Borgupine/floyd huggingface dataset:
> You put the kids in the bed
Kylina : You put Kylina on the bed.
Mathen : You put Mathen on the bed.
"Would you tell us a bedtime story, Daddy?" Kylina asks.
"Yes! Tell us a story, Daddy! Please?" says Mathen, thinking this a good idea. By his enthusiasm, one would think that you hadn't told them a bedtime story last night, or the night before, or each and every night for the last several years.
"Please, Daddy?" Kylina has no reservations about begging for bedtime stories.
"Pleeeeeease?" they plead in unison.
You laugh. "Okay, okay."
"Yay!" They cheer, and the two children begin to jump on their beds in excitement, each bobbing up and down in alternating intervals.
[In addition to the traditional Ask/Tell method of speaking,
menu-based conversation is available using "MENUSPEAK" when the
"MSpk" indicator appears on the status line and the input prompt is doubled (>>). Alternatively, the "MENUSPEAK" command can be
abbreviated as "MS" or "MSPK."]
> You enter it
The door is closed. The nearby wheel seems to be the only way to open it.
Limbs scratch at reality's seams. Eyes push through the stonework. Teeth float through the air, gnashing, approaching.
> You look at case
Whitman used to keep his memorabilia from the war in this case... no telling where it went.
> Go north
Although branches radiate in all compass directions, your first
impression is that none of them lead anywhere in particular. Certainly
this one doesn't.
> You turn the dial
You turn the dial one step, unveiling the sign of the Tome.
> You examine the footprints
The footprints lead south.
> You examine table
Rather sizable. Actually, aside from the number of exits and your own person, everything in this room is rather sizeable.
Sitting on the desk are the package and the Anarchist's Cookbook.
> You enter the unit
Since no one ever moved into this unit, it's really nothing but an empty gray box, no bigger than your bedroom back home. These quarters weren't designed with anything but sleeping in mind: the first colonists were expected to take their meals in a central dining commons, and bathrooms were to be in a separate structure, with each one shared by a number of people. Still, you can't help but feel a twinge. This was going to be someone's HOME. The first thing they saw when they woke up, the place they looked forward to retreating to after a hard day doing research or exploring the planet's surface or helping to maintain the colony. There were going to be pictures on these walls, footprints on the floor. Now the only footprints left here will be yours.
> Inventory
You are carrying:
a jeweled pin (being worn)
a bracelet
a bag on a string (being worn and open)
a celestial bauble (providing white light)
a dashing hat (being worn)
Marie pokes at her hair hopelessly, perhaps trying to restore it to some semblance of order.
> You go inside
Audrey says, "We'll wait down here for you."
The elevator smells terrible, strongly of untreated or unembalmed cadavers. There are three buttons here in the elevator labelled 'up,' 'down' and 'open doors.'
I'm currently on the second level of the Mall. Aside from the operational panel, there is little else here in the lift.
> You put the milk in the bubble
You pour the milk into the time bubble (glug, glug, glug). Emil opens his mouth, then closes it again, and says nothing.
> You look in the lake
You're arrested by your own faint reflection, staring back pale and disshevelled from the surface.
> You look at the desk
A very solid-looking wooden desk, bare and clean, as if it's just been delivered by an upmarket furniture shop. You feel like something is missing from the desk, but you can't remember what it is.
> Go south
You step out into the bright sunshine.
A charming terrace, surrounded by an Italian balustrade, and replete with statues of dancing fauns, ornamental urns and what-not. In the centre is a set of cast-iron garden furniture, doing what cast-iron garden furniture does best.
Stone steps lead southwards onto the lawn, east and west to the gravel sweep, whilst to the north French windows invite you to enter the saloon.
Lady Hamcester sits on a cast-iron garden chair, leafing through a brochure for the R.M.S. Aquitania.
A small dog, resembling a sort of mobile feather duster, is hovering around Lady Hamcester's ankles. Dogs, no matter their size, have an unerring instinct for spotting the cuckoo in the nest, or in this case, the 'Magpie'. Many's the burglar who has met his match in the form of one of our four-legged friends. At the very sight of you, the feather duster begins yapping to beat the band. Fortunately, help is at hand, in the form of the butler, Hives.
"Hives, be a dear and take Pompon upstairs," says the countess, "I think the heat must be making her overtired."
"Very good, Madam." says the butler, and scooping up the animal, he retreats into the saloon.
"Beautiful day, Monsieur Perroquet! I do hope my little task isn't too much of an imposition."
"Not at all Madame, not at all." To your relief, the sound of Pompon's yapping fades away, to be replaced with the blissful peace of a summer's afternoon in an English garden.
> 4
"Cool code names, eh? Well, since it's an earthsuit and a skysuit that give us our powers, how about something that incorporates those elements? Like, I don't know... Earth-Man and Sky-Girl?"
"First of all," you say, "why is it that you get to be a Man, and I'm just a Girl? Also, Earth-Man sounds like something a Star Trek alien would call you."
"Okay, fine. What's your idea?"
"I think rather than try to sound like cheesy comic book superheroes by appending things like 'Man' or 'Lass' or 'Captain' or whatever, we ought to keep it short and elegant. How about just Earth and Sky?"
"Earth and Sky. I have to admit, those do sound pretty cool. Okay, Earth and Sky it is. So now that we have our cool code names, will you help me investigate this disappearance?"
Please select a reply:
1) "Okay, you've convinced me. Let's do it."
2) "No. I'm sorry, but I just think it's a bad idea."
3) "I can't be a superhero! I'm scared to death of fighting!"
4) "I can't be a superhero! I'm in horrible shape! I probably couldn't even run around the block!"
5) "We can't be superheroes! What if we get hurt?"
> You examine the cog
A small, thick brass disc with teeth around the side to interlock with other, similar items.
> Smell
The air smells weird, like the cell has never been cleaned.
> You look at the straw
This disgusting mess might actually have been some poor soul's bed. You shudder, wondering what sick relative was kept prisoner here, and when.
> You put red lens in the left socket
As you move the red glass lens close to the statue's eye socket, you
notice that it seems attracted to it with a surprising force, like a
piece of iron to a magnet. It fits perfectly and stays put - in fact,
you doubt that you could remove it again.
[Your score just went up 5 points]
> Go northwest
Cynthia's quarters are just as sparsely furnished as yours, with only a bed, desk, and a few of Cynthia's personal belongings.
Cynthia busies herself with the VR analysis system.
Above Cynthia's desk hangs a 3-D picture.
> You go to the west
You seem a bit overdressed for a dip in a hot spring.
> You look at your surroundings
The brick-built porch is a small, semi-enclosed area that at least affords some shelter from the rain, though little from the cold. It's almost completely bare, apart from the front door immediately to the north; to the south lies the way out back into the drive.
Obvious exits: North, South
There's no let up in the downpour.
> Right
(first trying to open the exit)
The exit seems to be locked.
> Again
You plummet onwards down the track, Achilles keeping pace beside you.
"Only 1/256 a millos to go! Don't want to give up, do you?"
> You turn off the flashlight
You switch off the flashlight, and the light dies.
It is now pitch black.
> You examine the quartz
It shines and reflects the molten span below. Here and there, small chunks popped off of the cracked crystal.
A perfect splinter rests upon the others, waiting to be picked up.
> You remove the jacket
You'll have to take off the lam? first.
David connects to the far floor reel. "I'm about ready," he says.
> You learn the foobar
Using your best study habits, you commit the foobar spell to memory.
> You talk to the mother
Hello, mother. Life treating you well? How about these accommodations? Met anyone new recently? We ought to catch up more. We don't see each other as often as we used to. That's because you're locked down in this chest, which is why really asking you these questions
and having a chat would be as useless as talking to a wall.
Yeah, your mother's here, all right, but she's also not. There's a reason that nobody else can perform a two-card trick. There's a reason that Lady Gascogne pinned a platinum medal to your jacket.
There's a reason you deserve it more than anyone. And it's called sacrifice.
> You look at your surroundings
Rigidity. Grey walls and sterile, dead water. This room is bare, save for two human devices.
The middle level of the outside is to the south, a pass-through cabinet leads to the southwest, while a vent leads both up and down.
Assister objects in strong indigo with tinges of indignant infrareds, "I think we brought a relic aboard: alien, or local, or cursed, or something. We need to return it where it was or else we'll all be fucked even worse." Captain steadfasts incredulous, "It's leaking... something. And we definitely don't have time for a dive, just to what - put it back neatly? We need to ditch it and get to shore." You slosh in frustration: soon they will call for help, and then you will never be able to stop them from doing whatever they want to you or your Cellarium. You need to get to the radio before they do.
> Go east
The main path ends here at a circular open area, also paved in gray flagstone. There is a large and beautifully crafted bronze sculpture set on an elevated stone pedestal in its center. A polished brass plaque is attached to the pedestal below the sculpture. Decorative concrete benches are spaced around the perimeter of the pavement. The entire area is completely surrounded by lush flower beds.
The main path leads back west. A smaller footpath continues to the east.
> You go to the south
A lesser being would have no idea what's going on here. Their brains would probably get lightly scrambled if not completely fizzled out. But, for a highly trained inter-dimensional espionage operative, who has spent half his life travelling through the dimensions, exits are easy to spot.
Exits lead northeast, southeast, up.
> You drop all
letter: Dropped.
> You throw the hoop at the nest
The wasp nest is too far away.
> You look
The road here winds erratically before coming to a ford, beith of you. The water is flowing too rapidly to allow for safe passage. This surfeit of water has also done a number on the condition of the road, in contrast to its dusty condition back towards the crossroads.
The Fatalist is here.
There is a large anvil by the side of the road.
> Go north
You get to your feet with the help of a nearby wall.
You round the bend and stop. It looks like part of the school's
second floor actually collapsed off the building and over the
sidewalk. It's not very high - you can see the driveway past it, and the soccer fields beyond that - but you can't get the students past safely.
George comes into the room.
Tyrone comes into the room.
Jude comes into the room.
Samir comes into the room.
"Mr. Ginsberg!" she cries, hurrying forward for a hug.
Keiko gets up carefully, using the lacrosse stick to maintain her balance.
Keiko hobbles into the room.
You hear the distant sound of a chopper just before you see the tiny black shape hovering over the soccer fields.
> You examine the clock
A white-faced clock with numbers and black hands, hands which turn slowly, ticking off seconds, minutes, hours.
> You enter
In this lightless passage, the air is still and the sounds of the world seem to die. Yet the tunnel is alive nonetheless: it teems with raindrops, seeping from unseen cracks, sparkling with mirth as they reflect the dancing eye of your animus-light.
To the west, you hear the echoing roar of the Bilious Canal. In the east, there is murmuring, and a candlelit glow.
> Wait
Your agony is too great to concentrate on such an action.
Hideous parasites descend upon you and tear the flesh from your bones, gnaw the eyes from your sockets, and feast upon your very brain tissue. Amazingly, you do not die, and your body regenerates itself as you await the next attack...
> You pull the panel
Nothing obvious happens.
> You go to the south
Curator's Office
The painting lies in tatters on the floor of the office, revealing a hole in the brickwork behind. Beneath the painting the small office comprises of a small desk, a huge overstuffed chair and mini fridge.
You can see a pair of secateurs, the resident cat, a crowbar, a hole in the brickwork (empty) and a rock paperweight here.
> Bless Priest
You lack the athourity to perform Blessings.
> You open top left
You open the top left drawer.
> You ask Phelps about the Cocoa
Beauregard pulls his gaze back from the lawn. "Was you sayin' somethin', sweet pea?"
Beauregard belches, and doesn't apologize.
> You go to the east
The roar of the giant treadmills assails your ears as you look around this huge chamber. While the giant wheels spin in the darkness, you can make out some kind of control panel nearby. A passage leads back to the west.
> You examine the door
A monstrous slab of solid bronze set into the thick stone wall of the lighthouse base. Age and seawater have covered its once gleaming surface with an unhealthy green crust of verdigris.
> Sleep
No, I'm already asleep. A person in a coma is always asleep basically.
> You go east
This narrow, windowless room is lit only by the daylight that spills through the open doorway to the west, which leads back to the bedroom. A narrow table stands against the north wall, and at the foot of the table, in the east wall, a metal grate is set in the baseboard.
In the east wall, where you might ordinarily expect to see a door to another room, is a massive slab of stone, both broader and higher than a door. In the upper center of the slab is a circular carving.
On the shallow table are a curved dagger and a purple-eyed figurine.
> After
You see the Copy Cat snatching the Lens of Truth from the Lenswardenand gleefully looking through it. The Lenswarden looks panicked as he tries to figure out which copy is real.
> Exit
You open the door and step out of the taxicab...
River Walk (South)
The River Walk is truly one of the most majestic sights of the city, especially now that the sun has set. This is the southernmost portion of the Walk. Many shops and restaurants line the western side, each lit with festive hanging lights, which reflect prettily in the water of the river to the east. Some kind of concert is being performed on the eastern side of the river. A large crowd has congregated here, blocking passage to the east. They seem to be enjoying the view of the river.
A taxicab drives down the street.
Suddenly, a group of Gamers in gold shirts knock you out of their way as they run past.
> Go north
Max glances at the paper. "I'd like to say that my only interest in entering this building is to preserve--"
Paula cuts him off with a stagey yawn.
You can leave the portico to the south, or enter the Manor to the north.
A paper in a plastic sheath is stapled to the planks.
> Go west
You are holding Jude's hand, so she follows you.
You are holding Ashley's hand, so she follows you.
Ashley is holding Samir's hand, so he follows Ashley.
The wall buckled a bit here, but didn't collapse entirely - unlike to the west, where outright wreckage is visible by the gym entrance. Colorful leaf rubbings and magazine mosaics hang drunkenly off their moorings.
Samir is here, holding hands with Ashley.
Jude is here, holding hands with you and clinging to Mr. Bunny.
The door to your classroom hangs open on its twisted doorframe.
The fire alarms flash and shrill monotonously.
> You go to the north
Hall End, Mt Airy Hospital
The air here has an acrid, biological tang to it that reminds you of little so much as fresh vomit. The nauseating stench is aided by a hot, humid breeze, which seems to oscillate through the hallway. The hallway itself continues to the east, but you cannot see far; the only functioning light is the one directly above you, and the hall quickly fades into an impenetrable darkness.
To your south, a windowless wooden door sits, a small metal sign next to it marking it as a "staff lounge".
A gray door to your north is clearly marked by a large pictographic sign as a unisex bathroom. A thin trickle of water runs from under the door along the edge of the hallway.
> You open the trunk
You open the trunk, revealing a paper grocery bag.
> You tell him about the other staircase
"Never mind that now," Mr Croxley interrupted impatiently. "All I'm interested in right now is whether you can add anything that might shed any further light on this."
> You look up cat
(in Casey's notes)
You riffle through the notes, but it looks like Casey didn't have anything to say about the cat.
> Go north
The cube says, "I have received a message of unknown origin. It reads: spidlower."
effect. Crystals protrude from the wall at odd angles. Sparks of
electricity are passed back and forth. The entire room vibrates and
hums like a large electric generator. Portals are placed in all the
main directions.
You can see a rotating humanfaced cube here.
> You put the suit under the DOOR
You open the fire door as far as it will go and firmly wedge the SUIT under it. You viciously stomp and tramp on it until you are convinced that even you will never be able to get it back out again.
The curving steps to the apron are to the North, and the audience to the East.
The fire door is propped open
The guy is standing by your side
> You get the mound
You are going to eat.
Praise all that's sweet, child, you're not a chamberpot! And yet you've dug your hands into the filth and started packing down fistfuls. Feculent morsels dribble on your chin. Your cheeks balloon. Your willpower's commendable. Don't swallow, darling: spare yourself and spit.
> You think about the scarecrow
Examining the scarecrow reveals two rather odd things about it: while acting with at least the appearance a conscious entity, it appears to be operated internally by a horde of homunculi, and operated externally by radio signals from China.
It thus seems to be conflating two thought experiments in philosophy of mind: both Homunculi-Man and China-Brain. Homunculi-Man behaves like an ordinary person, but his brain consists of a huge operating station operated by millions of tiny people replicating the processes of a brain. China-Brain is controlled externally by the entire nation of China, which has organised its people to replicate the functions of the brain: instead of neurones firing, the people of China carry messages to each other and manipulate data, relaying the results in radio signals to the person whose brain is being operated.
Both arguments seek to debunk a position known as "functionalism" which holds that if two things hold the same function, or function in exactly the same way, then they are to all purposes the same thing. In philosophy of mind, this means that if something operates like a mind -- turns the same inputs into the same outputs, then it really is a mind. Homunculi-Man and China-Brain seem to show that something is missing from this picture -- this is usually argued to be "consciousness".
"Consciousness" can come to be thought of as what is missing from China-Brain. What could that be? What is it that we think of the mind as having that we think China-Brain -- or, less wildly, a robot with artificial intelligence -- lacks? The ability to feel? The ability to actually experience the senses subjectively (having "qualia"), rather than simply responding to sensory input? Or is consciousness in this sense illusory? Or is it something else that's missing from the picture of China-Brain?
> You turn the arrow to the sun
The arrow on the device is already pointing straight at the sun.
> You pour large into gigantic
(the large bowl into the gigantic bowl)
large quantity of hot porridge: I pour the large quantity of hot porridge into the gigantic bowl.
> You take it
You reach for the tetrahedron.
> You examine the alley
A grimy alley running along the side of the Emperor Tavern.
> You look
At the Exposition (in Ivan's tent)
Adoring ladies are clustered around Ivan at his table.
> Assail morgom
By Huron's phosphorescent gill slits! A mighty blow! You scored 17 points of damage!
The MUTATED MORGOM leaps for you, and hisses angrily as you dodge its attack!
GUNWAR applies his healing arts, restoring 12 Hit Points.
> You look up Max Greer in the records
(in the archives)
Max Greer: died September 2, 1992.
> You go to Lie Library
You head south to the dank room. Then up to the debtor's paradise. Then north to the central crypt. Then up to the law library. , emerging into the law library. Then north to the lower bulb. , emerging into the lower bulb. Then up to the upper bulb. , emerging into the upper bulb. Then southwest to the smoke-damaged chamber. , emerging into the smoke-damaged chamber. And then east to the lie library.
Fables, fictions, and falsehoods, arranged by number by type, and containing such categories as "In which the hero receives help from three aged figures," "In which the villain has a mysterious name," and so on.
You can see a book return stand (on which is a great contract book) here.
> You examine feathers
Looking up into the roof space, you cannot actually see the birds themselves - they are always careful to hide out of plain sight when roosting. The presence of their feathers, gently floating on the air currents gives them away.
> You throw the beer at right light
You chuck the can of coke at the left light; a perfect shot. The light splits into several pieces, showering the ground below. You catch a glimpse of the can of coke falling to the ground, near the pole.
You heave the beer at the right light and hit it square on. The light breaks into many pieces, showering the ground with tiny glass fragments. You watch the beer land on the ground, near a bush.
> Look around
Egads -- any notions you might have had that this floor would be easier to clean than the one below have been completely shattered. There are bottles and vials everywhere, probably full of the most dangerous poisons known.
You can see an empty cauldron here.
You hear the front door slam shut.
> You read the spellbook
A year of study, and you've only learned one spell:
anracni: turns green objects red
> You examine the tapestry
It's a garish sight. I'm usually all over things with more than thirty colors, but none of these even go together. I don't think humans are supposed to be that shade of orange. I think the blue blobby thing is meant to be a unicorn, but that's a wild guess.
The tapestry was probably made by the late queen. I've heard stories about her prolific and, er, unique talent. I'm sure the old guy couldn't bear to throw it out, and nobody else could bear to look at it. There's a wobbly inscription woven into the corner.
> Plains
The creature saunters through the mint green arch. It disappears from the blessed forest.
The small quadruped emerges in the languid plain and transforms into a glassy horse.
> You use EYEPATCH
You have heard that the god ODIN gained wisdom for losing his eye, but it feels more to you like losing some of your balance and gaining a dangerous blind-side in combat! But you suppose it makes you look menacing.
> Go north
A path from west to east snakes through the thick foliage.
> Inventory
You are carrying nothing worthy of attention, except a wrapped package, a bolt wrench, a lockpick and a toolcase (which is open) (in which are a blast tab, an acid pack, a toggle switch, a minilamp, a scan scrambler, a voice module, a radio module, a timer, a pushbutton, a voice transmitter and a key transmitter).
Your fingertips ache dully. And a nearby ventilator grille seems to be hissing directly into your ear.
> You go to the east
You can see a light to the east.