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You fire a bolt of psychic energy, killing her instantly as she collapses to the ground.
"Alright, let's bounce! This area's fucked!"
A group of gang members charge in, wielding autoguns and a few lasguns, blocking your exit.
"Kill them, get to the shuttle," you say.
> You overwhelm the enemy with bolts of psychic energy
You keep firing bolts of psychic energy, filling the air with psychic energy that wipes out scores of the enemy. Your Tribals and lieutenants push forward as many of the cooks are killed in the crossfire, but without Zero you don't have a head cook, so the plan's fucked anyway. The guards are untrained, badly armed and unarmored. Your men are infinitely better, so you easily manage to carve a path back towards the shuttle. It takes about an hour of slow fighting and you lose two Tribals to the gang members, but you soon find yourself at the shuttle. Your pilot is fending off gang members with the shuttle's autoguns, all whilst swearing.
"Shit! Fuck! Balls! S...! Oh, Karth! Holy fucking Grox shit, you're alive! I mean, sorry, Karth, glad to see you," Hawkins says. "Let's get the hell out of here!"
The shuttle lifts up from the planet, as bullets clang into the heavily armored cockpit.
"I was half-convinced you'd have left us," you say.
"No, sir," the pilot answers. "Let's get out of here."
> You get out of here
You sit in the shuttle with your other lieutenants, leaning against the wall.
"Uh, that went badly," Elizabeth complains.
"Screw it," you complain. "Fuck the drug industry. It's not working for us. Let's just get out of here, get back to work."
"Done," Fay says. "Let's head out.
| 4 |
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You blast a bolt of psychic energy forward, striking Skinrik in the chest and killing him instantly. Zero immediately draws the shotgun, raising it to your head.
> You knock the gun from her hands
You psychically knock the gun from her hands, grabbing her by the throat.
"You're coming with me. I'm planning on taking you and your cooks back to my vessel to cook drugs for me," you say.
"You realize if you try to force my men or I into shitty conditions or anything like that we'll just be able to poison the chems and have everyone of your customers after your head? We can end your entire career."
"I understand, I understand," you say. "I'm not trying to fuck you over."
"Fuck!" Zero says. "How do I know I can trust you?"
"Do I look so retarded you don't think I understand how easily you'd fuck me over.
"Fine," Zero says, biting her lip nervously before looking at her cooks. "Green Snakes, follow the psyker. What's the exit plan, then, psyker?"
A group of gang members charge in, wielding autoguns and a few lasguns, blocking your exit.
"Kill them, get to the shuttle," you say.
| 3 |
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You blast a bolt of psychic energy forward, striking Skinrik in the chest and killing him instantly. Zero immediately draws the shotgun, raising it to your head.
> You do nothing
You do nothing, as Zero presses the shotgun to your head.
"What the fuck do you think you're doing, strolling in here and killing Skinrik?"
"He was an idiot," you reply.
"What are you even planning?" she asks.
"I'm planning on taking you and your cooks back to my vessel to cook drugs for me," you say simply. "Surely that was obvious?"
"You realize if you try to force my men or I into shitty conditions or anything like that we'll just be able to poison the chems and have everyone of your customers after your head? We can end your entire career."
"I understand, I understand," you say. "I'm not trying to fuck you over."
"Fuck!" Zero says, before looking at her cooks. "Green Snakes, follow the psyker. What's the exit plan, then, psyker?"
A group of gang members charge in, wielding autoguns and a few lasguns, blocking your exit.
"Kill them, get to the shuttle," you say.
| 3 |
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It takes some explaining and effort to get the lieutenants to agree. While as soon as Elios hears about it he's on board and the other Staine Siblings agree, Fay and Olive don't seem to be fans of idea. Castus agrees whole heartedly, and Primus, Cain, Hayes and Meliodas are indifferent and just agree, placing the majority. You quickly find the most knowledgeable about drug manufacturing of your lieutenants, Primus, Elios and Elizabeth, and gather them in the war room.
"Why is Elizabeth here?" Elios asks. "She's never touched a chem in her life."
"Do you know about Methoxetamine, Elios? About it's use on the brain?" Elizabeth asks.
"Oh, you wanted a nerd," Elios says. "Understood, darling."
"Our crew's not good enough to manufacture chems for market," you say. "We need to f ind someone better. Primus, anything showing up in your archives?"
"Pirate chatter tells me that the best... "product" coming through is from either the Hiveworld of Outice-81 or the Xenos species Jatkiri. Both sell a good product, so we could easily hire them."
> You attempt to hire the Jatkiri
You stand in the war room of the Roar of the Vortex. Monitors in front of you show you a view of the nearby Jatkiri ships, dozens of oblong ships bristling with cannons.
"Jatkiri ships," you say over the comms. "I am Captain Karth of the Roar of the Vortex. I would like to talk to the admiral of this fleet."
"Activating translators," Primus says. "Tau-Jatkiri alliances has made thee translator technology highly advanced. Of course, be careful with your words."
There's a moment of silence, before the speakers blare again with Primus' voice."
"Bigs ships... lead to big warfare," the Jatkiri voices reply. "Can't be trusted."
"We don't want you to fight. We want you to join us."
"What do you do?" the Jatkiri replies.
"Uh... excuse me?" you say.
"What... profession does your fleet have?"
"It depends," you say. "Primarily, we do fight, but..."
"No deal. We don't fight. Already had to fight Tau-Jatkiri... then Void Claw Jatkiri... then Royal Jatkiri. Too much fighting. Now, we flow free. Tongue won't work anymore. End chatter."
> You accept this and give up on your drug manufacturing plans
Uh, you've done too much work today. Fuck it, leave the Xenos be. You're not in the mood to travel across the galaxy to some shitty hiveworld to be told no again.
| 3 |
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You stand in the war room of the Roar of the Vortex. Monitors in front of you show you a view of the nearby Jatkiri ships, dozens of oblong ships bristling with cannons.
"Jatkiri ships," you say over the comms. "I am Captain Karth of the Roar of the Vortex. I would like to talk to the admiral of this fleet."
"Activating translators," Primus says. "Tau-Jatkiri alliances has made thee translator technology highly advanced. Of course, be careful with your words."
There's a moment of silence, before the speakers blare again with Primus' voice."
"Bigs ships... lead to big warfare," the Jatkiri voices reply. "Can't be trusted."
"We don't want you to fight. We want you to join us."
"What do you do?" the Jatkiri replies.
"Uh... excuse me?" you say.
"What... profession does your fleet have?"
"It depends," you say. "Primarily, we do fight, but..."
"No deal. We don't fight. Already had to fight Tau-Jatkiri... then Void Claw Jatkiri... then Royal Jatkiri. Too much fighting. Now, we flow free. Tongue won't work anymore. End chatter."
> You accept this and attempt to hire the Outice-81 Chem Manufacturers
Fuck it, the Xenos won't work for you. Time to find some good, human workers on Outice-81.
| 3 |
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| 1 | false |
Feeling you have no other choice, you hit the man head on going at least 90 mph. Nothing but his hand is visible as it flaps in the wind on top of the mini-vans front hood. After about a minute of flapping, the hand disappears from view.
"We just murdered somebody." the woman says.
After slowing down to normal highway speed, guilt seems to creep in and you both begin to wonder if the man is still alive.
"Should we go back?" she asks.
> You don't look back...keep driving down the road
Soon you notice the sun coming up over the horizon. You welcome it with open arms as you turn down your vizor from the sun's morning rays.
Alice is sound asleep as you turn on the radio. An evangelical preacher is the only thing on the AM station. He is set on sending your soul to hell if you don't repent...something like that. The FM channel sends out a faint sound of mariachi music.
Deciding to hit the "CD" button, you quickly fill the van with what sounds like AC/DC's "Highway to Hell." You crank it up to drown out Alice's snoring.
You wish you could be snoring right now.
A sign comes into view. It reads: ENTERING THE TOWN OF GOLD FLAKE...and soon you find yourself in what looks like a old ghost town.
> You explore the town of Gold Flake
You park by a nearby tree next to the main road. Most of the what's left in this town seems to have been built in the 1800's. One building reads "Saloon" in bleached out black letters over a double doorway. The doors swinging to and fro in the wind.
You try to wake Alice up but she won't budge. "She must be exhausted from the night's activities." The images of hitting that poor man rushes back into your memory.
I have got to find someone that lives here...anybody.
Walking down the main road, you spot another dilapidated old building that reads: Sheriff's office.
> You go see the sheriff
You walk all around the building and look in the dust filled windows. Not a sign of life. You doubt if anyone actually lives in this ghost town.
Tired and a bit confused you wonder what to do next. The only other building still fully standing is the saloon.
> You go check out the saloon...you could use a drink.
You find the saloon a shambles.
"I'm not gonna find anything here." you think.
The piano that once played into the night is full of cobwebs and some of the keys are missing. Behind the counter you see a dusty jug of whiskey. It looks as if there might be a swig or two left in the bottle.
"Man I'm thisty...I could go for an energy drink about now but this sure looks good..." you say out loud.
> You take a swig or two
The liquid goes down your throat like fire but somehow quenches your thirst.
You continue to explore the saloon with the whiskey bottle in your hand...just in case.
> You continue to explore
As you walk down the dusty hallway, you notice a staircase to a floor with doors down one side of the wall. This must be a hotel as well....ah....sleep sounds good right about now.
Suddenly, a crash is heard and a man rushes out of one of the rooms. He is wearing a cowboy hat and a long dusty trenchcoat.
The man is stocky and tall and seems to be missing one major detail....his eyes.
The man looks down on you and points his hand at you sneering. Fire seems to fill the black holes for eye sockets. He jumps down from of the second floor railing and lands on his feet right in front of you.
What will you do....?
> You do you have the whiskey bottle? If yes...
The bottle shatters over the cowboy's face making him stagger backward. He attempts to regain his balance and is met by a swift kick in the stomach.
The man let's out a yell and falls on his back not moving. You slowly work your way toward his face unable to comprehend why this man has no eyes...just empty holes. Blood trickles down his face.
You notice a pronounced chin on the man and think he looks a little like John Travolta.
Leaving the saloon, you are met by a swarm of angry bees. They begin buzzing around you. You soon feel very sleepy. You begin hearing a ticking noise inside your brain.
"A watch...."
> You if you have the pocket watch from outside the mini-mart...
Soon, you find yourself following the angry bees. They lead you out of town and into a nearby field where you see people yelling a someone that is on his back. They seem to be angry with the fallen man.
You run up to a nearby tree and take a closer look. Crouching behind the tree, you are hidden behind some tall sage brush.
There is a black man on his back and tied to a fallen tree trunk. Most of the men and women surrounding him are wearing old 18th century clothes. One lady in a large bonet screams at the man calling him racial and vulgar words. Another man with a pitchfork steps on the black man's hand and motions for a large knife a child of of maybe...14 is holding.
Pulling your gun from the back of your pants you try to listen to what the people are saying. You cock it and wait .
You can't quite make out the victim's face but an overwhelming sadness fills your heart.
AAAAHHHHHH!!!
The black man screams in horror and pain as the man with the large knife begins hacking off his right arm. Blood begins to run from his hand.
A young woman next to the old lady in the large bonet begins to cry uncontrollably as the others laugh and chant out the words: Candyman...Candyman....Candyman...
The boy who once held the knife begins pouring a golden substance that you instantly notice as honey over the black man's body and the bees begin to buzz. The buzzing seems to be coming from your brain.
"Give me my bride!!!!"
The sun is fully over the horizon now. You raise the gun to shoot....but who.
You could put the black man out of his misery...or...shoot at the crowd.
> You shoot at the victim
Your aim could have been better.
The bullet makes it's way into the large tree log where the black man is tied to. Bits of bark
The old woman screams and points in your direction. Soon the small crowd is heading in your direction looking angry and mean. They leave the man tied to the tree to die...covered in bees.
You look for somewhere to run but find nothing offers sanctuary. You try to shoot the gun but find it jammed. You toss it at the man with the pitchfork but he easily dodges away from it.
The buzzing in your brain becomes unbearable.
Soon they are on you...
~THE END~
You have reached the "Candyman" ending.
| 3 |
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Soon, you find yourself following the angry bees. They lead you out of town and into a nearby field where you see people yelling a someone that is on his back. They seem to be angry with the fallen man.
You run up to a nearby tree and take a closer look. Crouching behind the tree, you are hidden behind some tall sage brush.
There is a black man on his back and tied to a fallen tree trunk. Most of the men and women surrounding him are wearing old 18th century clothes. One lady in a large bonet screams at the man calling him racial and vulgar words. Another man with a pitchfork steps on the black man's hand and motions for a large knife a child of of maybe...14 is holding.
Pulling your gun from the back of your pants you try to listen to what the people are saying. You cock it and wait .
You can't quite make out the victim's face but an overwhelming sadness fills your heart.
AAAAHHHHHH!!!
The black man screams in horror and pain as the man with the large knife begins hacking off his right arm. Blood begins to run from his hand.
A young woman next to the old lady in the large bonet begins to cry uncontrollably as the others laugh and chant out the words: Candyman...Candyman....Candyman...
The boy who once held the knife begins pouring a golden substance that you instantly notice as honey over the black man's body and the bees begin to buzz. The buzzing seems to be coming from your brain.
"Give me my bride!!!!"
The sun is fully over the horizon now. You raise the gun to shoot....but who.
You could put the black man out of his misery...or...shoot at the crowd.
> You shoot at the crying young woman.
Your aim is true. The bullet enters the neck of the crying woman and she falls on top of the victim now covered in bees. She begins touching the man's face and shoulders and soon her head falls lifelessly on top of his. The mob is in awe of what just happened.
Soon, the bees consume the mob and slowly both the woman and the man get to their feet. Hand in hand they motion toward you. The buzzing becomes louder as both the woman and man embrace, bees consuming their bodies.
"Thank you." the woman says. It seems to whispered into your heart. You feel a great joy and relief for the couple.
Happiness overcomes you and you settle down next to the tree. Soon you drift to sleep in a deep relaxing slumber.
You awaken in your truck. It's parked in front of a sign on the side of a dusty old road. It reads: Goblin Valley 5 miles ahead.
"Wow, what a dream." you think as you fumble in your pockets for your keys. Instead you find an old pocketwatch. You open it and find the sketch of the two you saw in your dream. The happiness warms your heart as you find the keys in the ashtray of your truck. You head on to Goblin Valley and to see your uncle...
It's getting dark and you got to get moving.
| 3 |
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The bottle shatters over the cowboy's face making him stagger backward. He attempts to regain his balance and is met by a swift kick in the stomach.
The man let's out a yell and falls on his back not moving. You slowly work your way toward his face unable to comprehend why this man has no eyes...just empty holes. Blood trickles down his face.
You notice a pronounced chin on the man and think he looks a little like John Travolta.
Leaving the saloon, you are met by a swarm of angry bees. They begin buzzing around you. You soon feel very sleepy. You begin hearing a ticking noise inside your brain.
"A watch...."
> You if you don't have the pocket watch...
The bees continue to buzz around you relentlessly. You decide to run out into the main road in hopes the bees won't follow.
You run out into the road and right into someone standing in front of the sheriff's building. You get knocked off your feet with the sun glaring down on you.
When your eyes focus, you make out the sillohuette of a medium sized man wearing a cowboy hat looking down at you. He blocks the sun from your eyes and extends an arm out to help you back up.
"Man, I'm allergic to bees." you say with a chuckle.
The man helps you up to your feet and he offers you a seat inside the sheriff's building.
The man is wearing a light tan police uniform. He is about your height and weight but considerably older. He looks at you and smiles exposing a gap between his two front teeth. He turns and unlocks the door and motions you in.
Soon you both are sitting and enjoying a couple of bottles of cold "Crush" orange sodas.
"What brings you here?" he asks as he takes a long drink of his beverage.
> You was hitchhiking and was dropped off here...
The man smiles and offers you another frosty crush from his buzzing freezer.
Soon he is on a CB radio and states he is escorting you to your grandfather's house since "it's something to do." he states
You and the sherriff drink beverages and drive out of Gold Flake. You relate the crazy story of how you ended up here and he just laughs and drives on.
Soon you are at your grandfather's house. He and long lost relatives are happy to see you and relates old memories of times past.
Your grandfather leaves you the old mansion and you end up moving in.
All is well.
~THE END~
You reached the "quick and painless" ending. No movie relation to this ending. Go back and try again.
| 2 |
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The bees continue to buzz around you relentlessly. You decide to run out into the main road in hopes the bees won't follow.
You run out into the road and right into someone standing in front of the sheriff's building. You get knocked off your feet with the sun glaring down on you.
When your eyes focus, you make out the sillohuette of a medium sized man wearing a cowboy hat looking down at you. He blocks the sun from your eyes and extends an arm out to help you back up.
"Man, I'm allergic to bees." you say with a chuckle.
The man helps you up to your feet and he offers you a seat inside the sheriff's building.
The man is wearing a light tan police uniform. He is about your height and weight but considerably older. He looks at you and smiles exposing a gap between his two front teeth. He turns and unlocks the door and motions you in.
Soon you both are sitting and enjoying a couple of bottles of cold "Crush" orange sodas.
"What brings you here?" he asks as he takes a long drink of his beverage.
> You you're enjoying this delicious beverage...duh!!
The sheriff looks at you with a frown, the gap teeth dissapear behind his lips. He begins to fiddle with his sherriff's badge on his uniform. He pauses and begins to smile again.
The room is very dusty and is split in half by a large desk. A book shelf runs across the back wall behind the desk and the sheriff and is filled with books...all caked with dust. You notice one is missing.
the sheriff offers you another drink before you even finish the first. You are so thirsty you accept. He disappears behind a half door with a little table top attached and goes over to a loudly buzziing refrigerator.
As he twists the caps off the bottles with a PSSSSSZZZ...he introduces you to a man standing behind you.
You swing around off the chair and are met by another man. This man is a little younger than the sheriff. He wears a black cloak and is missing his eyes. He reaches out and touches your chest with his fingers.
You feel a blast of cold penetrate your chest and you pass out...
> You where are you\?
You slowly come into consciousness. Your eyes are blurry but you can make out objects moving around you. You smell an incense burn like old wood. Your eyes fixate on someone standing over you. This person is not human but part animal. He looks half goat.
"Have I been drugged?" you think.
Long, dark horns twist out of the man's skull and hook around behind his human ears. His nose and teeth are of a goat. He wears a red robe and begins molding something out of clay with his human hands.
You look around and see other cloaked figures dancing around you. You are the center of attention at this little get together. You try to move but are unable. Rough rope bind your arms and legs to what looks like a poorly made cross. You and the cross are hanging upside down.
GROAAAN....
A groan comes from next to you and you swing your neck around and see someone else in the same position you are in. This man looks much older than you are.
The goat man seems to notice you are fully awake now and begins a maniacal laugh.
> You what the heck is going on...
The moaning man seems to be dying. He lays on his own wooden cross but wears a black cloak like those dancing around you. His eyes flicker open and you notice right away who this old man is. He is your grandfather!
You scream for someone to help him but no one moves a muscle. At closer view, you notice all those in black hoods have no eyes. The goat man comes into your peripheral view and you turn your head to see.
The goat man twists a wax figure over a strange bowl filled with a viscous, bubbly fluid. Screams seem to be eminating from the bowl. Large horns make up the lid and a pentagram is etched on the golden surface of the bowl.
"Thanks for coming my boy....aaahhh ha ha....." whispers your uncle to you.
"You are saving my life." he states as his eyes dissolve into black pits like the man you saw in the saloon.
The goat man drops the figure into the bowl and a burning consumes your body. You scream in horror as the others lift the crucifix on its end and into a small hole in the ground.
Your last image you see is your uncle rising off of his crucifix. He looks a lot like you....wait...he is you now.
~THE END~
You reached the "Devil's Rain" ending.
| 3 |
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| 1 | false |
As you walk down the dusty hallway, you notice a staircase to a floor with doors down one side of the wall. This must be a hotel as well....ah....sleep sounds good right about now.
Suddenly, a crash is heard and a man rushes out of one of the rooms. He is wearing a cowboy hat and a long dusty trenchcoat.
The man is stocky and tall and seems to be missing one major detail....his eyes.
The man looks down on you and points his hand at you sneering. Fire seems to fill the black holes for eye sockets. He jumps down from of the second floor railing and lands on his feet right in front of you.
What will you do....?
> You if not...
The cowboy with no eyes clenches your neck with a grip like a vice. You beat on his chest but to no avail. He will not let go.
Soon...you black out.
| 4 |
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Slowly opening the menu, you find a small scrap of paper with something written in pencil. It reads:
KIDNAPPED
PLEASE HELP
You close the menu and look around. The woman is staring at you with a terrified look from behind the kitchen swing door. She disappears as the old man looks at you and then toward the kitchen doors.
"What the heck is going on?" you think.
If this old man is holding an obese woman against her will, I've got to do something....right?
> You ask to use the restroom
You notice a narrow hallway just past the restroom on your right. It is very dark so you flick the switch next to an old wooden coat rack nailed to the wall.
Florescent lights flicker on revealing a large room at the end of the hall. The door to the room is propped open and you can see inside. Large boxes marked ammo are stacked 3 high. and a large gun rack sits against the far wall. There are 8 or 9 rifles in the rack.
> You grab a gun
As soon as you enter the room, a loud shrieking noise fills the air. You whirl around to see what is making such a hideous noise.
On the walls are motion sensors that just detected movement... You.
Just as you realize what has happened, the old man enters the room. His face looking a little worse for wear. You notice his eyes have changed from the yellow you saw earlier to a strange red that seems on the verge of being orange. His mouth opens exposing sharp, shark-like teeth.
"You little bastard." yells the old man over the shrieks of the motion sensors.
"I've saved you from the goblins and all you can do is snoop around back here." "You human's are so predictable."
As he speaks, you watch in awe as his body starts to contort and change in front of your eyes. His eyes begin to get bigger and rounder and gray hair sprouts all over his face and neck. The whole time he just stares at you in disgust.
You back away in horror as the man crouches down on all fours and his breathing starts to become more rapid. He shuts his eyes in pain and his skin seems to come alive, bubbling and turning a dark shade of green. Long grayish black hair sprouts from his head hanging down in front of his face.
The shrieks of the sensors seem to throb in your brain...
> You quick...grab a gun off the rack.
Keeping your eyes on the transformation before you, you reach back with your right arm and grab the first gun your hand touches. Swinging it forward you quickly bring the gun up to your cheek and aim it at the creature.
By now, the thing before you doesn't even resemble the old man you were sitting at the diner with. More like a creature you would battle back in the old days you used to play Dungeons and Dragons.
The green, hunched over creature before you launches itself directly in your direction with large claws instead of hands outstretched and aiming at your throat.
> You pull the trigger
You quickly pull the trigger and.........nothing. The trigger doesn't seem to budge.
Suddenly you get knocked back by the creature's force running into the gun rack behind you. The gun rack falls back onto the floor and you on top of it. You try to roll off but the creature quickly throws it's weight on top of you causing you to yell out in pain.
Quickly, the goblin swipes at your throat with it's talon like claws ripping open a large gash of flresh blood and flesh.
You stare up at the goblin as it licks it's claws of your blood with a black tongue.
Your last thought is..."Damn the safety button."
THE END
You reached the "Gargoyles" ending.
| 3 |
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Keeping your eyes on the transformation before you, you reach back with your right arm and grab the first gun your hand touches. Swinging it forward you quickly bring the gun up to your cheek and aim it at the creature.
By now, the thing before you doesn't even resemble the old man you were sitting at the diner with. More like a creature you would battle back in the old days you used to play Dungeons and Dragons.
The green, hunched over creature before you launches itself directly in your direction with large claws instead of hands outstretched and aiming at your throat.
> You knock him away with the rifle
Using the butt of the rifle, you swing it at the creature's face, connecting with it's nose. Black ooze spatters out of it's nostrils and onto the gun and wall behind you. It makes a low grunting noise and falls back into a near corner of the room.
A look of painful surprise crosses it's face as it makes for the hallway and back into the diner.
Quickly, you undo the safety switch on the rifle you just used for a bat, aim at the creature's backside, and pull the trigger.
Instantly, the creature drops to the ground, the bullet penetrating his spine. Raising the gun toward the creature's head, you pop another one for good measure entering his skull. Black ooze begins to pour out of the wounds you made.
Just when you are about to pull out your cell phone and take a couple of pics of your prize kill, the heavy set woman enters the room. You seem to have forgotten all about her and her awesome chili during the commotion.
"Thank you" "Thank you...."
You stare at her as she approaches you with arms outstretched as if to give you a big hug.
Thank you....
> The least you could do is give her a hug...
You drop the gun unable to comprehend what is going on.
The woman that made the delicious chili runs over to give you a big hug. Tears roll down her cheeks as she repeats the words: Thank You...Thank You...Thank You...
As you embrace each other, 3 men with rifles enter the room. The woman backs away and looks suprised at the newly aquired company. All three men are in camoflauge and two are wearing cowboy hats. The other is wearing a cap that reads "Truckers do it in convoys."
"Alice?" asks one gunman.
"Toby!!!" she cries and runs over and hugs all three men.
Soon the men are shaking your hand in appreciation for killing what they call a "Gargoyle."
Toby is Alice's husband and both are big rig truck drivers. Toby states that they recieved a shipment to drop off at this place...Captain Trips Diner.
"We thought it was a strange shipment for a diner since the haul was 2 dozen rifles an ammo." Alice says.
"While we were unloading it, the old man motions these ...winged creatures to attack us while he kidnaps my Alice." Toby continues.
"That was two days ago...we could'nt get close enough after the gargoyles ran us off in our truck. I called for Sheriff Reeves here to assist me."
"People been disapearring around here for years cause of these damn Gargoyles." states Sheriff Reeves. " You killed the last of it's kind." "We killed the rest of them up in a cave in the hills. This one was a master shape shifter. The only way you can tell is the eye color."
"We saw your truck back there....sorry about the shooting. " "We were aiming for the shape shifter." states Toby.
Soon, you make your way with your new friends toward Toby and Alice's rig. They offer you a ride to the city your grandfather lives in.
"It's a little out of the way but it's the least we can do for saving my life." Alice says with a smile.
"I'll make you another bowel of my chili before we go."
You grin from ear to ear.
~THE END~
You got the "Gargoyle" ending and mastered this storyline. Good job.
| 3 |
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Using the butt of the rifle, you swing it at the creature's face, connecting with it's nose. Black ooze spatters out of it's nostrils and onto the gun and wall behind you. It makes a low grunting noise and falls back into a near corner of the room.
A look of painful surprise crosses it's face as it makes for the hallway and back into the diner.
Quickly, you undo the safety switch on the rifle you just used for a bat, aim at the creature's backside, and pull the trigger.
Instantly, the creature drops to the ground, the bullet penetrating his spine. Raising the gun toward the creature's head, you pop another one for good measure entering his skull. Black ooze begins to pour out of the wounds you made.
Just when you are about to pull out your cell phone and take a couple of pics of your prize kill, the heavy set woman enters the room. You seem to have forgotten all about her and her awesome chili during the commotion.
"Thank you" "Thank you...."
You stare at her as she approaches you with arms outstretched as if to give you a big hug.
Thank you....
> You put a bullet in her brain...
The kick of the rifle causes the bullet to enter the woman's neck just above her right clavacle spraying warm blood in your face.
Your arms begin to fatigue and you drop the gun. Blood spurts from the large triple chins as she grasps at her throat as if to stop the bleeding.
It seems to take her forever to die as you watch her stumble around and scream not noticing the 2 gunman that were outside enter the room.
"NOOOOOO!" cries a large framed man with a camoflauged hat and a burly blonde beard. The other man is skinny, red hair in a military haircut and wears a sherrif's badge on his uniform.
The bigger man runs over to the dying body of the chili lady and begin's consoling her.
"That was his sister." states the sheriff. "
The sheriff slowly walks over to the creature at the end of the hall.
"This was the last of the goblin's and it had taken her hostage two nights ago to breed with her."
"We had a stand off these past few hours once we pinpointed her whereabouts." he says.
"I guess an autopsy will tell us if you murdered an innocent woman or did her a service." he continues.
"For right now I am taking you into custody."
THE END
You reached the "Gargoyles" ending.
| 4 |
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You notice a narrow hallway just past the restroom on your right. It is very dark so you flick the switch next to an old wooden coat rack nailed to the wall.
Florescent lights flicker on revealing a large room at the end of the hall. The door to the room is propped open and you can see inside. Large boxes marked ammo are stacked 3 high. and a large gun rack sits against the far wall. There are 8 or 9 rifles in the rack.
> You hit the restroom
It feels so great to release your bowels after such a great meal... AAAAAAHHHHHHH.
"I need to get to one of those guns in the back room just in case whoever was shooting at me earlier makes there way past the old man and into the diner." you think.
| 2 |
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Slowly opening the menu, you find a small scrap of paper with something written in pencil. It reads:
KIDNAPPED
PLEASE HELP
You close the menu and look around. The woman is staring at you with a terrified look from behind the kitchen swing door. She disappears as the old man looks at you and then toward the kitchen doors.
"What the heck is going on?" you think.
If this old man is holding an obese woman against her will, I've got to do something....right?
> You make a run for it.
Quick as you can, you slide out the booth and bust open the front door. The only thing you can think of is try to make it back to your truck.
Bam...Bam...
Again with the shooting... only this time a bullet finds you. A searing pain erupts as the bullet imbeds itself in your left leg. You stumble and fall to the ground.
Two more bullets soon make their way to your brain...
~THE END~
You reached the " Hills Have Eyes" ending.
| 4 |
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| 2 | false |
"As you wish," Durge says.
It's only a matter of days as you ferry soldiers to the planet. Eventually, you find yourself with the other tribals, Goliaths and gladiators on the planet. You stand by Fay, looking at the plains, now considerably bigger, that you grew up in.
"Well, we're home," Fay says.
"We are. Well, let's see where this goes," you reply.
Now, the future is yours.
> Three Years Later...
Tribal
Life is hard. Kyros' scouring of the planet for resources has driven many plant and animal species that you once relied on for food extinct. You're required to travel even more constantly than you once did, as life is permanently tough and hath without much respite, and few luxuries.
The Orks are another issue. With the destruction and kidnapping of the tribes, they've spread extensively. While your newfound "tribe" are killing machines, it seems the Orks are never-ending. You push them back, though these battles are not without their losses, which you will take a while to get back from, which leads to another issue: reproduction.
You find yourself struggling to make up your numbers. The Goliaths are infertile, most not even having genitals. The tribals are more successful, but not by much. It seems Kyros' experiments have taken their toll. Infertility rates are high, as are the amount of miscarriages. A few manage, though, the offs of which increase when partnered with a non-tribal. The gladiators are the only ones who have great success here, as their numbers multiply as young, physically fit people do as young, physical fit people do.
Despite these issues, your tribe perseveres. You find a girl, a pretty gladiator with few scars and a gorgeous mane of fiery red hair. The fact that her breasts are the size of melons is coincidental to your attraction. You both eventually have a combination of an Uwais marriage and an Gladiator bonding ritual, which you nearly pass out during when you have to cut open the palm of your hand. If anything, Kyros' experiments have increased your fertility, as you soon find yourself with a child. The child seems perfect, having a strong body and a powerful mind, the best of both her parents.
It is this child that gives you hope. A child with the best of both her parents, who will weather any hardships the world. Your tribe are driving the Orks to extinction. The jungle is spreading again, and with it the planets and animals that you rely on. The present may harsh, but the future is forever hopeful.
| 2 |
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| 8 | false |
"As you wish," Durge says.
The next few weeks are spent ferrying equipment, supplies and building materials from the Roar of the Vortex to the planet, where your men begin to assemble a city. Concrete walls defended by gun emplacements, large apartment blocks for your people, a working hospital and school, vast farms being set up along the lake with the farming techniques being taught to your people.
You find yourself standing atop the throne room, staring out as a group of Goliaths raise up a wall, finishing off the generator room they were making. Fay stands next to you, staring out.
"Well, we're home," Fay says.
"We are. Well, let's see where this goes," you reply.
Now, the future is yours.
> Three Years Later...
Tribal City
Life is good. Although Kyros' scouring of the planet for resources has driven many plant and animal species that you once relied on for food extinct, the farming methods allow for food production without wearing out the soil, and quickly bring up the number of crop plants until they're bountiful. You introduce breeding programs to rapidly increase the numbers of prey animals, even creating subspecies, such as a subspecies of the Rukt bird that go from small, wild birds that soar above the forests to a species of fat, placid birds that can barely glide. You even bring back the puk in full force, and their numbers explode. Water issues are still a problem, but you're capable of drilling into underground rivers and water reservoirs to deal with that.
The Orks are still a problem, but a maintainable one. Your forces are killing machines, and their strength is amplified tenfold by the huge walls and gun emplacements. Even after having been let grow strong while you were off-world, you're still easily capable of breaking the strength of these beasts, pushing the Orks from huge threat to simple nuisance, and with look you'll soon be pushing them to extinction.
One of the few issues facing you is fertility. The Goliaths are infertile, and Kyros' experimentation has taken its toll on the Tribals, so they have a high infertility rate and a high rate of miscarriages. Their chances of successfully conceiving and birthing a child increases with regular trips to the hospital, which with the massive birth rate among the gladiators means that your population is growing, but the fertility issues keep your people from spreading over the land, at least within your expected lifetime.
You find a girl, a pretty gladiator with few scars and a gorgeous mane of fiery red hair. The fact that her breasts are the size of melons is coincidental to your attraction. You both eventually have a combination of an Uwais marriage and an Gladiator bonding ritual, which you nearly pass out during when you have to cut open the palm of your hand. If anything, Kyros' experiments have increased your fertility, as you soon find yourself with a child. The child seems perfect, having a strong body and a powerful mind, the best of both her parents.
This child will lead the next generation. They will live in this city, a city that is both futuristic and based in the tribalistic traditions of the past, and will continue building it. They will use this city, your gift to them, to conquer, to build, to create, to spread and to exist. With them, with the next generation, with your child, lies the future.
| 3 |
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"Done," you say.
"Perfect," Captain Lipton says.
He extends a hand, which you shake. He slides a bottle of red liquid and two glasses from a cost pickets popping it on the table, followed by a lighter and two big lho-sticks. He pours some liquid in both glasses, offering one to you.
"Here's to success," he says.
"To success," you reply, downing your drink.
> Three Years Later...
Paradise and Luxury
You lie in a hammock, a bottle of spiced wine in your hands. You've become quite accustomed to the drink, as have many nobles and rich merchants apparently, hence why its smuggled through here on a regular basis. You watch as Landers land in the distance, trying to tell whether they're the Morallian smugglers or the space marine pirates.
Your relationship with Captain Lipton has been a profitable one. The standard of living for your men has risen greatly, as a huge amount of wealth floods through here, as well as rare and exotic goods and luxuries that you're all eager to get your hands on. You know Captain Lipton hasn't exactly been fair with the agreement, taking the lion's share of the profit to fund his wars for control with the other pirate vessels, but you're making enough that you couldn't give a flying fuck.
You find a wife soon. The first slaving vessel lands, attempting to repair and perhaps sell a few of its slaves. You quickly make sure that it's the last slave vessel, as you force the crew into slavery and release the slaves, unwilling to force people into the same slavery as you were forced into. One of the slaves, a beautiful girl with fiery red hair and a gorgeous face. The big pair of tits don't hurt either. You have a wedding festival, a grand event that cost a small fortune. Soon, a child is concieved, a beautiful daughter with her mother's kindness amd humility and her father's powerful mind. Hopefully, she won't have her mother's tits, because you'll skin any suitor that makes a pass at your little angel. You know she will do great things some day.
Although your life is pleasurable and easy, you do have one major issue, one problem that has driven you to drink, to gamble, to eat, to take various drugs and to laze around: boredom. The only fights you get to take part in are stopping the occasional drunken scuffle or fending off a raid which the orbital cannons make an ease. You feel you've wasted your potential here. Still, you're happy. You've a daughter to carry on your legacy. What more could a man want?
| 3 |
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| 10 | false |
You stand in front of the Staine siblings, as they finally agree to support your early skirmishes and campaigns against the New Marsbourth houses. Your other lieutenants are alongside you, planning your actions. A quick blitz of raids and bombings could cripple the Samson House's offensive capabilities. Then, a small invasion to secure the lowlands from Jericho House, a game of trench warfare to fight Lars House to a standstill to prevent their predicted invasion, with a final capture of Hive Jun from the Lawrence Family should put you in powerful standings.
"The Black Rats are resilient creatures, as are the Goliaths. We shall take on Lars House when they strike," Durge says.
"I'll lead a few saboteurs alongside Castus to hit Samson House," Olive says.
"We'll be able to capture the lowlands. The Tribals have fought in plains all our lives, we'll crush every last fucker there," Fay says.
You watch as your lieutenants plan the various attacks. This is what you were made for.
> Three Years Later...
The Forever War of the Houses
You stand on the battlefield, tearing a Dark Eldar Talos, as it explodes in front of you. The Dark Eldar begin to fall back, clearly realizing that this mercenary gig wasn't worth it. You laugh, sending up a wall of flames to terrify them and send the brave holdouts scuttling back to regroup, which turns to a full-blown retreat once they see a wave of Goliaths charging.
Your arrival on the scene has been a huge changer to New Marsbourth. After your early crushing victories that broke the strength of many of the major houses, the Concord of the Vipers took place, where the noble houses made an alliance to destroy you. This, combined with the fact that the Staine siblings have left to rebuild and continue on with their escapades, has left you with serious losses, but you get back to your former position through grit and brutal fighting. Mercenaries flock to both sides, while minor houses change sides regularly.
You soon find yourself perfectly matched. Your defenses are strong enough that any invasions are damaged enough that the Los ground can be easily regained by a counter-attack. Soon, a hemisphere of New Marsbourth lies in each of your hands, with the area around the equator being a permanent war zone, with land switching hands rapidly.
You find a wife soon in one of the gladiators, a beautiful girl with fiery red hair and a gorgeous face. The big pair of tits don't hurt either. You have a wedding, small, humble little event. Soon, a child is conceived, a beautiful daughter with her mother's body and her father's powerful mind. Hopefully, she won't have her mother's tits, because you'll skin any suitor that makes a pass at your little angel. You know she will do great things some day.
In all honesty, you don't mind the situation you're in, of permanent, unceasing warfare. You're kept trained in war, and the war is fought at such a race that your hemisphere permanently gets to have the economical boost that comes from a war economy, until you in fact rely on it. The Goliaths, the Tribals, the Gladiators, you're all trained for or even designed for war. The fighting keeps you busy and keeps your forces from falling into awful habits like drinking, drugs, whoring, gambling and much worse distractions from boredom, although you feel like it's a waste of your potential, all of yours. Still, it's a life. What more could you want?
| 3 |
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| 9 | false |
Amadeus, more than happy to see you leave and the leadership of the vessel to fall into command of the Staine siblings who will eagerly shower him in luxury to appease him, gleefully navigates the vessel towards New Marsbourth. You find one of the smallest, weakest factions in the planet, the noble house of Gilford, a who are little more than a pawn to bigger houses, not even having made any alliances with any house at all, let alone one of the larger ones. Yin a few quick raids, you wipe out the Gildford House, taking their place as Rulers and guardians of the tiny amount of territory they controlled. Landers ferry people, equipment, supplies and rare resources down to the planet, where they begin to set up inside the Gilford House's fortress.
With the conquest of the Gilford House, you're left as a new, unexpected player, a small but powerful faction. You realistically have two choices, two long term plans for your forces. You could go to war. The Staine siblings will help your forces get a few critical early victories, before leaving you to wage and perhaps finish the War of the New Marsbourth Houses has been going on for centuries if not millennia.
Secondly, you could go for the peaceful option. You control a small area with farmlands, manufacturing facilities, mines, a city and more. The area could absolutely survive as an isolated but heavily fortified area, too powerful to conquer without serious and crippling losses, and too small to be worth even a slight amount of effort to secure.
> You peace
While your attempts at getting a peaceful life for your men is admirable, it goes badly. The other houses, ever paranoid, still launch endless raids and countless assaults on your territory, always presuming you're planning something. Your failure to occupy more territory means you don't have the resources to push the enemy back, and it's not long before the constant warring takes its toll. Although you ensure that all four Houses that choose to finish you off are decimated, never capable of rebuilding themselves, your forces are crushed. When the houses finally charge your home, you wipe out hundreds, if not thousands, but eventually even you go down.
| 3 |
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You duck your head, the knife flying just over your head and cluttering to the floor behind you.
"Good catch," Castus says.
You grab the knife, taking a practice stab.
"What do you think?"
"It's a knife," you say simply.
"Yeah, it is. Do you like it? Does it feel good?" Castus says.
"I don't know anything about knives. Maybe," you say.
"Alright, first, we need to talk. Is anyone watching us? Like, are there cameras?"
"No. Well yes, but they're offline," Olive says, resting her head on the butt of her axe-gun. "What is it?"
"A plan is being formed. We're going to escape."
"Escape?" Olive says, musing. "Who's on our side?"
"We have a large amount of people on our side. Elios, Elizabeth and Durge are bringing the weight of their war-bands, as well as most, if not all, of the Guardsmen here. Then there's the Goliaths and the Tribals, both of whom are with us."
"What...?"
"Because I've done this twice before, I best say. We have no plans yet. They're to be decided. We have literally nothing. We just need to check whether you'll join us. Then, we'll get the leaders together to plan our to take over, and what to do with once we've actually done so."
"Huh. Well, I'm in," Castus says.
"What?" Olive asks, surprised.
"Yeah, I'm in," Castus says.
"We don't know the plan, we don't have any assurances that we won't be back-stabbed as soon as we take over, we..."
"Olive, let's be smart here. If we don't rebel, we'll definitely either be killed fighting Kyros' war, killed trying to put down these fuckers' mutiny, or killed fighting another arena battle for these bastard's amusement."
"If we rebel, we'll almost certainly be killed!"
"Almost certainly is way better than definitely. Plus, we'll get to kill a few of Kyros' bastards before we go down."
"Fine, I'm in, but I... we have a few demands," Olive says.
"Go on," you say.
You know the gladiators will be essential to your plans, so you really need to get them, but still, you don't want to devote to many resources to this issue.
"I want instant freedom once we take-over. No more being locked up under the arena. I want my men to have free reign to travel around the ship. I want pay, do the men and women who fight and work for the ship actually get something from it. I want an increase in food rations, and better equipment than the shit we're given. I want actual medical care, on top of this."
"That it?" you ask, annoyed with her large demands.
It'll probably take a serious amount of resources to fulfill her request. You have a few options here.
"What a fucking greedy bitch. This fucker needs a dick, I tell you that," Meliodas complains.
> You try to compromise
"I can't guarantee you all that," you say. "It's simply too expensive."
"What can you guarantee?"
"Freedom, definitely as well as free reign to travel the ship. But we're not giving you free rooms, food, equipment and medical equipment as well as pay. Pick one."
"Fine, no pay," Olive says.
"That's a deal, then," you say.
Olive extends a hand, which you grip and shake extensively. Castus extends his hand, which you grab, but he twists your arm around, causing you to yelp painfully. He kicks away your foot and sends you to your knee, before bringing his sword up to your throat.
"Dead," he says with a smile.
"Well shit, Castus, what's wrong with you?"
"What? I was just preparing him for fighting. I thought we were supposed to be training him. First lesson, kid: trust no one. Now, get up."
Olive offers you a hand, smiling.
| 3 |
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"Deal," you say.
"Good, good," Cain nods, extending a hand.
You grab his hand, and thankfully Cain doesn't attempt to squeeze, which would almost certainly result in your fragile bones shattering. You shake vigorously, and Cain attempts a smile. The corners of his mouth twist unnaturally high, revealing rows of serrated teeth, curved fangs, massive molars and many other weird, odd teeth, protruding from bloody, rotten gums. You smile in response, not willing to offend him.
"The beast would've taken half of what he asked for," Meliodas says.
"Why didn't you tell me that before?" you say angrily.
"I presumed you knew," Meliodas replies.
"Are you OK?" Cain says. "Tell you what?"
"Uh, nothing. Sorry," you say.
"OK. Good deal," Cain says, his face contorted in what you assume is his version of a raising of the eyebrow. "Alright, best get prepared for your operation before Magos Cern gets back."
"Yeah, I should," you say.
You walk over to your operating table and quickly get undressed, before lying down. After another minute or two, Magos Cern appears, pushing a tray in front of her. One of her metallic tendrils grabs a syringe filled with a pale, translucent liquid.
"This might hurt a little. It will more likely hurt a lot more," she says.
You let out a pained yelp as she jams the syringe into your neck. She begins pushing down on the plunger as what you hope is anesthetic is pumped into you. Warm hands embrace you, pulling you into the oblivion of unconsciousness.
> You resist
You shake your head, struggling to avoid falling into unconsciousness. You take in a deep breath, flinging the warm hands away from your mind. Magos Cern continues pressing down on the plunger, shooting the remaining fluid into your blood. Your mind is gripped by a scream for sleep. Perhaps you should just embrace it.
> You resist
Magos Cern notices your struggle with indifference, refilling her syringe with anesthetic and injecting it into you again, although you can't feel the needle pierce your skin. Your eyes flutter before they roll in the back of your head. As you lose the fight to resist the void of oblivion, in the back of your mind you hear voices.
"Magos Cern, I polished the AI module."
"Good, Adept. You have gained one step forward in receiving your cybernetic upgrades."
"How long, master? My flesh is weak, my body frail, I crave the strength of steel."
"Soon, Adept, soon. Do not bother me in a time like this! We are on the brink of discovery! We have a mind older than the Emperor himself. Fifteen thousand years old! Can you imagine the knowledge it holds? Prepare Primus for start-up. I believe now is the time. I must just play with Kyros' pet's flesh, and then we will work."
"Yes, Magos. Understood, Magos."
Then, you lose all resistance and sleep takes you, leaving you powerless in its dark embrace.
You awake an unknown time later, lying on the metal operating table. Magos Cern stands over you, washing her implements in a basin of water. She looks at you, her cold, red eyes peering into your soul.
"Ah, you're awake. Good," she says.
"What did you put into me?" you ask.
"The biology of what I did is beyond you, flesh bag."
"Can you dumb it down for me?" you ask.
"Could one reduce concertos to the mumbled grunts of mutants?" Magos Cern asks indignantly.
"Please?"
"Fine. I increased the size of your heart by 40% and lungs by 12%, and added several veins and arteries leading directly to the brain from the heart. These actions increase the blood flow to your brain, and should hence increase psychic abilities. I added multiple microchips that breed monocytes, other white blood cells, platelets and other helpful things for your body. That was the bulk of my work. Other than that, it was just a medical check-up."
"OK," you say.
"I have a lot of important work to do, now. You should've had enough time to recover."
Two of your massive space marine guards arrive, a roaring face on their thick helmets.
"Here you are," Magos Cern says. "Guards, make sure to walk slow. If at any point the patient starts puking blood, let him sit down for ten, maybe fifteen minutes."
"Shouldn't you keep him hearing for observation, then?" one of the guards ask.
"I have far too much work to do," Magos Cern says. "Don't disturb me. If anything goes wrong, go to Genetor Corivan. He is very experienced with medical matters."
"Yes, sir," the space marine says.
Magos Cern quickly heads off, walking off to a row of elevators. The space marines stare at you, and you climb out of bed with a groan.
"Ah, my head," you say.
"You should have headaches for the next 48 hours," Magos Cern shouts, right before she disappears into an elevator.
You stand, feeling a rush of blood hit your head. You walk after the space marines, along halls and up and down elevators, until you find yourself in the arena. Castus and Olive are there, mid-battle with each other.
"Oh look, it's tweedle-dum and tweedle-fucking idiot," Meliodas says. "Not even a laugh? Oh wait, you didn't grow up with nursery rhymes, you're from a Feral world. My bad."
Castus swings his sword at her, while Olive swings her rifle-axe up at his head. He rolls out of the way, kicking Olive's foot away and sending her to her knee, before booting her in the head. She collapses down, before rolling out of the way to avoid a downward stab by Castus. She grabs Castus' sword handle and punches him. Castus falls backwards, before taking up a fighting stance. Olive begins circling him, her gun-axe at the ready. She spots you, smiling.
"Karth's here," she says.
"Bullshit," Castus says, readying his sword.
"Karth, tell him you're here," Olive says.
"Yeah, I'm here," you say.
Castus turns to look at you, but Olive charges, swinging her gun-axe. She knocks the feet away from Castus, dropping his knee down on Castus stomach. Castus grunts before Olive grabs her gun-axe and holds it to Castus throat.
"Dead," she says.
"No fair, we were supposed to stop when Karth got here," Castus says.
"You're still dead," Olive smiles, standing up.
Castus grabs Olive's wrist, pulling her forward so his sword pokes into her stomach.
"Dead," he smiles.
"Seriously?" Olive says, rolling her eyes. "Fine, I'm dead. Are we finished yet? The kid needs training."
"Fine," Castus shrugs. "Let's start it."
Castus draws a dagger from his belt, staring at it. The blade is a bright silver, with an odd pattern etched into it. It's handle is a bright, light blue, with a short, silver horn coming from the end of the handle.
"Now, this is an absolute beauty. I really don't use it enough, so it's yours. Xenos-origin, so even owning it is heresy. The blade is razor sharp, it could cut through flesh and bone easier than it could through air. Here."
Castus turns, tossing the dagger straight at your head.
| 4 |
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| 8 | false |
You successfully hide amongst the refugees, and are transported to a nearby evacuation facility. You're given a cheap meal of Grox Jerky and soup, before being put into a massive fenced off area. Unfortunately, soon you learn that you overestimated how easy this would be.
"Ah, an inquisitor has arrived. We're going to die here." Meliodas says, as you hear his voice for the first time in a while.
You spot an Inquisitor, a heavily armored agent of the Imperium built for rooting out Chaos and Heresy. He stands, tall and heavily armored, a longsword glowing faintly blue clutched in one hand and a bolt pistol in the other. At his side is a grizzled soldier in Carapace armor holding a Flamer and snarling her scarred face as passer-bys, a man in browns robes holding a huge chainsword and a heavily cybernetically-upgraded Tech Priest. You wait patiently, attempting to hide every ounce of your power.
"It's not going to work," Meliodas says. "He's going to find us. You're going to die here. You can get revenge, though. Let me take you. Let me take hold of your body, and open a pathway through the Warp. I can summon endless hordes of daemons to this world, wipe out that inquisitor, gain your vengeance, and allow me power. We have a chance now."
He strolls along, stopping next to you. He looks down, raising an eyebrow.
"Are we experiencing more Warp Storms, Engsineer Low?" he asks.
"No, sir," the tech-priest says in a monotone voice.
The inquisitor rapidly raises a bolt pistol, aiming at you head as he swings the longsword.
"It's Karst! TAKE HIM DOWN!" he screams.
"Now, now! We can crush them! You're already dead. They can be too!" Meliodas howls in your mind.
> You try to reason with him
"Wait! You...!"
The inquisitor fires, and the bolts slam into your skull, ending your life. You hope to find a peace in death you could never find in sleep.
| 5 |
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| 1 | false |
You successfully hide amongst the refugees, and are transported to a nearby evacuation facility. You're given a cheap meal of Grox Jerky and soup, before being put into a massive fenced off area. Unfortunately, soon you learn that you overestimated how easy this would be.
"Ah, an inquisitor has arrived. We're going to die here." Meliodas says, as you hear his voice for the first time in a while.
You spot an Inquisitor, a heavily armored agent of the Imperium built for rooting out Chaos and Heresy. He stands, tall and heavily armored, a longsword glowing faintly blue clutched in one hand and a bolt pistol in the other. At his side is a grizzled soldier in Carapace armor holding a Flamer and snarling her scarred face as passer-bys, a man in browns robes holding a huge chainsword and a heavily cybernetically-upgraded Tech Priest. You wait patiently, attempting to hide every ounce of your power.
"It's not going to work," Meliodas says. "He's going to find us. You're going to die here. You can get revenge, though. Let me take you. Let me take hold of your body, and open a pathway through the Warp. I can summon endless hordes of daemons to this world, wipe out that inquisitor, gain your vengeance, and allow me power. We have a chance now."
He strolls along, stopping next to you. He looks down, raising an eyebrow.
"Are we experiencing more Warp Storms, Engsineer Low?" he asks.
"No, sir," the tech-priest says in a monotone voice.
The inquisitor rapidly raises a bolt pistol, aiming at you head as he swings the longsword.
"It's Karst! TAKE HIM DOWN!" he screams.
"Now, now! We can crush them! You're already dead. They can be too!" Meliodas howls in your mind.
> You follow Meliodas' plan
Daemonic Pawn
You release yourself, allowing Meliodas to take control. Your soul is burnt out, in a quick and slightly painful action, and your life is gone. You hope to find a peace in death you could never find in sleep.
The planet is soon overwhelmed. In the death of your soul, Meliodas opens a portal to the Warp. He manifests, alongside endless daemon armies. The inquisitor barely manages to react before he's wiped out. Soon, the world is taken. Ironically, a bitter alliance is formed between Kyros and the forces of the Imperium in an attempt to hold back the daemons who care not for Kyros' delusions of grandeur or supposed "loyalty" to the Dark Gods. Soon, the planet is theirs. The planet's populace is wiped out, and warp storms form, taking the planet back to the Chaos of the warp. The last sound on the planet, before it's plunged into the warp, is Meliodas' laughter.
| 1 |
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| 1 | false |
When you enter the room quietly, closing the door behind you with a soft click, the first thing you see is Cassamento standing on a platform with a console. He looks at Helena, who dangles over a pool of acid by a rope. There's a guard not too far away, but he's not going to be trouble; a chokehold puts him out for the count.
"Cassamento," you say, heading up the stairs to the platform, "It's over. Let her go."
"Hmph. I thought you'd be dead by now, you faceless freak," Cassamento spits, "But no matter. Now you get a front row seat to Huntress' death." He flips a switch on the button, and the rope snaps. Huntress begins to fall.
> You use your grappling hook to swing to the other side of the room, grabbing her before she hits the acid.
Thinking fast, you pull out your grappling hook and fire, the hook fitting snugly onto a rafter. You don't give yourself time to see if it's holding on tight, however, and instead swing into the path of the falling Huntress. You grab her and pull her back to the platform, to safety.
Helena grunts slightly as she gets up. "Q. Thanks for the help." She looks at Cassamento. He backs away slowly.
Wordlessly, she pulls out her crossbow and aims at him.
> You stop her. She doesn't need to go down this path.
"Huntress," you say, "Don't."
"Why, Q? Give me one good reason why I shouldn't kill him right here, right now?" Huntress spits, crossbow still leveled at Cassamento's head.
"Killing one's enemies only lead to self destruction. Look at the path you were on. The reason no one trusted you was because of the fact that you killed. Eventually, you'll wind up alone, or dead. Is that really what you want?"
She squeezes the trigger slightly...
And lowers the crossbow. "No... That's not what I want at all."
You sigh in relief. She takes a pair of handcuffs out of her utility belt, cuffing Cassamento to the railing. "Let me gather up evidence, then we can head back to your apartment."
The two of you begin to walk away...
> You continue
... But Huntress stops, and turns to the bound Cassamento. Her brown eyes meet his not dissimilar ones, staring into them. "... Why?" she begins, "Why did you do all this? What was there for you to gain?"
"Besides the obvious?" Cassamento replies, chuckling bitterly. "I would've gained satisfaction."
"I doubt you hate me that much just for interfering with your business."
"You've no idea how much I utterly despise you," he glares at her. It's enough to make even you shudder.
"Just tell me why," she says, aiming her crossbow at his head, "or I will kill you."
"Put that weapon down, Helena Rosa," Cassamento begins, "before you accidentally kill your father."
That gives the photo you found context.
"... Liar. You're not my father."
"Oh, but I am." He reaches his uncuffed hand into his back pocket, pulling out his wallet. After a moment of struggling he pulls out a photo, of himself and Huntress's mother. The two are obviously about to engage in sexual activity, Cassamento's hands fondling her breasts and her head craned to lay kisses along his neck. Huntress's eyes widen at the photograph. "Take a look at this, Helena."
"... W-wh... What's happening in that photo?"
"What do you think? We were about to conceive you."
Huntress takes a moment to compose herself, then lets out a breath. "Even... Even if you are my father, that doesn't explain why you want me dead."
"Because I hate you. I hate that you're alive while she is dead."
"There was nothing you could do," Huntress interjects, "the man shot her, not m-"
"Nonetheless, if it weren't for you, she'd be alive. If it weren't for you, that damn hitman wouldn't have misinterpreted my instructions..."
"What?"
"I hired the hit on your family. I told the man to spare the sister. I meant Tomaso's sister, your mother. He must have thought I meant you." He shakes his head, then stares at Huntress. "I had to avenge her."
Before you can react she's aiming the crossbow at Cassamento again, and it's only at your touch that she falters before dropping it. Instead, she opts to kick him in the face, knocking him out.
"Let's get the hell out of here," Huntress says. You nod, leaving the manor.
> You continue
You leave the manor with Huntress, dropping off a flash drive full of evidence from Cassamento's files from his own computer (nix the information on Huntress' identity). Soon enough, her name is cleared for those crimes.
The next day, you tell Huntress, or rather Helena, that you're going to be heading back to Hub City before the week's out. She nods after a moment, then asks you: "Why did you do all this? Why'd you risk your neck to help me out?"
This is the moment of truth...
"Because I... Like you." You turn away, sure that you're going to face rejection.
Her eyes widen in surprise.
"Q... I'm... I'm sorry, but I don't feel that way about you." This is what you were expecting. Rejection. "Can we just be friends?"
"Of course," you reply, smiling. "I'd like nothing better."
> The End
A Week Later...
As the train makes its way to Hub City, you smile, content with your time spent in Gotham. Sure, you didn't get Huntress to dramatically declare her love for you, but really it all worked out in the end. And, now that you think about it, both of you are better off this way. Friends. Friends works.
You take a look out the window, and see the Hub City skyline drawing closer. All you can think is how this was a hell of an adventure, and there are sure to be more on the way.
There ain't no rest for the wicked, after all.
THE END
| 4 |
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| 7 | false |
Thinking fast, you pull out your grappling hook and fire, the hook fitting snugly onto a rafter. You don't give yourself time to see if it's holding on tight, however, and instead swing into the path of the falling Huntress. You grab her and pull her back to the platform, to safety.
Helena grunts slightly as she gets up. "Q. Thanks for the help." She looks at Cassamento. He backs away slowly.
Wordlessly, she pulls out her crossbow and aims at him.
> You don't. He's got what's coming to him.
You don't even lift a finger. Not a minute later and the two of you leave, a crossbow bolt between Cassamento's eyes.
You say nothing as you head back to her apartment.
> The End
A Week Later...
You find yourself taking the train from Gotham back to Hub City, sighing in sadness. You couldn't save her from herself, either in spite of or because of the fact you tried. No longer do you feel attracted to her, now you just pity her. But she's dug her own grave.
Still, you helped her out a bit with the evidence. Made sure to submit it all to the GCPD, without any information regarding Huntress' identity of course. That's the only help you'll offer her anymore. It's a damn shame.
The Hub City skyline approaches. You're home.
THE END
| 3 |
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| 1 | false |
Your loafers clack upon the floor as you run up to him, and he turns around to meet a punch to the face. He stumbles, pulling out his baton and swinging it at you.
> You disarm him.
You get a good hold on his baton, though you fail to yank it out of his grasp; instead, he punches you right in the face, you falling back from the force of it. He beats on you with his baton, until you're out cold. The last thing you hear before consciousness fades is him talking on a walkie talkie, about how he got 'another one'.
You wake up hovering over a pool of acid.
This is just stereotypical. Breaking stereotypes, however, Cassamento doesn't reveal his master plan or anything and give you a chance to escape while he goes off on a filibuster. No, he just wishes you a good death, before he lowers you and a still unconscious Huntress into the pool.
Your last thoughts are of her and how you wish things had went differently than this.
You're Dead!
| 2 |
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| 2 | false |
The backdoor of the mansion leads into the dining room. Hands in your trench coat pockets, you continue to walk, keeping an eye out for any danger. And it is danger you find, in the form of a guard patrolling the hallway leading to the stairwell. He only has a baton on him, no pistol from what you see. Just down and dirty brawling with him, it seems.
Alternatively, you can avoid him entirely.
> You wait until he passes by, then head up the stairs.
You wait patiently for the guard to pass by. He continues his patrol, leaving the hallway, and you slip up the stairs to find Cassamento.
| 4 |
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| 0 | false |
The next night finds you raiding Cassamento's manor.
Huntress will take one path through the front; you'll take the back, through the hedge maze and into the manor proper. The two of you will meet up at Cassamento's study after you've taken out all the guards in your path.
Guards patrol the hedge maze, presumably so they can make sure no one is trying to sneak through it, like you currently are. You've got to take out every one of the rat bastards. Better get started, eh?
How do you want to play this?
> You be quiet about it; sneak through the hedge maze and knock them out, one by one.
You've got to play this quiet. Leading them all to you would just be suicide. Sticking to the shadows, you begin to dispatch the guards. Here's your first one.
You leap out of the hedges and tackle him, covering his mouth. "Let me ask you a question," you hiss, "Do you know how easy it is to break bones when you're used to doing it? Here, let me show you." With those words you grab a finger and yank. It snaps like a toothpick. His screams are muffled by your hands.
"Good night," you deliver a hard punch to his face, blood spewing out of his broken nose as his eyes roll back into his head. You continue on. This is gonna take a while to get them all one by one.
> You continue
12 minutes later...
You finish up knocking out the last one before he can scream. He continues to squirm even as you beat his nose in, but before long he's out, just like everyone else. You stand up and head to the mansion, confident all the bastards on your side are taken care of.
The manor is just like how you remember it: large, foreboding. As you approach, you can tell this is the end of your quest. Cassamento is behind it all. Call it intuition.
You slip in through the backdoor.
| 4 |
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| 9 | false |
The two of you enter her secret room through her bedroom, like you have so many times over the course of the week. With Tomaso Panessa dead, you're not sure exactly who is behind the murders, or if it's even connected to the mob at all. Yourself and Huntress have been tracking leads, however, and with the information you uncovered tonight it's time to make your move.
"Alright Vic," she says, leaning against the wall, "We found out that Cassamento is taking over some of Panessa's operations now that Tomaso's dead. This can't be a coincidence," she approaches the table.
"Right. It all leads back to Cassamento. We have to find out what he knows. He might've been the guy behind it after all, leading us on a cat and mouse chase," you reply.
"Exactly. So how do you want to do this?"
> You say "We sneak in to talk to him like last time."
The next night finds you raiding Cassamento's manor.
Huntress will take one path through the front; you'll take the back, through the hedge maze and into the manor proper. The two of you will meet up at Cassamento's study after you've snuck past all the guards in your path.
Guards patrol the hedge maze, presumably so they can make sure no one is trying to sneak through it, like you currently are. You've got to be quiet, alerting them will just mean bad things.
> You dart quickly away from guards when you see them, tread quietly otherwise.
This works well for a bit; that is, until you actually come across a guard. You accidentally step on a twig when darting away from one, he hears you and quickly turns around, finding you frozen like a deer in headlights. A quick burst from his rifle sends you into unending blackness.
You're Dead!
| 3 |
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| 9 | false |
The next night finds you raiding Cassamento's manor.
Huntress will take one path through the front; you'll take the back, through the hedge maze and into the manor proper. The two of you will meet up at Cassamento's study after you've snuck past all the guards in your path.
Guards patrol the hedge maze, presumably so they can make sure no one is trying to sneak through it, like you currently are. You've got to be quiet, alerting them will just mean bad things.
> You be slow and careful. Mindful of your surroundings.
You tread through the hedge maze quietly, avoiding guards by hiding behind the hedges when you see them and being slow and careful otherwise. Before long, you find yourself in front of the mansion's backdoor, unscathed and with the guards none the wiser of your presence.
| 4 |
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| 3 | false |
You dispatch a hitman with the swing of a baseball bat to his head, the wooden piece of sports equipment breaking in half off of his thick skull.
Huntress tosses you a piece of pipe to replace your bat, and you catch it, voicing your thanks before you face off with another hitman. He's a big, burly guy; he's so large it seems like this piece of pipe will barely do anything to him.
The behemoth grins down at you, cracking his knuckles.
> You hit him under the jaw with the pipe!
You swing the pipe in an upward arc, it ending in right under his jaw. Though his head snaps back, he looks back down, shaking it slightly before his grin intensifies. He grabs you by the neck with a hand that's damn near the size of your head.
He begins to squeeze, you dropping the pipe as you begin to clutch at your neck, trying to free yourself from his grasp for air, air, sweet sweet air-
Huntress hits him with a bolt to the shoulder from behind, and he shouts in pain, letting go of you. Catching your breath quickly, you jump up and slap your hands on both of his ears as hard as you can. He clutches at the sides of his head in agony, before you sweep his legs out from under him and knock him out with a few quick hits using the pipe.
Another hitman tries to ambush you from the back!
| 3 |
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The two of you arrive back at the apartment. The sun sets, casting Gotham in an ominous orange glow; promising that this night, like every other night, will not be a pleasant one. You sit Helena down to explain what you found. When you're finished, she looks shocked.
"How could Tomaso find out that I'm Huntress? It's impossible."
"At a guess," you begin, "you had a run-in with him and he managed to recognize you through your voice, your eyes, or something similar. Have you had a run-in with him?"
"... I did, a year ago. Fuck, I can't believe it... And he's behind the murders too?"
You just nod.
"But why?"
"That, I don't know. We'll have to interrogate him."
Helena just shakes her head, "I dunno, Q, I-"
"Vic," you say.
"Huh?" she asks, looking confused.
"My name is Vic."
"... Okay, but I dunno, Vic. I... Just want to process this. Mind if I stay in tonight?"
You nod your head, "Sure thing..."
> You say "... Mind if I crash on the couch again?"
She nods, "Not a problem. Good night." She heads into her room, and you spread out on the couch. You're out like a light in a few minutes.
| 6 |
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| 1 | false |
You head back to your table and tell Helena that you'll fill her in when the two of you leave. Nino and his bride say their vows, then kiss at the altar. The dances start.
You consider asking Helena to dance.
> You don't ask.
The two of you just sit at your table and watch the people dancing. Helena looks a bit disappointed as she watches, but you're not too sure why. Eventually, it all wraps up, and the two of you leave the wedding.
| 3 |
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| 0 | false |
The diner seems quaint and in decent shape for being out in the middle of nowhere. The old man steps behind the cashier counter and pulls out a double barrell shotgun from behind it and begins loading it.
His face is stern and weathered. It seems he has seen battle in his lifetime, you can't quite tell if it has been WW2 or Vietnam. The man screams out something you can't understand and a woman of about the same age appears from behind a set of doors.
She is morbidly obese and has a huge apron on with spurts of food and liquid stained from use.
"Get this man something to eat." the old man bellows and the woman dissapears behind the double doors. She returns with a large bowl of chili and some saltines. The food opens up your oifactory senses as she sets it at the table in front of you.
Dropping the flashlight beside you on the seat you sit down and start to open the crackers. The chili smells great but what if you would prefer something else. Should you ask for a menu instead or enjoy their hospitality and chow down.
"Well eat up boy." states the old man. "It's on the house."
He walks around the counter and begins looking out the glass doors of the diner. Looking for a shooter perhaps.
"Why was someone shooting at me?" you ask.
"Eat now and questions later." says the man looking out into the moonlight.
The woman begins to go back to the kitchen but asks you if you like a soda before leaving.
> You eat the chili
You never had chili so good. The woman sits behind the counter watching you eat every spoonful.
"Was it good?" she asks...almost giggling.
"Oh yeah." you respond with a huge BELCH!!!!
Your stomach starts to rumble and you find yourself in need of the toilet.
As if reading your mind, the lady motions to a sign in the back corner or the room that reads:
RESTROOMS
You mouth the words "Thank You" to her and dash for the restroom.
| 3 |
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| 2 | false |
The diner seems quaint and in decent shape for being out in the middle of nowhere. The old man steps behind the cashier counter and pulls out a double barrell shotgun from behind it and begins loading it.
His face is stern and weathered. It seems he has seen battle in his lifetime, you can't quite tell if it has been WW2 or Vietnam. The man screams out something you can't understand and a woman of about the same age appears from behind a set of doors.
She is morbidly obese and has a huge apron on with spurts of food and liquid stained from use.
"Get this man something to eat." the old man bellows and the woman dissapears behind the double doors. She returns with a large bowl of chili and some saltines. The food opens up your oifactory senses as she sets it at the table in front of you.
Dropping the flashlight beside you on the seat you sit down and start to open the crackers. The chili smells great but what if you would prefer something else. Should you ask for a menu instead or enjoy their hospitality and chow down.
"Well eat up boy." states the old man. "It's on the house."
He walks around the counter and begins looking out the glass doors of the diner. Looking for a shooter perhaps.
"Why was someone shooting at me?" you ask.
"Eat now and questions later." says the man looking out into the moonlight.
The woman begins to go back to the kitchen but asks you if you like a soda before leaving.
> You demand an answer from the old man
"Who is shooting at me...do you know?"
The old man looks in your direction and gives you a strange glance. He quickly moves away from the door and disappears down a hall in the back of the diner marked "Restrooms."
Maybe it was the outside light of the flashing "Captain Trips Diner" sign but something did'nt look quite right in the old man's eyes.
Now is your chance to run but risk getting shot outside. You grab your flashlight and hold it under the table.
"Maybe I can whack him with this when he is not looking." you think.
| 2 |
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| 1 | false |
The diner seems quaint and in decent shape for being out in the middle of nowhere. The old man steps behind the cashier counter and pulls out a double barrell shotgun from behind it and begins loading it.
His face is stern and weathered. It seems he has seen battle in his lifetime, you can't quite tell if it has been WW2 or Vietnam. The man screams out something you can't understand and a woman of about the same age appears from behind a set of doors.
She is morbidly obese and has a huge apron on with spurts of food and liquid stained from use.
"Get this man something to eat." the old man bellows and the woman dissapears behind the double doors. She returns with a large bowl of chili and some saltines. The food opens up your oifactory senses as she sets it at the table in front of you.
Dropping the flashlight beside you on the seat you sit down and start to open the crackers. The chili smells great but what if you would prefer something else. Should you ask for a menu instead or enjoy their hospitality and chow down.
"Well eat up boy." states the old man. "It's on the house."
He walks around the counter and begins looking out the glass doors of the diner. Looking for a shooter perhaps.
"Why was someone shooting at me?" you ask.
"Eat now and questions later." says the man looking out into the moonlight.
The woman begins to go back to the kitchen but asks you if you like a soda before leaving.
> You accept the soda
"Yes, ma'am." you say.
"I'm parched and would love a soda right about now."
The woman gives you a nice smile and disappears behind the doors. The old man begins pacing in front of the doorway mumbling something under his breath.
The bowl of chili looks really good but would go better with a tall glass of your favorite cola. The woman returns with a large pitcher of ice and fizzy soda. She sets down a red 32oz. glass with Coca-Cola inscribed on the side and fills the glass with soda.
You flash her a quick glance of acceptance and swallow the whole thing down. Even small bits of ice slide by tickling your throat.
You slam down the glass and the lady begins laughing in appreciation.
"I love a man with an appetite." she says with a chuckle.
Having said that, you dig into the chili. It is darker and thicker than any you have ever had before. The saltines seem to disappear in the bowl as you shovel spoonful after spoonful into your mouth.
Soon the bowl and the pitcher are both empty and you feel great.
The man grabs his flanel jacket from of a coat rack by the door and goes outside in front of the diner. Swinging the shotgun in the air he screams out something you don't understand.
"Must be some foreign language" you think.
You scan the room for a phone but find nothing.
The diner lady begins to laugh at the old man and walks toward the kitchen entrance. The old man retunrs with a frown on his face and looks toward you. He sets the gun back behind the counter and sits down on the other side of the table you are sitting at and puts his face in his hands as if exhausted.
You can hear the buzzing of the large neon sign out front.
| 3 |
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| 2 | false |
Reaching into the glove box of your truck, you grab your 6 D cell MAG flashlight.
"This could double as a weapon." you think to yourself as you start down the gravel road toward the light.
Time goes by and you can make out a neon sign flickering on and off in the distance. It starts to get colder by the minute and your jacket doesn't quite keep you as warm as you want to be.
" This is truning out to be more than I bargained for." you say in a whisper.
Suddenly a CRACK echoes in the distance and something whizzes by your face. You drop to the ground behind one of the rock formations. CRACK....CRACK....something imbeds itself deep into the formation you are hiding behind.
Is someone shooting at me?
CRACK...
The noise seems to be coming from a far distance but definitiely directed at you.
What do you do...
> You shine the flashlight at the direction of the noise
You hide behind one of the earthy mounds and shine the flashlight in the direction the bullets seem to be coming from.
There seems to be some nearby hills and ....something just moved. You dust off dirt from the mound that poured onto your shirt and lap and settle back behind the mound. You attempt to flash the light in the same direction but....the mound begins to move...again.
Backing away...you hear a distant cry.
"Get outta there!!!!"
You look over in the direction of the distant light and see a man yelling and waving at you.
Bam....Bam...
Bullets whiz by you as you make your way toward the man. As you do, the earth seems to rumble and fall out from underneath you.
You fall back into a small hole. The mound you once hid behind begins rumbling toward your direction.
Bullets ricochet off the mound making it rumble even more. A strange noise eminates from it sounding like a shreik. It echoes in the night sky.
> You try to make your way toward the man
You run as fast as you can, bullets whizzing past you. Getting closer, you see the man is standing in front of a small building. A giant neon sign flashes brightly and the old man beckons you inside.
The sign reads "Captian Trips Diner."
As you stumble through the door a bullet bounces of the large sign causing sparks as some of the light bulbs go out.
The room is full of booths and a counter with spinning seats just like an old 50's diner.
" Go catch your breath." the old mans bellows and motions you toward a corner booth.
Soon your heart trate slows to normal and your breathing is not so fast and heavy.
"Time for some chili." states the old man. "It's the best in the west!!"
| 3 |
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| 3 | false |
You hide behind one of the earthy mounds and shine the flashlight in the direction the bullets seem to be coming from.
There seems to be some nearby hills and ....something just moved. You dust off dirt from the mound that poured onto your shirt and lap and settle back behind the mound. You attempt to flash the light in the same direction but....the mound begins to move...again.
Backing away...you hear a distant cry.
"Get outta there!!!!"
You look over in the direction of the distant light and see a man yelling and waving at you.
Bam....Bam...
Bullets whiz by you as you make your way toward the man. As you do, the earth seems to rumble and fall out from underneath you.
You fall back into a small hole. The mound you once hid behind begins rumbling toward your direction.
Bullets ricochet off the mound making it rumble even more. A strange noise eminates from it sounding like a shreik. It echoes in the night sky.
> You try to make it back to the truck
You try to work your way out of the hole but it seems impossible. All of the earth around you is moving and swirling as if alive. Soon you are unable to reach the top of the hole as the mound moves over you... filling the hole.
You are crushed.
~THE END~
You have reached the "Gargoyles" ending.
| 3 |
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| 3 | false |
Driving on the gravel seems to wake you out a lull that you seem to have been in. The rocks kick and ding against your truck making this road a bit louder to drive on. Every now and then you hit a pothole or have to go around one of those rock mounds you seem to be surrounded by.
A very large hole on the right comes into view and you swing your steering wheel left coming into contact with a rock formation. You strike the mound almost head on throwing you forward and the seat belt jerking you back but not before your head strikes the dashboard making your vision blur momentarily.
A low, gutteral sound comes from somewhere close by... almost like a shriek.
All goes quiet...
Your head begins to throb as you try to get out your truck. The door is wedged into the side of the what is left of the rock formation. You feel a cold substance dripping down your left arm.
"Oh, no...Am I bleeding?" you think.
Slipping to the passenger side you make your way out of the truck.
You stagger over to the front and find the headlamps are still working but the engine is now off. You notice a black substance spattered against the side of the truck. It looks like oil.
The last thing in the world you need now is no transportation.
Off in the near distance is the flashing light still beckoning you to come hither.
You have no choice...well, you could go back to the main road and try hitchhiking with the first car that comes by...which might never happen.
"Hey, what about my cell phone...Yeah, I got triple A." you think.
> You try hitchhiking back at the main road.
It doesn't take long before you to see headlights coming down the main road.
You never thought you would be doing this but you stick your thumb out and motion the car toward you.
Something magical happens...the car pulls over as it slowly passes and the passenger door flies open. Two quick honks of the horn for you to get in.
> You get in the car
Closing the car door behind you, you get a big whiff of smoke. It's very dark inside the large car but you make out the silhouette of the driver smoking a cigarette or something.
"You shouldn't be out here." the driver states in a "matter of fact" tone.
"Goblin Valley is not safe at night." he says. "You know how it got it's name?"
You stop to ponder this man's motives. He hasn't even stopped to introduce himself or anything. I guess beggars can't be choosers.
You shake your head "NO."
"The legend of Goblin Valley dates back to the 50's where some archeologists found fossilized bones in some caves out here." " They were said to be those of gargoyles."
A laugh escapes your lips and you pucker up real quick to stop anymore from coming out.
"I'm not kidding." says the mysterious driver aounding a little angry at you.
" It was said that at night they would fly around trying to find human females to breed with and then ... keep them in the caves until giving birth. This process would usually kill the female humans.
"Is this guy crazy." you think. Maybe he just likes scaring hitchhikers he picks up out here.
> You try an change the conversation
"Where are we headed?" you break into his conversation.
"Gold Flake" he responds after a short pause.
"I can't wait to get there....anything is better than listening to this guy go on about gargoyles. you think."
....think again.
> You to Gold Flake...this way...
The sun starts to come up over the horizon as you enter the town of Gold Flake.
The driver, you now notice, is an old man chewing on a large cigar.
"This is it." he says with a growl. He stops the car in front of a old wooden sign marked "GOLD FLAKE."
You are glad to get out and smell fresh air for a change. As he drives off, he kicks up dust making it hard to see.
You wave to the old man with only your middle finger outstretched.
Turning toward town, you look for any signs of life. Maybe you can get somebody with a working phone to call your uncle.
You notice a saloon nearby and see if anyone is around.
| 3 |
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Closing the car door behind you, you get a big whiff of smoke. It's very dark inside the large car but you make out the silhouette of the driver smoking a cigarette or something.
"You shouldn't be out here." the driver states in a "matter of fact" tone.
"Goblin Valley is not safe at night." he says. "You know how it got it's name?"
You stop to ponder this man's motives. He hasn't even stopped to introduce himself or anything. I guess beggars can't be choosers.
You shake your head "NO."
"The legend of Goblin Valley dates back to the 50's where some archeologists found fossilized bones in some caves out here." " They were said to be those of gargoyles."
A laugh escapes your lips and you pucker up real quick to stop anymore from coming out.
"I'm not kidding." says the mysterious driver aounding a little angry at you.
" It was said that at night they would fly around trying to find human females to breed with and then ... keep them in the caves until giving birth. This process would usually kill the female humans.
"Is this guy crazy." you think. Maybe he just likes scaring hitchhikers he picks up out here.
> You ask to get out of the car.
"Let me out of the car!" you demand.
Although it's dark in the car and you can't see the man's face, you know he is looking at you. After a quick pause he says "I'm not slowing down 'til I get to Gold Flake."
The man guns the engine and soon your way past Goblin Valley toward the town of Gold Flake.
| 3 |
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| 5 | false |
Driving on the gravel seems to wake you out a lull that you seem to have been in. The rocks kick and ding against your truck making this road a bit louder to drive on. Every now and then you hit a pothole or have to go around one of those rock mounds you seem to be surrounded by.
A very large hole on the right comes into view and you swing your steering wheel left coming into contact with a rock formation. You strike the mound almost head on throwing you forward and the seat belt jerking you back but not before your head strikes the dashboard making your vision blur momentarily.
A low, gutteral sound comes from somewhere close by... almost like a shriek.
All goes quiet...
Your head begins to throb as you try to get out your truck. The door is wedged into the side of the what is left of the rock formation. You feel a cold substance dripping down your left arm.
"Oh, no...Am I bleeding?" you think.
Slipping to the passenger side you make your way out of the truck.
You stagger over to the front and find the headlamps are still working but the engine is now off. You notice a black substance spattered against the side of the truck. It looks like oil.
The last thing in the world you need now is no transportation.
Off in the near distance is the flashing light still beckoning you to come hither.
You have no choice...well, you could go back to the main road and try hitchhiking with the first car that comes by...which might never happen.
"Hey, what about my cell phone...Yeah, I got triple A." you think.
> You try your cell phone.
Just like in the movies.
No signal.
All you can do is go back to the main road or travel further up the gravel road and check out the flashing light.
| 3 |
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| 5 | false |
You are navigating and driving at the same time when you come to a fork in the road.
"That's funny." you think. "The map shows no fork in the road here.
One road is dirt and seems to lead into a desert area...a wooden sign reads "Goblin Valley 30 miles."
The other road is paved and seems to go on for miles and miles. A sign is posted that says "Interstate 666 junction 100 miles."
You find Goblin Valley on the map but it is'nt anywhere near where you need to go and you can't even find Interstate 666.
Well, you need to choose one...
> You paved road to Interstate 666.
By nightfall, you reach the junction to Interstate 666. You feel tired and are amazed that it is growing dark. The day seemed to just fly by.
You notice an old broken down neon sign in the distance. As it comes into view, the sign reads "Motel Hello." The "o" seems to flicker on and off. A few cars are parked out in front of the office.
"Maybe I could get directions to Interstate 44 (which, according to the map, is the road you should be on right now.)"
You park your truck and go into the office. An old dusty counter and a bell is just about all that resides in this room. You ring the bell twice...nobody. You ring again...nothing. You notice the keys to the rooms hanging behind the counter. You could grab one, unpack, and try back later.
Which is it?
> You grab a key.
You notice a thick coat of dust caked over everything in your room except for a VHS machine hooked up to what seems to be a brand new Zenith 36" color t.v. A video tape sits inside the mouth of the VCR machine. The tape is without a label.
Hmmmmm....
> You try to get some sleep.
You hop into your "Sponge Bob" pajamas and pull back the covers to the bed. You find more dust under the covers than what was on top. You try the best you can to brush away the dust but there is just too much of it.
"This bed has not been slept in years." you think.
You need someplace to rest but it's definitely not going to be here.
Fed up with the place, you pack everything up and head down the road in hopes for a more accomidating facility.
> You keep going down route 666.
Another 2 hours go by and you see nothing resembling civilization. You start to run low on gas when you notice an old, washed out billboard that reads "Gas and Mini-mart up ahead 2 miles." The sign seems very old but the lights shining on it are very bright...as if just changed out.
You head on toward the gas station...
> You 'cause you got to go pee!!!
You reach the gas station just in time. The truck sputters up to the gas pump. There are two other vehicles pulled up to the Mini-Mart entrance. A red mini-van and an 18 wheeler...well, just the cab.
You notice the gas pump is missing it's nozzle. A sign hangs over the pump that reads "Out of gas." On further observation, you notice all four pumps have the same sign hanging over them.
Great!!! Now what?
You notice people moving about in the mart. The lights are bright but you are too far to see what is going on inside.
It seems that a man and a woman are walking around the store and another is behind the counter.
What do you do?...you need fuel somehow.
> You go inside and ask about the gas pumps?
Upon passing the drivers side of the mini-van, you hear a muffled, high pitched squeal followed by some rumbling. The red van begins to shake a little and then comes to a stop.
The windows are tinted but, at closer look, it seems you can make out a hunched over figure sitting in the back.
The rumbling starts again followed by some grunting.
"What could be going on in there?" you think to yourself.
> You investigate further?
You make your way over to the passenger's side of the red mini-van and check the sliding door. It's unlocked.
A petite woman is tied up in the back seat of the van. Duct tape runs across her mouth. She turns her head toward you and begins screaming through the tape. The muffled sounds of her screams catch the attention of the attendant inside the mini-mart.
You watch as he grabs a double barrel shot gun from behind the counter and points it in your direction.
The first blast causes the glass of the mini-mart window to shatter. You don't wait for the second. In a flash you get into the van and slide the door shut. You turn and quickly pull the tape from the mouth of the woman.
"HELP ME!!!!!" she screams. "I've been kidnapped by these two maniacs!!"
The second blast shatters the van's windshield and rocks it from side to side. Pieces of glass cover the dashboard and front seats.
"AAAAAHHHHH!!" you both scream.
Looking for a way out of this mess you notice the keys are still in the ignition.
"Let's get the heck out of here!!" you say as you slide into the driver seat. You catch a glance at the crazy mini-mart attendant reloading his gun and running for the mart's front door.
The van comes alive and you peel out of the parking lot and back on to the interstate.
Looking in the rearview mirror, you see two large figures get into a car and drive in your direction.
You mash on the gas pedal and check the speedometer. It reads 70mph....80mph....90mph....The woman sitting in the back suddenly screams and yells "WATCH OUT!!!!"
You look up in time to spot a man in the middle of the road. He is waving his hands wildly over his head. He seems to be screaming something. You are heading right at him...headlights glaring in his eyes...
Can you swerve out of the way?
| 3 |
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| 2 | false |
Upon passing the drivers side of the mini-van, you hear a muffled, high pitched squeal followed by some rumbling. The red van begins to shake a little and then comes to a stop.
The windows are tinted but, at closer look, it seems you can make out a hunched over figure sitting in the back.
The rumbling starts again followed by some grunting.
"What could be going on in there?" you think to yourself.
> You continue on into the mini-mart?
"I'm not getting involved." you think as you open the door to the mart.
You slowly look around inside and nod "Hi." to the attendant behind the counter. He is an older man in his mid 30's and heavily tattooed with fading images of half naked ladies and a rose with what used to be a dagger but now looks like an ugly bruise on his forearm. Tattooed flames come up from the left side of his neck although most of the tattoo is hidden under his work shirt.
The attendant quickly waves and then points his attention back to the couple in the candy aisle. A man and a woman are huddled around each other. They seem to be attempting to shop lift and doing a poor job of it.
The attendant is about ready to call their bluff just as you walked in...or so it seems.
You watch as the attendant pulls a sawed off shot gun from behind the counter and point it at your head.
"Get with the others." he says very clamly.
Without hesitation, you walk over and stand in the candy aisle with the couple. At closer look, you notice the woman carrying an infant and the man attempting to keep it calm.
"I just came in here to ask about the gas...because my truck is..." you start to say.
"Does it look like I care what you need?" the attendant bellows. "I'm waiting for my partner and then we get the heck out of here!!"
> You keep your eye on the shotgun.
Seeing the shotgun reminds you of the a murder spree that has gone on for the past month.
Apperantly, there are three men that escaped prison and are taking hostages and killing anyone that gets in their way. You've been reading about it in the paper.
Looking down beside the counter you spot newspaper rack. You notice the attendant's ugly mug all over the front page. it reads "TWO ESCAPED CONVICTS KILL 3 ON ROUTE 666!"
At closer look, you spot YOUR FACE and those of the unfortunate couple you are with.
"Lets go." says the partner as he comes out from the back room zipping up his fly.
"Let's grab some "Hot Pockets" and some beer...oh and maybe some candy for the kid tied up in the van." We got to get to the "Titty Twister Bar" by sun up."
"Everybody be cool...." says the tattooed guy as he takes off the attendant's vest and throws it down behind the counter...with the real attendant's body.
"...I just did'nt want you to miss the Splatter Show."
BLAM! BLAM! BLAM!
THE END
You reached a "DUSK TIL DAWN" ending.
| 4 |
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| 3 | false |
You fire a bolt of energy, but Kyros sidesteps it with unnatural speed. By now, all the various leaders are standing, their weapons raised.
"How did you pass my sensors?" Primus asks.
"Please," Kyros laughs. "Did you not think my powers are strong enough to do so?"
"How the fuck are you even alive, Kyros?" you ask.
"Kyros? Ha! Kyros was a petty fool. Don't you recognize me, Karth?"
You shake your head, still ready to engulf him in flames.
"No? You don't remember my little voice in the back of your mind? I am Meliodas," Kyros says, taking a bow.
"What?" you ask.
"Oh, it was simple. I've wanted to take a form in this world for some time. I helped you, paying close attention, seeing potential, and assisted you as best I could. Fortunately, as you fought Kyros, I saw his mental defenses weaken during the fight between you and him. As he lay dying, the mutants at his throat, he was broken. I easily possessed his form, devoured his soul, and killed those stupid mutants with my daemonic powers."
"You're a daemon?" Elios asks.
"Damn right," Kyros, or Meliodas, says.
You take some time to explain who Meliodas is to your other lieutenants, but soon they understand. After some extensive questioning and psychic testing to ensure that this is in fact Meliodas, he takes a seat at the table.
"What are you doing?" you ask.
"Well, I helped advise Karth. I'm one of his best advisors. Surely I deserve a place here?" Meliodas says.
"I suppose," you say.
"Give him a seat. Us Chaos followers could use an extra vote for our side," Durge says. "Now, can we continue?"
"Don't hold off on my account," Meliodas grins.
"Alright, let's be realistic, shall we?" Elios says. "We're Chaos. We worship the Dark Gods, corrupt, parlay with demons, all that shit. We're not changing. We also know that we've lost a shit-ton more men because of little sis' rage against us, so if this comes down to a civil war, we're all dead and you win."
"Go on," you say.
"So, we have two options. Option One: You keep control of the ship," Durge says. "We'll serve under you as long as we see fit, but we most likely don't leave, and we decide our path forward as a group."
"Option two: you abandon the ship to us," Durge says. "We find you a world of your choosing, a little paradise world far from the reaches of the Imperium or any other enemies. It'll be our gift to you. You can pick out the world, we'll transport any who want to go there to it as well as all you'll need to survive and build a large, happy community. You'll be able to peacefully retire and live out the rest of your lives, never worrying about this ship or the battles it will fight."
"One moment," you say, pulling your lieutenants together. "So... What do we think?"
"Eh," Cain grunts.
"We're not going to abandon this ship, are we?" Olive asks.
"This is a massive war machine. We should stay.
"I'm not adverse to settling down," Fay says. "But we could take the ship anyway. With control of the ship, we could carve ourselves a little empire. Nothing on the level of Kyros' aspirations, but hey, better than our ancestors could ever have dreamed of."
> You ask your lieutenants
"So... What do we think?" you say, pulling your lieutenants together.
"I abstain from the vote," Cain shrugs.
"Unhelpful," you note.
"We could take the ship, live the life I raiders, going from place to place, taking what we want," Castus says.
"Raiders?" Olive says. "The path forward is mercenary work. Similar to Castus plan, except we get paid a lot more, and we'll end up with powerful allies unlike if we were raiders being hunted by everyone."
"I'm not adverse to settling down," Fay says. "But we could take the ship anyway. With control of the ship, we could carve ourselves a little empire. Nothing on the level of Kyros, but hey, better than our ancestors could ever have dreamed of."
| 3 |
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| 11 | false |
You writhe tossing the sheets off you as you lie in bed, panting. Another nightmare. Another night of horrors, terrors and daemonic voices screaming at your soul. You take a deep breath. Focus. In. Out. In. Out. You rest your head against the pillow, sighing.
Suddenly, Fay appears in the doorway, wearing combat armor, scratching at her short hair.
"Morning," she says.
> You say "What are you doing here?"
"I came to check if you were up, and the door was open," Fay says.
"OK. I'm up," you reply.
"Cool," Fay replies, not moving. "Hurry up and get ready, it's too late for lying around.
You stare at her, waiting from her to move.
"What?" she asks.
"So... I sleep naked," you say.
"Oh," Fay says, blushing. "I'll... I'll wait outside."
Fay steps outside, and the door closes behind her.
You stand, and quickly walk to the bathroom. You stare at your reflection in the bathroom mirror, taking a deep breath as the voices start.
"Aren't you curious? What is Elios planning? Why is Elizabeth so quiet? Where is Kyros' body? No one's found it."
"You're a Psyker. A nice steak, the embrace of a lover, the joys of the material world is nothing compared to what I can offer you."
"Alexander died, Alexander was buried, Alexander returneth to dust. The same will happen to you. Embrace the rot and decay that comes with life."
"Kill! Maim! Burn! Kill! Maim! Burn! Kill! Maim! Burn!"
You're gaining a certain level of familiarity with the daemons in your head. Now that Meliodas has vanished, more has come to fill your head. You've began naming them, one of the few ways you think you'll remain sane with them. Question Mark constantly tempts you with knowledge. Fucky tempts you with fantastic pleasures beyond compare. Rotgut is the embodiment of laziness, and makes you want to lie in bed in your own filth. Smiley is just fucking bonkers.
Tzeentch's Keys, you miss Meliodas.
You quickly get dressed, before calling Fay. She opens the door, strolling inside.
"Hey, Karth," she smiles.
"Is she planning on betraying you? Is she loyal? You don't know... but I do," Question Mark says.
"Slit her throat, rape the stab wound and feel the blood run down your arm as you devour her throat! Feel pure blissful sensation!" Fucky whispers.
"Embrace your pestilence. You are filth. You are decay. But that is OK. You are still loved," Rotgut says.
"BURN! MAIM! KILL!" Smiley screams.
Fay raises an eyebrow, rapping her knuckles against your head.
"Hello, anyone in there?" she asks.
"More than you know," you reply.
"Meliodas back?"
"New guys. At least there's some variety."
"Are they saying anything about me?" Fay smiles.
"Cunt! Take her fucking head!" Smiley screams.
"I think they like you," you reply, as Fay laughs.
"You sure you're OK?"
"Tip top," you reply.
The barrage of voices screams answers in your head, as you take a deep breath. Fay gently slaps you across the face.
"Karth, come on, come back to me," she says.
"I'm fine," you reply, as Fay gives you a concerned look.
"If you're sure," she asks nervously. "Come on, we need to get to the war room for the morning meeting."
| 4 |
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| 7 | false |
You writhe tossing the sheets off you as you lie in bed, panting. Another nightmare. Another night of horrors, terrors and daemonic voices screaming at your soul. You take a deep breath. Focus. In. Out. In. Out. You rest your head against the pillow, sighing.
Suddenly, Fay appears in the doorway, wearing combat armor, scratching at her short hair.
"Morning," she says.
> The story so far..
Your name is Karth, of the Uwais tribe. Born a simple tribal, weak and frail, you soon found you had powerful psychic gifts. You managed to rescue a few survivors from another tribe, the Azajaja, when Orks struck, including a young warrior known as Fay, who you befriended.
Then, Chaos worshippers struck, raiding your entire planet, led by Kyros. They wiped out much of your tribe, taking the rest as prisoners where they were experimented on, turned into super-soldiers to serve in Kyros' army. You were taken as Kyros' apprentice, experimented on to become more powerful. He explained your powers were connected to the Warp, where the four Gods of Chaos resided. Khorne, the Warrior, Nurgle, the Plague-Bearer, Tzeentch, the Sorceror and Tzeentch, the prince of pleasure. He helped you grow in power, but it became clear he was truly insane. However, through working with him, the voice of Meliodas, a daemon, began possessing your mind, speaking in your ear to advise and help you.
Among Kyros' forces were the Staine siblings, four Chaos worshippers each dedicated to a different God. Rebecca was cruel and violent, worshipping Khorne. Elizabeth was quiet and introverted, powerful in the arts of sorcery, worshipping Tzeentch. Durge was a disgusting, disease filled creature, but a very kind soul, worshipping. Nurgle. Elios was perverted and strange, worshipping Tzeentch. Alongside them were the veteran soldier Captain Hayes, who led the 22nd Regiment in service of Kyros.
Enslaved on Kyros' ship, the Roar of the Vortex alongside your men, were a group of gladiator-slaves led by the twins Castus and Olive, the former wild and foolhardy, the latter more smart and thoughtful, as well as the vat-born Goliath super-soldiers, led by Cain.
With three Staine siblings, Elios, Elizabeth and Durge, as well as Captain Hayes, you plotted to overthrow Kyros with the help of those enslaved. After convincing Fay, Castus, Olive and Cain to join you, you started the uprising.
After a brutal battle, you found an ancient AI known as an Iron Man, releasing him from the experiments of one of Kyros' lieutenants. With his help, you managed to take over the ship. You managed to kill Kyros, throwing him to a brutal death by the mutants enslaved on the ship, tearing him apart. His body wasn't recovered, but he's surely dead.
Meanwhile, in his wake, you have control of a massive warship, in a galaxy of world-eating locust hordes, great warbands of biological super-soldiers, theocratic empires with endless worlds under its grip, and endless daemonic entities ready to strike.
What you do with your newfound powers is up to you.
| 4 |
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| 4 | false |
Standing on the porch, you look among the high stalks of corn in front of you. In the distance is a scarecrow swinging in the wind. It almost looks as if it's dancing.
Suddenly, the door to the farmhouse opens and a little girl comes out dressed in a night gown. She seems to be in a trance, her eyes fixated on the dancing scarecrow. The girl walks down the porch steps and into the rows of corn. The pouring rain doesn't seem to phase her.
Maybe this girl is a sleepwalker....
> You break into the farmhouse and wait out the storm.
The stone fireplace is already lit. Soon you are fast asleep in the warmth of the large recliner in front of the fire. The rain pours outside but you are warm and dry.
You don't notice the scarecrow now standing in the corner of the room. You don't notice him slowly motion toward you, sickle in hand...
SLASH!!!
~THE END~
you reached the "dark night of the scarecrow" ending.
| 4 |
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| 1 | false |
The farmhouse shutters slam open and closed as the wind kicks up. You knock loudly on the door but no one answers.
Rain begins to come down and you find yourself stuck. You can stay on the porch or try the storm drain.
> You try the storm drain.
"That famhouse looks a bit creepy." you think to yourself as you run for the drainpipe.
The mouth of the pipe is sticking out just above the weeds that surround the base of it. It looks big enough for your to crawl into.
Looking down into the drain pipe is like trying to look around a cave without any light. It's pitch dark.
Just then the street lamp goes out and suddenly you are surrounded by pitch blackness. You can only hear the rustling of the corn in the wind...and a voice coming from inside the pipe.
"Come on down....down here they all float....
There is nowhere to run since you can't even see your hand in front of your face....or a white gloved hand slowly rising out of the mouth of the drainpipe, grabbing onto your blood caked hair and pulling you down...down...down.
> You did you find the flashlight from the van wreckage?
LIAR!!!!
There was no flashlight from the van wreckage.
> You liars go to hell...
Blood begins to pour from your face again as the white gloved hand continues to pull you deeper into the bowels of the pipe.
Appropropriate odors fill your senses and you begin to scream and puke at the same time. Maniacal laughter answers your screams and you lose consciousness.
Splash!!
Your body floats face down in a sea of sewage. Lightining from the world above momentarily illuminates your surroundings exposing a creature that resembles a giant spider...only much bigger. Next to the spider stands a circus clown laughing and pointing a finger at your lifeless body.. His other gloved hand covers his mouth exposing jagged teeth.
I guess the clown was right...things DO float down here...he he he.
THE END
You have reached the Stephen King's "IT" ending.
| 4 |
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| 4 | false |
"That famhouse looks a bit creepy." you think to yourself as you run for the drainpipe.
The mouth of the pipe is sticking out just above the weeds that surround the base of it. It looks big enough for your to crawl into.
Looking down into the drain pipe is like trying to look around a cave without any light. It's pitch dark.
Just then the street lamp goes out and suddenly you are surrounded by pitch blackness. You can only hear the rustling of the corn in the wind...and a voice coming from inside the pipe.
"Come on down....down here they all float....
There is nowhere to run since you can't even see your hand in front of your face....or a white gloved hand slowly rising out of the mouth of the drainpipe, grabbing onto your blood caked hair and pulling you down...down...down.
> You if not...
You feel like your falling. The mysterious hand releases your matted hair and you scream out in fear .
AAAAAHHHHHHHH!!!!!!
Splash!!
You find yourself at the bottom of the drainpipe and about 5 feet of what you could only think of as sewage. The water broke your fall as you try to make out what just happened. It is still pitch black but now you are soaked.
Slowly coming to your feet, you feel a presence of someone else close by you. A cool breeze coming from your right chills you to the bone.
"Who's there!!" you demand.
Who pulled you down into this dark, stank, sewer. You could have sworn you heard a voice just before you were pulled down here.
You start to make your way toward the breeze, arms outstretched like a lost, blind person.
"I have got to get out of here." you think.
> You plug your nose and follow the breeze.
While following the breeze you begin to think of your Grandfather and his huge mansion you visited when you were a child.
"Could I have been wrong in hoping for lots of money after my he dies?" you wonder.
"I wish I never left the house. " "I'll never see my Grandfather now." you think.
A shutter of certain doom fills your mind when you notice a light up ahead about 100 feet. It seems to be bouncing around the air from side to side...almost hypnotically.
A sense of happiness and comfort starts to creep into your mind and an overwhelming need to follow the bouncing light just up ahead.
It kind of reminds you of an angler fish drawing in on it's pray...
> You follow the pretty, bright light.
"There IS someone in here!!!" screams the bouncing light.
"Hurry, get a stretcher!" it says. "QUICKLY!!"
Stumbling out of the other end of the drain pipe you see the wrecked van on the side of the road. Two police vehicles, a fire truck, and the coroner's car are all surrounding the area. Puffs of smoke are all that come out of the once blazing van. Rain is still coming down hard and the rescue crews seem to be working fast.
The paramedic that spotted you stumbling around in the dark tunnel, turns off his flashlight and helps you onto a stretcher.Ttwo others begin wheeling you toward the paramedic van. You begin to feel lightheaded as they attach an oxygen mask to your face.
"Boy, his face got chewed up pretty good." says one EMT to the other.
"Could he have been a survivor of this crash?" asks the other EMT.
"I don't know but I guess he has alot of questions to answer." the other replies.
They both close the doors of the paramedic truck and motion for the driver to take off. As the van slowly pulls away from the crash site you can still see out of the back windows.
A lightning flash momentarally reveals a figure of a clown standing at the exit of the drainpipe you just came out of. The clown is wearing a bright yellow suit and white gloves. His red hair is wet against his head and instead of a smile painted on his face, there is a evil grimace exposing rows of sharp, yellow teeth.
THE END
You reached the Stephen King "IT" ending.
| 5 |
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| 6 | false |
Leaving Goblin Valley feels good and you open your window a little to get some fresh air. Soon the rumble of the van's smooth running engine puts you in a drowsy state.
Suddenly, Alice screams and points a finger out toward the road ahead...
Quickly looking out in front of you a little ways you see a man waving in the middle of the road. He seems to be yelling something but you can't make out what he is saying. You are going too fast to slow down. You honk and honk but he doesn't budge.
What do you do?
> You just plow right through him.
Feeling you have no other choice, you hit the man head on going at least 90 mph. Nothing but his hand is visible as it flaps in the wind on top of the mini-vans front hood. After about a minute of flapping, the hand disappears from view.
"We just murdered somebody." the woman says.
After slowing down to normal highway speed, guilt seems to creep in and you both begin to wonder if the man is still alive.
"Should we go back?" she asks.
> You let's go back...
You make a U-turn in the middle of the deserted road and make your way to where you struck the man. Your hands are shaking and you feel confused as to what just happened.
"Do you think he still might be alive?" asks Alice looking as scared as you do.
Her head darts around looking for any sign of the man.
"No way!!" you reply.
You drive over the area twice and only find a piece of cardboard with some words written on it. Getting out, you retrieve the piece of cardboard and hold up against the headlight beams. You can make out the phrase: "Thanks for the ride..."
You get back in the van and drive on.
"Must have been a hitchhiker." you say to Alice "We can report the accident when we get to a town."
You drive on.
> You drive on...
"It's strange that anybody would be out on this old dusty road in the middle of the night." you think as you start to pick up speed.
Soon, Alice is asleep in the passenger seat. You turn on the radio hoping to pick up a news station but nothing but static crackles through the 6x9 speakers. You hit the "CD" button and AC/DC's "Highway to Hell" comes on.
"Nice..." you think. "This should keep me awake until we get to a town.
The music drowns out the thud you DON'T hear from in the back seats of the van.
While jammin' to the tunes supplied by your newly aquired ride, you feel something cold against your throat. You look in the rearview mirror and almost scream.
Staring back is the man you hit on the road. He is wearing a wool beanie on his head and an orange jacket (like the ones the road crews wear). He is not looking to healthy since you smacked him with your van. One of his eyes is missing and his face is spattered with blood. His left cheek looks crushed and his jaw snaps when he opens his mouth to say...Thanks for the ride!...before he plunges the knife into your throat.
~THE END~
You got the "Creepshow 2" ending.
| 3 |
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| 7 | false |
You run full-pelt into the woods, exhausting your supply of stamina and then some. Your lungs beg for air, and your face goes flush as you prop yourself up against a nearby tree. You appear to have escaped your would-be pursuers, but the concept of a militiaman running about as an undead beast will likely bring them back in force.
You can see the gateway that you saw a vampire walk through earlier. Perhaps, “see” is the wrong word; you can sense it. Like something in the corner of your vision, you know that it must exist, and where, even if you aren’t laying eyes on it directly.
Out of options and desperate, you approach the hole in the ground. It’s cold and has no precise dimensions, appearing to you as a circle of indeterminate radius, shifting and slithering along the ground. It feels strangely inviting; like a blanketed bed in the morning.
You could slip through, but there’s no guarantee of what you’ll see on the other side. Or, you could stay right here.
> You don't
You decide to reject the vampirism thrust upon you. If it means dying as a man, so be it. You turn your back to the gateway, and walk back towards the town. Already you can feel yourself growing feverish and weak, as the disease takes hold. Soon, the son will burn you to a crisp; and that’s just fine with you.
You put your head to the ground and close your eyes. You’ve earned yourself some rest.
| 4 |
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| 0 | false |
The night is cold, dark and starless. The only light other than the candle Mama clutches in her hand comes from the moon, whose once bright, white, inviting and warm light is now deep red, like it's been splattered with blood. You're curled up with your two sisters, Ivana and Lilia, with Mama sitting over you, her candle in one hand and a wooden crucifix in the other. Papa is nailing boards to keep the door shut, hastily trying to give you some extra protection.
It's the Night of the Blood Moon. You've never been through one, the last happening less than a year before your birth, but now, after another twelve years, it had arrived. Your eldest brother, Dornan, told stories about it, stories that chilled you to the bone, that kept you from sleep, that gave birth to the horrors of your nightmares. If even a fraction of what Dornan said is true, the screams should begin soon.
"Mama?" Lilia asks.
"Hush, darling," Mama replies, as Papa finishes boarding up the door and grabs his shotgun from it's place on the wall. He takes his spot next to you, his gun pointed at the door, and you wait.
The screams start soon. Howls of pain and terror from other houses of the town. Ivana is old enough to know to stay quiet, but Lilia soon starts to cry. Mama desperately tries to hush her six year old daughter, but to no avail.
"Sssh! Sssh, darling! It's alright, you just must stay quiet!" Papa says.
Suddenly, a tall, dark shadow passes by the window. Papa immediately grabs his shotgun, frantically raising it to his shoulder. The shadow disappears, and Papa breaths a sigh of relief.
"Scared of something?" a deep, guttural voice says from behind you.
Papa turns, firing his shotgun as the monster speeds forward. It grabs Papa's throat with unnatural speed, smiling as it holds him in the air, strangling him.
The monster looks hideous. It's dreadfully pale, it's face twisted with hate, and looks to be hairless. It's eyes are completely black, like the endless darkness of its soul, and it's mouth is filled with mangled teeth with two large fangs, curved and bloodstained, with even more blood pouring down its face. The creature snarls, before smiling as it turns to look at you and your siblings.
"Ah... so young... so fresh..." the vampire says, licking it's lipless mouth with a forked tongue. "Peasant, your daughters are mine. Don't struggle."
The vampire tosses Papa to the ground, turning towards your siblings.
"No! No! You will not take my daughters!" Father says, grabbing for his gun.
The monster strikes, smashing it's boot into Papa's head.
"How dare you?!" the monster screams. "I gave you your land, I gave you your house, I give you your life!"
The monster begins walking toward Papa, who desperately crawls back to the wall.
"I keep the beasts away from the village! I let you roam the night all but one night every twelve years! I don't ask for your wife, to allow you to sire more. I don't ask for your son, to leave you a legacy. I only ask for your daughters! How dare you attempt to deny me that?"
As the vampire walks towards Papa, his fangs bared, you see a chance to get Papa's shotgun. Still, you don't want to anger the vampire further. Perhaps the best option is to hope for the beast's mercy.
> You do nothing
The vampire grabs Papa's head, twisting it with amazing speed. You hear his neck crack, as the vampire drops his limp body. Tears stream down your face, as he walks towards you. He grabs you by the scruff of your neck.
"You are a sheep," he snarls. "Look at you. Look at all of you. Weak. Mindless. Sheep. You only exist to feed me. Your lifespan is measured in decades. I've lived over a millenia! I am the hunter, you are prey!"
He turns, walking towards Mama. Mama tries to strike him, but he catches her hand, yanking her into his grasp and biting down on her neck. She gasps as he tears open her throat, pressing his bloody mouth on the bleeding wound. He feeds for about a minute, as you lie there, too terrified to move. Then, he strides forward, catching your sisters by the hand and lifting them into the air. He flings them over his shoulder like a young lamb, and looks at you.
"Bleet," he snarls, before walking out of the door, leaving you alone.
| 5 |
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| 6 | false |
"Dead Man's Barn."
"If you think so," Lucy says as Mason nods encouragingly.
Ant nods nervously.
"Good choice," Mason says.
You nod. The group begins to stand, and starts walking towards Dead Man's Barn.
"I'll... I'll stay here!" Kyle slurs, collapsing into the back of the pick-up truck.
Lucy shrugs, and continues leading the group out of the forest. The group drops the various empty cans among the shrubs as you emerge in yet a bland, empty field with an old, clearly abandoned and boarded up barn in the center. It's a particularly large barn, but other than that it's just an old, boring barn.. The sun's fallen, so Lucy brings out her phone and turns on the flashlight. She leads you to the barn, and Mason grabs the edge of a piece of plywood and pulls it back.
"This is stupid guys," Ant says.
"What, scared of a ghost?" Mason chuckles.
"No! I'm just scared of tripping and getting tetanus from a rusty nail!"
"Pussy," Mason says, rolling his eyes.
Mason pulls the plywood back further, creating a large enough gap for you to step through.
"Thank you," you say as you step through.
"Of course, Ma'am," Mason smiles.
As you step through, you enter complete darkness penetrated by a single beam of pale moonlight coming from the gap. Ant steps in afterwards, looking around nervously.
"OK, we've went inside, dare's over," Ant says.
Mason sighs, pushing the plywood back in place. You hear his muffled voice a few seconds later.
"Go upstairs and open the boards at the window. Then we'll let you out, Ant," Lucy says.
"You're a bitch!" Ant says, thumping on the plywood, before turning to you.
"Let's explore," he says nervously.
You pull out your phone, turning on the flashlight. The inside of the barn is immediately illuminated. Several horse stalls made of rotten wood takes up most of the barn, with the floor covered in dried, rotten hay.
"It smells like shit in here," Ant complains.
"Hush," you reply.
You spot a partially rotted out stairs leading to the upper floor. You walk over to it. You put your foot on the first stair and put some weight on it to make sure it'll hold. You slowly make your way up the stairwell, reaching the upper-floor. There's a dead silence inside, even the wind dying as complete silence consumes you. You scan the room with your flashlight. You wince as you notice a blood-stained noose hanging from the ceiling.
"Jesus. Is that what I think it is?"
"No, Hazel, it's a fucking... I can't even think of a mocking example. Of course it's a...!"
There's a creaking of the floorboards behind you, and you quickly turn to find... nothing.
"Hazel, please. If you're trying to freak me out, just... don't."
"I'm not doing..."
You feel something knock into your back and you fall forward with a yelp. Your phone flies from your hands. It falls forward down the stairs, thudding before it lands on it's back, obscuring the flashlight and plunging you into total darkness.
"What the fuck, Ant?"
"I swear to god, that wasn't me!" Ant says. "Let's get out of here, fuck the window."
You hear haggard, wet breathing in at the stairwell, and you freeze.
"What...?"
"Shut up!" you hiss.
The breathing continues, before turning to a wet, squelching chuckle. Ant whimpers, as you begin to back away from the stairwell.
"It ain't your night tonight, kids," a deep voice says, each word interspersed with the wet squelching you've heard before. "What the fuck makes two dumbass, chicken shit kids come into a place you don't belong?"
"What the fuck...?" Ant says, half whimpering and half shrieking.
"Sssh... save your breath. I ain't even given you a reason to start hollering... yet."
> You run
You turn and start running the other way. In the darkness, you see nothing, and your foot hits a rotten plank that gives way. You scream as you wall, flying through the air before you hit the hard ground with a thud. You scream as you feel your arm break. Ant screams, before falling silence, as you struggle to pull yourself to your feet. You hear frantic yelling outside the barn as your friends realize something's happened, but not before the figure appears above you again.
"Ah, shit kid. You ain't even one of the old bloods. Some immigrant or Northerner or some shit. Well, can't have you telling the city to have this place torn down, though looking at the condition you're in, this'll be a mercy."
You start to beg as he slashes the cold steel along your throat as it mingles with a fresh stream of hot blood.
| 4 |
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| 8 | false |
"Dead Man's Barn."
"If you think so," Lucy says as Mason nods encouragingly.
Ant nods nervously.
"Good choice," Mason says.
You nod. The group begins to stand, and starts walking towards Dead Man's Barn.
"I'll... I'll stay here!" Kyle slurs, collapsing into the back of the pick-up truck.
Lucy shrugs, and continues leading the group out of the forest. The group drops the various empty cans among the shrubs as you emerge in yet a bland, empty field with an old, clearly abandoned and boarded up barn in the center. It's a particularly large barn, but other than that it's just an old, boring barn.. The sun's fallen, so Lucy brings out her phone and turns on the flashlight. She leads you to the barn, and Mason grabs the edge of a piece of plywood and pulls it back.
"This is stupid guys," Ant says.
"What, scared of a ghost?" Mason chuckles.
"No! I'm just scared of tripping and getting tetanus from a rusty nail!"
"Pussy," Mason says, rolling his eyes.
Mason pulls the plywood back further, creating a large enough gap for you to step through.
"Thank you," you say as you step through.
"Of course, Ma'am," Mason smiles.
As you step through, you enter complete darkness penetrated by a single beam of pale moonlight coming from the gap. Ant steps in afterwards, looking around nervously.
"OK, we've went inside, dare's over," Ant says.
Mason sighs, pushing the plywood back in place. You hear his muffled voice a few seconds later.
"Go upstairs and open the boards at the window. Then we'll let you out, Ant," Lucy says.
"You're a bitch!" Ant says, thumping on the plywood, before turning to you.
"Let's explore," he says nervously.
You pull out your phone, turning on the flashlight. The inside of the barn is immediately illuminated. Several horse stalls made of rotten wood takes up most of the barn, with the floor covered in dried, rotten hay.
"It smells like shit in here," Ant complains.
"Hush," you reply.
You spot a partially rotted out stairs leading to the upper floor. You walk over to it. You put your foot on the first stair and put some weight on it to make sure it'll hold. You slowly make your way up the stairwell, reaching the upper-floor. There's a dead silence inside, even the wind dying as complete silence consumes you. You scan the room with your flashlight. You wince as you notice a blood-stained noose hanging from the ceiling.
"Jesus. Is that what I think it is?"
"No, Hazel, it's a fucking... I can't even think of a mocking example. Of course it's a...!"
There's a creaking of the floorboards behind you, and you quickly turn to find... nothing.
"Hazel, please. If you're trying to freak me out, just... don't."
"I'm not doing..."
You feel something knock into your back and you fall forward with a yelp. Your phone flies from your hands. It falls forward down the stairs, thudding before it lands on it's back, obscuring the flashlight and plunging you into total darkness.
"What the fuck, Ant?"
"I swear to god, that wasn't me!" Ant says. "Let's get out of here, fuck the window."
You hear haggard, wet breathing in at the stairwell, and you freeze.
"What...?"
"Shut up!" you hiss.
The breathing continues, before turning to a wet, squelching chuckle. Ant whimpers, as you begin to back away from the stairwell.
"It ain't your night tonight, kids," a deep voice says, each word interspersed with the wet squelching you've heard before. "What the fuck makes two dumbass, chicken shit kids come into a place you don't belong?"
"What the fuck...?" Ant says, half whimpering and half shrieking.
"Sssh... save your breath. I ain't even given you a reason to start hollering... yet."
> You attempt to converse with the figure
"Please... I don't want to die."
"I didn't either, kid. It ain't so bad. Tell your grandparents I said "Fuck you.", ok?"
"Please!" you say, breaking into a sob.
"HEY! Mason shouts from outside. "Are you OK in there?"
You feel cold metal touch your throat.
"Tell him you're fine, darlin'."
> You tell Mason you're fine
"I'm fine! There was a rat!" you shout.
"OK!" Mason replies.
Ant continues whimpering, as a gloved hand runs through your hair.
"Good girl... I don't recognize you in the dark. Let's see who you are... don't scream, by the way."
Your hear the flick of a lighter before a flame splutters to life in front of you, illuminating all three of you. Then, you get the first sight of the Dead Man. His skin is grey and dead, his eyes cold, lifeless and pure black. His mouth has been carved open, the cuts carving upwards into a smile. Blood stains his rotting skin and his shirt. He wears a classic cowboy hat and leather duster, and his neck is covered in the deep bruises caused by a noose. Ant tries to scream, but can't find the air to do so. You freeze, immobilized in terror, as the Dead Man grin.
"Well look who we have here. A Ceder and a wanderer."
You stare at him as he caresses the side of Ant's face."
"What's your name, boy?"
"Anthony Ceder."
"I remember you. I remember your people. I remember seeing your great-great-grand mama. A little Jewish girl who ran the store and didn't have shit. You're one of the few families that didn't string me up in this town. I ain't got no feud with you."
He turns to you, and presses the knife to your lips.
"Darlin', you should smile more. It'd make you a hell of a lot prettier."
He traces the path of a smile along your face with the cold blade.
"Don't hurt me."
"Ah, I'd never hurt a woman 'less I had a reason. I don't recognize you. You're a wanderer, ain't ya? You ain't from Dawnwoods originally,"
"I'm from New York."
"Hell, might cut you up for that if I weren't as nice a guy as I am."
"Are you sure you're OK?" Becca shouts, and the Dead Man presses the knife to your throat.
"What's her name?" he hisses.
"Becca," you whimper.
"I fuckin' know that voice! I fuckin' know that voice! I fuckin'... Becca Montgomery. The great-great however fuckin' many greats grand daughter of Horton J. Montgomery. That bitch..."
The Dead Man is clearly quite distracted by his vengeful rant. If there's a time to do anything, it's now.
> You wait patiently
"...that goddamn bitch, I'll... Call her."
"What?" you ask.
"I said call her, you yankee bitch! Tell that Mongomery whore to come in!"
> You tell Becca to come into the barn
"Becca! Can you come in here, please? We need a hand. Ant got his leg stuck!"
"Sure, we'll come in!" Mason shouts.
Fuck, you didn't mean for them all to come.
"Good job, darlin'. Sorry 'bout this, but I can't let any of you kids get out. God, I'm bagging a Montgomery tonight!"
You scream as his blade slices open your throat, cold steel mixing with warm blood.
| 3 |
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| 4 | false |
"...that goddamn bitch, I'll... Call her."
"What?" you ask.
"I said call her, you yankee bitch! Tell that Mongomery whore to come in!"
> You refuse
"Fuck you! Becca, don't...!"
The cold metal of a blade slices open your throat as before you can get out another word as cold steel mingles with hot blood.
"Dumb bitch."
| 2 |
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| 0 | false |
With every passing day, it becomes harder and harder to get up and force yourself to keep going. The snow is falling heavily now, and your brain is preoccupied with fantasies of food. Tree bark isn't edible, is it? No... Maybe? You're having trouble clearing your head and focusing on the road ahead of you. Starvation is making you dizzy, and before you know it, you're lying face down in the ash and snow.
No, you can't let it end like this. You have to get up and keep moving. Death is not an option!
But the snow is so soft, almost warm to the touch. Your eyes are heavy. You're not sure if you really should keep soldiering on, or if you should just sleep and let the cold envelop you.
> You no! What are you doing?! Get up, idiot!
What you once considered your will to survive shouts at you inside your head. "Just get up already! Don't give up like this!" But its voice is tiny now and difficult to make out, and your body is so exhausted that you are physically incapable of any movement. In a last ditch effort, you think to yourself, "Is this what Cameron would want you to do?"
Suddenly, the memory comes back to you. Your older brother, and that old name of his you'd almost forgotten. The bridge. The blur. The content smile before the final CRACK. He'd wanted you to come with him. He didn't want to leave you here to fend for yourself, but he didn't protest when you couldn't bring yourself to do it. But now...
You close your heavy eyes, with that same content smile on your lips, and you drift off into a deep sleep. Dreams of an old life with your older brother flood your mind before everything fades to nothing.
| 3 |
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| 7 | false |
You step hastily into the water—and immediately recoil your foot. It's so freezing that you feel your foot instantly go numb. You take a deep breath and hesitantly step back in, bracing yourself for the brutal cold, and this time you manage to endure it enough to move your other foot into the river. Dragging the cart behind you, you begin steadily working your way across, with the water up to your knees, and then, to your waist. With only a third of the way to go, you suddenly feel a tug on the cart. You glance over your shoulder and pull at it again, but it's stuck on something, and no matter how hard you pull, it won't budge. You...
> You pull harder.
With as much force as you can muster, you take the handle of the cart in both hands and pull. Slowly but surely, you can feel it starting to move, and it's dislodged so suddenly that you fall back into the freezing water. You pull yourself up and immediately begin to shiver, and every ounce of your being just wants to hurry onto dry land. Cart in tow, you drag yourself onto the opposite shore and nearly collapse, gasping from the cold. You glance over your shoulder briefly only to catch a glimpse of something twisted, pink, and bleeding attached to one of the wheels of the cart. You shut your eyes and cover your mouth in an attempt to repress a gag.
Eventually, you bring yourself to stand up and, without looking at it, tug the fleshy substance off of the cart before throwing it into the river. You take a deep breath, still shaking from the cold, and soldier on down the road once more, pushing the cart ahead of you.
> Next.
Grey snow begins to fall as you make your way slowly along the road. You're not sure how long it's been. Days? Weeks? It couldn't have been months, you think, otherwise it would be getting warmer by now. At least, that's what you hope is true, for there would be no meaning in migrating south every winter if summer only grew colder. You amuse yourself with thoughts like these in an attempt to forget the twisting, empty feeling in your stomach. Impulsively, you remove your canteen from the cart and take a quick drink to quell the swelling of your throat.
Later in the evening, you come across an abandoned gas station—actually, why do you even refer to it as abandoned? Everything in this world is abandoned and decaying, isn't it? ...There goes your brain again. You can't let it get to you. You have to hold on to the hope of survival, because without it, life isn't worth living.
You take a deep breath and force yourself to enter the gas station. As you expected, all of the shelves have been ravaged and there's hardly anything worth keeping. You pay no mind to the open cash register and instead begin fumbling about through the mess in search of something, anything worth eating. You peer into one of the broken refrigerators and spot a sealed packet of some sort of lunch meat, hidden away in the corner. You open the door and pull it out, staring longingly at the pale hunk of long-expired, browning flesh. What do you do?
| 4 |
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| 7 | false |
You awake to the dull light—if it could even be called light—of morning. Your fire had died long ago, and as you look about you, it appears that everything is just as you had left it previously. You don't see this as a success on your part so much as a stroke of sheer luck that no one crossed your path. Gathering up your provisions, you place them back into the cart and begin on your way south.
After having walked almost five miles, you come across what used to be a bridge spanning a wide river. The rapids may have raced along the channel at one point in time, but now the thick sludge only creeps slowly over the rocks. It would be slow going, but the water is shallow enough that you think you'd be able to cross. (After all, the shattered bridge will be of no use to you.) What do you do?
> You follow the river downstream instead. Maybe there's an easier way across.
You determine it's best to weigh your options before charging headlong into the river, so your turn east and begin walking parallel to the waters. The land is barren, and as you glance over from time to time, your eyes catch glimpses of bicycles, trees, and frozen corpses lying lazily in the water with no place to go. After walking for a little while, something else draws your attention: an old house by the river, rotting, abandoned. Acting on instinct, you quickly take cover in the woods and peer out at the building. There's no smoke around, and it doesn't seem to be in use.
You decide to...
> You ignore it. If there is someone in there, you can't take the risk.
You know that, if you had managed to find this place, then others might've, too. You're low on supplies, but that's no reason to act reckless. You carefully turn around and walk back until the house is out of view, and then turn to cross the river.
The water is freezing, and you can only trudge across so quickly, with your legs growing numb and your cart in tow. The water only reaches up to your thighs before becoming shallow again, and you scramble onto the opposite shore, gasping from the brutal cold. In one last moment of hesitation, you look back over your shoulder. The house still stands tall on the other side, but this time, you think you see movement in the window. It may well have been an illusion, but it's enough to scare you into action, and soon enough, you're back on the road moving south.
| 4 |
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| 7 | false |
You determine it's best to weigh your options before charging headlong into the river, so your turn east and begin walking parallel to the waters. The land is barren, and as you glance over from time to time, your eyes catch glimpses of bicycles, trees, and frozen corpses lying lazily in the water with no place to go. After walking for a little while, something else draws your attention: an old house by the river, rotting, abandoned. Acting on instinct, you quickly take cover in the woods and peer out at the building. There's no smoke around, and it doesn't seem to be in use.
You decide to...
> You enter cautiously. There may be supplies inside that I can useâ€"or food.
You're barely surviving on the few provisions you have, and that doesn't even include food. You can't afford to pass up this opportunity, even if it is a little reckless. Parking your cart in the woods near the house, you cautiously approach and make your way silently onto the porch. Peeking through the windows, you don't see any signs of movement, so you slowly open the creaky front door and step inside. The interior smells like rotten eggs, and there's an ungodly stench coming from the hallway to your right. You can see a kitchen on the other side of the living room, and there are also stairs leading up onto the second floor of the house. Where do you search first?
> You investigate the terrible smell.
Maybe that smell is simply rotting food, and where there's rotting food, there's always the possibility of stumbling across something edible. At least, that's how you justify it to yourself, but really, you're just curious. You turn down the hallway to your right and come across a door with a chain across it.
> You unlock the door and enter.
Your recklessness knows no bounds. You unlatch the chain from the door and carefully open it. You pull your lighter out of your pocket and flick it on, holding it out to examine the space before you. There are stairs that lead down and to the left into some kind of cellar. With irrational prospects of food, you step carefully down into the darkness and quickly discover the source of the smell. Bodies stacked up on one another, wide-eyed, lying about in leisure. Decaying. You cover your mouth to keep from gagging, but soon the stench is the least of your concerns.
The light from the door above you disappears, and you can hear the chain being slid back into place.
> Next.
You run back up the stairs and frantically try the doorknob, but it's no use. The door won't budge. In a moment of desperation, you hurl your body at the door, only to hear an unsettling noise in your bones and to collapse onto the floor. The smell, the bodies, the hopelessness of it all—you are overwhelmed and can't control the dry sobs arising from your throat. This is it. This must be the end. You idiot!
There's no way of knowing how long you'll be down here. Days, months even. If the people living in the house are cannibals, you will surely perish in a few days and provide sustenance for monsters. If they're people just like you with everything to lose, they'll never open that door, and you'll slowly rot with the rest of these corpses. Either way, you'll be dead eventually. But the waiting. That's the worst part. And it's all that you can do now...
| 3 |
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Maybe that smell is simply rotting food, and where there's rotting food, there's always the possibility of stumbling across something edible. At least, that's how you justify it to yourself, but really, you're just curious. You turn down the hallway to your right and come across a door with a chain across it.
> You go back to the living room.
Sure, you're feeling desperate, but not desperate enough to look for hope where there is none. There's probably nothing worthwhile behind that door—and for all you know, the smell is coming from rotting corpses. You shake the thought out of your head and turn around to return to the living room, but when you arrive, there's a tall figure standing in front of you, holding a hunting knife in his hand. He looks just as terrified as you, but his reflexes are much faster, and before you know it, he's lunging at you with the knife.
> You run!
You turn to run out the front door, but you only make it to the edge of the porch before you feel a hot pain in your leg. Shouting, you tumble down the porch steps onto the ground and hold your wounded thigh to your chest in agony. The man grabs you by the neck and raises the bloody knife over his head, and in that brief moment before death, when your life should've been flashing before your eyes, you see a glimmer of something in his. You can't be certain, but you think what you're seeing in his eyes is fear—something so human that it startles you, and yet is somehow relieving.
Then the blade penetrates your skull, and everything goes black.
| 4 |
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| 1 | false |
You're barely surviving on the few provisions you have, and that doesn't even include food. You can't afford to pass up this opportunity, even if it is a little reckless. Parking your cart in the woods near the house, you cautiously approach and make your way silently onto the porch. Peeking through the windows, you don't see any signs of movement, so you slowly open the creaky front door and step inside. The interior smells like rotten eggs, and there's an ungodly stench coming from the hallway to your right. You can see a kitchen on the other side of the living room, and there are also stairs leading up onto the second floor of the house. Where do you search first?
> You search the kitchen.
As soon as you enter the rundown kitchen, you freeze. Through the window, you see a tall figure outside making his way towards the house with a large hunting knife in hand. The terror moves your legs into action, and you bolt back out the front door. You're moving so quickly and in such fright that you don't even think to go back for the cart, and instead you launch yourself into the river and frantically stumble across. Your heart is throbbing in your ears by the time you reach the opposite shore, and looking back, you think you see movement in one of the windows of the house. You have no time to think and act on the primitive fight or flight response alone, fleeing the scene and leaving everything behind for the stranger.
> Next.
With no supplies to carry and no idea of where you're going, you feel lost and without a sense of purpose. You wander through the forest in the bitter cold, clutching your arms and clenching your jaw to keep your teeth from chattering. Your stomach is empty, and your nerves are raw—every noise sets you off. You wish you had done things differently. You go over every scenario again and again and try to understand what went wrong, but really, it was the world that went wrong. All you were doing was trying to set yourself right... right?
Your mind continues to race with possibilities when suddenly you run into something hanging from a tree and accidently knock it down into the snow. Startled, you cautiously look down to find it was a nearly frozen corpse, poorly dressed for this weather and, well, dead. These things used to freak you out, but you've learned to accept them for what they are, so long as they aren't you.
You stare at the body at your feet, mind racing. You don't want to resort to that. You promised your brother that you wouldn't. But you're so hungry already. You have no idea how you'd go about it, but you're convinced you'd find a way. You're convinced it's the only way.
You...
> You resist.
You sit down in the snow and ash beside the body and watch it. It's a female. She was probably no older than nineteen. You bet her name was Meredith. Or Jenette. You like the name Jenette better. Your mind begins crafting a backstory for Jenette: a loving family in Tennessee, a big heart for animals, a tire swing on which she'd drag her pet cat on a sunny day in June... And soon enough, you can't even bring yourself to think about eating her. She was a human once, after all. She still is a human. Your stomach protests, but you smile softly to yourself. Your integrity remains intact, if only for today...
| 4 |
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| 5 | false |
With no supplies to carry and no idea of where you're going, you feel lost and without a sense of purpose. You wander through the forest in the bitter cold, clutching your arms and clenching your jaw to keep your teeth from chattering. Your stomach is empty, and your nerves are raw—every noise sets you off. You wish you had done things differently. You go over every scenario again and again and try to understand what went wrong, but really, it was the world that went wrong. All you were doing was trying to set yourself right... right?
Your mind continues to race with possibilities when suddenly you run into something hanging from a tree and accidently knock it down into the snow. Startled, you cautiously look down to find it was a nearly frozen corpse, poorly dressed for this weather and, well, dead. These things used to freak you out, but you've learned to accept them for what they are, so long as they aren't you.
You stare at the body at your feet, mind racing. You don't want to resort to that. You promised your brother that you wouldn't. But you're so hungry already. You have no idea how you'd go about it, but you're convinced you'd find a way. You're convinced it's the only way.
You...
> You give in.
You don't think about it as you're doing it. The fire, the tearing of flesh, the roasting, the smell, the satisfaction—thinking would only drive you mad. You don't have time for thoughts outside of yourself. You can only consume and consume until your stomach can handle no more. You almost throw up, not because of what you're eating, but because you haven't eaten in such a long time that your body doesn't know how to handle it. Soon enough, you've calmed down, and you lie back against a tree. There isn't a thought in your head outside of yourself. You are full and you will survive another day. If only just another day...
| 3 |
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| 4 | false |
You're barely surviving on the few provisions you have, and that doesn't even include food. You can't afford to pass up this opportunity, even if it is a little reckless. Parking your cart in the woods near the house, you cautiously approach and make your way silently onto the porch. Peeking through the windows, you don't see any signs of movement, so you slowly open the creaky front door and step inside. The interior smells like rotten eggs, and there's an ungodly stench coming from the hallway to your right. You can see a kitchen on the other side of the living room, and there are also stairs leading up onto the second floor of the house. Where do you search first?
> You check upstairs.
As quietly as possible, you creep up the stairs and begin to look around. There are several rooms that have been raided and destroyed, but one in the far corner remains intact. You step inside and immediately freeze. There's something on the bed in front of you, a lump of flesh that looks neither alive nor dead. Your heart starts to race, and you're filled with terror as the lump rises and falls with the man's breathing. You start to turn around...
> Next.
You don't even see your attacker. All you feel is the blunt edge of the knife being jammed into the back of your skull, and the world goes black. Oh, what a grave mistake you've made. Maybe your killer will dispose of you into the woods. Maybe they're decide to consume what little meat is left on your scrawny bones. But what does it matter? You're dead now, and you won't suffer any longer.
| 3 |
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| 1 | false |
Grey snow begins to fall as you make your way slowly along the road. You're not sure how long it's been. Days? Weeks? It couldn't have been months, you think, otherwise it would be getting warmer by now. At least, that's what you hope is true, for there would be no meaning in migrating south every winter if summer only grew colder. You amuse yourself with thoughts like these in an attempt to forget the twisting, empty feeling in your stomach. Impulsively, you remove your canteen from your pack and take a quick drink to quell the swelling of your throat.
Later in the evening, you come across an abandoned gas station—actually, why do you even refer to it as abandoned? Everything in this world is abandoned and decaying, isn't it? ...There goes your brain again. You can't let it get to you. You have to hold on to the hope of survival, because without it, life isn't worth living.
You take a deep breath and force yourself to enter the gas station. As you expected, all of the shelves have been ravaged and there's hardly anything worth keeping. You pay no mind to the open cash register and instead begin fumbling about through the mess in search of something, anything worth eating. You ran out of canned food long ago, and your stomach has been protesting its neglect by twisting about in knots with every breath. You peer into one of the broken refrigerators and spot a sealed packet of some sort of lunch meat, hidden away in the corner. You open the door and pull it out, staring longingly at the pale hunk of long-expired, browning flesh. What do you do?
> You put it back. You can't take that risk.
Your stomach protests your decision, but you return the package to its original hiding place anyway. You know the risks that come with food poisoning, and with such a poor immune system, it would be all too easy for some bacteria to kill you off in your sleep. Instead, you venture outside and return with firewood, and after setting up a small fire in the middle of the store, you curl up on the floor with your extra jacket draped over you and fall asleep.
| 4 |
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| 4 | false |
Even though you doubt that anyone would dare to traverse the road at night, you don't want to take any chances. After resituating the pack on your shoulders, you venture deeper into the woods until you come across a small clearing. The charred trees around you don't offer as much protection as you'd like, but it's better than being completely exposed and vulnerable. You put your supplies down and set out to search for firewood, but by the time you return, there's barely enough light to see by, and you nearly trip over your backpack in the pitch dark. Muttering under your breath, you begin working to start the fire, but your frustration gets the better of you and you lay down in defeat.
Pulling a rusty can of peaches from your pack, you quickly scarf down your dinner and toss the trash to the side. A cold wind blows through the forest, sending your body shivering uncontrollably, and you realize that you may not survive the night without a fire. You decide to...
> You just lie down and try to sleep. You're exhausted, and spending all night trying to build a fire would expend all of your body heat anyway.
Your body feels especially heavy tonight, and all you want to do is sleep. You huddle up inside your extra jacket and pull the tarp over your head, willing sleep to come. However, you continue to shake in the brutal cold, and by the time you finally succumb to slumber, it is a light, restless sleep. You'll wake up in a fit only to fall back asleep and wake up again, leaving you more exhausted each time.
> Next.
After a long, cold night of broken sleep, you awake to the dull light—if it could even be called light—of morning. As you look about you, the only change that catches your eye is a tree that fell several yard away from your campsite. You remember waking to a loud noise in the middle of the night, but your body was so heavy that you couldn't even sit up to protect yourself. Thankfully, it didn't land on you... though you wonder if that wouldn't have been best. With a heavy heart, you gather up your provisions and stuff them back into your pack. You swing it over your shoulder and walk slowly up towards the road, and soon enough, you're heading south.
After having walked almost three miles, you come across what used to be a bridge spanning a wide river. The rapids may have raced along the channel at one point in time, but now the thick sludge only creeps slowly over the rocks. It would be slow going, but the water is shallow enough that you think you'd be able to cross. (After all, the shattered bridge will be of no use to you.) What do you do?
| 4 |
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| 11 | false |
It was a normal Saturday afternoon in Boston, Mass. you got up from your couch to grab a diet coke. You also heated up a leftover Hot dog from the fridge on your way to getting a diet coke. While you are waiting for the hot dog to finish heating up. you get a call. You pick it up, and hear a annoying voice. "Listen we need alot of help". "We need you" "Were Drafting you into the army". Your shocked. But you have to do what you need to do to save the U.S. Meet me by the Shooting Gallery" He said. "See you tomorrow ". He says "Bye". That night you got 3 hours of sleep thinking about what could happen in your future life.
> You choose your Gun
A long drive to the Shooting Gallery is getting you really nervous.But you gear up to start shooting in the army. you get there 5 minutes later. When you got there you saw a set of different guns. There is a Assault rifle, and a Heavy Machine Gun, a Semi-Automatic Rifle, a Shotgun, a Sniper rifle, and finally a Submachine Gun. which one to take. Since you are right now at the New Man in the army.
> You assault Rifle
As you Pick up the Rifle, you almost drop it, because you get so nervous. There is a big Target for Newcomers. It is 4 feet by 5 feet. You are trembling, and are not sure how long you can hold your balance for .The target looks like1 foot, by 2 feet. You should wait, and shoot, but your not sure how long you can hold it for. Your boss is getting very impatient with how long your taking.
> You wait, then shoot the target
It took to long, and you give up on that gun, maybe you just not made for that gun.
> A Heavy Machine Gun
The large body you have can't even hold the Heavy Machine Gun. It is huge, and heavy. But it shoots so strong. You see a 4 feet by 5 feet target. Will you shoot it,remember it's your first time shooting,a nd you don't know where to shoot it, you can put the gun's end side up at your throat, and shoot the target, or you can Put it by your Stomach. Where will be better to shoot it. you think of.
> You shoot it by the Throat
BINGO, you got a perfect shot right on target. "Nice aiming." Your boss tells you, I like where you positioned your gun, good job. This is your new gun for starters." "Now next week I'm going to need you in Iraq, we need your help". You gulp as he continues talking, "and we will need you for the most important part. The shooting."
| 3 |
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| 8 | false |
The large body you have can't even hold the Heavy Machine Gun. It is huge, and heavy. But it shoots so strong. You see a 4 feet by 5 feet target. Will you shoot it,remember it's your first time shooting,a nd you don't know where to shoot it, you can put the gun's end side up at your throat, and shoot the target, or you can Put it by your Stomach. Where will be better to shoot it. you think of.
> You shoot it by the stomach
The shot hits the floor, and you feel really crappy, but remember you still have other guns. So there has to be one gun that fit's your style.
| 1 |
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| 3 | false |
As you Pick up the Rifle, you almost drop it, because you get so nervous. There is a big Target for Newcomers. It is 4 feet by 5 feet. You are trembling, and are not sure how long you can hold your balance for .The target looks like1 foot, by 2 feet. You should wait, and shoot, but your not sure how long you can hold it for. Your boss is getting very impatient with how long your taking.
> You put the Gun down, and try another one
Without even trying you put the gun down, and ask for another one.
| 2 |
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| 0 | false |
As you Pick up the Rifle, you almost drop it, because you get so nervous. There is a big Target for Newcomers. It is 4 feet by 5 feet. You are trembling, and are not sure how long you can hold your balance for .The target looks like1 foot, by 2 feet. You should wait, and shoot, but your not sure how long you can hold it for. Your boss is getting very impatient with how long your taking.
> You just shoot out of random
The shot was at the edge of the target. But it hit it, and that gun could possibly become the next gun that you use in the army. Next week you start your missions the boss said. He continues to say stuff as you gulp. Your nervous, but you must get over it.He tels you, you will have missions in Iraq.
| 2 |
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| 0 | false |
The smell of water clouded Gabri's mind. The vast painting of blue was beautiful. Forget the immense fog. Forget the millions of trees closing him in. All that was there was the pool of water. He began touching his feet inside. Its crisp freshness made him shiver with joy. Soon, he was wading, all of him, in the water. He swam around rapidly and then just let the water carry him. It felt good. Oh, how it felt good.
"Gabri!" shouted a voice from outside his own world. There, clothed in a brown and apricot robe, stood Ka Kamikaze, Jedi Master. His black hair, silver at the sides, clung to his scalp, refusing to let any wind pass through. His ashy black beard did the same. Ka was stocky, broad-shouldered. His blue lightsaber stayed tucked away deep in his robe. Gabri had never seen him withdraw it, but he had heard great tales in which he fought with it. Oh, if he could see him wield it, see all those tales come true, he would love it.
"No more tomfoolery!" Ka ordered in his bold voice, "Do you come or do you stay? I must search this area."
> You stay
"I think I shall stay." Gabri told Ka, and began drifting off into the water's hypnotizing ripples.
"Very well. If you must. I shall meet you back here soon." Ka said, a touch of bitterness in his voice, and was off. But Gabri didn't listen to him. He was already immersed in the water.
The quiet tranquility calmed him. It was a calm quiet. A peaceful quiet. An eerie quiet. A menacing quiet. He felt the sensation of being watched. He reluctantly emerged from the water and draped his robe around him. He then went to explore the region around the pool. The only sounds were his footsteps squishing on the damp grass and his breathing. But, as he quieted himself, he heard another breathing noise.
He whipped his head around, scouring for another being. He saw nothing. He looked to the north and, suddenly, he heard the hum of a lightsaber. He lashed his own out. The crrsshh of their lightsabers clashing echoed around them. The bright hues of green and red lit up their faces. Gabri could not see the other's face, for it was covered by a sooty, black hood. He knocked the lightsaber out of the other's hand and pinned him to the ground. The other was not, however, a he at all. She was a woman, with musty red hair all ablaze and fawn's eyes. They were timid pools of blue-green water and they were glistening. Her hood was now down and her arms bent up against her head. With flaring nostrils, Gabri shouted at her,
> You say "Who are you?!"
The woman looked at him with stern eyes. She clenched her teeth and answered, "I am Ophelia. And you may be?"
"Gabri," Gabri told her, "I'm tempted to kill you." She looked at him with girlish eyes. Her sternness was there but her eyes sang a different tune. They sang, "Have mercy on me." He kept her restrained but, in an act of kindness, eventually let her be free. She stood and brushed the dew off her robe. As she stared at him her eyes said something again that her voice did not: "Why are you kind to me?"
He knew not why, but he felt a certain sadness for her. It seemed she wished not to be here, that she longed to be somewhere safer, happier. A tear trickled down her face. She gazed down a moment. Then, she looked into his periwinkle eyes.
"You have been sent to free me," she replied, speaking like a prophet, "To free me from the Sith's manacles." He stared into her fawn's eyes. Her strength was wilting. She suddenly dropped to her knees, laid her face in her hands and cried. Seeing her sorrow made him think of how he was glad he was a Jedi. The Sith were menaces. They always turned on each other. They couldn't be trusted. But he then remembered the harshness of Ka. How Ka was cruel and unforgiving. That was like the Sith. They both sounded horrible. He knelt by her, resting a claming hand on her back, and told her,
> You say "Come with me and the Jedi shall protect you."
She looked up at him with trustworthy eyes. The tears made her eyes quiver like someone dropping a pebble into a a pond and watching the ripples. She laid a hand on his shoulder and said, "Thank you."
He never quite did know if the Jedi were the good ones, or the Sith. But seeing this girl break into tears, he knew. He had to take her into his custody, make her feel wanted. And so, following the path from Padawan to Jedi Knight, he took her as his Padawan. He needed to show everybody how the Jedi were the ones to be trusted. He did show them. Every one.
| 3 |
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| 12 | false |
The woman looked at him with stern eyes. She clenched her teeth and answered, "I am Ophelia. And you may be?"
"Gabri," Gabri told her, "I'm tempted to kill you." She looked at him with girlish eyes. Her sternness was there but her eyes sang a different tune. They sang, "Have mercy on me." He kept her restrained but, in an act of kindness, eventually let her be free. She stood and brushed the dew off her robe. As she stared at him her eyes said something again that her voice did not: "Why are you kind to me?"
He knew not why, but he felt a certain sadness for her. It seemed she wished not to be here, that she longed to be somewhere safer, happier. A tear trickled down her face. She gazed down a moment. Then, she looked into his periwinkle eyes.
"You have been sent to free me," she replied, speaking like a prophet, "To free me from the Sith's manacles." He stared into her fawn's eyes. Her strength was wilting. She suddenly dropped to her knees, laid her face in her hands and cried. Seeing her sorrow made him think of how he was glad he was a Jedi. The Sith were menaces. They always turned on each other. They couldn't be trusted. But he then remembered the harshness of Ka. How Ka was cruel and unforgiving. That was like the Sith. They both sounded horrible. He knelt by her, resting a claming hand on her back, and told her,
> You say "Do not fear the Sith. They will help you."
Her eyes met his and she resembled a deer in headlights. Her crying stopped from sheer shock.
"Your a monster if you believe that," she said, "You must be." She fled from him, leaving him kneeling with a hand in the air. She fled because she feared him. She just didn't know. The Sith were the good ones. Not the Jedi. Ka was a good example. So he became a Sith Master, destroying all dear to him for he knew this was the right thing to do.
| 2 |
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| 10 | false |
"I think I shall stay." Gabri told Ka, and began drifting off into the water's hypnotizing ripples.
"Very well. If you must. I shall meet you back here soon." Ka said, a touch of bitterness in his voice, and was off. But Gabri didn't listen to him. He was already immersed in the water.
The quiet tranquility calmed him. It was a calm quiet. A peaceful quiet. An eerie quiet. A menacing quiet. He felt the sensation of being watched. He reluctantly emerged from the water and draped his robe around him. He then went to explore the region around the pool. The only sounds were his footsteps squishing on the damp grass and his breathing. But, as he quieted himself, he heard another breathing noise.
He whipped his head around, scouring for another being. He saw nothing. He looked to the north and, suddenly, he heard the hum of a lightsaber. He lashed his own out. The crrsshh of their lightsabers clashing echoed around them. The bright hues of green and red lit up their faces. Gabri could not see the other's face, for it was covered by a sooty, black hood. He knocked the lightsaber out of the other's hand and pinned him to the ground. The other was not, however, a he at all. She was a woman, with musty red hair all ablaze and fawn's eyes. They were timid pools of blue-green water and they were glistening. Her hood was now down and her arms bent up against her head. With flaring nostrils, Gabri shouted at her,
> You say "Why did you try to kill me?!"
She gazed at him with fiery madness. "Because you are a Jedi! Jedi cannot be trusted!" She wanted to struggle, to escape from him, he could tell but if she tried she'd feel the wrath of his lightsaber.
"It is the Sith that can't be trusted!" he shouted, accidentally letting her go.
"The Sith have only tried to restore the galaxy. The Jedi have tried to tear it down!" she shouted back, angrily, picking up her lightsaber and wielding it once more.
They clashed the lightsabers against each other again and started an immense battle. They whipped around and around again. She withdrew her lightsaber unintentionally and he took the moment to
> You murder her
He swished his emerald lightsaber through her body and she fell to the ground. Her hair laid around her and her body was limp. He felt anger rise inside him. He didn't know then but he was becoming a Sith. He went out into other worlds expressing his anger. He found that the Sith were the good, the great defenders of the galaxy. And, after annihilating people and planets, he joined the Sith for the good of the galaxy.
| 1 |
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| 3 | false |
She gazed at him with fiery madness. "Because you are a Jedi! Jedi cannot be trusted!" She wanted to struggle, to escape from him, he could tell but if she tried she'd feel the wrath of his lightsaber.
"It is the Sith that can't be trusted!" he shouted, accidentally letting her go.
"The Sith have only tried to restore the galaxy. The Jedi have tried to tear it down!" she shouted back, angrily, picking up her lightsaber and wielding it once more.
They clashed the lightsabers against each other again and started an immense battle. They whipped around and around again. She withdrew her lightsaber unintentionally and he took the moment to
> You hug her
He wrapped his arms around her and, as she eased into him, she cried.
"They're cruel beings," she hiccuped, "They are self-seeking and would do anything to destroy their enemies and even their friends, if they had any, to make themselves stronger." Gabri nodded on her candlelight hair. Ka was callous at times but he always had good intentions. He wanted to help, not hurt. Gabri knew that now. As the girl sobbed into his robe, he knew he had to stay a Jedi if he wanted to help. And he did want to.
| 5 |
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| 11 | false |
You duck when you get close to him, sweeping his legs out from under him. He drops the knife and it goes skidding down the hall, but before you can knock him out he jumps back up and leaps away from you, taking a fighting stance. Likewise, you get up and take a fighting stance.
He throws a punch.
> You try to catch his fist and break his arm.
You try to catch his arm, but it was a feint; he strikes out at you with the other arm, knocking you off your feet. He picks his gun up off the floor, aims at your head, and fires.
| 4 |
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| 2 | false |
You return to the apartment, Huntress there waiting for you. "So? Who was he?"
"Private eye, hired to keep a watch on you. He gave me a name. Tomaso Panessa." At this, Huntress's eyes widen. "You know him?"
"... He's my uncle."
"Uncle? Why would your uncle want to spy on you?"
"I don't know. But I'm going to find out why."
"Correction: we're going to find out why."
-----
That's how you found yourself at a banquet two days later. Luckily, Huntress', or rather, Helena's cousin and Tomaso's son, Nino Panessa, was getting married. She didn't plan on attending, but this new development changed those plans. The wedding was being held outside the Panessa Manor by Tomaso, so it would be the perfect chance to snoop around inside while everyone was busy.
Helena brought you along as her plus one. Although hesitant to reveal your identity to her, you agreed to come along out of costume. The two of you sit at a table off to the side, you scanning the guests behind mirrored shades. Everyone here has ties to organized crime. You feel out of place, not only because of your obvious disgust for criminals, but also because of the fact that you're the only person who isn't Italian. Your ginger characteristics have caused a few stares to be cast at your table, judging both yourself and Helena.
"I'll go check the house out, you stay here to avoid rousing any suspicion," you whisper to her, standing up.
"Be careful, Q," Helena replies, and watches you go.
It was easy enough to slip into the mansion through the kitchen entrance, left open for the servers to come in and out. You'll have to be quiet, you can't just rush in, not for this. You slip into the manor proper.
It's bigger than anything you've ever seen, beating out even Mayor Fermin's mansion back in Hub City (well, before it got burnt down, that is). There must be a million rooms in the place. But you know that the place you're looking for: Tomaso's study on the third floor where he keeps his computer, and by extension all of his information regarding his activities. The only problem is Huntress didn't tell you where it was beyond the third floor. It'll be a guessing game from there.
You reach the third floor using the servants' stairwell without any interruptions. There's no one here, at least there shouldn't be. Now you just have to find out which door the study is behind. Thankfully, there are only three.
> You check the third door, at the end of the hall.
You enter the door at the end of the hall, and find yourself in a bathroom. It's huge, for whatever reason, with a large bathtub, a walk in shower, a toilet fit for a king and- is that a Jacuzzi? Damn, you almost want to hop into it... Shaking your head, you leave before temptation gets the best of you.
| 3 |
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| 8 | false |
Santo Cassamento lived life grandly. Just outside of Gotham he owned a mansion, not too far from Wayne Manor, where he had practically an army of butlers, maids, chefs, the works. Not surprising, considering his line of work.
As you approach the crime lord's mansion, you can tell Huntress feels sickened by being anywhere near it. The two of you sneak past guards set up, you couldn't take them even if you wanted to, they had guns, and you didn't. Sure, Huntress had her crossbow, but in the time it took her to reload it she'd already be riddled with lead. Instead, you stick to the bushes and shadows, until you get to a second story study. There's Cassamento, lounging around reading Oedipus Rex.
Huntress glares at him. "Let me go in alone," she hisses. "I'll handle this."
> You say "No."
You shake your head. "No. I'll come with you," you say, and she looks surprised and... Pleased?
"Alright. Come on." She opens the window and slides into the mansion, you following not long after.
Cassamento looks up as he sees the two of you enter.
He gives a smoldering smile when he sees Huntress. "Huntress," he says, before frowning upon seeing you. "... And a faceless Humphrey Bogart impersonator."
Ouch.
"What are you doing here?"
"You know damn well why I'm here, Cassamento," Huntress spits, cold glare penetrating the older man as she takes aim. "The murders. You're framing me."
Cassamento quirked an eyebrow, "I promise you, I know nothing about that."
"I wouldn't bullshit her, Cassamento," you comment, "that crossbow has a hair-trigger."
"Hm. I would believe so, what with all those people she's killed." Cassamento smirked, looking like the cat who caught the canary.
"It was you. I can tell," snarled Huntress.
"Ha. Don't be so foolish. Say what you will about my activities, I'm a man of my word, and I speak the truth when I say I have nothing to do with the murders."
Huntress looks shocked, but after a moment just sighs. You've done some reading into Cassamento himself, and he's right; he's not one to lie about his intentions. And looking at him now, smug as he is, you can tell that he's telling the truth. That or the man is a master manipulator and this is an elaborate scheme.
"... I'll be back." Huntress says coldly, before heading out the window. You cast one last look at Cassamento, who simply sits back down and continues reading as if nothing happened.
You leave through the window, heading back to the city with Huntress.
| 5 |
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| 8 | false |
The Iceberg Lounge. It didn't make sense how it still got business despite the fact that it's been public knowledge for years that it's owned by a well-known supervillain and many of his illegal activities run through it. Perhaps it was just best not to question these things.
Huntress looks down at the building, kneeling next to you. "So how do we play this, Q?"
Now that's a good question.
> You say "Fast and loud."
"Fast and loud," you reply, "we go in, kick ass, and take names."
Huntress looks skeptical, "Um... Okay." She's about to grapple across the street to the Lounge when she realizes you don't have a grappling gun. Wordlessly, she tosses you a spare. "Keep it," she says, before firing and being pulled to the Lounge. You follow shortly after.
> The Lounge
The three story arctic themed building was just as big on the inside as it was out. The club was currently closed down for 'renovations', though you knew better; Penguin had just escaped from prison, and he was more than likely getting back into the swing of things. This meant most under his payroll would be here while he heard how his operations were going. It would be packed, which meant the head on approach was definitely not the best idea. Oh well, you've been in worse spots.
The two of you bust into the front door, already half a dozen criminals in the entrance. Three go for Huntress, while the remainders go for you. At your feet is a socket wrench.
> You your mitts will do just fine.
Rushing into the fray, you swing a wild haymaker at one of the thugs, managing to hit him. However, the other two attack from both sides, one with a batand the other... With a knife. You try to disarm the one wielding the knife, but he cuts your hands, and soon enough the two have you on the floor, bat guy bashing your head in and knife guy stabbing you in the abdomen. With such a brutal beatdown, you're dead in seconds, the last thing you hear being Huntress screaming your name.
You Died!
| 3 |
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| 6 | false |
The three story arctic themed building was just as big on the inside as it was out. The club was currently closed down for 'renovations', though you knew better; Penguin had just escaped from prison, and he was more than likely getting back into the swing of things. This meant most under his payroll would be here while he heard how his operations were going. It would be packed, which meant the head on approach was definitely not the best idea. Oh well, you've been in worse spots.
The two of you bust into the front door, already half a dozen criminals in the entrance. Three go for Huntress, while the remainders go for you. At your feet is a socket wrench.
> You put the wrench to use.
Quickly, you run forward and pick up the wrench, bringing it up into one's face and sending him out for the count. The other two begin to attack, one with a bat and the other... With a knife. Thinking fast, you knock the switchblade out of his hand before he can put it to use, bringing the wrench down hard on his nose.
"ACK!" you shout as the other swings his bat and hits you in the back, knocking you to the ground.
> You trip him up.
With swiftness that would put the Flash to shame, you wrap your legs around his left leg, yanking them to the right. Sure enough, he falls over, giving you time to crawl to him and knock him out with your wrench. "Christ..." you pant, breathless.
As you get up, you hear Huntress finish up with her batch. "I told you we shouldn't have gone through the front!"
"No you didn't!" you reply.
"... Well I thought it!"
"Oh, and I'm supposed to read your mind?"
"Yes!" she snaps.
Exasperated, you begin to retort, but don't have time to as more goons swarm into the lobby. The two of you share a look, then nod.
| 4 |
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| 5 | false |
Quickly, you run forward and pick up the wrench, bringing it up into one's face and sending him out for the count. The other two begin to attack, one with a bat and the other... With a knife. Thinking fast, you knock the switchblade out of his hand before he can put it to use, bringing the wrench down hard on his nose.
"ACK!" you shout as the other swings his bat and hits you in the back, knocking you to the ground.
> You get back up.
You try to smoothly recover, jumping back up to your feet, but he swings his bat right into your face and sends you right back onto your ass. He continues to wail on you, smashing your head in, and long after he's finished the job. In the distance, you swear you hear Huntress scream your name, but soon all sound fades.
You Died!
| 2 |
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| 3 | false |
This is a story about a boy named Long, who life will change with the coming of war.
But first, let's focus on the Vietnam War itself.
The Vietnam war happened after the French's failed attempt to gain control of the country. The United States then took over for them. In 1954, when the French left, Vietnam split into two after a conflict over who would control the country. It was the communist North, and the independent South. The United States sided with the South.
> You numerical Facts
-At the beginning of the 20th century, 90% of war casualties were soldiers, by the last decade of that century that 90% were of civilians instead.
-Many of those 90% casualties were children.
-More than a million South Vietnamese were orphaned by the war, and only a few thousand made it to adoptive families.
(in the book Escape From Saigon)
> Back to 'A Note to Readers.'
This is a story about a boy named Long, who life will change with the coming of war.
But first, let's focus on the Vietnam War itself.
The Vietnam war happened after the French's failed attempt to gain control of the country. The United States then took over for them. In 1954, when the French left, Vietnam split into two after a conflict over who would control the country. It was the communist North, and the independent South. The United States sided with the South.
| 2 |
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| 1 | false |
Grey snow begins to fall as you make your way slowly along the road. You're not sure how long it's been. Days? Weeks? It couldn't have been months, you think, otherwise it would be getting warmer by now. At least, that's what you hope is true, for there would be no meaning in migrating south every winter if summer only grew colder. You amuse yourself with thoughts like these in an attempt to forget the twisting, empty feeling in your stomach. Impulsively, you remove your canteen from the sack of blankets and take a quick drink to quell the swelling of your throat.
Later in the evening, you come across an abandoned gas station—actually, why do you even refer to it as abandoned? Everything in this world is abandoned and decaying, isn't it? ...There goes your brain again. You can't let it get to you. You have to hold on to the hope of survival, because without it, life isn't worth living.
You take a deep breath and force yourself to enter the gas station. As you expected, all of the shelves have been ravaged and there's hardly anything worth keeping. You pay no mind to the open cash register and instead begin fumbling about through the mess in search of something, anything worth eating. You peer into one of the broken refrigerators and spot a sealed packet of some sort of lunch meat, hidden away in the corner. You open the door and pull it out, staring longingly at the pale hunk of long-expired, browning flesh. What do you do?
> You put it back. You can't take that risk.
Your stomach protests your decision, but you return the package to its original hiding place anyway. You know the risks that come with food poisoning, and with such a poor immune system, it would be all too easy for some bacteria to kill you off in your sleep. Instead, you venture outside and return with firewood, and after setting up a small fire in the middle of the store, you curl up in your blankets and fall asleep.
> Next.
With every passing day, it becomes harder and harder to get up and force yourself to keep going. The snow is falling heavily now, and your brain is preoccupied with fantasies of food. Tree bark isn't edible, is it? No... Maybe? You're having trouble clearing your head and focusing on the road ahead of you. Starvation is making you dizzy, and before you know it, you're lying face down in the ash and snow.
No, you can't let it end like this. You have to get up and keep moving. Death is not an option!
But the snow is so soft, almost warm to the touch. Your eyes are heavy. You're not sure if you really should keep soldiering on, or if you should just sleep and let the cold envelop you.
> You succumb to sleep.
A wave of peace washes over you as you make your resolve. With a small smile, you close your eyes and slowly drift off into a deep sleep, followed by dreams of flowers and sunlight and childhood, and then nothingness.
| 3 |
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| 6 | false |
You're awoken by the noise. A horrible, long, incredibly loud, screeching howl that penetrates your very core. The noise floods into your mind, as horrifying and scary as when you first heard it. Only now, you can hear it outside your house. You hurry to clamber out of bed, clambering out of bed as you hear the door smash open. The creature lets out a chattering, screeching howl. You freeze, feeling cold, as shivers run down your spine. You need to act, fast.
> You hide under the bed
You dive under your bed, to a point where you can see the rest of the room, but no one else can see you. You hear your parents' screams of terror as they're torn apart.
Suddenly, the door to your room smashes open, and you find the creature staring at you. It looks vaguely human, a fact even more terrifying. It stands at seven or eight feet, it's skin as white as bone. It has long black hair, matted with blood and gore. It's hands have transformed into horrible, mangled claws, with long, bloodstained claws. It's face is mangled and misshapen, but its eyes are filled with malice and hate as they peer around the room.
The monster bursts towards Meredith who still lies in her bed, impaling her fragile body on one of its claws. It raises her up from her bed, growling in her face, before tossing her aside.
It stops, staring around the room, sniffing slowly.
> You run
You try to crawl out from under the bed, but as soon as you do you realize there's no escape. You stare at the monster as it brings its claws just next to your face, still grinning with satisfaction. It motions as if to slash open your throat, but stops suddenly. It motions to do so again, but pauses once more, this time hissing in pain. It stops, before howling up towards the sky. Then, it brings its face up to yours.
"Leave this place," it snarls.
Its breath reaches your nostrils, warm and toxic. You feel your head going black, before collapsing onto the ground.
| 3 |
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| 5 | false |
You dive under your bed, to a point where you can see the rest of the room, but no one else can see you. You hear your parents' screams of terror as they're torn apart.
Suddenly, the door to your room smashes open, and you find the creature staring at you. It looks vaguely human, a fact even more terrifying. It stands at seven or eight feet, it's skin as white as bone. It has long black hair, matted with blood and gore. It's hands have transformed into horrible, mangled claws, with long, bloodstained claws. It's face is mangled and misshapen, but its eyes are filled with malice and hate as they peer around the room.
The monster bursts towards Meredith who still lies in her bed, impaling her fragile body on one of its claws. It raises her up from her bed, growling in her face, before tossing her aside.
It stops, staring around the room, sniffing slowly.
> You hide
You wait patiently, trying not to make a sound. Slowly as it sniffs the air it begins turning its head to look at where you're hiding. It slowly approaches, before dropping to its knees to stare at you with those dead eyes, it's horrible, mangled mouth seeming to turn into a grin.
You try to crawl out from under the bed, but as soon as you do you realize there's no escape. You stare at the monster as it brings its claws just next to your face, still grinning with satisfaction. It motions as if to slash open your throat, but stops suddenly. It motions to do so again, but pauses once more, this time hissing in pain. It stops, before howling up towards the sky. Then, it brings its face up to yours.
"Leave this place," it snarls.
Its breath reaches your nostrils, warm and toxic. You feel your head going black, before collapsing onto the ground.
| 3 |
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| 5 | false |
You're awoken by the noise. A horrible, long, incredibly loud, screeching howl that penetrates your very core. The noise floods into your mind, as horrifying and scary as when you first heard it. Only now, you can hear it outside your house. You hurry to clamber out of bed, clambering out of bed as you hear the door smash open. The creature lets out a chattering, screeching howl. You freeze, feeling cold, as shivers run down your spine. You need to act, fast.
> You grab Meredith
You charge over to your sister, grabbing her.
"Meredith! Meredith!" you say in a hurried manner.
"Wh... what?" Meredith asks as she stirs from her shoulder.
Suddenly, the door to your room smashes open, and you find the creature staring at you. It looks vaguely human, a fact even more terrifying. It stands at seven or eight feet, it's skin as white as bone. It has long black hair, matted with blood and gore. It's hands have transformed into horrible, mangled claws, with long, bloodstained claws. It's face is mangled and misshapen, but its eyes are filled with malice and hate.
It stares at you. Then, with supernatural speed, it bursts away. You try to rouse Meredith again and she stumbles out of bed as you hear mother and father scream as they're torn apart. Then, the creature appears in the doorway again, as you run for the window with your sister. The monster bursts towards Meredith, impaling her fragile body on one of its claws. It raises her up, growling in her face, before tossing her aside. Finally, it turns to you, it's horrible, mangled mouth seeming to turn into a grin.
It steps forward slowly. You know there's no use running. You stare at the monster as it brings its claws just next to your face, still grinning with satisfaction. It motions as if to slash open your throat, but stops suddenly. It motions to do so again, but pauses once more, this time hissing in pain. It stops, before howling up towards the sky. Then, it brings its face up to yours.
"Leave this place," it snarls.
Its breath reaches your nostrils, warm and toxic. You feel your head going black, before collapsing onto the ground.
| 3 |
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| 4 | false |
You turn, walking off into the woods. It's only a few minutes of strolling before Rose appears behind you, smiling and happily fiddling with her wooden ring.
"Hiya," she says.
"Hello, Rose," you say.
"So, Jacob, what do you wanna do?"
"I don't know," you say. "Did you get me any prey to bring home?"
Rose nods.
"Yeah, I got you five hares. Is that enough?"
"Perfect," you nod.
"Come on, then," Rose smiles, bounding away. "Let's go find something to do."
You look at her, thinking. Father said you were to find a girl relatively soon. A wife to raise a family with. From what you've seen of the outside world, the girls are all the same as Meredith and mother. They do what they're told, they pray, they're humble. But you don't want a wife like mother or Meredith.
You wonder if Rose would be a suitable partner. She doesn't know how to sew, or clean, or cook, or wash clothes, or really do any wife stuff. But you'd prefer a second out here with her rather than with Meredith or mother. She's the one who hunts. Maybe you could learn to do the wife things for her if you got married. You...
An acorn hits you in the head and you step back, startled. Rose throws another acorn at you, which you duck under.
"Hello! Anybody there?" Rose says, gently tapping her knuckles against your head.
"I'm fine, I'm fine," you reply, as you begin walking alongside her.
You walk down towards the stream, where Rose's catch awaits. Five hares hang from the branches alongside three squirrels. Rose hops across the river, water splashing the edge of her dress. You follow her, jumping from rock to rock to cross the stream. Rose sits down on a rock basking in the sun that sits at the edge of the stream, water rushing past. You sit down next to her, staring at her. With long blond hair, shockingly blue eyes and a pretty, if a bit animal-like face, she's definitely pretty. Her eyes lock into yours, as you both stare into each other.
> You approach her about the idea of marriage
"Do you ever plan to marry, Rose?"
"Marry?" she asks, curiously. "What's that?"
"You know, when a boy and a girl become one. Like my parents, or like your parents."
Rose stares at her hands for a second, her face darkening.
"No. I don't want to be like my parents. Definitely not," she says.
"No, not like... a marriage is like when a man and a woman become a pair under God and have kids and stay together."
"What does having kids have to do with staying together?" she asks. "And I definitely don't want to do anything under... well, you know."
"If you have kids you stay together," you say. "That's what happens."
"My parents never stayed together, and they had me," she says.
Perhaps she might not make the best wife. The concept of marriage seems lost on her. The concept of romance might not be, however.
| 3 |
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| 7 | false |
You stand in the goat shed, feeding Nick and Puck. You put the rest of their feed down, walking out to talk to father. Father chops wood by the wide of the house, while mother cooks and Meredith washes clothes by the stream. You walk to father, who seems quite content. Thanks to Rose, you've been eating well, and she even brought you a full deer the other day. You had to shoot it to make it seem like you had hunted it yourself, but other than that it was a cause for celebration.
"Ah, boy! Have you checked the traps today?"
"Not yet, father," you say.
Father smiles, motioning towards the soup mother's making.
"Go, get some venison soup and head out. I need to head to town tomorrow. Get some salt to help the meat last through winter, and sell some of the excess meat. We're truly blessed with your hunting and trapping skills, Jacob. Thank the Lord for it. So tell me, will you come to town with me tomorrow?"
> You decline to spend time with Rose
"Ah, what a shame. You're spending too much time in those woods, son. Does it not get lonely out there?"
You shake your head, and father sighs.
"If that's what you want. I'll be seeing if there's any fathers with girls your age in the town, you know. You're getting old, and I'm sure with your strong features, ability to provide for a family and your humility to God, you'll have no trouble finding a wife. Ah, I'm talking too much. Go, grab some soup and head out."
You begin walking away and head to mother, who stirs the soup slowly.
"Do you want some, Jacob?" she asks, not looking up.
"Yes, please," you say, as she dumps some of the soup into a wooden bowl and hands it to you.
You say your thanks to her before praying to say the same to the Lord, and then quickly devour the soup. It's fairly delicious and both easily warms and fills you up easily. Now, you're ready to head out.
| 3 |
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| 3 | false |
You quickly make your way to the burnt out cottage. As you reach the clearing and see the blackened thatch and ash and the burnt stone, you feel nervous. Still, with your crucifix clutched tightly in your hands, you move forward into the burnt out cottage. You step through the doorway, crouching down into the ash. You pause, as you notice several black, burnt bones sit in the ash. You frown and wince, realizing that Rose’s mother does, as a matter of fact, still live in this house… or at least, she stays here. You don’t want Rose to have to come here and relive whatever awful memories he has. You wonder whether this is a good spot to hide.
> You leave and head to the den
You stand up from the ash, and quickly make your way to the den, finding it in the exact spot you remembered, just squirreled away under the twisted roots of an ancient Oak. You drop to your knees, lifting yourself down into it and scrunching up. You wait patiently, closing your eyes.
| 3 |
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| 4 | false |
You quickly make your way to the burnt out cottage. As you reach the clearing and see the blackened thatch and ash and the burnt stone, you feel nervous. Still, with your crucifix clutched tightly in your hands, you move forward into the burnt out cottage. You step through the doorway, crouching down into the ash. You pause, as you notice several black, burnt bones sit in the ash. You frown and wince, realizing that Rose’s mother does, as a matter of fact, still live in this house… or at least, she stays here. You don’t want Rose to have to come here and relive whatever awful memories he has. You wonder whether this is a good spot to hide.
> You leave and head to the cave
You stand up from the ash, and quickly head up to the cave, running as fast as you can. You run as fast as your legs can carry you, eventually reaching the incline leading up to it. Which you quickly clamber up. You climb up the rocks and reach the mouth of the cave, turning only briefly to stare at the forest around you. You feel a certain cold chill run through you as you stare at into the darkness inside, wondering if you should enter.
> You leave and head to the den
You quickly head down the mountain, skidding down the mud and rocks, but by the time you actually reach the bottom and walk any reasonable distance, Rose races up to you with a gleeful “Found you!”.
“Ah, rats!” you say.
“You didn't even hide!" she smiles.
"I didn't have time to!" you say, before looking up at the sun as it falls through the sky. “It’s late. I need to get home soon.”
“Oh come on! I didn’t even get to hide yet!” Rose complains, pouting in an exaggerated fashion.
“Neither did I," you smile. "Don't worry. You can hide first time,” you say.
“Fine,” Rose says. “Come on, let’s get you home.”
| 4 |
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| 5 | false |
You stand up from the ash, and quickly head up to the cave, running as fast as you can. You run as fast as your legs can carry you, eventually reaching the incline leading up to it. Which you quickly clamber up. You climb up the rocks and reach the mouth of the cave, turning only briefly to stare at the forest around you. You feel a certain cold chill run through you as you stare at into the darkness inside, wondering if you should enter.
> You venture into the cave
You walk further into the cave, as the shadows and darkness consume you. You step forward nervously. After a minute of stumbling forward, you reach the end of the cave, pausing. In the middle of the cave, dozens of scratches cover the inside of the wall, alongside dried in blood. You pause, staring at it. In the middle, a deer skull sits in place You stare at it, feeling unnerved. You half expect to start hearing horrible screaming or demons to clamber out from the walls, but nothing happens. Still, the area fills you with dread, and you wonder if you should leave.
> You stay
You stay in the cave, holding your crucifix tightly. You feel chills run through your body and feel an awful presence watching over you, but you just hold the cross tighter and wait. Nothing happens, though. You wait patiently, but it seems Rose just doesn't seem to arrive. It's after at least two hours where you realize she's never going to find you in here, and you stand, walking out of the cave and reaching the mouth. You head down the mountain, skidding down the mud and rocks, you scoot down to the bottom. You begin walking, but it's only a few minutes before Rose races up to you.
"Damn! You had a good hiding spot. I couldn't find you at all. Where were you?" she asks.
> You tell her the truth
"I was in your father's cave," you say.
Rose stops, turning pale. She looks you dead in the eye, her unnaturally blue eyes staring into your eyes and chilling you to the bone. She looks up and down you, a mixture of nervousness, terror and anger on her eyes that manifest into a confusing look, as she begins nervously fiddling with her ring.
“I told you not to go there! I told you!" she says angrily.
"I'm sorry," you say.
Rose puts her index and middle finger against your temple, looking worried, as her wooden ring rubes against your temple.
"It's OK," she says. "I forgive you. Just, promise me you won't go near there again."
"I promise."
"Thanks. Do you feel OK?" she asks.
"Yeah, I feel fine."
"Are you sure? No flu or coldness or anything?"
"No, I feel fine now," you say.
"OK," Rose nods, before wrapping her arms around you and hugging you. "I'm glad you're safe. Come on, let’s get you home.”
You nod, and begin walking alongside Rose home.
| 3 |
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| 5 | false |
You stay in the cave, holding your crucifix tightly. You feel chills run through your body and feel an awful presence watching over you, but you just hold the cross tighter and wait. Nothing happens, though. You wait patiently, but it seems Rose just doesn't seem to arrive. It's after at least two hours where you realize she's never going to find you in here, and you stand, walking out of the cave and reaching the mouth. You head down the mountain, skidding down the mud and rocks, you scoot down to the bottom. You begin walking, but it's only a few minutes before Rose races up to you.
"Damn! You had a good hiding spot. I couldn't find you at all. Where were you?" she asks.
> You lie
"I was hidden under a tree, in a fox den."
"Damn! I thought I would've sniffed your scent," she says, sniffing the air. "You smell the same as always. I don't know. Maybe I have a cold."
You feel a bit of guilt for lying, and decide to pray for redemption tonight, but Rose doesn't seem to catch on.
"Well, it's late. Come on, let's get you home!" Rose smiles.
| 3 |
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| 4 | false |
You walk further into the cave, as the shadows and darkness consume you. You step forward nervously. After a minute of stumbling forward, you reach the end of the cave, pausing. In the middle of the cave, dozens of scratches cover the inside of the wall, alongside dried in blood. You pause, staring at it. In the middle, a deer skull sits in place You stare at it, feeling unnerved. You half expect to start hearing horrible screaming or demons to clamber out from the walls, but nothing happens. Still, the area fills you with dread, and you wonder if you should leave.
> You leave and head to the den
You quickly turn, and leave the cave. You don't want to deal with whatever horrors remain here. You reach the mouth of the cave and head down the mountain, skidding down the mud and rocks, but by the time you actually reach the bottom and walk any reasonable distance, Rose races up to you with a gleeful “Found you!”.
“Ah, rats!” you say.
“You didn't even hide!" she smiles.
"I didn't have time to!" you say, before looking up at the sun as it falls through the sky. “It’s late. I need to get home soon.”
“Oh come on! I didn’t even get to hide yet!” Rose complains, pouting in an exaggerated fashion.
“Neither did I," you smile. "Don't worry. You can hide first time,” you say.
“Fine,” Rose says. “Come on, let’s get you home.”
| 3 |
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| 1 | false |
Your secret friendship with Rose develops quite a fair bit. You have quite a bit of time to play with her. Due to your success at “hunting”, father seems more than happy to leave you in charge of the hunting. Everyday, you head out to do the snares, Rose awaits with a string of hares for you. Then, you have a while to play and have fun, before you need to head home to avoid arising suspicion. You gift Rose with a few luxuries that she can’t scavenge from the woods such as preserves, a blanket and a few other man-made goods. Father notices your rise in behavior, but he simply dismisses it as you enjoying the woods and all the time you’re spending in it. Like you, Rose assures you that it’s best you never meet with her parents. When asking if her parents even know of the friendship or whether they’re in the dark like yours, she vaguely implies that her mother does know, and watches you two playing occasionally. You never see her, mother, but you don’t mind. For now, all is good.
You run through the undergrowth desperately with all your speed, but like always, Rose is much faster than you. She taps you in the shoulder before speeidng away in the blink of an eye, stopping by a tree to lean against it for you to catch up.
“You’re too fast!” you complain.
“You’re too slow,” Rose says, sticking out her tongue.
“Let’s play another game,” you say.
“Hide and seek?” she asks.
Despite Rose’s unnatural ability to find you during hide and seek, by what she claims to be “sniffing” despite her being far away, you have much more of a chance of success in hide and seek rather than trying to outpace her. She’s faster than a deer, you’ll never beat her in that field.
“Yeah, let’s do hide and seek,” she says. “I’ll be on first, if you want.”
You nod eagerly, as she spins around on the balls of her bare feet, clasping her hands over her eyes.
“One, two, three…” she begins to count, as you turn and sprint off into the woods.
You have a few places in mind that would make a good hiding spot. There’s a little den underneath one of the trees that you could hide in. It should be easy enough to crawl into, although you’ve had similar hiding spots before. Still, it’s one of the best spots you have, and the closest one.
There’s also a more risky choice. The burnt out cottage that here mother supposedly lives in is close by. Rose says she only uses it for sleeping in, so you could hide out in there.
There’s also her father’s cave. It’s slightly father away, but Rose seems to have an aversion to it. You could get to it if you run past enough, and hide away in there. There’s been no reports of trappers in the area and Rose hasn’t mentioned seeing him in a while, so you should be able to hide out there.
> You hide in the cave
You quickly head up to the cave, running as fast as you can. You run as fast as your legs can carry you, eventually reaching the incline leading up to it. Which you quickly clamber up. You climb up the rocks and reach the mouth of the cave, turning only briefly to stare at the forest around you. You feel a certain cold chill run through you as you stare at into the darkness inside, wondering if you should enter.
| 4 |
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| 12 | false |
You hear the soft snoring of Meredith in the bed next to you. Father and mother are in the next room, but they're definitely asleep. You slowly slide out of bed, and creep over to the closet. You slowly open the closet, pulling out a black cotton dress and slinging it over your shoulder. You creep out of the house, walking towards the woods.
Rose waits there. She leans against a tree, giving a little wave as she sees you approaching. When you reach her, you hold out the dress and she takes it from you, pulling it over her head and putting it on.
"How do I look?" she smiles.
"Pretty," you admit, before mentally chastising yourself for being so lustful.
Rose smiles, and gently kisses you on the cheek. You blush, stepping back.
"Rose!" you say, embarrassed.
"What? It was on the cheek, we're just friends! Not even my mother could think that was bad!" she asks, confused.
"You're being lustful! We're not married, we shouldn't be..."
Rose puts a finger to your lips, nodding towards the house as you remember your sleeping parents and nod.
"You're weird," she says, before walking into the woods. "Come on, I'll show you where I have the hares."
You follow Rose into the darkness of the forest, and you walk alongside her. Soon, you find a dozen hares strung up from a tree by their neck. She cuts the rope keeping them up, and catches the string of hares as it falls, holding it out for you.
"Here," she says.
"That's a lot of hares," you say. "Fair trade."
Rose shakes her head.
"No. If you had just laid down your snares, you would've got a few hares. I still owe you something."
"Like what?" you ask.
"You're new to this place. I'll show you around."
"Uh, OK, " you say.
You follow Rose around as she leads you through the forest.
"So, do you... have a house around here?" you ask.
"Um... no. I sleep a lot of places. I used to sleep in my mother's cottage, but we don't get on. Now, I like to sleep in the trees. Find a nice big branch, hold on tightly. It's nice."
Over the next hour, Rose shows you the things of importance in the area. The good grazing areas, the most populated hare trails, the wild vegetable and fruit patches. Eventually, you reach within sight of an old, burnt out cottage. Rose stops you before you can get close.
"That's my mother's house," she says.
"Oh. Did... did she die?" you ask.
Rose shakes her head.
"No, no she's alive. It's just she... well, it's a long story."
"That place is all burnt out. No one should live there."
"She should," Rose says, spitting on the ground.
Rose quiets up as she leads you away from the cottage. After another few minutes, you come across a mountainous area, with a visible cave further up it.
"And that's where my father lives," Rose says. "Well, sort of."
"Does he move around a lot?" you ask.
"He lives in a lot of places. But he's there," Rose says.
"Is he a trapper, or something?"
"No, he's a..." Rose says, before pausing. "Yeah, trapper's a good definition. He traps things."
You dismiss her comment, and continue walking. Suddenly, Rose perks up.
"What games do you know how to play?" she asks.
"Games?"
"Do you like tag?" she asks.
"I don't know."
"I tap you and you become it, and then you have to tap me."
"Oh, OK," you say.
"So, tag," she says, tapping your shoulder. "You're it."
Rose bursts off, quickly running through the trees.
> You ask for clarifications on the rules, then tag her when she comes over
"Wait, if I tag you, then there's two tags. Then we can't play anymore."
Rose pauses, sighing, as she begins walking back to you.
"Look, if the person tagged is..." she begins to say, before you quickly tap her back and run off into the woods.
"Oh, you cheater!" she laughs, turning and running after you. "I'll get you."
You spend at least an hour playing but eventually, Rose leads you home. You talk for a bit more, but you arrive back at your cottage.
"Well, goodnight," she says.
"Goodnight, Rose," you reply.
"Can we do this again sometime? It's nice to have someone to be around."
She's right. It is nice. Your short time with Rose has been fun and really helped with your loneliness.
"Yeah. I'd like that," you say.
"Great," Rose smiles. "See you soon."
"See you soon," you say, as you walk back to the cottage to get to bed.
| 2 |
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| 9 | false |
"I have a sister. She's as big as you. I can get you one of her dresses."
"Oh, I don't want to cause any trouble," she says.
"No, it's OK, I can get it," you say. "I'll have to do it after I lay down my traps, but I can do it."
Rose nods, before looking at your pack.
"Why do you lay down traps?" she asks.
"To catch prey to eat," you reply. "What do you use?"
"My hands," Rose says.
Rose pauses, nodding behind you. You slowly turn, spotting a hare sitting in the grass, seemingly oblivious to the two of you. Rose raises a finger to her lips, slowly stepping forward. Then, with unnatural speed she pounces. Rose bursts forward. You only see a blur before she stops, holding the hare with a broken neck in front of you.
"How many do you need?" she asks.
"I don't know," you say.
"If you get me the dress, I can catch you a few hares," Rose offers.
> You refuse her offer
"No," you say. "I really should be finishing the traps."
"Oh, OK," Rose says.
"I'll see you around, though," you say.
"Yeah, I guess so," Rose says. "I really should go. My mother will be looking for me."
"OK. Goodbye, Rose,"
"Goodbye, Jacob," Rose says, before sprinting off into the woods.
You watch her leave, before turning to set up the rest of the traps.
> You continue
Labor and Duty
You never do see Rose again. You venture out looking for her a few more times, but you never do. She must've not liked you very much. A pity. You could've used a friend.
As you grow taller, stronger and smarter, father assures you that soon, it'll be time for you to finally leave and get your own home, your own wife, and your own family.
You suppose he's write. It's your duty to God and nation to build a strong family like that which raised you. That's what expected of you, and that's what you'll do.
| 3 |
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| 2 | false |
You creep forward, lowering your gun as you approach the creature. You step past teh tree, finding a young girl, around your age.
The girl has long, dirty blond hair and very pale skin. You blush and consider averting your eyes as you notice she's completely naked, before settling on focusing on her stares. She crouches over a dead hare, her hands tearing flesh from the creature as she greedily lifts it up and devours it. You stare at her in shock, before she looks up, staring at you. Her face is covered in the hare's blood, her long hair tussled with twigs and dirt in it. Her hands are covered in blood, and she wears a carved wooden ring. The thing that grabs your attention is her eyes. They're bright, shockingly blue that seem to entrap you, and you find yourself unable to say a word.
"Hello," she says, staring at you.
"I-I...," you stutter, stumbling over your words.
You both stare at each other, before the girl finally holds up the hare.
"Want some?" she asks.
"N-no thanks," you say. "I'm Jacob."
"I'm Rose," she replies.
"Do you live here?" you ask, not knowing what else to say.
"I live all over the woods," she replies. "Have you moved into the cottage?"
You nod, as she resumes the eating of the dead hare.
"That's not cooked," you say.
"No," she replies.
You know you have some bread in your pack, and you can see apples hanging nearby. Perhaps you should offer her something less... disgusting.
> You offer her an apple
You reach up, plucking a juicy red apple from one of the trees, holding it out to her.
"Here, have this," you say.
"No thanks," she says. "They taste rotten."
You bite into the apple, and find it tastes delicious. None the less, you decide to ignore it.
"I like your ring," you say, not knowing what else to say.
"Thanks," the girl replies. "I made it myself."
"Do you mind if I ask a question?" you ask, as Rose smiles.
"That's a question," she laughs.
"I mean, like another question," you say.
"Sure."
"Why aren't you wearing clothes?"
The girl looks down at her naked body, seemingly only noticing it for the first time.
"Oh," she says, blushing. "Um... I don't know. I don't have any clothes."
| 4 |
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| 5 | false |
You walk along the hare path, your rifle and crucifix held tightly in your hands. You find another good spot for a simple snare trap, beginning to tie up your loop as you peer among the branches for one that could be used for the snare. Suddenly, you hear a branch breaking. You drop the loop, twirling around to point your gun. Thankfully, you don't hit yourself in the face with your rifle. You peer through the trees, seeing the flash of pale flesh from yesterday.
> You shoot at it
You fire at the figure, missing due to its weight making you unable to aim accurately. Without a noise you see the pale figure sprint away in an instant. You try to follow, but soon give up on that as you realize just how much faster than it you are.
With no more traps to set up, you return home.
| 3 |
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| 6 | false |
You walk along the hare path, your rifle and crucifix held tightly in your hands. You find another good spot for a simple snare trap, beginning to tie up your loop as you peer among the branches for one that could be used for the snare. Suddenly, you hear a branch breaking. You drop the loop, twirling around to point your gun. Thankfully, you don't hit yourself in the face with your rifle. You peer through the trees, seeing the flash of pale flesh from yesterday.
> You quickly leave and return home
This must be the creature that made the horrible noise. You know if you get any closer, crucifix or not, it'll slaughter you. You turn, and quickly return home.
> You continue
Labor and Duty
You never do see the figure again. You venture out looking for it a few more times, with father alongside you, of course, but you never do. Maybe it just found a new hunting ground, or whatever this place was to it. No bother. As you grow taller, stronger and smarter, father assures you that soon, it'll be time for you to finally leave and get your own home, your own wife, and your own family.
You suppose he's write. It's your duty to God and nation to build a strong family like that which raised you. That's what expected of you, and that's what you'll do.
| 3 |
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| 4 | false |
You stare at the bowl of rabbit stew in front of you, lapping your lips as mother continues setting the dinner down on the table.
"Alright, let's pray," father says, as you all make the sign of the cross.
You bow your head as you all grab each others hands and hold them tightly to pray to the Lord.
"Bless us, O Lord, and these, Thy gifts, which we are about to receive from Thy bounty," you all say in unison. "Through Christ, our Lord. Amen."
You release your hold on Meredith and mother's hands, making the sign of the cross. Then, you eagerly dig into your food. You devour it, licking the last trace that the bowl in front of you ever even held food within two minutes. You slap the bowl down on the plate with a sigh of the joy that can only come from alleviating hunger. You wait for your family to finish eating, tapping the edge of the table out of boredom. After a few minutes, the rest of them finish eating, and you make the sign of the cross once more, before you join hands once more.
"We give Thee thanks, Almighty God, for all Thy benefits, and for the poor souls of the faithful departed, through the mercy of God, may they rest in peace. Amen," you all say, before making the sign of the cross a final time.
"Jacob, go check on the goats," mother says. "Meredith, help me cleaning the bowls."
You nod, standing and pushing in your chair, hurrying to the doorway and grabbing your coat as you pull it on. You walk outside, quickly heading towards the goat shed, where Nick and Puck lie on their bed of hay. They're well fed and watered, and seem contented. You turn to walk back inside, before seeing movement up in the trees.
Then, you hear the noise. A horrible, long, incredibly loud, screeching howl that penetrates your very core. You feel an urge to run and flee from the noise.
> You run to get your gun
You sprint to the house to grab your rifle. Father though, is faster, as he appears with his rifle in his hands.
"What was that?" he barks out, his knuckles white from how tightly he's clutching the rifle.
You point up towards the trees, bathed in the pale moonlight.
"It came from there!" you say.
Father pauses, staring up nervously. He leans into the doorway, grabbing the crucifix that hangs there to watch over you as you eat. He hands you the crucifix, as you take it.
"I want that on you whenever you enter the woods, understood?" he asks, as you nod. "I'll have the crucifix for the house replaced in the morning. Just try and get some sleep, OK?"
You nod, as you begin to trudge off to bed. Despite being exhausted, you know you won't sleep much.
| 2 |
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| 9 | false |
You begin wandering up towards the trees, holding your gun tightly in your hands. Whilst nature is no doubt a sanctuary to your young mind to find tranquility, there’s many dangers hidden. You point your rifle, making a loud bang sound as you picture yourself shooting a large grizzly bear like that your grandfather had stuffed in his cabin.
You reach the trees, leaning against a large, thick Oak tree and taking a deep breath, taking in all the scents the forest offers you. Your eyes scan the forest, quickly spotting several points of interest. Among the underbrush you spot a slightly trampled hare path, no doubt leading to wherever’s a good spot to graze. There’s also the stream, which you could wander along for a fair distance in search of anything worth seeing without getting lost. Finally, there’s a large oak tree with lots of strong branches. Perfect for climbing.
> You head along the stream
You begin walking alongside the stream, staring down at the cool stream of water, your boots trudging into the soft mud as you stare along. You think you can make out fat fish in the stream, although it's hard to tell due to the rushing water. Perhaps father will teach you how to fish sometime.
Suddenly, you hear something. You quickly turn, dropping to your knee to raise your rifle into a firing position to bag your prey as father always does. You don’t, clumsily tripping and hitting yourself in the face with the gun and falling into the cool mud of the stream. Still, you’re getting better at that maneuver. You push the gun off yourself as your rub your nose, before hopping up to a kneeling position. You stare at where the noise came from. Through the blurred visage of your watery eyes, you see in th distance a pale figure,, sprinting past the trees with unnatural speed. You heft your gun to your shoulder and aim, not knowing whether to fire or not. You don’t want to miss a chance to take out a… whatever creature that is, but you’re unsure whether that’s even a good idea.
| 2 |
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| 9 | false |
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