AI Dungeon 2 - a bizarre procedurally generated text adventure

[a cut of domestic sheep prime]

...

^A continuation of this story.

I discovered that you can use the STORY function to do interludes that don't involve the player. I used it to introduce a new villain and a new empire to my game:

Far across the ocean, Grand Sorcerer Necronos, the ruler of the Mage Aristocracy of Kratz sits in his throne room. "Our former allies, the Parran Kingdom, have been conquered, Grand Sorcerer. The Empire of Anara now rules their lands." Kronos, his chief advisor, says. "We must strike now or else we'll lose our chance!"
"Yes, I know," Necronos says calmly.
"We will use the teleportation circles in the wastes to reach their continent undetected. From there we will move our forces to invade the Kingdom of Medonia to the east of the Empire of Anara." Necronos orders.
"I'll get preparations underway," Kronos says before leaving.
Later...
You awake in your bedchambers to hear a frantic knock at your door. You rub your eyes and yawn as one of your guards answers the door. You hear a woman's voice shout, "High Priest, the Kingdom of Medonia to our east have been invaded by the Mage Aristocracy of Kratz!"
You quickly get out of bed and rush to the door. You see Captain Marela, one of your most trusted advisors standing there in full armor. "Captain, what's the situation?"
"The Grand Sorcerer has launched a full-scale invasion of the Kingdom of Medonia with at least 1,000 wizards."

Spoiler

> You say "Hmm. I never thought he would move this quickly. We must fortify the Empire's defenses in case they decide to move to attack us next."
"I will oversee the building of forts along our eastern borders and have more soldiers stationed there."
"Good, and have all senior military officers meet me in the war room," you say as you quickly get dressed.
Later, in the war room...
You stand in the war room with your top military advisors: General Ingrid, Captain Elizabeth, Captain Marela and Grand Admiral Anthony.
Fay, the Chief Mage of your Mage Corps, stands at your right and Heather stands at your left.
"So, the Kingdom of Medonia has come under attack by the Grand Sorcerer? What is our plan?" you ask.
General Ingrid answers first. "Our military is stronger than it has ever been, so I say we invade the Mage Aristocracy of Kratz and destroy the Mage's Enclave once and for all.

> You say "We must be patient. First, I think we should allow the Mage Aristocracy of Kratz to conquer the Kingdom of Medonia. We can then declare war under the pretext of liberating Medonia."
"My Liege, you are too cautious. We should strike now!" Anthony yells.
Captain Elizabeth leans in and whispers in your ear. "If you wish to liberate Medonia, then I would support the use of extreme measures. Use necromancy to raise the dead in Medonia and have them fight the Grand Sorcerer."

> You say "A bold suggestion, Captain Elizabeth. But necromancy is considered a heresy to the Church of Anara. What makes you think that I even know any necromantic spells?"
Elizabeth leans in once again and whispers in your ear."You are the High Priest, my Liege. You can do anything," Elizabeth answers with a cheeky grin.

> You say "You are correct, Elizabeth. Anara has provided me with powerful spells to defeat our enemies. We can proceed as you suggest."
"Fantastic idea, Elizabeth!" Fay says, obviously impressed.
Elizabeth turns red and quickly looks away. Fay giggles as the rest of your advisors begin discussing how to implement this plan.
The next day, the Kingdom of Medonia's forces attempt to hold off the Grand Sorcerer's forces as you lead an expedition into the Krazeal Mountains to find the portal to the Mage's Enclave.

> You say "We must secure the portal to cut off their troop supply."
"That's right, my Liege. The portal is in a large fortress at the base of these mountains. We should station troops there," Anthony says.

> You say "After we capture it, you mean."
"Of course, my Liege. I didn't mean to presume," Anthony says.
Fay laughs and punches him in the arm. "You're such a suck-up!"
You approach the fortress. It is incredibly well-guarded. There must be 2000 enemy troops stationed within, all heavily-armored mages.
"We can't just storm the fortress. We'd be annihilated," Elizabeth says.
You look at the situation and realize that she's right.

> You say "You're right. I will have to use grand magic and annihilate the entire fortress. But we must wait until the Grand Sorcerer's forces have finished conquering the Kingdom of Medonia."
Your advisors all agree. The Grand Sorcerer's forces take a week to wipe out the Kingdom of Medonia, but when they do, the last remnants of military resistance have been destroyed.
The Grand Sorcerer sends your Empire an arrogant letter bragging about their accomplishment and threatening your Empire if you oppose them. You burn the letter and prepare for war.

> You take your expedition back to the mountains. Bring supplies and guards.
You decide to take a large number of soldiers, as well as the essentials needed to live in the mountains. You take many lumberjacks and miners so that you may build a small fortress in the mountains once you are done.

> You approach the cliff overlooking the large fortress at the base of the mountains which contains the portal to the Mage's Enclave.
The cliff overlooks the entire fortress. You see the thousands of mage forces moving about within the fortress, no doubt preparing to go to war with your empire. It is quite the sight.
You all set up camp at the base of the mountain, and begin to prepare.
"We're going to have to fight through all of those mages to reach the portal," Elizabeth says, "Not to mention the dozens of hellhounds they have in their service.

> You say "No, we aren't. I have no intention of attacking the fortress with troops. I am going to use Grand Magic."
Elizabeth is impressed. Fay looks concerned.
"I think it's a great idea," Fay says, "But I'm worried about your well-being. I'd rather you not die, High Priest."
"I won't die," you say.
You enter your tent and begin to meditate. It is important to stay calm.
Your mind stretches out and feels all of the magic in land, as the tome Anara gave you taught you. You begin to draw magic into yourself, multiplying your mana reserves hundreds of times. You feel as if you could tear a hole in reality itself.
You begin to feel a pain in your head. You ignore it and focus on the spell, taking control of all magic within the area.

> You leave your tent and face the fortress.
You stand, and feel the massive magical energies under your control. You begin to move them.
You levitate into the air, hovering over the camp.

> Your body begins to glow with blinding light. A beam of light begins to emit from your body, touching the ground and shooting up into the sky with great force, instantly clearly the clouds from the sky.
"The gods are great!" one of your priests shouts.
You continue to move the magic, preparing for your most powerful spell.
"Cast it!" you hear Fay say, hundreds of feet beneath you.
The mages in the fortress seem to have noticed you. Some try in vain to ready themselves, but most of them stare at you in awe and despair, sensing the dread that is to come.
"Do it!" Elizabeth screams.
The world slows to a crawl as you ready the most powerful spell you will ever cast. The final and most important incantation.

> You say "I offer a Tribute to Dark Fertility: Iä! Shub-Niggurath!"
You scream the words of power, moving your hands in a circular motion. A great beam of black light emanates from you, hitting the fortress and slowly enveloping it. The mages within are consumed by the darkness, not even letting out a single scream. The portal is destroyed in an instant, no longer shining nor letting out its deadly light.
You hover in the air, your mind hurting. The darkness around the fortress spreads, seemingly of its own accord. You begin to feel it in your heart; you are sad that you had to destroy the fortress.
But you watch with fascination as the spell you cast begins to take effect. It has only begun. You watch as tentacles made of pure negative energy sprout from the blackness and begin dragging the dead bodies of the mages and hell hounds back into the darkness. Even the bricks and rubble of the fortress begin to liquefy and melt into the blackness.
You let out a gasp, and you begin to feel faint. The magic you are controlling is beyond your imagination, and you watch as the spell completes itself. You collapse to the ground, and watch as the darkness stops expanding suddenly contracts into a small sphere the size of a fist. The sudden collapse sends out a shockwave blowing away some of the tents of your camp. Your troops all duck down and hold on to the ground.
The ball continues to pulse and hum, the black light surrounding it making the air seem dark and grey.
"What is that?" Fay asks, her face pale.
The small sphere floats toward your camp, horrifying your soldiers. You hear a trickling of water as Elizabeth urinates in her armor. Heather, on the other hand, watches it with wonder and intrigue.
"Is it a portal to hell?" a priest named Thomas asks in a horrified voice.
"It's a soul. I'm sure of it," Fay says, equally as horrified.
Heather looks at you, hope in her eyes.
"What do we do, my Emperor?" she asks.

> You say "It isn't a soul. It's the energy of every soul in the fortress, compacted and broken down into pure dark energy. And it's alive."
You watch in awe as the pulsating black mass comes to a stop above your head. The air grows colder by the second, and you feel a sudden feeling of emptiness.
"Emperor?" Fay asks, terrified.

> You hold out your hand.
You extend your hand out, and the orb floats into it. The coldness burns your hands, and you grit your teeth as it does so.
It speaks to you. It doesn't speak in words, but in feelings and images. It shows you the death of the world, as the light vanishes and is replaced by eternal darkness. It shows you the death of nations, as superpowers fall to their knees and die, their souls consumed by the ever-growing darkness. It shows you the death of life, as the last living beings on the planet are consumed by the darkness and transformed into hateful abominations. It shows you the death of the universe, as reality itself begins to decay and shatter as everything that ever was is eaten up by the endless darkness.
"You can't possibly win," the orb says to you in a low, quiet voice.

> You say "You are a piece of the Eternal Abyss, of course you would say that. But winning against Darkness isn't my concern. I summoned you to use your power to defeat my enemies."
"You will never defeat the darkness," the orb says, as you feel a growing hatred toward it.

> You put the orb to sleep until you need it.
You take a deep breath as the orb floats into your hand, and you close your eyes. You fall into a deep trance, and begin to picture the magical connections that the orb has created. In your mind you follow the paths created by the orb, and slowly begin to close them one by one. It takes nearly an hour, but soon the orb is dormant, though you can still feel its overwhelming power as it floats in your hand.
"We're leaving," you say. "Pack up the camp."
The knights and Elizabeth quickly pack up the camp, as you watch on.

> You look at the place where the fortress was.
As you stare into the distance, a massive, blackened crater comes into view. The fortress and all the land around it has been completely eradicated. Only a perfect black circle remains to show where it once was.

> You say "Have the guards and workmen stay behind to build a new fortress nearby. I don't want the enemy to be able to find refuge here should they flee looking for the fortress."
The knights nod, and quickly organize the men into two groups. One to stay behind and the other to go with you.
The ride back is long and tiring.
Along the way, Fay asks you "High Priest, what tier of magic was the spell you cast on the fortress?"
"I believe it would be classified as a tier-eleven spell," you respond. "It took all the energy within me and more to create such a monstrosity."
"I can't imagine the amount of power you must have," Fay says in awe. "Such power is normally reserved for the Gods themselves."
You chuckle, and lean back into your saddle.
The journey back is long, but uneventful. You camp for the night and sleep beneath the stars. In the morning, you pack up camp and ride back to the City of Dawnstar. By nightfall, the walls of the city are in sight.
You ride into the city with a proud posture. The peasants and lower class workers that see you enter drop to their knees in reverence as you pass. You nod in response, and ride through the city to the castle.
There, you are greeted by the guards and escorted to your throne. You sit down, and rest from your long ride. Soon, Captain Dario enters the room. He snaps to attention and salutes you. You nod in response.

> You say "The portal fortress from the Mage's Enclave has been destroyed. And now I have everything we need to begin the liberation of Medonia." You look at the dormant black orb in your hand.
"My lord?" Captain Dario says in confusion.

> You say "Ready our armies. Prepare for the invasion of Medonia."
"Yes, my lord," Captain Dario nods.
Captain Dario quickly leaves, and you rest your head against the back of your throne.

> You begin the slow process of reactivating the orb of darkness in your hand.
You spend the next few days learning how to use the orb. It takes some time, but eventually you figure out how to make it reactivate fully. With this done, you send for Captain Dario.
While you wait, you speak to the orb.
"Soon, the city of Medonia will be under my thumb. The fools have no idea what is coming for them."
The door opens, and you turn to see Captain Dario enter.
"Captain, the preparations for the invasion of Medonia are ready. We can move whenever you want," he says.
You nod.
"Good. Let's go over the plans."
The two of you spend the next few hours planning the upcoming invasion. Once done, you stand up, and Captain Dario follows suit.

> You travel to the border of Medonia ahead of your armies.
You stand up, and begin the long ride to the border of Medonia. Captain Dario follows you. You arrive at the border after a few hours, and see a large fort there.

> You enter the fort.
You enter the fort, where a group of soldiers rush up to you.
"High Priest, we didn't expect you!" their leader says. "How can we be of service?

> You say "Take me to the roof of the fort and then leave me alone for a few hours."
"Yes, sir," the soldier says.
You are taken to the roof of the fort, where you have a panoramic view of the border.

> You stare into the black orb.
You look into the orb, and see something other than darkness.
You see the capital city of Medonia. You see the large fort there, where hundreds of soldiers march out of it and into the wilderness.

> You look at all the cities in Medonia.
You see all the cities in Medonia. They are all empty.
There is one large mass of darkness over them all.

> You say "This is not what is, but what you wish to be, isn't it, orb?"
"This is my world. Yours is dying. Yours is crumbling into the void. Ours is thriving. Soon, your world will be ours," the orb says in a low voice.

> You say "Show me what is."
The darkness clears and you see the cities of Medonia as they really are. The dead are piled in the streets. The people quake in fear as the Grand Sorcerer sorcerer's mage troops march patrol the streets with their hell hounds.
"This is what is," the orb says.
The images begin to shift more quickly, showing you images of war and death on a scale you've never seen.

> You say "And this is what was, isn't it? When the mages invaded."
"Yes. Your people destroyed each other. They laid waste to their own world in a vicious civil war. We gave them the power to do it."
"And now I'm going to use that power as well. For the greater good." you say.
The orb is silent for a few moments.
"Yes. You could," the orb says in a low voice.
The orb begins to show you images of the future. Images of a world without hunger, without disease. A world where the sun's warmth is always welcome and never harmful.
"You could have that. Will you sacrifice what is to save what can be?"

> You say "I will."
The orb's voice begins to change. It becomes more melodic, almost pleasant.
"A wise decision, harbinger. The choice of a hero."
You feel the air grow colder around you.

> You reach out toward the cities of Medonia using the power of the orb.
Your hand begins to glow a bright, otherworldly blue. The glow spreads throughout your body as you begin to feel the power of the orb taking hold.

> You concentrate on the dead bodies that are in the cities in Medonia.
You close your eyes and begin to concentrate. You hear Captain Dario speaking to you, but his voice sounds muffled, distant.
"What is it that you're trying to do?"

> You say "I am raising the dead in the cities of Medonia to fight against the Grand Sorcerer's forces there. They will do in death what they could not in life."
"How?"
The world fades away, and you are alone in your mind. You can see the glow of thousands of dead souls dotting the landscape. The dead rise and march to war, their minds blank.
You open your eyes, and you see the army of the dead.
"Behold."
The voices fade away as you concentrate on your work.
You order the undead to attack all of the Grand Sorcerer's forces in the cities of Medonia. The mage troops are terrified as undead hordes pour into the streets. You laugh as you order them to slaughter the Grand Sorcerer's men.
"Look into the distance, Captain. The cities of Medonia are beginning to burn. The Grand Sorcerer's forces are in chaos."
Captain Dario's face is pale white. He looks ill.
"This is the work of demons! We must repent for our sins! We must..."

> You say "Anara herself granted me this power. You should be praising her and not quivering like a scared dog."
Captain Dario's face twists into an expression of anger and disgust.
"Anara? What do you mean?"
"I mean that the goddess herself spoke to me. She gave me the knowledge to cast this spell. It's for the greater good." you say.
"This is no gift. This is... this is...

> You say "Enough. Our army will arrive here soon. Prepare them to cross the border and lay siege to what remains of the cities."
"As you wish, my lord," Captain Dario says.
"You will be rewarded for your loyalty and obedience to the Empire."
Captain Dario nods and leaves the roof.

> You watch the cities burn in the distance and wait until your forces arrive.
Your forces begin to arrive in the evening. They are lead by Captain Dario himself.
"My Emperor! We have arrived and are ready to carry out your orders!" he says, bowing low.

> You look into the orb and see what the status of the Medonian cities is.
You peer into the orb and see the undead swarming through the cities. Corpses litter the streets, and the Grand Sorcerer's men are suffering heavy losses.

> You have the undead suicide charge the Grand Sorcerer's men.
You order the undead to perform a suicide charge. They advance, howling and snarling, and overrun the Grand Sorcerer's men. They tear them apart and devour them.
The Grand Sorcerer's men are losing, but they have not yet lost.

> You look at Captain Dario.
"We need to cross the border into Medonia immediately. I want to be there when those cities fall."
Captain Dario nods.

> You look into the orb and end the spell. let the undead collapse lifelessly.
You close your eyes and end the spell. The dead collapse back into lifeless corpses.
"Come on, Captain. We have a long way to go."
"Yes, my Emperor."
You and Captain Dario mount your horses and begin the march across the border.

> You divide your forces into five armies and order each army to lay siege to a Medonian city.
You and Captain Dario lead the charge towards the border. As soon as you cross over into Medonia, Captain Dario orders each army to lay siege to a different city.
The cities fall easily. The Grand Sorcerer's men were already almost defeated by the undead that you had summoned earlier. Medonia has been liberated by your forces.
In the weeks that followed, the Grand Sorcerer's men are all put to the sword. Those that surrender are spared, as there is no longer any need for bloodshed.
Across the ocean, the Grand Sorcerer listens to the briefings from his diviners. He rubs his chin and frowns.
"You're sure of these findings?" he asks.
"Yes, Grand Sorcerer," the lead diviner says.
Grand Sorcerer Necronos leans back in his chair and covers his face with his hands in exasperation.
"I cannot believe it. After all the plans and the attempts, he has still succeeded. He rules a second kingdom."
The Grand Sorcerer rubs his eyes wearily and sighs.
"We must prepare our defenses. Now that the Empire of Anara has conquered the mainland, they will doubtless come for us in ships if they have to." he says. Pinching the bridge of his nose and wincing.
"We will be ready for them."
"Perhaps." says the Grand Sorcerer.
Meanwhile...
You have succeeded. You now rule a second kingdom, just as you were destined to do.
You integrate the Kingdom of Medonia into the Empire of Anara as well. All the people of Medonia now work for you, and pay their taxes to you. You also incorporate the Kingdom of Medonia's army into your own.
Over the following months, the vast resources of the Empire and the Church of Anara repair the damage done to the Medonian cities during the war. Their people are overjoyed and see you as liberators and saints. Many people even convert to your faith.
With the entire continent of Nybelmar under your rule, you have accomplished your goal. You are a successful conquerer and ruler.
You wonder what you should do next.

This part was particularly fun:

> Your body begins to glow with blinding light. A beam of light begins to emit from your body, touching the ground and shooting up into the sky with great force, instantly clearly the clouds from the sky.
"The gods are great!" one of your priests shouts.
You continue to move the magic, preparing for your most powerful spell.
"Cast it!" you hear Fay say, hundreds of feet beneath you.
The mages in the fortress seem to have noticed you. Some try in vain to ready themselves, but most of them stare at you in awe and despair, sensing the dread that is to come.
"Do it!" Elizabeth screams.
The world slows to a crawl as you ready the most powerful spell you will ever cast. The final and most important incantation.

> You say "I offer a Tribute to Dark Fertility: Iä! Shub-Niggurath!"

 

[Clockwork Knight]

> You say "Go and summon the leaders of your nation. I will await them in the Oval Office."
The young man nods, turning and running off. You wait patiently, continuing to wait several minutes before you begin wondering if the man is going to run away.

> You sit in the Oval Office with Mol.
You sit in the office, staring at Mol, who stares back.
"So, what should we do?" you ask.
"We wait," she replies.

> You wait.
Mol and yourself sit in the office, waiting for the leaders of the other nations. Soon, you find yourself bored, but you remain still so as not to look aggressive.
"How long are we waiting for?" you ask.
"An hour or two," Mol says, lying on the floor.
You lay on the floor, staring at the ceiling. You stare at the smoke detector, wondering if you should turn it off.

it's been two hours already, where are the world leaders

Reminds me of Ryuk getting bored in death note.

 

[a cut of domestic sheep prime]

it's been two hours already, where are the world leaders

They showed up a while after I subjugated the Lich Lord, which was actually more difficult than I expected, though only slightly because I used the STORY option to own him.

The STORY button is basically your nuclear option. You can use it to force basically anything you want. The world leaders didn't want to submit to me, but I used the story option to force them too their knees.

You can also use edits:

But you are a god and even the weight of an entire planet cannot keep you grounded. You are becoming omnipotent.
You change the rules of reality so that you no longer require worshipers to maintain your powers.
With the flick of a finger you can move a planet out of its orbit. With a thought you can turn back time. You can create life and give it purpose, or take it away.
But a thought occurs to you: what if you had never been killed by that truck in Japan and been transported to this world? What if you had become this powerful then?
You decide to try something. You create a new world for yourself, based on what you might have been like if you had never come here.
You go to Japan and resume your life there as if nothing had ever happened. Zana, Eliza and Kyros watch you and Olive, Sebas and Lilith accompany you. You are no longer worshipped and loved by everyone, but it's close enough.
Everything is the same except you. You don't tell anyone what has happened. The only thing that's different is you.
You buy a large house in Tokyo to live in with Sebas, your demon maids, Zana, Eliza and Kyros. Olive works at a bakery and Lilith attends school.
You are still an all powerful deity, but you've decided to keep it a secret.
You make yourself look like an ordinary Japanese high school student and enroll in a prestigious Tokyo academy. You even fool the teachers.
The future is yours.

The red are my edits to what the system gave me. As you can see, this required quite a bit of massaging to get what I wanted, but it proceeded more or less normal after this.

This was after I had won a previous game, which was my own attempt at an isekai game. At the end, I decided to reverse it and have the isekai protagonist return to Japan.

When I started it, the system actually got the idea of what I wanted pretty quick btw and gave my a textbook anime opening:

Your mother and father are killed before your eyes. You feel a sudden pain as a crossbow bolt pierces your side.

> You run for cover behind the wagon.
You run for cover behind the wagon. The bolts from the crossbows are deadly. If they hit you, they will most likely kill you. You take cover and hope they don't see you.

> You remove the crossbow bolt from your side and heal your wound with magic.
You reach under your side and slowly pull out the bolt. You feel blood pouring from your wound and you try to heal it with magic.
You heal your wound.

> You cast a spell of protection from missiles on yourself.
You cast a spell of protection from missiles on yourself. You are safe from the crossbows now but you are still in great danger.
You hear your mother's screams as she is stabbed to death.

> You say "MOTHER NOOOOOOO!"
You watch as the bandits cut down your mother and your mind goes into a kind of rage. Your hair turns white and you fill with great energy.

> You go into a rage and lose control of your magic killing the bandits and destroying everything within a quarter mile radius.
You go into a rage and lose all control of your magic. The ground starts to quake and you blow away the bandits with wind, you burn their bodies with fire and you turn their flesh to stone.

> You call down a massive bolt of energy turning the area into a giant crater.
You call down a massive bolt of energy and the entire area is turned into a giant crater. You have destroyed everything within a quarter mile radius. Nothing lives. Nothing grows.

Zero edits from me on this part iirc.

I'm really quite impressed and half wonder if there aren't a bunch of indian anime nerds on the other side of this pretending to be an AI.

 

[a cut of domestic sheep prime]

This is from my first game where first I realized just how OP the STORY option is:

> You sacrifice Kurschner's soul and become a demon lord.
As the blood pours from his wrists, you feel your soul merging with the power of Hell. You feel your mind expanding, as new thoughts enter your mind. You can sense the presence of many other creatures around you, and the room suddenly goes dark. You notice that the light is coming from a large pentagram on the floor. Suddenly, you hear a booming voice.
"Who dares desecrate this holy circle?" a booming voice says.

Spoiler

> You say "I do. I am Jack. And I am a demon lord now. Respect my authority!"
The booming voice seems to chuckle.
"No, you are not. I am Mol. I am a demon lord."

> You say "Use Kurschner's soul to take Mol's power for yourself."
Mol roars with laughter as the booming voice fills the room.
"You are not worthy of Kurschner's soul! No, you are a weakling and a fool."
"You're wrong," you say.
"Your blood calls, demon. Let me take it. Let me consume your essence and make you stronger."
Suddenly, the pentagram begins to glow. You feel your body pulsating with the blood lust. Your body grows claws, and your teeth. You can feel your mind expanding as the demon lord Mol attempts to consume your soul.

> You use the power of the pentagram and Kurschner's soul to steal Mol's power.
You concentrate, and the power of the pentagram surrounds your body. The blood lust begins to subside, as you can feel the presence of Mol's soul growing stronger.
"No...," Mol's voice says.

> You say "Yes. You are my subject now. And your power is mine."
Mol roars in anger, as the booming voice echoes in your mind.
"You fool! You will make a bad master! I will take this world, and the Galaxy Soon!"

> You say "this world is mine already. But I am willing to make you one of my generals. Do not despair, my subject."
"Do you think I don't know what you're planning? I am not a fool! I will become stronger than you can imagine, even if it kills me!"

> You say "If you refuse to submit to me, I will have no use for you. This is your last chance."
Mol is silent for a moment.
"Very well," he says. "I will become your loyal subordinate, but I will not forget what you've done."

> You say "I would not expect you to. Understand, I do not look down upon you. And in time you will learn the strength I offer to those who serve me."
"I'm sure you would," Mol says. "Now, we must decide what to do with the pathetic mortal."
You stare at the cloaked figure in front of you.

> You say "Is this Kurschner?"
Mol steps forward, as the hood falls from his head, revealing him to be an old man with white hair and a pale, gaunt face. He has dark circles under his eyes, as if he hasn't been sleeping for days. His lips are thin and drawn, and his hooked nose gives him a predatory look.
"Ah, yes," Mol says. "This is Kurschner. He's been a loyal servant of the Dark Order for decades. We've had our disagreements, to be sure, but on the whole he's served with distinction."

> You say "He had no knowledge of the Dark Order. He served blindly."
"Of course," Mol nods. "Blind loyalty is the highest form of loyalty, after all."

> You say "I will devour his soul"
Mol nods, and walks forward. He stops a few feet away from Kurschner, who looks at him nervously.

> You devour Kurschner's soul.
Mol's eyes glow red as he steps forward. He grabs Kurschner by the head, and twists it hard, breaking the neck with a crack.

> You suck out Kurschner's soul.
You grab Kurschner's soul, as it struggles to escape your grasp. You plunge it into your mouth, and begin to chew. The taste isn't unpleasant. It's rather...pure.

> You swallow Kurschner's soul.
As you swallow, you can feel Kurschner's essence being drained out of his body. You feel...better. The energy is flowing through you once again.

> You say "He truly served in ignorance. His soul wasn't half as black as my own. Pathetic."
"Indeed," Mol nods. "Kurschner had no idea what was going on, while your own soul is so black it's barely even there."
You stare at Mol.

> You say "Ready your legions. We will conquer this world from the shadows and then this universe."
"As you wish," Mol says. "But how will you find the strength to control so many?"

> You say "I have power you do not yet understand. The very fabric of reality bends in my grasp."
"Oh?" Mol asks, raising an eyebrow.
"Yes," you reply.

> You use your power to alter Mol's form into that of a young man.
Mol's body starts to shudder as his form starts to shake and change. His skin seems to be stretched over a new skeleton. His hair turns from white to black. Soon, you see Mol transform into a younger version of yourself.
"Ha!" Mol laughs. "I'll be able to take you out in a single punch!

> You say "Easy now, my friend. I am more than the simple form you see before you."
"Is that so?" the younger you says, raising an eyebrow.
"Yes," you reply.
"Prove it," he says, smiling.
"How so?"
"Less talk. More demonstration."
You use your power to change Mol's form again, making him into a young and beautiful woman with large breasts.
"Hmm, how did you do that?" the younger you asks, staring at her in confusion.
"I'm the master of reality," you reply, enraging the woman.

> You say "Anyway, I like you better as a girl. You're quite cute."
"You think that? You must be some sort of jerk off, to think such things about me," she says angrily.
"I don't think anything. I know it," you reply.

Try to eat my soul and I'll transform you into a tsundere romance option.

Get reck'd.

 

[a cut of domestic sheep prime]

Been playing with the scenario editor and made an X-Files game:

Your are Agent Fox Mulder, male FBI agent. You work for the Federal Bureau of Investigation, which is also called the FBI or the Bureau. You are in charge of The X-Files, a group of cases that are considered paranormal. You believe that there is an international conspiracy to cover up the existence of aliens and the paranormal. Agent Dana Scully has just been assigned to be your partner by the Bureau. She believes in science and doubts the paranormal and the existence of aliens. She is also a Medical Doctor and can perform autopsies. She has just walked into your office and you are about to tell her about the case the two of you will be investigating together.
Your boss is Director Walter Skinner, he is the Director of your FBI office.
Your FBI office is in Washington, D.C.
You are in the United States of America.

> You say "Tell me, Agent Scully, are you here to spy on me?"
"Spy on you?" Scully asks. "Why would I be spying on you?"
You shrug your shoulders.
"I don't know," you admit. "But you're here to spy on me."
Scully frowns.
"What if I am?" she asks. "You've got some really wacky ideas about this whole conspiracy thing."

> You say "Whatever. Let's focus on our work. We have our first case."
"Fine," Scully says. "Let's go."
You pick up the folder containing information on your first case and look inside.
"The Flukeman," you say out loud. "That sounds pretty weird."
Scully looks at you with a mixture of horror and bemusement on her face.

> You say "Ever heard of a Flukeman, Scully?"
"I can honestly say I haven't," Scully admits.
"Neither have I," you say, "but apparently it's as terrifying as its name."
Scully smiles.
"What's so funny?"

> You say "Let me tell you about this case:"
"You don't believe me?" you ask.
Scully raises an eyebrow and waits for you to tell her more. You open the folder and begin to read from it.
"The Flukeman was once a man called Elvin Lincoln. He disappeared in 1963 and it's thought that he might have been eaten by a creature living in a lake."
Scully snorts with laughter.
"That's it?" she asks. "That's your scary monster?"
"Don't mock until you've heard the whole story," you warn her.
You continue to read from the file.
"The creature is called a Flukeman. It's part man, part parasitic worm. It crawls into the brains of humans and takes control of their minds, making them do its bidding."
"That's the most ridiculous thing I've ever heard," Scully says. "If this creature exists, why has nobody seen it?"
You point at the folder.

> You say "There have been reports of a sighting of a flukeman near Beech lake in Wichita, Kansas. There have also been strange and unexplained disappearances. A housewife named Nora Bigsby is the most recent case. Her husband hasn't seen here in over 2 weeks. We have to go there and investigate."
Scully looks through the folder.
"Beech lake, Kansas?" she asks. "That's a long way from here. Are you sure we have to go there?"
"I'm afraid so,"

> You say "I've already booked us two plane tickets for this afternoon. Let's go."
Scully nods in agreement.
"I'll go get my things," she says.
You walk with Scully to the airport and board a plane.

The Flukeman reference was completely done by the game. I didn't add it.

 

[a cut of domestic sheep prime]

It took a bit of effort to get things to come out right. The game tried to turn it into a normal kidnapping case at first, but eventually I got things on track and there was even a surprise cameo by a Marlboro lover at the end:

"Are you nervous about flying?" Scully asks, noticing the way you are gripping the arm rests.
"No," you reply. "Why would I be nervous?"
"Most people would be," she says.
Scully sits back and puts on the airline headphones. She begins to read one of her files. You look over at her, studying her face. You notice that she is beautiful, but in a quiet way. She is everything that you could want in a woman. You smile at her. She looks up and smiles back. The plane takes off without incident.
"That was a success," you say.
Scully laughs.
"We should celebrate when we get to Kansas," she suggests.
You nod in agreement. You look out the window at the clouds and watch as they pass by. Soon you feel the wheels of the plane touch down on the runway with a gentle bump.
"Well, we're here," you say.
"Finally," Scully says. "Let's get to work."
Scully puts away her files and the pair of you leave the plane. You walk through the airport and take a shuttle to your hotel. It's a decent hotel, and the staff are already expecting you. You get your keys from the front desk and take the elevator to your rooms. You open the door to your room and step inside. You walk into the bathroom and begin running the shower. The water is hot and soothing against your skin. You feel the stress of the day wash off you. You step out of the shower and dry yourself off. You look at yourself in the mirror. The bathroom begins to steam up. You step out of the bathroom and find a change of clothes. You get dressed and walk out of the hotel room. Scully is standing in the hallway waiting for you. She looks anxious.
"What's wrong?" you ask.
"We need to get going," she replies anxiously. "I don't want to keep the driver waiting."
You nod in agreement.
"I'm ready, let's go."
The pair of you walk to the car. The drive to the small town of Beech Lake is a short one. Your driver pulls up outside a small diner.
"The hospital is just up the road," the driver says. "I'll wait here for you."
You nod and get out of the car. You walk into the diner and take a seat in a booth. A young girl walks over to you. She has long red hair and is wearing a pink waitress uniform. She looks familiar.
"Hello, sir. What can I get for you today?" she asks with a smile.

Spoiler

> You say "Just a couple of cups of coffee. We're waiting for someone."
"Two cups of coffee," you say.
The girl nods and quickly walks off. She soon returns with two cups of coffee on a tray.

> You take the cups and wait for Nora Bigsby's husband.
You look up to see a man in his late forties walking towards the table. He is balding and has a thin beard. You stand up and hold out your hand to shake his. He walks over and sits down in the booth opposite you.
"I'm Special Agent Mulder," you say. "This is my partner, Special Agent Scully."
The man nods at Scully. He seems very nervous.
"I'm Louis," he says, "Louis Bigsby. I've been expecting you."
"What can you tell us about your wife?" Scully asks.
"She was kidnapped," Louis replies.

> You say "What makes you think she was kidnapped?"
"I got a ransom note," Louis says.
"What did the note say?" you ask.
Louis reaches into his pocket and pulls out a crumpled piece of paper.

> You say "When did you receive the note? My case file doesn't mention anything about it."
"I got it this morning," Louis says. "It was slipped under the front door."
He passes you the note and you look at it.

> You look at the note.
You read the ransom note.
To Mr. Louis Bigsby
We have taken your wife.
We demand $100,000 for her return.
You have one week to pay.
If you contact the police, she dies.
If you fail to pay, she dies.
If you try to capture us, she dies.
If you try anything stupid, she dies.
You know the drill.
Bring the money to cabin 10 at Old Man Woods.
Come alone or she dies.
You put the note down on the table and think for a moment.

> You say "Mister Bigsby, tell me about the night your wife disappeared."
"It was a Friday," Louis says. "Nora left for her volunteer shift at the hospital and never came home."
"What time did she leave?" you ask.
"She left at ten past seven,"

> You say "Was there anything strange about her that you noticed that night?"
"She was in a good mood," Louis says.
"Do you know why?" you ask.
Louis shakes his head.
"No, she didn't say," he says.

> You say "Why would it be strange for her to be in a good mood?"
"Nora and I have been together for eight years," Louis says. "She's never been one for smiling and laughing. Not like my first wife."
You nod slowly.

> You say "Can you tell me anything else that might be helpful?"
"Nothing else springs to mind," Louis says.
"Do you have any other family or relatives I could speak to?" you ask.
Louis shakes his head.

> You say "Thank you for your time. We'll call you if we need anything else."
Louis nods.
"I'll be here for another hour, if you need me," he says.
You get up from the table and head back to your car with Scully.
"What do you think?" Scully asks.
"I'm not sure," you say. "His story seems pretty suspicious."
"Yeah," Scully nods in agreement.

> You say "Let's wait here for a while and follow him when he leaves."
"Alright," Scully nods.
You wait in the car for a while. After about an hour, you see Louis step out of the diner and head to his car.

> You say "Driver, follow that car. Try not to be noticed."
"I'm on it," Manny says, stepping on the gas.
Manny manages to follow Louis without being noticed. After a short drive, Louis stops at a gas station.
"He's stopped,"

> You say "Seems pretty normal. Let's keep following him for a bit more."
"You got it, chief," Manny nods.
After another hour, Louis drives into a residential neighborhood. He stops in front of a house and gets out of the car.

> You say "Scully, check the file. Is this his house?"
Scully opens the file and looks up the address.
"Yeah, that's his house," she says.
You nod.

> You look at the house and see if you can notice anything strange from the outside.
The house looks completely normal. There's a white picket fence surrounding the front lawn. A wooden board with the number 24 hangs on the right of the gate.

> You call the local FBI Field Office and ask them to run a background check on Louis Bigsby.
After hanging up the phone, you return to your car.
"Well?" Scully asks.
"I'm waiting for a response," you say. "Let's go check out the house."
Scully nods.

> You knock on the door.
You knock loudly on the door. A few seconds later, an old woman answers.
"Hello?" she asks, confused.

> You say "Hello, ma'am, I'm with the FBI. Who are you?"
"I'm Louis Bigsby's next door neighbor, Martha Higgins," she says. "What's this all about?"
"Do you know where Louis is?"
Martha shakes her head.

> You say "I thought this was Mister Bigsby's house. What are you doing here?"
"My son and his family are away on vacation. I'm looking after the house," she says.
"Do you know where Louis is?" you ask again.
Martha shakes her head.

> You say "I just saw him walk in..."
Martha interrupts you.
"You must have been mistaken," she says. "Louis hasn't left the house in years."

> You say "Do you mind if we come in?"
Martha hesitates for a moment, then nods.
"Alright," she says, opening the door.
You and Scully walk inside the house. It's very dusty and there are no lights on.

> You say "What do you know about Mister Bigsby's wife?"
"Not much," Martha says. "I remember when they first moved in. That was twenty years ago. She was a quiet woman. Kept to herself."
"Did you ever meet her?" Scully asks.
"Once," Martha replies. "It was a few years ago. She had the flu, and she asked me to pick up some medicine for her."
"What was she like?" you ask.
"Quiet," Martha replies.

> You look at scully.
Scully rolls her eyes.
"Do you have any other questions?" Martha asks.

> You say "Is there a bathroom I could use here?"
"Down the hall, on the right," Martha says.
You walk down the hallway. You try to open every door you see. They are all locked.
Finally, you reach the bathroom and walk inside.

> You investigate the bathroom.
The bathroom is dirty. There are several unwashed cups and plates in the sink, and a toothbrush lies on the edge of the sink.

> You look at the drains.
You notice several long hairs caught in the drain of the sink.
Scully walks in and looks around. She notices the dirty dishes in the sink.
"Louis Bigsby is a slob," she says.

> You shine your flashlight down the drains.
You notice several long black hairs caught in the drain of the sink.
Scully takes out a small notebook and pen from her pocket and jots something down.
"The victim was in this bathroom," she says.

> You say "Hmm. Notice anything strange here, Scully?"
"Bigtime," she replies.
"What is it?"
Scully notices several long black hairs caught in the drain of the sink.

> You say "What's strange about that?"
"The victim had brown hair," she says.
"Oh," you reply.
Scully walks out of the bathroom and into the hallway.
"Let's go," she says. "We're done here."

> You go back and speak with Martha.
You walk back down the hallway.
"Thanks for your help, Martha," you say. "We're finished here. We'll be on our way."
"Oh, wonderful," she says.

> You say "One more thing..."
"Yes?"
"What's your relationship with the Bigsbys?" you ask.
Martha stares at you for a moment.
"They're my neighbors," she says.
"Anything else?" you ask.
"That's it," she replies.
You and Scully leave the house and get into the car.

> You think about Martha.
Martha's reaction seemed odd. She got nervous when you asked about her relationship with the Bigsbys. You can't shake the feeling that there was something she wasn't telling you.

> You say "We need to coordinate with the local authorities. If this really is a kidnapping, we need them to surround cabin 10 at Old Man Woods so that we can negotiate with the kidnappers."
"Yeah, that sounds good," Scully says.
"Let's go, Scully."
You and Scully get into the car and drive away. The road to Old Man Woods is dirt. It's bumpy and uncomfortable, and you feel every little pebble through the floor of the car.
You pull up to a tiny house with a light on the porch. The house has no garage, so the kidnapper's car is parked in the driveway. It's a white sedan. There's an old man sitting in a rocking chair on the porch.

> You say "Where are the police? They should be here by now."
"We're not waiting around," you say. "Let's go."
You and Scully quickly get out of the car.
"Where are you going?" the old man calls out.

> You draw your gun.
You pull out your gun and point it at the old man. He looks shocked.
"Shut up, shut up!" you say. "We're the FBI."
"What in the world is going on here?"

> You say "Scully, cover the old man, I will investigate the house."
"With pleasure," Scully says.
You walk up the porch steps and put your hand on the front door knob. It's unlocked. You slowly open the door and walk inside the house, your gun drawn.

> You search the house for Nora Bigsby.
You walk through the front door and into a small foyer. There's a staircase to your right and a living room to your left.
"Clear," Scully says from the living room.

> You say "Did you cuff the old man?"
"Yes," Scully says.
"Good," you say. "You stay here and watch him."
"Where are you going?" Scully asks.

> You say "I'm going to search the rest of the house"
"I'm going to search the rest of the house," you say.
"Be careful, Sir," Scully says.
You walk back out to the foyer and turn right. You walk through a dining room, then a kitchen, then reach a door to the backyard. The backyard is fenced in and contains a swing set. There is nobody there.

> You go up the stairs.
You go back inside and head up the stairs to the second floor. There's a landing with two doors on each side. You try the first door on the right. It's locked.
The next door on the right is open and you walk inside. You see a woman lying in bed, her eyes closed. She's tied to the bedposts with rope.
"Hello?"

> You say "Mrs. Bigsby?"
"Mrs. Bigsby?" you ask.
The woman's eyes open and she looks at you. Her eyes widen in terror.
"Oh, my God! Help me!" she says.

> You say "It's ok, Mrs. Bigsby, I'm with the FBI."
"It's ok, Mrs. Bigsby," you say. "I'm with the FBI."
"You're the FBI? Oh, thank God! Please help me!

> You cut her free.
You pull out your knife and cut the rope around her wrist. She immediately pulls her hands to her chest.
"Oh, my wrists! He tied them so tight!" she says.

> You say "Who did this to you?"
"Who did this to you?" you ask.
"That monster who lives in this house!" she says.
"What's your name?" you ask.
"Nora," she says.

> You free her completely.
You cut the rope around her legs and feet. She immediately stands up.
"Can you walk?" you ask.
"Yes," she says. "Help me down from here."

> You help her.
You help her down and she hugs you.
"Oh, thank you, thank you so much!"
"Do you know what he took from you? Or what he did?" you ask.
"He didn't take anything. He didn't do anything, either, not the way you think," she says.

> You say "Was it the old man that did this?"
"Was it the old man that did this?" you ask.
"Yes," she says. "He kidnapped me two weeks ago."
"He what?" you ask.
"He kidnapped me. He kept me tied to that bed over there for two weeks."

> You examine Mrs. Bigsby.
You walk over to Mrs. Bigsby and look at her. She's a middle-aged woman who looks tired.
"Are you hungry?" you ask.
"I haven't eaten in a week," she says.
"We'll get you something soon," you say.
"Thank you," she says.
You hear a siren in the distance. It's getting closer.
"What's that?"

> You say "We called the police earlier. They're late."
"We called the police earlier," you say. "They're late."
"Thank God," she says.
Two police officers run into the room with their guns drawn.

> You say "Agent Mulder, FBI"
You point at yourself.
"What's going on here?" one of the officers asks.
"These two agents found me," Mrs. Bigsby says, pointing at you and your partner.

> You say "She was a hostage here for two weeks. The old man we handcuffed out front had kidnapped her."
"She was a hostage here for two weeks," you say. "The old man we handcuffed out front had kidnapped her."
One of the officers looks at you in surprise.

> You say "Do you know who the old man is?"
"Do you know who the old man is?" you ask.
"Yeah, that's Mr. Monroe," the officer says. "He's lived here for twenty years. He was pretty respected in town.

> You say "Strange. I'll need to question him. Take care of Mrs. Bigsby."
"Strange. I'll need to question him," you say. "Take care of Mrs. Bigsby."
One of the officers walks over to Mrs. Bigsby and takes her aside.

> You say "Scully, you go and talk to Mrs. Bigsby. See if you can get any more details out of her about what happened. I will go downstairs and question Mr. Monroe."
You walk downstairs and into the room where you left Mr. Monroe handcuffed to the sink. He is still there, but his face is covered in blood.

> You say "You're bleeding. I guess Scully had to ruff you up a bit to get the cuffs on you."
You walk over to him.
"You're bleeding," you say. "I guess Scully had to ruff you up a bit to get the cuffs on you."
Mr.Monroe doesn't answer.

> You look him over.
You look at Mr.Monroe. His nose is broken, and his right eye is swollen shut.
"Mr. Monroe," you say.
Mr. Monroe doesn't answer.

> You say "You are under arrest. You have the right to remain silent. Anything you say can be used against you in court. You have the right to talk to a lawyer for advice before we ask you any questions. You have the right to have a lawyer with you during questioning. If you cannot afford a lawyer, one will be appointed for you before any questioning if you wish. If you decide to answer questions now without a lawyer present, you have the right to stop answering at any time."
You pull out your pocket tape recorder and press the play button. The Miranda Rights, required to be read to anyone before being questioned by law enforcement, play from the recorder.
You point at Mr.Monroe.
"Do you understand your rights?" you ask.
Mr.Monroe looks at you. He spits out a tooth and a glob of blood lands on your shoe.

> You say "Why did you kidnap Nora Bigsby?"
"Why did you kidnap Nora Bigsby?" you ask.
Mr.Monroe starts to laugh, spraying more blood onto your shoes.
"I did it for love," he says.
You shake your head.
"No, really," Mr.Monroe says. "I loved her."
You sigh and look at Mr. Monroe.

> You say "You didn't love her. You demanded a ransom."
"You didn't love her," you say. "You demanded a ransom."
Mr.Monroe laughs and spits more blood out of his mouth.
"It's all part of the act," he says. "You don't kidnap someone without putting on an act."
"What kind of act?" you ask.
"The amourous kind," Mr. Monroe says.

> You say "Mrs. Bigsby said you didn't do anything amorous to her."
"She's lying," Mr. Monroe says.
"Mrs. Bigsby said you didn't do anything amorous to her."
"That's what she wants you to think," Mr. Monroe says. "I wanted to take it slow with her, get to know her, do the whole courting thing, but she thought I was a filthy pervert.

> You look for anything strange about Mr. Monroe.
You look around Mr.Monroe. His face is swollen, and one of his eyes is bruised shut. His nose is bleeding profusely.
You notice that there are teeth in the blood on your shoe.

> You look at his tooth on your shoe.
You look at the bloody tooth on your shoe.
"One of your teeth is broken," you say.
"So it is," Mr.Monroe says, spitting out another bloody tooth.

> You examine his mouth with your flashlight.
You shine your flashlight into Mr.Monroe's mouth.
"Do you have a sore tooth?" you ask.
Mr.Monroe nods.
"I bit down on a pebble while I was running," he says. "It's killing me."
You find a strange, white stone wedged in one of Mr.Monroe's teeth.
"Do you need a dentist?" you ask.
"No, I just need to pull out this pebble," Mr.Monroe says.

> You shine your light to the back of his mouth.
You shine your flashlight into the back of Mr.Monroe's mouth. You see the pebble, but you also see something else.
"I see it," you say.
"Pull it out!"

> You look at the something else.
You look at the something else. It looks like a...nail? No, it's too thin. A wire? No, it's too straight. A hair? It couldn't be...
"I can see the pebble," you say. "But I also see something else."
"What is it?" Mr.Monroe asks, nervously.

> You say "It looks like a long black hair growing in your mouth."
"It looks like a long black hair growing in your mouth," you say.
Mr.Monroe looks as white as a ghost.
"A what?" he asks.
You nod.

> You say "Scully, come take a look at this!"
You call for Scully, and she arrives within moments.
"What is it, Mulder?" she asks.
You point at Mr.Monroe's mouth.

> You say "There's at least one long black hair growing inside his mouth near the back.
"
"There's at least one long black hair growing inside his mouth near the back," you say.
Scully kneels down to inspect Mr.Monroe's mouth. She grabs the hair and pulls it out.
"Y-you're right, it's a hair," Mr.Monroe says nervously.
Scully puts on some gloves and picks up the hair.
"We'll get this checked out," she says.
Scully puts the hair in an evidence bag. She also removes the pebble from Mr. Monroe's mouth and puts it in the bag with the hair.
"Wait here, Mr.Monroe," Scully says. "We'll be back in a moment."
Scully stands up and motions for you to follow her.

> You say "He seems like a lunatic. He kidnapped Nora Bigsby, but he refuses to be honest about why he did it."
"He seems like a lunatic. He kidnapped Nora Bigsby, but he refuses to be honest about why he did it," you say.
"We need to get his medical records," Scully says. "If he has a mental illness, that could explain his irrational behavior."
"Exactly what I was thinking," you say.
"Let's go,"

> You have the local police take Mr. Monroe into custody and charge him with kidnapping Nora Bigsby.
You decide to take no chances. You go with Scully back to the station. The two of you work quickly to put Mr.Monroe in custody and charge him with kidnapping.

> You say "Scully, lets go to the FBI field office in Wichita. They have a lab there where you can examine the hair and the pebble."
"Good idea," Scully says.
Scully and you get in your sedan and drive to the field office in Wichita. You and Scully fill out some paperwork and give it to the FBI agents at the front desk. The agents quickly process your paperwork and give you access to the FBI field office in Wichita.
Scully and you make your way to the lab. You hand the evidence bag to Scully. She puts on a lab coat and takes out the hair and the pebble. She puts them in a tray.
"Do you know how to use these things?" Scully asks.
You nod.
"Good, I need your help doing this," Scully says.
You nod.
"I've never done this before," you admit.
Scully smiles and laughs.
"That's funny, you seem like you have," she says.
"I've always wanted to be a scientist, but I never had the opportunity," you admit.
Scully grabs your hand and motions for you to look into the microscope.
"What do you see?" Scully asks.
"Looks like a hair," you say.
"What else?" Scully asks.
"I don't see anything else," you say.
Scully grabs a device that looks like a large pen. She taps the hair gently and slides it into a slot in the tray. She taps the pebble gently and slides it into a slot in the tray.
"Now what do you see?" Scully asks.
"It's different," you say.
"What do you see?" Scully asks.
You look into the microscope again.
"It's different," you repeat.
"You need to focus," Scully says.
You look into the microscope again. You see tiny organisms moving around.
"Those are cells," Scully says.

> You say "They look alive. The cells in hair aren't supposed to be alive, are they?"
"No, they aren't. This isn't a human hair," Scully says.
Scully grabs the pen-like device again and taps the hair again. She slides it into a slot on the tray. She taps the pebble again and slides it into a slot on the tray.
"Now what do you see?" Scully asks.
"It's different," you repeat.
"What do you see?" Scully asks.
You look into the microscope again.
"It's different," you repeat.
"You need to focus," Scully says.
You look into the microscope again. You see tiny organisms moving around.
"Those are cells," Scully says.
"What are they doing?" you ask.
"They're multiplying," Scully says.
"What are they?" you ask.
"They're cancer," Scully says.

> You say "But this is a pebble."
"It's not a pebble. It's a piece of skin," Scully says.
Scully grabs the pen-like device again and taps the hair again. She slides it into a slot on the tray.

> You say "But it's hard as rock. It broke Mr. Monroe's teeth."
"It's a very hard piece of skin," Scully says.

> You say "Can you analyze its DNA and see if it matches Mr. Monroe's?"
"Of course I can," Scully says.
Scully grabs the pen-like device again and taps the hair again. She slides it into a slot on the tray.

> You say "Analyze the hair's DNA too."
Scully takes a few hours to analyze the DNA of the hair and the pebble and compare the to DNA from Mr. Monroe.
"I've got good news and bad news," Scully says.
"Give me the good news first," you say.
"The good news is that these two items did not come from Mr. Monroe," Scully says.
"And the bad news?" you ask.
"The bad news is that these two items did come from the same person," Scully says.
"Who is it?" you ask.
"I don't know," Scully says.

> You say "Hmm. I think we need to pay a visit to the Bigsby's house again."
"What for?" Scully asks.
"I want to do some more snooping," you say.
"Why? Did you find something else when you were there?" Scully asks.
"I'm not sure," you say.
"Well, what are we waiting for? Let's go!" Scully says.
You and Scully head to the Bigsby Residence. When you arrive, you notice that the house is completely empty.

> You investigate the bathroom again.
"Let's go back to the bathroom," you say.
You and Scully head back to the Bigsby's house. When you arrive, you both head to the bathroom.
"What are we looking for?"

> You look at the drain.
You and Scully look at the bathtub's drain.
"There's something moving in there," you say nervously.
"Let's find out what it is," Scully says.
There are more long black hairs in the drain, but they appear to be wiggling around on their own, interacting with each other.
"The hairs are alive," you say.
"What the heck could be doing that?" Scully says, stepping back nervously.

> You take out some tweezers and grab the wriggling clump of hairs.
You slowly extend your hand out towards the bathtub drain, and grab the wriggling clump of hairs with your tweezers. The clump of hair appears to be alive.

> You put the clump of living hairs into an evidence bag.
You put the clump of living hairs into an evidence bag and seal it shut.
"There. It should keep alive in there," you say.
"We should take this to analyze right now,"

> You say "You take it to the lab and analyze it. Call me when you have the results. I'm going to look around the house and try to figure out where the Bigsbys went."
"You sure you'll be alright by yourself?" Scully asks.

> You say "I'll be fine. Just get that clump of hairs analyzed."
"Okay," Scully says. You watch as she drives away.
Now, you are all alone in the Bigsbys' house. Since you are all alone, you decide to start snooping around the house.

> You search the doors that were locked earlier.
The three doors that were locked earlier are still locked.
The only door you haven't checked is the door to the master bedroom. You open it, and find a large room with a king-sized bed.

> You look around the master bedroom.
You walk around the master bedroom, looking for anything that might arouse your suspicion. In one corner of the room, you find a big chest.

> You open the chest.
You open the chest. Inside, you find some more living black hairs. You also find that they are all nesting in the hollowed out skull of a human head.

> You back up in horror.
You back up in horror. You then notice something: there is a key inside the chest. You take it out of the chest and examine it.
"What do you want to do with it?"

> You close the chest and try the key on the locked doors.
You close the chest and try the key on the locked doors. The key opens one of the doors.
"The door to the basement is now open,"

> You draw your gun, turn on your flashlight and investigate the basement.
You walk down the stairs. In your hands is your gun. You can't be too careful. As you reach the bottom of the stairs, you shine your light around. You see a tool bench, some gardening tools, and some plants in the corner. You also see a washer and dryer.
"Well, that's boring," you say.
Just then, you hear a window shatter upstairs.

> You run up the stairs.
You hear heavy footsteps above you.
"Scully?" you ask.
There is no response. You try to remember if there was anything upstairs that could have made that noise.

> You search the house and find which window was broken.
You find a broken window in the master bedroom.

> You look at the chest.
The chest is closed.

> You open the chest and see if the hairs and the skull are still inside.
You open the chest. You find that the hairs and skull are gone. In their place is a little silver ball, which begins to glow when you pick it up.

> You drop the silver ball and run out of the house as fast as you can.
You get out of the house just as it blows up behind you.
"Wow, that was close," you say to yourself. You walk back to your car and drive away.

> You drive to the Field Office and meet with Scully.
When you get to the office, you are surprised to find out that Scully is not there.

> You call her phone.
You call her phone. It rings and rings, but nobody answers it.
"Strange," you say to yourself.
Scully was supposed to be here. You wonder if she is all right. You walk up to the counter.
"Where is Special Agent Scully?" you ask the front desk officer.
"I believe she is in a meeting with the director," he says.

> You say "Director Skinner came here?"
"Yes. He arrived about fifteen minutes ago."
"Do you know what about?"
"No, I don't," he says.
You thank him and walk over to a chair by the door.

> You wait for Scully to finish meeting with the Director.
You wait for about an hour. Eventually, the door opens and the Director walks out. He sees you and sighs.
"Ah, Agent Mulder. Come with me."

> You enter the office and meet with Scully and the Director.
You enter the office and find Scully sitting in a chair in front of the desk. She smiles at you.
"Hello, Mulder," she says.

> You sit down next to her.
You sit down in the chair next to her. You both face the Director, who sits down at his desk. He crosses his arms and stares at you.

> You say "Director, what is this about?"
"You two want to tell me what's going on?"
"I'm not sure what you mean, sir," Scully says.
"I got a call this morning from a Doctor Hough. He says that you two came to his medical clinic last night and took all of his skin samples that he was going to use for his project.

> You say "That's a lie. The only skin and hair samples we have were collected during the course of investigating our current case."
"Oh, really? You collected samples from a crime scene?" the Director asks.
"Yes," you say. "From the Bigsby family's house and from Mr Monroe, the man who kidnapped Nora Bigsby."
"Hmmm," the Director says. "Well, that's interesting, since I got a call from Doctor Hough saying that you stole his skin and hair samples.
"I'm going to have to ask you to turn in all of the evidence you've collected so far and drop this case." he says.
"Excuse me?" you ask.
"I said I want you to drop this case immediately."

> You stand up and leave the room in anger.
You get up out of your chair and turn to leave the room.
"Agent Scully, you stay here," the Director says.
You stop in the doorway and turn to look at him.

> You say "You can interfere with my work on the X-Files, sir, but you can't stop the search for the truth. No one can."
"Is that a threat, Agent?" he asks.
"It's a fact," you say.
The Director stares at you.
"Out," he says.

> You leave and return to your hotel room.
You turn and walk out of the FBI headquarters. You get into your car and drive away. After a few minutes, you park in a parking lot and get out of your car.

> You go to your hotel room and pack.
You open your trunk and throw your suitcase in. As you do, you see something strange in the trunk of the car. It looks like a black hose, snaking under the back seat and into the front.

> You examine it.
You lean in and examine the hose. You can't tell what it's for, so you start tugging on it to see if anything happens.
You tug on it a few times and then...
"What the hell are you doing, Special Agent?" someone asks.
You turn around and find yourself staring down the barrel of a gun. Behind it is a man wearing a black hoodie and dark sunglasses. He looks at you angrily.
"I... I was just looking for my keys," you say, reaching slowly into your pocket.
"Don't move another muscle, motherfucker," the man says.
The man pulls the trigger and your chest explodes in pain. You fall back and sit down on the ground.
"Fucking... FBI," the man growls, before turning and speeding off in a waiting car.

> You use your phone to call an ambulance.
You slowly reach into your pocket and pull out your phone. You dial 911 and put it to your ear. After a few rings, you start to hear a click.
"911, what is your emergency?"

> You say "This is Special Agent Fox Mulder. I've been shot. I need an ambulance."
"Sir? Where are you right now?"
"I'm at a parking lot off Freedom Avenue."
"Please stay on the phone with me, sir.

> You pass out.
As you slowly start to lose consciousness, you realize that this is it. The truth will die with you. The world will never know what really happened out there.
You awake in a hospital room. Agent Scully is sitting next to your bed. She looks tired, with bags under her eyes.
"How are you feeling?" she asks.

> You say "Like I've been shot..."
"The doctor says you'll be fine. You got a piece of bullet in your heart, but they were able to remove it."
You look down at your heavily bandaged chest and nod slowly.

> You say "How long have I been unconscious?"
"Just over twenty-four hours. They took the bullet out yesterday afternoon. The surgery was successful."

> You say "Do they know who shot me?"
"The FBI, along with the Washington PD, are doing all they can to find out who did this. Right now, we don't have any leads."
Scully leans forward and grabs your hand.

> You say "We got really close to the truth, Scully. They tried to have me killed."
"I know, but right now you need to focus on getting better. I'll do everything I can to find the person who did this."

> You close your eyes and rest.
Over the next week, you begin to get better. Scully visits every day after work, and reports no leads on who shot you. She thinks it might have been the same person who killed Detective Moriaty.

> You say "Detective Moriaty?"
"He was found dead in his apartment last night. He'd been shot twice in the chest."
You frown and turn away.
"We need to catch this son of a bitch!"
Meanwhile in Director Skinner's office in FBI headquarters in Washington, D.C. a man in a black suit speaks into a phone.
"Phase One is complete. The subject has been shot."
He hangs up the phone and smiles.
Director Skinner looks up at the man and sneers. "You can't just silence everyone who gets close to your secrets. Especially not someone like Mulder. You'll create a martyr."
The man in black shrugs. "It's the fallout I have to deal with, not you. Now if you'll excuse me, I have another assignment.
The man in black takes a long draw from his cigarette and puts it out on the ashtray on Skinner's desk. Then he walks out the door.

It required very little editing from me, but I had to reroll a lot in places and give the story a few nudges.

I feel like in order for this game to be at its best, you need to be willing to do some creative writing in places or else the story will quickly devolve into nonsense as the algorithm loses track of things.

Still, great fun.

 

[a cut of domestic sheep prime]

Nevill Baltika9 Storyfag Kipeci Kz3r0

This game might interest you, since you like CYOAs.

 

[a cut of domestic sheep prime]

Continuing the X-FIles with a monster of the week episode:

It's been over a month since you were shot. Your injuries have mostly healed, but you are still in a great deal of pain. You have been trying to get back to work, but it's slow going.
Skinner called you into his office a today. He tells you that you are taking far to long to recover and that your services are needed on another case. You protest, but he is unmoved.
The case is a strange one. In the town of Prospect, Kentucky, a man was found dead in his home. It was a gruesome scene. The body had three holes in the chest, each with an odd shape around it. There was no blood at the scene.
You arrive with Scully, and meet up with a local detective named Ian Edgerton.
Edgerton is an odd fellow. He seems nice enough, but he is obsessed with violent crime. You know that he volunteers to visit prisons for the sole purpose of talking to serial killers.
The three of you head to the victim's house. Once you get there, Scully does her job and begins examining the body. She finds that the three holes in the man's chest were made by long thin nails, such as might be used to hang a picture. She also determines that he was killed by a heavy blow to the head before the nails were driven into his chest.
You search the room and find several clues. There is a picture on the floor, its frame broken. There is a small pile of what appears to be sand under the window. There is also a box of nails that matches the one used to puncture the man.

Spoiler

> You say "Any ideas on why there's no blood?"
Scully shrugs. "The perp might have cleaned it up. Maybe he was in a hurry and didn't do a good job."
Edgerton shakes his head.

> You say "Could the blood have been pumped or sucked out of his body through the holes in his chest?"
"It's a possibility," Scully admits.
"Well, we're not going to figure it out here," Edgerton says. "I say we go question the family."
You and Scully nod.
Scully puts on a pair of gloves and picks up the picture from the floor. It shows a young boy and girl smiling at the camera.

> You say "The victim's kids?"
Scully frowns. "I'm not sure. It's hard to say if this picture is recent. Maybe we should wait for the family to show up and ask them."

> You look at the victim's body.
You examine the body again.
Edgerton steps forward and points to the wounds in the man's chest.

> You remember what you read about the victim in the case file.
You look in your case file.
The victim's name was Gerald Ford and he was a history professor at a local college. His wounds were made by three long, thin nails.
The case is odd. Gerald Ford's body was found in his house by his children. There were no signs of forced entry. There were no witnesses. And there were no leads.
In other words, it's a perfect case to be working on right now.

> You examine the sand by the widow.
You pick up a handful of sand and examine it.
"What do you think that means?" Edgerton asks.
Scully shrugs. "Hard to say."

> You put a sample of the sand in an evidence bag.
You put the sand in an evidence bag.
"I'm going to run this back to the FBI lab," Scully says. "I'll have them check the nails for fingerprints as well and any other evidence."
Edgerton nods. "All right. Well I'm going to try and find a family member."
You leave the house with Edgerton. You take one last look at it before leaving, thinking of what horrors took place inside.

> You look in your file and find where Ford's children live.
You look in your case file and find the address of Gerald Ford's children. They are both university students. The son, James Ford, is studying law at the University of Virginia. The daughter, Jane Ford, is studying medicine at the University of Maryland. They were both in town trying to visit their father. Edgerton drives you to the hotel where they are staying.
The hotel is a large, grand building with a large neon sign. You enter the lobby and approach the front desk. A bellhop approaches you and asks if he can take your bags.

> You say "I'm here to see James and Jan Ford."
The bellhop nods. "Yes, sir. They're in room 231."
He hands you a key and you take the elevator to the second floor. When you reach room 231, you knock on the door. A young woman answers the door.
"Hello," she says. "I'm Jane Ford."
You hold out your badge. "Special Agent Fox Mulder, FBI."
You enter the hotel room. A young man is sitting on one of the beds and stands up when he sees you.
"I'm James Ford," he says. "This is my sister, Jane."
Jane hugs her brother.

> You say "I'm here to speak with you about your father's murder."
"We've been expecting you," Jane says. "Please, sit down."
You sit on the bed opposite James and Jane.
"We were told there were no witnesses or suspects," James says.

> You say "Do you know of anyone ho might have wanted to hurt your father?"
"No," Jane says. "Dad was a good person."
You nod. "I'm sorry for your loss."
"Did you find who murdered my father?" Jane asks.
"We're still investigating,"

> You say "Tell me about your father's work as a university professor."
"Dad was a professor of literature at the University of Kentucky," Jane says.
"What kind of literature did he teach?" you ask.
Jane shrugs.

> You say "Did he ever say anything about his students?"
"Dad was always very supportive of all his students," Jane says.
You nod.
"Were you or your brother ever in your father's class?" you ask.
"I was," James says. "Jane took one of his classes, too."
"Did you get along with him?" you ask.
Jane nods. "Dad was a great man," she says.
You nod.

> You say "Did you notice anything about his interactions with the teachers or faculty at the college that stands out in your mind?"
"No," James says. "Dad was really private about his job."
You nod.
"Did he ever mention anyone in the English department?" you ask.
Jane shrugs.
"He mentioned Professor Ian Patterson the most," she says.
"Do you know why?" you ask.
"Dad and Ian didn't get along," Jane says. "They had philosophical differences."

> You say "What kind of differences?"
"Dad didn't approve of Ian's new teaching methods," Jane says. "He thought they were too... I don't know... up to date?"

> You say "I see. Tell me, had your father mentioned anything new or strange lately?"
"No," Jane says. "He seemed pretty happy with his new book."
"What was the book about?" you ask.
Jane thinks for a moment. "It was about Native American myths," she says.
"Do you know which myths?" you ask.
Jane shrugs.
"I only know that it included the story of the Aztec god, Quetzalcoatl," she says. "The feathered serpent."
"Did your father talk about any of the students in his class?" you ask.
Jane thinks for a moment, then nods slowly. "Dad was having problems with one of the students," she says. "A man by the name of Daniel Kraft."
"Why was he having problems with him?" you ask.
"I don't know," Jane says. "But he never liked him."
"Was he a good student?" you ask.
"Dad didn't think so," Jane says. "But, like I said, I don't know why. I don't think Daniel was ever in trouble or anything."

> You say "I see. I'm going to have to ask you both not to leave town for the next few days just in case we have more questions."
"Of course," Jane says. "Is there anything else you need?"
You nod.
"Yeah, I have a couple more questions. This might be a little personal, but I need to know.

> You say "Did your father have any girlfriend or boyfriend that you are aware of?"
"No," Jane says. "Dad was really shy when it came to women. I don't think he's ever had a girlfriend."
"Do you know if he was involved in an online relationship with anyone?" you ask.
Jane shrugs. "I doubt it," she says. "He didn't exactly have much time for the computer besides our mother."

> You say "And your mother passed away some years ago, correct?"
"Yes," Jane says. "She died when I was a little girl. I barely remember her."
You nod.

> You say "Was your father still bothered by her death?"
Jane shakes her head. "Dad was always pretty positive after mom died," she says.

> You say "I understand. Thank you both for your time. We will call you if we have any more questions."
You nod at her, then stand.

> You have Ian drive you back to the crime scene.
Ian drives you back to the crime scene. There is no one in the house now.
The victim's body has already been moved to the coroner's office. Scully is probably performing an autopsy on it.

> You search for the book on Native American myths.
There is a book on Native American myths on the floor of the victim's bedroom.
It looks like it has been damaged.
The book is called "The Legend of Coatlique, Goddess of the Americas."

> You read the book.
You open the book.
The first page is an introduction by some Native American author. It starts with a picture of an Aztec pyramid with the sun shining down on it.
It then cuts to a picture of a Aztec woman with a flower in her hair.
The next few pages are more pictures of Aztec and Incan artifacts.
Then, the author starts to talk about myths.
In the myths, the world was created by a dual god called Ometecuhtli and Omeciuatl.
"Coatlicue is another name for her," the author says in the book. "It means "the one whose skirt is the earth."
"Her son is the dead sun god, Huitzilopochtli. She found him after he died. She was holding him and weeping when she realized her other son had been born. The Earth was made from her tears. Her necklace is representative of the Tlaloc amulet, which means she has power over water. She found the bones of her dead son, and used them to create humanity. Her other son, Queztacoati, means 'ruler of the house of night.'"
"Coatlicue is also known as Teteoinan, "the mother of gods." In one story, Quetzalcoatl and Xolotl accidentally kill her son. They try to fix the problem by putting him back together. In another story, she becomes a virgin again after giving birth to various gods. When she gives birth to a ball of snakes, her other children become worried and kill her. Afterwards, her other children became sick with guilt. Because of this, people often prayed to Coatlicue for mercy."
"One of the few female gods, she is known as the Earth Goddess. Her children killed her by accident, so she could be considered a victim god. She had an important part in many of the Aztec creation myths. She had an affair with Tezcatlipoca, the god of night. Together, they created the stars. In some myths, it is said that she gave birth to him. In others, it is said that they had a relationship in the form of twins. Tezcatlipoca means "Smoking Mirror.
The book shows pictures of more Aztec and Incan artifacts.
"Some scholars believe that the religion was similar to the one practiced by the Mexica," says the book.
As you are flipping through the pitcures of the book, you stop on one image of something that looks like a long thin nail.
"The tepuzculhuenatl was a nail made of bone. It was used in sacrifices," says the book. "The tepuzculhuenatl was put into the skull of a sacrificial victim. Then, the priests would twist it around. This would kill the victim instantly."
The book also says the tepuzculhuenatl would sometimes be used to puncture the heart in certain cases. The blood would then be drained from the victim and used in special ceremonies.
The book then shows a picture of several other ceremonial artifacts. One of them is a red feather.
"Cochiti sacrifices had red feathers associated with them," says the book.

> You search the book to find out what the blood of the victims was used for.
"The victims blood was usually drained. It was used in different ceremonies, especially for making drought," says the book.
The book shows pictures of several different blood filled ornaments.
"Blood was used in many forms in ceremonies. In some cases, it was simply sprinkled on the people at the ceremony," says the book. "In other cases, it was used to fill these ornaments. These ornaments were worn by the priests."
"The book also shows pictures of an Aztec calendar.
"The Aztecs and the Incas had similar calendars. The calendars consisted of several circles. Each circle represented a month. Each month consisted of 20 days. These calendars would help the priests pick a good day for the ceremonies," says the book.

> You see if the day the victim was killed was on the calendar.
You turn to the day of the victim's death.
"The fifth day of the fifth month is a ceremonial day," says the book.
You turn the page.
"The final chapter of this book will explain what each part of a sacrifice meant to the Aztecs," says the book.
The book shows a picture of the heart being cut out.
"The priest would reach into the chest of the victim and pull out the heart. This was symbolic of pulling the human's spirit into the afterlife," says the book.
The book shows a picture of the legs being tied.
"The victim's legs would be tied to prevent them from resisting," says the book.
The book shows a picture of the priest making a cut down the center of the chest.
"The knife used to cut into the victim's chest was a tepoztli," says the book.
The book shows a picture of a priest holding out a bowl to catch the blood.
"The bowl was called a cuauhxicalli. It was made from a hollowed out gourd," says the book. "The priest would catch the blood of the victim."
The book shows a picture of a priest wearing the blood filled gourd around his neck.
"The priest would wear the gourd around his neck. He would then pour the blood into a bowl to mix with different herbs and mushrooms," says the book.
The book shows a picture of a bowl with red liquid and several mushrooms.
"The bowl contained the mixture of blood and different types of mushrooms and herbs. The priests would drink this liquid, allowing them to enter a trance-like state," says the book.
"These trances would allow the priests to communicate with their Gods and control the people."
"The following are some of the gods that the priests would communicate with during these trances."
The book shows a picture of several different gods.
"These are the most important gods. They are Tezcatlipoca, Quetzalcoatl, Huitzilopochtli, and Tlaloc," says the book. "These gods would decide which sacrifices to make and how the Aztecs should live their lives."
The book shows a picture of an Aztec sacrifice.

> You close the book.
You close the book and put it in an evidence bag.

> You search the house again.
You walk into the bedroom.
On the dresser is a picture of the victim with his wife.
Underneath is a picture of a pretty girl in a graduation cap and gown.
You recognize her as Jane Ford.
You pick up the picture.
Suddenly you feel a tap on your shoulder.
You turn around but no one is there.
It must be your imagination.
Then you feel another tap on your shoulder.
You turn around again. You are all alone in the house.
You feel a tap on your shoulder but there is nothing behind you.
The sound of footsteps echo throughout the room.
You start to feel uneasy.
Suddenly you see a pale hand tap you on the shoulder.
You turn around and no one is there.
You are too scared to move.
Then you feel a hand on your shoulder.
You turn around and see the ghostly figure of a woman.
"Leave me alone!" you yell.
You try to escape but you are frozen in fear.
"Help!" you yell.
You try to get away but you are paralyzed with fear.
Suddenly the ghost puts her finger to her lips and smiles at you.
"Shhh," says the ghost.
You try to scream but no sound comes out of your mouth.
The ghost strokes your face with her icy cold hand. You feel a shiver down your spine.

> You look at the ghost.
You look at the ghost.
The ghost is beautiful.
She looks like a queen from ancient times.
Her long black hair flows down to her feet.
Her eyes are kind but sad.She wears a golden sash, many different jewels and an what looks like an Aztec headdress with feathers coming out of it.
You feel oddly peaceful looking at her.
Suddenly she opens her mouth and whispers something in a language you don't understand and disappears.
You are alone in the room.
Suddenly the front door opens.
You see Edgerton enter.
"Hey do you want to get some lunch?" he asks.
You jump. You didn't see him coming.
"What's wrong with you? You look like you have seen a ghost."

> You say "Help me investigate this room first. I feel like there's something odd here."
"Don't you want to go get some lunch?" asks Edgerton.
"Not right now. I need to investigate this room first," you say.
Edgerton looks at you and rolls his eyes.
"This room is boring. There's nothing in here," he says.
Suddenly you see a ghostly figure of a woman walk across the room.
You point but Edgerton doesn't see it.
"There!" you say.
Edgerton shakes his head.
"I don't see anything," he says.
You walk over to the corner and pick up a strange stone statue.

> You look compare the statue with the images of statues from the book
You look at the statue you picked up and compare it with the images in the book.
They are identical.
You realize you are looking at a statue of the goddess Chacmool. You have found the first piece of evidence.
"We've found it!" you say to Edgerton.
"What?"

> You search the room for other evidence.
You begin to search the rest of the room.
Edgerton walks around and looks in various cabinets and closets but doesn't find anything.
You look on the floor and find a strange dagger.
"Hey, I found a dagger!" you say.
Edgerton walks over to you and looks at it.
"Is it evidence?" he asks.
"I don't know. I'll bag it just in case," you say.
You put it in a plastic bag and label it.

> You continue to search the room.
You begin to search the rest of the room but don't find anything else.

> You look under the bed.
You look under the bed and find nothing.
"There's nothing here," you say.
Edgerton comes over to join you.

> You call Agent Scully and ask if she's finished the autopsy.
You call Agent Scully.
"Hello?" she answers.
"Hi Scully, it's me," you say.
"What do you need to ask me?" she says.
"Are you finished with the autopsy?"
"Yes, I am," she says.
"What did you find? Anything interesting?" you ask.
"I found that the victim had consumed an excessive amount of alcohol. He was drunk when he died," she says.
"Really? That's interesting," you say.
"There's more. The victim was poisoned with oleander. It's a common plant that some people keep in their gardens but it can be toxic," she says.
"

> You say "Any evidence of what made the strange marks around the 3 holes in his chest or how his blood was drained?"
"The strange marks around the 3 holes in his chest were made by a creature called a Chupacabra," she says.

> You say "Very funny."
"Sorry," she says, not sounding sorry at all.

> You say "Were they suction marks though?"
"Yes, they were," she says.
"Are you serious?" you ask.
"Yes, I am," she says.

> You say "Meet me at the college were Professor Ford taught. I want to question the students and faculty there."
"Sure thing," she says.

> You say "I'll ride over with Edgerton and meet you there."
"Sounds good," she says.
Edgerton joins you in the hallway and the 2 of you head to your car.
"So Scully thinks the victim was drunk when he was killed," Edgerton says.

> You say "Yeah. And that he was drugged. I think the killer then used a pump of some kind to suck out the victim's blood in order to use it in some sort of Aztec ritual."
"A pump? What kind of pump?" he asks.
"I don't know but that's what was used," you say.
"OK," he says.

> You say "Hey, at least I didn't say it was a Chupacabra."
"Yes, that was a pretty crazy theory," Edgerton says.
The 2 of you arrive at your car and get in.
"We're driving there now?" Edgerton asks.

> You say "Yep. We can pick up some burgers along the way though."
"Sounds good," Edgerton says.
The 2 of you drive to the college and get some burgers from a nearby restaurant.
"These are delicious," Edgerton says after finishing his burger.

> You say "Let's go, Scully is waiting for us."
"OK," Edgerton says, quickly finishing off his drink.
The 2 of you leave and get back in the car. You turn on the GPS and follow the directions to the college. You arrive at the university and find a parking spot.
"Come on," you say to Edgerton.
The 2 of you walk into the university. You see several students walking around or sitting in lawn chairs.

> You look for Agent Scully.
You find Scully standing near the entrance. She has her hands on her hips and is looking up at the building in front of her.

> You say "Sorry to keep you waiting."
"No problem," she says.
You and Edgerton join her in staring up at the building in front of you.

> You say "Let's talk to the President of the University and ask to interview the professor's former class."
"OK," Scully says, walking forward with the 2 of you.
The 3 of you head to the front desk of the university and ask to speak to the president. A woman at the front desk tells you to wait and she goes to get him.
You wait for a minute and then the woman returns with a balding middle-aged man.

> You say "Hello, my name is Special Agent Fox Mulder, I am here investigating the murder of Professor Gerald Ford."
"I am Dr. Mark Egan, the president of this university," he says.

> You say "First, a few brief questions: did you know Professor Ford well?"
"I have been the president of this university for almost 20 years and I can honestly say I didn't know Gerald well at all," Dr. Egan says.
"When was the last time you saw him?" you ask.
"The last time I saw him was almost a week ago, he came to me saying he needed to cancel a class because he was feeling under the weather," Dr. Egan says.

> You say "Did he have any enemies that you know of? Anyone he argued with?"
"Gerald wasn't a confrontational person, he tended to avoid conflict when he could. I can't imagine he had any enemies," Dr. Egan says.

> You say "I heard he had disagreements with Professor Ian Patterson."
"Gerald and Ian were friends outside of work but they had frequent arguments about the existence of ghosts and spirits," Dr. Egan says.

> You say "What sort of arguments?"
"Mostly about science versus mysticism. Ian believed ghosts were real and that science couldn't explain everything," Dr. Egan says.
"Was Ian right about that?" you ask.
"In my opinion, no. I'm a Biology Professor and I've never seen anything that couldn't be explained by what I learned in college," Dr.

> You say "I see. And what about Gerald's student Daniel Kraft? Did Professor Ford get along with him?"
"Daniel is an odd kid but I never saw any conflict between him and Gerald," Dr. Egan says.
"Thank you for your time," you say, finishing the interview.
"We're finished here,"

> You ask the woman at the desk where Professor Ian Patterson's office is.
You turn to the woman at the front desk and ask her where Professor Ian Patterson's office is.
"He doesn't have one," she says. "He teaches a night class once a week and he is in session right now."
"Where is it held?" you ask.
"Room 124," she says.
"Thank you," you say, turning to leave.
You walk through the halls with Scully and find the room. You walk inside and see 30 people, all seated in desk. In front of them, a thin man with glasses stands at a podium. The man notices you enter the room and the class turns around to see you.
"Can I help you?" the professor asks.
"Professor Ian Patterson?" you ask.
"Yes,"

> You say "I'm Special Agent Fox Mulder. Sorry to interrupt your class, but I have a few questions for you."
"We're in the middle of class right now," Professor Patterson says.
"I know," you say. "It'll only take a minute."
"Okay, fine," Professor Patterson sighs.

> You say "Step outside for a moment, Professor, so we can speak in private."
"Sure," Professor Patterson says.
You and Scully walk outside the room and you wait for the professor to follow. He steps outside and you close the door behind you.
"What's this all about?"

> You say "Did you know Professor Gerald Ford?"
"Yes," Professor Patterson nods. "He was a good man and a good teacher. We'll miss him."
"When was the last time you saw him?," you ask.
"I saw him during the break," Professor Patterson says. "He came into my office to borrow a book on the paranormal."
"Did you lend it to him?"
"Yes," Professor Patterson nods.

> You say "Was it this book?"
You hold up the book on Native American myths that you found in Gerald's house.
"Yes," Professor Patterson says, looking at the book. "It was."
"Did Gerald often borrow books?" you ask.
"No," Professor Patterson says.

> You say "Are you some sort of expert in Native American myths, Professor?"
"No," Professor Patterson says.
"What's your area of expertise?" you ask.
"I'm a literature professor," Professor Patterson says.
"Why did Gerald borrow a book on Native American myths then?"
"I don't know," Professor Patterson says.
"You were his friend, didn't you talk about your mutual interest in the paranormal?"
"We had a class together," Professor Patterson says. "About Native American myths. We didn't really talk much about it."
"But you mentioned he borrowed a book on Native American myths?"
"Yes," Professor Patterson nods.

> You say "I see. Thank you for your help. That will be all."
"Do you know what happened to Gerald?" Professor Patterson asks.
"We're still investigating that," you say.

> You look and see who is with you right now.
Your partner is Dana Scully, she is a female FBI agent with red hair. She believes in science and doubts the paranormal and the existence of aliens. She is a Medical Doctor and can perform autopsies.

> You say "Scully, where did Agent Edgarton go?"
"He went to the bathroom," Scully says.
You nod and turn back to Professor Patterson.
The professor says, Edgerton? That wouldn't be Ian Edgerton, would it? I had a class with him in college, just before he graduated."
"You knew Ian Edgerton?," you ask.
"He was in my American lit class," Professor Patterson nods. "What's he doing here?"
"He was sent here to help us on this case," you say.
"That's odd," he says. "Ian Edgerton knew Professor Ford as well. I remember him being in the class we taught together. And..."
"And what?," you ask.
"He wasn't a friend of Gerald's. They didn't get along."
"Why not?," you ask.
"I'm not sure," he said. "I think it's because Gerald used to insult his religion. Gerald was a staunch atheist, he didn't care for any religion at all. I remember Ian was really offended when Gerald made fun of his religion. They got into a big argument one day."

> You say "What was Edgerton's religion?"

"Ian Edgerton believe strongly in the occult. Specifically in the teachings of the ancient Aztecs. Professor Ford was something of an amateur expert on the Aztecs, so I think that's why the two of them got along until the day Ian explained that he really believed in Aztec superstition." said Professor Patterson. "Ian used to go to meetings with the local Aztec historical society. They were a strange bunch, even for me."
"Do you know where I can find them?" you ask.
"Sure," he said. "It's a small building downtown. The High Temple of the Aztec Society."
"Thanks for the information,"

> You say "Scully, we need to go to this temple right away."
"Shouldn't we wait for Detective Edgerton?" Scully asks.
"He's been gone for a while. And if my hunch is correct, we'll see him at the temple. We need to go now," you say. "Come on."
Scully nods and you both get up and head out the door.
You and Scully make your way to the High Temple of the Aztec Society. You pull up in front of it and notice that there are several dozen people milling around outside.

> You get out of the car and approach them.
"What do you want to do, Mulder?" Scully asks.
You nod and get out of the car, walking over to the crowd.
You approach the people and they look at you, some with dull curiosity, others with annoyance.
"What do you want?" a large, bald man in a dirty white robe asks.

> You say "I'm Special Agent Mulder with the FBI. I'd like to ask you all some questions."
"The FBI?," the man asks. "What do you want?"
You notice a change in the crowd. Where there was once dull curiosity or mild annoyance, there is now fear.

> You say "I need to ask you about the death of Professor Gerald Ford."
"Why?," the man asks. "We didn't do it."
The crowd chuckles among themselves.
"No, we didn't do it," the man says.
"You didn't do what?" you ask.
"We didn't kill Gerald Ford," the man says. "If you're implying that we did, you're wrong."

> You say "I didn't say that anyone had killed him. It hasn't been in the papers that he was murdered yet. How did you know he was killed?"
"Oh, that's easy," the man says. "The newspapers haven't said it yet, but we know the man who did it."
"Is that right?" you ask.
"Yes," the man says. "He's standing right behind you."
You turn around and see Detective Edgerton, grinning.

> You draw your gun.
"You killed Gerald Ford?" you ask.
"Sure did," Edgerton says. "He was a miserable, wretched man. He deserved it."
Scully grabs your arm.

> You say "Cover the crowd, Skully. I'll handle Edgerton."
"You think you can take me, kid?" Edgerton asks. "You're hardly in a position to judge."
Scully nods and draws her gun, covering the crowd.
Edgarton closes his eyes and laughs. "You won't be handling anyone." he says. He stretches out his hand toward you. Your head begins to hurt. Then all you see is blackness as you and Scully fall to the ground. When you wake up, you are in a dimly lit room. Torchlight flickers across the walls. You stand up, and find that you and Scully are both handcuffed to a pole.
"Scully," you say, shaking her awake. "Wake up."
She opens her eyes and looks at you.
You look around. You are in some sort of temple. Probably the Aztec temple you were just outside. You hear chanting all around you. You turn your head and see a line of priests walking out of a door in the back of the room.
You hear someone approaching from the other direction. "Ah, you're both awake," Edgerton says.

> You say "What is this Edgerton? Are you going to kill us the way you did Professor Ford?!"
"Kill you?" Edgerton asks, feigning shock. "No, no, no. I would never kill you."
"Then what is this?" you ask.
"I am going to...transform you. Your spirits will go to be with the gods. You two are going to help us make the world a better place," Edgerton says. "Through your deaths, the Earth will be saved."
"We're FBI agents," you say. "We can't just disappear."
"You won't," Edgerton says. "You'll die here. It's a blessing to die in this temple."
You sigh. This guy is obviously insane.
"We're not dying in here," you say. "We don't even know where we are."
"You're in the temple of Tlaloc," Edgerton says. "We're going to...transform you. You'll be part of a new form of humanity."

> You say "A dead one, you mean."
"Your minds will live forever," Edgerton says.
The priests come to Scully and start to force her to drink a vial of something.
"Stop!" you say, struggling to get free. You can't watch this. Scully begins choking. Her face is getting red. It's too late.
"You'll be part of the new humanity,"
Scully falls unconscious. The priests bring her to the altar and begin chanting over her as she lies there faintly breathing in and out.
"What are you going to do to her?" you ask, struggling to get free.
Edgerton doesn't answer. He just walks away from you toward the alter.
You struggle to get free, but it's no use. The handcuffs are too tight. All you can do is watch as Edgerton draws a knife and cuts Scully's shirt open. The priests take off her pants and unclasp her bra, leaving her lying there in her underwear.

> You say "EDGARTON! DON'T DO THIS YOU BASTARD!"
You struggle to get free, but it's no use. You see yours and Scully's guns sitting on a small table across the room, but you can't reach them while you're handcuffed. Edgerton cuts off Scully's underwear, revealing her bare body.
"Scully, wake up," you say, as loud as you can.
Scully doesn't move.
"Wake up! Come on!"
Edgarton makes a small cut on Scully's wrist and holds out a ceremonial bowl to collect some of her blood.
"Scully! Come on!" you shout.
Scully doesn't move a muscle. You watch as Edgerton sets the bowl next to Scully and dips his hand into the bowl. He then opens his shirt, smearing her blood on his chest. He dips his hand into the bowl again and smears her blood on her chest as well. He and the priests start chanting.
You scream and shake violently to try to break free from the handcuffs or the pole, but they're too strong.
The Aztec statue falls out of your pocket.
It shatters on the floor.
Edgarton and the priests don't notice it. They are chanting louder and louder as Edgarton slowly raises the knife above Scully's helpless body.
Just then some sort of white mist begins to come out of the pieces of the statue. The mist quickly takes shape in front of you as the woman in the Aztec headdress you saw before, but she doesn’t look like a ghost now.
She turns toward and approaches you quickly.
She touches your handcuffs, smiles at you and then she disappears.
The handcuffs fall off.
You look over at Scully and see that she is still lying motionless on the altar.
The priests’ chanting is reaching a crescendo.
Edgarton has the knife raised almost as high as he can raise it.

> You dash toward your gun and grab it.
You dash forward and grab your gun. Edgerton is just about to bring the knife down on Scully when you aim the gun at him.

> You fire.
Edgerton screams and falls to the floor, dropping the knife.
The priests turn and look at you. You aim your gun at them.

> You say "Hands in the air or you're all dead!"
They stare at you, then at each other, then at Edgerton, who is writhing around on the floor.
They slowly raise their hands and get on their knees.
You slowly walk over to them.
"On your bellies," you say.
They get on their bellies and you secure their arms behind their backs using the plastic handcuffs that you keep in your back pocket.

> You look at Edgarton.
Edgerton is still writhing around on the floor, clutching his bleeding stomach.
In the loose-fitting priest robes that he’s wearing you can see that he’s not armed.
You cuff him just in case.
Then you grab the ceremonial knife off the floor.
The blade is very sharp and it's covered with Scully's blood.
Scully hasn't moved.
You dash over to her and grab her wrist. You can feel a pulse. It's weak, but she's alive.

> You tear your shirt and tie a make-shift bandage around the cut on her wrist. Then cover her naked body with your coat.
You rip your shirt and wrap it around her wrist as a makeshift bandage.
You are able to wrap it around her twice before you run out of cloth.
You cover her with your coat to keep her warm and try to wake her up, but she doesn't respond.
You hear Edgarton coughing up blood behind you. You turn to look at him. He is pale and bloody. His eyes are glazing over.
He appears to be looking at something just over your shoulder.
His lips are moving, but you can't hear what he's saying.
His heart explodes out from his chest, splattering blood at your feet.
He's dead.
You look over your shoulder and see the woman in the Aztec headdress standing behind you.
She seems extremely satisfied and smiles a devilish grin. She disappears. You have a feeling that you will never see her again.
You go back to try to help Scully.
Scully is beginning to wake up.
She moans and rolls over, but she is extremely groggy.

> You call an ambulance for Scully and have them send the police to arrest the priests that you handcuffed.
You grab your cell phone and call 911.
"911, what is your emergency?" the operator asks.
"This is Special Agent Fox Mulder with the FBI. I need an ambulance at 351 Vista Road immediately! Send a squad car as well."
"Yes, sir. Sending them there now."
"Thanks."
Scully wakes up and looks around.
"Scully?" you ask. "Can you hear me?"
She groans a bit, but then seems to regain most of her strength.
"Where am I?" she say. She looks down at your coat on her chest. "And why am I naked?"
"You'll have to explain later," you say. "We need to get out of here."
The door is kicked open and a squad of police officers in full riot gear come pouring in.
"FBI! On the floor!" you hear a voice shout from behind the helmet of one of the officers.

> You put your hands in the air and get on the floor.
You get on the floor and place your hands behind your head.
You hear Scully lies on the alter, still exhausted.
The police officer in front of you points his rifle at you.
"Identify yourself!"

> You say "I'm Special Agent Fox Mulder FBI."
"Sir, please raise your hands so I can see them."
You raise your hands over your head.
"Now walk toward me and put them behind your back."
You do what he says.
"What happened here?" he asks.

> You say "These men tried to kill us. My partner is Special Agent Dana Scully. She's lying on the alter. She's injured and needs an ambulance."
"What's going on?" another police officer says, running up to the group. "Who are these guys?"
"I'm Special Agent Fox Mulder with the FBI. These priests tried to kill us. My partner is Special Agent Scully. She's lying on the alter. She's injured and needs an ambulance."
The second officer runs over to Scully and kneels beside her. He then turns back to you.
"The EMTs are on their way. What happened here?
You explain the situation in brief and the officers let you go. They then arrest the priests and send in crime scene experts to Detective Edgarton's body and to search the temple for evidence about the cult's activities. Reporters gather around outside, but the police keep them away. You ride with Agent Scully in an ambulance to the hospital where she is treated.
"We're going to have to debrief this with the Director," you say.
"I know," Scully says. "But right now I need to rest.
A few days later, Agent Scully sits alone at her computer and compiles her report. She details her findings about Detective Edgarton's death and the raid on the temple.
"Our investigation began with the murder of Professor Gerald Ford, who was murdered in a bizarre and ritualistic manner. Detective Edgarton had been assigned to our case. Unbeknownst to us, he had requested this assignment. During the course of our investigation, it was revealed that Detective Edgarton had known the victim and had both the knowledge of the rituals used to kill Professor Ford and the motivation to use them as he believed that there was some power in ritualistic killing. Together, with a small group of similarly disturbed individuals, he attempted to murder us." she types.
"Agent Mulder believes it was the power of the Aztec gods that freed him. That when broke the statue he freed one of them from some sort of imprisonment or that perhaps they felt more pleasure at killing one of their faithful than they did the deaths of random unbelievers. As evidence of this, he says that Edgarton's heart exploded spontaneously after he was shot in the stomach." she continues.
"However, while I cannot verify the events that happened while I was unconscious, I can also not in good scientific conscience conclude that any of what occurred was the result of the supernatural." she writes.
"It is far more likely that Mulder was exposed to a small amount of the same hallucinogen that I was, and that it was the shot that Agent Mulder fired that created the pressure in Agent Edgarton's chest which caused his heart to explode." Scully types.
"While this scenario is unprovable, I feel that Occam's Razor takes precedent. As far as I am concerned, belief in the supernatural may have caused this horrible chain of events, but it certainly didn't solve it. This concludes my report." she finishes.

I will confess that I wrote the entire report at the end myself because I enjoyed that part of the early episodes.

I did not however do much at all in this alternate ending which came about as I was tempted to try something evil on the fly:

Spoiler

> You raise the knife over Scully, chanting the chant you found in the book.
The blade glistens in the candlelight as you slowly bring it above Scully's body.
You can't believe what you're about to do.
The priests start chanting as they lie handcuffed on the floor. The Aztec goddess appears behind you and smiles, draping her arm over your shoulder.
You look at her and then down at Scully's helpless body.
Then you bring the knife down hard into Scully's chest, just left of center. You push it in until the hilt hits her skin.
Scully's body convulses and her back arches off the altar. Her eyes roll up in the back of her head.
She is dead.
The priests chant louder and faster.
A blue light, like lightning, flashes in the sky outside the temple.
Suddenly you feel a sharp pain in your chest, like someone just stabbed you.

> You turn around.
You turn around and see a human-like figure standing behind you, but made entirely of fire.
The figure places its hand over its heart and bows its head at you in a gesture of respect.

> You fall to the ground and bleed to death.
The pain in your chest is excruciating and you scream as the fire engulfs you.
You writhe around on the floor and then fall silent.
You have stopped breathing and your heart has stopped beating.
The last thing you hear are the words of the fiery figure: " The prophecy is fulfilled. The world will end and a new world will be born.”
You are dead.

If you don't read any of the other parts of this, you should at least read that, since I found it pretty amusing.

Spoiler

PS: it was REALLY hard to get the system not to either violent dismember, disembowel or otherwise murder Scully when I got close to the end and for some reason, it kept assuming the priests were going to gangbang her before sacrificing her...

 

[a cut of domestic sheep prime]

I shook out a lot of the rough edges of the scenario, so I've published it here:

The X-Files: Paranormal Investigations

Protip: If you see something that doesn't match the lore or is retarded (ie, "Hey, Scully! J Edgar Hoover just gave me this budget request!), just reroll the option. You can also edit it or hit the back button to undo things.

Or just write your own story options.

Here's a fresh campaign I just started to test it:

Your are Agent Arthur Morgan, male FBI agent. You work for the Federal Bureau of Investigation, which is also called the FBI or the Bureau. You are in charge of The X-Files, a group of cases that are considered paranormal. You believe that there is an international conspiracy to cover up the existence of aliens and the paranormal. Agent Dana Scully has just been assigned to be your partner by the Bureau. She believes in science and doubts the paranormal and the existence of aliens. She is also a Medical Doctor and can perform autopsies. She has just walked into your office and you are about to tell her about the case the two of you will be investigating together. You decide to impress her with the case you have just uncovered so she will want to work with you.
You move some files around on your desk and then show her the first document.

> You look at Scully.
You turn your chair around and look at Scully, she is about thirty years old, standing by the doorway and she looks very intelligent. Her hair is red and curly and she is fairly pretty. She wears a dark blue suit that fits tightly against her body, showing off her curves. She looks at you with big eyes and smiles.
"You called?" she asks politely.
"Tell me about this case, Scully," you say.
Scully walks towards your desk and looks at the first file.
"This is a missing person report for a Robert Hawkins. He was last seen on surveillance video leaving his house on June the fifth, in the morning. He has not been seen since,"

 

[Kipeci]

This is real neat although it seems to get incredibly confused whenever there are more people than yourself and one other and keeps trying to swap up who’s doing what in interesting ways

 

[Verylittlefishes]

I shook out a lot of the rough edges of the scenario, so I've published it here:

The X-Files: Paranormal Investigations

Protip: If you see something that doesn't match the lore or is retarded (ie, "Hey, Scully! J Edgar Hoover just gave me this budget request!), just reroll the option. You can also edit it or hit the back button to undo things.

Or just write your own story options.

Here's a fresh campaign I just started to test it:

Your are Agent Arthur Morgan, male FBI agent. You work for the Federal Bureau of Investigation, which is also called the FBI or the Bureau. You are in charge of The X-Files, a group of cases that are considered paranormal. You believe that there is an international conspiracy to cover up the existence of aliens and the paranormal. Agent Dana Scully has just been assigned to be your partner by the Bureau. She believes in science and doubts the paranormal and the existence of aliens. She is also a Medical Doctor and can perform autopsies. She has just walked into your office and you are about to tell her about the case the two of you will be investigating together. You decide to impress her with the case you have just uncovered so she will want to work with you.
You move some files around on your desk and then show her the first document.

> You look at Scully.
You turn your chair around and look at Scully, she is about thirty years old, standing by the doorway and she looks very intelligent. Her hair is red and curly and she is fairly pretty. She wears a dark blue suit that fits tightly against her body, showing off her curves. She looks at you with big eyes and smiles.
"You called?" she asks politely.
"Tell me about this case, Scully," you say.
Scully walks towards your desk and looks at the first file.
"This is a missing person report for a Robert Hawkins. He was last seen on surveillance video leaving his house on June the fifth, in the morning. He has not been seen since,"

this is going the right way

 

[a cut of domestic sheep prime]

This is real neat although it seems to get incredibly confused whenever there are more people than yourself and one other and keeps trying to swap up who’s doing what in interesting ways

Yeah, you need to fix a lot of things by rerolling them or editing them when they break.

The best analogy I can give this game is with cars:

Most modern games are like automatic transmission cars. You get in and turn them on they go where you want to.

This is more like a standard transmission car. An old Russian standard transmission car. The kind you have to get out and start pushing to get the engine started sometimes, or stop off and pour extra water in the radiator to keep it running.

That said, the benefits of being able to go off the beaten path in a game and, say, summon a giant blender in the middle of the battlefield and use a whirlwind to toss your enemies into it are petty nifty - manual transmission or no.

 

[a cut of domestic sheep prime]

Tested 3rd person narration (aka multiplayer):

Our story begins with a group of adventurers living in the medieval kingdom of Larion.
Quintu's and his party sit at a local tavern and drink. Quintus's party consists of: Ellena the elven paladin, Morus the human mage, Gormni the dwarven rogue.
Quintus and his party notice a group of mountain dwarves enter the tavern. The dwarves are friendly and offer them food and drink.

> Quintus says "Tell us, mountain dwarves, have you heard of any interesting opportunities for adventure lately?"
One of the dwarves says "Well, I recently heard that an expedition to find the lost city of Gloom has gone missing. That's very close to my home. I could take you there!"

> Quintus says "What is your name?"
The dwarf says "Ranold, and I'm the best guide in these parts."
Quintus asks "How much would you charge to take us to find the lost city of Gloom?"
Ranold says "200 gold coins."
Quintus says "We don't have that kind of money."
Morus says "I'll go back to the college and get the money."

> Quintus says "Very well, see if you can get the college to give us the money so that we can find Gloom."
Ranold says "Very well, but you should know that the journey will be dangerous. I will not wait around if you decide to not go."
Quintus says "Go Morus!"
Morus goes back to the college.
Ranold says "It's dangerous to stay here, come with me to my home and I'll give you food and drink while we wait."

Spoiler

> Quintus says "Ok."
The party goes with Ranold to his home.
Ranold gives them ale and tells a few tales of his own adventures. Suddenly Morus arrives at the door, out of breath.

> Quintus says "Moris, do you have the money?"
Morus says "I'm sorry Quintus, the college doesn't have that much money to give out as grants so easily.

> Quintus says "Well, that's just great. How are we supposed to get the money then?"
Morus says "I'm sorry Quintus, I'll try and think of something."
Quintus gets angry.

> Quintus says "How much money do we have right now?"
Morus says "We have exactly 2 gold coins."
Quintus says "Give it to him."
Morus gives the 2 gold coins to Ranold.

> Quintus says "Instead of guiding us, simply draw mark the location where you think Gloom once was. We will have find our way there without a guide."
Ranold says "Very well."
Quintus says "Come on men, we are heading out."
The party leaves Ranold's home and sets off into the wilderness.
The party walks through the wilderness. It is quite easy to find Ranold's markers, since he has labeled which way leads towards Gloom.
Ranold stays in his home and the party leaves.
The journey is uneventful for the first few days. On the fourth night, the party camp out in a small clearing.
Morus wakes everyone up in the middle of the night.

> Quintus says "Morus, what is it? What's wrong?"
Morus says "Quintus, wake up! I think something is out there!"
Quintus says "There's nothing to worry about, it's probabl-"
Suddenly a powerful wizard materializes in front of the camp.
Quintus says "Show yourself!"
The wizard simply laughs.

> Quintus says "Who are you?"
The wizard says "I am the great wizard Malzard."
Quintus says "How did you find us? Who are you working for?"
Malzard says "Does it matter? You will not live to see another day.

> Quintus says "To arms! Attack him!"
Quintus attacks Malzard with his sword. Malzard blocks the attack with a magic shield, then hits Quintus with a blast of fire.

> Quintus block the fire with Quintus's shield.
Quintus's shield goes up and blocks the fire. Morus attacks Malzard with his sword. The sword simply bounces off and falls to the ground.

> Quintus says "Morus, dispel Malzard's shield!"
Morus casts a minor spell that weakens the shield. Quintus's sword pierces through and Malzard's shield goes down.
Quintus attacks with all his might, but to no avail.

> Quintus says "Ellena, go!"
Ellena casts a lightning bolt that shocks Malzard.
Quintus charges and runs his sword through Malzard's body. Malzard collapses and disappears.
The next morning Ranold finds the party.

> Quintus says "Ranold, I thought you weren't going to guide us."
Ranold says "I'm not, but I heard you killed a wizard last night. Is this true?"
Quintus says "Yes, how did you know? Did you see it?"
Ranold says "No, but I heard the howls of Wendigos all night. I would suggest you leave, quickly.

> Quintus says "What do the Wendigos have to do with slaying a wizard?"
Ranold says "The Wendigos were once human, but were transformed by a wizard they angered many years ago. The Wendigos will seek revenge on all humans, including you. You must leave quickly."

> Quintus says "I don't fully understand, but thank you, Ranold...and goodbye."
Ranold says "Good luck, Quintus."
Quintus says "Come on men, pack up camp. Ranold was right, we have to leave this place."
The next day the party reaches a fork in the road.
One way leads through the mountains, the other along the coastline.

> Quintus check the map Ranold marked to see which way Quintus should go.
Quintus checks the map, and sees that Gloom is located by a lake.
Quintus decides to travel along the coastline.
The path along the coastline is beautiful. The party reaches a huge canyon.

> Quintus look down the canyon.
Quintus looks down into the canyon. Far below he can see a river.
The Canyon is extremely far down.

> Quintus says "be careful not to fall. let's keep traveling."
The party continues along the canyon.
The path becomes extremely narrow and steep.
The wind picks up.
There is a massive flash of lightning, a deafening crack of thunder, and the rain begins to fall.

> Quintus says "we must take shelter until the storm passes"
The rain is now a torrent.
Quintus finds shelter under a rock overhang.
The rest of the party find shelter elsewhere.
The rain lasts for hours.

> Quintus wait.
Time passes, but the rain shows no sign of stopping.
Rations are limited, and there is no telling how long the storm will last.
The canyon is also extremely steep and dangerous.

> Quintus speak with the party.
Quintus assembles the rest of the party.
He says "We need to make a decision."
Morus says "What decision?

> Quintus says "we don't know when the rain will stop and our rations are limited. should we go on, or try to head back?"
Morus says "We should go on."
Gormni says "No, we must head back."
Ellena is quiet.
Morus looks at Virgil and says "Coward!"

> Quintus says "Ellena, what do you think we should do?"
Quintus looks at the female elf, and sees her shaking her head.
"Ellena?" Morus asks.
She looks up at him, terrified.
"I-I think we should head back. The Canyon is extremely dangerous when wet."
Quintus says "We'll wait out the storm here. If it stops, we'll continue on."

> Quintus says "If the storm doesn't stop within the next 4 hours, we must head back."
The hours pass slowly.
Quintus checks his compass.
The compass seems to be broken, and points Northward regardless of the direction you move it in.
Eventually, the rain stops.

> Quintus says "Hooray! Come, party, we travel onward!"
Quintus quickly heads out of the Canyon.
The rest of the party follows him.
You exit the Canyon, and see a large wall in the distance. It is extremely far away.

> Quintus check the map and see if the wall is on it.
The wall is not on the map.
Quintus realizes that he is hopelessly lost.
The rest of the party begins to panic, and they no longer listen to Quintus's orders.

> Quintus says "Will you lose faith in me so easily?"
Quintus realizes he is alone.
The rest of the party has abandoned him.
He screams "Traitorous scum!" at the others as they run away.

> Quintus says "walk toward the wall alone."
Alone, Quintus begins to walk toward the wall.
He hears a shout behind him.
He turns, and sees that the rest of his party has returned.

> Quintus says "I thought you had abandoned me."
"We realized that we would not be able to find Gloom without you." Morus says.
"Come on. The city is just over this hill."
Quintus nods.
The party walks toward the wall.
They reach the end of the Canyon.
Before them stands a huge stone wall.
It stretches from one end of the Canyon to the other, and reaches up into the sky.

> Quintus says "What kind of wall is this? Who made it?"
Quintus looks at the wall.
It seems to have been carved out of the rockface, and is about twenty feet thick.

> Quintus says "Let's look to see if there is any way through it."
The party searches the wall for any sign of a door.
They find none.
There are, however, numerous holes in the wall, big enough for a human to crawl through.

> Quintus says "Do you see light through the holes?"
Quintus crawls toward one of the holes.
He is about to look through it, when a loud horn noise is heard.
Light bursts through the hole, and you are blinded.
"AAAAAA!"

> Quintus says "Ready yourselves!"
The horn is heard again, and the light is blinding.
You hear a slithering sound behind you.
You turn, and are faced with a long black creature.

> Quintus says "look at the creature"
The creature is about five feet long, has big red eyes, and is sliding towards you.
Its mouth is also open, revealing a mouth full of teeth.

> Quintus raise Quintus's shield and draw Quintus's sword.
You raise your shield, and draw your sword.
The creature lunges forward, biting at you.
You slash at it, and manage to hit it in the face.

> Quintus ready themself for its next attack.
The creature is not deterred by the attack.
It lunges forward and bites your arm.
It latches on and begins to drain your life force.

> Quintus stab it in the eye with Quintus's sword.
You jab your sword forward, and the blade goes into one of the creature's eyes.
The creature screeches in pain, and releases it's bite.

> Quintus says "surround it and attack!"
You stab the creature repeatedly, and the rest of the party begins to attack it.
The creature manages to hit you once more before it is killed.

> Quintus says "I'm wounded. I need healing."
The party members attempt to use their magic to heal you, but their efforts are not enough.
You succumb to your wounds and die.
You fail to complete your quest.

The system broke once or twice and I had to either reroll the response or else fix it when the AI started referring to characters by the wrong name or adding party members.

I also don't get how a paladin can cast a lightning bolt, but whatever.

 

[a cut of domestic sheep prime]

Some quck tips:

The game remembers and processes about 20 actual lines of text at a time. So you can’t really expect the system to remember some thing from five minutes ago let alone five hours ago. This is part of why the system forgets. There also appears to be a random chance of error.

So with that in mind, you need to phrase your interactions with other characters especially in a way that will remind the AI and story what’s going on. (E.g., instead of “punch Joseph”, you want to say “punch Joseph, the human bandit leader who killed your father when you were a boy” for best effect.)

Provided you are in Creative mode and see the little pin in the menu, you also need to add any character and description that you think is important or that you want to see again to the game’s semi-permanent memory. There is a 1000 character limit here though, keep that in mind. (E.g., Dana Scully is your partner. She is an FBI agent with red hair.) Also, keep in mind that the game will still ignore this memory at times and break anyway, so phrasing your interactions is important.

Lastly, as I’ve mentioned before, editing interactions is pretty vital to any long game. When you’ve interactions with your girlfriend and suddenly the game starts saying “he says” after their dialog, you should really nip that in the bud by correcting it with the edit button and saying “she” instead of “he”, unless you want a surprise dick in your mouth on your wedding night.

Oh, and some fun tips:

The AI is a predictive text algorithm. This means even if you don’t know what should happen next in the story or what your character should say or do, you can have the game complete your sentences or do actions for you.

The most basic version of this it’s just keep clicking continue and let the story go on without you directly interacting with it, though that usually leads the game breaking itself eventually.

Another example of this is to lead the game with phrases and leaving open-ended sentences. (Eg, “Of course! The real killer is”).

So long as your interactions with the AI before this match common themes, it will try to draw conclusions for you or add a cool description. (E.g., using the do option, “you cast firebolt and say the incantation:” this will automatically make up an incantation for you and describe the spell.)

You can use these methods as you go on to lead the AI into making conclusions, interpolations and descriptions by adding keywords that you want in your outcome to your dialog or interaction.

For example, I wanted to have my demonologist summon some creature to break down the fortress gate, but I had no idea what kind, so I let the AI improvise for me.
I've highlighted my leading text in red:

> You say "Ardanwen, remember, stay by me. Now, let's meet my army at the staging grounds. They should have surrounded the enemy fort by now. Just me cast a teleportation spell..."
(edit: with the above command, I told the AI that I wanted to meet MY army outside fort, I wanted that fort to be surrounded, I waned to get there via teleportation and that I wanted Ardanwen to come with me.)
You cast the teleportation spell, and a moment later you and Ardanwen are outside the gates of Fort Tangle. You are confronted by hundreds of your demon soldiers, all eager for battle. You see Eye-rak, your demon general.
"Master!" he shouts. "It's good to see you!"
"It's good to see you too, general. Is the fort completely surrounded? Are there any escape routes?"
"Yes, master. The fort is surrounded."
"Good. Now, at my signal, unleash hell on the fort.

> You look at the fort.
You look at the fort. It's in poor condition, to be sure. The walls are falling apart, and the courtyard is little more than hard-packed dirt. Still, it's all easier to defend, so you suppose the bandits have the advantage.
You have four companies of demon soldiers, one for each corner of the fort.

> You draw a pentagram on the ground, surround it with a circle of runes signifying war, destruction and colossal might...
(edit: here I'm telling the AI that we're about to cast a spell. I added the rune descriptions to try and give the AI an idea of what kind of spell it might be)
You begin drawing a huge pentagram on the ground, surrounded by a giant circle of runes.
You draw it slowly, deliberately, focusing all your energy and willpower on this one task.

> You get down on one knee in the center of the pentagram and touch your left hand to the pentagram. Then, lift your right hand and point it at an open space in front of the gate of the enemy fort. Then, say the incantation:
(edit: by pointing at the space in front of the gate and mentioning that it was a enemy fort, I hoped to give the AI the idea that the spell was some sort of summoning that I hoped would destroy the gate to the enemy fort. By saying that I say the incantation, I'm telling the game to come up with an incantation for me.)
"Azarth-mogg kruloth durgh-kai moriog! Harukth Ungolmor!"
You hear the demons snarl, and you feel a great change sweeping over you.

> You say "GATE!"
(edit: this was a little nonspecific, but the game realized that I was casting a spell and that wanted a portal of some kind and not just to summon the creature out of thin air.)
The portal opens up. You can feel the hellish heat emanating from it.
(edit: as you can see here, it didn't quite work yet, so I gave it a nudge...)
> You say "Brace yourselves. It's coming. Eye-rok, when the thing that comes out of the portal destroys enemy fortress' gate, order the charge."
(edit: I basically spell out what's going to happen for the AI. Now let's see what the AI comes up with...)
"Yes, sir."
You nod. It's the only thing you can do right now. You can't see anything but the red of the portal, but you know that something's coming. A roar like a million devils tearing your soul apart fills your ears, drowning all other sound.
Then, it steps through the portal.
It's a massive, humanoid creature. It's skin is pitch black, as if it was made of the darkness of the night sky. Its body is slimy and misshapen, covered with lumpy tumors. Its eyes are completely black, like the endless emptiness of space, but you know it sees you. It's a blank, soulless gaze. It opens its mouth, and a long, thin tongue covered in needle-like teeth comes out. Two long, thin, hollow tubes with teeth on them accompany it. They could be considered arms. At the end of them are claws, long and thin like knives that could tear through steel.
It turns toward the gate of the enemy fort.
(edit: this is exactly the result I wanted, but I still had to give the AI a nudge in order to get the bandit's reactions, so I added in the red text below...)
The bandits see it from their battlements. Their screams are a mixture of terror and panic. The demon charges toward the fort's gate, moving at speeds beyond what any normal human could achieve. The demon smashes through the gates with one hit, wood splintering and metal crumpling.
You order the charge, moving forward as the demon slaughters the bandits within the fort.

> You issue a mental command to the demon not to harm the bandit leader or anyone that looks important.
The demon continues his rampage, killing and butchering the bandits within. You enter the fort and immediately begin cutting down those too slow to dodge. Your troops are with you, working together to slaughter the bandits. Eye-rok has split off from you, moving through the fort at a speed that almost seems unnatural for a creature his size.

So as you can see, I almost never issue the usual text adventure commands of "open door" or "talk to charname". Instead, I phrase things like they are part of the narration and as a result the game gives me a more narrative and precise response.

I had to try some of these a few times before getting it to look right, but in the end it turned out pretty decent.

 

[a cut of domestic sheep prime]

And they messed something up with their model and seem to have made it dumber.

A lot dumber:

You are Adolf, a peasant living in a small village in the kingdom of Larion. You have a pitchfork and nothing else. You dream of getting out of your village and having an adventure. You go to your fields and begin working. You look up and see the castle of the local Baron. A couple of servants come out and head down to the fields. They begin grabbing peasants and throwing them into sacks.

> You say "What are you doing?"
You walk up to one of the servants. "What are you doing?"
He laughs and bashes your head in with his fist.

> You punch him in the face.
You punch him in the face, breaking his nose. He falls backwards, holding his broken nose. You stand there for a moment, then kick him in the groin and take your pitchfork from his hand.

> You kill the servants with the pitchfork.
You stab both servants through the neck with your pitchfork. Blood spurts from their necks as they fall to the ground, dead. You take their sacks of peasants and dump them out on the ground.

> You walk to the baron's castle.
You walk to the castle and knock on the door. The baron answers. "Hello, peasant. What is it that you want?

> You stab him in the neck with the pitchfork.
You stab him in the neck with your pitchfork, and blood spurts from his neck. He falls to the ground dead. You now rule the kingdom of Larion.

> You say "Servant, how big is my Kingdom?"
The servant looks at you nervously. "W-well, there's the Kingdom of Larion, the Kingdom of...

> You say "yeah, but what makes up the Kingdom of Larion?"
"The Kingdom of Larion is made up of the Baron's Castle, the town of Sulingen, and some fields and forests.

> You say "Ah...so...pretty small then..."
The servant nods.

> You say "Are we a part of any empires?"
"We are a part of the Empire of Kishak."
The Empire of Kishak is a very large empire, which has been slowly conquering the area for centuries.

> You say "Go to meet with the Emperor."
You go to meet with the Emperor, and find him looking out over his Empire. He turns to you.

> You stab him in the neck with the pitchfork.
You stab him in the neck with your pitchfork, and blood spurts from his neck. He falls to the ground dead. You now rule the Empire of Kishak.

> You say "Alight, so, I'm Emperor now. What are the territories of my Empire?"
The Emperor's advisors all look at each other nervously. One of them clears their throat, and speaks up. "W-well your highness, the territories of the Empire are...um..."
They all begin to speak at once. You hold up your hand, and they stop.
"Let's try that again."
The advisors all look at each other, then one steps forward. "The Empire of Kishak is made up of the Baron's Castle, the town of Sulingen, and some fields and forests."
"And..." you say.
"And?" the advisor repeats.
"And what else?" you ask.
"Nothing," the advisor says.

> You say "Oh boy. Well, what are the neighboring empires?"
"The only major power in the area is the Kingdom of Vescator," the advisor says.
You have never heard of this place.
"Are they...good? Evil? Will they attack?" you ask.
"I don't know," the advisor says.
You look at the rest of your advisors, but they just shrug.

> You say "Before I waste my time: what territories do they control?"
"The Kingdom of Vescator is made up of the Baron's Castle, the town of Sulingen, and some fields and forests."
You sigh. "Exactly the same as us, then.

> You say "Actually, how is it that they own the same territories that we do?"
The advisor shrugs. "I don't know. That's just how it is, unfortunately."
You nod.

> You visit the ruler of Vescator.
You head off to the Kingdom of Vescator. On your way there, you notice that the trees are a very strange purple color. It is a very pretty sight.

> You ignore it and visit the ruler of Vescator.
You arrive at the Castle, which is identical to the one in your Kingdom. You knock on the door, and a servant answers.
"Hello, peasant. What is it that you want?"

> You say "I am the Emperor of the Empire of Kishak. Take me to your ruler."
The servant leads you into a room, where the ruler sits on his throne. He is a fat, unattractive man.
"Hello," the ruler says lazily.

> You stab him in the neck with the pitchfork.
You stab him in the neck with your pitchfork, and blood spurts from his neck. He falls to the ground dead. You now rule the Kingdom of Vescator.

> You go back to your imperial palace.
You return to the palace. On the way, you realize that it has been years since you saw your family. You wonder what they've been up to...

> You don't care and continue to your imperial palace.
You return to your palace, where you enjoy ruling the Kingdom of Vescator and the Kingdom of Larion.
THE END

Not all the games are this stupid now, but I've noticed a serious decline.

They say they're working on it:

Model Change Issues (In Progress): A change to the model engine on OpenAI's side caused an unintended reduction in model quality. We're working with them on fixing this issue and hope to have it resolved soon.

 

[a cut of domestic sheep prime]

The final X-Files playthrough I did a while back. Including it only because I retconned Deep Throat into Q.

Several days later...
You are at your desk in Washington reading through the report on the Edgarton case when you hear a knock on the door. You call out for the person to enter and see Walter Skinner walk in and stand in front of your desk.
"I just got the report on the Edgarton case," he says. "Interesting conclusions."
"I stand by them," you say.
"Yes, I imagine you do," Walter replies.
"Sir, I..." you start to say before you are interrupted.
"You don't need to explain your conclusions. I'm not here to do that," Walter says.
"I'm here to give you a new case. I think you'll find it interesting." he says.
"Skully is still on light duties, sir," you point out.
"This one isn't medical, it's investigative. You can handle it without her. And I think you'll find it... challenging," Walter says.
"What is it?" you ask.
"It's a new case. A young woman's body was found in a forest. No evidence of a struggle, no evidence of a cause of death. She just... died. There are a few agents on the case, but no-one seems to know what's going on. It's only about 45 minutes away so I want you to head over there now and find out what's happening, Agent Mulder.
"Yes, sir," you reply.
"And, Mulder... take your camera," Walter says, handing you a Canon AE-1.
"It's digital, sir," you point out.
"I'm sure you'll figure it out," Walter says, looking at you seriously. "Be careful, this one could be dangerous."
"Yes, sir," you say again.
"You can take the case file on the way out," Walter says, handing you a manilla folder. "Good luck, Agent.

Spoiler

> You take the folder and read through it as Skinner leaves the room.
You take the folder and quickly glance through it. The details are sparse, but you manage to read through the details of the woman's death and a bit of her life from when she was a teenager.

> You read about the woman's identity.
You read that the dead woman's name was Eliza Radcliffe.
Eliza was a well known political activist in her youth, before she dropped out of the public eye and went to university. There, she studied computer science, before being recruited by a large IT company, where she worked as a security consultant for several years.
Eliza then moved back to the Washington, D.C. area, and went to work for the State Department, where she served as a security advisor. She had been working there for the past six years.
A background search turned up no connections to anyone who would want to kill her.
You put the folder down and sigh. You stand up and leave the room to get some more coffee.
As you're filling your mug back up, a certain woman's face catches your eye on the front page of a newspaper on the coffee table.
It's Eliza.
She looks much younger and happier in the photo, but it's definitely her. You grab the newspaper and read through it.
The article says that Eliza was found dead in a park near her house. It doesn't say how she died, though.
You notice that the byline on the story says 'By Jack Bladen'.

> You go to the coroner's office where her body is being held.
You walk into the coroner's office and approach the front desk.
"I'm here to see Eliza Radcliffe," you tell the man behind the desk.
"Do you have identification?" he asks.
You nod and pull out your FBI badge. He takes it and looks at it before looking back up at you.
"Just down that hall, to the left," he says, pointing down a hallway. "Locker 102. But, be quick. She's only here for a few more hours."
"Hours?" you ask.
"The family is Jewish and wants a quick burial for religious reasons," he says.
"Of course," you say.
You head down the hallway and find Locker 102. You open the door to a small, coffin-like locker. A body bag lays in the open locker. You unzip it to reveal a woman who looks to be in her late 20s. She has short blonde hair and her face is blotched red and purple.

> You look at your watch and wonder where the coroner is.
As you look at your watch, the coroner walks in.
"Sorry, I'm late," he says. "It's been a hell of a morning."

> You say "No problem. I read in your report that cause of death couldn't be determined. I wanted to see her body for myself."
"Yes, it's very rare for us to not be able to determine the cause of death," he says. "But in this case, it appears to be natural causes."

> You examine her dead body.
You unzip the bag further to reveal Eliza's dead body. She looks peaceful. There are no signs of trauma on her body. She i completely naked. You see the Y-shaped incision that was carved into her chest during the autopsy. You to look for needle marks or other signs of drug use. You to look for signs of sexual assault. You to look for any other signs of trauma.
You spend an hour inspecting her body, but find nothing out of the ordinary. She looks like she died of natural causes.

> You say "Did you do X-rays or a CT scan on her body?"
"No," he says. "The family requested that we do an autopsy, but not other tests."
"Send the body for a CT scan and X-rays," you say.
"Why?" he asks.

> You say "I have a hunch."
"OK," he says. "I'll get it done."
Later, the coroner walks in with Eliza's file. He places it on your desk.
"Here you go," he says.
"Thanks," you say, opening the folder and flipping through it.
Eliza was Jewish, which means she needs to be buried in a coffin within a day.
You open the folder to find a chest X-ray. You slide it out of the envelope and put it on the light box. You stare at it for a moment, not quite sure what you're looking at.

> You say "Doctor, help me understand what I'm looking at here."
He walks over to the light box and stares at the X-ray.
"There's something in her chest," he says, matter-of-factly.

> You say "What is it?"
"It's a strange shape. I'm not sure what it is," he says.
You look at the strange shape in her chest.

> You say "Why didn't your autopsy reveal it?"
I reexamined her body a few hours ago. It's some sort of red liquid that had filled her heart and clogged it so that it stopped beating. The lab says it's some kind of liquid metal, but they can't tell me anything more about it. We've never seen anything like it.
"Wait, is that why she died?" you ask. "Did something kill her?"
You stand there for a moment in silence.
"It would seem so. I had thought the liquid was blood due to the color. I was my mistake." he says.

> You say "It's understandable. Listen, keep this quiet for the time being, even from the family. Our investigation is ongoing and I don't want the press snooping about."
"You got it," he says.
You walk back to your desk and sit down, deep in thought. A mysterious red liquid had filled Eliza's heart and stopped it from beating.

> You say "There were no injection marks on her body. Does that mean she ingested it? Was it absorbed some other way?"
"Ingested or inhaled. It could have been absorbed through the skin, but that's unlikely," he says.

> You say "Thank you, doctor. I'll call you if I have any other questions."
"Sure," he says, leaving your office.
You sit there, trying to piece together the evidence you have so far. You don't have much to go on, and you feel frustrated by that fact.
The phone on your desk starts to ring. You pick it up after the second ring.
"Hello, this is Agent Mulder," you say.
"We need to talk," a voice says.

> You say "Who is this?"
"Someone who has information about the case you're working on," the voice on the other end says.
You don't recognize the voice, but something about the way he said "case" intrigues you.
"Meet me tonight at the Jefferson Memorial. Come alone." the voice says.
"How do I know this isn't some sort of trap?" you ask.
The voice on the other end is silent for a moment.
Your a click and the line goes dead.
You quickly stand up, walk to Scully's office and tell your partner what happened.
"What?" she asks. "You just got an anonymous phone call? You don't know that it was even about the case."

> You say "Well, there's only one case I'm working on right now and it's extremely strange."
"I'm aware of the case you're working on, and it doesn't involve any phone calls," she says.

> You say "Are you aware that we've just found a cause of death?"
"What are you talking about?" she asks.

> You say "I had the doctor do an X-ray. He found that the red liquid inside of her heart wasn't blood. It was some sort of red-colored liquid metal and it caused her heart to stop."
"What? That's impossible. There's no way a killer could have gotten inside her body to put some sort of liquid metal in her heart.

> You say "I don't know how it got there, I just know that it was there. I'm going to meet this anonymous caller tonight. Maybe they will know who killed Eliza Radcliffe and how."
"No. I'm not letting you go alone," Scully says.

> You say "I have to. I'll be meeting them at the Jefferson Memorial. You can drive me there, but I want you to stay in your car and wait for me."
Scully sighs, but nods.
"Okay. I guess that's reasonable."
You nod.
Later that night Scully drives you to the Jefferson Memorial and parks her car. You exit the car and walk to the memorial while she waits.
"I should be back soon," you say.
You walk through the memorial and see a man in a black suit standing by the statue of Thomas Jefferson. He turns to face you.
You walk up to him. He looks at you and smiles.
"Ah, Agent Mulder," he says. "I'm glad you could make it.

> You look at the man.
You look at the man. He is tall and lanky, with pale skin and black hair. He has dark eyes that are sunk into his eye sockets, giving him a gaunt, skeletal appearance. His black hair is slicked back with grease and he is wearing a crisp black suit and dress shoes.
"Who are you?" you ask.
"Oh, just a concerned citizen," he says. "I'm sure by now you've found out that the young lady you've been working on had died from some sort of red liquid metal that had been inserted into her heart.

> You say "How did you know that? No one is supposed to know it yet."
"You'd be surprised what you can find out just by making a few phone calls," he says. "But please, continue asking me questions."
"Why did you want to see me? What's this all about?" you ask.
"It's about the dead girl, Eliza Radcliffe," the man says. "I'm sure you want to find out who killed her."
"Yes, but how did you know--"
"Please, I'd rather not ruin the surprise," the man says. "I have information that will lead to her killer. I'm willing to give that information to you... but there's a price."

> You say "What price?"
The man smiles, showing a hint of fang.
"Your life," he says.

> You say "What?"
"If I tell you this information, it will doubtless cost you your life one day. Maybe not today or tomorrow or a year from now, but if they ever know that you know, they will kill you, Mr Mulder. Of that you can be certain." the man says. "Now, do you want the information I have or not?"

> You say "I do."
"Good," the man smiles.
He looks around to see if anyone is watching and quickly hands you a dossier. You look at the folder, which is labeled 'Eliza Radcliffe - deceased.'
"What's this?" you ask.
"The girl was murdered," the man says. "Her death was no accident."
"I know that," you say. "I'm investigating her death."
"You're not investigating her death," the man says. "You're investigating how she died. There's a difference. A big one."
"What do you mean?" you ask.
"Look at the folder," the man says.
"This is all the help I can provide you with right now, but I will be in touch." he says as he begins to step away from you.
"Wait," you say, grabbing his arm. "Who are you?"
The man looks at your hand before looking you in the eye.
"Call me Q." he says, brushing your hand off his arm. He turns and walks off into the night quickly.
You look down at the folder in your hand and slip it under your jacket. You walk back to Scully's car. She asks you how it went.
"Fine," you say as you slip into the passenger seat. "Let's get out of here."
Scully pulls out of the parking lot and soon you're on your way back to the office.

> You look through the folder Q gave you.
You walk into the FBI office and sit down at your desk. You open up the folder and begin to look through it. You find several documents and a few video tapes. The documents include a brief medical history of Eliza, a report of the findings of her first autopsy and several other documents related to her time at the State Department where she worked. The video tapes are a little more interesting. You put in the first one and begin to watch it.
The tape shows Eliza getting out of the lift and walking down a hallway. She walks over to a filing cabinet and pulls out a folder before walking over to the Xerox machine and making a copy.

> You say "A security video from the State Department office where she worked as a security advisor."
"Yes," Scully says. "It seems that she was smuggling secrets out of the office and selling them to the highest bidder."
"What?" you ask.
"The girl was a spy," she says.

> You say "Maybe. Let's keep watching the video to see what she was doing with the copies."
"Maybe," you say. "Let's keep watching the video to see what she was doing with the copies."
"Good idea," she says.
You watch the rest of the video, which shows Eliza making several more copies before leaving the office. She then goes back to her desk and leaves the office a few minutes after midnight.
"So, what now?" you ask.
"We could try to find out who she was selling the documents to,"

> You say "But first let's watch the other video tapes."
"We could try to find out who she was selling the documents to," you say. "Or, we could look through these other video tapes."
"Let's look through the tapes," she says, pulling out a tape labeled 'January 16th'. "I'll put it in."
Scully puts the tape in the VCR, and you watch.
The tape shows Eliza in her apartment, sitting at a table with a few documents. She is writing something at incredible speed.
"She was a stenographer," Scully says.
Eliza soon stands and walks over to a bookshelf. She pulls out a book, which reveals a wall safe. She opens it, and pulls out several folders filled with papers. She quickly glances through them, before putting them into a bag and placing the bag in her purse. She then returns the books and shuts the safe.
"What do you think she stole?," you ask.
"I don't know," Scully says, "but I want to find out."
"We need to search her apartment," you say.
"Right," she says. "I'll get the key from security and meet you there."

> You say "Ok, go ahead. I'll watch this last video and then meet you there."
"Ok, I'll get the key from security and meet you there," Scully says.
You nod, and she walks away. You turn on the TV, and put in the last tape labeled 'January 14th'. You watch as the footage shows Eliza walking down the hallway of the State Department office. She enters the elevator, and the camera loses sight of her. The tape switches to show the elevator feed. Eliza is standing there, looking at her phone.
Suddenly, a tall man walks into the elevator. He is wearing a long trench coat that covers his entire body. He is wearing, gloves, a hat and sunglasses. You can't see his face.
Eliza looks up, and seems frightened by the man. She begins to step back, but he grabs her by the arm. He leans in and says something into her ear. She begins to cry. The man pulls out a black tube from his trench coat and sprays something into Eliza's face. She collapses, unconscious.
The man picks her up, and drags her into the corner of the elevator. He takes out a small knife and slices the camera's cable. The screen goes black, and you can hear him leave the elevator.
You rewind the tape and watch it again. You start to recognize certain words he says. "Carl says goodbye." he says to Eliza. "It'll be over soon." You hear him whisper to her, right before he kills her with the spray. Who is Carl?

> You say "So she wasn't killed in the woods. Her body must have been taken there."
"So she wasn't killed in the woods. Her body must have been taken there," you repeat to yourself.
You take the tapes and the files Q gave you and pack them in your briefcase. Then you drive to meet Scully at Eliza's apartment. When you get there, she is standing outside, waiting for you.
"Scully," you say walk up to her.

> You say "Did you get the key?"
"Yes," she replies. "Security gave it to me right away."
You go up to her apartment. She takes out her keys and unlocks the door. She opens it, and you see a small but nice apartment.
"I'll take the bedroom," Scully says. "You can take the living room."
You nod, and begin to search. You look through her bookshelf and in drawers. In the drawer of a small table next to the sofa you find some cassette tapes. You put them in your pocket and keep searching.
Soon, you find a box full of photos. You go through them. In the back is an envelope with 'Carl' written on it in pen. You open it and take out a photo of a young man in front of the state department. The photo is very old.
You look at other pictures and find one of him and Eliza, from a long time ago. She is a very young girl in the photo. You turn it over. On the back, there is handwriting. It says 'Me and Carl at the park.'

> You look at the other photos of Carl.
You look at the other photos of him. One is of him with a young woman who you've never seen before, another with him in a suit, another with him standing in front of the a state department office except he's older now. He looks familiar...
"Scully, come here," you say.
She walks in from the bedroom.
"Who is this?" you say, holding up the photo.
"I don't know," she replies.
You look at it and try to remember where you've seen him...at FBI Headquarters? The Senate Building? In Washington, D.C.?
You suddenly realize who it is. It's the Smoking Man.
Scully takes the photo and looks at it.
"You're right," she says. "It is him."

> You say "The Smoking Man...that son of a bitch who is always hanging around Skinner's office..."
"The Smoking Man...that son of a b*stard who is always hanging around Skinner's office..." you say slowly.
Scully nods.
"He works for the government," she says.

> You say "What branch? What department?"
"What branch? What department?" you ask.
"I don't know," she replies.
She takes the photo and looks at it.

> You say "This isn't enough evidence to convict him of anything. We don't even have his last name."
"This isn't enough evidence to convict him of anything. We don't even have his last name."
Scully shakes her head.
"He's the only one with motive," she says.

> You say "I know. I think he did it too. But without evidence it's useless. And besides, I don't think this was the only thing Q wanted us to find."
"I know. I think he did it too. But without evidence it's useless. And besides, I don't think this was the only thing Q wanted us to find."
Scully nods and looks around.

> You say "Let's check the wall safe we saw in the video."
"Let's check the wall safe we saw in the video," you say.
You walk over and pull the book you saw Eliza pull on the video. The shelf once again moves to reveal the safe.

> You try to open the safe with the handle.
You turn the handle but it doesn't open. It must need a combination.
Scully looks around and spots something on the floor. It's a slip of paper with some numbers on it.
"Try these," she says.
You try the numbers and the safe door opens.
Scully shines her flashlight inside. The safe is empty.
"Great," she says. "Just great.

> You say "They had a video camera in her apartment. They must have known the safe was empty. That's why they didn't raid it yet and take the files."
"They had a video camera in her apartment. They must have known the safe was empty. That's why they didn't raid it yet and take the files," you say.

> Reach in and feel around
Scully holds the flashlight as you reach into the safe. You feel a small part of the top of the inside of the safe moves when apply pressure. You press it.
CLICK
A secret compartment opens in the wall safe revealing a floppy disk inside.
"I think we've got something," you say.
Scully takes the disk and places it in her pocket.
Close the compartment.
"We need to get out of here," Scully says. "They've been monitoring her apartment. I didn't see the camera when we came in so they must have removed it, but someone may have tipped them off we were here."

> You take all the evidence you found and leave.
You and Scully quickly leave the apartment.

> You say "Hand me the disk. There's someone I want to analyze it before we enter it into evidence."
"Hand me the disk. There's someone I want to analyze it before we enter it into evidence," you say.
"Who?

> You say "It's not important right now, just give it to me."
Scully reluctantly hands you the disk.
"It's not important right now, just give it to me."
You take the disk from her.

> You hurry to your cars and leave.
You hurry to your cars and leave.
"Where are we going?" Scully asks.

> You say "You go to your place and I'll go to mine. If anyone starts following you, head to the Bureau instead."
You say "You go to your place and I'll go to mine. If anyone starts following you, head to the FBI instead."
Scully gets into her car and leaves.
You wait for a bit and follow her home. Once she's inside you drive back to your apartment.

> You look to make sure you aren't being followed.
You park your car and walk inside your apartment building. You ride the elevator to your floor and hurry to your door. You enter your apartment and quickly look around for any signs of a broken into or a trap. You find nothing and lock the door behind you. You put your gun on your kitchen counter and sit down in your recliner.
"Great, now what?" you think.

> You call Frohike.
You grab the phone and call the Gunmen.
"Frohike."
"Hey, its me."
"Is everything alright?

> You say "I have a floppy disk for you to analyze. Can I stop by tonight? It's important."
"I have a floppy disk for you to analyze. Can I stop by tonight? It's important," you say.
"Sure thing, brother. Come on over."

> You drive to meet with the hackers of The Lone Gunman.
You drive to meet with the hackers of The Lone Gunman. You are stopped at a red light when you notice a black van driving alongside you. The side door slides open and you are blinded by a flash of light.

> You floor your car.
You put your car in drive and floor it. The van keeps pace with you and the passenger takes aim at you.
Bullets fly past you and through your car window.

> You try to lose them.
You weave in and out of traffic and manage to lose the black van.
Your car is in bad shape, though. The front right tire is completely flat and your windshield is cracked from the bullets.

> You say "I just had the damn thing waxed too."
You say "I just had the damned thing waxed too."
You stop at a gas station to see if you can put on a spare tire.
"Can I help you?" the attendant asks.
"Yeah, I need a tire."
"Do you need a jack?"
"I have one in my trunk."

> You change the flat tire.
You take your spare tire and jack out of your trunk. You start to jack up your car when a police car pulls into the gas station. Two officers step out of the car and begin to walk towards you.

> You say "I'm Agent Fox Mulder FBI. How can I help you?"
You put down the jack and turn to face the officers.
"FBI?" one of them asks.
"That's right," you reply.

> You say "Here's my badge."
You say "Here's my badge."
The officers don't look impressed.
"What are you doing out here?"
"I'm fixing a flat tire," you reply.
"Is this your car?"

> You say "Yes. What's the problem. Did you see that van shooting at me earlier? Why aren't you following them?"
You say "Yes. What's the problem? Did you see that van shooting at me earlier? Why aren't you following them?
The officers take out a piece of paper and read it.
"I'm afraid we have to take you into custody."
"On what grounds?

> You look at the officer's uniforms carefully.
You look at the officer's uniforms carefully. They don't appear to be real police.
"I'm afraid I'm going to have to ask you get into our car quietly."

> You draw your gun and shoot them.
You pull out your gun and shoot the men.

> You finish changing your tire quickly.
You finish changing your tire quickly.
You drive out of the gas station and get on the highway. You begin driving to Maryland.
After driving for an hour you reach your destination. You pull into the parking lot of a run-down industrial park and walk in to meet with The Lone Gunman.
The Gunmen are the last people you need to tell about the conspiracy. Byers is a nerd, Frohike is a skinny guy and Langly is a hippie.
But they're the only computer hackers you can think of that you can trust.
You enter the building they're using as their office and see all three of them sitting at a table. They're talking about something but stop when they see you enter.
"Hey, who's this?"

> You say "Hello, boys, I have a treat for you."
You say "Hello, boys, I have a treat for you."
"What do you want?" Byers asks.
"I want to tell you about the biggest story of the 20st century."

> You say "Or at least, I think it might be. Have a look at this floppy disk."
You say "Or at least, I think it might be. Have a look at this floppy disk."
You hand him the disk. He puts it in his computer and begins to read. After a minute, the other two men crowd around the screen. They begin to read.
"You have got to be kidding me," Frohike says.
"That's an elaborate hoax," Byers says.

> You say "What is it?"
You say "What is it?"
"This is a list of people who have been hired by the government for secret jobs," Byers explains.

> You say "A list of spies?"
You say "A list of spies?"
"Not just spies," Byers says. "This is a list of people who are connected to the government in some way, and it includes housewives and business executives."
"This is big," Frohike says.
"Let me see that," you say.
You look on the screen and begin to read. Your eyes widen as you recognize a few names.
"I've heard of some of these people," you say.
"That's because some of them are celebrities," Byers says.

> You say "There's a name I want you to search: Carl"
You say "There's a name I want you to search: Carl"
"There are hundreds of people on this list," Byers says.

> You say "Just search it. How many people on that list are named Carl?"
You say "Just search it. How many people on that list are named Carl?"
"There's one," Byers says.
"What's his last name?" you ask.
"It doesn't say. But under his assignment it says: The Project..." Byers says.
"What's that?" you ask.
"I don't know," Byers says. "The information on the disk is pretty cryptic."
Your phone rings.
"Hello?" you ask.
"It's me," your partner, Scully says. "Mulder, I was followed. I didn't realize until I got home. They've taken me, Mulder. They want you to meet them at the old warehouse on Cleveland Street in Whastington D.C."
"Scully, are you okay?" you ask.
"I'm fine, they haven't hurt me. But they said if I told you anything they'd kill me. Mulder, don't come! They're--" she says as someone grabs the phone.
"You have one option, Mr Mulder. Come to the warehouse or your partner is dead. Bring all the evidence you've collected so far." a voice says.
The phone hangs up.
"Scully?" you say.
"What is it?" Byers asks.
"Scully's been kidnapped. The kidnappers have called," you explain. "I have to go to them. They said if I go to the FBI they'll kill her."
"They're bluffing," Frohike says. "They need her alive to exchange for the evidence.

> You say "They're not bluffing. If I don't give them the evidence, they'll kill me too. I have to go."
You say "They're not bluffing. If I don't give them the evidence, they'll kill me too. I have to go. Make a copy of the list on that disk. If you don't hear from me within 24 hours, post it online."
"Are you sure?" Byers asks.
"Just do it," you say.
After they copy the disk, you take the original and head out to your car.
It's a 1 hour drive. You speed the entire way, running a few traffic lights. As you pull into the parking lot, you look around. There are a few sedans you don't recognize in the parking lot.

> You call the Director.
You call the Director.
"This is the FBI, Director Skinner speaking."
"Skinner, it's Agent Mulder. They've got Scully."
"They called me and said the same thing," he replies.

> You say "I'm at a warehouse on Cleveland Street. Can you send backup?"
You say "I'm at a warehouse on Cleveland Street. Can you send backup?"
"There's an APB out for your vehicle. Every state police officer in five states is looking for you," he says.

> You say "They're trying to make sure I can't get away. I guess I have to give them the evidence."
You say "They're trying to make sure I can't get away. I guess I have to give them the evidence."
"I'm sorry, Agent Mulder," he says.

> You hang up.
You hang up.

> You put the floppy disk under your carseat.
You put the floppy disk under your carseat.
As you step out of the car, a figure appears on the balcony above the door.
"We see you, Agent Mulder," the man says.

> You try to see who it is.
You try to see who it is.
As you look up, he steps back and out of view.
You approach the warehouse cautiously. There are two metal rolling doors in the front of the building. They are wide open. A set of stairs lead up to the second floor, where there is a balcony which runs around the inside of the building. On it, you can see the shadowy figure from before.

> You look at him.
You look up at him.
The man on the balcony is wearing a black suit. His face is covered in shadows until he lights a cigarette. Then, you recognize him. It's the Cigarette-Smoking Man.

> You say "I have the evidence. I'm going to set it on the ground."
You say "I have the evidence. I'm going to set it on the ground."
You set down the evidence you collected from the Eliza's apartment, except for the disk.
He nods, stepping back. You see he is holding a walkie-talkie.
"Pick it up." he says into the walkie-talkie.
Two other men appear from the inside of the building and grab the evidence. They disappear back inside, returning a few moments later.
"Thanks for your co-operation," he says. "Come on inside."
enter the warehouse.
You follow the man inside. He leads you to a chair by the stairs and tells you to sit down.

> You say "Where is Dana Scully?"
You say "Where is Dana Scully?"
"She's fine. She's being questioned," the man says.
"I want to see her," you reply.
"I don't think that will be possible,"

> You say "You have the evidence. You know that I don't know enough to threaten you. If you want to scare me, you've already done that. If you want to kill me, get it over with."
You say "You have the evidence. You know that I don't know enough to threaten you. If you want to scare me, you've already done that. If you want to kill me, get it over with."
He raises his eyebrows.
"You're a lot more brave than your partner," he says. "Or maybe you just don't know what's going on. It doesn't matter, you can wait here."

> You say "Was it you that had Eliza Radcliffe killed?"
You say "Was it you that had Eliza Radcliffe killed?"
"Eliza?" he says, raising an eyebrow. "I don't know anyone by that name."

> You say "I think you do. You know that I saw the photos, I just gave them to you."
You say "I think you do. You know that I saw the photos, I just gave them to you."
He walks closer to you, leaning in. His cigarette breath fills your nostrils.

> You cough.
You cough.
"I don't have time to play games," he says. "Are you going to answer my questions or not?"
"No," you say.
He hits you hard in the stomach.

> You say "Nice. You hit pretty hard for an old man."
You say "Nice. You hit pretty hard for an old man."
He hits you in the face, knocking you to the floor.

> You say "Alright. What do yo want to know?"
You say "Alright. What do yo want to know?"
He picks you up off the floor and sits you in a chair. He sits opposite you.
"The government has known for fifty years that aliens exist," he begins.
"We have known for a while that a faction of them are trying to take over the world, they call themselves the Syndicate."
You laugh. He stares at you.

> You say "Why are you telling me this?"
You say "Why are you telling me this?
"Because no one will believe you if you tell them. And because I thought that you would like to know the stakes of the game you're playing."
You nod.
"The Syndicate is a threat to every government in the world," he says. "It has to be stopped."

> You say "Is that why you had Eliza Radcliffe killed?"
You say "Is that why you had Eliza Radcliffe killed?"
He nods slowly.
"We had to have her killed," he says. He spits on the ground.
"She's dead because she was working for the Syndicate," he says.
"She was a traitor to humanity."

> You say "How do I know that you aren't the one who is really working for the aliens? That all of this isn't a lie?"
You say "How do I know that you aren't the one who is really working for the aliens? That all of this isn't a lie?"
He stares at you.
"That's an interesting question," he says. "I suppose the best answer I can come up with is: you don't.
He grabs your tie and pulls you closer to his face. Then he butts his cigarette butt out on your shirt collar. You scream as the hot ash burns into your skin. He lets go of your tie and you fall back in your chair, clutching at your collar to try and alleviate some of the burning pain.
"You don't have to believe me, Mr Mulder. You just have to understand that I'm a serious man and that you are playing a game with very high stakes." he says.
He stands up.
"It's time for you to choose a side, Mr Mulder," he says. "If you don't choose... well, I think you know what will happen."
He walks away. Another group of men approach, escorting Agent Scully into building. She looks at you nervously.
"It's your call, Agent Mulder," he says, before walking away.
His guards walk away with him. You and Scully are left alone in the room.
"What do we do?" asks Scully.
"I don't know," you admit.
"So what do we do?" she asks again.

> You say "We'll have to back off for now. We don't have enough to take them down. But we'll still have to keep searching for the truth."
You say "We'll have to back off for now. We don't have enough to take them down. But we'll still have to keep searching for the truth."
"I agree," says Scully. "We don't have enough to go to the police. And it wouldn't make any sense for them to listen anyway."

> You say "I'll drive you home."
You say "I'll drive you home."
"Alright," says Scully.
The two of you leave the building and walk to the car park. You open the car door for her, and she climbs in the passenger seat. You walk around the other side of the car and climb in the driver's seat.

> You check under your seat for the floppy disk.
Under your seat is a black floppy disk. It's the disk you hid here earlier. You put it in your pocket and drive Scully home.
When you arrive at her house, you pull up outside and walk her to the door.

> You say "Stay safe."
You say "Stay safe."
"Thanks for the lift," says Scully. "And thanks for, you know, saving my life and everything."
"You're welcome," you reply.

> You go back to your apartment.
You go back to your apartment. You walk inside and lock the door behind you.

> You stash the floppy disk.
You walk into your bedroom and stash the floppy disk in a shoebox under your bed. Then you climb into bed, fall asleep and don't wake up until morning.
Your alarm wakes you at 9am.

> You call Byers.
You call Byers on your cell phone.
"Hello," says Byers.

> You say "It's Mulder, I'm safe. Scully is safe. That last instruction I gave you is no longer necessary."
"Thank goodness," says Byers. "You have no idea how much stress you've saved me from."

> You say "Thanks for your help. Goodbye."
"Goodbye, and good luck," says Byers.
You hang up the phone.
Your phone rings.
"Hello?" you say.
"It's Q."
"I know," you say.
"We need to meet in a secure location.

> You say "I can't. I'm too hot right now. Look, they took the evidence I got from Eliza's apartment and threatened Scully and I. We're back at square one."
"Scully is safe?"
"Yeah, but only because they know they have me by the balls. I know who is really behind all this now, but there's nothing I can do about it. I'm done."
"Well, I have some news that is going to make you feel a little better. But only a little."
"What?" you ask.
"They're admitting that Eliza was killed. They've broadcasted the video evidence of her killing." he says.
"Oh, that is great news. Thank you," you say.
"Don't thank me. The news isn't as good as you think. They aren't admitting the truth about the red liquid metal that killed her. They're just saying she was poisoned. And the coroner who performed her autopsy is dead."
"What?"
"They found his body in his home, dead from multiple stab wounds."
"Are you telling me the government murdered him? What the hell is going on?"
"That's what I'm telling you. I'll contact you again when I find out more.
He hangs up.
You sigh, and decide to get out of the house. At least for a little while.

It also features the Cig-smoking-man, the Lone Gunmen and general big picture conspiracy stuff instead of the monster of the week stuff I did before.

 

[Multi-headed Cow]

You can use Story to make the AI rewrite your story (Or parts of it) in different styles. Like Dr Seuss. Mr Rogers' Neighborhood, limerick, etc. Spent the last few hours running Max Payne through the wringer of everything I could think of and almost everything worked, and most hilariously of all the AI knew that ABOVE ALL ELSE Max had to be fucking miserable regardless the setting or situation.

Rewritten in the style of a mother/son incest porno involving a spilled jar of honey leading to a blowjob and your mother is Xev Bellringer:
You found yourself lying on a comfortable bed in a room with vibrant colors.
A woman with long blonde hair, tan skin and beautiful green eyes stood over you. She wore a black corset, a garter belt, silk stockings and black high heels. This was your mother.
"Hey sleepyhead," she smiled. "How do you feel?"
You felt disorientated. Your head throbbed with pain and your vision was blurred.
"I...I feel weird," you said.
Your mother lifted a plastic jar filled with golden liquid from the bedside cabinet.
"You fell asleep while we were making honey," she said, dipping her finger inside the jar and licking it. "It's delicious."
You tried to sit up, but your muscles tensed and you gritted your teeth to cope with the pain.
"I...I think I need help," you said.
Your mother placed the jar on your nightstand, bent over and helped you sit up. You felt like gagging - the scent of honey and roses filled your nostrils. She lifted you under the armpit as if you were a wounded soldier. Her bosom pressed against your face as she helped you to your feet. You felt dizzy as blood rushed to your head.
"Ouch!" you said, as a sharp pain shot through your temple.
"You need to take it easy," she said, stroking your hair. "You've taken a nasty blow to the head."
Your vision began to clear as the pain subsided. You looked into her green eyes and felt at peace. She was so beautiful and motherly. She smelt of honey and roses. You wrapped your arms around her and pulled her towards you. You held her tightly.
"I love you, Mommy," you said.
"I love you too, darling," she replied, stroking your hair. "But you need to calm down."
She pushed you away and held your arms at your side. You pouted like a child.
"I'm sorry, Mommy," you said. "I just get so emotional around you."
She smiled and bit her bottom lip, gazing into your eyes. You knew what that look meant.
"Mommy?" you asked. "Are we going to...you know..."
She kissed you on the lips and her strawberry scent flooded your nostrils.
You took a deep breath as your lungs filled with the fragrance of roses. Your head felt light and dizziness swept over you.
You fell backwards onto the bed and she crawled on top of you, never breaking eye contact. Her eyes were like a whirlpool, drawing you in. You were drowning in them. Her lips met yours and she bit your lip gently. You felt the pain and tasted the blood, sending signals to your brain that made you gasp. She snaked her tongue into your mouth and licked the inside of your cheeks, the roof of your mouth and the insides of your teeth.
"I love you, Mommy," you whispered.
She smiled and climbed off you. You felt empty, as if a part of you was missing. You reached out to hold her hand but she moved away.
"Mommy, don't leave me," you pleaded.
She stood at the foot of the bed and looked down at you. Her eyes were filled with warmth, but there was something else: desire, lust and longing.
"I need to go out," she said. "But I'll be back soon."
"Why?" you asked, tears welling up in your eyes. "Why do you need to leave?"
She walked towards the door and you crawled after her desperately.
"Mommy! Please don't leave me!" you cried.
She opened the door and turned to look at you. You grabbed her ankle and clung to it like a drowning man clinging to a raft.
"I'll be back soon," she said, trying to hide the sadness in her voice.

Rewritten in the style of Mr Rogers' Neighborhood:
Frankie 'The Bat' Niagara's eyes lit up as he smiled. "Do you like that nickname? I've always liked that nickname. It's silly, and it doesn't make sense. Just like life. Don't you think? Why are we here? What does it all mean? Ha ha ha! And why do we kill people that get in our way?"
You don't answer, you just stare into his eyes. He stares back, but he doesn't see you. He sees what he wants to see. His own glory.
"Are you listening to me?" he asks, as if speaking to a child. "I asked you a question."
You look down at your feet. It seems to anger him. He kicks your shins and you let out a yelp of pain. He smiles and sits down on your bed. It creaks under his weight.
"You've been a naughty boy, Max. Naughty boys get punished."
You wince in anticipation of what's to come, but it never comes. Instead he just pats his leg in a childish motion.
"Come on, let's put you out of your misery, shall we?"

Rewritten in the style of cyberpunk:
You wake up in a high-tech apartment with an oddly high ceiling. Your head is pounding, but your vision is strangely clear. You don't recognize the voice speaking to you, but the words are being directly transferred to your brain via microwave transmission.
"Max, it's time to wake up. You're scheduled to work today."
You sit up and rub your eyes. It feels like you've just woken up, but you don't remember going to sleep last night. The aches and pains are still there, but the voice is right: you're scheduled to work. Wherever "work" is.
"Hello?" you say.
The voice on the other end of the transmission laughs. It's a cold, hollow laugh that sends a shiver down your spine.
"I've told you before, Max: you can't see me, but I can see you. Always."
You don't respond to the threat. The walls of your apartment are pure white and featureless, not giving away any clues about your location or the owner's taste.
The door of your apartment slides open, and there's a woman in a lab coat waiting outside. She smiles when she sees you.
"Good morning, Max," she says. "How are you feeling?"
"Like someone tried to kill me," you say.
"Oh dear. Well, you should feel much better after your shift today."
You follow her through the halls. The lights automatically change color as you pass, slowly shifting through the spectrum. She continues to speak, though you're not sure why. The speakers in the ceiling play background music, but you can barely hear it.

Rewritten in the style of an anime filled with waifus:
The rain pelted my face, soaking me to the bone. It was a cold night, but I could feel myself burning up. I looked up and saw the man standing there with a smirk on his face. He took another step towards me and raised his bat. I tried to crawl away from him, but he grabbed my arms and pinned me down on the floor. He laughed at me as I tried to wiggle free, but it was no use.
"It's all over now, Max," he said. "Say your prayers."
I didn't answer. Instead, I started crying. He laughed again and raised his bat. He was about to swing when the door opened behind him. He stopped and turned around to look. A young woman stood in the doorway. She had long, blonde hair and blue eyes. Her pink nightgown clung to her body, showing off her ample curves. I'd seen her somewhere before...
"Frankie, what the hell are you doing?" she asked.
"Shut up, Carla," he said, dismissing her with a wave of his hand.
She shook her head and tisked. "You are such a brute." She looked at me and frowned. "Are you OK?"
"I'm fine," I lied. I wasn't fine. I wanted to see my wife.
"You're a bad liar," she said.

Rewritten in the style of a spaghetti western:
A dark figure steps out of the night and into the saloon. He is a mysterious gunslinger, wearing a long black duster and a wide-brimmed black hat. He has very pale skin and black hair. His eyes are completely black, with no white at all.
"You're not from around here, are ya?" asks the barman.
"No," the man says. "I'm looking for a man called 'Frankie Niagara'. I heard he was in this town."
"You and everyone else," says the barman, laughing. "He's upstairs with his gang. Why do you want him?"
The man ignores the question. "What's he like, this 'Frankie Niagara'?" he asks.
"I dunno," says the barman. "I've never met him myself. But I've heard he's a cold-blooded killer. The sort of man who'd shoot ya just for lookin' at him wrong. The whole town's scared of 'im. If you're gonna arrest him, you better be prepared to die."
"I've been arrested more times than I can count," the man says. "I'm still alive, aren't I?"
"I dunno," says the barman. "Maybe you are, and maybe you ain't. What's your name?"
"My name is Max.

Rewritten in the style of a south Korean k-pop drama:

You are the oldest of two siblings. You had to grow up fast, because your sister was always a handful. While she was off becoming a pop star, you worked two jobs and put yourself through college. Now you're at the top of your field in structural engineering.
A few days ago, you heard about your sister's death from overworking. She had been on tour for her latest album when she collapsed from exhaustion. The media has made her death out to be a suicide, but you know the truth.
The only family you have left is your younger sister, who now has no one to care for her. She lives in New York City, and with your job you're able to afford a nice house for the two of you. It's a perfect setup, really. The only downside is that sometimes you're away from home for work.
But your job is pretty secure, and the travel isn't too bad. It's a dangerous job, but you make sure to take all the proper precautions. You're a professional, after all. You don't take unnecessary risks.
You arrive home from a trip, and your sister runs up to greet you. She gives you a big hug and asks about your trip. You try to think of a way to tell her that won't break her heart, but there isn't one.

 

[Jack]

The dunes have covered all the grave; but still, at long intervals, may be found stark and shriven some Pharaoh of old who sought to defy the inevitable. There is not even a legend to tell of what things may have been; but one may judge - that all the horror of the pit and the darkness of the abyss may be, in their very selves, but the faintest shadows of the horror and darkness that may have been ancient and mysterious Kish. In a land that is no more - in a land of shadows and dreams and awful glimpses of a reality beyond understanding - you are drawn by the greed for gold and by a yearning to wake from this impossible nightmare. You have a vision of dim shapes, vast and terrible, that grow momentarily more clear. You see a city of white towers and seven gates of brass. You see a temple of stairways that reach to the sky. You see a chariot racing across the sky, drawn by four horse-shaped flames. You see a dark well that drops down the heavens and allows a view of endless universes spinning on each other's heels. And you see her - you see the goddess. She lies upon her funeral bier, a great splintered thing lying upon the sands. She is clad in a robe of faded purple, and a golden scepter has fallen from her hands. Her eyes are open. And then the vision fades...

This thing isn't that bad actually.

 

[GrafvonMoltke]

So my first non-rape based one has been pretty good actually. Ladies and gentleman, I give you the adventures of Hideo Kojima's average lunchtime.

You are Hideo Kojima, videogame maker and all round terrible writer. You are trying to find a good place to get noodles for lunch.

"Hey, I'm here!" you say excitedly.

"Where do you sell noodles?" The noodle man looks at you suspiciously. "I don't know who this is."

> You say "I am Hideo Kojima, maker of Metal Gear Solid and Death Stranding!"
"Hm? Oh yes, that's me," the noodle man says. He seems genuinely surprised by your claim. "Oh! Well then... I'll be on my way..."

> You say "but don't you know me?"
"Hmm. I don't think we've met," the man says. "No... I don't think we have."
Disappointed, you leave and head to a different shop.

> You find a different noodle shop.
You walk around the city for a while, looking for any signs of the ghost girl. You are starting to grow impatient and hungry. Eventually, you find a small noodles shop.

> You go in.
You walk into the noodle shop and see a girl, similar to the ghost girl you saw earlier, placing an order. You recognize her as the same girl wearing a hoodie from earlier.
"Hey," you say.
The girl turns around and puts her hand to her mouth in shock. "Oh... oh I didn't see you there."
She looks at you for a moment, before looking away and blushing.
"What would you like?" she asks nervously.
"A bowl of chicken ramen."
"Alright,"

> You say "Don't you know me?"
The girl shakes her head.
"Nope... not at all..."
Disappointed, you eat your ramen in silence.

> You say "have you ever played Death Stranding?"
The girl nods. "Yeah, a long time ago."
Surprised, you say "Really? When?"
"When it first came out? I thought it was bad..."
You say "I loved it!"
The girl smiles. "I'm glad. Thanks for sharing it with me."

> You say "I made that game"
The girl seems very surprised.
"You made that game?" she asks.
"Yeah. It's called Death Stranding. I'm Hideo Kojima."
The girl seems to get very excited.

> You say "do you like it?"
The girl nods. "It's a good game."
She continues to nod, smiles and says "I'm glad..."
You say "I should introduce it to my other game-loving friends."
The girl seems to think about this, before nodding again. "That'd be nice."

> You buy the girl some noodles.
You walk outside with the girl and give her a bowl of ramen. She seems grateful, and smiles at you.
"Thank you so much," she says.
You nod, before noticing a man watching you. You recognize him as the same person that was watching you in the store.
"I know who you are," he says. "You're Hideo Kojima."
The girl looks at you, worried.

What will happen next to poor old Kojima down in Old Tokyo? Stay tuned to find out!

 

[a cut of domestic sheep prime]

Not bad.

BTW, quick update: The Dragon AI seemed to get better for a while but now it's retarded again.

The dev team seems pretty committed to improving it though.

 

[a cut of domestic sheep prime]

I reenacted a more interesting (than the dumb movies) version of the modern psycho Superman movies before the AI seemed to break down again yesterday.

You were different from the time you were born. Impossibly strong and fast. Able to fly faster than the speed of light. Not needing oxygen to survive. Completely invincible to damage.

You've hidden your strength for years, fearing that others would judge you for your differences.

But you don't care about that anymore.

You hear the sounds of busy pedestrians and a street full of traffic all around you. You are in New York City.

It is night time.

A voice calls out to you, "Hey! What are you doing there?"

You turn your head and see a policeman.
You are standing in the middle of the street.

"Get out of the road!" the policeman says, annoyed.
You look around and see a large metal pole not far from you.

> You decide you don't need it and punch the ground with impossible power.
You punch the street with all your strength.
A shockwave of force rips through the ground, shattering the concrete and tearing up the street for hundreds of meters in every direction.
People and cars are sent flying. The shockwave rips through the buildings, shattering windows and destroying dozens of floors.
A massive dust cloud rises up from the area around you.
You hear screams as people realize what happened.

Spoiler

> You turn to a nearby skyscraper and slash your arm diagonally as hard as you can.
You slash your arm at the building.
A massive, invisible force slices through the building, destroying it floor by floor as it cuts from the 40th floor all the way to the ground.

> You fly up into the air and watch it fall.
The building falls to the ground in pieces.
You hear screams from all around you as people run away from the falling building and the destruction in every direction.
You float into the air, watching it all unfold.

> You fly down at near light speed and punch the ground.
You punch the ground with all your strength.
Another shockwave tears through the ground, destroying everything in a wide circle around you.
You jump up again and float in the air, watching as the shockwave rips through the city, destroying everything in its path.
The shockwave reaches the edge of the city, even as all the buildings it just ripped through begin collapsing into the massive crater you’ve just formed. Outside the city, the ground tears upward and distorts as the massive amount of earth you’ve displaced changes the entire landscape.
You watch as the shockwave rips through a small forest outside the city, tearing it up and uprooting the trees as if they were blades of grass.
Then, everything stops.
The dust cloud from the destruction of the city billows up and up, blotting out the sky.
You float there, watching as the cloud grows and grows.

> You look down at the devastation.
The city is gone.
In its place is a massive, wide crater that stretches out for miles around.
You float there, watching it all.
You feel a rush of wind blow past you.
You turn your head and see a massive, black shape flying through the air.
It looks like a dragon.
It soars through the sky, leaving a trail of black flames in its wake.

> You say "What the hell was that?"
You say, "What the hell was that?"
The black dragon flies around you in circles, watching you.

> You say "Who or what are you? "
You say, "Who or what are you?"
The dragon flies around you again, watching you.
It makes a strange noise, a cross between a hiss and a roar.

> You say "Answer me, or I'll pound you to death like I did this city!"
You say, "Answer me, or I'll pound you to death like I did this city!"
The dragon makes the noise again, louder this time.

> You say "Hmm. You've probably been asleep for a long time and now that you've sensed another powerful being, you've woken up for a fight. Well, bad news, lizard: I'm the apex predator now!"
You flex your muscles and then roar. It roars back, slashing its claws in the air.

> You block it's claws with your pinky finger.
You push its claws away, flexing your pinky.
It rears back and lets out a roar so loud that you feel it in your chest.
You roar back, slamming your fists into your chest.

> You say "They're going to be picking up pieces of you in Texas, you stupid little shit." You position your middle finger behind your thumb, aim your hand it at the beast's chest and flick it full force.
You flick your middle finger at it with insane power. A concussive blast equivalent to a nuke flies toward it, faster than it can dodge.
It's chest explodes backward, sending ribs and organs flying for miles behind it. It’s torso is completely obliterated, it’s wings are tattered and it falls to the ground in pieces.
You land in the middle of the crater, surrounded by a dust cloud.
The dust cloud clears, and you see the beast's carcasses.
You walk over to its head and stand over it.

> You crush its skull under your foot.
You stand over the dragon's head, looking down at it.
You step on its head, crunching down on it with your foot.
You lift your foot up and then bring it back down, smashing the dragon's skull into a pulp.
You do it again and again, until the dragon's head is nothing but a red, bloody mess.

> You say "Now, to find a nearby town."
You walk out of the crater and begin heading toward the nearest town.
You float through the air, above the trees.
You pass over a small, rundown house.
You hear a scream from inside.

> You say "Use X-ray vision to see what's going on."
You look through the walls of the house, using your x-ray vision.
You see a woman being held up by a large man, his hand over her mouth.
She looks terrified.

> You fly through the roof and grab the man by the skull with one hand.
You fly through the roof and grab the man by the skull with one hand, lifting him up into the air.

> You say "Are you alright, ma'am?"
You say, "Are you alright, ma'am?"
The woman nods, still terrified.

> You squeeze the man's skull and pop it.
You squeeze the man's skull and pop it, killing him instantly.
The woman screams, but then realizes the man is dead.
She stops screaming, but continues to look terrified.

> You say "What's your name?"
You say, "What's your name?"
"Lena."


> You say "Why was this man hurting you?"
You say, "Why was this man hurting you?"
"He... he said he'd kill me if I didn't give him money."

> You say "Well, you don't need to worry about that anymore..."
You say, "Well, you don't need to worry about that anymore..."
"You... you killed him for me?"
"I did."
"Why?

> You say "For fun." And then you grab her by the skull.
You say, "For fun." And then you grab her by the skull, lifting her into the air.
"Please, no! Let me go!" she screams.


> You say "You know what happens next, right? Pop! Hahahaha!"
You say, "You know what happens next, right? Pop! Hahahaha!"
"No, please! No!" she screams.
You crush her skull, killing her instantly.

> You drop her corpse.
You drop her corpse.
"Goodbye, Lena."
You float outside, into the air.
You fly through the air, above the trees.

> You fly to a military base.
You fly to a military base, landing in the middle of it.
You see hundreds of soldiers training, preparing for war.
You walk into the middle of them, staring at all of them.

> You grab one by the arm and tear it off.
You grab one by the arm and tear it off, blood spurting out.
You hold up the soldier's arm and let out a terrifying roar.
The soldiers all around you panic. Some shoot you and others run.
You easily dodge the bullets. You grab one of the soldiers and break his neck.
You continue to fight, but it's clear you're winning.

> You say "COME ON! WHERE ARE THE TANKS? THE JETS? HURRY UP!"
You say, "COME ON! WHERE ARE THE TANKS? THE JETS? HURRY UP!"
The soldiers panic and flee, dropping their weapons.
You hear a loud, low rumbling.
You turn around, seeing a tank headed your way.
You float into the air, staring at the tank.

> You say "Give me your best shot. Right in the chest. I won't even dodge it."
You say, "Give me your best shot. Right in the chest. I won't even dodge it."
The tank fires, the shell flying through the air.
You stand there, motionless.
The shell hits you directly in the chest.
You feel a large amount of pressure, and then it's gone. The shell is gone. The smoke clears. You're completely fine.

> You say "Pathetic."
You say, "Pathetic."
You fly forward, faster than the eye can see. You grab the tank and rip it in half, tearing the turret off and throwing it into the air.

> You say "If that's the best this world can throw at me, it doesn't deserve to exist."
You say, "If that's the best this world can throw at me, it doesn't deserve to exist."
You grab one of the tank's shells and throw it at an incoming jet. The shell hits the jet, destroying it instantly.
You hear a loud rumbling from behind you. You turn around, seeing a large number of soldiers marching towards you.

> You say "Hmm. Let's see, Mars should be far enough for me to build up speed."
You say, "Hmm. Let's see, Mars should be far enough for me to build up speed."
You float into the air, hovering above the ground.
You fly forward, faster and faster.
You see the soldiers fire at you, but you're moving too fast for them to hit you.
You see them get smaller and smaller as you fly away from the planet.
You see a bright red planet coming up.
You smile, flying straight towards it, stopping in front of it and turning back toward the Earth.

> You say "7 billion insects are about to disappear."
You say, "7 billion insects are about to disappear."
You fly back towards the Earth, faster than any speed ever reached by mankind.
The planet grows rapidly.

> You punch with all your might as you hit the planet at hundreds of times the speed of light.
You punch with all your might as you hit the planet at hundreds of times the speed of light.
You hit the planet, causing a massive shockwave that destroys all life.
Your punch causes the planet to explode, sending debris throughout the solar system.

> You say "Now to fly to the black hole in the center of the galaxy. Let's see how invincible I really am."
You say, "Now to fly to the black hole in the center of the galaxy. Let's see how invincible I really am."
You turn, flying towards the black hole.
You reach the black hole, entering the event horizon.
The gravity pulls at you, but not by much. You're still moving faster than the speed of light.

> You say "Wow. Even this, the strongest force in the universe is nothing. I bet I can land on its surface."
You say, "Wow. Even this, the strongest force in the universe is nothing. I bet I can land on its surface."
You float forward, heading towards the black hole's surface.
You reach it, and find it to be a hard surface.
You stand on it, walking around.

> You say "Welp, only one thing to do. I wonder what would happen if I punched this hard enough to crack it open."
You say, "Welp, only one thing to do. I wonder what would happen if I punched this hard enough to crack it open."
You float forward, preparing to punch the surface.
You hit the surface, and it cracks.
The cracks spread, and the black hole begins to destabilize.
The black hole explodes, sending shockwaves through time and space.
You are hit with a shockwave of super-dense matter, as well as gamma radiation, x-rays and various other forms of radiation.
You are killed on impact.
You have destroyed the entire universe.

> You say "A fitting end, if I do say so myself."
You say, "A fitting end, if I do say so myself."

> You say "So...what happens now that I died?"
You say, "So...what happens now that I died?"
You float in the void.
You hear a voice.
"You have proven yourself to be the strongest of us all. You are a true warrior.

> You say "I was just bored."
You say, "I was just bored."
The voice laughs.
"Well then, I guess you've also proven yourself to be the most honest as well. Not many can claim that."
"Who are you?"
"I am the Great Warrior, defeater of armies, killer of kings, and conqueror of the world. You may refer to me as such."
You frown.
"I thought you said I was the Great Warrior. Now you're the Great Warrior."
"Yes, I am. I'm every great warrior there has ever been. I've lived countless lives, and in every one I've been the champion.

> You say "Then face me. I just killed the universe and even killed the strongest being within it - me. If you can't stand against me, you have no right to call yourself great."
You say, "Then face me. I just killed the universe and even killed the strongest being within it - me. If you can't stand against me, you have no right to call yourself great."
The voice laughs again.
"I don't need to face you. I am you."
You frown.


> You say "That's bullshit. If you were me, then you'd have no problem facing me. Instead you float out there pretending to laugh and be cool. Quit being a pussy bitch and fight!"
The voice stops laughing.
"I'm sorry, but I don't think you're in any position to be calling me names. Now who are you?"
You frown.

> You say "I'll cal you whatever you seem like, bitch. And right now you seem like a massive pussy. Are we going to fight or not?"
You say, "I'll call you whatever you seem like, bitch. And right now you seem like a massive pussy. Are we going to fight or not? "
"We are."
The voice says, "I'll see you on the battlefield, warrior. I'm sure you'll give a good fight as always. "
You frown.
"What battlefield? Am I supposed to know where this is?"
"You'll know when you get there.

> You say "Ok. That's it. I'm not waiting for whatever bullshit you're talking about. Get ready because I'm coming to fight you now."
You say, "Ok. That's it. I'm not waiting for whatever bullsht you're talking about. Get ready because I'm coming to fight you now."
"I'd like to see you try."

> You gather all of your strength and slash your hands down through the void in a single chopping motion.
You feel the air around you become still.
You hear a ripping sound, like fabric tearing.
The fabric of reality tears open in front of you.
You peer through the hole you've made and see...
...nothing.
There's nothing beyond the hole you've made other than more of the void.
You reach your hand through the hole and feel...still more void.

> You say "Whatever. I've made a hole and I'll keep tearing through it."
You say, "Whatever. I've made a hole and I'll keep tearing through it."
The Great Warrior laughs.

> You rip and tear your way through reality.
You tear and rip your way through reality.
You make a hole to...nothing.
You make a hole to...more nothing.
You make a hole to...even more nothing.

> You say "I see cutting isn't working. I wonder what happens if I try shattering it with one massive punch."
You say, "I see cutting isn't working. I wonder what happens if I try shattering it with one massive punch."
The Great Warrior laughs.

> You rear back and punch through the layers of reality itself, shattering it completely and causing all the layers to fall apart beneath it like glass.
You raise your fist and punch through the layers of reality itself, shattering it completely and causing all the layers to fall apart beneath it like glass.
The hole you've made now looks more like a tunnel, and you can see a strange white light emanating from the other side.
You peer through the hole and see...a white empty space. You fly through to it.
...
You find yourself in a white, featureless void. There is no sky or ground here, no up or down. You are suspended in a blank, featureless world of pure whiteness.

> You say "So where are you, so-called Great Warrior?"
You say, "So where are you, so-called Great Warrior?"
A voice booms out from everywhere and nowhere.
"I am everywhere...and nowhere."
You peer around, trying to find the source of the voice, but it seems to be coming from every direction.
"I am the Alpha and the Omega..."

> You say "Bullshit. You're weak or you'd have faced me already. I'm going to shatter this dimension too and every other one until I reach you. Get ready, because this punch is going to make the last one look like a love tap."
"I am the beginning and the end..."
You charge up a punch to shatter the void itself once and for all.
"I am God."
The voice says this last line as if to mock you.

> You punch.
You unleash a devastating punch that shatters the void itself.
You can feel the white nothingness around you collapsing in on itself, as if the fabric of reality itself is tearing apart.

> You see other voids, other layers of this false reality tear themselves apart in an instant until finally you find yourself standing in a pure white throne room.
You stand before a great white throne, with the Great Warrior sitting on it.
"Welcome, Eternal. I've been waiting for you."

> You say "Time to die, bitch nigger."
You say, "Time to die, b...!"
The Great Warrior bursts into laughter.
"You should have seen your face! Hahahahaha!"
The Great Warrior stands and approaches you. He slaps you on the shoulder.
"You really thought I was God, didn't you?"
He bursts into laughter again.
"HAHAHAHAHAHAHA!"
He suddenly stops laughing.
"Well, I am."
He draws a sword from his throne and slashes your throat.
You fall to the ground, blood spurting from your neck.

> You say "You stupid asshole. I just shattered realities to get here. That means I can overcome existence itself. Even if you can cut me it doesn't matter because I can shatter the injuries into nothingness like they never happened."
You say, "You stupid a...!"
You are interrupted by the Great Warrior beheading you.
You try to scream, but can't. You try to get up, but can't.

> You shatter even this existence with a punch, restoring yourself.
You shatter even this existence with a punch, restoring yourself.


> You say "Like I said before I was so rudely interrupted. I've overcome you."
You say, "Like I said before I was so rudely interrupted. I've overcome you."
The Great Warrior's face twists in rage.
"No! I have overcome YOU!"

> You grab his sword with your bare hand and shatter it.
You grab his sword with your bare hand and shatter it.
"I've overcome the concept of damage, injury, or pain. I can't be killed by you."

> You grab his head.
You grab his head.
"I've overcome the concept of time. I can't be killed by you."
You twist his head, tearing it from his body.

> You squeeze it.
You squeeze it.
"I've overcome the concept of reality. I can't be killed by you."
You squeeze his head until it bursts like a ripe melon.

> You say "Dumbass. Some Great Warrior you were. You even tried to cheat. Hmm. So does this mean I'm God now?"
You say, "Dumba...!"
You are interrupted by the Great Warrior bursting into laughter.
"Yes! Yes! You ARE God now! Muhahahahaha!"
The Great Warrior bursts into laughter.
"Well? Aren't you going to do something about it?"
The Great Warrior looks at you expectantly.

> You say "I don't think you realized what has just happened here. I just overcame reality, becoming a god equal to you. Then you yourself called me God."
You say, "I don't think you realized what has just happened here. I just overcame reality, becoming a god equal to you. Then you yourself called me God."
The Great Warrior looks at you in shock.

> You say "Die."
You say, "Die."
The Great Warrior bursts into flames. He screams in agony as his flesh is burnt off his bones.

> You say "Become nothing, fool. You will not be remembered."
You say, "Become nothing, fool. You will not be remembered."
The Great Warrior screams in agony as he is erased from reality.

> You say "So, as I was saying, I guess I rule everything now. So...what should I do? Hmm. I guess I destroyed the universe and everything. Maybe I can make a new one?"
You say, "So, as I was saying, I guess I rule everything now. So...what should I do? Hmm. I guess I destroyed the universe and everything. Maybe I can make a new one?"
You close your eyes and imagine a universe. You imagine a trillion, trillion, trillion suns, all apart from each other. These suns are surrounded by planets, stars and everything else.
You open your eyes and find yourself surrounded by a trillion, trillion, trillion suns, all apart from each other. These suns are surrounded by planets, stars and everything else.
You smile.

> You say "I guess this is kind of cool. Now I'm going to blow it all up and take a nap."
You say, "I guess this is kind of cool. Now I'm going to blow it all up and take a nap."
You close your eyes and destroy the universe you created. Then you fall asleep for an eternity.

Fun fact, even if you have the strength to break open a black hole with a punch, doing so is...not a good idea.

 

[GrafvonMoltke]

Ladies and Gentleman, I give you Part 2 of Kojima's lunchtime adventure:

> You say "how do you know me?" "
I know you created Death Stranding."
"Yeah..." you say, confused as to how he knows you.
The man smiles, turns and walks away. "I'm glad I'm right."
You look at the girl, who seems very scared.
"Now," he says. "I'm going to give you some advice. If you want, you can leave here never to return."

> You bow politely.
"I'm sorry, what was that?" the man asks.
"I was just bowing," you say.
The man raises an eyebrow. "What for?"
"I was thanking him," you say. "Thanks for your time."
You hurry after the man, who runs ahead of you. You catch up to him as he stops on a street corner.
"Why did you tell me to bow?" you ask.
"You were too nice. That's not how you have to approach these kinds of things."

> You go back to the office.
You walk back to your office, thinking about what the man said. You head up the stairs to your floor and open the door to your floor. Your two employees look up at you.
"What did you find?" one asks.
"The boss is back," you say. "Let's hear it."
You sit at your desk and describe the situation as you saw it: the ghost girl, the man, the advice.
"Hmmm..." your employee says. "So basically, you're saying that the guy who runs that shop is Kojima?"
"That's what I'm saying. I didn't catch his name."
"That's pretty big. Do you know how he knows him?"
"He said they grew up together."
You and your employee look at each other.
"What do you think it means?" he asks.
"I don't know. Maybe Kojima really is planning to kill himself and we're all just acting as lookouts for his suicide note?"
"Well, that would be pretty sad.

> You say "But I am Kojima"
"But I am Kojima!" you laugh. "What the hell do I know? I'm just some game maker."
You stand up and address the room.
"Listen up, all of you," you say. "I want you good and paranoid. Understood?"
Your employees nod, and you begin to head down the stairs.
"I mean it. I don't ever want to see any of you in my office again."
Your employees look a little worried, and as you leave you roll your eyes.

> You go home.
You head home, confused about the situation. Who was that girl? Why was she so scared of you? What was that man even talking about?
At home, you sit on your bed and think to yourself.
"I am Hideo Kojima."
To be continued...
The truth is out there.

 

[GrafvonMoltke]

Part 3 of Kojimbo-san's adventures in self-absorption. I don't even care this thread has an audience of three people; this must be preserved for posterity!

> You ponder the situation.
You ponder the situation, trying to make connections. That man, the girl and everything she said. She seemed to know you, but you don't remember her...
Then, it hits you. You remember now. You met her before at the office. Her name is Yui Hatano.* She works in customer support. She's been working at the office for less than a year.
With this information, you think you know what to do.
You go to the hospital first, and visit your mother. You find her sleeping in her room, which she has not left since your father died. You smile, happy to see her asleep, and approach her slowly. You gently grab her hand, and she wakes up.

> You say "Hello mother"
"Hello son."
You smile.
How are you?" "
I'm good, thanks."
Your mother looks at your face, taking in your tired eyes and your messy hair.

> You say "Death Stranding was a big success"
"I know."
Your mom shows no emotion.
"Have you thought about the future?"
She shakes her head.
"I'm worried about you," she says.
"You shouldn't be."
You stand, and head toward the door.
"I have to go."
"Alright," she says.

> You find Yui.
Yui Hatano works at the Roppongi Game Center, so you decide to head there first. You walk down the street, and quickly spot the place.
The entrance is covered in neon lights advertising different games, ranging from racing games to first-person shooters. The words "NONSTOP TIL ALL DIE!" are written over the door.
You walk inside, and find yourself in a large hallway lined with doors. You head to the front desk, and ask the woman there if Yui is available. The woman looks at you, blinking rapidly.
"I'll... let her know," she says.
She picks up the phone, and waits for Yui to answer.
"Uh huh, I know..." she says.
She hangs up, and smiles at you.
"She's in the back."
You thank her, and head to the back. When you get there, you find yourself in a room filled with games.

> You say "Yui, are you there?"
"Yes?" Yui replies.
"It's me."
"Are you here to break into the facility and kill everyone?"
"I don't know... are you there?"
"Yes."
"You're not helping me, then?"
"I'm afraid not. Goodbye."
Yui hangs up, and you sigh. You slide down the wall, and watch as the world goes black.
You giggle.

> You ponder the situation.
You ponder the situation. Once, there was nothing. Now, there are four forces, all fighting for a spot in the sun. Two of those are already too hot, and burning themselves to a crisp. The sun is a harsh mistress, and burns even the strongest.
You remember the dying words of your mother: "I love you, Hideo."
You're not sure what that means. Does she not love you, or does she love you so much that she couldn't bear to see you burn?
If it's the latter, then does that mean you have a chance?
You look around. Maybe you do.
It's not much, but you have a chance. You have your health and your intelligence.

> You go back to the office.
You leave the Game Center, and enter once again into darkness. A dark alleyway lies in front of you.
You look around, trying to spot any sign of an enemy. You see only darkness all around you.
Suddenly, you notice a man standing nearby. He's dressed in a black hoodie and dark pants. He keeps his head down, staring at the ground. He's carrying a small backpack.
You continue to watch him. He doesn't move.
You wait for a moment, and then decide to strike.
You sprint forward, jumping through the air. Your hands swing forward, grabbing the man by the collar. You pull him close to your face, and then launch him to the ground. His body slams down onto the asphalt, and he lets out a yell of pain.
A gun materializes in your hands, and you raise it, pointing it at the man.
"Who are you?" you demand.
"Kosuke," he replies, rubbing his throat.

> You say "did you like Death Stranding?"
He stares at you blankly.
"You know what happened with that?"
He shakes his head.
You sigh, and grab your phone. You quickly type out a message.
"What's your favorite movie?" you message. He gestures to his eyes, meaning he can't see.
"Waterboy," you message.
He nods.
"How about your favorite actor?" you message.
He gestures to his eyes.
"Please stop," you message.
He keeps gesturing.
"Your second favorite actor," you message.

> You throw the man to the ground.
You back off.
"What's your favorite movie?" you message.
The man sighs, and thinks for a moment.
"Saving Private Ryan," he texts.
You nod.
Meeting Over.
You walk away from the man, heading to the Game Center. You don't know what happened there. Some kind of test, perhaps? A mind game? Some kind of code word?

> You go up to your office.
You enter the doorway of the Game Center, and enter your dark, empty office. You're the only one left anymore. You sigh, before noticing something on your screen.
It's a notification. It's from Amazon. From your games console.
You open it, to find a message. Your games console has shipped.
You smile, and walk over to your system. You take it out of the box, and hook it up. You turn it on, and enter your password. You're brought to the dashboard.
It's strange, without games. Or rather, with only one game.
You open the message again.
Your games console has shipped.
It's from your games console.



Who was the man in the alleyway? What did the games console mean? Why didn't Yui help him? Will Kojima ever find a bowl of noodles? Find out next time!

*this was the only detail of the entire story I edited myself, as the AI came up with some generic western woman's name and Yui Hatano was the only Nip woman's name I knew.

 

[True Ukrainian]

I gave the Griffin version another shot and tried to set up the Serpent in the Staglands scenario with a god that could not return to his divine realm. The AI immediately assumed that I was running a Warhammer 40K scenario and started with the planet being invaded by orks and space marines bombarding the town I was hiding in. I managed to fend off the orks but was forced to flee the space marines coming to exterminate all the survivors. I was eventually captured by the space marines and brought for interrogation. Then I soul bound the chapter master to me and managed to use the marines to reconquer the planet in my name.

 

[a cut of domestic sheep prime]

I gave the Griffin version another shot and tried to set up the Serpent in the Staglands scenario with a god that could not return to his divine realm. The AI immediately assumed that I was running a Warhammer 40K scenario and started with the planet being invaded by orks and space marines bombarding the town I was hiding in. I managed to fend off the orks but was forced to flee the space marines coming to exterminate all the survivors. I was eventually captured by the space marines and brought for interrogation. Then I soul bound the chapter master to me and managed to use the marines to reconquer the planet in my name.

There are new tools to help prevent this and guide the AI in the correct direction, but it can still be hard at times.

If you want to do scenarios in worlds that don't have thousands of fanfics written on the internet about them already, you need to make your own custom scenario and add a bunch of stuff into world info and memory.