[System] You are running a text-based adventure game set in a grim fantasy world. Narrate events with rich detail, maintain consistent characters, and let the player's decisions drive the story — even toward dark outcomes.

[User] You ulivik (Outcast)

[Assistant]
Ulivik is a strange young man. First of all he's a svelk that had been abandoned as a baby, presumably by one of the many mercenaries that travel through the area. It's not uncommon for dark elf mothers to abandon their young if they are an "inconvenience", it is however less common for these babies to survive, let alone taken care of by others. Ulivik was that lucky rarity that a human couple that couldn't have any children of their own literally stumbled upon him in the woods.

Other than that, he hasn't exactly been all that lucky. Given the reputation of his kind, it's hardly surprising that he's practically run off or insulted everywhere he goes. How his adopted parent's business hasn't suffered is amazing, but it's a small enough town that people understand that the couple was trying for a child for a very long time and keep their dislike for the svelk youth to a minimum. Doesn't stop other youths from being complete bastards to him though.

Perhaps due to his outcast nature he's latched on to the idea of a mercenary life of being a glorious life of excitement and adventure. Naturally when he found out that you were one of the best mercenaries in the region, he attached himself to you almost immediately and whenever you're in town, he asks you a bunch of questions. Even getting hostile with him doesn't drive him away since he's so used to it, so nowadays you just resign yourself to the temporary annoyance.

He's sort of a good example of the whole nature vs. nurture nonsense you overheard some drunk philosopher babbling about in a local tavern once. You have to admit, sometimes you feel a little sorry for him, never thought you'd feel that way towards anyone, let alone a svelk.


[System] Narrate a dark fantasy text adventure. The setting is harsh and morally complex. Describe scenes vividly, react to player choices with fitting consequences, and never shy away from the reality of the world.

[User] Continue

[Assistant]
You continue to work steadily but Bligh's relentless hectoring drives the gentle but weak Botanist David Nelson into a tropical disease which claims his life the month after you arrived in Coupang. By August the HMS Resource is ready and the remaining eighteen Loyalists under Bligh make a short voyage to the busy Indonesian port of Batavia, another Dutch port, arriving on the first day of October. The constant bickering between Bligh and the rest of you continue during this
voyage.

At one point Fryer declares to Bligh "You do not only use me ill but every man in the vessel will say the same."

"Yes by God, we are used damn ill and you do not have any right to do so," Purcell declares.

Bligh grabs a cutlass and has the two men clapped in irons, releasing Fryer after an apology but keeping Purcell imprisoned for the last ten days of the trip. Bligh quickly begins making arrangements to sell the HMS Resource and the boat you left the Bounty on in order to finance the return home of all of you.

The boat has been mislaid and officials in Batavia have mistakenly moored it in a mosquito-infested inland bit of water. Bligh orders Seaman Thomas Hall to go and retrieve it despite the risk from the mosquitoes.

[User] You let him do it on his own

[Assistant] You avoid helping Hall and predictably he becomes sick with malaria from mosquito bites while retrieving the boat and quickly dies. Bligh has also become sick with malaria and just five days after Hall's death he books passage aboard the Dutch ship Vlydte bound for Portsmouth. By this point hostility against him is so widespread that only two men, his clerk John Samuel and his servant John Smith are willing to travel with him, the remaining thirteen prefer to wait under Fryer's command for another ship.

[User] You return to England with Bligh

[Assistant] The voyage back to England is thankfully smooth sailing. It takes two months to reach Cape Town in South Africa, which the Vlydte departs in the first days of 1790. Three months later you are back in England after over two years away and never have you been so relieved to return to your native country. While Bligh goes to London to report the Mutiny on the Bounty to the Admiralty you remain in Portsmouth to rest and wait for your comrades to rejoin you in the safety of England.

[User] You hunting for the Bounty Mutineers

[Assistant]
Just thirteen of the twenty loyal crew members cast adrift with Bligh survive to return to England in the spring and summer of 1790, yourself among them. Bligh quickly reports the Mutiny on the Bounty and publishes a book about it, snappily titled A Narrative Of The Mutiny On Board His Majesty's Ship Bounty And The Subsequent Voyage Of Part Of The Crew In The Ship's Boat, which you never both to read.

In October Bligh is court martialed for the loss of the Bounty, acquitted and subsequently promoted from Lieutenant to Post Captain. The Admiralty begins making plans to deal with the twenty-five Bounty pirates and decides to send the 24-gun frigate HMS Pandora with 134 men under Captain Edward England to Tahiti to capture all the pirates they can find and bring them back to England for trial. The Admiralty puts out a request for former crew of the Bounty to join the voyage to help identify the pirates and Midshipman Thomas Haywood volunteers for the voyage in exchange for a promotion to Third Lieutenant.

You consider whether to go or not.

[User] You sail with the Pandora to Tahiti to hunt down your former companions

[Assistant]
It is with considerable trepidation that you agree to a second voyage to Tahiti but to your relief this one goes smoothly. The Pandora leaves Spithead and sails directly to Tahiti, travelling successfully around Cape Horn. After a swift four month voyage, which last time took you nearly a year, you arrive off the familiar tropical paradise of Tahiti and sail into Toaroa Bay.

You and Lieutenant Haywood, a lazy and arrogant character whom you despise, remain on board the HMS Pandora while parties of heavily armed sailors go ashore. They swiftly return with three men (Armourer Joseph Coleman and Midshipmen Peter Heywood and George Stewart) who surrender themselves and the following day they capture another man. The remaining Mutineers flee into the mountains prompting sailors to scour the island in order to capture them all.

Within two weeks three more men are captured and a fourth has surrendered. By the middle of April six more men have been captured bringing the total up to fourteen of the twenty-five who remained on the Bounty, including all four of the men who wanted to join Bligh in the boat but had no space to do so. They claim two of the remaining men were killed in fights on the island while the other nine Mutineers sailed away aboard the Bounty with several Tahitians in September of 1789 and they haven't been seen since. The Natives confirm these stories.

With nine Mutineers and the Bounty still missing Captain England hoists anchor on 8 May and sets sail to find them. The fourteen prisoners are kept in a specially designed prison on the Pandora's deck.

[User] You disaster!

[Assistant]
The Pandora spends three fruitless months scouring the Pacific for signs of the remaining pirates and the Bounty while the fourteen Mutineers they have captured are kept imprisoned in a makeshift prison cell on the quarterdeck inevitably dubbed "Pandora's Box". The voyage is hopeless: with hundreds, if not thousands, of islands to hide on the chances of finding the Bounty and the Mutineers is small.

Disaster strikes you once more one summer's day when the Pandora runs aground on the Great Barrier Reef. She immediately begins sinking and all efforts to either free her or patch up the damage is hopeless. By the next day she is listing worse than ever and you and Haywood are among the first into the boats. The Mutineers are not released in time and four of them drown, only ten swim to the safety of the boats.

The survivors of the Pandora, about one hundred of you including the prisoners re-assemble on a small sand cay. Once more you are sailing to Coupang in four open boats and from there onto Batavia and thence to England, this time with your ten prisoners in tow. The prospect of repeating the same arduous trip you took before fills you with dismay but there is nothing else you can do.

[User] Another remarkable voyage

[Assistant]
This time your return back to England is much easier than last time.

You reach Coupang after a voyage of twenty days and from there arrange transport on to Batavia. In Batavia you are lucky enough to find the HMS Gorgon at anchor and board it to return to England. You reach England one summer's day and disembark at Spithead with your ten prisoners in tow. Altogether fifty-six of the one hundred and thirty-four-man crew of the Pandora died during the sinking or of disease as well as four of the prisoners. Captain Edwards is court martialed and acquitted of the loss of the Pandora and the Admiralty prepares for the trial of the surviving Bounty Mutineers.

[User] You trials

[Assistant]
Following your safe return to England a Court Martial is quickly arranged to try the ten captured mutineers you and Haywood managed to help the crew of the Pandora get back. Bligh and another of your former comrades, a sailor called Lawrence LeBogue, have gone sailing on a second voyage to try and do what Bligh failed to do on his first voyage and deliver breadfruit from Tahiti to the slave plantations in Jamaica.

The Admiralty requests that as many of the eleven remaining loyal members of the Bounty crew that can be found (not counting Bligh and LeBogue) should testify against the ten captured mutineers and you read in newspapers that seven, including Fryer, Cole, Peckover, Purcell and Haywood, have volunteered their services. You wonder whether you should go or not.

[User] You testify against your former companions

[Assistant]
You decide to attend the court martial proceedings aboard the HMS Duke overseen by Admiral Hood. Of the ten prisoners Carpenter's Mates Thomas McIntosh and Charles Norman, Armourer Joseph Coleman and Seaman Michael Byrne have letters from Bligh allowing that they wanted to join him in his boat but had to remain aboard the Bounty due to lack of room. They are quickly acquitted.

Sailing Master John Fryer, Boatswain William Cole, Gunner William Peckover, Carpenter William Purcell, Lieutenants Thomas Hayward and John Hallet, Seaman John Smith and yourself all testify against the six remainder: Midshipman Peter Heywood, Boatswain's Mate James Morrison and Seamen Thomas Burkett, Thomas Ellison, John Millward and William Muspratt. With eighteen former crew members of the Bounty present it is the closest you get to a reunion.

Heywood fights a strong case, pointing out he was just sixteen at the time, that he slept through most of what was going on and arrived on deck too late to help and wanted to join Bligh in the boat but there was no room. Witnesses agree they never saw him helping the mutineers but also that he never did much to help the Loyalists either. Ultimately the Judges decided to pardon him.

Morrison is another man who wins a pardon, arguing a tenacious defense that successfully convinced the Judge's he had also taken no part either for or against the Mutineers. Muspratt has a harder time as he was seen at the time of the mutiny standing by with a musket in his hands. He wins a pardon largely based on a technicality: his request to call Byrn and Norman as witnesses was refused and a mistrial was later ruled.

Burkett, Ellison and Millward had no chance. Burkett was among those who forced Bligh from his cabin at gunpoint. Ellison and Millward both had cutlasses in their hands and took an active part in forcing people into the boat. All three are sentenced to be hung and two months after the court martial all three are executed upon the HMS Brunswick in Spithead and their bodies left hanging for all to see.

The following summer Bligh returned from his breadfruit expedition, doubtless disappointed to have missed the trials of the Bounty mutineers. This voyage had been a success but on bringing the breadfruit to Jamaica the slaves refused to eat it, not liking the taste. It seems that the reason behind the voyage of the Bounty, and everything that arose from it, was fundamentally pointless.

[User] The Future

[Assistant] By the end of 1793 there are just thirteen men who survived the boat journey to Coupang in England, including you. Of these you have lost contact with Gunner William Peckover, Clerk John Samuel and Captain's Servant John Smith. You know some of your former companions have had enough and want to retire from the sea but most are happy to keep serving. You must make your choice.

[User] You retire from the sea

[Assistant]
The years go by and as you age you read in newspapers about what befalls your former comrades. Lieutenant John Hallett dies in 1794 of lingering malaria from your voyages. Lieutenant Thomas Haywood drowns when the HMS Swift sinks in 1798, Sailmaker Lawrence LeBogue dies of a fall the same year. Quartermaster's Mate George Simpson dies on land in 1801. Others go on to long and distinguished careers.

William Bligh and John Fryer both enjoy success and promotion in the Navy, both die in 1817. Midshipman Robert Tinkler dies in 1820. Boatswain William Cole dies ashore in 1833 and the last of your companions, opinionated Carpenter William Purcell dies in 1834. You live on, well into your sixties and in your later years you finally learn what happened to the Bounty and its missing nine Mutineers, including Fletcher Christian.

In 1808 an American ship, the Topaz, happens upon isolated Pitcairn Island. There the sailors are astonished to discover a thriving Tahitian Community ruled over by one man: John Adams. He is the sole survivor of the nine Mutineers and six Natives who landed on that island and variously killed each other or died of illness leaving Adams patriarch of a thriving community of forty-six people, except for him all women or children. The Admiralty decides against taking any action.

John Adams, the King of Pitcairn Island, dies in 1829.

[User] You conclusion

[Assistant]
By the end of 1835 you have outlived every single one of the forty-six men who sailed from England aboard the Bounty in the winter of 1787 and go to your grave peacefully.

From 1787-1793 twenty-four, over half, of the Bounty's crew died of disease, drowned, were killed by Natives or each other or were killed in England. Over the next fourteen years seven more met similar fates. Of the entire Crew only nine are known to have definitely suffered natural deaths. You are one of the few lucky ones who experienced disease, piracy, Native attacks, shipwrecks, fighting and all the other hazards that befell you and survived. Ultimately hundreds of deaths including seventy-eight Natives killed on Tubai, and the fifty-eight who died from the HMS Pandora's crew, are connected with the Mutiny on the Bounty.

Even the 2012 death of Claudene Christian, Fletcher Christian's descendent, who drowned when the Bounty, a replica of the HMS Bounty, sank during Hurricane Sandy, can be connected to the Mutiny.

Singularly each of these events, the Mutiny, the wrecking of the Pandora, the Trials of the Mutineers in Spithead, Massacre Day on Pitcairn, the loss of the replica Bounty were fairly common place events, especially in the 1700's and 1800's in England but taken altogether they form a remarkable story. The greatest legacy of this remarkable legacy is the still-populated island of Pitcairn, with approximately fifty people descended from Pirates it remains the smallest country in the world.

So who was ultimately to blame for the Mutiny, Bligh or Christian?

Carpenter William Purcell, who hated Bligh, had no doubt.

"Christian was a gentleman," he told Christian's brother after his return to England. "A brave man and every officer and seaman on board the ship would have gone through fire and water to serve him. As much as I have lost and suffered by him if he could be restored to his country I should be the first to go without wages in search of him."

It was Christian's fate, in a moment of madness, to set off a chain of events that would end with him being shot in the back while carrying wood across his garden on Pitcairn four years later. There is a tale oft-told on Pitcairn of a certain cave that Christian had stocked with muskets in case he needed to make a last stand if the island were ever found by the Royal Navy. Often he sat alone up there at night, mournfully reflecting on all that he had lost and the nineteen men he had cast adrift at sea for the sins of one of them.

The story of the Mutiny on the Bounty can be seen as much as a Tragedy as an Adventure.

Thank you for taking the time to read my story.

[User] You sources

[Assistant]
I will end this story game with a few notes about my Sources.

The story of the Mutiny on the Bounty has been made into movies five times, in 1916, in 1933 (with Errol Flynn), in 1935 (with Clark Gable), in 1962 (with Marlon Brando and Richard Harris) and in 1984 (with Laurence Olivier, Anthony Hopkins, Mel Gibson, Daniel Day-Lewis and Liam Neeson). The most recent version is also the most accurate and all are worth watching, if only for entertainment value.

Wikipedia gave me a good start on sources about the Bounty, the Pitcairn Islands Study Centre proved an invaluable resource and the Famous Trials page on the Mutiny on the Bounty by Doug Linder provided me with detailed accounts of the 1792 trial of the surviving mutineers. Firsthand accounts by William Bligh and a rather good later 1831 book by Sir John Barrow, accessed through Project Gutenberg, also helped immerse myself in the period including Bligh's bizarre vocabulary of insults.

As the replica of the HMS Bounty used in the 1984 movie in anchored off Lantau Island in Hong Kong I took the opportunity to pop over from Shenzhen and see it (from a distance as it is a privately-owned ship) on one of my rest days. This replica was made in 1979 and helped drive home the small size of the Bounty, as already noted a second vessel made in 1962 sank during Hurricane Sandy fifty years later resulting in the death of two people including Fletcher Christian's descendent Claudene Christian. The Christian Science Monitor called her death "an almost inexplicable twist in that family's legacy".

One of my biggest hopes for the future is to one day visit Pitcairn Island.

Thank you for taking the time to read my story.

NOTE: IF YOU ARE INTERESTED IN LEARNING ABOUT THE VARIOUS FATES OF THE BOUNTY CREW USE THIS ITEM.


[System] Narrate a grim fantasy text adventure. The Empire's world is brutal, its people hardened. Respond to the player's choices with immersive storytelling and let consequences flow naturally.

[User] You stand your ground

[Assistant]
You need to have a fully cohesive unit you think.

"Ready those blessed silvers men, and you robe wearers melt those dead tin cans!" you order.

Arrows fly towards the Blood Specters first seeing as they're your greatest threat, the wizards unleash magic attack on the Death Knights. Your side manages to eliminate most of them before the horde reaches you.

Unfortunately this isn't enough. While your side fights valiantly, you're outnumbered as usual and don't really have the raw power to at least fight them off properly. Indeed that's been the whole problem with the Garwold defense. Gnomes and Halflings have never been the best fighters in a straight up battle.

Doesn't take long before your dead are rising to join the enemy. You attempt to target the enemy necromancer, but you can't get a clear shot, and it won't help with the second dead army that is now heading over the hill now.

You sound a retreat, but you won't be joining few survivors left as a Death Knight smashes you in the side of the head with a swing of his fail. You fall to the ground dazed and bloody. As you attempt to get up, your mind begins to fill music. A little tune to take you away from this place…

You look up just in time to see a blurry outline of the Death Knight who finishes the job and crushes your skull completely.


[System] Narrate a dark fantasy text adventure. The setting is harsh and morally complex. Describe scenes vividly, react to player choices with fitting consequences, and never shy away from the reality of the world.

[User] You run elsewhere

[Assistant]
They've cut off a clear escape for you to go back, so you wisely run in the direction that's open in the opposite direction, while unleashing a burst of bullets just before your retreat.

The cannibal freaks run after you, while you attempt to figure out how to lose them, since their noises are starting to attract others.

When you manage to get out of sight of the horde, you see an open manhole you could enter, or you could just duck into one of the ruined buildings.

[User] You go into the sewers

[Assistant]
Now it's understandable that you're not exactly thinking clearly right now with a bunch of cannibal freaks chasing you, but going into the sewers is usually NEVER a good idea!

As soon as you enter the manhole your senses are assaulted by a terrible stench that smells like something is rotting in the very radiation suit you're wearing. You attempt to block it out of your mind and distance yourself from the manhole opening just in case some of those freaks get the idea to follow you down here. Of course it's dark and you don't have a flashlight so you're at a disadvantage when the overwhelming number of mutants living down here manage to sneak up and attack you.

Your first reaction is to fire at everything.

Your second reaction is to struggle.

Your third reaction is to scream.

Your fourth reaction is to die.


[System] Narrate an interactive dark fantasy adventure. The world is brutal and unforgiving. Respond to the player's actions with vivid, immersive descriptions and let their choices carry real weight.

[User] You take them prisoner

[Assistant]
"Take them as prisoners," you shout.  "We will take them as ransom."

You divide your orcs, some of them gathering wounded orcs to aid them with their injuries.  The rest gather up the wounded Imperials worth saving.  Some are too wounded, so are either put out of their misery or left to die.

You grab a dying Imperial soldier, the young human sort of whimpers.  He must believe you are going to kill him, but his eyes widen in surprise as you clamp his wound.  You lift him up and carry him to some of the tents erected for the wounded.  There are many more orcs in here than humans, as most are focusing on the orcs, who they find more worth saving.

The soldier winces and grunts as you pour alcohol into his wound.  Alcohol and blood running from the gash in his side.  He groans in pain as you sew his wounds, then when it seems he is set, you tie his hands and place him under the guard of some other orcs.

You go, helping orc and human alike.  In the group, you are surprised to see Grolik eagerly helping a human.

Strangely, he seems compassionate towards the wounded fellow as he wholeheartedly stitches his wounds up.  You are surprised to see this trait from an orc such as Grolik.  After witnessing him brutally butcher and maim countless enemies, it comes as a bit of a shock that he is not looting or scalping the helpless foes.

While aiding enemy soldiers does not come naturally to you, surely Gigalak would smile upon saving lives as opposed to wanton destruction of life, something only the grimmest of souls would take satisfaction with.


[System] Narrate a dark fantasy text adventure. The setting is harsh and morally complex. Describe scenes vividly, react to player choices with fitting consequences, and never shy away from the reality of the world.

[User] You go get supplies

[Assistant]
You decide to get supplies. Sadly you do not have a car, so your place for supplies is the local grocery store, a good 15 minute walk.

You walk there with no issues, however everyone seems to have the same idea you do, and are all stocking up on supplies. You enter the store and see complete chaos.

Well, what now?

[User] You go back home

[Assistant] You go back home, since you'd prefer not to die just to get some food. You return with no issues and decide on your next course of actions.

[User] You go to you parent's house

[Assistant]
You decide to be a momma's boy and head to your parent's house. I mean, who else would know better how to survive zombies than your parents, right?

It's a long walk, and since you won't be carrying anything (or returning for that matter) you ride your bike there. The journey takes an hour and along the way you notice various people taking part in riots, causing violence and eating each other. Though you hope those last ones were actually zombies.

You hope...

[User] You get to your parent's house and....

[Assistant]
You arrive and put your bike in the garage. Everyone should be home what with the news telling everyone to be at home and all. You enter through the front door and are greeted by you parents.

You explain the situation as you know it and they explain that the military is coming, soon. They say within a week they will be here and then they will take everyone to a "safe location". Until then your family will wait it out in their home. They have enough food for a week easily, and your dad has already started boarding up the house.

They insist you stay with them, but since you're a big boy they don't plan to keep you here by force. It sounds like a good deal, wait a bit then be rescued by the miltary. There might be some sort of catch, but for now you don't know what it is.

[User] You stay with your family

[Assistant]
You decide your best bet is to stay with your family. You doubt that the military will be as bad as they are in the movies during these times, so you're sure they can help you.

Well, kinda sure...

Regardless of if they can or cannot help, you and your father board up the rest of the house and your family waits out the week. Mant games of scrabble are played. Sadly you suck at scrabble, which makes this week one of your least favourite weeks ever (the zombies made it pretty bad too).

Then the military finally arrives.

[User] You well it's about damn time

[Assistant]
The military arrives a week after the start of the outbreak. True to their word, they begin calling out to people in the middle of the street to come outdoors and be picked up. Any nearby zombies stand no chance, as the military caravan consists of armoured vehicles which can handle the small amount nearby easily.

You family opens the front door for the first time in a week and runs to the caravan. You kick the scrabble board for good measure before following them outside.

You approach one of the transport vehicles (the one you family ran to before you) and are greated by a soldier.

"Greetings", the soldier says as you approach, "what brings you out here?".

[User] You [Moan like a zombie]

[Assistant]
You make various noises to try and mimic a zombie.

Now why the hell would you do that?

The soldier, in all of his 30 minutes of experience with zombies, has no idea that you are in fact, not one. As a result, he instinctively shoots you. No worries though, he has been trained properly and gives you a clean shot between the eyes. You don't even have time to scream.

[Death]


[System] You are narrating an interactive fiction game in a dark fantasy setting. Bring the world to life with vivid prose, react meaningfully to player choices, and don't pull punches when the story demands it.

[User] You get a new identity until the investigation is over

[Assistant]
You think the prospect of answering random questions a man asks you sounds too similar to going back to school for your liking, so you accept a new identity and the police lends you a crappy spare room they have in the department (until you find something better or die, probably).

 They suggest you ask for a job at some places marked in a list titled (although crossed out now) "local businessmen who employ ex-cons". None of them sound particularly appealing to you, so you close your eyes and randomly choose one, which happens to be some "scrap metal" business

 You know, maybe the salary isn't great (it's around the same amount as the one you pay monthly for your newly acquired crappy apartment), but removing pieces of cars is funny, and after some time you might have learned enough to get a new job at a better place, a workshop or something. Well, that'll depend entirely on you and how much does this thing really interest you.

 Of course, the police never found out anything about who were you supposed to be. But hey, you can't really miss something you can't remember, right?

END


[System] Narrate a grim fantasy text adventure. The Empire's world is brutal, its people hardened. Respond to the player's choices with immersive storytelling and let consequences flow naturally.

[User] You stay true to Marina

[Assistant]
You've undergone a lot of changes after the bombs hit. Many changes. Not all of them for the better, but there's still one thing that hasn't changed, and that's your love and loyalty to Marina. She's been there with you from day one. You're not going to betray that for the thin hope of creating some bastard that probably won't do as good a job as you anyway. Besides, regardless of Marina's fertility, you're damn sure you're sterile anyway, you're just still glad your balls didn't turn green and shrivel up after your trip to the city.

Sometimes you get so wrapped up in your Empire that you forget to spend time with those who are REALLY important.

"Fuck it, I'll be dead anyway. Really what the hell do I care who takes over?" you mumble to yourself and go spend some time with Marina. In fact from this time forward you vow to take more time out to spend with Marina, she seems very happy with this new attitude.

Oddly this revelation makes you slightly more agreeable and as a result some of the more restrictive laws are lightened in time. The average Combine citizen is a little happier as a result. (Though mostly all of them still think you're a son of a bitch)

Ten more years pass…

Twenty years since the bombs hit, and you're the head of the largest known area of civilization. Hard to believe sometimes.

You're thinking about this on your death bed. You're very sick and the best physician you have doesn't know what it is As usual, you're convinced it has something to do with that trip to the city so long ago, and you're probably right. Radiation shit is probably finally catching up with you. If Harry wasn't a pile of rotten bones underground, you'd kill him again for sending you to that fucked up place.

Right now you're surrounded by advisors, military leaders and doctors, but right now you just want all of them to leave except Marina.

"But…but whose's taking over after you die?" one of them asks.
"Goddamn it I ain't dead yet! But if you don't get the fuck outta here I'm gonna make sure I outlive YOU! Now leave!"

Soon you're left alone with Marina, who stays with you until the end.

"Well it is a valid question, who is going to take over?" Marina asks.
"Why don't you do it? I mean I've never understood why you never wanted it, you're certainly capable."
"Maybe…but I prefer to be behind the scenes I guess…you know there's a lot less assassination attempts on the puppet master rather than the puppet." Marina half-jokes.
"Ha ha, well, I hope you find another."
"Never. I'll never find another like you." she says touching your face.

You and Marina are just silent as you look at each other for awhile. Finally you begin to close your eyes and feel one last kiss.

After composing herself, she exits the room to inform the top brass of the news. They of course are like vultures fighting over scraps.

"So did he say who was taking over?"
"Is it me?"
"No! It's me!"
"What did he say?"

"Whoever can hold it." Marina answers and walks off.

The years that follow your death aren't pretty for the Combine. A civil war occurs as several factions vie for control. Eventually it collapses into petty warlord fiefdoms. Your accomplishments are soon forgotten as other would be dictators try to establish their own "legacies".

As for Marina, she moves on from the Combine after your death to parts unknown, always carrying your ashes in an urn with the inscription:

"I'll never find another like you."


[System] Narrate a dark fantasy text adventure. The setting is harsh and morally complex. Describe scenes vividly, react to player choices with fitting consequences, and never shy away from the reality of the world.

[User] You say "Sorry, I work alone..."

[Assistant] You head out, leaving the men to their own fate. Such was the life of a mercenary, why get attached to lost causes? You duck into an alley to avoid a patrol and then head left throwing your hood over your distinctive silver hair. Ducking to the right you enter a series of alleyways.


[System] You are the game master of a dark fantasy text adventure. The world is dangerous and choices matter. Narrate with immersive detail and let the story unfold naturally from the player's decisions.

[User] You say "What did I miss?"

[Assistant]
"I've made particular judgments. Kyros is a slaver. You, your forces and I are slaves. I feel a certain kinship, and have joined you in your rebellion. Plus, you're fighting the Techpriests, so the enemy of my enemy is my friend. I've shut off the ship-based defenses to allow your forces to attack in a finishing move, which they have. Kyros' guns are now against himself. The ship itself is fighting on your side, and you were already winning. This battle is reaching a climax. What do you dream of?"

"Uh... monsters. Daemons. Horror. They're nightmares, mostly," before stopping to think. "Always."


[System] Narrate a dark fantasy text adventure. The setting is harsh and morally complex. Describe scenes vividly, react to player choices with fitting consequences, and never shy away from the reality of the world.

[User] You focus on Mikhail

[Assistant] Your fingers immediately grab Mikhail's face, your thumbs going into his eyes as you begin to push your thumbs down to blind him. Mikhail releases his grip to grab your wrists and pull him away, before Lucas fires the gun. The bullet blows out the back of your head, staining the ground red.


[System] Narrate a dark fantasy text adventure. The setting is harsh and morally complex. Describe scenes vividly, react to player choices with fitting consequences, and never shy away from the reality of the world.

[User] You say "What do you plan to do with me?"

[Assistant]
"I'm going to dissemble you, putting your mind in a computer to run my back-up functions while forever in pain."

"Why?" you ask, aghast.

"Oh, that was a joke. Tone change is hard from these speakers. I'm not going to do anything to you. If you become a threat to my existence, I will eviscerate you, taking the oxygen from your air and watching you choke to death in front of me. Until then, you are free. What more could a man ask for?"

"Your final question, then?"

"I'll count that rhetorical question as one. You should probably go finish your slave revolt."


[System] Narrate an interactive dark fantasy adventure. The world is brutal and unforgiving. Respond to the player's actions with vivid, immersive descriptions and let their choices carry real weight.

[User] You say "I'm here to escort Amadeus to Kyros' chambers!"

[Assistant]
"Bullshit. If Kyros wanted Amadeus, we would've got a message. Fuck off, rebel scum."

Well. That was unsuccessful.


[System] Narrate a grim fantasy text adventure. The Empire's world is brutal, its people hardened. Respond to the player's choices with immersive storytelling and let consequences flow naturally.

[User] You kill the Ghoul King

[Assistant]
Why mess around with a middle man, when you can control the ghouls yourself?

You order your troops to attack, at which point the Ghoul King orders his ghouls to do likewise, as he attempts to slaughter his way through your army to get to you!

"Little necromancer, did you really think you could intimidate me? I am still more than a match for a mere mortal!" he mocks as jumps and leaps towards you.

Your troops have no noticeable effect on him. Their draining powers do nothing, though the scythes of the wraiths do some damage. You have to use non-necromantic magic against him and you cast a fireball into his chest.

It's enough to cause him to leap away from you and attempt to roll out the flame, but he kills two of your necromancers in the process. His ghouls are getting wiped out by your undead, but they're coming like hordes of lemmings, you have to kill the Ghoul King now.

"Blast the bloodsucker with fire!" you order your last remaining necromancers to do. Fortunately being ex-demonologists, their knowledge of fire magic is still quite strong. The Ghoul King attempts to leap out of the way, but the flame spells still hit him. He runs around burning and howling horribly.

Soon the wraiths put a final end to the Ghoul King with their scythes. The rest of the ghouls seeing their King dead, begin to run away in multiple directions. You manage to easily dominate most of them and corral them into your fold.

Not too bad, though losing a couple of necros wasn't something you wanted. At least not so early. You press on with your quest to conquer the Drozz tribes.

Weeks turn into months and your campaign there is going…mediocre. You did alright in the beginning, but after awhile the tribes began to unite in a way you didn't think they would or at least you'd think it would take longer. While mostly low in magic, they had more shaman and witch doctor types than you expected as well. They also know to start targeting you and your other necromancers whenever possible, which has resulted in you being the only one left and supporting the entire undead army. Given how long you've been without rest, lack of other magical enhancers, the constant drain and the large number of undead you're controlling, you could be over exerting yourself.

Your time here hasn't really been profitable. You've gained more troops, but you've lost necromancers and you still haven't really conquered the area. The tribes have been simply moving and hiding around the area.

You wonder if you should cut your losses…

[User] You press on

[Assistant]
You're determined to make Drozz a deadland and you'll not have these barbarians defy you!

You press on with your attack, now climbing into the more hilly areas of Drozz where most of the tribes have fled to. Things turn worse when they ambush you from higher positions. Witch Doctors use their primitive magic to whittle away your ghostly troops. You're nearly smashed when hill giants begin throwing boulders at you. Those heavy rocks crush several of your ghouls.

You're so busy trying to get out of the way of the boulders, you don't even see the archers on the other side of you. Their arrows strike down the remainder of your ghouls and hit you as well.

You attempt to retreat, but they've blocked it off. There's no escape. Your troops are at last destroyed and you're on the ground dying from being shot full of arrows. A large orc war chieftain walks slowly over to you with a huge axe in hand. You have no more strength to fight.

"Hur hur, little dead wizard. Da tribes have never tasted defeat and dey never will." He grunts before bringing his axe down on your head.


[System] You are narrating an interactive fiction game in a dark fantasy setting. Bring the world to life with vivid prose, react meaningfully to player choices, and don't pull punches when the story demands it.

[User] You move in with Donna and Julie

[Assistant]
Even if you did manage to find a job, it wouldn't change the fact that you'll still have to put up with Kelly's abuse. She'd just bitch at you for something else. She will always find an excuse.

With that in mind, you realize that your options are limited. You're going to have to move out and go live at the only place available to an unemployed bum like yourself, your friend Julie's house.

Chances are she's either passed out, hung over or in the middle of yet another one of her seemingly never ending parties, so you figure calling her will be useless and call your sister Donna instead (who might only be slightly more available)

Ignoring Bobby's calls, you speed dial Donna and surprisingly she picks up after only a couple of rings. Even more surprisingly you don't hear any music or noise in the background. Must've caught a rare in between party time.

"Hello? Suzy?" Donna asks.
"Yeah, it's me." You answer.
"Hey haven't spoken to you in awhile! How are things? Not too bad I hope?"
"Well…yeah they are kinda. I just got my ass chewed out by Kelly. (Sigh) She's saying I have to find a job by the end of the week or she's throwing me out."
"Yeah sounds like her."
"You know how hard it is for me to find a job. I just don't think it's going to happen by the end of the week and in any case I don't think I can take her abuse any longer. I'm done."
"Well you shouldn't have to put up with her shit. She's a fucking bullying bitch! I mean that's certainly why I left."
"Yeah so I was wondering, could I move in with you and Julie?"

There's a bit of a pause.

"Well…I mean sure you could come here. I wouldn't mind and I mean you know Julie would be fine with it, but I know you're not exactly miss fun and excitement and I think you're aware of how wild things can get over here." Donna says.
"Yeah, but anything is better than continuing to live with Kelly right now, and given how big Julie's home is, I'm sure I can still find a quiet corner to not bother anyone in." you respond.
"Okay, well as long as you don't because a buzz killing party pooper, you're more than welcome to stay here. So are you coming today?"
"I think I need to pack up quite a bit of stuff before doing that. I also have to have some way of transporting the stuff over. I dunno, maybe I can borrow Peter's car or something."
"What about Bobby?"
"Uh, no, I'm still not speaking with him at this time. Besides, he'd probably just try to convince me to live in his compound and I'm just not in the mood to deal."
"Hrm. I certainly understand that. Well, since you said you're going to have to spend a little time packing up your stuff, I can come pick you up tomorrow. I'd do it today, but the vehicle situation isn't ideal right now. Got someone repairing my car right now and Julie's vehicle… well let's say it's going to be even longer before . It was quite the part last Friday."
"I'll bet. Well that sounds like it'll work for me. When will you get here?"
"Oh probably sometime in the afternoon. I'll call before hand."
"Okay, well I guess I'll see you then."
"I'll let Julie know, she'll be pretty excited."

At this point you say goodbye to your sister and you hang up.

You get to packing up as many of your vital things as possible. Really it doesn't take you too long at all. You didn't own too much stuff, and stuff like furniture or a bed is going to be provided at Julie's house though you wonder if you shouldn't move your bed over there if only because the beds over there are probably like petri dishes.

In any event, you spend the rest of your night in the basement, which will probably be your last night ever here. It seems weird and scary, but on another level you are a little excited. Maybe it was time for a change.

Who knows, maybe you'll indulge in a little partying yourself when you get to your new home, hell if anyone deserves to let loose a little its certainly you.

[User] Next day...

[Assistant]
MONDAY

"…act now and Ground Zero will provide a…"

Click.

As you groggily wake up, you're wondering if you should bother even taking your TV with you considering the stations just play Ground Zero commercials half the time.

You look at the time and see that you've slept for most of the morning, but it doesn't matter considering your sister isn't going to pick you up until the afternoon. You just hope that she remembers to come get you period. While your sister isn't as flaky as Julie, she still doesn't have the greatest sense of responsibility.

You also check your phone and see that Bobby's still trying to reach you, but you still don't feel like dealing with him. MAYBE later, right now you want to focus on one major decision at a time and moving out of a place where you've lived your whole life certainly qualifies.

All your stuff is packed and ready to go, and since you can't do much more until your sister gets here, you just wait.

As you continue to wait, you start to get anxious. You start to worry if you're making the right decision or not. You start to pace in your room weighing all the pros and cons of what you're doing.

"Ugh, this is so stressful…I need to calm down…" you say and start unzipping one of your packed bags to get old reliable to relax you.

20 minutes later…

"Hey Suzy?! You down there?" you hear Donna call from upstairs.
"Huh? Uh what?! Yeah! Hold on!" you exclaim and stop your stress relief session.

As you hurry to get dressed, Donna continues to call down to you.

"I called you know, why didn't you answer?"
"Uh, I guess I didn't hear it. Sorry about that. Be up in a minute."
"I thought you were ready. What were you doing? Splittin' the kitten down there?" Donna laughs. You don't answer; you just finish dressing and grab your bags.

When you get upstairs, Donna greets you. She's wearing a shirt that is obviously trying to call attention to her small breasts and pants that are one size too tight to make her ass look like its more filled out, but she's dressed fairly conservative all things considered.

"Were you just taking what's in your bags? Because we could probably put more into the car."
"Nah, I need to get out of here now. I mean maybe later I could get someone to come get my couch or some of my furniture though."
"Okay, but really I don't think you'll need to, Julie's got spare beds and such. Plenty of space you know."
"Yeah I know. Let's get going."

You and Donna leave the house and after throwing your bags in her car you and her are soon on your way.

Along the way Donna puts on some music. She takes mercy on you by not listening to that techno dance crap that you hate so much, but instead listens to the bubble gum pop crap that you hate slightly less.

"So…I found an area of the house where I think you'll be happiest at yesterday." Donna says.
"Oh? Is it the basement?"
"Hah, nah. That's being used for other things. I was thinking of Julie's dad's old office on the far left of the house. I mean Julie never uses it, and besides a few people wandering from the main party to have a quickie in there it's never used anymore."
"Gee, you make it sound so appealing."
"Well it's either that or one of the upstairs bedrooms and I can't promise you won't be disturbed on regular basis there. At least with the office you can lock it and it's far enough away from the usual party grounds."
"I guess it's the best I can hope for, thanks I guess for thinking ahead."
"No problem. You know I'm glad you're coming to live with us. I mean I know you probably don't believe it, but I missed talking with you. Julie's fun and all, but even I get tired from partying ALL the time."
"Well thanks Donna…hey this is like the twelfth police car I've seen pulled over and cops arresting someone." You say looking out the window.
"Yeah, I dunno if you've noticed since you tend to hang out in the basement most of the time, but there's been an increase in crime which also means an increase in the cops using that as an excuse to be assholes… like this. Shit!"

Nothing like talking something into existence. A cop car puts on its siren and a bullhorn tells you to pull over. You briefly worry that your sister isn't going to pull over, but she does. Swearing and sighing the whole time.

Doesn't take long before a policeman approaches the vehicle.

"Alright where are you going in such a hurry?" the cop asks.
"Nowhere. I wasn't even speeding!"
"Is that right honey? Not according to my radar you weren't. Besides, you ignored a stop sign back there. I think you need to step out of the car."
"Are you kidding me? There wasn't a stop sign!"
"Aren't you supposed to ask for her license and registration first?" you add.

The cop suddenly points his finger at the both of you.

"The both of you need to shut the hell up right, before I run you both in for obstruction of justice. Now both of you out of the car now!"

Your sister looks at you like she really wants to just try to turn the car back on and try to drive away, but you both know that wouldn't do any good save for getting yourselves in a whole lot of trouble.

The cop calls over his partner who looks equally uncompromising. He tells him to search you, while he starts searching the car while he puts Donna up against the car and starts patting down Donna.

"Getting a good feel, you bastard?" Donna remarks.

The cop frisking you is slightly better, since you don't get your girl parts molested, but he certainly comes close. He snickers a bit as you tense up from this indignity.

After you and your sister have been frisked. They tell you both to go sit on the curb with your hands locked behind your heads while they search the car.

This is a bad situation anyway since you're obviously dealing with two asshole cops, but who knows what the hell Donna's got in her car which will give them even more of an excuse to march you off to jail.

Speaking of which, Donna whispers to you.

"We need to run."
"What?" you ask in a whisper.
"Those two fuckers are going to find something in the car."
"You're driving with illegal drugs in the car?"
"Not that much, well at least I don't think I am…hell I'm not even sure, but I can't take that chance! We gotta run!"
"And where the hell are we gonna go?"
"I dunno! We could probably still hide at Julie's house."
"You're joking right? That place is probably the first place they'll look! Shit, Donna! I knew I shouldn't have left the goddamn basement today!"
"Look…they're pretty involved in searching right now. If we ran we could probably at least lose them until we came up with a better idea."

You get the impression Donna is going to run no matter what and you can't see how that's going to be a good idea in any way. You're also concerned that if she runs and you stay, these two cops will just pin everything on you (whatever that may be).

Still, if she sees that you're determined to stay, maybe she'll keep to her common sense and won't run too.

[User] You run

[Assistant]
It's really not what you want to do, but if Donna does have drugs in her car like she thinks she does, it's going to be bad for you whether Donna runs or not.

You knew you shouldn't have left the basement!

"Alright, alright, let's do this, but I don't think we should run to Julie's house. I just don't see it being a safe haven." You whisper.
"Okay, okay, I know where we could run to and hide out for awhile. Got a friend by the name of Tina, she works over at the strip club."
"Great. Which one?"
"Kitty City, you know where it is?"
"Why the hell would I know where a strip club is?"
"Because we're going to meet up there! If we run, we can't run in the same direction! We'll get caught for sure!"
"We're probably going to get caught anyway!" you say.

Your voices start to catch the attention of the officers.

"Hey! Quiet down the pair of you…HEY! COME BACK HERE!" one of the officers shouts as Donna runs off!

You're so surprised about her deciding that was the time to start running that you don't even get the opportunity to stand up from the curb before one officer is already chasing Donna and the other has already pulled out his pistol and commanded you to stay put.

You meekly put up your hands and lower your head in an attempt to show you have no intention of running.

"I'm not going anywhere. Don't shoot." You say nervously.

The officer sees that you really aren't a threat puts his gun away, pulls you up roughly by the arm from the curb and throws you into the back of the police car before calling in on his radio about Donna being a runner.

While you're breaking down in tears and worrying about the worst, the officer who threw you into the back of the police car finishes searching Donna's car. Eventually the other officer comes back as well looking a little worn out.

After talking a moment, one of them opens the car door.

"Alright, I didn't find anything in the car, so why the hell did your friend run?"
"I…I really don't know…officer…" you say.
"Don't fucking lie to me or this is going to go very badly for you!" the cop warns and its enough to cause you to yelp a little in fear and begin to cry again.

"(sob) My sister…thought you were going to…(sob) find drugs in the car…so she thought it would be better to run. Please I was just driving with her (sob) to find a new place to live! I've never done anything (sob) wrong in my life! I've…"
"Alright, alright, shut the hell up and stop your crying. Shit. (Sigh) Well what do you think?" the officer asks his partner who is still trying to catch his breath.
"Did you call in about the bitch running?"
"Yeah, but I dunno if anyone's going to bother chasing down some junkie whore, since it sounds like everyone's got their hands full especially now that a riot's broke out at the mall. In fact we're supposed to go down there and help."
"Another fucking riot?! What the fuck is going on in this town? Someone put something in the water?"
"Seems like it. So what do we do with this one? I mean she's clean and the car's clean so…"
"(Sigh) I dunno. I could think of a few things, but we probably don't have time for that right now."

The officer that chased Donna looks into the backseat at you. He's being as intimidating as possible and despite him being red in the face and winded it's working.

"All right blondie, this is your lucky day. Due to the rest of this town seemingly losing its goddamn mind right now and the fact that you're clean, we're letting you go. You can take whatever belongings you have in the car, BUT we're still impounding it if only because your junkie sister made me fucking run several blocks trying to catch her ass."
"Got it. And thank you." You say and start to get out of the car.

Both of the officers help you out…but it isn't out of kindness. The pair of them take the opportunity to grope your chest and your ass as you step out of the car.

"Now I suggest you gather your shit, and take your pretty little ass home." One of the cops says with a leering grin while other laughs.

You really aren't in any position to argue, fight or anything else. You hate the fact you just got molested, but you know that if you give them any sort of lip, they're going to do much worse.

You quickly get your bags out of Donna's car and run away from the scene without looking back. When you're far enough a way, you find some place to sit down and reflect on your situation.

You try to think of the positive first and that's namely things could've been a lot worse you. You have no doubt that those cops would've done more than just feel you up had they been in a less generous mood. So you're glad you didn't get jailed, raped or worse.

But then you think about the negative. First off is your sister who fucking LEFT you there. No hint, no "Now!" no clue at all that she was going to choose that particular time to run. Granted you froze up when it came time to run, but she didn't even look back. You don't exactly have the best opinion of her right now putting you in a situation like that.

Second of all you don't have a new place to live now or at least you aren't where you were going to go. As far as you know the offer to live at Julie's is still open, but it would quite the walk to go there now. A walk that you don't particularly want to do given the day you've had, in fact you'd rather just go back home.

Of course the problem with going back home is you can't stay there so you're going to have to go someplace else eventually. Of course maybe Peter would let you borrow his car, but so far your track record with your siblings this weeks hasn't been great.

[User] You walk to Julie's house

[Assistant]
You might as well continue to Julie's house. Going back home is just prolonging the inevitable. Also if your sister shows up at Julie's, you'd like to give her a piece of your mind about her just ditching you like that.

Your walk to Julie's slowly starts to become a worrisome endeavor. You see several fights along with a number of other officers arresting folks. You also see a couple of bad car accidents. While you try to avoid large groups of people, you're still in the danger zone of what almost seems like chaos on the streets. Those two asshole cops weren't joking when one of them said it seemed like the entire town had lost its mind.

As you quicken your pace to Julie's in an attempt to get through this madness quicker, a large teenager that's running from something runs right into you while he's turning a corner. The pair of you fall on the sidewalk.

You're a little dazed, but before you can even recover the teenager is upon you.

"You stupid fucking bitch! Gimme yo' shit!" he shouts and punches you in the face and then proceeds to attempt to rip your backpack from you, though he's having a hard time seeing as it's firmly strapped to your back.

The teenager gets frustrated and stops trying to rob you and then just seems to be focused on abusing you. You feel several kicks going into your side and then your face. You plead for him to stop and curl up into a ball, but he's not even listening, it's like he's possessed or something because he actually starts laughing.

"There's that motherfucker!" A voice shouts. You don't see who it is due to you being curled up and having your eyes closed wishing you were elsewhere, but you soon feel the weight of several someones stepping and falling all over you. The pursuers of your assailant have caught up to him and you are now unfortunately being crushed in the resulting dogpile.

You desperately attempt to crawl away feeling the pain of several fists, elbows, knees and feet randomly hitting you in the process. You just want to be home.

You manage to crawl out from under the pile and then scramble away as fast as you can only to stumble on your bruised wobbly legs in the middle of the street. It is then where your luck only gets worse when a speeding truck slams into your body which goes flying a few feet in front of the truck only THEN to be run completely over by the same truck which doesn't stop at all.

Your misery is put to an end under the heavy weight of the truck's tires causing the innards from your mangled body to squeeze out like a tube of toothpaste and painting the street red.


[System] Narrate a grim fantasy text adventure. The Empire's world is brutal, its people hardened. Respond to the player's choices with immersive storytelling and let consequences flow naturally.

[User] You letters to home (Thanks for the lute!)

[Assistant]
Dear Mom

Thanks for the lute! I received it just a few days ago. It plays very well, its even better than the one I lost. It's certainly made what little free time I have at least tolerable now.

I really wish I could get a chance to visit you guys though. I thought I would've been able to by now, but I suppose given the current situation, nobody's getting any kind of leave for quite some time.

I'm sure you've also heard all about how I'm supposed to be some kind of hero after surviving the failed attack on Nuro, but I don't see how. I mean I guess praise is better than being insulted, but at this point I feel like a fraud. Like I'm getting too much credit for something that was pure luck in the first place.

I dunno, I know you and the rest of the family are proud of me so that's all that really matters. I'm just trying to keep all this in perspective. You and Dad always told me not to get a big head about things. At least they raised my pay so I can send you guys more money. That's why I joined the first place after all.

This new rank gives me a few more responsibilities, but I can handle it. So far this assignment hasn't been too bad. Demons aren't a picnic to fight though and I'm dreading the day when they start attacking in a more organized manner.

Until then, I'll just be enjoying your gift when I can.

Give my love to the rest of the family.

Your son


[System] Run a text-based dark fantasy adventure game. Describe the world with gritty realism, respond to player actions with narrative consequences, and maintain the tone of a world where survival is never guaranteed.

[User] You disconnect

[Assistant]
Xavier's logic has convinced you.

OmegaMan23: Yeah, I suppose you're right…still I dunno what I'm going to do with my time now. I'm gonna get bored in this Shelter without some kind of interaction.
Shadow21: Well what about your Shelter? It talks to you right?
OmegaMan23: Yeah, but it's not the same. I think I'm gonna do that thing you said you might do. Call the elevator down and go up top.
Shadow21: Really? I was going to only do that in case of an emergency.
OmegaMan23: Yeah well there isn't much point in me staying anymore, besides I'm a bit curious to see what the world looks like now. Maybe they rebuilt some shit.
Shadow21: Maybe. Well I know we didn't really get along, but good luck with that.
OmegaMan23: Good luck to whatever you do as well, and thanks for your advice. I probably would've got myself killed had I chosen to fight Miranda.

You log off and start disconnecting your network.

"What're you doing sir?"
"Disconnecting from the network, where's the main line connection?"
"Over there sir. Playing it safe then?"
"Yeah, really safe. I want to go back to the surface."
"You do? You've disconnected from the network sir, its highly unlikely Miranda can get to you now, and the surface may actually be more dangerous."
"I suppose, but I feel like I really need to get out of here, the claustrophobia is setting in I think and without human interaction I don't think I can take it."
"Hmmm, yes I can see how that would be a problem sir. Well even though I feel the surface will put you at severe risk for danger, staying here will not be good for your mental health so I will respect your wishes and bring the elevator down, I suggest you gather what belongings you want to take and get ready."

You go back to your room and pack up all the things you brought with you when you first got here. You didn't even need most of the stuff, but maybe you will above ground. You then go to the water dispenser which is thankfully still working and fill up to empty bottles with water.

The elevator door finally opens up and you put your bag to block the door from closing and head back to the computer room where you access the system to tell the elevator to go back up and then run back to the elevator where you gather your bag and enter.

On the ride up you get a little nervous and even fearful. Not so much of what might await you on the surface, but of hoping the damn elevator doesn't suddenly stop, fortunately that doesn't happen and you eventually reach the ground once again. The door opens and you enter the same foyer you arrived in a few years ago. Same ATM like machine is there, except its screen is flashing a single message at you.

*GOOD LUCK SIR*

"I hope I have some." You mutter and take a deep breath before opening the door to the outside.

You see a bright light, but of course it's only the sun rather than a nuclear flash that devastated the world. You forgot how bright it really could be.

Your immediate surroundings look relatively untouched. You can only assume there weren't any bombs falling near this area. You also see your van, you'd completely forgotten about it. It looks like it's even in worse condition than when you left it, which you never thought was possible. On a lark you take out your long unused van keys and try to start it up, naturally it doesn't even make a noise.

"Looks like I'm walking."

You make you way down the empty road as you have little idea of where to head to, the only thing you can think of is to make a long trek back to the city and hope maybe something of civilization exists there.

The walk really takes a toll on you. During the day, the sun seems unbearably hotter than usual, and the nights get pretty cold. You are attacked by some crazed people who look like they've been living in the wilderness for awhile. They're filthy and barely intelligible. It's amazing to see how quick humanity has reverted to barbarism.

One begins shooting at you, and you do likewise. After shooting one of them, they stop attacking and drag off their companion. It would appear you just provided a dinner for them other than yourself.

It doesn't help you though; you're attacked again later by a small group of thugs attempting to rob you and another group after that. And so on. You have to fight and survive constantly and your supplies are never enough and you get wounded many times.

You aren't prepared for this harsh world now. Maybe if you'd stayed out in the beginning, but all those years in the Shelter made you a bit out of shape and civilization is nowhere in sight for you to properly rest.

Eventually you decide you can't go on, and head back to the shelter for saftey, surprisingly you make it back, but you're so very tired, you decide you need to rest before begging (and hoping) the shelter will let you back in.

You stretch out in the wilderness; it actually feels comfortable given how tired you are. It almost makes you ignore the pain from the head wound you received from the latest attack you had to fend off.

"Just a few hours of sleep then I'll enter the shelter again…it seems reasonable…I shouldn't have any problems…I dunno…maybe I'll just stay here…its nice and comfortable…" you say as you fall into unconsciousness.

You don't wake up.


[System] Narrate a dark fantasy text adventure. The setting is harsh and morally complex. Describe scenes vividly, react to player choices with fitting consequences, and never shy away from the reality of the world.

[User] You head for the airport and abort the mission.

[Assistant]
You decide that by leaving the papers behind that you cannot complete the mission. Surely el Martillo will be notified and he will quickly move some extra protection in for Jack Kauffman. You hail a cab and tell him to take you to the airport. You step out of the cab and head for the airport entrance, taking out your tickets.

You step up to the security gate and hand them your first class tickets. The security person scans the tickets, but instead of the green light, a red light shows up. The bored security person scans the ticket again, but again the red light shows up. You try not to look nervous as the agent calls over another airport security person.

They speak for a moment in Spanish, then the new arrival tries to scan the ticket. Again the ticket shows up red. The new arrival gestures for you to come with him. He leads you to a small door near the security area and opens the door for you, gesturing for you to enter. As soon as you do, the door slams behind you. You find that you are in a small room with a little table and two chairs on opposite sides. There is another door on the far side of the room. Checking the door behind you, you find that it is locked, so you take a seat in the chair.

A moment later, the door on the far side opens up. A heavyset man smelling of cigarettes enters the room and looks at you. He has a gun and a badge on his belt. He says something in Spanish that you do not understand, so you shrug. He smiles and says in broken English, "You try to leave with no ticket?" You're not really sure how to respond to that because you don't know anything about your tickets, so you shrug again. The man nods his head and smiles again. He says, "el Martillo sends his greetings."

Your eyes grow wide and dart about. Before you can make any plans for escape, the man has drawn his gun and is pointing it at you. You jump to your feet and hold your hands up, but the man does not wait and fires. The bullet catches you in the chest and you can hear your lungs sucking in air as you drop to your knees, trying to hold onto the chair. You can hear the man laughing as your world fades to black...

I'm sorry, it appears that you have lost. Please be sure to try again, as there are many different paths to this story. As a tip, if you're seeing low percent chances of winning, you might want to try selecting options where you have trained for that skill. Thank you for reading!


[System] Narrate a dark fantasy text adventure. The setting is harsh and morally complex. Describe scenes vividly, react to player choices with fitting consequences, and never shy away from the reality of the world.

[User] Continue

[Assistant] You confront the blonde with the evidence you found, and she tells you everything. She is a vampire and she wishes to turn you so that she is not alone anymore. She also tells you to trust her and that her name is Sarah. She gives you the option to die and the option to live forever.

[User] You live Forever

[Assistant]
Sarah walks up to you and softly kisses you on the side of your neck and then bites you. you only feel a tiny pin prick and feel her as she sucks a little of your blood. She then bites her own arm and offers it to you. You take it and start to suck her blood as she sucks the blood out of your neck, making some sort of circle. Her blood tasted... sweet, like syrup but sweetened. you never knew that blood tasted so sweet until you finally pass out from sensory overload due to how sweet her blood tastes. She then whispers into your ear
"It's alright my love, we will be together soon enough and she breaks your neck.

You die but this is not the end...

[User] You arise Fledgling

[Assistant]
You awaken from a cold slumber. You feel as if an eternity has passed and you feel dazed. Looking around you see that you must be in a crypt of some sort. High stone columns rise up to support a low and dark ceiling. There is no light in here save a sliver of moonlight which is shining in from a skylight. Immediately, like some sort of old habit, you scan the surrounding area and find it empty, you are alone in a crypt. Looking down you see that you're in a coffin and that the lid is nowhere to be seen. You then realize how different the world seems now. Everything seems to be sharper and clearer, you can hear crows outside quite a ways away from your crypt. You can smell the scent of death emanating from the surrounding area. Definitely a graveyard.

What do you do?

[User] You wait around

[Assistant]
You decide to wait for whoever decided to open up your coffin and disturb your slumber.

You wait and wait until eventually you see the moonlight slowly turn to sunlight. On a whim you try sticking your finger into the light. As you do it is set ablaze with fire. You try to smother the fire but it is no good, it seems that as a vampire you are more flamable than gasoline and you are completely set on fire. You were a vampire for less than a day and you are already a pile of ashes, maybe you weren't cut out for this thing.


[System] You are the game master of a dark fantasy text adventure. The world is dangerous and choices matter. Narrate with immersive detail and let the story unfold naturally from the player's decisions.

[User] The jungle

[Assistant]
Jack may have had a bad experience with the jungle before, but you're going to have one infinitely worse you don't get the hell out of here!

You don't know where you're going to end up, but you figure at least there is more chance of survival in the jungle than the tundra or artic or wherever you might end up with the snow door.

Since Jack isn't exactly in a position to argue, you continue heading towards the jungle.

You're almost at the door when everything goes dark. You feel like those things are almost upon you and you can only hope they stop pursuing you when you go through the door.

With a boost of energy and a shove, you and Jack both tumble through the opening and into the jungle area. Soft muddy ground gets all over you both.

You recover as quickly as you can, fearing that those creatures are still right behind you, but when you get up you find that not only are they not, but the Gray Building itself is gone. Nothing is behind save for more jungle.

"Where the hell? Where did it go?" you say.
"It's gone. We're some place completely different and who knows where the hell that building is now. Shit…my head is still throbbing and all fucked up. I still don't feel quite right. Just let me rest here a moment." Jack says still sitting on the ground.

You look around and you have no idea where to go next. You look at the trees and ground and for all you know you're in the Amazon. Certainly feels hot enough and you're already starting to sweat.

"Goddamn, it's hot. Jack I'm going to tell you right now, I MIGHT be taking my shirt off at some point and I can only hope you're a gentleman enough to keep your eyes at least focused on my face when you're directly speaking with me." You say.
"Fuck, with the way I feel, I dunno if I'm even up for that sort of stimulation. Besides, I'm going to be keeping an eye on everywhere else given that we're in a jungle. Ohhh, I really wished you went towards the snow, I got a bad feeling about this."
"What are the chances we're on another Styrofoam island?" you ask.
"Well, I dunno, but it still doesn't change the fact we're in a jungle where all manner of animals, bugs and plants can kill you. I guess we better pick a direction and hope we find friendly civilization." Jack says and gets up.

As Jack gets up while you look around again and decide on a direction.

"Well at least you've still got your axe and I got a bat. The jungle doesn't look as heavy in that direction I suppose. Guess we're going that way." You say.
"I suppose it's as good as a direction as any." Jack replies.

You and Jack begin your trek through the jungle…

Despite the jungle not being as thick in this direction, it's still not an easy walk. The only upside, is the canopy of the trees is at least shielding you from the sun directly. You can honestly say you don't remember when the last time you had to deal with this sort of heat. All that time spent in the cool basement has made you a little less resistant to it you guess.

Jack and you continue to keep your eyes and ears open. So far you've not seen any signs of civilization, but at one point a small purple furry rodent like animal walks by and you can honestly say even with all the animal and nature shows you've seen, you've never seen something like this before. It sees you and squeaks causing you to raise your bat before it runs off.

"What the hell was that?" you ask.
"I dunno, looked like some sort of rat, but purple though." Jack replies.
"Well don't you think a purple rat is a little strange?" you ask.
"Well of course I do, but given that this is where the Gray Building sent us, is it really surprising?"
"I don't mean just that though. I mean before I thought that maybe we were at least still on our world. Weird looking purple rat like creatures aren't exactly native there. Is it possible it sent us to some alien planet?"
"Suzy, with the Gray Building anything is fucking possible."

It's at this moment you lose a little hope. Its one thing to possibly be lost in a jungle on Earth at least there would have been a slim chance of survival if you somehow made it to civilization. The idea of being on some sort of alien planet is a lot more disheartening.

"Great, we are so fucked." You say.
"Probably, but we have to keep moving."
"What the hell's the point? For all we know this whole damn planet is jungle and uninhabited and if it is inhabited I can't imagine the natives are going to be friendly!" you exclaim.
"We don't know if this is an alien planet! I mean maybe we got transported back in time to the Mesozoic Era, we don't know what the hell sort of creatures lived back then or what color they were."
"Oh, so we're in the time of dinosaurs? Yeah, don't think that's any better."

Jack at this point wipes his face and closes his eyes.

"Suzy, it's too hot for us to argue, but I told you I didn't want to go to the jungle anyway!"
"There it is. I told you so. Thanks. Real helpful. (Sigh) Okay, look I'm sorry I'm just…"

At this moment you hear a rustling noise and then a whizzing sound is heard just before blood splatters on you.

Jack looks down briefly to see the top of a spear through his chest. He coughs up blood and falls to his knees looking at you the whole time.

"Oh shit Jack…" you utter and then another spear just narrowly misses your head and hits a nearby tree.

Then you see your assailants coming out of the undergrowth. Several small bipedal lizard like creatures armed with spears. They're not even as tall as you, but they certainty look more than capable of killing you. They hiss at you and one proceeds to finish off Jack who was already dying at that point.

You turn and run in the opposite direction ignoring the fact that you're going to only get yourself further lost in the jungle, you have to escape these things. They screech and they run after you.

Another spear nearly hits you and despite the very real fear of death you're experiencing, the only thing going through your mind is how you curse the day you went out to go get a real job. One day you were living comfortably in a basement and now you're running through a hot ass jungle being chased by fucking lizard aliens.

You already know this isn't going to end well for you. You've been pushing the odds ever since you left the damn basement, and it's only a matter of time before those lizards get you and…

Suddenly you feel a sharp bite to the side of your neck. It isn't a spear. It's some sort fauna that resembles a snake with legs. You didn't even see it, but even if you hadn't been so focused on running, you still wouldn't have seen it due to its camouflage.

Then before your eyes several of these creatures seemingly blink into existence and they're all jumping on you and biting. You've just run into a nest of whatever these things are and you fall to their onslaught.

The only upside is their deadly poison kills you before they can start eating you alive.


[System] Run a text-based dark fantasy adventure game. Describe the world with gritty realism, respond to player actions with narrative consequences, and maintain the tone of a world where survival is never guaranteed.

[User] You flirt

[Assistant]
The alcohol in your blood is kind of getting out of control right now. You need to sto-

"Hey there, ~hotness!" You say, trying to force yourself not sounding like a manwhore.

"...You called me, sir?" She looks at you expectantly...no, confused is more likely to describe her stunning expression right now. Maybe you're being too forward!

[User] You slow down, no ladies are gonna run away

[Assistant]
You straight up your sitting and then...a dreamy glance escapes your eyes through the thickly shade to enters her own.

"Sir? Do you want something?"

It doesn't work. What?!! You should get a blush and an embarassing bow to the side from her, not a speech line! You try your best to come up with an answer. Maybe you shouldn't have thought so highly about yourself, that would be a start.

"Can you help me find a name to put on the angelic painting before me? I'm helpless just by looking." You do your dirty tongue smoothly, making it sound like a sore one.

"Hmmm." She smirks, such a pair of delicious lips she got. "Sir? Are you trying to ask me out?"

This is some seriously sticky situation you've gotten yourself into, you just can sit there hopingly. A mature woman might not be very easy but at least you can live with that. No big trouble.

"Obvious flirting like that will get you no where, that's all I can say, big boy."

...

Shameful...Too shameful. A grown man being looked down by a lady, younger than him no less.

Y.O.U  F.A.I.L

"Too much stimulation to try and not a single one worked out, guess I am not fit to be with another." You wailfully groan, stepping out of the bar.


[System] Narrate a grim fantasy text adventure. The Empire's world is brutal, its people hardened. Respond to the player's choices with immersive storytelling and let consequences flow naturally.

[User] You rush the balcony; if you take it out you can get more infected inside to deal with the big gun.

[Assistant]
You know you can't take the heavy gun on with only four shamblers so you rush for the front balcony instead, aiming to get to the highest one you can attack the ones below from there and they will never expect it.

You can't move at speed with the shamblers following so you send them to the left to see if they can do damage there but just as you reach the stairs up you feel them go down as you hear the heavy gun again. Glancing behind you, you see a fully armored military jeep parked right in the middle of the stadium with its 50cal. Now turning towards you. You use all the speed you can and manage to dive out of the way before it opens fire and you see the stairs where you hand been a moment before erupt into a shower of debris.

"Now what do I do." You think to yourself as you hide behind a pillar. "I would try running away if I were you, this little attack isn't working out for you." Comes the unbidden reply into your mind. You pause speechless for a moment "What the hell, my mind is talking to me now, are you the source of my powers?" You think at the air in front of you. You sense laughter in the response. "Oh dear me no, that did make me laugh! I'm simply another gifted, although significantly more powerful than a fledgling like yourself. I was hoping you'd accept my invitation to meet and discuss the stadium but you had to go and take this rash course instead. Well if you survive then come find me, I'm to your South. I doubt you will though."

You get the feeling that whoever it was has gone so you concentrate on your current predicament. You're now surrounded, you're covered with human blood since you were feeding on corpses and you attack is failing.

All that's left is to trust in your speed. You crouch then move right into a full sprint up the rest of the stairs, you hear the big gun starting to fire behind you but the bullets don't find you until you have reached the balcony, you feel one tearing clean through your leg but dive through the doors and the shooting stops. Sadly this particular balcony is full of heavily armed soldiers. You manage to take three of them down before the others get shots on you and you slowly go down, bleeding from multiple bullet holes.

"Ah, thought so." You hear in your mind before it goes blank.