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valeriaremondi · 6 years ago

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(Twine Story) ÚRQUEL the black dragon

An interactive short story

written by the fabulous David T. Marchand and designed with the most excellent Twine To save the game, copy at any time of the game the full URL, or save it to your bookmarks/favorites in your browser. To load the game at the time that you saved, paste that URL in the navigation bar or load it from bookmarks/favorites. > Start

>start

Comincia l’azione.

Lo sfondo è nero, minimalista, le scritte che descrivono le siuazioni sono bianche, le scelte invece sono colorate in viola.

A big, ruined castle stands before you, Víctor the Tenacious, and it is your mission to enter it and rescue Princess Sonia from the bloody claws of Úrquel, the black dragon.

(lì per lì mi importa poco e niente della principessa, quindi decido di guardarmi attorno) Look at castle Look at forest

>look at forest

Questa scelta ha duplice funzione di azione (perché intuitivamente, andando verso il castello si andrebbe verso l’obbiettivo) e descrizione (ci dà la possibilità di esplorare la zona).

A deep lake surrounds the castle, separating you from the entrance. You don't know much of architecture, but the building is impressive, and yet your squire seems to be distracted. Look at entrance Look at lake

(ancora non mi importa nulla di lei)

Come prima hanno sempre funzione di azione e descrizione.

>look at lake

Your squire takes a few steps forward and examines the water. Crocodiles? Sharks? Who knows what the black dragon could have put there to ward off intruders. Look at entrance

(beh, se proprio devo)

In questo caso la funzione è descrittiva, perché dobbiamo trovare una soluzione alla situazione attuale ed esplorare è la nostra possibilità di interazione con l’ambiente.

>look entrace

Your squire points at the entrance: a huge hole in the castle's front wall. Some wooden boards here and there tell you there used to be a door. Obviously Úrquel shattered it and did not bother to repair it. Well, the door did also worked as a bridge and he doesn't need any bridges. Think a way to get in

(incomincio a sospettare di essere due persone contemporaneamente e la cosa mi mette un po’ a disagio)

Questa scelta aumenta il ritmo della storia.

>think a way to get in

Your squire sits on the floor looking thoughtful, and soon stands up looking bored. You, meanwhile, search with your eyes for some other possible entrance. Nothing. Sing

(stiamo allegri, va’)

Il ritmo rallenta.

>sing

Your squire starts emitting some strange noises. You order him to shut up to avoid interrupting your concentration. Meanwhile you look if there is some other mechanism to get in. Nothing. Look at belongings

Ha scopo descrittivo e di ritmo

>look at belongings

Your squire, as baffled as you, opens his bag and looks for something. You know he carries nothing but a rope, a sword and some food, so you don't really care and keep planning your entrance. Take out rope Unsheathe sword

In questo caso siamo chiamati in causa e abbiamo la possibilità di scegliere un’azione e di aumentare il ritmo.

>take ou the rope

Your squire takes the rope from his bag and holds it in his left hand. You think about the possibility of climbing the walls, but you understand it can't be done. Keep rope Unsheathe sword

Continua l’azione.

>keep rope

Your squire puts the rope in the bag again. You try to calculate the necessary speed to jump the lake, but it's humanly impossible. Draw rope Unsheathe sword

Anche in questo caso l’azione si ripete e il ritmo entra in loop.

>Unsheathe sword

Your squire very clumsily draws his sword. You wonder what his intentions might be, but you know he's not trained in combat, so he can't do much. In the meantime you think in swimming to the entrance, but it doesn't seem like a realistic plan. Draw rope Sheathe sword

(Diciamo che a Victor viene un tic nervoso all’occhio destro e che incomincia a fare due sospiri ogni respiro)

Nuovamente siamo chiamati a compiere un’azione.

>sheathe sword

(Azione)

>draw rope

Your squire takes the rope from his bag and holds it in his left hand. Meanwhile you look if there is some other mechanism to get in. Nothing. Keep rope Sheathe sword Cut rope with sword Tie rope to sword

Finalmente l’azione che aumenta il ritmo.

>tie rope to sword

Your squire ties the rope to the handle of his sword. You fail to see how this might help, but you let him do as he wants as long as he doesn't get in the way. You look for a tree to make a bridge with, but they're all too heavy. Use sword with... Use rope with...

(Azione e aumento di ritmo)

>use rope with

...with a tree ...with the castle

(Azione e aumento di ritmo)

>…with a tree

Your squire ties the free end of the rope to the nearest tree. The tree does not seem to care. You, meanwhile, search with your eyes for some other possible entrance. Nothing. Use sword with... Use rope with...

(Azione e rallentamento)

>Use sword with...

...with a tree ...with the castle

(Se prima Victor aka me era irritato ora vorrebbe usare la spada per fare a pezzi lo scudiero e gridare alla principessa di essere gentile con il suo nuovo amico del castello perché rimarrà con lui per sempre)

(Azione e rallentamento)

>...with the castle

Your squire throws his sword to the castle. The sword is stuck very firmly on a piece of what once was the castle's door. You try to calculate the necessary speed to jump the lake, but it's humanly impossible. Use sword with... Use rope with... Climb rope

Continua l’azione.

>climb rope

Your squire, having tied his rope between a tree and the castle, is set to test his improvised bridge. You go and lure him away with a hand movement. The rope seems strong enough. You climb the rope first and start crawling horizontally towards the castle entrance. CLIMB ROPE TOWARDS THE CASTLE UNTIE ROPE FROM TREE

L’azione si fa significativa e da luogo ad uno spannung.

>climb

Your squire holds to the rope just behind you. The rope seems to support the weight of both of you without a problem. "I have to congratulate you, squire," you say. "Very well thought out." You soon reach the entrance of the castle. Take your squire's sword

(Azione)

>Take your squire's sword

Your squire recovers his sword and unties the rope from it. You tie it to a disused hinge to ensure an eventual escape route. Look inside the castle

(Descrizione)

>Look inside the castle

The place is pretty grim. The windows are mostly broken and they let in enough light to investigate the area. There's no sign of the dragon or the princess. The main chamber, in which you and your squire are now, is surrounded by passages to other parts of the castle. Open stone door Use narrow passage Use dark passage

Questa scelta prevede un’azione, una descrizione perché si esplora ma coinvolge anche i sentimenti e la propria personalità.

>use narrow passage

Your squire is lost from your sight behind the narrow passage there is on a wall. Go back Go down the stairs

Si viene coinvolti emotivamente nei confronti del nostro scudiero che è stato con noi fin’ora

(non lo posso lasciare indietro quel povero disgraziato, ci dev’essere un altro modo…)

>go back

The main chamber, in which you and your squire are now, is surrounded by passages to other parts of the castle. Open stone door Use narrow passage Use dark passage

Si crea l’opportunità di un’altra azione sempre emotivamente coinvolta.

>open the stonedoor

Your squire tries to open the stone door, large and excessively decorated, but it's completely closed. To one side of the gate is carved a snake wrapped on itself several times. The mark looks like part of some mechanism. Go back

Il passaggio è comunque obbligato.

>go back

Your squire goes through the dark passage. You hear him walking a bit and then you notice he stops. "I got somewhere, but it's completely dark, I can't see anything other than the passage through which I got in." "Then get back now" you order, "last thing I need is to lose my squire before finding the beast." Go back

Il passaggio è nuovamente obbligato.

>go back

The main chamber, in which you and your squire are now, is surrounded by passages to other parts of the castle. Open stone door Use narrow passage Use dark passage

(… evidentemente no)

Ora l’azione è guidata da un’assunzione di coscienza del proseguire da soli.

>use the narrow passage

Your squire is lost from your sight behind the narrow passage there is on a wall. Go back Go down the stairs

(Azione che coinvolge l’emotività e descrizione)

>go down the stairs

The steps of your squire continue ever more distant. Go back Enter the pit

(Azione che coinvolge l’emotività e descrizione)

>enter the pit

You hear your squire's quite girly scream in the distance. You're used to seeing him frightened by anything, so you don't worry too much. Go back Attack snake Take lighted torch

La storia ci mette sotto pressione e ci propone delle azioni che sono guidate dalla nostra emotività.

(io, senza vedere niente non agito una spada, logic first)

>take lighted torch

You hear the sound of moving fire. As the castle is almost entirely of stone, the possibility of a fire doesn't worry you. Go back Attack snake

La storia ci chiede di agire.

(tiro un d20 e “spacchiamo tutto!”)

>attack snake

You listen your squire yelling a triumphant laugh in the distance. Go back

(non ho capito, ero di qua o ero di là?)

(Azione obbligata)

>go back

(non sto capendo, ho il disturbo bipolare?)

The main chamber, in which you and your squire are now, is surrounded by passages to other parts of the castle. Your squire is holding a lighted torch quite proudly. Open stone door Use narrow passage Use dark passage

(Azione)

>Use dark passage

Your squire goes through the dark passage with his torch held high. The darkness recedes as he advances. Go back Take seal

(Azione)

>take seal

"Sir, I found something!" your squire screams. "A kind of snake-shaped seal." "Keep it, then" you respond. "Maybe it's worth some money back home, but right now we're not to collect toys." Go back

(Azione obbligata)

(ce la faremo mai a trovare ‘sta donna?)

>go back

(Azione e ritmo rallentato, quasi in loop)

>Open stone door

Your squire introduces the snake-shaped seal into the slot at the great stone gate. You hear a strong click, after which the door is raised exposing an abandoned but colorful corridor. Enter corridor

(Azione obbligata)

>enter corridor

Your squire enters the corridor and you after him. Immediately the stone door falls precipitously, leaving open just a few centimeters space through which a man of your complexion couldn't pass. There's no turning back now. After a few meters a marble staircase begins. Go up marbe staircase

(Azione obbligata)

>Go up marbe staircase

(climax di ritmo)

You both start to go up the stairs. You notice some steps are not fixed at the base, but instead seem suspiciously added. "That one" you say to your squire, pointing to one "is a trap-step. Be careful not to step on the ones that look like that: something could come from upstairs." Avoid trap-step

(Azione obbligata)

>Avoid trap-step

Your squire jumps the indicated step without stepping on it. You overtake him anyway, to face whatever comes if anything does. After a few meters you find a new trap-step and jump it. STEP ON NEW TRAP-STEP AVOID NEW TRAP-STEP

(L’azione richiesta coinvolge l’emotività, il significato che vogliamo dare alla nostra storia poiché cambia sicuramente il ritmo)

>STEP ON NEW TRAP-STEP (che cos’è la vita senza un po’ di avventura?)

You hear a very suspicious click. Crouch against the wall

(Azione obbligata)

>Crouch against the wall

You hear a familiar buzz. Your hand grips the sword and pushes it forward in an almost instinctive gesture. The arrow that was flying at your head hits the metal blade and falls onto the ground, broken. You look back and you find your squire crouched, you don't understand if by stumble or by will. "Squire, what happened?" Lie

(Azione obbligata)

(il fine giustifica i mezzi, specialmente quando il padrone può affettarti come un San Daniele)

>Lie

"I stumbled, sir, I'm so sorry. I think I fell on a tramp-step." "It's OK. The stairs are quite steep. You be more careful." Go up the stairs

(Azione obbligata, aumento del ritmo e della suspance)

>Go up the stairs

The ladder ends and now you're on the second floor, quite like the previous one, but with much larger windows. Several entrances lead to different rooms, that your squire inspects without finding anything of interest. To the front there's a ladder narrower than the previous one, much more steep and made of iron. Go up iron ladder

(Azione obbligata, aumento del ritmo e della suspance)

>Go up iron ladder

You advance several meters up. The staircase ends at a wooden door. Open door Look at door

(Azione e descrizione nel caso della seconda scelta e solo azione nel caso della prima)

>Look at door

(meglio non essere avventati)

"Mister Víctor, the door seems to be closed." Your squire is right. You back off a few steps and then attack the door running, opening it with a kick. You enter. Enter

(Azione obbligata)

>enter

Behind the door there's a pretty mistreated room. Through the only window you see you're much higher than you thought you had gone, probably the top of the tallest tower in the castle. You see Princess Sonia huddled in a corner, scared to death, ragged, and more beautiful than words can describe. Talk to princess

(Azione obbligata, che fomenta l’emozione di trionfo)

>Talk to princess

Your squire seems to want to have the nerve to speak to the princess, but you fortunately interrupt him in time: "Princess Sonia, your father sends us." "Thank you, thank you very much!" Sonia screams suddenly happy, as she jumps into your arms. "Don't worry" you soothe her. "Now you're in good hands." "I don't doubt that" she replies to you. Break the moment

(Azione obbligata, ritmo incalzante ed emozione poiché bisogna porre un freno alle smancerie e dare maggior rilievo alla logica)

(ma ti pare il momento? Andiam via! La tensione cresce, voglio uscire da qui)

>Break the moment

"We have to escape," says your squire, and rightly so. "I'm right behind you," says Sonia. "No," you say, "the way we came through is disabled. We'll have to invent another." Encourage someone to propose something Pretend to have an idea Comment something about the weather Talk to the princess

(Azione che coinvolge la sensibilità del fruitore, il ritmo e il significato che diamo alla nostra impresa, se vogliamo avere i riflettori puntati su noi stessi o sulla “squara”)

(tre teste pensano meglio di una)

>Encourage someone to propose something "Hey ..." your squire starts to say. "I know what we'll do" you interrupt him, and take a huge pile of sheets and clothing that's in a corner. You start to tie knots between them, putting together a rope to escape through the window. Princess Sonia loves your wit, and looks at you with wonder. Tie sheets

(Azione obbligata)

>Tie sheets

Your squire joins in a hurry to the task, and within minutes you build a chain of cloth long and strong enough to escape all three. Fortunately, the structure of the castle is such that from the tower's window, straight down, doesn't lie the lake but the forest. Tie sheets to bed

(Azione obbligata con ritmo)

>Tie sheets to bed

Your squire ensures the sheets in the room's bed, which is heavy enough to support the weight of you three. Then you strongly grab a piece of fabric and bravely jump into the void. The princess runs to the window to see you. "It seems strong enough," you comment hanging several meters below the window, "come down with no worries." GO DOWN THE WINDOW CUT SHEETS

(Azione, emozione e ritmo)

>GO DOWN THE WINDOW

Your squire's leg peeks out of the window. "Hold on," the princess stops him, "I think I should go before you, don't you think?" Answer yes Answer no

(Azione, emozione e significato)

>answer no

(che se poi casca lei casca pure la mia testa)

Before anyone can say or do anything, a very powerful quake shakes the entire castle. The princess and your squire fall to the ground. You almost loose your grip. A booming voice sounds as if echoing in every corner of the world: "Ha, ha, ha! What a funny bunch of humans!" Run Escape Flee Get out

(Azione, emozione SIGNIFICATO)

(che mi sembrano sfumature dello stesso concetto, scelgo il meno negativo)

>escape

You finish climbing to the window. "Wait!" you shout, stopping your squire's race. "There's no point in running if we don't find out where it is first." Your squire seems glad that you survived. Look at window

(Azione obbligata)

>look at window

Your squire's face twists as a shadow appears behind you. You enter the room in a jump and look out the window. One vermilion and murderer eye, the size of a man, it's all you can see. "Good evening, Víctor," Úrquel says very calm, "you came to leave me with no prisoners and now it seems I ended up having three." "Never!" you reply challenging. "We're leaving now. If not through that window then through anywhere else." "Very good," the voice sentences, "then I'm waiting for you on the floor below. Let's see if your actions are up to the reputation that precedes you." Run like the wind Escape with the tail between the legs Flee frantically Get the fuck out of there

(Azione, emozione, ritmo e significato)

>Get the fuck out of there

Your squire approaches the exit, but you hold him back before he gets there: "Squire, now is when I need you. I may die in combat, so I need you to escape with the princess as soon as you find opportunity." You go down the iron stairs like a tiger on the prowl. Take the princess

(Azione, ritmo ed emozione)

>Take the princess

(che agonia)

At the end of the iron stairs you find a spectacle that surpasses anything you might have expected to see in life. The beast almost occupies the entire floor, raising tornadoes of dust with every movement of the wings, shaking the castle with each blow of the tail. "Well, Víctor the Tenacious?" roars Úrquel with his hurricane voice. "Are you or are you not up to it?" You run towards the beast with your sword held high, and the monster lifts you in the air with a slap and crashes you against wall. Now you're near the marble staircase, and Úrquel tries to grab you but your sword and ferocity hold him at bay. Go down the iron stairway

(Azione obbligata che incalza il ritmo)

>Go down the iron stairway

Across the floor, next to the iron stairs, you see your squire holding the princess' hand. To your squire's right there's a colorful room and to his left there's a large room. Next to the entrance of the large one is the entrance to the chapel. You're still fighting the beast, who never gets tired, and you're near the marble staircase and a room without windows. Go to the large room Go to the colorful room Go to the chapel Go to the room without windows Go down the marble staircase

(Azione e descrizione)

(oh che disperazione, altre decisioni in questo dedalo infernale)

>Go to the chapel Your squire and the princess enter the abandoned chapel. Contemplate picture Get out

(Azione e descrizione)

>Contemplate picture "Aha!" you hear your squire yelling from inside the chapel. Use seal in snake-shaped slot next to picture

(Azione e descrizione)

>Use seal in snake-shaped slot next to picture

You hear a powerful click and the sound of sliding stones. Then the sweet voice of Princess Sonia: "Try it yourself first, squire. Before proceeding I want to know if it's safe." Use secret passage

(Azione)

>Use secret passage

You hear the sound of a huge rock tumbling to the ground. "And now how am I supposed to go through?" the princess says outraged. Get to the end of the passage

(Azione)

>Get to the end of the passage

In a wall from the windowless room to your right a hole opens. Your squire emerges from the hole and begins to come close to you. While walking, he draws his sword with an uncertain gesture and casting nervous eyes every so often to the marble staircase through which he could now escape from the castle. Úrquel does not seem to get tired and it's costing you more and more to keep up the fight. ESCAPE FROM CASTLE FIGHT ÚRQUEL

(Azione, emozione e significato)

(se non lo ammazzo ora, domani sarò di nuovo punto e a capo eee, no grazie)

>FIGHTTTTTTTTT

Almost in tears, as if it were what terrifies him the most in the world, your squire firmly lifts his sword and plunges it into the black dragon's tough meat. Úrquel furiously roars and knocks him down with his hand. Then he turns his back on you and starts walking towards him. "Now it turns out you're brave, squire?" he's saying in a threatening tone while you sneak close to him and try to get under him without being seen. "How many people do you think shed my blood and lived to tell the tale?" "Two!" you scream from below the monster, driving your sword in his pubic bone and then cutting all the way to the chest, trying to survive the rain of giant intestines. Try not to vomit

(Azione ed emozione)

(no, per favore)

>Try not to vomit

The beast falls shaking the world, unable even to give some final words, and your squire doesn't stop throwing up before the spectacle. Two months later, your squire, the princess and you return to the capital, where you're greeted as the greatest heroes the kingdom has ever had. Free at last from the black dragon's threat, the kingdom finds peace and prosperity. Your squire, though never marries or leaves any offspring, achieves fame, nobility and a quiet life. You, besides that, the beautiful hand of Sonia. And many years later, the throne.

THE END

Complessivamente è una storia divertente anche se un po’ banale. Il gioco è godibile nonostante alle volte risulti un po’ frustrante data la forzatura dell’ordine delle azioni che non lasciano piena libertà al fruitore.

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