Knock on the doors of the 2 houses along the south side of the street, then open the door of the one with the writing on the door to the north. Head down the path and talk to Lissie in the tree. Stand up and repeatedly call out to Lissie to find out where she is Co-dependent. After reviewing your journal, turn around and find the small well to the left of the farmhouse and make your first drawing (1/9). Stand up and go outside to talk to Lissie, using any available option. You will walk back towards the farmhouse Blue skies in Norway. Down at the dock, check the wooden cage, then talk to Lissie about any of the available options. Chase after an animal until you fall down, then pick up your glasses and keep going. Following the markers, climb over the wall, then climb over the fallen beam. Check the footprint on the ground, then go forward and open the gate. Inspect the scarf on the mannequin, then sit down on the sofa next to Lissie.Īfter you wake up, head back through the sitting room and entrance room, then go outside. Open the door just to the left, and you will bring a mannequin out from the closet. Newspaper clippings (May 1902, July 1902, September 1902)Ĭontinue to the next room and examine the mirror twice.Letter on the dining room table (Hanover, Betty, SS Bergensfjord)Ĭontinue into the small sewing room and find these points of interest:.Fireplace, where you can pick up a burned book.Window, where you must look through first (church).Family portrait (daughter, Johan Fretland, Anna Fretland).Make sure you examine all of these points of interest and discuss all topics with Lissie: Finally, go through the other door into the sitting room. Take a quick look upstairs, then try to go back out through the front door twice. Open the door to the right to find the kitchen. Knock on the door, then open the door and head inside 'Knock, knock'. Throughout the remainder of the game, talk to Lissie at every opportunity. Rest whenever you get the opportunity, and talk to Lissie when you reach the farmhouse. :3c writing for wood man has made me realize that ensuring the narration resembles the thinking patterns of the perspective character goes a LONG way toward making the writing feel personal, and specific, and persuasive! which plays into making the rest of the characterization feel authentic.After rowing to shore and reading the letter, start heading up the hill towards the farmhouse. and in general it's more forgiving of contractions and sentence fragments, as long as one can imagine them being spoken in his calm, smokey timbre. he's literally such a chill dude, it would be a crime not to let that seep into the narration. it's not quite Catcher in the Rye levels of colloquial slang, but imagining him speaking leaves plenty of room for stuff like, wry asides in the narration itself, and playing a bit loose and conversational with the grammar. The narrative voice i use for wood man is a little ponderous and meandering in a way I think suits his easygoing nature, which is a slight departure from my usual writing style (though I suspect it has influenced several of the other fics i've written in the interim, particularly anything that's 'cozy' or 'fluffy').

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