Charming
by Kaylah Facey (2018)
Genres: Fantasy

Potions shattered on the floor, pages torn out of books, a demolished statue... These are a few of the magical messes you will have to clean up before Enchantress Igmenta arrives for your coming-of-age test tonight. Unfortunately, you've never been much good at magic, and it will take all of your determination to learn enough of it to set the Pentacle Chamber to rights--and pass that test! Charming is a short, light, puzzly game. Writing it began around September of 2015; two programming language switches, many hiatuses, a college graduation, and two missed IFComp deadlines later, Kaylah Facey is thrilled to finally release it to the public. She very much hopes you enjoy her debut interactive fiction game.

action: %
response: "Well, you've really done it now, haven't you?" Arthur says sarcastically, with a flick of the tail that suggests that, if he were human, he would be rolling his eyes. Normally you ignore his snarky comments, but now at those words you can't help but burst into tears.

"There, there," Arthur says, sounding alarmed, "you can fix this! Enchantress Igmenta won't be back until midnight!"

"It's hopeless!" you say, your voice muffled in your arms, "I can't do anything right!"

For years, you've been laughed at as the witch who can't even perform a simple ignition charm, whose potions invariably turn into black sludge, and whose spells send people running from electric green fireworks. Tonight is your coming of age test, and you've been trying desperately to do the spells you'll be tested on in the room where you've been learning magic for the past eight years. Your classmates like to joke that you should never be allowed out of the Pentacle Chamber because it's the only magic-proof sanctuary for miles around. It's unfortunate that the items contained in it aren't
magic-proof, though--a minute ago, a wayward Ventus charm, intended to produce a warm spring breeze, instead sent a tornado ripping through the room! Vials of potion are shattered on the floor, torn pages from spellbooks float in the air, and the Goddess statue has been smashed into a million pieces! How can you, the worst witch in West Witchington, fix the mess--and learn the required spells for the test--before midnight?
action: Todo
response: The following tasks remain:

(NEW) Repair the torn spellbooks.
(NEW) Replace the broken statue.
(NEW) Separate the spilled potions.
(NEW) Repair the potions bottles.
action: Spells
response: You have learned 1 out of 12 possible spells:

Ventus: A spell which produces wind.

(Cast a spell with CAST spell AT something.)
action: You look at the books
response: You kneel close to the pile of books so that you can read the spines. You see Charming, Double, Double, A Witch's
Guide to the Heavens, and A Treatise on Alchemy.

Arthur lazily licks a forepaw.
action: You examine charming
response: Unfortunately, it seems to be missing some pages, and everything inside looks like gibberish.
action: You examine Alchemy
response: Which do you mean, A Treatise on Alchemy or the alchemy book
page?
action: You examine pages
response: There are pages from several different books here... You see a spellbook page, a potions book page, an astrology book page, and an alchemy book page.
action: You put the alchemy page in the alchemy treatise
response: (first taking the alchemy book page)

are relieved to see that the jagged edges match exactly. In a moment, however, your relief fades as you realize that you still can't read the book! In addition to that, the alchemy book page threatens to fall out of A Treatise on Alchemy every time you move it. There
must be a way to make them stick together...

Arthur stretches luxuriously.
action: You look at the bench
response: A solid wooden table that has survived generations of magical abuse, albeit with all of the stains and scratches one would expect from such treatment. Taking up much of the space on the table is a large cauldron.
action: You examine the cauldron
response: Double, double, toil and trouble; fire burn and cauldron bubble!

In the copper cauldron is an old wooden spoon.
action: You examine the spoon
response: An old beaten up wooden spoon.

(You can STIR something COUNTER-CLOCKWISE or CLOCKWISE WITH the spoon.)
action: You examine the shelf
response: A sturdy wooden shelf that ordinarily supports an assortment of potions bottles.
action: You look at the bottles
response: Jagged shards of glass in various colours.
action: You examine the bookcase
response: The bookshelf towers over its fallen denizens.

It is hard to believe that the books, scrolls, and other manuscripts that the shelves are crammed, stacked, and piled high with compose only a very small subset of the Library Arcana.

On the bookcase is a silver stand.

Arthur sniffs at a patch of floor.
action: You look at the stand
response: The crystal ball's stand is made of an elegant silver filigree.
action: You examine the circle
response: To have a circular diagram encompassing the entire area of a rectangular room without surpassing its bounds is a geometric impossibility. Nevertheless, the faint chalk circle drawn on the floor of the Pentacle Chamber appears to achieve the feat.
action: You examine the altar door
response: The altar door is beautifully painted, but you wince to see the statue of the Goddess spilling out of it.

Arthur grooms himself.
action: You look at the statue
response: The Goddess' opalescent eyes peer up at you from the debris--disapprovingly, it seems. You think you see something glinting under one of the larger rocks.

Arthur lazily licks a forepaw.
action: You look at the glint
response: You can't quite reach the glinting object, and the rocks are
too large for you to push out of the way.
action: You examine the rubble
response: The Goddess' opalescent eyes peer up at you from the debris--disapprovingly, it seems. You think you see something glinting under one of the larger rocks.
action: You examine the door
response: Which do you mean, the library door or the altar door?
action: You look at the library door
response: When Enchantress Igmenta comes to get you, she'll come through that door. You're trying not to look at it too much.
action: You examine the puddle
response: As you examine the shimmering puddle, you realize to your horror that it is the crystal ball, melted!
action: You look at Arthur
response: Arthur is your familiar. He looks a lot like a well-fed black housecat.

Arthur bats at a shadow on the wall.
action: About yourself
response: Without a mirror, you can't really look at yourself, but you know what you'd see if you had one. Your curly hair is always tangled into disarray, your cheek or nose always smudged by a spot of dirt or paint, and your robes always marred by rips, burn marks, and stains of every colour. To top it off you're perpetually dusted by a thin layer of chalk. People constantly help you put yourself to rights--this morning, your mother was careful to make you perfectly presentable for your test--but within minutes, you always return to your natural chaotic appearance.
action: Look around
response: The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door, currently blocked by a pile of rubble that used to be the Goddess statue. Set into the
western wall is the door that leads downstairs to the rest of the Library Arcana.

Several bottles of potion have fallen from their shelf and shattered all over the floor into a sticky mess.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

Torn pages are strewn about the room.

There is a shimmering puddle on the floor.

You can also see Arthur here.
action: You examine the cabinet
response: All the potions ingredients are kept in this battered old cabinet.

(It's closed.)
action: You open it
response: You open the potions cabinet, revealing some witch hazel, some mugwort, some wolfsbane, some deadly nightshade, some evening glories, some lavender, and a mortar-and-pestle.
action: You look at the mortar
response: An old stone mortar-and-pestle, used for crushing herbs, spices, and other ingredients used in potions.
(You can CRUSH an ingredient WITH the MORTAR-AND-PESTLE.)
action: You ask Arthur about the glint
response: "I'm bored of this line of conversation." Arthur interrupts.
action: You ask Arthur about Arthur
response: "How old are you, Arthur?" you wonder.

"I'm as old as the stars, yet I was called forth into being when you summoned me at your birth."

Arthur sniffs at a patch of floor.
action: Cast Ventus at the rubble
response: A strong gust of wind blows over the rubble, and several of the smaller pieces shift a few inches on the ground. Unfortunately, the large rocks blocking the door don't budge at all.
action: Cast ventus at glint
response: You can't quite reach the glinting object, and the rocks are
too large for you to push out of the way.
action: You take all the page
response: spellbook page: Taken.
potions book page: Taken.
astrology book page: Taken.
action: You take the spoon
response: Taken.

Arthur lazily licks a forepaw.
action: You examine the eyes
response: Gleaming opal eyes that seem to stare directly into your soul.
action: You take the eyes
response: Taken.
action: You ask Arthur about the eyes
response: "How am I supposed to get this statue back together?" you ask.

"I don't know if that's even possible," Arthur muses.
action: You ask the eyes about the eyes
response: You can only do that to something animate.
action: You open the library door
response: You open the library door.
action: Go downwards
response: Looking around at the disaster, you throw your hands up in defeat. There's no way you'll be able to fix the room. With a sigh, you turn to leave and face the consequences. Maybe you can join the circus...

"What are you doing?!" Arthur asks.

"You know I'm the worst witch in the class. Magic just... doesn't work out for me. I'm going to go tell Enchantress Igmenta what happened."

"Don't be ridiculous. I know you have it in you to fix this!" Maybe Arthur is right. You close the door.
action: You look at the hazel
response: Small, dried yellow flowers.
action: You examine the mugwort
response: Dried purple stalks.
action: You examine wolfsbane
response: Dried bell-shaped purple flowers.
action: You look at books
response: You see Charming, Double, Double, A Witch's
Guide to the Heavens, and A Treatise on Alchemy.
action: You examine pages
response: You see a spellbook page, a potions book page, an astrology book page, and an alchemy book page.
action: You put the astrology page in the guide
response: Heavens and are relieved to see that the jagged edges match
exactly. In a moment, however, your relief fades as you realize that you still can't read the book! In addition to that, the astrology book page threatens to fall out of A Witch's Guide to the Heavens
every time you move it. There must be a way to make them stick together...
action: You look at the potions
response: You see a sticky mess, a potions book page, and a potions cabinet.
action: You examine the mess
response: The spilled potions have mixed to form a stinking, sickening, sticky mess punctuated with shards of glass. You need to find a way to separate the potions and fix the bottles.
action: You put the astrology page in the mess
response: (first taking the astrology book page)

You dip the page into the sticky mess. Goop now clings to one edge.
action: You put the astrology page in the guide
response: As you place the astrology book page into A Witch's Guide to the Heavens, being careful to line up the jagged edges, the words in
the page seem to morph and shift until the book is perfectly readable again.
action: You read the guide
response: Looking up its index in A Witch's Guide to the Heavens, you
see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, moon phases, star signs, crystal balls, werewolves.
action: You consult the guide about the crystal balls
response: Looking up crystal balls in A Witch's Guide to the Heavens,
you see:

At one time, the only way to access the mysteries of the aether
that are now revealed by the crystal ball was by distilling starlight and drinking the glowing liquid that resulted. A witch who was careless of the dosage could find herself staring into the void for days or even weeks. In 1248, the practice was forbidden to novices after one unfortunate young witch went into a trance that lasted almost fifteen years! Luckily, the 1557 discovery of aether made the practice of looking into the starry void safe for all with even a shred of magical ability, though it lasted only as long as it could be levitated, as aether passes through containers even wind cannot escape. During the 1601 Paris Conference of Sorcery, a mass of aether was held before a group of diviners for almost a week before the enchantress keeping it afloat collapsed of exhaustion. It wasn't until the World Alchemical Exhibition of 1690 that Xylli Zzyllious (best known for the invention of the Xyzzy charm) proudly displayed a new kind of magically reinforced glass--soon to be known as dragonglass--that was capable of holding aether. It wasn't long after that that the crystal ball became a standard feature of the witch's arsenal.
action: Xyzzy
response: You take a deep breath and prepare to cast Xyzzy.

"What are you doing?!" Arthur demands, interrupting your incantation, "Casting spells all willy-nilly is how you got into this mess!"
(Try CASTing the spell AT something instead.)
action: Spells
response: You have learned 1 out of 12 possible spells:

Ventus: A spell which produces wind.

(Cast a spell with CAST spell AT something.)

Arthur sniffs at a patch of floor.
action: You look at the pages
response: You see a spellbook page, a potions book page, and an alchemy book page.
action: You put the spellbook page in the mess
response: You dip the page into the sticky mess. Goop now clings to one edge.
action: You put it in charming
response: As you place the spellbook page into Charming, being careful
to line up the jagged edges, the words in the page seem to morph and shift until the book is perfectly readable again.
action: You put alchemy page in the mess
response: (first taking the alchemy book page)

You dip the page into the sticky mess. Goop now clings to one edge.
action: You put it in Treatise
response: Alchemy, being careful to line up the jagged edges, the words in
the page seem to morph and shift until the book is perfectly readable again.
action: Examine page
response: You won't understand it until you've put it back in the book.

Arthur grooms himself.
action: Inventory
response: You are carrying:
a pair of opal eyes
an old wooden spoon
a potions book page
action: You put it in double
response: As you place the potions book page into Double, Double, being
careful to line up the jagged edges, the words in the page seem to morph and shift until the book is perfectly readable again.
action: You look at the Charming
response: A small but heavy tome, it's rumoured that the Library's
teaching copy of Charming once had a distinct bright red
cover. After 5 successive generations of witches learning with it, though, it's hard to tell which of the many colours it's splotched with is endemic to the book--if any.

Arthur bats at a shadow on the wall.
action: You look up Ventus in Charming
response: Looking up Ventus in Charming, you see:

A spell for conjuring wind.

In your experience, it produces either a tempest or a sigh, with nothing in between. Tonight's disaster is the production of the first.
action: You look up xyzzy in the charming
response: You don't have time to look up every topic that comes to mind.

Arthur stretches luxuriously.
action: You examine double
response: An enormous three-ringed binder crammed with recipes. Both the binder and the borders of the recipes are coloured in lurid checkers.
action: You read double
response: Looking up its index in Double, Double, you see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, animated clay, evening glories, sage, lavender, mugwort, witch hazel, nightshade, elixir-of-life, recipe substitutions, mortal draught, philtre d'amour, flu tonic, dream powder, hair detangling potion, tokens, magical purification, cauldrons, wolfsbane.

Arthur grooms himself.
action: You consult double about the cauldrons
response: Looking up cauldrons in Double, Double, you see:

The standard copper cauldron is the first piece of potion-making equipment a witch should buy when setting up her workbench. Almost every recipe in this book calls for this versatile piece of equipment, although a few use cauldrons of different materials or sizes. The importance of a good cauldron cannot be overstated, as anyone who has tried to use a cooking pot in its stead can attest.

Below, in spiky red handwriting:

Poppycock! I find that a sturdy saucepan is just as good
as a cauldron in a pinch.
action: You consult double about the clay
response: Looking up animated clay in Double, Double, you see:

controversy because the witch who first made it was the infamous Morgana le Fey, who used it to make bloody idols. The recipe below was adapted by Phoebe Merlin two centuries after le Fey's defeat by Merlin's grandfather. The substitution of nightshade with evening glories, removal of the summoning candle in favour of Firelight and sage, and discarding of the mortal draught make it perfectly
benign.

Ingredients: evening glories (originally nightshade), earth, sage, elixir-of-life (originally mortal draught), breath-of-life (originally corpse's sigh)

Instructions: Crush evening glories and combine with earth in a
smooth paste. Combine paste with elixir in a copper cauldron. While burning sage with Firelight (originally simply burning a summoning candle), stir mixture first counter-clockwise 4 times, then clockwise 2 times. Repeat this sequence until it begins to rise. Then you can SHAPE the clay INTO the form you desire. Suffuse it with a breath-of-life to complete the process. At this stage the clay may be fired without danger of losing its magic.
action: You read Treatise
response: Looking up its index in A Treatise on Alchemy, you see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, the elements, dragonglass, the sacred equation, common glass.
action: You consult Treatise about the introduction
response: Looking up its introduction in A Treatise on Alchemy, you
see:

An ancient science, many without Talent attempted to divine its secrets but were unsuccessful. Within these pages are tales of the successes of enterprising witches and wizards who could do what would be impossible without magic.

Alchemy is the science--some say, art--of altering the elemental makeup of substances to transform them into other substances. Most of these transformations are impossible without Talent, though modern physicists have had some successes with basic alchemy on the molecular level. This book is meant to serve as a theoretical introduction to the practice of alchemy, beginning with the sacred equation. For more detailed information on alchemical formulae, the author invites you to consult one of her other books on the subject:



(in a childish scrawl) Alchemy for Nitwits
action: You consult Treatise about the elements
response: Looking up the elements in A Treatise on Alchemy, you see:

Most theorists agree that--magically speaking--it is impossible to break anything down further than into the elements fire, water, earth, wind, static, and aether. Aether is unique in that at this time, no incantation has been written that can summon it. Instead it must be produced through high alchemy. Some philosophers argue that aether has no place as one of the elements, as it can be produced by combining some of the other five. Other philosophers, citing the fact that it has thus far proved impossible to break aether into other elements, posit that aether is the only true element, on which all other elements are based. Their position is based on the argument that fire, earth, water, static, and wind are all composed of aether and an impurity, so that once elements are introduced to each other that naturally destroy each others' impurities, only aether remains. No attempt to separate one of the golden five elements into aether and another substance has yet succeeded, however.
action: You consult Treatise about the dragonglass
response: Looking up dragonglass in A Treatise on Alchemy, you see:

A truly impermeable glass that is also as strong as steel,
dragonglass is produced through infusing common glass with animated lightning. Dragonglass was first created as a means of holding aether for scrying. Early experiments involved creating a sphere of dragonglass through traditional glassblowing techniques with the addition of animated lightning before levitating aether into the sphere; it was difficult, however, to create a sphere of the correct size to hold the aether. The modern method is to bind aether to liquid dragonglass in a cauldron; the aether and dragonglass naturally form a sphere when magically bound.
action: You consult Treatise about the sacred equation
response: Looking up the sacred equation in A Treatise on Alchemy, you
see:

of the middle ages called the sacred equation. They battled for hundreds of years to discover it, not knowing that they didn't have a chance without Talent.
action: You consult Treatise about the common glass
response: Looking up common glass in A Treatise on Alchemy, you see:

Common glass can be produced by heating sand until melted.
action: You consult double about the index
response: Looking up its index in Double, Double, you see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, animated clay, evening glories, sage, lavender, mugwort, witch hazel, nightshade, elixir-of-life, recipe substitutions, mortal draught, philtre d'amour, flu tonic, dream powder, hair detangling potion, tokens, magical purification, cauldrons, wolfsbane.
action: You consult double about the introduction
response: Looking up its introduction in Double, Double, you see:

Tinctures, tonics, powders, potions, creams and ointments, poisons
and remedies: Recipes for all manner of arcane mixtures can be found within these pages.

Do your love potions cause nausea? Could your poisons be used as condiments without causing nausea? Are you tired of your
tinctures being mocked for their ineffectiveness, or do you just want to improve yourself?

Most witches rely on recipes passed to them by their friends and relatives. Sometimes a gem is found that way, but all too often has one of the many people along the chain introduced a variation that makes the recipe less effective or even adds a "quirky" side-effect. Double, Double intends to fix that. Using recipes gathered
from witches around the globe, variations of each potion were tested rigorously by our in-house sorcerers and sorceresses until the most effective and most efficient production was found. No more side effects! No more ineffectiveness! No more unnecessary steps or ingredients! In addition, we have provided a handy guide to common potion ingredients that will be invaluable for altering these recipes or even designing new potions entirely. This really is the only potions book you'll ever need. Go to Double, Double, and all
your worst potions mishaps are no more.

Despite the promises of the introduction, a quick glance through the book shows many, many annotations, corrections, insertions, and deletions suggesting that the witches of your coven, at least, are less than convinced of the recipes' perfection.
action: You consult double about the tokens
response: Looking up tokens in Double, Double, you see:

A token is a piece of something or someone which is very closely associated with that object. A token of a person could be a part of their body like their hair or it could be a treasured item of theirs like a special piece of jewelry. Tokens are used to bind spells and potions to their subjects.
action: You examine spellbook
response: Which do you mean, Charming, Double, Double, A
Witch's Guide to the Heavens, or A Treatise on Alchemy?
action: You look at the Charming
response: A small but heavy tome, it's rumoured that the Library's
teaching copy of Charming once had a distinct bright red
cover. After 5 successive generations of witches learning with it, though, it's hard to tell which of the many colours it's splotched with is endemic to the book--if any.

Arthur sniffs at a patch of floor.
action: You consult charming about the index
response: Looking up its index in Charming, you see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, a spell for conjuring water, a spell for conjuring fire, a spell for conjuring earth, Ventus, a spell for conjuring static, a spell for enlarging, a spell for diminishing, a spell for binding, a spell for unbinding, a spell for levitating, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.
action: You consult charming about the magical education
response: Looking up magical education in Charming, you see:

Magical education has a widely varied history. Before 1700, little
is known of it, as very few texts survive from that day, due in part, no doubt, to various rashes of witch hunts. After 1700, it's more clear what methods were used. Between 1700 and 1800, most education was done by parents or, if there was a sufficiently diverse community, by groups of unrelated witches. The latter method was preferred where possible, as it allowed novices to learn disciplines besides their parents'. Regardless of which method was employed, however, students often suffered from large gaps in knowledge, and standards between communities varied widely. In 1800, Alina Crabtree changed all that. She saw the issues with the educational methods of her day and thought that they could be ameliorated by one, golden standard. In her quest to determine what needed to be taught and when, she traveled around Europe interviewing families and communities on their practices. After 10 long years of accumulating data and writing her spellbook (at the time titled Spells for Students of Magick), Alina distributed
the curriculum she had devised, along with copies of the book, amongst a number of communities. This curriculum also included the original version of the coming-of-age test--the first standardized test of magic--that most young witches today must pass before they can enter secondary training. She then proceeded to conduct interviews over the course of the next 20 years, honing and rehoning her suggested teaching method. Over those 20 years 12 editions of the book now known as Charming were born. Alina's work and relentless dedication
laid the foundation for curricula in almost every magical school in Europe.
action: You consult charming about the binding
response: Looking up a spell for binding in Charming, you see:

A spell for binding things, the counter spell to Renodo.

Once you accidentally stuck all of the pages of a book together and had to spend three hours getting them unstuck when the counter spell didn't work properly either.

Arthur sniffs at a patch of floor.
action: Cast the ligo at the rubble
response: The rubble comes together in the shape of the Goddess statue for a moment, then falls to pieces again. Evidently, you won't be able to bind it back together.
action: Spells
response: You have learned 3 out of 12 possible spells:

Ventus: A spell which produces wind.

Ligo: A spell which binds.

Renodo: A spell which unbinds.

(Cast a spell with CAST spell AT something.)

Arthur sniffs at a patch of floor.
action: You consult charming about the water
response: Looking up a spell for conjuring water in Charming, you see:

A spell for conjuring water.

"You're not going to try that spell again, are you?" asks Arthur in concern.
action: You ask Arthur about the aqua
response: "Do you even care about finishing before Enchantress Igmenta sees the room like this?" Arthur asks, sounding annoyed.

"Of course I do!" you protest.

"Then start fixing things instead of blathering on about random topics!"
action: You consult charming about the fire
response: Looking up a spell for conjuring fire in Charming, you see:

A spell for conjuring fire.

Usually people flee from you in terror when you attempt this spell.
action: You consult charming about air
response: Looking up Ventus in Charming, you see:

A spell for conjuring wind.
action: You consult charming about the earth
response: Looking up a spell for conjuring earth in Charming, you see:

A spell for conjuring earth.

You distinctly remember having to claw your way out of a mountain of dirt the last time you attempted it, trying to plant a daisy.

Arthur bats at a shadow on the wall.
action: You consult charming about the index
response: Looking up its index in Charming, you see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, Agua, Igni, Terra, Ventus, a spell for conjuring static, a spell for enlarging, a spell for diminishing, Ligo, Renodo, a spell for levitating, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.

Arthur bats at a shadow on the wall.
action: You consult charming about the static
response: Looking up a spell for conjuring static in Charming, you see:

A spell for producing static.

Once you accidentally cast this on yourself, and your mother had to use copious amounts of hair detangling potion just to get your hair to stop writhing like a mass of snakes--to say nothing of the
frizzing. In addition to that embarrassment, for weeks
afterward you couldn't touch a light switch without downing the power to the whole street.
action: You consult charming about enlarging
response: Looking up a spell for enlarging in Charming, you see:

A spell for enlarging objects, the counter spell to Minui.

Once you tried it on Arthur, but all it did was make his fur stand on end. At least he looked bigger.
action: Cast the Minui on the rubble
response: The rubble turns to sand!
In the sand, you notice something glinting.
action: You examine glinting
response: Two tiny silver hands joined together at the ends of their arms. The left hand is slightly longer than the right, and both hands point with their index fingers.
action: You take the hands
response: Taken.
action: You enter the altar door
response: Arthur slinks after you.

A tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.

A slender spiraling silver staircase winds up toward the domed ceiling.

Encompassing the room is a faint chalk circle drawn on the floor.

You can also see Arthur here.

Arthur grooms himself.
action: You look at the circle
response: (the conjuring circle)
The chalk circle is faded, but its power is not. With it, the entire Altar is essentially one big conjuring circle.
action: You examine the ceiling
response: (the domed ceiling)
Past the small platform you can see the dark blue ceiling. You know there's a window onto the night sky, but you can't distinguish it from down here.
action: Go upwards
response: Arthur slinks after you.

No more than a tiny platform near the altar ceiling, the astrology tower is used for astronomical observations; many spells and potions require a certain alignment of stars or phase of the moon to work correctly.

A slender spiraling silver staircase winds down toward the altar.

In one corner is an astrological clock, miraculously unharmed.

A telescope sits in one corner, facing the night sky.

You can also see Arthur here.
action: You look at the clock
response: (the astrological clock)
The astrological clock is dark blue with silver constellations. Its glass front displays two long chimes, and its face is adorned with astrological symbols in the place of numbers.

Behind the clock face is a hidden alcove where the candles are kept. The trouble is, you seem to have forgotten how to open it.

It doesn't seem to have any hands.

Arthur stretches luxuriously.
action: You look at the telescope
response: An ancient brass telescope that nevertheless produces a much clearer vision than those of non-witches.

Arthur bats at a shadow on the wall.
action: You look in telescope
response: You look through the telescope at the night sky and are faced with a dizzying array of stars. The moon is shaped into a perfect semicircle.
action: You put the hands on the clock
response: (the astrological clock)
The silver hands click into the hole in the clock face, fitting perfectly.

Arthur lazily licks a forepaw.
action: You look at the clock
response: (the astrological clock)
The astrological clock is dark blue with silver constellations. Its glass front displays two long chimes, and its face is adorned with astrological symbols in the place of numbers.

Behind the clock face is a hidden alcove where the candles are kept.
action: You look at the chimes
response: Long golden chimes trapped behind a layer of thick glass.
action: Go downwards
response: Arthur slinks after you.

A tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.

A slender spiraling silver staircase winds up toward the domed ceiling.

Encompassing the room is a faint chalk circle drawn on the floor.

You can also see Arthur here.
action: Go west
response: Arthur slinks after you.

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

Fine, white sand spills over the floor.

Several bottles of potion have fallen from their shelf and shattered all over the floor into a sticky mess.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

There is a shimmering puddle on the floor.

You can also see Arthur here.

Arthur sniffs at a patch of floor.
action: Spells
response: You have learned 9 out of 12 possible spells:

Agua: A spell which produces water.

Ventus: A spell which produces wind.

Terra: A spell which produces earth.

Igni: A spell which produces fire.

Magna: A spell which enlarges.

Minui: A spell which diminishes.

Tempesta: A spell which produces static.

Ligo: A spell which binds.

Renodo: A spell which unbinds.

(Cast a spell with CAST spell AT something.)
action: You cast Ligo at the sand
response: The sand comes together in the shape a miniature Goddess statue for a moment, then falls to pieces again. Evidently, you've destroyed the bind for good.

Arthur bats at a shadow on the wall.
action: You consult charming about index
response: Looking up its index in Charming, you see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, Agua, Igni, Terra, Ventus, Tempesta, Magna, Minui, Ligo, Renodo, a spell for levitating, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.
action: You consult charming about levitating
response: Looking up a spell for levitating in Charming, you see:

A spell for levitating objects.

You've never gotten anything to do more than shiver apprehensively with it.
action: You consult charming about the breath-of-the life
response: Looking up breath-of-life in Charming, you see:

clay and to revive an unconscious person. In blood magic, a perversion of this incantation--known as corpse's sigh and produced by conjuring air with a summoning candle--is used to craft a blood idol or to briefly re-animate the dead. The breath-of-life may be summoned by conjuring a wind under Firelight.
action: You consult charming about the living flame
response: Looking up living flame in Charming, you see:

A living flame is one of the best ways to remove impurities in a substance. To produce a living flame, conjure fire in Sunlight or set everwax (a kind of wax produced by melting ordinary witches' wax with a living flame) aflame. Be very cautious in the use of living flame and everwax; it is much more lively than ordinary flame and can easily get out of control if too much is produced.
action: You consult the Charming about the animated lightning
response: Looking up animated lightning in Charming, you see:

Animated lightning is static conjured in Starlight. It gained widespread fame in 1792 after Dr. Victor Frankenstein used it--along with a considerable amount of blood magic--to animate the creature who would call himself Adam.

Arthur bats at a shadow on the wall.
action: You consult the Charming about the witchwater
response: Looking up witchwater in Charming, you see:

Witchwater is water conjured in Moonlight.
action: You consult charming about terre vivant
response: Looking up terre vivant in Charming, you see:

Terre vivant, or living earth, is earth conjured in Sunlight.
action: You consult charming about the candles
response: Looking up witches' candles in Charming, you see:



Witches' candles are indispensable in practical magic. A candle of everwax produces a living flame, a summoning candle is indispensable in summoning, and other candles reproduce various lighting conditions, such as those of the celestial lights. Witches' candles can be purchased from supply shops or homemade.*

*Only a very experienced practitioner should attempt to make
witches' candles, as a mistake of a single degree can be extremely dangerous.
action: You consult charming about the index
response: Looking up its index in Charming, you see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, Agua, Igni, Terra, Ventus, Tempesta, Magna, Minui, Ligo, Renodo, Volere, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.
action: You consult charming about the lights
response: Looking up celestial lights in Charming, you see:

The three celestial lights are Sunlight, Starlight, and Moonlight. Eclipse light--that produced during a total solar eclipse--is sometimes considered as a fourth celestial light, but it is only used in summoning and banishing. Spells requiring a celestial light are best performed with the appropriate candle. It is very difficult to achieve the correct lighting conditions otherwise.
action: You consult charming about the spellbooks
response: Looking up protecting spellbooks in Charming, you see:

Keeping a spellbook has always been a risk, as some spells in the wrong hands or performed incorrectly can be dangerous, even deadly. To reduce the risk, most witches have some form of guard on their books. Some rely on physical locks and keys, but more often a magical lock is employed. Still greater security is enjoyed when the books themselves are enchanted. Some books are simply "tethered" to a particular location; the disadvantage of this method is that they may still be copied by anyone who manages to secure enough time in the witch's dwelling. Other books are enchanted so that they may only be read by the enchanter or their coven; unauthorized readers see only gibberish. Another very common method of spellbook protection, which is employed instead of or in tandem with other methods, is that of making a spellbook render itself illegible in the case of damage. This prevents the disastrous consequences of attempting to perform a spell with missing instructions, making it particularly suited to magical classrooms.
action: You consult charming about the blood
response: Looking up blood magic in Charming, you see:

Blood magic is magic which is evil and soul-blemishing in nature.
This discussion, therefore, is intended as a purely theoretical examination of blood magic. It is hoped that by understanding it better, we can better fight those who would use it to gain power for themselves.

...

To aid her in her dark arts, a blood witch often makes for herself
a blood idol, a semi-alive statue that contributes extra power to dark enchantments. Making such a creature requires an animated clay of earth and the mortal draught, which must then be given corpse's breath--a wind summoned from beyond the aether with the aid of a summoning candle. Anyone who has seen either prepared would say with a chill that it is not an art of love; several formerly good witches who have created blood idols purely as an exercise in study, intending to destroy them after research, have gone mad with power and turned evil from the blood energy that seems to seep out of the idol's stone.

Arthur bats at a shadow on the wall.
action: You consult the Charming about the love
response: Looking up love spells in Charming, you see:

A love spell is any incantation with the purpose of inducing affection, obsession, or love.* Love spells are classified as blood magic by most magical societies worldwide, including The Witches' Association of North America, La Societe de Sorcellerie d'Europe, the World Confederation of Witchcraft, and the Australian Enchanters' Guild. Their use is not endorsed by the authors of
this text.

*It should be noted that genuine love and affection has
never been successfully produced with magic.
action: You consult charming about the balance
response: Looking up spell balance in Charming, you see:

To preserve the balance of a complicated spell, certain conditions must be met. Some qualities that can affect the quality of your incantation include lighting conditions, humidity, and the movement of the planets. Where balancing instructions are included with an incantation, it is very important that they be
followed, as the consequences of unbalanced magic are unpredictable and often disastrous.

Arthur grooms himself.
action: You consult charming about the gibberish
response: Looking up gibberish spells in Charming, you see:

Gibberish, Broken, and Made-Up Spells

There is no shortage of gibberish, broken, and made-up spells.
Take any word or phrase (from a real language or not), and put a dash of Magical intention behind it, and you'll have a gibberish spell. With a little more intention, you could even develop it into
a real (minor) charm. Mostly such experiments are harmless, but nevertheless we caution you to exercise extreme
caution--on more than one occasion a young witch has been
seriously injured or even killed after a poorly judged attempt at inventing a new spell.

charm, which was designed by Abraxas Hodge in 1682 to do nothing at all as part of a bet with Xylli Zzyllious to see who could come up with the most useless spell. Xylli's entry was the Xyzzy charm, which imbues its target with a faint scent of peppermint. That Yule and at every Yule following while the two sorcerers lived, they debated who won the bet, with Xylli contending that a spell which does nothing isn't really a spell and Abraxas countering that the Magical
intention and predictability of it mean that it is. It became
such a holiday tradition that now every Yule in Ealderley when the Wizener Waritchers' Consulate (of which Abraxas and Xylli were both members) meets for their annual game of Hex Hoax!, two delegates are nominated to carry on the Great Debate. At the end of the session, votes are taken, with the winner (the formal rules of the competition specify that the win is only for the duration of the current
calendar year, and should not be taken as a conclusion to the
debate) receiving the dubious honor of buying or making the Whisky Fairy Cake the following year. It's rumoured that the spirits of Xylli and Abraxas sometimes, when provoked, contact contestants with particularly stinging jabs at the opposing party's argument. Much doubt has been cast on contestants' claiming such contact, though, by the fact that they usually make such claims after being accused of Unsportsmanlike Conduct (which is punishable by a forced abstinence of Whisky Fairy Cake). Nevertheless, rule 87 of the competition states that if one is contacted by either of the original debatees,
they are required to put forth whatever argument they were given, no matter how pugnacious.
action: You consult charming about the index
response: Looking up its index in Charming, you see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, Agua, Igni, Terra, Ventus, Tempesta, Magna, Minui, Ligo, Renodo, Volere, breath-of-life, living flame, animated lightning, witchwater, terre vivant, witches' candles, celestial lights, magical education, protecting spellbooks, blood magic, love spells, spell balance, spell diagrams, gibberish spells.

Arthur sniffs at a patch of floor.
action: You consult charming about the diagrams
response: Looking up spell diagrams in Charming, you see:

lot of moving parts. They keep everything connected in the vision and therefore the mind of the enchanter. Experienced practitioners sometimes can hold everything focused in their minds' eye and don't require diagrams, but this requires absolute concentration to avoid the spell fizzling out and therefore shouldn't be attempted by novices.

Some common diagrams:

Conjuring Circles: Most witches' first diagrams are conjuring (or summoning) circles, which are used to define the scope of magic. Most conjuring circles are not simply for mental focus; they are also enchanted to prevent any magic from leaving the bounds of the circle. This both prevents the expenditure of energy to extend a spell further than necessary and prevents those outside the circle from experiencing the spells' effects. In magical practice chambers, summoning circles are especially important, as young witches' efforts often have destructive consequences.

Triangles: Triangles are used in spells that require
triple-focusing, usually for a subject, an object, and an observer or stabilizer.

Pentacles: Pentacles are used in spells with a lot of moving parts that need to be carefully kept in balance. Though the classic model is of a five-pointed star within a circle, any circle with points that connect to all other points on the circle is referred to as a pentacle by witches.*

*Mathematically speaking, of course, only the
five-pointed model qualifies.
action: Todo
response: The following tasks remain:

(DONE) Repair the torn spellbooks.
(NEW) Return the spellbooks to the bookcase.
Replace the broken statue.
(NEW) Repair the crystal ball.
Separate the spilled potions.
Repair the potions bottles.
(NEW) Repair the astrological clock.
action: You take the shards
response: They're covered in potions--that could be dangerous.
action: You cast Renodo on the bottles
response: "Ren--" you begin.

"Stop!" Arthur interrupts, "Do you want Enchantress Igmenta to come back to the glass shards in smithereens?"

You reflect on it. Arthur is right.
action: You cast Renodo on the mess
response: The sticky mess separates into three distinct potions: one a very pale pink, one a stormy grey, and one an intense black. There are also three labels that must go on the bottles.
The shards of glass neatly fall into their own pile with a gentle chinking.
action: You look at the labels
response: You see a round label, a square label, and a torn label.
action: You look at the round
response: A round sticky potions bottle label. Loopy electric green handwriting identifies the potions maker as "Annette March," and below that, Enchantress Igmenta's spiky black handwriting reads:

Scent: 7/10 -- Tea brewed too long.

Colour: 9/10

Clarity:9/10

Potency: 8/10
action: You examine the square label
response: A square sticky potions bottle label. Tiny dark blue handwriting identifies the potions maker as "Stephen Underwell," and below that, Enchantress Igmenta's spiky black handwriting reads:

Scent: 5/10 -- You have burnt your witch hazel.

Colour: 10/10

Clarity: 10/10

Potency: 4/10
action: You look at the torn label
response: A potions bottle label, torn so that you can't read the name of the potions maker. Enchantress Igmenta's spiky black handwriting reads:

Scent: 3/10 -- The unconventional addition of cinnamon
somewhat makes up for the strong scent of mildew that results
from stirring incorrectly--I told you to ignore the book and stir counter-clockwise every 7th turn!

Colour: 10/10

Clarity: 10/10

Potency: 10/10 -- Very potent, though its effects are likely to be
the opposite of the intended.
action: Look around
response: The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

Fine, white sand spills over the floor.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

There is a shimmering puddle on the floor.

You can also see some glass shards, a torn label, a square label, a round label, a black powder, a grey potion, a pink potion, and Arthur here.
action: You cast Ligo on the shards
response: The shards come together to form three distinct potions bottles: one almost perfectly spherical, one faceted like crystal, and one in a standard test-tube shape.
action: Smell gray potion
response: You're hit with the scent of burnt...something, which almost completely overwhelms subtler scents of bergamot and eucalyptus.

Arthur lazily licks a forepaw.
action: You examine the bottles
response: You see a crystal bottle, a glowing bottle, and a bulbous bottle.
action: You examine crystal bottle
response: An exquisite crystal potions bottle.

It's empty.
action: You look at the glowing bottle
response: A potions bottle shaped like a standard test tube but glowing faintly.

It's empty.
action: You look at the bulbous bottle
response: A clear, round potions bottle. The only things preventing it from being a perfect sphere are the very small flat section that allows it to stand upright and the cork that sits almost flush with the edges of the tiny hole in the bottle.

It's empty.
action: You ask Arthur about the bottles
response: "How can I tell which potion goes in which bottle?" you ask Arthur.

"Hm, maybe there's some information in Double, Double that
could help you?" he suggests.
action: You consult double about philtre D'amour
response: Looking up philtre d'amour in Double, Double, you see:



The authors of this book do not endorse the use of love potions, spells, or charms and include the following recipe purely for instructional purposes.

Ingredients: tea leaves (or pure cocoa), lavender*, other fresh flowers (optional), a token of the subject of the potion (the person to be induced to "love"), a token of the object of obsession (the person intended to be "loved")**, purified witchwater

Instructions: Brew the tea leaves, being cautious not to allow the
tea to become bitter (omit this step if using cocoa). Discard water used for brewing. Then, during the new moon***, combine tea with other ingredients in a silver cauldron and stir clockwise over a
low flame while concentrating on the subject of the potion and envisioning the effect you wish the potion to have on them. Do this until the potion is completely clear and odorless. Then it may be stored for up to 28 days before being given to the subject and absolutely no one else. After 3 weeks, the potion
becomes gradually less effective, though keeping it in a many-faceted container slows down that process.

*As noted in Appendix B, this should not be
substituted with sage in any love potions.

**Omit to induce narcissism.

***This potion is most effective during a new moon and should
under no circumstances be prepared or ingested during
a waning moon. As the moon waxes, the subject will become continuously more enamored of the object; as it wanes the effects will slowly wear off until by the following new moon they will have completely dissipated.
action: You consult double about the elixir-of-the life
response: Looking up elixir-of-life in Double, Double, you see:

The elixir-of-life was developed by gifted potions mistress Julia Santemona as a treatment for the Bubonic Plague. Most of her tiny village in Spain was saved from the Plague by Julia's decision to add the elixir to the town's wells. When word spread of the strange lack of illness in the town, people began to travel to the village to drink the wellwater, which was soon taken and sold by enterprising vendors as an "elixir-of-life." Naturally, after access to the wells was restricted, the potion eventually ran out, not that that stopped anyone from buying and drinking the water.
The elixir of life was termed "the Devil's drink" during witch
hunts in the fifteenth century; witches were believed to drink it to extend their lives. Most medicinal potions use this as a base, and there is some evidence that drinking it regularly strengthens the immune system.

Ingredients:

witch hazel, witchwater

Instructions:

Combine witch hazel and witchwater. Then, to eliminate any
impurities, burn with a living flame until the potion stops
smoking.
action: You consult double about the hazel
response: Looking up witch hazel in Double, Double, you see:

Witch hazel is an astringent herb most famous for its use in the elixir-of-life and its efficacy as a poison antidote when properly prepared.
action: You consult double about the mortal draught
response: Looking up mortal draught in Double, Double, you see:

A poison concocted of fresh blood and wolfsbane, the mortal
draught, if imbibed, puts its victim into a dreamless sleep from which they often never awaken.

Arthur grooms himself.
action: You consult double about the flu
response: Looking up flu tonic in Double, Double, you see:

For treating influenza, may be diluted to treat a common
cold.

Ingredients: elixir-of-life, bergamot, eucalyptus, lemon juice, ginger, eggs, cream, animated lightning

Instructions: Pour elixir-of-life into a copper cauldron and heat
over a low flame until steam comes off the potion. Then add bergamot, eucalyptus, lemon juice, and ginger and simmer for 5 days. Take the cauldron off the heat and chill for at least 4 hours. Finally add eggs with the volume of 1/3 the potion and half as much cream, being careful not to break the yolks. Stir counter-clockwise 11 cycles, infuse with animated lightning, and then decant. This potion may be kept for up to 2 weeks refrigerated or 2 months frozen and should be provided with constant light. Flu patients should have 1/2 cup hot every 4 hours for at least 2 weeks; for cold patients dilute and reduce the dosage according to the severity of their symptoms.
action: You read the square label
response: A square sticky potions bottle label. Tiny dark blue handwriting identifies the potions maker as "Stephen Underwell," and below that, Enchantress Igmenta's spiky black handwriting reads:

Scent: 5/10 -- You have burnt your witch hazel.

Colour: 10/10

Clarity: 10/10

Potency: 4/10
action: You consult double about the dream powder
response: Looking up dream powder in Double, Double, you see:

For inducing vivid dreams and promoting a good night's sleep.

Ingredients: terre vivant, mugwort, chamomile, anise, indigo, belladonna

Instructions: Fill cauldron with terre vivant. Add mugwort and
stir clockwise for 139 cycles. Then let rest for 45 minutes. In the meantime, boil chamomile in water. Then add the chamomile tea to the earth with the indigo, belladonna, and anise. Finally, stir counter-clockwise for 3 cycles. Then heat until all the water has evaporated and a fine black powder remains. It should be stored in a container with smooth sides and kept in a cool dark place for up to one year. To use, mix with a small amount of hot witchwater to form a smooth paste and cover the subject's head completely with it. They must not ingest any, as the belladonna makes it
extremely poisonous. They should experience vivid dreams and restful sleep that lasts as long as 12 hours. It is not recommended that one prematurely awaken a person under the effects of dream powder, as they will be extremely drowsy and disoriented until it wears off. Additionally, dream powder should not be used for more than 3 successive nights, as prolonged use is known to cause hallucinations, paranoia, and difficulty in distinguishing dreams and fantasy from reality.
action: You look at bulbous
response: A clear, round potions bottle. The only things preventing it from being a perfect sphere are the very small flat section that allows it to stand upright and the cork that sits almost flush with the edges of the tiny hole in the bottle.

It's empty.
action: Touch glowing
response: The glowing bottle has smooth, straight sides.
action: You touch bulbous
response: The bulbous bottle has smooth, curved sides.
action: You put the black powder in the bulbous bottle
response: (first taking the black powder)

You carefully pour the black powder into the bulbous bottle.

That looks right.

Arthur sniffs at a patch of floor.
action: You put torn label on bulbous bottle
response: (first taking the torn label)

You stick the torn label to the bulbous bottle.

That looks right.
action: You put the gray potion in the glowing bottle
response: (first taking the grey potion)

You carefully pour the grey potion into the glowing bottle.

That looks right.

Arthur grooms himself.
action: You put the square label on the glowing bottle
response: (first taking the square label)

You stick the square label to the glowing bottle.

That looks right.
action: You put the pink potion in the crystal bottle
response: (first taking the pink potion)

You carefully pour the pink potion into the crystal bottle.

That looks right.
action: You put the round label on the crystal bottle
response: (first taking the round label)

You stick the round label to the crystal bottle.

That looks right.

Arthur stretches luxuriously.
action: Todo
response: The following tasks remain:

(DONE) Repair the torn spellbooks.
Return the spellbooks to the bookcase.
Replace the broken statue.
Repair the crystal ball.
(DONE) Separate the spilled potions.
(DONE) Repair the potions bottles.
(DONE) Return the potions to the correct bottles.
(DONE) Return the labels to the correct bottles.
(NEW) Return the bottles to the shelf.
Repair the astrological clock.

Arthur grooms himself.
action: You put the bottles on shelf
response: crystal bottle: (first taking the crystal bottle)

Done.
bulbous bottle: (first taking the bulbous bottle)

Done.
glowing bottle: (first taking the glowing bottle)

Done.
action: You cast Ligo on the puddle
response: Momentarily Ligo comes together into a wavering sphere, before it collapses again into an amorphous puddle. There must be a way to make it hold its shape.
Arthur stretches luxuriously.
action: You put the puddle in the cauldron
response: (first taking the melted crystal ball)
You reach out and touch the mirrorlike surface. It has a strange cool feeling that gives you goosebumps, and your fingers go straight through it. You reach further down and, mesmerized, watch as your hand disappears to your wrist, then your elbow. You look more closely, your nose almost touching it, but you cannot see your arm...

"HEY!" Arthur yells, startling you. You pull your arm out in confusion.

"I turn my back for five minutes, and there you are, about to disappear into a puddle! Who would feed me if you vanished? Who would cuddle me? Who would throw my mousie?!" Quickly the fog in your mind clears, replaced by annoyance.

"Right," you say tartly, "because how it would affect you is
the most important thing. Not me. What do I matter?" Arthur
just gives you a superior look. How much time did you waste
staring into the void?

Arthur grooms himself.
action: Cast the Volere on the puddle
response: The melted crystal ball lifts into the air, and you grin triumphantly. Arthur yawns.

"Great, you can levitate a melted crystal ball. I'm so proud," he says sarcastically, but you notice that he carries his tail a little higher afterwards.
action: You cast Ligo on the puddle
response: Momentarily Ligo comes together into a wavering sphere, before it collapses again into an amorphous puddle. There must be a way to make it hold its shape.
action: You cast Ventus on the puddle
response: "Ven--" you begin.

"Stop!" Arthur interrupts, "Do you want to blow the melted crystal ball away?"

You reflect on it. Arthur is right.
action: You put the puddle in the cauldron
response: You add the melted crystal ball to the cauldron.
action: You consult Treatise on the aether
response: You don't have time to look up every topic that comes to mind.

Arthur grooms himself.
action: Inventory
response: You are carrying:
a pair of opal eyes
an old wooden spoon
action: You look at your surroundings
response: The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

Fine, white sand spills over the floor.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.
action: You look at the puddle
response: The crystal ball has completely melted into a silvery liquid.
action: You consult Treatise on the dragonglass
response: Looking up dragonglass in A Treatise on Alchemy, you see:

A truly impermeable glass that is also as strong as steel,
dragonglass is produced through infusing common glass with animated lightning. Dragonglass was first created as a means of holding aether for scrying. Early experiments involved creating a sphere of dragonglass through traditional glassblowing techniques with the addition of animated lightning before levitating aether into the sphere; it was difficult, however, to create a sphere of the correct size to hold the aether. The modern method is to bind aether to liquid dragonglass in a cauldron; the aether and dragonglass naturally form a sphere when magically bound.
action: Spells
response: You have learned 12 all possible spells:

Abracadabra: A spell which does nothing.

Xyzzy: A spell which imbues its object with a faint peppermint scent.

Agua: A spell which produces water.

Ventus: A spell which produces wind.

Terra: A spell which produces earth.

Igni: A spell which produces fire.

Magna: A spell which enlarges.

Minui: A spell which diminishes.

Tempesta: A spell which produces static.

Ligo: A spell which binds.

Renodo: A spell which unbinds.

Volere: A spell which levitates.

(Cast a spell with CAST spell AT something.)
action: Cast the Volere on the puddle
response: The melted crystal ball lifts into the air, and you grin triumphantly. Arthur yawns.

"Great, you can levitate a melted crystal ball. I'm so proud," he says sarcastically, but you notice that he carries his tail a little higher afterwards.

Arthur lazily licks a forepaw.
action: You cast Ligo on the puddle
response: Momentarily Ligo comes together into a wavering sphere, before it collapses again into an amorphous puddle. There must be a way to make it hold its shape.
action: You cast Agua at the cauldron
response: A stream of clear water pours into the cauldron.
action: You cast Ventus at the cauldron
response: "Ven--" you begin.

"Stop!" Arthur interrupts, "Do you want to blow the copper cauldron away?"

You reflect on it. Arthur is right.

Arthur grooms himself.
action: You examine the cauldron
response: A standard copper cauldron, warped and blackened with age.

In the copper cauldron is some ordinary water.
action: Cast Igni at water
response: "Ign--" you begin.

"Stop!" Arthur interrupts, "Do you want to burn the ordinary water to the ground?"

You reflect on it. Arthur is right.

Arthur sniffs at a patch of floor.
action: You put the puddle in the cauldron
response: You add the melted crystal ball to the cauldron.
action: You look at the cauldron
response: The items in the cauldron blend into a foul-smelling sludge... not exactly what you intended.You frantically try to figure out how to get rid of the sludge in the cauldron and how to get your ingredients back, but you're rapidly running out of time...
action: Yes
response: Please answer yes or no.>

"What are you doing?!" Arthur yowls. You blink and turn towards him guiltily. What could have possessed you to think that was a good idea? (the melted crystal ball and the ordinary water have been moved into your inventory.)

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

Fine, white sand spills over the floor.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.
action: Inventory
response: You are carrying:
some ordinary water
a melted crystal ball
a pair of opal eyes
an old wooden spoon

Arthur grooms himself.
action: Cast Terra at the cauldron
response: Rich black soil falls into the cauldron.
action: You put the water in the cauldron
response: You add the ordinary water to the cauldron.
Chamber
The items in the cauldron blend into a foul-smelling sludge... not exactly what you intended.You frantically try to figure out how to get rid of the sludge in the cauldron and how to get your ingredients back, but you're rapidly running out of time...
action: Yes
response: "What are you doing?!" Arthur yowls. You blink and turn towards him guiltily. What could have possessed you to think that was a good idea? (the ordinary water and the earth have been moved into your inventory.)

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

Fine, white sand spills over the floor.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.
action: You cast Tempesta at the water
response: "Tem--" you begin.

"Stop!" Arthur interrupts, "Do you want the ordinary water to shock the next person--or familiar--who touches it?"

You reflect on it. Arthur is right.
action: You cast minui at Arthur
response: Arthur's shape writhes as he begins to shrink until he has the form of a small black kitten that mews piteously at you before with some apparent effort he grows again until he is his normal size.

"Don't you have something better to do than force me to change form?" he asks, sounding exasperated.

Arthur sniffs at a patch of floor.
action: You ask Arthur about the aether
response: "I'm bored of this line of conversation." Arthur interrupts.

Arthur sniffs at a patch of floor.
action: You ask Arthur about the ball
response: "You need to bind the melted crystal ball to the dragonglass. So I would start with the dragonglass," he suggests.
action: You cast Tempesta at sand
response: "Tem--" you begin.

"Stop!" Arthur interrupts, "Do you want the sand to shock the next person--or familiar--who touches it?"

You reflect on it. Arthur is right.

Arthur grooms himself.
action: You consult charming about Tempesta
response: Looking up Tempesta in Charming, you see:

A spell for producing static.

Arthur lazily licks a forepaw.
action: You consult the Charming on animated lightning
response: Looking up animated lightning in Charming, you see:

Animated lightning is static conjured in Starlight. It gained widespread fame in 1792 after Dr. Victor Frankenstein used it--along with a considerable amount of blood magic--to animate the creature who would call himself Adam.
action: You ask Arthur about the clock
response: Check if A Witch's Guide to the Heavens has anything useful,"
Arthur suggests.
action: You consult the guide about the clock
response: You don't have time to look up every topic that comes to mind.

Arthur bats at a shadow on the wall.
action: You consult the guide about the introduction
response: Heavens, you see:

Explore the Mystery of the Heavens!

This book will take you on a journey through the stars, touching
on all the major constellations and their magical significance, as well as the significance of all the phases of Earth's moon.

A Witch's Guide to the Heavens!--Hester Euphonus, fire witch
and astrology enthusiast (no blood relation to the author)

If you can only have one book on astrology, get A Witch's
Guide to the Heavens!--Delphine March, amateur mixologist

Now expanded to include new research on the relationship between werewolves and the phases of the moon, A Witch's Guide to the
Heavens, by Thaddeus Euphonus and with the invaluable assistance
of celebrity astrologist Arianna H. Icherson*, is even more valuable to every practitioner's library! Whether you don't know the difference between Io and Ioreah or can chart the stars with your eyes closed, you will find this book a useful addition to your collection.

*Author of Fly Me to the Moon: How the Astral Bodies affect
YOU and YOUR LIFE: from Aether to the Zodiac: Over 108 spells and potions included AND fold out print of artist's representation of the Mystery of the Astrological Marriage.
action: You consult the guide about the index
response: Looking up its index in A Witch's Guide to the Heavens, you
see:

You can CONSULT it ABOUT the following topics of interest: its introduction, its index, moon phases, star signs, crystal balls, werewolves.
action: You consult the guide about the moon phases
response: Looking up moon phases in A Witch's Guide to the Heavens, you
see:

The lunar cycle affects many aspects of spellcraft. Countless
charms can only be performed under certain moons, and the effectiveness of many potion ingredients depends on under what phase they were picked. Evening glories are the first to come to mind--anyone who's tried to prepare a love potion with these flowers picked under a new or waning crescent moon--instead of the recommended waxing gibbous or full moon--can tell you that it's a sure way to result in a dislike potion that moreover causes punishing
headaches and stomach upsets.

The next several pages have information about the eight moon phases--"NEW MOON", "WAXING CRESCENT MOON", "FIRST QUARTER MOON", "WAXING GIBBOUS MOON", "FULL MOON", "WANING GIBBOUS MOON", "LAST QUARTER MOON", and "WANING CRESCENT MOON"--and their importance to a selection of spells and potions.
action: You consult the guide about the new moon
response: Looking up moon phases in A Witch's Guide to the Heavens, you
see:

The lunar cycle affects many aspects of spellcraft. Countless
charms can only be performed under certain moons, and the effectiveness of many potion ingredients depends on under what phase they were picked. Evening glories are the first to come to mind--anyone who's tried to prepare a love potion with these flowers picked under a new or waning crescent moon--instead of the recommended waxing gibbous or full moon--can tell you that it's a sure way to result in a dislike potion that moreover causes punishing
headaches and stomach upsets.

The next several pages have information about the eight moon phases--"NEW MOON", "WAXING CRESCENT MOON", "FIRST QUARTER MOON", "WAXING GIBBOUS MOON", "FULL MOON", "WANING GIBBOUS MOON", "LAST QUARTER MOON", and "WANING CRESCENT MOON"--and their importance to a selection of spells and potions.

Arthur sniffs at a patch of floor.
action: You consult the guide about the star
response: Looking up star signs in A Witch's Guide to the Heavens, you
see:

The positions of the twelve constellations known as the Zodiac are deeply significant to magic, especially in the drawing and placement of runes.

The next several pages have information about the twelve Zodiac constellations--"ARIES", "TAURUS", "GEMINI", "CANCER", "LEO", "VIRGO", "LIBRA", "SCORPIO", "SAGITTARIUS", "CAPRICORN", "AQUARIUS", "PISCES"--and their importance to various spells and potions.
action: You consult the guide about the werewolves
response: Looking up werewolves in A Witch's Guide to the Heavens, you
see:

full moon; however, in reality every moon phase has its fair share of active weres. Many werewolves even shift during multiple moon phases.

There is some merit to the full moon rumor, though. Werewolves who shift at the full moon tend to be much more active than those that shift during other moon phases, so they are more often seen.

Following is a lengthy chapter detailing the differences between phases of the moon as pertaining to werewolf behaviors.
action: You go to the east
response: Arthur slinks after you.

A tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.

A slender spiraling silver staircase winds up toward the domed ceiling.

Encompassing the room is a faint chalk circle drawn on the floor.

You can also see Arthur here.

Arthur bats at a shadow on the wall.
action: Go upward
response: Arthur slinks after you.

No more than a tiny platform near the altar ceiling, the astrology tower is used for astronomical observations; many spells and potions require a certain alignment of stars or phase of the moon to work correctly.

A slender spiraling silver staircase winds down toward the altar.

In one corner is an astrological clock.

A telescope sits in one corner, facing the night sky.

You can also see Arthur here.
action: Go inside
response: You can't go that way.

Arthur bats at a shadow on the wall.
action: You open the clock
response: (the astrological clock)
You search on the clock for a way to open it, but nothing budges.
action: You look at the symbols
response: Which do you mean, the astrological symbols, the outer ring of symbols, or the inner ring of symbols?
action: You look at the constellations
response: The stars and moon twinkle indistinctly above you.
action: You examine the outer ring
response: The twelve signs of the zodiac make up the outer ring of the symbols around the clock face.
action: You examine the inner ring
response: The eight moon phases make up the inner ring of the symbols around the clock face.
action: You look at astrological symbols
response: Two rings of symbols adorn the clock face in place of numbers.
The inner ring is composed of moon phases with the short hand lying between two phases, while the outer ring is made up of zodiac signs with the long hand lying between two signs.
action: You look through the telescope
response: You look through the telescope at the night sky and are faced with a dizzying array of stars aligned in AQUARIUS. The moon is shaped into a perfect LAST QUARTER.

Arthur lazily licks a forepaw.
action: You set long hand to AQUARIUS
response: You set the long hand to AQUARIUS.
action: You set the short hand to the last QUARTER
response: As you turn the short hand of the clock to LAST QUARTER, you hear a soft click from behind the clock face, and it silently swings open to reveal a small alcove and gold words on the inside of the clock face.

In the tiny alcove are a tall white candle, an ugly white candle, an average white candle, a tiny white candle, and a squat black candle.
action: You look at the candles
response: You see a tall white candle, an ugly white candle, an average white candle, a tiny white candle, and a squat black candle.
action: You examine the words
response: The back of the clock face reads:

Starlight, sunlight, firelight, light of the moon,

Four white candles, how shall I choose?

stars,

Moonlight reaches higher than the others by far,

Sunlight goes unremarked as the ruler of the day,

And firelight is the one to which no other holds a claim.
action: You examine the squat
response: A squat black candle that is seldom used by your class, though its dripping wax is testament to its use by older students in more advanced magic than you've ever done.

Seldom is it that no candles are burning in the practice room or altar.

Arthur sniffs at a patch of floor.
action: You examine ugly
response: A short, extremely fat white candle that has wax that is lumpy and uneven, as though it has been repeatedly melted and reformed.

It's currently cold to the touch.
action: You look at the average
response: An entirely average looking white candle.

It's currently cold to the touch.
action: You look at tall
response: A tall, thin white candle.

It's currently cold to the touch.
action: You look at tiny
response: (the small platform)
It's a tiny wooden platform, barely big enough for you, Arthur, the clock, and the telescope.
action: You examine the tiny candle
response: A tiny white candle--more of a tealight, really.

Arthur grooms himself.
action: You examine the words
response: The back of the clock face reads:

Starlight, sunlight, firelight, light of the moon,

Four white candles, how shall I choose?

stars,

Moonlight reaches higher than the others by far,

Sunlight goes unremarked as the ruler of the day,

And firelight is the one to which no other holds a claim.
action: Inventory
response: You are carrying:
some earth
some ordinary water
a melted crystal ball
a pair of opal eyes
an old wooden spoon
action: Go downwards
response: Arthur slinks after you.

A tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.

A slender spiraling silver staircase winds up toward the domed ceiling.

Encompassing the room is a faint chalk circle drawn on the floor.

You can also see Arthur here.
action: Go west
response: Arthur slinks after you.

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

Fine, white sand spills over the floor.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.
action: You consult Treatise on the dragonglass
response: Looking up dragonglass in A Treatise on Alchemy, you see:

A truly impermeable glass that is also as strong as steel,
dragonglass is produced through infusing common glass with animated lightning. Dragonglass was first created as a means of holding aether for scrying. Early experiments involved creating a sphere of dragonglass through traditional glassblowing techniques with the addition of animated lightning before levitating aether into the sphere; it was difficult, however, to create a sphere of the correct size to hold the aether. The modern method is to bind aether to liquid dragonglass in a cauldron; the aether and dragonglass naturally form a sphere when magically bound.
action: You consult the Charming on animated lightning
response: Looking up animated lightning in Charming, you see:

Animated lightning is static conjured in Starlight. It gained widespread fame in 1792 after Dr. Victor Frankenstein used it--along with a considerable amount of blood magic--to animate the creature who would call himself Adam.
action: You consult Treatise on the common glass
response: Looking up common glass in A Treatise on Alchemy, you see:

Common glass can be produced by heating sand until melted.

Arthur grooms himself.
action: You drop the tiny candle
response: Dropped.
action: You cast Igni at the tiny candle
response: A tiny spark appears on the candlewick, and within moments it is glowing steadily.

Arthur stretches luxuriously.
action: You look at the candle
response: A tiny white candle--more of a tealight, really.
action: You cast Tempesta at the sand
response: "Tem--" you begin.

"Stop!" Arthur interrupts, "Do you want the sand to shock the next person--or familiar--who touches it?"

You reflect on it. Arthur is right.
action: You cast Tempesta at the candle
response: "Tem--" you begin.

"Stop!" Arthur interrupts, "Do you want the white tealight to shock the next person--or familiar--who touches it?"

You reflect on it. Arthur is right.
action: You cast Igni at the sand
response: You start to say the spell, then think better of it. Conjuring fire out in the open like this would be dangerous.
action: You look in the cauldron
response: The copper cauldron is empty.

Arthur stretches luxuriously.
action: You put the sand in cauldron
response: (first taking the sand)
the sand: Taken.

You add the sand to the cauldron.
action: You cast Igni at the cauldron
response: The sand turns red as it heats and soon begins to melt together into shiny, bubbling liquid glass.
action: You cast Tempesta at the cauldron
response: "Tem--" you begin.

"Stop!" Arthur interrupts, "Do you want the copper cauldron to shock the next person--or familiar--who touches it?"

You reflect on it. Arthur is right.

Arthur stretches luxuriously.
action: You cast Tempesta at the liquid glass
response: Lightning hits the melted glass, but it doesn't seem to change anything.
You must not have done the set up for animated lightning correctly.
action: You blow out the candle
response: You gently blow out the white tealight, leaving it smoking.
action: You go west
response: Arthur slinks after you.

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur and a white tealight (still smoking) here.
action: You put the average in the circle
response: You put the average white candle into the conjuring circle.
action: You put the tiny candle in the circle
response: (first taking the white tealight)

You put the white tealight into the conjuring circle.

Arthur bats at a shadow on the wall.
action: Cast igni at tiny
response: Which do you mean, the white tealight or the square label?
action: You cast Igni at the tiny candle
response: The candlewick emits faint sparks before blazing to life.
action: You blow out the tiny candle
response: You gently blow out the white tealight, leaving it smoking.

Arthur sniffs at a patch of floor.
action: You put the average candle in the circle
response: You put the average white candle into the conjuring circle.

Arthur lazily licks a forepaw.
action: Cast igni at average
response: A tiny spark appears on the candlewick, and within moments it is glowing steadily.
action: You look at your surroundings
response: The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.
action: You ask Arthur about light
response: "Do you even care about finishing before Enchantress Igmenta sees the room like this?" Arthur asks, sounding annoyed.

"Of course I do!" you protest.

"Then start fixing things instead of blathering on about random topics!"

Arthur grooms himself.
action: You ask Arthur about the starlight
response: It's a riddle. You have a tiny candle, a tall candle, a normal-looking candle, an ugly candle, and a black candle. Obviously the black candle is right out."
action: Continue
response: "The easiest to figure out is Moonlight. 'Moonlight reaches higher than the others by far.'"
action: You keep going
response: "The tall candle is the Moonlight candle."

Arthur sniffs at a patch of floor.
action: Continue
response: "The average looking candle is the Sunlight candle."
action: You blow out average
response: You gently blow out the average white candle, leaving it smoking.
action: You ask Arthur about the starlight
response: "'Not the biggest nor the tallest grants the light of the stars.'" Arthur sniffs at a patch of floor.
action: You ask Arthur about the starlight
response: "The tallest candle is the tall candle, the average candle is the Sunlight candle, and the ugly candle is short but quite fat."
action: Continue
response: "The tiny candle is the Starlight candle."
action: Continue
response: "The ugly candle is the Firelight candle."
action: Continue
response: "Tall--Moonlight; Tiny--Starlight, Average--Sunlight, Ugly--Firelight."
action: Keep going
response: "Tall--Moonlight; Tiny--Starlight, Average--Sunlight, Ugly--Firelight."

Arthur grooms himself.
action: You look around
response: The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.

Arthur bats at a shadow on the wall.
action: Inventory
response: You are carrying:
some earth
some ordinary water
a melted crystal ball
a pair of opal eyes
an old wooden spoon
action: You consult charming about candles
response: Looking up witches' candles in Charming, you see:



Witches' candles are indispensable in practical magic. A candle of everwax produces a living flame, a summoning candle is indispensable in summoning, and other candles reproduce various lighting conditions, such as those of the celestial lights. Witches' candles can be purchased from supply shops or homemade.*

*Only a very experienced practitioner should attempt to make
witches' candles, as a mistake of a single degree can be extremely dangerous.

Arthur stretches luxuriously.
action: You close the altar door
response: You close the altar door.
action: You look in the circle
response: In the conjuring circle are an average white candle and a white tealight.
action: Cast igni at tealight
response: The candlewick emits faint sparks before blazing to life.

Arthur grooms himself.
action: You take the tealight
response: Taken.

Arthur sniffs at a patch of floor.
action: You put it on the bench
response: You put the white tealight on the workbench.
action: You look at the bench
response: A solid wooden table that has survived generations of magical abuse, albeit with all of the stains and scratches one would expect from such treatment. Taking up much of the space on the table is a large cauldron.

On the workbench is a white tealight (glowing brightly).
action: You ask Arthur about the lightning
response: "Shouldn't you be worrying about this mess instead of quizzing me about irrelevant things?" Arthur demands.
action: You ask Arthur about the animated lightning
response: "All that's left is to cast Tempesta at the object!"
action: You cast Tempesta at the cauldron
response: "Tem--" you begin.

"Stop!" Arthur interrupts, "Do you want the copper cauldron to shock the next person--or familiar--who touches it?"

You reflect on it. Arthur is right.
action: You cast Tempesta at the puddle
response: "Tem--" you begin.

"Stop!" Arthur interrupts, "Do you want the melted crystal ball to shock the next person--or familiar--who touches it?"

You reflect on it. Arthur is right.
action: You examine the glass
response: Clear melted glass.
action: You put puddle in the cauldron
response: You add the melted crystal ball to the cauldron.
Chamber
The aether mixes with the melted glass... then the melted glass disappears into the aether. Oh, no... You try to think of another way to get melted glass--you're all out of sand--and come up empty. You'll never be able to fix the crystal ball now...
action: Yes
response: "What are you doing?!" Arthur yowls. You blink and turn towards him guiltily. What could have possessed you to think that was a good idea? (the melted crystal ball and the melted glass have been moved into your inventory.)

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.
action: You put the melted glass in the cauldron
response: You add the melted glass to the cauldron.

Arthur grooms himself.
action: You consult the Charming about the animated lightning
response: Looking up animated lightning in Charming, you see:

Animated lightning is static conjured in Starlight. It gained widespread fame in 1792 after Dr. Victor Frankenstein used it--along with a considerable amount of blood magic--to animate the creature who would call himself Adam.

Arthur bats at a shadow on the wall.
action: You shine tealight
response: You rub the white tealight.
action: You examine the tealight
response: A tiny white candle--more of a tealight, really.
action: Light tealight
response: You screw up your face and concentrate on the white tealight, imagining it set aflame. Nothing happens.
(You can BURN the white tealight WITH a lit candle, or you can CAST Igni AT the white tealight. Using telepathy to set it on fire is right out.)
action: You take the cauldron
response: You grip the cauldron by both sides and strain to lift it, but it's far too heavy. Arthur snickers at your efforts.
action: You look at what you're carrying with you
response: You are carrying:
a melted crystal ball
a white tealight (glowing brightly)
an average white candle (still smoking)
some earth
some ordinary water
a pair of opal eyes
an old wooden spoon
action: Go east
response: (first opening the altar door)
Arthur slinks after you.

A tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.

A slender spiraling silver staircase winds up toward the domed ceiling.

Encompassing the room is a faint chalk circle drawn on the floor.

You can also see Arthur here.
action: You examine the pedestal
response: The Goddess' pedestal looks lonely without her.

Arthur grooms himself.
action: You look at the circle
response: (the conjuring circle)
The chalk circle is faded, but its power is not. With it, the entire Altar is essentially one big conjuring circle.
action: You put the tealight in the circle
response: (the conjuring circle)
You put the white tealight into the conjuring circle.
action: Go upward
response: Arthur slinks after you.

No more than a tiny platform near the altar ceiling, the astrology tower is used for astronomical observations; many spells and potions require a certain alignment of stars or phase of the moon to work correctly.

A slender spiraling silver staircase winds down toward the altar.

In one corner is an astrological clock.

A telescope sits in one corner, facing the night sky.

You can also see Arthur here.

Arthur sniffs at a patch of floor.
action: You put the candle in the alcove
response: (the average white candle in the tiny alcove)
You put the average white candle into the tiny alcove.
action: Go west
response: Arthur slinks after you.

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.
action: You go to the east
response: Arthur slinks after you.

A tiny circular room, almost a closet, that is used for astrology and meditation. The ceiling and walls are painted dark blue with gold stars mapped into intricate constellations, giving the sensation that you have been swallowed by the night sky. The door back to the Pentacle Chamber stands ajar in the western wall. In the center of the room is a bare wooden pedestal.

A slender spiraling silver staircase winds up toward the domed ceiling.

Encompassing the room is a faint chalk circle drawn on the floor.

You can also see Arthur here.

Arthur bats at a shadow on the wall.
action: You get the candle
response: Taken.

Arthur lazily licks a forepaw.
action: You put the candle in the circle
response: You put the white tealight into the conjuring circle.
action: You put the candle on the bookcase
response: You put the white tealight on the bookcase.
action: You cast Tempesta on the glass
response: Lightning hits the melted glass, but it doesn't seem to change anything.

Arthur bats at a shadow on the wall.
action: You put the candle on the cauldron
response: (first taking the white tealight)

Putting things on the copper cauldron would achieve nothing.
action: You put the candle in the cauldron
response: You add the white tealight to the cauldron.
Chamber
The items in the cauldron blend into a foul-smelling sludge... not exactly what you intended.You frantically try to figure out how to get rid of the sludge in the cauldron and how to get your ingredients back, but you're rapidly running out of time...
action: Yes
response: "What are you doing?!" Arthur yowls. You blink and turn towards him guiltily. What could have possessed you to think that was a good idea? (the white tealight and the melted glass have been moved into your inventory.)

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.
action: You put the glass in circle
response: You put the melted glass into the conjuring circle.
action: You put the glass in the cauldron
response: (first taking the melted glass)

You add the melted glass to the cauldron.
action: You ask Arthur about the animated lightning
response: "CAST TEMPESTA AT OBJECT."
action: You drop tealight
response: Dropped.
action: Go west
response: Arthur slinks after you.

The magic practice room on the top floor of the Library Arcana. Normally it's crammed with students practicing, studying, or listening to a teacher's lecture, but tonight it is just you and your familiar Arthur, facing the disaster you have wrought.

A workbench that bows under the weight of a huge cauldron stands in one corner beneath an unassuming wooden shelf and next to a battered-looking potions cabinet. A bookcase towers over the rest of the room from another corner, and faded chalk circle drawn on the floor marks the room as essentially one big conjuring circle.. Set into the eastern wall is the altar door. Set into the western wall is the door that leads downstairs to the rest of the Library Arcana.

On the bookcase is the crystal ball's stand.

A number of spell books have fallen to the floor in an accusatory heap.

On the shelf are a glowing bottle (labeled with a square label) (in which is a grey potion), a bulbous bottle (labeled with a torn label) (in which is a black powder), and a crystal bottle (labeled with a round label) (in which is a pink potion).

You can also see Arthur here.