459 Twine Project

“Verloc! Very good to see you. We were just talking about the latest pamphlet; altogether some of my best writing, isn’t it? Just think about London after the revolution, Verloc. It would mean an end to the oppression of the classes; everything would be decided <i>scientifically</i>. The arbitrary laws of the bourgeoisie would give way to the Law of Nature. If you read Lombroso, it’s all there. Eventually, success will come from one’s exact type, and <i>fitness</i> will replace <i>opportunity</i>. Finally, the strongest will not be hampered by the trappings of the capitalist economy!” (set: $O to it + 1)(set: $first to 1)<hr>[["Well said, Comrade!"->Stevie Intro]]

“It seems that London’s revolutionaries have been preoccupied with more weighty matters than actual revolutions, these days. For an agent provocateur, you haven’t done much provoking, have you?" Mr. Vladimir grins slyly at you. "I expect to have something to show to the Milan Conference in a month. Otherwise, you’ll have to worry about more than just the number of books you’re selling to London’s lovers of literature. I suggest you target the Greenwich Observatory.” The lesson is crystal clear--if you don't make a splash in the world of anarchy soon, your career and comfortable lifestyle will disintegrate. <hr>[[Go home.->Passage Where You are Home]]

<div id = "title"><b>(css: "font-size: 150%;")[The Secret Agent: A Simple Game]</b> (css: "font-size: 120%;")[by Aiden Evans, Megan McAdoo, and Conor Walsh] [[Begin->This is vladamir passage]]</div>

You are Secret Agent Adolf Verloc. During the day, you manage an adult store servicing the more disreputable society of London’s Soho district. At night, however, you diligently defend the city’s entire social order in the employ of the Russian Embassy in London. Inexplicably, you have acquired a reputation for idleness and indolence that snubs your long, dedicated service to the country. Today you find yourself in the office of Mr. Vladimir, First Secretary of the Embassy. You don’t know why he’s called you there, but you suspect you’ll have to defend yourself against some unwarranted accusations. <hr>[[Face the music.->life sucks]]

You return home to find Ossipon, Karl Yundt, and Michaelis there for your weekly meeting. It's a relief to see them--perhaps they can inspire you with revolutionary fervor. Who do you talk to? <hr>[[Talk to Comrade O.->Comrade O]] [[Talk to Michaelis.->Michaelis]] [[Talk to Karl Yundt.->Yundt]]

"Oh Adolf, how wonderful! We were just speaking about The Doctor’s latest paper. I’m afraid most of it was lost on me–too much of the prophetic touch. Moreover, the boy seems hopelessly pessimistic. In his social organization, there hardly seems room for the least fortunate men in our country. I know that there must be a struggle, some violence to escape the conditions Capitalism has produced. It pains me to think that. But I say that the laws of history point to something greater. Eventually there will be a world of men helping men. That’s it, Adolf, the end of the revolution means an end to the struggle. The strong helping the weak: only that will free us from the oppressive conditions of the past." (set: $M to it + 1)(set: $first to 2)<hr>[["I could not have said it better myself."->Stevie Intro]]

"Ah, you’re here, Comrade? We were just speaking about The Doctor’s latest piece. The man simply can’t escape that inane Lombroso. The city out there cannot be explained by nature, you understand? Laws of nature? All I have seen is the law of the irrational–gnashed teeth and spilled blood! The whole social edifice has proclaimed our extermination! We’re simply fighting against extinction–eh, Comrade? Michaelis is just as asinine, with all his nonsense about charity and redemption. There’s nothing that can redeem this viciousness, the predatory urge of this world! Nothing to free us! We can only lash out against our cannibal oppressors." (set: $Y to it + 1)(set: $first to 3)<hr>[["I suppose violence can be used to forestall more... societal violence."->Stevie Intro]]

With your conversation finished, your mind returns to the grim matter of the Observatory. As you sit in the parlor, brooding, your realize that your brother-in-law, Stevie, has been agitated by your comrade’s strong words. You realize that you could use him, and your options are not few. You could include Stevie into your plan to blow up the Observatory. On the day of its execution, you'll leave him in Greenwich park and trust that he will walk the bomb successfully to the Observatory. Now that you consider it, though, maybe there are other ways to go about achieving what you want. Stevie shouldn’t die for a mess that you got yourself into. Maybe it isn't right to send him out to die. But perhaps neither idea goes far enough. You could simply not only include Stevie in your plan but guide him to the Observatory to ensure that the plan goes smoothly. What do you do? <hr>[[Abandon Stevie in the Park.]] [[Decide not to send Stevie.]] [[Guide Stevie to the Observatory.]]

You and Stevie arrive at the Observatory without issue. As you make the final preparations to destroy the building, you come to a terrible realization: the timer has malfunctioned. The bomb is about to go off! It’s every man for himself! You flee the scene. Stevie, confused by your sudden departure, doesn’t escape the blast. The police find, amongst the gory fragments of his body, a scrap of clothing containing both his name and address. The address of your shop.(set: $Stevie to 0) You awaken the following day to a knock at the door. Chief Inspector Heat greets you as you open it. (set: $Y to it + 1)<hr>[["Oh dear."->Investigation]]

You decide against incorporating Stevie in your anarchic plans. Though a morally sound decision, it is for naught: the stain of your associates has imprinted upon the boy. He goes missing later that day and is found near Greenwich Observatory in possession of a bomb. YOUR bomb. Stevie is taken into custody. Between eyewitness testimonies and the evidence found with Stevie, police scrutiny turns swiftly to you. You awaken the following day to a knock at the door. Chief Inspector Heat greets you as you open it.(set: $Stevie to 1) (set: $M to it + 1)<hr>[["Oh dear."->Investigation]]

You decide to travel to Greenwich Park with Stevie, where you leave him. Despite excellent instructions, Stevie dies on his way to the Observatory and the mission fails. Though his body was blown to smithereens in the botched explosion, an article of his clothing bearing his name and address is found. (set: $Stevie to 0) You awaken the following day to a knock at the door. Chief Inspector Heat greets you as you open it. (set: $O to it + 1)<hr>[["Oh dear."->Investigation]]

"Look here, I would like a word or two with you," the Chief Inspector murmurs, his tone low. You let him into the parlor without another word. (if: $Stevie is 0)["Two men were seen in Greenwich Park yesterday, Verloc," the Chief Inspector says. "One of them was blown to small bits: limbs, gravel, clothing, bones, splinters--all mixed up together. I tell you they had to fetch a shovel to gather him up with." You hear a clatter from the kitchen. Strange.](if: $Stevie is 1)["A young man was found in Greenwich Park yesterday in possession of an explosive device," the Chief Inspector says. "We have reason to believe that this young man was not capable of acting alone, though he will remain imprisoned for the rest of his days until he rots to pieces in his cell." You hear banging from the kitchen. Odd.] The Chief Inspector steps closer, his voice lowered to a whisper. "I did some looking. The boy was half-witted. Irresponsible. Only fit for the asylum. But you, Verloc, have been an asset to me--could <i>continue</i> to be an asset, so long as you stay out of prison. It wouldn't take much to pin this all on the boy, sweep it under the rug. What do you say?" <hr>[[Go along with Heat's plan.->Tell the truth.]] [[Disagree with Heat's plan.]] [[Murder the detective.]]

You agree to go along with Heat's plan. After all, what's done is done, and your failure will already taint you in Mr. Vladimir's eyes--the <i>swine</i>. You'll have to find new sources of information, but that's all right. (if: $Stevie is 1)[You agree to act as a witness at Stevie's trial, where you'll discuss how impressionable he was and state that he was in possession of a good deal of anarchist literature. It should be enough to convict him; the court has all but ruled already, anyhow.](if: $Stevie is 0)[Heat agrees to close the line of questioning about you, writing in his report that Stevie, inspired by anarchist literature, acted alone.] The Inspector bids you good day. As the front door slams closed, the kitchen door bursts open, revealing your wife, Winnie. She's heard everything and looks positively vacant. (set: $O to it + 1)<hr>[["It can't be helped. Come, Winnie. You must think of tomorrow."->CO Alive]]

The safety would be nice, you tell the Chief Inspector, but this incident is your fault. You should have to face the consequences of your actions. The Chief Inspector's large face wrinkles. He snaps, "Do you think that wise, Verloc? You'll be damning yourself and inconveniencing me, and to what end? So that you can put your <i>conscience</i> at ease? Perhaps you should have thought about that before (if: $Stevie is 0)[you blew your brother apart!](if: $Stevie is 1)[you got your brother a life-sentence!]" "Just think about my offer," the Inspector says, donning his hat. "It's the only way you can salvage your lifestyle. All other routes end in death or imprisonment." He departs briskly, the front door slamming behind him. After a moment the kitchen door bursts open, revealing your wife, Winnie. She's evidently heard everything and looks empty. (set: $M to it + 1)<hr>[["It can't be helped. Come, Winnie. You must think of tomorrow."->CO Alive]]

You say nothing, placing a large hand on the Inspector's shoulder. The man's expression is quizzical, especially as, in a single, quick movement, you draw his service revolver from his holster and shoot him twice through the chest. The man collapses with a soft grunt of surprise. It seems the good Inspector thought you too lethargic for swift, decisive action. The kitchen door swings wide before you can do much of anything, revealing your wife, Winnie. She's heard everything, her gaze swinging between you and Heat's body. (set: $Y to it + 1)<hr>[["I daresay the Professor will be rather pleased, no, my dear?"->CO Dead Slide]]

Winnie does not speak. You see a knife, gripped in her shaking hand. (if: $O > 1)[ It seems a rather strange time for her to decide to make dinner, especially considering the dead police officer on the floor. But you do deserve it, after all. You're <i>starving</i>. <hr>[[Sit on the couch. Murder is exhausting. Maybe Winnie will calm down after a good cry and a shower.]]](if: $M > 1)[ Though your wife is often inscrutable, the signs are clear. Between her brother and now this police officer, Winnie's had enough. She means to kill you. <hr>[[Accept your fate.->Winnie is serious about this. Plead for your life.]]](if: $Y > 1)[ You've seen enough violence to know what will happen next. It seems that Winnie's sick of you and intends to do you in. <hr>[[Defend yourself before she can strike.->Winnie is serious. Defend yourself to her inevitable attack.]]](else-if: $O is 1 and $M is 1 and $Y is 1)[(if: $first is 1)[ It seems a rather strange time for her to decide to make dinner, especially considering the dead police officer on the floor. But you do deserve it, after all. You're <i>starving</i>. <hr>[[Sit on the couch. Murder is exhausting. Maybe Winnie will calm down after a good cry and a shower.]]](if: $first is 2)[ Though your wife is often inscrutable, the signs are clear. Between her brother and now this police officer, Winnie's had enough. She means to kill you. <hr>[[Accept your fate.->Winnie is serious about this. Plead for your life.]]](if: $first is 3)[ You've seen enough violence to know what will happen next. It seems that Winnie's sick of you and intends to do you in. <hr>[[Defend yourself before she can strike.->Winnie is serious. Defend yourself to her inevitable attack.]]]]

Winnie does not speak. You see a knife, gripped in her shaking hand. (if: $O > 1)[ How strange. You wonder if she means to make you dinner--and you do deserve it, after all. You're <i>starving</i>. <hr>[[Sit on the couch. All this conspiring and undercover work is exhausting. Maybe Winnie will calm down after a good cry and a shower. ]]](else-if: $M > 1)[ Though your wife is often inscrutable, the signs are clear. Winnie means to kill you. <hr>[[Accept your fate.->Plead2]]](else-if: $Y > 1)[ You've seen enough violence to know what will happen next. Winnie means to kill you. <hr>[[Defend yourself before she can strike.->Plead3]]](else-if: $O is 1 and $M is 1 and $Y is 1)[(if: $first is 1)[ How strange. You wonder if she means to make you dinner--and you do deserve it, after all. You're <i>starving</i>. <hr>[[Sit on the couch. All this conspiring and undercover work is exhausting. Maybe Winnie will calm down after a good cry and a shower. ]]](if: $first is 2)[ Though your wife is often inscrutable, the signs are clear. Winnie means to kill you. <hr>[[Accept your fate.->Plead2]]](if: $first is 3)[ You've seen enough violence to know what will happen next. Winnie means to kill you. <hr>[[Defend yourself before she can strike.->Plead3]]]]

Winnie approaches you slowly, knife at the ready. You finally discern her intention--murder--and begin to formulate a plan to defend yourself. Just as you prepare to spring upon her she leisurely plants the knife deep into your heart. "Don't," you say. It's all you manage before darkness closes in on you. Not very poignant, as far as last words go. <div id = "title">THE END (link: "Click to play again.")[(reload:)]</div>

You've done many a wrong to Winnie over the years. Perhaps by this act of contrition you will be granted peace. She plants the knife firmly in your breast. As you feel the blade sink through your ribs, you feel almost as if you are cleansed. Though perhaps that's merely a quirk of feeling brought on by blood loss. <div id = "title">THE END (link: "Click to play again.")[(reload:)]</div>

You aim Heat's revolver at your wife and pull the trigger. The knife clatters from her hand as she crumples. As it so happens, however, revolvers aren't exactly stealthy murder weapons. It doesn’t take the Assistant Commissioner, Heat’s superior, long to connect you to the incident at the Observatory, Heat's murder, and your wife's murder. You are put on the stand, swiftly convicted, and hanged. <div id = "title">THE END (link: "Click to play again.")[(reload:)]</div>

Winnie approaches you slowly. You finally discern her intention--murder-- and begin to formulate a plan to defend yourself. Just as you prepare to spring upon her she leisurely plants the knife deep into your heart. "Don't," you say. It's all you manage before darkness closes in on you. Not very poignant, as far as last words go. <div id = "title">THE END (link: "Click to play again.")[(reload:)]</div>

You lunge for Winnie's knife, using your tremendous form to send her sprawling. The knife clatters to the floor. Before Winnie can react you snatch the knife and plunge it into her breast. Heat, learning that you're behind Winnie's murder, withdraws his proposed protection regarding the incident at the Observatory. You are put on the stand and swiftly convicted. You rot in jail for your crimes. <div id = "title">THE END (link: "Click to play again.")[(reload:)]</div>