Verge by Alex

Verge

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"Verge" by Alex Eyde

[This is the source text for the first few minutes of the interactive fiction 'Verge' and its preliminary code framework.]

The story genre is "Fiction".
The story headline is "An Interactive Fiction". The story creation year is 2012. The release number is 1. 
The story description is "For a decade you have lived as a shadow, haunted by uncertain memories. But when you find yourself one night at the house where you once raised a happy family, the past will no longer be held back, forcing you to confront the years leading up to a terrible tragedy."

Volume 1 -- The Rules

Use full-length room descriptions, American dialect, no scoring, memory economy, and the serial comma. 

Part 1 -- Extensions

Include Standard Rules by Graham Nelson.
Include Basic Screen Effects by Emily Short.
Include Mentioned In Room Description by Ron Newcomb.
[Include Keyword Interface by Aaron Reed.]

Part 2 -- Keyword Interface by Aaron Reed

[This Inform 7 extension was written by Aaron Reed.]

Keywords required is a truth state that varies. Keywords required is usually false.

Understand "[a thing]" as examining.

Object keyword highlighting is a truth state that varies. Object keyword highlighting is usually true. [Global activation of object keywords.]

Every thing has a text called the keyword. The keyword of a thing is usually "". [which word of a multi-word noun should be highlighted. In practice, the player can type any word with the same effect, but for presentation purposes it's best to have a single word highlighted.]

A thing is either keyworded or keywordless. A thing is usually keyworded. Scenery is usually keywordless. [Only keyworded things are not automatically highlighted in room descriptions.]

Object keywording something is an activity on objects.

Rule for printing the name of a thing (called item) while looking (this is the Keyword Interface highlight objects when looking rule):
	carry out the object keywording activity with item.

Rule for printing the name of a thing (called item) while taking inventory (this is the Keyword Interface highlight objects when taking inventory rule):
	carry out the object keywording activity with item.

Rule for printing the name of a thing (called item) while opening (this is the Keyword Interface highlight objects when opening rule):
	carry out the object keywording activity with item.

Rule for object keywording something (called item) (this is the Keyword Interface object keywording rule):
	if object keyword highlighting is false or item is keywordless:
		say the printed name of item;
		continue the action;
	let output be indexed text;
	now output is the printed name of item;
	let kw be indexed text;
	now kw is the keyword of item;
	if kw is "", now kw is word number ( the number of words in output ) in output;
	repeat with wordcounter running from 1 to the number of words in output:
		say "[if wordcounter > 1] [end if]";
		if word number wordcounter in output matches the regular expression "\b(?i)[kw]":
			say "[o][word number wordcounter in output][x]";
		else:
			say "[word number wordcounter in output]".

Direction keyword highlighting is a truth state that varies. Direction keyword highlighting is usually true.

Understand "[a direction]" as going. Understand "[an open door]" as entering.

Direction keywording something is an activity. 

Rule for printing the name of a direction (called dir) while looking (this is the Keyword Interface highlight directions while looking rule):
	carry out the direction keywording activity with dir.

Rule for printing the name of a direction (called dir) while listing exits (this is the Keyword Interface highlight directions while listing exits rule):
	carry out the direction keywording activity with dir.

Rule for direction keywording a direction (called dir) (this is the Keyword Interface direction keywording rule):
	if direction keyword highlighting is false:
		say the printed name of dir;
		continue the action;
	say "[d][the printed name of dir][x]".

Topic keyword highlighting is a truth state that varies. Topic keyword highlighting is usually false.

Topic keywording something is an activity on objects.

Parser highlighting is a truth state that varies. Parser highlighting is usually false.

To say as the parser:
	now we-are-parser-speaking is true;
	set the text style for the style of parser-word.
	 
To say as normal:
	now we-are-parser-speaking is false; 
	reset styles with the style of parser-word.

Before printing a parser error when parser highlighting is true (this is the Keyword Interface before printing a parser error rule):
	say "[as the parser]".

After printing a parser error when parser highlighting is true (this is the Keyword Interface after printing a parser error rule):
	say "[as normal]". 

A keyword type is a kind of thing. object-word is a keyword type. direction-word is a keyword type. topic-word is a keyword type. parser-word is a keyword type.

A keyword emphasis is a kind of value. The plural of keyword emphasis is keyword emphases. 

A keyword type has a keyword emphasis called style. 

The active style is a keyword emphasis that varies. 

we-are-parser-speaking is a truth state that varies. we-are-parser-speaking is false.  [It's possible to have, say, an emphasized object keyword within a parser error message; this variable keeps track of whether we need to return to the parser style after switching off another keyword style.]
	
To say o:
	if object keyword highlighting is true:
		set the text style for the style of object-word; 
		now the active style is the style of object-word.
	
To say t:
	if topic keyword highlighting is true:
		set the text style for the style of topic-word; 
		now the active style is the style of topic-word.  	      
 
To say d: 
	if direction keyword highlighting is true:
		set the text style for the style of direction-word;
		now the active style is the style of direction-word.  	  
	 
To say x:
	reset styles with active style.

The keyword emphases are keyword-red, keyword-green, keyword-yellow, keyword-blue, keyword-magenta, keyword-cyan, keyword-white, keyword-bold-style, keyword-italics-style, keyword-fixedwidth-style, and keyword-no-style.

The style of object-word is usually keyword-blue. The style of direction-word is usually keyword-magenta. The style of topic-word is usually keyword-red. [These are really the only three z-code colors that are readable on a white background.] The style of parser-word is usually keyword-italics-style.

To set the text style for (val - a keyword emphasis):
	if val is keyword-red:
		say red letters;
		say bold type;
	else if val is keyword-green:
		say green letters;
		say bold type;
	else if val is keyword-yellow:
		say yellow letters;
		say bold type;
	else if val is keyword-blue:
		say blue letters;
		say bold type;
	else if val is keyword-magenta:
		say magenta letters;
		say bold type;
	else if val is keyword-cyan:
		say cyan letters;
		say bold type;
	else if val is keyword-white:
		say white letters;
		say bold type;
	else if val is keyword-bold-style:
		say black letters;
		say bold type;
	else if val is keyword-italics-style:
		say italic type;
	else if val is keyword-fixedwidth-style:
		say fixed letter spacing;
	else if val is keyword-no-style:
		do nothing.

To reset styles with (val - a keyword emphasis):
	if val is keyword-fixedwidth-style:
		say variable letter spacing;
	else:
		say roman type;
		say default letters;
	if we-are-parser-speaking is true, say as the parser. 

Setting the keyword emphasis is an action out of world applying to nothing. Understand "keyword" or "keywords" as setting the keyword emphasis. 
 
tempstyles is a list of keyword emphases that varies.

Carry out setting the keyword emphasis (this is the Keyword Interface carry out setting keyword emphasis rule): 
	run the keywords routine.

To run the keywords routine:
	let mychar be 1;   
	[Keep track of which menu number is assigned to each of the four possible options.]
	let object-number be 0;
	let direction-number be 0;
	let topic-number be 0;
	let parser-number be 0;
	while mychar is not 0:
		clear the screen;  
		let menu-counter be 0; 
		show KI message for keyword-setting-instructions;
		say line break;
		if object keyword highlighting is true:
			increase menu-counter by 1;
			say "[menu-counter]) ";
			now object-number is menu-counter;
			show KI message for keyword-instructions-object;
		if direction keyword highlighting is true:
			increase menu-counter by 1;
			say "[menu-counter]) ";
			now direction-number is menu-counter;
			show KI message for keyword-instructions-direction;
		if topic keyword highlighting is true:
			increase menu-counter by 1;
			say "[menu-counter]) ";
			now topic-number is menu-counter;
			show KI message for keyword-instructions-topic;
		if parser highlighting is true:
			say line break;
			increase menu-counter by 1;
			say "[menu-counter]) ";
			now parser-number is menu-counter;
			show KI message for keyword-instructions-parser;
		[Print a warning if emphasis is disabled in a game where keywords are required; note that the player is still allowed to disable emphasis, if they choose.]
		if keywords required is true:
			if ( object keyword highlighting is true and style of object-word is keyword-no-style ) or ( direction keyword highlighting is true and  style of direction-word is keyword-no-style ) or ( topic keyword highlighting is true and style of topic-word is keyword-no-style ) :
				say line break;
				show KI message for keyword-instructions-disabled;
		[Print a warning if any two active keyword styles are the same.]
		truncate tempstyles to 0 entries;
		let duplicated-style be false;
		if object keyword highlighting is true:
			add style of object-word to tempstyles;
		if direction keyword highlighting is true:
			if style of direction-word is listed in tempstyles:
				now duplicated-style is true;
			else:
				add style of direction-word to tempstyles;
		if topic keyword highlighting is true:
			if style of topic-word is listed in tempstyles:
				now duplicated-style is true;
		if duplicated-style is true:
			say line break;
			show KI message for keyword-instructions-distinct;
		[Show instruction message and get the player's single-character input.]
		say line break;
		show KI message for keyword-instructions-end;
		now mychar is single-character - 48; [Converts ASCII to actual number typed.]
		[Process the player's input.]
		if mychar is object-number:
			advance style with object-word;
		otherwise if mychar is direction-number:
			advance style with direction-word;
		otherwise if mychar is topic-number:
			advance style with topic-word;
		otherwise if mychar is parser-number:
			advance style with parser-word;
		otherwise if mychar is 9:
			clear the screen;
			try setting screen reader mode; 
			say "Press any key to continue.";
			wait for any key;
			now mychar is 0;
	[Upon quitting, clear the screen and look.]
	clear the screen;
	if pre-game keyword setting is true:
		now pre-game keyword setting is false;
		do nothing;
	otherwise:
		try looking. 
	  
To advance style with (kwtype - a keyword type):
	now the style of kwtype is the keyword emphasis after the style of kwtype.

To decide which number is single-character: (- (VM_KeyChar()) -).

[Screen reader mode does not have much effect by itself; it's mainly provided as a hook for authors with games containing other visual-oriented features. For instance, Blue Lacuna's backwards messages are described in prose rather than presented literally if screen reader mode is true.]

Screen reader mode is a truth state that varies. 

Setting screen reader mode is an action out of world. Understand "screenreader" or "screen reader" as setting screen reader mode.
	
Carry out setting screen reader mode (this is the Keyword Interface carry out setting screen reader mode rule):
	if screen reader mode is true:
		now screen reader mode is false;
		show KI message for screen-reader-deactivated;
	else:
		now screen reader mode is true; 
		show KI message for screen-reader-activated.

[This routine is lifted straight from the example in the Inform 7 docs.]

Understand "exits" as listing exits. Listing exits is an action out of world applying to nothing.

Definition: a direction (called thataway) is viable if the room thataway from the location is a room.

Carry out listing exits (this is the Keyword Interface carry out listing exits rule):
	let count of exits be the number of viable directions; 
	if the count of exits is 0, show KI message for no-available-exits;
	otherwise show KI message for show-available-exits instead.

Understand "things" as thing listing. Thing listing is an action out of world applying to nothing.

Carry out thing listing (this is the Keyword Interface carry out thing listing rule):
	show KI message for show-nearby-things.

Definition: a thing is other if it is not the player.

Rule for printing the name of a thing (called item) while thing listing:
	carry out the object keywording activity with item.

pre-game keyword setting is a truth state that varies. pre-game keyword setting is true.

When play begins (this is the Keyword Interface setup trigger rule):
	if keywords required is false:
		now pre-game keyword setting is false;
		continue the action;
	clear the screen;
	let mychar be 1; 
	show KI message for welcome-message;
	while mychar is not 0:
		now mychar is single-character; 
		if mychar is 82 or mychar is 114: [ r or R: restore ]
			restore the game;  
		if mychar is 75 or mychar is 107: [ k or K: keyword ]
			run the keywords routine;
			now mychar is 0;
		if mychar is 78 or mychar is 110: [ n or N: new game ]
			now mychar is 0;
	clear the screen;
	say "[line break][line break][line break]";
	now pre-game keyword setting is false.    
 
To restore the game: (- RESTORE_THE_GAME_R(); -).

Rule for printing a parser error when the latest parser error is the not a verb I recognise error (this is the Keyword Interface not a verb I recognise rule) : show KI message for not-a-verb-I-recognise. [Acknowledge that the player may be trying to type a keyword, not just a verb.]

A KI message is a kind of value. Some KI messages are defined by the Table of Keyword Interface messages.

To show KI message for (whichmsg - a KI message):
	choose row with a KI message of whichmsg in Table of Keyword Interface messages;
	say KI output entry;
	say line break.

Table of Keyword Interface messages
KI message	KI output
not-a-verb-I-recognise	"[as the parser]That's neither a verb I recognize nor a keyword you can use right now.[as normal]"
keyword-introduction	"As you read [story title], you'll see certain emphasized keywords in the prose. Type any keyword to advance the story. [if object keyword highlighting is true]You can type an emphasized [o]object[x] keyword to examine that item more closely. [end if][if direction keyword highlighting is true]An emphasized [d]direction[x] indicates that typing that word will move you that direction or towards that distant scenery. [end if][if topic keyword highlighting is true]An emphasized word in [t]conversation[x] means typing that word will steer the conversation towards that topic. [end if][paragraph break]If the keyword[if the number of active keyword systems > 1]s in the paragraph above are[else] in the paragraph above is[end if] not distinct from the surrounding text, type KEYWORDS to adjust the display style."
welcome-message	"Welcome to [o][story title][x][if release number > 0], release [release number][end if].[paragraph break]If no words above were colored or emphasized, press K now.[paragraph break]Press [t]N[x] to begin from the beginning or [t]R[x] to restore an existing story."
keyword-setting-instructions	"[story title] makes use of emphasized keywords. It is [if keywords required is true]necessary[else]recommended[end if] that your interpreter program correctly displays them with some form of emphasis. Type a number below to cycle through display options until you find one that shows clearly on your system."
keyword-instructions-object	"emphasized [o]object[x] keywords currently look like [o]this[x]."
keyword-instructions-direction	"emphasized [d]exit[x] keywords currently look like [d]this[x]."
keyword-instructions-topic	"emphasized [t]topic[x] keywords currently look like [t]this[x]."
keyword-instructions-parser	"[as the parser]Messages from the parser currently display like this[as normal]."
keyword-instructions-disabled	"**A warning: The emphasized keywords are integral to [story title]'s design. It may be difficult or impossible to know how to continue if emphasis is not visible.**"
keyword-instructions-distinct	"**A warning: it may be useful to distinguish one type of keyword from another.**"
keyword-instructions-end	"Press 0 when you're finished here, or 9 to [if screen reader mode is true]de[end if]activate screen reader mode.[run paragraph on]"
screen-reader-activated	"Screen reader mode has been activated. [story title] uses emphasized keywords to indicate important words you may type to advance the story. Your reader software may put a recognizable vocal stress on emphasized words like [o]this[x] one. If it doesn't, you can type [o]things[x] from any prompt for a list of nearby objects, or type [d]exits[x] for a list of nearby directions. Type [o]keywords[x] to adjust the style of keywords, or type screen reader with no space to toggle this mode on or off."
screen-reader-deactivated	"Screen reader mode has been deactivated."
no-available-exits	"It would seem there is nowhere to go."
show-available-exits	"From here, [if the number of viable directions is 1]the only way out is to[otherwise]you can go to[end if] [a list of viable directions]."
show-nearby-things	"Nearby [is-are a list of visible other things which are not carried by the player][if the number of visible other things which are not carried by the player is 0] of note[end if]."

To decide what number is the number of active keyword systems:
	let ctr be 0;
	if object keyword highlighting is true, increase ctr by 1;
	if direction keyword highlighting is true, increase ctr by 1;
	if topic keyword highlighting is true, increase ctr by 1;
	decide on ctr.

Part 3 -- Status Bar and Parser

Rule for constructing the status line: center "[if yourself is flashing][italic type][end if][printed name of location]" at row 1.

After reading a command: 
	if the player's command includes "examine", cut the matched text;
	if the player's command includes "x ", cut the matched text;
	if the player's command includes "go to ", cut the matched text;
	if the player's command includes "goto ", cut the matched text;
	if the player's command includes "walk to ", cut the matched text;
	if the player's command includes "move to ", cut the matched text;
	if the player's command includes "go ", cut the matched text;
	if the player's command includes "ask about ", cut the matched text;
	if the player's command includes "ask ", cut the matched text;
	if the player's command includes "tell ", cut the matched text;
	if the player's command includes "talk about ", cut the matched text;
	if the player's command includes "talk to ", cut the matched text;
	if the player's command includes "say ", cut the matched text.

Rule for printing a parser error when the latest parser error is the I beg your pardon error: try looking instead.

Part 4 -- Banner Text

Rule for printing the banner text:
	if yourself is prelude, do nothing;
	otherwise say "[line break][bold type]Verge[roman type][line break]An Interactive Prelude by Alex Eyde[line break]Release 1 / Serial number 120519 / Inform 7 build 6G60 (I6/v6.32 lib 6/12N) SD[line break]Released 2012 under the Attribution-NonCommercial-ShareAlike 3.0 Creative Commons License[paragraph break][italic type]Welcome to the first few minutes of Verge. To restore a saved game, type [o]restore[x][italic type].[line break]For more information on the copyright nature of this work, please type [o]license[x][italic type].[line break]For newcomers to the interactive fiction genre, please type [o]instructions[x][italic type].[paragraph break]If none of the above words appear highlighted, please type [o]keywords[x][italic type].[line break]To advance the story, type any of the highlighted words in the text below.[line break][italic type]Traditional commands, such as X LIGHT, DRIVE, and SING, are also available.[paragraph break]Press any key to continue.[roman type]

".

Part 5 -- NPCs

A person is either neuter, male, or female.

Prae and Dakota are people and neuter.

To say me-man:
	if yourself is male, say "man";
	otherwise say "person".

To say p-he:
	if Prae is male, say "he";
	if Prae is female, say "she";
	if Prae is neuter, say "Prae".

To say p-cap-he:
	if Prae is male and Prae is not neuter, say "He";
	if Prae is female, say "She";
	if Prae is neuter, say "Prae".

To say p-him:
	if Prae is male, say "him";
	if Prae is female, say "her";
	if Prae is neuter, say "Prae".

To say p-his:
	if Prae is male, say "his";
	if Prae is female, say "her";
	if Prae is neuter, say "Prae[']s".

To say p-cap-his:
	if Prae is male, say "His";
	if Prae is female, say "Her";
	if Prae is neuter, say "Prae[']s".

To say p-husband:
	if yourself is same-sex, say "partner";
	if yourself is opp-sex:
		if Prae is male, say "husband";
		if Prae is female, say "wife";
		if Prae is neuter, say "spouse".

To say d-he:
	if Dakota is male, say "he";
	if Dakota is female, say "she";
	if Dakota is neuter, say "your child".

To say d-cap-he:
	if Dakota is male, say "He";
	if Dakota is female, say "She";
	if Dakota is neuter, say "Your child".

To say d-him:
	if Dakota is male, say "him";
	if Dakota is female, say "her";
	if Dakota is neuter, say "your child".

To say d-his:
	if Dakota is male, say "his";
	if Dakota is female, say "her";
	if Dakota is neuter, say "your child[']s".

To say d-cap-his:
	if Dakota is male, say "His";
	if Dakota is female, say "Her";
	if Dakota is neuter, say "Your child[']s".

To say d-child:
	if Dakota is male, say "son";
	if Dakota is female, say "daughter";
	if Dakota is neuter, say "child".

Part 6 -- Global Values

Yourself is a thing.
Yourself can be conversing. [The term "quiet" cannot be used.]
Yourself can be receptive. [In other words, the "[text]" command is turned on to restrict choice.]
Yourself can be opp-sex or same-sex. [An unfortunate but convenient dichotomy.]
Yourself is either prelude, prior, flashing, or returned. [Signifies whether you are in the main timeline or the flashes.]

To say now-receptive: now yourself is receptive.

To say now-flash:
	now yourself is flashing;
	wait for any key;
	clear only the main screen;
	wait for any key;
	try looking;
	rule succeeds.
	
To say finish-flash:
	now # is 0;
	try looking;
	rule succeeds.

p-affinity is a number that varies. p-affinity is 4.

To say p-plus: increase p-affinity by 1.
	
To say p-minus: decrease p-affinity by 1.

d-affinity is a number that varies. d-affinity is 2.

To say d-plus: increase d-affinity by 1.

To say d-minus: decrease d-affinity by 1.

# is a number that varies. # is 0.

To say inc-#: increase # by 1.

To say now-10: now # is 10.

Part 7 -- Commands and Actions

Understand "nod", "sure", and "okay" as saying yes.
Understand "shrug" and "maybe" as saying maybe. Saying maybe is an action applying to nothing.
Understand "[text]" as texting when yourself is receptive. Texting is an action applying to one topic.

Instead of waiting when yourself is receptive: try texting.

Understand "Prae", "wife", "husband", "lover", "spouse", "mom", and "dad" as Prae-ing. Prae-ing is an action applying to nothing.
Understand "Dakota", "son", "daughter", "child", and "kid" as Dakota-ing. Dakota-ing is an action applying to nothing.

Understand "back" and "retreat" as returning. Returning is an action applying to nothing.

Instead of waiting: say "A moment flickers past, disappearing over the depthless verge of time and into the endless abyss."

Understand "w", "e", "s", "n", "west", "east", "north", and "south" as a mistake ("[italic type]Verge makes use of subjective directions, rejecting traditional cardinal directions and their abbreviations for a more natural approach. All direction keywords are highlighted in a different color from the object keywords. Simply type a direction keyword into the parser to move in that direction.") when yourself is not prelude.

Understand "i" and "inventory" as a mistake ("Suddenly frightened that you have forgotten something, you pat yourself down, but it is for naught. Nothing is concealed on your person, and you can rest easy once more.").

Understand "smell", "scent", and "odor" as a mistake ("[if location is Car]Sadly, your car lacks the new-car smell it once possessed. Now it smells more like deodorant and popcorn.[end if][if location is Driveway or location is Front Steps]The clean scent of pine infuses the windy air.[end if][if location is not Car and location is not Driveway and location is not Front Steps]The putrid scent of grimy bleach and nutmeg drifts about the room.") when yourself is not flashing.

Understand "listen", "sound", and "hear" as a mistake ("[if yourself is flashing]ADD HERE.[otherwise]Everything is silent. Usually you delight in silence, but this silence is different: harsher, rougher, almost grating to your mind.") when yourself is not conversing.

Understand "me" and "who am i" as a mistake ("[desc-you]")

The description of yourself is "[desc-you]"

To say desc-you: say "[if yourself is flashing]You are you, yet you are different. Everything is different here. You have always lived in the past, but now it[']s almost as if you are living your past directly, helplessly lost in your own buried memories.[otherwise]Sometimes you are a stranger to yourself. Sometimes you forget everything you thought you knew about who you are, or were, and you are left nothing but an empty shadow of a [me-man], a phantom haunting your own life.[no line break]"

Understand "hit Prae", "hit wife", "hit husband", "attack Prae", "hurt Prae", "slap Prae", and "punch Prae" as a mistake ("[p-minus][p-minus][p-minus][p-minus][p-minus]A strange presence comes over you, pulling, shrieking, demanding, and you feel a violent surge of passion. You lash viciously out at your [p-husband]. [p-cap-he] cries out with pain, raising a trembling hand to the reddening line on [p-his] cheek.

As [p-his] cry wanes to a pitiful wimper, a wave of tremendous shame overtakes you.[if yourself is flashing][d-minus] You reach out a gentle palm to Prae[']s cheek, but [p-he] turns [p-his] head quickly away and looks down, unable and unwilling to be touched.[otherwise][d-plus][d-plus][d-plus][d-plus] Dakota grins, pleased.") when yourself is flashing or yourself is in balcony.

Understand "hit Dakota", "hit son", "hit daughter", "attack Dakota", "hurt Dakota", "slap Dakota", and "punch Dakota" as a mistake ("[d-minus][d-minus][d-minus][d-minus]A strange presence comes over you, pulling, shrieking, demanding, and you feel a violent surge of passion. You lash viciously out at your [d-child]. [d-cap-he] cries out with pain, raising a trembling hand to the reddening line on [d-his] cheek.

As [d-his] cry wanes to a pitiful wimper, a wave of tremendous shame overtakes you[if yourself is flashing][p-minus][p-minus][p-minus]. You reach out a gentle palm to Dakota[']s cheek, but [d-he] turns [d-his] head quickly away and looks down, unable and unwilling to be touched.[otherwise][p-plus], but Prae seems respectful of your violent action.") when yourself is flashing or yourself is in balcony.

Understand "die", "hit me", "hit myself", "attack myself", "kill myself", "kill me", and "suicide" as a mistake ("All of a sudden, from some strange and buried segment of your mind, a powerful and compelling urge comes over you, and you want to die, you need to die, you must die, you--

But then your will to survive kicks back in, forcing the suicidal urge to retreat, and you once again are sane. You think...").

Understand "breath" and "breathe" as a mistake ("You take a long, deep breath. Yum, air.").

Understand "fly" as a mistake ("A strange thought flits in your mind like an inconvenient itch that you cannot scratch, an irrational infection that intensifies as every moment passes, an almost imperceivable whisper that commands you to fly away, and leave this life behind. Slowly, nervously, you spread out your arms and begin to flap them in and out against the sudden gust of moist, mounting breeze...

But you remain as grounded as ever.").

Understand "awesome", "cool", "awesome [text]" and "cool [text]" as a mistake ("Thank you.").

Understand "cry" and "sob" as a mistake ("[if yourself has been flashing and yourself is not flashing]Tears run down your cheeks. These memories, these flashes, they hurt and sting with every passing moment in this house.[end if][if yourself has not been flashing]Tears run down your cheeks, and you don[']t know why -- why here, why this place, why this day that the memories come flooding back with a thirst to drown you in a lost contentment.[end if][if yourself is flashing]You are here, back, where you belong, and it hits you hard: This is your life. This is who you are. Tears run down your cheeks, but you do not care.") when location is not balcony.

Understand "laugh" and "giggle" as a mistake ("[if yourself is flashing][p-minus][p-minus][d-plus][end if]A strange presence comes over you, pulling, calling, yearning, and you feel a violent surge of desire -- the desire to giggle uncontrollably! But then the reality of your situation shocks you out of your carefree persona, and you once again return to real life. Though even the extent to which your life is truly real can be argued...").

Understand "dance" as a mistake ("[p-minus][p-minus][d-plus]A strange urge comes over you, pulling, calling, yearning, and you feel a violent surge of desire -- the desire to dance! You cha-cha in place, an enormous smile plastered to your face. But then the reality of your situation shocks you out of your carefree persona, and you once again return to real life. Though even the extent to which your life is truly real can be argued...").

Understand "sing" and "hum" as a mistake ("A soft, haunting tune reverberates in your head, and you think for a moment that you recognize it. But no, [if yourself has been in Kitchen]it cannot be, for it is merely a children[']s tune, [otherwise]it is too strange, too ethereal in nature, [end if]and so you hum the unfamiliar tune under your breath and think back.").

Understand "xyzzy", "cast", "magic", and "spell" as a mistake ("The entire place possesses a strange atmosphere of magic, and so you close your eyes and focus, willing the magic to happen.[paragraph break]Nothing happens. Yawn.").

Understand "win" as a mistake ("Everything begins to fall apart. Your surroundings blur, your memories dissipate, your very being is torn asunder. All of the loss and gloom and sadness of your life floats away, and all is for naught but gold. Your life is perfect, you insist. Perfect, and nothing else.

No matter how many times you repeat it, you know that it[']s only a lie.[end-win]").

To say end-win: end the game saying "You have inexplicably won, defying both my own expectations and the plot of the story. Congratulations!"

Understand "lose" as a mistake ("Everything begins to fall apart. Your surroundings blur, your memories dissipate, your very being is torn asunder. Your final remnants of happiness, enshrouded by the fog of discontent, finally float away, and all is for naught but misery. And so you laugh. You laugh, cry, and shake uncontrollably, a pebble overwhelmed by the mounting cascade.[end-lose]").

To say end-lose: end the game saying "You have inexplicably lost, defying both my own expectations and the plot of the story."

Understand "crap", "dammit", and "swear" as swearing mildly.

Instead of swearing obscenely: try swearing mildly.

Instead of swearing mildly:
	say "Without any warning, your patience snaps and you fall to the ground and [italic type][player's command], [player's command], [player's command]![paragraph break][italic type]For help, simply type [o]help[x]."

Understand "license" as a mistake ("[italic type]This copyrighted work is provided under the Attribution-NonCommercial-ShareAlike 3.0 Creative Commons License. You are free to copy, distribute, and adapt the work non-commercially, provided that you attribute the original author. All adaptations may be distributed only with an identical or similar license.

Visit http://creativecommons.org/licenses/by-nc-sa/3.0/ for more information.")

Understand "instruction", "instructions", "help", "hint", "hints", and "what do i do" as a mistake ("[italic type]The interactive fiction genre allows for journeying into a written work through self-participation and decision making. Depending on the choices made, the story can follow several different paths. Simply type any highlighted [o]keyword[x][italic type] in the text to explore or progress the story. Players already accustomed to interactive fiction may find themselves more suited to traditional commands, such as X LIGHT, CRY, and HUG HER, as well as many others also supported throughout Verge.").

Understand "about" as a mistake ("[italic type]These are the first few minutes of 'Verge,' a work of fiction by Alex Eyde that explores the connection to one[']s past and the difficulty of accepting loss, letting go, and moving on. Depending on which words you type and which decisions you make, the story can follow several different paths with radically different endings. Type [o]instructions[x][italic type] for more information on the command system.").

Part 8 -- Debugging -- Not for release

Understand "gender me" as a mistake ("[if yourself is female]female[otherwise]male").

Understand "gender Prae" as a mistake ("[if Prae is female]female[otherwise]male").

Understand "switch me" as a mistake ("[if yourself is female][now-male][otherwise][now-female]").

Understand "switch Prae" as a mistake ("[if Prae is female][now-p-male][otherwise][now-p-female]").

Understand "affinity Prae" as a mistake ("[p-affinity]").

Understand "affinity Dakota" as a mistake ("[d-affinity]").

Part 9 -- Releasing

Release along with a solution,[
	cover art,]
	source text,
	an interpreter [this takes care of the webpage].


Volume 2 -- The World

When play begins:
	now yourself is receptive;
	say "When your eyes close they come. Mirage or substance, memories or angels, they float among your thoughts, moaning, droning, humming with unrest. They hover behind shut eyelids without form or shape, but you know it is them. You could never forget them.

[italic type]Return to us[roman type], they murmur from their dwelling on the verge. The words pulse like plainsong, and they are true. You want them, expect them to be true. Their influence is strong, vicious even, and in this single, fleeting instant, you forget if you are a [o]woman[x] or a [o]man[x].[no line break]"

Understand "male", "man", and "m" as a mistake ("The spirits release their hold, and you recall what has always shone clearly, the one constant amidst your blurred memory: you are a man. You are a man, [now-male][more-prelude]") when yourself is prelude.

To say now-male: now yourself is male.

Understand "woman", "w", "female", and "f" as a mistake ("The spirits release their hold, and you recall what has always shone clearly, the one constant amidst your blurred memory: you are a woman. You are a woman, [now-female][more-prelude]") when yourself is prelude.

To say now-female: now yourself is female.

Instead of texting when in Car: say "[one of]Everything swirls about you, and you find yourself confused, unable to answer even the simplest of questions. You wonder if you might need [d]help[x] determining whether you are [d]male[x] or [d]female[x].[or][italic type]Which gender would you like to play: [o]male[x][italic type] or [o]female[x]?[stopping]"

To say more-prelude:
	now yourself is not receptive;
	say "and you are driving. For a moment, it seems they have fled altogether, too weakened by your sudden recollection to persist. But no, they come again, more urgent than before: [italic type]The time has come. Return...[roman type]

The car suddenly swerves to the side, violently yanking you back to the present.[paragraph break]";
	wait for any key;
	now yourself is prior;
	say banner text;
	wait for any key;
	try looking.

Part 1 -- Winding Road

Car is west from Driveway. "[if yourself is prior][one of]Quickly scanning the road ahead, you realize that your wheels are threatening to climb onto the sidewalk. You jerk the steering wheel to the side, only narrowly missing the curb. The [o]driver[x] behind you slams his fist on his horn, and you wave back apologetically and more tightly clutch the wheel. [italic type]Concentrate[roman type], you mutter, sharpening your focus on the street before you and inspecting your surroundings.

[or][stopping]Before you lies a simple intersection, offering routes to the [d]left[x], to the [d]right[x], and straight [d]ahead[x]. A traffic [o]light[x] droops precariously above, hung only by a meager wire bound to a wooden beam[one of]. It[']s all achingly familiar, like some dim and distant dream. But everything feels different now, it seems. Colder.

The light turns green. It is time to move on.[or], its green light beckoning for you to proceed.[stopping]"

The printed name of Car is "[if yourself is not prelude]Winding Road".

Understand "green", "wire", "beam", "light", "traffic", and "traffic light" as a mistake ("Hanging from a thin, weather-worn wire, the traffic light shines green, allowing you to proceed in a direction of your choice: [d]left[x] or [d]right[x] or [d]forward[x].") when in Car.

Understand "driver" and "car" as a mistake ("The driver of the car behind you looks as if he would get around you if he could, clearly displeased with your tendency to drift off while driving.") when in Car.

Understand "left", "right", "ahead", "straight", "forward", "turn left", "turn right", "drive", "drive left", "drive ahead", "drive straight", "drive forward", and "drive right" as exiting when in Car.
Instead of exiting when in Car:
	say "As you drive on, the driver behind you turns off in a different direction, and you once again begin to drift into drowsiness. The road before you whirls languidly, the suburban houses blur into one, and the blood below seeps into the floorboards, staining the wood with a scar that will never heal...[paragraph break]But you must heal. You must pretend. You must love them as once they were. And so you hear them, your loved ones, moaning, droning, screaming, crying, [italic type]return, return, return...[roman type][line break]";
	move player to Driveway.

Part 2 -- Driveway

Driveway is a room. "[one of]As you gradually become aware of your surroundings again, you find your [o]car[x] parked in the empty driveway of a darkened [o]house[x]. Despite its striking similarity to every other house nearby, this[or]This[stopping] house too seems familiar to you. Something about the way the painted [o]garage[x] door is chipping, perhaps, pale red slumped beneath white tiles; or maybe how the [o]lawn[x] has grown wildly out of control, blades of grass stretching nearly a foot tall; or rather maybe that the front [d]steps[x] curve gently inwards, a beckoning hazard to the unobservant visitor.[if # is 0] Above you, the darkening evening [o]sky[x] projects its melancholy through your windshield."

garage is scenery in Driveway. "[if yourself is not flashing]The white on the door is chipping off, leaving various sections of the thin, rusty metal base exposed.[otherwise]The garage door is painted a bright, crisp white." Understand "paint", "door", and "garage door" as garage when in Driveway.

Understand "grass" and "lawn" as a mistake ("The homeowner buried deep inside you cries out at the wild, unkempt lawn, but there is nothing to be done.") when in Driveway and yourself is not flashing.

Understand "mow", "trim lawn",  "cut lawn", and "mow lawn" as a mistake ("As much as you would like to give this overgrown lawn a much needed trim, it is neither the place nor time.") when in Driveway and yourself is not flashing.

Understand "house" and "home" as a mistake ("[if yourself is flashing]This was the first house you and Prae saw together, and it was perfect. [p-cap-he] knew instantly, of course. You took some convincing. But when you took that tour together, and walked outside, and saw a brilliant red roof against a brilliant blue [o]sky[x], you knew it too. It was perfect.[otherwise]Yours. Could it be? You[']ve seen it in your dreams before, behind the rust of forgotten warmth. Was it cold, then, the rust of that chipping [o]door[x], the pool of blood on stained cherry wood? The answer escapes you in this place.") when in Driveway or in Front Steps or in Backyard.

Understand "sky" and "evening" as a mistake ("[if yourself is flashing]Here, the sky shines with a pale luminescence, and the sun is bright and cheery.[otherwise]Some evenings the sky shines with luminous twilight and descends into milky crimson. Tonight, however, only darkness, clear and empty, bleeds down from the world above.") when in Car or in Driveway or in Front Steps or in Backyard.

Understand "car" as a mistake ("This was a mistake, you decide. You should head back now, return [italic type]return[roman type] to the lonely road and drive on into the future. But the past is here inside this [o]house[x], this [o]door[x], these [d]steps[x] and it wants you and you want it. Forget the car. It will be there after, when they are done with you at last.") when in Driveway.

Instead of exiting when in Driveway:
	if # is 0, say "[inc-#]Tentatively, you step out from the driver's seat and onto the driveway pavement.";

Understand "steps" and "front steps" as east when in Driveway.
Before going east when in Driveway:
	say "[if # is 0]You step tentatively out from the driver's seat. [end if]Cautiously, you approach the front steps and step up, watching the alignment of your feet as you ascend.[paragraph break]For a brief moment, the flicker of a forgotten memory fills your sight with vivid anguish, a crimson stain soiling the sparkling stainless steel of your mind. But then it has passed, and you are left with only a vague, despairing chill.";
	now # is 0.

Part 3 -- Front Steps

Front Steps is east of Driveway. "[if yourself is prior]The front [o]door[x] stands before you, its rusted brass door [o]knob[x] tempting, calling, luring you forward.[end if][if yourself is flashing][one of]The [o]movers[x] pull in front of the [o]house[x] on the street behind you, but you[']re already here, [or]You are [stopping]standing on the front steps with your [o]spouse[x], hand in hand, the door of your new home wide open, revealing nothing but perfection. The perfect house, the perfect moment, the beginning of your new life together.[end if][if yourself is returned]They are gone, Prae and the movers, and you are alone on the front steps, the [o]door[x] still opened to reveal the darkened [d]interior[x] of the strangely familiar home."

Section 1 -- Before

Understand "door" and "front door" as a mistake ("[if yourself is flashing]The front door is swung wide open to reveal the perfect interior of your new home.[otherwise]Though nothing in particular about the door stands out, it too exudes a strange sense of familiarity.") when in Front Steps or yourself is in Driveway.

Instead of opening when in Front Steps: try knocking.

Understand "inside", "interior", "doorknob", "door knob", "knob", "turn knob", and "knock" as knocking when in Front Steps.
Knocking is an action applying to nothing.
Carry out knocking when in Front Steps and yourself is prior:
	say "You reach out to open the front door, but your hand already is clutching the knob, its cold metallic texture flush against your palm. Slowly, deliberately, you begin to twist the knob.

[italic type]Return to us...[roman type]

The door clicks and swings open, revealing nothing but a darkened interior, an abyss of nothingness, of unreality, of absence.

[italic type]Return to us, forever.[roman type]

They appear again, but no longer are mere illusions. Substantive, strong, they grip you and yank you forward, into their dark dwelling on the verge...[now-flash]";
	rule succeeds.

Understand "car" and "driveway" as returning when in Front Steps and yourself is not flashing.
Carry out returning when in Front Steps and yourself is not flashing:
	say "Something about the house frightens and repels you, but though your first instinct would be to run back to your car, to escape and drive away forever, there[']s something else about the house the beckons you forward, not countering the repulsion, but rather intensifying it. After all, fear and apprehension are always strongest when insistent and unavoidable."

Section 2 -- Moving In

Understand "truck" and "movers" as a mistake ("You wave the movers toward you. 'This is the one,' you call out. 'You can just leave everything inside.' They begin to unpack everything from the back of the truck, and one by one, your new furniture is carried into the house, into your new [o]home[x].") when in Front Steps and yourself is flashing.

Understand "girl" and "female" as a mistake ("[now-p-female]'Ever since you were a little girl?' you ask her, chuckling. 'That[']s a long time.'

'Yes. It is, isn[']t it?' Prae reaches out her hand, and you grasp it, squeezing it tightly. 'Let[']s go [d]inside[x],' she murmurs happily.") when in Front Steps and Prae is neuter.

To say now-p-female:
	now Prae is not neuter;
	now Prae is female;
	if yourself is female, now yourself is same-sex;
	if yourself is male, now yourself is opp-sex.

Understand "boy" and "male" as a mistake ("[now-p-male]'Ever since you were a little boy?' you ask him, chuckling. 'That[']s a long time.'

'Yes. It is, isn[']t it?' Prae reaches out his hand, and you grasp it, squeezing it tightly. 'Let[']s go [d]inside[x],' he murmurs happily.") when in Front Steps and Prae is neuter.

To say now-p-male:
	now Prae is not neuter;
	now Prae is male;
	if yourself is male, now yourself is same-sex;
	if yourself is female, now yourself is opp-sex.

Carry out Prae-ing when in Front Steps and yourself is flashing:
	say "[p-plus][if Prae is neuter]Prae leans up against you and smiles softly. 'This is really happening, isn[']t it?'[paragraph break][prompt-p-gen][otherwise]You gaze at your [p-husband] and smile again. [p-cap-he] squeezes your shoulder. 'I think I[']m ready to go [d]inside[x],' [p-he] says, and you think you might be ready as well."

To say prompt-p-gen:
	say "'Yes, my love,' you whisper back, returning the innocent grin. 'Our own house.'

'Amazing. It looks just like I dreamed it would, ever since I was a little...' But Prae trails off, content beside you, gazing at the gorgeous front lawn and the tidy flower boxes and the soft rose sky, and so you can only presume whether the next word would have been [o]girl[x] or [o]boy[x]."

Carry out knocking when in Front Steps and yourself is flashing:
	if Prae is neuter, say "[p-minus]You begin to walk into your new home, but Prae takes your hand and pulls you back. 'Wait, dear,' Prae murmurs softly. 'We[']re really doing this, aren[']t we?'[paragraph break][prompt-p-gen]";
	if Prae is not neuter:
		say "With Prae[']s hand in yours, you step into the radiant light of your new home, and you[']re together again, always, after...";
		now yourself is returned;
		wait for any key;
		clear only the main screen;
		wait for any key;
		say "...after, all alone.";
		try looking;
		rule succeeds.

Section 3 -- After

Carry out knocking when in Front Steps and yourself is returned:
  say "Despite the overwhelming apprehension that floods your mind, threatening to thrash and burst, you step forward once more into the abyss...

This time, you cross the verge and emerge on the other side intact.";
	now yourself is prior;
	move player to Entry Hall.

Part 4 -- Entry Hall

Entry Hall is north of Front Steps. "[if yourself is prior][one of]A gust of wind blows in from outside as you step into the drab entry corridor. [or]The entry hall is cold and sparse. [stopping] A faint [o]smell[x] of grimy bleach and nutmeg drifts about the room, mingling with the scent of clean, natural pine from outside. Dusty [o]cobwebs[x] linger about the corners of the [o]ceiling[x] here, and you wonder how long it has been since the house was last inhabited.[end if][if yourself is flashing]The noise is deafening. It attacks you from every corner of your house, every room and doorway filled to the brim with neighbors, friends, and distant relatives, all delicately sipping their drugstore champagne and conversing endlessly about useless gossip and resolutions for the new year. The painful, repetitive [o]chitchat[x] causes you to grimace and take refuge here in the entry hall.[one of]

From the dense [o]crowd[x] in the living room, you spot [o]Prae[x] slipping past the throngs to reach you. [p-cap-he] notices your gaze and [o]waves[x], but [p-his] advance is thwarted momentarily by an elderly [o]woman[x] eager to secure [p-his] attention.[or][stopping][end if][if yourself is returned]Once again, the entry corridor is empty and sparse, filled only with the old, dusty [o]mistletoe[x] and the faint, peculiar [o]scent[x].

A low archway to the side reveals the [d]living[x] room, and an empty door frame leads back into the [d]kitchen[x]."

Section 1 -- Before

Understand "ceiling", "dust", "cobwebs", "cobweb", "web", and "webs" as a mistake ("Though you can make out no spiders or any other creatures, the dusty webs are unsettling. As your eyes sweep above, you notice another large, dusty [o]object[x] hanging a couple of inches from the ceiling; not a cobweb, it seems, but something else altogether, something as oddly familiar as the rest of the strange, abandoned house.") when in Entry Hall and yourself is not flashing.

Understand "something", "object", and "mistletoe" as a mistake ("[if yourself is prior]You bend your head back and squint, trying to identify the peculiar object. As your focus condenses about this singular mass, it seems to pulse with light, hum with energy. Perhaps it is simply a trick of the light, trickling in through a crack in a nearby wall and illuminating the object[']s dusty coating, but no, the glow intensifies, the hum resounds until it is the same familiar whisper, sigh, call: [italic type]Return, my love. Return...[roman type]

The ceiling collapses down, or maybe you soar up, but as you and it vigorously collide, the dust clouds your vision, and you desperately blink it out, blink it [italic type]all[roman type] out, leave everything here and now, and just return...[now-flash][otherwise if yourself is flashing]You recall how many hours and tears were spent suspending that ridiculous mistletoe from the ceiling in a vain attempt to render the house appropriately festive for the occasion. The plant sparkles with the light of the night streaming in from a distant window.[otherwise]A thick layer of dust coats the aged mistletoe, serving as a sort of camouflage when compared with the rest of the dirty, cracked ceiling.") when in Entry Hall.

Section 2 -- Mistletoe

Understand "waves" and "wave" as a mistake ("You wave at [o]Prae[x], but [p-he] is too busy dealing with the old woman[if # is 0] as she accentuates her words with broad, passionate movements that seem to possess an unexpected youthful liveliness. Prae nods understandingly, but every now and then glances back toward you with raised eyebrows and wide eyes. You wave again, and [p-he] smiles[otherwise] to notice[end if].[inc-#][if # is 2][one of][paragraph break][Prae-return][or]Prae softly nuzzles your cheek with his [p-his] nose. 'Well?' [p-he] asks again, grinning at your reluctance. 'Shall we stay here and leave our guests hostless for the evening?'[stopping]") when in Entry Hall and yourself is flashing and # is less than 2.

Understand "crowd", "people", and "throng" as a mistake ("You can[']t remember whose idea it was to invite everyone you knew -- friends and family, neighbors and co-workers -- they were all here, at one time, on one floor, and you were about ready to scream.[inc-#][if # is 2][paragraph break][Prae-return]") when in Entry Hall and yourself is flashing.

Understand "sound", "listen", "hear", "chitchat", and "noise" as a mistake ("You spend a minute listening to the strained gossip and pleasantries being exchanged around the room, but you give up when you realize that you don[']t care.[inc-#][if # is 2][paragraph break][Prae-return]") when in Entry Hall and yourself is flashing.

Before waiting when in Entry Hall and yourself is flashing: increase # by 1.

Understand "woman", "elder", and "elderly woman" as Prae-ing when in Entry Hall and yourself is flashing and # is less than 2.
Carry out Prae-ing when in Entry Hall and yourself is flashing:
	if # is 0, say "Hesitant to walk back out into the savage wilderness of the living room, you hold back here in the entry hall, waiting and watching as the old woman accentuates her words with broad, passionate movements that seem to possess an unexpected youthful liveliness. Prae nods understandingly, but every now and then glances back toward you with raised eyebrows and wide eyes. You can[']t help but grin at [p-his] misfortune.";
	if # is 10, say "[p-plus]You smile and move into Prae[']s tender kiss. Your lips gently caress [p-his] lips, your hands tug on [p-his] clean, soft hair, and your eyes shut tightly. [return-hall]";
	increase # by 1;
	if # is 3, say "You gaze at Prae, longing to escape this party and disappear to your bedroom upstairs. Prae places a soft hand on your arm and smiles sympathetically."

To say Prae-return:
	now yourself is conversing;
	say "Placing [p-his] hand on the old woman[']s shoulder, Prae seems to politely excuse [p-him]self from their conversation. [p-cap-he] quickly squeezes through the remaining crowds and joins you in the entry hall. 'Remind me why we did this?' [p-he] asks, massaging your knuckles with [p-his] fingertips.[paragraph break]'I have no clue,' you say, and Prae laughs.

'I think you were onto something, hiding out here. Are we going to stay here all night, then?' [p-he] inquires."

Instead of saying yes when in Entry Hall and yourself is flashing and yourself is conversing:
	say "You nod. 'Yeah. Let them talk amongst themselves for a bit.'[paragraph break][see-toe]"

Instead of saying no when in Entry Hall and yourself is flashing and yourself is conversing:
	say "You smile and shake your head. 'No, I guess not. We are the hosts tonight, after all...'[paragraph break][see-toe]"

Instead of saying maybe when in Entry Hall and yourself is flashing and yourself is conversing:
	say "You shrug, uncertain. 'Dunno. Maybe, I suppose.'[paragraph break][see-toe]"

Every turn when in Entry Hall:
	if # is 2, say "[Prae-return]";
	if # is greater than 3 and # is less than 10, say "[see-toe]"

To say see-toe:
	now # is 10;
	say "Glimpsing up at the ceiling above you, Prae notices the small [o]mistletoe[x] that you[']ve forgotten to take down this past week. 'Would you look at that,' [p-he] remarks. A smile flickers on [p-his] face, but then it[']s gone, replaced with a passionate, aching hunger. [p-cap-he] leans in, and you glance nervously at the preoccupied crowds around you, unsure whether to [o]resist[x] or [o]submit[x] to your shared desire.";
	now yourself is receptive. [To make sure that people who do not type yes or no still move on.]

Understand "submit", "lean", "lean in" and "kiss" as a mistake ("[p-plus][p-plus]You smile and move into Prae[']s tender kiss. Your lips gently caress [p-his] autumn lips; your hands tug on [p-his] clean, soft hair. You gently shut your eyes and lose yourself, ignoring the guests and advancing with an insatiable hunger. [return-hall]") when in Entry Hall and yourself is flashing and yourself is receptive.

Carry out texting when in Entry Hall and yourself is flashing:
	say "Before you can do anything, Prae[']s lips are on your lips, [p-his] hands enfold your hands, [p-his] eyes excite your eyes. [return-hall]";
	decrease p-affinity by 3.

To say return-hall:
	say "For a moment, you know where you are. For a moment, you are here, [italic type]here[roman type], and everything is okay. Even the dreadful noise subdues, leaving only the pure silence and transparent nothingness. The world diffuses, melting across the depthless verge and into the blissful void. Everything is perfect, if only for a moment...";
	now yourself is returned;
	now # is 0;
	wait for any key;
	clear only the main screen;
	wait for any key;
	say "...then the moment passes, and all is still.";
	try looking;
	rule succeeds.

Section 3 -- After

Understand "arch", "archway", "living", and "living room" as west when in Entry Hall.
Instead of going west when in Entry Hall and yourself is returned:
	say "With slow, deliberate steps, you walk through the archway.";
	now yourself is prior;
	move player to Living Room.
	
Instead of going west when in Entry Hall and yourself is prior: say "[exit-restrict]"

Understand "kitchen", "back", "frame", "door frame", and "doorframe" as north when in Entry Hall.
Instead of going north when in Entry Hall and yourself is returned:
	say "With slow, deliberate steps, you walk through the door frame and deeper into the house.";
	now yourself is prior;
	move player to Kitchen.
	
Instead of going north when in Entry Hall and yourself is prior: say "[exit-restrict]"
	
To say exit-restrict: say "[one of]The next room beckons you, but something in the entry hall renders you immobile. A fleeting thought, a memory dances in the air, and you know you must not move on. They are waiting for you on the other side. To cross the verge...[or]The next room beckons you forward, yet you find yourself unable to proceed. Something in this room exerts an even greater pull, and you know you must stay. Before the puzzle can be solved, one must gather the pieces.[cycling]"

Part 5 -- Living Room

Living Room is west of Entry Hall and down from Staircase. "[if yourself is prior][priop-lr][otherwise if yourself is flashing][flashing-lr][otherwise][returned-lr]"

Section 1 -- Before

To say priop-lr:
	say "The living room, as the largest room of the house, exudes a sense of expansiveness and freedom that excites you in a strange manner. A long, stained [o]couch[x] is pressed up against the wall opposite the wide bay [o]window[x]. [if Kitchen is visited] In the darkest corner of the room sits a small upright [o]piano[x] and wooden [o]stool[x].[otherwise] On the darkest wall of the room, a stout brick [o]fireplace[x] stands cold and lifeless. A small [end if][if Kitchen is not visited and yourself is opp-sex][o]vase[x] rests upon the mantle, its contents having long since decayed.[otherwise if Kitchen is not visited][o]phone[x] rests upon the mantle, though you doubt it still functions."

Understand "couch", "stain", and "stains" as a mistake ("The ragged couch seems to be the source of the bleach scent in the house, but evidently the bleaching was only counterproductive; the brown stains still are present, but they sit side-by-side with large white spots where the fabric was overexposed.") when in Living Room and yourself is not flashing.

Understand "window", "sidewalk", "street", "lawn", and "hopscotch" as a mistake ("The window extends slightly over the front lawn, its dirty glass panes only partially obscuring the view of the identical houses that line the suburban street outside.[if player is flashing] You watch as your next-door neighbors['] flock of children hop down an array of crudely drawn colored rectangles chalked along the sidewalk, and you can[']t help but feel a strange, loving anxiety overtake you.") when in Living Room.

Understand "fireplace", "ashes", "fire", and "bricks" as a mistake ("[if yourself is prior]Though the fire is out now, ashes coat the bricks of the fireplace, and in your memory a blaze rages on, heavy black smoke rising up through the chimney, as weightless as love. But as your subdued study continues, something shifts unperceptibly; the fireplace unleashes waves of flames, drips with unrestrained heat, saturates the room with the energy of the past. The fire consumes all in its path, drawing ever nearer with its confident stride, gorged with passion and life and power. And with the fire, they advance, until the flames lick at your feet and their cries grow unbearable, [italic type]return!...[now-flash][otherwise if yourself is flashing]Within the brick confines of the fireplace, a few small, flickering flames lick at the frigid air, warming the room by subtle degrees.[otherwise]The fire is out, but the sight of the fireplace overwhelms you, and you find yourself suddenly craving the burn of flame and the pain of fire. Alas, your desires are as unsatiable as ever.") when in Living Room and Kitchen is unvisited.

Understand "enter fire" and "walk in fire" as a mistake ("A sudden urge overcomes you, and you crave the burn of flame and the pain of fire[if yourself is flashing]. But Prae catches your gaze, and though [p-he] cannot possibly know of your strange suicidal sentiments, something in [p-him] eyes forces you to calm yourself, if not for yourself, then for [p-him].[otherwise]; but alas, the fire is out now, and only ashes remain.") when in Living Room and Kitchen is unvisited.

Understand "vase" and "flowers" as a mistake ("[if yourself is flashing][otherwise]Bare, arid sticks rise rigidly from the cracked, frosted glass of the flower vase.") when in Living Room and Kitchen is unvisited and yourself is opp-sex.

Understand "phone" as a mistake ("ADD TEXT.") when in Living Room and yourself is not flashing and yourself is same-sex.

Understand "piano" and "stool" as a mistake ("[if yourself is prior]ADD TEXT, and then [d-he] is there, [d-his] tiny little hands caressing the keys, excited but unsure, and you yearn to comfort [d-him], to teach [d-him] of the distant melody that haunts the verge of now and then...[now-flash][otherwise if yourself is flashing]ADD TEXT.[otherwise]ADD TEXT.") when in Living Room and Kitchen is visited.

Section 2 -- Labor

To say flashing-lr:
	if Kitchen is unvisited, say "The [o]fire[x] crackles quietly in the fireplace. You and Prae are sitting beside [if yourself is same-sex]the [o]phone[x][otherwise]each other[end if] on the living room couch, [if Prae is female]her feet resting gently upon your lap. [otherwise]your feet resting gently upon his lap. [end if][one of] Each of you is engrossed in a [o]book[x], but glancing over the top of the page at [o]Prae[x], you see [p-him] staring out the [o]window[x]. [p-cap-he] notices your gaze and meets it, granting you a weary smile.[or] [o]Prae[x] returns to staring out the [o]window[x].[or] [o]Prae[x] continues to gaze out the [o]window[x], [p-his] face flushed and [p-his] fingers trembling[prompt-sick-ask][stopping]";
	if Kitchen is visited, say "Sitting on piano with Dakota. ADD TEXT."
	
To say prompt-sick-ask: if Prae is female and yourself is male, say ", as if she was [o]sick[x]."; otherwise say "."

Understand "book" and "read" as a mistake ("You and Prae are both reading [italic type]The First Year[roman type] [read-tedious]") when in Living Room and Kitchen is unvisited and yourself is flashing.

To say read-tedious: say "for your parenting class down at the community center. You have never found reading so dreadfully tedious, but Prae insisted that you do this together[if yourself is male and Prae is female], and as she[']s the one with the unpredictable mood swings, you really have no choice but to oblige her[end if]."

Carry out Prae-ing when in Living Room and Kitchen is unvisited and yourself is flashing:
	if # is greater than 0 and # is less than 10, say "Prae shifts uncomfortably on the couch.";
	if # is 0, say "[if yourself is female and Prae is male]You want to comfort him, but then you feel them, sharp and sudden, and you know this, now, is the real thing. 'Prae,' you begin. 'I think we might have a problem...'

Prae jumps up at your words. 'What problem?' You say nothing, but he knows anyway, and he kneels down beside you and gazes into your eyes. 'Are you sure, dear? It[']s really coming this time?'[now-receptive][otherwise]Your curiosity is piqued. 'What are you thinking about?'

Prae shakes [p-his] head, uncertain. 'I[']m not sure. This whole [o]situation[x], I [o]guess[x].'";
	now yourself is conversing;
	increase # by 1.

Instead of saying yes when in Living Room and Kitchen is unvisited and yourself is female and Prae is male and yourself is receptive and # is less than 10:
	if yourself is flashing, say "You nod, beginning to cry, but you[']re not sad, not upset, just overwhelmed with everything. Then they begin again, more vicious than before. [deny-labor]"

Instead of saying no when in Living Room and Kitchen is unvisited and yourself is female and Prae is male and yourself is receptive and # is less than 10:
	if yourself is flashing, say "[p-minus]Prae[']s face is drenched with worry, and so you shake your head no, but then they begin again, more vicious than before. [deny-labor]"

Instead of saying maybe when in Living Room and Kitchen is unvisited and yourself is female and Prae is male and yourself is receptive and # is less than 10:
	if yourself is flashing, say "[p-minus]Prae[']s face is drenched with worry, and so you only shrug, but then they begin again, more vicious than before. [deny-labor]"
	
Instead of texting when in Living Room and Kitchen is unvisited and yourself is female and Prae is male:
	if # is 10, say "But Prae doesn[']t hear you, and the pain, the [italic type]pain![roman type] It overwhelms everything, and you are shrieking, howling, rushing out the door, out, out to the car and the hospital and back, and back...[return-labor]";
	if yourself is flashing and # is not 10, say "[p-minus]Prae[']s face is drenched with worry, and so you dodge his question, but then they begin again. [deny-labor]"
	
To say deny-labor:
	now yourself is receptive;
	say "[now-10]You cry out in pain and grasp out blindly for support. Prae offers his trembling hand, so you take it and squeeze and squeeze and squeeze...

The pain blurs everything. You think you hear Prae swear, and then you are in his tender arms, and everything spins wildly.";
	rule succeeds.

Understand "situation", "pregnant", and "pregnancy" as a mistake ("[situation-ask]") when in Living Room and Kitchen is unvisited and yourself is flashing.

To say situation-ask: say "[inc-#][if yourself is same-sex]'They promised they would call today. I[']m sure it won[']t be much longer,' you assure [p-him].

'Yes, I [o]guess[x] you[']re right. I should just be more patient.' Prae looks back down at [p-his] [o]book[x], but [p-he] still seems preoccupied.[otherwise if yourself is male and Prae is female][p-minus]'The doctors said it would be a couple of weeks longer...' you begin, but your words do not seem to put her at ease. 'Are you certain you[']re okay?' you ask.

'[labop-uncertain], I[']m not sure...' Prae sighs, turning back to her [o]book[x]. 'Maybe I[']m just [o]sick[x].'"

To say labop-uncertain: say "[if p-affinity is less than 4]No[otherwise]To be honest"; now # is 32.

Understand "guess" and "suppose" as a mistake ("[labop-guess]") when in Living Room and Kitchen is unvisited and yourself is flashing.

To say labop-guess: say "[inc-#][p-minus]'You [italic type]guess?[roman type]' you ask exasperated, the long months of preparation and uncertainty finally taking their toll. 'Dear, we have to learn to be honest with each other if we[']re really going to do this...'

Prae crosses [p-his] arms. 'What do you mean, [italic type]if?[roman type] We [italic type]are[roman type] going to do this[if yourself is same-sex]; I am [italic type]not[roman type] backing out now, not after all the paperwork and interviews and phone calls. So just leave me alone, please.[otherwise]. You told me you were ready for this, but if you can[']t deal, then you can just [o]leave[x].[end if]' [p-cap-he] sighs audibly and returns to [p-his] [o]book[x] with an air of self-righteous [o]patience[x]."

Understand "sick" as a mistake ("Prae does look stricken with sickness, but you wonder if there[']s something more. 'I could call the hospital,' you offer, but Prae only shakes her head. You reluctantly return to your book, [end-sick]") when in Living Room and Kitchen is unvisited and yourself is flashing and Prae is female.

To say end-sick: say "but then, without warning, Prae shrieks, the shrill noise piercing the tense atmosphere. You instantly jump to your feet and lean over Prae, worry tearing you apart.

Tears gather in her eyes and Prae whispers what you had already surmised: 'It[']s coming.' And though you have had nine months to prepare, everything is moving too quickly, and all you can do is stand against the rushing panic, a petrified stone amidst the frightening rapids.

But Prae shrieks again, and you snap into action. You help your wife to her feet, grab her coat, and guide her to the door. 'It[']s all right,' you assure her, though even you realize the future is unknowable...[return-labor]".

Understand "phone", "call", "answer", "answer phone", "pick up", and "pick up phone" as a mistake ("[phone-labor]") when in Living Room and Kitchen is unvisited and yourself is same-sex and yourself is flashing.

To say phone-labor: say "[if # is greater than 2 and # is less than 10]Just as you begin to reach out for the phone, Prae[']s hand deftly cuts across and grabs it. A pause follows, then 'Yes, this is [p-he].'[now-10][otherwise if # is less than 3]The phone rests beside you, motionless and cold, the source of your anxiety and fear. Suddenly its sharp ring fills the air, and you jump, startled despite having waited for this moment for so long.[inc-#][otherwise]You hear a faint voice coming from the phone, but you are unable to make out the words."

Before reading a command when in Living Room and Kitchen is unvisited and yourself is same-sex and yourself is flashing: say "[labop-run]".

To say labop-run:
	if # is greater than 2 and # is less than 5, say "Beside you, the [o]phone[x] rings, its shrill sound piercing the tense atmosphere.[inc-#]";
	if # is 5, say "Prae[']s trembling hand grabs the phone. A pause follows, then 'Yes, this is [p-he].'[now-10]";
	if # is 10, say "But before you can act, Prae drops the phone and wraps [p-his] arms around you in a firm, unyielding embrace. 'They said yes,' [p-he] sighs happily. [p-cap-he] meets your eyes and repeats the dream you have shared with [p-him] for so very long: 'They said yes. We[']re going to have a baby [o]boy[x] or [o]girl[x].'[now-receptive][inc-#]";
	if # is 12, now # is 11.

Understand "girl" as a mistake ("[now-d-female]") when in Living Room and Kitchen is unvisited and yourself is same-sex and yourself is flashing and # is 11.

To say now-d-female: now Dakota is female; say "A strange knowledge overtakes you, and against the deep throbbing of your heart you can barely make out your quiet whisper, 'A girl...'

'I hope so,' Prae murmurs, 'I[']ve always longed for a beautiful, beautiful baby girl. [italic type]Dakota[roman type]. Our darling daughter.'

The words echo admist a flood of loving relief, and you cannot breathe or speak or think. Your knees are weak, your eyes weaker, and everything begins to fade away...[return-labor]"

Understand "boy" as a mistake ("[now-d-male]") when in Living Room and Kitchen is unvisited and yourself is same-sex and yourself is flashing and # is 11.

To say now-d-male: now Dakota is male; say "A strange knowledge overtakes you, and against the deep throbbing of your heart you can barely make out your quiet whisper, 'A boy...'

'I hope so,' Prae murmurs, 'I[']ve always longed for a beautiful, beautiful baby boy. [italic type]Dakota[roman type]. Our son.'

The words echo admist a flood of loving relief, and you cannot breathe or speak or think. Your knees are weak, your eyes weaker, and everything begins to fade away...[return-labor]"

Instead of exiting when in Living Room:
	if yourself is prior, say "The next room beckons you forward, yet you find yourself unable to proceed. Something in this room exerts an even greater pull, and you know you must stay. Before the puzzle can be solved, one must gather the pieces.";
	if yourself is flashing, say "[exit-labor]";
	if yourself is returned, try going north.
	
To say exit-labor: say "You[']re not quite sure if it is the months of exhausting preparation or the frightening prospect of [if yourself is male]fatherhood[otherwise if yourself is female]motherhood[otherwise]parenthood[end if], but everything is too much to handle, and you want to run out the door and just save yourself. But you look at Prae, [if yourself is female and Prae is male]father of your unborn child, [end if]curled up beside you on the couch[if yourself is male and Prae is female] and carrying your child[end if], and you are certain you could never abandon [p-him]. Especially not now."

To say return-labor:
	now yourself is returned;
	now yourself is not receptive;
	now # is 612;
	wait for any key;
	clear only the main screen;
	wait for any key;
	say "[if yourself is male and Prae is female]...maybe the past is too. A [end if][if yourself is female and Prae is male]...a [end if][if yourself is same-sex]...and just as quickly, everything rushes back into vivid crimson focus.[finish-flash][otherwise]baby? You had almost forgotten. You did have a baby once, can almost see its face, eyes, nose, there in this distant dream. A [o]boy[x], was it? Or a beautiful baby [o]girl[x]?".
	
Understand "girl" and "baby girl" as a mistake ("You remember her at once, and there she is, smiling brilliantly before you, already crawling and learning to stand. [italic type]Dakota[roman type]. Her name rolls off your tongue like warm oil, and you know it feels true. Your daughter, Dakota.[line break][now-d-girl]") when in Living Room and yourself is returned and yourself is opp-sex and # is 612.

To say now-d-girl:
	now Dakota is female;
	now # is 0;
	try looking;
	rule succeeds.
	
Understand "boy" and "baby boy" as a mistake ("You remember him at once, and there he is, smiling brilliantly before you, already crawling and learning to stand. [italic type]Dakota[roman type]. His name rolls off your tongue like warm oil, and you know it feels true. Your son, Dakota.[line break][now-d-boy]") when in Living Room and yourself is returned and yourself is opp-sex and # is 612.

To say now-d-boy:
	now Dakota is male;
	now # is 0;
	try looking;
	rule succeeds.

Section 4 -- Piano Lesson

Section 5 -- After

To say returned-lr:
	say "The [if Prae is male and yourself is female]excruciating pain is [end if][if Prae is female and yourself is male]excruciating shrieks are [end if][if yourself is same-sex]warmth is [end if]gone, and the room is quiet once more. A long, stained [o]couch[x] is pressed up against the wall opposite the wide bay [o]window[x]. [if Kitchen is visited] In the darkest corner of the room sits a small upright [o]piano[x] and wooden [o]stool[x].[otherwise] On the darkest wall of the room, a stout brick [o]fireplace[x] stands cold and lifeless. A small [o]vase[x] rests upon the mantle, its contents having long since decayed.[end if][paragraph break][if Kitchen is unvisited]An open [d]doorway[x] leads deeper into the house.[otherwise]A spiral [d]staircase[x] winds its way up from the living room and through a small circular opening on the ceiling."

Understand "enter fireplace" as a mistake ("The ghosts of whispering flames hover above the burnt ashes, calling, pushing you towards them with a powerful and compelling urge to step inside and let the flames climb up your clothing, set your hair alight, and chew through your skin; unleash waves of passion, drip with primal heat, and burst with zealous agony.

But then your will to survive kicks back in, forcing the suicidal urge to retreat, and you once again are sane. You think...") when in Living Room and Kitchen is unvisited.

Understand "door", "doorway", "dining", and "dining room" as north when in Living Room.
Instead of going north when in Living Room and Kitchen is unvisited and yourself is returned:
	say "Stepping cautiously accross the threshold, you enter the old formal dining room.";
	now yourself is prior;
	move player to Dining Room.

Instead of going north when in Living Room and Kitchen is unvisited and yourself is prior:
	say "The dining room beckons you, but something in the living room renders you immobile. A fleeting thought, a memory dances in the air, and you know you must not move on. They are waiting for you again on the other side. To cross the verge..."

Understand "staircase", "spiral staircase", "stairs", and "opening" as up when in Living Room.
Instead of going up when in Living Room and Kitchen is visited and yourself is returned:
	say "As you begin your slow ascent to the upper level of your old home, something echoes nearby and swirls around you, as if urging you on, calling from across the verge.";
	now yourself is prior;
	move player to Staircase.

Instead of going up when in Living Room and Kitchen is visited and yourself is prior:
	say "The staircase beckons you, but something in the living room renders you immobile. A fleeting thought, a memory dances in the air, and you know you must not move on. They are waiting for you again on the other side. To cross the verge..."

Part 6 -- Kitchen

Kitchen is north of Entry Hall. "[if yourself is prior][one of]As you step into the spacious kitchen, the rancid, grimy [o]odor[x] intensifies. [or][stopping]Starlight streams down from a small [o]skylight[x] mounted on the crumbling ceiling above, illuminating the dingy room. The porcelian [o]sink[x], still filled with soiled [o]dishes[x] and murky water, sits in the center of a dusty granite countertop. In the corner of the room, the former location of the fridge is now only by an empty square patch of tiled floor and a sulfup-tinted [o]puddle[x].[otherwise if yourself is flashing][flashing-kitchen][otherwise]ADD."

Section 1 -- Before

Understand "skylight", "sky", "moon", "light", and "stars" as a mistake ("[if yourself is prior]Straining your neck, you peer through the thick glass. A cresecent moon hovers directly above you, shining its gloomy light upon your face. The silver glow commands your focus, directs your vision, consumes the life within your cheeks, your bones, your blood. Violet rays engulf the kitchen around you, and you plummet into the eternal crimson void...[now-flash][otherwise if yourself is flashing][otherwise]") when in Kitchen.

Section 2 -- Labor

To say flashing-kitchen:
	if Living Room is unvisited, say "Prae is sitting beside [if yourself is same-sex]the [o]phone[x][otherwise]you[end if] on the polished grantite countertop, anxiously crossing and uncrossing [p-his] legs. [one of] [p-cap-he] is engrossed in a [o]book[x], but as you glance over at [p-him], you notice [p-him] staring up through the [o]skylight[x]. Prae notices your gaze and meets it, granting you a weary smile.[or] [o]Prae[x] returns to staring at the [o]skylight[x].[or] [o]Prae[x] continues to gaze up through the [o]skylight[x], [p-his] face flushed and [p-his] fingers trembling[prompt-sick-ask][stopping]";
	if Living Room is visited, say "Making breakfast with Dakota. ADD TEXT."
	
Understand "book" and "read" as a mistake ("Prae is re-reading [italic type]The First Year[roman type], required reading [read-tedious]") when in Kitchen and Living Room is unvisited and yourself is flashing.

Carry out Prae-ing when in Kitchen and Living Room is unvisited and yourself is flashing:
	if # is greater than 0 and # is less than 10, say "Prae shifts uncomfortably on the counter.";
	if # is 0, say "[if yourself is female and Prae is male]You want to comfort him, but then you feel them, sharp and sudden, and you know this, now, is the real thing. 'Prae,' you begin. 'I think we might have a problem...'

Prae jumps up at your words. 'What problem?' You say nothing, but he knows anyway, and he kneels down beside you and gazes into your eyes. 'Are you sure, dear? It[']s really coming this time?'[now-receptive][otherwise]Your curiosity is piqued. 'What are you thinking about?'

Prae shakes [p-his] head, uncertain. 'I[']m not sure. This whole [o]situation[x], I [o]guess[x].'";
	now yourself is conversing;
	increase # by 1.

Instead of saying yes when in Kitchen and Living Room is unvisited and yourself is female and Prae is male and yourself is receptive and # is less than 10: if yourself is flashing, say "You nod, beginning to cry, but you[']re not sad, not upset, just overwhelmed with everything. Then they begin again, more vicious than before. [deny-labor]"

Instead of saying no when in Kitchen and Living Room is unvisited and yourself is female and Prae is male and yourself is receptive and # is less than 10: if yourself is flashing, say "[p-minus]Prae[']s face is drenched with worry, and so you shake your head no, but then they begin again, more vicious than before. [deny-labor]"

Instead of saying maybe when in Kitchen and Living Room is unvisited and yourself is female and Prae is male and yourself is receptive and # is less than 10: if yourself is flashing, say "[p-minus]Prae[']s face is drenched with worry, and so you only shrug, but then they begin again, more vicious than before. [deny-labor]"

Instead of texting when in Kitchen and Living Room is unvisited and yourself is female and Prae is male:
	if # is 10, say "But Prae doesn[']t hear you, and the pain, the [italic type]pain![roman type] It overwhelms everything, and you are shrieking, howling, rushing out the door, out, out to the car and the hospital and back, and back...[return-labor]";
	if yourself is flashing and # is not 10, say "[p-minus]Prae[']s face is drenched with worry, and so you dodge his question, but then they begin again. [deny-labor]"

Understand "situation", "pregnant", and "pregnancy" as a mistake ("[situation-ask]") when in Kitchen and Living Room is unvisited and yourself is flashing.

Understand "guess" and "suppose" as a mistake ("[labop-guess]") when in Kitchen and Living Room is unvisited and yourself is flashing.

Understand "sick" as a mistake ("Prae does look stricken with sickness, but you wonder if there[']s something more. 'I could call the hospital,' you offer, but Prae only shakes her head. You reluctantly return to the dishes, [end-sick]") when in Kitchen and Living Room is unvisited and yourself is flashing and Prae is female.

Understand "phone", "call", "answer", "answer phone", "pick up", and "pick up phone" as a mistake ("[phone-labor]") when in Kitchen and Living Room is unvisited and yourself is same-sex and yourself is flashing.

Before reading a command when in Kitchen and Living Room is unvisited and yourself is same-sex and yourself is flashing: say "[labop-run]".

Understand "girl" as a mistake ("[now-d-female]") when in Kitchen and Living Room is unvisited and yourself is same-sex and yourself is flashing and # is 11.

Understand "boy" as a mistake ("[now-d-male]") when in Kitchen and Living Room is unvisited and yourself is same-sex and yourself is flashing and # is 11.

Instead of exiting when in Kitchen:
	if yourself is prior, say "[exit-restrict]";
	if yourself is flashing, say "[exit-labor]";
	if yourself is returned, try going west.

Section 3 -- Phone Call

Section 4 -- Breakfast

Section 3 -- After

Part 7 -- Dining Room

Dining Room is west of Kitchen and north of Living Room. "[if yourself is flashing]ADD.[otherwise][dining-describe]"

To say dining-describe: say "The dining room seems strangely sparse and secluded, furnished only with a single dark, mahogony [o]table[x] and a wide glass [o]cabinet[x]. The cabinet is empty now, dust and cobwebs alone poised along the shelves. From the ceiling dangles a small [o]chandelier[x] capable of holding a mere four [o]lightbulbs[x], though three are dead, and the other missing entirely.[no line break][if yourself is prior] A set of sliding [o]doors[x] adorns the far wall, its glass panes stained with a rusty tint.[otherwise]

A sudden gust of frigid air sweeps across your back, and as you turn, startled, you notice the sliding [d]doors[x] are ajar, revealing a slight glimpse of the deepening night outside.[end if][line break][italic type]This is the end of the first few minutes of Verge. The remainder of this work will be published at a later date. You may continue to interact with the story system, but little else is currently implemented.[roman type]"

Section 1 -- Before

Section 2 -- First Steps

Section 3 -- After

Part 8 -- Backyard

Backyard is down from Dining Room and down from Living Room and down from Kitchen. ""

Section 1 -- Before

Section 2 -- Play Castle

Section 3 -- After

Part 9 -- Staircase

Staircase is up from Kitchen and up from Living Room. "Several [o]pictures[x] adorn the wall on one side. A long, narrow [o]crack[x] runs parallel to the railing, accompaning you as you ascend."

Section 1 -- Before

Section 2 -- Temper Tantrum

Section 3 -- After

Part 10 -- Upstairs Corridor

Upstairs Corridor is up of Staircase.

Section 1 -- Before

Section 2 -- Storytime

Section 3 -- After

Part 11 -- Studio

Studio is east of Upstairs Corridor.

Section 1 -- Before

Section 2 -- Painting

Section 3 -- After

Part 12 -- Bathroom

Bathroom is west of Upstairs Corridor.

Section 1 -- Before

Section 2 -- Shave

Section 3 -- Period

Section 4 -- After

Part 13 -- Office

Office is northeast of Bathroom and northwest of Studio. [In reality, it's only connected to the last of those two room that you visit.]

Section 1 -- Before

Section 2 -- Argument

Section 3 -- After

Part 14 -- Balcony

Balcony is up from Office. ""

Section 1 -- Before

Section 2 -- The Death

Section 3 -- After (Final Decision)

Part 15 -- Endgame

Section 1 -- Prae Leaves

[if you choose A, show when B left you about 10 years ago]

Section 2 -- Funeral

[if you choose B, show the funeral for A when you saw a vision of A for the first time, standing beside his own grave]

Section 3 -- Flash-Forward

["Mirage or substance, memories or angels, maybe they[']re gone, maybe they[']re still there, echoing forever from their perch on the verge. Maybe that[']s why you are here again now, just waiting for another chance to make things right. Maybe you[']ll even get it. Maybe you won[']t.

Either way, here you are, the front door standing before you once more, and the [o]knob[x] still tempting, calling, luring you on into that place where you never escape."

Force the player to turn the knob. Say: "As you twist the knob and unleash your life, you smile. The time has, finally, come.[any key to continue]Return."

Clear the screen immediately.]

Instead of attacking: say "All of a sudden, from some strange and buried segment of your mind, a powerful and compelling urge comes over you, and you need to lash out at something, someone, anyone, now, now, [italic type]now![roman type]

But then your will to survive kicks back in, forcing the violent urge to retreat, and you once again are sane. You think..."

Instead of going up: say "A strange thought flits in your mind like an inconvenient itch that you cannot scratch, an irrational infection that intensifies as every moment passes, an almost imperceptible whisper that commands you to fly away and leave this life behind. Slowly, nervously, you spread out your arms and begin to flap them in and out against the sudden gust of moist, mounting breeze...

But you remain as grounded as ever."
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