Flattened London
by Carter Gwertzman (2020)
Genres: Adventure

Unravel the secrets of the third dimension and search for treasure in a wholly bizarre setting  a crossover between the worlds of Fallen London and Flatland. Keep your wits about you in this sprawling parser-based game, and remember: There's no such thing as down.

action: %
response: 6/12N)

The rain falls south onto the roof of your home - a pentagon, just
like the home of every other shape in the city. On a night like
tonight, there's nothing you want to do more than sit back and relax
with a nice cup of tea.

A small mirror hangs on your wall.

on.

You can also see a mug (in which is some tea) here.

of commands, or type 'ABOUT' to see legal information.
action: You look around
response: The rain falls south onto the roof of your home - a pentagon, just
like the home of every other shape in the city. On a night like
tonight, there's nothing you want to do more than sit back and relax
with a nice cup of tea.

A small mirror hangs on your wall.

on.

You can also see a mug (in which is some tea) here.
action: About yourself
response: You make acute equilateral triangle, if you do say so yourself.
action: You look at the mirror
response: You check yourself out in the mirror. You make acute equilateral
triangle, if you do say so yourself.
action: You take the mug
response: Taken.
action: You read the paper
response: You never could read in dreams. Despite this, you find yourself
compelled to pick up the note and shove it in your pocket.
action: You drink the tea
response: You take a small sip. The tea tastes earthy, and vaguely sweet. You
hold the warm mug and prepare for a pleasant evening at home.

[PRESS ANY KEY TO CONTINUE]All of a sudden, things begin to shake. You
find yourself being tossed back and forth, and you're pretty sure you
hear your mug shatter. When the shaking subsides, you stagger out from
the ruins of your home to find London in complete disorder.

The great shift that befell London was ten years ago, and everything
is different now. Hell, devils included, is a real place to the west
of London, and impossible creatures live and work among ordinary
shapes. Some believe London went DOWN, to a cavern beneath the earth,
but any well regarded citizen knows those are little more than
rumours.

After all, there's no such thing as down.

[PRESS ANY KEY TO CONTINUE]## Your Lodgings
You are in your small apartment. It's a cool London morning, and your
windows are ever so slightly fogged up. A door is set into the west
wall of your home.

A spare towel covers a small hand mirror lying in your room. It's been
sanitized, of course, but one can never be too careful.

In one corner of the room is an old wooden trophy case.

A rack stands in the corner, brimming with hats.

You wake up, shivering, the note still heavy in your pocket.
action: You look at the note
response: Greetations,
Sincere apologetics for the intrusion into your dream-world, but
interception of this message would have been most introublematic. Your
presence in my ancient store is thusly requirsted posthaste - I have
need of your services, and am prepared to offer a colossiderable
reward.

Judging from the many portmalteaus, this was written by Mr. Pages -
one of the Masters, the cabal of shadowy creatures that 'bought'
London ten years ago. You aren't sure what store he's referring to,
but many of London's older shops are on a street southwest of your
lodgings. Perhaps Mr. Pages expects you to show up soon.
action: You look at the hats
response: own. It is the most important part of your identity, after all.

In the rack are a detective's fedora, a captain's cap, a doctor's
headpiece and a footpad's mask.
action: You look at the case
response: An old trophy case, with thirteen slots of specific sizes and shapes.
The case is empty.
action: You look at the windows
response: Morning fog obscures the hustle and bustle of London.
action: You examine the towel
response: Mud, blood, mirrors. This towel does it all.
action: Clean windows
response: What do you want to clean the windows with?
action: You take the towel
response: Taken.
action: You wear the fedora
response: (first taking the detective's fedora)
So you're a detective, then?
action: Yes
response: Taken. Your other hats disappear.

You put on the detective's fedora.
action: Go west
response: A public road. A muddy river connects with the street to the west, and
Moloch Street is accessible in the north. The street is empty in the
southwest and alien in the south. Your lodgings are to the east.
action: You go southwest
response: Most people prefer the wide, well-maintained main street to this dull,
empty road. Most of the storefronts are vacant, windows boarded up,
with the exception of one cozy-looking storefront. The lane connects
with some broad streets in the northeast. South is the entrance to the
city's archeological district. An antique shop is embedded in a wall
of shops to the east. A horse statue is on display in the window.
action: You look at the statue
response: A valuable statue of a horse made from silver, apparently made by
London's predecessors. It's on sale.
action: Go east
response: The place has a rather homey atmosphere. Ancient objects of all shapes
and sizes are for sale along the walls, though most of them just look
like junk. Outside, the desolate lane awaits. In the east wall of the
shop is the door to a back room.

Running the shop is a weary antiquarian.

A rusty lamp catches your eye.

A silver statue of a horse is on display.
action: You examine the lamp
response: An old fashioned oil lamp.
action: You examine antiquarian
response: A square who looks like she'd like nothing better than a nap. She
occasionally looks up from the counter to check on you.
action: You talk to the antiquarian
response: "This used to be the busiest antique shop in the city, you know. At
least, until they cleaned the rubble up from main street and I stopped
getting foot traffic. These days, I'm lucky to get a customer." She
looks briefly sad. "I'm technically in the antiques business, but this
place is just a glorified pawnshop, so feel free to ask me about any
treasures you find - I might just have an answer."
action: You ask the antiquarian about the lamp
response: "What, that? It's just a lamp, really. Basically worthless. You can
have it, if you want."
action: You take the lamp
response: The antiquarian shrugs. "Sure. Not like it was going to sell anyway.
No one wants to buy a rusty antique."
action: You ask the antiquarian about horse
response: "I'm afraid I can't tell you much about this piece. Probably from the
fourth city, they did like horses. It's also rather valuable,
and it's yours if you can give me something to replace it."
action: You ask the antiquarian about the note
response: The antiquarian sighs. "He's in the back."
action: You go east
response: (first opening the back room door)

The Lair Of Mr. Pages
Instead of the back room of an antique shop, you appear to have
stumbled onto some kind of chair warehouse. A chairhouse, if you will.
Antique furniture has been placed in neat piles around the room. The
antique shop proper is west.

Mr. Pages himself, conspicuously without his usual flock of guards and
assistants, lounges in an old Queen Anne seat. This must be important.
action: You talk to Pages
response: "Ah, Detective. I do hope my missive wasn't too perplusing." Pages
speaks in an urgent, grating screech. "After two thousand years, an
entity has returned to the city. Back to spread its
untruthidious gospel of the third dimension, no doubt." He
spits. "I would have you perform a small task for me."

Pages watches you carefully. "Well, Detective? Are you going to ASK me
about it?"
action: You ask Pages about the entity
response: "A perfidious shape," Pages hisses. "It has lied to us, and now it has
returned, to lie to other shapes about the existence of the 'third
dimension'. Disharmodious falsehoods, I assure you."
action: You ask Pages about the third dimension
response: "The traitor would have us all believe that another dimension
exists, beyond the two," Pages explains. "A square is to a line as
this new plane is to us." You ask the obvious question. Does the third
dimension exist? "No!" Pages screeches. His claws squeeze the armrest
of his chair tightly, causing it to splinter. "It does not!"

Maybe asking someone else will be more helpful.
action: You ask Pages about the task
response: "He is writing a book," Pages spits. He says it with such force that
you are, for a moment, convinced that he hates all books. "A foul
doctrine of third-dimensional lies. Your task is to track the entity
to its lair-" And kill it? "No". Trained shapes have tried
and failed to kill this creature. No, Pages just wants the book, so he
can be sure it is destroyed properly. "There will be a
reward", he adds when he sees you hesitate.
action: You ask Pages about the lair
response: "Its lair is undecealed," Pages says. "Incognonymous. Hobscure." He
hands you a piece of paper. "You will need this."
action: You ask Pages about the reward
response: "I should think that proving yourself to my imsteemed individuality
would be reward enough," says Pages, puffing out his chest. "But I can
offer you money. A plenteous sum. Enough to make you a very rich
shape."
action: You check your inventory
response: You are carrying:
the theoretical location of a hideout
a rusty lamp
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: You look at the location
response: A messy list that looks like it was written by someone with claws.
Different parts of the city that the entity you're tracking might live
in, though it's not clear what they all have in common. The document
reads:
The Shuttered Palace (in the west)
The Forgotten Quarter (in the southwest)
The Bazaar (in the south)
action: You examine the chair
response: An antique chair. Well-loved, if the heavy scratches on the cloth are
any indication.
action: You ask Pages about the horse
response: Mr. Pages says nothing. Perhaps he's attempting to communicate with
you telepathically. More likely, though, he doesn't know what you're
talking about and is too proud to say it.
action: Go west
response: The place has a rather homey atmosphere. Ancient objects of all shapes
and sizes are for sale along the walls, though most of them just look
like junk. Outside, the desolate lane awaits. In the east wall of the
shop is the door to a back room.

Running the shop is a weary antiquarian.

A silver statue of a horse is on display.
action: Go west
response: Most people prefer the wide, well-maintained main street to this dull,
empty road. Most of the storefronts are vacant, windows boarded up,
with the exception of one cozy-looking storefront. The lane connects
with some broad streets in the northeast. South is the entrance to the
city's archeological district. An antique shop is embedded in a wall
of shops to the east. A horse statue is on display in the window.
action: Go south
response: You stand at the edge of an ancient city - The Forgotten Quarter. Or
what's left of it, anyway. What wasn't destroyed by London was
stripped away by looters, making the whole place feel rather empty. To
the north, the empty ruins connect to an empty street. Far to the
west, you can see a pavilion that seems more or less untouched. South
is an archeological dig site.
action: You go to the south
response: A magnificent dig site, heading into the stone that encases a lot of
the ruins. This one is almost abandoned, though. The excavation seems
to have stopped at a large chunk of rock with a building embedded in
it. The way out of the Forgotten Quarter is to the north. In the
distance, looking almost translucent in the mist, is a pavilion.

A bored archaeologist lies on a crate, worn out.

A pickaxe rests on the ground nearby.
action: You examine the rock
response: It seems progress stopped on the excavations at the exact wrong time.
A little more digging, and the ruin's front door would have been
accessible.
action: You examine the archaeologist
response: A square, dressed in the neat clothing of an archaeologist. She looks
tired.
action: You talk to the archaeologist
response: The last archaeologist squints at you. "You won't find anything here,"
she says. "That third dimension stuff is just talk." She sighs. "Not
that it matters whether or not I was going to find anything, seeing as
my crew quit. And when I was only a few pickaxe-swings away
from victory, too."
action: You ask the archaeologist about crew
response: The archaeologist sighs. "I suppose I should have told them up front
that this expedition had to do with the third dimension. And
they were right to be scared of getting arrested on the slim chance
that we found something interesting. Only when they quit, my
colleagues went too, and all the dockworkers, and now there's no one
in London that'll even consider helping me with this. Shame, too. It's
a good job."
action: You ask the archaeologist about the expedition
response: "I'm digging for a ritual site," the archaeologist explains. "We were
making great progress until- well, until my team walked out on me."
She shrugs. "I did what I could on my own, but I think I sprained
something. It's frustrating. Now that I've found the damn building, I
can't get through to it."
action: You look at the pickaxe
response: A cheap metal pickaxe.
action: You take it
response: The archaeologist watches you take the pickaxe. "Sure, take it," she
says. "And do let me know what you find."
action: You hit the rock with the pickaxe
response: You hit the chunk, hard. Flecks of stone fly off of it, exposing more
of the door.
action: You keep going
response: You hit the chunk again. You've managed to get most of the way
through.
action: Keep going
response: You chip away at the last of the rock blocking the door. The entrance
to an ancient temple is now visible to the south.
action: Go south
response: You stand in a grand hall, built from a rich marble. Even weathered by
time, it's magnificent. The exit is to the north. A side-room, so
small that it seems like an afterthought, is to the west. Presumably
there were other chambers here, but they've long since been buried in
debris.
action: You look at the debris
response: Solid, heavy rubble prevents your passage.
action: Go west
response: than constructed. East, a jagged tunnel leads back into the temple you
came from.

A nodule of amber is here, in the center of the room. Whoever put it
here obviously thought it was important.
action: You look at the amber
response: If you listen, you can almost hear the distant sound of gurgling. This
lump of amber fills you with a warm, fuzzy feeling when you hold it.
That makes it valuable, at least to you.
action: You check your inventory
response: You are carrying:
a lump of friendly amber
a pickaxe
the theoretical location of a hideout
a rusty lamp
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: You hit the debris with the pickaxe
response: anything. Even after a few moments of digging, you can tell that this
stone goes all the way through. You haven't a chance in or out of hell
at getting through all that.
action: Go north
response: A magnificent dig site, heading into the stone that encases a lot of
the ruins. This one is almost abandoned, though. The way out of the
Forgotten Quarter is to the north. In the distance, looking almost
translucent in the mist, is a pavilion. The entrance to an ancient
temple is visible to the south.

A bored archaeologist lies on a crate, worn out.
action: Examine crate
response: A crate of supplies.
action: You ask the archaeologist about Amber
response: "Amber, huh?" The archaeologist irritably smashes into a pebble,
sending it flying. "Figures the temple I've been searching for for
five odd years would turn out to just be some... Hive for a bunch of
irregulars. And I was so sure it would be somewhere in this area, too.
Circles damnit."
action: Go north
response: You stand at the edge of an ancient city - The Forgotten Quarter. Or
what's left of it, anyway. What wasn't destroyed by London was
stripped away by looters, making the whole place feel rather empty. To
the north, the empty ruins connect to an empty street. Far to the
west, you can see a pavilion that seems more or less untouched. South
is an archeological dig site.
action: You go west
response: You stand in a grand pavilion. The other buildings on this street are
weathered and broken, but here not a single thing is out of place.
Outside and to the east is the way out of the Forgotten Quarter.

An ornate rug covers most of the pavilion's southern side.
action: You examine the rug
response: An antique rug from the people who came before, in excellent
condition. You're sure they wouldn't mind you having this.
action: You take the rug
response: The rug seems to have been covering a tunnel in the south.
action: You go south
response: A long, serpentine hallway. The floor is covered in a rather detailed
mural. To the north, the passage returns to the pavilion. South, the
hallway continues.
action: You examine the mural
response: A large group of triangles is gathered around an unusual shape in what
looks like worship. But that can't be right. Who in their right mind
would worship a line?
action: You go south
response: You are still in a hallway that runs north-south. Another mural is
etched into the floor.
action: You look at the mural
response: of circles. Despite the advantage granted to them by their points, the
triangles appear to be losing. A rectangle stands in the distance,
passively watching. It is the same color as the line in the previous
mural, and is in the same location.
action: Go south
response: The hallway north ends in an oak door to the south. Near the door, and
all around you, is a mural.
action: You examine the mural
response: In the mural, a small group of triangles gather around a circle in
exaltation. Apart from the dead triangles, scattered around the mural,
all is well. The lower classes are in their proper places at last.
action: You look at the door
response: A solid oak door. After hundreds of years, you'd expect it to be
rotten, but it seems well-maintained.
action: Go south
response: (first opening the oak door)

A huge chamber with an exit to the north. It smells faintly of smoke,
and apart from an odd carving near the far wall, is completely empty.
Something else about the room feels off, though you can't say what
exactly.

Eight candles have been placed at odd intervals around the room.

The bones of a long-dead triangle rest against the far wall, clutching
a bell.
action: You look at the carving
response: A dot, then a line, then a square. Then some kind of irregular shape,
like two squares crushed and smashed together. Next to it, something
is written. ???????? ???????????? - PERFECTION in mongolian. But you
never
learned to read mongolian. So why do you know what that says?
action: You examine bones
response: You get the sense that the dead triangle is watching you.
action: You examine the candles
response: Old tallow candles. Flammable.
action: You examine the bell
response: An old bell.
action: You rub lamp
response: You rub the rusty lamp.
action: Light lamp
response: What do you want to light the rusty lamp with?
action: Look around
response: A huge chamber with an exit to the north. It smells faintly of smoke,
and apart from an odd carving near the far wall, is completely empty.
Something else about the room feels off, though you can't say what
exactly.

Eight candles have been placed at odd intervals around the room.

The bones of a long-dead triangle rest against the far wall.
action: You ring bell
response: A sudden gust of wind causes the candles to go out.

The bell makes a pleasant ringing sound.
action: You go to the north
response: You stand in a grand pavilion. The other buildings on this street are
weathered and broken, but here not a single thing is out of place.
Outside and to the east is the way out of the Forgotten Quarter.
Despite the fact that you've seen the pavilion from the outside, there
is a tunnel leading south.
action: Go east
response: You stand at the edge of an ancient city - The Forgotten Quarter. Or
what's left of it, anyway. What wasn't destroyed by London was
stripped away by looters, making the whole place feel rather empty. To
the north, the empty ruins connect to an empty street. Far to the
west, you can see a pavilion that seems more or less untouched. South
is an archeological dig site.
action: Go north
response: Most people prefer the wide, well-maintained main street to this dull,
empty road. Most of the storefronts are vacant, windows boarded up,
with the exception of one cozy-looking storefront. The lane connects
with some broad streets in the northeast. South is the entrance to the
city's archeological district. An antique shop is embedded in a wall
of shops to the east. A horse statue is on display in the window.
action: Go east
response: The place has a rather homey atmosphere. Ancient objects of all shapes
and sizes are for sale along the walls, though most of them just look
like junk. Outside, the desolate lane awaits. In the east wall of the
shop is the door to a back room.

Running the shop is a weary antiquarian.

A silver statue of a horse is on display.
action: You show Amber to the antiquarian
response: The weary antiquarian is unimpressed.
action: You ask the antiquarian about Amber
response: "Yeah, that's amber alright. That seems like a pretty rare piece,
too."
action: You ask the antiquarian about the rug
response: "I like it," the antiquarian says. "Give it here."
action: You give the rug to the antiquarian
response: The antiquarian takes the rug with poorly contained excitement. "A
genuine fourth city rug? And look at that detail. Where did you even
find a thing like this? Wait, on second thought, don't tell me. I
could care less if it's stolen, it's mine now." There is a pause. "Oh
right, you probably want something in return. Take the horse statue.
Leave me to my prize."
action: You ask the antiquarian about the bell
response: "That's just a bell. It does seem pretty old, though. Fourth city
craftsmanship, if I'm not mistaken."
action: You go west
response: Most people prefer the wide, well-maintained main street to this dull,
empty road. Most of the storefronts are vacant, windows boarded up,
with the exception of one cozy-looking storefront. The lane connects
with some broad streets in the northeast. South is the entrance to the
city's archeological district. An antique shop is embedded in a wall
of shops to the east.
action: Go east
response: You are in your small apartment. It's a cool London morning, and your
windows are ever so slightly fogged up. A door is set into the west
wall of your home.

In one corner of the room is an old wooden trophy case.

You can also see a sanitized mirror here.
action: You put Amber in the case
response: The trophy case is closed.
action: Open case
response: You open the trophy case.
action: You put Amber in the case
response: The lump of friendly amber fits perfectly.
action: You put the horse in the case
response: The horse statue fits perfectly.
action: Close case
response: You close the trophy case.
action: You read the location
response: A messy list that looks like it was written by someone with claws.
Different parts of the city that the entity you're tracking might live
in, though it's not clear what they all have in common. The document
reads:
The Shuttered Palace (in the west)
The Forgotten Quarter (in the southwest)
The Bazaar (in the south)
action: Go south
response: The industrial bustle of London peaks here, not at the center of town
but in the Bazaar that effectively owns the city. Something alien is
here, thrumming at the edge of your consciousness and living inside
the ground. A more ordinary street is to the north, and an alleyway is
to the west. East is the door to a land agency.

An out-of-work clay triangle is here, lounging in front of a door to
the east.
action: You examine the triangle
response: A triangle, but made from sturdy clay. One of the creatures that began
to appear here and there after the shift, albeit to fill a role
London's had for centuries. This one looks bored.
action: You talk to the triangle
response: "I WAS NOT MADE FOR DOOR-WATCHING," says the clay triangle. "I WILL
FOLLOW YOU, IF YOU CAN LEAD ME TO WORK."
action: You go to the east
response: The clay triangle stops you. "MR. PENSTOCK HAS INSTRUCTED ME TO
PREVENT TRESPASSERS," he says. "AND FOR A LACK OF ADEQUATE WORK, I
WILL CONTINUE TO DO SO."
action: You give the pickaxe to the triangle
response: "KEEP IT."
action: You ask triangle about the archaeologist
response: The clay triangle looks at you blankly. "WHAT."
action: You tell the archaeologist about the triangle
response: Which do you mean, the triangle's bones or the out-of-work clay
triangle?
action: Clay
response: The archaeologist frowns. "I'm afraid I can't help you there."
action: You follow you
response: The out-of-work clay triangle begins to follow you.
action: Go north
response: A public road. A muddy river connects with the street to the west, and
Moloch Street is accessible in the north. The street is empty in the
southwest and alien in the south. Your lodgings are to the east.

The out-of-work clay triangle arrives from the south.
action: You go southwest
response: Most people prefer the wide, well-maintained main street to this dull,
empty road. Most of the storefronts are vacant, windows boarded up,
with the exception of one cozy-looking storefront. The lane connects
with some broad streets in the northeast. South is the entrance to the
city's archeological district. An antique shop is embedded in a wall
of shops to the east.

The out-of-work clay triangle arrives from the northeast.
action: Go south
response: You stand at the edge of an ancient city - The Forgotten Quarter. Or
what's left of it, anyway. What wasn't destroyed by London was
stripped away by looters, making the whole place feel rather empty. To
the north, the empty ruins connect to an empty street. Far to the
west, you can see a pavilion that seems more or less untouched. South
is an archeological dig site.

The out-of-work clay triangle arrives from the north.
action: Go south
response: A magnificent dig site, heading into the stone that encases a lot of
the ruins. This one is almost abandoned, though. The way out of the
Forgotten Quarter is to the north. In the distance, looking almost
translucent in the mist, is a pavilion. The entrance to an ancient
temple is visible to the south.

A bored archaeologist lies on a crate, worn out.

a moment. The archaeologist takes in the triangle's strong, capable
angles. The triangle takes in the vast amount of work to be done.
"IT'S PERFECT," says the triangle. "When can you start?" says the
archaeologist, already taking out her wallet.
action: You wait
response: Time passes.
action: Look around
response: A magnificent dig site, heading into the stone that encases a lot of
the ruins. This one is almost abandoned, though. The way out of the
Forgotten Quarter is to the north. In the distance, looking almost
translucent in the mist, is a pavilion. The entrance to an ancient
temple is visible to the south.

A clay triangle is hard at work at the dig site.

A bored archaeologist lies on a crate, worn out.
action: Go south
response: The industrial bustle of London peaks here, not at the center of town
but in the Bazaar that effectively owns the city. Something alien is
here, thrumming at the edge of your consciousness and living inside
the ground. A more ordinary street is to the north, and an alleyway is
to the west. East is the door to a land agency.
action: Go east
response: The land agency of Penstock, a heptagon realtor with better things to
do than man his own shop. The air in here is still and dusty. A door
to the west leads back out to the bazaar, and an elevator shaft is to
the east.

A brass key is tucked away past the counter here.

A metal cage-elevator looms in the back of the shop, situated
precariously at the top of a long shaft south.
action: You examine the key
response: A small key, made from a sharp red brass. M.S. is written on
a tag attached to it.
action: You examine the shaft
response: A long elevator shaft, the right shape and size for a cage-elevator to
go through. Of course, the elevator is mostly a matter of convenience,
as the force of gravity isn't nearly strong enough to keep you from
going north.
action: You look around
response: The land agency of Penstock, a heptagon realtor with better things to
do than man his own shop. The air in here is still and dusty. A door
to the west leads back out to the bazaar, and an elevator shaft is to
the east.

A metal cage-elevator looms in the back of the shop, situated
precariously at the top of a long shaft south.
action: You look at the cage
response: A rickety cage-elevator on a chain. It won't fall, but you can't be
sure of that.
action: You go east
response: Elevator Shaft (in the cage-elevator)
You are in a rickety metal cage-elevator, with a lever attached to it.
The elevator is still. An elevator shaft is visible to the south, and
the land agency is back to the west.
action: You look at lever
response: A plain lever, waiting to be pulled.
action: Go south
response: The elevator blocks your path.
action: You pull lever
response: You pull the lever. The elevator starts to move.

The elevator rushes south, past what looks like a shelf carved into
the side of the shaft.
action: You look at the shelf
response: A niche in the side of the elevator shaft. Something wooden is inside.

The elevator rushes south.
action: You describe your surroundings
response: Elevator Shaft (in the cage-elevator)
You are deep in the earth.

The elevator stops in a vast cavern, far south of the ground.
action: You look at your surroundings
response: Elevator Shaft (in the cage-elevator)
You are deep in the earth.

The elevator rushes north, past what looks like a shelf carved into
the side of the shaft.
action: You look at the cage
response: A rickety cage-elevator on a chain. It won't fall, but you can't be
sure of that.
action: Go outside
response: The shaft is just wide enough to fit the elevator. You can't get out.

The elevator rushes south.
action: You wait
response: Time passes.

The elevator stops in a vast cavern, far south of the ground.
action: You wait
response: Time passes.

The elevator rushes north, past what looks like a shelf carved into
the side of the shaft.
action: You look at the shelf
response: A niche in the side of the elevator shaft. Something wooden is inside.

The elevator screeches to a halt at the top of the shaft.
action: You wait for a while
response: Time passes.

The elevator screeches to a halt at the top of the shaft.
action: You take the shelf
response: Taken.

The elevator rushes south.
action: Inventory
response: You are carrying:
a shelf
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note

The elevator stops in a vast cavern, far south of the ground.
action: You examine the shelf
response: A niche in the side of the elevator shaft. Something wooden is inside.
action: Inventory
response: You are carrying:
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note

The elevator screeches to a halt at the top of the shaft.
action: You wait
response: Time passes.

The elevator rushes south.
action: You wait
response: Time passes.

The elevator stops in a vast cavern, far south of the ground.
action: Go outside
response: You get out of the cage-elevator.

The room is a vast, yawning cavern, a secret warehouse south of the
ground. Fiery glyphs set into the walls illuminate deep pools and pits
of ivory foam around you, and the scent of ammonia is thick in the
air. North is an elevator shaft leading out, and east is an altar.

A metal cage-elevator is here, attached to a chain.
action: You look at the glyphs
response: Letters in the impossible language of above, spitting small
showers of sparks into the room below. You don't even try to read
them. They weren't intended for you.
action: You examine the pools
response: A foamy white substance sits in pits and pools here. You might call it
snow if you didn't know any better, but you do know better, so you
call it lacre. Better not get too close.
action: You go to the east
response: Here in a broad cavern, across a sea of foamy pits, is a stone altar.
West is a cage-elevator, situated on a flat stone clearing. A
stairwell south leads even further into the bowels of the earth.

A large pail rests next to the altar.
action: You look at the altar
response: A large stone altar, about your size. Some writing has been carved
into it.
action: You read the writing
response: One part lacre, one part shape. Add shape to lacre, combine in
pail. Wait. Enjoy.

themselves. They say the snow-foam likes that. You don't have a knife,
but theoretically, any 'aspect of the self' will do.
action: You examine the pail
response: An old metal pail. The bottom is crusted with a snowy residue.
action: You go south
response: A passageway running north-south through the rock. The scent of
ammonia wafts in from the north, and to the south, the tunnel gets
darker.
action: You go north
response: Here in a broad cavern, across a sea of foamy pits, is a stone altar.
West is a cage-elevator, situated on a flat stone clearing. A
stairwell south leads even further into the bowels of the earth.
action: You go west
response: The room is a vast, yawning cavern, a secret warehouse south of the
ground. Fiery glyphs set into the walls illuminate deep pools and pits
of ivory foam around you, and the scent of ammonia is thick in the
air. North is an elevator shaft leading out, and east is an altar.

A metal cage-elevator is here, attached to a chain.
action: You go to the north
response: You are in an elevator shaft. A great chain is here, spanning north to
south.
action: Go north
response: You are in an elevator shaft. A great chain is here, spanning north to
south.

A discrete casket is here, nestled into a shelf carved into the rock.
action: You look at the casket
response: A plain casket, made from cheap wood. On its hinged lid, the phrase
"SOOTHE & COOPER" is stencilled.
action: You open it
response: You open the discrete casket, revealing a heartmetal disc.
action: You look at the disc
response: A milky lump of silvery metal, about the size of a heart and quite
smooth. You've never seen anything like this before, but there's no
doubt it's valuable.
action: You go north
response: You are at the top of an elevator shaft. It continues to the south,
and the land agency is back to the west.
action: You go west
response: The land agency of Penstock, a heptagon realtor with better things to
do than man his own shop. The air in here is still and dusty. A door
to the west leads back out to the bazaar, and an elevator shaft is to
the east.
action: Go west
response: If you remember correctly, the garbage bin you found your trophy case
in is somewhere around here. Sigils that hurt to look at gleam on the
walls, and the alley exits to the east.
action: You examine the sigils
response: They say that huge, fiery entities exist - not north, but
above your fragile world. They say the stars have their own
language, and that it looks something like this. But this is just
graffiti, a cheap imitation of the real thing. Either way, it's enough
to set a part of your shirt on fire. You pat it out.
action: You take the bin
response: That's hardly portable.
action: Open case
response: You open the trophy case, revealing a horse statue and a lump of
friendly amber.
action: You put the disc in the case
response: The heartmetal disc fits perfectly.
action: Close case
response: You close the trophy case.
action: You check your inventory
response: You are carrying:
a pail
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: Go west
response: You've got an excellent view of the stolen river, which is accessible
to the south. The shuttered palace looms in the west, the entrance to
the university is north, and east is a series of broad streets.
action: You examine river
response: The former Thames is still a fixture of London life, and it still
regularly spits up muddy garbage. It's just that now it spits up dead
people, too. They say it runs straight through hell.
action: Go west
response: The palace is shuttered, and its windows are boarded up. That's really
all there is to say on the matter. The road you are on continues
around the palace to the north and south. The Stolen River's banks are
to the east. The palace looms in the west, but two gates prevent you
from going any further.
action: Go west
response: The gates stop you.
action: You examine the gates
response: Wrought-iron gates. Only a miracle could get you through the tight
bars, and you don't think one is forthcoming.
action: You go south
response: You are south of the palace. A red brick wall extends from the palace
floor and continues south for a while. You could follow it, if you
wanted.
action: You look at the wall
response: A sturdy looking wall made from red bricks. It clashes violently with
the smooth limestone of the palace.
action: You go south
response: A red brick wall to your west comes from the shuttered palace, far to
the north, and ends in a large mass of rock to your immediate south.
East, you recognize the distant ruins of the Forgotten Quarter, which
are at least less empty than this place.
action: You look at the wall
response: A sturdy looking wall made from red bricks. It goes on for quite a
while.
action: Go south
response: The mass of rock is too wide to be easily bypassed.
action: You hit the wall with the pickaxe
response: The wall resists your attempts to dig through it.
action: Go north
response: You are north of the palace, past the roof. You get the feeling that
Her Most Circular Majesty doesn't particularly care for warmth,
because all the chimneys have been covered up. The palace's front
gates are east, and its more discreet back entrance is west. A barrier
to the south keeps you away from the shingles.
action: You look at the barrier
response: A spiked, wrought-iron fence.
action: You go to the west
response: You are west of the palace, where the back entrance to the building is
located. North is the roof, and to the south, you can see a basalt
wall.
action: You look at the back entrance
response: This is the door the servants use - the ones that don't live in the
palace, anyway. It is locked.
action: You go south
response: You are south of the shuttered palace, following a basalt wall in the
east. Further to the south, the wall disappears into a large mass of
rock. Here, the wall has a small crack in it.
action: You look at the crack
response: A minor weakness in the wall. It's not nearly large enough to fit
yourself through, but it's a good place to start.
action: You hit the crack with the pickaxe
response: With a few well-placed swings, you reduce this section of the wall to
rubble.
action: Go west
response: You are south of the shuttered palace, following a basalt wall in the
east. Further to the south, the wall disappears into a large mass of
rock.

A hole in the wall reveals a tunnel to the east.
action: You go north
response: You are west of the palace, where the back entrance to the building is
located. North is the roof, and to the south, you can see a basalt
wall.
action: Go north
response: You are north of the palace, past the roof. You get the feeling that
Her Most Circular Majesty doesn't particularly care for warmth,
because all the chimneys have been covered up. The palace's front
gates are east, and its more discreet back entrance is west. A barrier
to the south keeps you away from the shingles.
action: You go east
response: The palace is shuttered, and its windows are boarded up. That's really
all there is to say on the matter. The road you are on continues
around the palace to the north and south. The Stolen River's banks are
to the east. The palace looms in the west, but two gates prevent you
from going any further.
action: You go east
response: You've got an excellent view of the stolen river, which is accessible
to the south. The shuttered palace looms in the west, the entrance to
the university is north, and east is a series of broad streets.
action: You go north
response: the university lawn. Paths to the south and east both lead back into
the city. North is the entrance to the only public library in the
city, and what looks like an engineering building is situated to the
west.
action: Go north
response: You are at the library's front desk, to which a sign has been taped.
The exit is in the south wall. A forest of bookshelves is accessible
to the north.

A librarian sits at the front desk, ignoring you.
action: You examine the sign
response: FOOD IS NOT ALLOWED IN THE LIBRARY, the sign reads. BUT YOU MAY:
ASK ABOUT DIRECTIONS
CHECK OUT A BOOK
STUDY QUIETLY

IT IS RECOMMENDED THAT YOU COME TO THE LIBRARY WITH AN IDEA AS TO WHAT
YOU SEEK, the sign adds, OR YOU MAY BE HERE A WHILE.
action: You ask the librarian about the third dimension
response: The librarian shrugs. "Check geometry. Five hundred and ten."
action: You go north
response: A long path, walled in by shelves, goes from west to east, and the
exit is to the south. All around you are bookshelves.
action: You examine the bookshelves
response: Stars and a copy of On Gravity.
action: You read Stars
response: Most of the book is scorched beyond recognition. The parts you can
read claim that not only do celestial beings beyond comprehension
exist, but that their language has the power to 'substantially alter'
a person's biology. It goes on to claim that those aspects of their
language can be reproduced by ordinary shapes, with sufficiently
powerful materials and a knowledge of what to write.

You shut the book, tired of hearing more unsubstantiated claims by the
honey-addled and the delusional. And afraid for your clothing, which
tends to catch fire when you think about that sort of thing too hard.
action: You read Gravity
response: "By a Law of Nature with us, there is a constant attraction to the
South; and, although in temperate climates this is very slight-yet the
hampering effect of the southward attraction is quite sufficient to
serve as a compass in most parts of our earth. Moreover, the rain
(which falls at stated intervals) coming always from the North, is an
additional assistance; and in the towns we have the guidance of the
houses, which of course have their side-walls running for the most
part North and South, so that the roofs may keep off the rain from the
North." - Edwin A. Abbott.

Most of this has remained true even after London's change, though the
rain comes from somewhere else now.
action: Go west
response: A long path, walled in by literature, goes from west to east. All
around you are bookshelves, packed with books.
action: Examine books
response: In the bookshelves are a copy of Cults And Rituals: A History
and a copy of On The Politics of London.
action: You read the Cults
response: The book is rather dry, but perhaps you'll get something out of it.

According to this book, a small cult in the fourth city once chose to
break off from the doctrines laid out for them by the circle, instead
worshipping "third-dimensional beings", in clear defiance of
scientific fact. When gathering, these cults would often perform
elaborate rituals in attempts to summon these entities, though none
have of these have been proven to work. In the year 1796, such a cult
attempted an elaborate ritual, but they were massacred by fourth city
authorities, and their ritual site reduced to ash.

As you read, a set of instructions falls out from between the pages.
action: You examine instructions
response: The instructions to some kind of rite, in shaky writing.

1. The shape the sacred shape never more never less always eight the
sacred shape LIGHT THEM.
2. Ring the bell to get the audience's attention
3. Repeat after me.

On the back is an incantation, though much of the ink is smudged.
action: You examine incantation
response: The instructions are written in the queen's english, but the
incantation is written in mongolian - the language of the fourth city.
But it's not really the right time for mongolian conjuring, so you
decide not to.You don't understand a word of it. Maybe if you did
you'd be able to read it out loud.
action: You examine Politics
response: This "book" is nothing more or less than a series of rants about
London's mayoral elections, which the author claims are both rigged
and pointless. London, the author argues, is controlled by the
chiropteran beasts that abducted London in the first place, not by
some democratically elected mascot. Not to mention, Her Most Circular
Majesty ought to be in charge, even if she did sell the city to them
in a kind of elaborate devil's paw scenario.

You shut the book with disgust. Monarchists.
action: Go west
response: A long path, walled in by literature, goes from west to east. All
around you are bookshelves, packed with books.
action: You look at the books
response: and a copy of A Dream I Had Last Saturday.
action: You look at the shapes
response: "Soldiers and the lowest classes of workmen are isosceles triangles.
The middle class consists of equilateral triangles. Professional men
and gentlemen are squares and pentagons. Next above these come the
nobility, of whom there are several degrees, beginning at hexagons,
and from thence rising in the number of their sides till they receive
the honourable title of polygonal, or many-sided. Finally when the
number of the sides becomes so numerous, and the sides themselves so
small, that the figure cannot be distinguished from a circle, he is
included in the circular or priestly order; and this is the highest
class of all." - Edwin A. Abbott

You shut the encyclopedia. You knew all this already.
action: You look at Dream
response: nonsense. In it, the author describes a dream they had about a
dimension of straight, one-dimensional lines. He was apparently
invisible to them, and was unable to explain the existence of the
second dimension. That's the only part of the book you can make out,
anyway. Censorship seems to have hit it hard, and more than half of
the book is torn out or covered up. Shame.
action: Go west
response: A cozy-looking study nook is at the end of a long corridor of books to
the east.
action: Examine books
response: Medicinal Uses.
action: You look at the chess
response: You crack open your copy of The Devil Went South To London: How To
Win At Chess Against Immortal Entities.

Renowned correspondant and chessmaster Letitia P. Eaglethorpe claims
to have beaten Death at chess, not once but several times. She claims
that anyone can do the same, provided they follow these instructions,
with the first taking precedence over the last.

1. The circle is a powerful opponent, but pointless. Use something
sharp.
2. The ideas and constructs of civilization can always be brought low
by the wild animal's grand designs.
3. A stops B and B stops C. All things shall return to me.
4. Infinity stopped with a shot from a gun. To hinder a catspaw, move
into a- *the ink is smudged too badly to read*
5. If all else fails, go north, into the edge and the black.
action: Examine books
response: Squid-Creature Servant.
action: You look at the maze map
response: So the geometer stood at the ready, pacing nervously around his
study. Soon, he'd been promised, it would all be complete. Even if
he'd contacted them first, he hadn't expected them to actually
respond, and he couldn't be more anxious if he tried. Not Eating,
barely sleeping, even, in case the chiropterans wanted to make the
exchange at night. Whether or not they could even give him what he'd
asked for was unclear as well. Such Entities as them were not to be
taken lightly, if they really wanted his entire city in exchange - and
that was another thing. What he'd promised them he didn't own, and if
they discovered they'd been tricked, they might not uphold their end
of the bargain. Euclid shuddered at the thought.

You shut the book. That's not a map at all. Must have been an error at
the printer's.
action: You look at the Servant
response: ACT I, SCENE III
PRINCESS: Here to clean my chambers? I certainly hope your
tentacles will be up to the task. My chambers are quite large, you
see.
SQUID-CREATURE: Hrshbrglargh.
PRINCESS: Oh my. Do you think you could polish... this?
SQUID-CREATURE: Blathrgthlgle.
PRINCESS (Blushing): Well.
action: Go east
response: to the west.

A missing library card is here, neglected and crumbled up.
action: You examine the card
response: This library card belonged to Allen Rutherford, a pentagon in his 20s.
Now it belongs to you.
action: You ask the librarian about card
response: The librarian glances at the library card. "Yup, that looks like one
of our students." She gives you a shrug. "If I were you, I'd try to
return it to its owner. Maybe they'll give you something nice."
action: Go south
response: the university lawn. Paths to the south and east both lead back into
the city. North is the entrance to the only public library in the
city, and what looks like an engineering building is situated to the
west.
action: You go west
response: In London, as it is everywhere else, the whole world is evenly lit
during the day with little regard to walls or veils. The rules seem to
be different here, and the whole room is like night apart from a
gaslight on the wall. West is a door leading to a hallway, and east is
the way back to the quad.
action: You examine gaslight
response: A bright, flickering thing. Mounted to the wall.
action: You take it
response: That's hardly portable.
action: You go west
response: A long hallway extends from a door to the east, and continues west for
a while. A wall-mounted torch illuminates the room.
action: You take the torch
response: It is firmly attached to the wall.
action: Go west
response: A long hallway continues through a patch of darkness in the east, and
ends in a door to the west labelled "TESTING LAB". A dull light flows
out from the muddled glass windows of the door.
action: You go west
response: (first opening the testing lab door)

here. A few small fires can be seen, and the scent of gasoline is
heavy in the air. The exit is a nondescript door to the east. Welcome
to the Laboratory of Manufactured Light.

A pentagon sits in the lab, looking distressed.
action: You examine pentagon
response: The pentagon - A.R. according to his name tag - probably shouldn't
have all that oil-stained clothing so close to an open flame. But you
won't tell.
action: You talk to pentagon
response: The pentagon turns to greet you. "It's hopeless," he says. "My
academic career, completely down the drain."
action: You give the card to pentagon
response: Allen thanks you profusely. "Finally, I can check out books again." He
digs around in his pockets for a bit before pulling something out.
"Here," he says. "I found this in the lab the other day. You can have
it." He hands you a stone.
action: You look at the stone
response: A smooth, jagged rock, about the size of a small pebble. A hole has
been bored in its center.
action: You ask Allen about the stone
response: (the sharp stone)
"Flint, I think. It must have fallen off one of my inventions.
Whatever. It's yours now."
action: You ask Allen about the academic career
response: "I've been working on something," the pentagon explains. "A
comprehensive analysis of fire that's sure to get me published. Only
thing is, I need a particular compendium from the library.
And the library's way too far away."
action: You ask Allen about the compendium
response: "Fire And Its Medicinal Uses", the pentagon says fondly. "Oh,
I can just see the title now."
action: You ask Allen about the fire
response: "Yeah, that's the one I'm talking about."
action: You go east
response: Moloch Street, where shapes who have traded away their mortal souls
begin their journeys towards hell. North is the entrance to the
Labyrinth of Tigers, and west is the university. South, the street
becomes less menacing.

An old house with a brass-plated door stands in the east, passing
judgement on everyone it sees.
action: Go west
response: here. A few small fires can be seen, and the scent of gasoline is
heavy in the air. The exit is a nondescript door to the east. Welcome
to the Laboratory of Manufactured Light.

A pentagon sits in the lab, looking distressed.
action: You give the fire to Allen
response: The pentagon takes the book from you. "My research is saved," he says.
"This is truly a great day for science. Why don't you take this as
payment?" He hands you some kind of experimental device.
action: You examine the device
response: A metal device resembling an open-ended safety pin. One of its points
has a metal disc screwed onto it, and one of its points is empty -
it's missing something. When you click the ends together, nothing
happens.
action: You ask Allen about device
response: "What, that?" The pentagon shrugs. "Part of a new invention I'm
working on. The power of fire, at the tip of your fingertips. Or I
guess the power of sparks."
action: You put the flint on the device
response: You slide the flint into place on the flint-and-steel lighter.
action: You talk to Allen
response: Allen ignores you. He's busy reading not one but three books.
action: Go south
response: What was once the river Thames cuts through the middle of the city,
depositing the dead and detritus alike on its muddy banks. The river
itself is immediately south. The street is north, and the beach
stretches on for a while to the west.
action: You examine river
response: The former Thames is still a fixture of London life, and it still
regularly spits up muddy garbage. It's just that now it spits up dead
people, too. They say it runs straight through hell.
action: You examine the object
response: A small, hard-to-make-out item, dripping with mud. You think you can
catch the gleam of brass, but beyond that, you can't identify it
through the muck.
action: You clean it
response: What do you want to clean the lumpy object with?
action: Towel
response: You make short work of the mud, revealing a brass ring. Your towel,
however, is ruined.
action: Clean towel
response: What do you want to clean the spare towel with?
action: You look at the ring
response: A shiny brass ring, of the kind often given by devils to their human
admirers. Valuable, though perhaps not the sort of thing to be seen
flaunting.
action: You examine the mud
response: that makes it impossible to go around. If you want to get anywhere in
this mud field, you're forced to let it splatter against one of your
sides. Circles, you hate mud.
action: You read the maze
response: So the geometer stood at the ready, pacing nervously around his
study. Soon, he'd been promised, it would all be complete. Even if
he'd contacted them first, he hadn't expected them to actually
respond, and he couldn't be more anxious if he tried. Not Eating,
barely sleeping, even, in case the chiropterans wanted to make the
exchange at night. Whether or not they could even give him what he'd
asked for was unclear as well. Such Entities as them were not to be
taken lightly, if they really wanted his entire city in exchange - and
that was another thing. What he'd promised them he didn't own, and if
they discovered they'd been tricked, they might not uphold their end
of the bargain. Euclid shuddered at the thought.

You shut the book. That's not a map at all. Must have been an error at
the printer's.
action: You go to the south
response: You kick and thrash, trying to keep the muddy water from filling your
lungs.
action: Go south
response: You can't go that way.

The water stings your eyes and burns your throat. Every breath you
take just brings you closer to the river. If you can't get out now,
it's over for you.
action: Leave
response: But you aren't in anything at the moment.

As the waves take you, the last thing you hear is the roar of water.

A slow boat drifts down a silent river. Your surroundings are dark,
but you can see everything with awful clarity. You can see the far
shore in the distance, out of reach.

A skeleton in robes sits at the front of the boat, guiding it along
down the river.

An ancient chess set is tucked away in a far corner of the boat.
action: You look at the chess
response: A battered chess set. The pieces are made of what looks like crystal.
action: You play the chess
response: The boatman looks at you inquisitively, and you think you see
something glint in his empty eyes. "Would you care for a game of
chess?"
action: Yes
response: The boatman moves a rook to F2. He grins, saying nothing.

It's your turn.

1: Circle to B7
2: Bishop to A8
3: Catspaw to D5
action: 2
response: It's clear that the boatman has you at a disadvantage. It's as though
he's playing 3D chess.

The boatman moves a catspaw to B6. His moves are smooth, confident.

It's your turn.

1: Circle to B2
2: Catspaw to A1
3: Bishop to E5

sharp."
2. The ideas and constructs of civilization can always be brought low by the wild animal's grand designs."
action: 2
response: You've got him on the ropes with that last move, you're sure of it.

The boatman moves a circle to H2. His moves are smooth, confident.

It's your turn.

1: Square to D3
2: Bishop to B2
3: Flint to E6

3. A stops B and B stops C. All things shall return to me."
4. Infinity stopped with a shot from a gun. To hinder a catspaw, move into a- *the ink is smudged too badly to read*" 5. If all else fails, go north, into the edge and the black."
action: 1
response: You watch passively as the boatman captures several of your pieces.

The boatman moves a flint to B4. His moves are smooth, confident.

It's your turn.

1: Rook to C5
2: Bishop to E4
3: Square to A2
action: 3
response: You knock another of the boatman's pieces from the board triumphantly.
He sighs.

of one who's done it a thousand times. "You never had a chance," he
hisses. "I've only ever lost once to a Londoner. Strange woman," the
boatman muses. "I think she actually wrote a book about the
experience." His gaze lingers on you for a moment, before turning back
to the river. "We've arrived, by the way. You might as well get out."
action: You leave
response: The sound of waves becomes louder and louder, until it is almost
deafening. Just like that, you return to yourself.

What was once the river Thames cuts through the middle of the city,
depositing the dead and detritus alike on its muddy banks. The river
itself is immediately south. The street is north, and the beach
stretches on for a while to the west.

Your whole body aches. You must have washed onto the beach - they do
say that the stolen river takes a trip through hell. Your brain is on
fire. But at least you're alive.
action: You check what you're carrying
response: You are carrying:
a brass ring
a flint-and-steel lighter
a maze map
a set of ritual instructions
a pail
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: You examine the house
response: A grandiose old home, with a brass-plated door and boarded up windows.
As far as you can tell, the only people that have been here in the
last ten years have been squatters.
action: You go to the east
response: (first opening the brass-plated door)
It seems to be locked.
action: You unlock door with the key
response: You unlock the brass-plated door.
action: You go east
response: (first opening the brass-plated door)

The house abandoned. Locked or not, anything of any real value has
been long since ransacked. A door to the west leads outside.

An unspeakably hideous painting is still here - there's not a looter
in London that would be caught dead with that thing.
action: You look at the painting
response: The wild asymmetry in the devil's face is bad enough. Together with
the threatening swarm of crows in the background and the way the
painting manages to suggest that Her Most Circular Majesty is a whore,
this is by far the worst painting you've ever seen. The employment of
lead-based paints means it's not even good kindling. No, the only way
this painting might ever be useful would be as some sort of theft
deterrent, placed in front of your chiefest treasures to ensure no one
ever comes near them.
action: You take painting
response: Nothing obvious happens.
action: You look at your surroundings
response: The house abandoned. Locked or not, anything of any real value has
been long since ransacked. A door to the west leads outside.

A gold brick is here.
action: You drop the painting
response: Dropped.
action: You examine the brick
response: A brick made from solid gold. Valuable, as gold bricks usually are.
action: Go north
response: Previously, one saw tigers at the zoo. Now, the tigers run the zoo.
Some of the more mundane exhibits are to the west. The geometrical
cells are east, and north is the Labyrinth's gift shop. South is the
exit to Moloch Street.

A tiger in a janitor's uniform can be seen scrubbing the walls.
action: Examine janitor
response: A large, magnificent tiger, quietly mopping what looks like a
bloodstain.
action: You talk to janitor
response: "Hey," the tiger says. "I'm a little busy right now. After I clean
this, I need to go feed the penguins - and on top of that, the
Cervine Shuffler in the next exhibit over won't take his
pills."
action: You ask the janitor about the Cervine Shuffler
response: The tiger sighs. "I don't know what's wrong with him," he says. "I put
his pills in his tray, but he won't take them. How am I supposed to
take care of these animals if they won't even take their pills?"
action: You ask the janitor about the pills
response: "They're supposed to get it to throw up," the tiger explains. "Just in
case he ate something he wasn't supposed to. Or someone." The tiger
shrugs. "To be fair, I wouldn't take them either if I were him. He
only eats meat and meat-adjacent foods."
action: You go west
response: Out of the many animal exhibits here, this one seems the least likely
to maim you. A tiger mopping the floors outside reassures you that
that 'doesn't usually' happen. But why take chances?

A large beast that only vaguely resembles a deer is here, shuffling
morosely around its cage. Every so often, it makes a sickening rattle
that could charitably be described as a cough.

A scattering of pills is in the Shuffler's feeding trough, untouched.
action: You look at the beast
response: A huge, hairy creature with antlers and razor-sharp teeth. Its
coughing sounds like the wheeze of a dying man.
action: You examine the pills
response: Large, slightly greasy pills. They might just cure the Shuffler of
whatever ails it. That is, if it actually wanted to eat them.
action: You talk to the beast
response: The Cervine Shuffler looks at you balefully. It grunts.
action: You go to the east
response: Previously, one saw tigers at the zoo. Now, the tigers run the zoo.
Some of the more mundane exhibits are to the west. The geometrical
cells are east, and north is the Labyrinth's gift shop. South is the
exit to Moloch Street.

A tiger in a janitor's uniform can be seen scrubbing the walls.
action: Go north
response: Tigers hate cheap trinkets, and visitors to the labyrinth are too
enthralled with the wonders of the natural world to pay a gift shop
any mind. Nevertheless, the gift shop remains, gathering dust. South
is the way out.

of the shop. Today, they are distributing free samples.
action: You examine the cart
response: LUMPS! The sign reads. RUBBERY! ENIGMATIC! FREE OF CHARGE! You suppose
those are decent qualities for lumps to have.
action: You examine the lumps
response: Hot, greasy, fried food. As usual, you aren't quite sure what it is
that's been fried, only that it came from something living.
action: You take the lump
response: As you take the lumps, something catches on one of your sides, and
before you know it, the cart has completely collapsed. Oil pools at
the base of the cart.
action: You fill the lamp
response: What do you want to fill the rusty lamp with?
action: Oil
response: You pour the pint of fry oil into the rusty lamp.
action: You check your inventory
response: You are carrying:
some rubbery lumps
a solid gold brick
a brass ring
a flint-and-steel lighter
a maze map
a set of ritual instructions
a pail
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp
a pint of fry oil
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: Look around
response: Tigers hate cheap trinkets, and visitors to the labyrinth are too
enthralled with the wonders of the natural world to pay a gift shop
any mind. Nevertheless, the gift shop remains, gathering dust. South
is the way out.

A pile of rubble is all that remains of a food cart.
action: Go south
response: Previously, one saw tigers at the zoo. Now, the tigers run the zoo.
Some of the more mundane exhibits are to the west. The geometrical
cells are east, and north is the Labyrinth's gift shop. South is the
exit to Moloch Street.

A tiger in a janitor's uniform can be seen scrubbing the walls.
action: You go west
response: Out of the many animal exhibits here, this one seems the least likely
to maim you. A tiger mopping the floors outside reassures you that
that 'doesn't usually' happen. But why take chances?

A large beast that only vaguely resembles a deer is here, shuffling
morosely around its cage. Every so often, it makes a sickening rattle
that could charitably be described as a cough.

A scattering of pills is in the Shuffler's feeding trough, untouched.
action: You put the pills in the lumps
response: (first taking the pills)
You stuff the pills into the lumpy mass. Hopefully this will do
something towards disguising their taste.
action: You put lumps in the trough
response: The Shuffler sniffs the lumps cautiously. Then it opens its mouth and
swallows them, not even bothering to chew.
action: You wait
response: Time passes.

Suddenly, the Cervine Shuffler begins to cough loudly. It gags and
wheezes, straining to push something out from its throat.
action: You wait awhile
response: Time passes.

After what feels like an eternity of hacking and sputtering, the
Cervine Shuffler spits a smooth grey stone onto the floor.
action: You take the grey stone
response: Taken.
action: You look at it
response: A smooth, grey stone. Valuable, and only occasionally hairy.
action: Go east
response: Animals aren't the only thing kept in the Labyrinth of Tigers. You are
in a wide room, the walls lined with various cells behind curtains. A
sign reminds visitors not to bring mirrors into the exhibit. West is
the exit.

A plain green curtain covers a cage.
action: You pull the curtain
response: It is fixed in place.
action: You move the curtain
response: You open the curtain. A scruffy-looking square is behind it.
action: You examine the square
response: cage. You're sure it's noticed you. It's just not interested.
action: You talk to the square
response: The square keeps its back turned. "Don't want to talk to you," it
mutters. "Don't need to talk to you. We want to leave." It hisses.
"Come back when you've got what we want."
action: You examine the sign
response: NO MIRRORS BEYOND THIS POINT, the sign reads. FOR YOUR OWN SAFETY AND
FOR THE EFFICACY OF OUR PRISON, KEEP MIRRORS AND REFLECTIVE SURFACES
AWAY FROM THE EXHIBITS, NO MATTER HOW THEY MIGHT PROTEST.
action: Open case
response: You open the trophy case, revealing a heartmetal disc, a horse statue
and a lump of friendly amber.
action: You put the gold in the case
response: The solid gold brick fits perfectly.
action: You put the bezoar in the case
response: The bezoar fits perfectly.
action: Inventory
response: You are carrying:
a brass ring
a flint-and-steel lighter
a maze map
a set of ritual instructions
a pail
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp
a pint of fry oil
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: You wear the ring
response: You put on the brass ring.
action: You remove the ring
response: You take off the brass ring.
action: Light lamp with device
response: You light the rusty lamp.

This small, cramped tunnel runs from north to south between two
parallel walls. A hole in the western wall leads outside.
action: Go north
response: The palace's wine cellar is supposed to be intruder-free, but the
trapdoor was left unlocked. Strangely, racks and racks of expensive
wines still line the walls. South, the trapdoor leads back to the
tunnels. West is a back door out.

On one wall is a jeweled sword, apparently used to uncork wine.
action: You examine the wine
response: can't get anywhere else. But the wines made after are rich, and taste
like home. Many, many bottles are arranged here.
action: You examine it
response: A large, curving thing with a gem-encrusted handle. ...Is that a
diamond? It certainly looks valuable. It's also decorative, not to
mention blunt.
action: You go west
response: (first opening the back door)
You unlock the door from the inside.

You are west of the palace, where the back entrance to the building is
located. North is the roof, and to the south, you can see a basalt
wall.
action: Go east
response: The palace's wine cellar is supposed to be intruder-free, but the
trapdoor was left unlocked. Strangely, racks and racks of expensive
wines still line the walls. South, the trapdoor leads back to the
tunnels. West is a back door out.
action: Go south
response: This small, cramped tunnel runs from north to south between two
parallel walls. A hole in the western wall leads outside.
action: You go south
response: This small, cramped tunnel runs from north to south between two
parallel walls. North is a hint of daylight. South, you see the ruins
of an archway.
action: Go south
response: You stand in the ruins of an archway, made from ancient stone. There
is a complex series of tunnels to the south, and north is the way you
came.
action: You go to the south
response: A complex system of tunnels forms a winding labyrinth, with exits in
all directions.
action: Go east
response: The maze of tunnels in the west ends here, at a fancy door to the
east. You can sense a presence behind the door, thrumming with power.
You're close.
action: You examine the door
response: An ornate door, made from wood.
action: Go east
response: (first opening the fancy door)

A small room with rough cave walls, but an inhabited one. Cave
paintings near the wall serve as decorations, and empty wine bottles
are scattered all over the room. West is the exit.

An old wooden desk is here, next to a chair.
action: You examine the paintings
response: The paintings are crude, but it's clear someone spent a lot of time on
them. What they're of is anyone's guess - lines intersect each other
at seemingly random intervals, shapes overlap one another and fold
inwards.
action: You look at the bottles
response: Empty bottles of the cheapest alcohol you've ever seen. There must be
hundreds of them.
action: You look at the desk
response: A plain wooden writing desk that contains a set of drawers.
action: You open the drawers
response: You open the drawers, revealing a handwritten book.
action: You take the book
response: (the handwritten book)
As if on cue, a line- no, a square- appears out of nowhere behind you.
action: You examine the square
response: He is an infinitely thin straight line - no, some kind of rectangle.
Or is he a square? He keeps changing. Whatever he is, he is dressed in
a simple robe, and has the look of someone from another time. As a
square, he smiles sadly at you.
action: You talk to the square
response: "It hurts, being like this." The entity blinks at you, as though he's
just realizing you're here. "But I'm being rude. You're here for the
book, right?"
action: Yes
response: That was a rhetorical question.
action: You ask the square about book
response: (the handwritten book)
"This was supposed to be my life's work," he says softly. "I wanted to
prove that the third dimension was real so very badly. Back when I was
Euclid the geometer, instead of being... like this." As he says this,
he vanishes, only to reappear moments later. "I'm sorry, Detective.
It's so hard to keep myself flat. My body just wants to drift up into
space, I suppose. Add that to my list of regrets."
action: You ask square about the regrets
response: "This book was supposed to be a log of my travels. The places
I saw, the things I learned. I wanted to enlighten people, wake them
up to the glories of the third dimension. And even now, I
still do. But I don't know if it was worth it, and I certainly don't
want anyone trying to follow in my footsteps."
action: You ask square about the travels
response: "I spent hundreds of years travelling the third dimension," Euclid
says. "Even if I couldn't really get it, I figured I'd have a look.
Thought I might find another civilization, resources, something. I
found two things - You people, in that cavern the bats like to send
people to, and nothing. Absolutely nothing. We're all alone in the
universe." He shivers. "It was all for nothing."
action: You ask the square about the third dimension
response: "Yes, the third dimension is real. Not that anyone wants to listen.
They're all so scared that there could be something out there they
don't understand, so they try to suppress it. The bats are in
on it too, trying to keep people in the dark." He perks up. "But my
book can change all that! Spread the truths of the third dimension to
the common man."

Euclid clears his throat. "I want my book to go public, so people will
know the truth, but at the same time, I'm not sure if we even should
be meddling with the third dimension. Maybe it's better to keep people
in the dark." He gives you a serious look. "I want to let you have my
book, Detective. Give it to a library, sell it - hell, you could even
burn the damn thing, it's in your hands now. I know you'll do the
right thing with it, in the end."
action: You ask square about the bats
response: "I heard they bought cities. Pages and the rest. I asked them
for help with my research, and we made a deal. Of course, they only
found out I wasn't the owner of Athens after." He shivers. "I still
don't know if what they did was my payment, or my punishment for lying
to them, but I can't say they didn't give me what I asked for."
action: You ask the square about Pages
response: "I remember him." Euclid glares. "Listen, Detective, I don't care what
he offers you - you can't let him have my book. He helped take down
London, and he's not even fully three dimensional. If he had
a guide to the third dimension, who knows what else he'd be able to
do."
action: You ask the square about London
response: (London)
"I like this city. The mongolian city - the one before you guys - was
alright, don't get me wrong, but they really had it out for me. Don't
think they agreed with just how... irregular I am. Still, what
happened to them was-" Euclid shudders. "I'll miss your city, when
it's your turn to be replaced."
action: You ask square about the footsteps
response: "I don't know how it happened, exactly. The bats showed me a
letter, or maybe it was a word, but something was wrong with
it - it was too strong, or it wasn't made right or something. It made
me pass out, and when I woke up, I could see so much more." Euclid
sighs. "I can't stop seeing it, though. Even when I try, the third
dimension is always right there, giving me one hell of a headache. I'd
get rid of it, if I could."
action: You ask square about the letter
response: "It looked like a letter, but it was more like a brand. Some burning
thing, more or less seared itself into my consciousness. I tried to
recreate it once, but I ended up throwing out the cast because I
couldn't get anything better than scrap metal. Something that
important needs expensive, sentimental objects I just couldn't quite
find."
action: You read the book
response: Which do you mean, the handwritten book or the maze map?
action: Handwritten
response: The book contains many detailed mathematical illustrations. Every page
is filled to the brim with small, neat handwriting. Half of it is
written in ancient greek, and the rest is in mongolian. Shame. It
probably would have been fascinating.

You find a small bookmark, tucked away between the pages.
action: Examine bookmark
response: A thin bookmark with detailed geometrical patterns. The solid gold
inlay makes it quite valuable.
action: You take it
response: You already have that.
action: You ask Euclid about gold
response: The entity just stares at you. One of his lines fades in and out of
reality.
action: Inventory
response: You are carrying:
a bookmark
a handwritten book
a jeweled sword
a brass ring
a flint-and-steel lighter
a maze map
a set of ritual instructions
a pail
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: Look around
response: A small room with rough cave walls, but an inhabited one. Cave
paintings near the wall serve as decorations, and empty wine bottles
are scattered all over the room. West is the exit.

An entity stands in the room, giving you a headache.

An old wooden desk is here, next to a chair.
action: You examine chair
response: An old chair with a curved back. It is made of wood, but surprisingly
light.
action: Go west
response: You are in the middle of a broad hallway from east to west. Some unlit
glass tubes are here.
action: You look at tubes
response: An ordinary glass tube. If you look closely, you can see a colorful
gas inside.
action: You take the tubes
response: That's hardly portable.
action: You go to the west
response: here. A few small fires can be seen, and the scent of gasoline is
heavy in the air. The exit is a nondescript door to the east. Welcome
to the Laboratory of Manufactured Light.

A pentagon sits in the lab, reading.
action: You go east
response: Animals aren't the only thing kept in the Labyrinth of Tigers. You are
in a wide room, the walls lined with various cells behind curtains. A
sign reminds visitors not to bring mirrors into the exhibit. West is
the exit.

Beneath the green curtain, a scruffy-looking square is in a cage.
action: You give the mirror to the square
response: The square thanks you, snatching the mirror. "Sanitized," it remarks
coolly. "Disgusting, but we can work with that." The scruffy-looking
square shoves itself into the mirror with a sickening crack and is
gone. Your mirror falls to the south side of the cage, but something
is different about it.
action: You examine the mirror
response: A small mirror with green-tinted glass. When you touch the surface, it
ever so slightly gives way. You could enter it, if you wanted to.
action: You go to the east
response: You are in your small apartment. It's a cool London morning, and your
windows are ever so slightly fogged up. A door is set into the west
wall of your home.

In one corner of the room is an old wooden trophy case.
action: You enter it
response: You push yourself into the mirror, cutting yourself slightly on jagged
edges you didn't know were there.

[PRESS ANY KEY TO CONTINUE]## Amber Woods
You are in a thick forest, where the ambient light is a soft shade of
amber. You are in the land-behind-mirrors, home of the glass serpents.
You are nowhere that is real. The forest stretches out in every
direction.
action: You look
response: You are in a thick forest, where the ambient light is a soft shade of
amber. You are in the land-behind-mirrors, home of the glass serpents.
You are nowhere that is real. The forest stretches out in every
direction.
action: Go north
response: A path from west to east snakes through the thick foliage. Off the
path to the north, you can see something gleam.
action: Go north
response: You've never heard of an orchard with just one tree. Here it is,
though. Densely packed trees surround you on all sides, but open up
ever so slightly to the south.

A gorgeous tree stands at the center of a wide clearing, lush with
promises it may yet keep.
action: You examine the tree
response: The most beautiful tree you've ever seen shines when you look at it,
forcing you to squint. Shining, silver sap drips slowly from the tree
in rivulets, ready for collection. A glassy cluster of fruit hangs on
the tree, waiting to be plucked.
action: You examine the sap
response: Silver sap, from the place that is not. It shines brightly, but isn't
enough to provide any real light. Perhaps if you were to put it
somewhere.
action: You look at the fruit
response: A glassy cluster of fruit, like a fly's eye hewn from crystal.
Solacefruit is rare, valuable, and entirely toxic.
action: You take the fruit
response: You remove the fruit. Without it, the tree doesn't catch the light as
nicely as it used to.
action: Go west
response: A path from the northwest bends around to the east. The trees here
seem to grow in strange directions.
action: Go northwest
response: North is the entrance to a sinuous structure of wood and thorns.
Something shapeless lives here, you're sure of it. What remains to be
seen, however, is whether or not they'll be able to catch you
trespassing. Southeast, a path leads back into the forest.
action: Go north
response: Leafy walls make up a large entry hall. Tapestries can be seen on
either side of the room. Off to the west, a passageway lined with
thorns can be seen. East, the walls change from leaves to mahogany.
Other, smaller passages pepper the wall like holes, but they are far
too small for you to enter.
action: You look at the tapestries
response: surrounding jungle. Each one depicts a writhing mass of snakes.
action: Go west
response: A cavernous room, with thorny walls and no windows. Cages made from
stiff briars are here, wrapping painfully around their dead-eyed
prisoners. Most of them are motionless, but one stirs to look at you
when you enter the room. To the east, the rest of the castle beckons
you.

An imprisoned heptagon watches the room with its too-many eyes.
action: You examine the heptagon
response: Each one of his seven eyes is fixed on you with rapt attention. He
sees you looking at him, and coughs, politely.
action: You talk to the heptagon
response: "Hello, Detective. I believe, taking into account the
predicament I am in-" The briars squeeze the heptagon
tighter, as if in response. "-that you can help me with a problem of
mine." He smiles wearily. "And maybe, I can do you a favor as
well."

Out of the corner of your eye, you see a flash of green. A trick of
the light. It's nothing. Don't worry about it.
action: You ask the heptagon about predicament
response: "I've been their prisoner for quite a while now," the heptagon
explains. "The kings behind mirrors. I can't say for how
long, time is funny here." He continues as if he's talking about what
he had for breakfast this morning. "They prefer more normal-looking
shapes, so they've left me alone. But I'm tired of living in their
castle, eating their 'food', watching the things they do to decent
shapes." He leans towards you. "I want to escape, Detective.
And I want you to help me.
action: You ask the heptagon about kings
response: "They're nothing more than snakes," The heptagon spits. "Literal
snakes. And the things that live in the corners of your eyes. You'll
have to be careful around them, or they'll take your skin and wear it.
Pompous bastards," he mutters to himself. "Trapped in some imaginary
wasteland, and they call themselves kings."
action: You ask the heptagon about the escape
response: "Getting out's possible, in theory," the heptagon says. "Not as easy
as getting in, but possible, using the same, ah, methods. This is the
land-behind-mirrors, after all."
action: You ask the heptagon about the land
response: (land-behind-mirrors)
"The nature of the place is that it defies nature." The heptagon
shrugs. "They can't exist in the real world, not without their
borrowed geometry, so they've resigned themselves to be the kings only
of dreams, and all things behind mirrors."
action: You ask the heptagon about tree
response: "I can't help you there, Detective. All this time behind the glass
hasn't been good for my mind."

You think you hear a hissing sound. Quiet, at first, but getting
louder.
action: You go to the east
response: Leafy walls make up a large entry hall. Tapestries can be seen on
either side of the room. Off to the west, a passageway lined with
thorns can be seen. East, the walls change from leaves to mahogany.
Other, smaller passages pepper the wall like holes, but they are far
too small for you to enter.
action: You go to the east
response: The castle's treasure vault is located to the east. The imposing door
has a small plaque attached to it. West is the exit.

Six gas lamps are embedded in the vault door.

A piano is set into one wall.
action: You examine the plaque
response: PLAY THE SEQUENCE TO ENTER THE VAULT, the plaque reads. A piece of
scratch paper is taped next to it.
action: You look at the scratch paper
response: Some notes in borderline illegible handwriting.
GREEN = RIGHT NOTE, RIGHT PLACE
BLUE = RIGHT NOTE, WRONG PLACE
PLAY SIX NOTES AT A TIME (A-G)
action: You look at the piano
response: A small mahogany piano that can play notes from A-G. Most of the keys
are wood, but one is made from ivory.

The hissing won't stop. Not even when you plug your ears.
action: You go to the south
response: As you pass through the threshhold, the hissing stops abruptly.

North is the entrance to a sinuous structure of wood and thorns.
Something shapeless lives here, you're sure of it. What remains to be
seen, however, is whether or not they'll be able to catch you
trespassing. Southeast, a path leads back into the forest.
action: Go east
response: A path from the west winds around to the south. It is easy to get lost
here.
action: You go north
response: The jungle is too thick for you to take more than a couple of steps in
that direction.
action: You examine the tree
response: The most beautiful tree you've ever seen shines when you look at it,
forcing you to squint. Shining, silver sap drips slowly from the tree
in rivulets, ready for collection.
action: You examine the sap
response: Silver sap, from the place that is not. It shines brightly, but isn't
enough to provide any real light. Perhaps if you were to put it
somewhere.
action: You look around
response: You've never heard of an orchard with just one tree. Here it is,
though. Densely packed trees surround you on all sides, but open up
ever so slightly to the south.

An ordinary tree is here.
action: You go south
response: A path from west to east snakes through the thick foliage.
action: You talk
response: (to the sevenfold panoptic)
"Listen, Detective, I really do need your help with my little
predicament." He swats at a strand of thorns
conversationally. "Please? I might be able to do you a favor,
in return."
action: You give the sap
response: (to the sevenfold panoptic)
The heptagon declines. "You'll want to keep your possessions about
you, Detective. Unless you want to wake up as less than you were."

Out of the corner of your eye, you see a flash of green. A trick of
the light. It's nothing. Don't worry about it.
action: You play DFFGBB
response: You play 'DFFGBB' on the piano.
Three of the gas lamps light up blue.
action: You play AAAAAA
response: You play 'AAAAAA' on the piano.
One of the gas lamps lights up green.
action: You play BBBBBB
response: You play 'BBBBBB' on the piano.
One of the gas lamps lights up green.

You think you hear a hissing sound. Quiet, at first, but getting
louder.
action: You play the CCCCCC
response: You play 'CCCCCC' on the piano.
One of the gas lamps lights up green.
action: You play the DDDDDD
response: You play 'DDDDDD' on the piano.
One of the gas lamps lights up green.
action: You play EEEEEE
response: You play 'EEEEEE' on the piano.
One of the gas lamps lights up green.
action: You play GGGGGG
response: You play 'GGGGGG' on the piano.
One of the gas lamps lights up green.

The hissing won't stop. Not even when you plug your ears.
action: You play abcdeg
response: You play 'ABCDEG' on the piano.
Three of the gas lamps light up green.
Three of the gas lamps light up blue.
action: You play abcfff
response: You play 'ABCFFF' on the piano.
One of the gas lamps lights up green.
Two of the gas lamps light up blue.
action: You play abffff
response: You play 'ABFFFF' on the piano.
Two of the gas lamps light up blue.

Out of the corner of your eye, you see a flash of green. A trick of
the light. It's nothing. Don't worry about it.
action: You play the FFFDFG
response: You play 'FFFDFG' on the piano.
Two of the gas lamps light up green.
action: Play beffaf
response: You play 'BEFFAF' on the piano.
Three of the gas lamps light up green.
action: Play becdag
response: You play 'BECDAG' on the piano.
Six of the gas lamps light up green.
You hear a click in the vault door. One of the keys in the piano pops
out.
action: You examine it
response: If a piano's key were to exist, it would be made out of valuable
ivory.

You think you hear a hissing sound. Quiet, at first, but getting
louder.
action: You go east
response: (first opening the vault door)

Riches beyond your wildest imagination are here. Precious stones,
artifacts, even gold coins float around in your peripheral vision. To
the west is the door out of the vault.
action: You examine the coins
response: Beautiful masterworks, silver and jewels. But they're all out of
focus, and thinking about them too hard gives you a headache.
action: Go west
response: The castle's treasure vault is located to the east. The imposing door
has a small plaque attached to it. West is the exit.

Six gas lamps are embedded in the vault door.

A piano is set into one wall.
action: Go west
response: Leafy walls make up a large entry hall. Tapestries can be seen on
either side of the room. Off to the west, a passageway lined with
thorns can be seen. East, the walls change from leaves to mahogany.
Other, smaller passages pepper the wall like holes, but they are far
too small for you to enter.

The hissing won't stop. Not even when you plug your ears.
action: Go south
response: You are in the jungle. Thick, leafy vines surround you, and in the
distance, you can hear the chirping of many-throated birds. The region
to the west is blocked off by densely-packed trees.
action: Go west
response: The jungle is too thick for you to take more than a couple of steps in
that direction.
action: You go to the south
response: You stand at the center of a ruined structure. Bright green vines
twist around bits of rubble. There was something for you here, once.
But not any more. A path leads north, and to the east, the jungle
becomes impassable.
action: You examine the rubble
response: Careful, geometrical lines carved into the ancient bricks mark this as
a shape-made structure. It must have been something to behold, in its
time.
action: Go south
response: The jungle is thick, and the air is heavy and warm. All around you are
trees. Far to the south, through a curtain of leaves, you can see
something shine with borrowed light.
action: You go to the south
response: You are in a field of mirrors at the edge of the jungle, each one
fixed in the ground. Many reflect parts of London you recognize, but
many don't reflect places at all.
action: You look at mirrors
response: In the sea of mirrors, you find yourself drawn to two - a dark mirror
and a red mirror.
action: You look at the dark mirror
response: approach it. Reflected in the mirror is someone else's dream - A
seven-eyed shape sits in a cage. Thorns twist around and around the
heptagon, burying it, but it does not react.
action: Keep going
response: approach it. Reflected in the mirror is someone else's dream - A shop
owner walks through stacks upon stacks of ancient junk. She fishes
something out of a pile: A child's doll, with a thin dusting of
something that could be mistaken for snow. She weeps. Oh, how she
weeps.
action: You keep going
response: approach it. Reflected in the mirror is someone else's dream - A clay
triangle drinks a beer that begs for its life from a mug that's always
screaming. It's not enough to forget. It's never enough to forget.
action: Keep going
response: approach it. Reflected in the mirror is someone else's dream - A
pentagon searches his missing library card. But no matter how hard he
looks, he can't seem to find it.
action: You continue
response: approach it. Reflected in the mirror is someone else's dream - A
triangle is born. A triangle grasps the horror of its brief existence.
A triangle is gone.
action: Keep going
response: approach it. Reflected in the mirror is someone else's dream - A
librarian is handed a book that details the exact time and date of an
accident that will kill thousands. She assigns it a number, and
shelves it. She moves on.
action: Continue
response: approach it. Reflected in the mirror is someone else's dream - A snake
watches shapes go about their lives from a distance. It could not get
closer to them, even if it wanted to.
action: You continue
response: approach it. Reflected in the mirror is someone else's dream - An
archaeologist digs through rock. It doesn't matter how long she digs
for, the only thing she ever finds is stone.
action: Continue
response: approach it. Reflected in the mirror is someone else's dream - A
geometer prepares to make a bargain it knows it cannot uphold. It
thinks, perhaps it hopes, that by the time its deception is
discovered, it will be long gone from this dimension.
action: Continue
response: approach it. Reflected in the mirror is someone else's dream - A tiger
mops blood from a nondescript wall, but it keeps coming back. There is
so much blood on his paws.
action: You look at the red mirror
response: The mirror reflects a boat, drifting slowly down a quiet river. The
surface ripples, concealing something sharp.
action: You go north
response: The jungle is thick, and the air is heavy and warm. All around you are
trees. Far to the south, through a curtain of leaves, you can see
something shine with borrowed light.
action: You talk
response: (to the sevenfold panoptic)
"Listen, Detective, I really do need your help with my little
predicament." He swats at a strand of thorns
conversationally. "Please? I might be able to do you a favor,
in return."

Out of the corner of your eye, you see a flash of green. A trick of
the light. It's nothing. Don't worry about it.
action: You ring bell
response: The bell makes a pleasant ringing sound.
action: Inventory
response: You are carrying:
an ivory key
some brilliant sap
a solacefruit
a chair
a bookmark
a handwritten book
a jeweled sword
a brass ring
a flint-and-steel lighter
a maze map
a set of ritual instructions
a pail
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: You describe your surroundings
response: A cavernous room, with thorny walls and no windows. Cages made from
stiff briars are here, wrapping painfully around their dead-eyed
prisoners. Most of them are motionless, but one stirs to look at you
when you enter the room. To the east, the rest of the castle beckons
you.

An imprisoned heptagon watches the room with its too-many eyes.

An image comes to you. A ball of serpents, twisted together and the
purest green. You can't stop thinking about them. You'd like to stop
thinking about them.
action: You cut the briars
response: Cutting it up would achieve little.
action: You wait
response: Time passes.

A seething mass has lodged itself in your mind. Visitors aren't
welcome in their castle.
action: Wait
response: Time passes.

You're not quite sure if your mind is your own. You're not quite sure
if your body is your own. The longer you stay in this castle, the more
of your geometry belongs to the snakes. Get out. Get out now.
action: You wait
response: Time passes.

We are the kings behind mirrors. We are the glass serpents. We rule
unreality, and soon, we will rule reality too. This triangle is ours,
and will be ours, and has always been ours.

The last thing you hear before you lose consciousness is high,
many-voiced laughter.

A slow boat rests in a silent river. Your surroundings are dark, but
you can see everything with awful clarity. The far shore is in the
distance, out of reach.

A skeleton in robes sits at the front of the boat, guiding it along
down the river.

An ancient chess set is tucked away in a far corner of the boat.
action: Yes
response: The boatman moves a catspaw to E8. He watches for your next move.

It's your turn.

1: Rook to B6
2: Catspaw to G5
3: Bishop to C1

Please enter a number, 1-3.
action: 3
response: You try a move you vaguely recall hearing about. To your surprise, it
works perfectly.

The boatman moves a flint to E1. He grins, saying nothing.

It's your turn.

1: Flint to D2
2: Rook to H9
3: Bishop to A3
action: 3
response: You watch passively as the boatman captures several of your pieces.

The boatman moves a square to A1. His moves are smooth, confident.

It's your turn.

1: Flint to B7
2: Catspaw to H9
3: Square to A3
action: 1
response: You capture one of the boatman's pieces, and he captures three of
yours. The game progresses.

The boatman moves a circle to D8. His moves are smooth, confident.

It's your turn.

1: Square to H6
2: Flint to E5
3: Bishop to A3
action: 2
response: You knock another of the boatman's pieces from the board triumphantly.
He sighs.

of one who's done it a thousand times. "You never had a chance," he
hisses. "I've only ever lost once to a Londoner. Strange woman," the
boatman muses. "I think she actually wrote a book about the
experience." His gaze lingers on you for a moment, before turning back
to the river. "We've arrived, by the way. You might as well get out."
action: You look at your surroundings
response: A slow boat rests in a silent river. Your surroundings are dark, but
you can see everything with awful clarity. The boat is parked on the
shore to the north.

A skeleton in robes sits at the front of the boat, guiding it along
down the river.

An ancient chess set is tucked away in a far corner of the boat.
action: You take chess
response: The boatman growls at you. "If you'd like to play," he spits, "you can
ask."
action: You go north
response: The sound of waves becomes louder and louder, until it is almost
deafening. Just like that, you return to yourself.

What was once the river Thames cuts through the middle of the city,
depositing the dead and detritus alike on its muddy banks. The river
itself is immediately south. The street is north, and the beach
stretches on for a while to the west.

Your whole body aches. You must have washed onto the beach - they do
say that the stolen river takes a trip through hell. Your brain is on
fire. But at least you're alive.
action: Go east
response: You are in your small apartment. It's a cool London morning, and your
windows are ever so slightly fogged up. A door is set into the west
wall of your home.

In one corner of the room is an old wooden trophy case.

You can also see a green-glass mirror (empty) here.
action: You examine the case
response: An old trophy case, with thirteen slots of specific sizes and shapes.
Five of the case's slots have been filled.
action: Open case
response: You open the trophy case, revealing a bezoar, a solid gold brick, a
heartmetal disc, a horse statue and a lump of friendly amber.
action: You put fruit in case
response: The solacefruit fits perfectly.
action: You put the bookmark in the case
response: The bookmark fits perfectly.
action: You put the ring in the case
response: The brass ring fits perfectly.
action: You look in the case
response: In the trophy case are a brass ring, a bookmark, a solacefruit, a
jeweled sword, a bezoar, a solid gold brick, a heartmetal disc, a
horse statue and a lump of friendly amber.
action: You go down
response: That's impossible.
action: You take the lacre
response: There's no way you're going to touch that stuff. Not with your bare
hands, anyway.
action: You use the pail
response: 'Use' isn't specific enough. Why don't you try:
Lighting
Drinking
Attaching
Digging
Pulling
Playing
Unlocking
Reading
Drying
action: You look at the ritual
response: The instructions to some kind of rite, in shaky writing.

1. The shape the sacred shape never more never less always eight the
sacred shape LIGHT THEM.
2. Ring the bell to get the audience's attention
3. Repeat after me.

On the back is an incantation, though much of the ink is smudged.
action: You examine incantation
response: The instructions are written in the queen's english, but the
incantation is written in mongolian - the language of the fourth city.
But it's not really the right time for mongolian conjuring, so you
decide not to.You don't understand a word of it. Maybe if you did
you'd be able to read it out loud.
action: You go to the east
response: Here in a broad cavern, across a sea of foamy pits, is a stone altar.
West is a cage-elevator, situated on a flat stone clearing. A
stairwell south leads even further into the bowels of the earth.
action: Inventory
response: You are carrying:
an ivory key
some brilliant sap
a chair
a handwritten book
a flint-and-steel lighter
a maze map
a set of ritual instructions
a pail
a brass key
a bell
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
a detective's fedora (being worn)
the spare towel
a knapsack (open but empty)
a compelling note
action: Go east
response: A small room with rough cave walls, but an inhabited one. Cave
paintings near the wall serve as decorations, and empty wine bottles
are scattered all over the room. West is the exit.

An entity stands in the room, giving you a headache.

An old wooden desk is here.
action: You ask the archaeologist about temple
response: "The amber is weird," the archaeologist admits. "Doesn't look like any
fourth city temple I know about." She sighs. "I guess I'd better get
back to applying for grants.
action: You examine the clay
response: A triangle, but made from sturdy clay. One of the creatures that began
to appear here and there after the shift, albeit to fill a role
London's had for centuries. This one looks bored.
action: Go south
response: You stand in a grand hall, built from a rich marble. Even weathered by
time, it's magnificent. The exit is to the north. A side-room, so
small that it seems like an afterthought, is to the west. Presumably
there were other chambers here, but they've long since been buried in
debris.
action: You look at the debris
response: Solid, heavy rubble prevents your passage.
action: Go west
response: than constructed. East, a jagged tunnel leads back into the temple you
came from.
action: Light candles
response: What do you want to light the candles with?
action: Lighter
response: The candle's flames roar to life as you light them. Each one is a
bright point of light, and for a moment, you can almost see the shape
they form.
action: You ring bell
response: The bell makes a loud, hollow sound that makes contact with your lines
and stays there. Your vision blurs.
action: You read the incantation
response: "I address you, who live in the directions of up and down." You begin
to read aloud in a voice that is not your own, and in a language
you've never heard before. "I call upon a world I will never be able
to see, in its grand infinities, that it may speak to me, and that for
a moment, that I might begin to understand. There is a shape beyond a
circle, and it is you, it is Euclid, the square that has been squared,
spare me your fate and give me your lines." You raise your voice. "I
open the door!"

[PRESS ANY KEY TO CONTINUE]You feel the world shake around you, hear
the distant cry of an unfamiliar animal, but nothing appears. The
triangle, resting against the wall behind you, stands shakily.
action: You examine triangle
response: Unlike the skeleton you remember seeing, this triangle is alive. Even
if they are bleeding slightly.
action: You talk
response: (to the three-sided occultist)
"I always wondered if it would have worked," the occultist says. "We
were so close to completing the ritual, before- well, before. And we
tried so hard. Our cult, that is." They sigh. "But after
seventy years of waiting, I guess this was what I was waiting for."
The occultist hands you a wooden comb, carved to resemble a hawk.
"Thanks for trying, I suppose. For tying up that last loose end."

You smell smoke, and feel the temperature start to rise. "Our time's
almost up," the occultist says. "I don't have anything to keep me
here, not any more."
action: You look at the comb
response: A wooden comb, carved and painted to look like a hawk. The fact that
it's a genuine fourth city relic, albeit one in suspiciously good
condition, makes it rather valuable.

before your eyes. "Goodbye," says the occultist quietly. "And thank
you."

A clearing full of old, burnt rubble. Any structure that might have
been here has been long since destroyed, but perhaps a few relics
remain. East is the entrance to the Forgotten Quarter.

The memory of smoke stings your eye.
action: Go east
response: You stand at the edge of an ancient city - The Forgotten Quarter. Or
what's left of it, anyway. What wasn't destroyed by London was
stripped away by looters, making the whole place feel rather empty. To
the north, the empty ruins connect to an empty street. Far to the west
is a nondescript pile of rubble. South is an archeological dig site.
action: Go west
response: A clearing full of old, burnt rubble. Any structure that might have
been here has been long since destroyed, but perhaps a few relics
remain. East is the entrance to the Forgotten Quarter.
action: Go south
response: A magnificent dig site, heading into the stone that encases a lot of
the ruins. This one is almost abandoned, though. The way out of the
Forgotten Quarter is to the north. The entrance to an ancient temple
is visible to the south.

A clay triangle is hard at work at the dig site.

A bored archaeologist lies on a crate, worn out.
action: You talk to the archaeologist
response: "I can't thank you enough," the archaeologist says. "After my
crew quit, I didn't know what to do, but Brick's been a
lifesaver. I call him Brick, since they're made of clay- we've been
getting along great. Sometimes, we even finish each other's..." The
clay triangle stares into space. "...Sentences."
action: You ask the archaeolo about the pavilion
response: Which do you mean, the pavilion or the distant pavilion?
action: First
response: about the first mural.
action: Dig
response: What do you want to dig?
action: You put the comb in the case
response: The accipitrine comb fits perfectly.
action: You put it in the case
response: Taken.

The green-glass mirror doesn't seem to fit.
action: Light tubes
response: What do you want to light the arc light with?
action: Go east
response: The house abandoned. Locked or not, anything of any real value has
been long since ransacked. A door to the west leads outside.

You can see an unspeakably hideous painting here.
action: Climb bin
response: Little is to be achieved by that.
action: You go east
response: The place has a rather homey atmosphere. Ancient objects of all shapes
and sizes are for sale along the walls, though most of them just look
like junk. Outside, the desolate lane awaits. In the east wall of the
shop is the door to a back room.

A beautiful old rug is spread out across the floor of the shop. There
is no price tag.

Running the shop is a weary antiquarian.
action: Show painting
response: (to the weary antiquarian)
The weary antiquarian is unimpressed.
action: You go east
response: The Lair Of Mr. Pages
Instead of the back room of an antique shop, you appear to have
stumbled onto some kind of chair warehouse. A chairhouse, if you will.
Antique furniture has been placed in neat piles around the room. The
antique shop proper is west.

Mr. Pages himself, conspicuously without his usual flock of guards and
assistants, lounges in an old Queen Anne seat. This must be important.
action: You give the chair
response: (to Mr. Pages)
Mr. Pages does not move or speak for a long time. When he does, it is
to grab you in a tight hug, pressing his leathery bulk against your
lines. "My passion for furnishments!" He squeals. "You recallembered!"
action: Go west
response: The place has a rather homey atmosphere. Ancient objects of all shapes
and sizes are for sale along the walls, though most of them just look
like junk. Outside, the desolate lane awaits. In the east wall of the
shop is the door to a back room.

A beautiful old rug is spread out across the floor of the shop. There
is no price tag.

Running the shop is a weary antiquarian.
action: Go downwards
response: If anyone hears you talking that way, you'll be done for.
action: Light lacre
response: What do you want to light the lacre with?
action: You fill the pail
response: What do you want to fill the pail with?
action: Lacre
response: You shovel some lacre into the pail.
action: You put fedora in the pail
response: (first taking it off)
You drop the detective's fedora into the pail.

The liquid in the pail fizzes, sparks, and dissipates, turning a dull
red.
action: You wait awhile
response: Time passes.

The surface of the snow-foam warps and bubbles. The pail disintegrates
and a snow-triangle, much smaller than you but with the same
proportions, crawls out from its remains.
action: You look athe snow-triangle
response: An exquisite rendition of a shape, made from dense white foam. It
makes acute equilateral triangle, if you do say so yourself.

You see your snow-triangle start to unravel. A dusting of ivory powder
falls from one of its sides.
action: You wait
response: Time passes.

Your snow-triangle watches as one of its sides caves in. Snow-foam
pools around it, viscous and thick.
action: You wait
response: Time passes.

The snow-triangle stumbles towards you. It tries to cling to you, but
its lines collapse.
action: You takthe snow-triangle
response: I don't suppose the snow-triangle would care for that.

The snow-triangle looks at you with what's left of its eye. Something
shines there, bitter and sharp. "Goodbye," it says, and melts
completely.
action: Look around
response: Here in a broad cavern, across a sea of foamy pits, is a stone altar.
West is a cage-elevator, situated on a flat stone clearing. A
stairwell south leads even further into the bowels of the earth.

A puddle is here, fizzing ever so slightly. A shard glints out from
the middle of it.
action: You examine the shard
response: A glistening ivory shard. It is as cold and hard as ice, but it won't
melt. You know it won't. It is valuable, whatever else it might be.
action: You check your inventory
response: You are carrying:
a snow shard
a jeweled sword
a brass ring (being worn)
an unspeakably hideous painting
a green-glass mirror
an ivory key
some brilliant sap
a handwritten book
a flint-and-steel lighter
a maze map
a set of ritual instructions
a brass key
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
the spare towel
a knapsack (open but empty)
a compelling note
action: You put the ring in the case
response: (first taking it off)
The brass ring fits perfectly.
action: You look at the case
response: An old trophy case, with thirteen slots of specific sizes and shapes.
Eleven of the case's slots have been filled.

In the trophy case are a snow shard, a jeweled sword, a brass ring, an
accipitrine comb, a bookmark, a solacefruit, a bezoar, a solid gold
brick, a heartmetal disc, a horse statue and a lump of friendly amber.
action: You check what you're carrying
response: You are carrying:
an unspeakably hideous painting
a green-glass mirror
an ivory key
some brilliant sap
a handwritten book
a flint-and-steel lighter
a maze map
a set of ritual instructions
a brass key
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
the spare towel
a knapsack (open but empty)
a compelling note
action: You put the book in the case
response: Which do you mean, the handwritten book or the maze map?
action: Go south
response: You can't go that way.

As the waves take you, the last thing you hear is the roar of water.

A slow boat rests in a silent river. Your surroundings are dark, but
you can see everything with awful clarity. The far shore is in the
distance, out of reach.

A skeleton in robes sits at the front of the boat, guiding it along
down the river.

An ancient chess set is tucked away in a far corner of the boat.
action: You play the chess
response: The boatman looks at you inquisitively, and you think you see
something glint in his empty eyes. "Would you care for a game of
chess?"
action: Yes
response: The boatman moves a flint to D2. His moves are smooth, confident.

It's your turn.

1: Square to D8
2: Rook to B9
3: Bishop to H5
action: 2
response: You've got him on the ropes with that last move, you're sure of it.

The boatman moves a rook to E7. His moves are smooth, confident.

It's your turn.

1: Catspaw to D6
2: Bishop to C3
3: Circle to G2
action: 1
response: You knock another of the boatman's pieces from the board triumphantly.
He sighs.

The boatman moves a catspaw to C4. His moves are smooth, confident.

It's your turn.

1: Rook to C2
2: Square to G4
3: Circle to B5
action: 3
response: You try a move you vaguely recall hearing about. To your surprise, it
works perfectly.

The boatman moves a circle to G3. He grins, saying nothing.

It's your turn.

1: Bishop to D6
2: Circle to H4
3: Flint to B1
action: 3
response: You knock another of the boatman's pieces from the board triumphantly.
He sighs.

The boatman just stares when you finally capture his circle. He hands
you one of his catspaws, to your surprise. "Take this," he says. "I
don't often get a real opponent." His gaze lingers on you for a moment
with something like respect, and then he turns back to the river.
"We've arrived, by the way. You might as well get out."
action: You examine Catspaw
response: A catspaw. It can move diagonally, or in an L, or not at all, but
never all at once. This one is made of a valuable coral that gleams
like a brilliant gem.

Apart from the boat, drifting gently down the river, nothing moves.
action: You leave
response: The sound of waves becomes louder and louder, until it is almost
deafening. Just like that, you return to yourself.

What was once the river Thames cuts through the middle of the city,
depositing the dead and detritus alike on its muddy banks. The river
itself is immediately south. The street is north, and the beach
stretches on for a while to the west.

Your whole body aches. You must have washed onto the beach - they do
say that the stolen river takes a trip through hell. Your brain is on
fire. But at least you're alive.
action: You put Catspaw in the case
response: built to hold it, the pieces start to fall into place. This was never
a trophy case, it was a mold. And you have filled it - painstakingly,
lovingly - with the treasures of the world. Brass from the devils,
foam from the deepest pits, even the idea of ivory, stolen from the
serpent lords themselves. The shape that you have made is not fire,
but it burns.
action: You look
response: The only thing in the room is the burning symbol. Everything else is
just background noise.

exist - sits in your room and smolders.
action: You examine the sigil
response: An Unmappable Direction. A raging inferno at the edge of your
consciousness. A dot, then a line, then a square, and then you, as you
were always meant to be.

The sigil is a command, an exigent order followed by a shower of
sparks. The sigil is two words. The sigil is:

GO UP.
action: You go up
response: You are not north of London but above it. Shapes go about their daily
lives in little pentagonal buildings, and from here they might as well
be ants. Only the Bazaar is anything other than flat, its spines and
spires somehow managing to point up in ways you never noticed before
now. You can see the rest of the world, the one London was stolen from
so many years ago, as another flat plane far above you. When people
claimed that London went down, they might have been right. And above
all that? Space, an infinite cosmos of secrets, and the only way to go
is up.
action: Up
response: You're going to leave them in the dust. Flat, puny shapes, with flat,
puny dreams. Yours is the third dimension now, and the greater
universe, and abilities beyond mortal comprehension. It doesn't hurt
you like it does Euclid because your awakening wasn't some poorly
drawn sketch, given to a lazy liar by bats living large on borrowed
power. You took the long road and built your own third-dimensional
path with the things you've gathered, and now you're ready to leave
this world behind for the cosmic wilderness.

End your journey here? (You will be able to reverse this decision, but
why would you want to?)
action: Go downwards
response: You can do a lot of things now, but you can't phase through a solid
plane.
action: You check your inventory
response: You are carrying:
an unspeakably hideous painting
a green-glass mirror
some brilliant sap
a handwritten book
a flint-and-steel lighter
a maze map
a set of ritual instructions
a brass key
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
the spare towel
a knapsack (open but empty)
a compelling note
action: Yes
response: Up past the gate, and up a little further. You depart for the infinite
cosmos feeling giddy, but quickly decide it's not for you. There's
nothing for you in this grand, empty place. What would you
do? Live as a thrall to a monstrous star, burn both ends of the candle
and yourself to a crisp? You return, reluctantly, to London, and to
your life as a shape. Even with the money you later find on your
doorstep, thanking you for the beauticious chair, you can't live off
your savings forever. You once again take up your day job. Taking your
new perspective with you, of course.

As for the book? Well, it's yours, isn't it? Euclid gave it to you.
And once you can get it translated, you'll know everything he knows
about the third dimension. All the secrets and little tricks that come
from two thousand years of exploration, tucked securely away in your
pocket.

Crime demands your attention now. You can see it all from above. Every
theft, every murder. What was concealed behind closed doors is so very
visible from above. Not that you could ever tell the constables that.
Instead, you spin them a tale - you knew they were the murderer from
the mud on their boots. Their handwriting can attest to their guilt,
surely. And so on and so forth. Pretty quickly, people begin to take
notice, but not nearly as much as you notice them. You see everything
that happens in the city all the time, sometimes even in dreams. You
are the panopticon that is forever staring into space. You watch a
thousand tiny shapes commit a thousand tiny sins a day, and you cannot
possibly punish all of them. There's not enough time. There's never
enough time.

You are the greatest detective London has ever seen.
action: You give the handwritten book
response: (to Mr. Pages)
Mr. Pages snatches the book from you, squirrelling it away in the
folds of his robes. "You'll get your reward in due time," he hisses.
"All in due time." He doesn't seem like he's planning on destroying it
any time soon. Perhaps he really is the book collector his name makes
him out to be.

With the book firmly in the claws of Mr. Pages, your job is done. Your
reward should arrive in 5-7 business days, and after that? Well, you
don't know. Perhaps Pages will simply add the book to his collection,
and it will never again see the light of day. Perhaps he's got bigger
plans in store. Or perhaps the book didn't contain anything he didn't
already know. This hardly matters to you, though. You're about to be a
very rich Detective.

End your journey here? (You will be able to reverse this decision.)
action: Yes
response: assuaged when the money from Mr. Pages arrives on your doorstep, crate
by heavy crate. It's a drop in the bucket for something like him, but
for you it's enough to live not only comfortably, but glamorously. And
that's only the beginning of it. Soon, other high-profile individuals
start to make requests of you, each one taking you ever higher, ever
closer to the shadowy bats at the very top.

You don't hear from Euclid again. If he's happy with what happened to
his book, if he feels betrayed, you never do find out. Not that it's
really his book any more. It belongs to Mr. Pages now, along with the
valuable knowledge inside. You're useful to the bats, and that means
Pages trusts you enough to show you a little of what he's learned. He
can move like Euclid, when he wants to.

They talk about new cities sometimes. About bringing them 'down' to
wherever London is, crushing it and its citizens 'under' their
metropolitan weight. But that's not for a long time. You take another
swig from your glass of expensive champagne, and close your eye.
action: Light handwritten book with lighter
response: Maybe the public is better off in two dimensions. Maybe you just want
to deny Pages his prize. Either way, ancient paper makes excellent
kindling, and the book goes up in flames.

With the book destroyed, the city is the same as it ever was. No
ancient entity stumbles in, espousing the glories of the third
dimension, and the lives of London's citizens are not uprooted in the
slightest. Perhaps it's for the best. Change can be hard, and new
dimensions can be dangerous.

End your journey here? (You will be able to reverse this decision.)
action: Yes
response: You never get the money you were promised for a job well done. Mr.
Pages does, however, pay you for the chair you brought him. It's a
lot, but not enough to last, and you soon find yourself returning to
work. Luckily for you, even just being hired by Mr. Pages is a serious
boost to your career, and you soon find yourself deeply enmeshed in
The Case Of The Missing Goldfish, and dozens of other small
mysteries from wealthy clientele. You make a peaceful living, and live
a quiet life.

Every so often, you hear stories about a strange shape cropping up
around London. If it's Euclid, though, he certainly isn't there for
you, because you never see him again.

The third dimension doesn't exist. Maybe it never has.

[PRESS ANY KEY TO CONTINUE]
action: You give the handwritten book to the librarian
response: The librarian takes the book gently, like she's afraid she'll hurt it.
She says nothing for a long time. Then, as though it were the most
ordinary thing in the world, she assigns it a number, and dumps it in
a basket for shelving. What happens next is up to the librarian now.
You can't be sure that Pages won't get his hands on it, or the church,
or Her Most Circular Majesty. But it's a step in the right direction
for math and science - a step not north or south, but up.

End your journey here? (You will be able to reverse this decision.)
action: Yes
response: You never get the money you were promised for a job well done. Mr.
Pages does, however, pay you for the chair you brought him. It's a
lot, but not enough to last, and you soon find yourself returning to
work. Luckily for you, even just being hired by Mr. Pages is a serious
boost to your career, and you soon find yourself deeply enmeshed in
The Case Of The Missing Goldfish, and dozens of other small
mysteries from wealthy clientele. You make a peaceful living, and live
a quiet life.

A few months after the book is placed in the library, a bored student
checks it out. He takes it to his friend, who studies ancient
languages, and realizes the value of what he has. The book spreads
rapidly around campus - Translations are made, and study groups
formed. Progress is slow, of course, and it's still more or less
illegal to discuss the third dimension as if it were real, but the
book continues to seep into the public consciousness. Perhaps one day,
Euclid's legacy will be complete.
action: Inventory
response: You are carrying:
an apocyan catspaw
an unspeakably hideous painting
a green-glass mirror
some brilliant sap
a handwritten book
a flint-and-steel lighter
a maze map
a set of ritual instructions
a brass key
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
the spare towel
a knapsack (open but empty)
a compelling note
action: Go north
response: A path from west to east snakes through the thick foliage.
action: Go west
response: A path from the northwest bends around to the east. The trees here
seem to grow in strange directions.
action: Go west
response: A cavernous room, with thorny walls and no windows. Cages made from
stiff briars are here, wrapping painfully around their dead-eyed
prisoners. Most of them are motionless, but one stirs to look at you
when you enter the room. To the east, the rest of the castle beckons
you.

You sit placidly in a cage of thorns, looking dead ahead. You don't
remember what happened, the last time you were here.

An imprisoned heptagon watches the room with its too-many eyes.
action: Show mirror
response: (to the sevenfold panoptic)
The sevenfold panoptic is unimpressed.
action: You give the mirror
response: (to the sevenfold panoptic)
The heptagon takes the mirror tenderly. "Thank you," he says. "You've
done a good thing." With that he hurls himself into the mirror, not
even bothering to pick his way around the sharp parts, and is gone,
leaving the mirror behind.
action: You take the mirror
response: Taken.

Out of the corner of your eye, you see a flash of green. A trick of
the light. It's nothing. Don't worry about it.
action: You enter the mirror
response: As you step out from the mirror, you wake up in a cold sweat.

[PRESS ANY KEY TO CONTINUE]
action: You examine the looking glass
response: A green-tinted mirror with a real eye embedded in its handle.
Presently, it is closed.
action: You open it
response: You try to pry it open, but the eye remains shut.
action: You look in the mirror
response: The looking glass is empty.
action: You enter the mirror
response: It's difficult, but you manage to force yourself through the glass.

[PRESS ANY KEY TO CONTINUE]## Amber Woods
You are in a thick forest, where the ambient light is a soft shade of
amber. You are in the land-behind-mirrors, home of the glass serpents.
You are nowhere that is real. The forest stretches out in every
direction.
action: You check what you're carrying
response: You are carrying:
a looking glass
an apocyan catspaw
an unspeakably hideous painting
some brilliant sap
a handwritten book
a flint-and-steel lighter
a maze map
a set of ritual instructions
a brass key
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
the spare towel
a knapsack (open but empty)
a compelling note
action: You enter mirror
response: As you step out from the mirror, you wake up in a cold sweat.

[PRESS ANY KEY TO CONTINUE]## Your Lodgings
You are in your small apartment. It's a cool London morning, and your
windows are ever so slightly fogged up. A door is set into the west
wall of your home.

In one corner of the room is an old wooden trophy case.
action: You put catspaw in Case
response: built to hold it, the pieces start to fall into place. This was never
a trophy case, it was a mold. And you have filled it - painstakingly,
lovingly - with the treasures of the world. Brass from the devils,
foam from the deepest pits, even the idea of ivory, stolen from the
serpent lords themselves. The shape that you have made is not fire,
but it burns.
action: Look around
response: The only thing in the room is the burning symbol. Everything else is
just background noise.

exist - sits in your room and smolders.
action: You examine the sigil
response: An Unmappable Direction. A raging inferno at the edge of your
consciousness. A dot, then a line, then a square, and then you, as you
were always meant to be.

The sigil is a command, an exigent order followed by a shower of
sparks. The sigil is two words. The sigil is:

GO UP.
action: Go west
response: A cavernous room, with thorny walls and no windows. Cages made from
stiff briars are here, wrapping painfully around their dead-eyed
prisoners. To the east, the rest of the castle beckons you.

You sit placidly in a cage of thorns, looking dead ahead. You don't
remember what happened, the last time you were here.
action: You enter the mirror
response: As you step out from the mirror, you wake up in a cold sweat.

[PRESS ANY KEY TO CONTINUE]## Your Lodgings
The only thing in the room is the burning symbol. Everything else is
just background noise.

exist - sits in your room and smolders.
action: Wave mirror
response: You wave the looking glass.
action: You go to the east
response: Here in a broad cavern, across a sea of foamy pits, is a stone altar.
West is a cage-elevator, situated on a flat stone clearing. A
stairwell south leads even further into the bowels of the earth.

A puddle is here, fizzing ever so slightly.
action: Go south
response: The eye on the handle of your looking glass opens.

You stand in the ruins of an archway, made from ancient stone. There
is a complex series of tunnels to the south, and north is the way you
came.
action: You examine the eye
response: A green-tinted mirror with a real eye embedded in its handle. The eye
is looking south.
action: You examine the eye
response: A green-tinted mirror with a real eye embedded in its handle. The eye
is looking east.
action: You look at the eye
response: A green-tinted mirror with a real eye embedded in its handle. The eye
is looking northeast.
action: You look at the eye
response: A green-tinted mirror with a real eye embedded in its handle. The eye
is looking west.
action: You examine the eye
response: A green-tinted mirror with a real eye embedded in its handle. The eye
is looking southeast.
action: Inventory
response: You are carrying:
a looking glass
an unspeakably hideous painting
some brilliant sap
a handwritten book
a flint-and-steel lighter
a maze map
a set of ritual instructions
a brass key
a pickaxe
the theoretical location of a hideout
a rusty lamp (providing light)
a pint of fry oil
the spare towel
a knapsack (open but empty)
a compelling note