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I want you to leave everything you’ve ever known behind and with only the things in your pocket, your wits and heart compass I want you to leave I want you to leave as if I was the face of every regret you had as if these are the words of every sign that you have been aching for as if you’ve been devoted praying for me for decades to take me -take you anywhere and that is I take you everywhere.

Like a shivering quaking filmreel of every hope, love, desire, of every beginning, middle end, of every excuse reason lifetime of every risk, alter, somber, disastrous, miraculous road not taken—- I am that, you are that We are this. We are everything at once.

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  • Solo-play! Play as yourself or as a character
  • Best of my Ritual - Lyric game heart has to offer
  • Returns to you as much as you give it
  • Highly replay-able at different parts of your life, as your varied self
  • No prep, 1-2 hours of playtime

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Get this book and 101 more for $10.00 USD
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A Hundred Thousand Places.pdf 4 MB
A Hundred Thousand Places [MP3].mp3 81 MB

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Comments

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This is fantastic! It's a really ambitious and exciting idea, and I really enjoyed it. I will certainly play again in the future.

As someone with a fickle attention span, it took me a really long time to come around to reading this, despite having claimed a community copy of the game almost an year ago (at the time of posting this comment). I started reading, fast, as I always do (it's never about the quality of what I'm reading; it's about me racing to win as much information from the text before my attention span ends).  Then I got to the second to last paragraph of Destinasyon 2, and that was when my mind and attention span stopped racing. I thought: "Well, now I want to hear how she's delivering this line, this sudden statement of escalation in intimacy*, how she's pacing this out." 

*(In retrospect, I realize this wasn't really as abrupt of an escalation as I had initially perceived it. "Agreements," after all, begins with "Hello, dear beloved." I think I just didn't believe the "I" in the text really meant it until "I" showed it through actions, which is less a reflection of the text and more a reflection of me.)

I put on the audio recording and started following the text back along, from the beginning. There's a reason I avoid audio/visual media like the plague, and it's because they always play at the recorder's pace, which is usually too slow for me. Normally I'd be playing the media in double or triple time, staring at the minutes remaining to see how much longer I'd have to wait until the end. But that did not happen for this piece. I was completely enraptured for a little over half an hour, mostly in synch with the pace of narration. In the few moments where my impatient eyes did skip ahead, I felt curiosity and anticipation, not resentment at the audio for having to catch up. I even enjoyed listening to the minor discrepancies between the audio and the text, as well as the interruptions from background noises. It made the experience feel more "real"--not violently filtered to reach some state of purified aesthetic perfection--more honest, more something I felt like I could trust, which was important for this kind of adventure.

My favorite part was Destinasyon 5, "All Your Dead Wives." Favorite quote: “I hate saying this word” you say. “It cuts” I tell you. It made me tear up. It made me feel like I was understood. Still, I wouldn't speak of an "intended audience" when it comes to this text. I would say, this text holds space for you. This text was written to hold space for you, and you might not feel like that's true at first or forever, and that's okay. 

Thank you for creating this.

(+1)

YOOOOOOOO thankyou so much for the well thought out review ))): ! I’m happy you enjoyed