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February 2007

Discworld Noir - Help Tree

1 - Start Here

Welcome to the Discworld Noir Help Tree. To find the best advise for your current predicament, please select the first response that applies to you from each of the lists of options that are given. You can use your browser's Back button to step back through your choices. Please start by selecting the Act you are stuck in:

2 - Act I: While Ankh-Morpork Sleeps

3 - Before Malachite

4

Talk to Nobby at Pseudopolis Yard about the Two Mysterious Passengers clue. You will need to do this twice in two separate visits, although if you have already spoken to him in the Café Ankh about this clue, that will count as the first time. After the second time, go to Café Ankh and Ilsa will be there.

5

Get the label from out of the flotsam in the Milka's hold and talk to Ilsa about it. This will allow you to get to Pier Five.

6

Talk to Sapphire in the Octarine Parrot about Therma to get the Madame Lodestone clue, then talk to Nobby about Madame Lodestone to gain access to the Mausoleum.

7

Provided you have been to Pier Five, there should be an invitation from Carlotta waiting for you near the door to Lewton's office. Read it, and then head over to the sinister Von Uberwald Mansion.

8

Talk to the First Mate in the Wharf about the Milka clue. This will allow you to reach Café Ankh.

9

In order to get on the Milka, you will need the crowbar which can be found on a cart outside Café Ankh. Use the crowbar on the single crate on the Wharf when the sailor is absent (if the sailor is present, exit and re-enter). This will allow you to get onboard the Milka.

10

Talk to Nobby in Café Ankh about his main topic, the Vimes topic and Milka clue. You can now get to Pseudopolis Yard (although give Nobby a chance to get back there before you try and visit).

11 - After Von Uberwald Mansion

12

Talk to Sapphire in the Octarine Parrot about the Malachite clue. This will allow you to get to Rhodan's workshop.

13

Select the Invitation from the inventory when talking to the Butler. When he has left to collect her, look at the painting and she will arrive.

14

Get the Selachii Family Mausoleum clue by interacting with the tombs in the Mausoleum. Then, talk to Carlotta about the Selachii Family Mausoleum clue and you will eventually get the Therma in Vault clue. Talk to Malachite about this and you will be able to get the grapple from him.

15

16

The Scrap of Cardboard can be found by searching the bottom bunk in the stateroom on the Milka.

17

Use the grapple on the ledge at Pier Five to get into the warehouse. The Torn Matchbook is on the floor here.

18

Pick up either the Scrap of Cardboard or the Torn Matchbook and use it on the other. This will give you the Matchbook object, which you will need to complete Act I.

19 - Finishing Act I

Go to the Octarine Parrot and talk to Mankin about Mundy and then the Matchbook. Then use the Lying topic to get access to Mundy's room and enter to end Act I.

20 - Act II: To Have Or Not To Have

21 - The Regin Case

22

Talk to the Butler about the Count clue to acquire the Missing Companion clue.

23

Talk to the Count about his Missing Companion and you will learn about Regin, and receive the iconograph.

24

Go to the Wharf and show the Iconograph of Regin to the First Mate to learn about the Carriage.

25

Go to Pseudopolis Yard and talk to Nobby about the Carriage clue. This will give you access to the Maudlin Bridge.

26 - Mundy's Coin

27

Simply look at the frayed rope tied to the roof in Mundy's Room and you will receive the Frayed Rope clue.

28

You will notice on examining Mundy's boots that there is rope tied around them. Using the Frayed Rope clue on the boots will cause Lewton to realise that Mundy was hung upside down before he was killed.

29

Make sure you've searched Mundy's boots (Lewton will comment that there's nothing there, but notes that there should have been). Then, go and talk to Mankin about the fact that Mundy was hung upside down before he was killed. A 'Cut Down' topic will be added, use this, and then the 'Boots' topic and Mankin will give you what was in Mundy's boot.

30

Go back to your office. Al Khali will be waiting to take you to see Horst.

31 - Towards Interrogation

32 - Finding Regin's Body

33

Go to the Wharf and use the grapple on the mooring line, which is good stout rope to replace what you lost when Mundy was murdered.

34

Go to Maudlin Bridge and use the grapple on the River Ankh. You will learn that there is something in the river...

35

Go to Rhodan's Workshop and tell Malachite about what you found in the river. He will come and haul whatever it is out of the river for you.

36 - Saturnalia

37

Talk to Mankin about why Sapphire lied to you. You will be told that Sapphire is in her dressing room, giving you access to this location at the back of the Octarine Parrot.

38

Talk to Mankin about Sapphire's Money. He has plenty of gossip.

39

Whirl's memory works better with gold in his pockets. Use your purse on him to bribe him, then ask him about Sapphire's Money to learn something interesting.

40

Confront Sapphire by talking to her about the Losing Streak and the Secret Meeting clues. A 'Confront' topic will be added which allows you to learn some interesting information.

41

Go to Lewton's office to find a card from Sapphire saying she's arranged a meeting with Therma. Go straight to Rhodan's workshop and talk to Malachite about the meeting and you and he will head off to see the mysterious Therma.

42 - After the Interrogation

43

Just wait. Don't move or touch anything. The rat will disappear into a crack in the wall, then you can search this to find a loose block which moves to allow you into a different cell.

44

Go to Saturnalia and talk to Carlotta about the Golden Sword topic. You will get more than you bargained for.

45

Go to the Von Uberwald Mansion and ask Carlotta about the Milka's Cargo. She will give you a Shipping Order which you can show to the Watchman at Pier Five to learn all sorts of useful things.

46

Go to the Café Ankh. Samael, the pianist, will be on a break. Ask him about the Wine Barrels and he will give you a key to the wine cellar. Use it to unlock the trapdoor outside.

47 - The Hiding Place

48

Talk to Ilsa about the Varberg Crates. She'll make you an offer.

49

Go to the exterior of the Patrician's Palace, and go to the side where the garbage is. Look at the wall and then use the grapple on the wall to climb up to Leonard's Cell.

50

The best hiding place is where the Patrician would least expect it - in the Palace. Use the Hiding Place clue on the wall at the Palace and then go to the Wine Cellar to tell Ilsa the news.

51 - Towards the Vaults

52

Go and see Horst and talk to him about Laredo. Then go back to Laredo and talk to her about Horst. She will head off on another exciting adventure.

53

Examining the bookcase, you will find a hinged book. Use the hinged book to rotate the fireplace and hence uncover a way down into the vaults below the Guild of Archaeologists.

54 - The Security System

55

You will notice that in the iconograph, Regin is bald. His corpse, on the other hand, has a full head of hair. Use the Iconograph on Regin's body to find something useful.

56

Go to Saturnalia and ask Whirl about the key. He'll point you in the right direction.

57

Both the Count Von Uberwald and Malaclypse, the raving madman at the Temple of Small Gods know what it is. Ask either of them about it.

58

Warb, the miserable wizard at Saturnalia, could use some good luck. Make sure you have talked to him about Unseen University, then offer him the Charm. Use the 'Vault 51' topic that is added to trade the Charm for something more useful to you.

59- Finding the Sword

60

Go to the entrance to Vault 51 and use the Back Passage clue on the rune panel to switch off the security system. You can now enter Vault 51.

61

Because Mundy was hung upside down, his message doesn't read 'Azile' at all. Use the Mundy Hung Upside Down clue on the Azile clue to find out what it really says.

62

Use the 3712V clue on the Crates to locate the display cabinet with exhibit 3712V inside.

63 - Finishing Act II

64

Go to the tomb where the fake-Therma's body lies. Then, steal one of its teeth.

65

Use the tooth on the glass cabinet to score a hole in it. The urns can then be yours.

66

Just exit the Guild of Archaeologists and see what happens.

67 - Act III: Mostly DOA

If you want assistance with a specific problem, select the first option that applies to you.

68 - About Lewton's Werewolf Abilities

In Act III, you have access to Lewton's abilities as a werewolf. You can change into a werewolf by clicking on Lewton and then selecting the wolf icon. Sometimes, Lewton will be reluctant to turn into a werewolf because he can be seen. In these cases, try positioning Lewton where he cannot be seen by the people around him before transforming. The scent inventory functions like the object inventory, and can be accessed by clicking on Lewton and selecting the appropriate icon, or by pressing F4. You can use scents to interact with other scents and in some cases with ordinary tags, objects and clues. When you work out what a scent belongs to, the name of the scent will change from its colour to the appropriate name.

69 - Before the Inner Sanctum

70 - Following the Murderer's Trail

71

Go to the Cemetery, turn into a wolf and interact with the Magenta scent to follow it to your murder sight. Here you will find the Moss.

72

Take the Moss into the Conservatory at the Von Uberwald Mansion and talk to the Count about it. He will allow you access to the Library.

73

In the Library, use the Moss on the index cards to get the Sewers clue, then use the Sewers clue on the index cards to find the civic plans of the sewers. You can now enter the Sewers.

74

Transform into a wolf in the sewers and find the Magenta scent. You can follow this to a lair, where you can search the debris to find a Pendant.

75 - Carlotta's Alibi

76

Go to the Von Uberwald Mansion and ask the Butler if you can see Carlotta. While he is away, turn into a wolf. Lewton will learn something of interest, and arrange for Carlotta to meet him at the Café Ankh (although she won't be there if you go straight to the Café).

77

You need to confront Carlotta about where she was at each murder. Go to the Von Uberwald Mansion and ask to talk to her, then ask her about Mundy being hung upside down, about Regin's Murder, and about Malachite's Murder. When you have done all three, select the 'Carlotta's Alibi' topic to receive the Errata clue.

78

Go to the Octarine Parrot and keep searching through the notices on the wall until you learn about the job at Unseen University.

79 - The Pendant

80

Go to Leonard's Cell and ask about the Pendant. You will learn about the Temple of Anu-anu at Al Khali.

81

Search the Sturdy Unlocker to find the books.

82

In the dorm part of New Hall, turn into a wolf. You will smell what is written on the Octarineboard. Then, use the Temple of Anu-anu clue on the Octarineboard to alter it. Leave the New Hall and come back later to see what has changed.

83

When you return to the New Hall after altering the Octarineboard, a book on the Temple of Al Khali will have arrived. Use the Pendant on this to open it. If you have altered the Octarineboard but the book hasn't appeared, go somewhere else and come back later.

84 - Temple Politics

85

Talk to Mooncalf about the List, go out to the Cemetery and go over to the stained glass window. Turn into a wolf and listen in to the conversation between Mooncalf and the troll.

86

Go to Malaclypse and talk to him about the Meeting of the True Believers and the Errata clue. Use the 'Inner Sanctum' topic to gain access to the Sanctum.

87 - Unravelling the Murders

88

You will need Sapphire's perfume, which can be found in her dressing room. Turn into a wolf and smell the Bright Cyan scent, then turn back and take the bottle. Then, in the Sanctuary, hide in the Lectern and when you have the opportunity, spray Mooncalf's feet. You will follow him to the meeting of the True Believers.

89

At the New Hall, go onto the Concourse from the dorm and then ask Gelid about the Wizard's murder.

90 - The Clerk's Murder

91

Go to the Palace exterior and go to where the garbage is. Turn into a wolf and compare the Magenta scent in your inventory to the Magenta scent here. Then, go to the Wine Cellar, look at the Receipts and use the crowbar to get into the barrel. You will be carried into the Palace.

92

Go to the part of the Halls where the double doors are and change into a wolf. Then, listen at the door.

93 - The Merchant's Murder

94

Ask Mrs. Fomes about the Wizard's Murder, or Mathom's Murder if you have that clue.

95

Ask Mankin or Nobby about the Merchant's Murder to gain access to the Merchant's Guild.

96

Talk to the Gatekeeper at the Guild of Merchants about the Pointy Boots clue, then go to the Conservatory. Talk to Death about any murder clue, and then about the Merchant's Murder.

97 - The Pattern of the Murders

98

Go to the Library and look up Nylonathatep in the card catalogue.

99

Use any murder clue or the Octagram of Murders clue on the Map of Ankh-Morpork. You will be given access to several new locations.

100 - The Last Two Murders

101

Take the Theatre Flyer from the Dysk Theatre to the Library and look it up in the Index Cards.

102

Examine the Fresco in the Sanctuary and then look up the Strange Symbol clue in the Index Cards to the Library.

103

Stand near the stage in the Dysk Theatre and change into a wolf.

104

Use the Sign of the Eel clue on the Marks to open the secret door.

105- Finishing Act III

106

Use the Crowbar on the boards to provide a way into the Fish Bar.

107

Search the debris in the Fish Bar to find a bone (it's amazing what Lewton can find in debris in this game...). Look at or Examine the bone.

108

In the Sepulchral Temple use the Eight Great Tragedies clue on the Altar.

109

Go to the Wizard's Pleasaunce and hide in the bushes. All will be revealed.

110 - Act IV: Shadow Over Ankh-Morpork

111 - Hunting the Cultists

112

Go to the Sanctuary. The Amulet can be found by searching Kondo after you have finished with him.

113

Go to the Library and look up the Amulet. Then go to the Temple of Small Gods and talk to the now raving Mooncalf about the Amulet and then the 'Traitors' topic.

114

Go to Rhodan's Workshop and pick up the bandages, if you haven't already. Talk to Rhodan about the Bandages and then about Foid. Then, go to Dagon Street and enter the building on the other side of the road from the Fish Bar.

115 - Satrap

116

Search the rubble in the Sepulchral Temple under the Dysk Theatre and you will find the Sword.

117

Talk to Foid about the Sword and then the Amulet. Then use the resulting topic to learn about Satrap's contact.

118

Provided Mrs. Fomes has fired you, go to Pseudopolis Yard and talk to Nobby about the Gelid clue. You will get what you need to get back into the University. If she hasn't fired you yet, go to Unseen University before visiting Nobby.

119

Go to the Concourse and change into a wolf. You will follow a trail of blood straight to Satrap.

120 - The Trapezohedron

121

Look at the Inscription in the Sepulchral Temple under the Dysk Theatre, then look up Nylonathatep in the Library again.

122

Talk to Leonard and Two Conkers about the Radiant Trapezohedron clue.

123

In the Observatory, use the Starmap on the Mosaics and then examine the Small Group of Boring Stars. Finally, look through the telescope to see where you need to be.

124

Go to the Mausoleum and use the Astrolabe (which is on the floor in the observatory) on the sky. Then, push the Grotesque out of the way; the sarcophagus is in the Crypt under the Grotesque.

125 - Getting the Sword

126

Use Mundy's Coin on the indentation in the sarcophagus to open it.

127

Threaten the Zombie with the sword and you will receive the Radiant Trapezohedron.

128

Examine the Radiant Trapezohedron carefully. Once you have found out where Horst is, go there.

129 - Ending the Game

130

I guess you're looking for a way to prevent Horst from stealing the sword from you. But you're going to have to face it sooner or later. Leave the Mausoleum and exchange the Sword for Ilsa like a good hero.

131

The Flapping-wing-flying-device is the perfect choice. Go to Leonard's cell and talk to Leonard and Two Conkers about it.

132

The Palace roof is ideally suited to launching the device - all you need to do is clear away the rubble.

133

The Sign of the Eel is the best protection under the circumstances. Use this clue on the Flapping-wing-flying-device and you're ready to attempt to stop the Laddering Horror.


Spy Vs Spy

Top Secret... For Your Eyes Only... Classified... Do Not Inhale... Top Secret...

SPY
vs
SPY

This document will
self-destruct if
improperly handled

Your Mission,

Should You be Foolish Enough To Accept It...


Welcome Mr. Black. This mission briefing is highly classified, and should you be captured with it in your possession you are instructed to consume it with a fine Chianti. If no dry red wine is available, you are instructed to insist that this document is a game design for a new and exciting computer game.

Should you accept your mission, you should be aware of the terrifying dangers you will encounter, the dizzying highs, the terrifying lows and the creamy middles.

If you are captured we will deny all knowledge of you. Even if you claim to have met us at a garage sale back in the Summer of '69 we will deny it, and deny ever purchasing your gold-trim riding mower.

This mission does not exist and neither do you. Anyone who tells you differently must be destroyed, preferably by the application of gratuitously unnecessary traps, pits, spikes, explosives, poison, acid and or wild animals.

Your Disguise

For this mission you will be cunningly disguised by wearing black.

Your Targets

  • Infiltrate the Blavatskian Embassy, blow the safe, and escape with the plans the Secret Research Facility.
  • Paradrop into deepest Blavatski and break into the Secret Research Facility.
  • Infiltrate the catacombs of the Blavatskian Secret Research Facility and recover the plans for the Nucleonic Dicombobulator.
  • Escape the country by boarding the Trans-Albeda Express. Beware of enemy agents trying to steal the plans for the Nucleonic Discombobulator!
  • Steal the Top Secret Delta Spyplane from the North Albeda Military Base and bring the plans safely home.

Your Opponents

Along with the vast and incompetent forces of the Blavatskian And North Albeda National Army (BANANA), your old enemy Mr. White will be trying to thwart your plans. Exercise extreme caution!
Spy vs Bomb


He's been paid by the enemy to steal the plans for the Nucleonic Discombobulator and will stop at nothing to fulfil his mission objectives!

You'll have to exercise the utmost care to defeat him and escape in one piece (and, well, maybe just a few dirty tricks too...)

Special Equipment

To assist you in this dangerous assignment, we have provided you access to a host of traps and gadgets to assist you.

Remember than anything you can find along the way can be used to help you in your mission.

Things That Make You Go Boom

  • Fused Explosives
    Disguised as a large black bowling ball with fuse wire coming out of the top, no-one would suspect these innocent looking explosives.
  • Neurotic Mines
    A by-product of our extensive robotics program, those robot brains that are too nervous to be put to any decent use are used as the proximity triggers for these devastating mines - now with extra-strong adhesive so they can be attached anywhere! Be warned that these unstable mines get lonely if no-one goes near them and start wandering about looking for company. Ideal for locking in drawers.
  • Rabbit Bombs
    These deceptive robotic explosive devices seem like harmless grazing rabbits until an enemy agent steps too close! Be careful, though! Leave a rabbit bomb near any metal objects and it will cannibalise it to make more rabbit bombs.
  • Combusting Claymores
    These special mines can be left on any floor. They point in one direction - anyone coming towards the mine from that direction is met by a withering blast of flame!
  • Rolling Thunder
    This experimental weapon can be placed in any pipe, gutter or tube and will roll to the end. There, it will wait for someone to walk nearby and then explode. However, be warned that skilled agents may hit a rolling thunder when it arrives and send it back the way it came!

Things That Make You Go Arrrrggggghhh!

  • Paper Chainguns
    The world's smallest machine guns! Attach these apparently innocuous paperclips to any document and should any unsuspecting fool attempt to read them they will find themselves riddled with shrapnel!
  • Laserwire
    These ingenious trip wires are high-powered lasers that only open fire when someone breaks their invisible guidance beams. Ideal for running across wide-open spaces.
  • Folding Pits
    The latest in self-digging pit technology, this apparently flat, black circle can be rolled out on any flat surface where it will expand into a full-size pit. Documents, grass, clothes and many other things can be put on top to conceal it.
  • Electric Scissorbeans
    These fiendish genetically-engineered beans can be planted on any muddy or wooden surface. There, they give a devastating electric shock to anyone touching them. If left alone they start to grow and expand, spreading out over a wider and wider area.
  • Furiousbow
    This hand-held weapon can stun opponents briefly with its blast of uncontrolled, savage rage. Once stunned, they can be kicked around into nearby traps.

Things to Help You Reach Retirement Age

  • Toggle Goggles
    This handy piece of defensive technology can operate in one of two modes: in the X-Ray mode, you can see any metal objects, even in drawers and behind doors, but nothing else - all organic material is invisible. In CleanBeam mode, you can see any Laserwires and organic material but not any metal objects. Owing to a design flaw, once Toggle Goggles have been put on, they can only be taken off by destroying their delicate circuitry.
  • Big Stick
    A highly experimental piece of equipment, the Big Stick can be used to test possible traps at a distance. Our new Agent's Manual shows how to make a Big Stick out of mops, brooms and anything else that might be lying around. Big Sticks can be used to knock Rolling Thunders back to where they came from, and in an emergency can be used to hit enemy agents.
  • Wirecutters
    Always useful for cutting lift cables and the like.
  • Blowtorch
    For when you just have to burn something to the ground.

Things That are Just Lying Around

  • Escalators & Sliding Floors
    Automation has just made the life of a spy that much easier.
  • Trampolines
    Why Military Facilities always have trampolines is a mystery to us at this time...
  • Rolling Stones
    Allegedly, they gather no moss.
  • Giant Mincer Gears
    The trouble with sliding floors and escalators, is that they require a lot of mechanical devices to make them work. Woe betide any agent who happens to fall into the machinery.
  • Electrical Wiring
    Careful! Someone might electrocute themselves!
  • Acid
    Every good lab has a little acid lying around.
  • Stomping Machines
    No facility is complete without something that goes up and down for no apparent reason and crushes anything that gets trapped underneath.
  • Robot Dogs
    Guardians for the electronic age.
  • Elevators
    Nothing like a neurotic mine attached to an elevator cable to add excitement to your journey.
  • Ladders
    Handy for getting around... until someone sets fire to them with a blowtorch.

Things to Help You Achieve Massive Overkill

  • Nucleonic Discombobulator
    Rumour has it that a prototype Nucleonic Discombobulator exists somewhere in Blavatskia. It is not known for certain what it does, but it is believed to randomly reorganise molecules into new and bizarre combinations. Exercise extreme caution! The Discombobulator is believed to misfire frequently.
  • Imagination
    No matter what else you take with you or find on your mission, the most dangerous weapon of all is your fiendish imagination!

The Nature of the Game

The object of the game is fairly straightforward: to beat the enemy spy to completing some particular goal, specific to the level. Their opponent may be player or computer controlled. Traps are the main focus of the game, and traps can be made from either the spies' special equipment, or jury-rigged from whatever they can find lying around.

Spy Versus Spy will make use of a revolutionary physics engine called Crash Labs, allowing an entirely gratuitous level of detail to the explosive, mad-cap action.

  • The game will be beautifully rendered in full 3D, but the view will be from a pre-chosen third-person perspective so that the player can see everything that their spy is doing (or that is happening to their spy).
  • The Spies are controlled with mouse or Joypad. Players have a choice between controlling the spy directly, or using a high-speed Point and Click interface, which allows the player to control interactions faster.
  • Just about every object in the environment can be manipulated, rewired, picked up and dropped or just pushed around. Objects have their own weight, which makes them harder to move around, and more devastating if you can conspire to drop the weight onto your opponent.
  • Objects can be used on each other, for example, drop a TV into a bath of water, a bag of marbles in a blender becomes a makeshift (although not accurate) gun, or a banana skin at the top of an up escalator could keep someone out of action for a while.

The main interaction between the two spies is through their traps. But it must be noted - either spy can set off any trap in the game, regardless who set it. Foolish spies may well find themselves trapped by their own deviousness!

Plan of Action

The game is divided into five levels of varying size. As long as one of the spies completes the objective for that level, the game proceeds to the next level. If neither complete the objective in the allotted time, the game stops there. As a result of this, there may be a certain amount of co-operation between the two spies, although inevitably this is going to be short lived as when push comes to shove, somebody has to go out of the window.

Each of the levels is made up of a number of conceptual Chambers (or Clearings) which are connected by Corridors (or Paths). The layout of the levels changes each time the game is played, increasing the level of skill involved in achieving victory. The levels are as follows:

  • Blavatskian Embassy
    This is a short training mission, in which the two spies compete to acquire the plans for the Blavatskian Secret Research Facility.
  • Blavatskian Forest
    This level starts with the spies paradropping into the forest and then trying to make their way into the Secret Research Facility. Only the spy with the plans can actually open the door into the facility, but ownership of the plans may change as a result of the spies trap laying and general evilness.
  • Secret Research Facility
    Similar to the original training mission, but with a much larger facility, here the quest is to acquire - and escape with - the plans for the Nucleonic Discombobulator (and possibly the prototype of the weapon).
  • Trans-Albeda Express
    Set onboard a train, the object is merely to hold onto the plans (if you are lucky enough to have them) or to steal them (if you do not).
  • North Albeda Military Base
    Finally, the spies must compete for control of the Spyplane and use it to escape with the plans. If the spy with the plans gets the Spyplane, they win a decisive victory.

An optional scoring system can be used to determine victory in the event that no-one escapes with the plans.

The Spy vs Spy Interface

The two player game can be played on a single machine using split screen or, on PC, played blind over a local area network or internet. This has the obvious advantage of concealing the player's actions, although the game will be frantic enough that even in the split-screen mode players won't be able to remember all the traps that have been set.

Cartoon Violence

Although it is the nature of Spy vs Spy to get very violent indeed, it is important to note that nobody ever dies. Being 'killed' in the game means nothing more than being put out of action, losing any special equipment, and being temporarily frozen out of the game.

The only guns in the game are the Furiousbow (which is non-lethal) and the Nucleonic Discombobulator (which is more of a comedy weapon than a serious firearm). Bombs may blow up the spies, but they always manage to recover. Even being crushed under a 100 ton weight is a recoverable experience.

We have endeavoured to make all of the weapons in the game quite ridiculous, so that no-one will construe this game as an attempt to encourage violent behaviour. The bottom line is that this is about entertainment and comedy, not perverse violence.




Top Secret... For Your Eyes Only... Classified... Do Not Inhale... Top Secret...

Spy Vs Spy is ©Mad Magazine, this concept document is ©1999 International Hobo, and the pictures are ©Guillaume Camus & Perfect Entertainment, so if you can remember anything about this document, you must kill yourself.


Toast (Racing Game) Commentary - Sample Script

This sample consists of selected sections of a commentary script written for a primarily multi-player apocalyptic future racing game. This game was eventually published as 'Mashed' (PS2, Xbox), but at the stage for which the commentary was written, it was named 'Toast'.

A decision was made with the project to concentrate on the Insult Dialogue Engine rather than the commentary system, as this was a more original approach.

Script Notes

The brief involved two recognisably northern American commentators describing the race and chatting amongst themselves. The commentary system was designed to be flexible as, to relate commentary to play action, and to avoid repetition. The Narrative Design involved three types of modular script:
  • Track scripts concentrated upon track specific features
  • Banter scripts provided generic chat, for use when lines from the other scripts hadn't been triggered for some time
  • Main scripts detailed common racing events (using an ident system to stitch racer names to lines for greater variety)
One of each of the script types is supplied as a sample. Character dialogue was written to detail the action, to provide low-level personality to the commentators, and to aid the player (by naming landmarks and track features, and giving disguised hints). The characters are Big Al Farley, ex-racer and lead commentator, and Todd Bleacher, a younger, more professional TV personality.

1. Track Script 2 - Karnak (1 of 13 track scripts)

1.1. Preview

1.1.1 Discuss Track Full

BIG AL (excited): "So, Todd, here we are at Karnak. I'm sweating badly already!"

TODD (serious): "I can confirm that, Al. What's this track famous for?"

BIG AL (pleased): "The last corner, a hairpin left which I call the Pharaoh's Curse, is especially dangerous!"

TODD (light-hearted): "But it does give the option of a tricky short cut to the inside! Will anyone dare take it?"

1.1.2 Discuss Track Short

TODD (excited): "Al and I are at Karnak in Egypt today, racefans! As are the racers!"

BIG AL (serious): "Which is useful, as we're here to see a race!"

TODD (excited) "Let's see if anyone can pull off that inside route on the Pharaoh!"

1.1.3 Discuss Track Familiar

BIG AL (excited): "Karnak is one of my favourite tracks, Todd!"

TODD (fond): "Yes, Al! Egypt - land of mystery, romance and fatal automotive accidents!"

1.2. Track Feature A:

First corner - turn left onto narrow straight with cliff drop to right. Slippery ground.

1.2.1 Identify

TODD (tense): "This is a deceptive left, Al."
BIG AL (happy): "The cliff beyond chews racers up, Todd!"

1.2.2 Survive

TODD (matter-of-fact): "They all made it."
BIG AL (disappointed): "Aw."

1.2.3 Victim

\ Play TODD Bad ident

\ If Male then

BIG AL (amused): "He's gonna feel that in the morning!"

\ Else

BIG AL (amused): "She's gonna regret that when the hospital bill comes through!"

1.2.4 Multiple Victim

BIG AL (pleased): "That was a nasty mess!"
TODD (serious): "They're driving beyond their limits!"

1.2.5 All Victim

TODD (serious): "They dug their own graves, Al."
BIG AL (amused): "I'll name that tomb in three!"

1.2.6 Repeat Victim Some

\ Play TODD Bad ident

\ If Male then

BIG AL (serious): "He consistently pushes too hard there!"

\ Else

BIG AL (musing): "She really should take that corner easy."

1.2.7 Repeat Victim Many

\ Play BIG AL Bad ident

\ If Male then

TODD (serious): "He just hasn't worked that corner out."

\ Else

TODD (serious): "She just can't get a handle on that corner."

1.2.8 Slide

\ Play BIG AL General ident

TODD (happy): "A lack of traction plus a cliff... bad combination, Al!"

1.2.9 Multiple Slide

TODD (amused): "Hey, Al, what has four wheels at dawn, two at noon and three at dusk?"
BIG Al (irritated): "Talk sense, man!"

1.3. Track Feature B: Cliffside with pillar

Note: No falling off lines to avoid confusion with the previous corner; focussing on pile-ups here, around the pillar.

1.3.1 Collision

\ Play TODD General ident

BIG AL (amused): "That's not a safe place for a fight...!"

1.3.2 Multiple Collision

BIG AL (serious): "Oboy! That straight just begs for speed!"
TODD (amused): "Too bad the racers all had the same idea, Al!"

1.4. Track Feature C: Past City (on right)

Nothing much happening here, but some dialogue to tag the approach to the Curse.

1.4.1 Identify

TODD (serious): "Time to line up for the Curse, Al!"
BIG AL (happy): "That innocent straight doesn't stay innocent for long!"

1.4.2 Collision

\ Play TODD General ident

BIG AL (serious): "Some friction, Todd... the Pharaoh has them nervous!"

1.4.3 Multiple Collision

BIG AL (excited): "Hoo hoo! They all want that racing line!"
TODD (serious): "The Curse is coming, Al! Position is vital!"

1.5. Track Feature D: The Pharaoh's Curse

The final bend, a D shaped left hairpin with hole and inside short cut.

1.5.1 Identify

TODD (tense): "Here it is, Al - the Pharaoh's Curse!"
BIG AL (glee): "That pit is just full of dead cars, Todd!"

1.5.2 Survive

BIG AL (staggered): "But... but... how?"
TODD (serious): "Everyone survives the Curse... for now!"

1.5.3 Victim

\ Play TODD Bad ident

\ If Male then

BIG AL (happy): "He underestimated the Pharaoh, Todd - bad idea!"

\ Else

BIG AL (serious): "She's in the arms of the Pharaoh now, Todd!"

1.5.4 Multiple Victim

BIG AL (excited): "The Pharaoh's Curse lives up to its name!"

1.5.5 All Victim

BIG AL (matter-of-fact): "They're gone."
TODD (matter-of-fact): "And it looks so easy from here..."

1.5.6 Repeat Victim Some

\ Play BIG AL Bad ident

\ If Male then

TODD (amused): "He just can't stay away from that death drop!"

\ Else

TODD (amused): "She's repeatedly drawn to that cliff!"

1.5.7 Repeat Victim Many

\ Play TODD Bad ident

\ If Male then

BIG AL (amused): "He can't break the curse, Todd!"

\ Else

BIG AL (serious): "She'll need to sacrifice a lamb to break the curse!"

1.5.8 Slide

\ Play TODD Bad ident

BIG AL (serious): "The sand's all part of the curse, Todd."

1.5.9 Multiple Slide

TODD (amused): "That corner certainly doesn't play fair-o, Al!"
BIG AL (appalled): "Todd - no! I want a minute of silence while you think about what you said!"

1.6. Hints

1.6.1 Hint A

BIG AL (helpful): "Bad corner coming up? Take a line!"

TODD (worried): "He means a racing line, folks."

1.6.2 Hint B

TODD (conversational): "Sand can be slippy, huh, Al?"

BIG AL (unimpressed): "You're a tomb-full of wisdom, little buddy."

1.6.3 Hint C

TODD (serious): "The drivers should stick to the inside when there's a cliff to fall from."

BIG AL (happy): "A quick lunge into a rival can send them flying helplessly off!"

2. Banter Script 2 (of 40)

2.1. Between

2.1.1 First Point

\ Play TODD General ident BIG AL (serious): "First blood, Todd! But there's more where that came from!"

2.1.2 Pants: Just Pants

\ Play TODD Bad ident BIG AL (serious): "Having no points doesn't help win the race!"

2.1.3 Pants: Back on Board

\ Play BIG AL General ident TODD (conversational): "One point's better than no points, Al."

2.1.4 Crown: Just Crowned

\ Play BIG AL Good ident TODD (stern): "We came here today to see a winner, Al!" BIG AL (breathless): "Could this next point end it?"

2.1.5 Crown: Blocked Crown

\ Play TODD General ident \ If Male then

BIG AL (excited): "He's been denied the win - for now!"

\ Else

BIG AL (excited): "She's been blocked! For now!"

2.2. Point

2.2.1 General Banter

Banter 01:

BIG AL (cheerful): "This is Big Al Farley watching the race with Todd 'Creature Feature' Bleacher!"
TODD (annoyed): "Al, please don't call me 'Creature Feature'."
BIG AL (happy): "But all commentators need a nickname, Todd!"

Banter 02:

BIG AL (cheerful): "What about your nickname, Todd? Any thoughts?"
TODD (slightly embarrassed): "I'm happy with my given name, Al."
BIG AL (cheerful): "What about Todd 'Pleased to Meetcha' Bleacher?"
TODD (unhappy): "I don't think so, Al..."

Banter 03:

BIG AL (cheerful): "We've had a few calls about your nickname, Todd!"
TODD (trying to be professional and failing): "Oh joy."
BIG AL (reading): "'The Toddomatic', 'Winter White' Bleacher, 'The Toddminator', 'The Wrath of Todd'..."
TODD (sick): "Gee, thanks race fans. You made my day."

Banter 04:

TODD (plotting): "If I need a nickname, Al... what about 'Big Todd'?"
BIG AL (confused): "But I'm Big Al, Todd! We can't be Big Al and Big Todd!"
TODD (cheerful): "Hmmm.... Maybe you're right... it does sound kind of egotistical."

Banter 05:

BIG AL (confused): "What's wrong with 'big' as a nickname, anyway?"
TODD (matter-of-fact): "You're not big, Al. You're actually quite small."
BIG AL (plaintive):" I'm Big Al Farley! Call me Big Al, Todd!"

Banter 06:

BIG AL (hurt): "Why won't you call me Big Al, Todd?"
TODD (exasperated, professional voice on the last sentence): "Jeez, okay Al, you're big. You're watching the race with Todd and Big Al."

2.3. Between or Point

2.3.1 Driving Styles: Aggressive

\ Play TODD General ident BIG AL (impressed): "That's hard driving, Todd!"

2.3.2 Driving Styles: Cautious

\ Play BIG AL General ident \ If Male then

TODD (serious): "He's playing safe today, Al!"

\ Else

TODD (serious): "She's concentrating hard, taking few risks!"

2.3.3 Driving Styles: Clean

\ Play TODD General ident BIG AL (disappointed): "It's a pretty clean run so far." TODD (disappointed): "Maybe things'll get going soon."

2.3.4 Driving Styles: Power Ups

\ Play TODD General ident \ If Male then

BIG AL (excited): "He's shooting off all over the place!"

\ Else

BIG AL (excited): "She's looking explosive!"

3. Main Script A (1 of 7)

3.1. Idents

3.1.1 Big Al Good ID

\ 1 line per driver

Red:

BIG AL (excited): "Red's showing his grit, Todd!"

Bluejay:

BIG AL (excited): "I'm impressed by Bluejay today!"

Melon:

BIG AL (excited): "Look at Melon go!"

Shadow:

BIG AL (excited): "Shadow's in the zone, Todd!"

Pink:

BIG AL (patronising): "Aw, check out plucky little Pink!"

Gold:

BIG AL (excited): "And... look at Gold!"

3.1.2 Todd Good ID

\ 1 line per driver

Red:

TODD (impressed): "I like Red's form, Al!"

Bluejay:

TODD (impressed): "Bluejay's doing what he's best at!"

Melon:

TODD (impressed): "Melon is hot today, Al!"

Shadow:

TODD (impressed): "Great racing from Shadow!"

Pink:

TODD (excited): "Pink's doing great, Al!"

Gold:

TODD (impressed): "Gold looks impressive!"

3.1.3 Big Al General ID

\ 1 line per driver

Red:

BIG AL (conversational): "What about Red, Todd?"

Bluejay:

BIG AL (conversational): "I'm keeping an eye on Bluejay!"

Melon:

BIG AL (interested): "Check out Melon!"

Shadow:

BIG AL (interested): "What d'ya think about Shadow?"

Pink:

BIG AL (interested): "How about Pink, Todd?"

Gold:

BIG AL (interested): "Whatcha think of Gold?"

3.1.4 Todd General ID

\ 1 line per driver

Red:

TODD (prompting): "There goes Red!"

Bluejay:

TODD (prompting): "It's Bluejay!"

Melon:

TODD (conversational): "How about Melon, Al?"

Shadow:

TODD (conversational): "What about Shadow today?"

Pink:

TODD (interested): "Pink's intriguing, Al!"

Gold:

TODD (interested): "What about Gold, Al?"

3.1.5 Big Al Bad ID

\ 1 line per driver

Red:

BIG AL (unimpressed): "Red's having a poor race, Todd."

Bluejay:

BIG AL (unimpressed): "I've not been impressed by Bluejay."

Melon:

BIG AL (unimpressed): "Melon's a bit sour today, Todd."

Shadow:

BIG AL (unimpressed): "Shadow can't be happy."

Pink:

BIG AL (disappointed): "Pink's doing poorly, Todd."

Gold:

BIG AL (unimpressed): "Oh, Gold, what's wrong?"

3.1.6 Todd Bad ID

\ 1 line per driver

Red:

TODD (observation): "Red's not on form, Al."

Bluejay:

TODD (unimpressed): "Not what we'd expect from Bluejay."

Melon:

TODD (observation): "It's a bad day for Melon, Al."

Shadow:

TODD (observation): "Shadow's under the weather."

Pink:

TODD (observation): "A poor drive from Pink, Al."

Gold:

TODD (observation): "Gold's looking distracted."

3.2. Between

3.2.1 Pants

\ Play BIG AL Bad ident \ If Male then

TODD (unimpressed): "He's gonna need some points to win, Al."

\ Else

TODD (unimpressed): "She has to get some points if she wants to win, Al."

3.2.2 Pants Five

\ Play Todd Bad ident

BIG AL (disgusted): "Five times without points this race alone!"

3.2.3 Crown

\ Play TODD Good ident

BIG AL (enthusiastic): "Winning is what being first is all about!"

3.2.4 Crown Three

\ Play BIG AL Good ident \ If Male then

TODD (urgent): "He's just crowned for a third time - will the win come soon?"

\ Else

TODD (urgent): "She's now crowned three times - is a win on its way?"

3.2.5 Crown Five

\ Play TODD Good ident

BIG AL (amazed): "Yes, Todd, five consecutive points in the lead!"
TODD (concerned): "Good driving, Al, but when will the win come?"

3.2.6 Regain Crown Three

\ Play BIG AL General ident \ If Male then

TODD (serious): "That's the third time he's taken the lead - can he convert?"

\ Else

TODD (serious): "She takes the lead again! - can she win this time?"

3.2.7 Regain Crown Five

\ Play TODD General ident

BIG AL (excited): "A fifth time regaining the lead? Oboy!"

3.3. Point

3.3.1 Race Leader

\ 1 line per driver

Red:

BIG AL (informative): "Red's ahead, folks."

Bluejay:

TODD (informative): "Bluejay's the pack leader."

Melon:

BIG AL (informative): "Melon's out front."

Shadow:

TODD (informative): "Shadow's in the lead."

Pink:

BIG AL (serious): "Can Pink hold the lead?"

Gold:

TODD (informative): "Gold's doing great!"

3.3.2 Trailing Driver

\ 1 line per driver

Red:

TODD (serious): "Red's trailing."

Bluejay:

BIG AL (informative): "Bluejay's in a bad place, Todd."

Melon:

TODD (informative): "Melon's at the back of the pack."

Shadow:

BIG AL (serious): "Shadow's in danger!"

Pink:

TODD (informative): "Pink's losing it..."

Gold:

BIG AL (annoyed): "Gold's so slow!"

3.3.3 Change of Lead

\ 1 line per driver

Red:

BIG AL (excited):"Woo! Red takes the lead!"

Bluejay:

TODD (): "And Bluejay moves up!"

Melon:

BIG AL (thrilled): "Oh my! It's Melon out front!"

Shadow:

TODD (interested): "Shadow moves into the lead."

Pink:

BIG AL (excited): "A spurt from Pink!"

Gold:

TODD (informative): "Gold takes the lead!"

3.3.4 Blunders: Knocked Double

\ Play BIG AL Bad ident \ If Male then

TODD (sympathetic): "Nope, he's having a poor race."
BIG AL (appreciative, amused): "The other drivers are knocking him sideways!"

\ Else

TODD (sympathetic): "Yes, she's having a dreadful race."
BIG AL (appreciative, amused): "She seems to have annoyed the other drivers!"

3.3.5 Blunders: Crashed Double

\ Play TODD Bad ident

BIG AL (sympathetic): "Crashed out way more than the others, Todd."
TODD (conversational): "Sometimes we all have off-days, Al."

Seven Shades - Script Extract

Seven Shades was a fighting game with strategy-RPG elements. Featuring a world interface in the style of a fighting game, Seven Shades featured a strong, character-based script. An extract of the script is presented here.

In this scene, the heroes have fled from the forces of Huang Leng, a tyrannical official from the Honan Empire (mainland China) and have taken refuge in Kongmoon, an independent city state on the south coast. One of the key characters in the game, Xia Tu has broken into the home Zhapian Hu, a noble of the City of Kongmoon, to deliver a message.

Xia Tu means "Devious Hare" and she is referred to in the script as HARE. The brother of the honourable Shao Lung, arguably the principal character in the script, Xia Tu is a risk taker whose instincts often get her into trouble. An accomplished thief, she is the most stealthy of the seven characters in the game.

Zhapian Hu means "Deceptive Fox" and he is referred to in the script as FOX. He is the Prefect of Kongmoon, a powerful noblemen, but in actuality he is a fox spirit - a creature capable of changing form and known for their mischievous nature. This one has become seduced with human society and is fascinated by it.

There are a number of game variables in the script:

Fox.Known is set TRUE if Xia Tu has learnt that Zhapian Hu is a fox spirit and not a human being.

Bandits.Wuhan is set TRUE if the bandits lead by Shao Lung are currently hiding in the Wuhan marshes. If not, they have no fixed base of operations at this time in the script.

AREA: Kongmoon

SCENE: Mansion

// The upper floor of FOX's mansion; plushly furnished. HARE enters through the window, looking around furtively. She moves forward, looking for any sign of habitation. FOX opens the shutters to a lantern, illuminating the room, and casting HARE's shadow against the wall.

FOX: It seems impatient to steal from a Nobleman's estate without waiting for the master of the house to be absent.

HARE: Forgive me; I meant no disrespect. I bring a message of vital importance to the safety of Kongmoon.

FOX: Messengers come by doors. Thieves come by windows.

HARE: And thieves who bring messages?

FOX (amused): So you admit that you are a thief?

CONDITION: if Fox.Known

{

HARE (pointedly): An honourable thief would do so, I would hope.

FOX: Can there be honour among those who steal?

HARE: Those who steal treasures? Assuredly. We shall see about those who steal cities.

FOX (amused): You are remarkably well informed for a common thief.

HARE: There is nothing common about anyone in this room, fox spirit.

}

ELSE

{

HARE: It would be dishonourable to do otherwise.

FOX: That must make it difficult to avoid justice.

HARE: Have you not heard? There is no justice in Honan.

}

FOX (somewhat surprised; then moving the conversation forward): Indeed? You said you brought a message.

HARE: Huang Leng plans to march upon Kongmoon and bend it to his will. He is ruthless, and intent on procuring not only the throne, but dominion over the entire middle kingdom. Already his agents are within the walls of the city, seeking a way to subdue your defences.

FOX (intrigued, and ironic on the words 'ragged domain'): And where are the armies that will quell my ragged domain?

HARE: Three days ride to the north.

FOX: Why should the hare aid the fox, I wonder?

HARE (surprised): You know my name?

FOX: My knowledge is meagre, but unusual. The paths of fate are in shadow for me, but their agents are brightly illuminated. And, if you will permit my audacity, most beautiful as well.

//Fox moves closer to Hare, who is flattered by his advances but remains cautious.

HARE (somewhat defensively): You believe me an agent of fate?

FOX: I have been expecting you, little one.

CONDITION: if Bandits.Wuhan

{

FOX: You are one of the outlaws of Wuhan Marsh.

}

ELSE

{

FOX: You are one of the outlaws that the whole of Honan is looking for.

}

FOX: What do you hope to achieve by warning me of this coming invasion?

HARE: It is Kongmoon we wish to save.

FOX: A safe harbour, perhaps.

HARE: It is said the enemy of my enemy is my friend.

FOX: It is also said that appearances can be deceiving.

CONDITION: if Fox.Known

{

HARE: Never more so than with you, I fear.

}

ELSE

{

HARE: And a wise man knows whom to trust.

}

FOX (laughing): You are bold as well as beautiful. Very well. You can rely on my aid in return for your warning. It would trouble me to see Kongmoon lose its independence. But it must surely fall without aid, and I have but a few troops in my employ, and no-one upon whose assistance I can count.

CONDITION: if Bandits.Wuhan

{

HARE: Our forces are too weak and too distant - it would take three days just to get a message to them. But if Kongmoon falls, your men are welcome in our ranks.

}

ELSE

{

HARE: Our forces are weak, but we will come to your aid. And if Kongmoon falls, your men are welcome to seek refuge with us.

}

FOX: Already I must thank you again, and I have barely had time to offer appropriate gratitude for your warning.

//Sounds of commotion outside of the window

HARE (urgently): I must leave.

FOX: So quick to resort to flight; you forget that I am Prefect of Kongmoon. You, and any of your associates who are here in the city, are welcome within my house.

HARE: It is too dangerous for us to stay here.

FOX: And too impolite for you to leave. You must never refuse the hospitality of one you have aided - it is simply dishonourable to deny them the chance to repay a favour. Come, rest under my roof a while.

HARE (urgently): There is no time!

FOX: You said Huang Leng's troops are three days hence - would you have us not sleep between then and now? Even a bandit army deserves to eat and sleep.

HARE (with innuendo): I fear if I let my guard down, you might see to it that neither of us sleep.

FOX (amused): Come now, am I to be portrayed as the basest of villains?

HARE (suggestively): That remains to be seen.

NARRATOR: Finding shelter within Zhapian Hu's household, the heroes prepare themselves for the coming conflict. It is said that the most tranquil moments precede the harshest storms. Soon, that storm must reach the walls of Kongmoon.

//Fade and return to the main map. Fox's Mansion is now available as a haven for both Personas and troops.


'Discworld Noir' script - extract

SCENE: mansion

CONVERSATION: Arriving at the Mansion

ACT: 1

ACTOR: Lewton (Hard boiled monologue)
I already had a bad feeling about the Mundy case, but learning that my employer was a Von Uberwald didn't fill me with confidence. I didn't know the facts about the Von Uberwalds, but the rumours were bad enough.

CONVERSATION: Through the Door

ACTOR: Butler
May I help you, sir?

ACTOR: Lewton
You could let me in for a start.

ACTOR: Butler
Very good, sir.

ACTOR: Lewton
And don't call me sir.

ACTOR: Butler
As you wish, sir.

CONVERSATION: Talking with the Butler

ACT: 1

TOPIC: First Preamble

ACTOR: Butler (always speaking with a dead pan voice)
May I take your coat and hat sir?

ACTOR: Lewton
Thanks, but no. I feel naked without them.

ACTOR: Butler
That must make it difficult to clean them.

ACTOR: Lewton (slightly confused)
Was that a joke?

ACTOR: Butler
I never joke, sir, it's not my job. I may lie, dissemble or deceive but I never joke.

ACTOR: Lewton
Look, I don't want you to take my coat, okay?

ACTOR: Butler (with concealed hostility)
But of course, sir. Sir is welcome to drip all over the immaculate hardwood floor that I spent several hours polishing this morning, because sir is a guest and sir is entitled to do whatever sir wishes.

TOPIC: Preamble

ACTOR: Lewton
Hello again.

ACTOR: Butler
I take it sir still does not wish for me to take sir's coat.

ACTOR: Lewton
No.

ACTOR: Butler
Very good sir, please feel free to continue to damage the priceless hardwood floor.

TOPIC: Main

ACTOR: Lewton
Nice house.

ACTOR: Butler
Sir's taste in architecture must be quite exquisite to so accurately summarise the many splendoured cornices and archaic stained glass frescoes of this splendid Lorenzian building as 'nice'.

ACTOR: Lewton (sarcastically)
You have a gift for making people feel welcome, don't you.

ACTOR: Butler
One is blessed.

DELTOPIC: Main

TOPIC: Count Von Uberwald (*clue)

ACTOR: Lewton
What can you tell me about the Count?

ACTOR: Butler
I regret to inform sir that the Count's health has been in gradual decline and that he will probably not live to see the new year.

ACTOR: Lewton
That's five months away.

ACTOR: Butler
Sir's grasp of mathematics dazzles me, sir.

ACTOR: Lewton
What's the problem?

ACTOR: Butler
Merely that unlike sir I have not been blessed with a truly dizzying intellect.

ACTOR: Lewton (irritated)
With the Count, I meant.

ACTOR: Butler
The Count's health has been failing for some years now, but I believe he has never been so bad as since the loss of his one companion.

ACTOR: Lewton
His companion? Who's that?

ACTOR: Butler
I fear that my idle tongue has already revealed too much of the Count's private affairs and would ask that sir respect the Count's privacy lest I be forced to provide sir with a thick ear.

(:thick ear - a blow on the ear delivered as punishment)
(*notebook: add Missing Companion)

ACT: 2

TOPIC: Preamble

ACTOR: Butler
I see sir has returned.

ACTOR: Lewton
Sir has.

ACTOR: Butler
Who would sir like to see?

ADDTOPIC: See Carlotta, See the Count

(*Note that there is no Main in this conversation)

TOPIC: See Carlotta

(*after confronting Carlotta in Saturnalia but before reading the Ledger in PierFive Warehous)

ACTOR: Lewton
I'd like to see Carlotta. Is she home?

ACTOR: Butler
She may be, sir. I will go and announce your presence, and she will tell me if she is.

(*switch to talking to Carlotta)

TOPIC: See Carlotta

(*before confronting Carlotta in Saturnalia or after reading the Ledger in PierFive Warehous)

ACTOR: Lewton
Is Carlotta home?

ACTOR: Butler
Alas no. What a shame that sir's trip has been wasted. Perhaps sir would like to leave now.

ACTOR: Lewton
Tell her I called by.

ACTOR: Butler (dead pan, as ever)
Why my loins stir at the very thought of serving you in this way, sir.

DELTOPIC: See Carlotta

TOPIC: See the Count

ACTOR: Lewton
Is the Count receiving guests?

ACTOR: Butler
No. But he will see you.

(*switch to the Conservatory and talking to the Count)

TOPIC: Goodbye

ACTOR: Lewton
I think I'd better be going.

ACTOR: Butler (always dead pan)
So soon? But sir has barely had a chance to irrepairably damage the furnishings.

TOPIC: Key (*item)

ACTOR: Lewton
This key mean anything to you?

ACTOR: Butler (dead pan)
That sir is too lazy to find out what the key does by himself, perhaps?

TOPIC: Regin's Murder (*clue)

ACTOR: Lewton
Regin's dead.

ACTOR: Butler
I'm sorry to hear that sir. Let me know if his condition improves.

TOPIC: Von Uberwald Crate (*clue)

ACTOR: Lewton

The Von Uberwalds had a crate on the Milka. Do you know anything about it?


ACTOR: Butler

Why sir insists on believing that I know everything that goes on in this house is beyond my comprehension.

TOPIC: Charm bracelet (*item)

ACTOR: Lewton
Do you recognise this?

ACTOR: Butler
Yes sir.

ACTOR: Lewton
Mind telling me what it is?

ACTOR: Butler
A charm bracelet, sir.

ACTOR: Lewton (irritated)
I knew that. Do you know anything else about it?

ACTOR: Butler
Yes sir.

ACTOR: Lewton (annoyed)
What? What do you know about the charm bracelet?

ACTOR: Butler
I know that sir is carrying it for one.

ACTOR: Lewton (frustrated)
Forget it.

ACT: 3

TOPIC: Preamble

ACTOR: Butler
Oh. It is you sir.

ACTOR: Lewton (as flatly as the Butler)
I'm just as thrilled.

ACTOR: Butler
Who would sir like to see this time?

ADDTOPIC: See Carlotta, See the Count

(*Note that there is no Main in this conversation.
If Lewton has gained access to the Library: ADDTOPIC: Go to the Library)

TOPIC: See Carlotta

(*before Café Ankh meeting is arranged)

ACTOR: Lewton
I'd like to see Carlotta.

ACTOR: Butler
I will go and check whether the feeling is mutual, sir.

(*Lewton has the opportunity to transform to check for scents; if he does so, the conversation continues with See Carlotta - A, otherwise See Carlotta - B)

TOPIC: See Carlotta - A

ACTOR: Lewton (Hard boiled monologue)
While the butler was gone I slipped into my wolf form. A purple scent stretched across the hallway, and I instantly knew it was Carlotta. But that wasn't all - the richness of her odour told me something else. Carlotta was a werewolf, just like me.

(*Flashback to the kiss, in black and white; then transform Lewton to human form and continue with the conversation)

ACTOR: Butler
It seems that Carlotta is not in her room.

ACTOR: Lewton
Take a message. Tell her to meet me at the Café Ankh later tonight.

ACTOR: Butler
As sir wishes.

ACTOR: Lewton (Hard boiled monologue)
If Carlotta was the werewolf who infected me, I wanted to speak to her as soon as possible. Sheesh, you'd think a guy could take one kiss and wake up the same shape next day, wouldn't you...

(*Exit the mansion; notebook: add Carlotta is a Werewolf)

TOPIC: See Carlotta - B

ACTOR: Butler
Alas the young mistress is not present.

DELTOPIC: See Carlotta

TOPIC: See the Count

ACTOR: Lewton
Can I see the Count?

ACTOR: Butler
I'm not in a position to know how good your vision is, but you *may* see the Count, which I believe is what sir actually meant in sir's manly untutored way.

(*switch to the Conservatory and talking to the Count and Death)

TOPIC: Go to the Library

ACTOR: Lewton
I'd like to use the library again.

ACTOR: Butler
Very well, I will show sir the way since it seems the labyrinthine corridors of this vast edifice are beyond sir's meagre navigational skills.

(*dump Lewton in the Library)

TOPIC: Goodbye

ACTOR: Lewton
I'll be going then.

ACTOR: Butler (always dead pan)
Delighted to hear it, sir.

ACTOR: Lewton
You're not making any friends here, I hope you know that.

TOPIC: Carlotta is a Werewolf (*clue)

ACTOR: Lewton
So Carlotta is a werewolf?

ACTOR: Butler
The young mistress' various shapes are not my concern sir.

ACT: ALL

TOPIC: Carlotta (*clue)

ACTOR: Lewton
So what do you make of Carlotta then?

ACTOR: Butler
Sir?

ACTOR: Lewton
Carlotta. Carlotta Von Uberwald? She does live here doesn't she?

ACTOR: Butler
Indeed, sir; sir is as dogged in his pursuit of the truth as he is determined to warp the incalculably valuable hardwood floor by his persistent dripping.

ACTOR: Lewton
You're not going to give up on this hardwood floor thing are you?

ACTOR: Butler
As ever, sir is both astute and incredibly stubborn.

ACTOR: Lewton
What about Carlotta?

ACTOR: Butler (hiding his disdain for Carlotta)
She is also quite astute, and most definitely stubborn.

ACTOR: Lewton
What do you think about her then?

ACTOR: Butler
I am not paid to form opinions, sir, merely to perform menial actions such as guarding the hardwood floor, a task I am alas failing at the current time.

ACTOR: Lewton (annoyed)
Will you shut up about the hardwood floor!

ACTOR: Butler
As sir wishes. I will no longer mention how sir is irrevocably damaging timber felled by the hand of the 77th Earl of Ankh, boards that have lain here for longer than sir has been alive, and that were first laid before sir's father was even a glint in the eye of his grandfather, whomsoever that may have been.

TOPIC: Invitation Card (*item)

ACTOR: Lewton
I have an invitation from Carlotta.

ACTOR: Butler
Ah, sir is as quick to reach the point of sir's visit as a tortoise with a war wound is in crossing a very large desert. I will fetch Mistress Carlotta for sir, provided sir would be so kind as to wait here and not to touch the valuable and irreplaceable furniture that adorns the room sir is currently dripping on.

ACTOR: Lewton
I'll see what I can do.

TOPIC: Invitation Card (*item - once it has been used once)

ACTOR: Lewton
I'd like to see Carlotta.

ACTOR: Butler
Many people wish to see Carlotta; let us see if you are blessed by her wishing to see you.

TOPIC: Missing Companion (*clue)

ACTOR: Lewton
So, what can you tell me about this missing companion?

ACTOR: Butler
Why sir believes that asking me again will yield a different answer is beyond my comprehension and must therefore be a sign of the staggering intellectual advantage that sir possesses over such a humble retainer.

TOPIC: Regin (*item)

ACTOR: Lewton
Tell me about Regin.

ACTOR: Butler
Sir?

ACTOR: Lewton
Regin. The Count's companion.

ACTOR: Butler
Sir seems to have mistaken me for someone who wishes to help him in his inquiries.

ACTOR: Lewton (annoyed)
Listen, you work for the Count, and I'm trying to find Regin for the Count.

ACTOR: Butler
Indeed sir, but sir has already learnt everything that the Count was prepared to tell him about Mr. Regin and hence I fear I have nothing to offer him, even should I be threatened with being disembowelled by a crazed rhinoceros.

TOPIC: Goodbye

ACTOR: Lewton

I'll be back. I bet you can't wait.


ACTOR: Butler (as dead pan as ever)

Indeed, sir. My anticipation is almost tangible.


ACTOR: Lewton

Go and polish that floor, will you?

TOPIC: Milka, Stranger asking questions, Two mysterious passengers, Murders, Selachii Vault, Therma is buried in the Selachii Vault, Scrap of Cardboard, Foreign Label, Torn Matchbook, Matchbook, Azile, Mundy's Murder, Counterweight Killings, Mundy Hung Upside Down and Killed, 3712V, Cargo, Sapphire's Money, Wine Barrels, Varberg Crates, Losing Streak, Secret Meeting, Meeting with Therma, Malachite's Murder, Bestial Attacker, Shipping Order, Fabric, Plaster-encrusted Bandages, Theatre Flyer, Bedmaker and Laundryman, Moss, Perfume, Meeting of the True Believers, List of Names

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Butler
Sir has many questions, but alas I have few answers.

TOPIC: Mundy, Al Khali, Malachite, Therma, Madame Lodestone, Ilsa and Two Conkers, Horst, Laredo Cronk

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Butler
Regrettably, sir, I know nothing about that person.

TOPIC: Patrician's Clerk's Murder, Reader of Esoteric Occultism's Murder, Merchant's Murder, Saipha Drowned in a Vat of Wine in the Palace, Mathom was Poisoned in the Widdershins Wing, Gamin Strangled in the Merchant's Guild

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Butler
I don't know anything about any murders, sir.

TOPIC: Nylonathatep, Octagram of Murders, Sewers, Temple of Anu-anu at Al Khali, Errata, Dead Men's Pointy Boots, Strange Symbol, Sign of the Eel, Eight Great Tragedies, Pendant

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Butler
Sir would have to consult the library on that.

TOPIC: Lewton's Purse, Crowbar, Back Passage, Envelope, Troll's Tooth, Something in the River, Grappling Iron, Golden Sword, Mundy's Coin, Jewel, Hiding Place, Grapple without Rope

EVENT: Error2 (*Inappropriate topic)

TOPIC: Default

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Butler
I'm sorry; I cannot assist sir in that matter.

CONVERSATION: Carlotta at Home

ACT: 1

TOPIC: First Preamble

ACTOR: Carlotta
The Duchess Charlotte Von Uberwald, nee Neopoldine; my predecessor in a sense.

ACTOR: Lewton
Oh? Are you a Duchess?

ACTOR: Carlotta
No. But the resemblance is impressive, isn't it. My husband was struck by it from the moment I met him.

ACTOR: Lewton
Where is your husband?

ACTOR: Carlotta
Dear Ulrich passed away during a civil uprising in Uberwald several years ago. Quite a terrible business, actually. Peasants? pitchforks? burning torches? the usual sort of thing.

ACTOR: Lewton
Usual?

ACTOR: Carlotta
For Uberwald, certainly. Their ways may seem barbaric, but it's just the way things have always been done. If there wasn't a civil uprising every few years I do believe the nobility would be most disappointed. Dying at the hands of a mob in a burning castle is practically traditional.

ACTOR: Lewton
Tradition is important to you, is it?

ACTOR: Carlotta (amused)
Ever the investigator, eh Lewton? Even your employer isn't beyond suspicion.

ACTOR: Lewton
My old boss used to say that everyone was guilty of something.

ACTOR: Carlotta
And what are you guilty of?

ACTOR: Lewton
Too many things, sweetie, but nothing you need to know about.

ADDTOPIC: Ulrich Von Uberwald

TOPIC: Preamble

ACTOR: Carlotta
Back for more, Lewton?

ACTOR: Lewton (dead pan)
What can I say? I can't get enough of you.

TOPIC: Main

ACTOR: Lewton
You wanted to know how the case was going.

ACTOR: Carlotta
A girl's got to have hobbies.

ACTOR: Lewton
I think I'm getting somewhere.

ACTOR: Carlotta
We're all getting somewhere, Lewton. The question is, am I going to like where you're going?

ACTOR: Lewton
I guess we'll just have to find that out the old fashioned way.

ACTOR: Carlotta
That's me, an old fashioned girl.

ACTOR: Lewton
Like the girl in the picture.

ACTOR: Carlotta
The Duchess? She was quite a trend-setter in her era. She wore her dress so high you could almost see her ankles.

ACTOR: Lewton (sarcastic)
My heart is pounding at the thought.

ADDTOPIC: The Case, The Duchess

DELTOPIC: Main

TOPIC: The Case

ACTOR: Lewton
I don't have much to tell you about the case, I'm afraid.

ACTOR: Carlotta
You still haven't found Mundy?

ACTOR: Lewton (second sentence: hopefully)
Not yet. I might do a better job if I had more money at my disposal?

ACTOR: Carlotta
Ah yes, of course. You haven't been paid yet.

ACTOR: Lewton
Well, it had crossed my mind.

ACTOR: Carlotta
I'm sure I could sort something out.

ACTOR: Lewton (Hard boiled monologue)
I didn't doubt that she could. The question was, would she? And more to the point, when would she?

TOPIC: Ulrich Von Uberwald

ACTOR: Lewton
So what's the story with you and Ulrich?

ACTOR: Carlotta
Do you believe in love at first sight, Lewton?

ACTOR: Lewton
It saves a lot of time, certainly.

ACTOR: Carlotta
Ulrich fell for me the moment we met. I guess seeing that painting every day probably helped.

ACTOR: Lewton
Don't sell yourself short, you have a few assets of your own. I'm sure it was an equitable transaction.

ACTOR: Carlotta (statement)
You think I married him for his money.

ACTOR: Lewton
Did you?

ACTOR: Carlotta
Let me tell you something, Lewton. I've been rich, and I've been poor. Rich is better.

ACTOR: Lewton
Did you love him?

ACTOR: Carlotta
Does it matter?

ACTOR: Lewton
It matters to me.

ACTOR: Carlotta
Maybe I did. I guess it depends on what love is.

ACTOR: Lewton
Love is a moment of weakness that allows someone to hurt you more than you ever thought possible. Men were given the strength to be brutes to women, and women were given love to wreck their revenge.

ACTOR: Carlotta
Who was she, Lewton?

ACTOR: Lewton
Who?

ACTOR: Carlotta
The one who left you with such a high opinion of women. She must have been quite a gal.

DELTOPIC: Ulrich Von Uberwald

TOPIC: The Duchess

ACTOR: Lewton
What can you tell me about the Duchess?

ACTOR: Carlotta
The Duchess Charlotte Von Uberwald. Born Charlotte Ameliorate Victoire Tangerine Leopoldine, she married the Duke when she was thirteen, which was the style at the time. She was considered a risqué dilettante by most of the nobility of Uberwald and rumours abounded that she caused the heart attack that killed the Marquis of Grandmal when she showed him her naked knees. Her corset was said to be so tight that her first pregnancy went into extra time and her first and only son had learnt his first word by the time he was born.

ACTOR: Lewton
You're pretty good on this family history business then.

ACTOR: Carlotta (dismissively)
I dabble.

DELTOPIC: The Duchess

TOPIC: Twurp's Peerage

(*This topic appears if Lewton has compared the invitation card to the book)

ACTOR: Lewton
I notice that you've scribbled some notes in the big book.

ACTOR: Carlotta (coldly)
Oh, the Twurp's Peerage. Yes. I appreciate that it's easy to make a mistake when it comes to genealogy, but there's no excuse for the kind of careless errors the author made.

ACTOR: Lewton
Still, it seems a little extreme to write in corrections.

ACTOR: Carlotta
I can be an extreme sort of woman.

DELTOPIC: Twurp's Peerage

TOPIC: Invitation Card (*item)

ACTOR: Lewton
Don't you think sending me a formal invite was a little over-the-top?

ACTOR: Carlotta
I got fed up of waiting for you to ask to see my house.

ACTOR: Lewton
What's so special about your house?

ACTOR: Carlotta
It has me in it.

ACTOR: Lewton (sarcastically or dead pan - voice actor's choice)
I'm so excited.

ACTOR: Carlotta
When I get excited about something, I give it everything I've got. I'm funny that way.

ACTOR: Lewton (suspiciously)
And what are you excited about?

ACTOR: Carlotta (innocently)
Why, working with you, Mr. Lewton. What else?

ACTOR: Lewton
I never saw myself as the stimulating kind.

ACTOR: Carlotta
I have strange tastes.

TOPIC: Murders (*clue)

ACTOR: Lewton
You wouldn't have anything to do with the recent murders?

ACTOR: Carlotta (feigned shock)
Why, Mr. Lewton, you must think the worst of me.

ACTOR: Lewton
I think the worst of everyone. That's my job.

ACTOR: Carlotta
Do you think Mundy could have been murdered?

ACTOR: Lewton
Anyone could be murdered. But speculation is cheap.

ACTOR: Carlotta
And you're not?

ACTOR: Lewton
I'm not cheap. I'm a bargain.

TOPIC: Selachii Vault (*clue)

ACTOR: Lewton
I need your help.

ACTOR: Carlotta (seductive)
I'm not hard to get, Lewton. All you have to do is ask.

ACTOR: Lewton (flatly)
I need your knowledge. I need to find a particular tomb in the Selachii mausoleum, but I don't know enough about genealogy. You do.

ACTOR: Carlotta
The Selachii mausoleum? That could be trouble.

ACTOR: Lewton
Don't worry. I'm not going to mess with the tombs - I know better than to offend a family whose ties with the Assassins' Guild goes back to its very formation. I just want to see if someone's buried there.

ACTOR: Carlotta
Who's the stiff?

ACTOR: Lewton
A troll named Therma.

ACTOR: Carlotta (suppressing a laugh, since she is actually Therma)
A dead troll? You don't get much stiffer than that, I suppose.

ACTOR: Lewton
Will you help me or not?

ACTOR: Carlotta
Of course, although I'm not really properly dressed for a mausoleum. You don't mind waiting while I get changed.

ACTOR: Lewton
It's not like Therma's going anywhere.

TOPIC: Mundy (*clue)

ACTOR: Lewton
Tell me again about Mundy.

ACTOR: Carlotta
What's to tell? I've told you all you need to know.

TOPIC: Count Von Uberwald (*clue)

ACTOR: Lewton
Do you get on with the Count?

ACTOR: Carlotta
Henning? He's harmless. He's from a pretty civilised branch of the clan.

ACTOR: Lewton
He's your father in law, I take it.

ACTOR: Carlotta (sarcastic)
Hey, what do you know? You are a detective after all.

ACTOR: Lewton
He doesn't seem very well.

ACTOR: Carlotta
I doubt he'll last the year.

ACTOR: Lewton (suspiciously)
And when he dies you inherit it all??

ACTOR: Carlotta
Gods, no. The house belongs to the Von Uberwald clan now. There's thousands of them. I might have married into them, but they'd never let me keep the house. It's belong to the family, you see? Why? Looking for suspects? Wondering if the old man's failing health is the result of poison administered to him carefully in his food?

ACTOR: Lewton
No, but those are good ideas. Thanks for the tip.

TOPIC: Missing Companion (*clue)

ACTOR: Lewton
Do you know anything about the Count's missing companion?

ACTOR: Carlotta
Perhaps that's something you should discuss with him.

TOPIC: Goodbye

ACTOR: Lewton
See you around, Carlotta.

ACTOR: Carlotta
Sure, Lewton. I look forward to it.

ACT: 2

TOPIC: First Preamble

ACTOR: Carlotta
Well, we're alone. Now, what did you want to talk to me about?

ACTOR: Lewton
You've got a lot of smooth moves, Carlotta. You've managed to string me along like a kitten.

ACTOR: Carlotta
What are you talking about?

ACTOR: Lewton (getting angrier as he speaks)
I'm talking about you lying to me, sister. I'm talking about the way you used me to track down Mundy, and how you were planning to cut me out of the action when I found him.

ACTOR: Carlotta (calmly)
You're paranoid, Lewton.

ACTOR: Lewton
Oh I know I'm paranoid. But just because I'm paranoid doesn't mean you're not a lying, thieving low life. Tell me about the golden sword.

ACTOR: Carlotta (shaken)
I don't know what you're talking about.

ACTOR: Lewton
Oh, I think you do. And so does Jasper Horst.

ACTOR: Carlotta (flatly)
You spoke to Horst.

ACTOR: Lewton
Yes. I spoke to Horst. And he seemed to think that I had possession of the sword. Apparently, Mundy had it, only he died before he could deliver it. Horst thinks I killed him and took the sword.

ACTOR: Carlotta (trying to sound innocent)
I didn't want you to get involved, Lewton. It was too dangerous.

ACTOR: Lewton
Oh don't pull the hysterical woman act on me, Carlotta. It won't work.

ACTOR: Carlotta (coldly)
All right. You got me. I used you. Everybody uses everyone, Lewton. It's the way of things. Friendships are just what happens when you've used someone for so long it becomes habitual.

ACTOR: Lewton
You're a bitter little lady.

ACTOR: Carlotta
It's a bitter little world. What now?

ACTOR: Lewton
You tell me everything.

ACTOR: Carlotta
Why?

ACTOR: Lewton
Because you need me.

ACTOR: Carlotta
I don't need anyone.

ACTOR: Lewton
You'd like to think so, wouldn't you. But even you aren't totally independent, Carlotta. You need the Count's money for one. One word from me and I could get you cut off.

ACTOR: Carlotta
He wouldn't dare. He's too bound by tradition.

ACTOR: Lewton
Perhaps. But can you really afford to take that chance.

ACTOR: Carlotta
What's the deal, Lewton?

ACTOR: Lewton
Straight cut. I help you recover the sword, we split the profit.

ACTOR: Carlotta
You think you can trust me enough for that to work?

ACTOR: Lewton
No. But this isn't about trust, it's about money. You don't trust me any more than you trust Horst, but I figure you'd work with him if it got you the money.

ACTOR: Carlotta
You're smart, Lewton. But you've got one thing wrong.

ACTOR: Lewton
What's that?

ACTOR: Carlotta
I trust you more than I trust Horst.

ACTOR: Lewton (faintly sarcastic)
I'm touched. But I reckon you'd trust a rattlesnake before you'd trust Horst.

ACTOR: Carlotta
You're a good judge of character.

ACTOR: Lewton
Hang around with scum long enough and you learn to tell the different types of scum apart. Horst is the treacherous kind.

ACTOR: Carlotta
What about me?

ACTOR: Lewton
You're just a woman, Carlotta. And that's not a complement.

ACTOR: Carlotta
Why do you hate women so much?

ACTOR: Lewton
I hate everyone and everything. No one gets special treatment. Now tell me the real story between you and Mundy.

ACTOR: Carlotta
Mundy wasn't my lover, he was my contact. He was supposed to be bringing the artefact in from Tsorta but something went wrong on the way. I don't know what is was - but Mundy never made his rendezvous. I went with Regin to the wharf to meet him but he wasn't there.

ACTOR: Lewton
Do you know where Regin is?

ACTOR: Carlotta
No. He dropped me at the Temple of Small Gods and that's the last I saw of him.

ACTOR: Lewton
Did he know what was going on?

ACTOR: Carlotta
Regin. Ha! No, I never told him anything. Everything I told him would have gone straight to the Count.

ACTOR: Lewton
Anything else you haven't told me?

ACTOR: Carlotta (seductively)
Oh I'm sure there's plenty of things I haven't told you. But a girl's got to have some secrets.

ACTOR: Lewton
You're trouble, Carlotta.

ACTOR: Carlotta
Admit it, Lewton. You like trouble.

ACTOR: Lewton
What if I do?

ACTOR: Carlotta (seductively)
I know what's going on inside of you, Lewton. You're just like any other man, only a little more so.

ACTOR: Lewton (Hard boiled monologue)
When she kissed me, fire burned in my veins and I felt alive. Have you ever kissed someone who you didn't know whether to love or to hate? Well, other than your parents. Not that I'm prying into your private life, just trying to get my point across. Something changed in me at that point, and I knew it'd never be the same again.

ACTOR: Carlotta (slightly breathless)
I guess we have a deal, then.

ACTOR: Lewton
With my brains and your looks we could go places.

ACTOR: Carlotta
What about with my brains and your looks?

ACTOR: Lewton
We could still go places, they just wouldn't be as nice.

(*Map: Temple of Small Gods, if not already added)

TOPIC: Preamble

ACTOR: Lewton
I needed to talk to you.

ACTOR: Carlotta
I'm always happy to fulfil your needs, Lewton.

TOPIC: Main

ACTOR: Lewton
So now we're working together, is there anything you'd like to tell me?

ACTOR: Carlotta
What like?

ACTOR: Lewton
Anything you've kept back from me, any lies you'd like to confess to, and secrets you're still hiding.

ACTOR: Carlotta
A girl's got to have some secrets, Lewton.

DELTOPIC: Main

TOPIC: Azile (*clue)

ACTOR: Lewton
Does 'Azile' mean anything to you?

ACTOR: Carlotta
Azile? wasn't he a madman from the Great Nef? Some kind of religious maniac?

ACTOR: Lewton
Go on.

ACTOR: Carlotta
That's it. That's all I can remember.

TOPIC: Cargo (*clue - if used after the Golden Sword clue)

ACTOR: Lewton
You must have known something about the Milka's cargo.

ACTOR: Carlotta
Yes. I had a crate amongst the cargo. It wasn't carrying anything important, it was just for Mundy to hide the sword in if it became necessary.

ACTOR: Lewton
But the sword wasn't in the crate.

ACTOR: Carlotta
No. The last I saw of the crate, Regin had it. I don't know where it is now.

ACTOR: Lewton
Do you have anything that might help me find it?

ACTOR: Carlotta
I have a shipping order. You can have it if it's useful to you.

ACTOR: Lewton
It could be. Any lead is a good one at the moment.

(*inventory: add Shipping Order)

TOPIC: Mundy's Murder (*clues)

ACTOR: Lewton
Do you want to hear about Mundy's death?

ACTOR: Carlotta
I'm not that kind of ghoul.

ACTOR: Lewton
I never said you were. I just thought you might like to know.

ACTOR: Carlotta
I don't need the details.

ADDTOPIC: Did Carlotta kill Mundy? (*if not already added)

TOPIC: Golden Sword (*clue)

ACTOR: Lewton
Can you tell me anything more about this golden sword?

ACTOR: Carlotta
I've told you all I know.

TOPIC: Shipping Order (*item)

ACTOR: Lewton
How did you get the shipping order?

ACTOR: Carlotta
Mundy sent it to me by a courier. You look disappointed.

ACTOR: Lewton
I guess I was hoping for something more interesting.

TOPIC: Key (*item)

ACTOR: Lewton
Does this key mean anything to you?

ACTOR: Carlotta (interested)
Whose is it?

ACTOR: Lewton
It belonged to Regin.

ACTOR: Carlotta (particularly interested in the key)
I don't recognise it. But if you give it to me I'm sure I can find out where it fits.

ACTOR: Lewton
I'll bet you're good at finding out which holes things go in, eh sister? No, I think I'll hang onto it for now.

ACTOR: Carlotta (slightly disappointed)
If that's what you think is best.

TOPIC: Charm bracelet (*item)

ACTOR: Lewton
Is this charm bracelet familiar to you?

ACTOR: Carlotta
It's Regin's. Where did you find it?

ACTOR: Lewton
In his safety deposit box. What can you tell me about the bracelet?

ACTOR: Carlotta
I think Regin thought it was his lucky charm or something. I'm not really sure.

ACTOR: Lewton
Did you ever see Regin at Saturnalia?

ACTOR: Carlotta
Yes. He went there sometimes. He stayed well away from me when he did. He didn't much like me.

ACTOR: Lewton
Was he wearing the charm bracelet in the casino?

ACTOR: Carlotta (searching her memory)
Yes, I think he may have been.

TOPIC: Goodbye

ACTOR: Lewton
I'll see you around, Carlotta.

ACTOR: Carlotta
I hope so.

ACT: 3

TOPIC: First Preamble

ACTOR: Carlotta
You're up late

ACTOR: Lewton
I can never sleep after I've been stabbed to death.

ACTOR: Carlotta
What did you want to talk about?

TOPIC: Preamble

ACTOR: Carlotta
You can't keep yourself away from me, can you Lewton?

ACTOR: Lewton
I just wanted to ask some more questions.

TOPIC: Main

ACTOR: Lewton
So do you do this all the time? Set up some poor sap and get him to do your dirty work?

ACTOR: Carlotta (confessionally)
All right, I admit. I deceived you. But you're not my puppet, Lewton. You never were. I could see the fire in you, and I liked it.

ACTOR: Lewton
That's why you infected me?

ACTOR: Carlotta
You haven't been a werewolf for long. You don't know what it's like. You can't have a decent relationship with mortals when you're a blood thirsty wolf one week out of every month.

ACTOR: Lewton (appalled)
You ruined my life so you could have a companion?

ACTOR: Carlotta (slightly annoyed)
Don't be so melodramatic, Lewton. It doesn't suit you.

ACTOR: Lewton
What would you call it?

ACTOR: Carlotta
I gave you a gift. And it's a wonderful gift, you just have to get used to it.

ACTOR: Lewton
Of all the washed-up men in all the cities on the Disc, why did you come to me?

ACTOR: Carlotta (from 'And don't forget', Carlotta is passionate)
Why does anyone do anything? We're all pawns in someone's game, Lewton. The best we can hope for is to take charge of our lives. And don't forget - never forget - if I hadn't done this you'd be dead. I saved your life.

ACTOR: Lewton
It wasn't much of a life to save.

ACTOR: Carlotta
It could be.

ACTOR: Lewton
If I become your lapdog? I could never do that.

ACTOR: Carlotta
I wouldn't ask you to. You're special, Lewton. You're like me. The law isn't for people like us.

ACTOR: Lewton
What is?

ACTOR: Carlotta
Well, that's another thing I've been trying to figure out for years.

TOPIC: Carlotta is a Werewolf (*clue)

ACTOR: Lewton
So how many people have you killed?

ACTOR: Carlotta
I'm not that kind of a werewolf.

ACTOR: Lewton
I suspected you were a killer even when you were just a woman. Now I'm certain of it.

ACTOR: Carlotta (with pride)
I was never just a woman.

ACTOR: Lewton
You expect me to believe you've never killed anyone?

ACTOR: Carlotta
I have a lot of self-control.

ACTOR: Lewton
It didn't seem that way when we kissed.

ACTOR: Carlotta
Don't mistake passion for a lack of self-control.

ACTOR: Lewton
Do all werewolves see the world the same?

ACTOR: Carlotta
Everyone sees the world differently, Lewton. That's what life is all about.

ACTOR: Lewton
I meant the colours. Do you see the same colours I do?

ACTOR: Carlotta
What colour is the smell of the river Ankh to you?

ACTOR: Lewton
A kind of cacophonous bright green.

ACTOR: Carlotta
I guess we do then.

ACTOR: Lewton
Mind if I ask you some questions about smells?

ACTOR: Carlotta (sarcastically)
You say the sweetest things.

ACTOR: Lewton
Whoever killed me had a distinctive magenta scent. You wouldn't know anything about that would you?

ACTOR: Carlotta
Doesn't ring any bells.

ACTOR: Lewton
There was something else about it. Like a kind of fluorescent sparkle.

ACTOR: Carlotta
Like a greenish-yellow-purple?

ACTOR: Lewton
That's the one.

ACTOR: Carlotta
That's octarine.

ACTOR: Lewton
Octarine? Sounds like a type of fruit.

ACTOR: Carlotta
It's the eighth colour of the spectrum.

ACTOR: Lewton
Eighth?

ACTOR: Carlotta
The basic colour of which other colours are merely pale shadows impinging on conventional reality. The colour of magic.

ACTOR: Lewton
Conventional reality?

ACTOR: Carlotta
Or what passes for conventional on the Discworld.

ACTOR: Lewton
What's that supposed to mean?

ACTOR: Carlotta
If I always knew what I meant I'd be a genius.

ACTOR: Lewton
So what smells of octarine?

ACTOR: Carlotta
Anything magical.

ACTOR: Lewton
Then how come I have never seen it before? There must be a hundred magical things in the city - Unseen University should glow like a sparkler.

ACTOR: Carlotta
Mortals can't see it, only wizards - although we can smell it, of course.

ACTOR: Lewton
That doesn't explain why Unseen University doesn't reek of it.

ACTOR: Carlotta
Well, it fades quickly in sunlight, and in extreme cases walks away.

TOPIC: Counterweight Killings (*clue)

ACTOR: Lewton
So level with me. What do you really know about the Counterweight Killings?

ACTOR: Carlotta (sincerely)
Nothing, I swear.

ACTOR: Lewton
I swear all the time but that doesn't mean you can trust me.

TOPIC: Bestial Attacker (*clue)

ACTOR: Lewton
Have you seen anything strange around town recently?

ACTOR: Carlotta
What kind of strange?

ACTOR: Lewton
A little birdy-eater told me that Malachite was killed by something bestial.

ACTOR: Carlotta
A werewolf?

ACTOR: Lewton
I don't think so. Whatever it was was vicious.

ACTOR: Carlotta
You don't think werewolves are vicious? You should hear my aunts talk about me behind my back.

ACTOR: Lewton
I think whatever this thing is, it's more powerful than just a werewolf.

TOPIC: Pendant (*clue)

ACTOR: Lewton
Do you recognise this?

ACTOR: Carlotta (hiding her nervousness)
No. I've never seen it before.

TOPIC: Theatre Flyer (*clue)

ACTOR: Lewton
Do you know anything about theatre?

ACTOR: Carlotta
I like to go to the Dysk theatre every now and then.

ACTOR: Lewton
Why?

ACTOR: Carlotta
I enjoy the plays.

TOPIC: Golden Sword (*clue)

ACTOR: Lewton
I take it you don't know where the golden sword is now?

ACTOR: Carlotta (slightly annoyed)
Of course not. Do you think I wouldn't tell you?

ACTOR: Lewton
Frankly my dear, I don't know what to think.

TOPIC: Mundy's Coin (*clue)

ACTOR: Lewton (insincerely for the first line)
Now that there are no secrets between us, do you know what this is?

ACTOR: Carlotta (sincerely)
I've no idea. Some sort of coin?

TOPIC: Nylonathatep (*clue)

ACTOR: Lewton
Have you heard of Nylonathatep?

ACTOR: Carlotta
No. What is it?

ACTOR: Lewton
Never mind.

TOPIC: Octagram of Murders (*clue)

ACTOR: Lewton
Does an octagram of murders mean anything to you?

ACTION: Carlotta (slightly twitchy, but not too obviously)
An octagram of murders? No. Should it? I mean, it's something magical, obviously, but other than that...

ACTOR: Lewton
Why is it obviously magical?

ACTOR: Carlotta
Well, eight. It has occult significance, doesn't it.

ACTOR: Lewton
Does it? How do you know that?

ACTOR: Carlotta
When you marry into the Von Uberwalds, you learn about these things.

ACTOR: Lewton
Why?

ACTOR: Carlotta
There's a lot of occult goings on in Uberwald. It's the national pastime.

ADDTOPIC: Eight

TOPIC: Eight

ACTOR: Lewton
What else do you know about the number eight?

ACTOR: Carlotta (sarcastically)
It goes between seven and nine?

ACTOR: Lewton
Don't play dumb with me.

ACTOR: Carlotta (seductively)
What would you like me to play?

ACTOR: Lewton
I meant about the occult significance of the number eight.

ACTOR: Carlotta
Well, I'm no expert.

ACTOR: Lewton
Anything might be useful.

ACTOR: Carlotta
You think the occult is involved in this case somehow?

ACTOR: Lewton
I'm convinced of it. I think it's something to do with Nylonathatep, the Laddering Horror.

ACTOR: Carlotta (blaise)
The Laddering Horror?

ACTOR: Lewton
A creature from the Dungeon Dimensions.

ACTOR: Carlotta
Well, I understand there's something about the harmonics of the number that is attractive to the denizens of the Dungeon Dimensions. But that's all I know, really.

DELTOPIC: Eight

TOPIC: Regin's Murder (*clue)

ACTOR: Lewton
Where were you when Regin was killed?

ACTOR: Carlotta
When was he killed?

ACTOR: Lewton
Shortly after dropping you off at the Temple of Small Gods.

ACTOR: Carlotta
Well there's your answer then.

TOPIC: Mundy Hung Upside Down and Killed, Malachite's Murder, Regin's Murder (*clues - only after each clue has already been used at least once and the Did Carlotta Kill Mundy? topic has been used)

ACTOR: Lewton
I can't help but notice that your recurring alibi for the murders is that you were at the Temple of Small Gods.

ACTOR: Carlotta
Everyone needs a little solace, now and then.

ACTOR: Lewton
You seem to need it a lot.

ACTOR: Carlotta
I'm not easily satisfied.

ACTOR: Lewton
Which god is it that you worship?

ACTOR: Carlotta
I really don't like to discuss religion.

ACTOR: Lewton
Come on. I only what to know the name.

ACTOR: Carlotta (petulant)
All right, her name is Errata. But I don't appreciate you prying into my spiritual affairs like this.

ACTOR: Lewton
Can I pry into your physical affairs?

ACTOR: Carlotta
My affairs are never just physical.

ACTOR: Lewton
I bet you say that to all the boys.

(*notebook: add Errata)

TOPIC: Errata (*clue)

ACTOR: Lewton
Tell me about this goddess, Errata.

ACTOR: Carlotta
I already told you; I don't like to talk about religion.

ACTOR: Lewton
She's not like Om then.

ACTOR: Carlotta
Om?

ACTOR: Lewton
He's the god of Omnia.

ACTOR: Carlotta
Is that the place with the Quisition? All the over-zealous holy wars and tortures?

ACTOR: Lewton
It used to be. They had some kind of reformation and now they are just over-zealous about singing rousing hymns and distributing fundamentalist pamphlets in the street.

ACTOR: Carlotta
Well that's a kind of torture all of its own.

ACTOR: Lewton
You're telling me - I got cornered by one of them last week. How do you think I know so much about it? It was three hours before I could get them to leave. Thumbscrews would have been quicker, at least.

TOPIC: Meeting of the True Believers, List of Names, Strange Symbol, Sign of the Eel (*clues)

ACTOR: Lewton (Hard boiled monologue)
Until I was sure I could trust her, there were some things I didn't want to discuss with Carlotta. And frankly, I wondered if I'd ever really trust her.

TOPIC: Goodbye

ACTOR: Lewton
I'll be in touch.

ACTOR: Carlotta
I'll be waiting.

TOPIC: Sewers, Temple of Anu-anu at Al Khali, Bedmaker and Laundryman, Dead Men's Pointy Boots, Eight Great Tragedies, Moss, Perfume, Plaster-encrusted Bandages

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Carlotta
I'm sure you can think of something better to ask me, Lewton.

TOPIC: Patrician's Clerk's Murder, Reader of Esoteric Occultism's Murder, Merchant's Murder, Saipha Drowned in a Vat of Wine in the Palace, Mathom was Poisoned in the Widdershins Wing, Gamin Strangled in the Merchant's Guild

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Carlotta
Sorry, Lewton. I'm not an expert on murders, despite what you may think.

TOPIC: Lewton's Purse, Crowbar, Troll's tooth, Grappling iron, Invitation card

ACTOR: Lewton (Hard boiled monologue)
There didn't seem much point discussing that with Carlotta.

ACT: ALL

TOPIC: Did Carlotta kill Mundy?

ACTOR: Lewton
Did you kill Mundy?

ACTOR: Carlotta (riled)
What? What do you think I am, Lewton?

ACTOR: Lewton
It's got nothing to do with what I think of you, Carlotta. But the Watch are investigating, and if they find out about your connection with Mundy you're bound to be a suspect.

ACTOR: Carlotta
So why are you asking me if I did it?

ACTOR: Lewton
Let's just call it professional curiosity.

ACTOR: Carlotta
If I had done it, would you turn me in?

ACTOR: Lewton
That depends.

ACTOR: Carlotta
On what?

ACTOR: Lewton
On why you did it.

ACTOR: Carlotta
You don't strike me as a moralist, Lewton.

ACTOR: Lewton
I'm a simple man, Carlotta. I have simple ideas of what's right and what's wrong. The trouble is, things are seldom that simple. It's always somewhere in the middle ground. I try not to jump to conclusions. In my line of work, that can get you killed.

ACTOR: Carlotta
That must be a tremendous incentive to think everything through.

ACTOR: Lewton
I do my best.
You still haven't answered my question.

ACTOR: Carlotta
I didn't kill him, Lewton, if that's what you really want to know.

ACTOR: Lewton (Second part is Hard boiled monologue)
Do you have an alibi?

I told her when the murder took place and asked if she had an alibi. I wasn't surprised when she did. Frankly, I reckon I could have said any day and any time and she'd have had an alibi. She was that kind of woman.

ACTOR: Carlotta
There are witnesses who can corroborate where I was.

ACTOR: Lewton
And where were you?

ACTOR: Carlotta
I was in the Temple of Small Gods.

ACTOR: Lewton
Spend a lot of time on your knees do you, sister?

ACTOR: Carlotta
We all need a little absolution.

ACTOR: Lewton
For your sins?

ACTOR: Carlotta
Everything I do is a sin in someone's eyes.

DELTOPIC: Did Carlotta kill Mundy?

(*Map: Temple of Small Gods, if not already added.)

TOPIC: Al Khali (*clue - if used before the Golden Sword clue)

ACTOR: Lewton
Have you heard of a dwarf who goes by the name of Al Khali?

ACTOR: Carlotta (faltering almost imperceptibly)
No. No I haven't.

ACTOR: Lewton
Never mind. It was a long shot.

TOPIC: Malachite (*clue)

ACTOR: Lewton
Do you know a big, dumb troll called Malachite?

ACTOR: Carlotta
I thought all trolls were big and dumb?

ACTOR: Lewton
This one pushes new boundaries. Do you know him or not?

ACTOR: Carlotta (with excessive conviction)
No. I don't.

TOPIC: Regin (*item - if used before the Golden Sword clue)

ACTOR: Lewton
Did you know Regin well?

ACTOR: Carlotta (playing dumb)
Regin? The Count's driver you mean. I wouldn't say I knew him well, but I knew him. He was always hanging around the mansion.

ACTOR: Lewton
What can you tell me about him?

ACTOR: Carlotta
I never trusted him. I always thought he was after the Count's money.

ACTOR: Lewton (sarcastically)
As opposed to you who had purely altruistic reasons for marrying into wealth.

ACTOR: Carlotta
I was young and I was poor. Besides, I made Ulrich happy.

TOPIC: Fabric (*item)

ACTOR: Lewton
Do you recognise this fabric?

ACTOR: Carlotta
It's vaguely familiar. But I see a lot of fabrics. I couldn't tell you where I know it from.

TOPIC: Regin's Murder (*clue)

ACTOR: Lewton
Regin's dead.

ACTOR: Carlotta
I'm not surprised.

ACTOR: Lewton
You don't seem to care.

ACTOR: Carlotta
Everybody dies, Lewton. Mundy. Regin. Even you.

ACTOR: Lewton
What's your point?

ACTOR: Carlotta
No point - that's just life.

TOPIC: Mundy Hung Upside Down and Killed (*clues)

ACTOR: Lewton
The person who killed Mundy hung him upside down and poked his eyes out. Can you think of any reason they might have done that?

ACTOR: Carlotta (surprised)
What? No. Why should I?

ACTOR: Lewton
Well you knew Mundy. I didn't. I thought you might have an insight on it that I didn't.

ADDTOPIC: Did Carlotta kill Mundy? (*if not already added)

TOPIC: Mundy's Coin (*item)

ACTOR: Lewton
Does this coin mean anything to you?

ACTOR: Carlotta
Nothing springs to mind.

ACTOR: Lewton
It was Mundy's.

ACTOR: Carlotta
It still doesn't mean anything to me.

TOPIC: Envelope (*item)

ACTOR: Lewton
I got a key from Regin's body - it lead me to this. It's empty.

ACTOR: Carlotta (as if she is making some kind of mental connection)
It's empty.

ACTOR: Lewton
Mean anything to you?

ACTOR: Carlotta
No. Nothing.

TOPIC: Counterweight Killings (*clue)

ACTOR: Lewton
Have you heard of the Counterweight Killings?

ACTOR: Carlotta
No.

ACTOR: Lewton
Mundy's murder looks like a Counterweight Killing.

ACTOR: Carlotta (dead pan)
Oh. I'm thrilled.

TOPIC: Al Khali (*clue - if used after the Golden Sword clue)

ACTOR: Lewton
What do you really know about Al Khali?

ACTOR: Carlotta
He works with Horst, and that's about all I know.

ACTOR: Lewton
With him, or for him?

ACTOR: Carlotta
It's hard to say. Are you working with me or for me?

ACTOR: Lewton
I'm working in spite of you.

TOPIC: Regin (*item - if used after the Golden Sword clue has been used)

ACTOR: Lewton
So you went with Regin to the Wharf, but Mundy wasn't there. Then Regin ran you to the Temple and that was the last you saw of him.

ACTOR: Carlotta
That's about the size of it.

TOPIC: Horst (*clue - if used after the Golden Sword clue has been used)

ACTOR: Lewton
Tell me about Horst.

ACTOR: Carlotta
What's to tell? He's a treasure hunter, as ruthless as they come. He'd sell his own mother to get what he wanted. Rumour has it that he pushed his father off the mountain when he was just a pebble.

ACTOR: Lewton
Have you had any dealings with him in the past?

ACTOR: Carlotta
Occasionally. Horst is the kind of troll you try not to work with unless you really have to.

TOPIC: Malachite's Murder (*clue)

ACTOR: Lewton (Hard boiled monologue)
I told Carlotta when Malachite was murdered, and asked her where she was at the time.

ACTOR: Carlotta
I was at a service then, why do you ask?

ACTOR: Lewton
A service?

ACTOR: Carlotta (sultry)
I happen to enjoy services.

ACTOR: Lewton
I bet I would too. Why don't you invite me to one?

ACTOR: Carlotta
I wouldn't be allowed to bring an unbeliever.

ACTOR: Lewton
How do you know I'm an unbeliever?

ACTOR: Carlotta
I doubt you believe in anything.

ACTOR: Lewton
A man can change. Don't you have a recruitment policy?

ACTOR: Carlotta
I'd rather not talk about religion. It's such a controversial subject.

TOPIC: Milka, Stranger asking questions, Two mysterious passengers, Therma is buried in the Selachii Vault, Scrap of Cardboard, Foreign Label, Torn Matchbook, Matchbook, 3712V, Sapphire's Money, Losing Streak, Secret Meeting, Meeting with Therma, Bestial Attacker

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Carlotta
Let's try not to get too side-tracked, Lewton.

TOPIC: Therma, Madame Lodestone, Ilsa and Two Conkers, Laredo Cronk

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Carlotta
Sorry Lewton, I've never heard of them.

TOPIC: Carlotta

ACTOR: Lewton (Hard boiled monologue)
I wasn't about to ask Carlotta about herself.

TOPIC: Lewton's Purse, Crowbar, Back Passage, Troll's Tooth, Something in the River, Grappling Iron, Jewel, Hiding Place, Grapple without Rope

EVENT: Error2 (*Inappropriate topic)

TOPIC: Default

EVENT: Error1 (*Default Lewton asks about message)

ACTOR: Carlotta
Be careful, Lewton - I don't appreciate people wasting my time.

CONVERSATION: Invited to meet the Count

ACTOR: Butler
If sir is not too busy, the master of the house wishes a word with you.

ACTOR: Lewton
And if I am too busy?

ACTOR: Butler
The master of the house still wishes a word with you, and I shall be forced to beg.

ACTOR: Lewton
That sounds like it could be fun.

ACTOR: Butler
Did I say 'beg', sir? I meant, 'resort to violence'.

ACTOR: Lewton
In which case, lead the way.


Gods & Monsters

1. Premise

The story of two brothers, Telamon and Peleus, who were friends of Heracles, voyagers on the Argo and enemies of the goddess Athena. Quest-based gameplay in which the player controls Telamon to fight, but Peleus fights alongside using unique combat mechanics. Together they combine talents to defeat armies and mythic creatures. After playing Telamon and Peleus' story, more quests become unlocked telling tales of different pairs of heroes (e.g. Heracles, Jason etc.). All heroes can be powered up by an RPG-style mechanic.

2. Mechanics

2.1. Controls

PS2XboxMeaningNotes
PS2 - X button Xbox - A button Attack Can press up to four times for a sequence of attacks
PS2 - O button Xbox - B button PowerUsed with direction push to dive, flip etc
Used with Attack to access special attacks
PS2 - Square button Xbox - X button Shoot ArrowIf locked on, fires at target
PS2 - Triangle button Xbox - Y button - Currently unused
L1 or L2LLock On When held, locks player onto target enemy
If no other button pressed, automatically blocks
R1 or R2R Call to Partner Call to Partner Changes between Open, Co-op and Guard

2.2. Attacks & Special Attacks

The player's first three attacks (on the Attack button) come in quick succession; the fourth is more powerful, but much slower. The most efficient way to attack is therefore to get the rhythm of the first three attacks and never trigger the fourth (a standard fighting game mechanic).

Special attacks can be pressed by using the Power button after a different number of Attacks (A = attack button, P = power button, + = 'then press...'):

  • P: if Power is used without a direction (or when pressing forwards), causes a jumping weapon attack carrying the player forward a short distance.
  • A + P: power blow, that knocks back opponent a short distance
  • A + P + P: as above, but followed by the jumping attack to close distance
  • A + A + P: wide arc attack clears surrounding opponents (low damage)
  • A + A + A + P: crushing blow, which can stagger opponent and lower their shield

These different combinations are simple to enter, and hence 'button mashing' still produces useful actions.

2.3. Locking On

Holding the Left trigger locks on to an opponent in the front arc. In this mode, the player can use all of the attacks they can use when unlocked, plus they can press Shoot to fire an arrow at their opponent.

2.4. Partner Trigger

When the Right trigger is pressed, the player's hero calls out to their partner for help. The partner switches between three contexts:

  • Open: partner chooses own targets, staying within about 20 m radius of player.
  • Guard: partner stands back-to-back with player to protect their rear
  • Co-op: partner attacks the same target as the player, using co-operative attack.

Which context the partners goes into depends upon the circumstances, using a highly intuitive system which can easily be learned experientially:

  Final Context
Current Context If no enemy locked If enemy locked on (L-trigger held)
Open → Guard If enemies in rear arc, → Guard Else, → Co-op
Guard → Open → Co-op
Co-op If enemies in rear arc, → Guard Else, → OpenIf enemies in rear arc, → Guard Else, → Open

Informally, when unlocked, pressing Partner trigger switches between Open and Guard. When locked on, pressing Partner trigger switches between Open and Co-op.

If the player is being attacked from behind, pressing Partner trigger instead switches to Guard.

2.5. Armour

To help build atmosphere, the player's state of health is shown visually, by their armour. As they take damage, they lose items of armour. First, they lose their shoulder plate (75% Armour), then their breastplate (50% Armour), then finally their helmet (25% Armour). From 24 to 1% armour they are down to just a loincloth. At 0%, they are dead.

Their partner also has armour, but cannot be killed. Instead, when their armour runs out they automatically go into Guard position (the safest position).

3. The Legends

Initially, only Telamon & Peleus can be played, but the other legends unlock progressively:

  1. Telamon & Peleus: the two brothers travel on the Argo, until Heracles leaves the voyage, and ultimately face off against the daughters of Medusa.
  2. Atalanta & Jason: the first half of the story of the Argonauts, told from the perspective of Greece's legendary female warrior, Atalanta, who is partnered here with Jason.
  3. Jason & Medea: the second half of the story of the Argonauts, as Jason returns to Greece with the Golden Fleece, partnered with his new wife, the sorceress Medea.
  4. Peleus & Heracles: the tale of five of the twelve labours of Hercules (Heracles), told from the perspective of his friend Peleus, who helped him on several labours.
  5. Theseus & Telamon: the legendary story of Theseus and the Minotaur, with Telamon partnering Theseus.
  6. Medea & Atlanta: as Jason betrays Medea, she seeks revenge upon him, and partners with Atalanta for her own legend.
  7. Heracles & Theseus: the story of mighty Heracles is concluded, with him partnered with his cousin and admirer, Theseus. Ultimately, Hercales ascends to Olympus as a god.

4. The Quests

As well as the seven story-driven Legends above, the player can also complete seven quests - one for every hero. This is carried out in Quest Mode, in which the player can take any pair of heroes into any of the game levels. Each hero can acquire a mythic item (the Silver Bow of Artemis, Zeus' Thunderbolt, the Helm of Hades, the Winged Sandels of Hermes etc.) by completing a series of challenges which are 'hidden' in the levels, but marked with the seal of the hero's patron god. The hero then uses the item to complete a final challenge.

For example, Medea's quest begins when her patron deity, Hecate, orders her to acquire the head of one of the daughters of Medusa. To do this, she must find where the Adamantium Sickle is held (the only weapon strong enough to cut off the head), and also acquire the Kibisis Pouch (which can hold the head safely). Only when she has found, and defeated the guardians of, these items, can she go to the daughters of the Medusa and get a Gorgon's head. Then, Hecate sends her into the Underworld to 'rescue' Persephone from Hades, using the Gorgon's head to turn her enemies to stone.

These quests provide a reuse of resources at very little cost, and provide an extended play window, extending the value of word-of-mouth and other consumer-lead market effects.

Additionally, the player receives a letter grade (Epsilon, Delta, Gamma, Beta, Alpha or Omega) for each level in Quest Mode, allowing hardcore players to strive to get Omega on every level.

5. Gameplay Example

This is set in the first Legend, Telamon & Peleus, during the part of the voyage of the Argo when these two heroes were aboard. The player is Telamon; Peleus is their partner.

The Argo has set ashore on the Arcton penisula, en route to the Black Sea and Colchis (where the Golden Fleece is held). Desperately short of food, all the Argonauts are told to go out seeking supplies. Telamon briefly talks to Heracles, whom both he and Peleus have befriended. He tells them that the Arcton peninsula is notoriously home to certain Earth-born giants with a bad reputation. Heracles asks the two heroes to take care, and heads off on his own.

Telamon and Peleus talk amongst themselves as they head out into the peninsula - their conversation is ended by unintelligible talking from a ridge nearby. A short engine cut shows the group of six-armed nine-feet tall giants on the other side of the ridge.

The heroes engage. At first, Telamon wades into open combat (Peleus picks his own targets), but the enemy is strong. Soon, Telamon is surrounded. He tries a wide-arc attack to throw them off, then hits his trigger to call to Peleus ("I need some help here!"). Because there are enemies in Telamon's rear arc, Peleus rushes to fight back to back, guarding Telamon's rear.

They cut the group down to just two opponents, but another giant arrives. This one is twelve feet tall, and is dressed in black armour - the leader of this group. Telamon hits his trigger to free up Peleus ("Go get them..."), and then locks onto the leader of the group. He starts hitting, but the giant's defence is too strong, and it keeps using a shield to block.

Telamon decides to take out the grunts first, then deal with the leader. Still locked, he hits his trigger to assign Peleus to that target ("Keep the leader busy for me!"), putting Peleus in Co-op mode, then releases the lock trigger (Peleus continues attacking the leader).

Locking onto a distant foe that Peleus has already reduced to just a helm, Telamon hits his arrow button repeatedly and the giant falls down dead - but as he does the other giant hits him and sends him flying. He loses his breastplate - he's down to 50% Armour. He's scored a 3-hit combo at the moment from the arrows, and Peleus hits the giant leader 4 times, extending this combo to 7 while the player gets their bearings.

Quickly locking onto the last grunt before the combo fades, he starts hitting it just in time to continue the combo. Because a second opponent has been added to the combo, a x2 appears by the combo count, and after 8 hits (15 hits total) the giant falls.

The player locks back onto the leader (combo x3), but as he does, Peleus' last piece of armour is removed - Peleus falls into Guard ("I can't hold him any longer"). Telamon will have to defeat the giant on his own. After another 4 hits, the player is knocked back and with Peleus in Guard mode, the combo is broken at 19 x 3 = 57. The player's helm is knocked off - they only have 25% Armour left.

Falling back a safe distance, the player locks on and lets loose with arrows. Although Peleus is in Guard, Telamon hits trigger to toggle Peleus into Co-op... since Peleus cannot leave the Guard position without getting some armour, this causes Peleus to shoot arrows to defend Telamon - so the two unleash a rain of arrows together. The giant leader falls, and the highest combo score of the battle (57) is used to upgrade the loot - which includes full armour and a big plus to Attack.

The two carry on, and come to a flock of sheep. Perfect food for the voyage! Telamon tries to grab one, but they run away too fast. Flipping into Co-op ("Help me corner one of these damn sheep!"), the two co-operate to bring down the sheep. They round up the last few with arrows, leaving a dead flock and mutton for all.

The camera pans back to a nearby ridge. From behind it can be see a smooth mound, which rises upwards... then higher... and higher... until a huge thirty foot tall Cyclops shepherd can be seen towering angrily above it's now slaughtered flock!

Telamon locks on, and triggers Peleus into Co-op ("Try and hit its skullcap!"). Peleus begins hitting the Cyclops' skullcap (a context-specified behaviour in this case), which partly covers the single eye. When he does, the shepherd stops briefly to readjust its position. Telamon times his shot perfectly and an arrow pierces the Cyclops' eye, blinding it! The giant comes falls to its hands and knees and begins groping after the two heroes in a blind panic. The adventure continues...

6. Notes

How does the game emotionally involve the player?

  • "Buddy movie" stories following the adventures of various pairings of heroes
  • Vivid, believable recreation of mythic Greece (rather than over-the-top fantasy)
  • RPG structure immerses player as they work to 'power up' their heroes
  • Strong non-linear interconnections between the stories ("Mythological Pulp Fiction")
  • Later quests relate to the relationships between the heroes

How does the game function as wish-fulfilment?

  • Player engages in larger-than-life heroics
  • Epic quest format
  • Player is immersed in famous mythology

How does the game appeal to the hardcore gamer?

  • Multi-level controls allows hardcore players to perfect 'advanced' combat techniques (earning greater rewards in terms of character advancement by using combos to 'upgrade' power ups)
  • RPG-style format popular with hardcore
  • "Fantasy" settings popular with hardcore
  • Constant unlocking of materials (new heroes, then mythic items) forms addictive motivating factor

How does the game appeal to the casual gamer?

  • Easy controls, allows the player to "button-mash" and still progress
  • RPG format allows less-expert players to "level up" to tackle tougher quests
  • Immersive mechanics (very little displayed as HUD overlays) builds atmosphere
  • Quasi-historical setting provides easy identification with game world

Market notes

  • Greek monsters are the most recognisable mythic creatures in the West and are perennially popular (especially amongst young males)
  • Shin Sangoku Musou (Dynasty Warriors in the West) series succeeded incredibly in the Japanese market (top five sales positions) by drawing on an identifiable mythology - the Three Kingdoms. (This Three Kingdoms setting is extremely famous and popular in Japan and China). Gods & Monsters presents a Westernised version of this approach, using a recognisable Western mythology as the basis for the game.
  • Multi-character progression (through reuse of materials in new story contexts) creates longer play window for hardcore players, resulting in longer shelf life and greater capacity to cross over into the casual audience.

War Machine

1. Introduction

This document outlines a hypothetical 'license-neutral' turn-based war game. This game is designed with the following goals in mind:

  • Simple to learn, fun to play
  • Hit a large target audience (hardcore, casual and other demographics)
  • Initial release on PS2
  • Cartoon-style warfare (i.e. abstract and entertaining, not gritty or bloody).

This game should be simple to implement, but fun to play.

2. Licence Issues

This concept has been created license neutral, meaning any arbitrary license could be attached. However, it must be noted that every license has its own strengths, limitations and identity: the attachment of any license to this concept would require the generation of a new concept document.

3. Platforms

PS2 is listed as the core platform, but for the same price as developing for this console, a PC version could be added at essentially no extra cost. There is wisdom in developing cross platform using (for instance) Renderware studio, as then the game can be put out on all formats, maximising its audience penetration.

4. Overview

The game is tailored for multi-player games in the 30-45 minute duration (a single player game uses the same mechanics, but with AI opposition). This makes it ideally suited to a younger audience, or as a 'post-pub' game.

The gameplay is constructed of the following key features:

Map: Land in the centre; sea on the outside
The game is set in a continental map, with land in the centre, and sea around the outside. These maps are generated randomly (by fractal noise synthesis or other terrain generation methods) and are fully deformable, changing as the war takes place in response to explosions, trench digging etc.

Viewpoint: Top down, but camera stick allows any view
The game's default view is top-down, as this allows everyone to see how everything fits together simply and easily. The camera stick (right analogue stick on PS2) allows the rotation or tilting of the view, and the control stick (left analogue stick on PS2) allows moving around the war zone.

Units: Huge numbers; autonomously operating
When a unit is added to the map, it will generally be a small horde of units (4 to 32 units) which will operate autonomously. Each unit has its own behaviour e.g. anti-aircraft guns automatically shoot at any nearby enemy planes, tanks automatically surge towards enemy targets to take them out. Every unit has its own behaviour, although the player will have some ability to assign 'battle plans' on top of this base behaviour.

Turn based: player makes a single choice, then sees the outcome
Each player takes turns to make their gameplay choice - after which, the results of their troops movement and firing is shown. Other players may have units involved in any fight, since the fighting is autonomous.

The War Machine: The player chooses a unit from a randomly-filled conveyor belt
Rather than using a resource mechanic, or giving the player direct control of the units, the player makes all their gameplay choices from the War Machine. This is essentially a conveyor belt with seven 'slots' on it. Units drop in at the left, and the belt moves on a slot every turn. The player's action each turn is to pick any one unit to put into play. Any units not picked by the end of the belt will fall into a bin and be lost.

Sets of Units: Five different types of unit create an entertaining mix
All units belong to five different sets: Land Troops (Green), Sea Troops (Blue), Air Troops (Gold), Defences (White) and Mad Science (Red). The more the player picks from one set, the more that set is represented. For example, a player who specialises in the Land Troops set will gradually get more and more powerful ground troop units appearing on their belt. Similarly, a player who picks lots of Mad Science will get wackier units appearing on their belt as the game progresses.

Plans: Altering behaviour
As well as units, the War Machine will also have Plans dropped onto it. These can be selected to allow the player to pick targets. For example, a Ground Offensive Plan can be picked, and the player pick a target - then all ground forces will converge on that point - or a Blitzkrieg Plan, which causes all their troops to attack everything within a certain radius of a chosen point.

Backfire: Some unused Plans will blow up in the player's face
Some Plans can backfire (and are marked accordingly). If such a Plan is allowed to fall off the end of the War Machine conveyor belt, the plan fires off at a random target, causing chaos on the battlefield (audio tells the player, for instance, "Your tanks have decided to attack all enemy airstrips"). Every player starts with one of these on their belt to force the player to pick an enemy to attack within the first few turns.

The result is a game which is quick to learn but which has a great deal of chaotic variability to keep players entertained.

5. Example of Play

Four players sit down for a game of 'War Machine'. Each picks a package of starting units from a collection on offer. Each starting package contains a mix of units from the five different sets on offer - Land, Sea, Air, Defence or Mad science. (Players can also build their own starting packages, but this is an activity for players to do in their spare time - not at the start of each battle).

Deployment Phase

All player's starting units are placed automatically on the map for them. These starting units form the infrastructure of their military machine, and include an HQ. This cluster of units determines the extent of the player's initial territory.

Territory is important to the game; when a unit selected from the War Machine is placed upon the map, the number of troops that appear depend upon their location - the player gets more troops if their units are placed in their own territory, and far fewer if placed in an enemy-controlled region. This makes placing units very tactical.

Abe (Player 1, turn 1)

Abe goes first. His turn consists of looking at his War Machine (the conveyor belt of new units), picking a single unit, then placing it upon the map before the timer ticks down to nothing.

Abe has chosen a mix of Land, Sea and Defence units as his starting package, and decides to play defensively. One of the units on his starting conveyor belt is a Gunboat, and he decides to pick that. He puts it on the map in the ocean near his starting flotilla (the pride of which is a single Destroyer). Because he places the boat in an area he controls strongly, a good number of Gunboats are added (16 or so).

After placing the unit, his flotilla performs its default behaviour - patrolling Abe's ocean territory.

Beth (Player 2, turn 1)

Beth has chosen a package that mixes Land and Air troops, and has a Bomber on her conveyor belt. She decides to pick that, and can only place it near an Airport. Since she only has one, it must go there.

Carl (Player 3, turn 1)

Carl has decided to go the madcap route and has gone for Defence and Mad Science. His pre-deployed units include the Mad Scientist unit 'Mole Machine', which digs tunnels that ground troops can use as short cuts around the world.

For his turn, Carl picks a Plan off his conveyor belt: 'Guard Duty'. This allows him to pick an area to concentrate defensive troops around, and he chooses around his Lab building.

Carl's Mole Machines immediately start making tunnels around the outside of this Lab's perimeter, so any guard troops can quickly reach anywhere nearby to defend.

Dawn (Player 4, turn 1)

Dawn has gone for a bit of everything, and her starting troops lack any real focus. She notices that her pre-deployed units featured no air units, so she decides to pick an Airport from the conveyor belt. In the future, she will be able to select air units from her conveyor if she wishes.

Abe (Player 1, turn 2)

Abe picks a 'Beach Head' plan (a Blue plan). This plan allows Abe to choose a sea-to-land attack point for use by his marine forces. He decides to attack near Beth's Airport.

Abe's flotilla moves as much as it is allowed, which is close enough for them to start shelling the Airport. Beth's aircraft automatically take off and start bombing Abe's flotilla.

Several units are taken out.

Beth (Player 2, turn 2)

Annoyed at Abe's unprovoked attack, Beth is tempted to pick the Helicopter Gunship that has plopped onto her conveyor belt at the start of this turn. But she has a problem. There's an 'Air Strike' plan at the end of her belt, which will fall off at the start of her next turn. This has potentially disastrous Backfire consequences, making choosing it the safer option. (It would also allow her to target Abe's forces directly, drawing all her aerial troops into conflict with his boats).

As the timer ticks down, Beth is pressured into making a decision. She decides that her desire to decisively smite Abe's ships outweighs caution, and she chooses the Gunship, leaving the eventual effect of the Air Strike plan to fate.

She picks the Gunship and adds it to the airfield, spawning a dozen or so deadly little helicopters. All her aircraft concentrate their fire on the nearest aggressor, Abe's Destroyer, sending it to the depths of the ocean.

Carl (Player 3, turn 2)

Carl sees a 'Giant Lizard' Mad Scientist unit drop onto his conveyor belt. The Mad Scientist set contains many such 'accident of science' units, which are irresistible to players like Carl. He can place it anywhere on the map, but it will attack everything it finds (even his own troops) - and the closer to his own territory he places it, the bigger it will be.

Carl opts to drop it about halfway between his Lab and the battle between Abe and Beth.

A reasonably large giant reptile appears and immediately heads towards the biggest source of carnage - the air-sea battle. Abe and Beth's troops split their fire between each other and the menacing lizard.

Dawn (Player 4, turn 2)

Dawn is about to have a 'Blitzkrieg' plan (all troops attack a target) fall off the end of the belt, and rather than have it backfire, she picks it and targets the Giant Lizard, figuring that everyone wants that off the map. Dawn's small pre-deployed force attacks the beast.

This way, she avoided making any enemies - for the time being. The battle with the giant lizard continues...

Abe (Player 1, turn 3)

Abe has so far picked two Blue sea-based units, and so the chance of him receiving another Blue unit at the start of his turn is increased. A Battleship drops onto the belt, but deciding to wait until the Lizard is dealt with, Abe picks a White defence unit from the belt (Artillery).

His artillery can only hit slow targets, and therefore concentrate their fire on the Lizard. A direct hit results in a mighty roar, and the Lizard is defeated. Carl groans.

Beth (Player 2, turn 3)

At the start of Beth's turn, the progress of the conveyor drops the 'Air Strike' plan into the hopper, as a new unit is dropped onto the head of the belt. The Air Strike backfires. The outcome is randomly generated from a set of options - in this case a random target is picked. Beth is lucky, and watches with glee as her air troops choose to attack Abe's remaining Gunboats. Abe curses, expressing his distaste regarding this development.

For her turn, Beth picks some tanks from the conveyor and places them at the centre of her territory, to defend herself from any incursions.

Carl (Player 3, turn 3)

His Giant Lizard defeated, Carl chooses an 'Automated Factory' unit. This means he now gets two units added to his belt each turn, giving him more choice, but two units will fall from the belt each turn as well, greatly increasing the odds of a Backfire occurring. Additionally, the automated factory will cause all Mad Scientist units to Backfire. Carl seems more concerned with causing carnage than winning...

This choice has no impact upon the current state of the war. The screen shows many tiny units firing intently at one another, with occasional explosions and colourful animations of scurrying troop movement.

Dawn (Player 4, turn 3)

Still walking a defensive line, Dawn picks Fort off her belt and places it at the edge of her territory. Having failed to select new troops during the game, her pre-deployed troops are looking a little ragged; they gratefully begin to retire to safety, to lick their Lizard-bite wounds.

Abe (Player 1, turn 4)

The Giant Lizard and Beth's air force have wiped out most of Abe's flotilla. A 'Tactical Retreat' Plan drops onto his belt, and he decides to take it, bringing what's left of his navy back to his original base. This also resupplies them, and several new Gunboats are added to bolster the surviving forces. Since he has no Destroyers left, these are not replaced.

Beth (Player 2, turn 4)

Beth is feeling pretty flush with her victory, and decides to press the offensive. Abe's artillery could be a problem once she starts moving on the ground, but there isn't a plan on the belt that can help.

Instead, she picks a Tank and places it deep into Abe's territory. Since it is outside of her controlled area, it comes in as a single Tank troop - it's no threat, but it could have nuisance value.

Carl (Player 3, turn 4)

A 'Landscape Gardening' Plan falls off the back of Carl's belt; the backfire causes this Mad Scientist unit to be deployed upon a random map location. The area has its landscape rearranged, creating a small inland lake and a ridge of mountains.

Of the two new units upon Carl's belt, one is another Automated Factory. Carl giggles and adds it to the map... now three units will be added to his belt per turn, and three things will fall off... he will have things backfiring left right and centre.

A 'Blob' unit is sat upon the end of Carl's belt. Since it is a Mad Science (Red) unit, it will backfire at the start of his next turn, which will cause a giant blob of gelatinous material to appear at a random location near his Lab, and begin to expand...

Dawn (Player 4, turn 4)

Dawn noticed Carl's imminent Blob, and decides that her defensive strategy has been justified. She has chosen many White defensive units during the game, and so better defensive units are more likely to appear.

This turn she receives an 'Underground Bunker' unit, which she chooses, hoping that it will provide her with an HQ better suited to withstanding the chemical terror of the Blob... Perhaps if she hides underground, the other armies will defeat each other and leave her alone...

The battle continues...


Corruption

1. Overview

Battle to become President of the United States by lying, cheating, backstabbing and sleeping your way to the top.

This game is a fast-paced board-driven mini-game product (c.f. Mario Party, Bishi Bashi). The USP is that the game is built around a tongue-in-cheek take on US elections - rather than an abstract game mechanic linking the mini-games, each game becomes the story of a particular election - complete with comedic political commentary.

Assume PS2 as platform.

2. Gameplay Description

This section presents a full overview of the game. Specific mechanics are discussed in the relevant sections below.

The core of the game revolves around multiple mini-games. These games are easy to learn, but competition with other players creates great replay value. Two players play each mini-game in competition, a situation ideal to the two-pad standard format of the Playstation consoles. Up to four players can play, swapping pads when necessary.

The results of the mini-games are reflected in the 'board' aspect of the game, which presents a fictional, comedic race for the US presidency. The only choice required by players during this phase of the game is to choose a mini-game to play. This simplicity is vital in a fast-action , after-pub multiplayer game.

2.1. Game Flow

  • Each player takes the role of a presidential candidate.
  • The players are presented with a game board featuring eight States (actually groups of states) and around twenty-four cities.
  • Each candidate takes a turn. During their turn, a player chooses which city to visit. Each city has a (randomly assigned) mini-game associated with it.
  • Players compete against one another in mini-games to win Assets and Popularity, which determine voter response in the eight States.
  • The game takes place over a set number of turns. The winner is the player who has control of the most States when the last turn is completed.

2.2. Assets

  • Candidates gain and lose Assets by winning and losing in mini-games.
  • Assets are game representations of political policies and a candidate's appeal to different voting demographics.
  • Each State votes for candidates with certain set Assets. For instance, Texas might respond to the Assets FAMILY, HIGH SOCIETY, HEALTH and INDUSTRY. Candidates holding Assets in this group will be popular in Texas.
  • Each mini-game has specific Assets associated with it - the player can therefore target Assets they particularly want.
  • As Assets are won and lost, polls are recalculated in each of the game States, and their colour is changed to show the prevailing opinion of the voters.

2.3. Secrets and Popularity

  • Like Assets, Secrets are won by competing in mini-games.
  • A Secret represents a personal factor in the life of the candidate, which may help them achieve their goal (e.g. ties to organised crime, a supportive wife, a history of bribery etc.).
  • Secrets add to a politician's Popularity.
  • Popularity is the second factor that contributes to votes. A player's Popularity and Assets combine to determine their standing in the game States.

2.4. Smear Campaigns

  • If a mini-game is tied, or a 'Scandal' icon is accessed, a Smear Campaign is instigated.
  • During a Smear Campaign, players take it in turns to reveal their Secrets, until a Scandal is revealed.
  • When revealed, Secrets can damage a candidate's Popularity - or damage the reputation of the other politicians (if the muck-rakers fail to find anything controversial).
  • Players therefore have the choice to play as a dirty politician (who receives more support but risks being found out), or as a clean politician (who cannot be smeared but has less underhand support).

2.5. Endgame

  • The last eight turns of the game involve the election.
  • During each of the last eight turns, one State decides which way to vote (based upon the Assets and Popularity of the candidates) and a player then wins this State. Later changes to Assets or Popularity cannot alter this outcome for that State.
  • During the election, Scandal icons appear on the map. Candidates may visit these to instigate Smear Campaigns, in an attempt to damage their opponents.
  • When all States have cast their votes, the game ends and a President is declared.

3. Game Map

The hub game map graphically depicts the battle for the presidency.

  • The main play area is depicted as a stylised 3D map of the US.
  • States are depicted as groups (so that the boring states can be ignored).
  • Each collection of states will change colour to the player's colour if they are ahead in the polls.
  • Approximately 24 cities are marked iconically on the map, and each city has a mini-game icon above it.
  • When a player takes their turn, they move around the map by pushing in a direction.
  • Movement is shown on the board by car, train, or plane, using fixed links. Car is the slowest, plane is the fastest.
  • Each player has 10 seconds to reach a new city on their turn
  • If a player doesn't reach a city, they are given a Secret (see below). It is not hard to reach a city, but this gives players the option to choose a Secret rather than play a game.

The player will trigger a mini-game each turn, which they will play against another player. Each mini-game has a particular asset associated with it. The game opponent will be the player who currently controls that asset, or a random opponent (if that asset is not owned by a player).

4. Assets and States

4.1. Assets

When a player wins their own mini-game (i.e. a game they chose to play on their turn), they receive one of the following Assets:

  • Support of a demographic group: this may be YOUNG/FAMILY/ELDERLY and HIGH SOCIETY/MIDDLE CLASS/WORKING CLASS e.g. 'Young Working Class', 'Elderly High Society'.
  • A Policy on INDUSTRY, EMPLOYMENT, CRIME, HEALTH or ENVIRONMENT - or the ever-popular VAGUE PROMISES Policy.
  • A Secret (see below).
  • The FLOATING VOTER (this Asset breaks all election ties and changes hands often).

Each player's Assets are depicted iconically on screen.

4.2. States

The states in the game are:

  • California
  • East Coast States
  • Florida
  • Great Lakes States
  • Midwest States
  • New York
  • Southern States
  • Texas

Each State has a different voting tendency. The player with the greatest number of relevant Assets gets more votes, and so is in the lead in that State.

For example, Texas might vote for politicians who hold the Assets FAMILY, HIGH SOCIETY, HEALTH and INDUSTRY.
  • Player One has the support of YOUNG HIGH SOCIETY and a HEALTH POLICY;
  • Player Two has the support of the ELDERLY WORKING CLASS and the FAMILY MIDDLE CLASS.
Player One would be in the lead in Texas - but different States have different voting tendencies.

The nature of the states would be discussed in commentary - it is not necessary for the player to know the various needs of the states, since the basic rule is 'get the most stuff and you'll win'.

5. Secrets

5.1. Getting Secrets

Secrets contribute to a player's Popularity - their base level of support.

  • Players start with one Secret.
  • When a player 'blocks' another player's attempt to get Support or Policy (i.e. a player wins a mini-game that was selected by another player), they are awarded another Secret.
  • A player receives a Secret if they do not campaign for a turn (i.e. they don't move their politician to a city in the ten second limit).

When the player is awarded a Secret:

  • Four choices of Secret are shown on screen, each with different meaning. Player uses one of the four face buttons to secretly choose one of the four.
  • All players end up with a collection of 'hidden' Secrets, which are aiding their campaign either by boosting their Popularity or by secretly doing something nasty.

5.2. Smear Campaigns (Tiebreakers)

Whenever a mini-game results in a tie (and a player selects a Scandal mini-game icon on their turn), a Smear Campaign tiebreaker happens. Here each player takes turns to expose Secrets until a Scandal is exposed (think: Russian roulette but with private lives, not bullets).

5.3. Types of Secret

There are four types of Secret:

  • Ho Hum secrets are worth +1 Popularity.
    e.g. 'Down with Cabbage'.
    These are harmless if exposed
  • Scandal secrets cause the player who takes them to miss a go if the other players uncover them - but they are worth +3 Popularity while they remain hidden.
    e.g. 'I Smoked Dope (But I Didn't Inhale)'.
    If a player is caught with a Scandal secret they lose support and are frozen out of the voting for one turn if the election is in progress.
  • Criminal secrets set traps on the game board for other players.
    e.g. a 'Mafia Connections' secret means that other players may get assassinated if they pass through certain cities (causing them to miss a turn and be temporarily out of the voting).
    If a player is caught with a Criminal secret they lose support and are frozen out of the voting for two turns if the election is in progress.
  • Squeaky Clean secrets backfire if another player uncovers them (they have no benefit to the player, they are 'traps' to catch aggressive muck-rakers)
    e.g. 'Clothe the Lame Orphans'.
    If a player is caught with a Clean secret, the player who uncovered it loses support and is frozen out of the voting for one turn if the election is in progress.

    Note: players must have at least three boring (Ho Hum) secrets before they are offered Squeaky Clean secrets.

The player who has chosen to be 'squeaky-clean' will therefore always win Smear Campaigns - but will have less support than a dirty politician with a lot of skeletons in their cupboards.

6. Ending the Game

The election takes place during the last eight turns of the game. At the end of each of these turns, one State will finalise its vote. After this point, that State has been won, and the outcome cannot be changed.

During the election phase, Scandal icons appear in any cities on the board where mini-games have already been played. If a player moves to one of these, they initiate a Smear Campaign. Because Scandalised players are frozen out of the voting, Smear Campaigns become vitally important in the last few turns of the game.

Once the eighth election turn is over, the results of voting in all States is finished, and a President is elected. If a tie has occurred, a recount is instigated, totalling all of the votes across all States.

7. Mini-games

7.1. Overview

Fifteen different mini-games would be featured in three different categories:

  • Public Eye (gain Support Asset): skill-based (e.g. rhythm-action) and a few button mashers (e.g. Track and Field style).
  • Media Circus (gain Policy Asset): reaction-based games requiring the player to press the right button quickly in response to something on screen.
  • Special Events: e.g. assassination attempts. These happen in response to Secrets.

All mini-games are two player, with the opponent being dictated by the Assets up for grabs. E.g. if the player is doing a Media Mini-game to announce a Policy, whoever already has that Policy will be the opponent (as they 'defend their Policy').

7.2. Public Eye Example: Factory Handshakes

  • A small factory map is laid out - looking much like a Pac Man board.
  • The two players rush around the factory map trying to shake hands with as many of the factory workers as possible by moving past them.
  • The last player to pass a factory worker determines the colour that factory worker turns.
  • An Angry Protestor moves around the maze as a 'ghost' to chase the players, stunning them if he touches them.
  • Winner is the player who has the most factory workers in their colour - they get WORKING CLASS support.

7.3. Media Circus Example: What's the Question?

  • The two politicians are shown at podiums. A mass of reporters is in the foreground.
  • Speech bubbles pop up periodically with a face button icon (e.g. 'X') on them.
  • The person to press the button first scores a 'point' and the other politician's head gets bigger.
  • If a player presses the wrong button, their politician's head gets bigger
  • The person who 'bursts' the other player's head by answering the most questions (pressing the correct buttons) wins
  • Winner gets the VAGUE PROMISES policy.

7.4. Special Example: Assassin!

  • Played on a small top-down city map.
  • The player who set up the Assassin game (which happened from a Secret - see below) plays the assassin and controls crosshairs.
  • The other player is the target and controls a limo - they only have 'accelerate' and 'U-turn' as buttons.
  • The limo player must complete one circuit of the city (in either direction) to win.
  • The assassin player has three shots to try and hit the other player.

8. Summary of Play

  • Players kick off with nothing but a Secret to their name.
  • They move around the board on their turn, choosing a mini-game by going to a particular city.
  • They compete with an opponent (chosen by context) to win the mini-game, getting Support or Policies for doing so.
  • On other player's turns, they may be chosen as opponents and get to win Secrets.
  • Secrets may cause special mini-games such as Assassination Attempts.
  • Near the end of the game, States declare who they have voted for according to the player's Popularity, Support and Policies.
  • The player with the most States at the end of the game wins.

9. Commentary

On each player's turn, context-sensitive dialogue reports on the state of their campaign as the player moves to their next city.

A series of cross-linked scripts keeps this dialogue fresh and new, with plenty of comedic side-references to real political events.

This dialogue also functions as a built in tutorial.

Because the turn time-limit is set, commentary is not intrusive.

10. Proposed Budget

This game is intended to be developed on the PS2 for approximately $176,000.

11. Intended Audience

The game is intended to appeal to a broad range of players. The simple controls allow players of all abilities to compete, and the variety of mini-game styles means that a single player is unlikely to dominate.

The 'political satire' of the game, presented in a broad, inoffensive, comedic manner will appeal to the growing number of young people who are becoming interested in national and world politics, due to the events since the election of George W. Bush. This demographic also supports strong interest in playing simple, communal games in an 'after-pub' context. Such a group is likely to impulse-buy an interesting-looking multi-player game at a cheap price.


Discworld Noir - Helpline Script

Extract - Act 1 only

File 1

Welcome to the Discworld Noir helpline. To find the best advise for your current predicament, please select the first response that applies to you from each of the lists of options that are given.
Please start by pressing the number of the Act you are stuck in, 1, 2, 3 or 4.

1) Goto 2
2) Goto 20
3) Goto 67
4) Goto 110

File 2 - Act I: While Ankh-Morpork Sleeps

If you have not yet met the big troll named Malachite, press 1.
If you haven't met Ilsa, press 2.
If you haven't been to Pier Five, press 3.
If you have not been to the Mausoleum yet, press 4.
If you have not been to the Von Uberwald Mansion, press 5
If you have met all these people, been to all these places, press 6.

1) Goto 3
2) Play 4
3) Play 5
4) Play 6
5) Play 7
6) Goto 11

File 3 - Before Malachite

If you are stuck because the only locations you can reach are Lewton's office and the Wharf, press 1.
If you have not managed to get on the Milka yet, press 2.
If you have been on the Milka, but have not been to Pseudopolis Yard, press 3.

1) Play 8
2) Play 9
3) Play 10

File 4

Talk to Nobby at Pseudopolis Yard about the Two Mysterious Passengers clue. You will need to do this twice in two separate visits, although if you have already spoken to him in the Café Ankh about this clue, that will count as the first time. After the second time, go to Café Ankh and Ilsa will be there.

File 5

Get the label from out of the flotsam in the Milka's hold and talk to Ilsa about it. This will allow you to get to Pier Five.

File 6

Talk to Sapphire in the Octarine Parrot about Therma to get the Madame Lodestone clue, then talk to Nobby about Madame Lodestone to gain access to the Mausoleum.

File 7

Provided you have been to Pier Five, there should be an invitation from Carlotta waiting for you near the door to Lewton's office. Read it, and then head over to the sinister Von Uberwald Mansion.

File 8

Talk to the First Mate in the Wharf about the Milka clue. This will allow you to reach Café Ankh.

File 9

In order to get on the Milka, you will need the crowbar which can be found on a cart outside Café Ankh. Use the crowbar on the single crate on the Wharf when the sailor is absent (if the sailor is present, exit and re-enter). This will allow you to get onboard the Milka.

File 10

Talk to Nobby in Café Ankh about his main topic, the Vimes topic and Milka clue. You can now get to Pseudopolis Yard (although give Nobby a chance to get back there before you try and visit).

File 11 - After Von Uberwald Mansion

If you have not been to Rhodan's Workshop, press 1.
If you have not spoken to Carlotta in the Mansion, press 2.
If you have not managed to get the grapple from Malachite, press 3.
If you have the grapple, press 4.

1) Play 12
2) Play 13
3) Play 14
4) Goto 15

File 12

Talk to Sapphire in the Octarine Parrot about the Malachite clue. This will allow you to get to Rhodan's workshop.

File 13

Select the Invitation from the inventory when talking to the Butler. When he has left to collect her, look at the painting and she will arrive.

File 14

Get the Selachii Family Mausoleum clue by interacting with the tombs in the Mausoleum. Then, talk to Carlotta about the Selachii Family Mausoleum clue and you will eventually get the Therma in Vault clue. Talk to Malachite about this and you will be able to get the grapple from him.

File 15

If you do not have the Scrap of Cardboard, press 1.
If you do not have the Torn Matchbook, press 2.
If you have not put them together, press 3.
If you have put them together, press 4 to find out how to finish Act I.

1) Play 16
2) Play 17
3) Play 18
4) Play 19

File 16

The Scrap of Cardboard can be found by searching the bottom bunk in the stateroom on the Milka.

File 17

Use the grapple on the ledge at Pier Five to get into the warehouse. The Torn Matchbook is on the floor here.

File 18

Pick up either the Scrap of Cardboard or the Torn Matchbook and use it on the other. This will give you the Matchbook object, which you will need to complete Act I.

File 19 - Finishing Act I

Go to the Octarine Parrot and talk to Mankin about Mundy and then the Matchbook. Then use the Lying topic to get access to Mundy's room and enter to end Act I.


Discworld Noir - Manual Extract

Minimum System Specification

In order to get the most out of Discworld Noir you will need:

  • P133 or greater IBM-compatible computer (P166 recommended).
  • 16 MB of RAM (32 MB recommended).
  • Windows 95 or Windows 98.
  • 8-speed CD-ROM drive (16-speed would be even better1 ).
  • Sound card and amplified speakers or headphones.
  • Single hemisphere electro-colloidal brain with cognitive functions (twin-hemisphere recommended2).

Installing the Game

Insert the CD in your CD-ROM drive. If you have Autorun enabled, it will (unsurprisingly) automatically run and all you need do is follow the instructions on screen.

If not, select Run from the Start menu, select your CD-ROM drive using the Browse button and select Setup.exe from the file menu. You should then be in the same boat as the people whose Autorun is working, except they got there first and will have eaten all of the supplies.

After installation, you will be asked if you want to put a shortcut to Discworld Noir on your desktop (your choice - no pressure) and then you will be asked if you want to play Discworld Noir now - and of course you do, so select yes and you are on your way.

Playing Discworld Noir

Starting the Game

From the title screen you can start a new game or resume the last game you were playing. Since you haven't started playing yet, you'll probably want to start a new game, although you may feel the need to play about with the Options because you just can't see a button without feeling an irrepressible need to push it. When you start a game of Discworld Noir, an introduction to the game will be shown. If you have already watched it, you may bypass it by pressing the ESC key.

Hint: In general, ESC will allow you to skip any animated sequences in the game, or to advance through the conversation you are having with a character.

After the introduction (whether you watch it or not), the game will start. If you wish to load a previous game, press F1 to call up the Options menu (see later).

Using the Mouse

All of the game activities in Discworld Noir can be controlled by using your mouse. If you do not own a mouse, see the Using the Keyboard section later in this manual3. The mouse buttons are used in three different ways:

  • Click means to press the left mouse button once.
  • Double click means to press the left mouse button twice in quick succession.
  • Right click means to press the right button once4.

The lead character in the game is Lewton, a private investigator. You are in control of him from the moment when the cursor first appears on the screen.

Using your mouse, move the cursor around the screen. You will soon notice that any areas or items of interest on the screen are tagged. This means that their names are displayed on screen whenever you point at them with the cursor. While you may explore anywhere on screen, it is only these tags that are important in completing the game. As well as text tags, there are also exits. When you point at an exit from a room, the cursor changes into an arrow pointing in a particular direction according to where the exit leads.

Hint: If you are stuck, it is worth checking that you have found all the tags in the rooms you can get to. A good habit to get into is 'sweeping' any new room you visit for tags. It is also worth remembering that some tags may change with time - it is up to you to decide which tags are likely to change.

Lewton's Mouse Controls

The following describes Lewton's basic commands:

  • Walk: To make Lewton walk to a specific point on the screen, click on the place you want to go to. He will then walk across to it, or as near to it as possible. If you click on a tag, Lewton will walk over to it.
  • Interact: To cause Lewton to interact with a tag, double click on it. The result of the interaction depends on what the tag is and possibly also on what Lewton has previously done. It will also depend to a great extent on what you have in Lewton's 'hands'5.
  • Look: To have Lewton look at a tag, right click on it. Lewton will then describe what he sees.

Hint: There is a big difference between looking at a tag and interacting with it. For example, if you see some soot in a chimney, looking at it will cause Lewton to examine it closely. Interacting with it might cause Lewton to take some of the soot, or to try and clean it from the chimney.

Change of Views

In some locations, walking to a certain part of the area will cause the camera angle to change, providing a close up or alternative view of the location. Changes of view may also occur when you look at or interact with a tag.

Exits

The exits from a location are shown on screen by arrows. Some exits will take you to a new location, some to a different part of the current location and some back to the streets of Ankh-Morpork. To use an exit, simply click on it and Lewton will walk over and go through it.

Hint: If you are too impatient to wait for Lewton to walk to an exit, you can double click on the exit tag (a pointing arrow) and the scene will immediately cut to the next location.

Interacting

Lewton's interaction with tags will include talking to other characters (see Conversations) and looking for clues. Occasionally, Lewton may interact with a tag in a more physical manner. There are no hard and fast rules, but you will quickly get the hang of how interacting works6.

Inventories

The Notebook

Clues

The notebook is an inventory for clues. When Lewton hears or sees something of interest, he writes it down in his notebook as a clue. As the game progresses, Lewton will accumulate more and more clues which can be used to solve the game. You can access Lewton's notebook either by pressing F3 or by clicking on Lewton and selecting the notebook icon from the window that opens.

You may 'pick up' a clue by clicking on it, and then use the clue by interacting with game tags while the clue is in Lewton's 'hands'.

Hint: Clues are the key to completing the game. Whenever you get a new clue, you should think about how that clue impacts on what you already know, and who you can usefully talk to about that clue. Also, just because you've talked to someone about a particular clue doesn't mean you shouldn't talk to them again, if something else sheds new light on the situation.

Notebook Structure

The notebook consists of a number of pages, upon which are written the clues that Lewton has found. Each page has a title that will allow you to find the clue more quickly in the future. The first two pages in the notebook are the contents pages. On these pages are the titles of all the other pages in the notebook. Double clicking on the title of a notebook page will take you to the appropriate content page, and double clicking on one of the entries on a contents page will take you to the page with that title. Note that the cases entry on the first contents page will take you to the second contents page.

Some clues will appear on more than one page in the notebook. Such clues are known as hyperclues. Double clicking on a hyperclue will take you to the other page that the hyperclue appears on. This allows you (with a little experience) to zip around the notebook to your heart's content.

Notebook Commands

The following commands can all be carried out from the notebook:

  • Muse about clue: Right click on the clue you wish Lewton to think about, exactly as if you were examining a tag. Do this if you've forgotten what a particular clue was about, or to hear Lewton's thoughts about a particular clue.
  • Holding and Linking clues: When a clue has been clicked on, it becomes 'held'7. It can then be interacted with (double clicked on) another clue or a tag in an attempt to make a connection between them. Most of the time, clues will have no connection to each other, but occasionally attempting to link clues like this may cause Lewton to make a realisation that may add a new clue to the notebook.

    Hint: Lewton can also Link clues to tags and objects as well. All you need to do is 'hold' the clue and double click on the appropriate tag or object.

  • Exit notebook: Click outside of the notebook window (or press ESC) to exit from it.
  • Next page: If you click on the bottom right hand corner of the notebook, Lewton will turn the page onto the next page in the notebook. You can achieve the same goal by pressing PAGE DOWN.
  • Previous page: Clicking on the bottom left hand corner of the notebook causes Lewton to turn back to the previous page. Note that this is the page before it in the notebook, not the last page you were displaying. If you use hyperclues to move between pages of the notebook, clicking here will not send you back to the last page displayed. The same effect can be achieved by pressing PAGE UP.
  • First page: you can go to the first page in the notebook by pressing HOME.
  • Last page: similarly, you can go to the last page in the notebook by pressing END.

The contents and size of the notebook will grow as the game proceeds. Also, clues that Lewton has decided are no longer important will become crossed out. If a clue is crossed out in the notebook, you can be certain that you have done everything that you needed to do with it8.

Hint: to 'drop' a clue you no longer need, you can right click. This will only work if there are no inventory windows open and you do not have a tag selected on screen. Alternatively, you can double click on Lewton or the Notebook to get rid of the currently 'held' clue.

The Object Inventory

Lewton's Bag

As well as his notebook, Lewton has a bag in which he puts any objects he happens to find9. This is the object inventory (often, 'the inventory') and can be accessed by clicking on Lewton and then on the bag icon, or by pressing F2. At the start of the game you will have one object - Lewton's purse. You will collect others as the game progresses. Unlike other computer adventure games, the number of objects in Discworld Noir is quite small. Most of the game depends on clues, not on objects.

You may pick up any object in the inventory by clicking on it, and then use the object by interacting (double clicking) with game tags while the object is in Lewton's hands10.

Inventory Commands

  • Muse about object: Just as with clues, if you right click on an object you will get Lewton's comments on that object.
  • Examine object: for a more detailed commentary, you may double click on an object. Lewton will then examine the object closely, and make any appropriate comments.
  • Pick up object: clicking on an object allows Lewton to pick it up.
  • Drop object: clicking in an open space in the inventory window will cause Lewton to drop the object he is carrying.
  • Combine objects: this is the equivalent of linking clues (see above). Pick up an object and then click on the object you wish to combine it with. If it is possible for the objects to be combined, Lewton will tell you what happens. Otherwise, he will respond as if you attempted to link them. Objects can sometimes be combined with tags.
  • Exit inventory: Click outside of the inventory window (or press ESC) to exit from it.
  • Scroll inventory: Clicking on the arrows by the scroll bar will move the inventory up or down one row. clicking above or below the scroll bar indicator will move the inventory, and dragging the scroll bar indicator will allow you to scan through the inventory at high speed. You may also use the PAGE UP, PAGE DOWN, HOME and END keys to move around the inventory window (see Using the Keyboard).

Hint: the quickest way to put a held object in the inventory is to right click when there are no inventories open and there are no selected tags on screen. As with the notebook, you may also double click on Lewton or the Object Inventory for the same effect.

Other Inventories

There may be other types of inventories hidden in the game. It is up to you to learn how these work, but there will always be at least one character who can explain how they work. If you gain access to a hidden inventory, you can use F4 as a keyboard shortcut for opening it.

Conversations

Hard Boiled Monologue

Lewton, being a private investigator, has a private hard boiled monologue going on in his head. This is quite convenient for you, the player, since Lewton's hard boiled monologue lets you know what he is thinking about.

The Conversation Window

How to Talk to People11

You can converse with almost all the characters in Discworld Noir. These characters often say important things which may help you to complete the game. It is always advisable to return and talk to characters at some later time, as they may have something new to tell you. Whenever you get a new clue, it is worth thinking about which characters you might want to talk to about that clue.

To open a conversation with a character, you simply double click on that character. After any preamble, the 'conversation window' will open. This window contains topics that Lewton can talk to the character about. Which topics are available at any particular time depend on what Lewton has learnt from his investigations, what he has already talked to that character about and on what has happened in the city recently.

Hint: Which topics are available depend on what Lewton has examined or looked at, what the character knows, what Lewton has already spoken to the character about and what is happening in the city. It is often worth having a look around the character's location before talking to them, as this can open up new conversation topics.

How to Stop talking to People12

When you have finished talking to a character, select the goodbye topic, or click outside of the conversation window. Lewton will say goodbye and you will be back to pounding the streets, searching for clues. Usually, you can return to a character and talk to them later. However, for various reasons, this may not always be possible. You will have to decide what to tell characters and what not to tell them. In some cases, Lewton will decide that it really isn't a good idea to tell (or ask) a certain person about some particular matter, in which case he will make a hard boiled comment to that effect.

Talking about Clues and Objects

You can make Lewton talk to someone about particular clues and objects by selecting the appropriate inventory icon from the conversation window. This will open that inventory, just as described above in Inventories. However, when you click on a clue or object in that inventory, instead of picking it up, Lewton will talk to the character he is talking to about it. If Lewton feels talking to that character about that clue or object is a really bad idea, you will hear hard boiled monologue explaining Lewton's reasons for wanting to keep quiet.

Confrontations

Occasionally in a conversation someone will say something which contradicts some evidence or clue gained from elsewhere. In these instances, you may want to make Lewton confront the individual. To do this, select the appropriate inventory icon (the notebook, for example) from the conversation window and then choose the relevant clue or object. Lewton will proceed to confront them accordingly. In some cases, a successful confrontation will add a topic allowing you to drive the point home.

The Options Window

What is the Options Window?

Erm... well, it's a window with options in it. What did you expect? A kiosk selling shares? You can open the Options window by pressing the F1 key thus accessing the bounteous wonders within.

The Options

Load a Game

When you select this option, a window containing a list of previously saved games will appear. To load one of these games, select it by clicking on its description and then click the tick icon. Alternatively, you may simply double click on the description. The cross icon can be used to cancel the load game attempt.

Save this Game

You may save your current game at any time (so that you can return and play from that exact place) by selecting this option. A list of previously saved games will appear, as well as an empty slot for saving a fresh game. You may either rename an existing game by clicking on the description and typing a new one, or you may create a new saved game by typing a fresh description in the empty slot. Once you have entered the description, click on the tick icon to save the game. You can also save over an old game by double clicking on it.

Restart Game

This option takes you back to the title screen. Use it when everything is going really badly, or when you want to see the intro movie again, or because you just happen to like the look of the title screen.

Sound Controls

This displays a window with sliders allowing you to alter the volume of the game's music, sound effects and voice volume. Subtitles are provided for the hard of hearing, the hard of listening or the hard of affording a decent sound card. From this option you can also enable or disable the subtitles or alter the speed at which subtitles are displayed. For versions with multiple languages, select the flag of the country whose language you wish to use for the subtitles. You may also turn on or off the Speak All Text13 option from this window.

Quit Playing

This causes you to exit the game14.

Using the Keyboard

Discworld Noir can be enjoyed equally well when played with the keyboard15:

  • The cursor is moved around by using the ARROW keys.
  • The SPACE key is the equivalent of a single click, for walking or 'picking up' clues or objects from inventories.
  • The RETURN key is the equivalent of a double click, for interacting with or for switching to the other page a hyperclue appears on.
  • The CTRL key is the equivalent of a right click, and is used for looking at tags and returning objects to their inventories.
  • F1 opens the options window.
  • F2 opens the object inventory.
  • F3 opens the notebook.
  • F4 opens additional inventories, if you have them.
  • When the notebook window is open, you have some additional keys. PAGE UP and PAGE DOWN scroll up and down a page, and the HOME and END keys can be used to move you to the start and end of the notebook respectively.
  • Similarly, in the object inventory, PAGE UP and PAGE DOWN scroll up and down, and the HOME and END keys can be used to move you to the start and end of the inventory respectively.

The ESC key is used to bypass any fixed animation sequences (cut scenes), and also to cancel or abort any window operation. Finally, ALT X can be used to exit the game entirely.

Copy Protection

Discworld Noir is the product of thousands of man-hours of effort, and was written by an independent software house, very talented but not very rich. Therefore, we will be very upset with you if you decide to pirate our game. What's more, if you do this, we will be forced to unleash our team of hardened mercenaries to hunt you down for sport. We don't like to do that, but these are desperate times.


The Credits16

A Sutherland-Barnett Production

Designed by:
Gregg Barnett and Chris Bateman

Produced by:
Gregg Barnett and Luci 'Loki' Black

Executive Producer:
Angela Sutherland

Script by:
Chris Bateman

Voice of Lewton:
Rob Brydon

Other Characters Voiced by:
Robert Llewelyn, Nigel Planer, Kate Robbins and Rob Brydon.

Animation Director and Senior Animator:
Simon Turner

Technical Art Director:
David Hirst

Background Design and Concept Art:
Nick Martinelli

Art Director:
David Kenyon

Character Design:
Matt Taylor
Ben 'Lord' Willsher

Character Models:
Mark Booth
Warren Hawkes
Ben Willsher

Background Artists:
Jim 'Scouse' Ellis
Mark Booth
Warren Hawkes
Dave Hirst
Steve Packer
Guillaume Camus
Mohand Zennadi

Realtime Lewton Artists:
Mark Booth
Dave Hirst
Dave Swan

Animators:
Ben Willsher
Steve Packer
Warren Hawkes
Jim Ellis
Darren Charles Hatton
Mark Booth

Front-end Graphics:
Steve Packer
Matthew Bell

Lead Game Programmer:
Mark Judge

Lead Engine Programmer:
John Young

Lead Playstation Programmer:
Manjit Ghataora

3D Programming:
Chris Waterworth

Additional Programming:
Jason Brooke

Game Puzzle Implementation:
Chris Bateman
Mark Judge

Music and Sound Effects:
Paul Weir

Audio Director:
Rob Lord

Speech Recording and Conversion:
Mark Bandola and Rob Lord

Additional Sound Effects and Voices:
Rob Lord

Songs by:
Paul Weir

Additional Lyrics on 'When You Met Her' by:
Chris Bateman

Notebook Clues by:
Matthew Bell
Steve Packer
Jim Ellis

Technical Assistant:
Paul Stamp

Production Assistant:
Siobhan Reddy

Additional Art by:
Luc Lemaire

Force of Ultimate Darkness:
Colin Fuidge

Director of Development GT:
Graeme Boxall

Senior Producer for GT:
Steve 'Sargie' Sargent

Producer for GT:
Craig 'Ledski' Leigh

Assistant Producer for GT:
Trevor Barnes

External Services Manager for GT:
Kevin Turner

QA Manager:
Graham 'G-Dog' Axford

QA Supervisor:
Tim Wileman

QA Supervisor:
Marc Smikle

Kode Supervisor:
Krazy Kolin Tregaskes

Lead tester:
Alys Robinson

Testers:
Mark Dearsley
Johnny Moorcroft
Francis Digby-Firth
Keanan Jones
Mike Richards

Manual:
Chris Bateman

Manual Coordinator:
Marianne Durand

Manual Design:
Red Pepper Design

Proof Reader:
Jon Rouse

Special thanks from GT to:
All the GT's QA staff, Paul Fox, Matt Woodley, Lee Kirton, Axel Blagmore, Charlie Gig, Trent Vegaess, Bart Vormees, Rob Letts and not forgetting Eric Cartman. Kickass.

Special thanks from Perfect Entertainment to:
Josh Kirby, Victor Gollancz Ltd (for premission to reproduce extracts from the Discworld Companion by Terry Pratchett and Stephen Briggs), Nichol Murray and Louisa Ardley.

Agent for Terry Pratchett:
Colin Smythe

Far too much interference:
Terry Pratchett


1 But we're not all made of money.
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2 Yes, I know we used this gag in the manual for the previous game. But we figure you punters have a very short attention span, and how many good 'minimum system specification' jokes can there be?
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3 And ask yourself: "Why don't I own a mouse?" I mean, come on. Everyone has a mouse these days. Get with the programme.
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4 This style of text description is what is known in the industry as 'bloody obvious'. However, as a mark of our respect for you, the punter, we include it here anyway. Besides, how many of you read the manual anyway? I know what you're like - you get home with your new game in your hot and sweaty palms and you haven't got time to waste with the manual, you just want to tear it out of that irritating plastic wrapping and get straight into the action. I don't know, no patience in the younger generation, not like my day... when I was a lad, computer games were in black and white, and you didn't have CD-ROM drives, you had punch cards. You'd go to the shop and say "can I have the punch cards for 'Way of the Exploding Fist' please?" The shop assistant would punch you in the nose for being an impudent whelp. Ah, those were the days...
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5 This might be an object, or a clue. Strictly speaking, a clue wouldn't be in Lewton's hands, per se, so much as... oh, I don't know... in his consciousness. But we figure that if you managed to install the game you must be bright enough to know what we're talking about.
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6 And if you don't, well, the CD-ROMs make excellent coffee mats.
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7 If the notebook is selected from inside a conversation, this does not happen. Instead, Lewton talks to the person in question about the clue. See Conversations, below, for further details.
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8 This doesn't mean that you've definitely done everything that you could have done with it, but it does mean that a clue won't get crossed out until you've used it in the most appropriate way for finishing the game.
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9 Or, as the case may be, steal, pinch, pilfer, nick, prig, filch, purloin, misappropriate, peculate, hook, snitch, borrow, boost, liberate, heist, swipe or hijack.
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10 That is, the only difference between clues and objects is that when we were talking about clues we had to put 'hold' and 'hands' in inverted commas.
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11 In the game, that is. If you can't talk to people in real life we can't really help you. I'd recommend calling a helpline, but if you can't talk to people how is that going to help?
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12 In real life, this is usually the easy part.
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13 This is intended for use by blind people. Yes, you may think that it would be impossible to play the game if you were blind but we know of at least one blind woman who has completed the previous two games despite not being able to see. Frankly, we were stunned because most people who could see couldn't complete the first one. This option is affectionately dedicated to her.
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14 Perhaps because you haven't slept in days.
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15 This is in fact a flagrant lie. A mouse is obviously a better way of playing, but the keyboard can be used to speed up game play. To all those people with a P133 or above and no mouse I ask you: Why? What possible reason could there be? You have my sympathy.
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16 Discworld Noir did not spring fully formed to life like Athena from Zeus (or, for a more modern version of the same expression, like Xena from Hercules). Many, many talented people gave their lives so that you could play this game and you really owe them at least a cursory glance. I'll bet you're the kind of person who walks out of films before the credits have finished too. Shame on you.
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