for you to learn politeness, but better late than never. Lord Saito sits with an unchanging expression. >* && nice That's not a verb I recognise. >pray Any deities who may have been interested in your plight are obviously busy elsewhere. An observer says, "I knew it would come to this. He boasted he could take on two men at once." >l Pleasant Garden This place is an attempt by Lord Saito to reproduce some local mountains and forests in miniature, using stones and plants. You've always felt this layout to be boring, and you feel a tinge of regret that you won't ever tell Lord Saito so. An entrance leading into Lord Saito's castle is to the south (which you won't be using). Lord Saito is sitting at the far end of the garden. Sitting with Lord Saito is a group of observers gawking at you. Koji stands around patiently. You can also see a lacquer tray (on which are a cup of sake, a mackerel, a tanto, a horsehair brush, an inkstone, an inkstick and a sheet of paper) here. Koji absent-mindedly scratches his head. >x stones The stones are arranged to resemble a local mountain range. An observer says, "I knew it would come to this. He boasted he could take on two men at once." >move stones You try your best, but can't budge the stones. You overhear someone say "Don't you think the onigiri served today is a little stale?" >rearrange stones That's not a verb I recognise. >x plants Besides the usual assortment of flowers such as cosmos and wisteria there are bonsai trees arranged to resemble a nearby forest. You've seen better. You hear some of the observers talking about whether you look scared. >x observers The observers are Lord Saito's entourage, consisting of the usual crowd of retainers and attendants. You've always wondered what Lord Saito saw in these men. What do they have that you don't? The assembled observers watch your every move carefully. >x koji Koji is a samurai you have known a long time, though you are not close. He stands near you, brandishing a katana which will be used to end your life. You recall he has the nickname "Shaky Hands", which makes you wonder why Lord Saito favors him so much. After all, in a fair situation, you could easily beat him in a fight. You overhear someone say "I hope this ends soon, I have another seppuku to get to." >talk to koji Koji shakes his head - conversation with the condemned is frowned on in these parts. >x saito Lord Saito is a man of severe mien and piercing eyes. You've never liked the way he always looked at you, nor the way he always frowned in your presence. >talk to saito You have nothing to say to each other, as usual. Koji absent-mindedly scratches his back. >l Pleasant Garden This place is an attempt by Lord Saito to reproduce some local mountains and forests in miniature, using stones and plants. You've always felt this layout to be boring, and you feel a tinge of regret that you won't ever tell Lord Saito so. An entrance leading into Lord Saito's castle is to the south (which you won't be using). Lord Saito is sitting at the far end of the garden. Sitting with Lord Saito is a group of observers gawking at you. Koji stands around patiently. You can also see a lacquer tray (on which are a cup of sake, a mackerel, a tanto, a horsehair brush, an inkstone, an inkstick and a sheet of paper) here. Lord Saito sits with an unchanging expression. >x castle The castle is Lord Saito's home. It's plain and simple, like its owner. An observer, speaking to his friend, wonders what sort of sandalwood incense will be burned at your funeral. >e Koji won't let you move from where you are. The assembled observers watch your every move carefully. >take tanto Before you can touch the knife, you have to finish your ritual tasks: You need to eat your last meal. You need to take your last drink. You need to write a death poem. An observer says, "I heard him brag that he could kill a bear with his bare hands." >attack koji You could attack Koji with your bare hands, but that would just be bringing karate to a knife fight. Koji absent-mindedly scratches his nose. >* && but maybe I can use the tanto once I'm finished with my preparation? That's not a verb I recognise. >x tray On the lacquer tray are a cup of sake, a mackerel, a tanto, a horsehair brush, an inkstone, an inkstick and a sheet of paper. Lord Saito sits with an unchanging expression. >smell sake The sake has a raw alcohol odor to it, the sign of a lesser quality brew. You hear some of the observers talking about whether you look scared. >x mackerel A piece of fish, grilled and covered with a dark sauce. It is one of your favorite foods, so you picked this for your final meal before your seppuku. Two of the observers are arguing, in low voices, about whether you lose your composure during your seppuku. >smell it That doesn't have any particular odor. An observer says, "I knew it would come to this. He boasted he could take on two men at once." >* && A grilled mackerel has quite the mouthwatering odour. Except when it's of inferior quality like the sake... That's not a verb I recognise. >* && Or even past its due-date... That's not a verb I recognise. >x tanto A short knife. It is the weapon with which you are expected to disembowel yourself. No pressure there. An observer says, "I knew it would come to this. He boasted he could take on two men at once." >feel it It feels just like you expect a tanto would. An observer says, "I knew it would come to this. He boasted he could take on two men at once." >* && I meant to feel the blade, test its sharpness. *ZzZINGggg...* You seem to want to talk to someone, but I can't see whom. >lick tanto Licking random things will not help you. One of the observers makes idle chit-chat about spotting carp in the nearby river. >lick mackerel It could use a bit more seasoning. There are murmurs in the crowd speculating about how you will meet your death. >* && very nice! That's not a verb I recognise. >x tray On the lacquer tray are a cup of sake, a mackerel, a tanto, a horsehair brush, an inkstone, an inkstick and a sheet of paper. An observer, speaking to his friend, wonders what sort of sandalwood incense will be burned at your funeral. >x brush Your favorite brush for calligraphy. It is made of horsehair and bamboo. >feel brush It feels just like you expect a horsehair brush would. The assembled observers watch your every move carefully. >* && Soft? Rigid? Bristly? That's not a verb I recognise. >x inkstone A stone used to hold ink. It has a depression currently containing water. To make ink, you need to grind an inkstick on the stone. Lord Saito sits with an unchanging expression. >drink water This water in the inkstone is not for drinking. An observer says, "I knew it would come to this. He boasted he could take on two men at once." >throw inkstone at observers (first taking the inkstone) None of these men are worth your time. You overhear an observer talking about the latest kabuki play. >undo Pleasant Garden [Previous turn undone.] >x inkstick A black stick, made of soot and glue. By grinding the stick on an inkstone, you can produce ink. "I wonder what will happen to his wife, Lady Yoko?" an observer says. >tell koji about lady yoko Koji has been ordered not to talk to you, so he keeps silent. You hear some of the observers talking about whether you look scared. >* && An intentional reference to Yoko Ono? That's not a verb I recognise. >ask saito about yoko Lord Saito isn't going to entertain your questions. Lord Saito sits with an unchanging expression. >l Pleasant Garden This place is an attempt by Lord Saito to reproduce some local mountains and forests in miniature, using stones and plants. You've always felt this layout to be boring, and you feel a tinge of regret that you won't ever tell Lord Saito so. An entrance leading into Lord Saito's castle is to the south (which you won't be using). Lord Saito is sitting at the far end of the garden. Sitting with Lord Saito is a group of observers gawking at you. Koji stands around patiently. You can also see a lacquer tray (on which are a cup of sake, a mackerel, a tanto, a horsehair brush, an inkstone, an inkstick and a sheet of paper) here. Two of the observers are arguing, in low voices, about whether Koji can cut your head off in a single stroke. >x paper A blank sheet of paper. It will contain your final words on this earth. Koji yawns. >tear it That's not a verb I recognise. >rip sheet That's not a verb I recognise. >take tray You have no use for such a thing. An observer, speaking to his friend, wonders what sort of sandalwood incense will be burned at your funeral. >take mackerel Taken. An observer says, "I heard him brag that he could kill a bear with his bare hands." >throw mackerel at saito You grasp the mackerel, but just as you're about to throw it, a member of Lord Saito's entourage stands in front of him. You curse the lost opportunity. An observer, speaking to his friend, wonders what sort of sandalwood incense will be burned at your funeral. >give mackerel to koji To preserve his integrity as second at your seppuku, Koji does not accept gifts. >stand There is no exit from your current predicament. There are murmurs in the crowd speculating about how you will meet your death. >sit down I didn't understand that sentence. >sit (on the mackerel) That's not something you can sit down on. You overhear someone say "Don't you think the onigiri served today is a little stale?" >ask observers about seasoning The observers are too busy talking to each other to pay attention to you. You hear some of the observers talking about whether you look scared. >throw mackerel at observers None of these men are worth your time. You overhear someone say "Nice weather, I hope it lasts." >throw mackerel at koji At this close range, throwing the mackerel at Koji won't work. An observer says, "I heard him brag that he could kill a bear with his bare hands." >slap koji with mackerel That's not a verb I recognise. >* && Monty Python's fish-slapping dance! That's not a verb I recognise. >taste mackerel It could use a bit more seasoning. One of the observers makes idle chit-chat about spotting carp in the nearby river. >eat it You eat the last meal you will have on this earth. You considered it one of your favorite foods, but as you chew the last bite, it occurs to you that you don't actually like mackerel very much. Koji yawns. >lick fingers You can't see any such thing. >x sake A delicate porcelain cup filled with sake, that clear liquid which has washed many a sorrow away in your day. This small amount isn't likely to help much in your circumstances though. You overhear someone say "Don't you think the onigiri served today is a little stale?" >pour sake in inkstone That would be a waste of good sake. Koji yawns. >take stick Taken. You overhear an observer talking about the new katana he just bought. >grind stick in cup I only understood you as far as wanting to grind the inkstick. >grind stick You grind the inkstick on the inkstone, producing a small quantity of ink in the stone's depression. The assembled observers watch your every move carefully. >undo Pleasant Garden [Previous turn undone.] >* && All in good time. I'm going to wait with the ink until it's time for my poem. That's not a verb I recognise. >smell sake The sake has a raw alcohol odor to it, the sign of a lesser quality brew. Two of the observers are arguing, in low voices, about who is the best dressed samurai in the domain. >lick sake You take an exploratory sip of the sake. It burns your tongue. >burn sake You have neither flint nor tinder. >* && Nice! I love how deep and detailed the implementation is. Savouring my last moments on this earth to the fullest. That's not a verb I recognise. >pour sake on plants I only understood you as far as wanting to pour the cup of sake. >pour sake That would be a waste of good sake. There are murmurs in the crowd speculating about how you will meet your death. >throw sake at saito (first taking the cup of sake) Just as you're about to throw the cup of sake, a servant briefly passes in front of Lord Saito, spoiling your attempt. Koji absent-mindedly scratches his back. >drink sake The sake, clearly a raw and cheap vintage, sears your throat going down. You clutch your chest with a grimace as the drink's fumes burn through your nose and throat. Some of the observers in the garden chuckle at your reaction. You glare at them balefully. Why do you have to put on such a show for these men? One of the observers makes idle chit-chat about spotting carp in the nearby river. >l Pleasant Garden This place is an attempt by Lord Saito to reproduce some local mountains and forests in miniature, using stones and plants. You've always felt this layout to be boring, and you feel a tinge of regret that you won't ever tell Lord Saito so. An entrance leading into Lord Saito's castle is to the south (which you won't be using). Lord Saito is sitting at the far end of the garden. Sitting with Lord Saito is a group of observers gawking at you. Koji stands around patiently. You can also see a lacquer tray (on which are a tanto, a horsehair brush, an inkstone and a sheet of paper) here. An observer says, "I knew it would come to this. He boasted he could take on two men at once." >take brush Taken. An observer, speaking to his friend, wonders what sort of sandalwood incense will be burned at your funeral. >tickle koji That's not a verb I recognise. >tickle koji with brush That's not a verb I recognise. >smell brush That doesn't have any particular odor. An observer says, "I knew it would come to this. He boasted he could take on two men at once." >stroke koji with brush That's not a verb I recognise. >dip brush in water It doesn't make sense to dip the brush into that. Koji yawns. >sprinkle koji with water That's not a verb I recognise. >take all tanto: Before you can touch the knife, you have to finish your ritual tasks: You need to write a death poem. katana: You briefly think about wresting the sword away from Koji, but realize that he could easily strike you down before you do that. inkstone: Taken. sheet of paper: Taken. There are murmurs in the crowd speculating about how you will meet your death. >i You are carrying: a sheet of paper an inkstone a horsehair brush an empty cup an inkstick An observer says, "I knew it would come to this. He boasted he could take on two men at once." >drop all sheet of paper: Dropped. inkstone: Dropped. horsehair brush: Dropped. empty cup: Dropped. inkstick: Dropped. The assembled observers watch your every move carefully. >get stick Taken. There are murmurs in the crowd speculating about how you will meet your death. >grind stick You grind the inkstick on the inkstone, producing a small quantity of ink in the stone's depression. Two of the observers are arguing, in low voices, about whether Koji can cut your head off in a single stroke. >feel ink It feels just like you expect an ink would. There are murmurs in the crowd speculating about how you will meet your death. >smell ink The ink has a faint burnt odor. The assembled observers watch your every move carefully. >touch ink It feels just like you expect an ink would. Koji yawns. >* && Inky fingers! That's not a verb I recognise. >touch koji It would be a breach of etiquette for you to get that familiar with Koji. Koji yawns. >kiss koji It would be a breach of etiquette for you to get that familiar with Koji. >kiss saito You'd sooner kill him. An observer says, "I heard him brag that he could kill a bear with his bare hands." >kill saito You'd love to do that, but there's no chance of you getting close to him. "I wonder what will happen to his wife, Lady Yoko?" an observer says. >x ink stone I only understood you as far as wanting to examine the ink. >x inkstone A stone used to hold ink. It has a depression currently containing ink. An observer, speaking to his friend, wonders what sort of sandalwood incense will be burned at your funeral. >i You are carrying: an inkstick You hear some of the observers talking about whether you look scared. >get brush Taken. You overhear an observer talking about the most recent trends in tea ceremonies. >take all tanto: Before you can touch the knife, you have to finish your ritual tasks: You need to write a death poem. empty cup: Taken. inkstone: Taken. sheet of paper: Taken. katana: You briefly think about wresting the sword away from Koji, but realize that he could easily strike you down before you do that. Lord Saito sits with an unchanging expression. >put inkstone in empty cup That can't contain things. You overhear someone say "I hope this ends soon, I have another seppuku to get to." >put cup in inkstone That can't contain things. >juggle all That's not a verb I recognise. >i You are carrying: a sheet of paper an inkstone an empty cup a horsehair brush an inkstick "I wonder what will happen to his wife, Lady Yoko?" an observer says. >lay down paper That's not a verb I recognise. >drop paper Dropped. "I wonder what will happen to his wife, Lady Yoko?" an observer says. >dip brush What do you want to dip the horsehair brush in? >cup It doesn't make sense to dip the brush into that. You overhear someone say "Don't you think the onigiri served today is a little stale?" >dip brush in ink You dip the brush into the ink, although you aren't writing anything yet. An observer, speaking to his friend, wonders what sort of sandalwood incense will be burned at your funeral. >write "Kilroy was here" on face You can't see any such thing. >compose poem An idea for a poem forms in your mind: Eternal rest starts My eyes close forevermore Flushed down the river Do you wish this to be your death poem? (yes/no) n You decide you need to think of something better. An idea for a poem forms in your mind: I depart eyes open A requiem plays softly I now know the truth Do you wish this to be your death poem? (yes/no) n You decide you need to think of something better. An idea for a poem forms in your mind: Counting syllables Eternity comes knocking Song fades in the night Do you wish this to be your death poem? (yes/no) n You decide you need to think of something better. An idea for a poem forms in your mind: Death smells like cherries The moon rises overhead Sleepy time begins Do you wish this to be your death poem? (yes/no) y You dip your brush in the ink, and with deft strokes, write that poem on the paper. As you finish it, you wonder, who is going to read this? You wouldn't be surprised if Lord Saito just threw this paper away after you finish killing yourself. What is all this song and dance for? Having completed all the ritual tasks, you are now cleared to commit seppuku. Koji checks his grip on his sword. >* && >COMPOSE works as a verb! Brilliant! Very nice to have a choice of haiku. That's not a verb I recognise. >compose poem You've already written your last poem. >i You are carrying: an inkstone an empty cup a horsehair brush an inkstick The observers are suddenly silent. >put down inkstone Dropped. Koji absent-mindedly scratches his nose. >drop cup Dropped. >put down brush and stick horsehair brush: Dropped. inkstick: Dropped. The observers are jockeying to get a better view of your impending disembowelment. >x paper You have written the following poem on the paper: Death smells like cherries The moon rises overhead Sleepy time begins Koji sneezes. He looks around, then tries to act as if he didn't do anything. >take paper Taken. Koji yawns. >eat it You may have to eat your words, but not in that way. >* && Seriously! You thought of everything. That's not a verb I recognise. >smell paper That doesn't have any particular odor. Koji sneezes. He looks around, then tries to act as if he didn't do anything. >fold paper That's not a verb I recognise. >fold paper aeroplane That's not a verb I recognise. >throw paper Dropped. >undo Pleasant Garden [Previous turn undone.] >throw paper at saito You're about to bean Lord Saito in the head with the sheet of paper when he ducks down to pick up something off the ground. Your surprise at seeing him bother to stoop down like that is probably what ruined this attempt. Lord Saito leans forward to get a better look. >* && "As you throw the paper, a soft breeze lifts it and deposits it softly back in front of you." You seem to want to talk to someone, but I can't see whom. >crumple paper That's not a verb I recognise. >throw paper at saito You pick up the sheet of paper with intent to throw it at Lord Saito, but your hands are sweaty and you almost drop it. >throw paper at saito Your further attempts to bean Lord Saito with a sheet of paper meet with failure in such an embarrassing way that they won't be described here. The observers are jockeying to get a better view of your impending disembowelment. >x tanto A short knife. It is the weapon with which you are expected to disembowel yourself. No pressure there. Koji checks his grip on his sword. >tasta tanto That's not a verb I recognise. >taste tanto Licking random things will not help you. Koji yawns. >feel tanto It feels just like you expect a tanto would. Koji absent-mindedly scratches his back. >save Ok. >throw tanto at saito (first taking the tanto) Your further attempts to bean Lord Saito with a tanto meet with failure in such an embarrassing way that they won't be described here. Koji shifts his stance ever so slightly. >* && Throwing the dagger is a bit different from throwing a sake-cup, no? It's attempted murder, and as such deserves a separate response. You seem to want to talk to someone, but I can't see whom. >attack saito You'd love to do that, but there's no chance of you getting close to him. Lord Saito leans forward to get a better look. >attack koji With one swift motion, you plunge the knife into Koji's chest. Despite the fact he is holding a blade, he is caught off guard by your action and reacts only by widening his eyes and dropping his katana, which you catch in your other hand. As you yank the tanto out of Koji's chest, there is an uproar in the garden. You watch as Lord Saito is quickly rushed out of the garden by his loyal servants. The rest of the crowd doesn't disperse but stays and shouts curses and threats at you, though they keep their distance from you. You hear calls and shouts for guards. >kill observers You'd like to stay and finish these sycophants off, but you realize it'd probably be better for you to run. The observers are shouting curses at you, calling you a dishonorable dog. >s You run out of the garden into the castle. Breathless and barely believing what you have done, all you can think about is escaping from this place and getting home. Castle Interior Reflecting its owner, the interior of the castle is plain and austere. However, what the castle lacks in aesthetics it makes up for in complexity. There is a hallway leading south, as well as rooms to the east and west. There are also stairs going up and down. You hear people shouting elsewhere in the castle. > * && Yes! Exploration time! That's not a verb I recognise. >e Kitchen A simple kitchen, used to prepare snacks and other refreshments for people visiting the gardens. A hearth is set up in the center of the room. There is an exit to the west. You can see a table (on which is an onigiri) here. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >i You are carrying: a katana a tanto a sheet of paper >* && I have a katana! I am the invincible ronin. That's not a verb I recognise. >x hearth A hearth used to cook food. You've never cooked anything, so you have no idea how it works. You hear people shouting elsewhere in the castle. >x onigiri A ball of rice wrapped in seaweed. You hear people shouting elsewhere in the castle. >get it Taken. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >eat it You just had your last meal, so you're not feeling hungry. "Which way did he go?" you hear someone shout. >l Kitchen A simple kitchen, used to prepare snacks and other refreshments for people visiting the gardens. A hearth is set up in the center of the room. There is an exit to the west. You can see a table here. "Let's get him!" you hear someone yell. >look under table You find nothing of interest. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >w Castle Interior Reflecting its owner, the interior of the castle is plain and austere. However, what the castle lacks in aesthetics it makes up for in complexity. There is a hallway leading south, as well as rooms to the east and west. There are also stairs going up and down. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >w Storeroom An old dusty storeroom. It contains a multitude of boxes and crates. There is an exit to the east. You can see a wooden trunk (closed) here. You hear people shouting elsewhere in the castle. >x trunk An ordinary wooden trunk. >open it You open the wooden trunk, revealing a shuriken. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >get shuriken Taken. >* && I'm starting to feel more like a ninja, sneaking around with a throwing star. I wonder how Saito will react to THROW SHURIKEN... You seem to want to talk to someone, but I can't see whom. >e Castle Interior Reflecting its owner, the interior of the castle is plain and austere. However, what the castle lacks in aesthetics it makes up for in complexity. There is a hallway leading south, as well as rooms to the east and west. There are also stairs going up and down. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >s You run down the hallway, looking over your shoulder to see if there are any pursuers. It seems that you have given them the slip for now, but when you look forward again you see a barred wooden door which you almost run into. There are hallways to the east and west but you hear the sounds of men running towards you in those directions. It's the door or nothing! Hallway End This is the end of the hallway. Passages lead east and west to other parts of the castle. To the south, a stout wooden door, leading outside, blocks your path. You hear people shouting elsewhere in the castle. >x door It's a stout wooden door that's been barred and locked tight. "Let's get him!" you hear someone yell. >open it No good. The door appears to be locked tight. Looks like you need to use more violent means... >attack door (with your bare hands) With a mighty blow of your fist, you smash the wooden door to pieces! I guess you didn't know your own strength! You hear people shouting elsewhere in the castle. >s As you brush past the remains of the door, you hear the shouts of men coming your way. You emerge into a large courtyard and see two samurai, one big and one thin, rush towards you, weapons at the ready. It looks like you'll have to fight your way past them. Courtyard This is a large courtyard. There are ways north, east, and south into the castle, or through an archway to the west. A big samurai is here, wielding a naginata. A thin samurai is here, brandishing a wakazashi. The thin samurai charges at you with his sword but you manage to kick him into the big samurai. >* && I'm in the moment now so I'll continue on this path. I'll restore to explore the stairway later. That's not a verb I recognise. >attack naginata In your world, violence is sometimes the answer, but not in this case. Both the big and the thin samurai circle around you, looking for a chance to strike. >attack big samurai (with your bare hands) You slam your fist into the big samurai's gut. You fend off attacks from both samurai with your katana. >attack big samurai with katana With a single thrust of your katana, you strike the killing blow on the big samurai. He stares at you in shock that he was beaten, then falls over dead. As he falls the end of his naginata catches in the ground and it snaps in two. You fend off attacks from the thin samurai with your katana. >attack thin samurai with tanto You expertly throw the tanto at the thin samurai, hitting him straight in his sparse belly. Clutching his stomach, he falls dead. It seems that in the thin samurai's death throes, he broke his wakazashi. >get tanto and naginata tanto: Taken. broken naginata: The naginata is broken and useless to you. >l Courtyard This is a large courtyard. There are ways north, east, and south into the castle, or through an archway to the west. A big samurai is here, lying dead on the ground A thin samurai is here, lying dead on the ground You can also see a broken wakazashi and a broken naginata here. >search big samurai A quick once over fails to turn up anything interesting. >search thin samurai A quick once over fails to turn up anything interesting. >w You run through the archway onto a high bridge which leads to the other half of Lord Saito's castle. You're about to cross when an arrow lands with a thunk right in the ground in front of you. Looking up, you see archers up on the roofs and towers around you, taking aim and shooting arrows at you. High Bridge This bridge is the pride of the castle, and is made of dark wood and decorated with images of cranes. The bridge runs east and west, connecting both sides of Lord Saito's castle. Below the bridge and to the south rages the mighty Aokawa River, running parallel to the castle. The sound of the rushing water almost drowns out the sounds of soldiers pursuing you. The archers are shooting arrows at you. You're sure it's nothing personal. You hear a frustrated voice cry, "Can't anyone hit him?" >throw shuriken at archers They are too far from you and there are too many of them. It seems that discretion would be the better part of valor (you just thought this line up and never heard it before). An arrow narrowly misses your head. >jump in river I only understood you as far as wanting to jump. >jump You look to your left and your right, hesitating to look down. The archers continue shooting arrows at you. An arrow pierces the bridge right next to you, which gives you the motivation to clamber onto the railing. Taking a deep breath, and closing your eyes, you dive straight into the water. Raging River Underneath the bridge, the fierce river rages around you. As you struggle to keep your head above water, you wish you'd paid more attention during swimming class. The river is flowing from east to west. >* && The river is flowing in the same direction as the path over the bridge? Normally a bridge and its river cross... That's not a verb I recognise. >n The north bank is too far away for you to reach. >s The south bank is too far away for you to reach. >* && From E to W. So east is upstream... That's not a verb I recognise. >e The current is too strong for you to overcome. Several arrows from above fly by you. >* && Thought so, but I had to try the unexpected. You seem to want to talk to someone, but I can't see whom. >u It's at least twenty feet up to the bridge. Unless you can sprout wings, there's no way you're getting back up there. Several arrows from above fly by you. The current sweeps you downstream. Arrows splash into the water around you, throwing up a spray of mist, but the river rapidly carries you out of range. Soon the sounds of battle recede and give way to the roar of the raging river. Raging River The river continues flowing to the west, past what seems to be an endless stretch of forest. You feel an eerie, almost otherworldly sense of calm in the air. A bird flies overhead. >dive That's not a verb I recognise. >* && Small oversight? It's a bit late now, but if I were still under attack from the archers, this would have been my escape move. You seem to want to talk to someone, but I can't see whom. >swim You continue swimming down the river. Despite feeling increasingly fatigued, you push through the water as fast as you can. As you travel down the river, you find yourself thinking of home. It is many miles away, although you are going in the correct general direction. You suddenly remember your wife, Lady Yoko, and wonder what anxiety she is suffering thinking of your fate. This thought gives you a stronger resolve to make it home. Raging River The river continues flowing to the west. Its current has slowed significantly, enough that you think you can make it to the north bank, beyond which is a bamboo forest. A carp is swimming in the river nearby. >save Ok. >get carp The carp attempts to swim away from you, but your reflexes are faster, and you manage to take hold of the fish. A leaf glides by on the river's surface. >eat carp You aren't feeling that hungry for sashimi right now. >swim You continue swimming down the river, which seems endless. Perhaps it's time you got back onto land. >w You continue swimming down the river, which seems endless. Perhaps it's time you got back onto land. A bird flies overhead. >w You continue swimming down the river, which seems endless. Perhaps it's time you got back onto land. A bird flies overhead. >s The south bank is too far away for you to reach. A bird flies overhead. >n You clamber out of the river onto the shore at the edge of a bamboo forest. You spend what seems to be hours clinging to the riverbank in exhaustion. When you finally rise the sun is beginning to set, and you waste no time heading farther inland. You half run, half stumble through the forest. Bamboo Forest You're traveling through a forest of bamboo, with paths going in every direction. Their stalks rise up in the air like spears pointed at the heavens. It's growing dark, and the setting sun glows red in the sky. You hear a bird chirping in the background. >* && I wanted to float all the way to sea... That's not a verb I recognise. >* && ...and drown instead of cutting my bowels out. That's not a verb I recognise. >sleep You'll be sleeping forever soon enough. A bird flies overhead. >* && Hey! I just escaped. This is a time for optimism, not some depressing shit about inevitable death. Especially not "soon". You seem to want to talk to someone, but I can't see whom. >save Ok. >w You continue down a path deeper into the forest. The bamboo seems to grow thicker and taller as you run. It feels like a cage is rising up from the ground to confine you. Still, you press on, determined to get home. Bamboo Forest You're still in a forest of bamboo, which seems to stretch out endlessly before you in every direction. It almost feels as if it doesn't matter which way you go. You hear a bird chirping in the background. >w Your legs and lungs burn as you press on through the forest. Every now and then you wonder whether you are being pursued, but there isn't a sign of a single human being in sight. In fact, it feels as if you were the last person on earth. You stop and lean heavily against a bamboo stalk, watching the sun slowly descend in the sky. Bamboo Forest The bamboo forest grows thicker here, almost blocking out the sky. Paths lead in all directions. >s Just when you think you'll never escape from the forest, the bamboo stalks start to thin out. Heartened by this development, you continue on, feeling renewed energy in your body. Before long you see the edge of the forest, an opening revealing expansive fields beyond. Right as you're about to cross the threshold of the forest, a dark shadow jumps down from the tops of the bamboo! It's a hungry black bear, who just seconds ago was gnawing at the stalks out of a ravenous hunger. Now with something fleshier (namely yourself) before it, the bear attacks! Bamboo Forest You appear to be close to the edge of the bamboo forest. Although there are paths in all directions, one to the west looks to lead out of the forest. A bear is here, eyeing you in a way that suggests it thinks you're its next meal. The bear tries to backhand you with its paw, but you manage to twist away before it connects. >kick bear You deliver a ferocious kick to the bear's jaw! The bear looks slightly wounded. The bear tries to backhand you with its paw, but you manage to twist away before it connects. >wrestle bear That's not a verb I recognise. >hit bear (with your bare hands) You jump on the bear's back, then pummel its head with your fists until it throws you off. The bear looks quite wounded. Your experience as a warrior tells you that the bear can probably withstand about two more blows before it dies. The bear tries to take a bite out of you, and you narrowly avoid its fangs. >kick bear You deliver a ferocious kick to the bear's legs! The bear looks severely wounded - just one more blow would be enough to finish it. The bear tries to backhand you with its paw, but you manage to twist away before it connects. >g You deliver a ferocious kick to the bear's side! The bear raises its head to the sky and lets out a long, low groan, then collapses to the ground. As you watch, the bear slowly crumbles to dust, as if it were made of brittle stone. A gust of wind blows the dust away. You blink your eyes, wondering if you saw what you just saw. You notice a cicada climbing up a bamboo stalk. >get cicada The cicada flutters out of your reach. It's not like you need a cicada - you gave up bug-collecting long ago. >* && I attacked the bear karate ("empty hand") precisely because I didn't want to kill it.But apparently it was a ghost bear and I needed to kill it anyway. That's not a verb I recognise. >s You wander around for a bit, then find yourself back where you started. You notice, however, that there seems to be a path out of the forest to the west. A frog croaks. >w Night has fallen as you emerge from the forest. The moon shines brightly in the sky, and in its light, you recognize where you are - the fields surrounding your home. Your heart leaps as you think of how close you are to reuniting with your wife. Fields These are the fields near your estate which is to your north. Tall grasses sway softly in the wind. Fireflies drift lazily in the air, illuminating the scene with a greenish glow. >s Your home is not that way. >w Your home is not that way. >n You soon reach a hill and spy your home at the top. Although you are thoroughly tired, the prospect of a long climb up the path to your house doesn't feel like it'll take any effort at all. You are almost there! Front Walkway A stone path appears before you, snaking east up a short hill to your home. The path is lined with cherry trees, their blossom-laden branches stretching out as if to welcome you home. >x cherry trees Cherry trees in full bloom line the path leading up to your home. They are beautiful, but you suddenly realize you don't remember seeing them before. Maybe Lady Yoko planted them while you were gone? >pick blossoms I didn't understand that sentence. >take blossoms You grab a handful, but they slip away in the breeze. >take branch You can't see any such thing. >climb tree Climbing the cherry trees is not feasible. >* && I'm reminded of Oddysseus returning home. Is my house full of suitors? That's not a verb I recognise. >n You're so close to home, it would be madness to just wander off in that direction. >l Front Walkway A stone path appears before you, snaking east up a short hill to your home. The path is lined with cherry trees, their blossom-laden branches stretching out as if to welcome you home. >e Finally, at the end of your long, harrowing journey, you have arrived at your home. You can hardly believe you made it after all you've been through. Everything about your house - the wooden walls, the tiled roof, the door with the tiger design on it - is just as you remember it. Your wife, Lady Yoko, is here. She looks to be in mourning, but when she sees you her face lights up in a smile. She opens her arms, offering a much-needed embrace to you. Front of Home This is the front of your home. A path leads down and to the west. Your wife, Lady Yoko, is standing here with a look of relief on her face. >x yoko Your wife, Lady Yoko, is standing here, wearing a kimono decorated with cherry blossoms. She's holding out her arms, eager to embrace you. >kiss yoko You reach out to embrace your wife, wrapping your arms around her body and hugging tightly. You look into her eyes, and suddenly feel a sharp blow to the back of your neck... Pleasant Garden Awakening from your dream, you fall forward, bleeding profusely from your neck where Koji has clumsily struck. The view of the garden, the assembled observers, and Lord Saito with a satisfied look on his face swims before you in a crimson haze. Reeling in pain, you realize that Lord Saito would have never allowed you to handle a real weapon in your final moments, and that Koji was ordered to strike the moment you touched the knife. Koji curses under his breath, and in the split second before he swings again to successfully sever your head from your body, you think, "Isn't this story just An Occurrence at Owl Creek Bridge set in feudal Japan?" *** You have died with honor *** Would you like to RESTART, RESTORE a saved game, see some suggestions for AMUSING things to do, QUIT or UNDO the last command? > undo Front of Home [Previous turn undone.] >kill yoko Something doesn't seem right. You strike at Lady Yoko, but from out of nowhere, she draws a katana. With blinding speed, Lady Yoko brings the blade down on your neck... Pleasant Garden Awakening from your dream, you fall forward, bleeding profusely from your neck where Koji has clumsily struck. The view of the garden, the assembled observers, and Lord Saito with a satisfied look on his face swims before you in a crimson haze. Reeling in pain, you realize that Lord Saito would have never allowed you to handle a real weapon in your final moments, and that Koji was ordered to strike the moment you touched the knife. Koji curses under his breath, and in the split second before he swings again to successfully sever your head from your body, you think, "Isn't this story just An Occurrence at Owl Creek Bridge set in feudal Japan?" *** You have died with honor *** Would you like to RESTART, RESTORE a saved game, see some suggestions for AMUSING things to do, QUIT or UNDO the last command? > restore Ok. >l Pleasant Garden This place is an attempt by Lord Saito to reproduce some local mountains and forests in miniature, using stones and plants. You've always felt this layout to be boring, and you feel a tinge of regret that you won't ever tell Lord Saito so. An entrance leading into Lord Saito's castle is to the south (which you could escape out of if you could just get past Koji...) Lord Saito is sitting at the far end of the garden. Sitting with Lord Saito is a group of observers gawking at you. Koji stands around patiently. You can also see an inkstick, a horsehair brush, an empty cup, an inkstone and a lacquer tray (on which is a tanto) here. Koji sneezes. He looks around, then tries to act as if he didn't do anything. >i You are carrying: a sheet of paper >drop paper Dropped. Koji checks his grip on his sword. >get dagger You can't see any such thing. >get knife As you pick up the tanto, time seems to slow down around you. You don't know if it's the effect of the sake, or the mackerel being off, or a feeling you could have written a better death poem... ...but in your mind, you realize you want to live. You look at the knife and you look at Lord Saito with his piercing eyes, waiting for you to disembowel yourself, and you decide, you will not do it. You are going to escape from here, and run home, no matter what it takes. Lord Saito leans forward to get a better look. >kill me You can't bring yourself to do it. There must be some way out of this... Koji shifts his stance ever so slightly. >* && Oh... Actually following the honourable/stupid traditional Samurai code is not even an option? That's not a verb I recognise. >attack koji With one swift motion, you plunge the knife into Koji's chest. Despite the fact he is holding a blade, he is caught off guard by your action and reacts only by widening his eyes and dropping his katana, which you catch in your other hand. As you yank the tanto out of Koji's chest, there is an uproar in the garden. You watch as Lord Saito is quickly rushed out of the garden by his loyal servants. The rest of the crowd doesn't disperse but stays and shouts curses and threats at you, though they keep their distance from you. The observers eye you warily. >s You run out of the garden into the castle. Breathless and barely believing what you have done, all you can think about is escaping from this place and getting home. Castle Interior Reflecting its owner, the interior of the castle is plain and austere. However, what the castle lacks in aesthetics it makes up for in complexity. There is a hallway leading south, as well as rooms to the east and west. There are also stairs going up and down. The sounds of footsteps hammering the ground reverberates around the castle. >w Storeroom An old dusty storeroom. It contains a multitude of boxes and crates. There is an exit to the east. You can see a wooden trunk (closed) here. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >open trunk You open the wooden trunk, revealing a shuriken. "Which way did he go?" you hear someone shout. >get shuriken Taken. >e Castle Interior Reflecting its owner, the interior of the castle is plain and austere. However, what the castle lacks in aesthetics it makes up for in complexity. There is a hallway leading south, as well as rooms to the east and west. There are also stairs going up and down. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >d You are about to go downstairs when you hear the sounds of guards that way. You hear someone yell "There he is!" followed by footsteps running away from your location in confusion. >u You are about to go upstairs when you hear the sounds of guards that way. >* && Ah... I expected there to be another path through the game where I could hunt down and kill Lord Saito. That's not a verb I recognise. >s You run down the hallway, looking over your shoulder to see if there are any pursuers. It seems that you have given them the slip for now, but when you look forward again you see a barred wooden door which you almost run into. There are hallways to the east and west but you hear the sounds of men running towards you in those directions. It's the door or nothing! Hallway End This is the end of the hallway. Passages lead east and west to other parts of the castle. To the south, a stout wooden door, leading outside, blocks your path. You hear people shouting elsewhere in the castle. >s The wooden door blocks your path. "Let's get him!" you hear someone yell. >kick door Your foot shoots out and blasts the door to splinters on contact. Yes, you are that awesome. You hear people shouting elsewhere in the castle. >w You start down the passage but hear the excited sounds of men down that way. You decide not to go west. "Which way did he go?" you hear someone shout. >s As you brush past the remains of the door, you hear the shouts of men coming your way. You emerge into a large courtyard and see two samurai, one big and one thin, rush towards you, weapons at the ready. It looks like you'll have to fight your way past them. Courtyard This is a large courtyard. There are ways north, east, and south into the castle, or through an archway to the west. A big samurai is here, wielding a naginata. A thin samurai is here, brandishing a wakazashi. The thin samurai charges at you with his sword but you manage to kick him into the big samurai. >w The big samurai blocks you from going through the archway. The big samurai tries to run you through with his naginata but you leap out of the way and he almost impales the thin samurai. >kick big samurai You deliver a vicious kick to the big samurai's jaw! The big samurai tries to run you through with his naginata but you leap out of the way and he almost impales the thin samurai. >hit thin (with your bare hands) You slip in under the thin samurai's guard, grab his neck, and twist. You don't break his neck but wrench it pretty hard. You fend off attacks from both samurai with your katana. >drop katana Dropped. "Come on, finish that guy already," the big samurai says to the thin one. >kick thin You spin around in an appropriately dramatic fashion, then deliver a kick to the thin samurai's chest, breaking his wakazashi and sending him flying. He is dead before he even hits the ground. The big samurai tries to stab you with his naginata, but you hop out of the way. >jump at big samurai I only understood you as far as wanting to jump. >jump You should probably show some dignity in the face of death. The big samurai tries an underhand strike with his weapon, but only succeeds in kicking up some dust. >* && In the context of a martial arts fight, there's so much you can do with a simple JUMP-command... You seem to want to talk to someone, but I can't see whom. >* && "As the big samurai thrusts his spear-like weapon at your chest, you hop on the broad blade and deliver a swift kick to his chin from your elevated position. Something breaks..." You seem to want to talk to someone, but I can't see whom. >kick big With a running start, you launch a flying kick at the big samurai. He raise his polearm to block you, only for you to shatter it and plant your foot squarely in his chest, caving it in. The big samurai topples to the ground, dead. >* && Ah, *now* I jump-kick! You seem to want to talk to someone, but I can't see whom. >* && typo: "He raiseS his polearm..." That's not a verb I recognise. >s You start towards the south, but turn back when you hear guards that way. >e It sounds like there are men hunting for you that way - you decide not to go in that direction. >w You run through the archway onto a high bridge which leads to the other half of Lord Saito's castle. You're about to cross when an arrow lands with a thunk right in the ground in front of you. Looking up, you see archers up on the roofs and towers around you, taking aim and shooting arrows at you. High Bridge This bridge is the pride of the castle, and is made of dark wood and decorated with images of cranes. The bridge runs east and west, connecting both sides of Lord Saito's castle. Below the bridge and to the south rages the mighty Aokawa River, running parallel to the castle. The sound of the rushing water almost drowns out the sounds of soldiers pursuing you. The archers are shooting arrows at you. You're sure it's nothing personal. One of the archers tries to shoot a burning arrow at you, but only succeeds in setting himself on fire. The other archers snicker as he runs away while yelping in pain. >* && And the way further west is probably blocked off too, forcing me to jump in the river. You seem to want to talk to someone, but I can't see whom. >w You attempt to cross the bridge, but a hail of arrows forces you back. >* && Okay. Then I saw what needs to be seen. I'm a bit disappointed that there is only one path. The hub-like Castle Hall and Courtyard seem inviting to explore more of the castle. That's not a verb I recognise. >* && And I would have loved to THROW SHURIKEN AT SAITO. That's not a verb I recognise. >* && Still, impressive game. Great implrmentation, and there is real tension in the chase. You seem to want to talk to someone, but I can't see whom. >script off End of transcript.