Echoes of Epoch by mifelicia

Echoes of Epoch

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[INTRODUCTION]

“Echoes of Epoch” by Mia and Felice

The story genre is "Fantasy". The story creation year is 2023.

When play begins:
	say “[italic type]In a universe, far, far, away from ours, there was nothing. There was nothing but the small existence of a little orb of light, pitifully gleaming in the midst of nothingness. That light is the Origin of it all.[line break]...Or maybe that’s too far into the past. Well, all you have to know is that despite everything, humans still came to be, and still created civilization. The difference is that while in our world, we looked for answers on our own —the path of science— in this world, they received answers from something else —the path of faith.[line break]...Still too many words? Well, tl;dr: it’s a fantasy style world with a backdrop of worship of higher beings, so...[roman type][paragraph break]Disclaimer: The elements in this story, whether it be the characters, the storyline, the setting, or other features in this story, are all [bold type]fictional[roman type]. They are not meant to represent issues or stances on subjects in real life. Things that happen in this story may not reflect our personal views. Additionally, this is a project for an English assignment. Parts of the game may be [bold type]incomplete[roman type], and may affect your playing experience.”;
	now left hand status line is "Exits: [exit list]";
	now right hand status line is "[location]".

[WHITE HALL]

The White Hall is a room. “You are in a hall with white walls. The walls seem to be made of some kind of mist that stretches out infinitely, almost like a void. To the west, east, and south are different portals with their names inscribed on them in a strange language that seems familiar to you.”

The Utopian Portal is an open door. The Utopian Portal is west of the White Hall. The Utopian Portal is east of the Cliff. 


[LISTENING]
Instead of listening:
	if the player is in White Hall:
		say "The silence is calm and peaceful, a blank backdrop to a blank world.";
	if the player is in Cliff:
		say "You can hear euphonic chatter from the kingdom below.";
	if the player is in Dusty Path:
		say "You can hear wind brushing the grass blades together. Vaguely, you can hear the sound of life from the kingdom to the [bold type]north[roman type].";
	if the player is in Flower Field:
		say "You close your eyes as you listen to the sounds of the gentle wind throughout the field. Leaves rustle, birds chirp. It's peaceful.";
	if the player is in Forest:
		say "It's as if you entered a different world entirely once leaving the flower field to the outskirts of the forest. It's unnervingly quiet, as if everything but the trees rooted to the place had up and left.";
	if the player is in Kingdom Gate:
		say "You can hear chatter and bustling beyond the gate.";
	if the player is in Town Square:
		say "It's very loud and lively in the town square as people mill on by, but not an overstimulating cacophony. It's pleasant, and feels something like home.";
	if the player is in Training Grounds:
		say "You can hear the sounds of soldiers sparring, and the occasional yell of the General. Seems brutal.";
	if the player is in Hospital:
		say "The hospital is quiet, but not silent. One of the unconscious patients sniffs in their sleep, and another tosses and turns audibly. You can hear the doctor flipping through her files, occasionally stopping to write something down or sign one.";
	if the player is in Church:
		say "As soon as you entered the church, it felt like you entered a whole different place entirely from the rest of the kingdom. It seems secluded. You can hear the maid sweeping the floor, and the faint prayers of the nun.".

[PORTALS]
Instead of examining the Utopian portal:
	if Paradise is explored:
		if Paradise is completed:
			say “The portal to and from the kingdom called ‘Paradise’. Small four-pointed white flowers decorate the white marble of the portal. The scripture on the frame reads ‘Utopia’. The light is a shimmering gold. The name is rather ironic, don’t you think?”;
		if Paradise is not completed:
			say “The portal to the kingdom called ‘Paradise’. Small four-pointed white flowers decorate the white marble of the portal. The scripture on the frame reads ‘Utopia’. The light is a soft golden, faint through the silver.”;
	if Paradise is not explored:
		say “The portal[if player is in the White Hall] to the west[end if] has a white marble frame, with delicate four-pointed white flowers and thin vines decorating it. You feel dizzy as you translate the scripture on the portal: it says ‘Utopia’.”

The Stagnant Portal is a locked door. The Stagnant Portal is south of the White Hall. 

Instead of examining the Stagnant Portal:
	if Stasis is explored:
		if Stasis is completed:
			say “The portal to the stagnant world. You sigh softly at the reminder of the corpse and the scenery all around it that seems to be stuck in stasis. The light is a shimmering gold.”;
		if Stasis is not completed:
			say “The portal[if player is in the White Hall] to the south[end if] has a seemingly-crumbling stone brick frame, with tiny five-petaled pink flowers blooming out of the cracks in the stone. The light is a soft golden, faint through the silver.”;
	if Stasis is not explored:
		say “The portal[if player is in the White Hall] to the south[end if] has a seemingly-crumbling stone brick frame, with tiny five-petaled pink flowers blooming out of the cracks in the stone. You feel dizzy as you translate the scripture on the portal: it says ‘Stasis’.”

The Gothic Portal is a locked door. The Gothic Portal is east of the White Hall. 
Instead of examining the Gothic Portal:
	if Dark Castle is explored:
		if Dark Castle is completed:
			say “The portal to the dark world. You think of the cracked statue and the person that once walked down the path of light and life. The light from the portal is a shimmering gold.”;
		if Dark Castle is not completed:
			say “The portal to and from the dark, post-apocalyptic world with the dark castle. The light is a soft golden, faint through the silver.”;
	if Dark Castle is not explored:
		say “The portal[if player is in the White Hall] to the east[end if] has a gothic dark brick frame. Red light seems to emerge from within the cracks, almost as if the portal is bleeding. You feel dizzy as you translate the scripture on the portal: it says ‘Stygian’.”

[PARADISE]
[CLIFF]

The Cliff is a room. The Cliff is above the Dusty Path. The Cliff is west of the silver light. “You find yourself on the ledge of a cliff, overlooking a vast world below. Above you, the sun is high in the sky, the warmth washing over your face. [paragraph break]There is a kingdom beneath you, a fantastical environment with bright green fields, large overgrown trees, and a clear blue lake on the horizon. From above, you can see a bustling marketplace, and winding alleys. Despite the distance, you can make out the harmonious euphony of life. In the center of the kingdom, there is an enormous statue of a winged person with soldier-like attire, hand on a longsword plunged in the ground. [paragraph break]The portal you came from is to the [bold type]east[roman type]. There is a steep trail leading [bold type]down[roman type] the cliff to a dusty path.”


[DUSTY PATH]

The Dusty Path is a room. The dusty path is below the cliff. “You are standing on a long pathway, seemingly dusty from disuse. There is a steep trail leading [bold type]up[roman type] to the cliff. In front of you, there is a [bold type]sign[roman type].”  The Flower Field is east of the dusty path. The Kingdom Gate is north of the dusty path. 

The sign is an object in the Dusty Path. The description of the sign is “The sign has two signposts. The signpost pointing to the [bold type]east[roman type] has the words ‘Flower Field’ on it. The signpost pointing to the [bold type]north[roman type] has the words ‘Paradise’ on it.” The sign is fixed in place. 

[FLOWER FIELD]

The Flower Field is a room. The Flower Field is east of the Dusty Path. “You find yourself in the midst of a large flower field. You are surrounded by wild white five-pointed flowers. Above you, the sun is high in the clear blue sky. A gentle breeze causes the flowers to sway, petals fluttering through the air. To the [bold type]west[roman type] of you is the dusty path that led you here. In the distance of the [bold type]other directions[roman type], you can see a dark forest.” 

Fleur is a scene. Fleur begins when the player carries the flower crown. Fleur ends when the flower crown is in the void.

Instead of going east in the Dusty Path:
	if Fleur is happening:
		if the player carries the flower crown:
			say “[italic type]As you enter the flower field, you stumble, growing dizzy all of a sudden. You hold the flower crown that the girl in the blue dress gave you. The white flowers of the flower crown are much smaller than the wild-growing flowers in the field. ‘Tsk…’ You exhale through your teeth as another wave of dizziness pierces your head. You fall to your knees.[line break]When you look up, your vision seems to have fractured— you can see the white flowers, but then it’s red, and then it’s blue—[paragraph break]You blink, and the flowers are white again. You seem to have dropped the flower crown, but you’re not sure if you want to pick it up anymore after the disconcerting experience you just had, so you take a few steps back into the safety of the dusty path.[roman type]”;
			now the flower crown is in the flower field;
		if the player wears the flower crown:
			say “[italic type]As you enter the flower field, you stumble, growing dizzy all of a sudden. You take off the flower crown that the girl in the blue dress gave you. The white flowers of the flower crown are much smaller than the wild-growing flowers in the field. ‘Tsk…’ You exhale through your teeth as another wave of dizziness pierces your head. You fall to your knees.[line break]When you look up, your vision seems to have fractured— you can see the white flowers, but then it’s red, and then it’s pink—[paragraph break]You blink, and the flowers are white again. You seem to have dropped the flower crown, but you’re not sure if you want to pick it up anymore after the disconcerting experience you just had, so you take a few steps back into the safety of the dusty path.[roman type]”;
			now the flower crown is in the flower field;
		otherwise:
			now the player is in the Flower Field;
	if Fleur is not happening:
		now the player is in the Flower Field.

Instead of taking the flower crown:
	if Fleur is happening:
		say “[italic type]As you reach for the flower crown despite your hesitation, the surroundings seem to blur. You find yourself in the middle of the flower field, except with more colour dotting the white flowers in the field. You see an indistinct figure with a small golden pin in the shape of the five-pointed flowers of the field.[line break]They are sitting on a red-and-white checkered picnic blanket, who looks at you from where they sit. Your arms move of your own accord, placing the flower crown on their head.[line break]‘Since you’re always wearing that flower pin.’ You say with a soft smile. The flower crown is different, made clumsily with a clashing of different colors. The clarity of the flower crown is a stark contrast to the murky figure, but you feel at peace. They smile a familiar smile, saying something you can’t make out clearly, but your mouth curves into a smile anyways.[paragraph break]You blink. The figure and the flower crown you gave them are gone without a trace. The field is back to its wild five-pointed white flowers.[roman type]”;
		now the flower crown is in the void;
		increase score by 1;
		if score is 2:
			say “[paragraph break]You have explored World 1: Paradise. You can now enter World 2 through the White Hall.”;
			now Paradise is explored;


[FOREST]

The Forest is a room. The Forest is north, south, and east of the Flower Field. “You feel unsettled as soon as you enter the outskirts of the forest… Something feels wrong with this place. [line break]The flower field is still in sight to the [bold type]west[roman type], perhaps it would do you best to leave.”


Instead of going north in the forest:
	say “You shake your head to rid yourself of your fears, and continue on. For each step you take further into the forest, you feel a faint sense of chills running down your spine. Your head pounds, and you stop in the midst of the forest— [line break]When had it became so dark? The foliage obscures the sky, without a single ray of sunlight shining through the the thick layers of leaves.[paragraph break]Speaking of which, who are you? Why are you here?”;
	end the story saying “You’ve wandered too far.”.

Instead of going east in the forest:
	say “You shake your head to rid yourself of your fears, and continue on. For each step you take further into the forest, you feel a faint sense of chills running down your spine. Your head pounds, and you stop in the midst of the forest— [line break]When had it became so dark? The foliage obscures the sky, without a single ray of sunlight shining through the the thick layers of leaves.[paragraph break]Speaking of which, who are you? Why are you here?”;
	end the story saying “You’ve wandered too far.”.

Instead of going south in the forest:
	say “You shake your head to rid yourself of your fears, and continue on. For each step you take further into the forest, you feel a faint sense of chills running down your spine. Your head pounds, and you stop in the midst of the forest— [line break]When had it became so dark? The foliage obscures the sky, without a single ray of sunlight shining through the the thick layers of leaves.[paragraph break]Speaking of which, who are you? Why are you here?”;
	end the story saying “You’ve wandered too far.”.

[KINGDOM GATE]

The Kingdom Gate is a room. The Kingdom Gate is north of the Dusty Path and south of the Town Square. “You are standing in front of a large, open gate. Beyond it, you can see the town square in the distance to the [bold type]north[roman type]. To the [bold type]south[roman type], you can see a long dusty path with a single signpost on the horizon.” 

The Gate Guard is a person in the Kingdom Gate. “A singular guard decked head to toe in shiny silver armor stands positioned by the gate.”
Instead of talking to the Gate Guard:
	say “The guard salutes at you, and does not block you from entry.” 

Check asking the Gate Guard about something: 
	say “You don’t think you should disturb the guard while they’re on duty.”

Instead of attacking the Gate Guard:
	say “Why would you want to do that? You feel bad for thinking about attacking the guard who has shown no malicious intent so far.”

Understand “Guard” or “Knight” as the Gate Guard. 

[TOWN SQUARE]

The Town Square is a room. “You find yourself in the middle of the town square, complete with a lively marketplace with an abundance of people bustling by around you. In front of you, there is a huge statue of a warrior with wings, towering over the square.[paragraph break]To the [bold type]west[roman type], you can make out a flat area with a few soldiers sparring. To the [bold type]east[roman type], there is a stone building with a domed top. To the [bold type]north[roman type], there is a large church with stained glass that glitters under the sunlight. The gate of the kingdom is to the [bold type]south[roman type].” The Kingdom Gate is [bold type]south[roman type] of the town square. The Church is north of the town square. The Hospital is east of the town square. The Training Grounds is west of the town square. 

The statue is an object in the Town square. The statue is fixed in place. The description of the statue is “You crane your neck to look up at the looming statue. The statue is of a person in a warrior’s clothes, armored in ornate plating. Two large wings, with each feather visibly and meticulously carved into the stone, flare out from behind the statue. The statue is standing upright, with a hand resting on a longsword that is plunged into the round pedestal on the floor. Around the pedestal is a swash of white flowers sprouting from the grass. A little girl with a blue dress is picking the white flowers around the statue.” 

[LITTLE GIRL]

The Little Girl is a woman in the Town Square. The description of the Little Girl is “A little girl wearing a simple blue dress. The dress has grass and dirt stains. She’s squatting by the base of the statue, weaving a flower crown from the flowers around the statue.” 

Instead of talking to the Little Girl:
	if the Little Girl carries the lollipop:
		say “[one of]‘What are you doing?’ You ask, crouching down a few steps away from the girl.[paragraph break]The girl in the blue dress presents the flower crown to you with an expressionless face, saying nothing.[or]‘Oh, you made a flower crown? That looks wonderful, but I don’t know how to make one.’ You say with a sheepish smile, to which the girl seems even more unimpressed by. She puts the flower crown in your hands, and nods at you as she begins weaving another flower crown.[or]‘Oh, for me? Thanks.’ You smile at her, but she ignores you.[or]She’s busy stringing the flowers together. You decide to leave her to her flower crown making.[stopping]”;
		now the player carries the flower crown;
	otherwise:
		say “The girl doesn't seem to see or hear you. Maybe you need to give her something to catch her attention."

Instead of giving the lollipop to the Little Girl:
	say “You wave the lollipop in front of her face. She looks at it with a suspicious look. Maybe it [italic type]is[roman type] a bit suspicious, but she takes it anyway, quick as lightning. She seems more likely to pay attention to you now.”;
	now the Little Girl carries the lollipop.

Instead of asking the little girl about “lollipop”:
	say “The girl takes the lollipop out of her pocket, waving it at you before tucking it back.”

Instead of asking the little girl about “golden flowers”:
	if the little girl does not carry the golden flowers:
		say “The little girl’s eyes light up, but shakes her head firmly. ‘Can’t afford.’ She says quietly.”;
	otherwise: 
		say “The little girl beams at you, gazing at the golden flowers in her hand in awe.”

Instead of giving the golden flowers to the Little Girl:
	if the little girl does not carry the lollipop:
		say “The little girl is busy stringing the small five-pointed flowers together. You’ll need to catch her attention in a different way.”;
	otherwise: 
		say “You hand the golden flowers to her. Your wallet aches, but you feel as though the blinding smile that the girl gives you is worth it. However, she seems to consider something, and tilts her head, ‘Not for Head Cleric?’”;
		now the little girl carries the golden flowers.

Instead of asking the little girl about “Head Cleric”:
	if the player carries the flower crown:
		say “The little girl seems confused as to why you would ask about them. It seems she has used up her ability to talk today, and you don’t want to push her further.”;
	otherwise:
		say “The little girl seems confused as to why you would ask about them.”

Check attacking the little girl:
	say “You monster. What the heck. No.”

[SHOPKEEPER]

The Shopkeeper is a man in the town square. The description of the shopkeeper is “A rather burly man with a neatly trimmed beard. He stands behind a stall with various items on it.” The shopkeeper carries a lollipop, a golden flowers, and a red scarf. 

After examining the shopkeeper: 
	say “The shopkeeper raises a brow, ‘Anything caught your fancy?’”

The stall is scenery. The description is “A stall with a few different sections of wares being sold.”

Instead of talking to the shopkeeper:
say “[one of]‘What a surprise, you’re back… Alone, huh. That’s rare.’ The shopkeeper laughs as you approach. You try to ask him about that, but he just shakes his head and continues amidst the noise around you, seemingly not hearing. ‘Anyways, you must be here for a reason…Unfortunately, I haven’t been able to restock recently. Well, let me know if you want to buy anything.’[or]You ask for the prices of his wares. ‘Let’s see…’[paragraph break][if the shopkeeper carries the lollipop]Lollipop: 1 Copper[end if][if the shopkeeper carries the golden flowers][line break]Golden flowers: 1 Gold[end if][if the shopkeeper carries the red scarf][line break]Red Scarf: 1 Silver[end if][if the shopkeeper carries nothing]'Sorry, you've emptied my stock.’[end if][stopping]”

Instead of buying the lollipop: 
	if the shopkeeper carries the lollipop: 
		let P be a random copper coin carried by the player; 
		if P is not nothing: 
			now the shopkeeper carries P; 
			now the player carries the lollipop; 
			say "You buy the lollipop from the shopkeeper for a copper coin."; 
		otherwise: 
			say "'Sorry, I can’t discount it any further, even if it’s you. It’s still a copper for this lollipop,' the shopkeeper says."; 
	otherwise: 
		say "The shopkeeper shakes his head, ‘Sorry, I’m all out of lollipops now.’"

Instead of buying the golden flowers: 
	if the shopkeeper carries the golden flowers: 
		let G be a random gold coins carried by the player; 
		if G is not nothing: 
			now the shopkeeper carries G; 
			now the player carries the golden flowers; 
			say "You buy the golden flowers from the shopkeeper for a gold coin. He smiles knowingly at you."; 
		otherwise: 
			say "'Sorry, I can’t discount it any further, even if it’s you. It’s still one gold for these golden flowers,' the shopkeeper says."; 
	otherwise: 
		say "The shopkeeper shakes his head, ‘Sorry, I’m all out of golden flowers now. They’re quite pricey, and usually only bought for special occasions.’ [italic type]You could ask him about the golden flowers.[roman type]"

Instead of asking the shopkeeper about “golden flowers”:
	say “[one of]You ask the shopkeeper about the golden flowers. The shopkeeper chuckles, ‘They’re also known as flores aurei in the Utopian language. It’s quite difficult to come across, and only survives in very specific circumstances. So, you can see how they’re not the run-of-the-mill type of flowers. It was more often bought a few months ago, by the more well-off military wives so as to celebrate their partners returning from war. Honestly, I didn’t expect you to be the one buying the golden flowers, but a role reversal is also nice sometimes.’[or]The shopkeeper is talking to another customer, it would be rude to interrupt.[stopping]”

Instead of buying the red scarf: 
	if the shopkeeper carries the red scarf: 
		let S be a random silver coin carried by the player; 
		if S is not nothing: 
			now the shopkeeper carries S; 
			now the player carries the red scarf; 
			say "You buy the red scarf from the shopkeeper for a silver coins."; 
		otherwise: 
			say "'Sorry, I can’t discount it any further, even if it’s you. It’s still one silver for this red scarf,' the shopkeeper says."; 
	otherwise: 
		say "The shopkeeper shakes his head, ‘Matching scarves, eh? But sorry, that was the only scarf left.’"

Instead of asking the shopkeeper about “lollipop”:
	say “‘Kids love this flavour,’ The shopkeeper says, ‘It’s a good thing that we don’t have to worry about malicious people in Paradise, or else it’d be too easy to lure away the children with a simple lollipop. Oh, but of course, there’s no need to worry when it’s you giving it out.’”

Instead of asking the shopkeeper about “the lollipop”:
	say “‘Kids love this flavour,’ The shopkeeper says, ‘It’s a good thing that we don’t have to worry about malicious people in Paradise, or else it’d be too easy to lure away the children with a simple lollipop. Oh, but of course, there’s no need to worry when it’s you giving it out.’”

Instead of asking the shopkeeper about “red scarf”:
	say “‘Well, it’s certainly not used for protection against the weather,’ The shopkeeper laughs, ‘Mostly for fashion, though I have seen it used as a gift. Unfortunately, there’s only one, so you can’t have matching scarves. For now, at least, I'll see what I can do next restock.’ He winks at you.”

Instead of asking the shopkeeper about “head cleric”:
	say “The shopkeeper smiles amusedly, ‘I’m not sure. Since I’m not a soldier, I’m lucky enough to not have to end up in the hospital to see them.’”

Check attacking the shopkeeper: 
	say “That’s not very nice. How about not attacking people with no ill will towards you?”

[TRAINING GROUNDS]

The Training Grounds is a room. “You are standing at the training grounds. There is a large expanse of flat land, with an armory close by. There are a few knights sparring. To the [bold type]east[roman type] is the town square, from which you can hear the loud sounds of people milling by.” 

The armory is scenery. The armory is in the Training Grounds. The description of the armory is “You see shelves upon shelves of weapons in the armory, ranging from knives to longbows. Unfortunately, it’s locked behind a sturdy wall.”
[GENERAL]

The General is a woman in the Training Grounds. The description of the general is “A tanned, burly woman. She wears a standard soldier’s attire, but you can see how she’s different from the other soldiers, whether by the general air of confidence she exudes, or the way she carries herself.” 
Instead of talking to the General: 
	if the player carries the Doc’s Files:
		say “‘Hey,’ The general spots you heading over, and waves at you. Unfortunately, she seems to have forgotten she was holding a training sword, causing her to almost hit one of the soldiers busy training.[paragraph break]‘Hello. Doc says to give you something.’ You say, rummaging through your bag. She nods, starting to spar with a soldier. ‘Alright, just give it to me whenever.’”;
	otherwise:
		say “‘Hello-’ You try and call out, but a practice sword nearly misses your face. A soldier scrambles to pick up the wooden sword.[paragraph break]The general seems occupied with beating up the soldiers all at once. Maybe you should return later.”.

Instead of giving the Doc’s Files to the General:
	say “You hand the General the files that the doctor in the hospital gave you. She accepts it sullenly, flipping it open and scanning some of the pages before snapping it shut with a grimace. Upon seeing the curious expressions displayed clearly on both yours and the soldiers’ faces, she sighs, ‘Just another scolding about how the training’s too harsh. I guess I’ll have to try a different method again.’[paragraph break]You’re not sure what that means, but the soldiers groan. ‘We just got the hang of this regimen!’[paragraph break]The general turns to you. ‘That woman making you of all people play delivery, huh?’ She laughs, putting the files away, ‘Speaking of which, I suppose you are rather free in peacetime…Paradise is truly paradise, isn’t it?’[paragraph break]You don’t know what to say to that, so you nod, just slightly. Thankfully, it seemed to be a rhetorical question, and she just shakes her head, procuring a shining sword. ‘Here, the swordsmith polished it up a bit.’ She hands it to you, and gives you a lackadaisical salute as she walks away. ‘Well, I’ll be thinking up and implementing a new training regimen, so if you need anything, you’ll have to catch me later.’”;
	remove the Doc’s Files from play;
	now the player carries the sword. 

Instead of asking the general about “sword”:
	say “The general nods as she deflects a blow from one of the soldiers. ‘Yeah, polished by the very best.’”

Check asking the general about [something]:
	say “The general is busy sparring, and can’t seem to hear you.”

Instead of attacking the General:
	if the player carries the sword:
		say “[one of]You attack the General with your sword in hand. She deflects your blade with her own wooden one, and grins, ‘Finally accepting my duel request, huh?’ The soldiers sigh in relief as she turns her attention to you instead of them. You spar with the general, eventually both of you wielding gleaming sharp swords. You’re deadlocked with her, neither of you two faltering, until she sees the other soldiers simply sitting by the edge of the training grounds, lounging. ‘Hey, we were supposed to be testing out the new regimen!’ The general suddenly remembers, and kicks your feet from under you, leaving you on the floor. She smiles at you, a challenging glint in her eye. ‘Well, so long, soldier. Let’s spar again when you’re in [italic type]top condition[roman type].’ She runs off to scold the soldiers, whom snap into position immediately.[or]You’ve already sparred together. She’s busy testing the new training regimen she cooked up on the soldiers, best not to disturb her.[stopping]”;
	otherwise: 
		say “Attacking the general? With your bare fists? Better get a proper weapon first.” 

[HOSPITAL]

The Hospital is a room. The hospital is east of the town square. “You are standing in a large, old building akin to a large hall, filled with hospital beds. There are a few patients, all of whom are unconscious on the cots lining the hall. At the end is a desk with a single doctor looking through various papers on the desk with a haggard expression. [if the player does not carry the hairpin]Next to her, there is a dusty shelf, on which something shiny catches your eye. [end if]Through the door to the [bold type]west[roman type] is the town square.”

The shelf is a thing in the Hospital. It is a container. The description of the shelf is "A dusty shelf without anything on it[if the player does not carry the hairpin], sans a ornate golden hairpin[end if]." 

The hairpin is a thing. The hairpin is inside the shelf. The description of the hairpin is “A golden hairpin with a few small five-pointed flowers.” 

[DOCTOR]

The doctor is a woman in the hospital. The description of the doctor is “A doctor with eyebags large enough to carry groceries in. Her brown hair is sticking out of the once-neat bun you’re sure she had… a few days ago, maybe.” Understand “doc” as the doctor.  
Instead of talking to the doctor:
say “[one of]‘Hello, Doc,’ You approach the only doctor in the hospital, who is looking through some files. The doctor sighs before looking up at you.[paragraph break]When she sees you, her disgruntled expression is replaced with one of concern. ‘I sure hope you’re doing well to remember the promise you made of only coming in here for its intended purpose once a week. You should be resting.’[or]‘Once a week?’ You ask, confused. [paragraph break]However, the doctor seems to take your question for something else, and she levels a flat stare at you. ‘Yes, once a week in peacetime. No less. …So, are you here for treatment, or what?’[or]‘Actually, I’m just wandering around.’ You say, to which the doctor responds, as though expecting that answer, ‘Looking for the head cleric, instead?’[or]‘The head cleric?’ You ask.[paragraph break]The doctor falls silent, but seems to think it over before nodding. ‘...Might’ve forgotten to tell you… Anyways, the head cleric’s out right now, doing only the Council knows what.’[or]’The Council?’ You ask, prying for more information. However, the doctor seems to have had enough of your endless questioning, and shoves a file into your hands. ‘If you have enough energy to pester me, you have enough energy to help deliver this to the General.’[or]You decide against interacting with the tired doctor for now.[stopping]”;
	now the player carries the Doc’s Files.

Instead of asking the doctor about “files”:
	say “She stares at you with exhaustion evident in her eyes. ‘Just bring it to the general, please.’”

Instead of asking the doctor about “head cleric”:
	say “The doctor sighs, ‘They’re pushing themselves too hard again, but I heard they’re finally taking a break for once. You should tell them to take it easy more often.’”

Instead of asking the doctor about “hairpin”:
	say “The doctor yawns, ‘Oh, the hairpin? It should be one of the Head Cleric’s spares. Might’ve left it there accidentally. Speaking of which, the last time I saw the Head Cleric, they were in the Church about something…’”

Check asking the doctor about [something]:
	say “The doctor is busy shuffling through the papers loudly. If she heard you, she doesn’t say anything about it.”

Check attacking the doctor:
	say “The Head Cleric would be disappointed in you.”

[CHURCH] 

The Church is a room. The church is north of the town square. “When you step into the church, it feels as if you’ve entered a sacred place with a much different atmosphere. The church is a grandiose, imposing room with a high, domed ceiling. Sunlight filters in through the large stained glass windows. There are pictures of winged beings depicted on the windows, mostly in the midst of battle. Various intricately carved marble pillars stretch to the high ceilings. At the back wall is an elevated platform with a podium. The church is very quiet, with only a nun and a maid. Every footstep echoes in the wide chamber. To the [bold type]south[roman type], you can see the bustling town square.” 
	The pew is scenery.
	The podium is scenery.

Ceremony is a scene. Ceremony begins when the player carries the hairpin. Ceremony ends when the hairpin is in the void.

Instead of going north in the Town Square:
	if Ceremony is happening:
		say “[italic type]As you walk through the church, you feel a wave of dizziness hit you. You lean on the church pew closest to the podium. Vaguely, you can make out the sight of the maid in front of you with a worried face. Your vision swims, and the face in front of you is not of the maid, but a small blurry figure with a golden flower hairpiece.[line break]‘You ready?’ A distorted yet warm voice asks you. It takes you some time to come to terms with the fact that the voice belongs to the figure in front of you, who looks at you with an expectant face. You feel yourself nod, your mouth forcing out the words, ‘Yeah…’[line break]‘Don’t worry,’ The figure squeezes your hand from where your fingers are intertwined behind your backs, ‘You’re the Blessed one, it’ll be easy for you.’[line break]You huff out a laugh. ‘It’s been a while since a Blessing Ceremony has happened, who knows what could happen?’ You scuff your foot on the pristine floor, to which the blurry figure glares at you. ‘Don’t do that, it’s not respectable to the Light.’ [line break]‘If I’m the Blessed one, I should be able to do whatever I want,’ You say petulantly, purposefully scuffing harder against the floor. You can see some dirt fall off of your shoe. [line break]The blurry figure with the golden hairpin scowls and squeezes your hand in a vice grip. ‘Ow, ow, fine.’ You stop your ministrations and stand up straight, ‘But they should have at least let us sit.’ [line break]‘They would have let you if you asked.’ The figure releases your hand to cross their arms. You sniff playfully, ‘Oh, how kind and magnanimous you are, future Head Cleric.’[roman type]”;
		now the hairpin is in the void;
		now the player is in the Church;
		increase score by 1;		
		if score is 2:
			say “[paragraph break]You have explored World 1: Paradise. You can now enter World 2 through the White Hall.”;
			now Paradise is explored;
	otherwise: 
		now the player is in the Church.

[MAID]

The maid is a woman in the church. The description is “The maid is a petite woman wearing a traditional maid’s uniform.”
Every turn when the player is in the Church:
	if Ceremony is happening:
		do nothing;
	if Ceremony is not happening:
		if a random chance of 1 in 3 succeeds:
			say “The maid [one of]sweeps the spotless floors[or]wipes down the church pew close to the podium[or]dusts off the podium[or]pauses between cleaning to briefly speak to the nun[at random].”

Instead of talking to the maid: say “‘Hello.’ [paragraph break]The maid jumps. ‘M-My apologies, I did not expect someone else in the church at this time.’ [paragraph break]You falter. You had simply just walked in …was there a set time to visit? ‘Oh, I’ll leave, then.’ [paragraph break]The maid shakes her head, frantically waving her hands. ‘No, no, it’s fine. Did you need anything?’ [paragraph break]’No, it’s fine,’ You hesitate, before making up your mind. ‘I just remembered I had something to do, have a good day.’ You bid farewell to the maid, awkwardly leaving the maid to her cleaning.”

Instead of asking the maid about “ceremony”:
	say “‘The ceremony? I… I’m not quite sure of when it is either. I was going to ask her,’ The maid gestures to the nun, ‘But she seems pretty worried about it too…’”

Check asking the maid about [something]:
	say “The maid is diligently cleaning the pews. You decide not to ask her about it.”

[NUN]

The nun is a woman in the church. The description is “The nun is a tall woman with brown hair in a bun, and a traditional black and white nun’s attire.” 
Instead of talking to the nun: 
	say “[if Ceremony has happened][one of]‘Are you okay?’ The nun asks. You nod, and she looks at you dubiously, but accepts it anyways.[or]The nun still seems concerned, it'd be best to leave her be for now.[stopping][otherwise if Ceremony is not happening][one of]‘Hello.’ [paragraph break]The nun turns to look at you, surprise flittering over her face. ‘Ah, you’re early.’[paragraph break] ‘Early for what?’[paragraph break] The nun tilts her head, inclining towards the stained glass windows. ‘You must be rather busy to forget the ceremony. Get some rest, will you?’[or][paragraph break] You feel like you’re missing something, but you’re not sure if you want to ask her about the ceremony.[stopping]” 

Check asking the nun about [something]:
	say “The nun is in prayer, eyes closed. It would be rude to interrupt her.”

Instead of asking the nun about “ceremony”:
	say “‘You must be rather tired. Although, I suppose things have been hectic as of late. The date of the ceremony keeps changing, and the Head Cleric’s gone too, for whatever reason.’ She shakes her head, ‘The annual ceremony has always been done after a big victory during wartime, so now that its peacetime…’”

[PARADISE OBJECTS]

The flower crown is a wearable thing. The description of the flower crown is “A simple flower crown with white five-pointed flowers. You want to see if there are any other flowers that aren’t white in this world. You’re sure there is, but your memory seems rather foggy right now.”

The sword is an object. The description is “A well-polished sword with a sturdy, familiar feel. With an experimental swipe of the sword, you realize that you’re rather well-adjusted to using this sword, like you’ve used it for centuries.”

A coin is a kind of thing. Understand "coin" as a coin. A copper coin is a kind of coin. A silver coin is a kind of coin. A gold coin is a kind of coin.
The player carries two copper coins, five silver coins, and three gold coins.
The description of the copper coins is “There’s a bit of green creeping up on the fine details of the copper, obscuring the features from view.”
The description of the silver coins is “The silver is shiny under the sunlight, reflecting off of the fine details. A small, calligraphic ‘Paradise’ is inscribed on the edge of the coin. On one side of the coin is a finely carved feather. On the other side is a winged humanoid creature perched utop a tall mountain.”
The description of the gold coin is “The gold is in mint condition, with a glimmering sheen washing over it as you turn a coin in the sunlight. Passerbys look at the coin ravenously. On the edge of the coin is a small calligraphic ‘Paradise’ inscribed. On one side is a picture of what seems to be a church. On the other side is the back of a winged humanoid being, holding a sword to the sky.”


The Doc’s Files is an object. The description is “A file of papers that the Doctor in the hospital gave you to bring to the General. Better not open it, lest you wish the Doc’s wrath upon you.” 

The description of the lollipop is “A sweet treat that children are sure to love.”
The red scarf is wearable. The description of the red scarf is “A thin red scarf. Both fashionable and eye-catching.”
The description of the golden flowers is “Golden flowers that, according to the shopkeeper, is usually bought by military wives for when their partner returns from war.”
Understand “scarf” or “red” as the red scarf. Understand “candy” or “lolly” as the lollipop. Understand “gold flowers” as the golden flowers. 

Understand “files” or “doc’s” as the doc’s files. 

[STASIS]
Instead of going south in the White Hall:
	if Paradise is explored: 
		now the player is in the Misty Clearing;
	if Paradise is not explored: 
		say “The portal remains a dull grey, and you pass through it harmlessly, still in the White Hall.”.

[MISTY CLEARING]
The Misty Clearing is a room. “You open your eyes to see a mist-filled clearing. A small glimmer of cold light trails in through the sky. A steep, rugged hillside leads [bold type]up[roman type] to a mist-covered area above. In the other directions, you can see only mist. It’d be wise not to venture too deeply.” The misty clearing is below the Crossroads. 

[AMIDST THE FOG]
Amidst The Fog is a room. Amidst The Fog is north, south, east, and west of the misty clearing. “You venture into the mist. Upon submerging your body fully into the greys and blues obscuring your vision, you feel the cool mist become pinpricks on your skin, itchy and irritating. [line break]Something tells you that it’d be best to go back. [paragraph break]But which way, you wonder…?” 

Instead of going north in the Amidst The Fog:
	say “You ignore the feeling ghosting over you, but as you walk further, you can feel the mist become more solid, and the sensations feel stronger. The pinpricks feel like sandpaper rubbing against your skin. You try and examine yourself, but the mist blocks all from view.[line break]For some reason, instead of panicking as you should, you feel calm— no, you feel nothing at all. Just like a stagnant pool, algae blooming over. You seem to hear someone sobbing as you close your eyes.[paragraph break]What are you here for? [italic type]Who are you?[roman type]”;
	end the story saying “You’ve wandered too far.”.
Instead of going south in the Amidst The Fog:
	say “You ignore the feeling ghosting over you, but as you walk further, you can feel the mist become more solid, and the sensations feel stronger. The pinpricks feel like sandpaper rubbing against your skin. You try and examine yourself, but the mist blocks all from view.[line break]For some reason, instead of panicking as you should, you feel calm— no, you feel nothing at all. Just like a stagnant pool, algae blooming over. You seem to hear someone sobbing as you close your eyes.[paragraph break]What are you here for? [italic type]Who are you?[roman type]”;
	end the story saying “You’ve wandered too far.”.
Instead of going east in the Amidst The Fog:
	say “You ignore the feeling ghosting over you, but as you walk further, you can feel the mist become more solid, and the sensations feel stronger. The pinpricks feel like sandpaper rubbing against your skin. You try and examine yourself, but the mist blocks all from view.[line break]For some reason, instead of panicking as you should, you feel calm— no, you feel nothing at all. Just like a stagnant pool, algae blooming over. You seem to hear someone sobbing as you close your eyes.[paragraph break]What are you here for? [italic type]Who are you?[roman type]”;
	end the story saying “You’ve wandered too far.”.
Instead of going west in the Amidst The Fog:
	say “You ignore the feeling ghosting over you, but as you walk further, you can feel the mist become more solid, and the sensations feel stronger. The pinpricks feel like sandpaper rubbing against your skin. You try and examine yourself, but the mist blocks all from view.[line break]For some reason, instead of panicking as you should, you feel calm— no, you feel nothing at all. Just like a stagnant pool, algae blooming over. You seem to hear someone sobbing as you close your eyes.[paragraph break]What are you here for? [italic type]Who are you?[roman type]”;
	end the story saying “You’ve wandered too far.”.
Instead of going northeast in the Amidst The Fog:
	say “You ignore the feeling ghosting over you, but as you walk further, you can feel the mist become more solid, and the sensations feel stronger. The pinpricks feel like sandpaper rubbing against your skin. You try and examine yourself, but the mist blocks all from view.[line break]For some reason, instead of panicking as you should, you feel calm— no, you feel nothing at all. Just like a stagnant pool, algae blooming over. You seem to hear someone sobbing as you close your eyes.[paragraph break]What are you here for? [italic type]Who are you?[roman type]”;
	end the story saying “You’ve wandered too far.”.
Instead of going northwest in the Amidst The Fog:
	say “You ignore the feeling ghosting over you, but as you walk further, you can feel the mist become more solid, and the sensations feel stronger. The pinpricks feel like sandpaper rubbing against your skin. You try and examine yourself, but the mist blocks all from view.[line break]For some reason, instead of panicking as you should, you feel calm— no, you feel nothing at all. Just like a stagnant pool, algae blooming over. You seem to hear someone sobbing as you close your eyes.[paragraph break]What are you here for? [italic type]Who are you?[roman type]”;
	end the story saying “You’ve wandered too far.”.
Instead of going southeast in the Amidst The Fog:
	say “You ignore the feeling ghosting over you, but as you walk further, you can feel the mist become more solid, and the sensations feel stronger. The pinpricks feel like sandpaper rubbing against your skin. You try and examine yourself, but the mist blocks all from view.[line break]For some reason, instead of panicking as you should, you feel calm— no, you feel nothing at all. Just like a stagnant pool, algae blooming over. You seem to hear someone sobbing as you close your eyes.[paragraph break]What are you here for? [italic type]Who are you?[roman type]”;
	end the story saying “You’ve wandered too far.”.
Instead of going southwest in the Amidst The Fog:
	say “You ignore the feeling ghosting over you, but as you walk further, you can feel the mist become more solid, and the sensations feel stronger. The pinpricks feel like sandpaper rubbing against your skin. You try and examine yourself, but the mist blocks all from view.[line break]For some reason, instead of panicking as you should, you feel calm— no, you feel nothing at all. Just like a stagnant pool, algae blooming over. You seem to hear someone sobbing as you close your eyes.[paragraph break]What are you here for? [italic type]Who are you?[roman type]”;
	end the story saying “You’ve wandered too far.”.

[CROSSROADS]

The Crossroads is a room. The crossroads is above the misty clearing. “You’re in the middle of a clearing with trails in many directions. You can see the hillside leading [bold type]down[roman type] to the misty clearing from before. To the [bold type]north[roman type], you can see an overgrown path filled with thorny vines. To the [bold type]west[roman type], [bold type]east[roman type], and [bold type]south[roman type], you can see various paths leading into the slightly misty area beyond.”

Instead of going north in the Crossroads:
	if Parting is not happening:
		say "Thick overgrown vines block the way. You try and clear the vines with your sword, but even the sharpness of the newly polished sword cannot make a cut.";
	if Parting is happening:
		if the player carries the torch:
			say "After the majority of the overgrown vines are burnt away by the torch, you walk into the clearing beyond.";
			now the player is in the Bright Clearing;
			now the vines is in the void.

The vines is scenery. 
Instead of examining the vines:
	if Parting is not happening:
		say "Thick, overgrown vines block the path to the [bold type]north[roman type].";
	otherwise:
		say "Try going north."

Instead of attacking the vines:
	say "You don't want to cut your hands on the visible thorns of the vines."

Instead of attacking the vines with:
	if the second noun is not carried by the player:
		say “You aren’t holding [the second noun].”;
	otherwise:
		say "There is no effect on the vines."


[PATHS]

The East Path is a room. The East path is east of the Crossroads. “You take the path to the east. You can see the mist creeping in to the north and east. A wall of what might have once been a neatly trimmed bush blocks the remaining mist from creeping into the [bold type]south[roman type]. The crossroads is visible to the [bold type]west[roman type].”
Amidst the Fog is north and east of the East Path. 

The West Path is a room. The West path is west of the Crossroads. “You take the path to the west. You can see the mist creeping in to the north and west. A wall of what might have once been a neatly trimmed bush blocks the remaining mist from creeping into the [bold type]south[roman type]. The crossroads is visible to the [bold type]east[roman type].”
Amidst the Fog is north and west of the West Path. 

The South Path is a room. The South path is south of the Crossroads. “You take the path to the south. You can see the crossroads to the [bold type]north[roman type]. To the other directions, you start to feel your blood boiling in anticipation.”

The Southwest Path is a room. The southwest path is south of the West Arena. “You see the west arena to the [bold type]north[roman type] of you. To the [bold type]east[roman type], you can see a wide clearing.” The southwest path is west of the South Arena. 

The Southeast Path is a room. The southeast path is south of the East Arena. “You see the east arena to the [bold type]north[roman type] of you. To the [bold type]west[roman type], you can see a wide clearing." The southeast path is east of the South Arena.


[BATTLE ROOMS]

The East Arena is a room. The East Arena is south of the East path and north of the Southeast Path. The East arena is east of the south path. “You enter the clearing, and a ghastly shriek causes your ears to ring. A ghastly creature perches upon a gargoyle at the end of the arena. You prepare for a fight.”

Instead of looking in the East Arena: 
	if the Ghoul is in the East Arena:
		say "The clearing is dark and misty, a contrast to the pale, almost luminescent skin of the ghoul prowling closer.";
	otherwise: 
		say "An empty arena. Dark fog creeps in slowly from the sides of the arena. There is a path to the  [bold type]north, south,[roman type] and [bold type]west[roman type], and a small clearing with a treasure chest to the east."

The West Arena is a room. The West arena is south of the West Path and north of the Southwest path. The west arena is west of the South Path. “You enter the clearing, and see a horrid beast prowling the area. A dark aqua miasma emanates from the beast.” 
Instead of examining in the West Arena: 
	if the Undead Beast is in the West Arena:
		say "The clearing is cold as ice, with dark miasma at the edges. A grotesque beast watches you with a ravenous look in its eyes, slowly creeping closer.";
	otherwise: 
		say "An empty arena. Dark fog creeps in slowly from the sides of the arena. There is a path to the [bold type]north, south,[roman type] and [bold type]east[roman type], and a small clearing with a treasure chest to the west."

The South Arena is a room. The south arena is south of the south path. The south arena is north of the south treasury. “You enter the clearing, and narrowly dodge a sword that nicks your ear." 
Instead of examining in the South Arena: 
	if the Cursed Soldier is in the South Arena:
		say "The clearing is still, but an oppressive pressure causes you to grip your sword tightly. The source of it all is none other than a translucent Cursed Soldier in front of you, approaching quickly with a sword outstretched.";
	otherwise: 
		say "An empty arena. Dark fog creeps in slowly from the sides of the arena. There is a path to the [bold type]north, east,[roman type] and [bold type]west[roman type], and a small clearing with a treasure chest to the south."


[CURSED SOLDIER]

The Cursed Soldier is a woman in the South Arena. “In front of you, there is a woman standing in front of you in military attire- although upon closer inspection, she seems to be translucent, almost glowing.” The description of the cursed soldier is “She seems humanoid except for the milky white eyes with a lack of pupils, and the freezing cold aura surrounding her. The woman’s ragged uniform is adorned with an array of medals caked with dirt and grime, signaling that she is a higher ranking officer.”

Instead of going south in the South Arena:
	if the Cursed Soldier is in the South Arena:
		say “The soldier steps in front of your way, thrusting her sword at you. You parry it, but stumble while doing so. It would be best to take care of her before proceeding onwards.”;
	otherwise:
		now the player is in the south treasury.

Instead of attacking the Cursed Soldier:
	say "Without a weapon? Even you stand no chance against her barehanded."

Instead of attacking the Cursed Soldier with:
	if the second noun is not carried by the player:
		say “You aren’t holding [the second noun].”;
	otherwise:
		say “The [second noun] is easily deflected by the cursed soldier. The white eyes stare vacantly at you.”

Instead of attacking the Cursed Soldier with the sword:
	let X be a random number from 1 to 5;
	if X is 1:
		say “With effort, you manage to pin down the cursed soldier, blade against her neck. She stares vacantly with empty white eyes, saying nothing as you cleanly decapitate her head from her body. She begins to dissipate into a haze of dark fog from the feet up.[line break]The vacant white eyes stare at you, and for a moment you think you can see a small smile, but her mouth disintegrated before you could get a closer look.”;
		remove the Cursed Soldier from play;
		now the Soldier’s Sash is in the location;
	otherwise if X is 2:
 		say “You’re fast enough to dodge the cursed soldier’s jab at you, but you make a mistake of focusing on her sword. She sweeps a leg and you go down. For a split second, you think this feels familiar. After that split second, however, your head is cleanly separated from your neck.”;
		end the game in death;
	otherwise: 
		say “You thrust your sword at her. The Cursed Soldier easily parries.”


[GHOUL]

The Ghoul is a person in the East Arena. The description of the ghoul is “The horrifying creature is a translucent white against black fog, with unsettling dark pits where a human’s eyes would be. The ghoul wears a tattered blue dress, with green smudges barely visible through the dirt caked on it. Its mouth is crooked in a chilling facsimile of a smile, lips pale and bloodless.”

Instead of going east in the East Arena:
	if the Ghoul is in the East Arena:
		say “The ghoul shrieks, disorienting you and causing you to stumble. You’ll have to deal with it first.”;
	otherwise:
		now the player is in the east treasury.
Instead of attacking the Ghoul:
	say “You throw a punch, only for it to go straight through the ghoul, which hisses at you in a garbled, grating language. Perhaps it would be better to attack it with a weapon.”

Instead of attacking the Ghoul with:
	if the second noun is not carried by the player:
		say “You aren’t holding [the second noun].”

Instead of attacking the Ghoul with the sword:
	let X be a random number from 1 to 4;
	if X is 1:
		say “In a flash of light, your sword slashes straight through the ghoul. It dissipates with a horrifying banshee-like wail, leaving your ears ringing. For some reason, you feel a faint sense of sadness. The ghoul's treasure it seemed to have been protecting drops to the ground.”;
		remove the Ghoul from play;
		now the Ghoul’s Treasure is in East Arena;
	otherwise if X is 2:
 		say “The ghoul opens its jaw inhumanely wide, clamping down on your torso. You feel a ripping pain, and you black out immediately.”;
		end the game in death;
	otherwise: 
		say “The ghoul dodges out of the way of your sword.”

[UNDEAD BEAST]

The Undead Beast is an animal in the West Arena. The description of the Undead Beast is “A giant, grotesque, mottled creature. The longer you look, the more unsettled you feel— Its rotting limbs (and how many were there?) all bent the wrong way, its face vacant and smooth like a plate with no discerning features, and the way it moves like a contortionist’s flexibility and strangeness. A thick dark aqua miasma emanates off of the creature with every contorted step.”

Instead of going west in the West Arena:
	if the Undead Beast is in the west Arena:
		say “The beast growls, blocking you from leaving with unnerving movements.”;
	otherwise: 
		now the player is in the west treasury

Instead of attacking the Undead Beast:
	say “Your punch makes contact with the dead flesh of the beast. A shiver runs up your arm and down your spine at the feeling of the rough cold skin mottled with dirt and blood. Perhaps it would be better to attack with a weapon.”

Instead of attacking the Undead Beast with:
	if the second noun is not carried by the player:
		say “You aren’t holding [the second noun].”;
	otherwise:
		say “Your attack leaves no lasting trace on the Undead Beast.”

Instead of attacking the Undead Beast with the sword:
	say “Your sword pierces through the beast. Dark miasma and black blood spill out of the beast, sizzling before evaporating in the dust of the arena. You watch as the flesh and bone regrow, knotting together in a grotesque noise. That doesn't seem to work against it, you need a more permanent solution.”

Instead of attacking the Undead Beast with the torch:
	let X be a random number from 1 to 4;
	if X is 1:
		say “You pin down the beast with your sword, nailing it firmly into the ground of the arena. The beast screams as you shove the torch into its exposed skin, the fire working unusually fast. You cover your nose and mouth as the scent of burning rotten flesh permeates the air.[line break]It’s times like these you wish you had more limbs, because with one hand occupied holding the torch and the other covering your face, you have nothing to block the sounds of the beast’s screams as it burns and melts until it is nothing but ash on the dusty floor.”;
		remove the Undead Beast from play;
		now the Beast’s Treasure is in the location;
	otherwise if X is 2:
 		say “The beast growls at the sight of the torch, The beast lunges at you with a fierce attack, scraping its claws through your body. Flesh and bone give way to the sharp serrated claws, and you close your eyes.”;
		end the game in death;
	otherwise: 
		say “The beast dodges out of the way of your torch, growling.”

[TREASURIES]
The East Treasury is a room. “You enter the clearing to see a silver chest in the center. To the [bold type]west[roman type], you can see the clearing where you fought the Ghoul.” The East Treasury is east of the East arena.

The West Treasury is a room. “You enter the clearing to see a wooden chest in the center. To the [bold type]east[roman type], you can see the clearing where you had fought the Undead Beast.” The west Treasury is west of the west arena.

The South Treasury is a room. “You enter the clearing to see a golden chest in the center. To the [bold type]north[roman type], you can see a wide open dusty clearing where you had fought the cursed soldier.” The south Treasury is south of the south arena.



[BRIGHT CLEARING]
The Bright Clearing is a room. The Bright Clearing is north of the Crossroads. “You step into the clearing warily. You see a figure illuminated by the scarcest ray of sunlight, gleaming through the heavy clouds and mist in the sky. The figure is surrounded by flourishing flowers, such a contrast to the sights that you have seen around you, it’s almost astounding. However, what captures your attention is not the flowers, but the figure— who, upon closer inspection, is actually a [italic type]corpse[roman type].” The bright clearing is south of the stagnant portal. 

The five-pointed flowers is a thing inside the Bright Clearing. It is scenery. The description is “Five-pointed white flowers. The flowers closest to the corpse are dyed a deep red by blood. Looking closer, you can see a few blood-stained feathers under the flowers.” 

Parting is a scene. Parting begins when the player carries the torch. Parting ends when the PartingTrigger in the void.

The corpse is a thing inside the Bright Clearing. The Corpse is scenery.

Instead of examining the corpse:
	if Parting is happening:
		say “[italic type]Your vision blurs as you approach the corpse. You hear the sound of sobbing and blink to see someone next to the pale corpse.[paragraph break]‘It was a lie, all a lie…’ ▇▇▇ whispered, their voice getting louder as they flipped through the thick spellbook. Their vision seemed to blur as they desperately tried every single spell that was available to them through the book, but it was no use.[line break]▇▇▇▇ would die. It was fate.[paragraph break]‘You of all people should know there’s no such thing as fate, you’re always saying it’s not…’ ▇▇▇ tried spell after spell. White flowers sprouted around them, overgrown by the influx of healing spells, but it was no use. [line break]▇▇▇▇ knew that, and chuckled weakly as the newly grown flowers were stained a deep scarlet, ‘Well, look where that got me. Maybe I should’ve never said anything.’[line break]‘No, it’s my fault,’ ▇▇▇ shouted, tears dripping freely down their cheeks. ‘I-If, I had just, just, listened to you-’[line break]▇▇▇▇ cut them off by raising a weak hand to their face, gently wiping away the tears. ‘It’s not your fault, ▇▇▇.’ [line break]As ▇▇▇▇ took one last breath, they smile at ▇▇▇, face forever frozen in that peaceful appearance.[roman type]”;
		now PartingTrigger is in the void;
		increase score by 1;
		say "You have now completed World 2. World 3 is now available through the White Hall.";
	otherwise:
		say "You lean in to look at the corpse. The corpse’s eyes are closed, which would have led you to believe it was asleep if not for the not-yet-dried blood spilling from a chest wound. Flowers surround the corpse, the blood soaking into the once white, now red flowers.”

Before taking the corpse:
	say “As you reach out to touch the corpse, you feel a buzzing sensation against your palm. Maybe you shouldn’t do that.”

Instead of taking the corpse:
	say “You proceed anyways, reaching out and putting a hand on the corpse’s shoulder. Your first thought is ‘It’s cold.’. You never get to think a second thought.[paragraph break]For a split second, you feel a burning hot sensation run through you, yet as cold as ice. And then, you are gone in a sizzle, ashes fluttering softly down onto the corpse. How fitting.”;
	end the story saying “You shouldn’t have done that.” 

[OBJECTS]
The Ghoul’s Treasure is a container. It is fixed in place. 
A Hero's Gift is a thing. It is inside the Ghoul’s Treasure.
Instead of examining the A Hero’s Gift:
	if the Little Girl carries the golden flowers:
		say “[one of]You examine the small bottle. Inside, you can see a layer of golden dust.[or]You feel as though the golden dust isn’t really dust. As you shake the bottle, you realise it’s actually crushed petals of a flower, gold in colour… You seem to recall having gifting some golden flowers to someone before.[stopping]”;
	otherwise: 
		say “[one of]You find a small white stick, about the length of your finger. It’s covered with grime and dirt.[or]Vaguely, you remember giving someone a lollipop. It seems as though this may have belonged to them.[stopping]”.

The soldier’s sash is a thing. The description is “A faded blue sash. After brushing off the dust, you can see the gleam of the medals on the sash. You recognize a few.”

The beast’s treasure is a thing. The beast’s treasure is a container. It is fixed in place.
The red cloth is a thing. The red cloth is inside the beast’s treasure. The description is “A scrap of red cloth. Vaguely, you remember someone talking about restocking something…”

The silver chest is a thing inside the east treasury. The silver chest is fixed in place. The silver chest is a closed, openable container. The description of the silver chest is “A [if the silver chest is closed]closed [end if]treasure chest made of silver.” 

The torch is a thing. It is inside the silver chest. The description is “A seemingly magical torch that remains lit as you hold it in your non-dominant hand, and extinguishes when put in your inventory. The flames flicker in a mesmerizing dance.”

The wooden chest is a thing inside the West treasury. The wooden chest is a closed, openable container. The description of the wooden chest is “A [if the wooden chest is closed]closed [end if]treasure chest made of wood.” 

The broken broom is a thing. The broken broom is inside the wooden chest. The description of the broken broom is “A rather useless broken broom, snapped in half. Careful not to get splinters.”

 The golden chest is a thing inside the South Treasury. The golden chest is fixed in place. The golden chest is a closed, openable container. The description of the golden chest is “A [if the golden chest is closed]closed [end if]treasure chest made of gold.” 

The spellbook is a thing. The spellbook is in the golden chest. The description of the book is “The spellbook is a deep green with gold accents, and feels unusually heavy in your hands.”

The PartingTrigger is a thing. The PartingTrigger is in the Storage.
The Storage is a room.

[DARK CASTLE] 
Instead of going east in the White Hall:
	if stasis is explored: 
		now the player is in the Plateau;
	if stasis is not explored:
		say “The portal remains a dull grey, and you pass through it harmlessly, still in the White Hall.”.
[PLATEAU]
The Plateau is a room. The Plateau is above the Beaten Path. The Plateau is east of the Gothic Portal. “You find yourself on the ledge of what seems to be a small plateau on a hill, with a large mound of rocks and dirt suggesting that it could once have been a mountain. Atop of this hill overlooking a vast landscape below you. Above you, the sky is cloudy and gray, with a light rain that seems to have continued for days without stopping. [paragraph break]Below, there seems to be a wreckage, with rubble seemingly being the only thing in sight. From above, you can make out what could be certain remnants of large structures, arranged in an almost uniform manner. Despite being so close to the ground, you can’t seem to make out any signs of life- it seems almost as if nature itself has deserted this place.”

[BEATEN PATH]
The Beaten Path is a room. The Beaten path is below the plateau. “You are now standing at what seems to be the beginning of what used to be a long walkway. What used to be tiles are now small fragments of rock, overturned or shattered beyond recognition. The only thing that seems to be mildly intact is a half-burnt signpost in the distance, signaling to you that the path does lead somewhere in the midst of all the destruction that you are in.” The Grass Field is east of the beaten path. The Iron Gate is north of the beaten path. 

The signpost is an object in the Beaten Path. The description of the signpost is “The sign has two signposts. The signpost pointing to the east has the word ’Field’ written on it. The rest of it seems to have been burnt off or erased. The signpost pointing to the north is completely illegible, with the paint having been scratched away deliberately, and sharp slashes going the extra mile to obscure the letters.” The signpost is fixed in place. 
[GRASS FIELD]
The Grass Field is a room. The Grass Field is east of the Beaten Path. The Grass Field is west of the Barren Forest. “You find yourself in the midst of a large field. All around you, there is dead grass, grey from the ash and rubble all around it. To the west of you is the beaten path that led you here. In the other directions, you can see what looks like a forest in the distance.” 

The Camellias is a thing in the Grass Field. The Camellias is scenery. Understand "grass" or "grass field" or "field" as Camellias.

Instead of examining the Camellias:
	if Paradise is explored:
		say “You bend down to take a closer look at the grass below you, brushing your hand over the ground beneath you to try and remove the thick layer of dust. Underneath it, you find small, red camellias- wilted, but still bright nonetheless.”;
	if Paradise is not explored:
		say “You bend down to take a closer look at the grass below you, but a strong breeze blows dust into your eyes before you get the chance. In the midst of the haze, you see a small flash of bright red, but when the dust settles it seems to be all grey again.”


[BATTLEFIELD]
The Battlefield is a room. The Battlefield is west of the Circle of Ruins. “You are standing in the middle of a large area of ‘flat’ land. There are dozens of weapons littered all across it, with small craters scattered around it as well.”

[IRON GATE]

The Iron Gate is a room. The Iron Gate is north of the Beaten Path and south of the Circle of Ruins. “You find yourself standing in front of a large, open gate. The doors of the gate have remnants of charred wood as its base, but seem to have been burnt away thoroughly. Now, the only thing that remains is a few iron bars. Beyond it, in the north you can see a large, circular area with rubble scattered all around it. South of you is the beaten path. In front of the gate, a blurry figure stands in front of you.”

The Dead Guard is a person in the Iron Gate. “A single, blurry figure stands in front of you, seemingly dressed in armor from head to toe. Their body seems to be vaguely see-through, but you can’t tell if it’s just a trick of the light.”
Instead of talking to the Dead Guard:
	say “The guard salutes you, and does not block you from entry.” 

Check asking the Dead Guard about something: 
	say “The guard stares and nods at you blankly.”

Check attacking the Dead Guard:
	say “Your weapon passes through the guard smoothly, but they exhibit no reaction. Strange.”

Understand “Guard” or “Knight” or “Ghost Guard” or “Dead Guard” as the Dead Guard. 

[CIRCLE OF RUINS]

The Circle of Ruins is a room. The Circle of Ruins is south of the Dark Castle Entrance. The Circle of Ruins is west of the field of ashes. The Circle of Ruins is north of the Iron Gate. The Circle of Ruins is east of the Field of Ashes. “You find yourself in the middle of a large, circular area. All around you, there are broken planks of wood, tattered signs, and an array of broken or rotting goods coated in a thick layer of ash and dust. In front of you, there is a large pedestal with nothing on it but an imprint suggesting something (or someone) had once stood there. To the east, there is a large field of rubble and ash. To the west, there is a flat area littered with craters. To the north, there is a huge, dark castle in the distance. To the south is the iron gate.”

[FIELD OF ASHES]

The Field of Ashes is a room. The Field of Ashes is east of the Circle of Ruins. “You find yourself in the middle of a massive field of ashes. Unlike the rest of the ruins, this area has been burnt beyond recognition. The only indication that there was once life in the area are broken glass vials, their contents spilled and dried with only a small glow remaining. In the distance, you see a woman standing there.”

The Dead Doctor is a woman in the field of ashes. “You see a woman in front of you, wearing long white robes.  Upon closer inspection, she seems to be translucent, almost glowing. Even in her semi-transparent state, the dark circles under her eyes still stand out.” The description of the Dead Doctor is “The woman’s garments and hands are stained with blood, although she doesn’t seem to carry any weapons or have visible wounds.”

Instead of talking to the dead doctor:
	if Paradise has been explored:
		say “You approach the doctor, but before you start to speak she cuts you off.[paragraph break] ‘It’s too late,’ she says. ‘Too late for what?’ you ask, perplexed.[paragraph break] The doctor gives you a weird look. ‘Don’t you know where we’re standing? Surely you haven’t forgotten them already,’ she says. [paragraph break]You shake your head, perplexed. The doctor seems to be disappointed, but doesn’t offer up any further explanation.”;
	otherwise:
		say “As you begin approaching the woman, it seems as though she’s faded into thin air. You blink again, but nothing seems to be there.”.

[DARK CASTLE ENTRANCE]

The Dark Castle Entrance is a room. The Dark Castle entrance is north of the Circle of Ruins. The Dark Castle Entrance is south of the First Floor. “You find yourself in a small, entry chamber to what looks to be a larger floor. In front of the gateway, there is a zombie-like being blocking the entrance. To the north is the rest of the first floor.”

The Zombie Guard is a man in the Dark Castle entrance. “The zombie stands before you, dressed head to toe in shining armor as if he were a guard.” The description of the Zombie Guard is “While his body seems fully intact, his eyes are glazed over as if blinded.” 

Instead of going from the Dark Castle entrance to the first floor when the Zombie Guard is in the Dark castle entrance:
say “In life and death.. must not disobey the lord..until the end of time..’ the zombie mutters, blocking your path.”

The Zombie Guard’s ashes is a thing. The Zombie Guard's ashes is fixed in place.

Instead of attacking the Zombie Guard: 
say "With no weapons? Even you would have a hard time barehanded against the undead." instead. 

Instead of attacking the Zombie Guard with:
	if the second noun is not carried by the player:
		say “You aren’t holding [the second noun].”;
	otherwise:
		say “Your attack leaves no lasting trace on the Zombie Guard.”

Instead of attacking the Zombie Guard with the sword:
say “Your sword pierces the zombie’s chest. Blood spills freely out of its wound, but as you pull your sword out of its body the flesh and bone regrow, knotting together at inhumane speeds.”

Instead of attacking the Zombie Guard with the torch:
	let X be a random number from 1 to 5;
	if X is 1:
		say “You pin down the zombie with the hilt of your sword, nailing it firmly into the ground. The zombie growls as you shove the torch into its head, the fire spreading over its body at a rapid rate. You cover your nose and mouth as the rotten fumes of burning flesh poisons the air.[line break] As it burns, the zombie shudders and struggles to put out the flames (to no avail). Soon enough, it is reduced to a pile of ashes at your feet..”;
		remove the Zombie Guard from play;
		now the Zombie Guard’s ashes is in the location;
	otherwise if X is 2:
 		say “The zombie grunts at the sight of the torch, lunging at your neck with a fierce attack, strangling you with its bony hands, and you close your eyes.”;
		end the game in death;
	otherwise:
		say “The zombie haphazardly dodges out of the way of your torch.”

[BARREN FOREST]

The Barren Forest is a room. The Barren Forest is east of the Grass Field. “You feel unsettled as soon as you enter the outskirts of the forest. The sight feels vaguely familiar to you, but the dead, barren trees suggest that this isn't the case. [line break]The grass field is still in sight to the [bold type]west[roman type], perhaps it would be best to leave.”

Instead of going north in the Barren forest:
	say “You shake your head to rid yourself of your fears, and continue on. For each step you take further into the forest, you feel a faint sense of chills running down your spine. Your head pounds, and you stop in the midst of the forest— [line break]When had it become so dark? The barren trees loom above you, without a single ray of sunlight in the grey sky.[paragraph break]Speaking of which, who are you? Why are you here?”;
	end the story saying “You’ve wandered too far.”.

Instead of going east in the Barren forest:
	say “You shake your head to rid yourself of your fears, and continue on. For each step you take further into the forest, you feel a faint sense of chills running down your spine. Your head pounds, and you stop in the midst of the forest— [line break]When had it become so dark? The barren trees loom above you, without a single ray of sunlight in the grey sky.[paragraph break]Speaking of which, who are you? Why are you here?”;
	end the story saying “You’ve wandered too far.”.

Instead of going south in the Barren forest:
	say “You shake your head to rid yourself of your fears, and continue on. For each step you take further into the forest, you feel a faint sense of chills running down your spine. Your head pounds, and you stop in the midst of the forest— [line break]When had it become so dark? The barren trees loom above you, without a single ray of sunlight in the grey sky.[paragraph break]Speaking of which, who are you? Why are you here?”;
	end the story saying “You’ve wandered too far.”.





[FIRST FLOOR]
The First Floor is a room. The first floor is east of the First Staircase. “You find yourself on the ground floor of the castle. [if unvisited] Upon entry, you can clearly see a long staircase leading to a large, elevated platform upon which an ornate throne rests. [end if]The intricate architecture makes it clear that this is the throne room. To the west, you see a marble staircase that seems to lead to the second floor of the castle.”

[FIRST STAIRCASE]
The First Staircase is a room. The First Staircase is west of the first floor. “You are standing at the base of a long marble staircase leading up to the second floor.” The First Staircase is below the Second Floor. The Pope is a man in the First Staircase. “Before you, the pope stands in front of you, blocking your way.” The description of the Pope is “The pope seems to be translucent, almost glowing in front of you. Although his robes and weapons are intact, his eyes seem to be glazed over as if blinded.” 

Instead of going up in the first staircase when the Pope is in the First Staircase:
	say “The pope moves to block your path. ‘By the will of the Light, you shall not pass,’ says the pope.”

The Pope’s dead body is a thing. The pope’s dead body is scenery.

Instead of attacking the Pope:
say “Without a weapon? Even you stand no chance against magic barehanded.” instead.

Instead of attacking the pope with:
	if the second noun is the torch:
		say “‘Fire? How naive of you to attack me without the Light,’ says the pope.” instead;
	else if the second noun is not carried by the player:
		say “You’re not holding [the second noun].” instead.

Instead of attacking the pope with the sword:
	if a random chance of 2 in 3 succeeds:
		say “You thrust your sword at the pope. As it plunges into his translucent body, his image seems to transform, and soon he is nothing but a body at your feet.”;
		remove the pope from play;
		now the pope’s dead body is in the location;
	otherwise:
		say “The pope mutters a quick prayer, and a shield appears in front of him where your attack would have hit.”


[SECOND FLOOR]
The Second Floor is a room. “You are now on the second floor of the castle. The room seems to be a mess: there are pentagrams haphazardly drawn all over the intricate tiles on the floor, dried blood on the walls, and endless amounts of glass vials scattered across the room. In the center of the room, a bloody knife rests in the middle of a particularly large and detailed pentagram, a stark contrast to the chaos surrounding it. At the far end of the room, there is a wooden door.”

The Bloody Knife is a thing in the Second Floor. The bloody knife is scenery. The description of the Bloody Knife is "A long, silver knife with an ornate golden handle. The blade seems to be coated with dried blood."

The Wooden Door is a locked door. The Golden Key unlocks the Wooden Door. The wooden door is north of the Second Floor. The wooden door is south of the Second Staircase. 

Instead of examining the door:
	if Stasis has been explored:
		say “As you approach the door to get a better look at it, you see that there is a wadded-up piece of paper at your feet.’”;
	otherwise:	
		say “As you approach the door, you’re seemingly repelled by an invisible force. Stumbling backwards, you decide against investigating further.”.


The wadded-up piece of paper is a thing in the Second floor. The description is “The paper seems to have some writing on it, but it’s been crumpled thoroughly.” 

The letter is a thing. The description is “The letter seems to be stained with tear tracks, rendering much of it illegible. However, you might be able to read certain words at the bottom if you look closely…”

Instead of unfolding the wadded-up piece of paper:
	if the player is carrying the wadded-up piece of paper:
		now the wadded-up piece of paper is in void;
		now the player carries the letter;
		say “As you unfold the piece of paper, you see that it’s actually a letter.”;
	otherwise:
		say “You don’t have that object in your hands.”


The Argument is a scene. Argument begins when the player carries the letter. Argument ends when the letter is in the void.

Instead of examining the letter:
	if the Argument is happening:
		if the player carries the letter:
			say “[italic type]‘No- No, don’t, you’re wrong-’ [paragraph break]‘Will you just listen to me?’[paragraph break]‘No, because you’re delusional!’[paragraph break]‘I’m not delusional- you- you’re the one that’s been, from a young age, manipulated by them, ▇▇▇!’▇▇▇▇'s voice rose, the usual calmness gone without a trace left in its absence. They rose to their full height, looming over the cleric, the half bandaged arm left forgotten.[paragraph break]▇▇▇ took a step back, spluttering, ‘Manipulated? Do you even know what you’re implying there-?’[paragraph break]‘Of course I do! That’s the point I’ve been trying to tell y-’[paragraph break]‘No,▇▇▇▇, you don’t understand. You’re blessed with Its favor, you’re valued by the Luminescent Council, you’ve got time, and I don’t-’ ▇▇▇’s voice rose in pitch.[paragraph break]‘▇▇▇, just listen to me for a minute. That’s the point. You know that I hate this place. You know that I’d leave in a heartbeat.’ ▇▇▇▇ puts their hands on ▇▇▇’s shoulders.[paragraph break]▇▇▇ eyed ▇▇▇▇ helplessly, ‘You have the ability to do so. Why don’t you leave, then?’[paragraph break]▇▇▇▇dropped their hands, to their sides. The warrior’s shoulders slumped as energy seemed to drain out of them, their eyes staring at ▇▇▇ with something like both fervent passion and crushing despair.[paragraph break]‘Do I have to say it out loud?’ ▇▇▇▇ asked, their voice barely above a whisper. It was such a stark contrast to the loud voices just a while ago, that if ▇▇▇ hadn’t had their full attention on ▇▇▇▇, they wouldn’t have heard them at all. [paragraph break]‘Please,’ ▇▇▇ pleaded, ‘I don’t understand. I know you hate it. But you know that it’s-’[paragraph break]‘Your lifeline, I know,’ ▇▇▇▇ sighed, resigned, ‘And that’s why- It’s your lifeline.’[paragraph break]‘What do you mean?’[paragraph break]‘It’s your lifeline- and, you- you’re mine. My anchor to this place. And I can’t leave you here alone.’[roman type]";
			now the letter is in the Second Floor;
		otherwise: 
			say “You don’t have that object in your hands.”

Instead of taking the letter:
	if the Argument is happening:
		say “You try and discern what’s on the letter, but it’s very difficult to make out due to tear stains blurring the ink together:[paragraph break] ▇ ▇ ▇ denial ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇years ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ everyone▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇  ▇▇▇▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ should’ve ▇ ▇ ▇ ▇ ▇ ▇ when ▇ ▇ ▇ ▇ ▇▇▇▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ all ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ useless ▇ ▇ ▇ ▇ ▇ spellbook ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ too much ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ finally ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ ▇ with you ▇ ▇ ▇ ▇ ▇ ▇”;
		increase score by 1;
		now the letter is in the void;
	otherwise:
		say “You don’t have that object in your hands.".

	

Instead of examining the spellbook:
	if Argument has happened:
		say “Previously pressed between the pages of the book, a large golden key falls out.”;
		now the player carries the golden key;
	if Argument has not happened:
		say “The spellbook is a deep green with gold accents, and feels unusually heavy in your hands. Turning it over in your hands, you see that the back seems to be stained a deep red.”

The Golden Key is a thing. The description of the Golden Key is "A large golden key with a simple circular handle, it seems to be rather well-worn.”

[SECOND FLOOR]

The Second Staircase is a room.

“You are standing at the base of a long marble staircase leading up to the second floor.” The second staircase is below the third floor.

[THIRD FLOOR]
The Third Floor is a room. The third floor is above the second floor. “You are now on the third floor of the castle. In the center of the room, you can see a large, winged statue of a warrior.”

The Cracked Statue is a thing inside the third floor. The Cracked Statue is fixed in place.

The Broken Statue is a thing.

Instead of attacking the Cracked statue:
	say “This isn’t that famous block game, where you can punch trees. So, you should specify what you want to attack with.”

Instead of attacking the Cracked statue with:
	if the second noun is the sword:
		say “You break the statue into pieces with sharp stabs of your sword. As the statue splinters into pieces, a thick cloud of smoke appears, darkening the room even more. Amidst the smoke, the broken pieces of the statue seem to shine.”;
		now the Cracked statue is in the void;
		now the player carries the broken statue;
	otherwise: 
		say “You can’t use the [second noun] to break the statue.”

Finale is a scene. Finale begins when the player carries the broken statue. Finale ends when the broken statue is in the void.
Instead of examining the broken statue:
	if Finale is happening:
		say "When you reach for the now-broken statue, it seems to vanish along with the rest of the room, fading into the haze around you.[paragraph break][italic type]As the smoke clears, you find yourself in the flower field again. Now though, the sun is setting, casting a warm orange glow on your surroundings. Squinting against the light, you can make out the silhouette of a figure in the distance. A narrow path seems to have been created towards it, with footprints leading towards them, towards the sun. You find yourself running (Why?), letting the footsteps pull you closer to the figure.[paragraph break]After what seems like an eternity, you stop in front of them. They turn, and it seems that your vision has finally become clear again. White robes. Long, flowing hair. A golden flower hairpin that shines in the sunset. A scene that you’ve seen a thousand times, and yet still feels completely new to you now. [paragraph break]'Welcome home,’ they say.[roman type]”;
		increase score by 1;
		now the broken statue is in the void;	
	if Finale is not happening:
		now the player is in the White Hall.

Every turn:
	if score is 3:
		now Stasis is explored;
	if score is 5:
		say “Your journey has come to an end. Thank you for playing.”;
		end the game in victory.

	





[EXTRA OBJECTS]

The Helpbook is a thing in the White Hall. 
Instead of examining the helpbook:
	say “[one of]Welcome to Echoes of Epoch! This is just a simple help book to aid in your playing experience. If you’re up for the challenge, go on ahead without examining the helpbook again. If you want some small tips, examine this helpbook again.[or]Just some general tips![line break]1. You can talk to an NPC more than once. G is for again, so if you type ‘t (npc name)’, ‘talk to (npc name)’, or ‘talk (npc name)’ and get a response, you [italic type]might[roman type] be able to trigger new dialogue by pressing ‘g’. Although not always, it never hurts to check.[line break]2. G is not just for talking to NPCs, you can also examine things more than once. Usually you would use this best specifically for puzzles.[line break]3. You can fight. ‘attack (npc or mob)’, however, means you attack with your fists. You can also use the command ‘attack (npc or mob) with (item you carry)’[line break]4. You can ask NPCs about things with the command 'ask (npc name) about (noun)'.[paragraph break]In addition, this is first and foremost a story-based game, so we hope you take the time to explore and get to understand the worlds more. At the end of the game, we have also provided a link to a form we’d appreciate you filling out as a review. Enjoy![stopping]”

[RULE EXPANSION]

Talking to is an action applying to one visible thing. Understand "talk to [someone]" or “converse with [someone]” or “t [someone]” or “talk [someone]” as talking to.


Check talking to: say "[The noun] doesn't reply."

A person can wear any thing which has the wearable property.

To say exit list:
	let place be location;
	repeat with way running through directions:
		let place be the room way from the location;
		if place is a room, say "[way]".

The void is a room. 

Understand “blue dress” or “girl” or “little” as the little girl. Understand “storekeeper” or “shopkeep” or “storekeep” as the shopkeeper. 

A World is a kind of room. A World can be explored. A World can be completed. A World is not explored. A World is not completed. Paradise is a World. Stasis is a World. Dark Castle is a World. 


Reading is an action applying to one visible thing. Understand "reading the [something]" or "reading [something]" as reading.

Unfolding is an action applying to one visible thing. Understand "smooth out [something]" or “unfold the [something]” or “unfold [something]” as unfolding.

Rule for printing room description details of the spellbook: stop.

Attacking it with is an action applying to two things and requiring light. Understand "attack [something] with [something]" and "hit [something] with [something]" as attacking it with. 

Report attacking it with: 
say "Your aggressive action has no visible result." 

The maximum score is 5.

Instead of examining yourself: 
	say “Nothing out of the ordinary.”

When play ends:
	say "[italic type]A note from the creators: If you've finished exploring World 1, filling out this form would be of great help to us. It's completely optional, of course, but we will use your feedback to make your game experience better: https://docs.google.com/forms/d/1ixCu8WIznN9MaRogzDQUtaBdk0hYyTMgQVoFAF172NA/edit[roman type]"