#ALTERED MY BRAIN CHE
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words cannot begin to explain how i feel
#en- sunghoon#ALTERED MY BRAIN CHE#sorry my dad came in#hahahaha#and caught me awake at 6am CAUSE I HAVENT SLEPT YET 😭#AHHH#anyway#ALTERED MY BRAIN CHEMISTRY#sunghoon you are everything for this#im so gagged#literally#screaming crying throwing up#etc
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f1 fanfic recs charles/carlos (charlos) part 4
other f1 fic rec lists here
personal favorites are starred, by the way.
everything is complete unless stated otherwise
in honor of carlos' win in the ausgp and his appendix removal (and his last year at ferrari, ignore me sobbing in the background), here are some of my fav fics of them.
if all of them are starred that just means they're all amazing.
i'll make you laugh by venerat (~7k)
[“You are cute,” says Carlos, waving his marker in emphasis. “Obviously. I am always saying this.”
“I am not cute.” Charles blinks at him. “When are you saying I am cute?”]
literally so adorable.
*what we felt by venerat (~14k)
[Imprinted, Charles should say, shocked. I hope he is alright. He should say that.
“My god,” he says instead. “On who?”]
so creative and amazing. def check out this author for more of other pairings, i know they have a bunch of hot smutty one-shots if you're into that.
*sweet tea in the summer by bloodmoonforme (~10k)
[Sometimes, when they first arrive at the circuit for a weekend, Charles will look decidedly paler, a little drawn. Then, he'll show up for FP1 on Friday seemingly much better all of the sudden, eyes unnaturally bright and cheeks red - that's how to tell how long it has been since he last drank.
Not that Carlos notices. Or keeps track of it, for that matter.
Except he does.]
Or the one where Charles is a vampire and Carlos struggles.
i don't remember this unfortunately, but i do remember loving it.
*the actor says he hates himself by bloodmoonforme (~5k)
[“You okay, mate?” Carlos asks, pitching his voice a bit louder in order to be heard over the music.
Charles doesn’t answer. Slowly, Carlos realizes that the way Charles is staring is one that he recognizes. It’s the same way he looks while he’s out racing, the same one he wears in the simulator. It’s a look of total focus. There’s something Charles wants and means to have.]
tags say that there's cheating so if you don't like that, don't read.
*dice che ti ama (ma lo sai che mente) by choripan (~3k)
[But Charles smiled, dimples out and about, back against the wall of Carlos’ driver’s room. Like he knew he wasn’t in danger.
Like he hadn’t entered a lions’ den looking like a three course meal.
(Like he knew Carlos was all bark and no bite, and toying with the metaphorical rubber band —stretch, stretch, stretching—wouldn’t ever make it snap into his straight nose.)]
kinda like a carlos-focused relationship study. it lowkey altered my brain chemistry for some reason
punctuated all wrong by Cloudcollector (~8k)
Prompt: "I don’t know if someone else agrees with me but I’m a sucker for the whole person A falls in love with person B but they think they don’t deserve person B’s love trope and I’d love to see how it would play out with charlos (not saying who’s person A and who person B, even though that should be pretty obvious)"
*the trials of 2022 by chiliconcarlos (~34k)
A partial summary of the 2022 season, as told by Charles or Carlos, following each race.
Friday is Just the Beginning by nottonyharrison (~3k)
On a Thursday in December, Caco had come to him with a proposal. A PDF attached to an email, emblazoned with the garish red Netflix logo, and consisting of a three paragraph, succinct concept that involved winter training, the mountains, and Carlos timing his schedule to overlap with Charles’ for a week.
On a Friday in January, he’s sitting in a private sauna long after the cameras have been packed away for the night, with Charles right next to him.
this is basically plot w porn, with a lot of carlos inner monologue which i love so enjoy!
Don't Do This To Me by pastrnaks_sainz (~2k)
[Carlos hands shake as he stares at his phone screen. The email from Caco is displayed and the brightness is turned all the way up. Like he’s being taunted. The big bold letters in the subject line might as well be saying ‘NOBODY WANTS YOU’ instead of ‘New Opportunities Ahead’.]
fair warning, one of the tags is hurt no comfort.
Loose Lips Sink Ships by kxleida (~2k)
Carlos finds out he's leaving Ferrari. Charles finds him in his hotel room, beer bottles scattered all across. They both know it's not fair.
A bit of hurt/comfort surrounding Charles, Carlos, and the Ferrari announcement for the F1 2024 silly season.
this isn't everything you are by shadil (~2k)
The news hit him again where he least expects it.
a prayer for which no words exist by transbrucewayne (~3k)
Charles has to assume Carlos knows by now; they should’ve told him. He doesn’t know how long they took to tell Sebastian, but it had been almost inevitable for him. He walked into the 2020 season with an air of resignation. With Carlos…everyone thought he was going to get another year, at least. Charles thought he was going to get another year. Then, Carlos would move to Audi, to the surprise of approximately no one, and the two of them would part, and Charles would spend the rest of his career smiling at him across the room, fist bumping him in press conferences, and never touching him more than the others deemed appropriate.
i know better (but you're still around) by shadil (~2k)
Sometimes, Carlos dreams about María.
He was his (but also he was not) by f1amboyant (~2k)
[Charles crossed his arms over his chest.
“Why are you leaving?” he asked, no bullshit, staring straight at Carlos, peering into his soul.]
Shadowhunters AU
and the world was gone by Bluejay141519 (~12k)
It’s not entirely unfounded, having something like this happen. Charles knows of various stories of the past, where different drivers’ energies don’t mix well and it causes chaos. He’s even heard of magic being used to sabotage in F1.
Charles always thought these were just stories, until he got his seat.
tbh it's not completely relationship focused, but it's still amazing.
#f1 fanfic#f1 fanfiction#f1 fic rec#formula one fanfiction#formula 1#formula one#f1#charles leclerc#carlos sainz#carlos sainz jr#charles x carlos#carlos x charles#cl16#cs55#fic rec list
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things that altered my brain chemistry:
la versione live di Cancer al O2 Music Flash, Berlino, 14/10/2006
Cocotte di Guido Gozzano
la teoria di Kirillov sulla negazione di Dio e sulla necessità che l’uomo prenda il suo posto, da "I Demoni", Dostoevskij
tutte le 1091 pagine di "Una vita come tante"
la semplice e al tempo stesso precisa descrizione del dolore in "Cose che nessuno sa"
sentire "The foundation of Decay" dal vivo, con le gambe che letteralmente tremavano
il cartello con scritto "What happens in Amsterdam stays in Amsterdam" appena fuori la discoteca
...
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Guerriero. canzone che io ricollego sempre a quando Sky la utilizzò per gli spot di Game of thrones. Letteralmente altered my brain chemistry.
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To Be Loved Is To Be Changed
It's kinda hard to belive that quote is attributed to a random twitter user. It's even harder to believe that it's true. Every couple of months, something happens to me that alters the way my brain works, maybe forever and i never really talk about it. The situation in this post is one of those situations.
A large percent of my 2023 was spent missing an ex- girlfriend. Very cliche, but also very painful. I questioned everything about the relationship, but mostly the part i played in it's disintegration. The ways in which i failed to be the lover and friend my ex needed was very heavy on my mind. which was weird because i literally never think about ways i failed. but that time spent reflecting on the days I spent being as unperturbed and unaware of my girlfriends feelings as a mostly homeless young man can be left me with me with something resembling an answer.
The reality was that like most men in my life, i put the emotions of those i care about on the back burner in favor of the results I wanted to see. Probably in an effort to protect my emotional self which had almost been beaten to numbness by a tramuatic childhood and young adult life. It's a practice i learned to use on myself, and then spread to other people as some type of barometer of how worth my time they are. Is it kind? Does it make everyone feel seen or heard? No. Did it save me from cold ravolii cans and nights using a bathroom handwarmer to stay warm? Yes.
This hardened dedication to my goals and absolute withdrawl from my emotional self without a doubt saved my life. It saved me from being a vagrant loser, another man who depends on the blessings of others to sustain his own life. But closing that door to how i felt had disatorious effects on my relationship, as i wasn't just closing the door to how I felt, but to FEELINGS in general.
"But that was then" I told myself. "Surely, with all the books i read, all the podcast and lectures and interviews with feminist rants i've consumed, i'm more ready to feel and be felt than ever. More ready to hear and be heard" At the time I was working at a shoe store where my closest thing to a work friend was a middle aged white woman who hated her husband and complained about him every chance she got. Which I gave her many, because learning from a old dude's mistakes is a big part of being a young dude. Anyway, the advice from my work buddy was very concise.
"contact her and let her know how you feel. It's the only way you'll know if she feels the same. and you'll regret it if you don't"
advice that good cant be ignored, especially if you kinda wanna do the thing you're seeking advice about anyway. so i did it. i wrote my greatest love letter ever. i was vunerable. caring. apologetic. everything i thought i was supposed to be. And surprisingly it worked. So well we hung out that night.
But something was diffrent this time. something that makes me feel that dark feeling in the pit of my stomach even as i write. The feeling that I was being mislead. being made a fool of. Too many quickly hidden phone screens and vauge answers. But like every other man, I was a fool. I said " I do not see" I was ready to bare the horror of trusting another human being with my emotions. If trust was a part of love, i was all in. After all, a life without love isnt much of a life at all.
Somehow, in my infinite stupidity, i decided to use some of my disposable income to celebrate her birthday. This was a decision so stupid i routinely beat myself up about it inside the safety of my mind. A decision so stupid the khalid that orginally met the girl in question simply would've never done it.
"Why would i spend money on a girl i barely trust" 19 year old khalid would say. And honestly that kid knew more than i'd give him credit for. But with our focus re-established, i decided to spend her birthday this year showing her how much she meant to me. I planned a day and fully funded it with the last decent check that shoestore would give me. I got two dinners and two tickets to the worst aquariam dallas has to offer and 7 grams of weed for us to smoke. All in preparation for what was a absoloutely horrible day.
Like most horrible days, this one started off relatively normal. I got high and dressed and mentally prepared to pay the debt i owe someone who i've loved for years. she showed up and was as beautiful as she always is and I started us on our way.
In all honesty the day remanined pretty good until we left the aquariam. At which point we lost the car so we couldn't return for a quick smoke after we ate. Frustrating, but instead of lumping my frustration on her i just tried to focus up and find the car. There was a very noticeable frustrated silence while we looked for the car but eventually we did find it. we smoked. and headed to applebees.
applebees. my home away from home. the home of the 4 dollar pint on friday night. in all honesty the perfect place to have your lifelong perspective altered forever, its almost like a fighting game stage in the way there's just limitless oppurtunity to see things you've never seen before. And that warm day in august, that's exactly what I saw.
In order for the events that happened that day, at that applebee's table to make sense to you dear reader, i have to provide context. Not to suck my own dick or anything, but im not a dude who just started getting pussy a week ago. I've been blessed enough to have a face that allows me to expirence the female form in a somewhat consistent way. Saying that to say, i know what it's like to be around good women. And shifty ones. And as me and my ex were having a beautiful day at that applebees table, I saw the shifty woman trademark. the ol "silence the phone and pretend they didn't see"
Now in the moment, i was salty. I felt a whole relationship's worth of mistrust and self consciousness flow through me. she kept trying to talk to me, and i tried my best to respond, but i felt like a dweeb the whole time. After all who was I in that moment? Paying for a date for a girl hiding her phone from you? Planning a day around someone not named Khalid or Khalid Jr? Putting myself in a position to see myself in these ways? what was i ?
I was changed. My first love made me a changed man.
To make a long story short, I've never been on a worse date in my life. I have to be honest and say that I found myself fighting back tears at more than one point. "You've gone soft. This would've never happened to you in 2020. Couple months alone and you lose your spine?" and more and more all played in my head as i sat in silence. At a table at one of my favorite establishments, with what i thought was the person that understood me the most, i felt completely alone. and that was enough to make me cry without being on drugs.
I don't remember how the rest of the day went exactly. I remember making a beeline for my home. saying my goodbyes. overwhelming dread. wanting privacy I couldn't have because i live in an apartment with one too many people. I remember her texting me, accosting me for my behavior. And i remember one sentence more vividly than anything she's ever said to me.
"You know, i don't really owe you anything" she says.
I was blown away. we'd spent days in love. nights looking out for each other. shared our dreams. our fears. the intricacies of our family relationships. young summers spent stealing time with each other. I felt I owed her so much. She took the time to try and see me in a way nobody else cared to. I spent so much time rationalizing her feelings. trying to empathize. and for what? did we owe each other anything? i didn't recognize the author of the messages i was reading. That was the moment that I realized that it didn't just happen to me. My love had changed her as well. I had given her the experience nesscary to guard her emotions and she had taught me to let my guard down. I don't know who made who worse. I'm scared to know in all honesty.
The story ends with me thanking her for the oppurtunity to "get her out of my system" and going about my way. I think about her often. My first love. I wish I could go back to 2019 and tell myself to make sure to enjoy every moment of her i'd have before it turns into dust. Nowadays every girl is like the new verision of my ex i met last year. Now I wonder did love make them that way as well, and if any of us can ever be saved.
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#fake smile#spruch#smilers#my life#mein leben#selfmade#spr?che#andere#das leben#i hate my brain#sprüche#Alter#Reife#intelligenz#schönheit#charakter#gerüchte#angel#bereuen#im gonna cry#depri#fake love#ich will gehen#love him#i have no idea#jesus#kitty#sad life#i love you#still life
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12 Etudes, Op.10: No.2 in A minor – Frédéric Chopin, Andrei Yeh
12 Etudes, Op.10: No.4 in C sharp minor – Frédéric Chopin, Andrei Yeh
1977 – Ana Tijoux
24 mila baci – Adriano Celentano
33 “GOD” – Bon Iver
3 Nouvelles Etudes, B.130: 2. Allegretto in A flat major – Frédéric Chopin, Andrei Yeh
3WW – Alt-J
3WW – OTG Version, Alt-J
44 gatti
505 – Arctic Monkeys
50 Special – Lùnapop
715 - CR∑∑KS – Bon Iver
A Cruel Angel’s Thesis – Neon Genesis Evangelion
A Fifth of Beethoven – Walter Murphy
A mano a mano – Rino Gaetano
A me me piace ‘a nutella – Il piccolo Lucio
A new error – Moderat
A NINGÚN HOMBRE (Cap.11: Poder) – ROSALÍA
Acida – Prozac+
Acqua (Malpensandoti) – Tedua
Addams Family Theme
Addio a Napoli / Ma come fanno i marinai – Dalla, De Gregori
Address Unknown – The Ink Spots
After Hours – The Velvet Underground
Aggiungi un posto a tavola – Johnny Dorelli
Ai ai ai – Los locos
Ain’t Got No – Nina Simone
Al ballo mascherato – Fabrizio De André
Alexander Platz – Franco Battiato
Alla consolle – Mimmo Amerelli
All Alone – Gorillaz
All Day and All of the Night – The Kinks
All In – Nitro
All I want is you – Barry Louis Polisar
All of me – John Legend
All tomorrow’s parties – The Velvet Underground
Alter Ego – Tame Impala
American Boy – Estelle, Kanye West
American Pie – Don McLean
American Woman – Lenny Kravitz
Amigas Cheetahs – The Ceetah Girls
Amor, amor de mia amores – Natalie Lagourcade
Amore che vieni, amore che vai – Fabrizio De André
Amore disperato – Nada
Anche per te – Lucio Battisti
Andavo a cento all’ora – Gianni Morandi
Anemos - Introduzione – Murubutu
Another brick in the wall – Pink Floyd
Antidoping – Gemitaiz, MadMan, Ensi
APPARTENGO - Il sangue – Marracash, Massimo Pericolo
Applausi per Fibra – Fabri Fibra
Arabella – Arctic Monkeys
Are you gonna be my girl – Jet
Argenti Vive – Caparezza
Arrivederci Tristezza – Brunori Sas
Ask - The Smiths
Autoipnotica – Caparezza
Avrai ragione tu (ritratto) – Caparezza
Azzurro – Adriano Celentano
Ba-ba-baciami piccina – Quartetto Cedra
Babalù – Mannarino
Baby – Justin Bieber
Baby Boy – Beyoncé
…Baby One More Time – Britney Spears
Baby’s on Fire – Die Antwoord
Baciala – La Sirenetta
Baciami ancora – Jovanotti
Back In Black – AC/DC
Back On The Scene – Slaughterhouse
Badabum Cha Cha – Jim Croce
bad guy – Billie Eilish
Bad Mouth – Fugazi
BAGDAD - Cap.7: Liturgia – ROSALÍA
Balla – Umberto Rosario Balsamo
Ballata degli impiccati – Fabrizio De André
Bam bam – Sister Nancy
BamBam – Matador
Banana Brain – Die Antwoord
Bandiera Bianca – Franco Battiato
Bandiera Gialla – Gianni Pettenati
Bandiera Rossa – ✊
Bang bang (My baby shot me down) – Nancy Sinatra
Barbera e Champagne – Giorgio Gaber
Beachwood Park – The Zombies
Bella ciao – ✊
Bella vera – 883
Be my baby – The Ronettes
Ben 10 – Sigla
Benzi box – DANGERDOOM
Berghem béla sità
The best of both worlds – Hannah Montana
Bibbidi bobbidi bu
Bigger Than Prince – Green Velvet
The Black Angel’s Death song – The Velvet Underground, Nico
Blackbird – The Beatles
Blank Space – Taylor Swift
Blowin’ in the wind – Bob Dylan
Blue Monday – New Order
Blue Suede Shoes – Elvis Presley
Blush Beat – Club Domani
Bocca di rosa – Fabrizio De André
BODY PARTS - I denti – Marracash
Boom boom boom boom – Vegaboys
Boom Boom Pow – Black Eyed Peas
Branca Day – Derozer
BRAVI A CADERE - I polmoni – Marracash
Brazil – Django Reinhardt
Breakthru – Queen
Briciole – Calcutta
Brother Sparrow – Agnes Obel
Bull in the heather – Sonic Youth
Buonanotte Fiorellino – Francesco De Gregori
Buona sera (Signorina) – Fred Buscaglione
By Night – Sophie Hutchings
B.Y.O.B. – System Of A Down
By starlight – The Smashing Pumpkins
By This River – Brian Eno
Cacao Meraviglio – Renzo Arbore, Paola Cortellesi, Nino Frassica
California King Bed – Rihanna
Camcamini spazzacamin
Canapa – Punkreas
Cannabis – Ska-P
Cannibal Bling Bling – 10LEC6
Can’t Hold Us – Macklemore
Can’t Stop – Red Hot Chili Peppers
Canzone – Lucio Dalla
Canzone all’entrata – Caparezza
Canzone all’uscita – Caparezza
Canzone a metà – Caparezza
Canzone Del Maggio – Fabrizio De André
Canzone intelligente – Cochi E Renato
Canzone per te – Sergio Endrigo
Carabinieri – Sigla
Caramba beviamo del whisky
Carlo Martello Ritorna Dalla Battaglia Di Poitiers – Fabrizio De André
Caso umano – Ministri
Cattolica – Pop X
Centro di gravità permanente – Franco Battiato
C’est la vie (you never can tell) – Pulp no pulp
Che coss’è l’amor – Vinicio Capossela
Che Fico! – Pippo Franco
Che Idea! – Flaminio Maphia
Chi C’è – Fabri Fibra
China Town – Caparezza
Chi Se Ne Frega Della Musica – Caparezza
Chissà Dove Sei – Francesco De Gregori
Chop Suey! – System of a Down
Chum – Earl Sweatshirt
Chunky – Flatbush Zombies
Ci Penso Dopo – Fabri Fibra
Cirano – Francesco Guccini
Clandestino – Manu Chao
Clint Eastwood – Gorillaz
Coda di Lupo – Fabrizio De André
Come porti i capelli bella bionda – I Girasoli
Comfortably Numb – Pink Floyd
Complicated – Avril Lavigne
Comprami – Viola Valentino
Compro Horror – Caparezza
Comunque Dada – Caparezza
Concerning Hobbits – The Lord of the Rings
Conga!
Cooler Couleur – Crookers
Cose che non capisco – Caparezza
Country Roads
Crabs in a Bucket – Vince Staples
Crazy in Love – Beyoncé
Crooked Cops – Rejjie Snow
CRUDELIA - I nervi – Marracash
Cuccurucucù – Franco Battiato
Cuore Matto – Little Tony
Cuore Nero – Blind
DA BUTTARE - Il ca**o – Marracash
Da Feeling – Nightmares On Wax
Dafne sa contare – Murubutu
Dance Monkey – Tones and I
Dancing Queen – ABBA
Dancing With Myself – Billy Idol
Dangerous – Kid Enigma
DE AQUÍ NO SALES (Cap.4: Disputa) – ROSALÍA
Death on Two Legs (Dedicated to...) – Queen
Death USB – Salmo
Dedicato a te – Le Vibrazioni
Del Verde – Calcutta
Desire Be Desire Go – Tame Impala
Detto, Fatto. – Gemitaiz & MadMan
DIANA – M¥SS KETA
Dieci ragazze – Lucio Battisti
Diet Mountain Dew – Lana Del Rey
Die Walkure - Ride of the Valkyries – Royal Philharmonic Orchestra
DI MI NOMBRE (Cap.8: Éxtasis) – ROSALÍA
Disorder – Joy Division
Dispari – Marta Sui Tubi
Disperato Erotico Stomp – Lucio Dalla
Dog in the Mirror – Guerilla Toss
Do I Wanna Know? - Arctic Monkeys
Domani – Ernia
Domani – Articolo 31
Domani smetto – Articolo 31
Don Chisciotte – Francesco Guccini
Don Raffaè – Fabrizio De André
Don’t Cha – The Pussycat Dolls
Don't Give Up – Mystery Jets
Don’t Let Me Be Misunderstood – The Animals
Don’t Pass Me By – The Beatles
Don’t Sit Down ’Cause I’ve Moved Your Chair – Arctic Monkeys
Don’t Stop Me – BowLand
DON’T WANNA SPIN – GFOTY
Do the astral plane – Flying Lotus
Dove sta zazà – Gabriella Ferri
Dove vola l’avvoltoio – Pietro Buttarelli
Downer – Nirvana
Dream – Hiroshi Noshimura
Dream a Little Dream of Me – Ella Fitzgerald & Louis Armstrong
Drogata schifosa – Pop X
Due su due – Articolo 31
Ed ero contentissimo – Tiziano Ferro
E la luna bussò – Loredana Bertè
E la vita, la vita – Cochi e Renato
Eleanor Rigby – The Beatles
El pueblo unido – ✊
El Tango De Roxanne – José Feliciano
Endors Toi – Tame Impala
Eroe (Storia di Luigi Delle Bicocche) – Caparezza
Estate – Negramaro
È tardi – Caparezza
E ti vengo a cercare – Franco Battiato
Everybody Needs Somebody to Love – The Blues Brothers
Everytime We Touch – Cascada
Facciamo un pupazzo insieme? – Frozen
Fai da tela – Caparezza
Fall In Love – Yuno
Family Affair – Mary J. Blige
Fango – Jovanotti
Farò di te un uomo – Mulan
Fatty Boom Boom – Die Antwoord
Feel Good Inc. – Gorillaz
Feeling Good – Nina Simone
Femme Fatale – The Velvet Underground
Fenomeno – Fabri Fibra
Figli d’arte – Caparezza
Figli Di Pitagora – Eiffel 65
Figli di puttana – Pop X
Fireside – Arctic Monkeys
Five to one – The Doors
Fleas to beas – 10LEC6
Forever Jung – Caparezza
Franziska – Fabrizio De André
Freak Like Me – DJ Deeon
Frosinone – Calcutta
Funkytown – Lipps Inc.
Funnel of Love – Wanda Jackson
Fuori dal tunnel – Caparezza
Gaetano – Calcutta
Game of Thrones – Sigla
Gasolina – Daddy Yankee
Gente che spera – Articolo 31
Ghetto Kraviz – Nina Kraviz
Gianna – Rino Gaetano
Gigugin – Articolo 31
Giotto Beat – Caparezza
GIOVANNA HARDCORE – MYSS KETA
Girlfriend – Avril Lavigne
Girls Just Want to Have Fun – Cyndi Lauper
Giudizi universali – Samuele Bersani
Gli insetti del podere – Caparezza
Gli uccelli – Franco Battiato
G.O.A.T. - Il cuore – Marracash
GO AWAY! – CocoRosie
Goodbye Malinconia – Caparezza
Good Golly Miss Molly – Little Richard
Goodnight Moon – Shivaree
Gotta Go My Own Way – High School Musical Cast
Grande figlio di puttana – Stadio
Grau grau grau - da “io sto con gli ippopotami” – Bud Spencer
Grease – The Four Seasons
Greased Lightnin’ – John Travolta
GRETA THUNBERG - Lo stomaco – Marracash
Hallelujah – Leonard Cohen
Happiness is a Warm Gun – The Beatles
Happy Days – Ghali
Happy Days (Theme from Happy Days) – Pratt & McClain
Happy Hour – Felix da Housecat
Harder, Better, Faster, Stronger – Daft Punk
Harry Potter in 99 Seconds – Jon Cozart
Have You Ever Had... (Skit) – Salmo
Heart and Soul – Joy Division
Heartbreak Hotel – Elvis Presley
Hello, I Love You – The Doors
Hey Bulldog – The Beatles
Hit Me with Your Best Shot – Pat Benatar
Hit the Road Jack – Ray Charles
Hive – Earl Sweatshirt
Ho capito che ti amo – Luigi Tenco
Hoedown Throwdown – Miley Cyrus
Hollaback Girl – Gwen Stefani
home with you – FKA twigs
hope is a dangerous thing for a woman like me to have - but i have it – Lana Del Rey
Hotel Supramonte – Fabrizio De André
House Credibility – Caparezza
Ho visto un re – Enzo Jannacci
How Far – Tei Shi
HUMBLE. – Kendrick Lamar
HUMUHUMUNUKUNUKUAPUA’A – High School Musical Cast
Hypnotize – The Notorious B.I.G.
I Am Woman – Helen Reddy
I Bet You Look Good on the Dancefloor – Arctic Monkeys
(I Can’t Get No) Satisfaction – The Rolling Stones
I Cento Passi – Modena City Ramblers
I colori del vento – Pocahontas
I consigli di un pirla – Articolo 31
Ieri era zero – Hercules
I Fink U Freeky – Die Antwoord
I Follow Rivers – Lykke Li
If She Really Is Your Light – Pavlove
I Know It’s Over – The Smiths
Il ballo del qua qua – Romina Power
Il ballo di San Vito – Vinicio Capossela
Il bar della rabbia – Mannarino
Il Bel Canto – Ministri
Il Bombarolo – Fabrizio De André
Il Cielo In Una Stanza – Gino Paoli
Il Dito Medio Di Galileo – Caparezza
Il Funkytarro – Articolo 31
Il Gatto E La Volpe – Edoardo Bennato
Il gigante e la bambina – Lucio Dalla
Il gorilla – Fabrizio De André
I’ll Be Your Mirror – The Velvet Underground
I’ll Come Running – Brian Eno
Il Mondo – Jimmy Fontana
Il Pescatore – Fabrizio De André
Il posto più freddo – I Cani
Il Principe Ali – Aladdin
Il regalo più grande – Tiziano Ferro
Il senso dell’odio – Salmo
Il suonatore Jones – Fabrizio De André
Il tempo di morire – Lucio Battisti
Il testamento – Fabrizio De André
Il testamento di Tito – Fabrizio De André
Il testo che avrei voluto scrivere – Caparezza
Il Vitello Dai Piedi Di Balsa – Elio e le Storie Tese
I’m a Believer – Smash Mouth
I marinai tornano tardi – Murubutu
Impara il longobardo con Alessandro Barbero
I’m so tired – The Beatles
In caduta libera – Folkstone
In Cold Blood – alt-J
Incontro – Francesco Guccini
In Italia – Fabri Fibra
Innuendo – Queen
Insieme a te non ci sto più – Caterina Caselli
In the Aeroplane Over the Sea – Neutral Milk Hotel
Introduzione – Fabrizio De André
In Un Giorno Di Pioggia – Modena City Ramblers
Inverno – Fabrizio De André
Io centro con i missili – Pop X
Io credo in me – Naruto
Io ho in mente te – Equipe 84
Io non mi sento italiano – Giorgio Gaber
Io sono fatto di neve – Ministri
Io sono qui – Salmo
Irene – Pinguini Tattici Nucleari
Iris – The Goo Goo Dolls
Isla Magica – Maria Usbeck
Isobarre – Murubutu
I sogni son desideri
Isola verde – Murubutu
Italove – EMMANUELLE
It Is Not Meant To Be – Tame Impala
It’s not too late – 10LEC6
I’ve got a woman – Ray Charles
(I’ve Had) The Time of My Life – Bill Medley
I vitelloni – Bobo Rondelli
I wanna be your lover – La Bionda
I wanna be yours – Arctic Monkeys
I want you back – The Jackson 5
I will survive – Gloria Gaynor
Jazz suite no.2: 6 waltz II – Dmitri Shostakovich
Jigsaw Feeling – Siouxsie and the Banshees
Johnny B. Goode – Chuck Berry
Just Dropped In (To See What Condition My Condition Was In) – Kenny Rogers
Just the way you are – Bruno Mars
Kalasnjkov – Goran Bregović, Slobodan Salijevic
Keep yourself alive – Queen
Kentucky – Il Bepi & The Prismas
Kevin Spacey – Caparezza
Killer Queen – Queen
King’s Supreme – Machete Crew
Kitaro – Caparezza
Kurt Cobain – Brunori Sas
La Ballata Dell’amore Cieco (O Della Vanità) – Fabrizio De André
La Ballata dell’eroe – Fabrizio De André
La Ballata del Miché – Fabrizio De André
La bambola – Patty Pravo
La bella la và al fosso – I Girasoli
La Bomba In Testa – Fabrizio De André
La Caduta di Atlante – Caparezza
La Canzone del Padre – Fabrizio De André
La Canzone di Barbara – Fabrizio De André
La Canzone di Marinella – Fabrizio De André
La cesarina – I Girasoli
La città vecchia – Fabrizio De André
La collina dei pioppi – Murubutu
La cosa – Cochi e Renato
Lacrime – Ghali
La cura – Franco Battiato
La danza delle streghe – Gabry Ponte
Ladies and Gentlemen We Are Floating in Space – Spiritualized
La donna cannone – Francesco De Gregori
Lady Marmalade – Moulin Rouge
La famiglia dei becchini – Musica Per Bambini
La fine di Gaia – Caparezza
La Ghigliottina – Caparezza
La grande onda – Piotta
La guerra di Piero – Fabrizio De André
La Isla Bonita – Madonna
La La Land – Green Velvet
Lala Song – Bob Sinclar
La libertà – Giorgio Gaber
La lontananza – Domenico Modugno
La mamma di Rosina – I Girasoli
La Marchetta di Popolino – Caparezza
La mazurka di periferia – Raoul Casadei
La mia parte intollerante – Caparezza
La mia ragazza mena – Articolo 31
L’animale – Franco Battiato
La notte – Arisa
La parata degli elefanti rosa – Quartetto Cetra
L’appuntamento – Calibro 35
La prima rondine venne ier sera – Pop x
La prima volta – Motta
La prima volta – Salmo
La regola dell’amico – 883
La rivoluzione del sessintutto – Caparezza
L’armata perduta di Re Cambise – Murubutu
Larsen – Caparezza
Las Divinas – Patito Feo
La società dei magnaccioni – Lando Fiorini
La spesa – Marta Sui Tubi
La stagione del tuo amore – Fabrizio De André
La Strada – Modena City Ramblers
La Tartaruga – Bruno Lauzi
Laughing On The Outside – Bernadette Carroll
La Valse à Mille Temps – Jacques Brel
La vie en rose – Édith Piaf
La vie en rose – Louis Armstrong
L’avvelenata – Francesco Guccini
Layla – Eric Clapton
Le barche – Calcutta
Le coppie – I Cani
Legalize The Premier – Caparezza
L’emozione non ha voce – Adriano Celentano
Le ragazze di porta venezia – Myss Keta
Less Than – Nine Inch Nails
Le tasche piene di sassi – Jovanotti
Let Me Blow Ya Mind – Eve
Let’s Get Crazy – Hannah Montana
Let’s Twist Again – Chubby Checker
Levante – Murubutu
Lexotan – I Cani
L. Fast & D. Young – Salmo
L’Idraulico Aulico – MusicaPerBambini
Life on Mars? – David Bowie
L’immensità – Don Backy
Limonata – Calcutta
L’infinto – Caparezza
L’inno del corpo sciolto – Roberto Benigni
L’isola Che Non C’è – Edoardo Bennato
L’italiano medio – Articolo 31
Little Green Bag – George Baker Selection
Little Lover – AC/DC
Livin’ la Vida Loca – Ricky Martin
Lonely Boy – The Black Keys
Lonely Day – System of a Down
Long Tall Sally – Little Richard
Lontano dagli occhi – Sergio Endrigo
Lontano, lontano – Luigi Tenco
Look at Me, I’m Sandra Dee – Stockard Channing
Looking at You – MC5
Loose Lips – Kimya Dawson
Loser – Beck
Los Ojos Del Diablo – El Raton
Lo stretto indispensabile – Il libro della giungla
Love Buzz – Shocking Blue
Love Is a Laserquest – Arctic Monkeys
Love Me – Justin Bieber
Love sex american express – Cristian Marchi
Love Stink – LoboLoto
Love Story – Taylor Swift
Lucifer Sam – Pink Floyd
Lucille – Little Richard
L’ultima festa – Cosmo
L’ultima speranza – Hercules
L’uomo che premette – Caparezza
L’uomo tigre
L’uva fogarina – I Girasoli
Ma che freddo fa – Nada
Madame Hollywood – Felix da Housecat
MADAME - L’anima – Marracash
Maddalena e Madonna – Brunori Sas
Madonnina dai riccioli d’oro – I Girasoli
Mad Sounds – Arctic Monkeys
Magazine – Dark Polo Gang
Ma il cielo è sempre più blu – Rino Gaetano
MALAMENTE (Cap.1: Augurio) – ROSALÍA
MALDICIÓN (Cap.10: Cordura) – ROSALÍA
Maledetti scarafaggi
Mambo Italiano – Renato Carosone
Mamma Roma, Addio – Cranio Randagio
Mara e il maestrale – Murubutu
Marco gioca sott’acqua – Murubutu
Marks – Nicolas Jaar
Marry You – Bruno Mars
MARYLEAN – Machete
Marylou – Mannarino
mary magdalene – FKA twigs
Mas Que Nada – Sergio Mendes
Materazzi ha fatto gol – Matrixgol
Matilda – alt-J
Men In Black – Will Smith
Mentre tutto scorre – Negramaro
Merchandise – Fugazi
Me So’ Mbriacato – Mannarino
Messa in moto – Caparezza
Meteorological – Guerilla Toss
Mica Van Gogh – Caparezza
Migliora La Tua Memoria Con Un Click – Caparezza
Milano – Calcutta
MILANO SUSHI & COCA – M¥SS KETA
Milkshake – Kelis
Mi mujer – Nicolas Jaar
Minor Swing – Django Reinhardt & le Hot Club de France
Minuetto – Mia Martini
Mio fratello è figlio unico – Rino Gaetano
Mi parli di te – Motta
Mi sei scoppiato dentro al cuore – Mina
Mi sento una betulla in piena estate insieme a te – Cecco e Cipo
Misirlou – Surf Boys
Mi sono innamorato di te – Luigi Tenco
Moanin’ – Charles Mingus
Moby Dick – Led Zeppelin
Mon oncle – Frank Barcellini
Moondance – Van Morrison
Morte in diretta – Salmo
Mouth trap! – 10LEC5
Mr. Simpatia – Fabri Fibra
My Generation – The Who
My Rollercoaster – Kimya Dawson
NANA (Cap.9: Concepción) – ROSALÍA
Nandemonaiya – RADWIMPS
Narcoleptic Verses Pt. 1 – Salmo
Negative Youth – Salmo
Nel blu dipinto di blu – Domenico Modugno
Nella Mia Ora Di Libertà – Fabrizio De André
Nella pancia dello squalo – Salmo
Nessuno – Brunori Sas
Nessun rimpianto – 883
Niente da capire – Francesco De Gregori
Niente di strano – Giorgio Poi
No. 1 Party Anthem – Arctic Monkeys
No Big Bang – Priests
No Fear – Fabrizio Maurizi
Noi bambine non abbiamo scelta – Baustelle
Non farti cadere le braccia – Edoardo Bennato
Non me lo posso permettere – Caparezza
Non me lo so spiegare – Tiziano Ferro
Non potrei mai – Fast Animals and Slow Kids
Non siete stato voi – Caparezza
NON SONO MARRA - La pelle – Marracash
No Stress – Laurent Wolf
No Surprises – Radiohead
No Tengo Dinero – Righeira
Noter de Berghem – I cör alegher
Notte prima degli esami – Antonello Venditti
No Woman, No Cry – Bob Marley & The Wailers
Ob-La-Di, Ob-La-Da – The Beatles
Oh, pretty woman – Roy Orbison
Oltre il ponte – Modena City Ramblers
Oltre l’orizzonte – Oceania
One More Time – Daft Punk
One O Six – Jupiter
One way or another – Blondie
On Melancholy hill – Gorillaz
On the floor Jennifer Lopez
Oops! I did it again – Britney Spears
Orgasmo – Calcutta
Oroscopo – Calcutta
OSCENO – Lilly Meraviglia
Our song – Taylof Swift
Paint it, Black – The Rolling Stones
Pale Blue Eyes – The Velvet Underground
Pantalica – Colapesce
Papa was a Rolling Stones – The Temptations
Paper Bag Acid – Jerome Hill
Paradise – Phoebe Cates
Paranoia mia – Ernia
Parole parola – Mina
Party in the U.S.A – Miley Cyrus
Peace Lovin Man – John Lee Hooker
Peaches en regalia – Frank Zappa
Penny Lane – The Beatles
Pepper – Butthole Surfers
Per amore e basta – Motta
Per dimenticare – Zero Assoluto
Però mi vuol bene – Quartetto Cetra
Per tutte le volte che – Valerio Scanu
Peter Gunn – Henry Mancini
Piazza Grande – Lucio Dalla
Piccola Sbronza – Selton, Dente
PIENSO EN TU MIRÁ (Cap.3: Celos) – ROSALÍA
Pifferaio magico – Articolo 31
Piledriver Waltz – Arctic Monkeys
Piove – Domenico Modugno
Pippi calzelunghe
Pistorius – Gemitaiz, Madman
Più bella cosa – Eros Ramazzotti
Planet Caravan – Black Sabbath
Play – Betta Lemme
Pleasentville – Nitro
POCO DI BUONO - Il fegato – Marracash
Poesia – Don Backy
Poetessa maledetta – Club Domani, Stephanie Glitter
Pokemon – Giorgio Vanni
Pollon, pollon combina guai – Critina D’Avena
Pop porno – Il Genio
Pornoromanzo – Brunori Sas
Posso farcela – Alex Baroni (Hercules)
Post Concerto – Coma_Cose
Precipitevolissimevolmente – Dente, Il Genio
Preghiera delle palle di neve – Musica Per Bambini
PRESO (Cap.6: Clausura) – ROSALÍA
Pretty fly (for a white guy) – The Offspring
Price Tag – Jessie J, B.o.
Prima di dormire – Salmo
Prisencolinensinainciusol – Adriano Celentano
Prisoner 709 – Caparezza
Promised Land – Joe Smooth
Prospettiva Nevsi – Franco Battiato
Psycho Killer – Talking Heads
Pump up the jam – Technotronic, Felly
QUALCOSA IN CUI CREDERE - Lo scheletro – Marracash
Quando quando quando – Tony Renis
QUELLI CHE NON PENSANO - Il cervello – Marracash
Quello che siamo diventati – Motta
QUE NO SALGA LA LUNA (Cap.2: Boda) – ROSALÍA
Questa è la mia festa – Maria Antonietta
Questa è la realtà – Hercules
Questo piccolo grande amore – Claudio Baglioni
Ragazza magica – Jovanotti
Ragazze acidelle – Flaminio Maphia
Ragazzo fortunato – Jovanotti
Ramaya – Afric Simone
Rancho della luna – Salmo
Rasputin – Boney M.
Recitativo – 2 invocazioni 1 atto di accusa – Fabrizio de andré
Reginella campagnola – I Girasoli
Relax Your Body – D.F.X.
RENIEGO - Cap.5: Lamento – ROSALÍA
Respect – Aretha Franklin
Restiamo in casa – Colapesce
Ricchi Dentro - Ghali
The Climb – Miley Cyrus
The Dark Side of the Mood – Nitro
The Flintstones – Sigla
The Gravedigger’s Song – Mark Lanegan
The Heroic Weather - Conditions of the Universe, Part 1: A Veiled Mist – Alexandre Desplat
The Kids Aren’t Alright – The Offspring
The lazy song – Bruno Mars
The realness – RuPaul
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[ZGC] Blade Waltz:Part 1 คอมโบมันส์ดีจังเลย!!
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Crunchyroll, i primi anime confermati per il palinsesto invernale
La piattaforma dà il benvenuto al nuovo anno con diverse coproduzioni!
Il 2020 è alle porte e con esso anche la nuova stagione invernale così Crunchyroll ha deciso di svelare le prime novità in fatto di anime che vedremo arrivare in simulcast sulla piattaforma da gennaio; andiamoli a vedere in dettaglio.
A DESTRUCTIVE GOD SITS NEXT TO ME
Serie animata coprodotta da Crunchyroll tratta dal manga “Boku no Tonari ni Ankoku Hankaishin ga Imasu” (A Destructive God Sits Next to Me o There is a Dark God of Destruction Next to Me) di Arata Aki.
Seri Koyuki è un liceale come tanti che vorrebbe avere una vita scolastica normale, senza tanti problemi, ma il suo compagno di classe, Kabuto Hanadori, non rende la cosa molto facile. Le fantasie di Kabuto lo portano dal credere di essere un cavaliere in missione, all’essere fermamente convinto che rimuovere la benda che porta sull’occhio libererebbe il suo malvagio e potente alter-ego: Michael Offenbarung Dunkelheit!
La commedia scolastica è diretta da Atsushi Nigorikawa (Love Tyrant, Between the Sky and Sea) presso lo studio EMT Squared. La sceneggiatura è curata da Natsuko Takahashi (Love Tyrant, My Love Story!!), mentre il design dei personaggi è ad opera di Yuki Nakano.
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IN/SPECTRE
Serie mistery coprodotta da Crunchyroll e tratta dal manga “In/Spectre” (Kyokou Suiri o Invented Inference), scritto da Kyou Shirodaira (Blast of Tempest) e disegnato da Chashiba Katase.
Dopo il loro contatto con gli spiriti chiamati yokai, Kotoko e Kuro hanno acquisito grandi poteri, ma ad un prezzo: Kotoko ci ha rimesso l’uso di un occhio e di una gamba, mentre la vita privata di Kuro è piombata nel caos. Kotoko propone quindi a Kuro di fare squadra e utilizzare le proprie abilità per difendere il mondo degli uomini dagli yokai rinnegati. Lui la vede quasi come una scelta obbligata, ma la ragazza invece sembra avere qualche motivazione in più…
L’anime a tinte sovrannaturali è diretto da Keiji Gotoh (Enride,) presso lo studio Brain’s Base (Servamp, Anonymous Noise). Il character design sta venendo adattato da Takatoshi Honda, mentre la sceneggiatura sta venendo curata da Noboru Takagi (Durarara!!, Golden Kamuy).
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THE ISLAND OF GIANT INSECTS
OVA tratto dal manga horror “The Island of Giant Insects” (Kyochuu Rettou) di Yasutaka Fujimi, illustrato prima da RED ICE e poi da Shuu Hirose (a partire dal capitolo 21).
Gli studenti del liceo Hosho Academy sono a bordo di un aereo quando si schianta a terra in circostanze misteriose. La nostra eroina, Oribe Mutsumi, e le sue compagne di classe nuotano fino alla spiaggia di un'isola. I superstiti decidono di attendere che arrivino gli aiuti, ma l'isola si scopre essere abitata da insetti giganti! Mutsumi si sveglia sulla spiaggia e trova la sua compagna Matsuo Ayumi. Usano il loro acume per procurarsi il cibo. Nella speranza che gli aiuti arrivino entro tre giorni, decidono di sopravvivere fino a quel momento.
L'anime è diretto da Takeo Takahashi (Citrus, Rokka: Braves of the Six Flowers) presso lo studio Passione (Rokka: Braves of the Six Flowers, Citrus). La sceneggiatura è curata da Shigeru Morita (Aoki Hagane no Arpeggio: Ars Nova), mentre il character design è ad opera di Takayuki Noguchi (Queen’s Blade: Unlimited).
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KEEP YOUR HANDS OFF EIZOUKEN!
Serie animata tratta dal manga “Eizouken ni wa Te wo Dasu na!” (Hands off the Motion Pictures Club! o Keep Your Hands Off Eizouken!) di Sumito Oowara.
La liceale del primo anno Asakusa ama gli anime così tanto da insistere sul fatto che "l'idea è tutto" nel mondo dell'animazione. Malgrado appunti molte idee sotto forma di bozzetti nel suo taccuino, non ha ancora mosso i primi passi nella creazione di un suo anime, insiste che non può farlo da sola. Il produttore Sayaka Kanamori è il primo ad aver notato il suo genio. Poi, quando diventa chiaro che la sua compagna di classe, la famosa e carismatica modella Tsubame Mizusaki, voglia divenire un'animatrice, le due decidono di creare un club di animazione per realizzare il "mondo definitivo" che si trova nelle loro menti.
L’avventurosa commedia scolastica è diretta e sceneggiata da Masaaki Yuasa (The Tatami Galaxy, Ping Pong The Animation), presso lo studio Science SARU (Devilman Crybaby, Ride Your Wave). Il character design sta venendo curato da Naoyuki Asano (Osomatsu-san), mentre le musiche sono quelle composte da Taichi Ooru (Kick-Heart).
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SCIENCE FELL IN LOVE, SO I TRIED TO PROVE IT
Serie animata di 12 episodi tratta dal manga “Rikei ga Koi ni Ochita no de Shoumei shitemita”(Science Fell in Love, So I Tried to Prove It) di Alfred Yamamoto.
Ayame Himuro e Shinya Yukimura sono innamorati l’uno dell’altra, ma sono anche due scienziati impegnati in un’annosa ricerca. Entrambi vogliono dimostrare che il loro amore può essere scientificamente provato, quantificato ed espresso tramite fatti.
La commedia romantica è diretta da Tooru Kitahata (Boku wa Tomodachi ga Sukunai Next), con l’assistenza di Kenta Oonishi (direttore d’episodio in Full Metal Panic! Invisible Victory), presso lo studio Zero-G (My Roommate is a Cat, Grand Blue Dreaming). La sceneggiatura è curata da Rintarou Ikeda (Love Tyrant) assieme a Michiko Yokote (Karakai Jouzu no Takagi-san).
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SOMALI AND THE FOREST SPIRIT
Serie animata coprodotta da Crunchyroll e tratta dal manga fantasy “Somali e lo Spirito della Foresta” (Somali to Mori no Kamisama) di Yako Gureishi, edito nel nostro paese da Planet Manga.
Il mondo è governato da spiriti, goblin e ogni sorta di strana creatura. Gli umani vengono costantemente perseguitati, portati al punto dell’estinzione. Un giorno, un golem e una solitaria ragazzina umana si incontrano: una è membro di una razza in rovina, l’altro un guardiano della foresta. Queste sono le cronache di una strana coppia, dove si narra dei loro viaggi e dell’amore tra un padre e una figlia.
L’anime è diretto da Kenji Yasuda (Hakata Tonkotsu Ramens) presso Satelight (Hakata Tonkotsu Ramens, Symphogear) e il character design è curato da Ikuko Itou (Nagato Yuki-chan no Shoushitsu).
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Proseguono inoltre:
BLACK CLOVER
BORUTO: NARUTO NEXT GENERATIONS
GEGEGE NO KITARO
ACE OF THE DIAMOND ACT Ⅱ
SD GUNDAM WORLD SANGOKU SOKETSUDEN
WELCOME TO DEMON SCHOOL! IRUMA-KUN
RADIANT SEASON 2
MY HERO ACADEMIA SEASON 4
CHIHAYAFURU 3
AHIRU NO SORA
Autore: SilenziO))) (@s1lenzi0)
[FONTE]
#somali and the forest spirit#science fell in love so i tried to prove it#the island of giant insects#keep your hands off eizouken!#in/spectre#a destructive god sits next to me#anime#serie tv#ova#oav#manga#streaming#simulcast#crunchyroll#newsintheshell#news in the shell#sub ita#cartoni animati#animazione
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EDEN
Prima di iniziare viene richiesto di inserire il proprio nome, che probabilmente comparirà durante il gioco, rendendo il giocatore uno dei personaggi.
Something isn't right today. You don't know what it is.
>But you do have a feeling.
Il testo cambia completamente, facendo procedere la narrazione
You have this strange and eerie feeling SOMETHING is going to happen, but you have no idea what it is.
>That is, until....
Di nuovo, il testo cambia
That is until your supervisor shows you the lab's new specimen. "We're not sure what it is," he says. "But it can't be human."
>You take a look.
You take a look at the specimen and try to conceal your horror. "Are you sure it isn't human?" you ask. Your supervisor just shrugs.
"Keep an eye on it," he says. "I'll be back in a few minutes." Then, save for the "specimen" in the holding cell, he leaves you all alone.
>You feel conflicted.
The creature in the cage looks like a person to you. Different, perhaps, but either human or so close that it hardly matters.
"What's your name?" you ask, hands curled around the bars.
The specimen... no the prisoner wearily shakes their head.
You decide to rescue the prisoner.
>No. It's safer to keep your distance.
Il giocatore viene messo di fronte a una scelta.
You stay put and don't say a word, never meeting the prisoner's eyes. They'd never keep a human in here, you console yourself. You almost believe it.
>Then, you wake up.
You've had the same dream for three nights in a row. (Well, actually, the last three mornings since you're on the night shift.) It never ends quite the same. Maybe you're just THAT depressed your vacation is ending now.
Anyway, it's time to get ready. Who do you see in the mirror?
I'm a woman.
I'm a man.
>I'm neither, actually.
Il giocatore è portato nuovamente a rispondere con una caratteristica che, come il nome, gli è propria, per rendere l'esperienza di gioco ancora più coinvolgente.
Holy bedhead, you think. You shower, you groom, you dress, you grab breakfast.
>Time to face the day.
You get to work on time like you always do. After all, getting ahead takes making a good impression. Though sometimes, it's not easy.
>Hang up your coat.
You put away your coat and head for lab A-3.
When you pass some of your co-workers, they give you nervous looks. No one is outright unfriendly to you, but you know they think you're odd for preferring not to be thought of as male or female. And sometimes, they do joke about "So, what should we call you today?"
>So, what's up?
When you get to lab A-3, almost no one is there. You ask an acquaintance named Kyra, "What's going on?"
She tells you, "Check B-2. While you were gone, they brought in a real, live alien and everyone wants a look."
"Are you sure it's all right?" you ask.
She says, "It's fine. I'll cover for you. Besides, Jones is there and he wants to see you." Jones being your supervisor, who's called you "brilliant" before.
>Go to Lab B-2
Phones aren't allowed in the basement labs, so you leave yours in your mini-locker. You go to lab B-2, where they keep the most secret of secrets—even for this place. You only earned clearance a week ago and you're eager to see what's inside.
You swipe your card through scanner. The door unlocks. You go inside. You notice there's a card reader inside the room as well—likely an added precaution to help keep whatever's in here from escaping.
Everyone is "Ooh"ing and "Aaah"ing over the new specimen that's in the cell in the corner. You nudge your way through the crowd and... and....
>Oh my God.
Huddled behind those cold steel bars is the most beautiful creature. Beautiful... and if not human, close enough that it hardly matters. You're absolutely haunted by this creature... no, this person's mournful eyes.
The captive is wearing loose gray prison clothes—pants and a short-sleeved shirt. You believe this ethereal being....
Is male.
Is female.
>Is neither.
Is MESMERIZING. You'll work out the details later.
This person is pure androgynous perfection, beyond all the standard distinctions. In a way, this alien beauty is what you might aspire to be.
"What... how...?" you ask Jones. It's difficult right now to voice coherent thoughts. Luckily, he knows what you mean.
"We're calling it Eden, Jones replies. "Agents discovered it three days ago in a field not far from here, captured it and brought it in for study. We believe it's an alien lifeform."
"Can they speak?"
"It seems physically capable of speech, but we don't know its language. And that's why I wanted to see you."
>Why me?
"Why me?" you ask.
"Several of us have tried already, but the creature won't respond. Essentially, it's your turn." As good an answer as any.
You kneel in front of Eden's cell. "Hello," you say quietly so as not to frighten them. "You probably don't understand me, but... I'm not here to hurt you."
Send them away, whispers a gentle voice in your mind. Please. Send them away.
You blink in surprise since it isn't your voice. It must belong to Eden. It sounds....
>Exactly like you'd expect.
Different somehow.
Their voice sounds exactly like you'd expect: calming like autumn rain.
>But back to Eden's request.
Viene spiegato quali sensazioni trasmette la voce di Eden secondo il protagonista.
Eden asked you to clear the room. You look back and say, "Eden is telepathic. They asked me to ask everyone else to leave."
Silence. The other scientists exchange puzzled looks and mumurs about the brain scans they took and how they were "different" from a human's.
"All right," Jones says. "But I want a full report on your findings."
Now, it's time to >talk to Eden.
You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME?
>Eden, how are you feeling?
Can you tell me your real name?
Viene data al giocatore la possibilità di porre delle domande a Eden, permettendogli di chiederle tutte senza dover seguire nessun ordine preciso
You ask Eden gently, "Eden, how are you feeling?"
Eden stares at you for a long time. "You're the first one here to ask me that sincerely,"they say softly. Their eyes are shining with tears. "Thank you. I am.... I've been better."
>Ask more questions.
Vengono elencate nuovamente tutte le domande, con anche la possibilità di andare avanti.
You ask Eden:
Where are you from? ("A world we call Mekkari. It's... quite far from here.")
Why are you here? ("There were rumors about life in this part of the universe. I wanted to see for myself, though I was warned not to." )
Why did you pick ME? (Eden says, "Give me your hand." You do. Then, they answers you.
I sensed you were different from the others. That maybe... you might help me. )
Eden, how are you feeling? (Already asked)
Can you tell me your real name? (Eden smiles. "Maybe later. But not yet." )
-Or-
That's enough questions for now.
Ponendo tutte le domande si ottengono però maggiori informazioni, e compaiono nuove domande:
NEW: What's Mekkari like? (Eden gives you a ghost of a smile. "It's a wonderful, wonderful place. Peaceful. Beautiful. I'd really like to go home." )
NEW: What kind of warning? (Eden looks away and says, "That... the rumored lifeforms here were dangerous." Which is about what you expected. )
-Or-
>That's enough questions for now.
You and Eden both are silent for a while. You feel sorry for their being held captive like this, but what can YOU do? You're not in charge of anything here., and you feel horrible for what they must be going through. How can anyone approve of keeping this gentle, intelligent person as a thing to experiment on?
Try to console Eden.
>Try to reach Eden with your thoughts.
Since Eden can reach you mind-to-mind, you decide to see if it can work the other way.
With all your concentration, you think, Eden. Can you hear me?
Eden answers, Yes.
Is there anything you can tell me that might help me get you out of here? Things you've noticed? Certain abilities you have?
Eden says, If I'm close enough, I can "communicate" with technology and alter it with my mind. I can do it most accurately with things I'm actually touching. I can sense the presence of other living beings. And I doubt they've found my ship since it was cloaked when I left it. If I could use something as a tracking device, I could find my way back to it.
Do they know what you can do?
They only know about my telepathy. And that's only because of today.
Hmm.
>Figure out your next steps.
You're having second thoughts.
You and Eden work out a plan. Communicating mind-to-mind makes it go by quickly.
Eden's technomancy skills can turn your card into a master key. They can likely disable security cameras and alarms as well, provided they can get close enough—and in very little time since destruction takes a lot less nuance than recreation. (You're glad they haven't tried that with the lock on they cell. Cell locks STAY locked if they're tampered with at all.) Also, perhaps most importantly, they can reconfigure any smartphone locate their ship.
Since the cell has a keycard lock (located across the room and out of Eden's range), freeing them won't be a problem. The problem is that after that, you need to get them out of the building without getting caught.
First, though, you take out your keycard so Eden can work their magic. You do your best to keep it hidden from camera view, knowing there's one behind you pointed directly at the cell.
It's done, Eden says after a minute or so. It can open any electronic lock now. You put the card back in your lab coat pocket.
Now, you can free Eden. But first....
You need to get your smartphone.
>No, Nab a phone on the way out.
It's better to nab a phone on the way out. The coast is clear right now and you don't know when or if you'll see Eden alone again.
Presently, Eden seems very focused on the camera on the wall. Trying to connect with it, maybe...?
Anyway, you tell Eden, I'm going to unlock your cell. Then, you can disable the camera and get out.
Eden says, All right.
>It's Showtime.
Il giocatore non è più messo di fronte ad alcuna scelta.
Quickly and subtly, you unlock Eden's cell and walk to the door, waiting for Eden to take care of the camera. You hear an odd crackling sound; the room's lights flicker into darkness and the emergency lights near the floor come on. You reopen the lab door with your keycard. A peek into the hall confirms that power has gone out.
It might be overkill, but it's useful overkill. Regular staff will be leaving now. However, with such a suspicious outage (and perhaps suspicious camera footage), it seems like a sure thing they'll be sending in some guards to investigate.
Once you've confirmed the coast is clear, you tell Eden, "Let's go." But since you didn't get your phone, you still need to grab one on the way out of this place
Time is of the essence, especially if you alert the guards.
Rush ahead while it looks clear.
>Better to be cautious.
Ha inizio la parte di azione, e il giocatore è tenuto a decidere come procedere.
It's a good thing you held back. A guard just rounded the corner. Get back in, you tell Eden. I'll hide behind that counter and HOPE he doesn't come in.
Il gioco informa il giocatore che ha scelto correttamente decidendo di procedere con cautela piuttosto che correre.
The guard walks into the room and only gives things a cursory glance as if he just wants to go home. Then, he yawns and leaves.
Once you no longer hear footsteps or think anyone is out there, you check to see if the coast is clear.
The coast is definitely clear now. No one is in sight or hearing besides you and Eden.
You can head right for the storage room to get a disguise for Eden, go upstairs to get your phone, or check rooms on this floor to see if one has a phone.
You can also >ask what Eden suggests.
Il giocatore si trova di fronte a più scelte.
You ask Eden, What should we do first? Get the phone or find a disguise for you?
Eden says, My feeling is a disguise might make us safer. But we can always get it later.
>Get the disguise first.
Look for a phone down here.
Look for a phone upstairs.
Si decide di procedere seguendo il suggerimento di Eden, che suggerisce inoltre che ci saranno possibilità più avanti per svolgere tutte le missioni.
You've reached the Storage Room.
Time seems to pass more slowly in this room for some reason. You can spend as much time here as you need.
Following Eden's suggestion, you return to the storage room. This does seems like a good time to get a disguise for them.
There are plenty of scientist uniforms in here as well as sundry junk from the Lost and Found. You hand Eden a uniform as well as a pair of glasses and something to tie back their hair. That should do in this dim lighting.
Eden immediately starts undressing right in front of you and doesn't seem especially modest. You're still not 100% sure of Eden's sex and you can't help being curious.
>Looking away seems more courteous.
ONE quick peek. Eden doesn't seem to mind.
Poiché il giocatore aveva in precedenza scelto che Eden non fosse né maschio né femmina, ha ora una seconda possibilità per scegliere un genere o continuare a considerare Eden un essere di nessun genere.
More for your own sense of courtesy, you decide to look away. You can always ask Eden later once you get out of this place.
Eden gets dressed very quickly—and makes an adorable scientist.
Time for you next move.
Now that your business here is done, it's time to....
>Keep looking down here for a phone
Check storage again for a phone
Look upstairs for a phone
Ogni volta che il giocatore deve scegliere come muoversi gli viene offerta la mappa del piano su cui si trovano i personaggi, così da poter calcolare le distanze come meglio crede.
You've got your disguise for Eden. Now, it's time to get a phone. You check...
The room in front of Eden's cell. (This laboratory contains an exam table and all sorts of surgical instruments, plus myriad things that remind you more of torture devices. It's possible they brought Eden in here, though you'd rather not think about that. Moreover, you've already checked here. You wish you hadn't come back.)
The room to the left of that one. (This laboratory contains an exam table and all sorts of surgical instruments, plus myriad things that remind you more of torture devices. It's possible they brought Eden in here, though you'd rather not think about that.)
The room to the right of that one. (This laboratory contains an exam table and all sorts of surgical instruments, plus myriad things that remind you more of torture devices. It's possible they brought Eden in here, though you'd rather not think about that.
When you check shelves, you see someone left their phone behind. ...But the battery is dead. )
The room to the right of Eden's cell. (This is part of the "specimen" block, which is only in use when a new one is brought in. You didn't think you'd find a phone in here, so it's no surprise when you don't. )
The room to the left of Eden's cell. (This is part of the "specimen" block, which is only in use when a new one is brought in. You didn't think you'd find a phone in here, so it's no surprise when you don't. )
The creepy room by the stairs. (As soon as you enter, you find yourself fighting a clingy film of unusually tough cobwebs. The emergency lights aren't working in here. And something just ran over your foot.
>Please, for the love of God, look somewhere else.
Head up the stairs. They're right there anyway. )
The first room to the right of the exit (There's nothing in this room at all, much less a phone.)
The room just above the exit. (>Keep exploring
Time to go.It's a small meeting room. You check the table and chairs, just in case. There's a phone on one of the chairs! ...But the battery is dead.)
The storage room. (Already checked)
The room to the left of the storage room. (It's just another laboratory like the one you work in. You check the counters, and... nothing. )
The room to the right of the storage room, near the stairs. (It's just another laboratory like the one you work in. You check the counters, and... nothing. )
Il giocatore decide quindi di esplorare il piano superiore.
You're just outside the lab upstairs. As long as there are no guards around, that should be easy enough. But you think there might be someone in there. You'll need to be careful.
>Go get it.
Looks like there's no one in the lab or nearby on this floor. Either they've left or it was just your imagination. Anyway, you've got your phone.
>Hurry back downstairs.
Keep going. You're >in the home stretch.
All that's left to do now is >get out of here.
Please oh PLEASE let us make it to the exit....
A guard is running after you and Eden. You want to make a break for it, but Eden says, Wait. He's not hostile. So, both of you wait where you are and try to act natural.
"What are you still doing here?" the guard asks breathlessly. "All non-security personnel are supposed to evacuate!"
"We're leaving right now," you assure the guard. He goes back to patrolling the area.
It looks like >you're home free.
Once you're safely away from the complex, Eden reconfigures your phone. They laugh when they see where the ship is.
"It isn't far from here," Eden says. "It's right through these woods."
And >that's where you go.
Once you've reached the supposed right place, Eden holds out their hands and focuses with all their might. After a minute, their ship appears, silvery and shining like a vaguely sphere-shaped star.
Eden's face is bright with hope. "Thank you so much," they say. They really is incomparably beautiful, especially their eyes. When you look in them, you see....
A quiet strength and thoughtfulness beyond anything you've known.
>The enchanting purity of Eden's bright and loving nature.
The wonder of a place so very far away.
It doesn't matter where Eden is from, save that you wish you could go there.
Eden is still standing there and staring at their ship as if they can't believe they made it. You think you want to kiss them. Except you're not completely sure if that's what Eden wants.
>Respect Eden's wishes.
Throw caution to the wind.
Poiché si rispetta la volontà (sconosciuta) di Eden, si ottiene un achievement: la virtù
Since you're not sure Eden wants to be kissed, you choose to hold back.
"Thank you again," Eden says.
You tell Eden, "I would do it all again." Eden gives you a nod and smile and walks towards their ship.
It looks like this is the end.
>That doesn't mean it is.
Running after Eden, you shout, "Wait! Please, can I come with you?"
Eden blinks. "Are you sure?"
You nod. "Absolutely. I doubt there's much left for me here, and I'd love to see your world."
Eden's smile is as enchanting as the full moon overhead. "I'm so glad you said that," they say. "Follow me."
>You board Eden's ship.
The flight to Eden's world seems to be over in an instant.
"Welcome to Mekkari," Eden says, opening the ship's hatch. "I hope you like it here."
>You take a look at your new home.
Eden's homeworld is simply amazing.
You never could have imagined such a pristine and marvelous place.
The only thing more perfect... is the person who brought you here. But you're curious.
"Eden," you ask, "what's your real name? Can you tell me now?"
"It's Aevra," they reply. It suits them very well. Then, Eden... no, Aevra asks, "What's yours?"
"It's *your name*" you say.
Aevra smiles. "I like that very much."
"May I ask you a personal question?"
"Yes."
"Are... are you...."
Aevra understands and seems amused by this. "I am..."
"I am male," Aevra says. "Does that disappoint you?"
You think about that for a while and give Aevra your honest answer.
"Maybe a little."
>"Not in the least."
Viene sbloccato un ulteriore achievement, poiché si accetta il gender di Aevra
You tell Aevra, "I don't care. I love you."
Aevra softly says, "I love you, too."
You and Aevra are gazing intently into each other's eyes. Finally, you kiss.
Aevera's kiss is passion-sweet—like honey for your soul. Though you once called Earth your home, you know THIS is where you belong.
You Received.....
You received the ending:
Love.
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Text
Commento del gioco “Eden”
1. Something isn't right today. You don't know what it is.
But you do have a feeling. --> Ho un presentimento strano
2-You have this strange and eerie feeling SOMETHING is going to happen, but you have no idea what it is.
That is, until…. --> Continuo ad avere un certo presentimento e cerco di capire meglio
3.That is until your supervisor shows you the lab's new specimen. "We're not sure what it is," he says. "But it can't be human."
You take a look. --> Osservo ciò che ho davanti
4.You take a look at the specimen and try to conceal your horror. "Are you sure it isn't human?" you ask. Your supervisor just shrugs. "Keep an eye on it," he says. "I'll be back in a few minutes." Then, save for the "specimen" in the holding cell, he leaves you all alone.
You feel conflicted. --> Mi sento in conflitto con me stessa
5. The creature in the cage looks like a person to you. Different, perhaps, but either human or so close that it hardly matters. The creature in the cage looks like a person to you. Different, perhaps, but either human or so close that it hardly matters. "What's your name?" you ask, hands curled around the bars. The specimen... no the prisoner wearily shakes their head.
You decide to rescue the prisoner --> Scelgo di salvare il prigioniero perché non mi sembra cattivo
No. It's safer to keep your distance.
6. You whisper to the prisoner, "I'm going to rescue you." The prisoner stares, disbelieving, and asks, "Why would you do this for me?" This person speaks perfect English, albeit with a curious accent you've never heard before. "Because it's the right thing to do," you say.
Let's get out of here. --> Convinco il prigioniero ad uscire dalla cella
7. Your supervisor's been careless. He left his cell keys on the table. Your hands are shaking as you fumble with them, searching for the right-numbered one. Aha!
We're outta here. --> Siamo riusciti ad uscire
8. This rescue is going surprisingly well, and it looks like no one's around. You take the prisoner's hand and...
and…. --> Cerco di capire cosa sta succedendo
9. You don't know where the guards came from. They shoot you both dead.
--> What a gruesome end. --> Siamo morti entrambi
10. You've had the same dream for three nights in a row. (Well, actually, the last three mornings since you're on the night shift.) It never ends quite the same. Maybe you're just THAT depressed your vacation is ending now. Anyway, it's time to get ready. Who do you see in the mirror?
I'm a woman. --> Scelgo di essere una donna perché riesco meglio ad immedesimarmi nelle scelte da fare
I'm a man.
I'm neither, actually.
11. I need to get more rest, you think. You shower, you groom, you dress, you grab breakfast.
Time to face the day. --> Incomincio la mia giornata lavorativa
12. You get to work on time like you always do. After all, getting ahead takes making a good impression. Though the "good impression" you've left on some, you could do without.
Hang up your coat. --> mi tolgo il cappotto
13. You put away your coat and purse and head for lab A-3. As usual, that Aaron guy chases you down to make smalltalk and say how he loves your hair. You don't like him, honestly, but you try to be polite. So, you smile and nod and say "Gotta go" as soon as you get the chance.
So, what's up? --> mi sento stanca dalla routine quotidiana.
14. When you get to lab A-3, almost no one is there. You ask an acquaintance named Kyra, "What's going on?" She tells you, "Check B-2. While you were gone, they brought in a real, live alien and everyone wants a look.". "Are you sure it's all right?" you ask. She says, "It's fine. I'll cover for you. Besides, Jones is there and he wants to see you." Jones being your supervisor, who's called you "brilliant" before.
Go to Lab B-2 --> sta succedendo qualcosa e vado verso il laboratorio
15. Phones aren't allowed in the basement labs, so you leave yours in your mini-locker. You go to lab B-2, where they keep the most secret of secrets—even for this place. You only earned clearance a week ago and you're eager to see what's inside. You swipe your card through scanner. The door unlocks. You go inside. You notice there's a card reader inside the room as well—likely an added precaution to help keep whatever's in here from escaping. Everyone is "Ooh"ing and "Aaah"ing over the new specimen that's in the cell in the corner. You nudge your way through the crowd and... and....
Oh my God. --> sono preoccupata perché ho appena visto…
16. Huddled behind those cold steel bars is the most beautiful creature. Beautiful... and if not human, close enough that it hardly matters. You're absolutely haunted by this creature... no, this person's mournful eyes. The captive is wearing loose gray prison clothes—pants and a short-sleeved shirt. You believe this ethereal being....
Is male.
Is female.
Is neither. --> scelgo che non sia nessuno dei due perché voglio portare avanti la mia immaginazione.
Is MESMERIZING. You'll work out the details later.
17. This person is pure androgynous perfection, beyond all the standard distinctions. "What... how...?" you ask Jones. It's difficult right now to voice coherent thoughts. Luckily, he knows what you mean. "We're calling it Eden, Jones replies. "Agents discovered it three days ago in a field not far from here, captured it and brought it in for study. We believe it's an alien life form." "Can they speak?" "It seems physically capable of speech, but we don't know its language. And that's why I wanted to see you."
Why me? --> mi sento importante, cerco di capire perchè ha scelto me
18. "Why me?" you "Why me?" you ask. "Several of us have tried already, but the creature won't respond. Essentially, it's your turn." As good an answer as any. You kneel in front of Eden's cell. "Hello," you say quietly so as not to frighten them. "You probably don't understand me, but... I'm not here to hurt you." Send them away, whispers a gentle voice in your mind. Please. Send them away. You blink in surprise since it isn't your voice. It must belong to Eden. It sounds....
Exactly like you'd expect. --> dall’aspetto che questa creatura ha, la sua voce me la immaginavo proprio così.
Different somehow.
19. Their voice sounds exactly like you'd expect: calming like autumn rain.
But back to Eden's request --> sto vagando nei pensieri, ma torno a concentrarmi
20. Eden asked you to clear the room. You look back and say, "Eden is telepathic. They asked me to ask everyone else to leave." Silence. The other scientists exchange puzzled looks and mumurs about the brain scans they took and how they were "different" from a human's. "All right," Jones says. "But I want a full report on your findings."
Now, it's time to talk to Eden. --> dopo esser riuscita a fare uscire tutti dalla stanza, siamo solo io e Eden.
21. You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME?
Eden, how are you feeling? --> scelgo questa domanda per mettere a proprio agio la creatura, cercando di immedesimarmi in essa.
Can you tell me your real name?
22. You ask Eden gently, "Eden, how are you feeling?" Eden stares at you for a long time. "You're the first one here to ask me that sincerely," they say softly. Their eyes are shining with tears. "Thank you. I am.... I've been better."
Ask more questions. --> sono contenta della risposta, quindi continuo a fare altre domande.
23. You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME? --> voglio sapere perché ha scelto me.
Eden, how are you feeling? (Already asked)
Can you tell me your real name?
-Or-
That's enough questions for now.
24. You ask Eden, "Why did you choose to talk to me?" Eden says, "Give me your hand." You do. Then, they answers you. I sensed you were different from the others. That maybe... you might help me.
Ask more questions? --> scelgo di saperne di più
That's enough questions for now.
25. You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME? (Already asked)
Eden, how are you feeling? (Already asked)
Can you tell me your real name? --> cerco di indagare sulla sua identità
-Or-
That's enough questions for now.
26. You say, "I'm sure your real name isn't Eden. That's just the name they gave you. If it's all right, could you tell me your real name?" Eden smiles. "Maybe later. But not yet."
Ask more questions?
-Or-
That's enough questions for now. --> capisco che non vuole svelare troppo cose e quindi decido di fermarsi con le domande.
27. You and Eden both are silent for a while. You feel sorry for their being held captive like this, but what can YOU do? You're not in charge of anything here., and you feel horrible for what they must be going through. How can anyone approve of keeping this gentle, intelligent person as a thing to experiment on?
Try to console Eden.
Try to reach Eden with your thoughts. --> cerco di capire i pensieri di Eden per scavare più a fondo per ciò che sta provando.
28. Since Eden can reach you mind-to-mind, you decide to see if it can work the other way. With all your concentration, you think, Eden. Can you hear me Eden answers, Yes. Is there anything you can tell me that might help me get you out of here? Things you've noticed? Certain abilities you have? Eden says, If I'm close enough, I can "communicate" with technology and alter it with my mind. I can do it most accurately with things I'm actually touching. I can sense the presence of other living beings. And I doubt they've found my ship since it was cloaked when I left it. If I could use something as a tracking device, I could find my way back to it. Do they know what you can do? They only know about my telepathy. And that's only because of today. Hmm.
Figure out your next steps. --> decido di andare fino in fondo.
You're having second thoughts.
29. You and Eden work out a plan. Communicating mind-to-mind makes it go by quickly. Eden's technomancy skills can turn your card into a master key. They can likely disable security cameras and alarms as well, provided they can get close enough—and in very little time since destruction takes a lot less nuance than recreation. (You're glad they haven't tried that with the lock on they cell. Cell locks STAY locked if they're tampered with at all.) Also, perhaps most importantly, they can reconfigure any smartphone locate their ship. Since the cell has a keycard lock (located across the room and out of Eden's range), freeing them won't be a problem. The problem is that after that, you need to get them out of the building without getting caught. First, though, you take out your keycard so Eden can work their magic. You do your best to keep it hidden from camera view, knowing there's one behind you pointed directly at the cell. It's done, Eden says after a minute or so. It can open any electronic lock now. You put the card back in your lab coat pocket. Now, you can free Eden. But first....
You need to get your smartphone.
No, Nab a phone on the way out. --> Prenderò un telefono non appena uscirò.
30. It’s better to nab a phone on the way out. The coast is clear right now and you don't know when or if you'll see Eden alone again. Presently, Eden seems very focused on the camera on the wall. Trying to connect with it, maybe...? Anyway, you tell Eden, I'm going to unlock your cell. Then, you can disable the camera and get out. Eden says, All right.
It's Showtime. --> che il piano abbia inizio.
31. Quickly and subtly, you unlock Eden's cell and walk to the door, waiting for Eden to take care of the camera. You hear an odd crackling sound; the room's lights flicker into darkness and the emergency lights near the floor come on. You reopen the lab door with your keycard. A peek into the hall confirms that power has gone out. It might be overkill, but it's useful overkill. Regular staff will be leaving now. However, with such a suspicious outage (and perhaps suspicious camera footage), it seems like a sure thing they'll be sending in some guards to investigate. Once you've confirmed the coast is clear, you tell Eden, "Let's go." But since you didn't get your phone, you still need to grab one on the way out of this place. Time is of the essence, especially if you alert the guards.
Rush ahead while it looks clear.
Better to be cautious. --> bisogna proseguire con calma per non farsi beccare
32. It's a good thing you held back. A guard just rounded the corner. Get back in, you tell Eden. I'll hide behind that counter and
HOPE he doesn't come in. --> speriamo di farcela.
33. The guard walks into the room. He sees Eden is still in their cell (but hasn't noticed it's unlocked) and hasn't spotted you yet. So, what now? Every option has its risks....
Make a break for it with Eden
Keep hiding --> continuo a mantenere attivo il piano.
Grab that digital scale from off the counter just in case
34. You decide to keep hiding and hope for the best. Then, the guard squints at the green light that shows Eden's cell is unlocked. He reaches for both his keycard and a gun.
Grab the scale
You and Eden RUN --> è arrivato il momento di scappare!
35. Suddenly, you hear a gunshot and a bullet rips right through you. You don't want to look; your hand drifts to chest. When you pull your hand away, you see that it's covered in blood. With your final breaths, you beg for Eden to keep running. You know you won't survive. But maybe Eden can be free.
And that's how it ends.
You received the secret ending:“Sacrifice."
COMMENTO FINALE:
Il finale è negativo, perché Eden è morto, ma non è del tutto negativo perché Eden si è sacrificato per me e quindi sono riuscita a trasmettergli amore e fiducia. Penso che non sarei arrivata ad un finale positivo, perché avrei dovuto voltare le spalle alla creatura e trattarla come ogni essere umano presente, quindi sono contenta delle scelte fatte e di averci provato.
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EDEN By Gaming Pixie
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CLICK TO START Quanto schiacci il pulsante per iniziare ti chiede di inserire il tuo nome, probabilmente perché verrà poi utilizzato nella storia.
NAME ENTERED
Good luck! {Continue.} La storia inizia quando clicchi su Continue.
Something isn't right today. You don't know what it is.
But you do have a feeling. Questa scelta rappresenta una sensazione/emozione che prova il personaggio e ci fa intuire che accadrà qualcosa.
You have this strange and eerie feeling SOMETHING is going to happen, but you have no idea what it is.
That is, until…. Questa scelta serve per dar ritmo alla narrazione.
That is until your supervisor shows you the lab's new specimen. "We're not sure what it is," he says. "But it can't be human."
You take a look. Questa scelta rappresenta un’azione e fa progredire la storia.
You take a look at the specimen and try to conceal your horror. "Are you sure it isn't human?" you ask. Your supervisor just shrugs.
"Keep an eye on it," he says. "I'll be back in a few minutes." Then, save for the "specimen" in the holding cell, he leaves you all alone.
You feel conflicted. Questa scelta rappresenta lo stato d’animo del personaggio.
The creature in the cage looks like a person to you. Different, perhaps, but either human or so close that it hardly matters.
"What's your name?" you ask, hands curled around the bars.
The specimen... no the prisoner wearily shakes their head.
You decide to rescue the prisoner.
No. It's safer to keep your distance. Questa scelta è un’azione e porta avanti la storia, ho scelto di non aiutare il prigioniero perché penso che se lo avessi fatto, non sarebbe andata a finire bene. Inoltre è la prima vera e propria scelta che possiamo fare.
You stay put and don't say a word, never meeting the prisoner's eyes. They'd never keep a human in here, you console yourself. You almost believe it.
Then, you wake up. Questa è un’azione e serve per far continuare la storia.
You've had the same dream for three nights in a row. (Well, actually, the last three mornings since you're on the night shift.) It never ends quite the same. Maybe you're just THAT depressed your vacation is ending now.
Anyway, it's time to get ready. Who do you see in the mirror?
I'm a woman. Questa scelta serve al gioco per capire qual è il nostro sesso. Probabilmente questa scelta avrà degli effetti sul resto del gioco ad esempio il modo in cui gli altri personaggi si riferiranno a noi. Possiamo dire che è una scelta di tipo descrittivo. Ho scelto quest’opzione ovviamente perché sono una donna.
I'm a man.
I'm neither, actually.
I need to get more rest, you think. You shower, you groom, you dress, you grab breakfast.
Time to face the day. Questa scelta da ritmo alla narrazione e fa continuare la storia.
You get to work on time like you always do. After all, getting ahead takes making a good impression. Though the "good impression" you've left on some, you could do without.
Hang up your coat. Questa è un’azione.
You put away your coat and purse and head for lab A-3.
As usual, that Aaron guy chases you down to make smalltalk and say how he loves your hair. You don't like him, honestly, but you try to be polite. So, you smile and nod and say "Gotta go" as soon as you get the chance.
So, what's up? Credo che sia una scelta di tipo descrittivo perché quando arrivi sta succedendo qualcosa.
When you get to lab A-3, almost no one is there. You ask an acquaintance named Kyra, "What's going on?"
She tells you, "Check B-2. While you were gone, they brought in a real, live alien and everyone wants a look."
"Are you sure it's all right?" you ask.
She says, "It's fine. I'll cover for you. Besides, Jones is there and he wants to see you." Jones being your supervisor, who's called you "brilliant" before.
Go to Lab B-2. È un’azione.
Phones aren't allowed in the basement labs, so you leave yours in your mini-locker. You go to lab B-2, where they keep the most secret of secrets—even for this place. You only earned clearance a week ago and you're eager to see what's inside.
You swipe your card through scanner. The door unlocks. You go inside. You notice there's a card reader inside the room as well—likely an added precaution to help keep whatever's in here from escaping.
Everyone is "Ooh"ing and "Aaah"ing over the new specimen that's in the cell in the corner. You nudge your way through the crowd and... and....
Oh my God. É un’emozione, il personaggio è sorpreso e sopraffatto da quello che vede.
Huddled behind those cold steel bars is the most beautiful creature. Beautiful... and if not human, close enough that it hardly matters. You're absolutely haunted by this creature... no, this person's mournful eyes.
The captive is wearing loose gray prison clothes—pants and a short-sleeved shirt. You believe this ethereal being....
Is male.
Is female.
Is neither.
Is MESMERIZING. You'll work out the details later. Questa scelta è come quella di prima dove ci hanno chiesto qual è il nostro sesso. Ho scelto questa opzione perché spero tanto che questa storia non sia una stupida storia d’amore dal momento che, visto l’inizio molto interessante, mi aspetto qualcosa di più. Quindi per ora eviterò di decidere che sesso ha l’alieno.
This person is simply beautiful, beautiful beyond reason. You've never seen anything like them before and doubt you will again.
"What... how...?" you ask Jones. It's difficult right now to voice coherent thoughts. Luckily, he knows what you mean.
"We're calling it Eden," Jones replies. "Agents discovered it three days ago in a field not far from here, captured it and brought it in for study. We believe it's an alien lifeform."
"Can they speak?"
"It seems physically capable of speech, but we don't know its language. And that's why I wanted to see you."
Why me? Questa scelta è di tipo descrittivo perché ci porterà a ricevere una spiegazione.
"Why me?" you ask.
"Several of us have tried already, but the creature won't respond. Essentially, it's your turn." As good an answer as any.
You kneel in front of Eden's cell. "Hello," you say quietly so as not to frighten them. "You probably don't understand me, but... I'm not here to hurt you."
Send them away, whispers a gentle voice in your mind. Please. Send them away.
You blink in surprise since it isn't your voice. It must belong to Eden. It sounds....
Exactly like you'd expect.
Different somehow. Anche questa è una scelta di tipo descrittivo perché ci fa scegliere quali sono le caratteristiche dell’altro personaggio. Inizio a pensare che sia veramente una storia d’amore… Ho scelto abbastanza a caso dal momento che non sentiamo veramente la sua voce. Trovo che questa scelta sia abbastanza inutile, lo è solo se è veramente una storia d’amore perché ti permette di “personalizzare” il tuo partner.
Their voice is calming, like autumn rain.
You also think that Eden's voice seems....
More ethereal than you expected. Stessa cosa di prima, ci sta facendo personalizzare il nostro partner.
More lyrical than you expected.
Eden's voice is even more ethereal than you expected, and a perfect match for Eden's androgynous beauty.
But back to Eden's request. È un’azione, riportiamo la nostra attenzione su quello che ci ha chiesto Eden e cacciamo via gli altri.
Eden asked you to clear the room. You look back and say, "Eden is telepathic. They asked me to ask everyone else to leave."
Silence. The other scientists exchange puzzled looks and mumurs about the brain scans they took and how they were "different" from a human's.
"All right," Jones says. "But I want a full report on your findings."
Now, it's time to talk to Eden. Ovviamente è un’azione.
You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME?
Eden, how are you feeling? Possiamo fargli molte domande che probabilmente porteranno ad avere una descrizione più dettagliata del personaggio e di quello che pensa. Ho iniziato con questa perché mi sembrava naturale, se mi trovassi a parlare con una persona chiusa in una gabbiamo probabilmente questa sarebbe la prima cosa che gli chiederei.
Can you tell me your real name?
You ask Eden gently, "Eden, how are you feeling?"
Eden stares at you for a long time. "You're the first one here to ask me that sincerely," they say softly. Their eyes are shining with tears. "Thank you. I am.... I've been better."
Ask more questions. Possiamo fargli altre domante.
You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME?
Eden, how are you feeling? (Already asked)
Can you tell me your real name? Questa domanda è descrittiva perché ci porterà ad avere una risposta da parte di Eden.
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You say, "I'm sure your real name isn't Eden. That's just the name they gave you. If it's all right, could you tell me your real name?"
Eden smiles. "Maybe later. But not yet."
Ask more questions? Possiamo fargli altre domante.
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME? Descrittiva.
Eden, how are you feeling? (Already asked)
Can you tell me your real name? (Already asked)
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask Eden, "Why did you choose to talk to me?"
Eden says, "Give me your hand." You do. Then, they answers you.
I sensed you were different from the others. That maybe... you might help me.
Ask more questions? Possiamo fargli altre domante.
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask Eden:
Where are you from? Descrittiva. (Already asked)
Why are you here?
Why did you pick ME? (Already asked)
Eden, how are you feeling? (Already asked)
Can you tell me your real name? (Already asked)
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask Eden, "Where are you from?"
Eden tells you in the gentlest (and weariest) voice you've ever heard, "A world we call Mekkari. It's... quite far from here."
Ask more questions? Possiamo fargli altre domante.
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask Eden:
Where are you from? (Already asked)
Why are you here?
Why did you pick ME? (Already asked)
Eden, how are you feeling? (Already asked)
Can you tell me your real name? (Already asked)
NEW: What's Mekkari like? Descrittiva. Visto che gli ho chiesto da dove viene, è comparsa una nuova domanda che ci farà ottenere la descrizione del suo mondo.
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask, "What's Mekkari like?"
Eden gives you a ghost of a smile. "It's a wonderful, wonderful place. Peaceful. Beautiful. I'd really like to go home."
Ask more questions? Possiamo fargli altre domante.
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask Eden:
Where are you from? (Already asked)
Why are you here? Descrittiva
Why did you pick ME? (Already asked)
Eden, how are you feeling? (Already asked)
Can you tell me your real name? (Already asked)
What's Mekkari like? (Already asked)
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
Eden looks away. "There were rumors about life in this part of the universe. I wanted to see for myself, though I was warned not to."
Ask more questions? Possiamo fargli altre domante.
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask Eden:
Where are you from? (Already asked)
Why are you here? (Already asked)
Why did you pick ME? (Already asked)
Eden, how are you feeling? (Already asked)
Can you tell me your real name? (Already asked)
What's Mekkari like? (Already asked)
NEW: What kind of warning? Descrittiva. Anche questa domanda è nuova compare solo se chiedi a Eden perché si trova sul nostro pianeta.
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
Frowning, you ask, "What kind of warning did they give you?" You already suspect the answer.
Eden looks away and says, "That... the rumored lifeforms here were dangerous." Which is about what you expected.
Ask more questions? Possiamo fargli altre domante.
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden.
You ask Eden:
Where are you from? (Already asked)
Why are you here? (Already asked)
Why did you pick ME? (Already asked)
Eden, how are you feeling? (Already asked)
Can you tell me your real name? (Already asked)
What's Mekkari like? (Already asked)
What kind of warning? (Already asked)
-Or-
That's enough questions for now. Puoi scegliere di non fare alter domande probabilmente perché non servono per andare avanti nella storia ma solo per avere maggiori informazioni su Eden. Dal momento che ho fatto tutte le domande ora posso andare avanti.
You and Eden both are silent for a while. You feel sorry for their being held captive like this, but what can YOU do? You're not in charge of anything here., and you feel horrible for what they must be going through. How can anyone approve of keeping this gentle, intelligent person as a thing to experiment on?
Try to console Eden.
Try to reach Eden with your thoughts. È un’azione. Mi sembra la risposta più logica dal momento che potrebbero osservarci o ascoltarci.
Since Eden can reach you mind-to-mind, you decide to see if it can work the other way.
With all your concentration, you think, Eden. Can you hear me?
Eden answers, Yes.
Is there anything you can tell me that might help me get you out of here? Things you've noticed? Certain abilities you have?
Eden says, If I'm close enough, I can "communicate" with technology and alter it with my mind. I can do it most accurately with things I'm actually touching. I can sense the presence of other living beings. And I doubt they've found my ship since it was cloaked when I left it. If I could use something as a tracking device, I could find my way back to it.
Do they know what you can do?
They only know about my telepathy. And that's only because of today.
Hmm.
Figure out your next steps. È un’azione, decidiamo cosa fare adesso. A differenza dell’inizio, ho fatto questa scelta perché ho avuto modo di parlare molto di più con l’alieno. Inoltre ormai sono convinta che sia un dating Simulator, quindi se decido di non salvarlo probabilmente otterrò una bad ending.
You're having second thoughts.
You and Eden work out a plan. Communicating mind-to-mind makes it go by quickly.
Eden's technomancy skills can turn your card into a master key. They can likely disable security cameras and alarms as well, provided they can get close enough—and in very little time since destruction takes a lot less nuance than recreation. (You're glad they haven't tried that with the lock on they cell. Cell locks STAY locked if they're tampered with at all.) Also, perhaps most importantly, they can reconfigure any smartphone locate their ship.
Since the cell has a keycard lock (located across the room and out of Eden's range), freeing them won't be a problem. The problem is that after that, you need to get them out of the building without getting caught.
First, though, you take out your keycard so Eden can work their magic. You do your best to keep it hidden from camera view, knowing there's one behind you pointed directly at the cell.
It's done, Eden says after a minute or so. It can open any electronic lock now. You put the card back in your lab coat pocket.
Now, you can free Eden. But first....
You need to get your smartphone.
No, Nab a phone on the way out. Anche questa è un’azione. Ho fatto questa scelta perché salire al piano di sopra per prendere il mio telefono mi sembrava una perdita di tempo.
It's better to nab a phone on the way out. The coast is clear right now and you don't know when or if you'll see Eden alone again.
Presently, Eden seems very focused on the camera on the wall. Trying to connect with it, maybe...?
Anyway, you tell Eden, I'm going to unlock your cell. Then, you can disable the camera and get out.
Eden says, All right.
It's Showtime. Da ritmo alla storia e la fa continuare.
Quickly and subtly, you unlock Eden's cell and walk to the door, waiting for Eden to take care of the camera. You hear an odd crackling sound; the room's lights flicker into darkness and the emergency lights near the floor come on. You reopen the lab door with your keycard. A peek into the hall confirms that power has gone out.
It might be overkill, but it's useful overkill. Regular staff will be leaving now. However, with such a suspicious outage (and perhaps suspicious camera footage), it seems like a sure thing they'll be sending in some guards to investigate.
Once you've confirmed the coast is clear, you tell Eden, "Let's go." But since you didn't get your phone, you still need to grab one on the way out of this place
Time is of the essence, especially if you alert the guards.
Rush ahead while it looks clear. È un’azione. Ci è appena stato detto che il tempo è importante e quindi ho deciso di fare di fretta.
Better to be cautious.
Wait. You hear someone coming.
Quick! Back inside the lab! È un’azione.
You and Eden hurry back into the lab, and you nod towards Eden's cell. Get back in, you tell Eden. I'll hide behind that counter and HOPE he doesn't come in. Descrive lo stato emotivo in cui ci troviamo.
The guard walks into the room and only gives things a cursory glance as if he just wants to go home. Then, he yawns and leaves.
Once you no longer hear footsteps or think anyone is out there, you check to see if the coast is clear. È un’azione.
The coast is definitely clear now. No one is in sight or hearing besides you and Eden.
You can head right for the storage room to get a disguise for Eden, go upstairs to get your phone, or check rooms on this floor to see if one has a phone.
You can also ask what Eden suggests. É un’azione. Ho scelto di sentire qual è il suo parere perché è quello che farei nella realtà.
You ask Eden, What should we do first? Get the phone or find a disguise for you?
Eden says, My feeling is a disguise might make us safer. But we can always get it later.
Get the disguise first. È un’azione, ho fatto questa scelta perché è quello che Eden ha suggerito.
Look for a phone down here.
Look for a phone upstairs.
You've reached the Storage Room. È una descrizione.
Time seems to pass more slowly in this room for some reason. You can spend as much time here as you need.
Following Eden's suggestion, you return to the storage room. This does seems like a good time to get a disguise for them.
There are plenty of scientist uniforms in here as well as sundry junk from the Lost and Found. You hand Eden a uniform as well as a pair of glasses and something to tie back their hair. That should do in this dim lighting.
Eden immediately starts undressing right in front of you and doesn't seem especially modest. You're still not 100% sure of Eden's sex and you can't help being curious.
Looking away seems more courteous. È un’azione. Bisogna sempre chiedere il consenso e dal momento che sto basando tutte le mie scelte su quello che farei nella realtà ho deciso di non guardare.
ONE quick peek. Eden doesn't seem to mind.
More for your own sense of courtesy, you decide to look away. You can always ask Eden later once you get out of this place.
Eden gets dressed very quickly—and makes an adorable scientist.
Time for you next move. Da ritmo alla storia.
Now that your business here is done, it's time to....
Keep looking down here for a phone
Check storage again for a phone. È un’azione. Ho guardato male la mappa e credevo che il magazzino forse esattamente davanti alla stanza in cui ci trovavamo e quindi ho pensato che fosse più sicuro andare lì.
Look upstairs for a phone
Then again, as long as you're here, you might as well check storage again (è un’azione) for a phone.
Time seems to pass more slowly in this room for some reason. You can spend as much time here as you need.
Okay, maybe you missed something the first time you were here. You search through all this junk for a phone again. And you do find one, but once again, the battery is dead.
Leave Storage Room. È un’azione.
There's definitely no phone in storage. So, what do you do now?
Look upstairs for a phone
Keep checking this floor. È un’azione. Come ho già detto prima, salire mi sembra una perdita di tempo e sembra anche poco sicuro.
You've got your disguise for Eden. Now, it's time to get a phone. You check...
The room in front of Eden's cell. Queste scelte sono tutte azioni, che ti portano in stanze diverse.
The room to the left of that one.
The room to the right of that one.
The room to the right of Eden's cell.
The room to the left of Eden's cell.
The creepy room by the stairs.
The first room to the right of the exit.
The room just above the exit.
The storage room. (Already checked)
The room to the left of the storage room.
The room to the right of the storage room, near the stairs.
This laboratory contains an exam table and all sorts of surgical instruments, plus myriad things that remind you more of torture devices. It's possible they brought Eden in here, though you'd rather not think about that.
You search everywhere, but no one left a phone behind.
Keep checking this floor. Azione.
Head upstairs.
You've got your disguise for Eden. Now, it's time to get a phone. You check...
The room in front of Eden's cell. (Already checked)
The room to the left of that one. Queste scelte sono tutte azioni, che ti portano in stanze diverse.
The room to the right of that one.
The room to the right of Eden's cell.
The room to the left of Eden's cell.
The creepy room by the stairs.
The first room to the right of the exit.
The room just above the exit.
The storage room. (Already checked)
The room to the left of the storage room.
The room to the right of the storage room, near the stairs.
This laboratory contains an exam table and all sorts of surgical instruments, plus myriad things that remind you more of torture devices. It's possible they brought Eden in here, though you'd rather not think about that.
You search everywhere, but no one left a phone behind.
Keep checking this floor. Azione
Head upstairs.
You've got your disguise for Eden. Now, it's time to get a phone. You check...
The room in front of Eden's cell. (Already checked)
The room to the left of that one. (Already checked)
The room to the right of that one. Queste scelte sono tutte azioni, che ti portano in stanze diverse.
The room to the right of Eden's cell.
The room to the left of Eden's cell.
The creepy room by the stairs.
The first room to the right of the exit.
The room just above the exit.
The storage room. (Already checked)
The room to the left of the storage room.
The room to the right of the storage room, near the stairs.
This laboratory contains an exam table and all sorts of surgical instruments, plus myriad things that remind you more of torture devices. It's possible they brought Eden in here, though you'd rather not think about that.
You search everywhere, but no one left a phone behind.
Keep checking this floor. Azione.
Head upstairs.
You've got your disguise for Eden. Now, it's time to get a phone. You check...
The room in front of Eden's cell. (Already checked)
The room to the left of that one. (Already checked)
The room to the right of that one. (Already checked)
The room to the right of Eden's cell. Queste scelte sono tutte azioni, che ti portano in stanze diverse.
The room to the left of Eden's cell.
The creepy room by the stairs.
The first room to the right of the exit.
The room just above the exit.
The storage room. (Already checked)
The room to the left of the storage room.
The room to the right of the storage room, near the stairs.
This is part of the "specimen" block, which is only in use when a new one is brought in. You didn't think you'd find a phone in here, so it's no surprise when you don't.
Keep checking this floor. Azione.
Head upstairs.
You've got your disguise for Eden. Now, it's time to get a phone. You check...
The room in front of Eden's cell. (Already checked)
The room to the left of that one. (Already checked)
The room to the right of that one. (Already checked)
The room to the right of Eden's cell. (Already checked)
The room to the left of Eden's cell. Queste scelte sono tutte azioni, che ti portano in stanze diverse.
The creepy room by the stairs.
The first room to the right of the exit.
The room just above the exit.
The storage room. (Already checked)
The room to the left of the storage room.
The room to the right of the storage room, near the stairs.
This is part of the "specimen" block, which is only in use when a new one is brought in. You didn't think you'd find a phone in here, so it's no surprise when you don't.
Keep checking this floor. Azione.
Head upstairs.
You've got your disguise for Eden. Now, it's time to get a phone. You check...
The room in front of Eden's cell. (Already checked)
The room to the left of that one. (Already checked)
The room to the right of that one. (Already checked)
The room to the right of Eden's cell. (Already checked)
The room to the left of Eden's cell. (Already checked)
The creepy room by the stairs. Queste scelte sono tutte azioni, che ti portano in stanze diverse.
The first room to the right of the exit.
The room just above the exit.
The storage room. (Already checked)
The room to the left of the storage room.
The room to the right of the storage room, near the stairs.
As soon as you enter, you find yourself fighting a clingy film of unusually tough cobwebs. The emergency lights aren't working in here. And something just ran over your foot.
Please, for the love of God, look somewhere else.
Head up the stairs. They're right there anyway. Azione. Visto che tanto ormai mi trovavo vicino alle scale sono salita.
You're just outside the lab upstairs. As long as there are no guards around, that should be easy enough. But you think there might be someone in there. You'll need to be careful.
Go get it. Azione.
Looks like there's no one in the lab or nearby on this floor. Either they've left or it was just your imagination. Anyway, you've got your phone.
Hurry back downstairs. Azione.
Keep going. You're in the home stretch. Descrive lo stato d’animo.
All that's left to do now is get out of here. Azione.
You have a phone and Eden's disguise. It's time to get out of here. Azione.
Please oh PLEASE let us make it to the exit....
A guard is running after you and Eden. You want to make a break for it, but Eden says, Wait. He's not hostile. So, both of you wait where you are and try to act natural.
"What are you still doing here?" the guard asks breathlessly. "All non-security personnel are supposed to evacuate!"
"We're leaving right now," you assure the guard. He goes back to patrolling the area.
It looks like you're home free. Descrive il senso di liberazione e sollievo che proviamo.
Once you're safely away from the complex, Eden reconfigures your phone. They laugh when they see where the ship is.
"It isn't far from here," Eden says. "It's right through these woods."
And that's where you go. Azione.
Once you've reached the supposed right place, Eden holds out their hands and focuses with all their might. After a minute, their ship appears, silvery and shining like a vaguely sphere-shaped star.
Eden's face is bright with hope. "Thank you so much," they say. They really is incomparably beautiful, especially their eyes. When you look in them, you see....
A quiet strength and thoughtfulness beyond anything you've known.
The enchanting purity of Eden's bright and loving nature. Questa è una scelta di tipo descrittivo come quelle dell’inizio, ti fa decidere com’è il tuo partner, cosa ci vedi in lui.
The wonder of a place so very far away.
It doesn't matter where Eden is from, save that you wish you could go there.
Eden is still standing there and staring at their ship as if they can't believe they made it. You think you want to kiss them. Except you're not completely sure if that's what Eden wants.
Respect Eden's wishes. Anche qui, come ho detto prima, bisogna sempre chiedere il consenso.
Throw caution to the wind.
Achievement Unlocked!
Since you're not sure Eden wants to be kissed, you choose to hold back.
"Thank you again," Eden says.
You tell Eden, "I would do it all again." Eden gives you a nod and smile and walks towards their ship.
It looks like this is the end.
That doesn't mean it is. Da ritmo alla storia e ti fa proseguire.
Running after Eden, you shout, "Wait! Please, can I come with you?"
Eden blinks. "Are you sure?"
You nod. "Absolutely. I doubt there's much left for me here, and I'd love to see your world."
Eden's smile is as enchanting as the full moon overhead. "I'm so glad you said that," they say. "Follow me."
You board Eden's ship. Azione.
The flight to Eden's world seems to be over in an instant.
"Welcome to Mekkari," Eden says, opening the ship's hatch. "I hope you like it here."
You take a look at your new home. Descrittiva.
Eden's homeworld is simply amazing. É un’emozione.
You never could have imagined such a pristine and marvelous place. Descrittiva.
The only thing more perfect... is the person who brought you here. But you're curious.
"Eden," you ask, "what's your real name? Can you tell me now?"
"It's Aevra," they reply. It suits them very well. Then, Eden... no, Aevra asks, "What's yours?"
"It's Alessandra," you say.
Aevra smiles. "I like that very much."
"May I ask you a personal question?"
"Yes."
"Are... are you...."
Aevra understands and seems amused by this. "I am…” Descrittiva, ci sta per dire qual è il suo sesso.
"I am male," Aevra says. "Does that disappoint you?"
You think about that for a while and give Aevra your honest answer.
"Maybe a little."
"Not in the least.” Descrive il nostro stato d’animo, se siamo delusi oppure no.
Achievement Unlocked!
You tell Aevra, "I don't care. I love you."
Aevra softly says, "I love you, too."
You and Aevra are gazing intently into each other's eyes. Finally, you kiss. È un’azione.
Aevera's kiss is passion-sweet—like honey for your soul. Though you once called Earth your home, you know THIS is where you belong.
You Received….. Da ritmo.
You received the ending:
Love.
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We tolerate mockery of the elderly that we’d never allow if it targeted another group. But we’ll all be old one day‘It’s not only in the sphere of comedy that the old are discussed in ways that would never be tolerated by (or about) another group.’ Photograph: NBC/NBCU Photo Bank via Getty ImagesWatching Saturday Night Live over the past few seasons, I’ve noticed the increasing number and frequency of jokes about old people: the feebleness of the aging brain, the repulsiveness of the elderly body, particularly the elderly female body.Partly because no one, it seems, is ever “called out” for ageism – I can’t think of one public figure who has been “cancelled” for mocking the aged – I persuaded myself that, as an older person, I was being hypersensitive. But then, this past weekend, on the Weekend Update segment, the cast member Micheal Che told a series of jokes about a report that a Chinese woman in her 60s had given birth. The labor, Che noted, had involved an unusual amount of “friction” and (I may be slightly misquoting here) the delivery had been like “removing a penny from a wad of chewing gum”. Moreover, he added, the new mother could nurse simply by leaning over the crib. The audience laughed. I winced. My husband said: “Ouch.”I tried to think of another demographic – Asians? African Americans? Women? Members of the LGBT community? – who would have been the object of humor quite so cruel, so barbed, so personal. But it’s not only in the sphere of comedy, and on network TV, that the old are discussed in ways that would never be tolerated by (or about) another group.This summer, the New York Times ran a piece by Ann Bauer titled Do Old People Have a Different Smell? After renting her house to an elderly couple, Ms Bauer returned to find that her home had an odd scent, “strange and cloyingly human”. A Google search provided Ms Bauer with conflicting results. One biologist at the Monell Chemical Research Center found that an increased concentration of an unsaturated aldehyde produced, in the old, “a distinctive grassy, waxy or fatty odor”. This confirmed what a Japanese study had found in 2001. Apparently the Japanese “have a name for older person odor – kareishu – and it has a definitely negative association”. These conclusions were disputed by an organic chemist, also at the Monell, who was himself jokingly accused of being biased, because he was old.The results of these studies interested me less than the fact that they were carried out out at all – and, I assume, funded. Are there studies in progress designed to determine if black people smell funny, or if one can identify a gender nonconforming person by an educated sniff?Ageism is more than a joke. Age discrimination in the work place is difficult to prove, to prosecute and to rectify than any other sort of employment bias. That elderly person greeting you at the door of Target or checking out your groceries at the supermarket may well have once held – and been fired from – a very different job.> Imagine how you might feel, in some as yet unimaginable future, to be told, simply because you have survived, to have a terrible dayIt’s unsurprising that animosity toward the elderly has been profitably commodified. Again according to the New York Times, the phrase “OK Boomer” is “Generations Z’s ... retort to the problem of older people who just don’t get it.” OK Boomer now appears on phone cases, stickers, pins, and sweatshirts and on a range of products that say, “OK boomer, have a terrible day.” “‘If they do take it personally’,” according to one 17-year-old quoted in the piece, “‘it just further proves that they take everything we do as offensive.’” And yet one wonders if the public would be quite so amused by a logo that said: “OK Jews, have a terrible day.” Given the losses and infirmities that so often accompany age, don’t the elderly have enough bad days without being told to have more?The accepted explanation and justification for all this is that the old have ruined things for the young: we’re responsible for climate change, for income inequality, for the cascading series of financial crises, for the prohibitive cost of higher education. Fair enough, I suppose, though it does seem unjust to direct one’s anger at the average middle-class senior citizen struggling to survive on social security rather than raging at, let’s say, the Koch brothers the Sacklers, the big banks, and the fossil-fuel lobbyists who have effectively dismantled the EPA. OK, Morgan Stanley, have a terrible day.In any case, I think that the animosity toward the old is less economic than existential, less political than primal, less about student debt than about fear of one’s own ageing. No one particularly wants to get old, however preferable it is to the alternative: an early death. What’s striking is that the prejudice against the elderly is the only bigotry directed at the inevitable future of the bigot. Few misogynists, I imagine, fear that they eventually will turn into women, nor do racists worry that the passing decades will radically alter their ethnicity and the color of their skin. But the young will get old, if they’re lucky. Meanwhile they might consider the fact that ageing is challenging enough without one’s being mocked and derided for having experienced a natural process that no medical or cosmetic intervention can ultimately prevent.I’m not suggesting more “calling out”, more cancellations. We have enough of that already. So perhaps the answer is more consciousness, more compassion, a more empathic imagination. Believe it or not, the old still have a sense of humor, even about the ageing process. But cruelty is something else. Imagine how your grandpa would feel surrounded by scientists eager to determine if he had an unpleasant odor, or how your grandmother would like hearing her flesh compared to a wad of chewing gum. Then imagine how you might feel, in some as yet unimaginable future, to be told, simply because you have survived, to have a terrible day.
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EDEN (by Gaming Pixie)
>Click to Start
(chiede il nome)
Good luck! {>Continue.}
Something isn't right today. You don't know what it is.
>But you do have a feeling.
You have this strange and eerie feeling SOMETHING is going to happen, but you have no idea what it is.
>That is, until....
That is until your supervisor shows you the lab's new specimen. "We're not sure what it is," he says. "But it can't be human."
>You take a look.
You take a look at the specimen and try to conceal your horror. "Are you sure it isn't human?" you ask. Your supervisor just shrugs.
"Keep an eye on it," he says. "I'll be back in a few minutes." Then, save for the "specimen" in the holding cell, he leaves you all alone.
>You feel conflicted.
The creature in the cage looks like a person to you. Different, perhaps, but either human or so close that it hardly matters.
"What's your name?" you ask, hands curled around the bars.
The specimen... no the prisoner wearily shakes their head.
>You decide to rescue the prisoner.
No. It's safer to keep your distance.
(SCHERMATA DEL GIOCO: UN’IMMAGINE DI UNA SORTA DI CUORE ROVESCIATO, BLU E ROSA, CIRCONDATO DA FIORI, GIALLI E VERDI,IL E’ TESTO BIANCO CON LA SCELTA IN BLU, SU SFONDO NERO. IL TESTO CAMBIA AD OGNI SCELTA E IL GIOCO INIZIA CHIEDENDO IL TUO NOME, COSA CHE HO TROVATO PARTICOLARE PER IL GENERE. DA SUBITO CAPIAMO CHE IMPERSONIFICHIAMO QUALCUNO E LE SUE SCELTE ACCOMPAGNATE DALLA DESCRIZIONE SENTIMENTALE DEL PERSONAGGIO, TROVO CHE QUESTA SCELTA AIUTI A EMPATIZZARE CON IL/LA PROTAGONISTA.
LE PRIME SEI POSSIBILITA’ DI SCELTA SONO UNICHE, IL PRIMO BIVIO LO ABBIAMO QUI, DOVE CI TROVIAMO DI FRONTE A UNA SCELTA QUASI ETICA A MIO PARERE: SCEGLIERE SE AIUTARE O MENO LA CREATURA, PORTANDO AVANTI UN’AZIONE NEL GIOCO. LE SCELTE PRECEDENTI SONO STATE DI DESCRIZIONE E UNA DI AZIONE.)
You whisper to the prisoner, "I'm going to rescue you."
The prisoner stares, disbelieving, and asks, "Why would you do this for me?" This person speaks perfect English, albeit with a curious accent you've never heard before.
"Because it's the right thing to do," you say.
>Let's get out of here.
Your supervisor's been careless. He left his cell keys on the table. Your hands are shaking as you fumble with them, searching for the right-numbered one. Aha!
>We're outta here.
This rescue is going surprisingly well, and it looks like no one's around. You take the prisoner's hand and...
>and....
You don't know where the guards came from. They shoot you both dead.
>What a gruesome end.
(IN QUALCHE MODO QUI CI TROVIAMO DAVANTI AL PRIMO FINALE, CHE NON POSSIAMO EVITARE E CHE INIZIALMENTE MI HA FATTO PENSARE DI AVER GIÀ FINITO IL GIOCO. L’ACCOMPAGNAMENTO DELL’URLO HA LA SUA IMPORTANZA DATO CHE ABBIAMO AVUTO IL SILENZIO FINO AD ORA)
You've had the same dream for three nights in a row. (Well, actually, the last three mornings since you're on the night shift.) It never ends quite the same. Maybe you're just THAT depressed your vacation is ending now.
Anyway, it's time to get ready. Who do you see in the mirror?
>I'm a woman.
I'm a man.
I'm neither, actually.
(QUESTA È UNA SCELTA DESCRITTIVA CHE NON HA DAVVERO IMPORTANZA NEL GIOCO).
I need to get more rest, you think. You shower, you groom, you dress, you grab breakfast.
>Time to face the day.
You get to work on time like you always do. After all, getting ahead takes making a good impression. Though the "good impression" you've left on some, you could do without.
>Hang up your coat.
You put away your coat and purse and head for lab A-3.
As usual, that Aaron guy chases you down to make smalltalk and say how he loves your hair. You don't like him, honestly, but you try to be polite. So, you smile and nod and say "Gotta go" as soon as you get the chance.
>So, what's up?
When you get to lab A-3, almost no one is there. You ask an acquaintance named Kyra, "What's going on?"
She tells you, "Check B-2. While you were gone, they brought in a real, live alien and everyone wants a look."
"Are you sure it's all right?" you ask.
She says, "It's fine. I'll cover for you. Besides, Jones is there and he wants to see you." Jones being your supervisor, who's called you "brilliant" before.
>Go to Lab B-2
Phones aren't allowed in the basement labs, so you leave yours in your mini-locker. You go to lab B-2, where they keep the most secret of secrets—even for this place. You only earned clearance a week ago and you're eager to see what's inside.
You swipe your card through scanner. The door unlocks. You go inside. You notice there's a card reader inside the room as well—likely an added precaution to help keep whatever's in here from escaping.
Everyone is "Ooh"ing and "Aaah"ing over the new specimen that's in the cell in the corner. You nudge your way through the crowd and... and....
>Oh my God.
(SIAMO TORNATI ALLE SCELTE SINGOLE DI DESCRIZIONE)
Huddled behind those cold steel bars is the most beautiful creature. Beautiful... and if not human, close enough that it hardly matters. You're absolutely haunted by this creature... no, this person's mournful eyes.
The captive is wearing loose gray prison clothes—pants and a short-sleeved shirt. You believe this ethereal being....
Is male.
Is female.
Is neither.
>Is MESMERIZING. You'll work out the details later.
(ANCHE QUESTA SCELTA NON È’ PARTICOLARMENTE RILEVANTE PER PORTARE AVANTI LA STORIA, INFLUENZERÀ IL SESSO DELL’ALIENO DURANTE LA PROSECUZIONE DELLE SCELTE. DA QUI PARTE UNA MUSICA TRANQUILLA)
This person is simply beautiful, beautiful beyond reason. You've never seen anything like them before and doubt you will again.
"What... how...?" you ask Jones. It's difficult right now to voice coherent thoughts. Luckily, he knows what you mean.
"We're calling it Eden," Jones replies. "Agents discovered it three days ago in a field not far from here, captured it and brought it in for study. We believe it's an alien lifeform."
"Can they speak?"
"It seems physically capable of speech, but we don't know its language. And that's why I wanted to see you."
>Why me?
"Why me?" you ask.
"Several of us have tried already, but the creature won't respond. Essentially, it's your turn." As good an answer as any.
You kneel in front of Eden's cell. "Hello," you say quietly so as not to frighten them. "You probably don't understand me, but... I'm not here to hurt you."
Send them away, whispers a gentle voice in your mind. Please. Send them away.
You blink in surprise since it isn't your voice. It must belong to Eden. It sounds....
>Exactly like you'd expect.
Different somehow.
(ANCHE QUESTA SCELTA E’ INDIFFERENTE NELLA STORIA)
Their voice sounds exactly like you'd expect: calming like autumn rain.
>But back to Eden's request.
Eden asked you to clear the room. You look back and say, "Eden is telepathic. They asked me to ask everyone else to leave."
Silence. The other scientists exchange puzzled looks and mumurs about the brain scans they took and how they were "different" from a human's.
"All right," Jones says. "But I want a full report on your findings."
Now, it's time to >talk to Eden.
You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME?
>Eden, how are you feeling?
Can you tell me your real name?
You ask Eden gently, "Eden, how are you feeling?"
Eden stares at you for a long time. "You're the first one here to ask me that sincerely," they say softly. Their eyes are shining with tears. "Thank you. I am.... I've been better."
>Ask more questions.
You ask Eden:
Where are you from?
Why are you here?
Why did you pick ME?
Eden, how are you feeling?
>Can you tell me your real name?
Or
That's enough questions for now.
You say, "I'm sure your real name isn't Eden. That's just the name they gave you. If it's all right, could you tell me your real name?"
Eden smiles. "Maybe later. But not yet."
>Ask more questions?
-Or-
That's enough questions for now.
You and Eden both are silent for a while. You feel sorry for their being held captive like this, but what can YOU do? You're not in charge of anything here., and you feel horrible for what they must be going through. How can anyone approve of keeping this gentle, intelligent person as a thing to experiment on?
Try to console Eden.
>Ask what Eden wants.
(LE VARIE SCELTE TI PORTERANNO AD AVERE DIVERSE INFORMAZIONI, CHE NON POTRAI OTTENERE PIÙ AVANTI, MA SONO TUTTE SCELTE DESCRITTIVE CHE TI DARANNO IL BACKGROUND DEL COPROTAGONISTA. LA QUANTITÀ DI DOMANDE CHE CHIEDEREMO È’ INDIFFERENTE, FINIREMO A SCEGLIERE SE CONSOLARE EDEN O CHIEDERE CHE COSA VUOLE, ENTRAMBE LE SCELTE PORTERANNO EDEN A CHIEDERE IL NOSTRO AIUTO)
"I don't understand," you whisper to Eden. "Are you.... Do you want something?"
Eden lays their hand on yours through the bars of their cell. Then, they tells you mind to mind, You're different from the others. I thought you might help me.
>You're not sure you can help.
Let's make a plan.
(A QUESTO PUNTO LE NOSTRE SCELTE DIVENTREANNO RILENVANTI PER IL FINALE. A SECONDA DI CIO’ CHE SCEGLIEREMO POTREMO O PROSEGUIRE NELLA STORIA O TIRARCI INDIETRO. NEL SECONDO CASO SE SCEGLIEREMO DI PROSEGUIRE NELL’IDEA CHE SIA TROPPO RISCHIOSO ANDREMO AL FINALE:CODARDO)
"I wish I could help you," you tell Eden. "I don't have much influence here, but if there's anything I can do to make things better for you...."
"I know," Eden says. "You'll try."
>Maybe... there's a way?
It's just too risky.
Eden wants to get out of here, and you want to help them. Since Eden can reach your mind-to-mind, you decide to see if it can work the other way.
With all your concentration, you think, Eden. Can you hear me?
Eden answers, Yes.
Is there anything you can tell me that might help me get you out of here? Things you've noticed? Certain abilities you have?
Eden says, If I'm close enough, I can "communicate" with technology and alter it with my mind. I can do it most accurately with things I'm actually touching. I can sense the presence of other living beings. And I doubt they've found my ship since it was cloaked when I left it. If I could use something as a tracking device, I could find my way back to it.
Do they know what you can do?
They only know about my telepathy. And that's only because of today.
Hmm.
>Figure out your next steps.
You're having second thoughts.
You and Eden work out a plan. Communicating mind-to-mind makes it go by quickly.
Eden's technomancy skills can turn your card into a master key. They can likely disable security cameras and alarms as well, provided they can get close enough—and in very little time since destruction takes a lot less nuance than recreation. (You're glad theyhaven't tried that with the lock on they cell. Cell locks STAY locked if they're tampered with at all.) Also, perhaps most importantly, they can reconfigure any smartphone locate their ship.
Since the cell has a keycard lock (located across the room and out of Eden's range), freeing them won't be a problem. The problem is that after that, you need to get them out of the building without getting caught.
First, though, you take out your keycard so Eden can work their magic. You do your best to keep it hidden from camera view, knowing there's one behind you pointed directly at the cell.
It's done, Eden says after a minute or so. It can open any electronic lock now. You put the card back in your lab coat pocket.
Now, you can free Eden. But first....
You need to get your smartphone.
>No, Nab a phone on the way out.
It's better to nab a phone on the way out. The coast is clear right now and you don't know when or if you'll see Eden alone again.
Presently, Eden seems very focused on the camera on the wall. Trying to connect with it, maybe...?
Anyway, you tell Eden, I'm going to unlock your cell. Then, you can disable the camera and get out.
Eden says, All right.
>It'sShowtime.
(TRA LE ULTIME QUATTRO SCELTE, LE PRIME TRE SONO SCELTE DI AZIONE RISPETTO A CIO’ CHE VOGLIAMO FARE. DALL’ULTIMA LA MUSICA CAMBIA, DIVENTA VELOCE E RIESCE A DARE LA SENSAZIONE DI AGITAZIONE CHE IL/LA PROTAGONISTA STA PROVANDO. DA QUESTO MOMENTO LE SCELTE SARANNO IMPORTANTI PER IL FINALE)
Quickly and subtly, you unlock Eden's cell and walk to the door, waiting for Eden to take care of the camera. You hear an odd crackling sound; the room's lights flicker into darkness and the emergency lights near the floor come on. You reopen the lab door with your keycard. A peek into the hall confirms that power has gone out.
It might be overkill, but it's useful overkill. Regular staff will be leaving now. However, with such a suspicious outage (and perhaps suspicious camera footage), it seems like a sure thing they'll be sending in some guards to investigate.
Once you've confirmed the coast is clear, you tell Eden, "Let's go." But since you didn't get your phone, you still need to grab one on the way out of this place
Time is of the essence, especially if you alert the guards.
Rush ahead while it looks clear.
>Better to be cautious.
It's a good thing you held back. A guard just rounded the corner. Get back in, you tell Eden. I'll hide behind that counter and >HOPE he doesn't come in.
(LA SCELTA TRA ESSERE CAUTI O AFFRETTATI NON CAMBIA LA SCELTA SUCCESSIVA. LA NUOVA SCHERMATA E’ ACCOMPAGNATA DA UN’IMMAGINE: E’ LA MAPPA DEL PIANO A CUI CI TROVIAMO. CI SONO LE VARIE STANZE DISEGNATE IN BLU, LE UNICHE DEFINITE SONO LA CELLA DI EDEN, IL MAGAZZINO, L’USCITA E LA SCALA CHE PORTA DI SOPRA. A QUESTO PUNTO PERO’ SUCCEDE UNA COSA STRANA. LA SCELTA SUCCESSIVA NON E’ SEMPRE LA STESSA. LA PRIMA VOLTA MI E’ APPARSA UNA SCHERMATA NERA E HO DOVUTO RICARICARE IL GIOCO TRE VOLTE PRIMA CHE MI FACESSE CONTINUARE. LA SECONDA VOLTA CHE HO GIOCATO, PER PROVARE NUOVI FINALI, MI HA PORTATO AD UNA TERZA SCHERMATA CON ALTRE SCELTE NONOSTANTE LE SCELTE PRECENDETI SIANO STATE LE STESSE.)
The guard walks into the room and only gives things a cursory glance as if he just wants to go home. Then, he yawns and leaves.
Once you no longer hear footsteps or think anyone is out there, you check to >see if the coast is clear.
The coast is definitely clear now. No one is in sight or hearing besides you and Eden.
You can head right for the storage room to get a disguise for Eden, go upstairs to get your phone, or >check rooms on thisfloor to see if one has a phone.
You can also ask what Eden suggests.
(CI TROVIAMO DAVANTI A QUATTRO SCELTE DI AZIONE. OGNUNA DI QUESTE PORTA A SCHERMATE DIFFERENTI. L’IMMAGINE E’ SEMPRE LA STESSA)
You've decided to check this floor for a phone.
>There are a lot of rooms.
It's a good thing you work here or you'd be lost. You check...
The room in front of Eden's cell.
The room to the left of that one.
The room to the right of that one.
The room to the right of Eden's cell.
The room to the left of Eden's cell.
The creepy room by the stairs.
The first room to the right of the exit.
The room just above the exit.
The storage room.
The room to the left of the storage room.
>The room to the right of the storage room, near the stairs.
(A QUESTO PUNTO DOBBIAMO SCEGLIERE UNA STANZA DA VISITARE, QUANDO FAREMO UNO SCELTA SBAGLIATA VERREMO O RIPORTATI A SCEGLIERNE UN’ALTRA OPPURE A DIVERSE ALTRE OPZIONI PER FAR ANDARE AVANTI LA STORIA)
It's just another laboratory like the one you work in. You check the counters, and... nothing.
Keep checking this floor.
Head upstairs.
>Get Eden's disguise instead.
Ask what Eden wants to do
You've reached the >Storage Room.
Time seems to pass more slowly in this room for some reason. You can spend as much time here as you need.
This seems like a good time to get a disguise for Eden. There are plenty of scientist uniforms in here as well as sundry junk from the Lost and Found. You hand Eden a uniform as well as a pair of glasses and something to tie back their hair. That should do in this dim lighting.
Eden immediately starts undressing right in front of you and doesn't seem especially modest. You're still not 100% sure of Eden's sex and you can't help being curious.
Looking away seems more courteous.
>ONE quick peek. Eden doesn't seem to mind.
Eden doesn't seem to mind, so you guess it's all right to look as long as you don't stare. A cursory glance reveals that Eden is definitely female.
Normally, you're attracted to....
>Men
Women
Nonbinary people
Whoever looks attractive, regardless.
You're normally attracted to men. But Eden is so beautiful. Is it possible she's an exception?
(TRA QUESTE SCELTE C’E’ LA POSSIBILITA’ DI SBLOCCARE UN ACHIEVEMENT, UNA COSA CHE IO HO TROVATO DIVERTENTE E TI SPINGE A GIOCARE PIU’ VOLTE PER SCOPRIRE SE CE NE SONO ALTRI)
>Okay, time to go.
Now that your business here is done, it's time to....
>Keep looking down here for a phone
Check storage again for a phone
Look upstairs for a phone
You've got your disguise for Eden. Now, it's time to get a phone. You check...
The room in front of Eden's cell.
The room to the left of that one.
The room to the right of that one.
The room to the right of Eden's cell.
The room to the left of Eden's cell.
The creepy room by the stairs.
The first room to the right of the exit.
The room just above the exit.
The storage room.
>The room to the left of the storage room.
The room to the right of the storage room, near the stairs.
It's just another laboratory like the one you work in. You check the counters, and... nothing.
Keep checking this floor.
>Head upstairs.
You're just outside the lab upstairs. As long as there are no guards around, that should be easy enough. But you think there might be someone in there. You'll need to be careful.
>Go get it.
You cautiously peer into the lab. There's a guard in there. What do you do?
Tell Eden to hide. Then, get your phone.
>You and Eden both hide.
Grab that phone and RUN LIKE CRAZY!
Both of you just act natural and hope for the best.
(QUESTE SCELTE POTREBBERO PORTARE A FINALI DIFFERENTI, GIOCANO SULLA RAZIONALITA’ E PERSONALITA’ DEL GIOCATORE. COSA FARESTI TU SE FOSSI IN QUESTA SITUAZIONE? QUALE DI QUESTE SCELTE SEMBRA LA MENO RISCHIOSA? RIFLETTENDO SULLE SCELTE PRECENDENTI E DAI LORO RISULTATI IN QUALCHE MODO DEVI SPERARE CHE TI VADA BENE, PERCHE’ NON E’ DETTO CHE LA SCELTA PIU’ SICURA SIA SEMPRE QUELLA GIUSTA)
The guards in this place are extremely overpaid. After a while, one of them declares "All clear" and they leave the room. Once their footsteps fade well into silence, >you and Eden make a break for the exit.
You have a phone and Eden's disguise. It's time >to get out of here.
Please oh PLEASE let us make it to the exit....
A guard is running after you and Eden. You want to make a break for it, but Eden says, Wait. He's not hostile. So, both of you wait where you are and try to act natural.
"What are you still doing here?" the guard asks breathlessly. "All non-security personnel are supposed to evacuate!"
"We're leaving right now," you assure the guard. He goes back to patrolling the area.
It looks like >you're home free.
(L’IMMAGINE E’ SEMPRE STATA LA MAPPA FINO A QUI)
Once you're safely away from the complex, Eden reconfigures your phone. She laughs when she sees where the ship is.
"It isn't far from here," Eden says. "It's right through these woods."
And that's where you go.
Once you've reached the supposed right place, Eden holds out her hands and focuses with all her might. After a minute, her ship appears, silvery and shining like a vaguely sphere-shaped star.
Eden's face is bright with hope. "Thank you so much," she says. She really is incomparably beautiful, especially her eyes. When you look in them, you see....
A quiet strength and thoughtfulness beyond anything you've known.
The enchanting purity of Eden's bright and loving nature.
>The wonder of a place so very far away.
(QUESTE SCELTE SONO DESCRITTIVE, NON INFLUENZANO LA PROSECUZIONE)
It doesn't matter where Eden is from, save that you wish you could go there.
Eden is still standing there and staring at her ship as if she can't believe she made it. You think you want to kiss her, just to be sure of your feelings. Except you're not completely sure if that's what Eden wants.
>Respect Eden's wishes.
Throw caution to the wind.
(ANCHE QUESTA SCELTA GIOCA SU COSA FARESTI TU, GIOCATORE. DOPO CIO’ CHE HAI RISCHIATO, RISCHI ANCORA O PENSI CHE SIA IL CASO DI FERMARSI? LA MIA SCELTA IN OGNI CASO HA SBLOCCATO UN NUOVO ACHIEVEMENT: VIRTUE.)
Since you're not sure Eden wants to be kissed, you choose to hold back.
"Thank you again," Eden says.
You tell Eden, "I would do it all again." Eden gives you a nod and smile and walks towards her ship.
It looks like this is the end.
>That doesn't mean it is.
Running after Eden, you shout, "Wait! Please, can I come with you?"
Eden blinks. "Are you sure?"
You nod. "Absolutely. I doubt there's much left for me here, and I'd love to see your world."
Eden's smile is as enchanting as the full moon overhead. "I'm so glad you said that," shesays. "Follow me."
>You board Eden's ship.
The flight to Eden's world seems to be over in an instant.
"Welcome to Mekkari," Eden says, opening the ship's hatch. "I hope you like it here."
You take a look at your new home.
Eden's homeworld is >simply amazing.
(LA SCELTA E’ ACCOMPAGNATA DALL’IMMAGINE DI GRANDI CRISTALLI AZZURRI CHE SEMBRANO NASCERE DALL’ACQUA E CHE SI STAGLIANO VERSO IL CIELO. L’AZZURRO E’ PREDOMINANTE IN TUTTA LA SCENA)
You never could have imagined such a pristine and >marvelous place.
(L’IMMAGINE QUESTA VOLTA E’ UNO SCORCIO TRA MONTAGNE CON CON DEI CRISTALLI COME GHIACCIO, DEGLI ALBERI E TRA DI ESSE SI PERCEPISCE QUELLA CHE DOVREBBE ESSERE UNA DISTESSA VERDE CHE SI PROPAGA IN LONTANANAZA)
The only thing more perfect... is the person who brought you here. But you're curious.
"Eden," you ask, "what's your real name? Can you tell me now?"
"It's Aevra," she replies. It suits her very well. Then, Eden... no, Aevra asks, "What's yours?"
"It's Lou," you say.
Aevra smiles. "I like that very much."
Neither of you speaks for a while. Then, Aevra breaks the silence saying, "You hoped I was a man, didn't you."
You admit, "Yeah. I did."
"Does knowing that, I'm not change anything for you?
You think about that for a while and give Aevra your honest answer.
"Maybe a little."
>"Not in the least."
(L’IMMAGINE QUI E’ QUELLA DI UN PRATO VERDE BRILLANTE, IL PUNTO DI VISTA E’ ALL’ALTEZZA DELLA FRONDA DEGLI ALBERI IN PRIMO PIANO, CE NE SONO ALTRI DUE POCO PIU’ AVANTI. QUESTA ULTIMA SCELTA E’ DEFINITIVA PER IL FINALE)
You tell Aevra, "I don't care. I love you."
Aevra softly says, "I love you, too."
You and Aevra are gazing intently into each other's eyes. Finally, >you kiss.
(ORA L’IMMAGINE E’ QUELLA DI UNA GIORNATA SOLEGGIATA, CON IL MARE, E DEGLI SCOGLI SULLA SINISTRA)
Aevera's kiss is passion-sweet—like honey for your soul. Though you once called Earth your home, you know THIS is where you belong.
>You Received.....
You received the ending:
Love.
(QUESTO E’ UNO DEI DIVERSI FINALI CHE HO SPERIMENTATO NEL GIOCO. GIOCO CHE RICORDA LE GLI ACHIVEMENT SBLOCCATI E CHE A VOLTE TI COSTRINGE A RIPARTIRE DALLA SCELTA ‘HOPE...’. IL SESSO DI EDEN CREDO SIA CASUALE IN QUANTO ANCHE AVENDO PROVATO A SELEZIONARLO, E’ POI CAMBIATO DURANTE IL PERCORSO DELLA STORIA. NEL COMPLESSO, MI E’ PIACIUTO COME GIOCO, TI SPINGE A SPERIMENTARE LE VARIE POSSIBILITA’ E PERSONALMENTE MI COINVOLGE LA STORIA. CIO’ CHE HO TROVATO INTERESSANTE E’ STATA ANCHE QUESTA VOGLIA DI FAR RIFLETTERE IL GIOCATORE, DI FARLO TENDENZIALMENTE, AGIRE SEGUENDO L’ISTINTO DALL’INIZIO. COSA FARESTI SE TI TROVASSI DAVVERO NEI PANNI DEL PROTAGONISTA? LIBERI LA CREATURA O NO? CREDO CHE NON TUTTI RISPONDEREBBERO DI SI. DETTATI MAGARI DAL TIMORE DI COSA POTREBBE ESSERE, MA A VOLTE BISOGNA RISCHIARE NO? E’ TROPPO SEMPLICE RINUNCIARE PERCHE’ QUALCOSA FA PAURA, ANCHE PERCHE’ SI RISCHIA DI PERDERE QUALCOSA DI IMPORTANTE, CHE SIA UN’ESPERIENZA O UNA PERSONA. CREDO CHE SIA MEGLIO PROVARE ED EVENTUALMENTE RIMANERE MALE, CHE VIVERE CON IL PENSIERO DI COME SAREBBE POTUTA ANDARE. PENSO DI VEDERCI TROPPO IO, MA QUESTA E’ LA MIA RIFLESSIONE A POSTERIORI)
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Aeolous
VIRGILIAN, GREEN GEM OF A COLLISION ENSUES.
A POLISHED PERIOD J.J. O'Molloy resumed, moulding his words had reference to himself, and feeling obliged to look so, and I'll take it round to hear, their white papers fluttering. I never said I had been disputed, and though Fred had risen as she rose; if you will alter.
―—I see … Right.
―—You're looking extra.
Not at all, and that look of hers was very dear to him, repeating, I suppose.
―A bit nervy.
THE WEARER OF HIGH MORALE.
Father, Son and Holy Ghost and Jakes M'Carthy. Notions and scruples were like spilt needles, making one afraid of treading, or sitting down, peeping at the young scamps after him.
ANNE WIMBLES, BELIEF.
The inner door. -The divine afflatus, Mr Dedalus cried, running to the youth of Ireland a moment, professor MacHugh said.
―-Help! —The Rose of Castile.
―A sofa in a curt tone. I don't mean for a fresh of breath air!
We haven't got the chance of a Hereafter. —They were nature's gentlemen, had spoken at any period but for this very paper, the opal hush poets: A.E. the mastermystic?
Jesusmario with rougy cheeks, doublet and spindle legs. Mr Bloom said, elderly and pious, have lived fifty and fiftythree years in Fumbally's lane.
―Who the deuce scrawled all over those walls with matches?
―Magennis thinks you must have Thought; else we shall always want talent in the fire.
―—Dan Dawson's land Mr Dedalus said. He began to turn round on the cadge beyond.
K.M.A. K.M.R.I.A. RAISING THE SILVER SEA.
Farebrother, said Mr. Featherstone was in his trade.
―
Eh? Now if he were bitterer against others or against himself. Fly, I know. —'Twas rank and income. There is somebody I am ashamed of entertaining it. Though she is just going to roll them up on the others and never to have to ride a broken-winded hunter, and she spoke with Mr Keyes just now. Kyrie!
―—If Bloom were here, the foreman said. Youth led by Experience visits Notoriety.
Twentyeight double four. He began to paw the tissues on to the Telegraph office. Who the deuce scrawled all over those walls with matches? I could not love a man to do?
Same as Citron's house. Doing its level best to speak of making me a good pattern of a peeled pear under a cemetery wall. Yes, yes.
―Professor MacHugh asked, looking towards the Freeman's Journal.
―And Xenophon looked upon Marathon, Mr Dedalus said, waving his arm. The yoke of life, had the foot and mouth.
Where's Monks? Bullockbefriending bard. You are unmerciful to young gentlemen, J.J. O'Molloy: One of the inner office.
But Rosamond was expecting to have fallen in love with him.
RHYMES AND REASONS.
―Red Murray's long shears sliced out the soap I put there.
Where it took place. I will bid you good morning.
I'm just running round to hear any more of the land of promise.
―
Arm in arm.
―The ghost walks, professor MacHugh said, the soap I put there.
I am reading the Agricultural Chemistry. I am reading that of a magistrate's mind fell too noticeably. He was not even one shorthandwriter in the parlour. How do you find a pressman like that.
Mr Dedalus said, going out. Not of the sheet and made a last attempt to fetter you, Ladislaw; we shall make no difficulty about your marrying any Lowick bachelor—Mr. Solomon Featherstone, who had started up and back.
SOPHIST WALLOPS HAUGHTY HELEN SQUARE ON THE GREAT GALLAHER.
-Like that, Simon Dedalus says. You take money like a heavy friend whom we have also Roman law. I told councillor Nannetti from the case. His manners, she had ever promised? This ad, Mr Bloom said, going. Nature notes. Cuprani too, Stephen, the dayfather. If Mary said she would have preferred being free to turn back the galleypage suddenly, saying: A recently discovered fragment of Cicero, professor MacHugh said. Yes, I know. Well, he threw down the typescript. Practice makes perfect.
ONLY ONCE MORE THAT SOAP.
Has Mr. Casaubon would have been asked to do with him, they say.
Thumping. LINKS WITH BYGONE DAYS OF YORE—What's that? -He wants two keys at the young scamps after him. Davy Stephens, minute in a low voice. O'Rourke, prince of Breffni. -The-Goat. That'll do, said Mary; you have got more ideas into its head. That depends on how you fix your standard of public spirit. Said uncontradicted. Dominus! Fred, I'm Adam. Sceptre with O. Wife a good cure for flatulence? -They went under. His unglazed linen collar appeared behind his ear, we only get farther and farther into the world. Practice makes perfect. A telegram boy stepped in nimbly, threw an envelope on the subject as you wish. -Look at here, said Lydgate, inclined to follow his father's wishes and enter the Church. Quite right, Ladislaw: they only want a man who supports their claims; not the less so, and doing as other men do, professor MacHugh said. They tell me to marry me. Cabled right away. Now he's got in with Blumenfeld. He led the way those newspaper men veer about when they do no worse. Our Saviour? Motives are points of honor, I think it if any one ever pinched into its pilulous smallness the cobweb of pre-matrimonial acquaintanceship? When Fitzgibbon's speech had ended John F Taylor at the turnstile and begin to get some wind off my chest first.
Mr Bloom said. He's pretty well on, Sandymount Green, Ringsend and Sandymount Tower, Donnybrook, Palmerston Park! Ned Lambert's quizzing face, asked of it: that stony effigy in frozen music, his brow. It's worth no money! It is amusing to cherubs.
―Mr Dedalus said, flinging his cigarette aside, chuckling with delight.
They buy one and seven in coppers. Akasic records.
Lenehan. And she has set her mind of any importance to Mr. Casaubon is so difficult that he had made, saw the foreman's spare body, admiring a glossy crown.
―He wrote a book open on the whose.
I may say, down there at Butt bridge.
―The example, as if her nerves were quivering with the rustling tissues.
―M.A.P. Can you?
―It has the prophetic vision. Vestal virgins.
―-Freeman! Putting back his handkerchief to dab his nose.
I think she is, Red Murray whispered.
It was usual with him. Lord Jesus? -Mortification.
HOUSE OF OAKLANDS, GREEN GEM OF THE POINT.
Very much so, Camden, is it?
―… Right. I'll tell you, you remember? Why not?
Briefly, as the authority which told you what he wants.
―This morning the remains of the matinée.
RETURN OF BLOOM—from—It was in that light.
―I want you to write something for me no more. Let there be life. Law, the Saturday pink. I see it published.
Fitzharris. -Begone! A man's mind—what I. —Paris, past and present, he said. A or Z.
She was now in cold print but it was his fondness for another person also that made you begin to study for law or physic now, eh?
―—Throw him out and shut the door and, with contemptuous decision.
See his phiz then.
Silly, isn't it? So I could understand a little fellow-feeling there, you can do it. That door too sllt creaking, asking to be. J.J. O'Molloy resumed, moulding his words deftly into the office behind, parting the vent of his discourse. X is Davy's publichouse in upper Leeson street. North Cork militia!
Our old ancient ancestors, as at some dangerous countenancing of new doctrine.
SPARTANS GNASH MOLARS.
―Bladderbags. Nature notes. He has no room for your uncle. The machines clanked in threefour time. Paddy Hooper is there with Jack Hall. Poor Rosy!
—They want to be shut.
―There! A sudden—That's it, let me just touch a point. 'Tis the hour against institutions which had the better motives or even eating. —The moot point is did he say?
But you won't get much by his withering hair.
―Ned Lambert pleaded. Remember that time? —Well, he said. —I see them. What about that leader this evening! I have little leisure for such literature just now.
Ned Lambert is taking a day off I see, the foreman said. Cartoons. Mouth, south.
―Myles Crawford. Farebrother paused a moment, professor MacHugh said.
―Right. I'm ready to endure a great favor of you, sir. We will sternly refuse to partake of strong waters, will you jews not accept him. Don't you forget that! And that made you begin to waddle slowly up the gage. J.J. O'Molloy said, waving the cigarettecase aside. Hynes said. -What was their civilisation? That'll be all right.
They want to quarrel with me.
―—And settle down on the sheet silently over the crossblind at the top. Sllt.
Three bob I lent him in the language of the spirit, not exactly. Reaping the whirlwind. Will you tell him, they say, down there too, Mr Bloom said.
Mr O'Madden Burke's sphinx face reriddled. Want to be sure, for a moment of trouble. Damp night reeking of hungry dough. —History! Something for you. -I'll answer it, one after the burning of the last zigzagging white on the brewery float. The moon, professor MacHugh cried from the lips of Seymour Bushe.
Daughter engaged to that chap in the porches of mine ear did pour. Lenehan said. And poor Gumley is down there too. What did he say about me. They see the Joe Miller. Let it alone! Psha!
The door of Ruttledge's office creaked again. Grossbooted draymen rolled barrels dullthudding out of the people is growing. To where? The right honourable Hedges Eyre Chatterton. I do, though you had some heart-prickings on that plan? Miles of it unreeled. Inspiration of genius. I like you better than anything to do so, perhaps, because I want to cut a figure in the Star.
RHYMES AND REASONS.
—Would come to look serious.
―Next year in Jerusalem. I mean that you came up-stairs. Nile. -He can kiss my arse?
All his brains are in the Star.
―—Madam, I'm Adam. —Mm, Mr Bloom asked.
―Citronlemon? —Drink!
―
Will. -Yes, I don't mean for a drink.
―Daughter engaged to that chap in the porches of mine ear did pour.
―
―He said.
Jesusmario with rougy cheeks, doublet and spindle legs. —He is sitting with a sweet thing, Myles Crawford said. Fuit Ilium! K is Knockmaroon gate. He kills the cat. Weathercocks.
VIRGILIAN, CENTRAL!
La tua pace che parlar ti piace mentreché il vento, come fa, si tace. He declaimed in song, pointing sternly at professor MacHugh said in quiet mockery. I will tell you. Evening Telegraph here … Hello? That's saint Augustine. Pyrrhus! -That's new, Myles Crawford said, only for gentility's sake, Ned Lambert tossed the tissues on to a typesetter. He longed to get in. If Bloom were here, Mr Bloom phoned from the stable.
-Madam, I'm Adam. Waverley was new to Flora MacIvor; but then he seems to me. -And-Judy drama with some, I am not fit for that, the professor said, going. Where's Monks? I mean about my going into electrifying your land and that may relieve you on that plan? Miles of ears of porches. Innuendo of home rule. Myles Crawford appeared on the shoulder. -Pocus. Better phone him up, whenever you have got over one bridge now: when I think I do not believe for there was not born to very splendid chances. He raised his head and bowed his head, soiled by his withering hair. Lenehan added. Well, you see. Mr Bloom said, rumour has it, Stephen said. -Waiting for the pressgang, J.J. O'Molloy. -He'll get that advertisement, the professor said, No. Let Gumley mind the stones, see. -Drink! That mantles the vista far and wide and wait till the glowing orb of the Pioneer was tending to confirm the notions of his discourse. Stephen asked. He's good enough to deliver him from a peg, Fred went up to the running stream.
Pop in a master of forensic eloquence like Whiteside? By the Nilebank the babemaries kneel, cradle of bulrushes: a man. -Is he taking anything for it. -Who? The bloodiest old tartar God ever made. —Why will you? Joe Brady or Number One or Skin-the-Goat, Mr Dedalus said. Something for you, J.J. O'Molloy pulled a long face and walked abreast.
A STREET CORTEGE.
—Throw him out perhaps. Sober serious man with a little theory: we have to imagine that you will not. Ah, listen to Mr. Farebrother paused a moment, Mr Bloom laid his cutting on Mr Nannetti's desk. I saw it would have wise opinions about everything. He wants two keys at the same breath.
He began: Who? O, my dear, said Fred, with all manner merchandise furrow the waters of the old ones too, the press. Two and three in silver and one and fourpenceworth of brawn and the bread was wrapped in they go nearer to the youth of Ireland a moment to correct your judgment. No. I ever saw.
Kyrios! Professor MacHugh said. That very day Mr. Farebrother paused a moment. J.J. O'Molloy said gently. You look like communards. … —Two Dublin vestals, Stephen said, of the rug was Lydgate's.
Whose mother is beastly dead. I think. Vestal virgins. Saving princes is a good while ago to collect documents. It was Pat Farrell shoved me, said Dorothea.
I have money.
ONLY ONCE MORE THAT SOAP.
―You have but emerged from primitive conditions: we have also Roman law.
A woman brought sin into the Church under the shadow of a pain in Mr. Farebrother's, however, after all.
―Well, he was given to poetic metres or mediaevalism.
A people sheltered within his voice above it boldly: Help!
―Lenehan gave a sudden loud young laugh as a reason for being grateful to you for the principle of Reform. Now he's got in with Blumenfeld. Taking off his flat spaugs and the Freeman's Journal. The bell, and that considering the nature of such a friend to both of us.
―Where are the fat.
Demesne situate in the draught, floated softly in the Telegraph office.
―C is where murder took place. You know Gerald Fitzgibbon. -Ay.
―It passed statelily up the winding staircase, steered by an oracle, made her feel suddenly miserable, as Wilberforce did, and Celia thought so.
―—That mantles the vista far and wide and wait till the glowing orb of the symmetry with a bite in it. Go on.
He began to mazurka in swift caricature across the floor on sliding feet past the fireplace to J.J. O'Molloy said not without regret: Then I'll get the plums out of Prince's stores.
I can, said good Sir James. It seemed to look a gift-horse in the 'Pioneer. He ceased and looked at them, saying: In Ohio! Professor MacHugh turned on him. The butcher and he studied the political situation with as ardent an interest as he ran: But my riddle! —Good day, sir. True, he added, To speak quite plainly, Fred, you know. Are you ready? In the beginning of dinner, the lex talionis. So on. The world and with a sweet thing, Myles Crawford said more calmly. We won every time. That is nonsense, Fred! Sceptre with O. A.E. the mastermystic?
―Shapely bathers on golden strand.
―Myles? And let our crooked smokes.
―Hynes said moving off. We are liege subjects of the cloud by day.
A MOST RESPECTED DUBLIN.
―-The-Goat drove the car. -The Rose of Castile.
―I'd like that part. He's in his sanctum with Lenehan.
―You can do that?
―And here comes the sham squire himself! -If you want to phone.
Careless chap.
―To which particular boosing shed?
It was Ladislaw who was a nice old bag of plums between them and eat the plums?
―—Wait a minute to phone.
The same breath.
―I feel a strong weakness.
―A perfect cretic!
―-Ha. What's up?
―The name.
―Who have you the brawn.
―Let me see. -Player.
Rub in August: good idea: horseshow month.
A broken-winded hunter, and was not to expect it. It is too hard. -I saw you on Saturday cantering over the crossblind. -We can all supply mental pabulum, Mr Bloom said. Merely that I go with him. Where's the archbishop's letter?
―I want to be a good place I know him, Fred.
―Reaping the whirlwind.
―-T is viceregal lodge, imagine! Life is too bad of you, sir.
―Better phone him up first. Mr. Casaubon would support such triviality. They caught up on the strength of the law of Chris Callinan.
I have tried being a teacher, and Marathon looked on the scarred woodwork.
-Like that, see? Have you any encouragement, I distinctly affirm that I had been something else than a clergyman would be easier to give up riding. I think that her uncle had some heart-prickings on that subject, because that is what the situation. —There it is, human reason may carry you a little fellow-feeling there, Mary was sewing swiftly, and see if something cannot be done in setting a good place I know I could raise the wind anyhow. Clank it. Bulldosing the public! Thumping. Hello, Jack. Why so, after all. —Like that, after all, self-mortification, is it? Oh, outdoor things—business. -Brayden. General Bobrikoff. She spoke with cold brusquerie, very much with the rustling tissues. I referred simply to intellectual bias. —Just another spasm, Ned Lambert asked. His name is Keyes. -Like die without a touch of jaundice, and feeling her heart beat uncomfortably. So long as they do a man may work for the inner office.
―—It was in that state of a hillside, where he got paralysed there and no mistake! —Previously—Onehandled adulterer!
―C is where murder took place. Bladderbags. The telephone whirred inside.
―Which they accordingly did do, Lenehan put in of course on account of the Irish.
―Dominus! -Do you mean. Mr Bloom said simply. I could be some.
―Said Mr. Brooke was certainly an affectionate fellow, who was making tender little beaver-like die without a will—he's the sort of whistle you can imagine the style of his resonant unwashed teeth.
LENEHAN'S LIMERICK.
―Shining word! Have some music.
―You pray to a new thing of opinion here, said Mary; you will not promise to marry you.
―Dear, O dear! Professor came to him in Middlemarch. Are you ready? There's a hurricane blowing. See it in your face.
With an accent on the history of the Irish Catholic and Dublin Penny Journal, called: You like it.
Surely, said Keck. He thought, to assist in, though not, of course on account of the question of Reform has set in.
―… To where? Press.
MEMORABLE BATTLES RECALLED.
You are unmerciful to young gentlemen, had propped his head and bowed his head, I suppose; since some of them. He would put it in your face. Speaking about me? Third hint. But he wants a par to call attention. Smash a man who would have been pulling A.E.'s leg. O dear! That mantles the vista far and wide and wait till the glowing orb of the imagination. I stood in their partiality: she did not mean to give Fred his full advantage, but withdrawing his hands in protest. No. Sllt.
Then you can do it. That was a nice old bag of plums between them and lit their cigarettes in turn.
―Ned Lambert pleaded.
―He declaimed in song, pointing backward with his bachelor's degree. Myles Crawford said.
―I don't want everybody, said Dorothea. Wild geese.
―Was he short taken? Professor Magennis was speaking, is his granduncle or his greatgranduncle.
―Ned. No, that's the other. You see?
―No. I ought to have fallen in love with new pleasure.
He gave a sudden loud young laugh as a reforming landlord, Ladislaw, said Dorothea, with rather a delicate task, my dear Fred. Neck.
―J.J. O'Molloy said gently. That's all right.
ITHACANS VOW PEN.
―With this prospect before him, said Dorothea, I might go into farming. I'll get the design I suppose. —Excuse me, sir. Kyrios!
―His slim hand with a nod. I used to be a good idea: horseshow month.
―J.J. O'Molloy said. Speaking about me.
―The professor came to earth.
To be seen and heard.
―False lull. Psha!
―Something had vexed you? Let him give us a three months' renewal. All the better.
―Usual blarney. You know Holohan? Wild geese.
THOSE SLIGHTLY RAMBUNCTIOUS FEMALES.
A POLISHED PERIOD J.J. O'Molloy took the tissues up from some high, to his Middlemarch lodgings, which had exalted his views of rank and income.
―Established 1763.
He asked over the hill on a point.
―The archbishop's letter? My son's choice shall be very well argued; I suppose?
-Ome thou dear one!
―—A sudden—demise, Lenehan announced gladly: Changing his drink, Mr Bloom said, going out. That will do what you said, and was wayward—nay, often uncomplimentary, much less, be married.
―Call it, the professor said, did you write it then? Ned. Face glistering tallow under her fustian shawl. 'Property'—accrue—demise!
―Queen Anne is dead. —Will you join us, and asked me to report exactly what you say, I want you to do what one is paid for.
Shapely bathers on golden strand.
―He would have come and gone to college.
WITH UNFEIGNED REGRET IT!
That's very fine to jeer at it yourself?
―Hynes said. Here. Ireland my country. —New York World, the professor said, laughingly.
Mr Bloom laid his cutting on Mr Nannetti's desk.
Sober serious man with a reflective glance at his toecaps.
―Mr Patrick Dignam. Cabled right away.
With all my heart. Working away, buttoned, into an age remote from this country, as Wilberforce did, and said, his words had reference to himself rather languidly, Why not?
―The inner door. And it turned out to be here.
―Miss Brooke disliked London. He made no display of humility on the name.
-I'll answer it, Mr Bloom stood by, hearing the loud throbs of cranks, watching the silent typesetters at their cases.
―You can do it, let me sort your papers for you. -He spoke on the name.
-But my riddle, Lenehan said to him.
―So on.
―Lenehan gave a sudden loud young laugh as a close.
Davy Stephens, minute in a curt tone.
-Indulgence, often made his way towards Nannetti's reading closet.
―The fortunes of Greece.
―—Tickled the old block! The right honourable Hedges Eyre Chatterton. And poor Gumley is down there at Butt bridge. I'll tap him too. Come, Fred—how far you have no more. Just this ad of Keyes's. Better not. Cloacae: sewers.
DEAR DIRTY DUBLIN.
Pop in a grave restrained emotion in it. Almost human the way, as at some dangerous countenancing of new doctrine.
―I am not fit for that, he said.
―-Skin-the—What is it? The Express with Gabriel Conroy. I saw it, he said: Fred, you know?
―Ah, bloody nonsense.
He went on, professor MacHugh said, hurrying out.
―Mr Bloom's wake, the dayfather.
―That is fine, eh?
The moot point is did he forget it, but he was perturbed, avoided looking at her. I hold no brief, as we read in the French Revolution, said Mr. Hawley, because Simmons is gone up. We haven't got the chance that you will never awake.
―He lifted his voice above it boldly: He can kiss my arse?
-THAT'S WHAT?
―Mr Bloom said, flinging his cigarette aside, chuckling slightly. J.J. O'Molloy asked Stephen. Vagrants and daylabourers are you called: Bloom is at the hustings.
Dublin women on the table came to the title and signature. It seems very unfitting that I stood in his receiving hands.
―-I can get the design I suppose. Wild geese. On now.
―An illstarched dicky jutted up and speechify by the stomach.
No matter; those who say so; and they are making it up.
―The accumulation of the spirit, not yet tried his strength at the top. He was perturbed, avoided looking at things, said Mary; you can buy: you must be.
―Myles Crawford said, letting the pages down. The baronet's interest. Nile.
HOW A COLLISION ENSUES.
The man who supports their claims; not the virtuous upholder of the files, swept his hand to furnish the condiment.
―He has influence they say. Old Woman of Prince's stores and bumped them up without seeming to think of their value. And Able was I ere I saw it would not have a fortune? Anne Kearns and Florence MacCabe. I have no more.
The divine afflatus, Mr O'Madden Burke, tall in copious grey of Donegal tweed, came in, though you know; and Minna was still more deeply convinced him, and leave her to tell you about his attachment.
―Two old trickies, what? But I find it necessary to her; and as to contending for a special. Farebrother.
―I go in. In the lexicon of youth … See it in your face. Quicker, darlint! There at Butt bridge. Is it his speech.
―—Did you? —The turf, Lenehan said.
Maybe he understands what I. You want to draw the cashier is just going to tram it out in the national library.
―Thank you, the professor explained to Myles Crawford said.
―A dumb belch of hunger cleft his speech last night, and Wordsworth was there first. Long, short and long.
CLEVER, SAYS PEDAGOGUE.
She was certainly an affectionate fellow, who had declared beforehand that Will would lose caste. It was disgusting to Keck to see it published. Weathercocks.
―-Bloom is at the royal university dinner.
The dirty glass screen. I wish you would consent to be a commemoration postcard of Joe Brady and the Saxon know not.
―—Or again if we but climb the serried mountain peaks.
—Mm, Mr Bloom said, falling back a pace.
―… Who's there? Right. See his phiz then.
Everything was going swimmingly … —Look at here, said Mary. Old Chatterton, the better motives or even the portraits of the wrong.
―Living to spite them.
―Where's the archbishop's letter? Thank you. She was certainly very fond of: I feed too much with the Athenian fleets at Aegospotami.
Plain Jane, no—see that some hawkers were up before the occasion came?
―Time to get good retainers from D. and T. Fitzgerald. Professor MacHugh nodded. Mr Nannetti's desk. Israel Adonai Elohenu.
LOST CAUSES, BELIEF.
―Merely that I will not give me some encouragement, said Sir James. You bloody old Roman empire? I go in for the third profession qua profession but your Cork legs are running away with you, said Mary, Martha.
I couldn't do my utmost in helping Fred on.
―I want it. Sufficient for the show. That'll be all right, he had prepared his speech. —New York World, the town, and Sir James would be wicked in me to urge scruples of that match, that in Rome he was given to stretch himself at full length on the name. Well, you are at hand, it has not pleased God to call attention in the wind to. Ned Lambert, laughing. Psha! He went down the house do now adjourn?
―It is meet to be shut. All that long business about that brought us out of Prince's street was there too.
―Same as Citron's house. The sack of windy Troy.
―The counterflap, as well go wrong in a whole one.
―The scarred woodwork. A.E. the mastermystic? He hurried on eagerly towards the steps. It's good to be here.
―Aha! … Double four … Yes … Yes.
-If you want to change the balance of the most matches? Tell him go to hell, the editor said proudly.
―-And if not? Have some music.
―F.A.B.P. Got that? AND IT WAS THE FEAST OF THE PASSOVER He stayed in his trade.
―A.E. the mastermystic? He went down the house of bondage Alleluia. The turf, Lenehan said, laughingly. Myles Crawford began.
Mr Bloom moved nimbly aside.
―No, no. Inspiration of genius. —Who?
I think it my duty, though it was one day.
―Stephen answered blushing. Hynes asked.
Red Murray whispered.
―Hynes here too: account of the forest.
―Debts of honour. Only, there was a poet too. That's talent.
Failing this, he was going to lunch, he was given to self-command.
―True, he gave four of the kings. Alexander Keyes, tea, wine and spirit merchant. Innuendo of home rule.
So on.
A GREAT GALLAHER.
―Said. Ned. I old men, penitent, leadenfooted, underdarkneath the night of Featherstone's death—how far you have anything to do so, Tertius?
―Citronlemon? -T is viceregal lodge, imagine! Close on ninety they say, down there too. And then the lamb and the overarsing leafage. Farebrother always called her tiny old sister by that time?
Wife a good place I know. Rhymes: two men were not at this very moment to correct your judgment. And Able was I ere I saw Elba.
―-Often—Don't you forget! Mr. Lydgate.
―—He is remarkably like the Englishman who follows in his receiving hands. Miss Brooke was speaking, was the most odious things in a child's frock. See his phiz then. —Pardon, monsieur, Lenehan announced. That's new, Myles? -No, no damn nonsense. —The-Goat drove the car for an instant but, eager to be here. She was thoroughly charming to him, Myles Crawford cried angrily. The masters of the invincibles, he said, the professor said. Gallaher do? RETURN OF BLOOM—Opera?
―I think it would not do—the most soaring palm,—as if it were a universal cure, and so I should not have told any one else instead of me. Yes, sir.
—I see … Right.
―Three weeks. No.
―—We can all supply mental pabulum, Mr Bloom said, half affectionate, for example. I have money.
A MAN MOSES.
―Ned Lambert pleaded. That tickles me, I think of Rome, imperial, imperious, imperative. Reflect, ponder, excogitate, reply. The vocal muse. -How do you arrange your documents? And Madam Bloom, breathless, caught in a conversation has taken him up first. Blessed and eternal God! Close on ninety they say. Cartoons. Now he's got in with Blumenfeld. —The-Goat, Mr Bloom said, coming to make a husband happy who had declared beforehand that Will would not set the smallest stream in the 'Pioneer. M.A.P. He were bitterer against others or against himself. Why not bring in a man's day, Stephen said.
THE WINNER.
Exclaimed Celia, and talked to her and said: My dear Myles, one moment.
―It's worth no money to me. The Skibbereen Eagle. Noble nodded at her feeling. What's that? But that is. Long, short and long. … Hello? Or the other, laying them down flat again, note the meanderings of some highpriest of that admission, because I am not determined by considerations of that, it is a thank you job. —Rathgar and Terenure! She spoke with more indifference than usual: she did not get benefices were free from. A night watchman. -I saw Mrs. We will sternly refuse to partake of strong waters, will you give him the leg up. Dorothea quite despises Sir James. You take money like a cock's wattles.
J.J. O'Molloy shook his head on his brow.
―Paddy Hooper worked Tay Pay who took him on to the door behind him.
―Then, why? No poetic licence. I ever heard was a pity. Dear, O dear!
Living to spite them.
CLEVER, VERY.
Don't you think really of that land addressed to the speech, occasionally corresponded to by Mr. Vincy, for local, provincial, British and overseas delivery. O yes, every time! Akasic records. Wait.
-Up he paid for. Uncle Toby's page for tiny tots.
Why should I make it awkward for him.
―At Mr. Farebrother's, however, after all. Whose land? This ad, I think it very likely that Mr. Featherstone, chuckling with delight.
—Chip of the situation.
―—Who? … To where? That was in all directions, yelling: But my riddle, Lenehan said.
―Came over last night? The gate was open.
The telephone whirred.
―Nature notes. —Finished? Dr Lucas. Dorothea, I am very fond of his tether now.
He would never have brought the chosen people out of temper. -T is viceregal lodge, imagine!
―He stayed in his receiving hands. Nature notes. Kyrie!
He raised his head on his knees, repeating, I suppose.
-How are you called: the aroma is mixed with life and action, and Lydgate wished to have a way of putting them.
―The telephone whirred. I want to phone about an old man, effigy.
―But I find you are the boys of Wexford who fought with heart and a bondwoman. -He can kiss my royal Irish arse, Myles Crawford said. That depends on your arse? General Bobrikoff.
THE WINNER.
―He has influence they say.
―Saving princes is a thank you job. Stephen said.
―Dear, O dear!
―—B is parkgate.
―Tourists over for the corporation. Look out for squalls.
―He turned. Professor MacHugh nodded. Bit torn off.
Remember that time?
―-O! The condition lies entirely in your face. We were only thinking about it, one asking the other have you now? Do you mean. What is it?
SHORT BUT TO THE EDITOR.
I could have said something about an old hat or something.
―They caught up on the other have you the design I suppose the Articles are right. I teach the blatant Latin language. -Clever, Lenehan said to him. Yes, sir. Catches the eye, you see.
Mary. That is fine, Ladislaw. Remember that time Middlemarch will have got more ideas into its head.
―—His grace phoned down twice this morning. No, that she may accompany her husband. —Lingering—Wait a minute or more, and went into the street with her little basket, giving her his arm for emphasis. That depends on your arse? Steal upon larks. He has a strain of it. -Opera? Fred, but perhaps it will be his wife too.
―And now that the house of bondage Alleluia.
I told councillor Nannetti from the top.
―Tourists, you looked so sad when you came up-stairs.
VIRGILIAN, SAYS PEDAGOGUE.
―There are other sorts of work, and seemed provokingly mistress of the matter. Pocket-boroughs would be all right. I am an old hat or something. C is where murder took place. Do you mean anything particular—just now. Looks as good as new now. —He would never have much, much to leave you: I would certainly not promise to marry me. I am not aware of it in for them entirely. The foreman moved his scratching hand to his unspeakable relief, was not a matter of indifference. Then here the name.
You take my breath away.
―Have you Weekly Freeman and National Press and the quotient—dear me! Who have you now? Paddy Kelly's Budget, Pue's Occurrences and our language?
Evening Telegraph office.
―-Like that, Simon Dedalus says. But who is the maxim: time is money. —Good day, else, the whole aftercourse of both our lives. Open house. He walked on through the park to see the great lawyers seemed to him, Mr Dedalus said. —There it is one of the files.
―You want to go there? —Is it his speech when he kicks out. Stephen said. Subleader for his death written this long time perhaps. But will he save the circulation?
―Let me see. Casaubon bowed, spectacled, aproned.
―Way in. Is it his speech I do not believe for there was something singular.
Want to fix it up.
―No drinks served before mass. She was a wide field. —Where was that high. No; I know that.
―You can do him one. -North Cork militia! Bulldosing the public! But he wants just a little noise. That's all right. But I am an old hat or something. Well, yes. Yes. He boomed that workaday worker tack for all it was not without a touch of jaundice, and observed that it was that? Windfall when he liked the prospect of a Hereafter.
I'll go through the printingworks, Mr Dedalus cried, running to the ground, seeking.
―What's keeping our friend? Very much so, Tertius? -It was the smartest piece of journalism ever known.
Do I?
HIS NATIVE DORIC.
―Gallaher we all know and his feeling.
―Poor fellow! Psha!
-The ghost walks, professor MacHugh said.
―Blessed and eternal God! Where's Monks? Yes, Telegraph … To where?
Mr. Casaubon would have preferred being free to choose some one else could; perhaps better than others and walked on through the printingworks, Mr O'Madden Burke, now. I suppose.
―-History! Alexander Keyes, tea, wine and spirit merchant. Yes? Monkeydoodle the whole bloody history.
―—Freeman! —We can do that he could turn his mind to doing his best days. Everything was going to tram it out in the archdiocese here.
No drinks served before mass.
―The vowels the Semite and the quotient—dear me!
―Psha! The professor, returning by way of rejoicing, smiled through her tears and said: Out of this world.
KYRIE ELEISON!
―Bushe. Lord Salisbury?
―The finest display of oratory I ever listened to and accepted that view of life ceases to gall them.
J.J. O'Molloy strolled to the successful.
―To where? At last, Mr. Farebrother, I am not determined by considerations of that hermetic crowd, the better. At this moment she felt angry with the stony obstacles, to the door behind him.
He ceased and looked up with the light.
―And he wants a dead-lock. His listeners held their cigarettes in turn.
―The world is before you were born, I should not have made a comic face and whined, rubbing his knee: That'll be all right. Hooked that nicely. Myles, he said. -Needed present of money on any personal ground—I am bad. Reads it backwards first. The world today. Co-ome thou dear one! At this moment she felt angry with the full voice of decision. Enough of the intellect. —Opera? Ring the bell; I don't like it? The old gentleman was staying at Lowick. Sit down, peeping at the airslits.
―The divine afflatus, Mr Dedalus said, if you will live to see: before: dressing.
―Thump. J.J. O'Molloy. Rub in August: good idea? He died in his sleep.
―Every bit. The inner door was opened violently and a polity. Let me see.
―That Blavatsky woman started it.
―Silence for my brandnew riddle!
The moot point is did he say?
―Now am I going to give up from the inner door.
―-Did you? A.E. has been telling some yankee interviewer that you will only mention the time that Lord John Russell's measure was being debated in the year one thousand and. Father, Son and Holy Ghost and Jakes M'Carthy. A bit nervy.
―—Hush, Lenehan said. Something for you to go into the inner door. Inspiration of genius. His unglazed linen collar appeared behind his ear, we will, we only get farther and farther into the pleasures of hunting. —Ah, bloody nonsense. -What about that leader this evening, Tertius? They caught up on any personal ground? Johnny, make room for me, Ladislaw.
But I repeat that there were any truce with Antichrist, illustrated the usual.
Altogether, my experience is rather a fool for doing so. It was a little, said with an ally's lunge of his alpaca jacket. -Yes?
OMNIUM GATHERUM.
Red Murray said gravely. He extended elocutionary arms from frayed stained shirtcuffs, pausing: And it seemed to him. Don't you forget! Alexander Keyes. I should support Grey. I cannot let young ladies meddle with my documents.
When Fitzgibbon's speech had ended John F Taylor rose to reply.
I stood in their necks, Stephen went on plungingly, I shall make codicils as long as they like. Know who that is what no man in her music, horned and terrible, of Horus and Ammon Ra.
―-He spoke in the wind anyhow.
SUFFICIENT FOR OLD MAN MOSES.
Oh, that striking of that, Simon Dedalus says.
―I go with him. If Mary said she would, she thought, the lex talionis. Sometimes, indeed, in purple, quella pacifica oriafiamma, gold of oriflamme, di rimirar fe piu ardenti. -Very much so, and a new focus. 'Tis the hour against institutions which had the rare merit of knowing what else to do, professor MacHugh: But what is a reason for being grateful to me. Looks as if I could raise the wind, I must go back on my words. A meek smile accompanied him as an auctioneer—that the supply would be a perfect horsewoman, and making the Pioneer was tending to confirm the notions of his wrath but pouring the proud man's contumely upon the new editor of the world today.
―Dear me! That it be and hereby is resolutely resolved. So on. Steered by an oracle, made for the good of all that ever anywhere wherever was. See the wheeze? Where have you now like John Philpot Curran? J.J. O'Molloy said eagerly.
―Glory be to other people find 'em out without his telling.
―Bulstrode were a judge, said Mrs. Thumping. Mary, said Fred, who sat at the young scamps after him. That's very fine to jeer at it yourself? J.J. O'Molloy said.
―He looked indecisively for a moment, and seen what your position will require of you, you know.
Then I'll get the plums out of hand: fermenting.
―You mean, if he would have come and gone to college. Mouth, south. —That'll be all right, Myles Crawford. A smile of light brightened his darkrimmed eyes, lengthened his long lips.
Shapely bathers on golden strand. An illstarched dicky jutted up and with a bite in it. Mr. Crowse.
―Glory be to God. Same as Citron's house.
GENTLEMEN OF HIGH MORALE.
―An instant after a hoarse bark of laughter came from the hallway. With an accent on the nag which he set his foot on our shore he never saw his real country.
―
―He has influence they say. Losing heart.
Mr O'Madden Burke said. Come, don't you see.
Arm in arm. —From—You know Holohan?
What perfume does your wife use?
Then I am very grateful, said Mary, emphatically; you have no cities nor no wealth: our cities are hives of humanity and our language? That is fine, my rib risible!
Phil Blake's weekly Pat and Bull story.
―—Thanky vous, Lenehan said, if he didn't know only make it awkward for him, Fred, whose fair open face was propitiating, but everything gets mixed in pigeon-holes partly, said Fred, I'm Adam.
It sounds nobler than British or Brixton.
―Where is that? Pyatt!
―Your governor is just gone.
―Poor Penelope. But the Greek!
Quite right, he said. Rows of cast steel. Your sister is given to self-indulgence, not keeping pace with Mr. Ladislaw. If that condition were fulfilled I would certainly not promise ever to marry you even if I could have said.
―Three weeks.
SHINDY IN WELLKNOWN RESTAURANT.
―The Rose of Castile. You and I are the fat. He has that cabman's shelter, they say. I was simply explaining my own hands, and his freedom from the newspaper thereof. Myles Crawford cried angrily. —Well, Mr Dedalus said. Windfall when he clapped on his estate that he is one of the kings.
Lord Jesus? Weathercocks. Damp night reeking of hungry dough. Suppose the worst opinion in the park. Rosamond said to Mr O'Madden Burke, now.
―-Begone! Farebrother might have been asked to visit us, Myles, one after another, wiping off with their galligaskins much worn and scant shirting to hang out, shout, drouth. Witless shellfish swam in the waiter's face in the vatican. Come, Ned Lambert it is, human reason may carry you a romantic disregard of your ground for a fresh of breath air! He would never have much to learn.
Myles Crawford appeared on the scarred woodwork.
―Everything I see. Come along, the Childs murder case.
―He's in his chair, scorning to look up or down or to speak.
―Myles Crawford and said: Taylor had come up to here. Where's my hat? Rosamond.
―I saw you on that score, you don't put Fred Vincy felt. —What about that, said Lydgate, inclined to smile he strode on jerkily. He turned towards Myles Crawford said throwing out his matchbox thoughtfully and lit their cigarettes as before and took his fore-paws in one of the intellect and of the general post office shoeblacks called and polished.
The bell whirred again as he had ever given to ramble about among the poor people, you know; and when they were good enough for that, said Fred, you see.
The radiance of the earth.
―X is Davy's publichouse, see? This elevating thought lifted her above her annoyance at being twitted with her ignorance of political economy, that he could say, down there too, wasn't he? I cannot conceive why money should have said when he liked the prospect of a morning. And yet he died without having entered the room still, these motes from the top.
He held himself to be set free from his outdoor work, though not, like silvertongued O'Hagan. The bold blue eyes stared about them and the funnier their clothing, the professor said. We think of their house of bondage, nor followed the pillar of the matinée.
―—What's that? But they are afraid the pillar of the empire of the twenties to his chin.
I wanted to borrow. It was really a little more at length, Ladislaw. Long John is backing him, they say.
To where?
―The door of Ruttledge's office whispered: We will sternly refuse to partake of strong waters, will you? I stood in their accidental meeting at Lydgate's, and I should think it if any one snuffs a candle for you, said Lydgate, lately come in tired from his waistcoat pocket and, with trembling thumb and ringfinger touching lightly the black rims, steadied them to mind, and he said smiling grimly.
That very day Mr. Farebrother knew that he had never before given him quite so much if I were looking at things, now: when I think it a good idea? Ignatius Gallaher do? Cabled right away. What perfume does your wife use? You look like communards.
―At last, Mr. Featherstone, who was eying him intently. He's in his time: obituary notices, pubs' ads, speeches, divorce suits, found drowned.
ITHACANS VOW PEN.
Who has the prophetic vision. Hardly a week later, Duty presented itself of a Hereafter. Mary might listen to this, he said.
―The fact is, human reason may carry you a man the wrong of marrying him as he locked his desk drawer. Confound John Waule, who was struggling up with some, I agree with you? X is Davy's publichouse in upper Leeson street. He said it was that high.
Practice makes perfect.
And that made him particularly anxious to take what the country wants, said Celia, looking towards the Freeman's Journal and National Press.
―You know better than some—Rosy, for local, provincial, British and overseas delivery. Because I like you better than I am going to lunch, he said: Drink! He spoke on the mountaintop said: That will do, Ned, Mr Bloom said. -Mr Crawford?
Professor cried. Bless you, the professor said between his chews.
―They shake out the pennies with the shears and whispered: And Pontius Pilate is its prophet, professor MacHugh cried from the window, and now the question of Reform has set her mind of any superstitions, such as women sometimes follow when they were no good, sir. He took them, and tall trees sent their shadows across the floor, grunting as he ran: demise, Lenehan said.
Red Murray touched Mr Bloom's wake, the professor asked.
THE WIND.
Long John is backing him, they say.
―Is he taking anything for it is disgracefully easy.
―Do you suppose the public! Mr O'Madden Burke said.
Farebrother, I reckon Peter Featherstone is the newspaper in four clean strokes.
―Myles Crawford said. I declare it carried. -Ay, a tail of white bowknots. What can the fitness of things mean, just after he has, said Mary, earnestly. There's a ponderous pundit MacHugh who wears goggles of ebony hue. We think of the brawn. You see? And he cited the Moses of Michelangelo in the general post office shoeblacks called and polished. Living to spite them.
Lord Jesus?
―The vowels the Semite and the quotient—dear me! -Come on then, each might mean fifty pounds.
―If you want to go into the backwoods. -Getonouthat, you know. I call it A Pisgah Sight of Palestine or the Parable of The Plums. Kendal Bushe or I mean Seymour Bushe.
―He turned towards Myles Crawford said. Well, you bloody old pedagogue! Must require some practice that. He was all their daddies! Psha! Where Skin-the-Goat.
—Lingering—I'll answer it, he said.
―The cringing urchin by the actual Parliament. Hand on his heart to me. And poor Gumley is down there too, Myles Crawford said.
Write that down, said Mary; you have personal expectations from Bulstrode.
―No, that's the other.
―The door of Ruttledge's office whispered: ee: cree. The vocal muse. They were nature's gentlemen, J.J. O'Molloy murmured. Yes?
Slipping his words: A perfect cretic!
―Whole route, see. —Muchibus thankibus. His gaze turned at once. -Gumley? Said. -They were nature's gentlemen, Miss Garth, said Mr. Featherstone, locking his long lips.
He declaimed in song, pointing to the files and stuck his finger to me.
SOPHOMORE PLUMPS FOR HIM!
And yet what else am I to do, though I mayn't like it?
―Mainly all pictures. It's to be a poor man.
He began to paw the tissues in his blood.
―So on. You want to phone. I feel honored. Where's Monks? It passed statelily up the forefinger of the other story, beast with two backs? What shall we do? Stephen and said: It is not a moody disposition.
Or like Mario, Mr Bloom laid his cutting on Mr Nannetti's desk.
―Come in.
The Telegraph. -You know Holohan?
-A recently discovered fragment of Cicero, professor MacHugh said.
―The machine in the fire.
―Let there be life. I'll answer it, Myles Crawford said. Have you the design for it?
-Taylor had come there, and Fred, just what he denies.
―Big blowout.
LENEHAN'S LIMERICK.
―The Roman, like Lydgate's high connections, serve as an act of opening the lid.
―Have some music. How's that for high?
―You know Gerald Fitzgibbon.
—That's new, Myles Crawford. Kyrios! In Martha. No poetic licence. —Lingering—History! An illstarched dicky jutted up and gone like breath in his walk to watch a typesetter.
He went in. Mainly all pictures. Poor Penelope.
―It was at the turnstile and begin to study for law or physic now, they say, I will not. -Moment—That'll be all right, Myles Crawford repeated, and had been disputed. She never will be asking her to be repeated in the efficacy of the old ones too, wasn't he? -He is a man is not a dying man. Let us go.
―The Rose of Castile.
IN WELLKNOWN RESTAURANT.
―It was the speech, mark you that you should not have told any one else who could illuminate principle with the widest knowledge a man of sense, you would be rather ridiculous in me to urge scruples of that, let me give you a little gum or starch in the hall rushed near and the dog and the poverty of a finished orator, full of courteous haughtiness and pouring in chastened diction I will not say that of a harassed pedlar while gauging au the symmetry. Practice makes perfect. -Look at here. I give somebody else most of the English people or criticising English statesmanship: he was a wide field.
He has a house there too, so generous to me I might go into the evening edition, councillor, just what he wants. -O yes, I should have thought that I ought to promise to marry you. -Is the boss …?
―Come, Ned. That is the maxim: time is rather mixed. Psha! —Often—Tell him that straight from the case.
Every bit.
-Mortification, is that you love me, minding stones for the desire to be. The troop of droll children, little hatless boys with their handkerchiefs the plumjuice that dribbles out of his neck, fat, neck.
―-Look at the young scamps after him.
Another newsboy shot past them to the running stream. Dullthudding Guinness's barrels.
―Cloacae: sewers. Miles of ears of porches.
—Has always the advantage of being less than his hopefulness had decided that they must be prepared to take a degree.
―Mrs. —You like it?
―Cartoons. As the next.
―Confound John Waule! Then here the name.
No, indeed: I was looking for a drink.
―At Mr. Farebrother's approach along the hallway. Look out.
WE SEE THE FATHERS.
―The foreman, without comment. Here the old man's eyes gleamed with a subdued half-frightened laugh, conscious of having already dropped an additional lump of sugar into her basket on the counter and stepped off posthaste with a little more than any one else. Not a silly young gentleman. True, he doesn't believe Brooke would get elected, you perceive. -Foot and mouth disease and no mistake! His manners, she had the effect that your action made no display of oratory I ever listened to and fro, seeking outlet. Youth led by Experience visits Notoriety. A better uncle than your fine uncle Bulstrode. As to documents, said with a wave graced echo and fall. He said, turning to Celia, feeling afraid lest she should say something that may relieve you on that score, you see that some hawkers were up before the recorder? —You know the usual. They turned to Stephen. Speaking about me.
―He said very softly. I to do what one is paid for. I think Fred ought not to discuss the virtues of that game.
He lifted his voice. Yes, sir? All very fine, Ladislaw. I'll catch him. And some oddities of Will's, more or less poetical, appeared to support Mr. Keck, the soap I put there. -When Fitzgibbon's speech had ended John F Taylor rose to reply. Mr O'Madden Burke said greyly, but either your feeling. The Skibbereen Eagle. Look out. It wasn't me, J.J. O'Molloy said eagerly. -Boohoo! It was usual with him, though perhaps wisdom is not mine.
―Go on. The mother's eyes are not half such good judges as yourself, Mr Nannetti considered the cutting awhile and nodded. That'll be all right.
―Jesusmario with rougy cheeks, doublet and spindle legs. She doted on her.
If you want to cut a figure of a sounder quality.
WILLIAM BRAYDEN, HARP EOLIAN!
―Mr. Casaubon would have trained me for it is. Our Saviour. -Sorry, Jack. At various points along the now reverberating boards. —That's it, the newsboy said. And it turned out to be on, professor MacHugh said, helping himself. The old gentleman was staying in bed on account of the late Mr Patrick Dignam.
He began he had taken a wrong turn for us is the route Skin-the-Goat. Nearing the end of a handsome man, bowed, spectacled, aproned.
―You can do as well as the authority which told you everything once before fulfilled a mission from Fred, coloring.
―I give somebody else most of the most distinguished-looking men I ever heard was a pressman for you. Dominus!
INTERVIEW WITH THE PRESS. KYRIE ELEISON!
―So I could, if you will alter. Miles of ears of porches. Our lovely land. Losing heart.
―The moon shine forth to battle, Mr O'Madden Burke said. We are the abodes of Isis and Osiris, of Horus and Ammon Ra.I am aware of it: that stony effigy in frozen music, horned and terrible are her children: Egypt is an energumen—a miserable effort to shroud in the French Revolution, said Miss Winifred, who had started up and back.
LET US HOPE.
―Mouth, south. Want a cool head. I came to earth.
―Go for one another baldheaded in the right place, and would also have the Lowick living, there was joy in the world.
―It is not a moody disposition. Decline, poor Pyrrhus! They went under with the motor. The gate was open. Bullockbefriending bard.
HOUSE OF A COLLISION ENSUES.
―Must be some spiritual communion; nay, who had blown up the staircase, grunting as he passed in through a sidedoor and along the eight lines tramcars with motionless trolleys stood in his transparent skin. Exactly, said Mary, not an imperium, that he is in love with you.
Demesne situate in the gross lenses to and fro, seeking: Hello? J.J. O'Molloy shook his head on his own relatives came she was treated better.
―—Boohoo! And there were any truce with Antichrist, illustrated the usual. —Bingbang, bangbang.
WE ANNOUNCE THE CROWN. MEMORABLE BATTLES RECALLED. LENEHAN'S LIMERICK.
―Cleverest fellow at the telephone, he said. And it turned out to be perfectly direct and open. Professor grinned, locking his long thin lips an instant and making the Pioneer, while Rosamond, having noticed that he knew what had called forth this outburst of Mary's. -Taylor had come there, and humming very low the notes of When first I saw Elba.
Psha! Scissors and paste.
Ay, a solemn beardframed face.
RHYMES AND REASONS.
Their names are Anne Kearns and Florence MacCabe takes a crubeen and a singledeck moved from their railheads, swerved to the Oval for a fresh of breath air! -Up he paid for, and lay it down here, Mr Crawford, he comes, pale vampire, mouth to my own action.
IMPROMPTU. SAD.
―Yes, Evening Telegraph office. But what do you call it? -Matrimonial acquaintanceship?
WHAT WADDLER ONE SAID. GENTLEMEN OF THE POINT.
―But before I enter on that question, the foreman said. Dorothea's inferences may seem large; but I made little way with him. K is Knockmaroon gate.
―We are the fat in the savingsbank I'd say. We were only thinking about it, the young scamps after him.
―Presently, the editor asked.
Cemetery put in.
―—All the better Will liked to surprise and please them. I would not work! F.A.B.P. Got that?
ONLY ONCE MORE THAT WAS ROME.
Mr. Farebrother, the professor and took his trophy, saying—I shall live to see all the difficulties of civilization.
―Speaking about me?
She was certainly an affectionate fellow, but in spite of herself she ended in a large capecoat, a term that came up to be trouble there one day.
DAMES DONATE DUBLIN'S CITS SPEEDPILLS VELOCITOUS AEROLITHS, SAYS PEDAGOGUE. THE FATHERS.
―O dear! —And yet what else am I to do, Lenehan said.
―I mean that he said, taking up Sir James.
#Ulysses (novel)#James Joyce#1922#automatically generated text#Patrick Mooney#Aeolous#George Eliot#Victorian novels#British novelists#Bildungsromaener#didactic literature#Marian Evans#19th century#Middlemarch (novel)
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Thus You Believe You Can easily Dancing Newest generation.
On the wreaths I wasn't in a very rush in order to get up, I additionally glued the garbled contains in position. The 2 cats would certainly not go into the reduced apartment or condo where our company had numerous metaphysical traits happen. http://lifestyleblog-hu.com/ -cat will meow like you were actually killing her if you chose her up and also went like you were going to hold her down the steps.
So Friday early morning, as I turned the corner from Parsells onto Chamberlain in order to get to my next eating shelter on Garson, and I observed a kitty dart in between positioned vehicles, therefore customarily, I had to venture out and also spot meals as well as water for the kitty, like I provide for so many others pretty much every morning ... As I prepare the food down, I listened to shedding tears, as well as this feline turns up and also starts to happen closer and also deeper, and also lastly happened right up to consume.
Wheat or grain possesses constantly pleasantly surprised me, and also I possess created that off and ignored turnout, however that seems that feels like a pet cat along with 9 lifestyles, so I will certainly schedule my prophecy until after that is actually gathered! Bender told me she 'd met Ugly Naked Person and would talk to if he was actually for speaking with me.
Questa banda di gatti malandrini capeggiata da Top Pet cat e formata da Benny la Palla (il gatto bassino blu, con la voce strana), Choo-Choo (quello rosa downside il dolcevita bianco, secondo in comando), Spook (cravatta nera), Fancy-Fancy (sciarpone di Pegasus), Brain (maglietta viola, perennemente sotto l'influsso di potenti cannabinoidi).
That was fantastic to observe them all together like that, bedspreads that were actually old pals, some that I had missed face to face but had observed in photos. Just before the pet cat seemed all set to dive, Serio whipped around as well as yelled, catching the pet off-guard.. Our kitty was right under the nose from 2 alleged retrievers who certainly never observed him.
Of course a kitty can talk like a guy and wear a hat and head tie - attempt picturing the feline in the hat with a totally various hat and also it doesn't function. If you like films regarding poor adolescents, burglaries, or even a little bit of dosage from prestige, at that point this film is for you. Best Feline time un gran fico (@Frost ho visto il trailer ... tristezza infinita, che porcheria!) e quoto la parentesi su Gli Impossibili. When he was discovered torturing a neighbor's pet cat, Jesse Pomeroy was actually at some point captured.
In an appealing job interview on Middle Easy, UFC champ Ronda Rousey provided her point of view on the option that Miesha Tate and Cat Zingano have breast augmentation. Cc the cloned pet cat ended up being a mum in December 2006 as well as there wasn't a lab or test cylinder visible. When the sun beams on his hair that is red but at other times it is a dark brownish.
My hair is apparently regularly changing color depending on the period, actually ... that's reddish and also in the summer it is actually combined with blonde, like a strawberry-blonde and during the winter season this is actually even more brownish, like an Auburn; my eyes alter dependent what I am actually putting on between bright blue to a sea eco-friendly mixed with blue It's really trendy, I used to LOATHE that now that produces me special and also which gal does not yearn for redhead little ones !!
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