[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 continue on your way

[Assistant]
You carry the bucket back with you into the light and examine it for holes. There aren't any that you can see so you set it near the entrance and crawl back out of the light, lay down and sleep for the rest of the day.

When you wake up, there is barely enough light to see your way out by and you have trouble even making your way back. You manage to squeeze your way back outside and a warm, stiff breeze ripples its fingers over your skin and through your hair. It feels rather pleasant after being in the cool for so long.

With bucket in hand, you stroll over to the prickly pears and begin carefully filling it with the pads that you don't immediately eat. There's not much left of the patch when you get done with it.

You look over your shoulder to see that the moon is more than a sliver and just a might above the horizon behind you. You decide that you might as well continue on since there's no point in staying in one place for too long.

You pick yourself up, dust yourself off and set off down the tracks again. There are faint shadows outlining each railroad tie and you can see the wispy shapes of gravel off to the sides. There is a bluish tint to the desert where it fades into nothingness only a stones throw to each side.

You don't have to stop to rest nearly as often and when you do, you carefully peel bits of prickly pear and suck out the juice. You've got enough to last you for days as long as you don't get too piggish with it. And now that you've found out how magical it is, you'll keep an eye out for patches so you can keep your bucket as full of it as you can.

Once in the night, you have to get away from the tracks and go prone when an East-bound freight rumbles through. It must be miles and miles long with six roaring engines straining to keep it moving. It's too dark to make out the cargo, but it has to be really something special. You long to be on it heading back to familiar territory, but what magical things it must have seen before reaching this point. Even after it passes out of sight and then hearing, you can still feel its vibrations in the tracks.

The moon drifts by overhead—dragging the stars in its wake. You take the ties two at a time until the bottoms of your feet are so puffy that you have to slow to every one. The dark silhouettes of the mountains to your right take form as they rip free of the night sky and go from black to red to gold before you turn around and see the sun spilling over the horizon to your rear. It is a most awe inspiring sight of reds and oranges and golds fading into lavender at its fringes.

You scan the barren landscape around you and spot a tiny twinkle far up ahead. Maybe it's something and maybe it's not, but the tracks will come close enough to it that you're going to find out. The landscape is sparsely dotted with bluish-green lumps and by their shape you can tell that they are prickly pear patches. They are everywhere! There's so much that you'll never go hungry or thirsty again! You'll just grab what you need from the patches when they come close to the tracks to keep your bucket full.

There is a sudden explosion all around you and your heart skips a couple of beats when a dozen or so tiny pigs shoot out in all directions from their dusty wallows surprised by your sudden appearance. Even the grown ones are no bigger than a dog. It takes you a moment for your blood to settle enough that you can keep walking.

After you go a little farther, you are close enough to see what the thing is that is twinkling. It's a windmill out all by itself. The shiny fan blades are high enough off the ground that they catch a ripple every now and then, but the tail fin is broken and bent sideways so it can no longer face into the wind. Did there used to be a farmhouse near it and now it's gone? Maybe there's still some stuff laying around it. You pick up your pace in the hopes of finding something salvageable.

From somewhere not too far off toward the mountains, you hear a sound like someone screaming with rage. Your hair stands on end and you freeze in your steps. You carefully scan the area and see nothing but a barren, sand-colored landscape dotted with the occasional boulder, cactus or prickly pear patch. Everything is eerily still.

You take a tentative step down the tracks while keeping a wary eye on the desert. Something is out there, but you don't have a clue what it might be. A ghost, maybe? Or some madman? You are poised to run at the first sign of movement.

Before long, you are adjacent to the windmill and—after taking a last, long look around—head down the gravel embankment toward it. You see a long galvanized water trough—a little bigger than the bathtub you had in your old house before your mom and dad got a divorce—a short distance from its base connected to a rusty tank via a short, bent pipe. Maybe there will be enough water to soak in and cool off before the sun creeps high enough to scorch the day.

When you get up to the tank, you see about an inch of water in the bottom. You could still use it to cool off in and rinse away several layers of dirt and dust that you've picked up since the last time you bathed so you strip down to your altogethers and dip your toe in. The water is a bit warm now even though it's still early in the day, but not so much that you can't stand it and when you climb back out the gentle breeze should take care of the rest.

You sit down and start dipping water with your hands and pouring it over your head. It feels so good on your bare skin as you rub away the grit and dust. You haven't had a bath in a long, long time so you make the most if it.

You lean back and bask in the sun for a few minutes soaking everything up and notice a metal latter going up the side of the windmill. There's no telling what you'd be able to see from up there. As soon as you've dried off, you want to climb it and have a good look around. There's nothing on the ground here for as far as you can see. Why would anyone put a windmill out in the middle of nowhere? There's not even a fence to keep in animals if that's what it's for.

You stand up and are reaching over the side for your clothes when you hear that scream again from much closer this time. Your blood runs cold. You whip your head around toward the tracks and the direction it came from. There on the ridge, you see a big tan cat just like the one you saw when you were with Sam only this one isn't quite as big even though it is twice as scary.

Before it heads down the slope toward you you are already climbing up the tower. When you reach the top, you look back over your shoulder to see it circling below and looking up at you. You look over and see an old paint can full of bolts and heavy, rusty adjustable wrench which you can use as a nice weapon. As long as it can't figure out how to use the ladder, you are safe since there's no way it could climb the metal legs. You pick up the wrench and slap it against your palm. If it does manage to climb the ladder, you're ready to smash its head and paws as soon as it gets within arm's reach.

Its eyes are fixed on yours and its ears are laid back when it makes a tremendous leap. You stagger backward and manage to grab onto one of the center posts that angle to the ground at the very last second while you are teetering and flailing your arms. The cat can jump much higher than you expected, but still only came a little over halfway to the top. After a couple more attempts with no more success than it had the first time, it stalks around and swats your bucket through the air—sending its contents spraying out in a wide arc.

"Go away! Leave me alone!"

You grab a hand full of bolts and start pelting the ground around him with the tiny missiles. Only one manages to hit its mark and the cat only flicks its shoulder muscle in response.

The cat pays no mind to your words and only continues pacing around the tower while staring up at you. There's really nothing you can do but wait it out and hope it gets interested in something else or bored enough that it forgets all about you and leaves. You sit down with your back against the center post and keep a watchful eye on the cat below in case it figures out how to use the ladder.

After a few minutes, the big cat moves over to opposite side of the storage tank from the trough and lays down in the sliver of shade it provides. It's only going to get hotter up here as the sun gets higher and higher. You have no choice but to suffer through it. There is a decent breeze up here that the cat doesn't have. Maybe it'll be enough.

You lean your head back against the post and close your eyes, but only to slits because you don't want that thing to get out of your sight. It yawns and does the same, but doesn't lay its head down. From here on in it's just going to be a waiting game.

[User] You life happens

[Assistant]
Hours have passed when you hear a low rumble coming from behind you. You look down at your nemesis to see that it has its head down on its paws and doesn't seem to hear it. You look over your shoulder to see bright red pickup kicking up a cloud of dust and heading straight for you.

You get to your feet just as the pickup skids to a stop and the door flies open.

"What the hell are you doing up there!?" yells a beefy man with a scraggly beard. "Get down from there!"

You look down to see the cat jerk its head around and point toward it.

"I can't."

He looks over to where you're pointing and immediately dives back into his truck at the same time the cat makes a dash toward the tracks. When he comes back out, he has a rifle in his hands and lays it against the open door.

Crack!

You see a wisp of dust explode on the far side of the cat and the cat veers away from it. Before the man can lever in another shell, it has gone over the tracks and down the other side. You watch as it fades into the background as it's bounding toward the mountains.

"She won't be back anytime soon so you can get down off of there now!"

You lay the wrench aside and step off onto the ladder. You don't know what you would've done if he hadn't come along when he did. Your mouth is already full of cotton. When you reach the bottom, you head straight for the closest prickly pear and begin skinning it with your thumbnails.

"What are you doing?"

"I'm thirsty. I need water."

"Come over here. I've got some ice water in the truck."

He opens the passenger door and rummages around in the pile in the floorboard until he comes back with an only slightly wrinkled paper cup. He slides a big cooler over the edge of the seat and pushes the button on the bottom to fill it before handing it to you. "Here."

"Thank you." You guzzle it down without taking a breath.

"Why aren't you wearing any clothes?"

You look down at yourself and say "I was rinsing off from that trough to get cool when that big cat came."

"Well, go put 'em back on. You can't be running around naked as a jaybird."

You turn to go when he grabs your arm and says "What the hell happened to you, boy?"

You follow his gaze and look under your arm at your back. "Oh, that's from my mom."

"Why'd she do that?"

You shrug. "She was mad 'cause I ran away, but I didn't. It was an accident."

He stands there scratching above his ear for a moment before shaking his head and turning toward the windmill.

You rush over and jerk on your clothes while he climbs it. Then you start putting the all the prickly pears you can find back in your bucket and look up to see him fixing the tail. You can't help but stand there until he's finished just to see if it works. He releases a catch and the blades start turning immediately.

"Where are you from?" he asks, stepping off the bottom rung. "There aren't any houses for miles around except for mine."

You look down at your feet. "A long, long ways from here."

He takes you back to his house despite your objections and finally gets the whole story out of you. He threatens to turn you over to the sheriff, but can't come to terms with what might happen to you if you were sent back. One thing leads to another and days turn into weeks. When school time rolls around, he enrolls you under his name and after talking to a judge friend of his and telling him your story, it's all made nice and legal. It isn't long before you feel like you belong at this ranch.

One day when you're fourteen and he can barely get around even with the aid of his cane, you and he are out setting the windmill where you first met. He turns to you and says "I never had a son of my own. It's lucky for me that you dropped into my lap like you did. You're a damn fine worker and a fine young man. Someday I'll be gone and all this will belong to you."

You smile at him and give him a firm squeeze on the shoulder. Isn't it funny how life turns out sometimes, you think. Looking him square in the eye, you say "I'm the lucky one."

— The End


[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 stand your ground

[Assistant]
No way in hell you're going to hide, you're a good shot, (At least you used to be, you haven't practiced in awhile) you figure you can get enough of them, while taking cover and everyone else here doesn't have to be defenseless.

"Everyone grab some sort of weapon! Mothers grab your children and run to the shelter, when you get to the bottom jam the door open so it can't come back up!" before she can even say anything you turn to Nina, "Nina! No arguments! Just do it!" you then kiss her before she does what you say.

The bikes are getting closer. There's at least ten, each with a driver and a partner riding in the back. There's some sort of bloody head on the front of the first bike...its Leon's.

You can only guess the fate of Brenda and Todd were similar. Then you hear one of them yelling.

"YEEEHAAA! THERE IT IS! JUST LIKE THAT BITCH WE RAPED AND KILLED SAID! ATTACK!"

You fire a couple times hitting a driver, the bike and its riders go flying into a couple other bikes. Not bad, in fact better than you expected. Unfortunately they're shooting at you now too. You duck for cover while everyone else does likewise, some getting shot in the process.

The remaining bikers attempt to circle around and open fire, but now everyone has adequate cover, so most of the bikers in the "bitch seat" get off to be a little more thorough.

The shelter people and the bikers clash. Not all the bikers have guns, but they've been surviving on the road long enough to be better fighters. Many of your people are going down, and you're the only one who seems to be able to do any damage to these invaders. You manage to blast three more in the chest.

Soon you're out of ammo, and it couldn't have come at a worse time. Some monster motherfucker starts attacking you with a spiked bat, landing it right in your leg. You punch him out before collapsing in pain. You attempt to pull the bat out, but then you're kicked in the face and thrown into the path of a speeding motorcycle which rides over your arm. You're not going anywhere; in fact the only thing that saves you from a follow up death blow is the fact that Nina and all the mothers come back up to the surface with weapons to help defend against the attack. Nina grabs your pistol which you dropped and loads it up with a clip you left down in the shelter and blasts the giant biker's brains out.

Seeing many of there comrades dead and reinforcements arrive on your side, the remaining bikers sound a retreat and ride off. Much has been lost this day though; the shelter's population has severely been decimated, not to mention the confidence in staying on the surface.

After this event, all ideas of rebuilding on the surface are abandoned. The shelter has more than enough supplies and room now for everyone considering this last attack. Of course that problem is only going to pop up again in the future when the population replenishes itself again. Maybe not in your lifetime, but certainly in Jack's. He can't stay here, he's going to have to go out in the world and learn how to deal with it. And you make sure he's better prepared than you were.

You stop Jake's training in learning about the computer system; it won't do him any good. Instead you make him do physical training in the shelter gym. You've never used the thing, but he's sure going to. You can't directly train with Jake since you're basically crippled in one leg and arm, but you can motivate and that's what you do. Nina doesn't exactly like it, but she sees that one day the shelter is going to need someone to get more supplies.

As years pass you eventually start succumbing to your damaged body's inability to continue this life. Jack is now a young man, the shelter's population is starting to grow again, and the shelter's supplies are running low. You say your goodbyes to Nina, telling her you love her and ask to see Jack as you lie in your bed.

"Jack, you're going to have to leave this place soon one day. Whether you decide to leave permanently or you decide to come back with supplies to keep this place going, is up to you. But you are going to have to leave it. You understand?"
"Yes Dad."
"(Cough) Good, now here. Even though you're a tough guy who knows how to defend himself, you'll still be needing this when you go out there. Wish you could practice with it, but it only has one clip left and you'll be needing all the bullets you can get."
"Well I did practice my aim by throwing some scalpels at a human diagram, if that's any help."
"Couldn't hurt. Glad to see you're inventive, you'll need that up there. Okay, I think that's it…I hope I taught you enough."
"You did Dad."
"Good. Now leave me, I ache all over and I need to rest."

Jack leaves you where you have your last moments of solitude before leaving this mortal coil.


[System] You are the narrator of a dark fantasy text adventure. Describe the world and its consequences with unflinching detail. The player's choices shape the story — for better or worse.

[User] You run outside the house

[Assistant]
You decide that you don't have the time to talk to your wife and you rush out ,jump onto your SUV and pull away from the parking lot in a hurry. You step on the accelerator as you hit the highway.

Meanwhile your wife rushes outside and finds the SUV tearing away from the parking lot at high speed. Unaware that it was you driving away, she immediately thinks the car has been stolen and rushes to call the police to report the theft.

"What is your emergency?'' Asks the telephone operator on the other end

"I am reporting a stolen vehicle" she replies

She describes the vehicle  and  its last seen location.

"We have officers on that road, just give me a moment."

The line goes quiet for a moment and then the operator speaks,"officers have placed a road block on all roads.we shall inform you of all new developments. meanwhile stay in touch in case we need clarification."

[User] You roadblock

[Assistant]
You have been driving at high speed for the last 4 minutes. Suddenly you notice a traffic jam forming ahead of you. You pull out of the road and drive along the walk way honking as you snake your way through the lines of vehicles. You get to a junction and an officer signals for you to stop. Before you explain your situation 3 officers point guns at your face as the rest close the road.

They force you out the vehicle and cuff you on the ground. As you try to explain yourself you are whisked away and the vehicle is searched for weapons. They find a walkie-talkie and service pistol and they immediately take you to a police station 20 minutes away. Unfortunately you have forgotten your badge and cannot prove that you are an agent.

The 1st opportunity you get to speak is at the interview room when you are being questioned. You explain the day's predicaments and by the time you finish your wife appears in the questioning room. She informs the police that you are her husband and they let you go after apologizing. They hand you back your pistol, walkie-talkie and car. Just as you are about to leave the station you catch a glimpse of the television at the reception.

It has been the perfect rest day. You lie on the couch and switch on the Television. There is breaking news showing terrorism attack in your city. 139 civilians and 23 agents of the Anti-terrorism Unit are reported dead from an explosion that rocked a bank in your city. The terrorists are said to have demanded for release of a well known prisoner but the security forces decided to launch an attack to rescue the hostages. Unknown to them, the whole building had been rigged to blow in case a rescue mission was attempted.

You shoot to your feet, mouth agape as you take in the bad news. Your whole team has been wiped out  in the attack. As you are still pondering, your cell phone rings. It is your brother's wife calling.

You pick up the call and listen.

"Halo........he is gone, he is gone" sobs your sister in law

"who is gone? where...." You ask

"Tim was killed in the attack"she answers and continues to cry until the line goes dead.

You fall onto your knees and hold your head in anguish

[User] You retribution

[Assistant]
You pull out of your grief in an instant. You call your senior and learn that the explosion has devastated your security force. You jump into your SUV and hit the road once more. Its a furious drive to the site and your feet hit the ground as the car screeches to a halt. You can feel adrenaline coursing  through your veins as you walk over the site to look for clues, the kind that you usually felt when jumping off planes and dodging bullets back in the army.

A couple of rescuers are on site to pull the hostages from the  debris. Your eyes pore over as you look for what could be the bodies of the dead terrorists.

A gaping hole welcomes you to one corner office at the far left of the banking hole. You peer into the hole and discover an underground tunnel. It seems old  but wide enough to snuggle through. None of the bodies outside matched the profile of terrorists. You realize this could be the gunmen's escape route.

[User] You pursuit

[Assistant]
You look around you and notice an armored truck pulling over at the bank's foyer. Its a replenishment of agents from your force. You immediately talk to a team leader disembarking from one of the vehicles.

You walk over your findings with him. He spreads out  a security map indicating old underground tunnels leading to an abandoned septic tank 3 blocks away. He assigns you a 10 man detail  and a vehicle and selects another 10 men to pursue the attackers from the bank through the tunnels.

[User] You go to the ambush

[Assistant]
You get there and immediately you alight from your vehicle a fire fight begins. The robbers seem to be heavily armed and pin down your officers. Your team is annihilated and taken down. Your  M16 rifle  runs out of ammunition  and you find yourself surrounded by  5 masked men. They get to your position but hesitate once they see your face. the leader of the team raises his arm and clenches a fist to command the men to hold fire - special forces style. As you wonder why you are being spared a 5th man emerges from the tunnel and shouts "tunnels are boobytrapped." He screeches to a stop when he notices you lying on the floor like a deer amidst a pack of wolves.

Your eyes meet and for a moment your faces show bewilderment. "Jack? Is that you?" You ask as he looks down. The rest of the men peel off their masks.

[User] You unlikely reunion

[Assistant]
"Rohn, Lewis, Sean, Larry and Beck" you muse  as you stand up to regard them.

They were all part of another team of your  special forces unit that had been regarded Killed in Action during a search and rescue mission two years ago in a Siberian bank heist. The discovery finally solved a mystery in which both the team, the robbers and the money were never found.

You remain speechless as the revelation hits you piece by piece. No wonder the heist was executed with pin point precision.

"We don't have time." muttered Jack. He picks a box full of cash and places it at your feet and signals the team to pack off.

You are still in a dilemma as the team leaves you standing and walks away towards a parking lot guns in hand.


[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 stay Put

[Assistant]
Despite your fear, you stay put. The pair of feet walks up to you, and you hear the top of the dumpster being opened. Then, it closes, and you hear a dissatisfied, "Nobody over here."

The people struggle to find any of your group, you scattered pretty quickly. As you hide, you make eye contact with Ozzy, who's hidden under an adjacent dumpster. You see fear in his eyes. He's slowly pulling a small gun out of his pocket, and holding eye contact with you.

"Well, well, well. Come out when you're ready, hooligans," the man who led you here says. The other group sits down in the middle of the parking lot, and begins to eat.

Ozzy slowly makes his way out from under the dumpster, out of sight of the others. You do the same. You sit behind the dumpster and think over your next move.

[User] You stay behind the dumpster

[Assistant]
You stay behind the dumpster, and out of sight. To reveal yourself now would be suicide.

After waiting for a few minutes, you peek out from behind the dumpster. The other group shows no signs of moving soon. Ozzy has crawled past the dumpsters and in the direction of the helicopter. When he sees you, he waves for you to follow him. You get down on all fours and crawl after him, staying behind the dumpsters.

When you get far enough away, you see that the others have already escaped. "Took you long enough," says Roger. "I wanted to make sure it was safe, you say. Roger shrugs.

"Okay," Ozzy whispers. "Let's leave while the Garbage Pail Kids are still having dinner." You follow the others back to the helicopter.

"None of their gunfire hit anything too important. We'll make it back, but it won't look pretty," Ozzy declares. The others breathe a sigh of relief. "What about the windows?" Matthias asks. "We just won't be able to go as far up in the air, and if we get shot at again, we're toast, but we should be fine," Ozzy answers.

You board the helicopter, and start to lift off. During the entire thing, you're afraid the other group will come running back, guns in hand. Fortunately, they never do.

"Okay, as previously stated," Ozzy says, "We'll be a few miles short of our target. Don't get too comfortable."

[User] You gas

[Assistant]
You're on edge the rest of the ride, but nothing else goes wrong.

"What do you reckon happened to those people?" Roger asks. "The apocalypse can have a serious effect on some people," says Matthias. "They might've been homeless people, or mental patients, or something like that."

Finally, Ozzy brings the helicopter to a stop on the ground. "Here we are," he says. Everyone gets out of the helicopter, and starts the trek over to the fuel stores. "Let's hope there's any left for us," mutters Roger.

Along the way, you notice the bodies of zed scattered around. All of them were victim to a gunshot in the head. "Someone came through here," says Conway, "And they were goin' for it." You hope that whoever this was, they weren't searching for fuel. "Come on," says Matthias. "If there's competition, we have to beat them to the outpost."

It doesn't really matter how fast you ran. When you arrive at the outpost, it's obvious nobody has been through here. The area is packed with the dead. "You've gotta be kidding me," says Roger. The fuel stores are visible, but the whole outpost is surrounded by a chain-link fence. There are no visible gates or entry points, but a large hole in one side of the fence explains how the zombies got in.

"Should we run and gun 'em?" asks Conway. "That depends," you answer, "...on how much firepower we have."

"If it comes down to it, we might have to find another way through this," says Roger.

[User] You create a distraction

[Assistant]
"We don't have the guns for this," you say.

"I have an idea," says Matthias. "If we could make more holes in the fence, and lure the dead out of the way....we'd have no issue getting what we need."

Conway volunteers to make some noise and distract the hordes. The rest of you split up around the fence. You are given a large knife to cut the fence. "Okay," says Roger. "We're all clear, correct? Cut through the fence, and as soon as there's enough room for the dead to make it out, you back away. Once we're all clear, I give the whistle, and Conway does his thing."

You go to work hacking through the fence. A few zombies take notice, and push up against the fence. "Stay back," you whisper. Clink. The first fence loop breaks open. One of the zombies forces a hand through the hole. You kill it, and keep going. Clink. Clink. Clink.

Soon, you have a sizable hole. You step back to see if the zombies can fit. It's a struggle, but eventually one of them forces its way through the hole. You decide you're done, and back up.

You wait a few minutes for Conway, but the gunfire never comes. Roger looks around in bewilderment. "What's going on? He should've-"

Roger is cut off by the fence collapsing. The pressure of all the corpses shoving up against it caused the supports to snap. The pile of zombies struggle to their feet, and give chase. "Fall back!" yells Roger, and the team scatters.

[User] You run

[Assistant]
You blindly scramble through the forest, not thinking enough to follow someone else or even pay attention to what direction you're running in. You point yourself towards the helicopter, since you assume that's where the others are going.

You can easily outrun the horde, that's no problem. Once you're far enough away, your biggest concern becomes finding the others. You scan the forest in search of familiar faces, but find none. In panic, you continue towards the helicopter. The horde of zed has made its way further out, and a few eager corpses have already made it pretty far out.

You hear yelling from a few yards away, and see Roger running in the direction of the helicopter. You run up to follow, and call his name. He looks around, spots you, and waves you over.

"Come on!" he shouts. "Back to the helicopter!" A few moments later, you hear gunshots nearby. The others.

"Should we go back?" you ask. Roger doesn't answer, he's dead set on making it back to the helicopter. You hesitate, before following him. The zombies have advanced further, and you doubt you'd be able to come back safely if you turned around now.

As you make your way to the helicopter, you see the garbage people, the ones that shot at the helicopter, approaching in the distance. They must have heard the gunfire and realized their prisoners got free.

"Well....crap. This is a problem," says Roger, his voice wavering. You look behind you; the zombies haven't caught up to you yet, but if you keep wasting time, they will. You might be able to make it back to the helicopter before interacting with the garbage people to get a gun or something.

[User] You look For Your Friends

[Assistant]
You resolve not to let the others die, and turn around.

"What are you doing?"" yells Roger, but you pay no attention. You maneuver around the first few zombies, and back into the woods. You call out names while searching for movement among the trees.

"Matthias!" you yell, scanning the broken fence. "Conway? Ozzy?" you don't see anything, except advancing hordes of the dead. Suddenly, gunfire erupts from a few yards away. You see Conway firing at a pack of zombies with the signal gun.

Conway spots you, and breaks into a run. He's pointing at something behind you, but you're so focused on him that you don't notice the zombie right behind you. You narrowly avoid the monster's jaws, and push it to the ground. By then, Conway has caught up to you.

"Come on," you say. "To the helicopter." Both of you take off. On the way, you ask where Ozzy is.

"I think he made it out before I did. He should be at the helicopter right now," Conway answers. "As for Matthias, I don't kn-"

Conway suddenly stops as a bullet hits him squarely between the eyes. You freeze with fear, and turn to see the garbage people standing before you. The leader steps out.

"Thought you could run away, huh?" he taunts, and pops another shell into his shotgun.

"Here's what we do to runaways around here."

Bang!


[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 in the front door

[Assistant]
You decide the front's the easiest option. You don't want to waste time messing about while the Vampire can be awoken at any point, because even with your skill and the element of surprise, a Thrall and his Vampire master are a serious threat. You need to do this quick and clean, and make sure you get the drop on the Vampire before's he's out of his coffin.

You walk towards the house, shotgun held tightly in your hands. Surprisingly for a vampire's lair, your surveillance has said that the house is completely lacking in any serious security measures. Locked doors and windows, sure, but they're lacking the reinforced doors, security cameras. It's a young vampire, so you're not expecting legions of Thralls protecting him or runic blood magic protecting the house, but clearly the power's gone to this creature's head.

Striding forward to the house's wooden door, you raise your shotgun, pointing it at the lock and firing. Booting the door open with a solid kick as you pump the shotgun, the door collapses to the ground as you quickly step through, making contact with the Thrall.

The Thrall stands in the kitchen, a short, bearded man with crazed eyes and grime and dirt stuck in his beard and on his face. He shakes his head repeatedly, growling and swearing as he divides a pile of crushed and broken white crystals, no doubt a substitute between his feedings on the vampiric blood he's heavily addicted to.

His eyes dart up to you as he growls, an animalistic sound that could only come from a beast. His blood-shot eyes bulge, as he kicks the table with incredible strength, flipping it onto its side as he dives behind it. You immediately open fire, bullets and shotgun blasts easily tearing through the table, but it was a simply distraction, and the Thrall's already ducked behind the kitchen counter.

Suddenly, you see the barrel of a gun emerge from behind the kitchen counter, as the Thrall attempts to fight back. The gun's muzzle flashes and screams with the crackling of gunfire, and you dive behind cover, scrambling behind the corner of a wall, ready to fend off your opponent. You exchange fire with the Thrall, but he's hidden in cover and just firing her with potshots, and thus you don't really have a shot at him. It's clear he's trying to wait out the awakening of his master, so it's

Retreating, as always, seems promising. The racket you're causing has no doubt awoken the vile monster you've come here to kill, and there's no use dying for no reason. You can also hold out patiently, wait for the Thrall to peek his head out and take him down, so you can secure the chance to fight the Vampire one-on-one. Of course, if you can rush the Thrall from his flank and take him out quickly, you'll be able to take down the Vampire while he's still slumbering in his coffin.

[User] You retreat to the truck

[Assistant]
Knowing that staying there is a slaughter and every second you spend fighting is only going to make it more likely the sound of death and smell of flesh blood is going to awaken the thrall's master, you know you don't have a chance here. You break for the door, sprinting low and fast as your shotgun swings in your hands. Bullets land all around you, splintering the wooden door frame and embedding themselves in the wall around you as the Thrall tries to cut you down before you can escape, but you speed past and out of his line of fire. You leap forward with every step, quickly bursting out the front door as you sprint towards your truck.

You're running as fast as you're able, when suddenly, you get hit from the side with the strength of a truck. You're sent flying through the air before you can even realize what happens, as you skid along the cold earth and roll to a halt, feeling your now broken jaw smack into the frozen tundra. You lie there, broken and hurt, as you try to pull yourself to your feet. As soon as you put weight on your knee you're put through incredible pain and forced to do nothing but grit your teeth and bear it.

"You seem tired, Hunter," a voice says.

Your voice chills when you hear the voice, but you know it's not the time for tears. Turning your head, you find yourself staring up at a tall, deathly pale figure. It's skin seems almost entirely hairless except for the thick black hair that hangs down from its head. Its eyes, however... its blood red eyes betray an inhumanity that you'll never be able to comprehend.

"Hello," the Vampire smiles, revealing a fanged mouth stretching from ear to ear. "And of course, goodbye."

"Fucking... blood thirsty... prick," you say, struggling to keep from collapsing to the ground.

The Vampire strolls forward, savoring this moment, as his smile stretches further and further across his face, almost seeming to cut it in half. He lifts a polished boot into the air, placing it on your broken leg. He applies pressure, and you grit your teeth and try not to give him the satisfaction of screaming.

"A strong one. Your lodge will weep tonight. You can die quick, Hunter."

The Vampire slowly drops down to his knees, as you struggle to reach for your revolver at your side. You're far too late, though, as she grabs your head gently. You breath carefully, before he snaps your neck in a single motion.


[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] No

[Assistant]
"Uh no, I think I'm gonna stay home today."

Immediately you realize your mistake.

"Stay home? Now Jacob, I wonder what you could mean by that." Your mother, still standing behind you, remarks with a soft yet threatening tone while folding her arms in front of her.

"I uh...it was joke. Yea...bye mom...."

You quickly rush out the door and meet Ian, who innocently shrugs in response to what happened.

"What? It's not like I knew she was there."

The walk to school is uneventful. Ian tells you some story involving his older brother but you don't really pay attention. The thought that you're ten years in the past is all you can think about.

"Hey."

Ian pushes your shoulder gently once you reach the entrance of the school and the two of you stop. He has a concerned look on his face.

"You alright? You sick or something?"

He asks.

"Huh? No, I'm fine. Don't worry about it."

You walk ahead into the entrance of the school and Ian follows close behind.


[System] You are the narrator of a dark fantasy text adventure. Describe the world and its consequences with unflinching detail. The player's choices shape the story — for better or worse.

[User] Continue

[Assistant]
You have just run your sword through the last of the 6 bandits when you hear a cry for help. You jog over to a large chest. Upon opening it, you find a beautiful girl locked in with a rather large amount of gold.

"You must be Amelia" you say, as you boldly lift her from the chest.

"I am!" she replies breathlessly, "You must have gotten my hidden message! Thank you for rescuing me. The way you challenged all the bandits to a sword fight at the same time was so very heroic!" You lean closer....

You wake up and take in your surroundings, holding a tiny hope that one of your dreams had been reality and not just fantasy. But all you see is your one room hut, mostly empty and worn down.

"Last night it was a dream about escaping from an amazing tower of riddles ruled by an evil magician and today it's a hero rescuing princesses... I must be losing it."  You get out of bed, get dressed and take stock. One bed, a desk with your open pack and a chair by the cooking fire are all the furniture in the room. You slowly re-fill your pack with your cloths and hunting gear. The fire went out during the night leaving the room dank and chilled so, realizing you had no reason left to hang around, you stuff your sleeping sheet into you pack, sling it over your shoulders and head to the door.

Looking out you see the dirt streets and hastily built shacks of the work camp you've been living in the past few months.

Do you:

[User] You head off to talk to the foreman

[Assistant]
You quickly walk through the camp towards the mine, looking in the empty shacks as you pass. Now that the mine is running and producing silver, all the temporary staff brought in to dig out the initial tunnels have been laid off. You were one of the last to go as you were one of the most experienced but tomorrow the shacks would all be torn down and only the huddle of nicer buildings would remain to house the permanent miners and those needed to support them.

You arrive at the entrance to the mine and see the Foreman sending the last of his men inside. He calls you over.

"Well, you've done a good job for us but I can't keep you on our books any longer. The mine's bringing up silver and they've sent down  some official to assess our operation. Sadly, that means he will be checking our payroll so there wont be any room for us to hire out side jobs for a few months."

You knew the job was only temporary so you tell him that it's alright and thank him for keeping you on after most others had been laid off.

He hands you a small purse with your pay.

You start to head off when he calls after you.

 "I heard a rumor that another mine might be opening a few days walk north of here... Can't say if its true or not but there may be a few months worth of work up there if it is."

You wave your thanks and head out of the camp towards the road. It takes just over an hour to reach it so as you walk you think back on your recent dreams. In the tower of riddles you hadn't been much of a traditional sword swinging hero but you had shown great wits and intelligence to escape. In this morning's dream you had been a bold adventurer able to take on 6 ruthless bandits at the same time without breaking a sweat. Comparing it to your own life so far, you think its no wonder you're having escapist dreams.

Your name is "Glor". Your mother once told you that traditionally, babies are named after the first thing a father says when a child is born. (This often causes no end of contrived first exclamations from new fathers) Your own father, upon hearing it was a boy, had strode into the room and started saying "Glory be!" (Obviously thinking Glory was a good manly name) Unfortunately, when he saw what a birthing room was like a few seconds after the deed he only managed, "Glorrr..."  Most couples iron over the small details like this and name the child what the parent 'meant' to say, but your mother had a wicked sense of humor so Glor stuck fast.

You grew up in a small section of the city called the "Old Quarter" near the docks and factories. Your family could only be described as the working poor, the people who do all the dirty and less desirable jobs that keep a city running. Your father worked hard and brought in enough money to keep you all fed, but 4 years after you were born, your mother passed away while giving birth to a stillborn child. Your father still worked but as a broken man and you were mostly brought up by friends and their families around the area. Once you hit your teens, you took any small jobs you could get. Cleaning, hauling, and off-loading ships - no job was too humble or dirty. You spent the rest of your time  hanging round the docks and warehouses chatting to sailors about other cities and lands.

Not that yours is a sob story. Many had it much worse than you in those days. Lack of jobs sent more and more people into the Old Quarter and many families didn't survive their first years there. You had good friends and old family ties that took care of you when you needed, so it wasn't all bad.

Once you were old enough you joined a mining expedition and set off into the hills to make your fortune. Well, to dig holes while other people made their fortunes even bigger, but, it was a wage and a start. You had stayed up North since then, taking mine and farm jobs wherever you could. You claimed you were saving your coin and preparing to head back to the city but the years passed and you stayed, doing manual labor in mines. This latest job had brought you the closest you'd been to the city in years, even if it was still days of hard travel away.

Your thoughts are interrupted as you reach the road. You take a good look around but see no-one in either direction. To the North, the road roughly follows the line of the hills; to the south, it disappears onto the plains, where it turns slowly east  towards the city.

You feel an urge to turn south and see the city again. There's certainly been more mining expeditions sent out recently, so maybe things have improved there. The money you just got paid for the months at the mine would keep you going for at least half a year if you're careful.

On the other hand,  if there is a new mine starting North, a few more well paid months away from the city won't change your situation for the worse. You think to yourself one more mine job without a break between would get enough for a years living when you got back.

Should you make you way back South to the city or try your luck in the mine to the North?

[User] You head North.

[Assistant]
You turn Northward up the road thinking that the rumors of a new mine are too good an opportunity to pass up, and hey, even if it's false you don't mind spending an extra week or two on the road.

You pull out some of your dried meat and start eating as you walk, thinking you should probably set some traps and snares when you make camp that night to stock up some fresh meat. You spend an uneventful day walking North and see no other travellers. An hour or so before dusk you start looking for a place to camp. You can camp on the roadside, head into the trees to the east for cover while you sleep or walk an hour or so to the foothills west and hope for a spring or cave.

[User] You it would be good to find a cave to sleep in, head West

[Assistant]
You walk for an hour west and reach the larger hill. After some searching you find a game trail  that leads to a cave and just have time to build a small fire before night sets in. You didn't find a stream but you're sure you'll come across one tomorrow.

You quickly lay a few snares just out of the reach of the firelight then retreat into the cave for the night.

[User] You morning on the North road

[Assistant]
You thought you had heard some noises during the night but there are no signs of other people in the cave. Sadly, your snares are empty too so it'll be another day of dried meat unless you find a traveller on the road today.

You cover the embers of the fire and walk back to the road. Once you reach it, you see a lot of fresh footprints and realize you must have missed a group that passed during the night. The tracks lead North so you follow them for a short distance on the road before coming across their abandoned camp on the edge of the woods.

A quick look tells you they packed up and started their march North again several hours ago.

[User] You follow them and try and catch up

[Assistant]
You think to yourself that with the rumors of a new mine opening that it might be best to catch this group up and see if they know anything about it. You set off at a fast pace to catch them up.

By mid morning you see a dust cloud ahead of you on the road so you keep your fast pace up till you get close enough to make out the group.

Its getting close to midday before you get close enough to realize who it is your chasing. Its a group of miners! You quickly conclude that they must be the hired hands sent to get the mine up and running so you approach them to see if you can find out more.

As you catch up to the rear of the pack some of them hail you. You respond in kind then fall in beside the rear couple and start chatting. You learn that there are about 50 of them in the group including all the skilled workers the mine needs but that they would be happy to have you along as an unskilled hand. Its not going to be as much money but they tell you that they have sent their mine guards off ahead to make the area ahead safe so there isn't any way to get ahead and get a better job.

[User] You ask the Foreman to let you sign up as unskilled work and join their group.

[Assistant]
You troop into the camp with your new companions and get your first look at your new job site for the next few months. Its a well cleared site around a small mine entrance that couldn't extend more than a few feet into the hill. The guards sent ahead had obviously arrived much earlier than you as the site overseer and his men had readied sheds for your company to sleep in and already had his handful of miners digging and putting up rough timber supports in the mouth of the mine.

You're shown your quarters, a small shed set out much like your last one, bed, desk and fire. You settle in and the next day begin your new job. Since you couldn't get a better position your one of the diggers and carters as the foreman put it. You dig to deepen the mine until your standing in a large pile of dirt, then you or someone else, shovel it into a cart and push it outside to be dumped.

[User] You after a couple of weeks

[Assistant]
After a few weeks of hard labor your not sure whether your regret your choice or not but your certainly keeping very strong and fit from wielding a pick and shovel all day. The mine has been progressing well, the main shaft has been tunneled deep into the hills bedrock and side tunnels are being opened to chase the smaller silver seams your crew uncover in the rock.

You're just taking you latest load of rock out in a cart when the foreman approaches you. "Theres a small job available for you if you want to earn some higher pay than you are at the moment, dangerous though."

"What's the job?"

"One of the main side tunnels has found a rich looking vein we want to open, but the rock around it is cracked and weak. The weak stone should only extend a few feet but we need some volunteers to risk mining through it. The pay is more than double what your getting now."

[User] You take the risk and the extra money

[Assistant]
You take a proper look at the new tunnel you're to help open up. The stone is very weak and cracked. You and the two other workers start mining, carefully removing the weak stone along with the silver ore and painstakingly placing buttresses and supports as often as possible.

A few days pass and your team is making some good headway. One thing you've decided you like about weak stone is that is easy to mine. Half of it just crumbles out of the wall with a single pick blow, That doesn't reassure you about the rest above your head though.

After a week you're taking a rest at the end of your tunnel. You've made several metres into the stone and it looks like you've finally reached the end of the weak stone. Your buttresses held and you've earned some easy coin.

The Overseer told you after you were done with the weak stone that he might be able to get you moved to some logging duty for a week or two if you wanted, same pay but easier work as an additional reward. Starting today they would be felling the trees that grew near the mine to build more supports for the ever growing maze of tunnels.

[User] You leave the weak tunnel

[Assistant]
You start to pick up your gear to exit your tunnel when you feel a slight shaking and see a few small pebbles fall from the tunnel roof.

You feel as if time had slowed around you as you think of the layout of the mine site. Your tunnel had branched far off the main one under the hillside. You can see a small root in the rock wall beside you. Your mind tells you that your seam must have run under the trees behind and to the left of the hill and that they were the obvious choice for the first logging, but all your body is telling you to do is run.

The tunnel is small so you start to run hunched over but as you take your third step you feel a tremor moving up through the tunnel floor.

"They felled the tree right over my tunnel!" you think as a last thump resounds through the walls and the roof of your tunnel crumbles.  Tons of rock pour onto you.

You don't have time to think anything else in your rock tomb.


[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] The Good Girl (This one's for the ladies! AWWW YEAH!)

[Assistant]
You wake up to another day in your sheltered little world.

"Sheltered" is probably a little inaccurate, but you're about as close as you can get in your dysfunctional family.

Your upbringing for you and all your siblings, quite frankly sucked, and it made you very introverted and unmotivated. It's probably why you're over 18 and still living at home.

You're a basement dweller.

However we shouldn't be too hard on you. Your other four siblings are also living at home along with a few other freeloading family members. You just happen to be living in the basement.

Fucked up parenting aside, you actually have potential, if you'd just break out of your shell. You aren't unintelligent. You at least graduated high school, watch the learning/history channel and read weird shit on the internet all day.

You aren't even unattractive, though your mom always drilled it into you and your sisters head that you were always to be "good girls". It only really worked on you though; as a result you've never had a boyfriend. (Or girlfriend for that matter) You don't even have that much contact with the world outside your house anymore. The world's a dangerous place and you feel much safer in your house.

Again, this thinking of yours is misguided as being out of the house of your crazy ass family would probably be a lot safer. Of course you rarely even leave the basement nowadays anyway. Seems like your world is getting smaller with each passing day.

Of course you could do something a little out of the ordinary today and try to change your lot in life.

How about it? Want to give it that old college try? (Even though you never went to college?)

[User] You sure you'll give it a go

[Assistant]
That's the spirit! I knew you had it in you!

Okay so you're feeling uncharacteristically motivated today, that's a start, but where exactly you're going to begin is another question.

Getting a job might be the way to go, but you have no idea what you might be qualified for. You could go to a family member for help or your old friend the internet as usual.

[User] You ask your older sister Kelly

[Assistant]
It's probably not the best pick of all possible choices, but Kelly is the only one who has a real job and constantly working. Surely she'd be in the best position to help you, though even now you're shuddering of what you might have to put up with to gain her help, even if she choices to do so.

Cautiously you head to her room where you find her resting on her bed with her eyes closed.

"Go away Peter! I told you before you're NOT doing a documentary on me!" Kelly says without looking up.
"Uh, it's not Peter, it's me Suzy."

Kelly instantly sits up to take notice of this revelation. She doesn't make a move towards you, but it's obvious she isn't happy about you disturbing her. You haven't been out of the basement for awhile, so you haven't seen here lately, but Kelly is sporting some heavy duty scars and looking a little more muscular than when you last saw.

"You? What the fuck do you want? Get out." Kelly demands
"But I just want to talk to you for a moment about something."
"You deaf or just fucking stupid? Bitch I said get out!"
"But I wanted advice on how to get a job."
"(Snort) You want a job? Little Miss priss wants to get a job? I can't believe I'm hearing this! Ha ha! Do you even have any skills? Shit, you're still a virgin. You probably wouldn't even make a good whore. Just go back to the basement and hide out from the real world. It's what you're best at."

You pause for a moment before answering.

"Why have you always so mean to me? I've never done anything to you."
"Oh no? You were Mom's perfect little angel that did what she was told and never had to do anything more than that. Me? I got nothing, but shit from Mom, just because I wasn't what her so called standard of womanhood was supposed to be. Yet I also had to do most of the work around here as well as look out for you to make sure someone didn't rape your naïve ass. Your mere existence did something to me!"
"Mom was just trying to instill guidelines for how we should behave. She was just looking out for us. What's wrong with that?"
"Yeah, yeah, and following her guidelines has really served you well eh? A complete fucking recluse that can't function on her own."

[User] You point out her faults

[Assistant]
You've had enough of your older sister's abuse, you're going to stand up to her.

"Yeah well at least I'm not some 'roid dyke still whining about how Mom never approved of them."

For a brief moment your sister can't believe that you've actually stood up to her. Perhaps if you'd done that in the past she might've respected you more. However, now she just sees it as a threat to her position and one that needs to be squashed before you get even more uppity.

Kelly springs from the bed and grabs your arm before you can run out her room. When you attempt to fight back, it only makes her angrier. Her next step is to break it in three places and drop kick you in the face. She then takes your battered body, gets on the bed, jumps off it and pile drives you into the floor, breaking your neck instantly. At this point you're already dead, but your sister proceeds to torment your corpse with physical abuse for about fifteen more minutes until she finally realizes she's killed you.


[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 hide in the island's interior

[Assistant]
You and most of the others scatter into the island's interior and hide. You avoid the others, steal a Native canoe one night and paddle to an isolated little volcano jutting out of the sea to the east called Mehetia. You manage to hide out here for nearly a month, surviving on nothing more than rainwater and a few fish you manage to catch in the sea and eat raw, as the island has no vegetation.

Eventually, on 16 April a party of sailors lands on the island and searches it in detail, finally finding you hiding under a rock, too weak to resist capture. You are taken aboard the ship where you find you are the last of the mutineers on Tahiti to be captured, the others all having been found at least a week before. You are clapped in irons and secured in a makeshift prison on the ship's quarterdeck.

You learn that after the Mutiny Bligh sailed his overcrowded boat to safety and returned to England with eleven surviving companions out of the eighteen who were in the boat with him. He reported the Mutiny to the Admiralty who dispatched this ship, the HMS Pandora, to Tahiti to arrest you all. You and your fourteen companions are questioned on the whereabouts of the other nine Mutineers and the Bounty but you can only tell them that you last saw them sail away in the autumn of 1789.

The Pandora leaves Tahiti that May and spends the next three months scouring the Pacific for your remaining companions but finds no trace of them. One day the Pandora suddenly runs aground off the Great Barrier Reef. Despite desperate efforts that go on for twenty hours the damage is too severe to be repaired and the ship starts to sink increasingly fast. Finally, in desperation the order if given to abandon ship.

For a few moments it seems that you and your fellow prisoners will all be left shackled to the quarterdeck to drown but as water washes over the main deck a sailor remembers you all and runs up to unlock your leg irons. He gives the keys to you and orders you to unlock the rest. You have managed to free ten of your fourteen companions when the Quarterdeck vanishes beneath your feet into cold clear seawater. Your remaining trapped companions shout for help.


[System] You are the narrator of a dark fantasy text adventure. Describe the world and its consequences with unflinching detail. The player's choices shape the story — for better or worse.

[User] You keep it to yourself

[Assistant]
You can't tell your mother what you did; she'd never forgive you. Frank is probably just bluffing. Even if he did say something to the Klyton Militia there's no evidence and they probably wouldn't believe him anyway. Besides he pretty much suggested that Tom and David are dead.

Of course that makes you worry that he might try to do the same thing to you, your mother or one of your employees. Maybe he wasn't bluffing.

For the next few weeks you become increasingly paranoid asking your employees if they noticed anyone strange following them. You can't concentrate in class and your grades start to suffer. The stress gets so much that you end up pulling your dad's Troll Gun on a patron you don't recognize. Fortunately nothing bad happens, unless you count several people questioning your sanity and no longer entering your inn. Several of your staff grumble about leaving, but it doesn't quite get to that point.

You've been so stressed out that you haven't been able to sleep properly for weeks, you constantly wake up and double check all the locks on the doors and sleep with the Troll Gun next to you. Eventually a wave of exhaustion causes you to collapse and fall into a deep sleep for once.

You begin to dream that you're sitting near a tree studying. A pretty girl in a red dress sits next to you saying that you should come with her instead of putting your nose in a book.

"I have to study! I have to become a doctor! That's my goal!" you answer.

"Is it? Or is it some high aspiration that your parents put into your head when you were young? Do you really know what you want? How hard have you pushed yourself only to be thwarted at every turn? Don't you think you should take time to rest? Come with me."

"I would like to rest, but I can't. I have to continue."

"No, you don't. You can allow yourself time to take break. You've done as much as you can…perhaps more than you should have. But none of that matters now; it's time to rest. Come with me."

The words of this word are so soothing and she speaks in a way that you find alluring and truthful. Still, you can't but think you know her from somewhere.

"…who are you? Do I know you? It seems like I've seen you before…" you ask.

"Does it matter? You must come with me now. You may not get another chance." The woman says in a firm, but gentle tone.

You get the impression that she sincerely is looking out for your best interest, so you put down your book and hold her hand as you go walking into the fields with her…

"I can't believe he just died in his sleep! He was too young! (sob)" your mother cries.

"I'm sorry for your loss, but he did seem like he was under a lot of stress lately. Dunno what would've caused that. Maybe his classes were getting harder and he just couldn't take it any longer?" Wendy says not really knowing what to say.

"Well, at least he looked peaceful." Eliza says, tearing up a little.

Rita stays quiet the whole time, looking a little nervous about whether or not her "idea" had anything to do with this.

After burying you next to your father, you mother has no more reason to stay in Klyton and sells the inn to Frank before moving back to Teckleville to live with her sister Enora.

Meanwhile...

"So sister, did Frank yell at you for disposing of his competition in such a gentle manner?"

"Hah, that little mage knows not to overstep his bounds. Oh I long for the day when we can figure out how to break his little contract over us. Honestly using us as mere barmaids, it's degrading."

"I agree sister, but I will never under stand why you choose to take the delicious life force in the manner you do."

"Oh sister, you are truly a product of our race. Seduction and then a horrifying end to the victim. It needn't always be so vulgar. Besides, I sensed so much stress, worry and guilt in him, I figured he could use a peaceful end."


[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 memories (Irena)

[Assistant]
The Cat People: Irena Reed

To be quite honest you don't know a whole hell of a lot about your son's wife Irena, and you don't really want to. All you know is she's a fucking cat person and that's enough to disown him by association.

While you're openly vocal about your extreme dislike for the undead and vampires in particular, you'd grudgingly admit while under duress and in a hopeless state of drunkenness, you have met a few that you've been able to get along with. Hell you've been known to fuck the occasional Vamp chick every now and then (Not to mention Mary). Not being natural creatures, you don't really expect anything better from them, so whatever sneaky arrogant shit they pull doesn't really surprised you.

However, there is ONE group of people you absolutely WILL NOT tolerate on any level, and those are those damn Cat People. You just can't stand the scent of them. They're a decadent perverted race that sickens you. The Cat People are lycanthrope predators much like Werewolves, but that's where the similarities end, and they aren't even good predators anymore. Werewolves favor a survivalistic mindset. Even the young pups today who you normally frown upon as being spoiled go around trying to hone their skills and maintain that fighting spirit. Cat People do no such thing. They sponge, scam, scavenge and are just outright lazy bastards, even those overgrown leeches you call Vampires are less of a drain on society in your opinion.

It's partly why you're such a hard ass when it comes to the "old ways' and harass young werewolves about not living up to them like they should. Because you see that Cat People USED to be like Werewolves but then they completely gave into civilization and allowed themselves to become soft, fat and weak, and as long as you draw breathe on this shitty World you will NOT allow the Werewolf race to follow in their paw prints. Cat People are a hated reminder of what "civilization" can do to anyone if they aren't careful.

Another unsavory characteristic that they have that repulses you is that they've been rumored to indulge in incest; a loathsome practice that only serves to destroy and weaken a gene line, all of which gives further reason why they have fallen so far from what they used to be.

Not to mention fucking lazy. You mean sheesh, they can't even be bothered to look for a mate outside their goddamn house?


[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 let someone else do it

[Assistant]
Jesse uses the hammer and iron bar to pry up several railway tracks. You and the rest of the Gang then take cover in the trees near the track and wait for the train. When the train comes down the line you are astonished by how fast it is going. The driver sees the damage to the track and slams on the brakes but the train is going too fast: to your astonishment the locomotive shoots off the end of the broken line and crashes down onto it's side with an ear-splitting crash, as does the first passenger carriage. The noise is indescribable.

The train has come to a complete halt with the front two carriages on their side and you and your deafened companions emerge stunned from the trees. While Bill, Charlie, Bob and Jim hold the horses and Jesse leads most of the rest towards the Express Carriage at the rear of the train you and Frank jog to the crashed locomotive and peer inside. The sight sickens you, the driver has been literally crushed to death and the fireman has been badly hurt, bleeding freely from his head.

You are still shaken by the time you return to the woods and are rejoined by Jesse and the others. Mounting up you ride away from the train you have just wrecked and ride nonstop for several hours to get to safety. When you count the money you are disappointed to find the train was not carrying a lot, just $3,000 which is divided between the ten of you to make your share $300. Despite the small profits from this you know this brazen robbery will increase your already great fame and notoriety.

Bill, Clell and Charlie are all a bit unnerved by the attention this crime will bring and decide they will all go and hide out at Charlie's farm in Missouri. Jesse, as usual, is delighted and indifferent to the fact the robbery has led to another death. He intends for himself, Frank, Bob, Cole, Jim and John (all the James and Younger brothers) to ride south into Arkansas to rob a stagecoach, another type of crime the Gang haven't committed before which Jesse hopes will lead to more fame. It is up to you whether or not you want to go into hiding or join in the crime spree.


[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 threaten Olive

[Assistant]
"No."

"Then I guess we have no deal to make," Olive says.

"No. I don't think you understand the nature of the offer I'm giving you. I'm letting you live. Whenever I want, I could have every single man under your command strangled to death by your collars, blown apart or force you to tear each other apart. You're going to follow my orders, or you're going to die."

"Fine, at least guarantee me that you're not going to have us all killed once the ship is taken."

"Sure, I can promise that," you say.

Olive extends a hand, which you grip and shake extensively. Castus extends his hand, which you grab, but he twists your arm around, causing you to yelp painfully. He kicks away your foot and sends you to your knee, before bringing his sword up to your throat.

"Dead," he says with a smile, before slashing open your throat.

You gargle on your own blood, collapsing backwards.

"Well, that was easy," Castus says.

"Kill those fuckers!" Meliodas snarls.

You raise your hand, focusing your mind, and Castus head snaps back, his neck breaking. Olive's eyes widen, before your send a fireball her way, consuming her in flames. You let out a final, desperate gasp, before your soul fades out.


[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 keep things simple

[Assistant]
You're not falling for Zal's manipulation. Tom can keep the headaches because you've got enough of it just dealing with the ones that you're trying to teach here. So things are going to remain the same and no unnecessary risks. You've managed to keep things together and not call attention to yourself with that rule and you're not changing it.

And you don't give a shit what Zal calls you, you'll be letting Tom know the situation. Given how he feels about her, you've no doubt that he'll side with you.

Later you report to Tom just as you planned and also stress that you don't want to see Zal anywhere near the university since she's made it clear that she's going to do her own thing regardless of what you say. Tom thanks you for telling him this information and says he'll make sure that the university district is off limits to her and if he finds out otherwise, there will be severe consequences.

Honestly, you don't have too much hope that Tom is going to really enforce that last rule. Over the course of the next few months your attention is partially directed towards thinking Zal is going to perform her activities to the university district anyway, but either she obeys the rules or she's more adept at keeping a low profile than you thought.

Either way, there isn't some alarm raised on campus that is causing militia to start cracking down on the place. The rest of the Talons working under you don't give you any trouble, save for Sunshine and Flameflower on occasion and even they aren't that bad and eventually you do become somewhat lenient with them since it would seem they are more than capable of balancing their business with pleasure. You sort of wonder why they didn't just become prostitutes though seeing as they're doing as much fucking as they are stealing.

As for the rest of the Crimson Talons, things are business as usual elsewhere in the city, but then what do you really care? You're mostly divorced from those operations. Your slice of the pie is all you ever wanted and you still got that.

Year 23

You hear a knock at your door. You really hope that isn't Virgil, you're not in the mood for his begging today. Elana makes her usual hostile squeaks until you tell her to calm down.

"What!? It's too fucking early to be banging on my door like this! The sun's not even setting!" you yell.
"Yeah well it's important. The boss man wants to see you." Zalmora remarks.
"Wha…(sigh) hold on."

You didn't expect this.

You get dressed as quickly as you can and open the door. Zal walks in and looks at Elana who is under a dresser and still giving the occasional angry squeak.

"Ugh, that ugly thing still has way too many teeth." Zalmora says.
"What the hell does Tom want and why would he send you of all people to come get me?" you ask.
"How should I know? He never tells me anything as you well know. And he probably sent me because it pleases him to send me on menial tasks like this. So you coming or what?"
"Yeah, yeah, just give me a few more moments."

You finish getting your gear and leave with Zalmora though you don't know why she's walking with you. You haven't directly interacted with her since last year.

"Zal, you are aware that I know how to get to the Talon hideout right? You don't need to escort me." You say.
"I know, but I sort of felt like we should talk along the way." Zal says.
"I don't really feel like arguing."
"Who said anything about arguing? I said talk. I feel like we drifted apart after the incident at the university."
"Did we? I didn't know we were so close."
"Okay, maybe we weren't, but I still feel like we sort of took a wrong turn somewhere."
"Yeah, it was when you weren't obeying my orders, accusing me of being a snitch, and then trying to manipulate me into killing Tom."
"…okay…I can see where you might have some feelings about that. And I didn't say you had to kill Tom, I mean I think you might have been able to convince him into stepping down. That would have been just as good."
"Sure, either way you would have been leading from the shadows."
"I'm not sure why you're so against taking lead of the Crimson Talons. I mean yeah I get that you don't have any interest in leading and you like to play things safe and low key. I think that's not living up to your potential BUT I get it. Let me point out though, whether you intended to or not, you're actually a leader now. All those thieves that work directly with or under you? They speak highly of you, you know. I mean you have to know this right?"
"Get to point Zal."
"My point is, you're already half way there! Why not take the lead? The Crimson Talons could do better under you. I mean you'd at least eliminate all this talk about possibly getting into the drug trade again."
"Drugs?"
"Yeah, Jake and a few others want to get back into selling Yellow Devil. I'm pretty against the idea obviously, but I can't deny that there wouldn't be benefits to the organization."
"Well what's Tom say?"
"Dunno, that might be what he wants to talk to you about. But again if he's asking you for advice on this matter, I think it would just be better if you were in charge to make the final decision on it."

Obviously Zalmora is still pushing for you to take control of the Crimson Talons and to you it's weird that she would still be attempting it. Even if you did, she has to know that you're aware of her agenda and wouldn't be a puppet.

Unless it's something deeper than that, but…no. She's teasingly flirted a few times, but it isn't like you and her have actually ever had anything together.

You and her are silent for a while until you're in the sewers and nearly to the hideout.

"So…you really don't want to be head of the Crimson Talons?" Zalmora asks.
"Not really, and if you lot are getting into drugs, I'm thinking I might be gone altogether." You say.
"That's why I said you should just take power and shape this organization how you want it to be."
"Zal, I'm not your damn puppet. You want Tom gone, you do it yourself, then YOU could shape it how YOU want. Now just stop pushing me, because I'm not interested." You snap.
"I see. My apologies for bothering you. I can see my advice was never desired or needed. I suppose I'll take my leave."

Zalmora then nods to you and begins walking back the way you came. You watch her walk off and just shake your head wondering why you even joined this crazy organization in the first place. Though you're also wondering if you won't be leaving it soon.

You don't have to wonder for long as something else happens that you didn't expect.

Before you even reach the hideout door, it opens and several Talon members come rushing out at you with weapons in hand. You're taken off guard and they soon knock you to the sewer muck and after kicking you around a bit, Jake comes out with a big axe in hand.

"Ah, and now to deal with the second threat to the new regime. Pfft. Never liked you anyway. Always thought you were better than all of us, getting your own little section of the city to yourself, getting special treatment from Tom. Well that ends today." Jake remarks.
"Wha…where the hell is Tom?" you utter while spitting up blood.
"Geez, thought Zal said you were smart. Then again you followed her here, guess you weren't too smart. Haven't you figured it out yet? He's fucking dead! Just like you soon will be. I'm sure all those that worked with you will fall in line quick when they see your bloody head hanging on the wall."

Jake laughs a bit with the men loyal to him and doesn't waste any more words on you. He's here to kill you and that's what he's going to do and you're not going to stop him.

The last thing you see is the blade of an axe coming straight at your face.


[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 knock him out; you don't kill anymore, even in these circumstances.

[Assistant]
No. Never again, you told yourself. Not after South America.

His back is to you, which makes it easy to creep up on him. You rise up behind him and apply a chokehold. He struggles for a moment, but before long he's out. You drop his unconscious body and continue on.

From there it's down and dirty brawling. Choking them out when they've got their back to you. Taking away guns and beating them something fierce when they don't. You interrogate a few, trying to get Cassamento's location; the first three don't talk, but the last one squeals. Not long after you find your way to the room.

It's all or nothing, now.

[User] You continue

[Assistant]
When you enter the room quietly, closing the door behind you with a soft click, the first thing you see is Cassamento standing on a platform with a console. He looks at Helena, who dangles over a pool of acid by a rope. There's a guard not too far away, but he's not going to be trouble; a chokehold puts him out for the count.

"Cassamento," you say, heading up the stairs to the platform, "It's over. Let her go."

"Hmph. I thought you'd be dead by now, you faceless freak," Cassamento spits, "But no matter. Now you get a front row seat to Huntress' death." He flips a switch on the button, and the rope snaps. Huntress begins to fall.

[User] You try to wrangle her in with your grappling hook.

[Assistant]
The hook wraps around her. But you don't manage more than that as she falls into the pool of acid. The bright green liquid turns red with blood.

Cassamento laughs.

Soon you have him on the floor choking on his own teeth.

By the time you're done with him his head looks more like a squashed cantaloupe than anything that's alive.

[User] The End

[Assistant]
A Month Later...

You find yourself perched upon a rooftop in Hub City, dead eyes staring blankly at the streets below and hands clenching and unclenching every so often.

She's dead. You can't believe it. It seems as though the world has lost color.

You've barely eaten in the last month. Food has lost taste. Your weight loss has been dramatic.

She's dead.

Cassamento paid for what he did. But you can't take any consolation in that.

She's dead.

In the distance a scream pierces the quiet of the night. You find a man holding a woman at gunpoint, forcing her to remove her clothing.

He's dead.

You continue your endless pursuit for justice, kept going by the thought of her.

BAD END


[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 travel to a distant land

[Assistant]
You don't feel as if the Eternal Dominion is really the place for you. You couldn't stand the new generation of eternals and you doubt if you'll like the ones coming after them. You aren't even sure if Edgar would be all that friendly to you as it's a pretty fair bet that he knows you went to join the Felkan Kingdom. Who knows how he'd react and with an entire nation under his command the odds wouldn't be in your favor.

So that only leaves one choice for you. Leaving these lands completely and finding your place elsewhere. It's a little daunting as you're wading into unknown waters as it were, but after all the things you've faced in your life you're ready for the next challenge.

You travel further west putting the Felkan Kingdom far behind you. Over the course of the next three days you live off the land and basically just observe your surroundings. You haven't even been attacked, which you figured you would be by something the further you got from civilization. You have gotten the impression that you're being followed however…

The next night you make camp as usual and go to sleep, or at least you pretend to. You "sleep" for a couple hours and then get up in the middle of the night to circle around whoever it is that's following you.

Eventually behind a large rock in a small copse of trees you find your stalker. You had a feeling who it might be, but you weren't sure.

"I really hope you aren't following me, why I think you're following me." You say to Dawn.

She awakens slightly groggy, but still fully aware of her surroundings.

"Damn, I thought I was being sneaky." Dawn remarks while slowly getting up.
"You might've been had it been anyone other than me, so why are you following me?"
"I'm not here to kill you, if that's what you think sir."
"I didn't actually, though I sort of wish you were, might make this a whole lot easier."
"You…you aren't going to kill me are you?!" Dawn says in alarm.
"What? No! What I am going to do is send you back home. I'm sure you've been AWOL long enough."
"I'm not going back home sir, I resigned my position shortly after you left."
"You what? Dawn, why did you do that? You had a command position!"
"I didn't want it sir, I don't want to serve the Felkan Kingdom, I want to be with you."
"(Sigh) See this is the reason why I hoped you weren't following me."
"Sir, I…"
"Stop calling me sir! I'm not your commanding officer anymore! Look…I think I know why you're following me and I don't think it's a good idea."

Dawn doesn't immediately comment and the both of you are silent for a moment, as the pair of you knows you're referring to feelings she has for you go beyond simple respect. And while you've been pretty closely guarded about the situation as well, it would be a lie to say you don't feel something for her as well.

"Oh… and why is that exactly?" she slowly asks.
"Because I don't know where the hell I'm going or know what the hell I'm going to do with myself now. All of what I was taught to believe in, is gone and there is no getting that back. I'm literally lost and I doubt if I'll ever settle down."
"Well if I come with you, perhaps you'll be a little less lost with another set of eyes helping you."
"Dawn. You have a country. A home. A life. You even have a command if you get back there quick enough. You have something to fight for, do you really want to give that up?"
"If I don't have you, then yes. Maybe because of your upbringing, you hold such things in very high regard. Most people don't work that way, you know."
"(Sigh) Yes I know, but what I'm saying is coming with me is unlikely to result in us settling down and living out our lives in some sort of wedded bliss with a house and kids."
"And who says I want that? I will be happy just as long as I'm by your side. If that means forever wandering, then I'll be right there wandering next to you. My life before I met you, wasn't a great one as you probably know and I only joined the military as an escape from poverty. You believed in me enough to give me my very first command. You taught me that I was capable of more when I sometimes wasn't even sure myself. After all you've done for me it wouldn't be right for me to leave you when you're feeling something similar now."

Even you can't help but be touched by that remark and you aren't exactly sure of how to respond. When Dawn approaches closer to you, and the pair of you look into each other's eyes, the response is certain and the pair of you kiss, finally taking those first steps towards your love for each other.

The next morning after your passionate embrace, you and Dawn begin your journey together and leave the known region far behind. In the years that follow the pair of you wander, seeing new sights and getting into adventures. Several times you genuinely attempt to find a place where you feel comfortable, but it just never happens. While the pair of you never do settle down, your love continues to last.

What ultimately happens to the both of you is lost to time.


[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] A Bar Wench?

[Assistant]
The creature and you both get a hearty laugh out of this response but you know that you are wrong and you know you are going to die soon.  Indeed, the creature hits you with the same negative energy it used on the humunculi and you disapate into the air.

THE END


[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 try the storm drain.

[Assistant]
"That famhouse looks a bit creepy." you think to yourself as you run for the drainpipe.

The mouth of the pipe is sticking out just above the weeds that surround the base of it. It looks big enough for your to crawl into.

Looking down into the drain pipe is like trying to look around a cave without any light. It's pitch dark.

Just then the street lamp goes out and suddenly you are surrounded by pitch blackness. You can only hear the rustling of the corn in the wind...and a voice coming from inside the pipe.

"Come on down....down here they all float....

There is nowhere to run since you can't even see your hand in front of your face....or a white gloved hand slowly rising out of the mouth of the drainpipe, grabbing onto your blood caked hair and pulling you down...down...down.

[User] You did you find the flashlight from the van wreckage?

[Assistant]
LIAR!!!!

There was no flashlight from the van wreckage.

[User] You liars go to hell...

[Assistant]
Blood begins to pour from your face again as the white gloved hand continues to pull you deeper into the bowels of the pipe.

Appropropriate odors fill your senses and you begin to scream and puke at the same time. Maniacal laughter answers your screams and you lose consciousness.

Splash!!

Your body floats face down in a sea of sewage. Lightining from the world above momentarily illuminates your surroundings exposing a creature that resembles a giant spider...only much bigger. Next to the spider stands a circus clown laughing and pointing a finger at your lifeless body.. His other gloved hand covers his mouth exposing jagged teeth.

I guess the clown was right...things DO float down  here...he he he.

THE END

You have reached the Stephen King's "IT" ending.