- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> TIP CANDLES
That’s not a verb I recognize.
> PUSH CANDLES
There are red, blue and yellow candles here - which do you mean?
> PUSH RED CANDLES
Laying out the candles isn’t my job. I deal with the clocks.
> PULL RED CANDLES
Laying out the candles isn’t my job. I deal with the clocks.
> RUB RED CANDLES
The red candles seem clean enough as they are.
> TAKE RED CANDLES
I pluck a red candle from the stand.
> TAKE BLUE CANDLES
I pluck a blue candle from the stand.
> EXAMINE RED CANDLE
(the red candle)
The candle is long and thin with a thin string wick. The wax is strawberry-red.
> EXAMINE BLUE CANDLE
(the blue candle)
The candle is long and thin with a thin string wick. The wax is sky-blue.
> PUT CANDLES TOGETHER
There are red, blue and yellow candles here - which do you mean?
> PUT RED CANDLE AND BLUE CANDLE TOGETHER
I can’t see any such thing.
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Sep 26, 2017 21:17
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- Adbot
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ADBOT LOVES YOU
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May 18, 2024 14:32
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- Ratatozsk
- Mar 6, 2007
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Had we turned left instead, we may have encountered something like this...
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>Pour candle/wax?
>blow out blue candle, light blue candle with red candle
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Sep 27, 2017 05:18
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> POUR CANDLE
There are red, blue and yellow candles here - which do you mean?
> BLUE
(the blue candle)
That doesn’t contain anything.
> POUR WAX
Which do you mean, the blue candle or the red candle?
> BLUE
That doesn’t contain anything.
> BLOW OUT BLUE CANDLE
(the blue candle)
The blue candle isn’t on fire.
> BLOW OUT RED CANDLE
(the red candle)
The red candle isn’t on fire.
> LIGHT RED CANDLE
(the red candle)
There’s nothing around to light it on.
So the candles all aren't lit yet and there's nothing here to light them. Have we seen anything that might be useful?
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Sep 28, 2017 00:49
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> W
Lower Nave
The Nave of the Cathedral is a quiet place, quieter than the Abbey because the Archbishop only allows study here and no workshops. Pews on either side are enough to seat a thousand easily, with more further north. I can’t look at the ceiling (it’s so high) without lying down across the Second Great Seal, and the last time I did that a monk tripped up on me and had me thrown out.
East and west are smaller shrines, and back south are the Cathedral’s Great Doors.
> W
Calendar Shrine
This shrine is centred around a big brass table with a glass top, which doesn’t seem nearly important enough for the Cathedral of St Philip! Perhaps the important thing is the brazier in the corner: a shallow dish held over a low, flickering flame. The Nave is back east, should any of this prove dull.
> LIGHT RED CANDLE IN FLAME
The candle melts in seconds, leaving a thick pool of red wax in the brazier.
quote:> PUT BLUE CANDLE IN BRAZIER
The candle melts in seconds, leaving a thick pool of purple wax in the brazier.
> TAKE PURPLE WAX
I try to scrape up the wax but the brazier’s too hot for my fingers. I’ll need some kind of tool to scrape the wax with.
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#
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Sep 28, 2017 02:58
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> BLOW OUT FLAME
I think dowsing a Holy Flame is the sort of thing that makes them throw you down a well to see how you like it.
> TAKE BRAZIER
It’s an iron tripod the size of me; I can’t lift it!
> TAKE WAX WITH GLASS
(the glass tumbler)
That’s hardly a good tool for getting the wax off the brazier!
> I
I’m carrying:
a rag
a knife
a small gear
my lucky clock key (being worn)
a glass tumbler (containing:)
a small amount of polish
> TAKE WAX WITH GEAR
That’s hardly a good tool for getting the wax off the brazier!
quote:
> TAKE WAX WITH KNIFE
I scrape the wax up into a ball using the knife and take it.
> E
Lower Nave
The Nave of the Cathedral is a quiet place, quieter than the Abbey because the Archbishop only allows study here and no workshops. Pews on either side are enough to seat a thousand easily, with more further north. I can’t look at the ceiling (it’s so high) without lying down across the Second Great Seal, and the last time I did that a monk tripped up on me and had me thrown out.
East and west are smaller shrines, and back south are the Cathedral’s Great Doors.
> N
Upper Nave
This is the north end of the Nave, where the more important people sit during services - you can tell that because the pews either side are wider and have more legroom, and each has a little cup-holder carved into its armrest. Of course, it’s also closer to the Altar to the north (and further from the draught coming up from the doors to the south).
A group of monks are standing around the altar, singing softly.
The floor is taken up with the Third Great Seal.
> N
Cathedral Altar
On a dais is the main altar, representing the Celestial Workbench itself. Hanging over it as large as the setting sun is the incredible machinery of the Cathedral Clock itself.
Around the dais, a group of monks are celebrating and blessing something on the altar. I can slip away - quickly, please! - in any of the four main directions, although I might have to scurry to get around the dais.
The machine makes an almost imperceptible click. The lead monk steps down and is lost in the crowd of monks. A great chant goes up: “In Perpetuum, In Mobilis, Forever and Ever, Happen! Happen!”
> E
East Apse
More pews, facing the altar back west. This is the women’s corner, because they aren’t allowed to sit with the men (especially women with children, who have to sit at the back). Much more interesting, is the iron grate to the northeast that covers - so they say - the door to the Cathedral crypt.
The door to the southeast leads back to the Orrery Hall and strange Brother Sa’at.
> SE
Orrery Hall
This hall is mostly filled by a huge machine, of perfect bearing and a spooky silent grace. It’s called the “Orrery” and it’s meant to depict the movements of the heavens, though to me it looks more like the badly-mangled bicycles they dredge from the river and sell on Saturday’s for scrap, and how anyone’s meant to read the whirls of discs, balls, wire hoops and spindles is beyond me. The door is past a whipping meteorite to the northwest.
Sat behind a desk in the corner, only just out of the way of a particularly far-off comet, is strange Brother Sa’at. He watches his machine with unblinking eyes.
On Sa’at’s desk is a pile of papers, including a work order.
> GIVE WAX TO BROTHER
“Will this do?” I hold out the lump of purple wax.
He looks at it curiously. “Did you get this from the Cathedral store cupboard?” he asks. “You took long enough about it, it’s hardly far away. And it’s a pretty disgusting colour, isn’t it? Look at all the streaks. Never mind. I’d rather have this done now than in another two months, or however long it’ll take you to find a simple cupboard.”
With that he produces a small metal box, into which he drops the wax lump. Winding the box up with a key, it starts to rattle and shake and eventually smoke. Once it’s run down, the wax inside has melted enough for Sa’at to dribble a few drops onto the work order and then stamp it with his ring.
“Good,” he announces. “That’s that. Bureaucracy appeased. No need to wax lyrical about it.” He rubs his hands, chortles to himself, then abruptly stops and returns to his work. I’m roundly ignored in all this, of course.
> TAKE WORK ORDER
Sa’at snatches it back off me, to check it over. “Sign, seal, coordinates, Crab Nebula, Henric Sa’at, that’s me, all good. Good!” He seems satisfied and puts the order into my hands again. “Now run along. The Society is in Paris, as I’m sure you know, so you’ll have to get the boat from Port Hauter, it’s about three days in one of those wagon-things they let children ride. Take a pigeon and send me a note if... when... you make it. Best of luck!” With a poor attempt at affection, he pats me on the shoulder.
Excellent! We got a work order! ... why did we need this again?
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Oct 1, 2017 02:21
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> NW
East Apse
More pews, facing the altar back west. This is the women’s corner, because they aren’t allowed to sit with the men (especially women with children, who have to sit at the back). Much more interesting, is the iron grate to the northeast that covers - so they say - the door to the Cathedral crypt.
The door to the southeast leads back to the Orrery Hall and strange Brother Sa’at.
> W
Cathedral Altar
On a dais is the main altar, representing the Celestial Workbench itself. Hanging over it as large as the setting sun is the incredible machinery of the Cathedral Clock itself.
Around the dais, a group of monks are celebrating and blessing something on the altar. I can slip away - quickly, please! - in any of the four main directions, although I might have to scurry to get around the dais.
A new monk steps up from the group. He looks a tiny bit younger than the previous lead monk. “In the name of the Lever,” he declares.
> PRAY
I quietly make the sign of the winding key.
“The Lever!” cry the other monks.
> LISTEN
The monks are working through their ritual.
“In the name of the ...” the lead monk continues. Whatever he’s about to say is smothered by a booming clonk from the Cathedral clock machinery above. The other monks seemed unfazed by this.
> PRAY
I quietly make the sign of the sad depreciation.
“And in the presence of the Winding Key,” the monk finishes, before making the sign of Winding. The other monks repeat the gesture. “In Perpetuum, we Observe,” they chant.
> PRAY
I quietly make the sign of the penduluum.
The monks gather in close to the Altar, as the mechanism they watch makes a sudden movement. “In Perpetuum, we Observe,” a lead monk cries.
> PRAY
I quietly make the sign of the lever.
“In Perpetuum, we Observe,” the other monks reply, raising their hands and making the sign of the Penduluum in the air. “A-tempus, a-fugit,” they chant.
> PRAY
I quietly make the sign of the lever.
“A-tempus, a-fugit,” repeats the lead monk. He steps up to the dais, and reaches with one finger to touch the side of the mechanism. All is quiet.
> PRAY
I quietly make the sign of the winding gear.
The machine makes an almost imperceptible click. The lead monk steps down and is lost in the crowd of monks. A great chant goes up: “In Perpetuum, In Mobilis, Forever and Ever, Happen! Happen!”
> PRAY
I quietly make the sign of the screw.
A new monk steps up from the group. He looks a tiny bit younger than the previous lead monk. “In the name of the Lever,” he declares.
> PRAY
I quietly make the sign of the screw.
“The Lever!” cry the other monks.
> PRAY
I quietly make the sign of the lever.
“In the name of the ...” the lead monk continues. Whatever he’s about to say is smothered by a booming clonk from the Cathedral clock machinery above. The other monks seemed unfazed by this.
> PRAY
I quietly make the sign of the lever.
“And in the presence of the Winding Key,” the monk finishes, before making the sign of Winding. The other monks repeat the gesture. “In Perpetuum, we Observe,” they chant.
> PRAY
I quietly make the sign of the lever.
The monks gather in close to the Altar, as the mechanism they watch makes a sudden movement. “In Perpetuum, we Observe,” a lead monk cries.
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Oct 1, 2017 21:52
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- Glazius
- Jul 22, 2007
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Hail all those who are able,
any mouse can,
any mouse will,
but the Guard prevail.
-
Clapping Larry
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Hm.
Okay.
In the name of the lever, in the name of the something, and in the presence of the winding key...
So we've made the signs of screw, pendulum, and sad desperation while praying.
Sad desperation is probably right out. Screw and pendulum are both candidates, but my money's on the pendulum here. Because the monks are fine with the machinery interrupting their prayers, and the only one of those that goes clonk is the pendulum.
Do we have to make those signs to the guard, or just say the words?
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Oct 2, 2017 00:05
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- CaptainCaveman
- Apr 16, 2005
-
Always searching for North.
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quote:> N
Choir
To the north of the altar, this is a semi-circular space with staircases to east and west leading up to the gallery overhead. When they sing from up there - I’ve only heard it once - they fill the whole Cathedral with their beating rhythmic music: songs that echo round and around the dome overhead like the movement of the Greater Rotation itself.
During normal services the choir sit in the stalls on the ground level by the east staircase. They’re covered in carvings just like those on the Abbey doors, but lit up in brilliant colours from the stained glass all around.
> E
Two rotations to reach the top. Everything in this place is designed to be correct, as carefully set as new teeth on a dog-screw.
East Clerestory
This balcony, which curves to the northwest, is built right above the choir stalls. I could probably jump down onto them if I felt really brave, but it’d be easier to take the stairs, built against the east wall, just below the enormous stained glass window.
There’s another door to the north; solid oak. It may not look like much, but judging by the guard in front, that’s the Archbishop’s door.
> RECITE CREED
(to Doric)
“I know the creed,” I tell him.
“Go on, then.” He waits for me to supply it.
What is the creed? > IN THE NAME OF THE LEVER, IN THE NAME OF THE PENDULUM, AND IN THE PRESENCE OF THE WINDING KEY
“You can guess words all you like,” he replies smugly, but I’ve clearly rattled him somehow so I must be close. “But a creed’s got more to it than one thing like that.”
> RECITE CREED
(to Doric)
“I know the creed,” I tell him.
“Go on, then.” He waits for me to supply it.
What is the creed? > IN THE NAME OF THE LEVER, IN THE NAME OF THE SCREW, AND IN THE PRESENCE OF THE WINDING KEY
“You can guess words all you like,” he replies smugly, but I’ve clearly rattled him somehow so I must be close. “But a creed’s got more to it than one thing like that.”
> RECITE CREED
(to Doric)
“I know the creed,” I tell him.
“Go on, then.” He waits for me to supply it.
What is the creed? > IN THE NAME OF THE LEVER, IN THE NAME OF THE SAD DESPERATION, AND IN THE PRESENCE OF THE WINDING KEY
“You can guess words all you like,” he replies smugly, but I’ve clearly rattled him somehow so I must be close. “But a creed’s got more to it than one thing like that.”
> MAKE SIGN OF WINDING KEY
I quietly make the sign of the winding key. Doric looks unimpressed.
Doric resolutely does not adjust his feet.
> MAKE SIGN OF LEVER
I quietly make the sign of the lever. Doric looks unimpressed.
> MAKE SIGN OF PENDULUM
I quietly make the sign of the penduluum. Doric looks unimpressed.
> MAKE SIGN OF WINDING KEY
I quietly make the sign of the winding key. Doric looks unimpressed.
> RECITE CREED
(to Doric)
“I know the creed,” I tell him.
“Go on, then.” He waits for me to supply it.
What is the creed? > MAKE SIGN OF LEVER
“You can guess words all you like,” he replies smugly, but I’ve clearly rattled him somehow so I must be close. “But a creed’s got more to it than one thing like that.”
You'll never drill for oil on a city street
I know you're looking for a ruby in a mountain of rocks
But there ain't no Coup de Ville hiding at the bottom
Of a Cracker Jack box
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Oct 3, 2017 02:24
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- AJ_Impy
- Jun 17, 2007
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SWORD OF SMATTAS. CAN YOU NOT HEAR A WORLD CRY OUT FOR JUSTICE? WHEN WILL YOU DELIVER IT?
-
Yam Slacker
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Take it as three separate lines? Stop the bonging noise?
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Oct 4, 2017 01:18
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> RECITE CREED
(to Doric)
“I know the creed,” I tell him.
“Go on, then.” He waits for me to supply it.
What is the creed? > IN THE NAME OF THE LEVER
“You can guess words all you like,” he replies smugly, but I’ve clearly rattled him somehow so I must be close. “But a creed’s got more to it than one thing like that.”
Nope, we only get one line to recite it, so it's not a matter of doing it a bit at a time. Let's see what else is around or if we can stop the noise.
quote:> LOOK
East Clerestory
This balcony, which curves to the northwest, is built right above the choir stalls. I could probably jump down onto them if I felt really brave, but it’d be easier to take the stairs, built against the east wall, just below the enormous stained glass window.
There’s another door to the north; solid oak. It may not look like much, but judging by the guard in front, that’s the Archbishop’s door.
Doric stares me down. Not fair: he’s trained in this sort of thing.
> JUMP
No thanks. I’d rather take the stairs.
> NW
North Clerestory
To the south the whole cathedral stretches away, all monks and pews and the three Great Seals on the floor. The balcony - which is the only thing to stop me breaking my neck - curves from southwest to southeast.
In one corner stand two enormous statues of St Breguet and St Babbage. They’re huddled together like conspirators and Babbage’s enormous head gets in the way of the beautiful stained glass behind him.
Along the balcony to the southeast I can see a guard, standing duty.
> LOOK DOWN
I see nothing special about the floor.
> EXAMINE MACHINE
I can’t see any such thing.
> SW
West Clerestory
This balcony has a good view down over the choir stalls and the altar where the monks are still clustered. The sun has just come round and I’m standing, bathed in colourful light from the enormous stained glass window. Spiral stairs lead down, and the balcony curves around to the northeast.
> LOOK DOWN
Choir lies below.
> EXAMINE THE ALTAR
The altar is surrounded by monks, softly singing.
> EXAMINE CHOIR
(the Cathedral of Time)
The Cathedral walls rise all around me.
> EXAMINE MACHINE
I can’t see any such thing.
> D
I climb back down.
Choir
To the north of the altar, this is a semi-circular space with staircases to east and west leading up to the gallery overhead. When they sing from up there - I’ve only heard it once - they fill the whole Cathedral with their beating rhythmic music: songs that echo round and around the dome overhead like the movement of the Greater Rotation itself.
During normal services the choir sit in the stalls on the ground level by the east staircase. They’re covered in carvings just like those on the Abbey doors, but lit up in brilliant colours from the stained glass all around.
> S
Cathedral Altar
On a dais is the main altar, representing the Celestial Workbench itself. Hanging over it as large as the setting sun is the incredible machinery of the Cathedral Clock itself.
Around the dais, a group of monks are celebrating and blessing something on the altar. I can slip away - quickly, please! - in any of the four main directions, although I might have to scurry to get around the dais.
“In Perpetuum, we Observe,” the other monks reply, raising their hands and making the sign of the Penduluum in the air. “A-tempus, a-fugit,” they chant.
> EXAMINE MACHINE
The machine on the altar is a finely-wrought case of dark wood topped by a tilting board. Standing on tip-toes I can see a ball-bearing, wearily wending its way along a grooved path in the surface of the board. As it reaches one side, there is a loud cheer from the monks - the board tilts - and the ball continues back the other way. The effect is mesmerizing and the mechanism almost totally silent.
I think it’s the most beautiful - most expensive thing - that I’ve ever seen. This isn’t just a relic, clearly. This is something else.
“A-tempus, a-fugit,” repeats the lead monk. He steps up to the dais, and reaches with one finger to touch the side of the mechanism. All is quiet.
> EXAMINE CLOCK
The machinery of the Clock disappears out of sight overhead. It’s hard to see in detail because of the light that streams through, cut to ribbons as it comes by the enormous cog-teeth. I can just about see a gear the size of a horse and an escapement like the mast of tall ship. And both are moving, with eternal slowness.
The machine makes an almost imperceptible click. The lead monk steps down and is lost in the crowd of monks. A great chant goes up: “In Perpetuum, In Mobilis, Forever and Ever, Happen! Happen!”
> STOP MACHINE
There’s no way I’m interfering with a ceremony as serious as this.
A new monk steps up from the group. He looks a tiny bit younger than the previous lead monk. “In the name of the Lever,” he declares.
> STOP CLOCK
It’s far too far above me.
“The Lever!” cry the other monks.
> JUMP
Scared, are you?
“In the name of the ...” the lead monk continues. Whatever he’s about to say is smothered by a booming clonk from the Cathedral clock machinery above. The other monks seemed unfazed by this.
I'll give some hints tomorrow night if we're still stuck on this.
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Oct 4, 2017 03:41
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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We have the right idea and we're REALLY close, but one of our items is wrong.
We've passed by two different sets of hints as to the items.
Think about an actual church or cathedral, don't they usually have things depicting important items/people/scenes?
Where have we seen three of things?
Not necessarily all in the same room/location but maybe in a row?
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Oct 5, 2017 22:33
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- CaptainCaveman
- Apr 16, 2005
-
Always searching for North.
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quote:> S
Upper Nave
This is the north end of the Nave, where the more important people sit during services - you can tell that because the pews either side are wider and have more legroom, and each has a little cup-holder carved into its armrest. Of course, it’s also closer to the Altar to the north (and further from the draught coming up from the doors to the south).
A group of monks are standing around the altar, singing softly.
The floor is taken up with the Third Great Seal.
> EXAMINE GREAT SEAL
This one is a fine gold gilt, depicting an enormous ornate head with stone-block teeth. A winding-key.
> S
Lower Nave
The Nave of the Cathedral is a quiet place, quieter than the Abbey because the Archbishop only allows study here and no workshops. Pews on either side are enough to seat a thousand easily, with more further north. I can’t look at the ceiling (it’s so high) without lying down across the Second Great Seal, and the last time I did that a monk tripped up on me and had me thrown out.
East and west are smaller shrines, and back south are the Cathedral’s Great Doors.
> EXAMINE GREAT SEAL
This one is made of brass, all wound up into a coil. It’s either a spring or one of Reloh’s mechanical serpents.
A little heat licks in from the west.
> S
Great Door
Imagine an ant crawling up inside a daffodil trumpet. That’s what it’s like to stand in here, and this is just the Entry to the massive Cathedral further north (I guess in there you’ll need to imagine an ant inside a church bell).
Let me try and do better. The main doors to the street are south and about as tall as the Abbey itself, so they need a lot of space just to fit the hinges in (those are about as big as me, I think). I came in from the Yard by the east door; there’s another similar door west but it’s locked right now - the Cathedral is closed to the public most of the time.
Looking northwards I can see the long Nave, and the altar beyond. Carved on the floor just by my feet is the first of the aisle’s Great Seals.
> EXAMINE GREAT SEAL
The first seal is made of steel cast directly onto the stone. It’s so big that it’s hard to see what it is, but - a long rod, tilting a large boulder - it’s got to be a lever.
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#
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Oct 6, 2017 02:06
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- AJ_Impy
- Jun 17, 2007
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SWORD OF SMATTAS. CAN YOU NOT HEAR A WORLD CRY OUT FOR JUSTICE? WHEN WILL YOU DELIVER IT?
-
Yam Slacker
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What is the creed? > IN THE NAME OF THE LEVER, IN THE NAME OF THE SPRING, AND IN THE PRESENCE OF THE WINDING KEY
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#
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Oct 6, 2017 09:20
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> N
Lower Nave
The Nave of the Cathedral is a quiet place, quieter than the Abbey because the Archbishop only allows study here and no workshops. Pews on either side are enough to seat a thousand easily, with more further north. I can’t look at the ceiling (it’s so high) without lying down across the Second Great Seal, and the last time I did that a monk tripped up on me and had me thrown out.
East and west are smaller shrines, and back south are the Cathedral’s Great Doors.
> N
Upper Nave
This is the north end of the Nave, where the more important people sit during services - you can tell that because the pews either side are wider and have more legroom, and each has a little cup-holder carved into its armrest. Of course, it’s also closer to the Altar to the north (and further from the draught coming up from the doors to the south).
A group of monks are standing around the altar, singing softly.
The floor is taken up with the Third Great Seal.
> N
Cathedral Altar
On a dais is the main altar, representing the Celestial Workbench itself. Hanging over it as large as the setting sun is the incredible machinery of the Cathedral Clock itself.
Around the dais, a group of monks are celebrating and blessing something on the altar. I can slip away - quickly, please! - in any of the four main directions, although I might have to scurry to get around the dais.
“And in the presence of the Winding Key,” the monk finishes, before making the sign of Winding. The other monks repeat the gesture. “In Perpetuum, we Observe,” they chant.
> N
Choir
To the north of the altar, this is a semi-circular space with staircases to east and west leading up to the gallery overhead. When they sing from up there - I’ve only heard it once - they fill the whole Cathedral with their beating rhythmic music: songs that echo round and around the dome overhead like the movement of the Greater Rotation itself.
During normal services the choir sit in the stalls on the ground level by the east staircase. They’re covered in carvings just like those on the Abbey doors, but lit up in brilliant colours from the stained glass all around.
> E
Two rotations to reach the top. Everything in this place is designed to be correct, as carefully set as new teeth on a dog-screw.
East Clerestory
This balcony, which curves to the northwest, is built right above the choir stalls. I could probably jump down onto them if I felt really brave, but it’d be easier to take the stairs, built against the east wall, just below the enormous stained glass window.
There’s another door to the north; solid oak. It may not look like much, but judging by the guard in front, that’s the Archbishop’s door.
> RECITE CREED
(to Doric)
“I know the creed,” I tell him.
“Go on, then.” He waits for me to supply it.
What is the creed? > IN THE NAME OF THE LEVER, IN THE NAME OF THE SPRING, AND IN THE PRESENCE OF THE WINDING KEY
“That’s very close,” Doric says, clearly tempted to let the mistake pass. Then his back stiffens. “But it’s not close enough to let me say you can see the Archbishop. So you’d better rack your brains or rack off. Clear?”
That's... kind of misleading and a bit disappointing from the game. You have it right, but we were being too wordy this time.
quote:> RECITE CREED
(to Doric)
“I know the creed,” I tell him.
“Go on, then.” He waits for me to supply it.
What is the creed? > IN THE NAME OF THE LEVER, THE SPRING, AND THE WINDING KEY
“Close enough,” Doric agrees, with an anticlimactic shrug. “I guess y’are an Abbey rat then, like y’ said before.”
But he still doesn’t move aside. “But that doesn’t show you’ve got any business with the Archbishop, though, I’m thinking.”
This is one of those kinds of puzzles that I both like and dislike. It feels pretty good once you manage to puzzle out the three items, but it's also fiddly (as we just saw) about accepting the answer, which could make you think you got it wrong when you didn't really. Also it seems a bit out of place, since even though the player doesn't know the creed, the character certainly should. It makes me think of an old review in PC Gamer of Mysteries of the Sith where the reviewer complained about a part where your character gets summoned to the bridge of the ship she's on, and how this caused him to blindly wander around since while the character knew how to get to the bridge, he had no idea how to get there.
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Oct 6, 2017 12:25
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> GIVE WORK ORDER TO DORIC
“Well.” He skims over the work order. “Looks all in good order to me. I suppose you have business with the Archbishop after all.” He nods, and tips his cap. “Just can’t be too careful, you understand.”
> NORTH
“In you go,” Doric says, tipping his head. “But don’t you go tellin’ him how I’m doing anything other than my job, mind. I’ve got to be careful. These are restless times. The Calendar says so. Always check the Calendar.”
The Bishop’s Door - I made it!
Chapter 4: The Figure in Grey
Please press SPACE to continue.
Bishop’s Library
I’d been expecting something grander than this! Maybe a long sofa, a little more light, perhaps even his own Tea Maker. But instead there’s nothing but a single desk, some books, and a lot of wrought iron decoration - hooks, candle-brackets, ink-wells - all made from a single sweeping line of iron that curls around the floor and walls like a wandering pen-stroke.
The Archbishop himself sits behind the desk, his face barely visible in the light through the narrow windows.
“Well, well!” he remarks, with an unhurried smile. “I don’t remember your name, young one, but I remember your face. Why did they send you? You’ve not broken something again, I trust?”
For a moment I’m too tongue-tied to speak. It’s the Archbishop himself!
“I’ve got to tell you something important,” I blurt, thinking: I’d better tell this carefully, or he’ll dismiss me out of hand. “The Abbot doesn’t know I’m here, he didn’t send me. That’s the thing, I need to tell you about the Abbot...”
“Is he ill?” the Archbishop asks.
“No. I...” And then it all falls out. Everything I overheard. The Vaults. Money. A theft...
The Archbishop listens patiently. For a moment I think he’s going to help me, and then my heart drops. “You didn’t really hear any of this, not clearly,” he says, quite pleasantly. “Did you?”
It doesn't really matter what we say or do here. Say Yes or Say No or doing anything else just has us insisting we're serious
quote:> SAY YES
(to the Archbishop)
“I’m serious!” I insist.
“You seem a very serious young thing, certainly,” he says. “And that’s an excellent quality that will take you far in the Church; you only need look at Brother Reloh for that. As far as the Vaults are concerned, there’s no reason to worry. They’re firmly locked and the only key,” - he pauses, to pat the drawer of his desk - “Is quite safe. Where only I have it.”
“But...”
“And even if your thief could turn himself into a lizard and slip through the gate,” he continues, “there’s a last lock that only I can pass. And that’s without question.” He smiles. “Well, it’s with question, in fact. But never mind that.”
quote:> TELL BISHOP ABOUT FIGURE
I try once more, but the Archbishop has heard enough. “I admire your devotion. Especially from such a rough young child. But really, I’m a busy man.” With that he eases me towards the door.
“But...”
“No buts. In all things.” He raises a stern finger. “Patience is the key.” He giggles. “It really is, in fact. But remember that. Patience, that’s the key. Now off you go.”
And with that, I’m ushered out. This is a disaster!
East Clerestory
I’m back on the balcony on the east side of the Cathedral, underneath the gigantic window depicting a winding key. Stairs lead down and the balcony curves away to the northwest.
Doric is still standing guard, but his eyes seem to be closed.
What’s the point of adults, exactly? They sit around complaining about how rotten everything is - you’ve heard them - but when a real problem comes along they don’t do anything. It’s not good. I’ll just...
Wait a minute. Noises, to the northwest. Whispers. A glimpse of Grey...
quote:> WAKE DORIC
Let him sleep. He won’t be any use to me awake, will he? And I’d probably need some order stamped in gold-and-turquoise to get him to open his eyes anyway.
> NW
North Clerestory
The north end of the cathedral. There’s the big stained window overhead and also the enormous statues of Babbage and Breguet. The balcony continues to the southwest.
Gubbler and the Figure, in the shadows between the statues! I duck behind Babbage’s coat-tails to listen.
“I’m not, erm, not happy, no,” Gubbler is saying. “This isn’t right.”
“It’s vital. Give me the key,” the Figure replies. The voice is a quiet murmur, like the sound of a mead barrel rolling over flagstones. “You’ve got your money.”
“Here.” Gubbler sounds reluctant. “It’s an exact copy of, erm, the one, in the desk. Yes. And there’s a guard too, but I’ll well - I’ll - well. It doesn’t do to say.”
> LISTEN
I hold my breath tight...
“And the final lock?” the Figure demands.
“That’s your problem,” Gubbler says, sounding almost like an Abbot for once. “Nothing to do with me, no, oh no. Look: do you even know your way around this Cathedral?”
“Intimately,” the Figure replies smoothly. “All six secret doors.”
“Six?” Gubbler demands. His voice is sweating. “The only one I know is the one from the Choir to the Bishop’s Library! Where there’s a drill and all... Look. I’m going to, erm, go. Good luck. I hope you get caught.”
With that, the Abbot shuffles away southeast.
> LISTEN
The soft sound of chanting drifts down the length of the Cathedral.
The Figure glides out of the shadows - right over to where I’m standing. “I see you, little one,” he says softly. The face is nothing but darkness below his hood. His tight leather costume makes him look like a snake. “You should stop turning up where you aren’t wanted,” the Figure advises menacingly. “You’re playing with fire. You are warned.”
Then, in a flash of silver like a fish slipping the bait, the Figure wheels and darts away southwest.
Edit: Actually, I lied. If we try going downstairs instead of northwest, we get "There’s definitely something happening on the balcony to the northwest. I’d better investigate, hadn’t I?"
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Oct 7, 2017 01:25
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- idonotlikepeas
- May 29, 2010
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This reasoning is possible for forums user idonotlikepeas!
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Given that he just threatened us, following him definitely seems like the right move.
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Oct 8, 2017 01:26
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> SW
I chase after the Figure.
West Clerestory
This is where the Figure went - and it’s not hard to see where he went next either. Part of the west wall has disappeared to reveal a ladder built into a space in the brickwork. No problem, though. I’m good with ladders.
> EXAMINE LADDER
There’s a flue hidden in the wall, with this old construction ladder leading away upwards. One of the Figure’s six secret doors!
> U
I scurry up the rungs of the ladder. A few squeak and bend but none of them break.
And then I’m out on a narrow ledge, high up near the Cathedral’s roof! Mustn’t look down!
Among the Gargoyles
Looking down - oh, no... - there’s the floor of the choir, far below. I’m really, really high up - higher than my little bedroom - and this ledge is a lot narrower than my bed... And there’s nothing to hold onto - nothing out there but space, and the gigantic workings of the Cathedral clock, like a hornet’s nest suspended from the centre of the dome.
Steady, Wren. You’re good with heights, aren’t you? But maybe not with pendulums! I duck to avoid the massive penduluum of the clock as it almost knocks me clear of the ledge! I cling onto a gargoyle and I don’t... look... down...
> LOOK DOWN
A million metres below me are monks as small as black ants crawling round the altar below the clock. They’ll get the shock of their lives when I fall on them...
I spot the Figure, clinging to the clock’s gears like a spider. The hood is turned to look back at me. For a moment he’s still - then an escapement above him turns and he’s scuttled upwards, deep into the turning wheels.
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Oct 8, 2017 22:41
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:I can’t see any such thing.
> UP
There’s no way off this ledge at all!
The penduluum sails away in slow-motion through the machinery of the great Clock.
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Oct 10, 2017 02:47
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- idonotlikepeas
- May 29, 2010
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This reasoning is possible for forums user idonotlikepeas!
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Wait for the penduluum and grab onto it?
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Oct 10, 2017 03:18
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> GRAB PENDULUUM
The penduluum’s at the far end of its swing. You can’t fly, young Wren.
The penduluum hangs still in space for a full second at the far point of its swing.
> Z
Time moves on.
The penduluum careers towards me, coming closer every second!
> GRAB PENDULUUM
Until the last moment I don’t know whether I can do it... and as the penduluum slows to a halt, I wrap my arms around it. A moment later my feet are in mid-air and I’m away, floating over space, faster and faster...
At the lowest point when I’m whipping through the air, I let go and drop onto a platform, surrounded by gears and windings. The penduluum is gone in a moment.
Lower Gears
I’m sandwiched between three gears of the Cathedral clock, on a rickety wooden ledge that runs to the left of the workings. This noise is louder than Reloh’s duplicator - like an army of cooks all banging saucepans. I can barely keep straight which way is up and which way is down.
Platforms lead away to the west, southwest and southeast.
quote:> W
I worm my way between the gears.
Lower Gears
I’m sandwiched between two gears of the Cathedral clock, on a narrow wooden ledge that bridges a gap between the workings. Platforms lead away to the east, north and southeast.
> N
I worm my way between the gears.
Lower Gears
I’m sandwiched between five gears of the Cathedral clock, on a worm-ridden wooden ledge that passes to the right of the workings. Platforms lead away to the southeast, north and west, and a line of rungs disappears up.
> N
I worm my way between the gears.
Lower Gears
I’m sandwiched between four gears of the Cathedral clock, on a unsteady wooden ledge that winds in and out between the workings. Platforms lead away to the northwest, northeast and south, and a line of rungs disappears up.
Thin singing drifts up from the floor far below.
> NW
I worm my way between the gears.
Lower Gears
I’m sandwiched between two gears of the Cathedral clock, on a narrow wooden platform that passes to the right of the workings. Platforms lead away to the southeast, northeast and north, and a line of rungs disappears up.
The stone walls echo with soft chanting, regular and low, like the murmur of a shifting counterweight.
> N
I worm my way between the gears.
Lower Gears
I’m sandwiched between three gears of the Cathedral clock, on a rickety wooden ledge that runs underneath the workings. Platforms lead away to the east, south and west, and a line of rungs disappears up.
> E
I worm my way between the gears.
Lower Gears
I’m sandwiched between five gears of the Cathedral clock, on a worm-ridden wooden platform that winds in and out between the workings. Platforms lead away to the east, northeast and west, and a line of rungs disappears up.
> E
I worm my way between the gears.
Lower Gears
I’m sandwiched between three gears of the Cathedral clock, on a rickety wooden plank that passes to the right of the workings. Platforms lead away to the west, east and south, and a line of rungs disappears up.
The monks below are just bright spots in black circles on the distant Cathedral floor.
> S
I worm my way between the gears.
Lower Gears
I’m sandwiched between five gears of the Cathedral clock, on a worm-ridden wooden ledge that bridges a gap between the workings. Platforms lead away to the southeast, west and northwest, and a line of rungs disappears up.
> SE
I worm my way between the gears.
Lower Gears
I’m sandwiched between two gears of the Cathedral clock, on a narrow wooden plank that winds in and out between the workings. Platforms lead away to the south, northeast and west, and a line of rungs disappears up.
Thin singing drifts up from the floor far below.
> EXAMINE GEARS
It’s a maze of gears, chains and pinions, all in constant movement. A few have rungs and ladder-holds beside them, others have struts across their diameters.
> S
I worm my way between the gears.
Lower Gears
I’m sandwiched between four gears of the Cathedral clock, on a unsteady wooden ledge that passes to the right of the workings. Platforms lead away to the northeast, southeast and east, and a line of rungs disappears up.
The stone walls echo with soft chanting, regular and low, like the murmur of a shifting counterweight.
quote:
> UP
The Figure went up so I will too. And never mind if the Cathedral clock loses a few seconds from me moving the gears as I climb. If the Cathedral loses its relics that’d be worse!
Upper Gears
Further up now, and hanging onto a scaffold beam for dear life. Below - quite a lot of space, and the rest of the mechanism. Around, cogs grinding the rust off other cogs. And in front: a void of empty space. A gap - and then the beautiful crystal light of the rose window: the clock face itself, filling my eyes with light.
Way overhead, higher even still, is the shaft that turns the clock hands, reaching out from the gigantic mechanism and through the window. There’s no way I can climb there. The gears here are smaller and moving too fast.
Right beside me is a barrel with a crank, from which a thick iron chain runs up to a pulley near the top of the window. A enormous counterweight hangs up there.
Clinging to the shaft overhead is the Figure. He must have climbed the gear-teeth themselves.
“Why do you follow me, child?” the Figure demands, his hooded face turning towards me. “You can’t stop me from stealing the Perpetuum. There are greater wheels turning here that you don’t understand!”
Then swiftly and smoothly, like a cat, he grabs onto a passing length of chain and soaring up into space. But I’m thinking one thing: he’s planning to steal the Perpetuum!
> EXAMINE BARREL
The barrel feeds out a long iron chain to a pulley above the rose window. The barrel has a crank on front and also a release lever. The chain is stiff and taut thanks to the counterweight, high up by the beams.
The chanting is barely audible now.
> EXAMINE CRANK
The crank handle on the barrel probably winds the chain.
> EXAMINE LEVER
The release lever on the barrel is currently closed.
The monk’s song is lost in the tick-tock of the clock.
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Oct 10, 2017 04:27
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- Ratatozsk
- Mar 6, 2007
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Had we turned left instead, we may have encountered something like this...
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>polish lever
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Oct 10, 2017 05:04
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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Oh, you.
quote:> POLISH LEVER
The lever seems clean enough as it is.
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Oct 10, 2017 21:33
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- Ratatozsk
- Mar 6, 2007
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Had we turned left instead, we may have encountered something like this...
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Oh well.
>Pull lever
>crank crank
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Oct 11, 2017 03:27
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> PULL LEVER
The lever unlocks and the chain begins to spool away instantly, as the weight over the pulley plummets downwards. The links beside me wind away towards the window.
> CRANK CRANK
That’s not a verb I recognize.
> TURN CRANK
The crank turns easily, and very slowly the weight rises up towards the pulley. Who’s meant to use this machine I don’t know: maybe it’s left over from construction.
After several minutes of work, the weight is as high as it’ll go. The release lever clicks closed.
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Oct 12, 2017 03:49
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> HOLD CHAIN
I grab hold of the chain.
> HOLD ROBE
I can’t see any such thing.
> HOLD BUTT
I can’t see any such thing.
> SAY “WHAT COULD POSSIBLY GO WRONG?"
I didn’t understand that sentence.
> PULL LEVER
Clinging on tight - I must have gone crazy - I kick the release with my shoe. There’s a sudden jerk and then I’m shot up and across. Stomach in throat, air beneath my feet, arms screaming for a clear explanation of exactly what do I think I’m doing? Hurtling towards the pulley. How much chain is there in this thing? I’ve no idea. What if I hit? I’m frozen as the pulley comes up fast - I’m going to be knocked down -
- and I’ve no choice but to let go and I fall -
- onto a rafter below. Sweet Grease! I can barely move I’m so busy shaking!
Rafters
I’m clinging to a rafter. Beside me is the long chain from the pulley, down past the rose window that lights up everything in vivid red, blue and green. My foot could almost reach the XII on the clock face... Below is nothing but a few more rafters, presumably used for placing and replacing the glass. And then there’s nothing but a long drop for a long time, and the chanting of the monks far below.
By one of the rafters near the bottom of the window is a little door in the clock itself - a pane of glass, swung outward. The Figure.
I assume we want to keep going after the figure. As always, if you've got something you wanted to try, let me know and I'll go back.
quote:> FOLLOW FIGURE
Gingerly, I clamber down the chain and onto the rafters behind the clock face, lower down.
Behind the Clock Face
Like an unlucky symbol I can see the giant clock face in front of me, in reverse. The hands are turning widdershins, very slowly. Enough to make me shudder. The rafter I’m on extends right up to the glass panel set in the clock face, where a small square of normal light breaks the green and silver of the stained glass, near the IV.
The chain extends beside me, up and down.
> AGAIN
I crawl over to the door and slip through...
Chapter 5: The Rooftops of St Philip
Please press SPACE to continue.
A new chapter! Surely this is an exciting moment! Either because we're progressing along through the story, or because we're one step closer to being done with it!
quote:Minute Hand
It’s a good thing I’m good with heights, because this is the highest I’ve ever been. My back’s pressed against the cool glass of the rose window, and I’m standing on a wide metal girder. The long hand. The one that tells you minutes. Luckily it’s between the III and the IV - almost level. For now.
And stretched out before me is the most incredible view: the whole of the city of St Philip, a mess of buildings like it washed up when the rivers flooded. Only the Abbey looks like it was actually built instead of dropped.
> LOOK DOWN
I see nothing special about the floor.
There’s a parapet of the Cathedral a good way below, but no ladders, chains or cogs this time. But somehow - that’s where the Figure is, looking my way, almost as though wondering if he should stay to help. But he doesn’t, and then he’s gone.
That bit about the floor is misleading, just a default response. We're actually meant to be precariously perched on the clock - think Harold Lloyd.
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Oct 12, 2017 23:41
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> EXAMINE SECOND HAND
I can’t see any such thing.
> JUMP
If the Figure can do it, then so can I. And if the Figure can survive it, well, maybe I can too... I step off the metal bar...
Parapet
I pick myself to my feet. A narrow lead-covered walkway along the cathedral roof. How clockwise can you be? It doesn’t go anywhere, of course, but at least there’re some gargoyles and things to stop me falling the rest of the way to the ground.
Off west a buttress flies out near the roof of a nearby Civil Service building.
The Figure throws a glance over his shoulder before taking a flying leap off the buttress. It’s incredible to watch - he’s a like a grey squirrel, agile and totally fearless. I’m already exhausted - and he’s off again, already!
> WEST
I hurl myself in pursuit!
Buttress
I’m not on the roof anymore: I’m perched on a narrow stone arch that curves out from the wall and down to the ground. Hopefully I’m not going that way any time soon... This is where I saw the Figure jump across to the next roof, though now he’s disappeared from sight.
> JUMP
Heart in mouth? Check. Fingers ready to claw the roof? Ready. Then - here goes!
I spring like a cat - like a flying squirrel - like a mouse hit out of the kitchen by the Cook wielding a meat-tenderizer - I hurl myself across the gap and thump down on to the roof beyond. Good thing this is a Council building: they make their roofs good and firm.
Rooftop
If the city I saw from the clock-face is a sprawl then its roofs are worse: sloping and slanting this way and that, a mess of slate and lead, like someone kicked over a house of cards. Some parts look flat and others impossibly steep, or blocked with tall chimneys, extra walls or sharp lightning rods plugged into vegetable patches way below.
From here, I could scramble down to the south, or hop across small gaps to the southeast or southwest. The Cathedral itself is back east.
If we had spent another turn or two on the clock, we would have ended up on the parapet anyway once the minute hand we were on was angled down. Despite being very much on rails, this part manages to be kind of exciting when you're playing it, somehow the rooftop chase works well.
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Oct 15, 2017 07:21
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- CaptainCaveman
- Apr 16, 2005
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Always searching for North.
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quote:> SE
Rooftop
Half of this roof has collapsed, and whoever was repairing it clearly ran out of money only partway into the job. A pile of construction materials has been left behind - pipes and boards, that kind of thing. Some look like they could easily fall off the roof onto the street to the east. Safer ground is a short hop down to the northwest, and a bit of a scramble to the southwest.
> EXAMINE MATERIALS
Bits and bobs. A large and hefty length of piping, a wooden board about three times my height. That sort of thing.
Do you guys want to direct our wanderings, or shall I wander around blindly for a bit?
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Oct 17, 2017 01:57
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- Adbot
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ADBOT LOVES YOU
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May 18, 2024 14:32
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- Ratatozsk
- Mar 6, 2007
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Had we turned left instead, we may have encountered something like this...
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The worst thing that can happen is we die in an uninteresting fashion, the best thing that can happen is we die spectacularly. WANDER!!
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Oct 18, 2017 13:59
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Sep 26, 2017 21:17
