Ferret: Last Ticket   25 comments

Prime Minister:
Good heavens — listen to this. “Dear Mr gladstone, tonight I will commence to destroy the following ancient London monuments: Nelson’s Column, Albert Memorial and Anna Neagle. Finally, I shall blow up Greater London!”

I say, naughty fellow.

This is, this is terrible! Look he… he’s spelt my name with a small g!

Oh, Mr. Gladstone, if London is blown up at midnight, hadn’t we better have some dinner earlier?

Oh nonsense, nonsense Anthony. This is the work of a practical joker. No man would dare…

[Explosion. Sound of bomb dropping followed by glass smashing and destruction]

What was that?

Nelson’s Column just landed in the garden.

— From The Goon Show episode The Man Who Tried To Destroy London’s Monuments, first broadcast October 9, 1953

(Prior posts on Ferret here.)

Well, if you thought 70s TV sci-fi references were out there, how about a British comedy radio show from the 1950s?

From the cover of a 1971 vinyl LP of one of the radio broadcasts.

The Goon Show was originally — for Series 1 and 2 anyway — actually introduced as

Crazy People, featuring radio’s own Crazy Gang: “The Goons”.

before being renamed. Its regular episodes ran from 1951 to 1960, and it was a strong influence on The Firesign Theater and Monty Python. The Goons also make an appearance in Ferret:

Milligan is the entry room, Sellers and Eric have the projector of doom and the stove.

That’s the names of various people involved spread throughout the map of the office building in Phase 15, like Spike Milligan, co-creator and main writer for the show. And no, none of this turned out to be helpful to observe to solve the puzzle of the last ticket, but Ferret has gotten so difficult I couldn’t leave any possibility behind.

(And if you’re wondering “what happened to Blakes 7 from last time?”, well, that’s still up in the air, but apparently all that information from last time is meant to apply to Phase 16, titled Liberation; there’s at least one reference already in that area, as you’ll see.)

Last time the biggest relevation came from a clarification from the authors; I had previously asked how many tickets phases 9-14 had, and they said five. We found four, so I spent roughly a week going through each one for the fifth ticket. I then found they must have misread and though I was including 15 in my span; the fifth ticket is in phase 15! Furthermore, they clarified in a way that indicated the ticket was in the mysterious Goon Show floor with the projector and the stove where you did not need to bring any outside objects with you.

To recap, you enter the floor of the building via a window washer cradle, into the room “Milligan”:

Apparently an office in an office block. The external curtain wall on the north side of the office block is missing allowing egress from the room. There is a corridor to the east.

I had, at the time, the extra problem here that the cradle was going back up after entering the building, and trying to escape the way I came led to going splat.

Yee-haa! As you somersault out of the office block you catch a brief glimpse of the building rising above you with the window cleaners’ cradle near the top. The glimpse is all too brief as you splatter all over the ground at the base of the building.

This turned out to be a bug (?!) but more on that in a moment.

Then there was a stove which just melted everything:

Apparently a kitchen in an office block. There is a corridor to the east. Along one wall is a worktop above which are three cupboards. Set into the worktop is a sheet of plexiglass, in the centre of which is a circular depression. All other kitchen facilities and furniture appear to have been stolen.
-> put basket in depression
A strange ethereal humming noise eminates from underneath the plexiglass. The plexiglass starts to glow, first red, then orange then white. You smell the acrid stench of burning from a long uncleaned surface. You appear to have discovered an automatic induction hob. Bang! A faulty one too. The food detection system seems to have inappropriately calculated the cooking temperature required resulting in some overheating, thereby welding the chip basket to the surface of the plexiglass.
The vinyl that melted in the chip basket has cooled to form a shallow pool.

And a projector that kills you:

Apparently an office in an office block. There is a corridor to the west. Hanging from the ceiling in front of the north wall is a projector screen. Next to the projector screen are two cords, one long and one short.
-> pull short cord
Your yanking behaviour activates the projector screen mechanism which appears to be faulty as its initial movement is to fall rapidly to the floor accompanied by a loud screeching noise. Unfortunately, you are in the drop zone and receive a glancing blow to the head. You feel absolutely nothing of course, but the dull spark that was your life has finally been extinguished. You’ll be an ideal addition to the nearest wormery (which might eventually turn you into something useful if you don’t poison the worms first).

(Yes, I’ve gone through all this, but there’s so much stuff in this game even I need reminding.)

Knowing that no outside objects were used helped restrict our thought process. None of the items in the stove room seemed to be helpful (including a cabinet that was empty in an earlier build and filled in a later one, suggesting those objects were a red herring!) as they all either vaporized entirely or melted as in the text I’ve already given. The projector was particularly frustrating as the short cord resisted any kind of manipulation I tried.

Voltgloss in the comments eventually hit upon tying the two puzzles together:

-> tie short cord to basket
The cord is tied to the wire basket.
-> w
Your attachment to the cord prevents your egress from the room.
It does however activate the projector screen mechanism which appears to be faulty as its initial movement is to fall rapidly to the floor accompanied by a loud screeching noise. The screeching changes to a series of clicks followed by what sounds like cogs and belts engaging. Achingly slowly the screen retracts and then disappears into the ceiling. At the end of its travel the projector screen emits a rather unpleasant and expensive graunching sound. The removal of the projector screen has revealed a wall safe.

No other item seems to work to accomplish this, and I previously was under the impression (based on being rebuffed by the parser earlier) that the short cord was untieable.

The wall safe has a “vinyl block” which can be melted just like all the other vinyl things, with the difference here being it reveals something useful.

-> put basket in depression
A strange ethereal humming noise eminates from underneath the plexiglass. The plexiglass starts to glow, first red, then orange then white. You smell the acrid stench of burning from a long uncleaned surface. You appear to have discovered an automatic induction hob. Bang! A faulty one too. The food detection system seems to have inappropriately calculated the cooking temperature required resulting in some overheating, thereby welding the chip basket to the surface of the plexiglass.
The vinyl that melted in the chip basket has cooled to form a shallow pool. During the intense heat a petite waxed envelope has floated free of the vinyl block and is now stuck to the surface of the pool of cooled vinyl.

The envelope has the fifth ticket!

Usually. In one of my saved games when I try to go through this process the envelope is empty. Yes, the later phases of this game are buggy, and this really got borne out trying to escape from the office floor. You see, commenter K had, every time upon arriving at the building, had the cradle stop at the floor and not leave, so it was easy to escape. I always had it go up (I’d never seen it stop). Voltgloss had sometimes one and sometimes the other. I assume this is the same sort of bug that causes the envelope to not have a tangerine ticket in it.

Fixing the problem required Voltgloss playing the game from the very beginning and making a save at the start of phase 9. I took the save and brought it the rest of the way, getting all five tickets (still playing in the version of the game with the easy-to-grab plum ticket, without the “destination” puzzle, I’ll come back to that). I have a saved game linked in the comments which has the player avatar standing at Phase 16 while holding all five tickets.

And yes, I did say Phase 16, the long gloriously sought-after mothership (dubbed Liberation).

Ticket Office
You are in what was probably a ticket office, though it is now hard to tell as the room appears to have suffered from a number of nearby explosions. The north end of the room appears to consist of an automatic barrier, to the right of which is a turnstile and a slot. Unfortunately all of the guidance instructions appear to have been obliterated at some time in the past.
Exits: -S– ——– —
-> i
You are carrying:
  a lime ticket
  a lemon ticket
  a tangerine ticket
  a strawberry ticket
  a plum ticket
-> insert lime in slot; insert lemon in slot; insert tangerine in slot;
-> insert strawberry in slot; insert plum in slot
-> n
Entrance Vestibule
You are in a featureless room. There is a turnstile set into the south wall.
Exits: N— ——– —
Score increment of 20 points.

The order is simply determined by the destinations written on the tickets; phases 9 through 13 are Richmond, Ashford, Staines, Egham, and Virginia Water Station, as seen on signs at each location, so the tickets just needed to be inserted in that same order.

The game incidentally has one of those “inventory resets” here where quite a bit of inventory doesn’t fit. We know from prior hints that a teleport bracelet is required, and you’ll see in a moment that a nickel key (from that water maze with the key in the cage) is also needed, and there isn’t much inventory space past that, so we’re finally “out of the woods” for the most part in our Phases 9-15 nightmare (not that there might not be yet another piece of info squirreled away, but other than the plum ticket puzzle, it seems like we’ve prodded every corner).

I haven’t started seriously puzzle-solving yet, but let me at least give the lay of the land of the new area. It is essentially a “main route” with “branches”.

-> l
Car Park
You are standing on a vast tarmaced area surrounded by fences. The tarmac is marked with strange white stripes. To the south is the entrance to a Railway Station. A lane leads off to the east. A metalled road proceeds in a northerly direction.
Exits: NSE- ——– —
-> e
On a fenced lane running east west.
Exits: –EW ——– —

Branch one is fairly boring, and is just a lane that gets blocked off by a warehouse. Unless there’s a secret way to open it, or we loop back and use this place as an exit, this is just filler.

End of Lane
On a fenced lane running north south. The southern end of the lane is blocked by the side of an immense warehouse.

Branch two is more interesting:

A small hut with a bench running along one side under a window. On the bench is a large metal box surmounted by various instruments, notably a keyhole, a plunger, the toggle for a hooter, numerous terminals and wires. Attached to one wall of the hut is a framed notice.

The keyhole takes the nickel key, and will give a “clunk” if turned.

The toggle will given a siren with the specific verb PUSH DOWN:

A siren wails, echoing around the mine workings.

(This would be extremely hard to find — PUSH alone doesn’t work — except for the TEST verb which has been useful the whole game.)

You can LIFT the plunger (the game just says “Done.”) and again, the game is very finicky about the syntax here and TEST saved a lot of experimentation..

What I have not been able to do is “wind” the plunger, as per the instructions:

-> read notice
Only parts of the notice remain legible as the handwritten elements have faded:

Conquest Mining Corporation

Blasting Procedures

Hooter must be sounded no more than     minute(s) before blasting.
Wind plunger       turn(s) to prime blaster rotor.
Depress plunger to initiate blast sequence.

Blasting is forbidden between the hours of   and  .
In event of problems call Central Mining Control Centre.
Operations out of normal parameters contact neighbourhood liaison on red.
Last safety check completed:

I’m guessing this will fall to a bit more experimentation (and maybe another nasty verb use) but let’s move on for now to the next branch:

In front of a large building protected by an armoured door.
Exits: —W ——– —
-> open door
-> e
The door closes behind you and emits an ominous click.
A featureless room with a noticeboard on one wall. At one end are a table and chair securely fixed to the floor. The jail has just one cell separated from the main jailhouse by strong iron bars. The cell comprises the northern end of the jailhouse and is accessed through a barred iron door. Attached to the inside of the bars is a semi-transparent banner with writing that is indecipherable from the reverse side. To the east is a wooden door and there is a stairway leading down.
Exits: —- ——– -D
The prison cell contains:
a flesh-eating zombie
some rotting carcasses

The entry is one-way; getting out is the primary puzzle here. The wooden door is incidentally locked and gives the default message when using a key which suggests no key will unlock it. You can still die by kicking it, just like that red herring all the way in Phase 1.

-> kick wooden door
Your foot goes clean through the wood of the door causing you to lose balance. As you fall forwards you impale your anal sphincter on a very sharp splinter of wood, resulting in massive internal injuries and severe bleeding.
You’ve curled your toes.

Also, yes, the zombie feels “out of genre”; we have had some a mutant creature (that we had to hand a defective weapon to in order to defeat) but nothing like a zombie. EXAMINE ZOMBIE incidentally crashes the game.

The lower section has a pair of headphones which give an audio tour of the surroundings.

A small dimly lit area with various coathooks and clothes racks. There is a bead curtained exit to the south. The east wall is panelled in dark wood, above which is a beautiful icon depicting a heavenly female figure. Set in the halo surrounding the figure in a spectacular jewel.
Exits: -S– ——– —
There are some wireless headphones here
-> wear headphones
Over the headphones a pre-recorded message is looping through a presentation:
Welcome to the Liberty Tours Audio Guide.
You are in the Vestry. A robing area used by the resident priest.
-> s
A small enclosed area that overlooks a courtroom. There is a solitary chair and a stairway leading down.
Exits: —- ——– -D
Over the headphones a pre-recorded message is looping through a presentation:
Welcome to the Liberty Tours Audio Guide.
You are in the Dock. Suspects were required to sit in this area while their trial proceeded in the adjoining courtroom.

On to the last branch:

There’s presumably a lot more to see, but I’m fairly immediately stuck.

You are in a corridor with walls made completely from a weird opaque substance.
There is a steel door to the north.
Exits: -S– ——– —
-> open steel door
-> n
Bottom of Lift
You are in a small aluminium-lined room. To the south is a steel door. Next to the door is a red button, under which is a chrome plate.
Exits: -S– ——– —
Score increment of 10 points.
-> push button
-> read plate

The Federation indicates pretty clearly we’re in Blakes 7 territory here, but wearing the Teleport Bracelet gives no change to the red button. I think it likely the other branches need to be finished before this one does anything.

That’s almost all the new discoveries for now. We’re still trying to retro-solve the business with the plum ticket (that is, the puzzle that only got added in the most recent version, but we can play an older version and skip it); we have received the info that we do need to say a particular word at the Archive of Angst in order to get the ticket, and this word can be found by forming a projector (out of items we have on our person) and use that projector to look at two transparencies that we’ve found in odd spots in the game. However, we have made no progress on this at all. Many “assembly” puzzles in games are naturally easy in that you can accidentally fit two pieces together without knowing what’s going on, but the verbs in Ferret are finicky enough you might be properly intending to fit item X into item Y (say, a piece of linen and a plastic fruit bowl) but not using the right verb. There is a conspicuous lack of a light source; we still have a flashgun but the button only worked when we were using it way back in Phase 8.

I did also resolve the book! I’m going to skip how I figured out the puzzle (check the comments of my last post if you’re dying to know) and just do this without words:

Posted January 21, 2023 by Jason Dyer in Interactive Fiction, Video Games

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25 responses to “Ferret: Last Ticket

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  1. As it turns out, the wooden door in the Jailhouse can be opened with “open wooden door.” If you just try to “open door,” the parser assumes you’re referring to the armoured door that’s just closed and locked behind you.

  2. Assorted comments on the latest progress and non-progress. I did a run in an older version to make a plum ticket save and spend some time in phase 16. Not at my computer, so things will be just from memory.

    1. We are talking about Sellers all the time as if there is a projector there, but there is never anything said about a projector. There is just a projector screen which is the thing with the cords and that can kill us. I just want to get this out of the way so it does not confuse us. Maybe we need to use our self made projector in Sellers before accessing the safe?

    2. I never had to think about the ticket order, because my first try was just inserting them in the order they are listed in the inventory… :)

    3. In Blast Control I tried looking out a window that I do not remember being described, and got an interesting view of the mine itself.

    4. In the Jailhouse I just open the wooden door, it is not locked for me (there are three doors in the room, refer explicitly to the intended one). There are some more interesting things there, but no real important progress so far.
    You will find a smelly room with an interesting view and a titanium(?) shutter which I have not been able to open. Furthermore, I managed to take a look at the zombie without crashing and it just kills you by kicking your head off. (Counting the carcasses reveals that there is just one “carcasses”, hmmm.)

    5. Under the Jailhouse my map is not exactly like yours, and I have some additional rooms (I do not remember the exact layout). Also I think that south from Vestry properly goes back to the Chapel and not to the Dock. These connections were clearly described and I did not have to do any TESTing to find them.

    6. In the Hangman’s Chamber there is a trapdoor which I think has a copy/paste bug in the description. It tells of being stuck with a mica rectangle like we have seen once before, but the mica is not responding to any verb, even using the tweezers, and trapdoor opens fine despite it. I have not made it safely down there yet.

    7. I think that there is another map difference. If I go south once from the northern Entrance Vestibule I come to another Car Park that gets no mention when coming the other way to the Entrance Vestibule from the Road to the south. This Car Park tells of a Space Station “nouth”(!) of it, which I must think is a hint of something strange going on. I have not made any progress with the Lift.

    I hope you can make sense of the map differences, which bother me.

    • Back in Ferret-world with some clarifications, corrections and additions.

      Blast Control: #3 was not really surprising as the window *is* in the description. The more surprising thing I did was that I could “look at warehouse”, hmm?! Regarding the toggle, it also responds to “press”. This verb also applies to the plunger, which you can also “lift” to switch it again between the two states.

      Jailhouse’s lower level: Sorry to be misleading, I had no additional rooms here, but the connections are “normal”, south from Vestry goes to Chapel and the only way to Dock is up from Straddle Chamber.

      Bottom of Lift: You can refer to “aluminium” here which I think could be useful.

      I guess everyone who has made it here has heard a transmission with another obvious Blake’s 7 reference.

  3. Sounds like you’ve found the quantum echo in the Gaol areas (the priest’s hole that traps you in) that leads to some cryptic crosswords. Could be another good “even if you haven’t been playing along, you can help solving these” post. Query also whether [gur fgvpx bs punepbny sebz gur Zvyyvtna sybbe pna or oebhtug onpx sebz gurer, naq hfrq jvgu gur “oynax” cntr?]

    I note that the Blast Control room gives you points upon arrival, as does the Lift, but the Gaol locations do *not* give points. I suspect the entirety of the Gaol may, in fact, be another quantum echo.

    I also noticed that if you PUT [ITEM] IN CELL the zombie inspects and then discards it. Perhaps there’s another booby trap we can give it, a la the phase 7 drongoid. Too bad the PVC vessel bomb is too big to bring through the turnstile.

    On the pre-phase 16 “projector” issue: I have similarly been stumped as to a light source. I noticed that Blake’s sarcophagus in phase 15 is described in a very sparkly kind of way, but I couldn’t get anything interesting to happen there. Another thought is the rainbow lights that can be manipulated in the warehouse with the book.

    Finally, a last word of encouragement: from my advance peek at phase 17 back before its bug was patched, I have a bit of extra advance knowledge… knowledge that I won’t explain further at this time other than to say, based on a particular very specific measure, we appear to be 92.8% done with Ferret. We can do this!

  4. I wonder if the show themed naming is just a way of getting around reusing old room names. In most engines around you can’t just reuse names on the backend, and I suspect their engine probably works the same way. IIRC, wasn’t there another office block previously? I suspect like a lot of players not playing along I only have a vague memory of how it all works.
    “Also, yes, the zombie feels ‘out of genre’; we have had some a mutant creature (that we had to hand a defective weapon to in order to defeat) but nothing like a zombie.”
    Is there really anything in genre at this point? I feel like every time I pay attention to this game, what’s going on vastly shifts around. From post-apocalyptic sci-fi, to spy thriller-esque stuff, to Blake’s 7 fangame, to comedy and now prison. It feels like this game is trying to be all things to all people.

    • kind of? Everything still has been “plausibly future post-apocalyptic”, but nothing in the setting suggested an actual bona fide “fantasy horror” creature like a zombie. In terms of tone it definitely has been all over the place, but I’d say at least a bit of everything has been in Phase 1 so it has been consistently all over the place.

      Given the center hall repeats “Interconnection” over and over I don’t there there’s a limit on repeating names. From what I remember in the peek on Phase 17 the secret theming still may be relevant, though.

  5. I have been updating a document to keep track of the scoring in Ferret. It is obviously still a work in progress but I think that it could be of interest. It has sometimes been useful for me in analysing what to do in the game. If you have any corrections/additions, please tell.

    * It is neither a map nor a flow chart, but rather tries to describe the gameplay by “score increase points”.
    * Every small connected box is such a point, while the larger colored background boxes outline the game phases.
    * The connections pointing to a box indicates the preceding point(s) necessary to arrive at that point.
    * If there are several connections pointing to a box, then all of those preceding points are required to get to the destination box. Exception – if the connections are dotted lines, then just one of the preceding points is enough.
    * A few of the boxes has a shaded corner, these points are (so far) not necessary to reach to proceed in the game. Some (early ones) might be unintentional glitches, and others (later ones) will probably prove necessary when we see more of the game.
    * For the “dead ends” in later phases you will also see my ideas (rounded corners) about why these points could be “useful” further on.

    Enough confusing words, check it out here (make sure you zoom into or download the image to see it clearly):

    It seems the comment system here picks up on Imgur URLs and displays the image inline. In case this makes it difficult to see the image clearly, use this URL and just replace hxxps with https:

  6. well in what is apparently a running theme for me with this game, I managed to make an explosion happen over by the mine without understanding exactly how I did it

    watch this space for a further update

    • OK, the following sequence of moves (which I’ll rot13) makes something happen over at the mine:

      chg avpxry va xrlubyr; ghea xrl; ghea xrl; ghea xrl; yvsg cyhatre; cerff cyhatre [Nccneragyl gur vafgehpgvba gb “jvaq” gur cyhatre zhygvcyr gvzrf vf nppbzcyvfurq ol *gheavat gur xrl* zhygvcyr gvzrf]

      The “something” is the following message, the effect of which I haven’t yet determined (I looked around the rest of the phase briefly but haven’t seen any change yet – haven’t yet gone back through all of the Gaol, in particular):

      -> [finish the above actions]
      Done. After a fractional pause there is an enormous explosion in the bowels of the mine workings.

      Maybe there’s a way to get into the mine before doing this, extract the explosives pre-detonation, and move them over to the suspicious derelict warehouse wall? I note that the “fence” in the room south of the Blast Control is an interactable object – perhaps we can get past it somehow, unlike most fences we’ve seen in this game? Or maybe causing this explosion allows us to access the mine from somewhere else?

  7. OK, a request for anyone playing on an earlier version of the game, who can use reach phase 16 notwithstanding us not yet having fully solved the Archive of Angst/plum ticket:

    One of the apparent “red herring” items added to phase 15 is a “stick of charcoal.” In phase 16, there is the following item:

    -> i
    You are carrying:
    a blank sheet of paper
    -> x blank
    There is nothing written on the paper although it has a strange feel with a
    lustre that gives it the appearance of very faint highlights and shadows.
    -> feel blank
    The paper appears to be covered in small depressions as if it has been through
    a typewriter that has no ribbon installed.

    This screams to me like something where RUB PAPER WITH CHARCOAL, or some similar command, might reveal some pertinent clue. But I can’t effectuate this personally as I have updated the game fully and therefore don’t yet have the plum ticket available. And it remains heavily plausible that the charcoal is a red herring – but we won’t know until we check. Could someone else with an earlier version of the game give this a go and report back? Thanks!

    If you’re wondering “where in phase 16 is this blank sheet of paper”: [tb gb gur Tnby nern, urnq qbjafgnvef naq tb gb gur Irfgel, “cerff wrjry,” naq gura lbh pna tb rnfg (ba nccneragyl n bar-jnl gevc)]

    • I am 98% sure I have also solved “Cryptic Crossword No. 421” (this will make sense if you’ve been in the place with the “blank sheet of paper” I describe above) but am unclear what, if anything, that gets us. I suspect the “notepaper” in that same area may be more important.

      • In my country we love crosswords of varying styles and degrees of crypticness, but we are also very inept at this traditional UK style of cryptic crosswords. I do not think I could come close solving it by myself without some weeks work. If you think there is anything useful you find in there (the cutting or the notepaper), please share it. :)

      • if I’m understanding right, 7 across has no clue — that suggests that particular word is important

      • For whatever it’s worth (I expect very little), I’ve put what I am pretty sure are the answers and explanations below in rot13:

        1. PENZC [“yvzvg gb fglyr” = E (“evtug”) vafvqr PNZC (“tnl”)]
        3. NERAN [“nern” = nantenz (“zvkvat”) bs ARNE N]
        7. FRIRA [gur pyhr ahzore vf vgfrys gur nafjre]
        8. RQVPG [“naabhapvat” = nantenz (“pbapreg”? qhaab ubj V srry nobhg guvf bar) bs QVPR G]
        9. EBIRE [“ebnzre” = E (“evtug”) orsber BIRE (“nobir”)]

        1. PERNFR [“zbhagnvafvqr” = nantenz (“sbyqrq”) bs N FPERR]
        2. QRIVY [“ntnvafg gur gra pbzznaqzragf” = YVIRQ onpxjneqf (“yvir onpx”)]
        4. ERQ [gur erirefr (“vaireg”) bs terra (“va ireg”)]
        5. ARP [Angvbany (“pbhageljvqr”) Rkuvovgvba Prager (“fubj”), juvpu nyfb unccraf gb or “onfrq va Ovezvatunz”]
        6. NAGYRE [“fghpx va n ehg” (V yvxr guvf – vg’f ersreevat gb ubj ehggvat qrre eho gurve nagyref ba guvatf) = Y (“yrsg”) vafvqr NAGR (“svefg org”) sbyybjrq ol E (“evtug”)]

        I do wonder if the point here is [fbyivat sbe FRIRA, nf cneg bs Oynxr’f Frira]. As a counterpart to the mysterious “answer sheet” we found in the Lake phase, where a five-letter option for an English poet is of course [OYNXR – rfcrpvnyyl tvira gung, nf V whfg abgvprq erernqvat gur nafjre furrg abj, gur obggbz fnlf “7.2 Cebbsrq naq Irevsvrq ol EBW, Qensg 7, Cebbs 2” – nf va EBW OYNXR.]

      • wrrr good spot on the ROJ

        No luck working with the substitution with BLAKE on the answer sheet. Unfortunately the fourth one has way too many options even given a K in the fourth spot; AWAKENINGS fits but so do hundreds of other words.

    • (oh and incidentally I have confirmed that it *is* possible to bring both the charcoal and the tangerine ticket back from Milligan, they are light enough that if you step into the cradle carrying only those two items it brings you back to the roof)

    • It is possible.

      Something happens.

      Results below.

      -> eho cncre jvgu punepbny
      Lbhe seramvrq ehoovat unir ab rssrpg, ohg, jnvg, zl jbeq, vg’f vaperqvoyr, gur
      yhfgebhf vaqragngvbaf unir svyyrq jvgu qhfg sebz gur punepbny fgvpx naq
      erirnyrq n cntr bs grkg, nccneragyl sebz n snamvar.

      -> k cntr
      VaSvEr Gur Ergebivrj Abirzore 2056

      Whfg 2 tnzrf sbe guvf vffhr, n pynffvp naq n jnaanor.


      N tnzr-punatre jevggra va gur friragvrf (lrf, 1970’f) gung oebxr gur zbhyq bs
      Nqiragher naq Pnir naq perngrq n arj traer bs shyy fragrapr cnefre tnzrf. Vg
      srngherf nyy gur pynffvp gebcrf bs znmrf, qnex ghaaryf naq fhcresvpvny
      chmmyrf, fbzr erdhvevat qvivar vafcvengvba. Rirelobql fubhyq cynl guvf tnzr vs
      bayl gb haqrefgnaq gur qrirybczrag bs tnzrf orsber gur zbir gbjneqf zber
      sevraqyl qrivprf. Gur tnzr jnf fvtavsvpnag rabhtu gb vafcver n ahzore bs
      frdhryf naq ybbxlyvxvrf. Ba gur qbjafvqr vg nccrnef gung gur bevtvany tnzr vf
      whfg n pbyyrpgvba bs vqrnf guebja vagb n ovt cbg jvgu ab trfgher gbjneqf na
      bire-nepuvat aneengvir be cybg. Guvf zvtug or qhr gb vgf bevtvaf va ZVG jurer
      gur fpvrapr bs gur qrfvta punyyratr cbffvoyl bssrerq zber vagrerfg gb gur tnzr
      ohvyqref guna gur arrq gb gryy n fgbel. Qrfcvgr gung zvabe fubeg-pbzvat jr
      njneqrq vg 4.5 fgnef sbe vgf genvy-oynmvat naq cnefvat.


      Guvf tnzr nqzvgf gb orvat vafcverq ol Mbex, be qb gur nhgubef zrna vg’f n ovg
      bs n evc-bss? Cbffvoyl abg, qhr gb gur furre fvmr bs gur guvat jvgu n
      aneengvir tbvat sebz raq gb raq, srnghevat n O. B. Qnexvaf orvat erfhfpvgngrq
      va n ynaq abj sbervta (nsgre gur [hafcrpvsvrq] ncbpnylcfr rirag – anghenyyl).
      Fnvq Qnexvaf vf gura ba n zvffvba gb svaq fheivibef naq gur tnzr pynvzf gb
      pbagnva nyy gur vasbezngvba arprffnel gb fbyir gur chmmyrf – jr ort gb qvssre,
      vg frrzf gb nffhzr npprff gb n tbbq frnepu ratvar gb svaq fbzr bs gur zber
      bofpher ersreraprf. Rneyl cnegf bs gur tnzr rpub Mbex jvgu gur fgnaqneq
      chmmyrf bs gur gvzr ohg bapr vg trgf vagb vgf fgevqr vg orpbzrf zber vairagvir
      jvgu fbzr ryrzragf fgenqqyvat zhygvcyr cunfrf bs gur tnzr. Cunfrf ner na
      vzcbegnag cneg bs gur tnzr nf vg jnf qrfvtarq naq eryrnfrq va ongpurf bs ebbzf
      pnyyrq Cunfrf – bevtvanyyl n yvzvgngvba bs 16-ovg grpuabybtl, gur nhgubef
      yrirentrq vg gb nyybj gur tnzr gb pbagvahr qrirybczrag va na vaperzragny
      snfuvba. 40 lrnef (lrf, 40) nsgre vaprcgvba n svany eryrnfr jnf cbfgrq jvgu na
      raq tnzr – juvpu, nf sne nf jr pna nfpregnva, unf arire orra penpxrq.
      Gur svany pbaprvg unf urnil biregbarf bs n GI frevrf cbchyne ng gur gvzr bs
      gur tnzrf’ bevtvany eryrnfr – na vaabingvir (sbe Oevgvfu GI) frevrf pnyyrq
      Oynxr’f 7 (guvf jnf va gur rneyl Fgne Gerx ren). Cynlref unir abgrq gung gur
      Cunfr vf pnyyrq Yvorengvba (Oynxr’f fuvc vf pnyyrq Yvorengbe), gung gurer ner
      51 ebbzf (jvgu phevbhf anzrf) ba gur fuvc, lrg 52 rcvfbqrf va gur GI frevrf.
      Znal gurbevrf unir orra rkcbhaqrq ohg zbfg frrz gb eribyir nebhaq gur abgvba
      bs svaqvat Ebbz 52 – gurer vf n Gryrcbeg gung haqrefgnaqf gur ebbz anzrf bs
      gur fuvc fb gung zvtug or gur jnl va. Gur Nhgubef – n ohapu bs cyhpxl Oevgf
      (guvf vf qrsvavgryl n Oevgvfu tnzr) unir fgnlrq nabalzbhf ohg ner fgvyy
      npprffvoyr guebhtu gurve jrofvgr. Gurer ner vaabingvir srngherf va gur tnzr,
      r.t., n Grfg srngher gung ehaf rirel npgvba ireo ba na bowrpg – guvf znl unir
      orra vapyhqrq qhr gb gur hfhny ‘thrff gur ireo’ ceboyrz, naq guvf tnzr hfrf n
      ybg bs ireof. Jr unir njneqrq guvf tnzr 4 fgnef sbe furre fpbcr, ohg vg qbrf
      frrz byq-snfuvbarq ol zbqrea fgnaqneqf.

      Nf nyjnlf, tnzrf erivrjrq urer pna or sbhaq ba vsqo.

      Vagrenpgvir Svpgvba Erivrj Qensg Cntr 20

  8. “we have received the info that we do need to say a particular word at the Archive of Angst in order to get the ticket, and this word can be found by forming a projector (out of items we have on our person) and use that projector to look at two transparencies that we’ve found in odd spots in the game”

    I think this could be a misunderstanding of some sort? Unless the Stonewalled Cavern maze somehow is a first step on our way to the word. OR the map is some sort of grafitti wild style writing that could be decoded into a word.

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