[x] Melchior.
Seems fun.

[X] Francis

The falcon is kind of a jerk.

[x] Falcon. Captain Falcon.

[X] Philicidy

[ø] Falcon. Captain Falcon.

[x] Falcon. Captain Falcon.

Yes.

[X] Captain Falcon.

Captain Falcon, the falcon says. That's a good name, don't you think?

You say that it is not. You say that it is a stupid name, and that the falcon is an airhead falcon. You can say these things because the falcon took your name.

The falcon has a smile on it's face. This is what I intended all along, she doesn't say. It opens the window again.

Hey, the falcon says.

The man at the desk throws his pen at the falcon. The falcon dodges. The other man writes something down.

[X] Francis

You say that Francis is a stupid name.

Yes, says the falcon, but not as stupid as Captain Falcon.

The falcon is right, but you call it an airhead falcon anyway.

The falcon ignores you and shuts the window. The first man tries to throw another pen, but it bounces off the glass and rolls across the floor. You do not see this happen because there is no glass.

You are Francis, the falcon says, and you are Francis.

You say that you can accept this. You also say that you don't like it, and then you say that you can accept it again.

Accept what, the girl says.

[ ] Beer
[ ] Career
[ ] Deer
[ ] Ear
[ ] Fear
[ ] Here
[ ] Leer
[ ] Peer

[x] Beer

When it's warm it tastes real crappy,
but cold beer will make me happy.
When I throw up on the floor,
I can go and drink some more.
They say beer will make me dumb.
It does no good with pizza...

[x] Queer

Also dammit our name should be Francis Falcon.

[x] Peer

[ø] Queer

[X] Beer

You tell the girl you are talking about your name. You explain that you don't have one, and that it is Francis. You say hello.

Hello, says the girl.

You say hello again, because you do not know what else to say. The falcon is quiet.

The girl takes a drink from a large gourd. She tilts her head back. Her throat moves. She is drinking. She stops drinking and wipes her mouth.

So, is this one of those incidents, the girl says. She holds the gourd towards you. There is liquid over the sides, and it makes you shirt wet in splotches. You take the gourd. It is heavy, so you give the gourd back.

You say hello again, because you do not know what else to say. The falcon is quiet. The man opens the window and yells epithets in your direction. There is no direction here. The falcon closes the window on the man's fingertips. There is no fingertips. There is no man. There is no falcon. The falcon is quiet.

You wanna fight, the girl says. She raises her fists. She raises the gourds. Her chains jangle.

You say that you don't want to fight. You say hello one more time, just in case.

Yeah, says the girl. You don't look much like a fighter. Could barely hold this.

She holds the gourd towards you again. There is liquid over the sides, but it is not close enough to your shirt to make it wet in splotches. The girl takes a drink. She wipes her mouth.

Do you want some, the girl says.

You ask what it is.

The girl laughs. What do you think, she says, and takes a drink.

Still, she says, that was a good trick. You some kind of wizard.

You tell her you are not.

(You read a book with a wizard before. The book said the wizard had a beard, and a cloak, and a staff. You also read a book with a wizard before. The book said the wizard had a beard, and a cloak, and a staff. You also read a book with a wizard before. The book said the wizard had no beard, and a cloak, and a staff. You have no beard, but you also have no cloak, and no staff. You do not think you are a wizard. Also, wizards don't exist.)

Okay, says the girl, so what happened. You fall through the border or something. She laughs, and takes a drink. You think she must like what she is drinking, if it makes her laugh so much.

Reimu says I should ask everyone weird-looking that, the girl says. She says that if they don't know what the border is, they're probably from outside of the border, and I should get her.

You ask if you are weird-looking.

You're very weird looking, the girl assures you. She touches your sweatshirt, and traces the large C that used to be a large G before the lettering disappeared. What kind of clothes are these, the girl asks.

You say that they are your clothes. You ask what kind of clothes she is wearing, even though you know what kind of clothes she is wearing because you can see them.

The girl laughs. My clothes, she says, and laughs again, and drinks, and laughs. There is a box, with thin, straight holes in the top. The girl leans against it.

So, the girl says, you wanna go home, right.

No, says the falcon.

You would like to go home, or to the library, but you don't say so because the falcon has put her hand around your throat. You open your mouth. You close your mouth. You open your mouth.

You close your mouth.

What's the matter, the girl says, you can't decide.

You tell her this is not the case.

The girl laughs. You think she might be laughing at you. This thought makes you dislike her a little.

You sure you don't want a drink, the girl says.

[ ] Yes
[ ] No

[X] Yes, we don't want a drink.

Drinks from strangers may never be good for us.

[X]No, of course we want a drink.

Alcohol is the social lubricant! And we want to be social, yes?

[X] Yes, we don't want a drink.

[X] Yes, we have no bananasdon't want a drink.

[X] Yes, we don't want a drink.

You tell the girl you don't want a drink. The girl frowns.

Spoilsport, she says.

Okay, she says, you sit tight. I'm gonna go get Reimu. She goes into the building. The building is wooden, and looks like a shrine. You look into the box with the thin straight holes. There is nothing in the box.

The girl comes out. There is another girl, too. The first girl slaps the second on the back and says, alright, Reimu, work your magic, and laughs. The second girl is taller than the first, and also Reimu. She stumbles forward when she is hit.

Reimu scowls.

So, Reimu says, I'm guessing you want to go back home?

No, says the falcon. Her hands squeeze.

Just follow me, Reimu says, and walks away. You follow her.

She stops in front of an arch. There is an arch here.

Alright, Reimu says, just step though, and you should be on the other side.

No, says the falcon. You shouldn't.

You don't like the falcon, so you pretend she doesn't know what she means. You say thank you, and then you step through the arch.

You step through the arch again, back to the other side.

Reimu says shoot. The first girl laughs. She does not have horns. You dislike her a little more for laughing.

Alright, Reimu says, try it again. You try it again.

Again, Reimu says. You try it again.

Reimu says shoot louder this time.

Hey, kid, Reimu says, are you something special? You throwing off the border or something?

You tell Reimu that you are not a kid, and that you are probably the same age as her.

Shut up, Reimu says.

You shut up.

Are you sure you're absolutely normal, Reimu says.

There is a falcon in your head, which means you are not absolutely normal at all. You try to tell Reimu that there is a falcon in your head, but the falcon puts her hands across your throat, even though they are there already.

Reimu says shoot for a third time. Alright, Reimu says, looks like you're staying here for a while, just until we get this all sorted out. The first girl laughs.

The futon is uncomfortable.

[ ] Am
[ ] Ma'am
[ ] Ram
[ ] Swam

[X] Ram
[X] Speed
[X] RAMMING SPEED!

[x] Ma'am

This makes me think of Lighthouse, but either autistic or stoned.

[x] Green eggs and ham

[ ] Ma'am

[X] Sorry Ma'am

Oh, who is this, the tall woman says.

Don't mess around, Reimu says.

The tall woman laughs. It is a different kind of laugh than the first girl's laugh. The man opens the window. He suggests breakfast. It's midnight. The falcon closes the window slowly, so that it does not hurt the man's fingers. The other man nudges the man. He looks smug.

Just leave, says the falcon. This futon is uncomfortable, anyway. I know a place with a much comfier bed than this.

You say that the falcon is an airhead falcon.

The falcon does not respond.

I see you've added another to your collection of strays, the tall woman says. Are you considering fasting.

Reimu breathes out through her teeth hard. I'm trying to send him away, she says.

Oh, that's easy, the tall woman says. I'll do that for you.

I'm trying to send him away through the border, Reimu says.

The tall woman says oh. She is smiling. She looks at you. You close your eyes and think of the library. You think that she saw you before your eyes closed.

Some difficulty perhaps, the tall woman says. She looks away from you. You open your eyes and look at her. She is tall, and wearing a blue dress, and wearing a blue hat which is shaped like a cone. Reimu breathes out through her teeth hard again.

Of course there was difficulty, Reimu says. If there wasn't any difficulty, do you think he would still be here.

I certainly wouldn't know, why don't you tell me, the tall woman says.

Something pushed back, Reimu says.

The tall woman makes a face like she is surprised. She looks like she is faking it. She looks like she is faking every expression. Are you quite sure he's human, the tall woman says.

Even if he wasn't human he should have gone through, Reimu says. Heck, you'd go through if I pushed you hard enough. I can't see you doing too well on the outside, though.

Is that a threat, the tall woman says.

Take it however you'd like, Reimu says.

Do show some initiative, says the falcon.

You curl and uncurl your toes against the blanket. The tall woman looks at you. You close your eyes.

So what do you plan to do now, the tall woman says.

[ ] By book
[ ] By crook
[ ] By hook
[ ] By nook
[ ] By rook

[x] By book

Is that a story, or a poem?
Nevermind, it's pretty fun.

wat

[x] By rook

wat

[x] By book

Thank you, anonymous.

[x] By nook
Fucking falcon, this is all his fault.

[x] By rook

The chess piece or the bird?

>>124634
*her

[X] By book

You are in a library. It is a different library than the one you like. There are many book here. There is another person here, and Reimu.

So that's the problem, Reimu says.

The other person is reading a book. She closes it. She puts it aside. The book is called The Uncountable Ways by which the World Ends. There is no author's name.

The other person says very interesting.

I didn't ask you if it was interesting, Reimu says. I asked you if you could do something about it.

The other person looks up at Reimu. She takes a book from a pile. She does not look uncomfortable. She does not look anything. The book is in Greek.

The other person says while I do claim knowledge in many areas of magic, manipulation the Border is not one of them. The formation of the Border is, after all, a very recent development.

Reimu breathes out through her teeth hard again. You think she might like to do that because she does it so much.

So you're useless, Reimu says.

Not quite, the other person says.

Koakuma, the other person says.

Koakuma appears. She is slim and tall, but not as tall as the tall woman. Her hair is red. It hangs down a little past the small of her back. Do restrain yourself, says the falcon. You ignore the falcon.

Koakuma says yes, Mistress.

The other person holds out The Uncountable Ways by which the World Ends. Restock this, the other person says.

Koakuma takes the book. She leaves.

So, the other person says, have you ever had any experience in which you were affected, or witnessed the affectation of another being or object by magic?

You wait.

You realize the other person is talking to you. You tell the other person that magic is not real and that her question is silly.

I see, says the other person. She still does not look anything. She looks at Reimu. Reimu looks back.

What, Reimu says.

The two of you did travel in the usual manner, says the other person.

Reimu shrugs. Her shoulders roll backwards. I walked, she says. I have to look like I'm doing my job, right. I figured I'd comb out the usual youkai on my way here. Sometimes they don't fly, you know.

The other person makes a sound of displeasure. I would hardly think that overt movement from point A to point B qualifies as a combing out, she says.

Reimu says close enough.

The other person sighs.

The forest was well-shaded and sounded like insects.

Very well, the other person says, this is what I suggest: allow me to study him for a week's worth of time. I will attempt to discover some answer. Is this plan acceptable.

No, says the falcon. The man opens the window. He begins to sing. The other man hits him. He stops singing. The other man yells a question you don't hear. The falcon answers. No, the falcon says again.

Yeah, like I need another mouth at the shrine, Reimu says. Heck, keep him for a month if you think it'll help. Just don't turn him into food, got it.

The other person raises her hand. Her palm is out. Rest assured, I will see to his health, she says, and puts down her hand and her palm.

Yeah, sure, Reimu says.

Reimu leaves.

So, says the other person, I assume you are feeling no small degree of confusion.

You wait.

You realize the other person is talking to you. You tell the other person that you are not confused. You tell the other person that you should leave now.

You do not leave now.

I see, says the other person. She clears her throat. She coughs. It is loud and racking. She covers her mouth. There is spit. Some of it lands on a book. Some of it lands on a different book. Your fingers itch. The other person stops coughing gradually.

Tell me, says the other person, where were you prior to your arrival in Gensokyo.

You tell the other person that you do not know where Gensokyo is.

The other person does not look anything. I see, says the other person. Then where were you prior to your arrival at the shrine.

You tell the other person that you were at the library. You tell the other person that you should leave now, and that it will soon be closing time.

The other person clears her throat. Your fingertips itch. She does not cough. I'm afraid that's impossible at the moment, she says.

You tell the other person that you need to leave now.

Reimu's attempt to return you through the Border has resulted in failure, the other person says. She has brought this matter to my attention in hope that I may rectify it. Until I do, however, I must request that you remain here, as outside this library I cannot guarantee your safety.

[ ] Stay
[ ] Leave

[x] Stay

Safety is good.

[x] Stay

[x] Stay

[X] Stay

You do not know if this is a threat or a warning. It is okay either way, you think.

No, says the falcon.

You tell the falcon to be quiet. You think you would like to thumb your nose at her, just once, without seeing that triumphant this is what I intended all along on her face. You think that dying would be perfect.

The man at the desk frowns. He closes the window. No, says the falcon.

It is true.

You tell the other person that you will stay. You ask her to work quickly, because you need to leave, and you have a job, and it will soon be closing time. The other person does not look anything.

I don't believe you fully understand, the other person says. This is no textbook case. You must remain here until I ascertain the root of your problem. And even then, it may be some time before I am able to develop a proper solution, if I am able to develop one at all. Koakuma.

Koakuma appears.

Take our guest to his quarters, the other person says. We shall begin following dinner. The library is large. There are many books here. You don't like this library. You don't like this other person. You want to go to work. You think it might be closing time.

Don't worry. I'm sure Mistress Knowledge will figure out what's wrong with you very soon. She's very smart, you know, Koakuma says.

You ask Koakuma who Knowledge is.

Koakuma looks at you in the way you don't like. She stops. Ah, that's right, she says. You never did get her name, did you. Mistress Knowledge. Mistress Patchouli Knowledge. She's the one who has taken your case. I'm very sorry, this all must be very strange for you.

You tell Koakuma that it is not strange at all.

Oh, well, Koakuma says. That's good.

You don't know what to say to that. You are silent. Koakuma is silent. The library is large. The shelves are tall. You cannot see to the end of the hallway. Koakuma takes your hand.

Be careful, Koakuma says. You don't want to get lost in here. You might never find your way out. She laughs. It is like bells. She does not have wings. You can forgive her. Her hand is warm. The falcon is angry.

Koakuma looks you in the eye. But you know, she says, I can hardly remember the last time we've had a guest. Down here, I mean.

You make a small sound. You do not know what it is.

Here is your room, Koakuma says.

The room has is a bedroom. It is bigger than your bedroom. The bedroom has a bed. It is bigger than your bed. You have a lamp.

Koakuma says I'll come get you when dinner's ready, but ring this bell if you need me before then, okay. She shuts the door. You are on one side of it.

The clock reads one o'clock.

[ ] Abscond
[ ] Discourse
[ ] Peruse
[ ] Vegetate

[x] Peruse

[x] Peruse

Learn to love it, you autistic twit.

Holy shit, getting flashbacks to SpEd here.

[>] Peruse

[x] Peruse

[x] Peruse

I LOVE LAMP

[X] Peruse

You do not know what time dinner is. You can guess. You don't like your guess.

There is a desk. On the desk are books. You take off your shoes. You take a book from the desk and lie in the bed and open the book. It is called Curing Disorder Via the Aural Medium. You read it.

It is simple enough to read.

You wonder if you would find it simple without the falcon. You wonder if you would be here without the falcon. The falcon smiles, and says nothing. You hate her. You want to throw the book against the door. You do not, because you like the library, and though this book is not from the library you like all libraries have that being a library quality which you can respect, and that respect extends to their contents.

You close the book and put it on the desk. Your hate is quiet.

You look at the clock. The clock reads three o'clock. It is past closing time for certain now, you know. The lights are out. The doors are locked. You should be in bed. Work starts at one o'clock tomorrow. That is after noon, but not far after. The suspicion solidifies. The falcon smiles. It is not a kind smile, and you think you like the men behind the window better.

They do not show. They are not there. They do not show.

You put your knees to your head and weep.

Koakuma says it's time for dinner.

You say nothing.

Koakuma says it's time for dinner. She says are you sleeping.

You say nothing. You lie into your pillow. You can see Koakuma at the edge of your vision. Her arm is outstretched.

[ ] Fain
[ ] Stay
[ ] Rage

[x] Stay

[x] Fain

[x] Embrace

[X] Stay

You say nothing.

Well, Koakuma says, time to get up now. She touches you at the shoulder. You feel the warmth of her fingers through your shirt. It is light. You close your eyes. You say that you are not hungry.

It is a lie.

That won't do, Koakuma says. It's not healthy to miss a meal, especially one so important as dinner. And Lady Scarlet said that she wanted to see you, too.

You ask Koakuma who Lady Scarlet is.

I'm sorry, I keep forgetting that you still don't know everybody here, Koakuma says. Lady Scarlet is. Well, she's the one who owns this mansion. See?

You say that you understand. You turn your head away.

Oh, don't be like that, Koakuma says. Come on. Let's go together, the two of us. I'll walk you there.

You say you're not going.

Starving yourself won't accomplish anything, Koakuma says. Miss Knowledge is going to help you after dinner anyway, so it won't get you home any faster.

You say you're not going louder.

Koakuma says ah.

Koakuma sounds sad. You open your eyes and turn your head and look at her. She looks sad. You feel guilt, in the pit of your stomach. You do not hate Koakuma, but she is here in the wrong place in the wrong time and so you have done this thing. What kind of person are you?

Not a good person, the falcon says. But you were worse before I moved in, you know. I took out your blinders. Maybe you'd like me to take out the rest of you.

You ignore the falcon. The space where your name used to be itches.

It itches.

You tell Koakuma you don't want to go anywhere. You say it carefully.

Koakuma says alright and leaves.

An hour later, she comes back. She is holding a tray with a plate and a fork and a knife and a glass.

I saved you a plate, Koakuma says. She looks uncomfortable.

You say that you are sorry. You thank Koakuma for the food and as what it is.

Koakuma laughs, but it is a false laugh. It is a you are supposed to laugh laugh. Ah, well, I'm not too sure, Koakuma says. Salmon, I think. But I'm not the one who prepares the food. If you want to know what it is, you'll have to ask her.

You make a small sound. You take the fork and you take the knife and you eat. Koakuma stands. You tell her that it is very delicious.

That's good, Koakuma says. Now eat the whole thing, okay? I'll take you to Mistress Knowledge after.

You eat the whole thing. Koakuma smiles and you follow her outside and she takes your hand and leads you through the aisles of books.

Her hand is warm.

You did not join us for dinner, Patchouli says. She closes The Uncountable Ways by which the World Ends.

You say that you were not hungry. You look at Koakuma. Koakuma does not look at you.

You don't know why you lied.

The first thing I will be doing is making certain you are actually human, Patchouli says. This can be inferred by the measurement of magic potential. Most human beings have relatively low levels, though it is not entirely unheard of for.

You tune her out. It is all silly, because magic does not exist, but you still feel guilty so you do not tell her this even though you already told her. Instead, you look at Koakuma. Koakuma does not look at you.

Are you listening, Patchouli says.

You say that you are.

Then I will begin, Patchouli says, and puts her fingers in the sides of your skull behind your eyes. You flinch. Patchouli flinches. She takes her fingers away.

Did that hurt, Patchouli says.

You say that it did not.

Then do not move, Patchouli says, and puts her fingers in your skull again.

You are quiet. Patchouli is quiet. Koakuma opens her mouth, and closes it again and is quiet. The library smells of dust and mold. The falcon is quiet. Something is wrong. You want to talk to the men behind the window who keep passing notes. You wish they would pass notes to you instead. The falcon is quiet. Something is wrong, you think. The falcon is quiet. Koakuma is quiet. Patchouli is making a low mumbling noise. Something is wrong, you think. You watch the window. The window is closed. They are never there when you want them. The falcon is quiet. You think her face shows displeasure. This makes you happy. It is no less than an airhead falcon deserves. You want to see her burn.

Patchouli takes her fingers away again. Her face is red. Her breaths come out harsh. She says that's odd.

Koakuma says Mistress.

Patchouli says that's very odd.

You ask Patchouli if you are human. This is a joke, because you already know the answer to the question.

Patchouli looks you in the eye. She doesn't not speak. She speaks.

If you had asked me half an hour ago, Patchouli says, I would have responded with a tentative yes.

The falcon says well.

You think it is all very silly.

[ ] Front
[ ] Back
[ ] High
[ ] Low
[ ] Open
[ ] Closed

[x] High

[x] Open

[x] Front

[®]High

>Not a good person, the falcon says. But you were worse before I moved in, you know. I took out your blinders. Maybe you'd like me to take out the rest of you.

>You ignore the falcon. The space where your name used to be itches.

>It itches.

Forcibly un-Autisticating someone via intrusive psychic alterations? Creepy.

[>] Open

[x] High

>>125420
SCIENCE! via magic.

Rikako would be proud.

[ ] Open

[X] High

So this is the boy who's got Patchy wrapped up in her old scrolls, the girl says. The girl is dressed in pink, with a mob cap. The mob cap is also pink.

You look up away from Curing Disorder Via the Aural Medium and say hello.

Funny, Pink Girl says, I expected something a bit more impressive. But you, you look human enough.

The men behind the window are shouting. They are throwing balls of paper, but the window is closed so it only bounces off and hits them. The falcon looks. She smirks. She stops smirking.

Don't let her get her claws in her, she says.

Pink Girl does not have claws. You don't know her. You look back at your book but the book is now the book with Pink Girl's hand over it.

How rude, says Pink Girl, Ignoring me while I'm trying to introduce myself. She takes her hand away and smiles. You don't like the smile. It is similar to a this is what I intended all along smile, and you don't like that smile either.

My name is Lady Remilia Scarlet, Pink Girl says. I am not an uncharitable host so I will allow you to call me simply Remilia. How does that sound to you.

You say that it sounds okay. You look back at your book. You have already read this sentence many many times but of all the books on the desk this one is your favorite so you read it again.

Remilia makes a sound with her tongue. She says now, now. Do you know nothing of manners.

You have a dim recollection of many things but the Falcon threw them away when she moved in, so you tell Remilia that you don't know anything at all.

Oh, really, Remilia says. Well, we'll simply have to rectify that, won't we.

You turn a page, Remilia's hand comes down. The page folds. You tell Remilia that she is on the page. She ignores you.

When somebody else, especially a girl, introduces herself to you, Remilia says, you should introduce yourself back.

You look at Remilia. Remilia looks at you. You look at the book. You look at Remilia. You look at the book. There is a crease, now. It will never unfold.

It doesn't matter what you do, now.

You tell Remilia that you don't have a name, and that it is Francis.

I didn't ask for you to tell me what your name wasn't, Remilia says. The smile is gone now. You like this face only a little better. Remilia does not like your answer, you think.

I asked you for your name, Remilia says, so do tell it to me. She puts her thumb on your cheek and a finger underneath your chin, where the flesh is loose and gives easy.

Or do I have to force it out of you, Remilia says.

Her fingers are cold. You thought Patchouli's fingers were cold, but Remilia's fingers are colder. Her fingernail digs into the skin above your throat.

You tell Remilia that she's hurting you.

Remilia says am I now. She does not remove the finger.

You look at Remilia. Remilia looks at you. She is smiling the smile you don't like again, so you stop looking at Remilia and look at the book. The hand is gone now. There is a crease. There is nothing you can do about that, but the hand is gone now.

The falcon says well.

The falcon says well.

[ ] I and I
[ ] Side by Side
[ ] Turn! Turn! Turn!

>>125831
[I&] I and I

>There is a crease, now. It will never unfold.
OUCH. I actually winced.

[x] Turn! Turn! Turn!
Voting blindly.

[>] Turn! Turn! Turn!

Knowing how Remilia treats the mentally infirm, she'll probably just make Patchy lock us in the basement.

[ ] Side by Side

The falcon seems to know what's up.

[x] I and I

Tiebreaker needed, now.

In creation where one’s nature neither honors nor forgives
One says to the other, no man sees my face and lives

---

You ignore her. It feels good to do this, because she has ignored you.

It causes her discomfort. You can feel it in the spaces she occupies. She deserves it. You believe this doubtlessly. It is not only that she has ignored you. She moved into you head without your permission. There were a lot of things in your head that were precious to you, and she moved in and threw them all away.

You cannot remember them now, or even conceive of them. They are not there anymore. You can only remember remembering them.

The idea of your death causes the falcon discomfort.

This pleases you, so you smile.

The fingernail digs. It hurts. You feel a thin wet trailing down to your clavicle and your sternum. Is something funny, Remilia says.

You say that nothing is funny at all.

That's what I thought, says Remilia.

She releases your throat. The falcon makes a sound like relief. You have never heard a sound like that from her before.

You feel disappointment.

You're very interesting, Remilia says.

You tell Remilia thank you.

Remilia ignores you. It is nothing of consequence to crush a man's throat, Remilia says. I have always enjoyed that expression of utter fear that appears in a man's eyes as he understands that his life, quite, literally, is in my hands. Usually it is there all along, even before I begin, but sometimes, with certain less intelligent characters, it only appears just in the moments before I snap the bones in their necks. That sudden, dawning comprehension is something I find much more satisfying than the meal afterward.

You don't like Remilia. You didn't like Remilia before, but you like her less than that, now.

You are not a brave man, Remilia says. I have seen all strains of bravery, the foolish, the hopeful, the cautious, and you fit none of them. And yet, since the moment I entered this room, you have made no attempt to escape. Not that it would do you any good, of course, but it is the principle of the thing. And now I wonder.

Remilia looks at her hand. She looks at her fingernail. The tip is red. She curls her fingers, and then makes another movement that is very quick.

The thin wet becomes more.

As I thought, Remilia says. No fear.

The airhead falcon puts her face beneath her wings.

[ ] Front
[ ] Back
[ ] Low
[ ] Open
[ ] Closed

[x] Open
Going forward isn't useful, to our back is a wall. Suddenly going down might work, but open is an odd choice.

[x] Open

[ ] Open

[ ] Open

[x] Closed

[x] Closed

[X] Open

You say that you are not hungry. It is a lie. Koakuma shakes her head and leaves. You watch her until the door closes and then begin Curing Disorder Via the Aural Medium again.

You are almost finished with the first chapter when Koakuma comes back.

Leftovers, says Koakuma. She is holding a tray with a plate and a fork and a knife and a glass. She says you didn't each much last night, so I asked Miss Sakuya if I could save what was left.

You don't know who that is.

You tell Koakuma thank you. You take the fork and you take the knife and you eat. Koakuma stands. You look at her. She looks at you and smiles. It is a small smile, and real. You tell her that it is very delicious.

Koakuma says you have more of an appetite now. I'm glad.

You do.

You eat the whole thing. It does not feel right to give Koakuma the emptied tray so you put it on the desk. When you look at Koakuma again, she is not smiling anymore. She moves a little, by shifting her weight, and does not look at your eyes.

Can I ask you a question, says Koakuma.

You say that she can.

Koakuma says very quietly you were visited by Remilia, weren't you.

You stop enjoying the food you have eaten. The falcon mutters. The window is closed but you think the men behind the window would have nothing to say. You want to lie, and you do not understand why, and you do not want to think about why.

You tell Koakuma that she is right.

Ah, Koakuma says. She looks at you in a way you don't like, but it is different this time. You do not know how. Please don't let Mistress Knowledge know I asked you that, Koakuma says.

She does look at your eyes now.

You tell Koakuma that you won't tell anybody.

Koakuma makes a small sound. She does not frown. Thank goodness, she says.

You stand, and you look at Koakuma. Koakuma stands, and Koakuma looks at you. She stops not looking at your eyes, now.

You don't know if that is better.

Does it hurt, Koakuma says.

You ask Koakuma what she is talking about.

That, Koakuma says. From. She did that, didn't she. Koakuma comes closer and her fingers come closer. Her fingers are warm around the edges of where the skin on your neck is healing.

I don't think you got this on accident, Koakuma says.

You tell Koakuma that she is right.

Koakuma takes away her fingers and goes away and takes the tray from the desk. The falcon mutters. it is loud, and you think that she meant you to hear it. The itching becomes worse, but not by much.

If you, says Koakuma, and stops.

There is a salve I can find, says Koakuma. If it is alright with you, I can go and get it after I take this down to the kitchen.

[ ] Reach
[ ] Stay
[ ] Walk

[ ] Reach

[x] Walk
I'm fairly certain this is the option of going with her, that's what I'm voting for.

[x] Walk

Assuming that this is indeed the "Go with Koa" vote, I'll vote that.

I like this story

A LOT.

[x] Walk
I Wonder if the falcon is messing with our emotions and feelings i mean we seem pratically lifeless.

>>126867
Lifeless? Not especially. Emotional reactions are based heavily upon the way such emotions are expressed in the social interactions with those around us. If your ability to interact socially is severely impaired, your ability to express emotion is impaired as well. He has emotions, he simply is unable to express them in a way easily understood by others. Over time, it's possible for reasonably intelligent autistics to augment non-existent social skills by memorizing and practicing simple, common social behaviors... But...
>Remilia makes a sound with her tongue. She says now, now. Do you know nothing of manners.
>You have a dim recollection of many things but the Falcon threw them away when she moved in, so you tell Remilia that you don't know anything at all.
So yeah, she has messed with our mind.

[ ] Walk
We pretty definitely have emotions..there in the first person narrative.

Foolish pride:
That's all that I have left.

---


[X] Walk

You tell Koakuma not to.

Koakuma looks at you in a way you don't like. This time, it is familiar. There was nothing wrong with not knowing Patchouli's name. Are you sure, Koakuma says. It's not a problem.

Something uncomfortable twists in your head. You tell Koakuma not to.

Koakuma's mouth becomes a straight line. You don't have to act so brave, she says. You're under my Mistress' care, so you're under my care, too. If that gets infected, you might get sick.

You tell Koakuma not to. You tell her louder. Something ugly and hot comes out of your head and into your face. You can feel it. You think Koakuma can feel it, too. She steps backwards, once.

Oh, she says. She looks chagrined, and the heat abates but not enough. Well, if you're sure you're alright.

You tell Koakuma that you are alright. You almost tell Koakuma thank you. You do not tell Koakuma thank you.

Well, says Koakuma.

You say nothing.

Koakuma says nothing.

Koakuma says be careful, okay.

Koakuma leaves.

You go to bed. Curing Disorder Via the Aural Medium is there, but you put it on the floor. You spread your body and turn your face to the ceiling and wait for the heat to dissipate. It doesn't. It flows back into your head and sets there until it is cool. You hate it. You hate yourself more.

The men at the desk look at you and frown. They push their papers flat against the pane so you can read them. They say Koakuma. You read it in English and Japanese and then do not want to read any more. The falcon laughs.

You accuse the falcon of making the heat in your head.

I've done many things to your head, the falcon says. This, however, isn't one of them.

You tell the falcon you don't believe her.

Believe what you like, says the falcon, and returns to laughing. You put the pillow over your head and over your ears, but there is no falcon, so you can still hear her perfectly.

You itch.

[ ] Front
[ ] Back
[ ] Low
[ ] Closed

This story makes my head hurt.

[ ] Front

I like the writing but the choices could be a little clearer.

[x] Back

You know we're picking these and seeing pretty much no connection to possible courses of action, right? If that's intentional, fine, but try not to make a habit of it. At least give us something that seems relevant.

>>127306
Join the club.

[x] Back

>>127348
>>127357

Vigenère: red mist.

>>125831
Dswudsmzsq
>[ ] U ifw Z
Whxn-hkvwhddsmzsq
>[ ] Eqvx sc Vulw
Myi imtuhe
>[ ] Xxdv! Lnir! Wgzf!
Myi eawc
>>126722
Mf Ormsmfr:
>[ ] Vhmkz
...hlx
>[ ] Vfiq
...avvh
>[ ] Iidd
...radk

That is not helping.

>>127363
I don't read this story, but I can't help but want to read something posted in ciphertext, so:
clever and use that mechanic to represent your protagonist's madness/mind-fuckedness. Be advised that, which this is certainly novel and could be interesting every once in a while, overusing it will make people not want to read your story (it certainly doesn't make me want to start). A CYOA where you only get to do what you want at chance frequency only barely qualifies as a CYOA.

ciphertext Its just a cypher?
hmm, my cheating skills are weak.

>>127450
I... what.

Do you... are you the same person who writes posts like a ten year-old moron? It has to be you.
Well, you've really hit a new low. I mean, sure, you failed at basic punctuation and grammar before, but you still exhibited rudimentary sentence-construction skills and seemed to at least be able to follow a narrative. I assumed you were just mildly retarded, because nobody on this site should ever be writing like that.
But now... you appear to have had a stroke, or something, because you've lost what little brain function you had left. That post made no sense whatsoever, and has no point at all.

Please. Either go and die, or go and don't come back. Just get out of here. We don't need people that can't communicate coherently, let alone properly.

No I am not that annon.

You really cant tell what I'm trying to say in that post? It's not fucking complicated. It has an extra word, and a missing "'" but...

Okay only writing when its not 2 in the morning is probably a good idea, and deleting posts that have massive giant typos is also a good idea, but well it was 2 in the morning.

So to restate this apparently mysterious message.

Gee wilkers that piece of text is just a cypher? I had attempted to avoid putting significant effort into solving that puzzle by using an online php powered cypher solving too.

This attempt failed.

[x] Closed

I'm going a bit off topic here, but I need to get this out to >>127526. Look, after writing piss-poor post like that, you can't really blame for someone for wondering what the hell in meant. Good thing is, you admitted it was poorly worded, but then you decide to pull the excuse "but well it was 2 in the morning" out of your ass. Whether it was really that time where you're at not doesn't matter, staying up a few extra hours doesn't affect you're typing that drastically. Later on, you said "it's not that fucking complicated", and then "to restate this mysterious message", which was obvious sarcasm, just makes you come off as a douchebag. I shouldn't really be saying that though, since I'm probably coming off as one too.

tl;dr, it would of been easier to just say I fucked up and could have typed that better.

>>127556

Fair enough. And you arn't coming off as douchebag.

[X] Back

Koakuma does not bring food anymore.

Instead, there is another who is tall and thin and looks down at you along her the slope of her nose. Dinner is ready, she says. You are expected to join Lady Scarlet in the main dining room.

You lie and say that you are not hungry.

The expression on the woman's face does not change. Nevertheless, she says, your presence is expected.

You lie and say that you are not hungry again. You do not like this woman. You think it is silly, because there is nothing you know about this woman to not like, but you do not like this woman. You do not like this woman, and you do not like Remilia, and you do not like to think about going to the main dining room to join this woman and Remilia for dinner. You want to go home.

You want to go to the library again.

The woman's eyes tighten. You look away from her and look at the cover of Curing Disorder Via the Aural Medium very carefully until the woman takes the book away from you and puts it back on the desk. This is not a choice, says the woman. Lady Remilia has specifically requested that I accompany you to the dining room, at which point dinner shall be served. If you resist, I am fully prepared to bring you to the dining room by force.

You think she means it.

You think you are sure that you do not like this woman now.

Don't be stubborn, the falcon mutters softly. Listen to me. Go with it for now. I'll get you out of this. All you have to do is follow my instructions. You don't want to be in this mansion, right.

You ignore the falcon. It is an airhead falcon.

Too prideful for your own good, the falcon says. I'll still be here, when things get worse. You remember that. The falcon is silent. She sits in the center of the space she hollowed out when she moved in and puts her wings over her head, as if asleep. You are not fooled. She is still smiling between her feathers.

You ask the woman who she is.

My name is Sakuya Izayoi, she says. I am the chief maid under Lady Scarlet. She curtseys, but there is nothing in it. It is the end of her introduction and nothing else.

And now, she says, if you are finished stalling, dinner is ready.

She does not smile. She is not like Koakuma.

[ ] Change Partners
[ ] Stay Down Here Where You Belong
[ ] Supper Time

[x] Stay Down Here Where You Belong

I do not like this woman.

[ ] Change Partners

[x]You do not like either of those women. Consult the falcon to hasten your departure.
Fuck them, our autist is about ready to blow this joint.

Man I Hope We Get Some Powers.
Like The ability to pull an Alfred hitchcock on someone who threatens the falcon.
[X] Stay Down Here Where You Belong
[X] Supper Time ( I see Supper And it sure as hell ain't in the dining room. That and i'm curious to see if sakuya will drag us there or Simply move us when Time is stopped.)

>>128887
I'm curious, and tired of telling you to correct yourself. Just why in the hell do you randomly capitalize certain words? Honestly, man.

[x] Change Partners

Should not have dropped Koa.

[x] Change Partners

I hope this is the Koa option. I can barely make heads or tails of these choices.