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Читы для Beast Within: A Gabriel Knight Mystery, The

Чит-файл для Beast Within: A Gabriel Knight Mystery, The

Beast Within:
A Gabriel Knight Mystery, The

 За игрой наблюдают: 1 человек

Выдержка из Энциклопедии игр

Разработчик:Sierra On-Line
Издатель:Sierra On-Line
Модель распространения:розничная продажа
Жанры:Adventure
Multiplayer:Отсутствует

Даты выхода игры

вышла в 1995 г.

Solution [ENG]

Информация актуальна для
by Morgana

NOTE:  This file contains a complete solution to Sierra Online's graphic
adventure, THE BEAST WITHIN (hereinafter "GK2"), and may spoil your enjoyment
of the game.  Read at your own risk.

METHODOLOGY

With apologies to those of you who have made use of and/or read my walkthru
of THE DIG, I'm going to borrow this bit from the methodology section in that
walkthru.  The methodology is what sets this apart from other walkthrus or
strategies you might read.  I've had positive response to the methodology
in THE DIG walkthru, so I decided to give it another go with GK2.

Below is a slightly revised version of the methodology section as it appears
in THE DIG walkthru and you can skip to the PRELIMINARY MATTERS section
if you're familiar with my method.  If you aren't, please read the
entire section so you'll understand why I've written this as I have.

This is the story of how I got through GK2.  I've described, as nearly as I
can recreate it, the game that I, personally, played.  I finished my first
game with 677 of 679 points, but in recreating what I did for this walkthru
I ended up with a perfect score (although I have no idea where I picked up
the additional points).

My goal is not only to help you get through the game, but to give you
a sense of how I thought about the puzzles, what I got out of the game's
story, and why certain things I tried worked (and others didn't).  I've
attempted to highlight things that you learn as you play that should
serve as clues to what might otherwise seem obscure puzzles, and have noted
the places where I needed a hint myself and/or felt that a puzzle could have
been more "fair."  Instead of just telling you a quick and dirty solution,
such as "take x and use it on y" without an explanation of why, I've tried
to give you a sense of how I came to that point through my own game
experience -- and how (I thought) some of the things that weren't
necessary to finish the game added to its atmosphere and exposed aspects
of its richness.

My hope is that if you're new to graphic adventures and having some trouble,
this walkthru will not only help you through GK2, but will give you some
ideas about what to try with your next game to make it more fun and less
frustrating.  If you've been playing adventures since Shep was a pup and
have pretty much breezed through GK2 so far, I hope that this will
help you with wherever you happen to be stuck -- but will also be at
least somewhat entertaining to read through after you finish, as you'll get a
taste of where I was led astray.  Maybe you can even relate to some of
my wayward follies because you waywardly followed them yourself.  Heh.

PRELIMINARY MATTERS

I'm going to assume that once you've been to a place, you'll be able to
find your way back there if necessary without me telling you how to get there.
I'm also going to assume that you've perused the game booklet enough to know
how to use your inventory, Gabriel's tape recorder (except in one place
where I had some trouble), and Grace's notebook; how to get in and out
of close up views of items by using the EXIT function; and how to save
your games.  I'll point out some useful places to save as we go along,
because in a number of sequences you can die quite readily.  In general,
though, I save every time I accomplish anything and where the game allows,
as this one does, I make each save a new saved game.  (You can save 20 games
in the SIERRA/GK2DOS directory, for example, and to save another 20, just
specify a different directory at the path selection screen.  You can save
as many games as your hard drive will allow this way.)

Since many of the onscreen hotspots don't have exact names supplied by the
game, I've given them names of my own (e.g., DIRT for the spot where
Gabriel finds hair at the Huber's farmhouse) -- but I've tried to be
consistent so that once you've encountered such a place you'll be able to
find it again by its name.

I've included in parenthesis the total number of points I had out of 679
after each action that gave me points for those curious about such things.

I've also added special "NOTES" within the walkthru that supply commentary
about particular game features or matters that don't directly relate to
getting through the game.

Whew.  That's done, so let's get the heck on with it! 

PROLOGUE

The prologue movie can only be called "mysterious."  Fitting for a
mystery story, but even as I write this I'm not 100% sure what it was
telling me.

A man in old-fashioned dress locks a door, then throws the keys down on
a poster that appears to be about a wolf, dated 1750.  We see burning
straw, a little boy, and someone who appears to be his mother.  The boy
and his mother go outside after hearing from a man whose identity is unclear.
More burning straw -- and we see the boy's face as he watches it burn.

I had no idea what this was all about when I first saw it.  My interpretation
after playing the game through is that what we're seeing is the execution of
one generation of werewolf, known as The Black Wolf, and that the little boy
is its offspring.  As an adult, he will figure prominently in the story to
come as The Black Wolf, number 2.  I admit that my English degree is more
than ten years old now and I'm a bit rusty here, but the mention of Von
Glower's mother in the cast list at the back of the game booklet seems
to bear out this interpretation.

CHAPTER 1 OPENING MOVIE

After this auspicious beginning, we find ourselves at Schloss Ritter in
Rittersberg, Germany.  Players of GABRIEL KNIGHT: SINS OF THE FATHERS
(hereinafter "GK1") and those who've read the GK2 game booklet (always
a good idea before you start on a new adventure, and something that can
be your downfall, as I'll discuss in a part where I got stuck) will recognize
it as Gabriel's ancestral home -- a lofty, ancient castle.  Gabriel sits
typing his latest novel on an equally ancient typewriter, but he appears to
be having a severe case of writer's block.  Luckily, he's rescued from his
frustration by events -- but perhaps not so luckily, he's plunged into a new
case that promises to be just as dangerous, if not more so, than his last.

There's a knock at the door, and someone we later learn is Gerde (who had
lived at Schloss Ritter as assistant to Gabriel's uncle, Wolfgang, and who
in GK1 pretty clearly had a thing for Wolfgang) appears to request that
Gabriel come see some visitors.  She warns him not to forget the Ritter
Family TALISMAN and to wear it always -- so Gabriel dons it and goes to
see his callers.

The visitors turn out to be a group of villagers and their relations.
Werner Huber does most of the talking for the group.  He explains that they
have come for the Schattenjager (Shadowhunter -- Gabriel's family's
calling as fighters of supernatural evil) because of an incident that
occurred two nights before at the farm of his cousin, Sepp, just outside of
Munich.

Sepp's small daughter had been playing close to some woods toward dusk.  Her
mother had called to her to come inside, and saw a wolf approaching.  The
mother shouted a warning, but the wolf attacked.  Sepp saw what was happening
and went to get a gun, but it was too late.  By the time he got outside with
the gun, the wolf had disappeared, his daughter was dead, and the wolf had
dragged part of her away with it.

The police believe this to be the foul work of some escaped zoo wolves, but
Sepp and Werner believe otherwise.  Sepp explains that the wolf looked at him
with human eyes, and Werner says it is a werewolf.  For this reason, they
have come for the Schattenjager, who must track it down and kill it before
more deaths occur.

After some slight hesitation, Gabriel accepts the challenge, and arranges to
go to Sepp's farm (Sepp and his wife will be staying elsewhere) and take a
look around.

Gabriel awakes in Sepp's farmhouse, and Chapter 1 begins.

CHAPTER 1:  At The Huber Farmhouse

The first thing I did, as is my usual strategy, was to take a look at my
inventory to see what I had to start with.  Gabriel was carrying a page
from his BARELY-STARTED MANUSCRIPT, which I EXAMINED.  This turned out to be
a page from Gabriel's new Blake Backlash mystery, currently a story in
search of a plot.

NOTE:  When I use the term EXAMINE in this walkthru, I am referring to
clicking an item from inventory over the magnifying glass icon in the
inventory menu, which will show and tell more about the item, and if it
is written material, to reading it to conclusion.  When I use any other
verb, such as LOOK, TAKE, USE, all you need to do is click on the item (or
click one item on another depending on the circumstances).

I next EXAMINED GABRIEL'S NOTEBOOK, his new TAPE RECORDER, GABRIEL'S BUSINESS
CARD (too tasteful for our GK), and the family TALISMAN, which Wolfgang
had given his life to recover in GK1.  This was all Gabriel was holding
for the moment, and I learned little new from this exercise.

I next took a LOOK at my surroundings starting with the DOOR behind Gabriel,
and the CRUCIFIX.  I couldn't go through the DOOR, and learned only that
the Hubers were Catholic (what a guess!) when I LOOKED at the CRUCIFIX.
Not much new or helpful info here.  Same with the CHINA CABINET, which I
also LOOKED at.

However, the BAG on the floor in front of the CHINA CABINET held more promise.
When I LOOKED at it, Gabriel OPENED the BAG (1) and took out some items (2).
When he was done, I checked my inventory and found that I now had: UBERGRAU'S
LETTER, GRACE-TO-GABRIEL LETTER #1, the RITTER DAGGER, and GABRIEL'S WALLET.
I decided to EXAMINE each in turn.

UBERGRAU'S LETTER turned out to be a letter from the Ritter family lawyers
informing Gabriel that Schloss Ritter had been registered in his name, the
estate's debts and taxes were current, and inviting him to stop in to the
firm's offices if he visited Munich. (4)  Ah.  I now had at least one
destination once I left the FARMHOUSE.

GRACE-TO-GABRIEL LETTER #1 informed Gabriel that his bookshop in New Orleans
was doing splendidly, his voodoo book recounting a fictionalized version of
the events in GK1 was up to #20 on the New York Times best-seller list,
his U.S. bank account was blossoming, and that his sidekick Grace wanted to
use some of the new money to fix up the shop.  It ended with a slight push
from the headstrong Grace to get Gabriel to decide whether to sell the shop.
All told in Grace's familiar, and entertainingly witty, zinger-filled style.
(5)

NOTE:  If you click on this letter while in the close up screen, Grace will
read it aloud to Gabriel.  This occurs with many written items in the game.
I've seen at least one post from someone on the board in GAMERS who
attributed an inability to finish a chapter to not having an item read aloud
where it was possible to do so.  Although I didn't experience this myself, as
a precaution, I strongly advise you to allow all such items to be read aloud.
Besides, doing so forces you to slow down enough to absorb all of what's in
the written material.  This game is very cerebral; it throws a lot of
information at you as well as some subtle clues.  Taking it slowly may help
you to get more out of the story.  Worked for me.

The RITTER DAGGER was a Schattenjager knife.  And GABRIEL'S WALLET actually
had money in it for a change.

Some Levi's remained in the BAG, but when I tried to TAKE them, Gabriel
claimed not to need them.  Oh great.  He planned to wear the same clothes
for the duration.  Good thing there's no such thing as smellivision in
games yet.

I next EXITED to the right and came to another part of the room.  I found
a NOTE tacked to the wall behind Gabriel's coat that I LOOKED at (6).  The
NOTE, from Frau Huber, explained that the car keys were by the DOOR and that
as it was better not to drive in Munich, Gabriel should drive to the
underground station and take the subway from there.

Now I knew I ought to find some car keys by the DOOR.  A tiny speck under the
MIRROR next to the DOOR looked like a possibility.  So I LOOKED at it and
sure enough, here were the HUBER KEYS on a rabbit's foot keychain (guess I'd
be needing all the luck I could get). (7)  I EXAMINED the HUBER KEYS just
for the sake of thoroughness.

Although I'd noticed an EXIT at the DOOR, I decided to try to exhaust the
other hotspots in this room before leaving.  I found some PAPER on the TABLE
that I LOOKED at.  This prompted Gabriel to write a letter to Grace to tell
her he was on a new case. (8)  I EXAMINED this GABRIEL-TO-GRACE ENVELOPE #1
and learned nothing new.

On the other side of the TABLE, I found something else to LOOK at, which
turned out to be a Munich NEWSPAPER. (9)  Gabriel couldn't READ much of the
German (and I could read even less), but he could tell that the zoo was in
THALKIRCHEN and that the detective on the wolf case, named LEBER, worked out
of a police station in PRINZREGENTENPLATZ. (11)  Great, thought I.  Two more
places to visit.  I'd have to scope out both of these locations asap,
assuming the game would let me.

I LOOKED at the PHONE in the corner, and tried to CALL a couple of people.
I USED the letters from GRACE and UBERGRAU with the PHONE, from which I
learned that this appeared to be the correct way to place phone calls,
although at the moment Gabriel wasn't cooperating in calling anyone.

Finally, I LOOKED at the MIRROR, which was the only hotspot I had left, and
Gabriel futzed around with his hair (which he was obviously proud of).  Thank
you, thank you, Jane Jensen, for giving us a male hero who isn't above
primping at the nearest mirror any more than was Adrienne in PHANTASMAGORIA.
Heh.

Having EXPLORED everything I could find indoors, I decided to STEP OUTSIDE.

First, I took a LOOK at the Huber's VW (yeah, a Mercedes would have been
nice, I agree), a LADDER for tending window boxes, and the outside of the
FARMHOUSE.  I couldn't find anything to TAKE here, so I decided to look
elsewhere for things to explore on the grounds before zipping off in the CAR.

I went into the BARN to the left of the CAR first, where I LOOKED at some
QUICK-DRYING CEMENT and a METAL PAIL on a SHELF.  But I couldn't TAKE
either of them.  To the right of the sink I saw a METAL BARREL that Gabriel
informed me held nothing of interest.  Finding nothing to do here for
now, I moved on.

I walked back past the CAR to the right, where I LOOKED at a WATER TROUGH.
Gabriel remarked that the ground was muddy, so I decided to take a closer
LOOK at a patch of MUD to the left of the WATER TROUGH.  Cool!  There I
found a PAW PRINT as big as Gabriel's hand. (12)

At this point, all of my years as a Girl Scout paid off, because I knew
right away that I ought to be able to use the QUICK-DRYING CEMENT to make
a cast of the PAW PRINT.  I RETURNED to the BARN and TOOK the QUICK-DRYING
CEMENT.  Gabriel (without my assistance) mixed it up with some water in the
METAL PAIL (13) and when he was done, he was carrying the CEMENT IN PAIL.

I RETURNED to the MUD, then to the PAW PRINT and USED the CEMENT IN PAIL
with the PAW PRINT. (18)  Like the good boy he is, Gabriel then automatically
RETURNED to the BARN, washed out the METAL PAIL, disposed of the cement
residue down the METAL BARREL, and put the METAL PAIL back on the SHELF.

When I next LOOKED at the PAW PRINT, the cast was ready.  Gabriel TOOK the
PAW PRINT CAST (19) and upon EXAMINING it said that he wished he knew whether
it was normal.  Perhaps I'd find someone later in the game who could help
me determine whether it was.  This was my first clue I'd need to do that.

I still had the WOODS area behind the WATER TROUGH to EXPLORE.  Most of
this screen was one big hotspot, and LOOKING at most of them evoked the
response from Gabriel that the woods went back a ways and were a good
hiding place, but he refused to walk into them.  Luckily, I tried LOOKING
at a number of different places on this screen, and near some TALL GRASS
toward the bottom I found some DIRT (20), with some reddish-brown hair on it.
Gabriel TOOK the FARM HAIR (22).  When I LOOKED at the DIRT again,
he observed that something had been here -- maybe what had killed Huber's
daughter.  (Thanks, genius.)

I EXAMINED the FARM HAIR, and Gabriel told me he'd need help analyzing it.
This was my second clue I'd need to find someone who could help me interpret
this evidence.

On my way back to the CAR, I decided to stop again and LOOK at the PAW
PRINT.  All that was left now was a HOLE where the PAW PRINT had been.

This seemed as good a time as any to branch out with my investigation
(especially since I was out of things to do here for now) so I went back
to the CAR, USED the HUBER KEYS with it, and found myself at a MAP of the
U-BAHN.

NOTE:  There is a really useful game feature in this screen called "HINT,"
which, if you use it, will show you areas where you still need to complete
tasks in the current chapter.  Purists may wish to avoid it, and
initially I determined to be stoic about this myself -- if you know me, you
know that I don't much care for online hints in games and that I make
every effort to solve adventures with help only when I'm at the ends of
desperation (that's the fun for me, although many people just like to watch
the story unfold).  However, it didn't take me long to reconsider when I got
marginally stuck and thought back to all those hours of wandering
looking for something to do in GK1 to kick over to the next day.  Using this
button doesn't cost you any points, so unless you really want to do
everything yourself, consider taking advantage of it.

When I studied the MAP, I learned that from LOCHHAM, I could go to
THALKIRCHEN, MARIENPLATZ, and PRINZREGENTENPLATZ.  I thought I recalled
from the NEWSPAPER article on the wolf killings that the zoo was in
THALKIRCHEN.  That seemed a good place to start.  Maybe some wolf expert
there could offer some insight on the PAW PRINT CAST and the FARM HAIR, my
only evidence at this point.  If that didn't work, I could always try the
police station at PRINZREGENTENPLATZ.

CHAPTER 1: At the Zoo in Thalkirchen

Upon arriving at the zoo, I noticed a caretaker walk into one of the animal
habitats and toss some food to -- WOLVES! -- living in there.  A-hah!  This
was a good sign.  But then the caretaker left, and Gabriel was standing
alone in front of the wolf habitat.  Oh, boo.  Well, maybe I could find
the caretaker again, and if not, I'd just have to explore by myself.

I started by LOOKING at a SIGN to the far right, and got a screen full of
info about canis lupus lupus, European wolf. (23)  Working my way leftward
from here, I LOOKED at the GROUND inside the WOLF KENNEL.  Nice.  Two
wolves were hanging out here, so I LOOKED at one of them (the number of
wolves present at this screen at any give time appears to be random;
sometimes there are three, sometimes, two, sometimes one).  Gabriel tried
to call the wolf over, without success. (24)  So I looked at the other wolf.
Same difference.  If I wanted to get close to these wolves, I was going to
have to find another way to do it.

I moved on to the left to another sign, "Zoo Verwaltung."  Neither Gabriel
nor I knew what this meant (my half semester of German was serving me poorly
here).  But just at that moment, the caretaker came back!  I tried SHOWING
him the PAW PRINT CAST and the FARM HAIR, by clicking each one on him.  No
luck.  (Now that you know how to SHOW items to people, I'm not going to
remind you how to do it every time it comes up.)

Since this had been a resounding failure, I decided to try to TALK to the
CARETAKER.  He agreed to speak with me, so I ASKED him about HIMSELF from
the conversation options.

I learned that his name was Thomas and that he'd worked at the zoo for almost
a year.  He didn't attribute his lack of fear inside the wolf kennel to
anything other than the wolves' laziness during the day.  After this, I
could still ASK THOMAS more about HIMSELF, so I did.  He told me that on
occasion, "Herr Doktor Klingmann himself" would call him about really
important things over the walky talky he was carrying. (25)  This gave me
a new option to ASK THOMAS about -- DOKTOR KLINGMANN.  When I did, I found
out that Herr Doktor was in charge of the mammal division at the zoo, and
was the person to ask about seeing the wolves close up although he was
unlikely to permit me to see them.  Still, I could find him in the
administration area (which turned out to be Zoo Verwaltung, as shown on
the sign I'd seen earlier). (27)

When I ASKED THOMAS about the WOLVES, he told me that he couldn't take me
in to see them close up without authorization.  At this point, an awful
lot was pointing to the fact that I'd need to get in to see those wolves,
so I resolved to be on the lookout for a way to accomplish this goal.

Finally, I ASKED THOMAS about the MISSING WOLVES.  It turned out that Thomas
wasn't around the night the wolves escaped, but asking this question led
me to a number of more specific options to TALK to THOMAS about.  I took
each in order.

According to Herr Doktor Klingmann, the wolves got out because the gate
had been left open, but Thomas wasn't so sure.  He wasn't overly concerned
about that, though, because at least he still had his job, unlike the
caretaker on duty the night of the escape, who had gotten the axe.

Thomas thought that Hilda and Parsival (the two wolves) weren't capable of
the killings.  (As I learned as I played, we'll see these names again in
another context later.)  Both of the wolves were grey, although Parsival
was darker than Hilda.  (28)  In any event, it seemed clear that the
reddish-brown FARM HAIR I was carrying didn't belong to any zoo wolves, but I
made a mental note to myself to try to verify this suspicion and rule it out
as a possibility.

After talking Thomas to exhaustion, I walked upscreen and found the
ENTRANCE TO KENNEL.  A PATH led to it, but Gabriel didn't think he'd get too
far on his own.  Below the PATH, I LOOKED at the ENTRANCE again, and Gabriel
remarked again that he didn't think the public was allowed in here.  All of
this again pointed to my needing to find a way to get into the WOLF KENNEL.

Since I couldn't just go in on my own, I went back to the previous screen,
then to the left.  I ended up in Herr Doktor KLINGMANN'S OFFICE.  He seemed
happy to talk to me, so I sat down and made myself comfortable.

Before launching into discussion, I took a LOOK around the OFFICE.
KLINGMANN'S COAT hung by the DOOR.  I found nothing of interest in the
BOOKCASE.  When I LOOKED at a POSTER on the wall next to the BOOKCASE,
Gabriel observed that Klingmann appeared to have a real thing for wolves,
and repeated this observation when I LOOKED at another POSTER behind
Klingmann's desk.  The back DOOR led to office equipment.  On KLINGMANN'S
DESK, I found a WALKY TALKY.  Hmm.  Interesting.  When I LOOKED at the
WALKY TALKY, Gabriel drew a connection between it and the one that Thomas
had been carrying.  I suspected then that the WALKY TALKY could be helpful
in getting me in to see the wolves, but at this point, I didn't know exactly
what significance it might have.

Finding nothing else of note to check out in the office, I ENGAGED KLINGMANN
in CONVERSATION and very obviously, Gabriel set about recording our
discussion.  Oh clue of clues!  Too bad it didn't keep me from getting stuck
later.  Hehehehe.

Of HIMSELF, KLINGMANN said that he had a doctorate from Heidelberg U as
an animal behaviorist.  He also got really hoity toity about his title and
said that people referred to him as "Herr Doktor Klingmann, here."

Again, of HIMSELF, KLINGMANN said he was well-known for his wolf research
and found the wolves' escape from the zoo very unsettling. (29)  This gave
me a new option to discuss:  RESEARCH.

About the RESEARCH, KLINGMANN told me he studied wolf society, and he had
some very unorthodox views on nature that his fellow scientists didn't
often share.  Fortunately, he'd found "others" who did. (30)  I was starting
to suspect that Klingmann was, in a secret life, part of a pack of werewolves,
but then I have a fairly outrageous imagination.  Just ask anyone. 

When I ASKED KLINGMANN about the WOLVES, he told me that he wouldn't let
me in to see them. (31)  He insisted that "we don't show our wolves to
anyone," and said something about wanting to protect their privacy.  I
wasn't too surprised by this.  Obviously I'd need to twist his arm somehow,
or perhaps go behind his back to get in to see the wolves.  I could think
of a few other anatomical metaphors, but I suppressed them.

Finally, I ASKED KLINGMANN about the MISSING WOLVES.  He claimed not to
know much about the subject, but as I'd experienced with Thomas earlier,
asking this suddenly gave me loads of additional questions to ask Klingmann.
I asked all of them in order.

The zoo wolves had been missing for about two months, and Gabriel remarked
that it was strange the police hadn't found them. (32)

Klingmann evaded the question of whether the wolves were responsible for the
mutilation killings, but from what he said, it seemed even less likely
that wild wolves were responsible.  Very few wild wolves still existed
in Germany, and they didn't hang out near cities.

The wolves would kill humans if hungry and presented with the opportunity.
After he told me this, I could ask how a wolf chose its victims.  Here,
Klingmann waxed philosophical about the "language of death" -- a primal
language in which the victim either agrees to die at the hands (paws?) of a
predator or not.  I found this entire exchange quite interesting, and urge
you to listen to it carefully.

I got the idea to try SHOWING KLINGMANN the PAW PRINT CAST and the FARM HAIR,
but Gabriel thought he was too close to what was going on with the wolves to
give any reliable information.

After that, I'd milked Klingmann dry for the time being, so I left his
office.  I was almost ready to board the subway again and try another stop,
but I decided to take one last look at the wolves first to see if I could
come up with any more ideas about how to get in to see them.  When I LOOKED
at the WOLVES, Gabriel confirmed that if he could get a hair sample from
them, he could compare it to the FARM HAIR he was carrying.  Having been
completely hit over the head with the importance of getting in to see the
wolves, but having no idea how to do so as yet, I headed off to the subway
MAP.  Since MARIENPLATZ was the next closest location, geographically
speaking, I decided to go check it out.

CHAPTER 1:  In Marienplatz

Once in MARIENPLATZ, I decided to take in all the sights first and get my
bearings.  To the right, I came to a shop that I learned had cuckoo clocks
in the window when I LOOKED at it.  Gabriel didn't want to go inside when
I tried to OPEN the DOOR to the CUCKOO CLOCK SHOP.  "Maybe later," he said.
A dead give-away that I should check back here frequently.

To the right of the CUCKOO CLOCK SHOP, I came to another shop.  When I
LOOKED at this one, I saw Swiss and German watches in the window.  Every time
I LOOKED at the WATCH SHOP after this, Gabriel just said he already had a
watch and wouldn't go in.

Slightly further to the right from the WATCH SHOP, I could LOOK UP to a
TOWER.  When I LOOKED more closely at the TOWER, Gabriel recognized what he
saw as the famous Munich glockenspiel.  Here, I could also LOOK at
a STATUE to the left of the glockenspiel.  It appeared to be a Madonna and
Child, and Gabriel got the feeling she was watching him.  I figured he
was just talking.  Little did I know.

Back down on street level, I LOOKED at the WALL to the right and found a
SIGN for the Munich RATHAUS, or town hall.  Further right still, I could
LOOK in the window of a BOOK SHOP.  When I did, Gabriel mispronounced
Nietzsche's name (painful to the ears) and said that he didn't understand
Nietzsche and Kant, even in English.  Tsk tsk, Gabe.  At least make an
effort.  You're supposed to have a clever and inquisitive mind, aren't you?

I continued right, all the way into another screen, where a guitar player
entertained some bystanders with a rendition of "When the Saints Go
Marching In."  I almost felt like I was back in New Orleans.   I
tried to TALK to all of these people repeatedly, to no avail.  Then I tried
to TIP the GUITARIST from GABRIEL'S WALLET, but couldn't.  So I decided
to move on.

I wasn't ready to go down into the U-BAHN again yet, so I LOOKED at a
nearby FOUNTAIN.  Nice scenery, but nothing to do here either.

I found an EXIT behind the FOUNTAIN and headed for that.  I was now on
DIENERSTRASSE.  There were some PEOPLE here, but I couldn't TALK to them.
For some reason, on my initial trip through this screen I completely missed
the other hotspot here and went on down the street.  (I'll come back
to the other spot later, at the point where I finally found it.)

The only thing to do at the end of DIENERSTRASSE was to LOOK at a GARBAGE
CAN and a BUILDING.  So I figured I should retrace my steps and see if
I could find anything to do at the other end of MARIENPLATZ.

Near where I'd started my walk, to the far left of the CUCKOO CLOCK SHOP
screen, I LOOKED at a BUILDING and then at the DRAGON SCULPTURE on it.
Some PEOPLE walked by, but when I tried to TALK to them, Gabriel just said,
"Germans!  Always in a hurry."  All he left out was the "Humph."

I continued left from here and discovered a DELI, so I LOOKED more closely
at it.  Some WEISS WURST and HACK-FLEICH were on sale here, by the LOOK of
the SIGNS.  I decided to try TALKING to the SAUSAGE LADY here, but she only
spoke German and seemed to want to sell me some white sausage (even I could
figure out that weiss wurst meant white sausage in German).  Gabriel
declined for now.  I LOOKED at the WHITE SAUSAGE and the other MEATS behind
the counter, and tried to PAY the SAUSAGE LADY for something from GABRIEL'S
WALLET, but it didn't work.  Er, why not?  It seemed I might have to come
back and try again later, but why couldn't I just buy the stuff now as long
as she was here and willing to sell it to me?  Maybe it would rot in my
pockets?

I left the SAUSAGE LADY and headed back to an OFFICE BUILDING.  I LOOKED at
the BUILDING DIRECTORY here and found that I was standing in front of
UBERGRAU'S OFFICE.  What luck!  Gabriel toodled on into the building without
any help from me. (33)

I found it amusing that I was able to march right into UBERGRAU'S OFFICE
without an appointment or ever having met the guy, and sit and chat for
as long as I wanted.  Gabriel probably wouldn't realize what was going on
here until he got the bill.  I had the feeling Ubergrau was going to jot
down "Conf/GK re various: 2.5 hours" on his timesheets as soon as I left.

The only thing to do here was TALK to UBERGRAU.  First, I ASKED him about
HIMSELF.

Seemingly still feeling the need to reassure Gabriel, who had been so
taken aback by Ubergrau's youth, Ubergrau told me that this was his
grandfather's firm, and he was a junior partner.  Ubergrau had been
assigned to handle Gabriel's matters because of his English language skills,
which he'd apparently honed while studying law at Harvard.  I looked closely
at Ubergrau.  He looked about my age, but I didn't recognize him.  Maybe
he'd been in a different first year section.

I then ASKED UBERGRAU about MUNICH.  He was surprised that Gabriel hadn't
picked up much German after almost a year of living in Germany (so was I!)
but offered to translate anything Gabriel needed translating.  Something
useful to remember for later, I thought.

About the RITTER ESTATE, Ubergrau said that they'd finally been able to
prove Gabriel was a legitimate blood heir, and that he was relieved that
Gabriel had shown up to pay all of the estate's debts.  The blood heir
comment didn't have much impact on me at this point, but it would make
sense in the not too distant future.

When we talked about the MUTILATION KILLINGS, Ubergrau got all excited about
helping out on Gabriel's new case, if need be.

Finally, I ASKED UBERGRAU about a possible SAMPLE ANALYSIS.  As luck would
have it, he had a client who was a professor at the University, and after
a quick call, he had arranged for me to visit the University's lab, where
I might find some help. (35)

I had nothing more to ask Ubergrau for the moment and couldn't think of
anything I had that he might want to see.  So I left.  And since I was out
of ideas about what else to try at MARIENPLATZ, I got on the U-BAHN to
try another location.

Now I had an option on the MAP for UNIVERSITAT, so I decided to go see if
I could get my samples analyzed.

CHAPTER 1:  In the Biology Lab

Here I ran into Michael, who said he could help.  Good thing it didn't matter
that Gabriel had gotten the name of his contact wrong (he called him
Spiegel instead of Schweitzer).

As usual, I decided to take a gander at my surroundings before getting down
to business.  I LOOKED at some MEDICAL STUFF and at a SINK, but Gabriel
just got silly with the remarks here.  Even sillier, he commented that
something that LOOKED for all the world like an EMESIS BASIN would make
a good hot dog roaster.  Ok, ok.  I guess there's only one thing to do here.

When I tried to TALK to MICHAEL, Gabriel told me to SHOW him what I had.
I started by SHOWING MICHAEL the PAW PRINT CAST.  He took some measurements,
made some notes, consulted a book, and told me that it was a wolf print --
but that it was awfully big to belong to any known species. (37)

I next SHOWED MICHAEL the FARM HAIR.  He looked at it under his microscope.
The hair was definitely not human, perhaps canine... no, not that either.
It looked like wolf, but didn't match a known species.  Michael's best guess
was that it could belong to some sort of hybrid animal. (39)

For now, that was all I had to show Michael.  So I left.  At the MAP,
I decided to try PRINZREGENTENPLATZ, the only accessible place I hadn't yet
been a first time.

CHAPTER 1: At the Police Station

My reception here was less than warm, seemingly because of Gabriel's poor
command of German.  The desk sergeant contacted Kommisar Leber, but the
good Kommisar appeared not to want to be bothered with the likes of Gabriel,
so we got tossed out. (40)

Now I had a little problem.

I couldn't think of anything to do except maybe get Ubergrau to pull some
strings to get me in to see Leber, try again to get in to see the
zoo wolves, and make sure I hadn't missed anything in any of the places
I'd been already.  If none of these worked, I'd be stuck.

CHAPTER 1:  Morgie Loses It

I went back to see Ubergrau, but he had nothing to say to me.  Ditto with
Klingmann.

I did have more than an inkling that I'd need to use Klingmann's WALKY
TALKY somehow, but I couldn't TAKE it while he was there, and nothing I
tried to show him could prompt him to leave.  I even tried USING the
TAPE RECORDER on the WALKY TALKY, but it didn't work.  This situation
reminded me of Mosely's office in GK1, but unfortunately, Klingmann didn't
seem to have a coffee machine nearby.

I started to think that I'd missed something along the way, and I scoured
all of the locations I'd been to before.  I did find something I'd missed
the first time:  in MARIENPLATZ, on DIENERSTRASSE, I noticed a POST OFFICE,
and USED the GABRIEL-TO-GRACE ENVELOPE #1 with the POST OFFICE DOOR.  This
dispatched the letter (41), but got me no closer to getting in to see
the wolves.  I was on the verge of whining here.

I hung around like a shark in KLINGMANN'S OFFICE trying to figure out how
to invite him to leave.  I even listened to some of what he'd said on the
TAPE RECORDER.  I saw a SPLICE function there, but it didn't make an
impression on me, and unfortunately, I'd overlooked the explanation of how
to use the TAPE RECORDER in the game booklet, which even went so far as
to say that Gabriel would want to SPLICE a tape in Chapter 1!  Let that be a
lesson to you, and to me.    It just
didn't occur to me to look for help in the game booklet, and GK1's puzzles
were too distant a memory to trigger any ideas in my mind.

I logged on to GAMERS, where I found hercules, who had so patiently listened
to my whine episodes during THE DIG, and who I happened to know had recently
purchased GK2.  However, I learned that he was still working on finishing
GK1 before starting the sequel, and wasn't all that keen on having me
spoil GK2 for him before he'd even installed it.   The most I could
say without giving anything away was that I thought I'd encountered a
distraction puzzle of the type that frequently occurs in adventure games.
I thought I needed an item on someone's desk, but I couldn't get him to
leave so I could take it.  This wasn't a heck of a lot for poor herc to go
on to help me formulate a plan.  So I went back to KLINGMANN'S OFFICE and
waited for inspiration to hit.

Unfortunately, it never did.  After several hours, I grew impatient and went
back to GAMERS.  As much as I hated to admit defeat, I decided to look on the
board for a likely thread.

At the time, not too many people had made it through GK2 yet, and no one
seemed to be having my problem in the Chapter 1 messages (probably because
they'd all read the booklet like smart gamers), so I ventured into some of
the general GK2 messages.  I found a subtle hint that set me on the right
track -- but as much as I tried to avoid material in the threads that
wasn't pertinent to my situation, I also accidentally found mention of
a cuckoo clock having something to do with getting into a locked area.  Oh
well.  Maybe I'd forget about this before I got to that point.  But you
know how it goes when you try to forget something.  It's the only sure way
to make certain you'll remember it.  

In any event, the hint had said something to the effect that you needed to
use the Doktor's words to order someone to do something.  So I went back
to my save and scrutinized the TAPE RECORDER option.  Here, I was told when
I PUSHED SPLICE that I'd need a SOURCE TAPE in DECK A.  So I clicked on
KLINGMANN'S TAPE and LOADED it into DECK A.  When I hit SPLICE again, I
learned that I'd need two tapes loaded, so I LOADED a BLANK TAPE into DECK
B.  Now Gabriel told me this wasn't such a bad idea, but I'd need some
privacy to carry out my little scheme.  The most private place I could
think of was my bedroom back on the farm, so I went back to the MAP and
returned to LOCHHAM.

CHAPTER 1:  Seeing the Wolves

Back in the FARMHOUSE I set to work making my SPLICE.  I tried transferring
a few things at random first, then decided to get into a different mindset
and think of what I'd say to Thomas if I were Herr Doktor Klingmann.

First off, I'd need to get him to answer the WALKY TALKY, so perhaps I should
call his name?  I selected: THOMAS?  Gabriel wouldn't let me erase it, so I
knew I was on the right track.

Then I figured I should identify myself in case there was any doubt.  So I
tried:  HERR DOCKTOR KLINGMANN HERE.  That too seemed to work.

Now for the important part.  How about the direct method?  I tried:  SHOW
OUR WOLVES TO MR. KNIGHT.  I TRANSFERRED all of this over the BLANK TAPE
by using the TAPE RECORDER buttons, and it sounded pretty convincing. (51)
I now had a KLINGMANN SPLICE TAPE.  Hopefully, the game would now let me
get rid of Klingmann so I could use it with the walky talky.

I USED the HUBER KEYS with the CAR again (you have to do this every time
you drive the car, just like in real life -- but I'm not going to repeat it
every time from now on) and took the U-BAHN back to THALKIRCHEN and
KLINGMANN'S OFFICE.  Miraculously, Klingmann was gone and I hadn't even had
to do anything to get him to leave!

I decided to SNOOP around KLINGMANN'S OFFICE while I had the chance.  Inside
KLINGMANN'S COAT, I found and TOOK a scrap of paper (53) that I EXAMINED.
It looked like a receipt of some kind.  Still in EXAMINE mode, I TURNED it
over and LOOKED at the back.  I found some writing in carbon that Gabriel
couldn't make out. (55)

I learned nothing new from LOOKING at the BOOKCASE or the POSTERS again,
and Klingmann was behind the back DOOR.  I RIFLED his DESK, but found nothing
of interest.  Finding nothing else to poke around in while he was gone,
I decided to see if this splice thing would work.

I USED the KLINGMANN SPLICE TAPE with the WALKY TALKY, and Gabriel played
the tape over the walky talky.  After a few tense moments, I learned that
Thomas bought the whole thing, hook, line and sinker. (60)

Just as I finished (whew), a cut-scene took over.  Herr Doktor emerges from
the back room, and he and Gabriel leave the office.  Outside, Thomas is
waiting to escort Gabriel into the WOLF KENNEL.  Once inside the kennel,
Thomas calls to a wolf named Marguerite, and she finally comes over to take
a treat he has for her.  Now you have a close up view of Marguerite, and take
over the action again.

I noticed a TAG around Marguerite's neck and LOOKED at it. (61)  Thomas
commented that all the wolves at the zoo wore tags.  When I TOUCHED
MARGUERITE, I ended up in another cut-scene.  Gabriel swipes some of
Marguerite's hair despite Thomas' admonitions against touching her.  Another
wolf becomes roused and Gabriel and Thomas run out of the WOLF KENNEL.
(65)

I now had some ZOO HAIR to EXAMINE.  It was grey.  I got the idea that I
should take it back to Michael at the UNIVERSITAT and see if he could tell
me anything about it.

In the BIOLOGY LAB, I SHOWED the ZOO HAIR to MICHAEL.  He took a look at it
and said that it wasn't the same as the other hair -- the ZOO HAIR was
definitely wolf. (67)

I decided to leave Michael without too much in the way of a plan, having
tentatively decided to drop back by MARIENPLATZ and see what I could see.
On my way out, Michael handed me an EVIDENCE ANALYSIS REPORT containing
his findings about the two hair samples and the paw print. (68)  When
I got back to MARIENPLATZ, I EXAMINED the EVIDENCE ANALYSIS REPORT.  By
now, it was looking like the zoo wolves could be ruled out as the
perpetrators of the mutilation killings, but there wasn't much in the way
of another solution as yet.

CHAPTER 1:  The Hunt Begins

I dropped by the DELI, but still couldn't do anything here.  So on a whim,
I decided to impose on Ubergrau again.  In UBERGRAU'S OFFICE, I found I
could ASK him about JAGDSCHEIN -- the word that had appeared in large
letters on KLINGMANN'S RECEIPT.  Ubergrau told me it meant hunting license.
(69)  I couldn't SHOW KLINGMANN'S RECEIPT to UBERGRAU, but I did EXAMINE
it again myself.  The words on the back that Gabriel hadn't been able to
read appeared, after careful study, to be backwards.

I considered for a moment how I might read these words, and it came to me
quickly that holding them up to a MIRROR should be just the thing.  And
I knew just where to find a MIRROR.  I went back to the FARMHOUSE at
LOCHHAM.

Here, I USED KLINGMANN'S RECEIPT with the MIRROR.  Gabriel could now read
the words, but of course they were in German.  (74)  The one thing I did
understand during his butchered reading was an address on DIENERSTRASSE.
So I ran right back to MARIENPLATZ and over to DIENERSTRASSE.

Where I'd seen nothing but BUILDINGS before, I now recognized an address:
54 DIENERSTRASSE.  I OPENED the DOOR and TROMPED inside, like a total
boor.

The DOORMAN wasn't too happy to see me. (75)  I had some conversation
options, but this time I decided not to take them in order.  I thought it
would be safer to ASK about KLINGMANN first.  Maybe I could keep up the
ruse that I knew what I was talking about if I didn't confess ignorance
of where I was right off the bat.  But the DOORMAN wasn't telling any tales.
So I had no choice but to ask what kind of place I was in.  As I'd suspected,
that went over like a lead balloon and the conversation was over.

It occurred to me that perhaps my lawyer might be able to tell me what the
German words I'd seen in the MIRROR meant.  After all, he'd already offered
to translate for me and had made good on that offer once before.  So I went
back to UBERGRAU'S OFFICE.

Sure enough, now I was able to ASK UBERGRAU about DIE KONIGLICH-BAYRISCHE
HOFJAGDLOGE.  He told me he didn't recognize the place itself, but it sounded
like a men's sport club.  The translation was essentially:  Royal Bavarian
Hunting Lodge. (77)

Now that I knew what kind of place I'd found, maybe I'd have a better shot
at faking out the DOORMAN at 54 DIENERSTRASSE.  Back I went to give it a try.

When I was inside, I ASKED the DOORMAN whether he was in the market for
a TAXIDERMIST.  Wrong-o.  That got me nowhere.  So I decided to TELL him
I was an AVID HUNTER.  Unfortunately, Gabriel went all good 'ol boy on me
here and was told that the club was very exclusive and only accepted
members of prominent German families. (78)

Of course, Gabe and I knew he was a Ritter.  But would this dude buy it?
I tried to tell him, and he demanded proof.

All I had on me at the moment that might have worked were UBERGRAU'S LETTER,
the RITTER DAGGER, and the TALISMAN.  But SHOWING any of these to the
DOORMAN wouldn't work.

My lawyer was right around the corner, and although I didn't think of it
at the time -- I just relied on his profession as a likely source -- he
_had_ told me that he'd gone through hoops to prove to the government that
Gabriel was a direct Ritter descendent.  I went back to UBERGRAU'S OFFICE,
and indeed, I could now ASK him about the RITTER FAMILY PAPERS.  As it turned
out, he'd had a family tree prepared for the title transfer, and he offered
me a copy.  His secretary brought it out, and I thought I was all set. (80)
I EXAMINED the RITTER FAMILY PAPERS, and became convinced they'd do the
trick.

I returned to 54 DIENERSTRASSE and TALKED to the DOORMAN again.  I insisted
that Gabriel was a Ritter, and when he asked for proof, I SHOVED the
RITTER FAMILY PAPERS in his face.  Now he was singing a different tune, but
it still wasn't enough for the DOORMAN ("XAVIER" from now on).  I needed
sponsorship from a current club member.  During an ensuing tiff over these
rigid requirements, a stranger stepped out from a corner and came to my
rescue.  He, Baron Friederich Von Glower, would take me into the club as
a guest. (90)

CHAPTER 1 ENDING MOVIE

In the club's inner sanctum, Von Glower introduces Gabriel to his comrades:
Von Zell, Klingmann (we've met, oh yes, of course, you're right, so glad
to see you), Von Aigner, Hennemann, and Preiss.  Tonight's agenda is drinking,
and Gabriel is handed a beer stein.  Von Zell and Klingmann leave rather
abruptly, then so does Preiss.  Von Glower apologizes for these departures,
and Gabriel says he ought to be going himself.  Von Glower assures Gabriel
that the club will be open to him any time he wishes, although the other
members congregate in the evenings.  He hands Gabriel his card, with his
home address.

Who are these people?  Why is Klingmann here?  What's with that Bruce Willis
clone Preiss who keeps saying Gabriel intrigues him?  I thought for sure
I'd found the entire werewolf pack now, but as I soon found out, I'd have
to wait a bit to see if this theory was even close.

CHAPTER 2 OPENING MOVIE

And the reason is:  in Chapter 2, you're Grace.

Grace is back in Gabriel's bookstore in New Orleans, having one of those "but
mom" conversations on the phone.  Seems from the one-sided conversation
that's going on that she's being questioned about when she's going back to
school, and -- sheer speculation on my part from what Grace told us in
GK1 -- when she's going to get married to the guy her parents want to set
her up with.

A female patron brings Gabriel's voodoo novel up to the counter and all
she can do is gush over what a manly man Gabriel is.  She asks Grace when
she can come back to get a look at Gabriel.  Grace advises against it.
You see, she says, Gabriel is very shy.  There was an accident.  It's his
face.  (I was rolling on the floor laughing here.  Grace is definitely my
favorite character in this game.)

Grace gets Gabriel's letter that says Gerde can do whatever research he
needs, and this pushes one of her buttons big time.  She makes arrangements
to go to Germany to take her rightful place as Gabriel's assistant.  But
when Grace arrives at Schloss Ritter, Gabriel, of course, is gone.  Gerde
can't say when he'll be back, but welcomes Grace to stay at the castle.
Grace meets this hospitality with an indignant statement that she doesn't
have much choice.

The next morning, Grace is making the bed she slept in, in Gabriel's bedroom
at Schloss Ritter when a worker arrives.  He sets about doing something
by the fireplace.  After this, you're ready to take over the action in
Chapter 2.

CHAPTER 2:  At Schloss Ritter

Again, I EXAMINED all of my inventory to see what Grace had to start with.
She was carrying GRACE'S NOTEBOOK (in which she jots down leads and thoughts
automatically during the game); the GABRIEL-TO-GRACE LETTER #1 that had caused
her to pick up and run to Germany in the first place; GRACE'S WALLET,
that contained some marks she'd converted at the airport; and PROFESSOR
BARCLAY'S CARD, a business card for a history professor at Yale.

Then I set off on my explorations.  I tried to TALK to the WORKER, but
he didn't need my help.  I LOOKED through the WINDOW.  Grace said she
saw a nice view of the Alps (but I didn't see it).  When I LOOKED at the
CLOSET, Grace opened it and admired it.

Behind Grace, another part of the bedroom contained the BED Grace had been
making up when the scene opened -- when I LOOKED at it, she remarked that
it was pretty comfortable, considering that Gabriel had slept in it.  I
also LOOKED at two PORTRAITS of Ritter ancestors, and a stone carving of
a LION.  I couldn't OPEN the DOOR here because it was locked.  I knew from
GK1 that this was the door to the Schattenjager library, so I figured I'd
need to get the key somehow.

Since I didn't have any ideas about what to do here for now, I decided to
leave the bedroom.  I went through the DOOR next to the CLOSET and ended up
in Schloss Ritter's main hall.  I LOOKED around here and saw another
stone carving of a LION on the wall, some CHAIRS along both sides of the
room, and more PORTRAITS of Ritter ancestors.  All of these just evoked
snappy remarks from Grace.

I also saw Gerde here, seated behind a desk.  I decided to try talking to her.
About GABRIEL:  She didn't know where he was and wouldn't tell me about
the case, but she did tell me that he'd taken the case for Werner Huber
who ran the Gasthof in town. (92)  About HERSELF:  She didn't have any
trouble working for the new "Ritter heir."  At the moment, she was working
on plans for the castle.  It needed a lot of work, and until now there
hadn't been any money to pay for the restoration.  Grace got a little bent
out of shape at the thought that Gabriel might be planning to live in the
castle permanently instead of selling it.

About GABRIEL'S RESEARCH:  Gerde had been asked to do some work for Gabriel,
but wouldn't let Grace take it over unless Gabriel so directed. (94) He'd
asked Gerde to check the Schattenjager library for cases similar to his
current one.  It was starting to sound more and more like I'd need to get
into that library but quick.  About the LOCKED DOOR:  It led to the
Schattenjager library, as I'd thought, but Gerde wouldn't let me have the
key.  Gerde continued to refuse to tell me about the case, and suggested
that I go look around the area.  Fine, I know when I'm not wanted.  When
I'd exhausted all of my conversation options, I did as she suggested.

By the DOOR to Schloss Ritter, I LOOKED at a VASE and a STATUE, but couldn't
do anything with them, so I went on OUTSIDE.  I LOOKED at Schloss Ritter
and GABRIEL'S CAR, and got a few laughs out of Grace's remark about the first,
and a clue out of her remark about the second.  She'd wondered aloud where
the keys were, so I thought I'd go back inside and see if I could ask Gerde
for them before I moved on.

When I ASKED GERDE about the CAR KEYS, she wouldn't give them to Grace, so
I continued with my investigation OUTSIDE.  Down a path, I came to the
Rittersberg Town Square, where I had a lot of new places to explore.

CHAPTER 2:  In the Rittersberg Town Square

To the right, I found the Rittersberg Rathaus, which I knew from Gabriel's
exclamation on seeing a similar structure in Munich was the town hall.  I
went to the door, and the Mayor himself greeted me.  He knew right away
that Grace wasn't a native German speaker (at least she tried, though --
Gabriel should take a lesson), and suggested we converse in English.

He told me that his name was Habermas (95), that Rittersberg was a very old
town, having grown up around the castle built by Martin Ritter in 1223.
THIS BUILDING was the Rathaus, the town hall (in case I didn't pick up on
what Gabriel had said before, I guess). (96)  That was it for Herr Habermas
at this point, so I went to find something else to do.

I looked at another DOOR to the right of the DOOR TO RATHAUS, but it was
locked.  Still further to the right, I came to a POST OFFICE.  When I LOOKED
closer at it, no one was there.  I RANG the BELL, and a POSTAL WORKER came
to the DOOR, but I didn't have anything to say to her now.

I passed on to the right and entered the Gasthof Goldener Lowe.  I found a
PATRON here, but he wasn't talking.  I LOOKED at a PAINTING to the right of
the DOOR, and a PHOTOGRAPH on the wall at the end of the bar.  The same
person appeared in both; Grace wondered who he was.  Under the PHOTOGRAPH,
I saw something that LOOKED like a piece of PARCHMENT, but Grace couldn't
tell what it said, and could only say that it looked old.

Having run out of other hotspots, I decided to talk to the BARKEEP, who, as
it turned out, was my old friend Werner Huber himself.  He told Grace about
HIMSELF and the Gasthof, which had guest rooms upstairs.  He'd learned
English from Wolfgang Ritter.  WOLFGANG, Gabriel's Great Uncle, was a true
Schattenjager.  He'd had "the sight."  It was quite a blow to the town when
Wolfgang died, but it wasn't much of a surprise.  Gerde had known what he
was up to and apparently hadn't done a very good job of hiding her concern
from the other townspeople.  Huber gave Grace one of those knowing looks
when she asked if Gerde and Wolfgang had been close, but from what happened
later, Grace didn't seem to be too perceptive here.

RITTERSBERG was a small, private town that hadn't changed much over the
centuries.  Here, they still remembered what the rest of the world had
forgotten:  that life was a battle between "the light and the dark."

GABRIEL'S CASE was for Huber's cousin, Sepp, who didn't live in Rittersberg.
Huber wouldn't tell me where to find Gabriel, and didn't know how long he'd
be gone.  But he did tell me that the case was about werewolves. (98)  I
replayed this part a few times just to hear him say "werewolf" in that
spooky voice of his over and over.

About WEREWOLVES:  Rittersberg had seen them before, in the 1700s.  One had
been caught and brought to trial here. (100)  Huber had nothing else to tell
me for now, so I decided to move on and explore the CHURCH I'd seen on the
way into the Town Square, then maybe stop back by the RATHAUS and see if
the Mayor could tell me anything more about the werewolf of the 1700s.

Outside the CHURCH, I LOOKED at some FLOWERS, but Grace only wondered what
kind they were.  I also LOOKED at a PLAQUE next to the CHURCH'S DOOR that
identified it as St. Georg's Church.

Inside, I found a PRIEST, but when I tried to TALK to him, it became obvious
that he didn't speak English, and poor Grace couldn't communicate well
enough in German to make any headway.  I noticed a WOMAN sitting in the pews,
but Grace didn't want to TALK to her as it might have disturbed her.

I LOOKED at the CHURCH WALLS and saw a STATUE of the MADONNA to the left,
and another STATUE of ST. GEORG to the right.  Toward the alter, I passed
through an EXIT into a CRYPT.  The CRYPT contained COFFINS of JURGEN RITTER,
WOLFGANG RITTER, and MARTIN RITTER, as well as some others that I couldn't
read the names on.  But they were all old, and all Schattenjagers.  On
WOLFGANG'S COFFIN, I found a SILVER HEART.  When I LOOKED at it, Grace
concluded that someone had left it as a mourning gift.

I couldn't find anything else to see or do in the CHURCH, so I left.
Initially, it seemed as though there might be more area to explore to the
left of the CHURCH, because I had a marking for an EXIT there.  But try as
I might, I couldn't go any further left.  So I stopped back by the RATHAUS.

My instincts were correct, because I could ASK Herr Habermas about TRIAL
RECORDS.  He told me they were available back to the 12th century, but since
all I could tell him was that the one I was interested in took place
sometime in the 1700s, he couldn't help me.  He didn't look that busy, and
I was a bit incensed that he wouldn't just go start at the beginning and
read all the files for me.  How many trials could the thriving metropolis of
Rittersberg have had in a century anyway?    In any event, it appeared
I'd need a specific date before he'd be of any help.

I went back to the GASTHOF to see if Werner Huber could be more specific,
but I had no conversation options for him.  So I decided to go back to the
castle and see if I could have any luck talking Gerde into giving me the
car keys, or maybe find a way into the Schattenjager Library.

CHAPTER 2:  Back in Schloss Ritter

I couldn't talk to Gerde, so I thought I might be at a bit of a dead end
here.  Fortunately, when I went back upstairs, the WORKER had departed,
and I could take a closer LOOK at the FIREPLACE in Gabriel's Bedroom.

The WORKER had left some TOOLS here, and I took a SCREWDRIVER from the box
(101).  Then I noticed a HOLE in the stones of the FIREPLACE, so I LOOKED
at that.  I wondered if anything the WORKER had been doing had to do with
this HOLE?  Maybe I could fix it myself.

I USED the SCREWDRIVER on the HOLE and heard a click to my right. (104)
When I came out of the video scene, Grace was facing the CLOSET, so I
thought perhaps the sound had come from there.  When I OPENED the CLOSET,
I discovered that I'd tripped a secret door in its back.  I EXITED and
Grace walked into a PASSAGEWAY that someone appeared to have been using
rather recently. (109)

I ended up in an area with two other possible exits that I thought at first
might be a maze.  So I saved my game here in case I'd need to backtrack to
the beginning and do some mapping.  As it turned out, though, that wasn't
necessary.

The EXIT to the right led to GERDE'S BEDROOM, through another CLOSET.  Heh.
(111)  There wasn't much to see in GERDE'S BEDROOM except a PICTURE OF
WOLFGANG on a TABLE.  I LOOKED at it, though.  Wolfgang reminded me of
Robert Plant.  Pretty hip for someone's Great Uncle.

I couldn't go out the main DOOR, so I OPENED the CLOSET again.  Here, I
found a LIBRARY KEY (113) hanging from the top of the closet.  I was sure it
opened the LOCKED DOOR in Gabriel's bedroom.  So, apparently, was Grace.

NOTE:  The LIBRARY KEY can be hard to see.  I didn't have trouble seeing it,
but hercules confessed to me that he was stuck here for a long time because
he couldn't see the key.  It's toward the right of center, hanging from the
closet.  Gerde's clothes are to the left.

Since they were there, I LOOKED through GERDE'S CLOTHES before leaving.
From Grace's remark, I was now completely certain that she had a huge chip
on her shoulder about Gerde.  I was pretty sure that her dislike didn't
begin and end with professional jealousy.

Back in the PASSAGEWAY, I tried the EXIT toward the back, and ended up
outside of the castle.  I LOOKED at some ROSES that bloomed in a bush
to the right, and at the side of the CASTLE to the left.  Further to the
left, I could move to another screen where I could see the outside of
Schloss Ritter from another angle.  I couldn't walk any further this way,
though, so after LOOKING at the CASTLE in various spots, I went back to
Gabriel's Bedroom to USE my new LIBRARY KEY on the LOCKED DOOR.

When I did, it OPENED and I found myself inside the Schattenjager LIBRARY.
(118).  I immediately started trying to PULL BOOKS from the SHELVES.  The
first set of SHELVES on the left held biographies, mostly about Germans.
Grace didn't seem too interested in these.  The middle section of the SHELVES
held BOOKS on the OCCULT.  Here, Grace found a BOOK on Lycanthropes.  She
OPENED it up and found a LETTER inside (119).

Just then, Gerde came in and confronted Grace, demanding to know how she'd
gotten into the library.  Gerde discovered the key, and Grace went ballistic
over what she thought was evidence of secret rendezvous between Gabriel
and Gerde.  (Wow, lots of names begin with "G" in this game, and that's
not including Von Glower and Grossberg who I'd learn about later.  Come to
think of it:  Leber, Huber, Ubergrau, Habermas... ber-y interesting.)  Grace's
venomous attack seemed to hit Gerde in a wounded spot, because Gerde left
almost in tears without trying to justify herself and said, "ok, you do
the damn research."  I wasn't very happy with my favorite character right
now.  She had been mean, and over a _guy_.  And here I thought I'd found
a role model who was so self-confident as to be above these petty jealousies.


Continuing on, I tried the last group of SHELVES to the far right, where
Grace found another BOOK.  This one, VICTOR RITTER'S JOURNAL (120).  Since
she couldn't pick up anything else from the SHELVES, I decided to EXAMINE
what she'd found.

In VICTOR RITTER'S JOURNAL, we learn that Victor had gone after a wolf,
or werewolf, using a sheep as bait.  Victor stabbed the wolf and brought
it back alive to Rittersberg to be presented to a magistrate.  The journal
entry was dated April 20, 1750. (122)

The letter Grace had found in the Lycanthrope book was a LETTER TO LUDWIG II,
dated March 4, 1864, from Christian Ritter.  It warned Ludwig II, King of
Bavaria against one called "The Black Wolf" and begged him not to see this
personage alone, or only with servants as protection. (124)

In LYCANTHROPES: LORE AND LAW BY JENNINGS we learn a great deal about
werewolves.  Read this one closely, because it explains a lot that is
relevant to the story.  I'll list what I saw as the main points here:
(1) werewolves are virtually immortal, but can be killed by any wound or
form of death that destroys or damages the heart or brain, (2) one can
become a werewolf by sorcery, being cursed, being bitten by a werewolf or
being born to a werewolf, (3) one who becomes a werewolf against his or her
will is not completely damned unless he or she tastes of human blood, but
the soul cannot enter Heaven while the taint remains, (4) werewolves have
pack instincts and sometimes convert others for companionship, (5) a pack
consists of the original werewolf (Alpha) and those who become werewolves
through the bite of the Alpha (Beta werewolves), (6) if the Alpha werewolf
is killed _by action of the Beta_, the curse can be reversed as long as the
Beta hasn't tasted of human blood, (7) an Alpha cannot harm a Beta of his or
her own bloodline without inflicting self-harm, but if a Beta is harmed
by another, that does not affect the Alpha, (8) symptoms of werewolfery
include increasing violence and aggression, unprovoked rages, insomnia,
and restlessness, and (9) _Manos del Sol_ is some sort of Brazilian
priesthood that reported a werewolf incident. (126)  Funny.  I always thought
manos meant "hands" in Spanish, rather than "men" as Grace translated it.
Maybe it's different in Portuguese.

At this point, I developed a theory:  Von Glower was the Alpha werewolf
of a pack that contained all the other people in the hunt club as Betas.
I figured that this book held the key to getting rid of Von Glower at some
point down the road, but I didn't bother my sweet little head about it
right then.

More immediately, though, it seemed from all of this reading that the date
of the werewolf trial might have been sometime in 1750 (as I realized the
second time through the game, this was the date on the poster during the
Prologue movie) -- but what about this other case in the nineteenth century?
Hmm. I thought I'd go talk to Herr Habermas again when I was done here.

I found an EXIT to the right of the screen that caused Grace to sit down
at Gabriel's DESK.  Here I LOOKED at his MANUSCRIPT (he hadn't made much
progress), the TYPEWRITER (Grace said she wasn't "quite ready" to write to
Gabriel, so I made a note to come back here later and see if she was), the
VOODOO MURDERS BOOK (Grace made another jealous remark), and the PHONE
(Grace wondered who she should call).

Who indeed.  She'd been holding PROFESSOR BARCLAY'S CARD from the beginning,
so I decided to give him a ring.  I USED PROFESSOR BARCLAY'S CARD with the
PHONE.  Grace woke him up in the middle of the night to ask him about
Ludwig II.  Barclay said German history wasn't his field (um, Grace, didn't
you know that?), but he'd give a colleague at the University of Berlin
a call (131) and call back when he'd made contact.

I was done with the DESK for now, so I decided to leave.  On a whim (although
in fairness, the game did give me reason to believe I might find something
else among the journals after I found Christian's letter -- I just didn't
make the connection, at least consciously), I checked the BOOK SHELVES again
before I left.  When I LOOKED at the far right SHELF, Grace pulled down
CHRISTIAN RITTER'S JOURNAL. (132)  He'd died on the same date as the LETTER
TO LUDWIG II.  When I LOOKED at the occult SHELF, I found nothing, but when
I LOOKED at the biographies again, Grace tried to find one on Ludwig.  She
did, but they were all in German and weren't of much help to her.

I READ CHRISTIAN RITTER'S JOURNAL, and learned that he too had been on a
werewolf hunt, after someone called The Black Wolf.  Christian had decided
to return to Rittersberg on March 3, 1864, the day before he wrote the
letter, and then died. (134)

This seemed to be all I could do in the library for the moment, since
Grace maintained that she still wasn't ready to write to Gabriel.  So I
went back to town to see if what I'd just learned could point me to any more
definite leads.

CHAPTER 2:  Back in Town

Fortunately, my instincts were again correct, and when I returned to the
RATHAUS, I found that I could now TELL Herr Habermas a date for the TRIAL
RECORDS I needed.  He pulled them for me and told me the following:

The werewolf was brought to Rittersberg because they wanted to know who
the wolf was.  They'd brought it to town so that it would change back to
a person. (136)  The werewolf did change back.  He was interrogated for two
days, confessed, and was sentenced to death after trial.  He'd had a final
meal, asked to see a confessor, and died at dawn.  The werewolf had been
kept in the dungeon in the Rathaus basement. (138)  He'd turned out to be
Baron Von Reilich from Alfing. (140)

NOTE:  I couldn't find anything in the game that told me how to spell this
name, so I spelled it somewhat phonetically but tried to make it look
Germanic.

They'd wanted to know who the werewolf was so that they could warn his
family.  Then, Grace asked to see the DUNGEON, and Herr Habermas took her
through the locked DOOR next to the main RATHAUS DOOR.

In the DUNGEON, Grace had a vision that harked back to the Prologue movie.
Herr Habermas said he'd leave the door open for her so she could come and
go as she pleased (142), then left.  I LOOKED at the WINDOW and Grace saw
the Church of St. Georg through it.  She ruminated on Herr Habermas'
statement that the werewolf had asked to see a confessor. (144)  Perhaps
someone could tell us what he'd confessed to?  I next LOOKED at a COT
on the far side of the DUNGEON.  Grace just said that Von Reilich had slept
there.

I wasn't exactly sure who to ask for what at this point, so I decided to
start with the CHURCH to see if the PRIEST was still there, and if so,
whether Grace could gather up enough German to talk to him about the
werewolf's confession.  But she couldn't.  (Time to send those home study
tapes back for a refund.)

Then I went back to the GASTHOF to see if my friend Herr Huber had more to
say this time around.  In fact, he did.  It turned out he was quite a fan
of LUDWIG II, who he called the last true King of Bavaria, and that the
portraits I'd seen on the tavern walls were of Ludwig.  The framed PARCHMENT
was actually an article from the Munich newspaper the day after Ludwig
had died.  Huber said that Ludwig was a genius who had built castles.  The
politicians had killed him -- they thought he was crazy and got papers from
a doctor saying so.  "They" killed him.  "They" said it was suicide, but
Huber didn't believe that.  It was murder. (146)

I wondered how Ludwig fit into all of this.  From what we'd learned already,
he'd been in danger from a werewolf, but to what end?  I LOOKED again at
the PAINTING, PHOTOGRAPH and ARTICLE.  But aside from now being able to
identify the pictures as Ludwig, I learned nothing new.

I went back to Herr Habermas just to see whether he could offer any
enlightenment on what I'd just spoken to Herr Huber about.  He couldn't, but
much to my surprise, I could now TALK to _him_ about CHURCH RECORDS.  He
told me that the records would be in German and that FATHER GETZ (formerly
the PRIEST) couldn't speak English (yeah, I know).  Habermas wrote out
the MAYOR'S NOTE for me to take to FATHER GETZ (148) and said that if the
Father had any records, to bring them back and he'd help me translate them.

I went back to the CHURCH and GAVE FATHER GETZ the MAYOR'S NOTE. (150)
In exchange, he gave me a CHURCH FILE.  I took it back to the RATHAUS
and SPOKE to HERR HABERMAS about it.

He took the file from me and started looking through it.  He found a note
in English from a lawyer in Argentina who was requesting information on
the death of Von Reilich.  The seal on the letter had a wolf on it.  Creepy.

Then he told me about the confession.

The Von Reilichs took the symbol of the black wolf because of their great
skill at hunting, but this particular Von Reilich had lived up to the name
too well.  He wasn't a very nice person.  He'd raped a Hungarian Gypsy
girl who'd killed herself, and afterwards another Gypsy had cursed him.
Thereafter, he'd started to take the form of a wolf and eat human flesh.
He welcomed his punishment if it would save himself and his family from
further pain. (155)

That was all Herr Habermas could tell me.  I wondered if I now had enough
information to write to Gabriel and I couldn't think of anything else to
do in town.  So I went back to Schloss Ritter to try typing out a note.

CHAPTER 2:  Concluding Events

Inside the Schattenjager LIBRARY, I SAT at the DESK and USED the TYPEWRITER.
Grace typed up a letter to Gabriel, then stuck it and all the materials
she'd found in the library in an envelope. (160)  But she still needed an
address for Gabriel.  Maybe she could drag that much out of Gerde.

Gerde wasn't talking about just anything (can't blame her after Grace's
tirade in the library), but when I SHOWED her GRACE'S PACKAGE (NOT ADDRESSED),
she gave me Ubergrau's address. (162)  Now I had an ADDRESSED PACKAGE.

It made a boatload of sense now to visit the POST OFFICE, so I went back to
Rittersberg and RANG the BELL at the WINDOW.  I HANDED the ADDRESSED PACKAGE
to the POSTAL WORKER.  (163)  She took it and said something to me.  Oh right.
Such things aren't free.  I HANDED GRACE'S WALLET to the POSTAL WORKER
and completed the transaction. (167)

CHAPTER 2 ENDING MOVIE

Grace and Gerde are sitting silently inside Schloss Ritter, reading, when
there's a loud and obnoxious rap at the door.  When they answer it, they
find the Smiths, from Merrimack, Pennsylvania, who turn out to be as loud
and obnoxious as their knock.  The Smiths are demonologists on a pilgrimage
to see the Schattenjager castle.  Grace explains that the resident
Schattenjager isn't home, and reluctantly, the Smiths prepare to leave after
inviting Grace to stop by the Gasthof, where they're staying, to visit
the next day.  Grace seems wholly unenthused by this idea.  As they leave,
Ms. Smith has an episode of some kind.  She grabs Grace's hand and says
that she sees danger to someone close to Grace, in the form of a black wolf!
Mr. Smith drags his wife away.  Hmmm.  Maybe it's not such a bad idea to
go to the Gasthof and talk to them afterall.  But I'd have to wait
because...

CHAPTER 3 OPENING MOVIE

... now you're Gabriel again.

Looks like he's soaking up some sun on a lakefront.  There's a swan that's
in the process of alighting on the water, and as he watches it, he sees
interspersed with the swan's descent, pictures of a woman, a man in a hat
sporting a form of goatee giving her something, a wolf.  He wakes with a
start.  It was only a dream.  Or was it?  He finds something on his chest.
Feathers?  Petals?  I couldn't tell, but the implication was that whatever it
was had been left by someone or something in the dream.  He stands up ready
for action again.

CHAPTER 3:  Morgie's Aside

I patted myself on the back but good here.  I'd made it through all of
CHAPTER 2 without becoming stuck!  I decided to check into GAMERS and
see how herc was doing.

Luckily, he was there and I found out that he'd finished GK1 by now and had
installed GK2.  He hadn't started the game yet, though.  I figured he could
catch up to me fairly quickly, so I thought it was important to plow ahead
so I wouldn't drop too far behind later.  I didn't know how much longer I'd
last at this point -- I'd started the game up in the evening and
it was almost midnight now, but I didn't seem to have hit too many stumbling
blocks so far.  Always a nice feeling, but not very entertaining to write
about.  Heh.

I figured that I'd continue on and see if I ran into any difficulties in
CHAPTER 3.  If so, I'd call it a night and start afresh the next day.

CHAPTER 3:  The Hunt Continues in Marienplatz

Since I hadn't had a chance to take a look at VON GLOWER'S BUSINESS CARD
that he'd given me during Chapter 1's ending movie, I EXAMINED it. (168)
From this, I learned where he lived, and as I found out later, was rewarded
with a new location to visit on the MAP of the U-BAHN.

There wasn't anything new to learn from LOOKING at the same surroundings
in the part of the bedroom where I'd started the game, and indeed, I
couldn't do much of anything in this part of the bedroom.  Nor could I do
anything in the other bedroom area except READ today's NEWSPAPER. (169)
From this I discovered that there'd been another wolf killing -- this time
in downtown Munich.

I checked all of the areas outside of the FARMHOUSE again and couldn't find
anything new, so I took off in the CAR.  Since I had an advantage that
Gabriel didn't, i.e., I knew what Grace had been up to, I headed first for
UBERGRAU'S OFFICE in MARIENPLATZ to see if her ADDRESSED PACKAGE had arrived.

Of course it had, and Ubergrau handed it to me when I walked in.  I didn't
have anything to talk to him about, though, so I paused to EXAMINE the
ADDRESSED PACKAGE in his office.  Inside I found and READ the GRACE-TO-
GABRIEL LETTER #2. (171)  Gabriel wasn't all that happy that Grace was around
and commented to the effect that all she'd found out about were silly
rantings.  How ungrateful.  He wouldn't even read the two Schattenjager
journals she'd sent, although he did peruse the book on Lycanthropes when
I EXAMINED it.

I decided to give Ubergrau another shot now that I had read Grace's letter
which suggested I ask around Munich about The Black Wolf.  Interestingly,
I could not only ask him about The Black Wolf, but about Ludwig II.

About LUDWIG II:  Ubergrau said he was an enigma, a romantic and mysterious
figure.  From the discussion, Gabriel seemed to get the idea that if he
sent Grace off to visit Ludwig's castles, she'd keep out of trouble and out
of his hair. (173)

However, Ubergrau knew nothing about THE BLACK WOLF.  And, since I had
nothing left to talk to him about, I went on my way.

The SAUSAGE LADY at the DELI still wouldn't talk to me, but I did find
that Gabriel now wasn't too busy to go into the CUCKOO CLOCK SHOP and LOOK
around.  I LOOKED at a number of CLOCKS that were hanging or lying around,
and Gabriel wondered whether Grace might like one for the shop redecoration.
I couldn't TALK to the SHOPKEEPER.

When I LOOKED at a CLOCK on the left side of the table in front of me,
Gabriel PICKED it UP and played around with it.  The SHOPKEEPER told him
it was 60 marks. (174)  I didn't think that 60 marks would break Gabriel
given all of his nouveau richness, so I HANDED GABRIEL'S WALLET to the
SHOPKEEPER and bought the woodpecker CUCKOO CLOCK. (177)  When I got back
out into the street, I EXAMINED it.  Gabriel made a very strange remark about
never knowing when a little woodpecking would come in handy.

It appeared that nothing else in MARIENPLATZ had changed before I got to
DIENERSTRASSE.  The GUITARIST was still playing, this time to a new audience,
but I couldn't find anything to do at or around the FOUNTAIN.

At the end of DIENERSTRASSE, I came upon the CRIME SCENE where the killing
the previous night had taken place. (178)  A TELEVISION NEWS CREW stood by,
along with a number of other PEOPLE.  I LOOKED at them, but Gabriel didn't
think that they would know anything about what was going on.  In the middle
of the group, I saw Kommisar LEBER.  He wouldn't talk to me when I LOOKED
at him, so I went into my inventory to see if I had anything that might
attract his attention.

GABRIEL'S BUSINESS CARD hadn't been much help at the police station, but
maybe this time I'd have better luck.  I SHOWED GABRIEL'S BUSINESS CARD
to KOMMISAR LEBER, but he ignored me.  (180)  Then I tried SHOWING him the
EVIDENCE ANALYSIS REPORT.  This time he came over to me, but still wouldn't
talk to me, even when I told him I had evidence that contradicted his
findings.  I tried SHOWING LEBER a number of other items, but Gabriel didn't
think he'd find them interesting.

I'm not sure quite how I got the idea to do this, as I don't have a memory of
considering that I might be able to play the TELEVISION NEWS CREW against
KOMMISAR LEBER, but I tried SHOWING GABRIEL'S BUSINESS CARD to the TELEVISION
NEWS CREW.  Gabriel said he didn't think that the German public would be
interested in that.  But this gave me the idea to SHOW the EVIDENCE ANALYSIS
REPORT to the TELEVISION NEWS CREW.  This, they were quite interested in --
enough to conduct an on-the-spot interview with Gabriel.  As Gabriel went
on and on about what the report said, talking just loudly enough so that
Leber would hear, Leber grew more and more agitated until he finally tackled
Gabriel and agreed to talk to him at the station later if Gabriel would only
leave and stop talking to the press. (185)

Since I was already in the neighborhood, though, I thought I'd go back to
54 DIENERSTRASSE and see if I could find anything of interest there during
the day.  Xavier greeted me and told me that no one was there, but that I
could use the club.

I TALKED to XAVIER.

About THE CLUB:  It had been around in its new incarnation since 1970.  In
that year, Baron Von Glower came along with a new vision.  He hired Xavier
in 1972. (186)  The club had five members (it was very exclusive); each
new member had been interviewed and approved by the Baron.  The club members
hunted as a group once a month or so, but members could use the club's
lodges at other times and did so frequently. (187)

About CLUB MEMBERS:  Xavier wouldn't gossip about them, but he did tell me
that some of the club members were new.  Herr Doktor Klingmann was only
brought in a few weeks before. (188)

About THE BLACK WOLF:  Xavier said he'd never heard of him.

After I'd pumped Xavier dry, I headed into the club's back rooms.  I LOOKED
at the MOOSE HEAD, the CHAIRS in front of the FIREPLACE (where I found a
German MAGAZINE that Gabriel PICKED UP but couldn't read, then PUT BACK),
the FIREPLACE itself, and the SOFAS.  Aside from the MAGAZINE episode, I
could find nothing to do here.

The EXIT to the right gave me a fuller perspective of the room, but nothing
new to LOOK at except the BAR, which only evoked a comment from Gabriel.

In the back of the room, another EXIT led to the back hall.  I LOOKED at a
PLANT, a LOCKED DOOR, and a BACK ALLEY DOOR, but I wasn't sure what to do
here for now.  So I decided to visit Kommisar Leber and see if I could learn
anything from him, now that he'd agreed to talk to me.

CHAPTER 3:  At the Police Station

There's a short cut-scene when Gabriel walks into Leber's office.  They cut
a deal.  Leber will give Gabriel press release information and Gabriel has
to give Leber information on any evidence he has.  Sounded pretty one-sided
to me.

Before talking to Leber, I LOOKED around the office at the FILING CABINET,
BULLETIN BOARD, and MAP.  None of these revealed much of interest except
the MAP, which I LOOKED at more closely.  It marked the locations of all the
wolf killings. (189)  I could learn nothing else from the MAP for now, so I
started TALKING to LEBER.

NOTE:  From some of the messages on the board in GAMERS, it appears that
some people have run into a glitch here if they haven't read the GRACE-TO-
GABRIEL LETTER #2 before talking to LEBER, and/or left during the middle
of the conversation.  It appears that this may result in the game not
allowing you to ask LEBER about MISSING PERSON CASES later, and that this will
keep you from being able to end Chapter 3.  If you're having trouble of this
sort, I'd suggest that you take a close look at how this chapter is described
in this walkthru, because I didn't have this problem.  If you do what I did,
you shouldn't get hung up.

About HIMSELF:  He'd been Kommisar for 10 years, all in Munich.  His rank
was analogous to that of an English Chief Inspector.

About the OTHER VICTIMS:  There were five, including the one downtown. The
killings were all in broad daylight.  The first of the victims was killed
32 days ago, two boys 20 days ago, and the Huber girl 6 days ago.  The
frequency might be speeding up. (190)  There appeared to be no pattern
to the locations of the killings.

About THE KILLER:  He couldn't tell me what forensics had to say because it
wasn't for public consumption.  All he could say was that the killer was
an animal.  (Asking about the possibility of werewolfery got me nothing but
a blank stare.  Not surprising.)  Leber thought that perhaps the reason the
police couldn't track the killer was that it was a pet that was returning
to someone's home. (191)  He seemed certain that the villain was a single
animal. (192)  Leber seemed to think that the zoo wolves didn't figure into
the equation at all, but Gabriel disagreed.  Hmm.  I wasn't sure where this
was leading yet, but it piqued my interest.

About the DOWNTOWN KILLING:  The latest victim was male, 52, named Grossberg.
Strangely enough, he was a furrier. (193)  Leber had no theories as to why
the killing took place downtown.

About THE BLACK WOLF:  When I mentioned this subject, something seemed to
click in Leber's mind.  He went to a filing cabinet and pulled out a file
on a missing persons case involving a teenaged girl who had disappeared
in the Bavarian National Forest.  The only witness, an old lady who everyone
thought was nuts, had said a black wolf had taken the girl. (195)

I now had the option to TALK to LEBER about MISSING PERSONS CASES.  He
said they mostly involved teenage runaways.

Leber then wanted to talk about Gabriel.  Gabriel admitted that he was
an American P.I. investigating the Huber girl's death.  Leber demanded that
Gabriel contact him if he learned anything and that he not talk to the press
on pain of deportation.  That was the end of the conversation.

Before leaving the office, for some reason that I can't explain, I decided
to take another look at the MAP on the wall.  Maybe it was because Leber
had invited me to do so during our conversation and I thought perhaps that,
along with the other things we'd discussed, might cause Gabriel to see
something in the MAP that he hadn't seen before.  As it turned out, Gabriel
did notice something else on the MAP -- a NOTE tacked to the right-hand
side that contained an address and phone number for the latest victim,
Grossberg.  I wondered what would happen if I called that number?  As I'd
learned, I couldn't use the phones in the game unless I had something to
USE with the PHONE, so I figured I couldn't just rely on Gabriel to
memorize the number.  I looked through my inventory and found GABRIEL'S
NOTEBOOK, which I USED with the NOTE.  Gabriel surreptitiously copied down
the phone number. (198)

Now that I had the number and I couldn't seem to talk to Leber anymore,
I decided to return to the Huber farmhouse and call the number.

But first, I had to sleep.  I was exhausted even if Gabriel wasn't yet, and,
as can happen when I'm engrossed in a game, when I looked at my watch it
was after 4:00 a.m.  I wasn't stuck -- at least not yet -- so I felt
reasonably calm as I fell asleep.

CHAPTER 3:  Communications By Phone and Mail

When I started the game back up again the next afternoon, I resumed my agenda.

I USED GROSSBERG'S PHONE NUMBER with the PHONE. I reached someone who
was in the process of calling all of his business associates to inform
them of his death.  Gabriel posed as an American business associate,
and she looked for his name in the address book, but couldn't find it.
Interestingly, however, she read the names near where Knight should be
aloud as she looked.  Gabriel, in a moment of cleverness, asked her to
look under "Von" for Von Knight, and lo and behold, as she read out the names
again, Von Aigner's name came up.  The woman said that the accounts were
frozen and there was no money in them, and when Gabriel asked for an
account balance, she said that she could not provide one because the police
had taken all the accounting records. (201)

While in the farmhouse, I decided to try writing to Grace again since I
suspected that Gabriel would want to tell her to go look around Ludwig's
castles.  This could be the beginning of a new slang phrase: "aw, go look
at Ludwig's castles, would ya?"

Gabriel wrote GABRIEL-TO-GRACE ENVELOPE #2 (202) and I headed
back to MARIENPLATZ, where I USED it with the POST OFFICE. (203)

While I was in the neighborhood, I thought I'd stop back by 54 DIENERSTRASSE
again, but nothing was happening there.

Back out at the MAP, I tried going back to PRINZREGENTENPLATZ to see if
I could talk to Leber about Grossberg's accounting records, but I couldn't
go there -- the police station was closed.  I also tried going back to
THALKIRCHEN, but Klingmann's office was closed and there was nothing new
in the other locations there.  Nor could I visit the UNIVERSITAT.

Now seemed as good a time as any to drop in on Von Glower, so I went to
PERLACH.

CHAPTER 3:  My Dinner with Friederich (Well, Close)

Von Glower greeted me and was more than happy to chat.  He said something
really creepy about finding nothing more stimulating than a new companion.
All I could think about was that bit in the Lycanthropes book about
werewolves converting others for companionship.  Secondarily, I was concerned
I might have to either succumb to or fend off a seduction here, and having
never dealt with such an adventure game puzzle before (I'd played the
seducer in LSL3 but never the seducee) I was sure I'd get stuck if I had
to deal with one.  Just like real life!  

I only found one thing to LOOK at in Von Glower's house -- a MASK that he
said he'd picked up in Brazil. (204)  Perhaps he was somehow connected to the
incident that the _Manos del Sol_ had reported?

I then had a lengthy and fascinating discussion with Von Glower.

About HIMSELF:  He'd been raised abroad, in various places.  He loved to
travel.  But both of his parents had deep Bavarian roots.  He had no wife
or children.  He'd noted certain similarities between Gabriel and himself,
and the fact that Gabriel was also a bachelor added to them.  There was
also a bit of other chit-chat here.

About THE CLUB:  He wanted Gabriel to develop his own perspective about it.
The need for a fresh eye was one of the reasons he'd asked Gabriel to join
them.

About CLUB MEMBERS:  They were valuable friends, once you got to know them.
All were from wealthy German families, but Von Glower also found it important
that they were all personally accomplished and gifted.  Von Aigner ran
a successful butcher and brewery.  Preiss was an accomplished trial lawyer.
Hennemann, a politician, was an acknowledged contender for high office.
Von Zell's family owned the majority of stock in one of Munich's largest
banks.  Von Glower lapsed into the past tense when speaking of Von Zell.
Gabriel caught this and mentioned it, but Von Glower glossed over it. (206)

About THE BLACK WOLF:  This was very interesting.  Von Glower lost it,
spilled his drink, called the butler for help, and then regained his
composure and excused himself.  He said that he was very upset by the killings
in the paper, that he thought that these events placed hunters in a bad
light.  The club's philosophy didn't condone this sort of thing -- in nature
beasts only killed when there was need and without waste -- only humans were
capable of such pointless slaughter. (208)  I thought it was quite suspicious
that he'd launched into a defense of the club at the mention of the Black
Wolf and that he'd brought up the killings in this connection.

I had nothing more to talk to Von Glower about now, so I went back to the MAP.
I was a more than slightly unsure of what to do now, so for the first time,
I used the HINT button.  I still had things left to do at MARIENPLATZ and
PERLACH, and I'd just come from PERLACH, so I figured I should go talk to
Ubergrau, who I hadn't spoken with in awhile.

CHAPTER 3:  Morgie Almost Loses It

I found that I could talk to Ubergrau about MISSING PERSONS.  He said he'd
have some research done for me on such cases near forested areas, going back
ten years.  It would be ready by tomorrow. (211)

Now I was really unsure of what to do.  If not for that hint that I'd
inadvertently read back when I was stuck in Chapter 1, there's no telling
how long I would have been stuck here.

I recalled something about needing to use the CUCKOO CLOCK to get into a
locked area.  I had the CUCKOO CLOCK, and I certainly knew of a locked
area.  I went back to 54 DIENERSTRASSE and into the back hall of the hunt
club.

My first inclination was to USE the CUCKOO CLOCK on the LOCKED DOOR, which
made about as much sense to me as anything else I might do with it.  This
didn't work.  I couldn't USE it on the BACK ALLEY DOOR either, which left
the PLANT.  Astonishingly, when I USED THE CUCKOO CLOCK with the PLANT,
Gabriel wound the clock up, set it, and placed it behind the PLANT. (216)

As I was mucking around looking for something else to do here, I was taken
automatically to a cut-scene of Gabriel sitting by the FIREPLACE in the
adjoining room, pretending to read a MAGAZINE.  Something that sounded like a
knock at the door happened, and someone walked by Gabriel.  Hmm.  What was
_this_ all about?  I ended up still by the FIREPLACE when this scene was
over, so I went back and tried to OPEN the LOCKED DOOR.  No luck.

I TOOK the CUCKOO CLOCK back and USED it on the PLANT again, but this time
I walked back into the room with the FIREPLACE right afterwards to see if
I could catch someone walking by.  Again, no luck -- the same cut-scene
took over eventually.  I tried this exercise a few more times, but nothing
was making sense to me.  Finally, I decided to leave the club after USING
the CUCKOO CLOCK with the PLANT.

As luck would have it, I wasn't quick enough in leaving (I paused to try to
TALK to XAVIER again), and now I found out what I guess I was supposed to
know all along somehow -- that I was supposed to distract Xavier by
simulating a knock at the door with the woodpecker CUCKOO CLOCK as it pecked
against the PLANT.  Xavier left to go answer the door, and I could LOOK
at the PODIUM behind which he spent most of his time.

First, I WENT THROUGH the NOTEBOOK on top of the PODIUM, but found nothing.
So I OPENED the DRAWER. (217)  Inside, I found some BOOKS, a STAPLER, and
a number of other things to LOOK at, but that Gabriel didn't need.  I also
found XAVIER'S KEYS.  I TOOK XAVIER'S KEYS (220) and then Xavier returned.

I went back to the LOCKED DOOR and UNLOCKED it with XAVIER'S KEYS. (225)
But when I tried to OPEN it, Gabriel said he should return the keys before
Xavier noticed they were gone.  So I RETRIEVED the CUCKOO CLOCK and USED
it with the PLANT again, then went back and STOOD by the PODIUM until
Xavier left again to answer the door he thought was being knocked on.  I
RETURNED XAVIER'S KEYS to the DRAWER (by USING them with the PODIUM) (226)
and then went back to the now UNLOCKED DOOR again.  I TOOK the CUCKOO CLOCK
back from behind the PLANT just in case I'd need to use it for something
else later.

NOTE:  I have to say that I thought the above was by far the single worst
puzzle in the game.  In replaying, I looked for _any_ sign from the game
that I should know that Xavier had keys to that locked door, and that there
was a drawer behind the podium where he kept them.  I couldn't find anything
of the sort.  There wasn't even a hotspot on the podium before Xavier walked
away to answer the door.  Anywhere I clicked, I got Xavier -- not the podium.
In addition, the necessity of being in a certain place at a certain time,
and the unlikely use of the clock here, made the whole experience one truly
illogical puzzle.

But at least now I was free to go behind the UNLOCKED DOOR.

Gabriel descended some stairs and ended up in a Ritual Room.  I LOOKED
at the TROPHIES on the wall, some of which appeared to be endangered
species, and all of which looked very exotic. (227)  I also LOOKED at the
CANDLES and SKULL on the CREDENZA beneath the TROPHIES. (228)  Gabriel
didn't think they had too much to do with hunting.  Then I LOOKED at what
turned out to be a BOOK that was lying on the CREDENZA. (229)  Gabriel
READ an entry with the names Preiss, Aigner, and Hennemann and figures
next to the names.  He wondered what the figures meant. (231)

The only things left to LOOK at now were the RIFLES on the wall.  When
I did, I saw them from a different angle.  They were hung around some PHOTOS.
I LOOKED at all the RIFLES, but Gabriel just made the same comment about
ninjas each time.  I then LOOKED at the PHOTOS, which were of the club
hunts, and featured Von Glower and Von Zell. (232)

As I was backing away from the PHOTOS, Von Zell rudely interrupted me and
insisted on personally escorting me out of this "members only" room.  We
ended up back in the hunt club's main hall.  After Von Zell chastised poor
Xavier for leaving the door unlocked, he settled down in front of the
FIREPLACE.  I decided to get on my best behavior and try to talk to him.
He agree, reluctantly.

About HIMSELF:  His family was in banking.  He didn't seem to think much
of Gabriel's being a writer.

About HUNTING:  He claimed that he and Von Glower were the best hunters.
When Gabriel mentioned that hunters, like any sportspersons, could improve
with practice, Von Zell became irate and said that hunting was a matter of
the spirit, of will.  He did concede, however, that he and Von Glower had
the most practice of those in the club.  They had hunted together frequently
in the past, but didn't that much anymore. (233)  Von Zell said he'd
outgrown Von Glower, but that Gabriel wouldn't understand what he meant.
                                        
I wondered at this point whether Von Zell was planning to leave the pack
and start his own as its Alpha.

About CLUB MEMBERS:  He didn't want to talk about them, and turned the
questions around on Gabriel.  Why was Gabriel in Munich?  Where was he
staying?  Gabriel stayed with general responses and played dumb.

About THE CLUB:  All the members were very busy and so didn't travel much
together.  (This gave me a new option to ask about the TROPHIES IN BASEMENT.)
If Gabriel wanted to learn about the club, he should keep his mouth shut and
observe.

When I ASKED about the TROPHIES in BASEMENT, Von Zell got extremely edgy,
apparently believing that Gabriel was accusing the club of illegally hunting
endangered animals.  He lit into Gabriel, advising him to keep his "prowling"
and "sniffing" to those areas where he was invited.  (Ooooooh.  He even
talks like a wolf.  Er.  If a wolf could talk, I mean.)  Then he ran off,
before I could finish asking him about my last conversation option, The
Black Wolf. (236)

I decided, rather than trying to chase Von Zell, to replay this part and see
what would happen if I ASKED about THE BLACK WOLF before the TROPHIES IN
BASEMENT.  This worked nicely, as I made it through all of my conversation
options this way, but Von Zell said he hadn't heard of THE BLACK WOLF and
I received no additional points for getting through all the options.

Now I was alone again, so I thought I'd go back to PERLACH and see whether
I could continue my conversation with Von Glower now that I'd been into
the Ritual Room (this location had still been showing actions necessary when
I left it the last time).

CHAPTER 3:  My Dessert With Friederich (Figuratively Speaking)

Sure enough, I had more to talk about with Von Glower now.

About the CLUB BASEMENT:  The club was more than just a hunting club.  The
members also shared certain philosophical beliefs.  (238)

About the CLUB PHILOSOPHY:  The club members wanted to connect with their
true physical natures, all that had been dulled by the advent of civilization.
Von Glower compared civilized humanity to beasts, and said that humans had
lost their senses and instincts through disuse.  Von Glower believed that
such powers could be recovered.  He'd felt it himself, but couldn't prove
it objectively. (240)  One goes about getting in touch with the physical
self, at least in part, through hunting.  Hunting helps humans get back
to their predator souls.  The club's philosophy could be applied in daily
life, and it had helped the men at the club to increase their power in
civilized society.  Von Glower hoped that it wasn't possible to take this
philosophy too far.  (241)

We had nothing more to say to each other for the time being, so I departed,
after Von Glower said he hoped to see me at the club later, and invited me
back to his place for a drink after that.  (His charm and rakish good looks
made me more than happy to accept.)

I returned to MARIENPLATZ, since it was the only location where I still
had anything to do.  I went back to my usual haunts, but neither Ubergrau
nor the sausage lady had anything to say to me.  So I headed back to the
hunt club.

CHAPTER 3:  The Hunt Thickens, or Something Like That

Back at the club, Xavier was still infoless, but when I headed into the
main hall I ran into Preiss.  He was fresh from the shower and downing some
shots at the bar, then went to sit by the FIREPLACE.  I decided to join him
and see if he was up for a chat.  He seemed... willing.

About HIMSELF:  He was a lawyer, but he had enough money to be able to take
only the cases that interested him.  (Lucky dog.)  He enjoyed his leisure
time.  He spent it "entertaining."  He adored and was obsessed by women
and pleasure, and thought he had Gabriel pegged as a Cassanova type, too.

About THE CLUB:  He thought the philosophy worked.  He didn't believe in
suppressing natural urges, but his instincts ran to pleasure, not to violence.
He believed that nature dealt with those who veered toward violence; it
led the normals to hunt down the mutants and destroy them and their deviant
bloodlines.

About THE CLUB MEMBERS:  Von Zell had always been arrogant, but at one time
he'd been fairly decent and Von Glower's favorite.  Von Zell had changed,
though. (242)  Contrary to what Von Glower had said, Preiss said that
Hennemann was a drunk, and his political career was over. (243)

About VON ZELL:  He'd started to change about a year ago.  (244)  More
recently, about five or six weeks previously, Von Glower had called Von
Zell down for something and Von Zell had insulted Von Glower and called him
weak. (245)  (Hmm.  Just a couple of weeks before the first mutilation
killing.)  Von Zell had been an asset because he was a banker and had
helped out some of the club members with money.  Preiss had taken less
advantage of this "hospitality" than some of the others. (246)

About THE BLACK WOLF:  Surprisingly, Preiss thought this sounded familiar.
He said he'd tell Gabriel if he remembered where he'd heard about it.

At this point, the others arrived and set about pouring drinks.  Preiss
said he needed to speak with Von Glower, and excused himself, leaving me
alone.  I decided to try to mingle as best I could.

I approached HENNEMANN and VON AIGNER, who were standing by the bar, and
TALKED to them.

VON AIGNER said that he'd talk to me more tomorrow, as did HENNEMANN.

About the WOLF KILLINGS:  They asked me for details and Von Aigner looked
disconcerted when I mentioned that the victim was Grossberg -- but he
denied knowing Grossberg.  (248)

When Gabriel approached, these two had been talking about tomorrow's hunting
trip in the Bavarian National Forest.  They asked if Gabriel would be joining
the club on the hunt, and a cut-scene began in which Von Glower said, sure,
why not -- Von Zell disagreed -- and it was decided that I'd be going hunting
tomorrow if I wanted to.  (250)

I had nothing more to talk to the pair at the bar about, so I went over to
bother KLINGMANN and VON ZELL, both of whom had always seemed to adore me
(NOT!).  They were sitting by the FIREPLACE.

I ASKED how things were going, and they made it clear they wanted me to leave.
Undaunted, I went back and asked what they were talking about.  Von Zell
rejected me again after insulting me.  I went back still again and asked them
what was new, but they just gave me a hard time.  Throughout all of this,
they kept telling me they were having a private conversation and to please
get lost.  (This was a hint that I should try to hear this conversation
somehow, but it was too subtle for me until after I figured out the puzzle.)

Finally, I went back and said I just wanted to grab a MAGAZINE, which I did.
(251)

Now, the only people left to talk to were Preiss and Von Glower.  Von Glower
wasn't quite ready for me, but, characteristically, he wasn't at all nasty
in sending me away.

I wasn't quite sure what to do now, so I tried to talk to the Bobbsey Twins
by the FIREPLACE again, and I got another little hint here:  I should try
talking to them again when I had something meaningful to say.

Feeling socially inept, I decided to EXAMINE the MAGAZINE.  I couldn't
READ it because it was in German, but maybe I could interest someone in it?
No luck.  I couldn't SHOW it to anyone.

I tried walking around the club for a bit, but I couldn't find anything
else to do.  Since I'd received points for TAKING the MAGAZINE, I figured it
had to be important somehow, but since it was useless as reading material
I decided to try combining it with another item in my inventory.

Rather accidentally, I hit upon the combination of USING the MAGAZINE with
the TAPE RECORDER. (256)  When I EXAMINED this combo, I found that I'd
hidden the TAPE RECORDER inside the MAGAZINE.  Now it all made sense.  I
could bug Von Zell and Klingmann and perhaps record that private conversation
of theirs that had made them take such pains to drive me away.

When I USED the MAGAZINE with VON ZELL, I was able to tell him I wanted
to put the magazine back. (261)  I made a mental note to retrieve that
TAPE RECORDER as soon as the coast was clear.  But I'd have to wait,
because...

CHAPTER 3 ENDING MOVIE

... at this point, Von Glower comes over and apologizes for not getting back
to Gabriel sooner.  He says he's glad that Gabriel will be joining them on
the hunt the next day.  Since they'll be starting in the afternoon, he and
Gabriel can stay up late tonight.  Von Zell gets all vicious again and
demands to know why Gabriel is there.  He yells that Gabriel is poking into
all the club members' private business and that Gabriel must be a reporter,
or the police.  Von Glower tries to smooth things over, but Von Zell storms
off saying "it" will be on Von Glower's head.

Von Glower apologizes again, says that it's not Gabriel's fault -- the
harmony within the club had been gone for some time.  He's getting tired of
Von Zell.  Gabriel excuses himself and says he'll see Von Glower later.
He arrives back at the Huber farmhouse.

When he gets out of the car, he sees what appears to be a dead animal on
the ground, and a wolf watching him from the woods.  Von Zell?  The talisman
flashes and seems to cause the wolf some agitation.  Gabriel goes inside.

CHAPTER 4 OPENING MOVIE

This time, it's Grace who is dreaming.  She's running across some snowy
hillsides, being chased by wolves.  What the heck is she wearing and
what's with her hair?  A sleigh stops nearby and Grace runs toward it.
She takes the hand of someone in the sleigh, and just as it appears
she'll be safe, he turns into a wolf.  She wakes with a start, just as
Gabriel had at the beginning of Chapter 3.  

CHAPTER 4: In Rittersberg

NOTE:  Chapter 4 is by far the most detailed, and, I think, the longest
chapter in the game, but almost all of it has to do with looking at things
in various locations.  A great deal of the story unfolds in this chapter,
and I found very little among all of this detail that wasn't of some use
in helping me to pull the story together and to concoct my own theories
of what exactly was going on here.  If I were writing a "do X, do Y" walkthru,
I'd merely list a lot of these things and just tell you to look at them.
But since I'm writing an explanatory text, I haven't done that.  You'll
therefore find a great deal of detail in this section of the walkthru that
mirrors the detail of the chapter itself.  I apologize in advance for this
section's length, but I found it necessary to be as detailed as I was to
be able to give you a true feel for how I viewed this part as I played.

I started by retracing my steps and seeing if there was anything new to
do in Gabriel's Bedroom or the LIBRARY.  I had some luck in the LIBRARY --
when I LOOKED at the biography section on the far left SHELF again, Grace
found an English language biography of Ludwig II. (263)  I EXAMINED
CHAPHILL'S LUDWIG BIOGRAPHY to READ it.

In it, as expected, we learn a fair amount about Ludwig.  In my view, the
main points were:  (1) Ludwig was an introvert who was out of synch with
the mores of his time and couldn't handle reality very well, (2) he had been
a hunter in his youth, but had had a hunting accident from which he never
recovered; after that, he stopped hunting and his health gradually
deteriorated, (3) he had had a longstanding friendship with Empress Elizabeth
of Austria, but most of the rest of his relationships were failures because
he became obsessed with people, usually young men, who failed to return
his obsessive love, so he grew disappointed in them and cut them off, (4)
one such obsession was with a young man called Louis, who Ludwig had seen
at a performance of Lohengrin, and who was a high-bred foreigner with whom
Ludwig was involved until around 1880, (5) Ludwig was riddled with guilt
over his sexuality and swore, without success, to abstain from sex; however,
he was still devout and never gave his heart over to sin. (264)

I couldn't find anything else to do in the LIBRARY or Gabriel's Bedroom,
although when I LOOKED at the TYPEWRITER, Grace said she'd write to Gabriel
when she had some information to pass along.  I kept this in mind for later.

I didn't see any reason to go through the PASSAGEWAY at this point, so I
headed downstairs.  Gerde wasn't in her usual spot at the DESK in the Main
Hall.  When I LOOKED at the DESK, Grace wondered where Gerde was.  I had
a suspicion that I'd find her in one of two places:  her room, or the crypt
at the church, visiting Wolfgang.  But for now, I thought it best to go
try to find the Smiths at the Gasthof and see whether I could learn anything
about the vision Ms. Smith had had the previous night.  I LOOKED at
everything else on my way out, just to double check and be sure I hadn't
missed anything.

I went directly to the Gasthof and caught the Smiths just as they'd finished
breakfast.  I TALKED to MS. SMITH, but her husband chimed in from time to
time as well.

About THEMSELVES:  They helped protect people against satanic forces by
delving into the supernatural.  They, along with the Shattenjagers, were
warriors against evil. (265)

About LUDWIG II:  They'd seen his castles.  Grace told them about the letter
she'd found from Christian Ritter, warning Ludwig about The Black Wolf.
Ms. Smith thought that whoever had used her as a "megaphone" the night before
had helped Grace to find the letter, and suggested that Grace should
follow where this presence seemed to be pointing -- i.e., at Ludwig. (267)

About the BLACK WOLF:  Ms. Smith wasn't the one talking the previous night;
it was a spirit.  She'd help Grace as best she could (she was pretty good
at Tarot readings). (269)  But she didn't remember anything that had
happened the previous night once the spirit took over her body, so she
couldn't tell Grace anything about the Black Wolf.

I then ASKED MS. SMITH to perform a TAROT reading for Grace.  Here's what
happened:

Grace's soul card, the Empress, meant that her soul's journey was one of
leadership.  The Chariot showed that in this lifetime, Grace very much
needed to feel in control, and was driven toward achievement.  Her "other"
was the Magician -- cunning, manipulative, and strong with the occult,
among other things.  Ms. Smith thought that this other might be Gabriel
and found it interesting that where Grace was all logic and reasoning,
Gabriel was spiritual and intuitive.  The Strength (Lust) card showed what
Grace was up to now -- a trial of some sort.  Ms. Smith asked what the
trial was and Grace said maybe it was the new case she and Gabriel were
working on.  Ms. Smith felt sure that this would be a hard row to hoe.
She urged Grace to use her love for Gabriel to succeed in this trial.
Grace tried to tell Ms. Smith that she had the wrong idea about Grace
and Gabriel, but Ms. Smith didn't seem to be buying it. (270)

MS. SMITH was also willing to perform a TAROT reading for GABRIEL, so I let
her do it.  This is what she saw:

His soul card was the Magician.  (What a coincidink!)  His lifetime card,
the Lovers, meant that he had a duality within himself.  His challenge was
to integrate the conflicting parts of himself.  Ms. Smith told Grace that
Grace would find peace when she'd learned to love both parts of Gabriel,
the good as well as the bad.  Grace went into major denial here.  Heh.

Gabriel's "other," the High Priestess, represented deep mystical energies,
a spiritual guide (but wasn't Grace -- hahaha).  The Black Wolf episode Ms.
Smith had must have been a message from this guide.  Gabriel's current
situation card was Death:  dying to one thing and being born to another.
Ms. Smith then drew a fifth card:  the 2 of Wands.  She said it was a war
card, and signified that Gabriel was waging a spiritual battle between
good and evil.  However you looked at it, Gabriel was in great danger.
(272)

I wasn't sure why it was that Gabriel got five cards and Grace only got
four.  But I did get the idea from this business about the Death card that
Gabriel would find himself having to choose between the life of a werewolf
and that of a Schattenjager.  Talk about foreshadowing.

When we were done, the Smiths told me they'd stay in town to help.  If
anything came up that could be a clue, I should let them know.  I figured
it was a good bet I'd have to come back and see them again.

Before I left the Gasthof, I thought I'd have a word with Herr Huber.  I
TALKED to him about GABRIEL'S CASE, but he hadn't changed his mind about
telling me where Gabriel was.  Oh well.

I then stopped by the POST OFFICE and RANG the BELL, since I figured I might
be able to pick up the letter Gabriel had sent the day before.  In fact I
could. (274)  I EXAMINED it to READ it.  As expected, Gabriel suggested
that Grace check out one of Ludwig's castles and a museum dedicated to him.
But Gabriel didn't give an address for himself, and this ticked Grace off.
(275)

I found nothing new to do at the DUNGEON and the RATHAUS appeared to be
closed.  So I wandered over to the CHURCH.

Back in the CRYPT, I found GERDE.  I tried to TALK to her, but she was
weeping over the SILVER HEART on Wolfgang's coffin. (276)  Here, Grace
finally snapped to the fact that Gerde had been in love with Wolfgang.
I tried TALKING to GERDE a few more times.  Grace realized she should
apologize for her nastiness before, but didn't want to interrupt Gerde.
She thought perhaps she should do something else.

I thought about what I'd seen around Rittersberg that might make a nice
peace offering.  I decided to try saying it with flowers.

I went back to Schloss Ritter and through the CLOSET in Gabriel's Bedroom.
In the PASSAGEWAY, I took the passage to the OUTSIDE.  Here, I PICKED FOUR
ROSES from the rose bush. (278)  I TOOK the FOUR ROSES back to the CHURCH and
into the CRYPT where I HANDED them to GERDE.  Grace placed them on Wolfgang's
coffin.  She apologized, but her anger at Gabriel took over during it and
basically wrecked the apology.  In any event, when Grace told Gerde she
needed to go see Ludwig's castles for research purposes and asked for help,
Gerde handed Grace GABRIEL'S CAR KEYS.  (284)  Gerde also said that Grace
would find a map of Southern Bavaria in the car; Ludwig's castles were all
marked on it.

I was ready to ramble.  Rittersberg was a nice town and all, but a little on
the small side.  So I went back to the CAR and USED GABRIEL'S CAR KEYS on
it. (285)

I found two choices on the map:  NEUSCHWANSTEIN, a castle, or HERRENCHIEMSEE,
a museum (judging by Gabriel's rancid translation efforts in the GABRIEL-TO-
GRACE LETTER #2).  I headed for the castle first.

CHAPTER 4:  At Neuschwanstein

NOTE:  The castle at Neuschwanstein is probably my favorite part of the game.
Not only is the castle beautiful to look at and interesting to learn about,
the Tour Tape made me feel as though I, myself, was actually touring the
castle.  I've used many in my own travels and I started to wish that I was
travelling abroad.  I thought it was an excellent way of imparting a great
deal of information to the player and really added to the "authenticity"
of the castle tour.

NOTE:  In my first game, I didn't LOOK at the WOLF PAINTINGS in the Singer's
Hall as thoroughly as I did in my second game as I went through.  This
resulted in my having to return to NEUSCHWANSTEIN and LOOK at them again
and also LISTEN to the TOUR TAPE before I could ask Georg at the Wagner
Museum about the WOLF PANELS.  In replaying, I was more thorough and I didn't
have to go back and ask Georg about them again.  Since I didn't realize
this until I'd finished writing this part, I ask your forgiveness, gentle
readers, for my departure from my stated goal to recreate my first game
as authentically as possible.  In the long run, I think you'll find the
walkthru more useful this way.

I sort of bumbled around a bit here until I discovered that Grace had picked
up a TOUR TAPE in English when she walked in the door (as I learned from
EXAMINING the TOUR TAPE DECK that had suddenly appeared in my inventory).
I'd wondered why I suddenly had a TOUR TAPE button at the lower left of my
screen, and solved this mystery when I delved into my inventory.

Before I figured out a system for touring the castle using the TOUR TAPE,
I'd LOOKED at the PAINTINGS in the Entry Hall, and Grace had just wondered
what they were all about.  I finally hit upon the system of having Grace
LOOK at a hotspot if possible, then listening to any TOUR TAPE description
if I had that option, and then having Grace LOOK at it again, hopefully with
increased understanding from what she'd learned from the TOUR TAPE.  Even
using this system, however, I missed a few things both in my first game
and also in replaying that I went back to clean up later, as discussed below.

I'd also tried to TALK to the GUARD who was standing in the Entry Hall, but
I couldn't.  So I decided to focus on taking the tour for now and think about
what I might do with or to the guards later.

In the Entry Hall, I LISTENED to the TOUR TAPE and got some general
information on Ludwig II.  He'd built three castles during his lifetime
and had had plans for a fourth when he died.  Ludwig also had a passion for
classical heroic German mythology, which taste he shared with the composer,
Richard Wagner.  Ludwig had decorated Neuschwanstein with scenes from these
stories, most of which directly related to Wagner's operas.  (286)

When I LOOKED again at the PAINTINGS in the Entry Hall, I listened to the
TOUR TAPE and learned that they were from the Siegfried Saga.

Before moving through a doorway, I noticed a small door toward the left
side of the screen.  I LOOKED at this DOOR.  Grace wondered where it led.
The TOUR TAPE here told me that the DOOR led to the castle's TOWER, which
wasn't part of the tour.  Ludwig had been trying to get to the TOWER
when he was arrested in 1886.  I LOOKED at the DOOR again, and Grace
wondered why Ludwig was going to the tower the night of his arrest.

I MOVED to the next room, and LISTENED to the TOUR TAPE.  It explained
that we were now in Ludwig's Bedroom, done in a Tristan und Isolde theme.
Ludwig had seen the first performance of this Wagnerian opera in 1865.
The sort of spending that went into this elaborately decorated bedroom
had bankrupted Ludwig. (287)

I LOOKED at the BED, and got a close up view of it and some other furniture.
I LOOKED again at the BED and the FURNITURE, then LISTENED to the TOUR TAPE
to learn more about how it had been built.

I then LOOKED at the MURALS toward the ceiling and LISTENED to the TOUR
TAPE.  These paintings depicted scenes from the opera, Tristan und Isolde.

There were several EXITS here, and I took the one to the far right first.
This gave me another view of the bedroom.  The TOUR TAPE information was
the same in this screen, but when I LOOKED at something to the far left of
my screen, I came to another close up view.  The TOUR TAPE explained that
I was looking at a tiled stove with clay figures of Tristan and Isolde
decorating it.  When I exited this screen, I was back on the side of the
bedroom I'd started in.

This time I took the EXIT to the right in the back of the screen, under
the murals.  As I learned from the TOUR TAPE, I had entered Ludwig's
private Chapel.  The TOUR TAPE informed me that Ludwig had been a devout
Catholic. (288)

In the Chapel, I LOOKED at a CRUCIFIX on the wall, and Grace admired it.
I EXITED UP from this screen to a PAINTING that I LOOKED at.  Grace wondered
if Ludwig thought of himself as a King Saint, which is what this painting
appeared to show.  The TOUR TAPE said that the painting portrayed St. Louis
surrounded by seraphim.  As a side note, the TOUR TAPE went on, for a period
of about a year, Ludwig had ordered all of the Louis images in all of his
castles to be covered with black cloth.  Hmm.  Sounds like St. Louis was
connected to that other Louis with whom Ludwig had become obsessed, as
described in Chaphill's book -- at least in Ludwig's mind.

I then LOOKED at the figure of the MADONNA.  Grace noted that she was the
Black Madonna of Altotting and wondered what her story was all about.

Finally, I LOOKED at the STAINED GLASS and LISTENED to the TOUR TAPE.  The
windows depicted St. Louis receiving the last sacraments.

I left the Chapel and moved on through the remaining EXIT next to the BED.
The TOUR TAPE explained that I had entered the king's Living Room, decorated
in a Lohengrin theme.  Ludwig had also seen this Wagner opera, and it had
affected him deeply.  Ludwig, like Lohengrin, was essentially lonely.  Ludwig
withdrew into a fantasy world and only wanted to be alone in his dreams.
So extreme was this desire that he wouldn't even let his servants look
at him.  Grace wondered what he was afraid they'd see. (289)

I was starting to feel reasonably confident from what I'd learned about
Ludwig so far -- the hunting accident, the danger of the Black Wolf, his
public image as being eccentric or perhaps crazy, and now that he wouldn't
let his servants look at him -- that Ludwig might have at some point become
a werewolf.  But I didn't want to jump to any conclusions just yet.

I LOOKED at the TABLE and the OTTOMAN in this room, but Grace just commented
on the linens.  Then I LOOKED at the CHAIR next to it, and Grace said she was
surprised that people didn't sit in the chairs while the guards weren't
looking.  Interesting.  What was so significant about this CHAIR that it
merited its own screen?  Too early to tell, perhaps, but something to think
about.

Finally, I LOOKED at the PAINTING behind the TABLE and LISTENED to the
TOUR TAPE.  The painting seemed to be titled:  The Miracle of the Grail.

I EXITED through the opposite end of the room from where I'd entered and
came to the other end of the Living Room.  A SWAN STATUE figured prominently
in this part of the room, so I LOOKED at it.  The TOUR TAPE explained that
the swan motif appeared throughout the castle, but especially in this
room.  (I had a flashback to Thomas Mann and literary leitmotifs that I'd
studied in college, and interestingly, remembered a tidbit I'd also learned:
that Wagner's operas also contained what had been called musical leitmotifs,
which had influenced the style of German novelists such as Mann.  A totally
useless bit of information, probably, but it did go through my head when
I heard the word motif, so I mention it here.)  Ludwig had associated images
of swans and lilies with himself -- to him, they represented natural purity
and majesty.  The PAINTING behind the SWAN STATUTE, the TOUR TAPE said,
showed Lohengrin's arrival.

Continuing on through the doorway here, I came to a Grotto.  I LOOKED at
the TABLE here.  Grace said she could almost picture Ludwig here and wondered
what he had dreamed about in this room.  The TOUR TAPE said that this
room reproduced the Grotto in the Tannhauser Saga, and exemplified how the
castles were solitary playgrounds for Ludwig.  Here, he could imagine himself
one of the mythical heros from these tales.  Ludwig had ordered the castles
to be razed upon his death, but the estate was in such debt when Ludwig
died that they had been opened for paying tours.  Since then they had
paid for themselves many times over and were now considered Bavarian
treasures.  (290)  Oddly, I thought of Michael Jackson, who seemed to have
the same propensity toward building private playgrounds and living in
a fantasy world from all I'd heard and read.

The next room turned out to be Ludwig's Study.  I LOOKED at the DESK here.
Grace thought it looked like a nice place to work.  I also LOOKED at a
CABINET against the wall.  Grace didn't think there'd be anything left in it,
and anyway, the guards were unlikely to be too pleased if she started to
poke around in there.

The TOUR TAPE said that Ludwig had spent a lot of time at his DESK, working
on projects, studying literature, and other such pastimes.  In later years,
he had also studied the occult.  (Oooooh.)   He also reluctantly attended
to affairs of state here.  His reluctance had been part of the reason charges
had been levied against him.  After Bavaria ceded power to Prussia (yeah,
it should be ceded, not succeeded as the tape said), Ludwig became frustrated
by his lack of power to be a true monarch in his definition of the term.
(291)

The three PAINTINGS in this room, according to the TOUR TAPE, were from
the Tannhauser Saga.

Through the doorway here, I came to the Singer's hall.  The TOUR TAPE said
this was the last stop on the tour.  The hall had been built for small
private concerts, but Ludwig never gave one here -- although Wagner
supposedly visited frequently during the last years of his life and performed
for Ludwig privately in this room.  The hall was best known for its wolf
paintings -- the originals were from the Parsifal Saga (Parsi(v)al... one of
the wolves that had escaped from the zoo.  I knew I'd heard that before.),
but in 1882, Ludwig had them all replaced with new paintings that he'd
created the descriptions and titles for himself.  This was the only room
in the castle not decorated with scenes from one of Wagner's operas -- the
paintings here weren't from any opera that anyone could identify. (292)

I LOOKED at the WOLF PAINTING at the far end of the room. (294)  Grace
wondered why Ludwig would have wolf paintings in his castle.  My thoughts
exactly.

Then I LOOKED at each of the other PAINTINGS here, and listened to the TOUR
TAPE.  I learned the names of all the PAINTINGS.  From left to right:
(1) Engelhart and the Blacksmith, (2) Engelhart Courts Hildegunde, (3)
The Hunters Track Down Engelhart and Hildegunde, (4) Hildegunde's
Imprisonment, (5) The Wedding Feast of Hildegunde and the Baron, (6) The
Death of Engelhart.  Hmm.  Wasn't the female zoo wolf named Hilda?  Short
for Hildegunde, perhaps?

I LOOKED out the LOOKOUT  at the opposite end of the hall from the
first wolf painting.  The TOUR TAPE told me that Ludwig's childhood castle
could be seen from here, but Grace just marvelled at the nice view of the
Alps.

I took a last LOOK at the first WOLF PAINTING.  Grace said she knew there
had to be a story behind it.  But what story?

I felt I'd done all I could do at Neuschwanstein for now, except perhaps
get into that little DOOR off of the Entry Hall.  But I'd come back and
try that later.  For now, I wanted to check out the Ludwig museum at
HERRENCHIEMSEE.

CHAPTER 4:  At the Ludwig Museum

First things first.  I found when I tried to LOOK at the exhibits that I
wouldn't be able to until I got past the COUNTER.  I decided to see if I
could BUY a TICKET from the DESK CLERK (who, according to the game credits,
is called Frau Miller).  I ASKED her if I was in the LUDWIG MUSEUM, but she
spoke to me in German and I wasn't sure what she had said.  So I TOLD her
that I wanted to buy a TICKET.  She SOLD me one, but even though she wasn't
speaking English, I got the distinct impression that she was a very
unpleasant person. (296)  I wasn't going to let that stand in my way, though.

NOTE:  A reminder here to let Grace read to you all that you come upon in
the museum; failure to do so may lead to getting stuck.

I started methodically LOOKING at all of the exhibits beginning with the
PANELS to the left of the FRONT DESK.  There were four PANELS, and they
showed the following:

1.  July 3, 1863 Letter from Ludwig to Elizabeth:  An affectionate outpouring
from Ludwig to his cousin.

2.  March 1, 1865 Letter from Elizabeth to Ludwig:  Elizabeth gave Ludwig
some advice -- he should spend more time on the throne, and perhaps less
time with the "mysterious new friend" he'd told her of.  It was important
for his subjects to see him ruling, and just as important that he keep an
eye on what his officials were doing.  (297)

3.  June 14, 1878 Letter from Elizabeth to Ludwig:  Elizabeth begs Ludwig
to tell her of his "torment" or at least how she can help him. (298)

4.  November 1886 Letter from Elizabeth to Bishop Frank:  She thanks him for
helping her to fulfill Ludwig's last wishes (an "unusual request").  The
nature of the request is unknown.  (299)  Grace wondered about what it might
be when she'd finished reading.

I next LOOKED at the PAINTING OF ELIZABETH and READ the TEXT under it.
Ludwig had revered his cousin and they had been close throughout his life.
He called her the Dove, and she called him the Eagle.

Before moving to the other exhibits, I LOOKED at the LARGE PORTRAIT OF LUDWIG
hanging behind the FRONT DESK.  I then followed an EXIT to the right and
wound up in DISPLAY ROOM 2.  Here I found a display called The Last Days.
I LOOKED at each of the four PANELS here and found:

1.  June 7, 1886:  A group of men, including a doctor, came to take Ludwig
away on grounds of insanity.  This was the first time Ludwig became aware
of a conspiracy against him.  He composed a pamphlet appealing to his
subjects against the conspirators, but the pamphlets were seized after
printing and before distribution so the word never got out.  (300)

2.  June 23, 1886:  Ludwig knew that the conspirators would be coming back
for him, so he asked a servant for the keys to the TOWER in NEUSCHWANSTEIN.
The servant feared that Ludwig was suicidal and made up a story about the
keys being lost.  Eventually, the conspirators caught up with Ludwig and
took him away to Berg.  They stopped at Seeshaupt to change horses.  "Ludwig
asks to see the post mistress, Frau Vogel.  She brings him a glass of water
and he says something to her.  She never reveals these last words to anyone."
(301)

Hmm.  Something here was ringing a distant bell.  I thought I'd seen the
scene described here somewhere.  Perhaps in Gabriel's dream?

3.  June 13, 1886:  At Berg, Ludwig mellows some and the doctor becomes
confident that he can handle Ludwig.  The two of them go for a walk (without
guards) and later their bodies are found, drowned in a lake. (302)

4.  June 18, 1886:  Ludwig's funeral.  Oddly, his body was entombed minus
the heart, which was placed in an urn at a chapel in Altotting.  (303)

Altotting, eh?  Wasn't that where the Black Madonna from the Chapel in
Neuschwanstein was from?

To the right, I LOOKED at a POSTER that neither Grace nor I could read,
but it looked old to Grace, and it definitely seemed to have something to
do with Ludwig to me.

At the far end of the display room, I LOOKED at a PAINTING, and Grace saw
the sleigh from her dream! (305)  When I LOOKED at the PAINTING more closely,
Grace thought that perhaps Ms. Smith would be able to tell her what her dream
meant.  The PAINTING was called:  Ludwig Embarking on His Sleigh, as I
learned from LOOKING at the PLATE on its frame.  I READ the TEXT next to
the PAINTING and learned that Ludwig frequently took midnight sleigh rides
to soothe his restlessness since he suffered from insomnia and other maladies.
(306)  Grace just wanted to know what he was doing out here in the middle
of the night.  I made a note to myself to go back and talk to the Smiths
about this later when I was done at the museum.

To the left of the PAINTING, I LOOKED at a CASE that held Ludwig's DEATH
MASK.  Wow.  

NOTE:  The first time I went through this area, I didn't LOOK at the DEATH
MASK.  I just plain missed it.  I did notice that I could LOOK at it as I
played through a second time.  Doing this doesn't give you any points, but
it's interesting if for no other reason than that the same DEATH MASK also
appears elsewhere in the game.

Underneath the PAINTING, another DISPLAY CASE held some examples of what
had been thought to be evidence of Ludwig's insanity.  To the left, I LOOKED
at some rantings about the occult, money, and Louis in a NOTE TO SERVANTS.
(307).  The CENTER PLAQUE told me that this DISPLAY CASE contained, as I'd
just found out, NOTES from Ludwig to his servants, which had been used
as evidence in compiling the order for his arrest.  To the right, I LOOKED
at a NOTE that reminded the servants not to interrupt Ludwig and "The
Great Friend" when they retired to the hall at Neuschwanstein. (308)

When I'd finished here, I thought I was done with the Ludwig Museum and I
wasn't sure I'd gotten my eight marks worth.  I decided to TALK to FRAU
MILLER and see if I could get any pointers on whether there was anything
more to look at here, but Grace didn't have anything to say to her at
the moment.  So I decided, even though I had doubts that I'd completed
all there was to do here, to go back to see the Smiths and find out what,
if anything, Ms. Smith could tell me about Grace's dream.

CHAPTER 4:  Return to Rittersberg

When I got to the Gasthof, the Smiths weren't around.  So I thought maybe
Herr Huber would be kind enough to ring their room for me.  I TALKED to
HUBER about THE SMITHS, and he did call them downstairs for me. (309)

I then TOLD MS. SMITH about the LUDWIG DREAM.  Grace identified the person
in the sleigh as Ludwig.  I hadn't realized this before, and thought it
interesting.  Ms. Smith said that a dream of rescue was a spiritual guide
dream, somehow connected to the High Priestess who was Gabriel's "Other,"
and that the wolves in the dream must be the same danger as the Black Wolf.
Ms. Smith suggested that Grace appeal to Ludwig, since it seemed he was the
link.  Grace asked whether Ms. Smith could do a psychic reading for Ludwig.
Ms. Smith said she'd been trying to make contact with him, but all she got
was a sense of great despair.  Ludwig's soul was not at peace. (311)  That
was all she could tell me.

While I was in town, I thought I'd stop back by the castle and check in with
Gerde.  When I TALKED to her, she told me that she hadn't heard from GABRIEL,
but that was all she had to say to me.

I wasn't sure what to do here now, so I wandered around for a bit.  Something
was bugging me about the Ludwig Museum.  It just seemed way too small.  So
I decided to go back there and see if I'd missed something along the way.

CHAPTER 4:  Return to the Ludwig Museum

As it turned out, I had.  Judging from the messages I've seen on the board
in GAMERS since I finished playing, this is a fairly common problem.

There are two display rooms behind the FRONT DESK, one to the right, and
one to the left.  I should have figured this out from the fact that the
one I'd been to was called DISPLAY ROOM 2.  I felt like a total idiot,
but at least I wasn't stuck and I'd managed to clean up my mess without
having to whine to herc or anyone else who would listen.  Luckily for
Leo, he was on vacation during my foray into GK2.

Once I found this area, DISPLAY ROOM 1, I decided to work my way around it
from left to right.  On the left, a part of a DISPLAY CASE extended from
the wall.  I LOOKED at it and ended up facing it, as well as a PAINTING on
the wall above it.  I LOOKED at the PAINTING.  Interestingly, it was of
Richard Wagner.

In the DISPLAY CASE, I LOOKED at the PLAQUE that described LUDWIG'S DIARY.
It said that Ludwig had kept a diary from the age of 24 until his death.
The original was in the Royal Archives, but a few entries were in another
display in this room.  Grace thought she'd have to get a hold of this diary.
(313)  I figured that getting the diary must be one of the goals I'd have
to achieve before I was done with this chapter.

To the right of this display case, I saw another CASE with a ROBE in it.
I READ the PLAQUE next to it.  The PLAQUE identified this ROBE as Ludwig's
Grand Master wardrobe from the Knights of St. George.  When I LOOKED at the
ROBE, Grace said it looked like it weighed a ton.

Moving on to the right, I LOOKED at another PAINTING on the wall.  I READ
the TITLE on the bottom of the frame.  The PAINTING was called:  Ludwig
as Grand Master of the Knights of St. George.  I READ the PLAQUE next to
the PAINTING.  It didn't give much more info, except to say that the Knights
of St. George was an aristocratic society dedicated to the acts of chivalry,
and that Ludwig had been involved with it until he became so reclusive as
to abandon public appearances.  When I LOOKED at the PAINTING, Grace
wondered why Ludwig would give up all this pageantry and become a recluse.
I LOOKED at the TITLE of the PAINTING again, and Grace said she felt there
must be some connection between all of this St. George stuff and Gabriel.
Hmm.

In another DISPLAY CASE below this PAINTING, I LOOKED at a number of PINS,
and Grace wondered if they had any symbolic meaning.  I READ the PLAQUE in
this CASE, and learned that these were signets and sash pins from the Order
of the Knights of St. George, which Ludwig had worn on his uniform.

To the right of this DISPLAY CASE, I came to a PICTURE OF WAGNER.  I READ
the CAPTION here and learned that Ludwig had loved and supported Wagner's
music throughout much of his life, and had considered Wagner a close friend,
calling him "The Great Friend."  Wagner encouraged Ludwig's infatuation,
some believed for personal gain.

Still farther to the right, I finally came to four PANELS containing excerpts
from LUDWIG'S DIARY.  I LOOKED at them from left to right:

1.  After Wagner's death, Ludwig still showed signs of obsession with Wagner.
In 1882, he had written to the conductor of the Munich opera, to instruct
the conductor to prepare for a new Wagner opera.  Nothing further was heard
of this new opera.  Did Ludwig hallucinate it?  (314)

2.  A picture of Ludwig being offered a crown of laurels by the genius of
immortal fame.

3.  July 26, 1874 diary entry:  "By the power of the lily, we shall have
the strength to resist all temptations throughout the entire year."

4.  July 26, 1875 diary entry:  This one swore to refrain from all excitement
for three months.  Grace said again here she'd need to see more of this
diary.

How could I find out more about the diary?  Grace had told me twice now that
I'd need to, so it was pretty clear to me I had to do _something_.  I could
think of two things to try:  asking Frau Miller and asking Professor Barclay.
After that, I had no clue.

Before leaving the museum, I TALKED to FRAU MILLER, and this time I had
some conversation options.  Yes!

First, I ASKED FRAU MILLER if there was any way to see more of LUDWIG'S
DIARY.  She spoke to me in German and I had no idea what she was saying, but
it sounded as though I wasn't going to be able to rely on her to help me
see more of the diary.

After this concluded, I TALKED to her again about the NEW WAGNER OPERA.
Again she spoke to me in German.  It sounded like she was telling me
something to the effect of, this ain't no Wagner museum -- but I could
try the Wagner Museum in Bayreuth. (316)  Ah.  This was progress.

I left the Ludwig museum, and noticed at the MAP that I could now visit
BAYREUTH.  But first, I thought I'd check out my other hunch and see
whether I could contact Professor Barclay by now.  I returned to Rittersberg.

CHAPTER 4:  Son of Rittersberg

When I walked into Schloss Ritter, Gerde told me I'd had a phone call from
Professor Barclay!  She said he'd said Grace had his number.  I decided
to give Barclay a call.

NOTE:  This is one of two places in this chapter where you can miss a clue
the game provides if you fast-forward through the video scene when you
enter Schloss Ritter.  Luckily, this first time, I didn't fast-forward, so
I knew to call Barclay back.  Later, I wasn't so lucky.  hercules, on the
other hand, told me that he never saw this scene of Gerde saying that
Barclay had called, because he'd skipped the cut-scene when he walked into
the castle.  I'm not sure why the game was designed so that the player
could miss a valuable clue from within the game simply by taking advantage
of the game's own feature to skip repeating cut-scenes and thereby speed
up game play.  Obviously, the careful adventurer wouldn't skip any _new_
video scene, but how were we supposed to know that this particular time
we returned to Schloss Ritter, Grace wouldn't just hang up her coat as
usual?  Ironically, this "speed up" feature actually slowed me down
significantly later because it cause me to miss an important clue, and
I wandered around for quite some time before I accidentally hit upon what
the clue would have told me from the beginning.  The better approach would
have been to either disable the skip function for these scenes, or make
the information part of some conversation options with Gerde.

I couldn't TALK to Gerde further, so I went upstairs to the Library to CALL
BARCLAY.  I USED PROFESSOR BARCLAY'S CARD with the PHONE.  He told me that
he had a name for me, Herr Joseph Dallmier, a specialist in Bavarian history,
and said that Dallmier wasn't too far away from where I was.  He then gave me
Dallmier's phone number, which appeared as a scrap of paper in my inventory.
(318)  After we hung up, I EXAMINED DALLMIER'S NAME AND PHONE NUMBER,
and decided to give him a call since I was already at a phone.  I USED
DALLMIER'S NAME AND PHONE NUMBER with the PHONE, and reached Dallmier, who
said he'd be delighted to meet me to discuss Ludwig and to show me something
near Berg.  He asked if there was anything he should look into before we
met, and Grace mentioned the Black Wolf. (320)

CHAPTER 4:  At the Wagner Museum

It seemed to me that it might be more useful to meet Dallmier after I had
as much information as I could possibly gather about Ludwig, so that I would
know better what to ask him when we met.  I decided to check out the Wagner
Museum first to see what I'd find there that might raise more questions to
ask.  I got in the CAR and went to BAYREUTH, noting that I now also had
an option to go to SEESHAUPT -- presumably where I'd find Dallmier.

When I got to the Wagner Museum, the young man at the front desk told me
that the museum was closed, but a few of the rooms were open.  He kindly
agreed to let me walk in and look around.  He told me that his name was
Georg Immerding.  Nice guy, Georg.

I went on into the museum.  In the first room, I LOOKED at WAGNER'S PIANO
and at the PLAQUE on top of it.  I also LOOKED at two BUSTS, one of
RICHARD WAGNER and the other of FRANZ LISZT (who I knew well from years of
piano lessons).  Liszt, as it turned out, had been Cosima Wagner's father.

I went through the doorway to the left and came to another room.  On the
left, I LOOKED at an OLD SOFA, then READ the PLAQUE describing it.  In
1883, Wagner had had a heart attack and died four days later on this sofa.
(321)  When I LOOKED at the OLD SOFA again, Grace mentioned how creepy it
was that Wagner had died on it.

I tried to LOOK at a PAINTING on the WALL in front of Grace, but couldn't.
So I settled for LOOKING at the DISPLAY CASE below it.  This contained
WAGNER'S DEATH MASK.  Talk about creepy.

I almost missed it, but luckily I also LOOKED at something roped off in the
lower right corner of the screen.  This was WAGNER'S DESK, as I learned from
LOOKING at the PLAQUE on it.  It had been preserved exactly as it was the
day he died.

I saw some PAPERS on WAGNER'S DESK and LOOKED at them.  To the left I could
READ a letter from M. Beaujolais, dated September 1881, discussing acoustics,
sound waves, and crystals.  (322)  Grace wondered why Wagner would be
worrying about acoustics, since his Bayreuth theater must have been built
by then.  To the right, I took a closer LOOK at an ARCHITECTURAL DRAWING of
the Wittelsbacher Theater in Munich.  Every square inch was measured. (323)
Hmm.  This seemed like a new thread in the story, and I wasn't quite sure
what it meant.  I LOOKED at WAGNER'S DESK itself, then moved on to the next
display room.

In this one, I LOOKED at a PORTRAIT OF LUDWIG, "the great patron, himself,"
and at a BUST OF LUDWIG as the classical Greek hero.  I then LOOKED at a
DISPLAY CASE where I found, from left to right:

1.  A portrait that Ludwig had given to Wagner as a gift.

2.  A June 10, 1881 letter from Ludwig to Wagner:  An excited missive in
which Ludwig says that something that happened during the performance tonight
had given him hope, and begs Wagner to come speak to him immediately. (324)

3.  A July 1882 letter from Wagner to Ludwig:  It informs Ludwig that M.
Beaujolais and Wagner had finished the "diagram" and felt confident that
"it" would work.  Eight fixtures had to be made and placed in the theater
exactly as specified.  Wagner was going to send the diagram to Ludwig by
courier, and closed by encouraging Ludwig to have hope.  (325)

4.  Ludwig's death mask:  For a second time.

Finding nothing else to LOOK at here, I moved on to the next room, where I
first LOOKED at four PRODUCTION DESIGN DRAWINGS on the wall.  None of them
looked to Grace like the wolf paintings in Neuschwanstein.  (In my first
game, she didn't mention the wolf paintings because I hadn't examined them
closely enough by the time I looked at the PRODUCTION DESIGN DRAWINGS.)

I then LOOKED at a CASE in the center of the room and at the two OPERA
COSTUMES inside it.  Finally, I LOOKED at another CASE, which held what
Grace thought must be a model of Wagner's own theater here in Bayreuth.

I stepped out of the display rooms and LOOKED around the FRONT DESK where
Georg sat.  It was covered with WAGNER SOUVENIERS that Grace didn't need, and
also held COSIMA WAGNER'S JOURNAL, which was locked up for preservation.
When I LOOKED at COSIMA WAGNER'S JOURNAL again, Grace said she thought that
Cosima was Wagner's wife, and she'd probably just talked about him in her
journal.

Before leaving, I decided to see whether Georg had anything to say to me.
Yep, he did.

About HIMSELF:  He was not only the caretaker of the museum, but studying
composing and conducting at the university.  His brother was the conductor
for the Munich opera.  He invited Grace to the opera with him if she was
still around when it started.  How nice. :)

About WAGNER:  He was a character.  He spent most of his life seeking patrons
to support his expensive tastes.  Ludwig had saved Wagner and the music
with his patronage, which to Georg was the best thing Ludwig ever did. (326)

About WAGNER'S LETTER TO LUDWIG:  Georg didn't know anything about it.  He
didn't understand why Wagner would have been concerned about any theaters
other than his own in Bayreuth.

About LUDWIG'S LETTER TO CONDUCTOR:  No one knew anything about this.  It was
a treasure map, maybe a fairy tale.  If there was anything to the lost opera
story, there was now no trace of it.  (327)

I could now ASK GEORG about the WOLF PANELS AT NEUSCHWANSTEIN:  He got a
little paranoid here because Grace seemed to be making some of the same
connections he'd theorized about, and his brother thought he was wasting his
time even thinking about a lost Wagner opera. (328)

About the LOST OPERA:  The arguments against its existence included that
Wagner was too egotistical to have kept any new opera a secret until it
was performed.  Grace thought there might be a good reason for secrecy,
but hesitated to discuss her thought about what such a reason might be
with Georg.  (331)

After finishing with Georg, I knew I could go meet with Dallmier, but out
of curiosity I used the "HINT" button at the MAP.  I found that I'd only
exhausted one location -- the Ludwig Museum.  All of the other locations
still had something left for me to do.  Wow.  This was one long and complex
chapter.

I decided to see whether I could find anything else of significance in
Neuschwanstein before going to see Dallmier.

CHAPTER 4:  Back at Neuschwanstein

NOTE:  In my first game, I was never able to exhaust Neuschwanstein.  As
you may find, it isn't necessary to do so to get to Chapter 5.  However,
in my second game, I set out on a mission to see whether it could be
done -- and finally succeeded.  After recounting what I did in my first
game, I'll tell you what I did in my second.

I went back over every square inch of Neuschwanstein (or so I thought).
I got a couple of new responses out of Grace in certain spots.  When I
LOOKED at the DOOR in the Entry Hall, Grace wondered whether Ludwig had
really intended to throw himself from the tower the night of his arrest.
When I LOOKED at the DESK in the Study, Grace wondered why Ludwig was
studying the occult before he died.

I also tried TALKING to every guard in the building, but none of them would
talk to me.

I spent a good deal of time in front of the small DOOR in the Entry Hall
trying to figure out how to get inside.  I waited for the guard to go
into another room, then tried everything in my inventory on the door.  I
just couldn't open it so I decided it wasn't possible... yet.  But it
was certainly intriguing.  I desperately wanted to get up into the tower
and see what was going on up there.

In my second game, in addition, I noticed that when I LOOKED at the
FURNITURE in the Bedroom again, the TOUR TAPE told me that the washstand
worked by bringing in water from a stream above the castle.  Then, when I
LOOKED at the FURNITURE again, Grace remarked that Ludwig sure had a thing
for swans.

This last bit, with the FURNITURE, was the kicker.  When I'd done this,
in addition to everything else I'd done in Neuschwanstein in both my first
and second games, I found, when I went back out to the MAP, that
Neuschwanstein no longer had any tasks to complete in Chapter 4.

CHAPTER 4:  Talking to Dallmier

At the MAP, I went to SEESHAUPT, where I stopped to LOOK at a MEMORIAL
CHAPEL.  Further to the left, I came to a RAILING.  When I LOOKED out over
the RAILING, I saw a CROSS in the WATER.  Dallmier showed up at this point
and told me that this was where Ludwig had died.  He said that he felt
Ludwig's presence here the most:  more than at the castles.  What did I
want to know?  I ASKED:

About HIMSELF:  Ludwig was his hobby.  Ludwig was a romantic figure who was
misunderstood and maligned.  Dallmier could relate to him.

About LUDWIG'S DIARY:  Dallmier had been trying to get to see it for five
years.  Only one person ever got to see it -- Sir Richmond Chaphill, Ludwig's
biographer, who had been well connected with the German higher ups.  Dallmier
had never tried to call Chaphill and pick his brain, but asked Grace to
share what she learned if she called him.  (332)

About LUDWIG II:  Politically, the most significant thing about Ludwig was
that he'd signed over Bavarian independence in 1870.  Dallmier believed
that Ludwig had been manipulated by Bismark into signing over independence
on less than optimum terms. (333)  As for Ludwig personally, there were two
views:  the romantic view dispensed to tourists, and the historian's view
that Ludwig had been driven mad over guilt about his sexual orientation.
Dallmier thought there was more to it, although he didn't know exactly what.
(334)

About MIDNIGHT SLEIGH RIDES:  They say that the night agitated Ludwig, and
taking rides calmed him down.  Sometimes even that wasn't enough -- he'd
stop and wander by himself in the woods for hours.  This drove his servants
crazy.

About BISMARK:  He was the Prussian Kaiser's Chancellor, a great manipulator.
He had spies on Ludwig's staff -- may have even had a henchman even closer
to Ludwig -- and had been involved in the conspiracy against Ludwig. (335)

About the BLACK WOLF:  His name was Paul Gowden.  He lived on the fringes
of the Prussian Court.  Rumors abounded about him.  He supposedly came from
abroad, although he claimed high German blood.  Dallmier thought that Gowden
had found out that Bismark held the power and had offered his "services."
(336)  He must have done something remarkable, because Bismark came through
for him and gave him a royal title and lands.  He probably changed his name
after that.  Dallmier said that if the entitlement deed still existed,
Grace might be able to find out about Gowden's name change.  But she'd need
a research permit from the government, and they were hard to get.  (338)

About the HUNTING ACCIDENT:  Dallmier had spoken to a man who was related to
Ludwig's equestrian.  This guy told Dallmier that a wolf had bitten Ludwig.
After that, Ludwig had a terrible fever, and perhaps this was what broke
his mind.  (339)  After the accident, Ludwig got darker and more crazy.
He wouldn't let his servants see him.  He became more and more prone to
violent rages, and his servants feared him.  (340)

About the SERVANT'S FEARS:  There were mysteries.  Ludwig and Wagner would
lock themselves in the Singer's Hall at Neuschwanstein, and horrible sounds
would come from there.  The sounds were described as "heartbreaking" and
"ungodly."  (341)

After this, I had nothing left to ask and Dallmier departed.  I LOOKED
again at the CROSS in the WATER.  Grace said that this was where they
found Ludwig's body.

NOTE:  In my first game, I missed another hotspot in this screen.  I'll
related the sad story of how I learned about it at the point where I
actually did.

On my way back to the MAP, I LOOKED at the MEMORIAL CHAPEL again.  Now I
understood that it was a memorial chapel for Ludwig.  I then left and
returned to Rittersberg.

I had an idea.

The discussion of Chaphill having seen Ludwig's diary, and Grace asking
whether Dallmier had tried to talk to Chaphill, gave me the idea to try to
find Chaphill myself.  I was holding his book.  Maybe that was the key.

CHAPTER 4:  Son of Rittersberg, II

I decided to try to USE CHAPHILL'S LUDWIG BIOGRAPHY with the PHONE in
the Library.  But first, I thought I'd see whether Gerde had anything new
to say.  How nice.  She did.

About the SPECIAL PERMIT:  She thought that Ubergrau might be able to cut
through the red tape and get me a government research permit fairly quickly.
Grace said she'd planned to write to Gabriel today anyway. (343)  Maybe
this way I'd be able to find out more about who Paul Gowden really was.

I headed up to the Library and USED CHAPHILL'S LUDWIG BIOGRAPHY with the
PHONE.  I reached the book's publisher's office, and a woman there told me
that Chaphill was dead -- however, his son was living.  After Grace stretched
the truth just a tad and dropped Barclay's name, the woman gave me a
phone number for Thomas Chaphill in London. (345)

I EXAMINED the NOTE WITH CHAPHILL'S NAME AND PHONE NUMBER, then USED it
with the PHONE.  I reached Thomas Chaphill, but alas, he was unwilling to
let me see Ludwig's diary -- even though he had in his possession a full
English translation of it!  Thomas said that he was bound to secrecy and
couldn't let the diary out of his hands. (347)

Major bummer.  I was going to have to find another way to get a hold of
the diary.  But I had no idea how to do it.

While I was at the DESK, I decided to try USING the TYPEWRITER since Grace
had mentioned plans to write to Gabriel.  She typed out a letter to him,
and included a note to Ubergrau about the research permit she wanted.  (350)

Having nothing better to do, I decided to go to the POST OFFICE in the Town
Square and send off my letter.  After that, I'd have to do some serious
review of my options, as I was rapidly running out of ideas.

At the POST OFFICE, I RANG the BELL.  Grace and the POSTAL WORKER had a
discussion in German, but I had no idea what they were talking about, so I
just HANDED the GRACE-TO-GABRIEL ENVELOPE #3 to the POSTAL WORKER. (351)
As I'd learned before, I'd need to pay -- so I then HANDED GRACE'S WALLET
to the POSTAL WORKER.  (352)

Now I was clueless.  So I did what I usually do when I'm clueless -- before
I start to whine, that is.  I started going back to every place I'd been
before to see whether I could find anything I missed, or perhaps something
new.

I found something new fairly quickly.  When I LOOKED at the FLOWERS outside
the CHURCH, I saw that they had bloomed.  Father Getz appeared, picked one
of them, and presented it to Grace. (354)  I EXAMINED it, and found that
it was a LILY.  Father Getz had said that it was a gift from the Madonna.

I knew from my visit to Neuschwanstein that Ludwig had identified himself
with lilies, but this didn't seem to help me much.  I thought perhaps
that if I returned the gift to a Madonna, something might happen.  But I
tried the Madonnas in the CHURCH and in the CHAPEL at Neuschwanstein (which,
as you'll recall, I didn't know wouldn't work during my first game because
it was still blinking on the MAP) without success.

I wandered all over the creation and tried PUTTING the LILY everywhere
and GIVING it too everyone.  But nothing worked, and I couldn't find anything
else to do either.  Whenever I tried to call Chaphill, Grace just said
that pleading with him wouldn't work.  I reread GRACE'S NOTEBOOK several
times, in which she'd been writing all of her findings down -- but I wasn't
getting a connection between all of what she'd learned and what I ought to
do next.

CHAPTER 4:  Morgie Loses It -- Twice

This went on for a good hour or so until I felt ready to whine.  I logged on
to GAMERS and looked for herc, but he wasn't around.  I had no idea where
he was in the game anyway.  I was just hoping that he'd made good use of
his many years of adventuring and efficient use of his time and had vaulted
ahead of me.  Bwahahaha.

I answered a few messages relating to earlier chapters in GK2 and to other
games, thinking that perhaps if I cleared my mind and drove the part of
the game where I was into my subconscious, an answer might come to me.
Sometimes that works.

But nothing was becoming any clearer, and at this point my only choices
were to be patient and muddle through, or to seek a hint.  I considered
going to sleep.  It was around 10:00 p.m. or so, and I'd been playing for
most of the afternoon and evening.  But I wasn't tired, although I'd become
a little weary of being Grace even though she was my favorite character,
and I sensed that I was close to being Gabriel again.

So I gave up.  I went to look at GK2 messages for chapter four, hoping I'd
find a little push in the right direction.  And I found it.

There was a message that mentioned that I'd have to put the lily in some
water.  At first I thought this meant a vase.  I went looking for one,
but every likely vessel didn't work.

Eventually, I found myself back at SEESHAUPT.  I knew I'd tried USING the
LILY with the CROSS before, but in this area, there was, without doubt,
more water to be found than in any other location in this chapter.

I focused on the WATER around the CROSS, and it was here that I found I'd
completely missed a hotspot in this screen.   I'd tried to be so
careful, and something had still slipped through.  But I knew right
away what to do now.

When I clicked on the area between the two RAILS in the RAILING, I got
a view of some WATER off to the side.  I LOOKED at it, and Grace wondered
what it had felt like as Ludwig drowned.  I USED the LILY with the WATER.
Grace placed it into the water and sent a mental message to Ludwig as she
did.  Surprisingly, his face appeared in the water under the LILY. (364)

NOTE:  When I saw I'd received 10 points for this, I felt a little better.
Apparently, the designers didn't think this one was too easy either.  As
I thought about this puzzle, I realized that to be able to solve it logically,
rather than by trial and error, you'd have to have:  (1) found the hotspot
by the water, which wasn't that obvious, (2) remembered what Dallmier said
about feeling Ludwig's presence especially keenly in this spot, (3) remembered
that Ms. Smith had urged Grace to try to communicate with Ludwig, (4)
remembered that the lily was a symbol for Ludwig, and (5) taken a leap
of faith that sending Ludwig's symbol to him where he'd died would be a
method of communicating with him.  Then you had to conclude from all of this
that if you placed the LILY in the WATER, Ludwig might respond to you.
Not a _bad_ puzzle, certainly.  But for me, it was difficult because the
clues in the game were, in my opinion, very subtle.  And I hadn't found
that damned hotspot. 

But what came next was, in some ways, worse.

I returned to Rittersberg and started pounding the pavement around my
usual haunts again.  Unfortunately, when I walked into Schloss Ritter, I
skipped the cut-scene here.  If I hadn't, as I found out my second time
through the game, Gerde would have told me that a fax had arrived for me
at the post office and I would have been on my way.  Actually, I'd been
looking for this scene the second time through, since I'd had a discussion
on the board in GAMERS about how unfair I thought this puzzle was, and I'd
learned that I'd missed something here.

Without Gerde's information, I had virtually nothing to go on.  I
wandered and wandered.  I even went back to Schloss Ritter and waited
through the cut-scene again, but it didn't repeat -- I got just the usual
"Hi Gerde, I'm back," "Good" dialogue.

It just didn't occur to me that the way Ludwig would help me would be to
change Thomas Chaphill's mind.  Aside from the cut-scene, I found nothing
else in the game -- in English, anyway -- that suggested I should revisit
the post office.  For the record, herc got stuck here too, because he'd
also skipped that all-important cut-scene.  At least by the time he got to
it, I'd figured out the puzzle by trial and error and could give him a
hint.  

I went back to the Wagner Museum and looked at everything again, but could
find nothing to do.  Georg had nothing new to say to me.  I found from the
"HINT" button that along with BAYREUTH, RITTERSBERG was the only place I
had anything left to do in.  So I went over it with a fine-toothed comb.

This was how I discovered the FAX waiting for me at the POST OFFICE. (369)

I EXAMINED the FAX to READ it.  It seemed that Mr. Chaphill had had a change
of heart (thanks to Grace's appeal to Ludwig), and had faxed to me the English
translation of Ludwig's diary that his father had made.

This is my interpretation of the important points in the diary.  I've
included my conclusions from what I'd learned so far in the story, beyond
what the document itself had to say:  (1) Ludwig was in terrible pain
and horror from something that had happened to him in or around 1872, (2)
he swore several times not to yield to the ultimate sin and to "control"
the process (i.e., not to eat of human flesh and to control his changes
into a werewolf, if possible), (3) Ludwig discovered he'd been betrayed
by Louis, who was also the Black Wolf, who was also Paul Gowden, (4) Louis
was involved in Ludwig's accident -- he'd changed into a wolf and bitten
Ludwig, apparently thinking that that would make them lifetime companions
on a great adventure, (5) Wagner's music had almost caused Ludwig to
change into a werewolf on the night of June 10, 1881, (6) Wagner was helping
Ludwig, through an opera, and something to do with crystals, presumably
toward the end of lifting the werewolf curse, (7) Wagner died before he'd
finished helping Ludwig, (8) Ludwig ran out of money to make the crystals,
which were apparently necessary to lift the curse, and he was desperate
to have them made. (370)

When I'd finished reading, I tried to call Chaphill to thank him, but I
couldn't.  I wondered whether I still had anything left to do in Rittersberg.
It didn't seem likely because I'd checked everything a zillion times before
I found the fax, but you never know.  So I got back into the CAR and at the
MAP, I USED the "HINT" button.  I didn't have anything left now in
Rittersberg, so I headed for BAYREUTH.

When I got to the Wagner Museum, I TALKED to GEORG.  Grace said he'd never
believe her unless she showed him what she had.  So I HANDED the FAX OF
LUDWIG'S DIARY TRANSLATION to GEORG.  (380)

CHAPTER 4 ENDING MOVIE

Grace shows Georg the entry in Ludwig's diary relating to the lost
opera.  (This despite the note on the fax cover sheet asking her to keep
the diary confidential.  Now I knew who not to tell any secrets to.)

Georg, in turn, shows Grace entries from Cosima Wagner's journal.  Grace
appears to have absolutely no trouble reading and simultaneously
translating these entries aloud, even though they _must_ have been in German.
I wondered how she suddenly became fluent.  By osmosis?  (It would have made
far more sense to have Georg read these entries aloud.)

In any event, the excerpts from Cosima's journal mentioned:  Wagner working
on a new project to pay back Ludwig for all Ludwig had done for him; a
letter that Wagner burned upon receipt, that mentioned Wagner's greatest
triumph and someone else's destruction (Ludwig had said he'd probably die too,
but his soul would be free); and a sealed package that Wagner sent
to Ludwig right before he died.  The package!  If I could track it down,
we'd find Wagner's lost opera, I felt sure.  But I'd have to wait because...

CHAPTER 5 OPENING MOVIE

... we're Gabriel again.

And we're passed out in a luxurious bed in Von Glower's house.  Gabriel
wakes up and flashes back to the night before, when he and Von Glower got
smashed.  They're talking about Grace when a vamp named Detta walks in,
climbs onto Von Glower's lap, and starts making out with him.  Gabriel
says he'll leave, but Von Glower says no, whispers to Detta, and then she
goes over and climbs onto _Gabriel's_ lap and starts making out with _him_.
(Oh gag me.  How cliche.  )  Gabriel protests, weakly, that he can't
just take Von Glower's date.  But Von Glower insists, and sends them up
to the bedroom.  After Detta leaves and Gabriel crashes, Von Glower comes
into the bedroom.  He sees Gabriel's talisman, strokes Gabriel's hair, then
leaves.  (Uh oh.  Whatever cover Gabriel had was blown (in more ways than
one, apparently) when he went under these other covers.)

When the flashback is over, Gabriel goes downstairs and finds a note from
Von Glower.  The note says that Von Glower had some things to take care of
and that he'll see Gabriel later on at the club.  Gabriel walks out, and
you find yourself at the U-BAHN MAP.

CHAPTER 5:  In Marienplatz

First, I figured I'd go by and see if Grace's letter had arrived at
UBERGRAU'S OFFICE.  He gave it to me when I walked in.

I EXAMINED the GRACE-TO-GABRIEL LETTER #3.  Grace had reached the same
conclusion I had about Ludwig being a werewolf, but Gabriel thought this
was just more hysteria on our part. (382)  I tried to TALK to UBERGRAU,
but Gabriel didn't want to discuss anything until he'd RETRIEVED his
TAPE RECORDER.  Fine with me; that was next on my list anyway.

On the way to 54 DIENERSTRASSE, I noticed that the GUITARIST was now gone,
but I couldn't talk to the new PEOPLE who were hanging out by the FOUNTAIN
or standing on DIENERSTRASSE.

Xavier greeted me when I walked into the Hunt Club.  He reminded me to be
on time for the hunting trip later, but didn't have anything else to say.

In the Main Hall, I TOOK the MAGAZINE and retrieved the TAPE RECORDER.
Now I had a VON ZELL CONVERSATIONS TAPE (384) that I EXAMINED.  I decided
to take it back to Ubergrau to see whether he could translate it.

In UBERGRAU'S OFFICE, I USED the VON ZELL CONVERSATIONS TAPE with UBERGRAU.
He told me what it said.  The first part of the tape appeared to be of
the Von Zell-Klingmann conversation.  Klingmann seemed worried about his
career -- the police had to know that the zoo wolves weren't responsible
for the killings, but Gabriel had been around asking questions about the
wolves.  Here, Gabriel stopped the tape before Ubergrau could hear more,
and skipped to a conversation that appeared to be between Von Zell and Von
Aigner.  Von Aigner asks whether Von Zell knew anything about Grossberg's
death, says he'd given Von Zell Grossberg's name, and mentions that Gabriel
had asked him if he knew Grossberg.  Gabriel stopped the tape here again,
causing Ubergrau to express concern for his safety.  (389)

I then remembered the RESEARCH on MISSING PERSONS I'd asked UBERGRAU for,
so I TALKED to him about MISSING PERSONS.  He told me a lot of information
about the number of cases in two forested areas over the last ten years.
Around both areas, one of which was the Bavarian National Forest, the number
of cases had increased steadily, with only a slight drop off in 1992 and
1993. (391)

I didn't have any other business with Ubergrau for now, but now that I knew
what the tape said, I thought I'd share it with Kommisar Leber.  Besides,
I still wanted to try to get a look at Grossberg's accounting records,
which the police were holding.  So I headed for the police station at
PRINZREGENTENPLATZ.

CHAPTER 5:  At the Police Station

First, I TALKED to LEBER.

About the CASE STATUS:  He had nothing new to share with me.  They hadn't
found the zoo wolves yet.

About GROSSBERG'S ACCOUNT BOOK:  The police took the records as part of
a standard background check.  Leber didn't think anyone had looked at the
ledgers yet. (392)  Gabriel asked to see them, but Leber wouldn't let him.
What if Gabriel could prove that Grossberg wasn't a random victim?  Leber
wasn't buying it.

So I SHOWED the VON ZELL CONVERSATIONS TAPE to LEBER.  Gabriel offered to
play it in exchange for a look at the ledgers.  Leber complied.  He agreed
to give Gabriel some time with the ledgers while he want for some coffee
(shades of Mosely) and expected results when he got back. (399)

I LOOKED at the FILING CABINET and the MAP after he left, but since there
wasn't anything to learn from them, I LOOKED at the LEDGERS on his DESK.
Gabriel turned to a particular PAGE.  When I LOOKED at it, he tore it out
of the book!  (Good thing Ubergrau wasn't around to watch this destruction
of evidence.) (402)  After that, Leber came back and asked Gabriel to spill
his guts.

Gabriel told Leber that the three on the tape all belonged to a club.  One
of them knew Grossberg, and the murder took place near the club.  Leber
said thank you very much, now stay out of it and hand over all you've found.
Gabriel made up a club name and gave him a fake tape to throw him off the
scent. (404)  I then left the police station automatically and found I had
a new place to go to on the MAP -- BUCHENAU.  So I decided to check it out.

CHAPTER 5:  At Buchenau

I ended up in front of a building.  I KNOCKED on the DOOR, and a guy named
Dorn, a business associate of Grossberg's, answered it.  Gabriel pretended
that he worked for Grossberg.

Dorn refused to talk to me unless I paid him what Grossberg owed him: 14K
marks.  I don't know what I was thinking, but I tried KNOCKING again and
HANDING DORN GABRIEL'S WALLET.  But of course, not even a good ol' boy like
Gabriel carried that kind of change around.  Clearly I wasn't going to make
any headway here without mass quantities of dough.

After thinking about it, I figured Ubergrau might be the person to help me
with the money situation.  (Lawyers, bankers, what's the difference. )
So I went back to MARIENPLATZ, and in UBERGRAU'S OFFICE, I ASKED him about
GETTING CASH.  He had his secretary withdraw the money from the Ritter
accounts right then and there (amazing) and she handed it to me. (406)
I EXAMINED the 14,000 D.M.  Heck, it was only money.

I noticed when I went to EXAMINE the 14,000 D.M. that I had the RIPPED OUT
PAGE FROM GROSSBERG'S ACCOUNT BOOK in my inventory.  So I EXAMINED it and
saw something about exports on it.  I tried to SHOW it to UBERGRAU, but
couldn't.

So I went back to Buchenau, KNOCKED on the DOOR and TALKED to DORN again.
This time, when he asked for his money, I HANDED him the 14,000 D.M.  Now
he was much more amenable to talking to me.  He took me back into a filthy,
smelly part of the building, which appeared to be a clearinghouse for
illegally imported animals. (411)  I LOOKED at the ANIMAL PENS along both
walls.  Gabriel expressed his disgust at the way the poor animals were being
treated.  DORN was willing to TALK to me, so I ASKED about:

EXOTICS:  Dorn got anything Grossberg wanted, mostly cats and other things
that made nice coats -- things you couldn't find on the market. (412)

HARVESTING FURS:  Dorn harvested the furs, but every few months, Grossberg
wanted the whole animal live.  Dorn didn't know why, but Gabriel and I
thought we did. (413)  Probably so the Hunt Club could have at them out
in the Bavarian National Forest.

GROSSBERG:  Dorn talked to him a few days ago.  He'd said he had a new
business partner and would soon have a lot of money.  Dorn thought that
Gabriel was the new partner.  (414)

THE EXPORT:  It went fine.  The wolves were shipped to Taiwan.  They said
it was to a zoo, but Dorn thought it was for a restaurant.  (419)

WHERE HE KEPT THE WOLVES:  In the last cage on the right, against the wall.

He had nothing more to say, so I went to LOOK at the CAGE.  Dorn was keeping
a tiger in there now, and although I could see something when I LOOKED at
the STRAW in the CAGE, the TIGER wouldn't let me near it. (420)  I LOOKED
at the TIGER (and the TIGER looked at me).  Well well.  I figured I'd need
to distract the TIGER, probably with food since the animals weren't very
well fed.  But I didn't have anything on me.

Then I remembered my old friend the SAUSAGE LADY.  Maybe she'd finally let
me buy something now.  I went back to the DELI in MARIENPLATZ and HANDED
GABRIEL'S WALLET to the SAUSAGE LADY.  She gave me some WEISS WURST (421),
which I EXAMINED.  Kinda pale, but I wasn't going to eat them so who cares.

I trudged back to Buchenau and into the building to the CAGE.  Here, I USED
the WEISS WURST with the TIGER (426) and when he went to the back of the
CAGE to get it, I TOOK what was lying on the bottom of the cage. (428)
I EXAMINED what I'd found and discovered the WOLF TAGS for Hilda and Parsival,
the two "escaped" zoo wolves.

Having apparently exhausted Dorn's place, I left.  I learned at the MAP
that MARIENPLATZ was the only place I had left to go, and I suspected
that the minute I walked into 54 DIENERSTRASSE, I'd end up on a hunting trip.
So just to be sure there wasn't anything else to do, I took a last look
around all my old haunts in MARIENPLATZ.  I couldn't find anything else,
so I decided to surrender myself to my destiny.

CHAPTER 5:  The Hunt (Literally This Time) Begins

Great timing, too.  I arrived just as the club members were leaving, and
we all went off to the Bavarian National Forest.  When we got there, Von
Glower ordered Hennemann and Preiss to share a room so that Gabriel could
have Hennemann's usual room, the last door on the left.  (433)

In Gabriel's Room, I OPENED the ARMOIRE, but there was nothing in it.
Gabriel wouldn't WALK into the BATHROOM, and only expressed nervousness when
I LOOKED at the BED.

I EXITED to a WINDOW and LOOKED out of it, at the WOODS and DOWN to a LEDGE.
Now that I knew what there was to see here, I decided to go OUT the DOOR
and explore the rest of the Lodge.  As I came into the hall, I saw Von Zell
lock his door and leave.

I ENTERED the ROOM directly across from Gabriel's, which I found belonged
to Preiss.  I LOOKED in the ARMOIRE and TOOK a ROPE. (434)  I then LOOKED
through Preiss' SWEATERS, but didn't find anything else worth taking.

Gabriel didn't want to GO into the BATHROOM in case Preiss was occupied,
so I LOOKED at the BED.  Gabriel gave it a good patting down, but didn't
find anything.

I EXITED downscreen and came to a WINDOW just like the one in Gabriel's Room.
I LOOKED out at the WOODS and DOWN again.  Apparently, the LEDGE surrounded
the entire Lodge.

Back in the hall, I tried the middle door on the left.  Here, I found Von
Aigner in the bath.  I LOOKED at what I could find in this room, but Gabriel
said he couldn't examine anything closely with Von Aigner here.  So we had
a conversation as VON AIGNER soaked.  I ASKED:

About THE CLUB:  He didn't want to talk about it because I'd already grilled
the others ad nauseam.

About GROSSBERG:  We should be hunting deer tomorrow.  Gabriel commented
that Grossberg's death would make it hard to hunt challenging animals.  Von
Aigner warned Gabriel not to stick his neck out and make an enemy of Von
Zell.  (435)  But of course, that didn't stop me from prying.  Von Aigner
had been the club's main contact with Grossberg.  (436)  He'd given Von
Zell Grossberg's name because Von Zell had asked for it.  Von Aigner didn't
know why Von Zell wanted the contact, but guessed it was because Von Zell
wanted to start his own club.  (This seemed to support my theory that
Von Zell wanted to leave the wolf pack and start his own.)  Gabriel spun
out a story about Von Aigner giving out Grossberg's name in exchange for
Von Zell's agreement to cut Von Aigner's debt to him in half.  Von Aigner
didn't deny this.  (437)

About the BLACK WOLF:  He didn't know anything about it, but had heard
wolves in the woods around the Lodge. (439)

Then Von Aigner threw me out because he was getting cold.

Across the hall, Von Zell's door was definitely locked.  So I went through
the next door on the left and found Klingmann.  He didn't want to talk.
I LOOKED around the room, but couldn't accomplish much with Klingmann there.

I wondered how Klingmann would react if I SHOWED him the WOLF TAGS, but
when I tried it, Gabriel said he needed more facts first.  So I went in
search of them.

Across the hall from Klingmann's Room, I found that of Von Glower.  He
suggested that I go for a walk in the woods and get my bearings for
tomorrow's hunt.  I LOOKED around the room, but Gabriel didn't think Von
Glower would want his stuff messed around with.

I seemed to have another way out of the hallway, so I EXITED downscreen
and came to the Lodge's Great Room.  I LOOKED at the FIREPLACE, but it
wasn't lit.  Inside another ARMOIRE, I found and TOOK a SMALL LANTERN.
(440)

HENNEMANN was sitting down here drinking (as usual), so I decided to see
if he'd TALK to me.  He was glad for the company.  I ASKED:

About THE CLUB:  He wasn't that close to anyone in the club, but said that
Gabriel had obviously become Von Glower's new favorite.

About KLINGMANN:  Klingmann liked to discuss the club's philosophy.  Von
Zell had brought Klingmann in, but the two of them didn't seem to be close.
(442)

About PREISS:  Hennemann thought that Preiss was an oversexed pig from whom
no one was safe.  Contrary to what Von Glower had said, Preiss was no longer
a successful lawyer.  He couldn't get work because his nature was too
obvious.  Hmm.  This was the second time I'd heard such a contradiction
of Von Glower from other club members.  It seemed as though Von Glower just
refused to see that the club members' excesses from following its philosophy
were having a negative impact.

About the LODGE:  The club members came here about once a month.  They also
had another Lodge, but they didn't go there as much.  (443)  I recognized
the name of the forest where the second lodge was situated as the other
forest associated with the missing persons cases I'd had researched. (445)

About the BLACK WOLF:  He hadn't heard of this.

When I was done with Hennemann, I saved my game just in case something was
waiting to kill me, and ventured outside.

In the STABLE, I found some TOOLS, including some huge SHEARS that I took
and Gabriel just stuffed inside his coat (that couldn't have been very
comfortable, and my, was it ever getting crowded in there). (446)  I also
LOOKED at where the HORSES were, but Gabriel didn't want to go near them.

I wandered around in the WOODS for a bit, but then I lost my nerve and
decided to go back to them when I'd exhausted the Lodge.  I had a very
strong feeling that I needed to get into Von Zell's room somehow.  It was
the only place I hadn't been, and he was the most suspicious character of
all.

I thought about that LEDGE I'd seen outside the WINDOWS, and the more I
thought about it, the more I figured it was probably the pathway into
Von Zell's Room.  I couldn't think of any other reason for it to be there,
and Gabriel had said that he couldn't walk on it because it was too narrow.
For experimental purposes, I tried USING the ROPE with the WINDOW in
Gabriel's Room (I couldn't) and with the LEDGE outside it.  When I USED
it with the LEDGE, Gabriel basically told me that my idea would work if
I tried it on the other side of the building.

So I went back to the WINDOW in Preiss' Room and USED the ROPE with it.
Sure enough, Gabriel climbed out the WINDOW and onto the LEDGE, using the
rope as an anchor. (451)  I went to the next WINDOW, which I knew was
Von Zell's room by its position, and THROUGH its WINDOW.

In Von Zell's room, I LOOKED inside his ARMOIRE, but couldn't find anything
of interest among his CLOTHES.  So I LOOKED at his BED.  During a short
cut-scene, I noticed a BOOK on his BEDSIDE TABLE.  So after Gabriel
finished messing around with the BED, I EXITED to the right and TOOK the
BOOK.  Gabriel LOOKED through it and found the same ENTRY he'd seen at the
Hunt Club, with names and figures next to them.  I tried to TURN the PAGES,
and in doing so, LOOKED at a piece of paper stuck in the back of the BOOK.
This, I found out, was a letter from Grossberg. (453)  When I READ it,
I found that Grossberg had tried to blackmail Von Zell, his new business
partner.  Apparently, his last mistake.

I then took a LOOK around Von Zell's BATHROOM.  His TUB and SINK were
immaculate.  But under the RUG, I found part of a MUDDY FOOTPRINT.  When I
LOOKED at the MUDDY FOOTPRINT, Gabriel uncovered the whole thing. (457)
Orange mud?  Hmm.

I seemed to be done in Von Zell's Room now, and I'd been thinking perhaps
that GROSSBERG'S BLACKMAIL LETTER might be the evidence I needed to confront
Klingmann with.  At least it seemed worth a shot.

I went back to Klingmann's Room and tried to SHOW it to him.  No luck; but
knowing what I knew now from that letter, I _could_ SHOW him the WOLF TAGS.
When I did, he had a lot to get off his chest.

Von Zell had told Klingmann that he wanted to own some wolves to study because
he admired them.  He'd met Klingmann at a lecture and told Klingmann about
the club.  Klingmann had so wanted to join the club that he'd arranged to
give the wolves to Von Zell as the quid pro quo for his admission.  They'd
then covered up this little scam by making it look like the wolves had
escaped.  Klingmann was relieved that the wolves weren't the killers.  He
begged Gabriel not to tell the police what they'd done.  Gabriel agreed.
We had bigger fish to fry.  (464)

Now I felt up for going out into the woods to explore them, since I couldn't
find anyone else to talk to or anything else to nab here.  Apparently,
my first time through I missed an item, though -- as recounted below.

NOTE:  A lot of people seem to be having trouble with the Lodge section
of the game, described above.  Very soon, you'll find you can't progress
further in the game without lighting the SMALL LANTERN.  Once you do, you'll
be catapulted into a sequence of events ending with a chase scene that
concludes the chapter.  In my first game, when I'd found the point where
I needed light, I returned to the Lodge and found some MATCHES waiting for
me on the MANTLE above the FIREPLACE (which was now lit).  In replaying,
I discovered that I didn't even have to find anything in the woods to trigger
the appearance of the MATCHES.  If you've done everything set forth above
up to the point of going into Von Zell's room, then go into his room and
take GROSSBERG'S BLACKMAIL LETTER, then confront Klingmann with the WOLF
TAGS, the fire will be on when you next go downstairs.  But if, _in addition_,
you have LOOKED at the FOOTPRINT in Von Zell's BATHROOM, you should find
MATCHES on the MANTLE as well.

CHAPTER 5:  In the Woods, Part 1

NOTE:  In my first game, I didn't bother to map the Woods.  They're small
and I just memorized the landmarks on each screen.  I didn't have too much
trouble just using this method, but it's always nice to have a map so I made
one as I was writing this walkthru and included it in the archive as
GK2WOODS.GIF.  Since I've included the map, I'll just give the most basic of
directions in the section below.  Please consult the map if you want
more detail.

I started out by going left from the Lodge screen, looking for hotspots
as I went.  In the fourth screen to the left, right before I looped back
to the Lodge, I found some DIRT.  (466)  When I LOOKED at it, I found a
PAW PRINT that I LOOKED at more closely.  It had traces of orange mud in it
that reminded me of the MUDDY FOOTPRINT in Von Zell's BATHROOM.

I continued left and wound up back in front of the Lodge.  From here, I
continued exploring until I'd been to all of the screens in the Woods.  In
particular, I found that if I went left, down, left, and down from the Lodge
screen, I came to a RAVINE that Gabriel couldn't cross.  From here, up,
up, left, down, down brought me to another patch of DIRT that I
LOOKED at.  This PAW PRINT was almost all orange. (467)

Still in this screen, to the right, I LOOKED at some BRUSH.  Gabriel tried
to walk through it, but it was too thick.  I recalled the SHEARS that
I'd picked up in the STABLE and USED them with the BRUSH.  This enabled
Gabriel to clear a path.  He walked down it to an area off of the map,
that I learned was an opening to a CAVE.  (470)  From Gabriel's reaction,
the smell here was none too pleasant.

I went into the CAVE.  When I tried to WALK further to the right, I found
a huge HOLE.  (475)  Something was down there, but it was too dark to
see anything and Gabriel wasn't eager to muddle around here in the dark.

This was the point at which I knew I'd have to LIGHT the SMALL LANTERN.
My initial idea was to light it from the fire I'd seen burning in the
FIREPLACE before I left the Lodge, but as it turned out, I didn't have
to be quite so rustic.  Someone had left some MATCHES on the MANTLE, so
I TOOK them.  I tried to light the SMALL LANTERN right there, but Gabriel
told me that he didn't need the light here.

So I went back into the CAVE, to the place where I'd found the HOLE.  All
of my instincts told me to save my game here just in case.  I did, then
USED the MATCHES with the SMALL LANTERN.

Prepare to get grossed out here in a big way.  When the light comes on,
Gabriel sees a bunch of rotting corpses and a naked Von Zell, chowing
down on some human body parts, blood all over his face.  Gabriel runs
outside and wins the award for best projectile vomiting in a game.  When
he's done barfing, he runs back through the BRUSH. (485)

I went back to the Lodge to find someone to confide in.  (When I played
through this part the first time, I went straight to Von Glower.  Still in
my first game, after the following cut-scene in which Gabriel spews
everything he knows to Von Glower (which seemed awfully dangerous to me), I
wondered if there might be branching paths to the game here, so I tried to
go to another club member instead.  But I could only talk to Von Glower.)

After you go into Von Glower's Room, there's a rather lengthy cut-scene
in which Von Glower goes with Gabriel back to the Woods, and Gabriel shows
him where the CAVE is.  Von Glower doesn't see Von Zell, only the bodies.
Gabriel tells Von Glower everything he's theorized about Von Zell --
Von Zell's a werewolf; he'd been secret for a long time, then for whatever
reason wanted to go public, so he got the idea to blame all his kills on
some zoo wolves; Klingmann supplied the wolves; Grossberg got rid of them so
that the police would never find them, but in the process became greedy and
tried to blackmail Von Zell.  Von Zell killed him.  Gabriel wants to go to
the police, but Von Glower says the police will never believe them.  He and
Gabriel must hunt Von Zell themselves, without any mention of it to the
others.  Von Glower feels responsible for Von Zell because of the club
"philosophy" and he must deal with the problem -- with Gabriel's help.
Isn't that what Gabriel came here for?  To find and dispose of the Huber
girl's killer?  (Von Glower had been conducting an investigation of his own.)

They meet at midnight for the hunt; Von Glower with a gun, Gabriel refusing
one.  Von Glower says that they must corner Von Zell at the RAVINE.  He
tells Gabriel to stick close behind him.  We see Von Glower stick some plugs
in his ears.  Then he disappears. (495)

CHAPTER 5:  In the Woods, Part 2 -- Morgie Says Goodnight

I soon found myself confronting Von Zell in wolf form.  After some trial
and error, I found that each screen here (after the first one, in which
I seemed to be able to stand forever without the wolf showing up) was timed,
and if I waited too long to do anything, Von Zell would jump me and rip
my throat out.  He'd also attack if I tried to move toward him to run past
him.

During these initial trials, I tried to USE the TALISMAN on the WOLF, but
I must have hit the timing too close to the time limit for that screen
because I got killed anyway.  Unfortunately, from this, I concluded that
the TALISMAN was not the correct approach, and I spent what seemed like
an eternity running ahead of Von Zell to lure him to the RAVINE.  As I
learned time after time, if you do this, you'll end up there by yourself,
with no sign of Von Glower or Von Zell.

I also found that if you manage to run into the spot where you cut through
the BRUSH to get to the CAVE, you box yourself into a dead end and will
be devoured immediately.  In replaying, I found that this happened to me
even if I was using the talisman.  If I hit this spot I'd have to start
over and hope the wolf would go a different direction the next time.

After I'd been running around the woods like this for well over an hour, I
made the mistake of looking at my watch.  It was 5:00 a.m.  Geesh.  I
didn't feel stuck, but I just didn't have the energy to keep at it at this
point.  So I went to sleep, even as visions of wolves growling at me traipsed
across the backs of my eyelids.

CHAPTER 5:  In the Woods, Part 2 -- The Day After

When I came back to the game, I was ready for Von Zell.  Having slept on
it, I realized that I'd have to back him into the RAVINE somehow so that
he'd get there before I did.  Otherwise, I'd just be standing there by myself
like a total geek as I'd done so many times the previous night.

The only tool that I had that looked at all promising was the TALISMAN,
which hadn't worked for me the night before, but which, on reflection, had
to.  After all, at the end of Chapter 3, I thought I'd seen Von Zell-as-wolf
watching Gabriel and growling at the TALISMAN.   I'd been playing around
here a bit, so I let myself die and used the TRY AGAIN button to start
fresh from a spot where I had my bearings.  Now I just had to find a clear
path to the RAVINE.

NOTE:  I've marked the spot where the chase begins on the map included as
GK2WOODS.GIF.  I've tried restarting from two different games in numerous
places, as well as compared notes with herc, and it seems that this spot
is where the chase will always begin.  However, depending upon how you
interact with the WOLF in your own game, the locations where the WOLF ends
up as you go from screen to screen appear to be random, so recounting what
happened in my game probably wouldn't be of much use to you.

The first time I USED the TALISMAN with the WOLF this go around, he cowered
backward into another screen. (498)  I moved in the direction he'd gone,
found him again, USED the TALISMAN again, and pushed him into another screen.
In this manner, I herded him from screen to screen until I'd directed him
to the RAVINE screen.  In talking to hercules later, I learned that there's
another, and perhaps simpler way to do this.  You can simply run ahead of
the WOLF to the screen above the RAVINE, then push him back into the RAVINE
USING the TALISMAN.

When I got to the RAVINE, the WOLF attacked and the TALISMAN flew from Gabriel's
hand.  Von Glower appears and Gabriel shouts to him to shoot the WOLF.
Von Glower throws the RIFLE to Gabriel and says he'll have to do it. (508)
(Ah, yes.  An Alpha can't harm a Beta without harming itself.  Know your
werewolf lore.)

As soon as I got the RIFLE, I tried SHOOTING VON GLOWER just for laughs. ;)
Wouldn't it have been a hoot if you could get away with that?  End of game.
Maybe I could have used the sixth CD for a coaster or something.

Since that hadn't worked, I SHOT the WOLF.

CHAPTER 5 ENDING MOVIE

Von Glower removes the plugs from his ears.  We learn that Gabriel had been
bitten in the leg.  Then the dead WOLF changes back into Von Zell.  Gabriel
is both horrified and relieved about this.  Von Glower takes Gabriel back
to the Lodge to fix up his leg and says he will drive Gabriel back to Munich
in the morning. (513)

What will become of Gabriel, now that he's been bitten by a werewolf?  Will
he have to choose a path, as Ms. Smith's tarot reading suggested?  If so,
what will he choose?  Will the curse ever be lifted?  And hey, what about
the talisman Wolfgang died to recover?  Is it lost again?  I figured, as
usual, I'd have to wait for some answers.

CHAPTER 6 OPENING MOVIE

But not for long, this time.

Someone's dreaming.  We see Grace looking at a painting of Ludwig.  He comes
alive.  They kiss; he changes into Gabriel and Grace ends up kissing Gabriel.
Ludwig points to a painting that changes to one of Grace and a wolf.

All sorts of flashbacks to the events in the Woods outside the Hunting Lodge
and before.  Gabriel awakes, delirious, obviously in pain, and seemingly
afraid he'll change into a wolf.

Ludwig appears to Gabriel.  We see Ludwig go to the CABINET in the Study
at Neuschwanstein and take out some scrolls.  He hides one in the Bedroom,
in a panel in the wall near the Chapel entrance.  He hides the second in
a wall in the Grotto, and the third in the Singer's Hall, in a secret place
on a wall underneath one of the paintings.  Then he goes into the Chapel
to pray, and we discover he's holding a fourth scroll.

NOTE:  I had to replay this movie a couple of times from the film icon as I
played to be sure of where all of the scrolls had been hidden.

Ludwig goes toward the DOOR to the TOWER, but before he can open it, he's
taken into custody.  We see the scene during the change of horses in which
the postmistress brings him water.  He hands her the fourth scroll and tells
her -- "tell her to put this with my heart."

Then we see Ludwig, in the water at Seeshaupt, the drowned body of the doctor
floating nearby.  Ludwig looks inside a locket or pocket watch at a picture
of... Von Glower! (aka Louis, aka The Black Wolf, aka Paul Gowden).  He
throws the locket into the water, then wades off to drown himself.

Just then, Grace arrives and runs to Gabriel.

The next thing we know, we're in Rittersberg, in the Rathaus DUNGEON.  Grace
sees a pigeon just outside the WINDOW, and tells someone we can't see
(Gabriel?) that he has a visitor.

CHAPTER 6:  In Rittersberg

I tried to TAKE the PIGEON, but Grace couldn't reach it through the bars on
the WINDOW.  Then I went over to the COT to see if Gabriel was, in fact,
there.  He was.  I LOOKED at GABRIEL. (514)  A sweet (well, at least until
these two start growling at each other) scene follows in which Grace comforts
Gabriel and tells him she'd received the deed of entitlement with Von
Glower's name on it, and threatened Huber until he told her where Gabriel
was.  Grace refers to the dream Gabriel had -- he'd talked about it on the
way here.  She thinks it might help them out.  I tried TALKING to GABRIEL
again.  He was burning up with fever.  Grace assured him he'd be fine.
Even through his delirium, Gabriel chides Grace for messing up his hair
as she's petting him.  Hehehehe.  I couldn't TALK to GABRIEL again after
this, at least for now.  So I left the DUNGEON and started making my rounds
of Rittersberg.

In the Gasthof, I found HUBER, who was too embarrassed to talk to me after
Gabriel's misfortune and having hidden Gabriel's whereabouts from Grace so
she couldn't come to the rescue.  But Ms. Smith was also here, so I
ASKED her:

About GABRIEL:  He was very sick.  His body was fighting the tainted blood.
He'd be more at ease in the Dungeon, where if he changed he wouldn't be able
to harm anyone.  His only chance now was the destruction of his maker. (515)

About OUR PLAN:  Grace was going after the lost Wagner opera and the
opera house diagram. (516)

About ALTOTTING:  It was a pilgrimage shrine, with heart urns.  The Black
Madonna was very old.

After we were done, I noticed I had a hotspot on the BASKET in front of
MS. SMITH.  I LOOKED at it, and Grace TOOK a DINNER ROLL. (517)  Looked
like pretty good bird bait to me.  I'd try it a bit later.

Working my way through town, I RANG the BELL at the POST OFFICE.  Nothing
had arrived for me, but there was a letter for Gabriel. (518)  I had no
shame.  I EXAMINED it to READ VON GLOWER'S LETTER.  He'd enclosed the
Ritter talisman.  The letter said:

Von Glower knew what Gabriel was going through -- he'd gone through it
himself at age 12.  He also knew that Gabriel hated him right now, but he
hoped that this would change when the sickness was over.  He hoped that
Gabriel would become his companion, so he hadn't had Gabriel killed the
night Von Zell bit him.  Von Glower had rarely changed others for this
purpose, and when he had it had turned out badly.  That's why he started
the Hunt Club.  He'd hoped he could prepare its members for the change
so they'd accept it more easily.  He'd turned Von Zell, but it hadn't
worked out so he hadn't tried it with the others.

Holy Moly!  I'd been totally wrong!  Only Von Zell and Von Glower were
werewolves.  The rest of the club members were just regular guys.

The letter went on:  Gabriel's blood was already supernatural because he
was a Ritter, so Von Glower thought he'd take to the change famously.
Von Glower hadn't intended for it to happen so soon or in this way, but
fate intervened.  Von Glower had used Gabriel to get rid of Von Zell, but
now he wanted Gabriel to join him as a werewolf and give up the life of
a Schattenjager. (520)  I thought back to Ms. Smith's tarot reading.  She'd
been right.

I moved on to try the Rathaus, but it was closed.  Near the CHURCH, I LOOKED
at the LILIES.  They had died.  I EXPLORED all the usual places inside
the CHURCH, but couldn't find anything new.

At Schloss Ritter, Gerde asked if Gabriel would be ok, and offered to help.
But I didn't have anything to ASK her for help with right now.

Upstairs, in Gabriel's Bedroom, I noticed something on the BED.  I LOOKED
at it, and Grace TOOK it. (521)  When I EXAMINED it, I found I was holding
a PILLOWCASE.

I decided to go back to the DUNGEON and see whether the PIGEON would take
my bait.  When I walked in, I was overcome with guilt, and tried to GIVE
VON GLOWER'S LETTER to GABRIEL.  But Grace refused, at least for now.
Probably a good idea.

Here, I USED the DINNER ROLL with the PIGEON and it came through the WINDOW.
(523)  When I LOOKED at the PIGEON again, Grace said maybe she could get it
if she had something to put it in.  I tried USING the PILLOWCASE with the
PIGEON, and captured myself a bird. (528)  Now I had a PIGEON IN PILLOWCASE.

I LOOKED around Schloss Ritter a bit more, but the PASSAGEWAY was closed off
to me, and there wasn't much to do in the LIBRARY except gaze at Gabriel's
MANUSCRIPT and wonder if he'd ever write again.  So I hopped in the CAR.

I knew I had important business at NEUSCHWANSTEIN -- I had to try to track
down those scrolls we'd seen Ludwig hide in Gabriel's dream.  I could also
go to ALTOTTING.  I suspected I'd find a scroll here, too, with Ludwig's
heart.  The intrigue of going someplace new finally overcame me, and I
headed for ALTOTTING.

CHAPTER 6:  At Altotting

I saw a CHURCH here and took a closer LOOK around it.  I could hear a Mass
going on inside.  When I LOOKED at the exterior, I saw a lot of PICTURES
that all said "Mary helped."  I also LOOKED at some WOODEN CROSSES that
Grace thought might be a way to petition the Lady of Altotting.  When I
LOOKED at them again, Grace told me she thought she'd rather do her
petitioning inside.  Inside a CASE, I LOOKED at some silver renderings of
body parts. (529)  I READ a PANEL on the CASE, which said that these were
penitent offerings.  Each was shaped like the part of the body the petitioner
wanted healed.  They were offered to the Lady of Altotting as a token of
faith.

To the right, I saw the DOOR to the CHAPEL, but when I tried to go inside,
Grace said she thought she should wait until the service was over.  She
was now standing in front of another DOORWAY.  To the left were more PICTURES
that also said "Mary helped."

I went through the DOORWAY and found myself in a Priest's Office.  I tried
to TALK to the PRIEST here, but he appeared to be mute.  Grace tried to
tell him she wanted to see Ludwig's heart urn, but he didn't seem to be
understanding what she said and gave her a card that offered to take her to
the shrine if she wanted to make an offering.  On the TABLE here, I saw some
bottles in a small BASKET, alongside some coins and more cards like the one
the PRIEST had given me.  I LOOKED more closely at the BASKET.  It contained
some bottles of "Mary's Water" which it appeared I could take one of if I
made a donation.  So I USED GRACE'S WALLET with the BASKET.  She gave her
donation and took a BOTTLE OF WATER FROM MARY'S SPRING. (531)

I then tried to go through the DOOR at the far side of the Priest's Office,
but again, Grace said she'd better wait until the service was over.  Before
I left, I tried SHOWING the PRIEST'S CARD to the PRIEST, and he gestured
that he would take me to the shrine when the service was over.

I didn't know how long this was going to take, and it didn't seem likely that
I could just wait here and do nothing until the service ended.  So I decided
I'd try to see whether I could make any headway in Neuschwanstein in the
meantime.

CHAPTER 6:  In Neuschwanstein

I headed for the Bedroom, where I knew a scroll had been hidden.  There was
a guard standing right where I wanted to look, so I decided to try the other
hiding places first and come back to this one.

I went through the Living Room and toward the exit through the Grotto.  As
I got to the far end of the Living Room by the SWAN STATUTE, Grace paused
automatically to watch some other visitors, a mom and a little kid.  As the
mom was taking in the sights in the Living Room, the little kid climbed up
on that chair that Grace had wondered why people didn't sit in while the
guard wasn't looking.  The mom picked him up and hurried him out of the
room just as the guard walked in.

This seemed like a pretty big kick in the pants, so I went back to the other
part of the Living Room and LOOKED at the CHAIR.  Grace gave a "hmm" in
addition to her usual remarks about it.  When I LOOKED at the CHAIR again,
Grace said she didn't want to sit in it, but maybe she could convince the
guard that someone else had.  However, since the guard was now standing
right there, I had to wait for her to leave.

When she did, I looked in my inventory.  It seemed like a bit of a long shot,
but maybe if I USED the BOTTLE OF WATER FROM MARY'S SPRING with the CHAIR,
the guard would think the little kid had peed on it.   So I tried it.
Grace poured the water on the chair, then told the guard all about it. (536)
When the guard ran off to alert someone about the mess, I hurried back to
the Bedroom, and LOOKED at the PANEL where I knew the scroll was.  When I got
a close up view of the PANEL, I PUSHED the PANEL and TOOK the
ACT OF OPERA. (541)

Then I headed to the Grotto.  Luckily, there were no guards here, so I
SEARCHED for a hidden PANEL on the far wall.  Grace found it and TOOK
another ACT OF OPERA.  (546)

From there, I went on into the Singer's Hall.  At its far end, I could now
LOOK at an ADJOINING HALLWAY.  Grace thought it might be useful.  Since
there was a guard here, I figured I'd have to get him out into the ADJOINING
HALLWAY somehow before I could look for the third scroll.

When I looked in my inventory, I figured that the only possibly useful item
here was the PIGEON IN PILLOWCASE -- it seemed plausible that the guard
might believe that the pigeon had been blown in through the LOOK OUT at the
end of the Singer's Hall.  I USED the PIGEON IN PILLOWCASE with the ADJOINING
HALLWAY.  Grace took the pigeon into the hallway and let it go.  The guard
noticed fairly quickly and left the room to chase the pigeon. (551)  Now I
could look along the baseboards under the paintings for a hotspot.  I found
one on the opposite end of the room, where the large WOLF PAINTING was, on
the right wall.  Grace OPENED it and TOOK another ACT OF OPERA. (556)  Right
after that, the guard caught the pigeon and set it free through the LOOK OUT
at the end of the room.

Now that all my business was done here, I left Neuschwanstein and went back
to Altotting.  But the service still wasn't over, so the priest wouldn't
take me to the shrine.  I figured I must have more to do at Rittersberg
first, and returned there to find out what it might be.

NOTE:  A number of people have reported a bug in the game in the Priest's
Office at Altotting.  I experienced it myself.  If you try to LOOK at the
BASKET with the holy water in it again here, you may experience a lock up
in the game that will require you to reboot.  So don't try it unless you've
saved your game first.

CHAPTER 6:  Back at Rittersberg

I checked in with Gerde, but I still didn't have anything to ASK her.  I
wandered around Schloss Ritter for a bit, then went into town.

I thought maybe I needed an offering for the Madonna at Altotting, and I
found out that I was right about this when I LOOKED at the SILVER HEART on
WOLFGANG'S COFFIN again; Grace said it reminded her of the silver penitent
gifts at Altotting. (557)  But I couldn't TAKE it.

While in town, I went back to the Dungeon to check in on Gabriel, but Grace
didn't want to disturb him.  The Post Office was closed.  But good 'ol
Ms. Smith was at the Gasthof, and as usual, was willing to chat.  I
ASKED about VON GLOWER'S LETTER.  Grace showed it to her.  Ms. Smith said
that Gabriel had to make his own choice, even though she understood Grace's
reluctance to show the letter to him. (558)  I tried to SHOW VON GLOWER'S
LETTER to GABRIEL again after this, but apparently, Ms. Smith's suggestion
hadn't been persuasive enough to get Grace to do it.  So I left the Dungeon
and went back to Schloss Ritter.

I thought maybe I'd have to ask Gerde where she got the SILVER HEART so
I could have something made at the same place to offer at Altotting.  I
ASKED GERDE about the SILVER HEART, and much to my surprise, Grace asked
if she could have it!  (At least she offered to pay to have it replaced.)
Gerde gave Grace permission to take it, to help Gabriel.  (559)  I went
back to the CHURCH in the Rittersberg Town Square and TOOK the SILVER
HEART. (560)  Then I went back to Altotting.

CHAPTER 6:  Return to Altotting

I went into the Priest's Office and HANDED the PRIEST'S CARD to the PRIEST.
Now he would take me into the Chapel. (563)

Inside, I LOOKED at the LADY OF ALTOTTING on the wall, and at the RAILINGS
around the shrine, where Grace kneeled to pray.  When she did, I noticed
a BASKET to the right.  When Grace finished praying, I LOOKED at the BASKET,
and she said she thought it was for penitent offerings.  I also LOOKED
at the PRIEST, who was praying for me.

On the right, I LOOKED at a CHAIR.  Grace said she thought she could use
it to reach the URNS above, if she could get away with such a bold act.
Above the CHAIR, I LOOKED at the URNS.  When I LOOKED at them again, Grace
said she thought she knew which one was Ludwig's (probably from the picture
of it in the Ludwig museum) but wondered how she would be able to get it down.

Well, maybe if I OFFERED the SILVER HEART something good would happen.  So
I PLACED it in the BASKET, and Grace made her silent plea for Gabriel and
Ludwig.  With that, a gust of wind blew out a candle in the room.  (566)
The Lady seemed to have heard Grace's prayer, and to be suggesting that I
should find a way to put out the lights so that I could get to the URN
without being seen.

I wasn't sure how to do this, though.  I wandered into the room to the left.
As I did, I noticed that my screen moved strangely and that there appeared
to be something to the right of the shrine screen.  I wasn't sure whether
this was just a software glitch or a real clue, but I went ahead and LOOKED
around in the room I found myself in.  I saw a lot of PENITENT OFFERINGS on
the wall and some WORSHIPPERS who Grace didn't want to disturb.  The only
other things I seemed to be able to do here were to exit to the outside,
or into the Priest's Office.  So I went back to the SHRINE and PRAYED again.

After that, I did some more LOOKING around, and found that there was in fact
an EXIT to the right of the screen.  When I USED it, Grace walked over to
another DOOR.  I OPENED the DOOR, and the wind rushed in and blew out all of
the candles in the SHRINE.  (569)  In the darkness, I USED the CHAIR (571)
and LOOKED at the URNS.  Grace found Ludwig's and grabbed the ACT OF OPERA
out of it.  She kneeled to thank the Lady just as the candles were lighted
again, then thanked the Priest and departed. (576)

Once you get all four ACTS OF OPERA, you're taken to a cut-scene.  Grace is
in Bayreuth, showing the Lost Opera to Georg.  And the next thing I know,
it's two months later.  The opera is almost ready to open and two guests of
honor, Baron Friederich Von Glower and Kommisar Leber, are invited to attend
the opening night performance.  Then Grace is standing in the Wittelsbacher
Opera House, and you take control again.

CHAPTER 6:  Before the Opera

I LOOKED around.  Grace didn't want to go out the DOORWAY, but when I LOOKED
at the TABLE here, she picked up a PROGRAMME for the opera. (577)  I
EXAMINED it and READ the story of the opera.  The story is long, and rather
detailed, but it's interesting to read and I encourage you to do so.  You'll
find, for example, that the WOLF PANELS in the Singer's Hall at Neuschwanstein
do in fact tell the story of this opera.  In the third act, Engelhart
turns into a wolf and begins to howl.  I figured this was how Ludwig and
Wagner had planned to bring about the change in Paul Gowden so that he would
be exposed as a werewolf publicly, and it seemed that this was what Grace
had in mind for Von Glower, also.

I then LOOKED at a PLACARD that informed me that my friend Georg and his
famous brother were co-conducting the opera.

I moved to the right and found myself at a screen with a number of different
exits.  I decided to work my way through all of them from right to left.
I EXITED through the right most exit and came to a Side Hallway.  The first
two DOORWAYS here took me into some boxes along the sides of the opera house,
but I couldn't get down to the orchestra section from there.  When I went
through the last DOORWAY, I could watch a scene in which Georg's brother
was discussing a matter of differing artistic opinion with the prima donna
who played Engelhart.  When that was over, Georg's brother left, but Georg
stayed to continue going over the score before the performance.  However,
I couldn't TALK to GEORG from here, so I went back into the Side Hallway
and through the CLOSED DOOR at its end.

I came to the Theater's Office.  Here, I LOOKED at the TABLE and TOOK
some OPERA GLASSES (578) and GRACE'S "TO DO" LIST. (579)  I EXAMINED both
of them.  GRACE'S "TO DO" LIST showed that she had to: (1) test the
chandeliers, (2) get Gabriel safely to Rittersberg before the performance,
(3) warn Georg about a possible disruption during the performance, (4) figure
out where to seat Von Glower and Leber, (5) inform the usher of where
they'd be sitting, (6) set up a spotlight on Von Glower, which she'd run
herself, (7) find a way to trap Von Glower in his seat, and (8) meet with
Leber to make sure he was armed.  Obviously, this was my map to the rest
of this part of the chapter.

NOTE:  GRACE'S "TO DO" LIST bothered me for some reason, and I finally
figured out why.  Her plan seemed to be that Gabriel wouldn't be present
the night that Von Glower was publicly exposed as a werewolf, and she'd
be relying on Leber to kill or capture him.  But according to the book
on Lycanthropes, which Grace had read, Gabriel (as the Beta werewolf) had
to cause Von Glower's death or the curse would never be broken.  (The
Alpha has to be killed by some action of the Beta, according to the book.)
What was Gabriel's action here?  Anything I could think of, especially if
he was back in Rittersberg, seemed awfully remote.  Maybe he'd paid for
the chandeliers and that was enough, but if so, the passiveness of that
action certainly seemed to contradict the spirit of the requirements
set forth in the Lycanthrope book.  And if it wasn't enough, even if
Grace's plan went off without a hitch, Von Glower could well end up dead
at the hands of Leber in which case the curse would never be broken.  What
WAS she thinking?

I LOOKED at GRACE'S GOWN, but she wasn't ready to get dressed yet.  On the
BULLETIN BOARD, I LOOKED at a lot of old playbills and schedules, and at
a THEATER SEATING CHART that GRACE TOOK and shoved into her seemingly
bottomless trousers. (580) I EXAMINED the THEATER SEATING CHART.  In the
center was a spot called "Mittel Loge" which appeared to be the best
seats in the house.  (581)

Gabriel was lying on a sofa here, so I TALKED to him.  He felt pretty crummy.
He asked whether it was time for the chandelier test, and Grace assured him
she'd check on it.  He also said he felt cold and asked her if she could
get some heat into the room.  She promised to check on that as well.  (582)

After this, I seemed to be finished here for now, so I went back to the
Foyer and into the next doorway to the right, which led to the orchestra
section.

Here, I LOOKED at the STAGE, but Grace expressed stage fright.  I also
TALKED to GEORG and warned him to keep playing on even if a disruption
occurred during the performance. (583)  Good!  One thing on Grace's list
down.

To the left, I saw some CHANDELIER GUYS who I TALKED to.  I learned that
there was a botch in the plan.  They'd changed the plans for the placement
of the chandeliers from what had been specified in the original diagram.
It turned out that the theater had been damaged during the war and had
been reconstructed using as much as could be salvaged from the old one, but
that the rebuilt theater was smaller than the original.  The chandelier
guys had followed the diagram with regard to the distance between the
chandeliers, but not from the chandeliers to the walls (because they
couldn't).  (584)  Grace wasn't too happy about this, but what could she do
except hope that it would still work?  I had been wondering about the role of
the chandeliers all along, and now I was pretty sure that they were meant to
somehow affect the frequency or amplitude of some of the sound waves during
the opera, perhaps to encourage a tone that would cause Von Glower to change.
I couldn't say anything more to the CHANDELIER GUYS, so I went back to
the Foyer and through the EXIT immediately to the left of the one I'd just
been through.

All three DOORWAYS in this Side Hallway led into boxes, but I couldn't
do anything in any of them, so I went through the CLOSED DOOR at the end.
This took me backstage.  I LOOKED at some ROPE here, and then at a smaller
piece of ROPE off to the side that Grace TOOK. (585)  I couldn't TALK
to the STAGEHANDS back here, or go onto the STAGE or into the DRESSING ROOMS,
so I took the right-hand EXIT down some STAIRS to the BASEMENT.

NOTE:  Although I didn't use one in my game, I made a map of the basement
which I've included in this archive as GK2BSMNT.GIF.  It shows all of
the places or things I'll discuss in the following section (except for the
DRAINS and the DOORS, which are the same from room to room).  I have also
included another map of this same area as GK2CHASE.GIF, which relates to
events later in this chapter.

I didn't find anything to LOOK at in the first room except a DRAIN (I LOOKED
at the DRAINS in all the rooms so I won't repeat that here, but I never found
anything to do with them), but in the room downscreen from this one, I found
a DOOR to the left.  I OPENED the door and went into a Prop Room.  Grace
thought it might be a good place to sequester Gabriel during the performance
if she couldn't get him back to Rittersberg in time -- if she could only lock
it.

In the Prop Room, I LOOKED at some old SET PIECES and a lot of THEATER JUNK,
then moved to the left.  Here I found a "PRIVAT" BANNER among some more
old SET PIECES and THEATER JUNK.  Grace TOOK it. (586)

I left the Prop Room and continued downscreen into the next room where I
LOOKED at a VENT that Grace thought led outside.  To the right I came to
another room where I couldn't find anything of interest, and the same with
the room upscreen from there.  But in the next room upscreen, I found that
I could LOOK at a PANEL BOX on the wall.  I OPENED it and found a set of
THEATER KEYS inside.  Grace TOOK them.  (587)

I wondered if I could USE the THEATER KEYS on the door to the Prop Room,
since Grace said she'd need to lock it.  Sure enough, I could. (590)

Next, I moved through all of the rooms in the Basement until I was sure I'd
seen them all.  In a room on the far right side, I finally noticed that I
had a hotspot on one of the open doors that allowed me to pass from room to
room.  When I LOOKED at it, I found a LATCH that held the doors open.  I
LOOKED at the DOOR here, too, but Grace said if she started closing the
DOORS she'd never find her way out.  Hmm.

I figured that all of these DOORS had similar LATCHES, but just to be sure
I spot checked a few of them and found that they did.

In the room downscreen from where I'd discovered the LATCHES, I found an
EXIT that led to the Foyer.  It turned out that if I took the far left
DOORWAY in the Foyer, I'd end up in this room.  Good.  I wouldn't have
to go back and check that out now.

Downscreen of this room, I found a FURNACE.  I wondered what I might be
able to do with it, recalling Gabriel's comment that he was cold and that
I should get some heat going.  I OPENED the door to the FURNACE (591), then
noticed some COAL in a BIN to the right.  I SHOVELED some COAL into the
FURNACE (592), then Grace shut its door.  Below the FURNACE door, I
discovered some CONTROLS.  I messed around with them a bit, and ended up
PUSHING the BUTTON to the right, then TURNING the LEVER to its left to
the right most position. (596)  The FURNACE appeared to be running now,
and I hoped Gabriel was warmer.

I went back through the EXIT into the Foyer and into the Theater Office to
TALK to GABRIEL.  He asked about the chandelier test again, but didn't
have anything else to say.  I couldn't TALK to him again, nor could I SHOW
him VON GLOWER'S LETTER. (I got some text here instead of hearing Grace
speak.  Strange.)

I decided it was time to take the stairs up from the Foyer and see what I
could accomplish on the upper level of the theater.  Again, I started at the
far right EXIT on the screen.

I came to another Side Hallway, and again, the three DOORWAYS led to boxes
that I couldn't do anything in.  Through the CLOSED DOOR at the end of this
hallway, I came to a Spotlight Room.  I LOOKED at the SPOTLIGHT, but I
couldn't TURN it ON or MOVE it because Grace hadn't decided where to seat
Von Glower and Leber yet.

As I was looking in my inventory for the THEATER SEATING CHART, I noticed
that I had apparently been carrying around a CHANDELIER DIAGRAM for awhile
now.  That's what I get for not checking Grace's inventory right away; but
it never occurred to me to do that in the middle of a chapter.  I EXAMINED
the CHANDELIER DIAGRAM.  It was Wagner's diagram, and had a large X in the
center that appeared to have something to do with the seating arrangement.
(597)  When I EXAMINED the THEATER SEATING CHART again, I found that the X
corresponded to the Mittel Loge.  Grace said she'd better check that location
out.

I had a good feeling that the DOUBLE DOORS I'd passed on my way down this
Side Hallway led to the Mittel Loge.  When I OPENED them, Grace went in
and scoped out the room, then marked the THEATER SEATING CHART with Von
Glower's and Leber's names over the Mittel Loge area. (600)  Now, Grace
said, she just needed to find a way to block the doors here.  But at least
I could scratch something else off of her list.

I went out through the DOUBLE DOORS, then turned around and LOOKED at them
again.  Grace said the handles on the door looked sturdy.  I LOOKED at the
LOCK on the door, and she remarked that it looked like it hadn't been used
in a long time.  So I figured that wasn't the answer.

I contemplated my inventory.  Maybe the "PRIVAT" BANNER would work?  But
no, when I tried USING it, Grace said it wasn't strong enough to block
the DOUBLE DOORS.  So I tried USING the ROPE.  Grace now said that this might
work, but she'd have to wait until Von Glower was in the Mittel Loge to find
out.  Seemed as though I'd completed another list item, though.

Now that I knew where to seat these guys, I figured I could accomplish another
list item, namely, to set the SPOTLIGHT.  I went back to the Spotlight Room
and TURNED ON the SPOTLIGHT.  I'd seen a WINDOW to the right and LOOKED
through it.  I LOOKED at the Mittel Loge from here and Grace said that was
the "hot seat."  I tried to USE the OPERA GLASSES to get a closer view,
but Grace remarked that there wasn't much to look at yet.  So I tried MOVING
the SPOTLIGHT, using its BAR.  Now I could set the LIGHT BEAM on the Mittel
Loge. (605)  Grace then clicked the SPOTLIGHT off.  Another list item down.

I still hadn't been down the Side Hallway to the left of the Mittel Loge's
DOUBLE DOORS, so I EXPLORED it.  There was no CLOSED DOOR at the end here,
and all of the DOORWAYS just took me into boxes, so I left the hallway.
The DOOR to the left on the landing led to the restrooms, but Grace didn't
have to go.

Finding nothing else to do here at the moment, I went back downstairs.
Someone was standing down here now, and when I LOOKED at him, Grace recognized
him as Paul, the head usher.  I GAVE the THEATER SEATING CHART to PAUL, and
Grace told him where to seat Leber and Von Glower. (608)  Another list
item down.

When I tried to go back into the orchestra seats to talk to the CHANDELIER
GUYS and see about that test, Paul ran up to me and told me that the doors
would open in five minutes.  Yikes!  I ran into the orchestra section to
yell at the CHANDELIER GUYS, but I couldn't talk to them!

I went back to the Theater Office to see whether Gabriel had any ideas to
offer.  Here I learned that it was time to move Gabriel, and that we
wouldn't be able to test the chandeliers after all!  Grace took Gabriel down
into the Prop Room and locked him in, telling him to plug his ears and
he should be ok (I remembered that Von Glower did this in the Woods outside
the Hunting Lodge -- I supposed it was to prevent turning into a wolf at the
sound of a howl or something similar).  Then she told him about the little
problem with the theater being rebuilt and being smaller than the original,
and the chandeliers having to be adjusted to compensate for the difference.
Boy, was he happy about that.  Clearly, he was showing symptoms of being
a werewolf now.  Luckily, Grace didn't let him out even though he was
yelling and screaming at her. (609)

CHAPTER 6:  Overture

When Grace comes upstairs, the operagoers are filing in -- then the music
starts.  I figured I'd better get dressed.  I'd look less conspicuous
when I went to try locking in Von Glower and Leber if I wasn't in street
clothes.  (When I tried to go elsewhere, Grace confirmed my suspicions.)
I went to the Theater Office and PUT ON GRACE'S GOWN.  Just as Grace
finished dressing, Kommisar Leber showed up.  She had a short conversation
with him, and confirmed that he was armed.  He wondered what trouble she was
expecting, but she assured him nothing would probably happen. (610) (Yeah,
the chandeliers might not work.  Geesh.)

I hurried back to the DOUBLE DOORS that led to the Mittel Loge to USE the
ROPE, but Grace wasn't sure Von Glower was in there.  Hmm.  Maybe I could
tell whether he was if I LOOKED through that WINDOW in the Spotlight Room.

I went back to the Spotlight Room and LOOKED through the WINDOW, but when
I tried to LOOK at the Mittel Loge area, Grace said it was too far away
to see.  So I USED the OPERA GLASSES with the Mittel Loge.  Now Grace
could see Von Glower sitting there, with Detta. (612)  Ok.  Now I could
go lock him in.

CHAPTER 6:  Act One

This time, when I went back to the DOUBLE DOORS and USED the ROPE, Grace
tied the handles together with it, but remarked that that didn't look too
subtle. (614)  So I USED the "PRIVAT" BANNER with the ROPE, and she hid
the rope behind it.  (618)  Now we just had to see whether Wagner's plan
would work.

CHAPTER 6:  Act Two

Gabriel's pacing around in the Prop Room like a wild... wolf or something.
Obviously, he wants out.  So when I took over the action as Gabriel here,
I tried to find a way for him, even though it was against my better judgment
to do so.

I LOOKED around and saw a lot of useless junk.  Gabriel couldn't OPEN the
DOOR, or PICK the LOCK with the RITTER DAGGER.  So I moved to the left.

I LOOKED at a TRUNK here and Gabriel moved it to reveal a VENT. (619)  I
tried to OPEN the VENT, but Gabriel couldn't budge it with his bare hands.
This time, when I tried USING the RITTER DAGGER with the VENT, Gabriel
removed the cover. (621)  I went through the OPENING and Gabriel crawled
to another cover, that he also opened.  This one led outside.  He crawled
back in, and to a third cover, that he popped open.  He emerged in the
Basement in the room where Grace had seen the VENT before. (622)  I tried
to get Gabriel to put the cover back on the VENT (ok, I'm anal about
such things) but he couldn't do it.

I wandered around in the basement for a bit.  Gabriel couldn't go up the
stairway to the Foyer, or do anything in the Furnace Room.  I LOOKED at
the LATCHES on the DOORS, but Gabriel couldn't think of any reason to shut
the DOORS.  I also LOOKED at the PANEL BOX (now empty) and the PROP ROOM DOOR
(locked).  Finding nothing else to do here, I went upstairs to the Backstage
area.

Here, my options were somewhat limited.  I couldn't go out into the Main
Hall, and Gabriel said he wasn't ready for his big debut when I tried to go
onto the STAGE.  So I figured I'd have to go into the Dressing Rooms and
steal a costume.  Before I did, I LOOKED at the ROPE here, but unfortunately,
I didn't see something else in this screen that could have saved me a lot
of frustration later.

NOTE:  Save your game before going into the Dressing Room if you're planning
to try some things on your own there, because unpleasant things can happen
to you.  You can TRY AGAIN, but if you get tired of trying you'll want to
have an up-to-date save that you can go back to later.

CHAPTER 6:  In the Dressing Room (Morgie Loses It, Part 1)

I marched right into the Dressing Room and LOOKED at the COSTUMES here.
Gabriel TOOK ENGELHART'S COSTUME. (623)  I decided to put it on, so I USED
it with GABRIEL and he went behind the DRESSING SCREEN.  When he came out
he looked like quite a joker. (625)  Then I sat down at the VANITY to
put on some makeup.  I TOOK the POWDER, but just as Gabriel started to use
it, Act 2 of the Opera ended. (626)  I tried to USE the POWDER from inventory,
but couldn't.

As I soon learned, if I just stood there in the dressing room after the
music stopped, the actor who _really_ played Engelhart would walk in and see
me -- and presumably, Gabriel would eat him and go off to live as a werewolf.
Game over.

The next time I tried this, I decided to HIDE behind the DRESSING SCREEN
after I'd TAKEN the POWDER and hope that the actor would leave so that I
could sneak out afterwards. (629)  But this didn't work either, because after
he put on his own makeup, he came looking for his costume.  When he couldn't
find it on the rack, he looked behind the DRESSING SCREEN and I was forced
to eat him to shut him up.

Obviously, I was getting part of this right because I got points for dressing,
trying to put on makeup, and hiding.  What was I missing?  The next time,
before I put on the costume, I noticed that I could LOOK at the MIRROR on
the VANITY.  I tried TAKING the POWDER first this time, but Gabriel said
he needed to get dressed first.  So I did, then sat back down and tried to
TAKE the POWDER again.

By now, I'd noticed that I had two short breaks in this scene where I could
do something, and the rest was automatic.  The first was right after the
actor came in, and the second was after he put on his makeup until he
found me.  So I thought I'd try messing up his MIRROR to buy some time.
Maybe then the game would let me sneak past him, or he'd get frustrated
with trying to clean it and leave.  The next time the music stopped, I USED
the POWDER with the MIRROR, then HID. (634)  When the actor came in, he had
to try to clear off the mirror, as expected.  But I couldn't leave the room,
nor could I use any of my items with the actor.  Eventually, he just found
me again and of course, I had to eat him.

It was now clear to me that I was missing something, but I had no idea
what it was.  When I started over, I scoured the dressing room and could
find nothing that I'd missed there.  I just couldn't believe that I hadn't
found something outside because I figured that the game wouldn't let me
progress to this scene if I didn't have all I needed to play through it.
I thought it had to be a timing problem.  I played through this scene
again and again until I started to whine.  Nothing was working.

I logged on to GAMERS.  herc, as I found out, was in Chapter 4, and he
was stuck.  He described to me all that he'd done, and I knew right away
that he'd skipped the cut-scene of Gerde telling him about the fax.  But he
didn't want a hint yet, so I didn't give him one (he'd gotten all this way
without a single hint ).  I told him that I was in Chapter
6 and thought I was near the end of the game judging by my points, but I
had run into some trouble here.  But there was no way in the world I could
figure out how to explain this puzzle to him without giving away too much.
So I did it.  I looked on the board again for a hint.

In one of the Chapter 6 threads, I found mention of some tape -- but nothing
more specific than that.  At first I thought this meant one of the tapes in
Gabriel's tape recorder, but when I went back to the game, I realized
that he no longer had the tape recorder.  Besides, it didn't seem like
braining the actor over the bean with a cassette would do me much good.  So
I started at my save before the Dressing Room and went searching in the
areas available to me for something that looked like tape.

When I looked at the ROPE on the pulley backstage again, I noticed a hotspot
I hadn't seen before because it was so dark to me that I just hadn't noticed
it.  When I LOOKED at it, sure enough, there was a roll of TAPE here.
After kicking myself brutally, I LOOKED at it again and Gabriel TOOK it
(623).  I figured I had a good idea of what to do now.  I'd sneak up on the
actor as he was at the mirror and bind him up with the TAPE.

I went back into the Dressing Room and through all the steps I'd already
discovered: taking the costume, dressing, trying to use the makeup, putting
powder on the mirror, and hiding.  At the end of all of this, I had 635
points.

When the actor came in and sat down, I USED the TAPE on the ACTOR as soon
as I controlled the action again. (640)  Success!

CHAPTER 6:  Act Three

NOTE:  I found the music in this scene wonderful to listen to.  In fact,
I wouldn't mind having the sound track to this game, if it was available for
purchase.

The Opera is progressing nicely.  We're up to the scene at the wedding feast,
as described in the PROGRAMME.  Grace is keeping tabs on Von Glower from the
Spotlight Room.  Back on stage, the Baron character comes over to bring
his bride back to the feast, and the minstrels arrive -- including a rather
lost-looking Gabriel as Engelhart.  Luckily, his ad libbing is enough in
character that no one in the audience can tell he has no clue what he's doing.
They think it's a part of the show and get a good laugh out of it.  All
except Grace, that is, who, through her opera glasses, comes to realize
who that minstrel is.

As the minstrels begin to dance around Gabriel-as-Engelhart, Von Glower
starts to twitch.  Grace throws the switch on the SPOTLIGHT to illuminate
Von Glower, who tries to leave -- but he's trapped in the Mittel Loge.
The crystals and the music do their job, after all -- when the minstrels
part from around Gabriel, there's a real wolf on stage.  Von Glower jumps
from the balcony and just makes it through the Foyer door to the Basement
before the change overcomes him.

CHAPTER 6:  The Chase, Part 1 (Morgie Loses It, Part 2)

I knew I was a wolf, because the palette had turned into that strange
wolf-vision thing I'd seen at the end of Chapter 3.  I ran around a bit
feeling like I was taking some footage for later playback on David Letterman.
I found that I could shut doors by biting the LATCHES I'd found earlier,
and that I could use the SMELL button to get a map of the basement.

Laugh all you want.  But the first time I hit the SMELL button, and a few
times thereafter, I thought I was the red square on the screen.  What I
couldn't figure out was why I was moving without doing anything.  Arggggh!
After I'd just watched the map for awhile and saw the red square move
close to the room with the vent in it, then went out of the map and
died, I figured that the red square was Von Glower and I was the blue
triangle.  Sometimes you have to count such things as small victories. 

After I figured out who I was, I started trying to chase Von Glower around,
but he always seemed to move out through the vent and then I'd die somehow.
(I guess the curse was never lifted.  Who knows?)  So I started trying to
close off the doors around the vent, but then he'd just run out through
the theater and I'd die again.

After I got this far, I started to feel whiney.  It happens at 4:00 a.m.
I should have just gone to bed, but I got impatient.  I wanted to get through
this and to the end of the game.  These sorts of sequences aren't my
favorites in adventure games anyway, she said, rationalizing.

I knew I couldn't count on herc having caught up to me  so I went
into GAMERS and found a very nicely done solution to this portion of the
game on the message board.  I printed it out, but I didn't look at it just
yet.  I figured I'd go to sleep after all, and if, when I went back to the
game the next day, I was still having fits, I'd cave and follow what it said.

CHAPTER 6:  The Chase, Part 2

When I logged on to GAMERS the next day, I learned that herc had made it
through the end of Chapter 5 without any trouble (after he'd caved himself
and asked me what he was missing in Chapter 4 ) and was trying
to adjust the SPOTLIGHT in Chapter 6.  Egad -- he was catching up!  I
panicked for no reason whatsoever.  (This wasn't a contest, but I was
amazed that I'd started out 2.5 chapters ahead.  Pride took over.)

I played with the chase sequence a few more times on my own, then followed
the solution I'd found on the board.  I've illustrated the steps in
GK2CHASE.GIF, included with this archive.

NOTE:  I've replayed this sequence using this solution several times, and it
has worked every time.  So as best I can tell, it is repeatable.

I'd been on the right track by trying to close off the left hand side first,
but what I hadn't foreseen spatially was how I'd need to end up -- with a
clear shot at Von Glower so that I could follow behind him screen to screen
and herd him into the Furnace Room, leaving him no other outs except to go
into that room.  Once I had the solution down, I tried boxing him into
another room and confronting him, just for kicks.  We fought, and he killed
me.

I noticed that after I'd shut off the first room at the lower left-hand
corner, I had 645 points.  When I got him into the furnace room, I had
655.

CHAPTER 6:  Endgame

In the Furnace Room, it's just like old home week.  Grace and Leber rush in
and join Von Glower-as-wolf and Gabriel-as-wolf.  Grace shouts to Leber
to shoot the black one, but, poor guy, he's confused and doesn't do anything.

After some preliminary experimentation, I found that I had no inventory
here, nor could I save, and the only action I could take that wouldn't get
me killed was to click on Grace.  If I did that, Gabriel-as-wolf gestured
to her and she nodded as though she understood.  (656)  I found that after
I'd done this, I was now playing from Grace's perspective.  I figured that
Gabriel had been trying to tell her that we'd have to get Von Glower into
the FURNACE, so I OPENED the door to the FURNACE.  (658)

Soon thereafter, I discovered that this entire sequence was timed, and if
I waited too long to do anything, Leber would shoot me (thanks, guy).
When I hit TRY AGAIN, I tried to be quicker about it.

I found that if I tried to ATTACK VON GLOWER while I was Grace, she'd just
say she couldn't do it by herself.  If I LOOKED at LEBER, Grace would try
to take his gun, and I'd end up being killed in the scuffle.  The only
thing that seemed to get me anywhere was to go back to being a WOLF. (659)

However, being a WOLF wasn't that easy either, because if I LOOKED at LEBER,
VON GLOWER, or the FURNACE, I just ended up getting killed.  One of the many
times I got to this point, I was sitting there thinking about what else
to try when I noticed that VON GLOWER had started to leap at LEBER.  I then
had a hotspot on VON GLOWER.  But when I tried to PUSH VON GLOWER into the
FURNACE, I missed, and it was all over.

This seemed like the right track though, if I could only get the positioning
right.  After trying a few more times, I found that if I waited until VON
GLOWER had just started his jump, then PUSHED him, he ended up in the
FURNACE.  Grace shut the door behind him.

CHAPTER 6 ENDING MOVIE

Gabriel-as-wolf runs out of the room and Leber runs after him.  Grace
implores Leber not to shoot, but to let him go.  The two of them go back
into the Furnace Room and watch through the door of the furnace as Von
Glower burns.  His human face appears and stares at them through the flames.
(679)

We move to a scene of Gabriel and Grace talking.  Grace says she's going
back to school soon and Gabriel asks her not to.  She's still upset that
he didn't even want her on this case to begin with.  He says it won't happen
again.

Grace asks what Von Glower was really like.  Gabriel liked him.  Hadn't
Grace ever just wanted to follow her instincts and live for the moment?
That was how Von Glower was.  Grace reminds Gabriel of all the horrible
deaths Von Glower caused.  The bottom line was, Gabriel had not chosen
the life of a werewolf, although it wasn't without some appeal.  Because
when it came right down to it, he just didn't want to be like that.

Grace says that Gabriel's going to keep finding himself tested like this.
Gabriel says he thinks it will get easier though... won't it?

AFTERWARD

herc, as is his wont, finished shortly after I did, all on his own, with
a minimum of difficulty.  I've decided that herc must have been playing
adventures since Shep I.  We must be up to at least Shep VII by now.

But even though I'd needed a few hints to get through, I still felt a
true sense of satisfaction at the end of this game.  Despite the few
flaws I'd seen in the story, it held together wonderfully for the most
part -- quite a feat given the intricate detail with which it was woven.
I'd thought that GK1 had an intelligent and interesting plot, but GK2, if
anything, topped it.

The one thing that bothered me about the story was that Wagner came across
as a hero in the game, when from all I knew about him, he'd been a proponent
of the same theories that Hitler took to in arriving at the "final solution."
Hitler, from all I'd learned, was a great fan of Wagner's, and not just
because of his music.  For this very reason, most Jews will not play the
Wedding March from Lohengrin ("Here Comes the Bride") at their weddings.
This is not to detract in any way from Wagner's musical genius, which is
quite evident.  Although it is not my intention to become involved
in politics, ethics, and morality here, I add this simply as food for
thought.

I was quite impressed with the acting in the game.  Von Glower seemed
to me to be perfectly cast.  Huber, Ubergrau and Georg were all portrayed
wonderfully and believably.  Grace, my favorite character, was also
excellent, especially given the amount of onscreen time she had (although
I caught her in a few pronunciation and inflection glitches as she read
some of the materials toward the end of the game) -- she had a very expressive
face, which was a pleasure to watch.  I felt that Gabriel was the weakest
of the cast, unfortunately, but much of it had to do with how the character
was written (he had some rather goofy lines in places).  Even apart from his
lines, his goofiness made it harder to sustain the suspension of belief
necessary for me to become thoroughly engrossed in his performance.  I had a
hard time believing that someone who came off as such a goofball so many
times could have pieced together the central mystery of the game so well.
I didn't recall him being that way in GK1, and was a bit disappointed in how
he was portrayed in this game.  For the goofy aspect to have worked, I would
have needed to have it made clear that underneath that exterior there was a
frighteningly sharp mind.  That did not come through for me, however.

I also enjoyed the puzzles (except where noted above) and I thought that
the game was well-balanced generally.  But the painstaking detail with
which the story was crafted, and the intelligent plotline, is what I
am sure will stand out to me as I look back on this game down the road.
My warmest congratulations to Jane Jensen and the entire GK2 team.  This
game is a true work of art, and something to be very, very proud of.

If you're still playing, have fun and good luck!  If you've finished,
congratulations and well done!  In either case, I hope that my tome here
has been of some use to you, whether by way of solutions, ways of thinking
about the puzzles in this and/or other games, or just to raise a chuckle
or two.

Copyright (c) 1996 by Morgana.  All rights reserved.  No reproduction
permitted, in whole or in part, without prior written consent of the author.

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