He asks to open the grate, but a lever is needed. Get to the pick that is hidden behind the black slug. When you return, turn the lever and jump to the right. Go down the old man to the first floor of the house. Go downstairs and enter the box on the left. Make the monster jump down to you and crush it with the cart. There is a tunnel on the left that leads to a stone wall. There is a lever behind the door on the right. Use somersault to get under the black clot (CTRL). Take the scythe and chat with the character on the second floor. Go left, jump on a wooden pallet by the house and make your way inside through the underground passage. The path to the right is blocked by plants. The activation of the lamp posts acts as a save point. Put it on the table (just go to the chair for the hero to put the stool on it), climb onto the bookshelves and climb into the ventilation. Go to the right and pull the stool out of the cabinet. The hero will say that he will not reach. E key – take an object, SPACE – climb the object. Try to open the door, go to the table and pull out the chair so that you can climb on it. A man needs such a narrative, a continuous inner narrative, to maintain his identity, his self.Inmost game is a masterpiece in which you will see several stories at once: pain, love, death and life. ![]() We must ‘recollect’ ourselves, recollect the inner drama, the narrative, of ourselves. To be ourselves we must have ourselves - possess, if need be re-possess, our life stories. Biologically, physiologically, we are not so different from each other historically, as narratives - we are each of us unique. Each of us is a singular narrative, which is constructed, continually, unconsciously, by, through, and in us - through our perceptions, our feelings, our thoughts, our actions and, not least, our discourse, our spoken narrations. If we wish to know about a man, we ask ‘what is his story - his real, inmost story?’ - for each of us is a biography, a story. It might be said that each of us constructs and lives, a ‘narrative’, and that this narrative is us, our identities. “We have, each of us, a life-story, an inner narrative - whose continuity, whose sense is our lives. –Spalding Gray, Sex and Death to the Age 14 (1986) So I never wonder whether, if a tree falls in the forest, will anyone hear it. All culture, all civilization, is an artful web, a human puzzle, a colorful quilt patched together to lay over raw, indifferent nature. “We exist in a fabric of personal stories. –Barbara Hardy, quoted in The New Yorker, October 20, 2003 “We dream in narrative, daydream in narrative, remember, anticipate, hope, despair, believe, doubt, plan, revise, criticize, construct, gossip, learn, hate and love by narrative.” You may have the insight of a Buddha, but if you cannot tell story, you ideas turn as dry as chalk.” Master storytellers know how to squeeze life out of the least of things, while poor storytellers reduce the profound to the banal. ![]() ![]() “Given the choice between trivial material brilliantly told versus profound material badly told, an audience will always choose the trivial told brilliantly. –Tim O’Brien, The Things They Carried (1990) You start sometimes with an incident that truly happened, and you carry it forward by inventing incidents that did not in fact occur but that nonetheless help clarify and explain.” “By telling stories, you objectify your own experience. Willingham “The Privileged Status of Story” (2004) This expectation is so strong that the listener will use them when remembering the story, even if the story lacked these elements.” “In most cultures, stories entail causality and goals, and so that’s what listeners expect when they hear a story.
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