This is the second page of a walk-through of the MAZE by Christopher Manson.

The first page is here: http://www.davegentile.com/stuff/maze.html

Also, my map of the maze is linked here.

Cover

The fish above the door is of course a “red herring” which is an expression that means “misleading clue”. 

Also, note that the answer to the whole puzzle, “World” is actually given in the title of the book.

Title page

The objects here probably all have some relevance to things found in Maze. The Map with letters in it is like the one in room 4. The key in the brick can be like the one in room 40. The RR spike and mallet might help with the RR signal in 35. The right angle is a 3,4,5 triangle and might help with the squares in room 39.

One can spell ATLAS here. There is a right side up and upside down A using the compass. The L is the square. The S is in the map. The T is the mallet. One can also spell “SUN” in the map. Both are good clues for “EARTH”. ATLAS might even be a KEY clue, like the KEY shape imprinted on the KEYstone.

Prologue

There is an umbrella standing outside the door. On the cover was the fish, but no umbrella, here an umbrella, but no fish. This is a clue that the umbrella is a HUGE red herring. But let’s run through the logic of the umbrella:

On the shortest path we encounter it next in room 42. It is not mentioned in the text at this point. But it is mentioned that they could hang their coats here, and a “savage animal” is mentioned.

However, in room 23, the first room after the center of the maze, the text tells us that “Now they realized it could rain where they were going”.  And one guest says, “We should have brought that bumbershoot with us from the coat room”, and then “You remember, the one with the animal.” This is a clue that, in the correct sequence, room 42 comes before room 23.

The next room on the path is room 8, and there is an umbrella here. The text says, “Make sure you take that with you, you never can tell when you might need it”, and then when questioned “Take what?” the narrator says, “Isn’t it obvious?”

We don’t encounter it again on the shortest path, but a path one room longer would take us to room 10, which is an “almost out” room. To get back to the entrance from most rooms in the maze from which escape is possible, you must pass through here, and in the very next room, room 41, it will be clear that you have made it back to the entrance, since there is a door to room 1 from there. The text says that one of them picked up the umbrella saying, “It may rain where we are going.”, and the narrator nods approval. Apparently they have learned from their trek through the maze.

This should also link in our thoughts back to room 23 where it was called a “bumbershoot” since as I discuss in the walkthrough of room 10, we are supposed to think of it as beginning with a “B” there.

Room 6 is a trap room, but here the text notes that a guest held out his hand and says, “I think it may be raining out there”. There is a suggestion of an umbrella in the unmarked passage, but it may not be there, really.

So, where are they going where they may need an umbrella? Outside, into the world! (And, maybe this is a subtle clue to the answer to the whole puzzle).

But this is also the most important (false) clue to the identity of the guide. What we have is a “rain umbrella”. This is an anagram of “I rare bull man”. The guide is the Minotaur?. Thanks to Abyssian “umbrella” for the initial thought here, that the umbrella is the guide. The anagram is mine.

Notice in the prologue he says that he met them outside the gate and the umbrella is leaning outside the gate. Also the umbrella is something you should bring with you, like a guide. But it is also a RED HERRING outside the gate!!

The prologue also gives a lot of other clues to the identity of the narrator, but I think most of these are designed to steer us in the wrong direction. In fact, White Raven has pointed out the “odd one in” principle, that the right choice is often the one that is not pointed to by obvious clues. I think that is the case here, and we can eliminate obvious choices based on the prologue “My crown, my pain, the fire in my eyes” points to Jesus who returns in revelations with fire in his eyes. This eliminated Jesus and probably God too. The mention of the crown may pick off King Minos who is mentioned by some as a candidate.

“They should call me “Cerberus” I am the lesson. This is of course the 3 headed-hound that guards Hades and prevents escape. Appropriate since the guide may lead us to room 24. This should eliminate Hades, Satan, and other Greek Underworld types.

“Some poet” scratches Virgil and Dante.

There are other clues in the maze the point to Daedalus, the architect of the maze of the Minotaur who was eventually imprisoned within it. In particular here in the prologue he says he takes pride in his role as architect

Note the Minotaur is NOT eliminated here, and many clues work very well for the Minotaur in the book (and a couple for Daedalus).

Room 7 indicates the Minotaur via the mirror or picture with horns that the guests find not to be a good likeness of him. And a wild childhood is not a contradiction

Room 6 talks of deceptions by his family, particularly on his father. His father was a bull tricked into mating with a human woman by use of a wicker cow.

In room 25 – one of his parents is low born and the other close to a king. One was a bull, the other a king’s wife.

Room 19 points to Daedalus, as the person who laid the flowers at the tomb of Icarus. Or, as I now think, the artist in room 19 represent Daedalus and he is still responsible for the flowers.

Etc..

Let’s try to look at the Prologue with the idea in mind that the guide is Raven.

He meets them outside the gate is part of the Umbrella red herring.

“Children” is part of a link to room 19. But why “children”? My best guess is that the dedication says “To my family”, and the guide is Christopher Manson’s alter ego.

“Crown” refers to a Raven’s “shorn and shaven” crest. “Fire in my eyes” is in Poe’s poem. Not sure about “pain”, best guess is metaphorical “pains” taken in the creation of Maze, or that the Raven’s “Nevermore” in the poem may reflect some past disaster. The text goes on to say that “they think the Maze/World was made for them, actually it is the other way around”. This means you were made for the world, the world was not made for you. Note: “Raven” is creator of the world in Native American mythology And “poet” connects with the Poe’s poem. Not sure about how Raven fits with “underworld”. Although for both of these he does not claim they describe him, only that the guests think that. He is a Trickster and thus can be “the lesson”. Perhaps this also relates to the guide’s duo-identity as Manson and the Maze riddle that “Some souls will live in the World”.

This House…not only stone and mortar…is made of time and mystery, hope and fear. Construction never stops.” – which also works if the Maze is the World but also Life.

“The monstrous walls rise up and run way as far as the human eye can see, circling and dividing. Which half is the Maze?” Before the word “dividing”, this could just refer to the world, but the bit about “dividing in half”? This is a comment about dividing this fictional work from the real world. That is - dividing the “Maze/House” from the “World”

“Even I get lost in it”? The best example here is to look at room 35 where the figure represents Raven, but then in another sense “the heart of Christopher”, in this context this bit of introduction means even he himself gets the identities a bit confused at times. “Changes” certainly happen in the World. “Construction never stops” and “I take some pride in my role as architect” fits with Raven as creator of the World, and people. (And probably with Manson’s real role as creator of the Maze – it would be unquestionably justified).

Another tidbit: Both the prologue and the back cover describe the guide as the architect of the Maze. But it was the guide in his "this world" form, Manson, that made the Maze. The guide in his "that world" form, Raven, created our world. Nice symmetry.

The sun was very hot links to room 19. Also in room 1 we are looking South and have morning sun, which helps us with timekeeping. Raven also was responsible for stealing the sun from the “old man” and that is how we got the sun in the myth.

Then from another perspective we need to consider that Manson has put the Tree of Life in Maze from mystic traditions like Kabala. For example I opened the one book I own of sufi mystic practice and found a parable about a bunch of house guests who have amnesia and fine themselves in a Mansion full of wondrous objects. (“The station of no station”,Henry Bayman, p. 52) The back cover reads “I created the universe for man, and man I created for myself. I am man’s secret, and man is my secret”. And I expect there will be more insights to find here.

A final small note: The text has the word “center”, and by it “I will” twice. It is interesting that “will” is a word we need to find in the center.

Room 1

 

“Apple”, “Bottle”, “Cup” and “Drum”, label the doors, “A”, “B”, “C” and “D”. This fact is useful to remember both in room 2 and in room 10, I believe. They also have, perhaps, slightly more meaning. The apple leads to a garden where balance/Tao is the theme (Eden-like), can there is a gate to the Abyss (Hell-like). The Bottle goes to 41 and the loop, if you avoid obvious traps in 41 and in 14 you will just be bottled up walking around the loop until you get back to 1. The mouth of the cup looks like the mouth of the bell in 26 which is an important clue there. The drum takes us to a room making noise. That is where we find the ringing phone. Also “A” takes you to a point deep in the Maze where you have a long road just to get back to 1. “B” takes you just one step farther from the correct path. “C” is the correct door, and “D” is the final door which we should arrive back here through. Thus “A-D” order the rooms sequentially, starting deep in the Maze proceeding to room 1, then around the correct path and out again.

 

The text gives the words “story”, ”nary” and “late”. Late and nary are anagrams of  “Tale” and “Yarn”. We have a set of false clues. “Story” is way too easy and is even mentioned on the back cover. Now by a principle White Raven calls “Odd one in” we should choose the door not on this list. The text may clue us to this principle by saying that the guests did not understand that the silences of the MAZE are as eloquent as the sounds. However, I believe the solution is more elegant when we find the more difficult 4th clue in the set. We are told we hear a ringing somewhere. “FABLE” with the F turned upside down and missing a small line is an anagram for “A BELL”. It also sounds like “A bell” when you say it with stress on both syllables. We also have an upside down, mirror image “F” on the floor, and/or we have an “L” with an extra pen stroke. Ignore one pen stoke and combine that “L” with FABEL by replacing the “F”, and you have an anagram of “A BELL”, clearly the most difficult of the 4, and thus the true indicator. If you follow exit 26, there is indeed a bell to be found in that room. And this is the correct exit in order to follow the shortest path to the center. You could also argue there is an “L” on the ground after *E, and maybe another below that, looking like a 7 until you turn it over. Relating to Fable – Vince wonders if “lesson” in the prologue foreshadows “fable” here since a fable is specifically a story with a lesson.

 

There is also a false set of paper-related clues. There is a slip of paper under the door to 21. The arrow on the easel points to 20. Then on the floor there is a smiley face “:D” and a “HI” but the “HI” can also be a “41”, and the smile can also just be a “D”. (The L/F noted above can also be a smile). Finally if we look at the top symbol on the easel and remove a pen stroke it can be a “C” and this is probably the hardest clue of the set. Note that it exactly like the bottom symbol hanging on the wall. There we are sure it is an “E” in the word “like”, so you really only do need to remove one pen stroke to make it a “C”.

 

And then we have a set of sun-related clues. The light falls on the handle of door B, but then it also hits door A. D is the best lit by the sun and the text has “…sinister. The sun glared…” and sinister can mean Left, so this can clue the most sunlit, leftmost door (vewatkin suggested this could indicate 26). To this vewatkin adds one more. The light on the door is in the shape of a cup and the door handle looks like the handle of the cup, and the cup marks the correct door (and I’d add – can be associated with the fact that the sun beam crosses and lights the cup on the door). This all teaches us that the true clue in a set will be the hardest to find, and will be hidden somehow.

 

Additionally, there is even a deeper clue here, but available to first time Maze visitors too, as the gals of podcast zero demonstrated. The arrow on the easel points to the middle of 3 paths. At an advanced stage we can see this to be the Tao, and the balanced path. Initially, however, it indicates the most middling door. 26 is most central, because the doors to the left are presented at an angle to us. Numerically it is also closest to the average 27. I see this as a hint that things do not always add up perfectly in Maze, and yet there is still enough information to get the right answer.

 

“Too many” in the text might be a clue. If many = 6, then we have “Too many” = “Two 6” = right choice. This is strengthened by “too many” in room 20 if you choose the wrong path. If you only pick up on it there it is a false indicator for room 27. But together they can indicate room 26 here.

 

There are 12 pieces of paper in the room, given the turned around nature of things in the room you might take that as a “clue false” for 21.

 

A mirror image of “Like” is hanging on the wall. This is part of the clue to the answer to the whole puzzle written along the shortest path, “Like Atlas, you bear it upon your shoulders”.

 

Mixed in the papers on the floor you can find “Go 17” or maybe “Go in 17”. It looks like “= 17” and “= Go” and there may be an “=” before “LIKE” as well. This is a clue that the finding the door to 17 is critical to solving the maze. Note that the “=” sign seems to tell us which symbol to read first. It preceeds the “Like”, the “Go”, and the “In” which could also be a “Hi”.

 

The text talks about the silences of the maze being eloquent, and this helps link us to the next room on the path where two figures are giving us the “Shh!” sign. “It is easy to get lost” may help with “Atlas” in the next room (or just a map).

 

In the trap, I believe, we have an opportunity to start over and if we do we are “back to the drawing board” here. (Thanks to vswatkin). This also works if you have just gotten back here after wandering the loop for a while. The text starting with “The uncertainty of visitors is one of my little pleasures” occurs in the text here, and in 24 we have “By the time my uncertain visitors turned…” - That sadistic bastard! Lol.

 

Hidden mystery notes that the letters of Fable taken alphanumerically sum to 26. Since this is the only door for which this is true, it can be taken to be an indicator of the correct door.

 

The curled edge on the paper that has "IN" written on it looks like a "2" if you turn the book over. The bit of paper with the F/L on it has an edge that looks like a "6". 2,6 = 26. White Raven thinks the other edge of the “IN” scroll might also represent a “6”, it is less clear and backwards, but it still could be a “6”. The “In” then could be part of “Go in 26” as well as “Go in 17”.

 

After a “sinister place” the text says the “sun glared at me”. This is possibly to be read as homophone for “son”. Since they are being led off into an underworld trap, maybe this is Jesus? Maybe symbolic of Icarus glaring at Daedalus? No, it is not, but maybe we are just supposed to think along those lines. There are a number of linkages between here and room 19. In both places the guests are described as children. We have an easel in both places. Here we have mention of the sun in the prologue and glaring at him in this room and the symbol for “Sun” can be found on the floor (the circle with the dot in the middle and it is next to a star). In 19 the warm afternoon sun is mentioned and the large statue carries a “sun”. It is also interesting to note that in the tarot deck the sun card is number 19. In fact room 19 is the next step in a trail of bread crumbs for the “Riddle of the guide”. The previous room was room 44 which clued us to this room via “We came in that way”. The fact that in both places, here and 19 the guests are described as children, I think is a clue to the guide. In the beginning it says they did not see who he was because they were inpatient. 26 has the word children, but I think it has a separate purpose there. The other rooms in which it occurs are here and in 7 and 16. These are all guide related rooms. I think “children” is a clue to pause and look for the guide in these rooms, and too find the pull-toy in 7 and associate it with the guide.  

 

Then there is the following which Abyssian vewatkin gets essentially full credit for: If you map out the “upper level” of the Maze they can make a figure 8 shape, or on its side an infinity symbol. Here in room 1 we have “sinister” which can refer to “left” and the sun comes from the left. Then in room 23 we are half way around the figure 8 that maps the correct path through the Maze. The word “Right” can be found in the room here in both picture and text and in adjoining room 19 the sun comes from the right. Half way through the figure 8 at room 4 (half of 8) the path crosses itself, and we have a picture of the sun. If we assume we are looking South in all 3 areas, then we have morning sun in room 1, a representation of the noon-day sun in room 4, and what is called “late afternoon” sun in rooms 23/19. This is pretty cool all by itself. It shows us that Manson pictured the room layout as an infinity symbol here and that Room 1 is the East end. But it helps us with other rooms as well which will be discussed there. In particular it clues us in to time keeping in the MAZE. The time in this room on the clock in room 30 is “FA” and that happens to be in the word “FABEL”. Outside it is Sunday (or Saturday, seventh day or Sabbath day in any case) morning, 8 am. Another bit of support from this comes from the triangle on the ground before the sun symbol. With a line removed it is the symbol for semi-sextile in astrology. It means 30 degrees of arc around an orbit or circle for astrological bodies. If sunrise was 6am then at 8am the sum makes a semi-sextile with the spot on the horizon from which it rose.

 

Manson has placed the Tree of Life from Kabbalah in the meta-map of Maze. This room is one of the sephira. It is the top or crown. It is called “Keter” and is associated with radiance and the sun, and references to the sun are abundant in this room. It is also the “initial spark” appropriate for room 1. These rooms are generally marked in some way, and the rooms on the center branch of the tree all feature language involving choices and decisions representing branches. These feature prominently here.

 

OK – and one final “uber-method” way to indicate door 26 (note: this is not something you could get until AFTER you solved the room and had only a few time bits of non-random words and symbols left to fit together): Down on the floor there is a “* E”. We know from the other “*” next to the astronomical symbol of the sun that this is a “star”. We have “starry”. We need to use this final scrap of paper. We have “decisions” in the text 3 times, and “decide” once (and “choose” twice which means “decide”). Repeated words in the text are seldom random, we need to use these. This is enough to get us thinking of the answer - Stare Decisis [Latin, Let the decision stand.] The policy of courts to abide by or adhere to principles established by decisions in earlier cases. If you are familiar with the legal term stare decisis it would suggest itself here. If not google’s first page will suggest it, just try “star e decisions”. Note that “stare” the legal principle, at least in America, is pronounce exactly like “starry”. It is the present, active, infinitive of “sto” (to stand as in stay or remain). If we just leave it as “stare decision” it would be mixed Latin and English but still might get the job done. However, if we combine “decisions” with the other repeated word “choice” we have something like “deci..ses”. Also for help, the word “trying” is in the text twice, as in “trial”. Then the first full sentence contains this: “Carefully At the Bronze Doors” (our last unused bit of text) = “C,A,B,D”. By Stare Decisis we take the first one, “C”, and that is the right door. How can we get choice “C” using the principle of “stare decisis”? Well, imagine 4 court cases where whenever possible the principle was used. First we would “decide” on a choice, and then the subsequent “decisions” would all follow suit. That is we would go with the first choice in all cases. The first choice in the above sentence is “C”. Also note that the way the 4 forms of “decide” appear in the text fits with my example. We have “decide” followed by 3 subsequent “decisions”. Note that we have made use of the only possible bits of remaining material we have left. The readable scrap of paper with “* E”, the repeated words in the text and “Carefully At the Bronze Doors”. We would only think to combine them where they are the very last things left unexplained.

 

From podcast 12: The alphabetical images on the doors, going in reverse order (right to left), are an indication to look for backwards letters. Also the Asian look of the characters suggests reading up and down.

 

Some learnings: Repeated things in the text are seldom accidents. Objects in the room get “used up” as you find meaning for them. (White Raven articulated this principle which I had unconsciously been using).

 

White Raven is working on methods of solution. He regards this as sort of a teaching room, and I would tend to agree. One principle Raven has mentioned is that stuff in the room gets “used up” as you find a purpose for it. I agree. There are exceptions, but it is a valuable rule. He also has the “odd one in” principle, which is that sometimes you are given a set of clear false choices, and the door not indicated is correct. Again, I agree. I think room #1 gives us a slight expansion on that principle, however. For each set of false clues that are easy to find there is often a related true clue, which is difficult to find. Mr. Manson in a typically less that 100% clear fashion seemed to support this idea: I am happy you find the book entertaining, certainly; I have always found it so. In reference to your comment on room 1, you do know that "nary" is a re-arrangement of "yarn" and "late" is actually "tale", which sort out with "story" and "fable"?   

 

Then once we find all the room clues false and true, and all the things that relate to multi-room problems and solutions, and general connections, what we are left with (using Raven’s principle of using up the objects and text in the room) will often give us a final “uber”-solution, one we could only find once we know the right answer, and we know what pretty much everything else in the room is for. Then once we have only a couple elements left, and we know where they should lead, we can come up with a final uber-solution to confirm the right exit. I’m not arguing that this pattern will work perfectly everywhere. But I do think it is a recurring pattern we should watch for at the very least.

 

Both White Raven and I consider this room solved. Here is a summary of main points:

1)      Riddle of the path word “LIKE” – credit before me.

2)      Odd one in based on “story”, “tale”, and “yarn” – credit before me. Fable = A bell – credit old, possibly part mine with the F/L on the ground.

3)      Two more sets of clues – one sun-based, and one paper based.

4)      “Too many” = 2 6” – credit to me, but not sure if I want it. It is a marginal indicator. And a basket full of misc. connections to other rooms.

5)      “Uber-solution” of stare decisis – this one was mine in 2014.

 

Personal room satisfaction rating: 99%.

 

Room 2

Lots of things in this room start either with a “B” or a “C”. We have “bench”, “chair”, “bear”, “cardboard”, “box”, “broom”, “boards”, “banners”, “crusades”, “battles”, “bare brick”, “broken” “chips” of plaster, “bright” and “creaky” in the text, and “crescent”, “boat”.

In room 1 we have the example of doors labeled “A-D” and I think that is parallel to what we have here. This is a fairly unique room in that it is one of only a few rooms that are closer to the center of the maze than the starting point, but are not on the correct path. The text alludes to this fact. Exit 29 would put you on the path to the center, and exit 12 would put you on the path from the center, so either of these exits may be the “correct” one. But room 22 is a trap. We have an “arrow head” pointing to one door, a “broom” pointing to another, and a “crescent” pointing to a third. I believe these label the doors “A-C” and either “B” or “C” are good choices, and the “B”s are more clear here, and “B” is probably the best choice. (Some have disputed “arrow head” is represented since it is a spear, but it is close enough).

See room 1 for an explanation of the figure 8 layout of this part of the maze. We would be to the right of room 4 here. Assuming we have the ‘South up” perspective we have in rooms 1, 4, and 23 along the figure 8 path. So that could be what the text means by being on the “Right path” but maybe not the “correct” path.

Why is the star 6 points and not 5 pointed like the Islamic symbol? Maybe so that we don’t see it as being Islamic and just get “crescent”.

Thanks to “Hello Gregor” on the abyss site for starting on this path and White Raven for encouraging it (although at least in part WR disagrees), and to vewatkin for “right to bear arms” from my “bear arms” suggestion, it was the breaking of the damn on this one.

It has been noted that the bear looks up at the moon much like the fresco above him. The bear looks up at a moon and star representing “night” – “overbearing” “night”. Or in the frescos we have “overbearing knights”. We have “bright” in the text as a rhyme for “night” and “chair” and “disrepair” as rhymes for “bear”. These just add minor reinforcement to two key words in this room. On the ground we have a tipped over box of plaster. This is “gritty freedom”. Other word values of interest might be “back ground”, “back bench”. Then above 29 there seems to be a celebration of freedom as some sort of fighters or warriors arrive. So it seems we have “overbearing knights” vs. something like “gritty fight back for freedom”.  The freedom fighters are indicated both by the broom pointing at 29 and the freedom celebration above it. The spears and banners point up at frescos of overbearing knights for the wrong choices, and an overbearing king for the worst choice. Room two plays into a possible reading of the wall in 40 and the values we find in this room can have meaning there. This part of the room solution I take to mean valuing freedom from tyranny.

Two of the frescos have angels overhead, the third has arms raised to the moon, like the bear does to the moon above him. Maybe they are “praying” to the moon? Or maybe just asking for help or guidance? The spears pointing upwards to the heavens group with the other two frescos and the broom groups with this one. Maybe that fine white dust the broom was sweeping up (which might look like moondust) is the help we get from the moon. But to tie this altogether I think we need, instead of “night over bear” – “bear eyeing moon”. Bear + eyeing = bearing. For reinforcement we can note that he most directly eyes the boat, which might need “bearings” (thanks vewatkin for noticing the eyes on the boat), and that it can get bearings from the moon, and then we can “get a bearing” from the moon on the fresco, and when we add that the plaster is like moon dust we can get a bearing from the broom and get the right exit. Note that if you only partly got this idea you might follow the crescent moon on top of the one spear out the door to 12, but this is the 2nd best choice. The value we might infer here involves “taking a bearing from the moon” and we can connect that to the fact that Manson placed Voyager 1 in room 26. And I think we are supposed to think about the way the moon landing united humanity and take that as a value.

A third way to go about this starts in room 42. There the savage animal appears ready to leap out roaring. The bear there is in the same corner of the room as the bear here, and the description there is an ironic reference to the bear here, including the bit “It was just a bit of taxidermy”. This starts us thinking that there are 2 bears in MAZE and leads us to think of this one as the 2-bear. The text here talks about obvious signs, and the most obvious signs are the door signs. 4 of the 6 digits found there are “2”. Using the “2-bear” we note that on one side of the room we have the “2-bear witness” and on the other side “too bare witness”. We have “knights” vs. “nights” (above the bear and in the fresco) and we have “sweeping history” on both sides but with different meanings. The floor boards creaking and groaning here connect to the branches clattering like old boards in 31, and another example of witnesses. Then if we note that to the right of 2-bear there are arms as in weapons, and that 2-bear reaches out his arms like the people in the fresco above we can get “right to bear arms”. This is the 2nd amendment which is reinforced by all the twos here. Then we need to think about “Left” as in the left hand side, and as in “Left” behind. And we can note the 2-bear sits on the Left side of the room. And we can think of left and right as political terms. Putting it all together we can get “Left to bear witness to sweeping history of knight’s right to bear arms”.

And note that we are supposed to take the “Left” door in this room. And we can reinterpret the text of the “right path” vs. the “correct path” to mean the Right path is wrong here. Room 40’s wall can be read to be about “true rights” in part. Rather than “knight’s right to bear arms” we should take away things like “respect for nature” implied in room 42, and “freedom from tyranny” and “unity of humanity” from here and room 26, and since Manson has placed Kabbalah’s Tree of Life in MAZE we should also take away the values we can infer from there.

I wrote Manson about this and as usual the answer was very vague. Only that he did not put the 2nd amendment in the book. He did not choose to disassociate himself from the other sentiments here however. This leaves plenty of room for nuance. “knight’s right to bear arms” is not technically the 2nd amendment. My inference is that he does not wish to be seen as taking any sort of modern political stand here, but does not disagree with the positive values listed.  

One more solution: All the people in the king’s picture have little moon crowns. The sad little bear looks up at the moon and wishes he had one. He has a bear crown. In room 39 the tables has “2, 9, 25” and if we think of those as room numbers that might help us associate “bear crown” and “sight” with here. The bear in 42 might help us thing of giving this bear something too. The star on the flag could be though to represent the bear. It has 6 points and so does the bear if we count his arms, legs and ears. So, let’s suppose we put the bare in the chair and make him feel like a king. Then let’s take the crescent spear and put it on his head like a crown. That spear will then form part of a chain of poles. The arrowhead spear will lead down to the bear’s head, and then the crescent one will head out across the room to the broom head, and the broom will point out the door. We then will also be able to say that the bear bears arms because he has a spear, and the bears witness to the correct exit, and he gives us correct bearings. More support might come from “right path” in the text and that the Tree backings form right angles, and suggest our construction. They also point generally to the correct exit. 

Yet one more:

right path”

correct path”

most appropriate path”

3 doors.

The “right path” could be the right side door to 12.

The “most appropriate path” could be marked by the broom, since there is some sweeping up needed here. I suppose it could also “correct” the messiness problem.

SP/Vince/Dave note: “bright = “b + right” and this could indicate that “b” is the “right” door.

Credits: The “right” path stuff is not mine, it came with the system of timekeeping by vewakins. People noticed an excess of B words before me too. Vewatkin scored “right to bear arms” and the 2nd amendment. The “gritty freedom” stuff, and the “A,B,C” solutions are mine, as well as the “moon dust” one and the 2-bear one.

Odd ends: bear watching (as in 14) might be another approach.

Personal Room Satisfaction Rating: 98%.

Room 3

This might be called the “backwards room”. We have lots of mirror images. Besides the words and numbers being written as mirror images, we also have a sun opposite a moon, and “POTS” opposite a “STOP” sign, and “POTS” is just “STOP” spelled backwards.

We have a set of clues with the hardest being the true one here. One sign is the sheet of paper leading us to door 33 is the easiest of the 3, and the worst choice. Next we could realize that a backwards “stop” means “go” and take door 9. Finally the “This way” sign is both backwards and upside down, so it is twice reversed, and actually does point to the best exit. This is the hardest of the trio to get, and does indicate the correct exit. That we might use this approach here is clued by the text in “they missed the real sign while looking through the obvious”.

Another exit indicator is that the text talks a lot about how many “sides” a problem has. Count up the 16 points on the sun and the 2 on the moon and 16+2=18. But if you count the sides of the stop sign and perhaps 1 “side” on a circular pot you get and ambiguous clue. In could be “1”,”8”, or it could be 1+8=9.

Hello Gregor and White Raven note that warmer things are on the right and that can indicate you are “getting warmer” by heading for door 18. A problem with this to me is that you might also “Get burned”, although 18 is “a much warmer room” when you get there, and once this is seems as part of a bigger yin-yang scheme this makes sense.  White Raven also notes that sun/light vs. dark/moon are used as directional indicators at least 5 times in Maze. I initially counted 3, 23, 28, 25 ,and 17 as good examples. And I count 4 as a pretty good counter example, although in 4 maybe we are supposed to read it as fake both because it is too easy, and also because the light does not actually come from the sun but from the lights near it (thanks WR). WR connects this with the architecture of the house. There may be a top PATH level and middle LOOP level and a TRAP level at the bottom. Although my thought is that the loop rooms may be darker just because it is the wee hours of the night, may be interior, etc… But the Trap rooms are clearly down in the lowest levels. 17 is sort of the glow of success, and 25 goes along with the man’s expression, and 28 is sort of an extension of room 23’s storm sign. But in 23 the sun clearly does mark the correct path, and the moon marks the reverse. But in that room we are told via a complex puzzle that “pictures do not lie”. Let’s add that in 19 Manson who looks at us indicates the correct door, but sun man with his back to us is incorrect. And in 21 the yin yang snakes have the white one indicating the correct door, and in 8 we go upwards and out of the shade to the correct door. And in 36 Yin-Yang seem to indicate both doors and it is hard to tell which suggests which. With the sun and moon and cooler and darker symbols here we can also see this room as Yin-Yang related. Yin and Yang indicators seem to happen where there is one short path and one slightly longer but interesting path. My conclusion: We can rely, but only with care, on Sun/warm/yang. In 19 we choose Manson over sun-man where sun man is faced away. In 36 the message is mostly that both choices are needed. And in room 4 we have to see the fake. In other cases it seems reliable. Here we have plenty of evidence in this room that 18 is the shortest exit, and it is indicated in very Yang-like ways. The Yin door to 33 will not dump us in a trap. We will merely wander until we get back here. But the “Tao” is about balance. Might door 9 be the “balanced door?” Yes, it is. It you go right to 18 and skip room 9 you go TOO fast. You skip a time zone, you skip a musical note, and you skip stanzas of the Raven poem. And room 18 has a puzzle to tell you you went too fast getting there is you came right from 3 too. There is one lonely pointer to NINE as well. The staff of the arrow sign points to door 9. Also, upside down the “?” on the scroll looks like a nine. So the answer to “?” can be “9”.

We are also told by the text that we should not take the terms of the challenge (question) as (a) given. “What is your sign?” + radiator  = Q: ”What is your signator (signature)?” A: Man + Sun = Manson. Note that opposite Man-son we have a Moon man.

The riddle of the Sphinx is on one side to the room and the answers are then on the other (Thanks to abyss folks for this). Q: What is your sign? A: The answer of the riddle of the Sphinx is “man”, and the “man” marks the correct exit. That is: Questions are on the left side mirrored by answers on the right side. The sun pairs with the moon. What does the scroll (a question) pair with? An answer. Is there an answer there? Yes, the ANSWER to the riddle of the Sphinx = Man. Another proposed way is to say the answer to “What is your sign?” is “Human”. But I think the best way is to say “What is your (exit) sign on the left and “18” on the right – the ONLY door on the right.

The “group” complained of feeling “all turned around”. That actually refers to the group of pots and PANS, I believe. Also a very subtle hint of this is that they exit through a “pantry”, and we can read “try pan”. (This pantry would as well be appropriate if they were headed to the storeroom in room 9). So the sign sitting behind the stop sign probably says “snap”. Sphinx + pans = sans. We can find “21” three times on these signs. It is on the scroll and also on the arrow if you turn it upside down and the stop sign. We also have “3” pots and pans. And “21” “sans” “3” = 18, and the correct exit. The text has “long”, “challenge” and “through” and “sides” all twice, helping us look at the long sign upside down and connected with different things.

Sp wonders if the obvious sign might be the “3” in the lower right, and that we then simple take the third door, 18.

For a room-level solution in most rooms we group objects near each other first. Here we should group objects across from each other first. A radiator pan is something you place on top of a radiator to increase humidity, so we should be thinking “evaporation” or given the opposite thing going on in this room “evaporation/condensation”. Sun/moon could give us “earth” but “sky” is better here. Then sky and condensation together give us rain. Next grab the stop sign and “stop” plus “rain” is in MAZE equal to umbrella. How about umbrella + man next? That would be the guide. Finally “What is the guide/guide’s sign?” The only thing left in the room we have not used - the “This Way” sign indicating the correct exit. 

Notice that “NINE” is spelled out and that 81 is 9 times 9 while the actual room number, 18, is 9 + 9. Not sure if this is meaningful. In conjunction with rooms 33 and 17 we have “Beethoven’s ninth symphony” (see those room descriptions for more on this). Beethoven’s 9th symphony has as its topic the whole world, ending with a utopian dream for the future. “Symphony as the world” has been used to describe this work in university level course materials for example - http://www.thegreatcourses.com/tgc/courses/course_detail.aspx?cid=730 And, of course, “the World” is the overall answer to the maze. Another reason to spell out 9 is practical. The other doors read correctly when turned over, and we don’t want 9/6 confusion.

We exit though a pantry in the text, this suggests that the guest went to room 9, a store room. This could be important for keeping track of time in these “loop” rooms. This is discussed in the introduction and also in rooms 13 and 30. Back in room 33 the time would have been “EA” on the clock in room 30. This room would be “EB”. Room 9 would be “EC” until we get to room 13 and “EE”. In a way the sign “EE” here points to the time in Room 13. And in Room 13, the skeleton clock is in the position of the clock in room 30 reading as “EA” so it points to the time in room 33. We are supposed to find that it is midnight in the next room. If “EE” is artificial “noon” as room 13 confirms for us. Then a reverse “EE” a “33” can mean midnight in twisted MAZE logic, as the day/night opposition here indicates. In the text we have “because no one” that contains “e noon e”. This is another reminder that EE is noon. A hint of that may be the skeleton clock in room 13, as if “EA” is “skeleton time” as least, maybe, if you are “superstitious”. Hamlet thinks so, anyway, for example – ” Tis now the very witching time of night, When churchyards yawn…” and the text in 13 also leads us to think about clocks indicating 2 times per day. We also have the moon near the EE, both rhyming with “noon” and indicating “night”.

The poem the Raven is recited around a loop of rooms here, starting in room 33 “Once upon a MIDNIGHT” dreary” and passing through here then room 9, and ending in 35. There is one stanza in this room and maybe a transition to the next:

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.

We have “all my soul with in me burning” = the stick man figure of “Manson” is over the radiator. And there is really a Christopher here! – (but maybe only his heart) We might now say “stop” is the heart of “Christopher”. “Let my heart be still” = Christopher’s heart is a “stop” sign.  We also have: ”and this mystery explore” = mystery or riddle of the sphinx. A subtle transition to the next room might be in the open “portal” to 9 (door/shutter) and that “stepped” is in the poem, and they went down a long flight of stairs.

Note that top-hat man is used here for “soul of Manson”. In 16 he is “Maze guide raven”. This suggests an equivalence between the two. And then relating this to the Maze riddle solution, perhaps this is how “Some souls will live in the world”.

The “top hat” is an anagram for “to path” and when wearing it the man is “guide to path” and does mark the correct door here.

There is also some Mason symbolism to be found here. The “three minor lights” of Masonry are the Sun the Moon, and the Master Mason. The moon is depicted as a crescent with a face. So here the man also represents the “Master Mason” and the architect of the Maze. More Mason references can be found in MAZE. 39 is notable.

The fact that we go down stairs when we leave here counters the fact that we have to go up a ladder from 41 to 35 to get here. If we didn’t go down somewhere in the loop this would be an Escher Maze.

Vewatkin notes the flush to the wall dark panel over the door to 15 could be a window. It shows that path is dark as well and fits with the dark theme of that half of the room.

 

Some possible “Unaccounted fors”: “Snap” might need more use. Maybe more with the relation of 9, 18, and 81.  The word “situation”.

Credits: pretty much me, except as noted. The Christopher here set me on a very wrong track in 2012. I had some major assistance with the first riddle of the sphinx from abyss folks. Some of the minor elements have been floating around a long time of course.

Personal room satisfaction index = 96%.

Room 4

Here we have another busy room.

The word to the riddle clue in this room is “It”. The candle and the hammer look like the word. A candle can be “lit”. Wood is being “split”. The hammer can “hit” the nails. The chair is used to “sit”, and the pieces on the poster on the left “fit”. It also may be part of an Intelligence Test or “I.T.”.  The sconces on the wall as it turns out also represent “bit”s.

The poster of the maze on the right contains “E L L”. This spells “L”, and since this room is on both the shortest path to the center AND the shortest path back we also need to find a part of the clue to the riddle here on our way back, and “L” is one of the letters used to spell “SHOULDERS”. Letters, it seems, are given either once in an obvious way, or twice in a hidden way.

E, L, L also serves another function since if we take the letters’ numeric values and add them, we get 5+12+12=29, and 29 is the correct exit. We also might take some comfort from the fact that the black cat ran in that general direction. Interestingly, if we turn the letters over and read them as numbers we have 7,7,3. Adding these gives 17, which is the hidden door we need to find in the next room. 

The guide says “pay no attention”. Let’s pay “no” attention. N + O = 13 + 15 = 29 = first room exit. One of the last lines of text is “they had no coins” and here we could read “They had 29 coins”. Hand those hands on the wall could be holding coins. So we go to “29 coin”.

Let’s try the room level puzzle now. The splitting wood together with the puzzle suggests putting things together and taking them apart. The Hammer and nails and the candle and matches suggest things that go together. So we should take things apart and put things that go together back together. “made” happens twice in the text, helping with this.

One of the first things is the numbers over the doors. The first row starts with 4, the next with “2” and the last with ‘1”. Take those apart and group them together and look at the ones place digits. On the left side we have 4,9,5, and 4+5=9, which indicates the correct answer (29).

We can also take that chair apart. C=3 H=8 A=1 I=9 R=18. If we then add parts of them up, the only door numbers we can get are 11 and 29. But 11 is strongly warned against by being too highlighted.  Also vewatkin notes the nails could be a false 11 clue. So “by process of elimination”, as the text says, we should go with 29. 

We still need to find the exit door for our second trip through this room. A little thought will lead us to the conclusion that the clue for this room must be path dependent, and we will need to look for linkages with other rooms. On our way back we enter this room from room 39, which is a very clear reference to Edgar Allan Poe’s “Cask of Amantadillio” (discussed more in that room’s walkthrough). Now when we see the black cat, we should think of Poe’s story of the black cat, so this must be “Pluto”, the cat from that story. Note this is “P…o” the cat.

The voices we hear are the guests themselves in room 16, since events in the Maze seem to happen at the same time. See rooms 37 and 10 for example. Poe also comes up in that room. For example - The ball under the hat in room 16 is a “Chamber pot”. This is also known as a “po”, maybe from French pot de chambre.

Next, if we look at room 16, there is an unlabeled exit to room 4. We are told, “A figure crossing the hall outside saw me and ran off”, and we see a figure in the archway to room 4. This is supposed to clue us that his is where the cat came from, although the figure drawn looks more like a person. It fact it is the guide (see below). Since the guide is visible in 4, we know what part of the room he was standing in when the cat entered, and he says the cat entered from his right, so the door was 16.

So, the cat ran from room 16. Where did it go? Well, if it ran from 16 to 15, then the numeric value of the letters spell “PO” and 15 is indeed the correct exit on the return trip. But note, “PO” could only be a clue if we had just come from the “Poe room”, number 39, so this is a clue that works only on the return trip.

If we need more confirmation we can look in room 15. We are told that we hear a bump and footsteps hurrying away, and then a door slams. Apparently this is the individual (The cat?) which we have followed here.

We have the sun, and the narrator’s comment about it being a foolish face and just to ignore it. The door beneath it leads to a trap room, so it would be in his interest if we took that exit. We also have F+A+C+E = 6+1+3+5=15=correct door on return trip. (“Face” is both in the text and in the picture so it is a good bet we are to make use of it). Then interestingly, the number of rays on the sun is 16, which ties in well then with the cats’s run from 15 to 16.

There is another indicator of 15 which is challenging. Tossing a coin is in the text twice and this represents “binary” decision making. The farthest set of exits start with the digit “1”, the middle set “2” and the nearest set “4”. This also suggests binary. Those sconces suggest hands holding coins. Suppose a wall of them represent bit bits of data, or one hexadecimal digit in computer notation. Then they would represent 15, and the correct exit. For example, add the two 4s nearest, and that first sconce could be the “8” bit, then 4, then 2, then 1. A slight problem is that they could work on the first trip too, but really, who is going to find that on their first trip? The other wall would also say “15” and as an after-thought the fall wall has “11” in normal base 10 notation.  

Vswakins noticed and WR confirmed the following: The axe sits in front of both the correct exits. The blade goes IN to the wood, and the handle pulls it OUT, and they mark the first and second door respectively. Then if you draw lines through the bottom face of the hammer, and each of the nails, the point to the two parts of the axe. The line through the nail that is slightly more in goes to the “IN” door. The hammer and axe are the only objects where the “it” action verb has been done already, and in room 39 we can hear both of them being used. The head and tail nature of coins reinforces this idea. Also I noted subsequently and WR confirmed that the poster with the pieces could be read like this: The top figure indicates “IN” and the bottom one is “OUT”. The door nearest is the correct one going “IN” and the farthest one is correct going “OUT”. The In arrow on the poster also points at the “In” part of the axe.

The chair faces towards the correct exits too and can be combined with the text and the hammer, etc. to give a general convergence on the 29/15 area of the room (thanks abyss folks).

Vewatkin notes that if you have narrowed it to 15 and 29 and you are on the way in, then you would have passed through room 30 and not gone to 15, and if you did not then, you should not now.

Again, the voices we hear are the guests themselves in room 16. And the cat comes from 16. When they hear the cat, they turn to look in the direction from which it came, 16. This on the surface is inconsistent with the text a bit farther down, where we are told “It was fortunate I was still standing with the rest of them or they might have noticed.” Let’s see if we can parse this out. My translation: It is fortunate I (in 16) was still standing with the rest of them (in 16) or they (the guests in 4, looking that direction) might have noticed. This is part of the clue to the guide’s identity in 16, because in 16 they DID notice the guide in 4. We are told, “A figure crossing the hall outside saw me and ran off”, and we see a figure in the archway to room 4. The guide in 4 says “before I could move” indicating that he did move shortly after that.

If you map out the “upper level” of the Maze they can make a figure 8 shape, or on its side an infinity symbol. (See rooms 1 and 23). Half way through the figure 8 at room 4, here (half of 8) the path crosses itself, and we have a picture of the sun. If we assume we are looking South in all 3 areas, then we have morning sun in room 1, a representation of the noon-day sun here in room 4, and what is called “late afternoon” sun in rooms 23/19.

The cat sniffed is a tiny tiny clue that the guide is a bird, Raven.

The time in this room on the MAZE clock is FE, 4 clicks from the entrance. It is also 4 hours later and it is now noon. We look South into a representation of the noon-day sun.

The sun seems not the be a “Manson” but a “Sun-man”, and like the big statue in 19 (see room) he guides us to room 11. This is counter to much of the MAZE where sun/light/warm/yang indicates the correct path. Here the problem may be the sun is way too obvious and also the light does not actually come from the sun, but from the lights near it (thanks WR).

“Flip” a coin may also be a reference to room 29, where we have to flip the book over to find the hidden door. 

Vewatkin notes that 2 pieces of wood split in two may have to do with two exits we need to find here.

I believe this was a late change Manson made in this room, perhaps in discussion with publishers: Door 24 here should go to 22. Then in room 42 the door to 22 there should go to 24. The reason for the change was that the bear sending sinners to the dark place was too hell-like. In messes up the room puzzle in 42, and it messes up the tree of Life diagram. And here you have an arbitrary door to 24 where all the others serve some clear purpose.

This room is one of the nodes or sephira on the Tree of Life from mystical and alchemical traditions. It is on the center trunk and rooms here make reference to choices or decisions in some way. Here the reference in more muted in the form of the flipping coins, but there is a connection to room 40 here, also a central node, where they choose at random. Tree of Life rooms tend to feature Trees or living animals, and here we have the black cat. Both here and in 11 the many doors (branches) are mentioned, and both rooms are on the center trunk of the tree.

This sephira is called Tiferet. In is, not surprisingly, associated with the sun. It occupies a central position in the Tree of Life much as the sun occupies a central position in the solar system (and in MAZE room 4 is in the middle of the figure 8). 

The door from here to 44 has the "IQ test?" of putting the parts together. In 44 putting the two parts together is exactly what we have to do to see the fountain.

This is the center of the path, and it is described as a Hall. In Beowulf at least, the hall is the heart of the community. But there seems to be more here. This room is described as “the great hall” and 43 is described as “a great hall”. They are the only two “halls” in MAZE except for room 1, an “entrance hall” rather than a “great hall”. (16 uses the word “hall” but in reference to here). Here we have the “foolish face” and in 43 we have the Devil over the door. Also in the door from 4 to 43 we have “ELL”. It’s not hard to put together the two halls and the “ELL” to get hell. But the question then becomes why? Are we to think the devil face in 42 is foolish? Probably. But that’s about as far as I think we can read into it on reasonable footing. It becomes speculative after that. In trying to interpret what that might mean, we can note the fool in 16 seems to indicate the wrong door, and the victim certainly does not steer us right in 39. All three Halls are sephira on the Tree of Life, but that is unlikely to matter. In room 43 the devil really has not been adequately accounted for. The bell is symbolic of faith it seems…hmm…hell’s bell…dunno.  

Credits: Po stuff is mine. A lot of door indicators, except as noted. IT stuff is old. Guide stuff is mine.

Personal room satisfaction rating: 99%

Room 5

Let’s do the false clues first. Assign those words to doors. ForthWITH is the door WITH the poster. ForthRIGHT is the door on the RIGHT. ForthWARD is the one that WARDs us off with the closed door. So without even knowing what to fill in the blank we can choose the remaining door 43? Right? Nope Red Herring. Too easy.

So what is that fourth “forth” word? A look in the dictionary provided almost no other options besides “forethought” which we can separate into “forth” and “ought” and conclude that we ought to go through the fourth door. The problem is this is spelled “fore” not “for”. Another option is “forthcoming” (White Raven’s) and that could mean you should take the 4th door on the way in to the maze. This assumes are guesses are MAZE aware enough to know which way they are going, of course. Another Abyssian suggested that “4th” all by itself was a clue to take the 4th door.  This room is fairly unique is that it is one of a hand full of rooms which are closer to the center of the maze than the starting point in room one, but are neither on the correct path to or from the center. Two of the exits are traps, however, and are clearly wrong choices. Thus as the text alludes there are two fairly good choices, and odds are the fourth choice is better, since you should probably go back and start over. But vewatkin points out that we can’t assume it means 4th from the left. There is a sequence of open to closed doors. Maybe we should take the 4th in the sequence. Then depending which way we count we will get one of the good doors, either 20, or 30, so I think that is what is going on there.

We have “forth” 4 times, that is it is “multiplied” 4 times, and a general invitation to fill in half a word. We have tree “trunks”, and branches that have undergone “truncation”. Subtract most of trunk from truncation and get “-cation”. Put that together with the clue from the sign and we have “multiplication”. Then we can note that branches “divide”, and we are helped to this by the text that talks about an “important decision” and “possibilities” and “choices” these are “branches” in our possible future path. The text “1 in 4, 2 in 4” helps here as well. And then we have that “tower” and “flower” rhyme with “power”. Feeble support for this one comes from the “long dark corridor” where maybe the “power” is out. Put division, multiplication, and power together and we have mathematics.

Note that the top of the trees, when turned up-side down look like roots. In mathematics a “root” is when the value of a function is zero. If we construct a function that gives us the remainder of the door number divided by the page number (5), then there are two roots here, 20, and 30, both of them acceptable exits. The text helps confirm this by asking “Are these real? (And by putting “real” in the text twice) There are real and imaginary roots in mathematics, but these are indeed real roots. Finally the five peddled flower, between the two correct doors, may be the final clue here. Instead of dividing by the room number 5 we could divide by the number of petals. But differently – 5 petals and room 5 together tells us we should make some use of “5”. The narrator tells us there are 190 doors including the entrance. (190 is also divisible by 5 BTW). How can we get to this count? Others have tried using the walled up door in room 39 as a door and still came up with 188. I don’t think that is supposed to be a door, however. On the other hand every room in the maze has doors represented in the picture when you can arrive in that room from somewhere you can’t return to. (See, for example, rooms 10 and 37). There are 4 ways into the dark room, room 24, and even though we can’t take those paths back out, we should count those as doors. Then, counting the entrance way, but excluding the secret door from 29 to 17, we get a count of 190. The fact that this is an even number, when matched pairs of doors, plus the entrance, should result in an odd number should raise suspicions and perhaps help lead one to the secret door.

The word “part” is in the text. Manson uses that word to signal we should look at words parts. Normally we find something related to the guide, most often a bird. Here we can find “Heron” who appears as a character in some Raven stories. It is in anagram form, with an extra “E”, but the text right before it tells us to be generous. “are one h” = “a heron” + “e”

This room is one of the nodes or sephira on the Tree of life from mystical tradition. In fact this sephira is described as the Tree of Life itself. It is the point where the other 10 are united as one. Some sources describe the tree as having roots reaching upwards towards divinity, as these do here. And after noting this fact we have another exit indicator. The sign for 30 is the only one surrounded by the branches of the Tree of Life. Also the “very long dark corridor” is a metaphor for a healthy branch.

This room is on the central trunk of the tree and those rooms have text relating to decisions and/or choices, that is – branches in the tree. The text here has that has “important decision” and “encouraged” just like room 11, another room on the central trunk of the tree. Room 1 also features the words “decisions” and “choices” as central to a room puzzle there. One web source says the “life force is inherently generous” and that word is in the text twice. The sephira below here are sometimes called the Abyss. On a wiki page Aleister Crowley described the abyss: "This doctrine is extremely difficult to explain; but it corresponds more or less to the gap in thought between the Real, which is ideal, and the Unreal, which is actual. In the Abyss all things exist, indeed, at least in posse, but are without any possible meaning; for they lack the substratum of spiritual Reality. They are appearances without Law. They are thus Insane Delusions... Now the Abyss being thus the great storehouse of Phenomena, it is the source of all impressions." No further comment needed…

Kon-tiki notes that easels typically slant a 20 degrees.

White Raven thinks the *real* flower indicates the correct door.

Could the tower be a “four”tress?

Credits: Mine as far as I know, except as noted.

Personal Room Satisfaction Rating: 98%.

Room 6

This is one of the trap rooms. The first word of the note “IMPORTANT” does contain the letters of “TRAP”. So I think that is part what is going on there (although  we could get “I’m not trap” see below).

The weight that hangs over their heads (and shoulders!) is “earth” or “Maze”, which helps clue the overall solution to the Maze. And we can think of the guide as baring the weight of the Maze on his shoulders. 

One of the guests observes that it seems to be raining outside. At various points throughout the maze (see rooms 42, 23, and 8), it is observed that it may be raining where they are going. And although in individual rooms like 10 ‘rain where they are going” plays a role in the room solutions, overall it may mean “outside” or into the “world” which may be another clue to the over-all solution to the maze. It also helps us identify the umbrella as a “rain umbrella”, which clues us to the (false) identity of the guide via the anagram “I rare bull man”.

The text says, “If you think of all the deceptions practiced in my family, particularly on my father”. This might make us think of the Minotaur whose father was deceived into mating with a woman by means of a hollow wicker cow. And the torn note clues us to think about his identity here. But i that torn clue we can find "are visitin" = anagram of "It is I, Raven", and odd against finding just the 4 consecutive letters of "Raven" there, it that short text, making rough assumptions, is about 2%. That is significant right there. “part” and “particularly” are clues in Maze to look at parts of words, so that helps us do that with the sign here.

And once we know the identity of the guide is Raven (mostly from elsewhere) and that we should be looking for identity clues here (from the note) we can notice some things. That hole way up above becomes the hole in the top of the Teepee. In a main story of Raven he steals the sun from the “old man” (yes I’ve noted there is an old man in room 7), and flies out the hole in the top with it. The sun and the small hole up there make us think of this story (once we know we are dealing with Raven). Raven also steals water for the world and flies it out a smoke hole (that ties in with the rain coming down). But in the process of that theft they light fire under him and he gets “smoked”. That is why Raven is the color he is today. Before that he was a “White Raven”.

Example:

http://www.firstpeople.us/FP-Html-Legends/Raven-Tlingit.html

The pole in the middle of the room also suggests a smoke hole

http://en.wikipedia.org/wiki/Smoke_hole#mediaviewer/File:Kirbuster_Farm_Museum_-_geograph.org.uk_-_508633.jpg

Now the text about deceptions being played on his father – well Raven is a trickster and I don’t doubt tricks were played on his father, but in his most famous trick he plays it on his grandfather (at least in the version I read). He turns himself into a pine needle and the “old man”’s daughter swallows it. She gets pregnant and gives birth to Raven in human form. He then steals the sun from the old man.

The number 40, upside down, spells “Oh”. “Out” is in the text twice.  “Look” is in the text twice. We have an eye. We have “notice”, which can mean “look”. We are admonished to not judge things by appearances. What if we judged that “I” by its sound instead. Then it is an “I”. That looks like a one. Wouldn’t that be nice. Hey – that note said “I’m not trap” right? If we stretch it maybe a little too far “Notice” is “cote in”. “Oh I’m not cote in trap”? Well…”I’m not trap” will do.

He is exasperated because of their timidity, perhaps because they would not look him in the eye. He knew he should not have said anything, but…when you look into Raven’s eye it is a gateway (between worlds). So remember that talk in the prologue about the walls dividing and half of it being Maze (and the other half being real world) as far as the “HUMAN EYE” can see?

If we put that all together and look into Ravens eye/I/1 – We get back to our world and the start. Or perhaps we are supposed to think about climbing that ladder through the small eye of light. In rooms 41 and 30 the word “special” helps us identify the ladder from 41 to 35 as the special piece of furniture and associate it with the “I door”. We may be supposed to carry that association to this ladder here.

We might get small help from “way” twice in the text. The only “way” open to us and the ”way” things look. “way is used to mean “path”  and is associated with “look” in the other clause.

Why do the Trap clues lead to room 22 then? I think this “rest stop” gives us more reason to come here. It points to a small set of rooms where we can find “HOPE”, and looking the guide in the eye is in 19. Here we are told in effect we can escape death and live in the world (outside the MAZE). Room 11 also gives us “Live!” and the riddle of the guide on the wall in 40 tells us he measures man against a sole truth. That truth is in the riddle and answer of the Maze. Some will live in the world.

This room is the end of a trail of breadcrumbs involved in the “Riddle of the Guide”. We get here via the clue “we went down the only way open to us” which matches with clues in room 35. And perhaps via associating the ladders that both go up to unknown holes.

SP notes This is the only room in the trap with any natural light. WR notes that the 40 is written in the same text as 38 in the next room helping to indicate a path.

We don’t need a door 40 indicator but the 4 stones before the large beam are shaped like the zero in 40 and there are 4 of them.

Personal room satisfaction rating = 99%.

MAZE Haiku:

Important notice.
Found very deep under ground.
The cap stone looks grumpy.

A bit of silliness:

The Maze is located in South America around the tropic of Capricorn. (Well, I don’t actually believe that Manson intentionally located the Maze anywhere but the land of imagination, but if it were really located somewhere that is the best hypothesis). We know it is the Sabbath Day in Maze (Sunday or Saturday depending on your argument). We know there is time in Maze and in room 33 it is Midnight to match the Raven poem. But that poem also says it is December. Now there are no clues in Maze to what month it is other than nice outdoor weather, but since the time matches the poem the hypothesis that the month does as well is better than nothing. Now we move to room 6 and note that the sun comes straight down from a high hole. For the sun to be right over head in December in must be near the tropic of Capricorn. Since the guide is native American, South America is a better guess than say Africa. There is a palm in one room which could fit. Someone might want to argue about the vegetation in 21, however, I suppose.

Room 7

Count up eyes and faces on the various walls. 5 faces per wall. 3 look at us and 2 are Cyclopes. Or that would be the case if we looked in that mirror anyway. If we complete the symmetry, we will be facing the exit door. On the wall with 33 we can make 2 sets of 3 eyes, which is a good clue for 33. We can’t do something like that on any of the other walls. WR notes that counting pupils we can see 3 one-eyes on 3 walls, 3,3 = 33. (I think this is counting holding the bird up to the mirror on the left wall, see below for more on this). “Staring out at an empty room” helps us with all that eye counting.

A picture of 3 clouds is held up with 3 tacks. Also gives us 33. The base of the lamp has 3 rings and then another 3 rings, and if we count both rings at the top we have another 3 and 3. The pull toy bird with the Hoo-poe crown has 3 tails and maybe that lamp connects to a 3 prong outlet, or 3 wheels. But then as false clues – there are 6 head feathers you could pair with the 1 string or the 3 tail feathers.

Let’s try the room-level puzzle. A hoe-poe-inspired pull-toy and a lamp suggest a lamp pole or just “pole”. (Close to Poe). It is a bird matching room 16, so that reinforces the “Poe” idea. We have more bear-crown stuff here. The guy on the left wears a bear-skin and bears a crown. If we look in the mirror we will bear a crown of horns. The bear skin leads next door to where there is a crown in the door. That room tells us the identity of the guide is Raven. And the clue trailing over here is a good sign we should think that over here as well. Plus the guys in room 36 signal us to think of these two rooms together. There are also clues related to Native American Raven. The “old man” occurs in Raven’s most famous story when he stole the sun. And the irresponsible childhood certainly fits here. So we have Raven so far.

The room ahead has a note of the door and we hear music. Maybe that is a “musical note” on the door. And we certainly have lots of art in this room. What unifies “Raven” with “Art and music” - Poetry. That gives us a trinity of Art, Music and Poetry, and perhaps another 3. And “poetry” may be the word-value this room has in multi-room puzzles like the riddle of the guide, and is a pointer to the circular reading of the “Raven” around a series of rooms. 

So what is not a good likeness? It might mean the “bear/crown” guy. He does not look like bare crowned Raven. But then the Top-hat man sort of peeks at us in the picture over the mirror. In room 16 the top-hatted guy represents the Maze guide Raven, and in 3 he represents the soul of Manson, and these are equivalent it seems. Raven looking in the minotaur mirror will not be a good likeness and the off-center picture above is not a good representation of Manson himself. The abstract art with two suns and a man could also qualify as a poor man-son likeness for that matter. And note they would be in the same order on both sides of door 33 a poor image of Raven topped by a poor image of Manson. Finally, even the top left picture could just be another poor image of Manson.

The tarot deck is referenced here and there in the maze and card number 7 is the chariot. Perhaps this little pull-toy is a wink in that direction. Abyss folks note the book is open so we can only see one side and this might point us to the left wall.

The string of the pull-toy leads towards the mirror. If it represents Raven then we should bring Raven to the mirror? There is a small multi room puzzle that tells us that both Raven and the Mirror “reveal the path (Tao) in men’s souls” Here is the inventory: The mirror in 7 leans. And then we have: The signs for 34 and 35 in room 25, the tower in room 20, the snakes in 21, the “Z” in 45, the men in 28/12, the dancers in 10. 34 is “I”. 35 is “Raven/Guide”, the tower can represent “revelation”, the snakes are “the Tao/Way/Path”, The “Z” I take as “IN”, the men are men, and the dancers are souls. Leaving out “Raven/Guide” and the mirror, I get: “I reveal the path in men’s souls”. And I think both Raven and the mirror are supposed to do that when we look at them. But it also helps with the idea of bringing the pull-toy to the mirror here.

Let’s count all the eyes in the room implied by art. There are 14 faces, two eyes each, so that’s 28. The bird has 2, that’s 30. Now if we look in the mirror that is two more. But if we bring the pull toy we see one more eye = 33. The other side of the bird is not visible in the mirror nor is there implied existence via art. We will be facing the correct exit, so indeed “Raven” will have revealed the path, and we have yet another clue to look a bird in the eye (key to escape from the Trap). More support comes from near-by paintings. The couple shows two eyes and one. This suggests we should do the same at the mirror. The monk has a shorn crest, suggesting Raven. But also the picture is extra long so we can see what looks like the floor in 41. There is a puzzle there involving rebirth and starting again in room 1 if you got dumped into the loop. This is a clue that looking raven in the eye allows a do-over from the Trap. The fact that the paintings are left staring at an empty room also supports the idea of taking the toy.

Finally we have support from the note on the door. Raven and a looking glass brings to mind the Alice stories. There is a riddle there, “Why is a Raven like a writing desk?” One of many standard answers is “The notes for which they are noted are not noted for being musical notes”. Thus we have a reason for that non-musical “note” to exist. The tea-party at which the riddle is given brings to mind other things. The Mad-hatter is there, and there does seem to be a guy in a hat in the Maze. We see one in the door in 16, and we see one in 34. We hear a thump, etc… in 15 that could be the man running from 4, etc… A Mad-hatter on the loose? Then we have the March Hare. The ruffled collar looks like the one he wears. He is stuck at 6 pm perpetually. This brings to mind two rooms. In 44 it is indeed 6pm. And we have the croc and bird going in circles. Then in room 15 we do have a hare. Now wait a minute – March 15th is the Ides of March! And that happened in 44 BC! and 15 and 44 are the two rooms we are dealing with. And now we start stretching – There is a pentacle in room 15, and the pentacle card with rabbits is the queen of pentacles. And the rabbit is on a heart chair – rabbit, queen, heart – The Queen of Hearts!  What does that get us? Nothing that I can see. It seems we might have been sent down a “rabbit hole” just like Alice…

Let’s look at some of the other painting in the room. Everything to the left of 36 seems to be guide related. Then to the right of 16 we have the landscape where we count things. Above that the guy with glasses and the guy with sort of a third eye can be misleading for counting purposes. But the pictures by the lamp all seem to relate to another room. The guy in the bowler is 8. The woman in profile is room 9. The figure split by the lamp has a ruffled collar and possibly so do the faces in 31. She also has a wide eye. Pinocchio may be next to her – room 23 – thou shall not bear false witness. The old man sits next to a radiator and above a lamp, and this is the stick man in room 3. Room 9 I’m guessing is “sight”. If we take the room word values we have “true, strike, man, death, sight”. We also need the monk who stands on a floor like the one in room 41, which symbolized “death and rebirth” among other things (duality more generally). Put it together and we have “Sight of true death and rebirth will strike man”. We also may need to use the lamp/light. The lamp, if turned on, could look like an idea bulb over your head in the mirror. It is yet another clue that looking Raven in the eye is a means to escape the Trap.

There are 3 bits of headgear on each side of the room. 3,3 = 33. (Credit vewatkin). Also 33 is the only exit that is not a square making it the odd-one-out.

“Children” is mentioned here. This I think is a clue to the guide. In the beginning it says they did not see who he was because they were inpatient. 26 has the word children, but I think it has a separate purpose there. The other rooms in which it occurs are here and in 16 and 19. These are all guide related rooms. I think “children” is a clue to pause and look for the guide in these rooms, and too find the pull-toy here and associate it with the guide. 

The guy with glasses to me suggests a professor and we have a lamp-pull. A Narnia Easter Egg?

Misc: Do 2 cords mean anything?

Credit: I did not get any of the 3s, really, or the stuff about the eyes, at least not without a big clue from Abyssians. Taking the bird to the mirror was mine. The rest is mine, I think.

Personal satisfaction Rating, based on above: 97%

Room 8

The SiGN is also an arrow. Arrow + Bowl = Bow + Arrow + L and L = alpha-numeric 12 and the correct exit. I’ll come back to this puzzle below. But first: Many of the items in this room are jumbled together, so rather that proceed in some manner structured by the proximity of objects, let’s just list important concepts found in the room and the support for them, before finishing the puzzle above. 

BOWLING is suggested first by the bowling pin. Also two bowls are mentioned in the text and one is pictured. By subtracting the “S” on the wall from “SiGN” we have “iNG” and we can make “bowling” from “bowl”. The crashing echoing sound can be a bowling alley sound. We have lightning in this room as well and an expression is that “thunder is the angles bowling in heaven”. “Candle pin” bowling exists. (thanks podcast 4) We can get some bowling related terms too. As the 2nd umbrella on the path, it may be a “spare”. The 2nd bowl may be “split”. (both thanks podcast 4) And we have a number of references to “strike” below. The bowl and pin are the only objects leaning right, indicating we should associate them, as well (thanks podcast 4). WR adds the corridors are like alleys, and the tipped objects are like tipped pins, and the bulb counld be thought of as the ball.

LIGHTNING: We have a “chamber” which can be a lightning chamber. We have the crashing sounds, which can be thunder. We have a very obvious electrical wire from the switch to the bulb. We have both the candle and the bulb for “light” and the completed puzzle mentioned at the top will let us spell lightning. The vaulted ceiling connects to gothic cathedrals and again brings us to the idea of angles bowling. Strike is found here in a number of ways and of course there are “lightning strikes”. We should “obviously” bring the umbrella because of impending rain. Punch carries an umbrella. The arches look like an umbrella. There is wind in neighboring rooms on the path. In the same time zone in 31 there are grey clouds.

“TILT”: The room is clearly tilted. All the objects are as well. The smile is “crooked” which can mean tilted. Also “tilt” can mean (per OED) to strike with a weapon, so again we have a connection to all the various “strikes” in the room.

STRIKE : As Abyssians have noted the figure on the paper is “punch”. A stethoscope gives you a “heartbeat”. Put those two together and you have “beat” which can also be “strike”. Bowling of course gives us “strikes” as well. “Lightning” gives us strikes. “Tilt” also can be “strike”.

GROUND: We have a “vote” in the text which can be a “poll” (Abyssians noticed a vote is a poll) and we also have a “pole” which in this context could be a lightning rod or ground. A “lightning chamber” would also “ground” electrical discharge, and the “ground” here is tipped.

GOTHIC VAULTS: We have the vaulted ceiling itself. We have the hunchback which can make us think of Notre Dame, and the goofy smile may help here. There in particular 12 was used as a perfect number in construction. (12 tribes, 12 apostles), etc…  Sometimes in gothic architecture the 12 signs of the zodiac would be depicted. The bare bulb could represent the sun. And the “SiGN” could make us think zodiac as well. Punch wears a Masonic Fez and the perhaps makes us thing about the masonry.

PERFECTION: 12 strikes is a perfect game of bowling. 12 is a perfect number in gothic construction. (WR adds that the last 2 strikes are extra balls and may be what the two crashes represent).

So then room solutions: First we have two indications that 12 is a perfect number. Secondly we have heard two strikes (the “crashes” of the bowls (or “strikes”)), and a strike is a “tilt”. And the room is tipped about 24 degrees, 12 degrees for each strike, and 12 is the correct exit. (Actually I measure anywhere from 24 to 26 degrees). Also, the tip of the Earth’s axis is 23.44 degrees, so this might be another hint that the answer to the puzzle is “The World”. The unlabeled room, which if we are on the correct path we just came from, is room 23, BTW. The barber “pole” might start us thinking about the North Pole and the tip of the earth.  Also the “sign” if we hear it as “sin” might start us thinking about measuring angles. Maybe with the “perfection” indicators mentioned we should think that the perfection of heaven and earth should be connected as was a goal of gothic construction.

Now back to the “arrow” puzzle: We should put the arrow together with the bowling pin since they are closest. We get “BOW” , “ARROW” , L, ING, PIN, S,i,G,N. The bow and arrow with the arches make us thin of archery or archer and in connection with the zodiac this is Sagitarius the twelfth sign of the zodiac in the calendar year, and we have another exit indicator. Now let’s use the left overs, above. First note that the text says “you never know when you might need ‘IT’ and “Isn’t ‘IT’ obvious?” So we also have an “IT” to use. Grab “light” from the room and the “N” from PIN and the ING and we have “lightning”. Grab the bowl and another ING and we have “bowling” spelled out. What is left? L,P,I,S,T, i. This gives us “SPLIT” and a small i and a reason for it being small.      

SP contributes the idea of making Roman numeral XII. Strike (supported in text above) in bowling is an “X” (the vaults make some rough Xs too, I add) and there are two “I”s in the text or if we think about the “broken bowl” as a “split” and the “SPLIT” from the puzzle then two upright pins could give the two “I”s.

Other indicators include:

“Strike one, strike two, you’re out” (1,2,out – 12 is the exit)

I don’t think this is intended, but I like it: We can also spell TWELVE from the clues as follows – We need TABLE, BOWL and then a “broken BOWL”. Break the loops off the B to make another E, and break the W into two Vs. Hello Gregor suggests the somewhat less questionable method of taking the letters of “vote” from amongst “themselves” – “vte” and the “e” from the table leg, and “WL” from the broken bowl to spell “TWELVE”.

Also from the abyss and vewatkin’s podcast: The handle of the umbrella makes an “L” and that is alphanumeric 12. All umbrella handles are different in MAZE so this is intended. vewatkin adds single bulb with B as alphanumeric 2 = 1,2 = 12. I added the single bulb with 2 rings around it made a 12.  Wanderer notes a number of compound words where two words make one - “barber pole, candlestick, hunchback, bumbershoot”. Vewatkin notes a single bulb and a binary switch. And a hunchback and a hand and a foot forming another set. I note – two bowls in text, one pictured. (1,2) = 12.

The umbrella is (one thing) we are supposed to take with us. It is a red herring for the guide and guides are useful (see prologue). But it is obvious we should take it with as the text tells us because of the lightning strikes. Interestingly this is also about the same time as the rain storm outside The time is “GB” here MAZE time and it is 5 pm outside time.

If you turn SiGN upside down there is a 9! In the middle. A fake 6? A “Nein!” for doors on that side of the room as in 27?

If we could see all the stripes on the poll we would be able to count 12, It is one inch long and the stripes are 1/8 inch, and with the twist we’d see 12.

Suppose there was a second table. He knocks a bowl off the table as tells us to take it with. Suppose he means the table. Then there would be 12 legs and another exit indicator.

For grins add 31 and 29 to get 60 and make all exits divisible by 6.

The stethoscope has 1 listening part and 2 for your ears = 1,2 = 12. (Also part of it can look like a 2, and another part like a 1, thanks, SP). vewatkin and crew suggest 2 signs on one side of room 1 on other = 1,2 = 12. We also have tow big letters to one side and two to the other on the SiGN. Two on punches buttons may be different that the others. The tops of the columns have 2 blocks about 1 narrow one. Two exits to 1 side and 1 to another as well.

There would be six lines to the wall columns if we could see than all, and both together total 12.

The “S” is one of the letters we need to spell “SHOULDERS”, or with “SHOULDER” from the text of the previous room, it is the last letter we need. The “E” here is also a hidden letter for the word. Letters are given either once obviously, or twice in hidden way. (And these are also things we might take with us). There is a clue that we should try to spell out the word one letter are a time. “Tu-bol-cain” is the secret word given with the Masonic handshake. “Two bowl Cane”, and the shape of the umbrella handle looks like the symbol of a picture of a cane found on Masonic rings. The secret world, depending on version, is given on letter or syllable at a time. That gives us both the idea of spelling “SHOULDERS” and the piecing together of words here. “whispered” in the text may lend support to the “secret”.

Ok – now let’s note that the light switch is off. IT could be installed wrong, but I find this disquieting. It points to the candle which is unlit (and “lit” is in the text). The candle and umbrella form lines that form a channel around the ‘SiGN’. The umbrella is very close to the little sun parasol and this can make us thing of umbrellas as shade. All these shaded/unlit things lead us to door 31 and a door that is shaded. This is the wrong door. Punch walks towards it as well. This fits with the “Yin Yang” idea found a few places in the MAZE and that is a rather Yin like room 31. But if we follow the pointing line back, the base of the candle points to 12 and the correct door. This is also upward, and this fits with the theme up “up towards the light” found a few places, particularly on the return trip from the center. We are also heading upward on the “Tree of Life” and towards the radiance at its top.

Does the “punch”,”hunch”,”bunch” rhyme just help slightly with “unlit” or is it something else?

In the introduction and prologue I note that “rain umbrella” is an anagram of “I rare bull man”. What about “sun umbrella”? That can be “bull man ruse”, and indeed the Minotaur is a ruse. Does this mean that “rain umbrellas” like the one in 10 point the right way and “sun umbrellas” like here point the wrong way?

SP noted that the base of the candle looks like the telephone receiver in room 20. In Medieval philosophy “hearing” and “seeing” were contrasted. They had deductive logic from the Greeks, of course, but the modern scientific method which is part observation and inference had not yet been developed. “Seeing” was considered to be things you knew yourself directly, whereas “hearing” was what you knew by faith. The dark end of the candle indicates the wrong path and that we can not see, but we can follow the “hearing” end of the candle to the correct door, and relying on “faith” under these arches makes sense. It also fits with the fact that we can hear the thunder but not see the lightning, we take the storm on faith in Medieval thinking. “Whispered” seems a related word. And finally – is that why that bulb is lit without the switch being on? Is it the light of faith?

This brings up the symbolism of bells more generally in Maze. There is the ringing in 1 and 26. The bell in 42, and the “please ring” in 11.At one point I had thought the bell might have to do with Jesus. I was wrong, but maybe not far off. In 43 we have “Keep believing in yourself” and we can change that to “Keep faith in yourself” with very little change in meaning. It seems appropriate walking through the “gate to hell” there, and by the devils in 26. But it is even more appropriate for 11. Here “ring bell” harkens back to the entrance. But also “faith” perhaps can help us avoid 24, and help us with persisting with the Maze. Finally, in room 20, we have a room based on a sephira on the Tree of Life. A theme here is that we are finished, we have completed the race, but also from the Towers and the sephira and the tortoise, revelation, understanding through experience, and that explains why the phone STOPS ringing here when we are on the correct path. We no longer NEED faith, because we can see the correct exit and the end of our journey in front of us. 

The candle stick might be a clue to look at the candles in room 29 which is connected to this room. And the tip here might help up tip the room there.

The word value for this room for the riddles of the MAZE part two on the wall in 40 is “strike”.

Credits: Mine I think, except for SHOULDERS, and as noted.

Personal room satisfaction rating: 98%

Room 9

We have a blind mouse which being by door 3 should make us think of “Three blind mice”, and we also have “3 bearded men”. These might be interpreted as clues for door 3. SP notes the word "trick" is used three times in the narrative, perhaps indicating that the door to Room 3 is a trick, or that clues seeming to point to 3 (the blind mouse, the three men) are a trick. In any case, 3 IS the wrong door. And we can use the numeric values of the letters 3+b+m = 18, to indicate the other door. This is not a total solution but a hint that we are on the right track. It serves to confirm our reading of three blind mice and 3 bearded men.

Apple + Angle = “A” in the 18 door. So we have the “A door”. Put all of this together and we have “3 am”, and that is indeed the outside time in room 18. So we have a more advanced door clue to 18 here. Room 13 has a fake time related indicator for room 18 and room 44 has a true time related indicator for 18, so time is important to 18 is the take away.

A simpler door indicator may be that the star has 8 points, and with the numerical value of “a” as “1” we have 1,8 = 18 and the correct door. vewatkin notes the 2 broken spade pieces and the 2 As in the doorway form a straight line Also the main part of the spade points at the star. Note, it actually only nearly points at the star, but hits the corner of the picture, and that is the same corner the angel is in in the doorway. Less good I think is the idea that the spade handle itself could be the one.

There could be an 18 in the mouse ears and staff. There are also eight dots on top of mouse poster, and 10 dots down the side. The main picture in the frame at the top has a pattern like “011” that repeats 10x, and on the right side of that frame it repeats 8x. The man on the right’s glasses could be an 8 too, and his nose a 1. “One” said “we might be going around in circles”, in the text. Going around in circles might clue an 8, and then we have 1, 8 = 18.

My phrasing and expansion of what was vewatkin offered: The 3 blind mice with the cutting of the main picture and (non-)shaving men and the poem about them implies their cut off tails. The 3 above the door is pointed and looks like a scythe – also for cutting. The "tail" of the Spade is on the ground cut off from the rest of the Spade and looking like a "T" for tail, and indicating the correct door (in 3D). If you follow the 2D line of the cut off part it hits the big painting right where the rip/cut starts, connecting it with cutting. Also note the handle of the mouse’s cane angles at 18. I think we are suppose to connect all this to “See how they run” in the poem and conclude the spade tail and the cane indicate where the mice ran. 3 blind mice, 3 B.M., see how they run, see how they run…

If we parse the sentences in the text we get “I think we’re supposed to think” and “It’s a trick! That’s the trick!”, and then “Yes…sure…right” and “doubtful…left”. This is another door indicator for 18. But it may also help us see the mice running from left to right.

Another door indicator is here: the legs of the man in the ripped picture look like a capital “A” (thanks vewatkin). But then there is a small “a” written inside the big “A” on very close inspection. Also the top and upper right corner of the ripped frame looks like the apple stem in door 18. Also note that the hanging left edge on the picture looks like the profile of a woman. You can see a face and breast. The part of the picture we see shows someone carrying a sword and moving towards door 18. Now notice that the angle has a sword in her left hand held over her head. And she also heads out door 18. Taken together we have strong ties between the main picture and door 18. The “artist” was the one who made the cut/rip, and what was intended at least in part was a representation of door 18. (The text mentions a “dust” covered damaged painting and that can only be the big one, and that it makes it hard to understand the “artist’s” intent).

Let’s look at the possible tarot meanings in the room as well. Room 27 gives us a strong push in this direction (see room 27 description). We have lots of card stuff over there and a real spade, and we have the spade here as well helping to connect the rooms. And there is a specific direction to take the tunnel and find tarot card stuff here. Numerology is practiced in connection with tarot, and the numerological value of 18 is 9, the number of the room we are in. So this can be an indicator for exit 18. The star on the small picture is tarot card 17, “The Star”, (it always has that basic shape and 7 or 8 points) and hints to try to get to room 17, along the same lines as “Go 17” in room #1. In connection with room 27 it might give us a tiny bit of additional help along that path too, telling us to “work with ‘in’” in room 29. We might also think about “The World” card, number 21. The numbers of the exits give us 18+3=21. The numerical value of the World card is supposed to be 9, which is the number of this room. So this may be another hint to the final answer to the maze, “The World”.

The large hole in the ground, the mood of this room, and the fact that it is 2am, combined with the spade might suggest a grave. As noted that the ripped fabric does not match the shape of the frame it is ripped from. Let’s take the “artist” or “cutter” as the “ripper”. Now look again at the left edge of the hanging fabric, and again note it looks like a woman’s profile and breast. Put all that together. Yep, “Jack the ripper”. (Just “ripper” and “woman” is enough to make this connection, and the “grave” certainly helps). Look at the shadow cast by the bottom hanging edge. Is that his profile? Combine that with the “spade” and all the card related references in this pair of rooms and we have “Jack of spades”. This is reinforced if we have just come from 27 with its tarot and card references. Now notice that the broken part of the spade gives us a perfect letter “T”, and putting that together with the “A” nearby we have “at”. The text gives us the word “look” twice and we should make use of that. In sum we have “Look at Jack of Spades”. It is a one-eyed Jack, and the only black one-eyed card. This is an additional clue that the way out of the Trap is to “look Raven in the eye”. And interestingly the pupil of the eye of Raven on the meta-MAZE-map is next door in room 27 where the glowing eyes are found.

But now let’s note that the woman in profile has been identified both as the angle in one puzzle and a victim of Jack the ripper in another. Now let’s think about that mouse poem again. They all ran after the farmer’s wife. And from a puzzle we know they all ran out door 18, where they ran after that angle. So the angle is also the farmer’s wife. Putting all 3 puzzles together: Jack the ripper killed the farmer’s wife who cut of the tails of the 3 blind mice. And they ran after the farmer’s wife (in angel form). Did you ever see such a sight!?!  Note: If we omit the Jack the Ripper theme, we might also conclude the angel did all the cutting here, painting, spade and tails. And finally to tie it together, we might contrast the “sight” in the door to 18 with the blindness of the mouse by door 3. “Sight” is in fact a key word we should take away from this room, for a puzzle in room 7. WR adds that going around in circles connects with the blindness and he interprets the star to be a sun-lit landscape helping with “sight”.

The thoughtful ones speech is part of a series of 4 clues by her that tell us where to look for the Raven poem exactly. In room 14, we learn that we can leave out whole words of what she says and “read between the lines” to find something else. (See discussion in my introduction and in 14). Here we get in response to “We might be going around in circles” = “I think we’re supposed to, that’s the trick”. This gives us part of the info. we need to figure out we should travel a loop of rooms starting in 33 and ending in 35, and passing through here. The guide’s response to her in a couple of rooms lends extra support. “Yes, I’m sure you’re right” is in 35 and here. “Yes…you’re right” if we read that as “Take the “Yes door” in 34 and then take the door on your right in the next room” then we have reinforcement of the Thoughtful one’s instructions to take this path around the “inner loop”. The Raven poem is recited around a circle of rooms a few stanzas per room. Here is what we find of it in this room:

The lack of obeisance may mean the state the pictures are in. The angel would “flutter”. “Shorn” may be the cut off tails of the mice, and “shaven” may be the hidden beards of the “bearded men”. Plus in room 25 there is puzzle of the falling signs. It leads us to the idea that they represent “shutters” via “I measure camera stop time”.  So the big torn painting represents a shutter. This matches with “Open here I flung the shutter”. We have a “grave” in the floor matching with the “grave and stern” decorum of the Raven (and the room). The “sun” on the landscape could mean the “saintly days of yore” “Ghastly, grim” could fit our “Jack the ripper” determination above. “Ancient” could just be the stuff in this room.  “Night’s Plutonian shore” fits with it being 2 am here. “no living human being” also fits with death theme here. “Not a minute stopped or stayed” fits with our running mice and “’art” in the poem certainly fits the room. And we have:

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being…

Credits are mine I think, except as noted.

Personal room satisfaction Rating: 98%

Room 10

A lot of things in the room begin with “B”. We have a “bed”, a “box”, “baggage”, maybe a “baton” for a stirrer, a “ballerina”, maybe a “boom”, and a “bumbershoot”. In room 23 they realized it could rain where they were going and one of the guests says that they should have brought that “bumbershoot”, and here again in this room we have a reference to the fact that it can rain where they are going, clueing us to think of this umbrella as a “bumbershoot”.

Why all the “B”s? Well, if we look at room #1, we can see that the doors are arraigned in a similar way and labeled “A”,”B”,”C”, and “D”, by the objects on the doors. The door in position “B” is the door to 41, both here and in room #1. And, indeed, 41 is the correct exit from this room. The Bumbershoot, the Baton, a Brush, and a bit of Baggage all point to it.

The bed has 4 posts and 4 parts of the sheets, one umbrella and a 3-leaf design. This could signal any door, but the umbrella points to the correct one.

The sheets also for a number of Vs and these point to a bedpost that points to the Volcano. It hangs from a V shaped string. There are Voices behind that door, and the brushes make a V and one points at 41.

The baggage has 1 piece and then 1 with 4 divisions. This could signal two doors but the suitcase angles towards 41. The gals of podcast zero make this idea clearer by noting the straps can actually be seen to make the number 4, using a box edge.

Hello Gregor notes the dancers legs look like 4s

Top-hat man makes sort of a 1,4 with his legs. The ballerina makes a backwards four, but she is spinning. Note the near mirror symmetry above the doors. Spin one of those 4s and 41 and 14 are mirror images. The text mentions the doorknobs and that they tries to open the door – we think of 37 where the voices are, of course, but suppose it also means the half door to 41 would not open either. That would correspond with the top-hatted man’s plant-foot. His baton also points at 41. The ballerina, when her spin is complete will also represent a 41.

To get out then, they will have to pass under the freshly painted sign, and thus it may “rain paint” where they are going, and taking the umbrella with here could be a clue.

The umbrella is a false clue to the identity of the guide, the biggest red herring in the book, as indicated by the front door. The guide says he “signaled his approval” and the umbrella does indeed point at the correct door. But also the Top Hatted man represents both the Maze guide and the soul of Manson. The Top hat is an anagram of “to path”, so via the baton, the real guid signals his approval as well.

The door rattling in this room can be heard in room 37 which is where the locked door leads. This might be a clue to start thinking about the fact that all exits/entrances to a room are represented, even if they can’t be accessed in both directions. This might help one find the secret door from 29 to 17.

The clock in room 30 keeps time in the Maze as we move from room to room. (See rooms introduction and rooms 1, 23, 4, 30, 13 and 3) Clearly room 10 and 37 happen at the same time. But care is needed. The rattling door happens just as they leave room 37 but when they enter room 10. And then they sit around a while in room 10. So really they enter 10 at the same time they enter room 20.

 “Simultaneous” in the Maze seems to be whenever the big hand points to the same location, or really every two revolutions it seems. In this room the time is EH and it is GH after they move on from 37 to 20 in the other room. The fact that we are two clock cycles apart means “simultaneous” in twisted MAZE logic.  Outside time is not the same. Here is would be 7 am morning outside, then 8am in the next room and the gate. In the room on the other side of the door they move from 10pm night to 11pm. All mapped times in the MAZE take place between Midnight Saturday/Sunday, and Midnight Sunday/Monday it seems – it is a 24 trip in some sense. (Or alternately it takes place on Saturday, but in any case the seventh day, or day of rest).

Another thing to note here is the box. The cross in the circle is a symbol for the “earth” and this may be another clue to the answer to the whole puzzle. In all 4 rooms connected to this there are either clear targets/bullseyes or at least concentric circles. 14 has the clearest, then 41. 34 is full of eyes and the pillow works too. 37 has eyes on the wall and the bottle viewed from overhead as is clued in that room looks like an eye. These surrounding Targets, I believe are like darts around a bullseye pointing us to the round object here. 

Daughter Emily notes “empty” and “blank” fit well here, given empty faces, etc… and this is helpful with the realization the faceless figures are souls, just like the stickman in 3. 

The umbrella “rests” on the bed and we have “rest” in the text. There is something to “stir” the paint, and a “restless” volcano “stirs” to life. OK so we have rest/stir. The 3 posts of the bed that point to things point to this set of things.

The faceless dancers are “souls” as in room 3. Soul => music => dance. That is “music” is a middle term between “soul” and “dance”.

OK so rest/stop and music…a rest in music of course! The text says a “short rest”, that is for example ¼. Yeah! And those packages one is divided into 4 parts 1 suitcase and 4 divisions! (Or is that 4 and 1?) Never mind we are off to room 14, and…oops we double back to here. What went wrong?

We didn’t take all the doors into account. 3/4 can be a music signature, and that would tie to door 34. Wait…3/4 is 3 beats per measure, 4 doors, one closed, 3 doors per room here. Ah. Again the doors are labeled A,B,C,D as in room 1. And text says “AFTER A SHORT REST” we MOVED ON” to…the next beat in the measure of course. That would be door “B” 41. “Measure” is also the word we should get from this room for the riddle of the guide puzzle.

That we can see half, quarter and whole doors may related to music here.

Oh yeah and that paint stirrer – it’s a drum stick. Need percussion for keeping the beat ya know. Also anchorperson Smith notes the paint brush sticks look like the drum on the door to room 20 in room one – maybe another tie in to the room 1 doors to help us notice the connection.

The choice of the faceless dancers as a symbol of souls makes more sence once we know that the Medieval philosophy of “seeing” = direct experience, and “hearing” = faith is employed in Maze. Dance is clearly related to sound, and souls clearly related to faith. “Faith moves souls”, perhaps? 

Hello Gregor notes 4 embers from the volcano – that could help indicate the 3/4 time signature. Also the package has 4 straps, but one is broken, again a clue to the 3/4 signature. The bed posts as well fall 1 to the left and 3 to the right of door 34.

said one” is 4 letters then one = 41.

Odd bits: the ladder. By counting ladder parts you could get some false or ambiguous clues. 7 rungs times 2 brushes or two back slats. There are also 4 legs and one surface. And given that 14 is a strong false clue here, that might not be an accident. I think Manson would have counted the rungs, and not use 7 unless he wanted to.

Credits mine I think, except as noted.

Personal room satisfaction rating: 98%

Room 11

This is an obvious trap room, since the room itself looks like a small animal trap. In the twisty bits in the wire you can find on the left from top down,”T”, “A”, “r”, and then on the right side the is a sideways “P” 3 from the bottom. In room 14 we learn that “We measure very small” at that point and that is the same thing going on here, we are near failure and the guide’s opinion of us is reflected in the scale of things. Like 14 the text tells us this place is big, and it may foreshadow the unlimited space of 24.

Anchorperson Smith notes that we have a golf tee and “for” and that is 40. The other half seems to be that we have a “doorbell” and we have “bell” on the sign. “Doorbell” – “bell” = door. With the first part we have “door 40” or the “40 door bell”. If you follow the tangle of wires one the wire that goes into the hole on the side near door 40 actually connects with the bell. A clue to look for this might be the “many paths crossing” in the text.

There is a “wire” roof and there is the doorbell “wire”, and we have strongly cautioned not to touch it. It must be a “live wire”. The hand actually seems to point at the wire, not the bell too. “Live wire” – “wire” = “Live!” Then also we have “Important” in the text twice and this anagrams to “I’m not trap”. Then there are some pictorial 40s. The 4 screws can be 4 little 10s, if seen as a zero with a one inside. The screws on the bell could maybe do the same, although they are not as visible. The screws above also either point to other screws or they point to door 40. And for the screws below we could think of the bell as one big zero and then count 4 screws. Also there are 4 visible door knobs and slit-like keyholes that could be another set of 4 10s for 40. Put it all together and we are not really in a TRAP, we can live by taking door 40.

The sign “please ring bell for assistance” may be a clue that room 26 is important. The hand on the sign is like the hands in the border of the directions and might be a link back to the beginning of the book, telling us to consider this advice when we start over. But also, bells in Maze symbolize faith. Here “faith” perhaps can help us avoid room 24 but also give us encouragement to not give up on Maze.

If we take the guide related sentences here, “…an airy room with many doors. It was a big space, but I still felt crowded. I’ve always hated confinement….Gratefully leaving the room behind we walked all the way to…” we have a bunch of double letters, “oo oo ll oo oo ll”. With these we can buid 4 “10”s = 40. And we have another door indicator. The sign also has an additional set of doubles – “assi…” and “bell”. This one is part of a short path of double letters and crooked signs leading from 32 it here to 40, and then to 22. Other than to connect the guide to 22 I don’t know what function it serves.

The guest mentioned here is a “she” but not “the thoughtful one”. The only other “she” is in 19. The word “true” is also in the text here in room 11, so all of this gives us another hint to look to room 19 for clues in the trap. 

Another exit indicator may come from parsing the text. “door…it was…big” and “room…more…than any…others”. The biggest door number here is 40.

Another clue here is that the room with the most doors may be important. That is room number 4, and it is the only room on both the path to and from the center of the maze. It is also in the center of the figure 8. But there is more here than that. Manson has placed a tree of life from Kabbalah and alchemy in the Maze. (See intro. section) This room is one of the “nodes” or “sephira”. The rooms along the center stem generally emphasize decisions and/or choices (The many branches or paths that connect to the center stem). This room gives us “this is an important choice” and “trying to encourage them” which closely matches the language in room 5, which is also on the center stem of the tree. The many doors here echo the many doors in room 4, another room on the center stem of the tree. “Choices and decisions” also play a role in the main room 1 puzzle.

This “sephira” is the lowest one, the farthest one from the emanations of God. It is associated with the lowest body parts, either feet of anus, where waste is removed, and I guess if we head into room 24 here, that might be what we are. It relates to the physical world of “earth” and again the next step down seems to be under earth then or the underworld. I have found it described as the negative node on an electric circuit, which recycles energy back to the upper nodes, and this fits with what we see here. “Lowliness” is used to describe this sephira as well, and that may fit with the small stature we have here. One source http://www.wisdomsdoor.com/tol/malkuth.shtml says that we may be stuck here for a while but eventually the archangel that watches this area will present one with some sort of “key” that will allow travel to other spheres. This fits well with the shape of the trap as a key, and the fact that our guide will allow us to escape here once we have learned enough.

Isn’t it nice that the door to 24 is open inviting us in? This is our false clue for the room.

Vewatkin notes that “For” sign covers the doorknob to one room and that is probably the door back to room 4.

Hello Greggor notes that “gratefully” in text may link to “grate” covering. But it also links to the couch in 35. We are told her that he hates confinement and there we see that he likes to live on the roof. The fact that this is an “airy” room but the wire cover still makes him feel confined is another clue. “Crowded” might be an additional clue because it contains the word “crow”. Although normally the word “part” appears when we are supposed to look at parts of words to find a clue.

Credits:  Mine, except as noted. But Anchorperson put me on to the whole idea that there were directional clues in the TRAP.

Personal Room Satisfaction Rating: 98%

Room 12

This room is almost identical to room 28, and to find the correct exit the rooms need to be considered together. The picture on the right is holding up 2 fingers in both rooms. The picture on the left has 1 finger in this room but 2 in the other room. We might take these as false, too simple, clues to room 2 or 21. Abyssianjainhordan” noted that the other picture “ate”=8. That completes a trio of false clues. Also notice the bones on the plate in the third picture. There are two bones here, and one in the other room. (Thanks to my daughter Emily for noticing this one – age 9 at the time). Together all the bones and fingers give the number to the correct exit. 3 bones + 9 fingers = 39.

We might have a bit of confirmation in the fact that the fork looks like a 3, and the knife sounds like a 9. Also the U pointing *up* and the D lying *down* might be a clue as well – that we should take the ladder. The U and The D are also the letters we should gather from this room to help us spell “SHOULDERS”.

There is one more difference between the rooms. The sky is darker in room 28 than here. It is saying that direction is a bad choice in room 28 since it leads to a trap (see that room’s description).Abyssians also noticed it is really “false”.

Abyssian SP notes that the 2 and 1 finger guy is the same in both rooms. If you are on the right path of close you would get to 28 first. In this context the man’s “2” could mean “second time” and he might point at the right exit.

The ladder "led" down...the bold one "led" them - to the right door, down the dark hole, taking the ladder. This is interesting to contrast with the slide and the ladder in 41 where they also complain they don't know where it will take them. The only difference here is the guide says there is a room of some sort and give us the line about "appearances" which are totally accurate when he uses the word. Also in 14 being led is a bad thing. But here they follow a person.

SP notes the railing outside looks like it is above room 21. This fits with the map. Odd that we also seem to see the palm in 44 perhaps.

Credits mine, except as noted.

Personal room satisfaction Rating: 99%

Room 13

The guide says it takes a great deal of experience to know how time works in the maze. This could be a hint to notice the things like we can observe in rooms 10 and 37- that both rooms seem to take place at the same time. Also there is the black cat or “figure” whom we see in room 16 and then much “later/earlier” in 4 when from the point of view of the “figure” they must happen at nearly the same time. And in general, just to start picking up and putting together all the time keeping clues found here, in room 30, and elsewhere. These are covered in an introduction section on my first page. But some relevant parts are here: The clock in room 30 keeps time in the Maze as we move from room to room. (See rooms 1, 23, 4, and 30) Clearly room 10 and 37 happen at the same time. 37 is on the figure 8 Path and we know from elsewhere (like 23) that the time there on the return path is “Gx”. 10 is a “loop” room but also 2 steps from the entrance. That gives us a hint to think about counting backwards from the entrance in the loop rooms at least back to here, room 13, where all the “time” stuff is. But care is needed. The rattling door happens just as they leave room 37 but when they enter room 10. And then they sit around a while in room 10. So really they enter 10 at the same time they enter room 20. Counting back then room 13 happens 4 steps back from entrance time of “FA” so it is “EE” here. At first we might be tempted to think it is “noon” here and since it is noon in room 4 any time that ends in an “E” is noon, but that is not the case and does not fit with everything in the Maze. The time in the Maze runs 3 full 8 click cycles. It starts in room 33 at time “EA” and midnight outside. It ends in the 24th time zone in room 20. The time there is “GH” and 11 pm outside. And the 24th letter of the Greek alphabet “Omega” is written around the carpet rim. Things that happen in the “Ex” cycle and in the “Gx” cycle happen at the same time in Maze logic. For example “EG” and “GG” would be simultaneous. Besides the examples above, the room puzzle in 41 gives us a hint of this as does the room puzzle in 44.

So, back to this specific room: We have a chart of units of time and “second” is missing. “No second”. Reverse this and you have “second ‘no’”. Also of note, we have a “no, no” in the text.  This could unscramble to “noon”, if you reverse the second no. Also note Millennium is misspelled as Millenium in the picture. (“No second ‘n’” = “No second” / Second “n”). The correct door is in the direction of the artificial noon day “sun”. The big hand is up and the little hand down here on the skeleton clock. If this we the Maze clock it would read “EA”. This is the time in room 33 and the skeleton clock also helps tell us it is “witching hour” = midnight by outside time in room 33. So then by twisted Maze logic if room 33 is midnight then an upside down 33 or “EE” which is that time here represents an artificial noon. For more support we can take the advice of the hourglass as in room 29 and flip the book. Part of ‘month” looks like “now” and the middle of “week” has a “33”. “Now 33”.

 

SP notes that the sundial looks like an arrow pointes at the correct exit. Taking this a step more, let’s say the director’s chair helps bring directions things point to attention. The megaphone points to the pendulum which swings towards 25. The sun dial points to the lamp, and the light switch on the lamp points at 25. The arm of the sun dial points to the missing second as well and this also could indicate the “second hand” on the clock or the pendulum.

The text mentions being superstitious and alludes to Friday the 13th. But this may be a bit of misdirection. The reason they are not comfortable here relates to rooms 34 and 15, and the fact that there is only one chair here. The text has “not all” and “only some?” and this might also highlight the concept of “one”. We are clued to think about 12 and 24 hour clock. This room number 13, is 12+1, and the correct exit is 24+1. Alternately if we just add the clock related 12 to room 13 we get 25. Note that room 13 is given explicitly in the beginning of the text and when that happens it sees we are supposed to do something numbered with the room number. The director’s chair suggests the phrase “lights, camera, action” and if we turn on that light the sundial will read 12. Add that to the room number 13 and we have 25 and in a 25 mm camera, for example, and then “action” would be to walk out the door. The text says “quickly moving on” (although this could just be about “time” in general). Or alternately we could read the sundial with the light off to read 24:00 or Midnight. Then for “Lights, camera, action” we have “24,25,exit”.

The bit about it being closer to the end of the week than they knew no doubt means something. One way to look at it is that this refers to the end of “day”. We are clued to think about a 24 hour day by the clock that provides a false clue to door 18. A 25th hour would come after the end of the day, and the last letter of “day” is “Y” with a numerical value of 25, and 25 IS the correct exit. (Vince Watkins adds “He knew WHY” is in the text). But better – once we learn about timekeeping in the Maze we know it is Sunday 4am in this room, outside time. So it is very close to the end of the week, 4 hours after it, to be exact. Alternately it is Saturday and the Sabbath, in any case it is the 7th day, and the day of rest.

Another way to read this is that the text has “some/SUM” (thanks Vince), and then “end of the week…more…six in the evening” and 7 + 18 = 25. Vince speculates the pyramid shapes with the balls on the top could be a hint to add something from the “pyramid” of time units to something round (the clock). Also, maybe the hourglass atop the list suggests adding hours to something in the list. Maybe the director’s chair and megaphone which point to both items help with this. Maybe the sundial representing hours pointing at the list helps as well.  I’d add that once we have “lights camera, action” from the chair and the lamp, then the positioning of the clock and the list suggest we should also combine them.

The words Millennium through Year are superfluous so far. What if the numbers make a date? It would pretty much have to be 18xx. And nothing exiting happened in 1825 or 1827, but if we turn on the lamp we have a 12, and 1812 was a more exciting year. War started in America and Napoleon invaded Russia, and Grimm’s fairy tales was published among other things. Let’s take month = 6 from the clock and day = 18 from the wall. What happened June 18, 1812? The war of 1812 started in America. But we skipped over week. What week of the year was that? 25. Oh- that’s the correct exit… And we can connect that with the call to “action” as well.

Room 3 has the authors “signature”. This room has a good ghost “Christopher” in the director’s chair and megaphone. And since this rooms time matches that ”EE” on the wall in 3 we might connect the two rooms. Loosely it then says “Produced by Christopher Manson”. Note – this is NOT something intentionally placed in the MAZE. Just a fun thing.

The cord on the lamp makes a two with one of the legs of the lamp. The way the 2 in 25 is drawn confirms the intent. The V of the remaining two legs can be Roman numeral 5. (Unfortunately there is an upside down 7 in the cord too).

The Raven poem is recited around a loop of rooms starting in 33 and ending in 35 and passing through here. There are clues to tell us exactly where to look for something in the speech of “the thoughtful one”. Then room 16 and 7 clearly suggest what to look for. Finding it in the rooms is just confirmation. A lot of rooms have many hits with the poem but only a very short bit of the poem seems to map here. This room offers by far the least to the poem it seems. We have a lamp light shining on a set both in the poem and in the room.

This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

The “word value” for this room is “time” when it comes up in multi-room puzzles. The ripped/falling signs in some rooms are one such puzzle. Putting them together gives “I measure film stop time”, and that is a shutter, and this helps us think of the falling/ripped painting in room 9 as a “shutter” for part of the Raven poem there.

The “action” theme here also relates across rooms. In the next room 25 the film rolls, and then if we go to room 35 the “stop” can be read as “cut”, and “cut” is part of a puzzle in room 35.

Vswatkins notes the squares in the exitways to not seem lit to the same extent. I note that about the base of the stone structures. We seem to have a light/dark indicator favoring 25. More explicitly, just as in room 8, unlighted lights point directly away from the correct exit. (This connects with Medieval notion of “seeing” as direct experience and hearing as faith. We can’t rely on direct experience here. We can’t see with no light). The directors chair can relate to direction=path=Tao as well. Somewhat bother some is that we could make “middle path arguments here. 18:00 is half way between noon and midnight but represented here. And 18 is also the middles door, although 25 is the most middling number. 

Here is a Vince thought:

“Only sum, ONLY SUM - 18 and 27 both sum to 9; but 25′s sum of 7 is the onliest sum of its kind in the room”.

And a few by Kon-tiki:

=====================

“The clock thought it was 6 in the evening”. I take this to mean that it was 6 in the morning which would be one “quarter” ( 1/4 ) of a day (24 hours). 1/4 is also represented as .25 (hence door 25).

the style of the sundial also seems
to be pointing to the 1/4 mark

on another note: Y = 25th letter of alphabet, so when the guide says “I knew why”(Y) , or “only some of you” Y is part (some) of ” YOU”

More arguments in favor of the 1/4 (.25) theory:
1/4 is a part of a whole , a subdivision, so:
-they weren’t “really” comfortable = not whhhholly
-we’re not “all” superstitious = not whollyyyy
-only “some” of you = a part, a subdivisionnnn

-millenium, century etc. = subdivisions of time
-”end of the week ” could be interpreted assss end of the WORD “week” which is the letter K, which is 1/4 of the word.
- a week is 1/4 offff a month ( and, incidentally, the only subdivision in that list that doesn’t add up perfectly to the next higher level in the hierarchy)
-on each of those elongated pyramids, thereeee is one ball on top and 4 balls below = 1/4

p.s. “end of the week” could just mean “weekend” which effectively cuts the week into 2 and 5.

Kon-tiki notes that “second left out” gives the correct door.

Credits: mine I think except as noted.

Personal room satisfaction rating: 93%

Room 14

If you look at the meta-MAZE-map this is just off a string of 3 rooms that connect a pair of human eyes to Raven’s one eye. The rooms spell out “I measure one” via their room word values.  This is the very first bad turn you can make coming out of the loop and heading back to 1 and getting on track. Thus if you are here “You measure very small”. The 3 “claws” and the feathers suggest this is actually a bird’s foot. (Raven’s of course). He might have us by a part of the male anatomy here?

This is a room with two trap exits, and the exit back the way we came in. The text alludes to this fact. We never leave the doorway. The guide says they are easily led, but then follows then out, and is surprised at their direction. They turned around and went back. Vewatkin notes that “path” means a series of rooms, so maybe when we get back to 10 we should also turn the “14” around (like the ballerina turns) and get “41” the correct door.

Also the huge scale of this room should remind us of room 11 and warn us to be careful. All the rooms were “dark” which should remind us of room 24, the “dark room”. The text says something about being easily led and the paper clip on the string to leads immediately to the final trap room. The bull’s-eye is also clearly meant to mislead us into a trap room. It has 4 circle and 3 circle. As the text alludes, we should take the “odd one in” and go back the way we came. Or follow what I believe is the correct clue in this matching set, listen to the little round bit of wood looks a little like the false target, but it has “10” pieces to it. This is clearly the hardest of the set of 3 to notice and thus the correct clue.

The correct exit is 10 and we can find “ten” a number of times in the text (I noted in 2012). The guide says “I knew they could not afford not to listen to me entirely”. This indicates we should listen to part of what he says. If we take his text in this room we have, “To go out choose ten, ten I say” (majority credit to vewatkin). Also, “entirely” unscrambles to: “I rely ten”. Listen probably coincidentally contains a ten.

The guide also tells us, about the “thoughtful one”: “I knew she would bear watching”. This gives us liberty to do the same thing with her speech here and elsewhere. Notice both of his sentences start with “I knew…”. From her speech here we might be tempted to take “We have to go out”, but really this is part of the huge uber-puzzle to the guide’s identity. We should read “We have to go around to prove something”.

The huge fingers on the ball are “b…all fingers” = 10. The word “all” is in the text twice to help encourage this. In other rooms the number of legs on the ground helps with door indicators. Here there is one leg, and that could be the 1 for 10, and the ball could be the zero.

There are also pictorial 10s. The screw is one I noticed. It is a round thing with a line in it. 4 for them also mark door 40 in room 11. Also they look like the symbol for room 10 on the wall in 40. We also have the paper clip and target. They could be one big 1,0 or they could be 4 little ones. There are circles in the cross arm for the furniture. And there are bars for the 1s.

There are also more “to”s in the text here than in any other room. There are 144 overall in Maze and excluding this room that is about 3 per room. Using a Poisson distribution we can calculate that the 9 “to”s here should not happen 99.4% of the time, of course with 45 rooms here there is still something like a 17% chance of this happening. But then – try putting your fingernail over the top and the bottom of a lower case “t” in “to” – the result is a “10”. So it is a potential door indicator, and the odd of that many “to”s occurring AND happening in a room where door 10 is correct is enough to make it a statistically significant event. The most “to”s we should expect by random chance over 45 rooms is seven. And this in fact does occur in room 1 where it is not a door indicator. Thus we need to judge the seven occurrences in room one as random and the nine in room 14 as intentional. This is a very hidden indicator, and one we can really only prove with serious academic tools, but it is there. (Note 14 has slightly more text that average and I ignored that in this approximate calculation).

There may be a couple 3s to help fake for door 43 - 3 clips on the wire, 3 fingers on the ball.

They try to think of themselves as adults, but they are often “children” in the MAZE. “I cried as if my feelings were hurt” = child. The paper clip and the electric cord are “wire”. “Question” is still unused, and it means to enquire. Children – child = “(r)…en”. Enquire – wire = “en”. And in that last unused fragment of sentence we have “since They Tried To Think of Themselves as”. And of course “T + EN = TEN”.

Vince notes “don’t have to do running a”round” out there can refer to target and clip.

One more possibility:

“All three” doors.

“Three” fingers on “ball”

afraid to go out”

Maybe “adults” hinting at “children” hinting at a game

don’t have to go running around out there”

A final “all” in last line of text.

I think of baseball, and 3 balls, and then a 4th ball, so they walk to first (the first door).

Pretty much all of the about is mine, for better or worse., although almost everyone figures out the false clues right away.

Personal room satisfaction rating: 98%

Room 15

Revised 03/22/2015

White Raven’s site has filled in all 5 maze points and here are the recorded solutions from there;

● The correct door is 37. [Credit: Unknown - during the 1985 contest.]

● The part of the Riddle of the Path in this room is the hidden letter is “H” represented by the Heart, Hats, House, Hare, and Heroes.  [Credit: Unknown - prior to 1990.] The arrangement of the beams on the ceiling suggest the repeating letter “H”.  [Credit: 515]

● In the names of the heroes is the word SEVEN spelled from bottom up. The letters are lined up but some are partially or completely off the page. At the end of the SEVEN is three nails together they suggest 37, the correct door. [Credit: SP]

● The SVN is SeVeN with the vowels removed. By removing the vowels it is three letters. 3&7=37 [Independent Credit: SP | White Raven]

● The SVN is SeVeN with the vowels removed it is on Door 30. 30+7=37 [Independent Credit: Hello Gregor | White Raven]

In the text a visitor says, “Three of us can sit down here” an odd statement since there are no available seats except the one taken by the bunny. This phrase directs our attention to the floor. There are three legs on the tripod and four on the chair, seven total. 3&7=37 [Credit: SP]

The sign with the bird, cloud, moon, bolt indicates “things in the sky.” The star in the leg bracing of the tripod reinforces this, and possibly the smoke clouds coming from the house in the child’s drawing. The list of heroes uses a V instead of a U in the Roman/Greek tradition. The focus of these clues is the SVN sign encouraging us to take it (in this instance) as “sun.” The sunlight in the room shines on the 3 of 30 and the 7 of 37 3&7=37. The partially sunlit 3 is excluded by not being fully lit.  [Independent Credit: vewatkins | White Raven]

●  The text spells out the numbers “three” “one” and “three” which add up to 7. “At least THREE of us can sit down here,” said ONE. There were only THREE possible choices.” [Independent Credit: vewatkins | White Raven] The next sentence reads, “Leaning on the sacrificial TRIPOD I was suddenly moved to say,…”  Taking the tripod as another 3, by leaning the tripod the Guide completes the 37 prompting the Guide to drop the hint, “Perhaps these numbers relate to each other in some specific combination…” [Credit: White Raven]

My comments of the above – mostly I’m in agreement. Here are some small comments: I think there are supposed to be 7 obvious “H”s – Hare, Heart, Hat, Hat, Helmet, Heroes, and House. I don’t think the purpose of “3 of us can sit here” is to direct our attention down”. I’m more in agreement that there are things here to direct our attention up to the sun, but I think the sign with the dove, etc, does more than that. I think some of the sevens and threes might pair up slightly differently a little better, but that is partly a matter of taste. For the THREE, ONE, THREE, tripod in the text – I might go with 3, 1, 3 are 3 numbers that sum to 7 instead.  My own (mostly older with some new mixed in) comments continue below:

This room has fairly obviously a lot of 3s. And these are fakes to door 3. And note the open door to 3 inviting us in (a common fake clue in MAZE), but in fact that is the worst door choice. The number 3 appears three times in the door numbers, and in the text there are three quick references to 3. Three doors, three of us can sit down here (which seems very random since there is only one chair), and a tri-pod. There are also 3 puffs of smoke from the house, and three rectangular openings in the house. There are 3 hats, including the helmet, and looks for awhile like it might have a couple Trinities. The Trinities turn out to be incomplete and every 3 is connected to a 7 somehow and the correct door is 37. The Hs are primarily because we are supposed to find the letter “H” in “SHOULDERS” here, and to indicate that we have: Hare, Heart, House, Heroes, Helmet, 2 Hats and then not pictured but in text, Hurrying. The first 7 are supposed to be obvious, I believe, and give us a total of 7 “H”s. The dove can also be “Hope” and “Holy Spirit” as part of two incomplete Trinities. (Probably unintentional, I now believe, but mentioned for the historical record). We also have Hs in the ceiling (thanks 515). So we have an “H” for “shoulders” in the riddle of the path here. Although note that letters seem to be given once in an obvious way, or twice or so in a hidden way – and I think an extra “H” can be found in 37.

Besides all the obvious fakes at door 3, the smoke puffs may be a bit of a fake at 30 since they are round and there are 3 of them.

Now for the true exit door solutions - The narrator gives us a good clue here by saying “perhaps these numbers relate to each other somehow”. The unlabeled door we came though, if we are on the correct path is the door to 4. And 4+3+30=37, and 37 is the correct exit. So the “3” above one door pairs with the unlabeled door to 4. 

Also vewatkin adds that SVN is SEVEN if you use a couple of 3s as Es, which room 3 teaches us we can do. Then this door read “30 SEVEN” and that is the exit.  The sign is deliberately ambiguous as to weather that is a SUN or a SVN. Look at the U in Ulysses for example. It means both. Vewatkin notices another exit indicator here. The sun shadows out the “0” and the “3” on the far wall and if we push the remainder together we get “37”. If I had to officially pair these up, the lit 3 and 7 over the doors go together and the fact that there are 3 letter in a word that means 7 go together. And the fact that the “SVN” sign is on the 30 door is intentional but a bonus to the pairings.

Another door indicator from the Abyss site is the poster on the right. It has “3” tacks, and the word “seven” is written upwards along the edge of the page with parts of the letters missing or just on the page. My take is to group the 3 tacks on one wall with the 4 tacks on the opposite wall (vewatlkin). And of course the letters up the side also give us a hidden 7.

They also note 7 total feet on the floor (grouped 3, 4, I note), and 3 on the rabbit (I add that 4 total feet on the rabbit gives us another 3,4).

I’ve found other 7s grouped 3 and 4 which we add to get 7, just like the room numbers. The house has 4 small rectangular elements and 3 puffs of smoke. (Or pair the smoke and the tacks if you prefer). Also, the 3 dimensional structure under the Tripod is a triangular prism. The faces have either 3 sides or 4, and we have another 7. The ceiling has 4 rows of light squares with 3 dark slats in between. Also one hat points at 7 while the other sits on the Tripod, giving us another 37. Alternately there are 3 hats with one pointing at a 7. We could also make something of the fact that one hat sits on a Tripod and points to the missing 4 over the door, giving another 7. A final 3/4 thought – one guest who thought he had worked it out was very pleased with “himself” him/self – another 3/4?

This room is called out by number in the text, “room 15” and this seems to happen in rooms where minor calculations of some sort are required, as they are in this room. The only possible significance for the room number itself that I see is that 7+H(8)=15. That is the alphanumeric value (8) of the important clue in this room, “H”, added to another major clue, 7, yields the room number 15.

The thump may just come from Thumper there. The footsteps running away represent the cat which we followed from room 4. The cat is supposed to be the black cat of Poe’s story which we see in room 4. (Also see the walk through of room 4 here). The cat spelled “PO” for us by running from room 16 to 15. (Since P’s numeric value is 16 and O’s is 15). We might want to look for an “E” here, for completeness, and as room 3 demonstrates for us, an upside down or backwards 3 is an “E”, and we have plenty of 3’s here.

There are connections to room 34 here. Some connections between rooms may be part of the riddle of the guide. I suspect this may just be a red herring connection, however. Of possible note – room 34 is clearly the “I” room: and this is the “H” room. Together they could just spell “HI” like the scrap of paper on the floor in room 1. “At least 3 of us can sit down here” is a clue to connect the rooms. It has been noted that this can direct our attention to the floor, to count feet, and it could do this. It also might draw attention to the 3 visible feet on the rabbit. Finally it can start us thinking about the Trinity. Maybe “three of us” can sit here when there is only 1 chair, because in the trinity, all three are one. But none of these fully explain the text. We are supposed to connect this room to 34 where there are 3 comfy seats and the text talks of sitting around on the floor. If the hypothesis that there are 4 guests is correct there would be no need for “some” of them to sit on the floor in that room. “Somewhere a door slammed” connects to the door “Mr. Yes” is using as well. The chairs are in exactly the same position in both rooms too. And that chair has a very odd 7 visible feet. With the 3 rabbit feet here we have another 37 (or just another 7 there). The Argo on the wall there also connects with Jason here, and may help us with a tough room indicator there. The time in this room is GF and there it is EG. Events that are two MAZE clock cycles apart are simultaneous in MAZE – but these events don’t line up time-wise, but that might not have been factored in to making these rooms pair up for whatever reason. 

The following bit about the Trinities I no longer think was intended, but I’m saving for historical reasons: We can get close to a Trinity of the Father, the Son, and the Holy Spirit. The Holy Spirit would be the dove (and another “H” word), it appeared to Jesus in the form of a Dove (for example Mark 1). And the “Sun/Son” is on the wall. (Also in JaSON). We also have Sun from above. Where is the Father? Well, that is less clear. He seems to be absent. The dove can also be “Hope” (another H word) and we have “Charity” as described. The missing element would be “Faith”. So 2 “F” words are missing here then. This may have very vague a tie in below.

Another somewhat more complex door indicator may be here, as well. We can get the 4H Charity group. “Charity” is given in the text. Their motto includes “head, heart, hands, health”. If we put the chair group and the Tripod group together we do have 4 Hs (hat, hat, hare, heart). If we add the hair/hare to the hat we could get an implied “head” (and head/hair will factor strongly in the room-level solution given below), and we have an obvious “heart”, the feet of the Tripod look a bit like “Hands” and a bit like the 4H symbol,  and as far as “health”? Well, maybe you should wear that sunhat in the sun - lol. But another way to get “Health” above is to note that the pentacle is a Masonic symbol of health and safety. And Mason symbols are found elsewhere in Maze. Room 39 is notable – and “4H” fits into solutions there too. So the tripod and chair grouping both gives us 4 objects beginning with H and we can get 4 words in that group as well. Put this 4H together with any 3 in the room to get another 7, for example the other 3 clearly pictured Hs (helmet, heroes, house). (Thanks Abyssians).

Another find is that the tripod represents the Oracle at Delphi who sat on a sacrificial tripod. (an abyssian find). He supposedly only spoke the truth, and this is why the guide gives us a true clue here. “Know thyself” was associated with Delphi and the guide says “After all these years I don’t really know myself”. It was also associated with Apollo the Sun God. Which brings us to the room level solution. I believe in many rooms we can do operations like in room 45, where groups of objects that are together are first assembled into something, and then the groups are assembled into something larger. Being directly across from each other can be a weaker form of grouping, as in 45.

In 15 – the heroes and the helmet could be a soldier, but that is too easy, given the Greek military helmet. The next choice is fire-fighter (and the “FF” above could be a very weak association). Across the room from that we have 4 sky objects. I can not think of any other way to combine the sky objects with that house picture except “smoke”. Putting these opposite side of the room things together, seems to give a common theme of fire.

Next the bunny, the chair, and the hat.  Hair seems to be the common denominator that fits best here. It would touch a hat, it rhymes with chair, and there is the hare/hair thing.

We also have plenty of indicators of sun, from above, from the SUN door, and from “Apollo” which we’ve identified with the Tripod and Delphi.

So what can we get from sun/fire/hair and a Greek religion/Apollo theme? How about Helios the titan or original sun God? Drawn by a chariot of 4! horses and more importantly crowned by 7! Sun rays. There is a story in which he puts this sun crown on his son by weaving the seven strands into his hair. Seven in general was sacred to Helios who supposedly had seven herds of lambs, seven herds of cows, etc…

Google also tells me various Greek mystery cults associated 7 with Helios and with special mystical significance (right up Manson’s alley). Seven was also sacred to Apollo in turn, who was born on the 7th of the month and who’s arrival welcomed by the seven sacred swans swimming around an island seven times. Etc...

We can also not that the hat ready to be torched on the altar gives us a fire/hat combo in addition to the fire/hair combo above. And finally “Helios” is another “H” word.

Marianne had a theory involving U/V and radio frequencies. My thought there is that the dual use Us and Vs could at least potentially relate to U/V radiation and be another SUN clue.

A few more misc. points:

Note the rabbit is indeed a “hare” and the matching “tortoise” can be found in room 20 at the end of the “race”. (An Abyssian find). Marianne also notes “shared” there contains “hare”. Another note relates to timekeeping. The room may not be lit by the real sun if MAZE time is supposed to apply here. It would have to be directly over head, and even then would not cast shadows like that. It would have to be a strong overhead light. (So it could not be moonlight, either, as in the next room). “Sun” is certainly part of the puzzles here, and we assume the light is sunlight, but we are never actually told that. Additionally, if we look at our Maze clock information, it is 9pm, and “GF”. So maybe it is a giant “sunlamp”. More realistically – Manson probably thought the sun theme here was more important that keeping the sun in the right position for the Maze clock thing. And he probably wanted it directly overhead to give us that bright white sunlit floor.

The base of the tri-pod contains a pentacle. The 3 of pentacles in the tarot deck is said to represent the master craftsman, and that is how Daedalus (designer of the maze of the minotaur and father of Icarus) was known. Could it mean Manson as creator of the Maze? (see room 3 where he is the “Master Mason” for example). Or could it just be a star – indicating “sun” and he sky? Without the back leg it has been noted there would be 37 triangles, but there is a back leg. I believe the 3 of pentacles was probably unintentional at this point, and the Mason symbol of “Health” (see above) was probably intentional. And finally maybe there is this – each rectangular face of the prism is cut into “4” “tri”-angles.

This room is a sephira on the Tree of Life. As many rooms on the tree this one is marked by a living thing. (The bunny). Its name is Gevarah and it can be associated with letting in the divine radiance from above, which is appropriate here. It is also associated with fear and awe, and the image of firefighters and fire can fit here and maybe the titan Helios. Note the materials here by themselves would not lead one to the Tree of Life, rather the rooms are arraigned in a pattern corresponding to the tree with each room containing elements that fit. 

Credits: The room level puzzle is mine and some of the 4/3 solutions, including my first one from 2012 – the room numbers add up 3+4+30=37. Many other credits noted above. More on the fringe: The “Po” stuff, the 4H, the connection to 34 and the Tree of Life were mine.  

Personal Room Satisfaction Rating: 99%

Room 16

Let’s get some minor indicators out of the way. Turn the machine upside down and you can see two 7s in its base. Under the trap door there may be two more sevens. You can get a 7 in the v shaped arch to 7 and probably in the one to 16 as well. And if we really stretch maybe one in the running man’s legs. The man’s club points up at the “7” and the curtain rod points at 7, and the line of his left leg and arm point at 7 as well, and then vewatkin notes his leg and arm look like a 7. There are also seven full circles on the hat on the ball.

Vewatkin composed a rap to say that since everything else in the room has a hat we should grab the crown and exit that way. I responded in Haiku:

The chamber of the hats.
All wear one, but the machine.
Should we take the crown?

This is a chamber. The text tells us that. Next door in the music room we have a small string performance. “Chamber music” is a small intimate string performance. The round object is a chamber pot. That figure straight ahead of us is through the door to room 4. The black cat in room 4 runs from here, room 16, to room 15, spelling “PO(E)”, since P and O are the 16th and 15th letters of the alphabet. Note in room 4 it says that the cat came from the right. And we have just come from the “Poe” room if we are on the right path, so the black cat we should think of is from Poe’s story, so this may be “Pluto” the cat. Note this is “P…o” the cat. For confirmation that we followed him we can look in room 15. We are told that we hear a bump and footsteps hurrying away, and then a door slams. In room 4, the voices we hear are probably the guests themselves in room 16, since sometimes events in the Maze happen at the same time. See rooms 37 and 10 for example. Next, if we look at room 16, we are told, “A figure crossing the hall outside saw me and ran off”, and we see a figure in the archway to room 4. In room 4 we are told: “It was fortunate I was still standing with the rest of them or they might have noticed.” My translation: It is fortunate I (in 16) was still standing with the rest of them (in 16) or they (the guests in 4) might have noticed. A bit more support for this idea comes from the fact that at the end of the text it says "We left for" = "We left 4".

Another “PO” thing here is the chamber pot. This is also known as a “po”, maybe from French pot de chambre. And as noted the text also mentions the word “chamber”. We also have three near misses to “Poe” – the trap door “pole”, the “pole” for the Jester, and the machine has something you “pull”. The word “stories” is in the text twice, and “scared” once, and the guide indicates it is unlikely that WE scared HIM. Just about the who room points at this guy too - the bear-man’s club, the arm of the machine, the belt of the machine, the pole in the trap. Since he runs towards the correct exit maybe he “pulls” us in that direction? But then also, in room 43 we have a lesson in “part” and “trap” being reverses of each other. We have a “trap” door here. We have a seemingly unneeded sentence, “with few regrets on my PART”. If we call the machine a contraption there is a trap/part in the middle. (And with a stretch we can find trap in tapestry). And Poe may be “parting” from us.  

We should have Poe on our minds by now. The figure on the wall may be “Ursa” or at least is a bear man. He has bear feet. He bears a crown of Holly. Through the exit to 7 there is a bear skin, and here there is a crown. The Po also may bear a crown. What has a “bear crown” that connects with Poe? The Raven. From the poem: “Though thy crest be shorn and shaven ghastly grim and ancient Raven”. Are there other Raven hints here? Yes, “Chamber” of course. The text says the figure in the door may be a visitor. We see him through a chamber door. From Poe’s poem: “While I nodded, nearly napping, suddenly there came a tapping, as of some one gently rapping, rapping on my chamber door. Tis some visitor I muttered, tapping at my chamber door, only this and nothing more. Soon after in the poem we have “the sad uncertain rustling of each purple CURTAIN”. The picture of the man hangs from a curtain rod, and it seems to be rustling. When we put the hat on the chamber pot it looks like a Censor (thanks to Lewis), this also relates to the poem “perfumed by an unseen censor, swung by Seraphim whose footfalls tinkled on the tufted floor. (Of course if it is supposed to spread the odor of the chamber pot, that is one nasty censor, lol). And we noted “part” in the text and images. “Be that word our sign of parting” is also from the Raven poem. This corner of the room represents the Raven.

Note in room 17 (next page) – the MAZE is a “confusion machine”. Now here in room 36 that “motley” is meant to represent the fool. Numerous examples exist, but this one seems particularly apt: Folly’s words usually held vital information for the teams, in the form of both clues and spells. Think of Richard’s team in series 1, who had to work out that Folly had given them a WELL spell amongst all his tricky riddling, and of Jamie’s team in series 2, who had to pick out a clue about stepping on the Jack of Spades when the time came to Pick a Card. Folly always helped the teams through his professional prattle, and they had to listen carefully to pick up on what he was really telling them: ”There’s more wisdom in foolish wit than ever you can imagine.” – Folly.

http:// interactive.knightmare.org.uk/component/legacy/page/display/lexicon?s=view&EID=folly

But let’s take him to mean the “fool” more generally. And a fool’s job can include generating confusion. Paired with the machine we have a “confusion machine” and as room 17 told us, this = MAZE.

Let’s put it all together now. Left to right, we have “MAZE, guide, Raven”. Of interest let’s now note that the top-hat guy here represents the Maze guide, but in 3 he is “Manson’s soul” and this connects the two. And it relates to the puzzle solution “Some souls will live in the world”. Perhaps this is one way. Top hat” is an anagram for “To path” and when the man in the top hat appears he is a true “guide to path”.

Now let’s look at the bit about the stories full of lies and exaggerations that his old neighbor’s descendants are still telling about him. This is native American Raven. Note that when Raven appears as an animal guide, traditionally, his purpose is to help unlock the deeply hidden. What about the room reminded him of Native Americans and their stories of Raven flying out of smoke holes? Well, the hole in the floor could look like a smoke hole?

http://en.wikipedia.org/wiki/Smoke_hole#mediaviewer/File:Kirbuster_Farm_Museum_-_geograph.org.uk_-_508633.jpg

In the text we have “old neighbors. Of course,” and “another guest, to be sure”. That I believe indicates that we should use the old neighbor’s guidance and scurrying man’s guidance. Ursa points at 7 and forms a 7 so we might think that is the neighbor. Does Ursa really represent an old neighbor of Raven’s? Probably not, but we are led to think that at early stages. Rather, the reminder of his neighbors that we might trust is the teepee shaped object, and it has 7 dots for guidance.

“Part” may have another function here. The sentence “With few regrets on my part” serves no real function other than “part” related stuff. In 43 “part” clues us to look at parts of words and move a plural “s” indicator. In 32 we can find an anagram of Raven where the test tells us “in a very real way we are all animals, at least in part”. Here we find a different bird “egret”. The other occurrences of “part” are in 19 and 36 and there are finds there as well. 36 has a “turn/tern”, and 19 helps us find Raven singing in 36.

Just for grins we can note “With few regrets on my part” has 7 syllable making it ideal for the middle line of a Haiku or as an exit indicator for 7, although I doubt this works since it is not even a full sentence, just a clause.

“Me” and “my” occur a total of 7 time and these are not normally common words for the guide 7 could be a very obscure door indicator. It also could help suggest the idea of “guide here”, “guide there”.

 “Children” is mentioned here. This I think is a clue to the guide. In the beginning it says they did not see who he was because they were inpatient. 26 has the word children, but I think it has a separate purpose there. The other rooms in which it occurs are here and in 7 and 19. These are all guide related rooms. I think “children” is a clue to pause and look for the guide in these rooms, and too find the pull-toy in 7 and associate it with the guide. 

The 3 tassels on the Jester head may connect to the three tails on the bird in 7.

“Immortality of sorts” might relate to the solution to the riddle of the guide. “Some souls will live in the world” can mean that if people talk about you and your work when you are gone it is a sort of immortality.

“Reminded” occurs two places in Maze – 22 and 16. He is reminded of a theatrical backdrop and reminded of his neighbors. Here “his neighbors” can be in the room next door, here in 36 (although on some level it also means Native Americans and also means Ursa on another level). Theater in 22 also connects to Comedy and Tragedy in 36. Also, if the guide is the guide to the true path (The Tao) then Yin and Yang as neighbors makes pretty good sense too.

Credit: I think this is my puppy, although White Raven got here before me back in 2012, I think. “Hello Gregor” mentioned Ursa, and that has been floating around for awhile. Other exceptions noted above.

Personal Room Satisfaction Rating: 97%

Room 17

Amphorae! What is that about? But first, the exit door is obvious, it is 45, the center of the maze, and the text tells us it is obvious. The word to the riddle is also easy. It is “Your” and on the wall we have “Why Oh… You are…” or “Y O U R”.

Some Abyss observations: There are arrows pointing up at the top of the far wall directing us into 45. The other walls do not have arrows and I note look a bit like the possible “end of road” indicators in 20, meaning perhaps we are on the right road. Also the “jars” are 4 to the left and 5 to the right giving us another “45”. Also the one nearest 6 has arrows directing us away from there. White Raven notes a theme of Light being good in Maze and so we should walk into that light here. I also note that 45 is the only door marked with a pot and we could see it as a pot of gold. Also, sun man in 19 gives wrong door and sun-man in 4 does too. We should not trust the little sun men near door 33. The text says “this is an easy choice” = so 45. The door might have some sort of crown over it, which also seems positive.

Back to amphorae: The text says “pronounced” and the word just before amphorae is “sand”. The pronunciation is “Am fuh ree”. If you put these sounds together with the sounds in “sand” you can get “symphony”. Right now they are empty but you should fill them with sand – that is sprinkle in the sounds from sand. S N fuh N ee. This was partly clued by the blind man in the previous room, 29, because blindness here would not be a disadvantage. Also, we note that one of the exits leads to room 33, and there we can find “Van Beethoven” (More about this in the walkthrough to room 33), and then “NINE” in room 3. Beethoven’s 9th symphony is described in academic materials as “symphony as the world”, and a depiction of the world as a whole is the goal of that symphony. “World” is of course the answer to the main riddle of the Maze. Also, if you want to do it purely by letters and not sounds, you have the letters for symphony, in “empty amphorae” and “sand”. “empty of course” may be a clue to fill it up with “coarse sand”.

The stuff about the MAZE being a confusion machine ties in with the identity of the guide in room 16.

The guide mutters to himself that “your choices are more limited than you know”. This is a connection to room 43. There is an urn there connecting to here, and it has “your” on it, connecting to here. We are in the trap there and the text there talks about having only two choices, connecting to “limited choices” here. We are supposed to read there that “your” choices are limited. That might be taken as a trap message but then if we see our choices as limited there in the same way as here then it is a clue to take the door ahead of us there to 22. There is also a pot in 43 labeled “self” and we can associate it with the guide’s top hat with some work. So when the guide mutters to his “self” here we have another connection to room 43 and that pot.

There are 9 visible handles. We can group them into 4 on 3 containers that touch and 5 other ones. 4,5.

Amphorea” can also be an exit indicator if we need one “Am four e” and if e is taken as alphanumeric 5 then we have “Am 4,5”.

Abyss notes that arrows point away from all bad doors. Also the sign for 45 is shaped like one of the jars. Also you could follow the flow of dots on the jars to 45. Also there are 3 handles on the left grouped 3 and 3 and then 3 on the left. 6 and 33 indicators maybe? Or 3 / 4,5 / 6 ?

PRSR: 99%

Room 18

We have a base or F clef, then the two notes would be A and C if they are on the base scale. Then we have a treble or G clef, and then if the next notes are on the treble scale then we have a C/E cord. E, G, C, and E would be the notes. The “A” and the “C” are above door 13. They are the first and third letters of the alphabet and we have a directionality clue.

The G clef probably goes to room 44 where the time is much later. Gc. Then the “Base” F clef would go “Backwards”.

Some other places we might look: The chairs have a number of 3s. Three back slats, three bottom supports. We can only see 3 legs of one. These could be false indicators, or if you pair them with a hat of a pin they can be true indicators. The hat also sits next to 3 pieces of wood. The chair under 13 in particular, however, has back posts that line up with 13 which makes its 3 backslats and 1 seat more significant. (We could also make a 1 and 3 from backslats and posts). Also vewatkin notes in looks like a keyboard. He also notes there is a dark curtain barely visible in door 13, so either way you would duck behind a curtain to leave.

The chair backs also slant like the staffs above the doors. One chair is lit from out perspective, lines up with 13 and slants like 13. This ties this chair to this door and indicates the correct exit.

There seem to be two half room puzzles here, both related to the Raven poem. The Raven poem can be found by first following 4 clues by the thoughtful one, leading us to a circle of rooms starting in 33 and ending in 35. Then rooms 16 and 7 give us a very good idea what to look for, so finding evidence of the Raven poem recited over consecutive rooms is just confirmation. This is one of the rooms it passes through. If you know timekeeping then it seems reasonably obvious to follow consecutive “notes” A-G, that is the times in the various rooms on the path are EA, EB…EG. But then maybe you can’t be sure, so confirmation would be nice, otherwise you might take a wrong turn leaving room 3 and come straight here, by-passing room 9. So, let’s say you are just inclined to follow the shortest path clues. Then there are two places you would take a wrong turn in following the poem. You need to go from 3 to 9, and from 25, to 35. The thoughtful one tells us about the latter part, but not the former. What are the times in rooms 9 and 35, the ones we have to take special care to get to? They are EC and EG. Look at the pairs of notes on the staff above room 3. They are EC and EG. And we could read “if you’ve come from 3, on way to 35/EG you “lost a step” in 9/EC” (see below for “lost a step” part).

The “pin” is right below the cinched curtain. We should think “tie” or “bind” but “tie” is what we want. Nearby we have “dancing” shadows, and notes representing lengths of musical “time”. We have “lost” twice in the text, and that they hurried away. Once we have time and dance we can think step, and then “lost step”. Put that together with the guide’s top hat (anagram of “to path”) and we have “lost step to path” and the hat point to the door to 9.

Reinforcing the time idea is the fact that adjacent rooms use time related clues (either true or false) for this room. Room 13 has a false clue 18:00. But in 44 the time really is 18:00. And in room 9, 3am is a clue and that is the time in this room.

OK – now the other half of the room. “Top” hat + “chop”ed wood = top. The dragon + the fireplace = “fire”, and this chair gives us “sit”. “sit fire top”. What is the most obvious thing fire top, other than the dragon we used? “Eyes”. OK eyes. Where does that get us? Well we need the Raven poem, and the stanzas that go through this room. We have: “But the raven, sitting lonely on the placid bust, spoke only, That one word, as if his soul in that one word he did outpour”. Raven poured his soul out via his eyes, it seems, and we have yet another clue to look into the eye of Raven to escape the Trap in room 6.

Other features of this room that go with the poem – “Till the dirges of his hope that melancholy burden bore”, “Dirges” fits the music and feel of this room. “A cushioned seat, in front of bird and bust and door”. Well we have a set in front of 13. And then we have one in front of the fire, and if we take the huge face as a bust and the dragon above it as both “bird and beast”, we have a good match. “Whose fiery eyes now burn into my bosom’s core” – this is self explanatory.

Here is the whole section of the poem:

…For we cannot help agreeing that no living human being.

Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'

But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'

Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'

But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;

The presence of music and dance here should make us ask if we should invoke the medieval philosophy that seeing=direct experience and “hearing”=faith found elsewhere in Maze. Musical notes give us the right door here. Something that dances to music/faith we know from room 10 is a soul, and here the shadows dance. I think this helps us make the connection between soul and shadow for what we find in 35.

Vince and I noted “warmer” in the text and that 13 is closer to the fire and therefore “warmer”, most “Yang-like”, etc… and Kon-tiki has the related note that the two columns around 13 are brighter.

“Hurrying” relates back to rooms 27 and 9 if you came from that way, and provided more of a hint that you should come here from 9 for some purposes.

The dragon has three visible legs near his tail and one very separated  1,3 and the tail points to the sign for 13 at its very tip. The tail is on the left and is close to making a figure 8 which could represent “path” and that the correct door is on the left.

“Are you sure it’s the hat that is lost?” – This could mean that one hat in Maze is lost, but not this one. The one in 42 gives the wrong door, but this seems like it might give the right door.

The decoration to the left of the bass clef could be one stick with 3 balls on it. (and maybe the darkness next to it connects to the darkness down passage 13 – thanks Vince for noticing blackness and connection).

There is a very dark piece of wood the hat rests on, and with the 3 near-by, that can be a 1,3 and the hat points in the general direction of 13.

Kon-tiki notes that the first sentence bit and sentence together are 13 words. Also the last sentence is 13 words. And there are 13 words in quotes. I note that From “Are” to “enough” is 13 words as well. The only bit that is not part of a set of 13 is “No one would answer me”. Since the doors here are “3” and “13” “no one” can mean door 3, and “would answer me” can mean it helps with the identity of the guide which it does a bit, via the musical notes over it indicating we should not skip room 9 (see above). The dragon not quite making a figure 8 for a “path” might also indicate a missing step.

F A C E is a mnemonic device for remembering the notes between the lines on the G-clef, which is a bit of misdirection, since we need to more importantly read the notes on the bass clef.

Interestingly the right part of the fireplace grill would be expected to cast a shadow and it does not. The shadow lines of the chairs all point to the left side of the fire. Perhaps the fire is only on the left and that is an indicator for the left or warmer door. The shadow of the grill then falls way in the left bottom corner of the curtain leading back to room 9. OR – the light comes from the left eye. Note that the seat of the lit chair casts a shadow on the FLOOR. The fiery-eye in relation to the left fire place grill is the same as the relation between the number 13 and the bowling pin, indicating the correct door.

The hat = “O” and with “pin” = “OPEN” for the open curtain? (Hidden Mystery)

Could the notes “A/C” be the opposite of the heat in this room? (Vince)

The chord is a C-major in first inversion, C=alphanumeric 3. Maybe this indicates that 3 is a backwards step here?

The chair could have an XIII in it (SP).

Any significance to the pin being by 13 here and by 31 in room 8?

MAZE Haiku: Demon fire place. Shadows of empty chairs dance. What is the music?

Credits: I’m told someone beat me to the A/C notes by a decade, and I probably saw a reference to that, but I don’t remember doing so. The rest is mine as far as I know, except as noted.

PRSR 92%

Room 19

This might be called the “Icarus” room. The large statue in the background holds a staff with a sun on it, and wears a Greek pilos (hat). This is, I believe, the tomb of Icarus. Greek mythology says it was built by Hercules. The narrator moves some flowers aside for one of the guests. He says he had to tell her the truth about who they were for. These are flowers at Icarus’s tomb. That he has to tell the truth is related to the 8th commandment in room 23. In room 22 in the TRAP we are directed here to look for clues for escape. These should direct us to room 6 and looking into Raven’s eye there. The key clue here is “she looked me in the eye” of course.

There are a number of linkages between here and room 19. We have an easel in both places. Here we have mention of the sun in the prologue and glaring at him in room #1 and the symbol for “Sun” can be found on the floor (the circle with the dot in the middle). And here in 19 the warm afternoon sun in mentioned and the large statue carries a “sun”. It might also suggest the astronomical symbol of “sun” also found on the floor in room 1. It is also interesting to note that in the tarot deck the sun card is number 19. In both places the guests are described as children. This I think is a clue to the guide. In the beginning it says they did not see who he was because they were inpatient. 26 has the word children, but I think it has a separate purpose there. The other rooms in which it occurs are here and in 7 and 16. These are all guide related rooms. I think “children” is a clue to pause and look for the guide in these rooms, and too find the pull-toy in 7 and associate it with the guide.  

The music we might think is coming from 36. It is the only outdoor room which is not part of this group of outdoor rooms. But there is no “singing” mentioned there. Maybe it is bird song, maybe from the bird in 21, or maybe the guide saying “Nevermore”? “They” could not make out the words. But maybe since the guide is a bird, he could. And this would be a hint that the guide is a bird, and that that is important. But I think for the trail of bread crumbs that is the “Riddle of the Guide” we are supposed to head to room 36 and then later to room 21. We got to 19 from room 1 via the list of connections above, and then head to 36. With careful text parsing there and with help from here, we can find that the guide is singing there. There we can see it better is we parse the text. “I…was affected by the sound.” (and “affected” can mean “influenced”) One of the visitors noticed me, listening (to him). “Beautiful music, don’t you think?” (subtle hint that his singing is not). He responds stiffly. Here we note the key word "part". It seems key to looking at parts of words. In 43 it is part of particular and there are we do is move a plural making "s". In 16 we can find "egret" buried in the sentence. And in 32 we can find an anagram of Raven, "n a ver". There are only two other instances of "part" in the text - 19 and 36. All these places are very guide related (36 slightly less so). In 36 the best bird I find is in homophone form. "Turning a corner" right after the "part" give us "turn/tern". Here we have “In another part of the grounds someone was singing”. “so me o new” seems to be the key area to focus on – it is it the text twice and it seems productive for word formation. But there is “one” there or there is “new” so how should we parse? A little later we get help in “something new” because here we can’t find the word “one” in someONE. “so me” is the part want – musical notes. They are the third and 5th note on the scale and a clue to room 35 and Raven. The “so me one” singing is Raven.  This gives us more help with 35 being a bird, since all the other “part”s turned up birds, and also helps us strengthen the connection from here to 36 that we should follow for the “riddle of the guide”. My older guess for the repeat “someone” in the text was - “Someone” is in the text twice and therefore is very probably a clue. Maybe it is as simple as “some one” where 3 = some and one = 1. “Some one” = “3 1”.

The artist could be a representation of Manson himself. Since some solutions here involve contrasting the Artist with the “Sun-man” behind him. Manson told me he only really put his name in Maze once, but that might have meant his full name including the “Christopher” part, which is found in room 3. He also could have meant he does not appear in a puzzle critical way, or something like that, outside of room 3. In any case, once we identify the contrast between the two, we can note that the artist looks us in the eye and thus does not lie. The statue with his back turned can lie. There are 11 points on the sun he carries (Thanks abyssians). The Artist has 3 feet on the easel and there is one back support. One leg is lit, and the other three parts are dark. Whichever way you group them this is another 3,1. The artist has one paint brush. Also his pallet seems to make a 3 – another 3,1. Note that the big guys staff points down to the little guys brush. But then the little guy’s brush points down at the legs of the easel.

The brush of the little guy points at one of the bushes. It is possible that the hats relate to the bushes and that 3 are darker and one lighter, and this might be a clue. Now if you follow the shadows to try to figure out which bushes are more or less lit you don’t see a 3,1 grouping. But just LOOK at them, that first on is lighter. What is going on? We need to think about shading the way an artist would think about shading. We need to color part of an object lightest when light hitting it from a source would reflect to our eye, and that first bush is the only one in that position. The sun strikes the far right corner of the pot, and the bush and reflects to us. That is not true of bush 2 or 3, and bush 4 is too far away for the angle to be right for sun to reflect to us. “Shade and light” in the text reinforce this in addition to the artist here.

 

In fact this whole corner of the maze seems to be in part a lesson on shadow and light. In 21 we need to find the balanced path between shadow and light, and take the dappled sign. The white snake indicates the fast router, and the black the slow, and ignoring the Tao completely is disaster. In 44 we find the fountain of youth and rebirth, and in 31 death and pestilence. Here 11 is brightly lit and indicated by sun-man. 31 is partly shaded. 3 dark bushes and one light indicate it. 3 dark easel parts and one bring one indicate it as well. The balanced path indicated by the artist is correct, not the fully sun-lit one. There is more to this lesson in room 3, but I’m not sure if it does more for us than that.  

 

WR notes that 4 pillar shadows fall, and the artist is in one and this could be a 3,1. The pillars and the shadows also make nice fake 11s. vewatkin notes Sun-man could look like the 3-legged man of the riddle of the sphinx. Could the hat count as a 1? He also notes that 3 columns are visually together with no gap, and one shows a gap. 3,1 = 31.

 

What is he painting? “Get out of the way!” he yells (perhaps). He is painting us, out here, through the 4th wall. Combine this with our recent lesson in 23 that “pictures do not lie” and the reinforcement here by the guide who could not lie here, we have to conclude that a painting of the real world would mark a gateway into the real world. Just like we can "LIVE!" as trap room 11 instructs. The gateway it marks is the “looking into the eye” part of “looking into the eye of Raven”. Another exit indicator might be to think of the artist as representing ‘life” and the tomb as representing “death” and the artist is closer to us, and so is the correct door.

“Someone” is in the text twice and therefore is very probably a clue. Maybe it is as simple as “some one” where 3 = some and one = 1. “Some one” = “3 1”.

The artist from base to top is exactly 1/3 the statue from base to top indicating a 3/1 ratio or “31”.

“Get out of the way” could come from a ball player who hits the ball into 23. These rooms (23/17) do have the same time zone. (Thanks Abyssians). In 23 we learn that “pictures/pitch errors do not lie. That ball came from here in 19, and if the warning to get out of the way reflects another “pitch error” then we have another reason to trust the artist – pictures/art does not lie.

The man’s hat points at the statue’s heel. An Achilles heel? Is sun-man’s Achilles heel a lack of balance? Icarus is certainly famous for an over-abundance of sun.

 

Vewatkin found an obscure symbol for the sun with one ray that looks like a circle with a cone, which looks like the hats here. So possibly this is a clue to focus on the sun’s rays and rays of light in general.

 

Credits: I think I noticed most important stuff here on my own, except the 11 points on the sun. Other have independently too. Also see specific credits above.

PRSR: 97%

Room 20

This is the last room on the correct path, so the correct exit, 1, is obvious.

We are supposed to get the letter “S” for “SHOULDERS” here, and there is an “S” on the newspaper, so that is easy too. The other “S” is “EXTRA” so we don’t need it for “SHOULDERS”. (The above are old facts).

But there still seems to be some more stuff going on here. We have an awful lot of “T”s. “Turtle” or “Tortoise”, “Telephone”, “Table”, “Two” “Towers” (and note this tower being stuck by lightning is the tower from the “Tarot” deck), possibly “Thunder”, a “Turk” in a “Turban”, maybe a “Throw rug”, a “truncated” arrow? T is the 20th letter and we are already in room 20. (Also old facts). We have an “extra S”. An extra 19? 20-19=1 and the correct exit. Additionally, it forms a set with 2 wrong door indicators. The tops of the 2 towers point to wrong doors, so you could take the “Ts” to mean “follow the tower” and these are false clues because they are too simple, plus they seem associated with disaster. The true clue completing the set involves noting the “T”s but then subtracting the extra “S”. Highlighting the need for simple arithmetic may be the “+” signs in the wood paneling. And the equal sign in the door we cannot use. Also room 20 is mentioned twice in the text. This is the only room mentioned twice like that. Rooms 15, 13, and 30 mention the room number once and at least two of these (not sure about 13) use simple arithmetic to point to the correct exit (I found this set of exit clues in 2014). 

The signs are squares and “1” is a square. “1 * 1 = 1”. And in room 39 we have an example of the exit being a square, and that may be true here as well.

The telephone stops ringing when we enter. Or does it? The text does not say what stopped ringing. If we are on the correct path, we should assume it was the telephone ringing, but if we are on the wrong path, starting at one then maybe it is the bell from room 26 which we can no longer hear. OR, maybe this was the ringing we hear in 1, but the fact that it stopped indicates a wrong choice. The best explanation is as follows – bells in Maze represent faith. This is best illustrated in room 8, but reinforced in 43, 11, 26 and here. In Medieval philosophy “Seeing” was what you knew from your own experience, whereas “hearing” was what you got from others and took on “faith”. When we get to this room on the correct path we have arrived at the end of the journey, the end of the race, we have the wisdom of the tortoise, revelation as comes to us as indicated by the towers, we know understand for ourselves as this sephira of the Tree of Life this room is based on indicates (See below and also introduction). We can see for ourselves the exit and the correct path, and thus we no longer need faith and that is why the phone STOPS ringing when we get here.

Notice that here “house” is not capitalized since it refers to a house in general. “House” is the “Maze” or the “World”.

Abyssians discovered that this Tortoise pairs with the Hare in room 15, to indicate “slow and steady wins the race”. The text says stuff about “too many animals” and there are only two pictured animals on the correct path through the Maze. They also both grin. Vewakin notes a find that he regards as questionable, that in Aesop’s fables this story in normally numbered 226, and “to 26” is where you should have gone if you came here from 1. But on top of that it is a “FABLE” and that also marks door 26 where you should have gone. They also noted the ring of Omegas around the carpet, a fact highlighted by the text. Omega is that last letter of the Greek alphabet, and signals journeys end. It is also the 24th letter, and this is the 24th and final time zone of the Maze. It is “GH” on the Maze clock and 11 pm Sunday (or Saturday, Sabbath in any case) night outside. I’ve also speculated that the inside of the Omega may represent “end of the road”.

Another thought of theirs is that the “backwards looks” can mean looking back on a long journey, or a hint that if you have come from room 1 you should turn back.

Another thought of mine is that a room indicator may just be the arrow shaft looks a lot like a “1” and there is just the faintest hint on a hook at the top like a one would have.

There are quite a few repeated letters here. “oo, pp, tt, oo, ll, oo, oo, tt, mm, oo”. In other places there are used to indicate repeated characters, and in 38 they are used to indicate repeated twos. Here if all the second letters are “extra” just like the “S” then we have a whole bunch on one indicators, we could speculate.

Finally, here is my room level solution: BB from the Abyss got me started by noting that the shaft could be a “bolt” and that we have a lightning “bolt”. SO together we have “bolt”. I then continued that we can take the turbin, and the back cover on the chair, and the covering on the sign and put them together to get “cloth”. This is reinforced by the “bolt” which could be a “bolt of cloth”. The tower and the chair both have a “checked pattern”. Together we have a “checked pattern cloth”. “Checked” is a more general term than “checkered” so a specific example of a “checked pattern cloth” is a “checkered flag”, and we have yet another “end of the race” indicator. For reinforcement “SS” is a Chevy logo used since 1961 meaning “Super Sport”, and they have been used for pace cars at major races. And the Tortoise is also called a “turtle” in the text and this might bring to mind “turtle wax” a product associated with race cars.

And in this context, the tile floor in 41can mean “back to the starting line” and note the time in 41 and in 1 is the same, FA on the Maze clock (credit vewatkin). He also adds that the Tower is the 16th major Arcana and may indicate the end of the 16 step path.

The “extra S” may be a signal that some letters to the word “Shoulders” are given more than once. They are given either once in a very obvious way, or twice in a hidden way, it seems. 

This room is a sephira on the Tree of Life. Many of these rooms are marked by living things as this one is. This sephira is called “Binah” or “understanding” particularly understanding gained through experience. The Tower represents “revelation” and fits well with this theme. And of course, since this is the last room of the path it can be assumed we have learned from experience here. “The wise old tortoise” helps with this idea as well. As doing the telephone that stops ringing.

Credits: as noted in text.

Odd ends: Ravens last Maze point

PRSR: 98%   

Room 21

The pull toy birds which have a “Hoopoe” like crest are very Poe and Raven connected of course (see rooms 7 and 39), but so are the real birds it turns out.  It turns out we don’t care what type of bird that is. We just want to put its crest together with the crescent wrench to get “crest”. The topiary is “shorn” of course. “Shorn crest”. This relates to the raven poem.  “Though thy crest be shorn and shaven, ghastly, grim and ancient Raven”.

The text says “We know what the name is” and the guide gets huffy. From the poem – “Tell me what they lordly name is on the night’s Plutonian shore. Quoth the Raven “Nevermore”. This of course repeats many times in the poem and it seems the guests are getting a little tired of hearing the names of birds, or maybe one specifically (the guide). We have here one of the few direct to 24 doors in Maze, and all but the one here and in 4, are fairly obviously bad choices. The one in 4 should have been in 42 I believe, where it would make more sense, but I think that is was a late change (See my related section in introduction). Here there is also a warning. The guide is saying “Nevermore” as in “soul from out that shadow…shall be lifted never more”. And note that they say “Just tell us where to go” and he gets pissed off. He might be telling them to “Go to hell” effectively.

An old solution was that this was a caduceus, although they are normally wrapped around a staff carried by Mercury and other heralds. I had this as one direction clue. C+A = 3+1 = 4 and D = 4. And we have 44, and it is next to door 44. (This is a strained solution, however). The snakes could be a “double Helix”, and the 44 looks like 2 upside down H’s. Or, maybe simpler, the white snake looks towards the good door. And they look a bit yin-yang like. “Way” is in the text twice and they look like a figure 8 which represents the “path”, and the bushes look like 8s as well. The Tao is also the way or the path. And maybe the dark snake looks towards 31. 31 can also get us to 44 but via a slower more melancholy route. “Melancholy” is in the beginning of the text in 31. Together however, the snakes represent the Tao, the Way, the Path. This obviously makes them a stronger clue to get back to the path. But, also they are “the path” for a multi-room “puzzle of the “Leaning Signs”. The dark snake looks at 31 and there we find pestilence and death. The white snake looks at 44 and we might expect to find “rebirth” as a polar opposite and it fact we do. We find the fountain of life there as well and a clock that rewinds. 

Vewatkin ties together a number of dark/light things and points out we should follow the balanced path. The sign to 24 is lit, and the one to 31 is shaded. 44 is dappled. The bird in front of 31 is light, and the bushes in front of 24 are dark. The balanced ones are in from of 44. Both entrance ways, 31 and 44 seems balanced, but 24 seems dark. The crescent wrench seems balanced as well.  He also note symmetry is found in bushes and in wrench, also a bit Tao-like. He also note “Those who speak do not know, those who know do not speak” is Taoist and may relate to text about not speaking.

Of the planters we can fully see, a light (or half-lit) one is by 44, a dark one by 24.

A simple solution is count the round bush balls on each side of the tree. 4,4 = 44. And then we can also divide them into light and dark parts corresponding to the snakes (thanks abyss).

But I think the most complete solution is to think of it as a double helix and combine it with the 8 from the topiary. Then split the double helix in half and you get 2 identical copies. Two “4”s. We can add to this BB’s suggestion that we can split the wrench in half and the two halves will look a lot like the 4s. Also we can note that most wrenches would have two different sized ends, but these are the same. Also the wrench ends have 4 angles. Also I add that we can split “bird” in half and turn one half around, just like the wrench “id” and “rd” are the results. The two d’s give us a 44. We also have a suggestion of “unconscious pathway” which can relate to the Tao as well as the general philosophy of things hidden in Maze – it is the hidden relationships between things that are important, not the things themselves. Example: http://taoism.about.com/od/Taoist_Retreat_Experiences/a/Deep-Mind.htm

A minor indicator here might be as follows: easy clues are false is a general rule. If we think of the snakes as bad and easy, then maybe they could be a quick way to the right door. Other minor points: 4 stairs and maybe the bird is staring at us for another set? (thanks vewatkin). There are 8 posts in the railing above the door and we could divide them 4,4.

The distant spiral trees may be a clue to take the stairs we see, and the tie in with the upward spiral of the snakes. “Why don’t you just tell us which way to go?” might fit there too (vewatkin credit). WR adds they are 3-tiered and there are 3 stairs in the correct door.

SP notes that the wrench with its two ends can be a clue to avoid the middle. 

This is a step on one of the trails of bread crumbs involved in the “Riddle of the Guide”. The path was 45,29,24,23,44,1,19,here. Then 32, 35, 6. The last clue was the “singing” heard in 19. From here we note the guide goes silent, and move to another bird room where that happens, 32.

The railing looks like what we see outside of the window in 12 and this fits with the map.

Credits: mine I think, except as noted above.

PRSR: 97%

Room 22

Vswakin and I spotted the duo-directional indicators. “3” in the Trident. “8” sided sign. “4” posters. You can get either 43 or 34 from that. 43 has an indicator pointing here, and it looks like 34 does too. So it seems that the TRAP does have room exit indicators which lead away from room 24 and lead here. There is an escape detailed in room 6, we just need to find what it is here that points us there. H+ROPE=HOPE let’s do that first and put it aside for a bit. It is a clue that there is hope of escape from the TRAP. As an interesting side not “ropes” turn out to be a universally positive symbol in Maze. The gals of podcast zero suggested they mean “binding groups together” and they have been used that way historically.

In this room we first have a set of clues that I believe are supposed to lead us to the word “ocean” or “sea”. We have “scales” (like on a fish), “rope” (like on a sailing ship), and “H + OO” which is H2O which is water. The sign with the letters in a rough square is “Woman’s Jewelry” written left to right and bottom to top. I had thought this to be a “pearl”. Notice the center of the round couch also looks like a pearl. And we have a Trident. But no, it is “her ring” = “herring”. The doorways could be shaped like men. And that light could be a heart light. Heart light came out in 1982, and MAZE in 1985, it was based on the red heart light in the movie ET. So, we have a red herring? The “stop” sign under the seat could also be red. The devil’s pitch fork if you read it that way instead of a Trident is red too. Supporting the stop sign is an idea I’m skeptical of. The first sign is a Scale, the next “Tail”, the next a ring forming an “O”, and then Precipitation, spelling STOP. For the precipitation it is noted that water is vertical and so is the shading. You can also get stop next door in 43 if you take the two things there as “pots”. But what is a red Herring? The room? Are we supposed to ignore it? Or is the red herring itself a red herring? And should we then ignore it? Neither is my final conclusion, but I’ll come back to that below. For now let’s take it to mean a fish and another indicator of “sea”.

Is it “ocean” or “sea”? In the next room 38 there is a poster with “See”. It is part of a puzzle there, where it spells “No escape” but also I think it helps us choose “sea” here. Also in the adjoining room 42 we have a puzzle that leads us to “Fair well” (appropriate for a trap room). “Well” is in the text here in this room (near a set of ellipsis, to help bring it to our attention). That helps with sorting out well/hell/bell in room 43. In room 43 we have that choices are neither “good” nor “bad” giving us “fair”. But then we are told that 22 is not a “bad” place. It is also “fair”. Also note that the narrator talks of being “extremely critical” and not sparring guest the rigor of his judgment. That is – he is “fair”. That “carnival” poster could also be a “fair” and we have “Pharisee” right there. Add Fair + sea = Pharisee. Notice now that the sign that says “Woman’s Jewelry” also plainly says “Jew”. We have a place to rest in the middle of the room on an 8-sided sign. And we have “restive” way. A rest-stop. And again the text says “one could spend quite a bit of time here”. Let’s put these together. Pharisee and a “rest-stop” suggest the day of rest, the Sabbath, Sunday (or Saturday, seventh day, in any case).

I observe a large excess of words with “one”: “overdone”, ”som(n)e, “everyone”, ”lonely”, ”one”, “one”, “som(n)e” “on(e). 6 pure “ones” (and 3 near-misses). This kind of repetition is generally meaningful in MAZE. We also have lots of things that seem theater related “gaudy”, “everyone is a critic”, maybe “exotic”. Let’s just take these to be about “art” in general. Finally the trident in this 8 sided room marks a MAZE time F/G A. It is exactly between so let’s take it to mean both. This would be the entrance way, room 1, room 23, and room 19. A number of things tie these rooms together. They are the ends of the figure 8, they both feature the Sun a lot. There is an easel in both. Now let’s look back at some of our collected clues:

SUNday, One, art, and RED HERRING. Note the one red Herring in the book is over the front gate. So we have a number of clues re-enforcing those rooms. And I’ve realized that there are day indicators in the MAZE as well. In Room 13 it is not Friday, but late Saturday (actually very early Sunday morning), and at the entrance, it is Sunday morning. And we have the initial message “HOPE”. The message then is that HOPE can be found in those rooms. And since we know the solution in 6, we know it can indeed be found. Room 19 has the guide say “looking me in the eye”. And that points us to 6 where we can look into Raven’s eye and escape back to our world. Room 36 also points to the G/AF combination but encourages us to look more closely at 23/19 than the other rooms. That explains all the theatrical references here and it helps connect us to the comedy/tragedy masked players in 36. “Reminded” occurs two places in Maze – 22 and 16. He is reminded of a theatrical backdrop and reminded of his neighbors. In 16 “his neighbors” can be in the room next door, in 36 (although on some level it also means Native Americans and also means Ursa on another level). Theater here also connects to Comedy and Tragedy in 36. Also, if the guide is the guide to the true path (The Tao) then Yin and Yang as neighbors makes pretty good sense too.

I had an interesting side track at one point and here it is: The text has the word “judgment” near ellipsis. And we have scales to represent judgment as well. So…King Herod? Take ROPE + H and flip the P to make a D and we have an anagram of “Herod”. And not that “Herring” sounds like “Herod”. Why “King Herod”? Maybe because he bears the weight of the responsibility for the death of Jesus, and thus by metaphorical extension bears the weight of the world on his shoulders. “We all have our roles to play” fits with Herod's role in the death of Jesus as well.  But wait…there’s more. The “solution” to a trap room should involve not a room exit but some sort of message appropriate to a trap like “trap”, “no escape” or “fair well”. We don’t have that yet. The narrator says one could spend quite a bit of time here, which is appropriate for a trap room. But also could start us thinking about the timekeeping system in the maze (see introduction section). It involves an 8 sided clock with letters A-H. The Trident here would indicate one hand on A and the other on F/G. Um…FAG? And didn’t that Trident point “both ways”? (Note this is wrong Mr. Manson told me he would not have done that, but that is what I first saw, its real meaning is above). But note that King Herod in Jesus Christ Superstar (70s) was played as flamboyantly gay. Now note the “theatrical”, and “everyone is a critic” and “We all have our roles to play” and “some people like the exotic” (watch You-tube of King Herod’s song from the TV movie), and “gaudy”. And those doorways look like men, and the light hangs where is heart would be. So “light hearted” and King Herod’s song certainly is.Well...OK then, so King Herod from Jesus Christ Super star, so what? What else do we have? We have a place to rest in the middle of the room on an 8-sided sign. And we have “restive” way. A rest-stop. And again the text says “one could spend quite a bit of time here”. Then back in 2012 I observed a large excess of words with both o and e here. Now I’ll refine that a bit to concentrate on words with “one”: “overdone”, ”som(n)e, “everyone”, ”lonely”, ”one”, “one”, “som(n)e” “on(e). 6 pure “ones” (and 3 near-misses). That heart-light could also be light-hearted. Using them both we might have a light-hearted song. King Herod’s song was indeed light-hearted. King Herod appears once in JCSS. He has one and only one song. Let’s grab that “+” sign again. King Herod’s song (From JCSS) + 1 = the next song. Title = “Could we start again please?”  Last 4 lines = ”Before it gets too frightening, we ought to call a halt (or a rest stop). So could we start again, please? Could we start again, please? Could we start again?” And that, I submit, is an appropriate “TRAP” room message. But…it’s wrong. Mr. Manson wrote and told me himself. He was a bit cryptic of course, but he did want to be clear that he didn’t put “FAG” in the puzzle. The whole JCSS bit is out the window. Here is the relevant part.

“I am reluctant to get into all the things I stocked the Maze with, as I may have mentioned to you before, as it seems to diminish the mystery and, after all, that is the real content of the thing.
But I will say that I never invited Herod to join us, though I suppose if you have run into him, he may have come on his own, and Broadway musicals are not my thing, so….[ ]…you’ll have to do without the Superstar as well.
I should mention that I have never intended any references to gay people either, and in my defense I would not use that particular term in any case.”

This room is a sephira on the Tree of Life. This one is called “Hod”, in means “splendor” and this gaudy room is appropriate. It is also associated with Thanksgiving and we can connect that with the Sabbath day found in this room.

Vince thinks that the Trident and stop sign better indicate 38 that 43, but also notes these objects are red and could be a red herring.

Credit: Pretty much mine I think. Although I may have inherited some of the “ocean” clues:

Personal room satisfaction rating = 97%.

Room 23

This is a fun room. Whatever is that coat rack with the mitts all about?

But first, the word to the clue in this room is part of the word “SHOULDERS”. The text gives us the word “shoulder” and in the very next room we can find an “S” taped to the wall, and then as confirmation on the path back to the entrance we can find all the letters to spell “SHOULDERS”. This of course would be exceedingly difficult to even suspect much less find, unless we already knew “Atlas” was part of the clue, which is why understanding room 26 would be critical to unraveling the clue. There is also, potentially, a hidden letter of “SHOULDERS” here. “Nothing” can give us an “O”. Letters are given either once in an obvious fashion or twice in a hidden fashion, I believe.

The text tells us that “Now they realized it could rain where they were going”.  And one guest says, “We should have brought that bumbershoot with us from the coat room”, and then “You remember, the one with the animal.” As I mentioned in the prologue, this is a clue that, in the correct sequence, room 42 comes before room 23. And also helps us find “rain umbrella” and the false red herring identity of the guide.

Putting this room all together: From the tablets we are supposed to get the 8th commandment. Our first hint is that 8 is on the wall and it is the only exit found on the tablet. But then we have: the text asks us to remember the animal in 42 a BEAR. Vswatkin notes a “false bear”. And we did “witness” it “remember”. The eighth commandment is do not bare false witness against your neighbor.

How about the ball and the broken glass? The text tells us we have a “wind coming up”. “Wind up” can lead to a “pitch” plus we have the mitts to help us think of baseball. We have a “PITCH ERROR”. Now note that it broke the 8th pane of glass. (vewatkin credit). Vewatkin also notes the glass is divided 2 to the left and 8 to the right of the ball. With all the ‘right’ indicators here, including in the text and in the picture, the 8 to the right indicate the correct exit. Not 28.

Now put this together with the tablets and we have the idea that PITCH ERRORs (pictures) do not lie.

What about the pictures? They do have their fairly obvious meanings. The sun marks the correct path, and the moon marks what would be the reverse path. (and the moon and stars together count to 8 – thanks vewatkin). The storm and the wind mark what would be incorrect alternatives that lead only to trap rooms, or the “back rooms” of the maze. The storm actually does lead to a picture of a storm in room 28 (that is a false door straight ahead, not a real one, see room 28). The text says it is windy outside, and above the door is wind. It also is in the shape of a foot and the guide says “watch your step here”. He says he is always willing to help with the unimportant things. This is a clue that the sign over the door is honest.

OK, so overall the pictures do not lie, but how can we be sure the “sun” means the right path? If we take “Nothing the time is” and look for anagrams we can get “Eight” and “In Mitt N Shoe”. Groan. But wait that’s not all! We can also get “Eight” and “Shine on Mitt”. Now notice the pattern of light in this room, there is a strong shadow cast by the coatrack from the natural light though the door to 19, but the area around 8 seems lit by some other means - maybe the sun above it? “Shine on Mitt”? Double groan. Coat rack = French portmanteau, which means to combine two morphemes to make one. The anagram “In mitt n glove” points to the coat rack. We also have the anagram of “8″ and the anagram “shine on mitt”. We should make a portmanteau of those and get “shine on 8″.

So the signs are being honest and shining on 8, the correct exit.

As a small bonus, if we take “Everything right” from the scroll and look for anagrams we can get, “Eight r (are) very thing” or “r (our) very thing eight”. Not great grammar, but a strong indicator of the correct exit.

Then there is the following which Abyssian vewatkin gets essentially full credit for:

If you map out the “upper level” of the Maze they can make a figure 8 shape, or on its side an infinity symbol. In room 1 we have “sinister” which can refer to “left” and the sun comes from the left. Then here in room 23 we are half way around the figure 8 that maps the correct path through the Maze. The word “Right” can be found in the room here both in the text and in the picture and in adjoining room 19 the sun comes from the right. Half way through the figure 8 at room 4 (half of 8) the path crosses itself, and we have a picture of the sun. If we assume we are looking South in all 3 areas, then we have morning sun in room 1, a representation of the noon-day sun in room 4, and what is called “late afternoon” sun in room 19.

A weaker clue is “Eight” is such a big deal here. Yes it is the room exit, so this is part of the reason but also as we leave it says that this is the room they’d long been searching for. Yes, it is a false clue to 45, but also it means room 8 since this is the correct exit. So 8 is sort of “special”.

This is pretty cool all by itself. It shows us that Manson pictured the room layout as an infinity symbol here and that Room 1 is the East end. But it helps us with other rooms as well. Namely it clues us in to time keeping in the Maze and the clock in room 30. By that clock the time here would be “GA” or G:00, we could think. Notice the scroll again. “The time is” “Everything Right” (and the rightmost letter is “G”) and “Nothing” which give us the “:00”. So this helps confirm our timekeeping.

Which trees do they see outside? There are a number of adjoining rooms out there which have trees. There are two in 21. There is one dead one in 31. There is a tree and a pillar in 44 where the text talks about “trees”, and I think this is the room we are supposed to think of. The wind(blowing)/wind(twist) pair happens there too. Although, this happens at a different time in the MAZE. It is time “GA” here and “GC” there, so maybe the test just means generic trees. This is actually the next step along a trail of bread crumbs in the Riddle of the Guide. The previous step was room 24 which sends us here wit “Be careful where you step”.

“PITCH ERROR” is a pretty close anagram of “Christopher”. We have an extra “R” and are only missing “S” and H”. The narrator tells us “watch your Step Here”, and that he is always willing to be helpful with the unimportant things. This is a ghost Christopher, but a good one.

PRSR 96%

Credits: much here goes to vewatkin. I did the anagrams and the final tie in.

Room 24

What can we say about this room? Dead end? End of the game? Either you get here directly or you end up in the Trap, from which you can’t obviously escape and you wander until you get here. 

White Raven calls this the Abyss, which is appropriate, although if the term is from “Kabbalah” then “the Abyss” normally refers to the whole bottom part of the Tree of Life, but either way, Abyss seems a good name for it.

“Stygian” suggest the river Styx and the Greek underworld, which is all part of the whole false Minotaur/Greek mythology theme. The physics defying eyes could connect to that and the idea that the ancients believed that eyes emitted light rather than receiving it (Matthew 6:22 for example).

In room 42 I think the bear directs Sinners to the left, and one of those is a door to the Trap, so we could also think of the place as Hell-like. And another room in the Trap, 43, seems to have a Hell reference I don’t yet understand.

We also might think of the endless void of space. The text has “unlimited” and that his laughter could not even fill the space. There is I think a theme in Maze where sound represents faith, and here I think we might say the voices are souls. “Voice” is a repeated word in the text. So the fact that “even his laughter” could not fill the space emphasizes the separation from the guide in this place (and God since the Guide is the creator of this universe). So we have another Hell-like connection. Kon-tiki also notes the word “bellowing” we can find “bell” and “wing” in that word. Both could be significant but it is hard to make much out of them.

The fact that the voice is “cold” can connect to the theme of warm being good and cold bad, and the Tao – clearly way too much Yin here in those terms, no balance at all.

In any case – this is a bad place, you don’t want to end here.

This is the only room that ends in a period. Very appropriate punctuation use.

“Doors” is repeated in the text, and if you are counting doors to get the total of 190 indicated in room 5, you have to count the 4 that lead here. 11 is your last chance in the trap. 14 is where you measure very small. 21 is where I think the guide is saying “Nevermore” and they tell him to shut up and in effect he says fine you can go to hell. And then there is 4 which is just random seeming, and I think would be better if swapped with the door to 22 in room 42 with the bear directing sinners.

Room 1 says the “uncertainty of is visitors is one of his pleasures” and here we have “uncertain visitors” which connects to room one and makes the guide seem a bit sadistic.

The “riddle of the guide” uses this room. The key word from this room is “darkness” which is given in the first sentence. Room 29 directs us here on the riddle path via “Here blindness is no disadvantage”. And the text here has “watch your step” which should make us think of room 23 for the next step on the path.

I think Manson put Kabbalah’s Tree of Life in Maze, although it does not do much. If you map the 10 nodes or sephira onto Maze there are 10 hits in 10 to rooms that are thematically appropriate. Room 11 is the bottom most point in the tree. It is connected with “earth” which would again make this the “underworld”. Also it is connected with body parts that touch the ground like the feet and the anus, and with the removal of spiritual waste which suggests a metaphor for us if we end up in room 24.

White Ravens sample of this page has 24 eyes to represent room 24 I imagine. The book has 40 eyes, I think to suggest the correct path back in room 11. Also the text has the word “dozens” which is non-random looking. There are 3 dozen eyes pictured, with a remainder of 4. 3,4 = room 34. The eyes are clues for eyes! We could not possible know that without a clue to room 34!

To me the eyes are part of a (here ironic) theme that tell us we need to look Raven in the eye to escape the Trap. And maybe “blinked” in the text helps us know that we can see the eyes. Maybe they are windows to the soul?

Final point – how does the guide get away? Does he fly? And if this is the void of space should we think of “devil bird” like in room 26? Google tells me that song is about the dangers of fate.

PRSR 99%

Room 25

This is a very simple room. In fact that might be considered its “trick”, the answer seems way too easy. The faces accurately reflect the relative strength of the choices. 35 is not THAT horrible, but it does take us to the far back end of the maze. 13 is merely one step backwards, and 34 is the correct door to get out. Hello Gregor notes that the crown indicates the best of all possible doors, but you can’t go there. Wanderer notes that the whole room darkens in that direction not just the pictures.

We also have an exposed (bare) crown, and the man has a bare crown. The unmarked door leads to room 42 which is the room with the bear. I think this is partly to clue us that “bear” is the important word to get in that room.

Since Raven has a “bear crown” that is why he feels at home here. But also, I think this specific bare crown pulls double duty and refers to Saint Christopher. If we have followed the “Saints” sign from 42 we should expect a saint here. Christopher means “Christ barer” and we can interpret the Crown to represent Christ as King of Kings. Saint Christopher is supposed to have carried Jesus across a river and found him incredibly heavy, and that is because he born the weight of the worlds problems on his shoulders, so there is a connection to the riddle of the MAZE (and to the author’s first name) here.   

One of his parents might have been low born but the other was close to a king – Raven while he was still in the form of a God did have a Father in the stories, so that is the “close to a King” one, or at least that is one possibility. But then Raven is his own father with a human woman so he is born in human form. The mother is the low-born one we would then assume, and Raven himself could be close to a King. Raven is the creator of our world and of humans in the myths. Or should we take “parent” more loosely here as say inspiration or source? Saint Christopher was close to a King, as noted. And Manson could be calling himself lowborn. Or some odd combination there-of – Raven’s mother is lowborn and St. Christopher is close to a King, etc… But for the best answer in my opinion: In room 3 the stick man represents the soul of Manson and in 16 it represents the Maze guide Raven, so they are the same entity. We can then thin of metaphorical “parents” here to be “Christopher” and “Raven” from native American lore. Raven was low-born perhaps, of a mortal woman, and (Saint) Christopher was close to a king.

This is of course also a good false clue to the Minotaur whose father was a bull and whose mother was wife of a king.

In room 13 we have a director’s chair and megaphone and then we have that light. There is a suggestion of “Lights, camera, action”. Then in this room the film roles. Then if we go to room 35 we get to the “stop” signal of “cut”. The “cut” helps us with a puzzle in room 35. This also helps to start guide us around the loop to 35 which is important for a multi room reading of Poe’s Raven.

The apparent lack of clues gets us thinking about the little that is here, including the falling down signs. “Maybe in another room” hints we should go look for them. In 14 we have 10. In 25 we have 34,13,35 and in 34 we have room 25. That’s 10,34,13,35,25. I know or can guess the word value for these rooms. Measure, I, time, stop, film. “I measure film stop time”. Well that’s a shutter. So those falling down pieces of paper represent a shutter we could infer. Now look to room 9 there is a falling painting. A line from the poem that goes with this room “Open here I flung the shutter”.

Now let’s look at the stanzas of the poem that take place here. This excerpt probably includes a bit of what we should place in the previous room and the next but it show the pattern of his mood in these stanzas, which we should compare to the faces.

This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore -
Clasp a rare and radiant maiden, whom the angels name Lenore?'
Quoth the raven, `Nevermore.'

`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!

Yep, total calm to psycho.

In room 44 “to know” is used to represent “two, nine” (know=no=nein=nine). Here we have: “Which door ought we take”, they wanted to know. I rather brusquely indicated the three doors. “Any of these are fine for my purposes.” This can be read as a little aside “They wanted 29” since that is where the secret door to 17 is hidden.

There are 3 visible sign holders, then 4, then 4, then 3,4,4,3 = 34,34. Also 7 frames which we can break into 3+4. Hello Gregor counted slats here – they total 25, the room number. But there are 7 on the crown door.

The “high room” here helps us with knowing room 35 is also a high room.

Odd ends: What are his purposes?

Credits: Mine I think, except as noted. I’m quite sure sane to insane man observation preceded me, etc…

PRSR:  98%

Room 26

In this room we are supposed to find the word “Atlas” which is key to the solution to the maze, and thus this is a key room. SALT + A spelled backwards is “Atlas” (who held the world on his shoulders in Greek mythology). One of the moons of Saturn (discovered in 1980) is named Atlas, and Saturn and a large moon can both be found in this room. The moon is an “A-ring” shepherd, and in this room we have both an “A” and a bell (which rings). Also, the devils are emerging from the stage in 3 stages = 3 stage Atlas rocket. (And one of them is in flight). Then in the text we have “tidy” and “light in”. Together you have “Titan” and Atlas was a Titan.  The narrator also asks, “Which way now?” and to answer that, one might consult an atlas. Kon-tiki adds there is an Atlas creter on our moon.

White Raven adds: The artificial devil is meant to represent the Voyager 1 probe that discovered the moon Atlas. In 1980, just when
Manson was beginning to conceive of MAZE, the Voyager 1 probe flew past Titan and Atlas. The probe was
launched with a three stage Titan-Centaur rocket. The "loud noise" and open mouths of the three devils are
probably a reference to the roar of liftoff. The stage is reminiscent of a launch platform… Voyager 1, famously, has sound recordings for aliens to enjoy, this is why the artificial devil's mouth is open, it is singing. The two individuals in the audience are shushed because there is no sound in space. Why is all this
significant? One Voyager's recordings is the Australian Aborigine song... "Devil Bird," another link to the Voyager
mission and moon of Atlas. Raven has later added that “devil bird” was nickname for Voyager 1. I would add that they hold their ears because of the roar, and that the “shh” indicates volume both ways – silence in space and/or noise of rocket.

The correct exit door from this room actually seems to be fairly clearly indicated. It can’t be #1, since you just came from there (it is the only way into this room) and it is not either of the doors pointed to by the devils.  Plus another false clue is the men holding up “1” finger. And really, you can only see the one finger on the one man. The remaining door is the correct one, number 30. Technically this might really count only as finding all the wrong doors and avoiding them rather than finding a solution that indicates the correct door.

So if we have to have an indicator of “30” other than the “odd one in” principle Vswatkin adds: The mouth of the bell itself forms a 0. This is…also… explanation for why the men are shushing. When it’s quiet, the bell provides a clue; when you’re ringing it, it doesn’t. The rightmost devil’s pitchfork provides a clue to “3,”… The pitchfork isn’t a three just because it has three points; looking closely, you’ll see the pitchfork is slightly asymmetrical, with the top of the 3 slightly smaller than the bottom. The curve of the bottom half is a little different from the top. It’s small, but it gives the impression that this is a numeral 3, not just a pitchfork that by its nature has the shape of a three. 3 and 0 gives us 30. Then adding slightly to this the text says they “gathered around” = “gathered a round”, then he realized they were close to something and picked up the bell. White Raven and I note that the ropes in the corner may be better for the “3”. SP notes the bell points at 30 as well. Bells in Maze as it turns out are symbolic of faith. That meaning is more significant in other places, but here as in 43 it is paired with devils. And in both places it helps indicate the correct door.

Raven actually took my ideas in room 26 quite bit farther, but now I can build on his work. The seats are arraigned like the 9 digits of a calculator “pad”. We also have a “launch pad” here. And they help confirm each other. In the text we have intentions twice. Once separated “inten-tions”. “In ten (9, 8, 7…)”. We have “tone” = “t (minus) 1”. We have “suppose” and “distracted” = subtracted. The calculator pad reads “36” but that would be a false clue, but we also have minus and subtract. But subtract what?? There is really only one bit of unused picture or text I can find. Those hats = Fez. First letter value = 6. 36-6=30=right door.  What could justify taking off the “6” for Fez? Well, it is polite to remove your hats in a theater after all. And the fact that they are a little tall for Fez may hint at this “Please remove your hat” gag.

Kon-tiki adds another Fez connection – Fez is in Morocco near the Atlas mountains.  

Finally we have some odds and ends: The devils in this room are partly a misleading clue. Salt and “A” can almost, but not quite unscramble to “Satan”. When one of the guests says, “What the devil is this supposed to be?” the narrator says he realized they were close to something and hurries them out. The audience members giving us the “Shh!” might in part be a link back to room #1 which talks about the eloquence of the silences in the maze. Also the bell is mentioned in room #1, and the narrator asks, “Was this what you heard outside?” So, possibly, this is just partly confirmation we have come the right way. The text says that there are 4 entrances and exits. This might be a clue for us to start thinking about the fact that in the maze every door is represented in the room it leads to, even if it is un-labeled.  In fact, there is only 1 way into this room, and that is from the entrance hall. But if we exit to, say, room 30, the door back to here is still represented as an unlabeled door on the far left. “Dramatic” = clue to stage. “Plan it” = planet. The trail of salt could be like a rocket tail. Also, we may have a Masonic reference here, and these symbols are found elsewhere in Maze. The men were Fezzes, and may have a secret.

The gals of podcast zero noticed the rope and thought of a symbol of binding groups together, and historically it has been used as that sort of symbol. The thread in 14 they encountered is clearly bad, however, so we need to be careful, but a quick Maze inventory suggests ropes are indeed a positive sign. It gives the correct door here. It forms “Hope” in 22. Correct door in 37. Correct in 44. The gals and Kon-tiki note that the Trap-doors sort of block the incorrect doors.

Here is a stretchy one from Kon-tiki: Suppose the devils are Demons. An anagram of demon is Monde which is “world” in French.

PRSR: 99%

Room 27

We might think the figure here is Diogenes in quest of an honest man with his lantern. Another thought might be based on the quote below the statue, “FATA VIAM INVENIENT?” or “The fates will find a way?” The quote is from Virgil, and Virgil was Dante’s guide through the inferno. But, I think the identity of the statue is actually the hermit from the tarot deck who traditionally carries a lantern. This card is traditionally labeled with a 9, as we see under the statue, and the quote about “fates” can also point to the tarot deck. Additionally we have various suits here, which evolved from the suits used in the tarot deck. We have a spade and a heart above the doors, and we also have a “spade” on the ground and possibly a “club” in the baseball bat. It could also be used on a baseball diamond (thanks vewatkin), and there are diamond shaped studs in one door. A black cat is included with the image of the Hermit on some decks. The Hermit card is said to mean, “Meditation, contemplation, and the quest for truth”.

On the meta-MAZE-map this is the pupil of Raven’s eye, and we find glowing eyes in the room – more hints that looking Raven in the eye is a key to escape from the Trap. Daedalus – designer of the Greek maze is said to have made statues in the maze so realistic that they came to life. So maybe the statue has done the excavation? The statue/thief in 32 certainly seems mobile. But better – we should make a connection with the mice in 9. “See how they run?” The text here suggests we might be able to catch up with them. And if they did the digging then are they really moles then? Does it matter? The bit about filling in the hole might connect to next door too where the hole is interpreted as a grave. This would be hiding the body.

The hand of the statue seems to indicate the spade on the ground, but would that be a clue to follow the digging, or the spade over door 13? It seems this room maybe is not going to give a door choice. “Let the fates decide”. And actually we can not go too wrong. We either exit to 13 or we wander around until we get to 13. There are no Trap doors in this area.

Numerology is often practiced in conjunction with tarot cards, and the numerological value of page 27 is 2+7 = 9 which could indicate exit 9. Note that if you follow the finger of the statue or of the shadow, they both indicate the number 27 in the corner. On the other hand, the statue’s entrancing look looks at the entrance to 13. At this point the indicators look fairly balanced, so maybe we should let the fates decide? In fact this room does point both ways in a way. We can recast the clues to make a better case for 13, that is certainly intended, and that is the shortest path, but then we can also find a room-level solution that leads us through the tunnel to some good finds if we connect these two room. A similar thing happens in room 36 where 16 and 7 are both indicated in a similar fashion, one being the shortest path and the other being very interesting, and also, there, there are indications the 2 rooms depend on each other.

OK – so the “room puzzle”. We clearly have cards in this room. The spade above 13 seems to be reading, so we have a card reading. The Hermit is clearly labeled with is Tarot card number of 9, so we have tarot cards. The lantern together with the statue’s eyes give us “light”. The cat and the bat give us “at”. “Entrance” is in the text twice and the Hermit could be said to be in a trance. Subtract those to get “ent” =”end”, and finally we have the obvious tunnel. So “light at the end of the tunnel”. Add the Hermit and the bit about the Fates finding a way and we should specifically be looking for “tarot card light at the end of the tunnel will find a way”. And in fact what we will find in room 9 is a picture that is tarot card number 17, the star. And 17 will indeed find “a way”, a way to room 45 in the center of the Maze. Also note the guide says that the entrance he had so carefully hidden had been uncovered. He does not mean the hole in the ground. He means the door to 17.  So mostly what we have here is a complex version of “Go 17” found on the floor in room 1. Turn the book to the side and the to bits of wood in front can be a 7, and there is an equal sign nearby, much like in room 1. And the spade could be a 1 perhaps since it and the 7 point at each other. But for those very competent in advanced Maze speak there may be just the tiniest of nuggets more. We have a little bit of text unused. “Work” is repeated. We Also have “catch them” and “catch up with them”, which repeat “catch” and “them”. Subtract those two phases and you have “up with”. Combine that with “work” and you have “work with ‘up’”, which is the tiniest help for locating room 29 perhaps, and for knowing what to do there. This is a rather impractical clue, however, since you probably knew about 17 long before you could figure out this.

OK, now let’s make the case for 13. Above the door is a spade and it seems to have little hands holding a book labeled 13. Door 13 represents a “card reading”. The fact that the statue represents a tarot card is a clue to “get a card reading” and in the text below we have “The fates will find a way?” as another clue that we need our fortune told. The fact that the statue points to the spade on the ground is another hint at a card reading. The statue seems to be a Hermit in a trace also indicating a mystic fortune telling. His “entrancing look” looks at the entrance to 13. Also we could read, given the guests fascination, that he is entrancing them with the wrong entrance. Door 13 is also surrounded by symbols indicating (bad) luck and thus fortune, an unlucky black cat, and unlucky 13. The bat could be a flying bat to fit the theme or just a “club” to fit the card suits. The statue also indicates the lantern – perhaps the fortune telling will illuminate our path. 

We can find 13s in the wood. On the left 3 spikes and one cross bit. On the right 3 bits crossing one. In front we have what can be “XIII” Roman numeral 13. (Thanks vewatkin) The wood out in front that looks like a 7 can also look like an L for and alphanumeric 12, and then add the 1 from the spade for 13. The spade points at the capstone in the door above. There is one capstone on this side and what looks like 3 on the other side. 1,3=13. The bat can look like a 1 and the Cat is alphanumeric 3.

Finally the text says while the guests are looking under the statue. “They ignored what the figure was trying to tell them”. The “figure” here is the number 9. In German “Nein” mean “no”. Now note that the 9 is right under a bit of foreign language, and that we really have no good explanation for what this must be written in Latin once we know this is the Tarot card and not some classical figure. Also note that it answers its own question: “Let the Fates decide?” “No”. And then maybe “XIII”.

Vince, I believe, notes that FATA VIAM INVENIENT has two Vs and 3 Is and if these are roman numerals they sum to13.

Kon-tiki suggests that the various card stuff plus the pyramids near the 13 could suggest pyramid solitaire, reinforced by the solitary hermit. You have to add numbers to get 13 in this game, so this would suggest the correct exit. We also could note that there are 13 card denominations in a standard deck.

Kon-tiki suggests that the reason we can only go one way through the tunnel is that in room 9 in may not be complete yet, since room 27 is a later time. It is also clear from the piles of dirt that room 9 is where the digging takes place. The guide calls it in “entrance in room 27, not and exit. And then the broken spade vs. the whole spade may be part of this too. This explains why the tunnel is one-way and shows that 13 is the only “exit” from 27.

Credits mine except as noted I think.

PRSR – 98%

Room 28

This room needs to be considered in conjunction with room 12, so please see the commentary for that room. Is there anything we can say that is unique to this room? Perhaps the storm clouds, which are darker here than in 12 might warn us that the exit to 43 is a trap. We are just outside of room 23 with its “truth in pictures”. It has a picture of storm for this room and that is what we find. The door seems to be a fake, with something pasted there to make it look like outside. And in fact it does not go outside. Could it be a “relief”? It does not look like one, but it would fit nicely with the text.

What is the correct exit? It arguably could be either 45 or 23. The exit to 32 is fairly bad, but we will get “go back” instructions there. And really, that is what we should do here too, go back to wherever we came from, 45 or 23. However, Manson seems to have clued 45 more strongly.

WR has 21+1+1 as a solution, but any way you add these up that could give you a 23 could also give 32. For example: get a 10 from the plate and the 1 bone, and then 10+21+1=32.  

We also can use the “Odd one out” principle here. “4 silver points, plus the man with 3 fingers gives “43”. But then “2 utensils plus 3 fingers” gives either 32 or 23. Thanks to daughter Emily with help on that one (age 11). Or dark door forward warns you off 43, and 32 and 23 are warned against as above.

Here are some 45 indicators:

D is alphanumeric 4. “U” could imply “Up” from that giving a 5. 4 and 5 give 45. In fact in this room both one finger pointers point at the D and the U.

Also the 2 finger guy points at the 2 digits of 45.

Finally, in the other room the solution was to count fingers and bones to get 39. Here we can note 4 total fingers in one room and 5 in the other to get 45.

Room 29

The word to the riddle clue in this room is “Upon” and it is just written on the man’s sign.

This room has one central focus, and it is directed towards finding the hidden door, number 17. (Turn the book over and “17” is formed by what looked like two candles in the candelabra. But notice that the candles were not lit, and did not actually connect to the candelabra).  There are numerous hints here to flip the book, staring with “flipping” a coin in the previous room (4). There is the hourglass, which you turn over. There is a key, which you turn to use, and there are salt and pepper shakers which you turn over to use. There is a spatula which is used to flip things. A leaf “turns” in the wind (or as vewakins notes “you turn over a new leaf”), and a bottle is turned over in order to use its contents.  Then man’s sign which says “Up and On” could be read as “UP and DN” or short for “Up and Down”. The letters are square which makes them ambiguous. Also “Directions” is on the sign and in the text and “Up” and “Down” are directions. The man “turns” to face us is also a clue. There is also the man standing on his head, right after the text tells us he went back to what he was doing it says ”Look, look”, to clue us he is looking at something. Both men wear pointed shoes and the shadow of the one looks like a jester’s motley because of this, and jesters “turn things around”. The blind man wears a Masonic fez. Mason symbols appear elsewhere in Maze, and room 39 is a prime example. In 26 we also see Fezzes and maybe a secret. So here we can make a connection to a secret. The candelabra is solidly bolted to the floor so upside down it could be a chandelier. Abyssians note the fact that one man can see and the other can’t connects to one being upside down and one not being upside down. WR also notes the staves being right side up and up side down could be another clue to flip the book.

And if you have not guessed, 17 is the correct exit. 1 lit candle and 7 unlit ones on the table confirm this. Some fake indicators might be the 8 in the cord on the hourglass. 5 candles stand up, plus 3 others might be 35. 2 men and 2 condiment dispensers might point to 2. 4 staves with a circle on the end of one could be a 40.

The ball on the end of the held staff is actually the door knob to 17, however (from Abyss folks). There are 4 staves total in the room and they mostly lean against the door back to 4. This fact might help you see the 4 staves as a set and notice that the ball on top of the 4th was really the door knob. Tarot card references are found elsewhere in the maze and here I think the reference is to the “4 of staves (or wands, or scepters)”. The meaning of this card is given by various sources to be “something that causes excitement”, or “enjoying the fruits of success”, and if you have found this door to 17 to have found the path to the center, so those feelings would be warranted.

This page

http://www.learntarot.com/w4.htm

includes the following meanings for the card, which seem to fit:

celebrating

rejoicing over a happy event
recognizing a success
congratulating on a job well-done
reflecting on accomplishments
enjoying some well-deserved rewards

seeking freedom

opening to new possibilities

feeling excited

bubbling over with delight
feeling thrilled
look forward expectantly
getting caught up in the moment
feeling jubilant
relishing the moment
being surprised

 

The sheet hanging in the position of what we might guess is a door is a bit of a clue too. Unlabeled doors in the maze always represent entrances from some other room. After much frustration with not being able to find the path from 1 to 45, I tried finding it in reverse. The only room connected to 45 with an unlabeled door that I could find was room 17. But the only way into 17 I could find was from room 45. This led me to search for hidden doors. The walled up arch in 39 caught my eye, but that has to do with the Poe story depicted in that room. This sheet also caught my eye as perhaps hiding a door, and led me to look more closely, knowing that I was looking for a door to 17, and eventually of course, I found it. One other possibility I had considered was that since I could get to one of the two “look alike” rooms, number 12, and I could not get to the other, room 28, which connected to 45, that somehow I could justify getting from 12 directly to 45. This turned out not to be the case.

I like the fact that the word “shrugged” appears somewhere in the maze. It connects to both “shoulders”, obviously, and to “Atlas” via the book titled “Atlas Shrugged” by Ayn Rand, although that is probably accidental. The text here says it was not an easy thing to do and then also in 23 “not an easy thing to do” is connected to “shoulder”. The secret door and the guy in the Masonic hat are here and the secret word of the Masons was revealed one letter at a time. And I think the connection between these two rooms is to help us see the word “shoulders” as a secret word revealed one letter at a time.

The symbols over the doors, besides all being clues to flip the book, are not entirely unrelated to the rooms they lead to it seems. The leaf leads to the foundation of the Tree of Life from Kabbalah that was built into the MAZE map. The spatula leads to room 4 where “flip” is mentioned. Is room 2 a “key” room? Only to re-interpreting the 2nd large wall in 40, and to its expressed values – but not to any central puzzle. It might help with the key on the wall in room 38 in a way, however. The key has 2 loops and 2 teeth. In room 35 “matching” is something we are suppose to come up with and these two shakers do match better than the “pair” in 42 where we could have a shaker and a grinder. Why is there a bottle over 8? Lightning in a bottle? Shaped like a bowling pin? Both?  

The hourglass is connected to a loop that looks like a figure 8 or infinity symbol and this may be a clue to help us start thinking about time keeping along the path. (vswakins)

White Raven notes the candle is not the light source for the room if you follow the shadows.

He tells us “here blindness is no disadvantage”. This is part of a trail of bread crumbs in the riddle of the guide. It points us on to room 24. “Look, look” is the link backwards in the trail to room 45. It also connects to the Medieval philosophy of “seeing” = direct experience and “hearing” = faith. Direct experience of the objects gives you very little may be the implication, since it is the implied relationships between objects where the meaning is found. This makes me wonder if Manson is conflating “inference” and “faith”. I can’t be certain. But in general, regardless of Maze, one could make the case that good inference is equivalent to justified faith. My only pause is that “faith” normally involves relying on people not just data. His comment can also relate to “symphony” which we find in room 17 if we go there and from which we get “Beethoven’s ninth symphony” using three rooms.  

There are 17 visible dark stripes on the chairs, although you may need help to see the back-most one. There are 6 strips per chair and 3 visible chairs, but one strip is hidden by the table. Kon-tiki also notes 17 letters on the blind man’s sign. He also notes the since the numbers are in relief in this room that could be a reason blindness is not a disadvantage.

Personal Room satisfaction index: 99%

Credits: I inherited much stuff. I found the guide riddle here after WR did. Tarot card reference is mine. Stuff about Masons here is mine. Counting candles, and up and down too. 2nd meaning of signs over doors. I found the hidden door on my own long ago.

Room 30

I think of this as the Adam and Eve room. The sign on the floor unscrambles to “One five” (or “No five” if you leave out the “E”). This is a misleading and ambiguous clue. Does it mean 15, which is 1,5 or does it mean “5” which is just “one” 5? Let’s just take this as a double red herring for both 5 and 15. Both of these doors have arrows pointing to them as well, more obviously door 5, but then 15 is open and inviting.  The ornate door to 34 could also be a small red herring. And then by process of elimination you have the correct door - 42. Vewatkin adds that the tree partly covers 34 and we could think of it as indicating 34, then we have an “Eve” pointer and an “Adam” pointer, and 42 is the only door not associated with the story. And then, jokingly we can add that “42” is strongly associated with stories by Douglas Adams, an atheist.

Next, consider how the clock might work. Let’s assume the big hand sweeps completely around once for every time the small hand moves forward one letter. This would be just like a standard numbered clock. Let’s start the hands in the “midnight” position at “AA” and then say that 1 unit of time passes each time the big hand reaches a new letter. There are 8 letters on the clock. The small hand, which has not fallen off indicates that the big hand has completed 5 complete circles. So, if the big hand were back on the clock we could be anywhere from the 40th unit of time to the 47th. The only door that falls in this range is 42. Thus the big hand was probably on the “C” before it fell off. And the “time” was “FC”. “How many times” in the text could be a clue to this idea. Also if you map out the “upper level” of the Maze the rooms can make a figure 8 shape, or on its side an infinity symbol. (See rooms 1, and 23, and my map) But now think about the clock here with 8 divisions of time per cycle. The big hand has fallen off, but if we suppose it started at “A” in room one, and clicked off one unit every time we changed rooms it would be on “C” when we get here, and then if we read off the units of time passed since ”AA” we would have 42 units, and as noted above that is the correct exit from the room. This system of time keeping is confirmed in many other rooms, (see intro). The credit for the initial observation of Maze time goes to vewatkin.

 “Multiplication solutions”: A previous commentator argues that the hand is in the “7” position on the clock and that the value of “F” is “6” and 7*6 = 42. My problem with this is that the hand is really not where the 7 would be because there are 8 letters on this clock, not 12. But, this is a possible indicator as well. Abyssians note that there are 7 Fs here in the text and the numeric value of “F” is 6. And 6*7 = 42. The text seems to go out of its way to get this total, and it also contains “times” which might be a clue to multiplication.  “One” 5 might also start you thinking in that direction. We might also assume the hand fell off the “G” and get “F”*”G”=6*7=42. Also if we add exits 42 and 34 together we get 76, and if we multiply the digits we get 42. Or if we add the digits of 34 we get 6 and then add the digits of 42 we get 7, and multiply those to get 42. There are also possibly 7s hidden in both hands of the clock. We can note that the clock “rests” on the tree. The Sabbath day is the 7th day. Also the tree has 6 visible branches. If we count the trunk or the “rest” behind it we get “7”. Also note the wheel of the clock points towards 42. If we sort of read up the clock we get “F=6 time rest=7 ==è 42. 6*7=42. (of times the hidden 7 in the small hand). This also is a clue that the day of the week is Sunday (or maybe Saturday – the Sabbath or seventh day, in any case) in Maze. 13 helps with this and it is important in 22. I take most of these as intentional room exit clues, but they are time keeping red herrings, since they might lead you to put the hand in the wrong place on the clock It belongs on “C” and the time here is “FC”, which is 42 units after “AA”. But you need a number of other rooms to confirm this. (See into). Other 7s we might find – seven letters in “If no Eve”, lines drawn up from the winder of the watch separate the apples into groups of 7 and 3. Also the door to 34 forms groups of 7 and 3. Kontiki notes the frame of the door makes an old digital calculator number 7.

Another clue comes from reading between the lines in the text – “time…through…leaving room…behind”. The clock points through the tree and the correct exit, and we exit behind the Tree.

There is also a word to the riddle clue here. The text says “But why ‘o’ and ‘u’?” and Y O U spells “you”, the word for the riddle clue.

If you take the “F” on the clock and the “O” and the “U” and add the numeric values for these letters you get 6+15+21=42. But there is a better way to go about this too, or a more complete way. “Adam” is pretty clearly indicated in this room. We have “Eve”, and we have the “Apple”. For more help the “A” of the clock rests on the “Artificial” “Apple” tree, and the hand that fell of looks like a “male” symbol. “Adam” for one thing = “Add’em” which is something you need to do to find the correct door. Now let’s note the starting letters of “Adam” and “Eve”. “A” and “E”.  Note they are top and bottom on that clock as well. Also note their numeric values are “1” and “5”, just like the “one” and “five” on the sign. Now add A+E+O+U=42. This is clearly more complete than just F+O+U=42. There is nice symmetry in that the sign by itself in a simple way gave you 2 false doors, but using the sign in a complex correct way gives you the true one. Also with the arrows, simply following them is false, but correct use of the one on “F” gets you the correct door.

Finally a simple room level puzzle: We have all the vowels in use, almost, A,E,O,U,Y, and we have used all the room and text except for the ornate door. What is the “donut hole” vowel? I. So we have “I door” using the last remaining thing here. And what room is 34? Yep, lol, the one with the needles, and eyes, and “I”s all over the place. It is indeed the “I door”. It is also another clue to get us to “look Raven in the eye” since the eye is a door for the soul in this myth. Then in a nice bit of symmetry if we flip the book over those two letters spell “no” and the return door to here is labeled “NO” There is also a “yes” right when the next mentions the “O” and “U” that spell “no” upside down. We could infer “Yes but no” there. “I” and “You” also form a complementary set here, as well.

The gals of podcast zero came up with a new one here as well – “Eve”,”Apples”,”Add’em” = 5 + 22 + 5 + 10 = 42.  

The “thoughtful one”’s speech here is important in identifying the path to take in locating the hidden Raven poem in the loop. Her 4 comments all mark the path. Here it means that we should not take door 34 while we are in the loop - that is we should go from 25 to 35 to finish the poem.

This room is a sephira on the tree of Life. This one is known as “Hekhmah” or Wisdom and it is associated with the Male force. “NO EVE” fits well, and does the male symbol lying on the floor. It is associated with uncovering the hidden meaning in things. And the word “meant” appears 3 times in the text, and the word “significance” once. Many of the rooms are marked by living things. This one, is marked by a (cut out) tree.

Maze Haiku:

Tick tock apple clock.

Would not go if I were YOU.

Time is broken, Eve?

PRSR: 98%

Credit: Some noted above. Correct reading of clock in mine, and the various uses of the 1 5 sign. The riddle part is old. The Adam and Eve solution and the room level solution are mine.  

Room 31

This room might reference Dante’s forest of suicides, but it seems it may in fact be a homicide (arbor-icide?) scene (see below).

The exit door can be found in a number of ways here. As mentioned on the Abyss site, the claw-like hand of the tree reaches for 44, and I might add a trail of two bones on the ground lead that direction as well. “Old boards” seems to connect to room 2 and all of its history stuff. Then the text here has “dead tree”, “white branches”, “grey clouds”, and black is the missing color of that set. Maybe, helped by the history push, we should think of the tree as “black death, and see it as “spreading” towards door 44, although I’m not sure that would really recommend it as a choice. Also, in this regard not that the hair of each of the faces seems to blow away from the tree, again suggesting spreading death from the tree - pestilence, perhaps.

Another bit from the abyss is that under magnification the eyes may look at door 44 (19’s is the clearest). That we should see the eyes as “watching” is clued directly in the text and also in the distinction between “strange” and “strangely”. The bits below their necks may be ruffled collars which would connect to a picture in room 7.

The other 2 doors, 19 and 21 sum to 40, and there are 4 yard tools here, and 40+4=44. Possibly related to this from the text we have that the walls were too high to see over, and that might clue us to the bits over the doorways. They could be inverted baskets, although I’m unclear on what to do with this.

We can note the false exit indicator of the broom pointing at 19 and the open door to 21, and by the “odd one in” principle we can choose 44. Also, since the text says they pushed open a door we might conclude that they did not take door 21.

“Dead” is in the text twice indicating we should make use of it, and very present in the picture. It is a 4 letter word and has two “D”s, in first and last position and the alphanumerical value of “D” is 4, so that could give us a 44.

There are an abnormally high number of consecutive 4 letter words in the text. “dead tree”, “with grey”, “look very”, “they said”, “they look”, “look very”, “they seem”, “wind made”, “push open”. And also “Bone tree”, which dominates the picture, is two 4 letter words. That gives us 10 examples in this short text. 4,4 (x10). There are also exactly 4 4 letter words repeated twice. (Thanks to Wanderer for the idea). “Dead, look, very, wind” are the four words.

Clustered with the 2 baskets and the broom we have 1 bone. We have 4 B-words, and B is alphanumeric 2. 2+2=4 and 2+2=4 and we have 4,4 = 44.

There are two sentences with a form of "to" twice. We have "Too high to" see, and "managed to" and "way to". 2+2, 2+2 = 4, 4 = 44.

Finally we have the “uber-solution”: The rake points up at the hand-like branch. Together these two objects give us “claw”. The “baskets” and “bone” can give us a “body”. Now look at the broom, it crosses the tree and is visible through that hole. The tree has been “pierced” it seems. It seems this tree has been a victim of violent attack by something with claws, maybe in fact “rending it with claws” and oh hey, that is familiar (see text in 42 – the bear’s skeletal foot there and “leave” in the text connect us to here. “Dead leaves began to gather at our feet” in the text here is a specific tie-in.) But what about those eyes? Well clearly they would have “witnessed” this crime. Ah…room 23, where we get all that business about witnessing a false bear and bearing false witness. Is there confirmation that we should be looking here? Yes. “Wind” is repeated in the text in 31 and again fits with room 23. OK so what about that room? We know the focus there was 8, the 8th commandment, etc. Now we note that there are 2 of a number of things, 2 violent tools, 2 baskets, two rends in the tree. All we need do now is rend that 8 in half and get two 4s, and we have our 44. This is not my favorite room puzzle, but clearly the intended one.

PRSR: 95%

Credit: Mine except as noted.

Odd ends: Baskets over doors. Raven’s remaining points.

Room 32

There is only one way into this room, and that is from the door to room 28. We have a big banner that says “Sea bags O.K.”. But if we read “Sea” as “C” then this sign is an anagram of “Go back”. That is indeed good advice, because two of the exits lead to trap rooms, and the exit to 16 takes us to the far back of the maze. Vewatkin notes that the text mentions “animal” and “part” and that the bird has its back to us. “Go back” can then mean the back of the bird as well.

There are also 8 letters in that sign and the sign under it has two digits that sum to 2, and also that there are 2 nails. 2,8 = 28. The fact that the sign below is a little crooked might associate the 2. “One” is in the text 4 times and this might get us to pay attention to the 11.

6 stairs leading down can be a false clue for 6. The one arm and the six can make a false clue for 16.  

Sometimes false doors are made to look attractive with false clues. The bird over the door we have to walk though may do sort of the opposite function by making the true door look unattractive to walk through. But then the guy over 6 may be a true warning against 6 if we think the arch makes the door inviting (vewatkin).

 The bird is “perched above the door” as in the poem the Raven “perched upon a bust of Pallas, just above my chamber door, perched and sat and nothing more”. Note that “Pallas” can also be found in the bird rooms in 44.

“Another one!” could also be a clue to the fact that the guide is a bird too. The text after that point is also a clue if it is parsed correctly. “People can be so arrogant” is an aside related to “Their attitude was really starting to annoy me”, and they are so arrogant that in the next clause they think he is talking about people. He is not. With the aside removed we have “I have come to think of all of the inhabitants of this House as members of my little kingdom. In a very real way, we are all of us animals, at least in part.” He is talking about himself and the other animals. He can come in humans form or bird form. (Also “animal” and “Kingdom” are good false leads to Minos and the Minotaur). But there is more here. "In a very real way we are all of us animals, at least in part", that is a rather non-random phrasing. Podcast 5 suggests "part" is "trap" but in 43 it also means to look at parts of words. Is there an animal lurking in that non-random text? "in a very" or smaller "n a ver" = "Raven".

Now for the statues. The room is supposed to be a cube and this is symmetric. Symmetry is also in the text. Podcast 5 and vewatkin note asymmetries including the room itself on the map. The crooked sign. The off center door in the door to 6 are notable ones. Then look at the structure at the top, one pillar seems set back and the other forward. The text says “it must have taken a great deal of strength to pull the heavy stones out of position”. Somebody moved the pillars and things. The text says the guests thought someone had stolen the statue, the guide hints there might be a different answer. We right away think that a statue ran away. But that’s not it either. He broke OUT of the trap room (cluing us slightly that escape from the TRAP is possible). He is hiding from us in plain sight. He moved the columns around so he could look like part of the structure. (Maybe the over head guy is his helper too). And those “sea bags” look a lot more like money bags he is trying to get away with now. To reinforce this idea we have “thief” in the text. Also note that Daedalus – designer of the Greek maze is said to have made statues in the maze so realistic that they came to life.

So what can we get from “thief”? Well Raven is a well know thief, of course.

Podcast 5 notes the bird’s tail touches 28, since this is a live animal it might be a “live” clue. Also that a statue of this sort is called an “Atlas” and there could be some connection, even if fake, to the story of Hercules and Atlas and the theft of the Golden Apples. The text mentions that it would take a lot of strength to move those bricks. Then since Hercules is found in 15 he speculates the thump there is related to the theft.

A possible link in the trail of breadcrumbs that is the “Riddle of the Guide” is between here and 35 via a clue involving “another one”. There a puzzle invites us to find a message involving “Not still another one”. But I think a better trail is formed in this room links to 36 via all the broken stones.

“I would not answer any more of their questions” is a link in the trail of breadcrumb that is the Riddle of the Guide. Room 21 also features a living bird and also indicated the guide went silent.

We also have another interesting trail leaving here. The word “one” is in the text 4 times. We can make two “11”s out of that. Also in “Roosting evidently. Their attitude was really beginning to irritate me” we have a lot of double letters. Oo,tt,ll,nn,rr. And then 5 more in the remainder of the text. We can spell “to 11” 3 times from these. This is odd, because it is too hard to find to be false clue, and it is not the right exit, and unlikely to be an accident. Rather it is a guide related path it seems. In 11 there are more double letters leading to 40. And in 40 and here the 11 signs are crooked. So we have the trail of the double letters and crooked 11 signs. And in room 40 there is more guide related information. But then the 6 there is also crooked bringing us to 38, and then there are double letters there to bring us to 22, where more guide related information can be found. 

Vswatkins notes that there might be 11 missing bricks clueing us the door goes to 11…in case the sign was not enough.

Credits: Mine I think, except as noted.

Personal room satisfaction index: 98%

Room 33

Let’s go for the big room-wide exit solution here. Let’s start with “dagger and crown”, Google that and you come up with the “7 seven" society. http://en.wikipedia.org/wiki/Seven_Society_%28College_of_William_%26_Mary%29

On the next door we have a “V” and a “picture”. If you grew up with tube TVs that is a “vertical”. What is vertical on that violin? The strings. OK, put these two doors together and we have a “7 string”. On a guitar this is an extra bass string, and the instrument is generally use as a bass rhythm piece.

The next door we have “bee +T(lightly hidden as a key) = beat”. The door gives us a “drum beat”.

Last door – “jug” plus “ring” is like those milk rings that cats like to play with. Combine that with the bugle and you have a jug instrument.

So we have a 3 piece  rhythm section. That is a pretty good indicator of door 3 right there, but we are not done. We have that wagon “hitch”. Hitch plus rhythm = a hitch in dance.

From http://practice-wcs.com/wp/the-fundamentals-of-hitches/

 “…a quick definition. The hitch is simply a delayed weight transfer on the first two beats of the pattern”.

Ah…so we “put our weight on 3”. And since we are in the center of the room, we walk out on that board to 3.

We also have a 3 room puzzle involving Beethoven here: We have a “Bee”, a “T” somewhat hidden as a key, a “V” and also below in a Violin, and then an “O” partly hidden by a picture of a wren. That would give us everything except the silent “H”, and “Horn” could give us the silent “H”. A violin is, of course, also associated with Beethoven, and a drum and bugle core might play “Ode to Joy” from Beethoven’s 9th symphony.  There is a picture of a wagon above the doors, and a wagon is sometimes synonymous with a “van”, which gives us “Van Beethoven”.

This room links to rooms around it - in room 17, connected by the unmarked ddoor, we can get the word “symphony”. And finally in room 3, we can get the word “Nine”. In total we have “Beethoven’s 9th Symphony”.

Beethoven’s 9th symphony has as its topic the whole world, ending with a utopian dream for the future. “Symphony as the world” has been used to describe this work. And, of course, “the World” is the overall answer to the maze.

The Abyssians came up with a list of door indicators. Triangles have 3 sides. The 3 plank looks most stable. You might be able to group the 9 overhead signs into 3 groups of 3 both they later questioned is this was reasonable. 3 wheels are visible on cart. The text talks of going back and if you back up that cart is goes to 3. 3 is the only number shadowed from the fire below. The violin has 3 strings and the flutes have 3 holes. They also note that all the doors have downward pointing images except for door 3 and there is a horn  there that seems to point up. They also note the pipes point down at the 3 strings on the violin. White Raven notes the test says “they could see all the signs only from the center” and this implies looking for mirror symmetry. The crown does not have it, but the dagger does. The bee does, and the V does as well. The only door that does not is 3 and by “odd one in” we should take that door.

Since this room involves Beethoven and music it seems we should involve the Medieval philosophical idea that “seeing”=direct experience and “hearing” =faith. “put your weight on 3” also seems to involve faith. But I’m not sure that gets us anything we don’t have here already. 

The Raven poem which is given over a loop of rooms also begins here. Note that the “thoughtful one” gives us all the clues we need to figure out what room loop to find something in. And the neighboring rooms 7 and 16 tell us what to look for. Finding it here is only confirmation. Those books are “volumes of forgotten lore” that we are over. One of the guests goes out to the middle over them. The dying embers wrought their ghost upon the “floor”, and look at the shadows the floor boards cast.  And the room number 33 upside down is EE as room 3 shows us. EE on the MAZE clock happens in room 13. The time there is a “fake noon” because this room 33 is at midnight, and by twisted maze logic an upside down 33 is then fake noon. The skeleton clock in 13 also helps show it to be midnight here. Its hands read as a clock in the “EA” position, and that is the time here. They indicate it is “witching hour” here. Also in room 3 (see that room) there are more clues relating to it being midnight here.

The drum above the door would make a tapping sound.

“With exaggerated caution” they go to the door in the text and notice the time it takes him to get to the door in the poem, and in the text. “With exaggerated caution…considering their predicament…they finally found the door they wanted…and eventually…found themselves in…”

Here is the first part of the poem, which aligns with this room.

Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels name Lenore -
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'

Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.

Personal room satisfaction rating – 97%.

Credits: Beethoven is mine, and the Raven poem, and the room level solution. The rest belongs to Abyssians.

Room 34

We have a lot of “I”s in this room. The ship has an “eye” and it is a “trireme” or more specifically the “Argo”. It is often depicted as having an eye on it and “Argo” was a multi-eyed Greek monster in mythology. Potatoes have “eyes”. “Compass”, “Jibe” and “Pine” all relate to “Needle”, which has an “eye”. We also have a picture of what is probably Cleopatra’s “needle”, and we have the word “Yes” and one way to say “Yes” is “Aye”. The quick-cane can be a hurry-cane = hurricane = thing with an eye. We also have “Magpies” in the text, followed by an “I”. “I” itself is used in the text – “’I’ thought it was pretty obvious”. Finally, we have an “I” in “quick”. Even the Maybe/yes signs spell “eyes” in the middle. (All the above is old I believe). A new observation of mine is that a needle looks like a 1 and has an eye that could look like a zero. Also the letter I looks like a 1 and “eyes” are round like zeros, and putting these together gives us a lot of indicators for door 10. “I” is also important in multi-room puzzles like the ones found in rooms 25 and 40. Here the word value of this room is “I”.

The correct exit is through the “Maybe” door. Why? The simple answer is that the “Yes” door would be too obvious, even more so with the person walking through. Very easy = false in Maze.

But what about that cane with “quick” tied to it? What I think we have is a cute little trick. The “quick” is another “I” word, The “cane” is actually a “J” and “J” is the 10th letter of the alphabet and one true indicator for door #10. This suggests the phrase “The ayes have it” (credit Hello Gregor for the phrase).

Less plausibly I is both the 9th letter and looks like a 1, and 9 + 1 = 10.

A couple of observations of mine - The Trireme may have 10 oars. And the couuuch cushion has 5 stripes, so both together have 10.

Abyssians note a total of 10 countable legs including a weird number, 7, on that chair. Then we can count one each for the man, the couch, and the table to get 10, at we have counted all of them that we can see touching the floor. They also note wallpaper arrows directing our eyes down and the text talking about sitting around on the floor relating to this.

The chair ties in with room 15. There is a chair in the same position in the room there. There we hear a door slam and here someone is walking through a door. We have the “Argo” here and “Jason” there. This is a reference to “at least three of us can sit down here” in the text there where in makes little sense, and here there are 3 comfy seats and people sit on the floor. This connection helps with room indicators on both ends. There the 7 legged chair with the 3 legged hare gives another 37. Here “Jason” helps confirm the Argo and can bring to mind the Argonauts. A=1 and naught=0 and we have another 10. The Argo was supposed to be enchanted with a magical prophetic talking prow. And here, if we follow the line of the keel of the ship it points through the “yes” sign and at 10. The nose bit does not really point at either number if you follow its 2D line. The text about “where they had been and where they were going” suggests the direction of the ship as well.

The man’s arm, just like the Argo points through “yes” and at “10”. If we follow the line of the cane he may have dropped, it points to “maybe”. We could possibly read “Maybe, yes, 10”, implying that he made a quick wrong choice. The couch with the potato on the chair and the text of “comfortable” and “at ease” gives “couch potato” and a couch potato would have a nice view of 10. And then the “quick” choice is the wrong one, so don’t follow the man who dropped the cane’s quick choice. This is like the Tortoise and Hare thing in rooms 20 and 15.

Another observation is that the 3 signs contain 10 total letters.

The ripped sign to 25 is part of a multi-room puzzle centered in room 25.

“Middle class” could be subtle hint at the “middle road” “maybe” door. “Where they had been”, if they made the correct move last time was room 25, so “Yes” they had been there, in which case “where they should go” is room 10, the “maybe” door.

Magpies are actually very smart birds and related to Ravens. Since the guide is Raven this is NOT a “dis”. Think of the “real roots” in room 5. Here, if they don’t have a “real” thought in their head, then they have “imaginary” ones, and imaginary numbers are represented by the letter “I”.

A solution I don’t like that much– Take 25 apart and then 2*5 = 10

 “NO” is 10 if you cross of part off it. The pillow could be a zero and a line near it a 10. Take the outer dark ring of the pillow, then look at the first full stripe to the left, not the one that hits the pillow. Use it for the length of the pillow up to where it gets lost in the reflection.

What about “quick-cane”? Well this could be “quickening” and that is supposedly when the soul enters the body. In connection with all the eyes here we might be reminded of Raven and the soul journeying through the eye of Raven.

The monument and the moon could be a 10. Or not. Maybe they just look enough like a 10 to make you stop looking, because I would have put a full moon for 10, I think. In fact, Monument and Moon together give us “M” and with the “I”s here we spell “I’m”. You can get “I’m leaving” with the man. And this is just enough to label it “my door”. Or – even more directly – “M” + “eyc” = “My” and we have “My door”. This then connects with the Raven poem in 35 where the poem gives “take thy form from off my door”. Vewatkin thinks “Eye of Horus” in Egyptian mythology of the moon could support the moon being a zero. He also suggests pairing the potato with the chair stripes for another 10.

The “NO” door leads to room 30 and there if you turn the book upside down the letters surrounding the door say “no”. There is also a puzzle there that ends up labeling the door to here the “I door” and that is very apt.

Gals of podcast zero (not sure if it was Heather or Nellie) thought the bit of ripped sign above 25 might look like a little white bird. It’s not a magpie, but it’s not impossible it is a bird.

The door to 10 is shining very brightly while the others are fairly dark, (Thanks Wanderer), also Mr. Yes walks into total blackness, and also not that the Maybe door must open in to the room in order to be white, unlike the Yes door which opens out. Magpies being black and white may relate to this. The door knobs and key holes could also be 10s. As far as Tao related things – we could also think of “Maybe” as the balanced path. Vewatkin also raises the possibility of binary. Yes=1 and No=0 so Yes, No could be a 10. White, black, reading those doors left to right could also represent 10.

Vewatkin also notes that the long stick of the cane can be a 1 and hurricanes have eyes. He also notes that what looks like a mast on the Argo is a white rope and gives us a 1 to go with the zero from the eye of the Argo. And that while needles can be ones they also have eyes to form zeros. (I noted this above, but maybe not this specifically). Finally he notes 10 tacks, which except for the ripped sign might be read 2 tacks per sign for 5 signs giving 25, but the rip disrupts this.

Vince notes that “middle class” could mean the middle class between yes and no which is maybe.

Hidden mystery suggests that “felt” is an anagram of “left” and indicates the left door. This works in room 25 and 11 too. There may not be enough evidence to show this is significant, however.

Besides “needle” the words on the paper may all be related to ships. White Raven points out that pine is a later development than Triemes, however. But is still could be a hint to treat the ship like a compass needle and exit the way it points.

Odd bits: The timing of the slamming of the door does not fit the MAZE clock well. It seem the door slams first, then Mr. Yes comes by. With all the ones and zeros and with the white and black theme we might have something binary going on (vewatkin).

Credits: As listed above. Some basics were probably old. Yes being to easy, and the tie in to 15 are mine. Smart Magpies was mine. The observed 10s were mine (And WR’s).

Personal Room Satisfaction rating: 96%.

Room 35

This room is about as far from the center of the maze as you can get. The only way there is a long path back to room one, and then to “start over” from there. Rooms 36 and 16 are actually slightly farther but they are part of a little loop rather than the “end of the line” like this room.

The wooden thing in the middle of the room seems to represent a mechanical railroad “stop” signal. This seems appropriate for the “end of the line”. It marks the end of the Raven poem read around a loop of rooms (see introduction) and also marks the end of a set of rooms used for a small multi-room puzzle. Room 13 suggests “lights, camera, action”. Then the film rolls in 25. Then we have stop or “cut” here. “Cut” is important below. This figure also has other functions, below.

The thoughtful ones speeches here and in 3 other rooms help lead us to finding the Raven poem around the inner circle of rooms, ending here with the “stop” signal. The guide’s response to her in a couple of rooms lends extra support. “Yes, I’m sure you’re right” is in 9 and here. “Yes…you’re right” if we read that as “Take the “Yes door” in 34 and then take the door on your right in the next room” then we have reinforcement of the Thoughtful one’s instructions to take this path around the “inner loop”.

Vewatkin wonders if the suit belongs to “Yes man” in 34. The suit and the matches on the ground probably give us “matching” and the only exit is 33 with matching 3s. Or DO those 3s really match? Nope. What else might match then?  We have a “RR” stop signal and we also have “Right” twice in the text. That’s a clue. Part of what we need is in a different room. In 37 we have “Sometimes, important messages are couched in ambiguous terms”. The “couch” should make us think of here. And the important message? Well it is couched in “ambiguous terms”. In fact we want the word “terms”. Put the 2 clues together and we have “matching terms”. Also there is the 3 room mini-puzzle above. The “stop” here gives us “cut”. “Cut matching terms”. Thus we are off on a hunt for matching words in the text of this page. Now there are some minor words so we could futz with the message a bit but the gist seems clear – “Right Signal to them: Not still “another one””. That connects with the bird in room 32. From “another one” there to “not still another one” here. In fact, this room is part of a trail of bread crumb involved in the Riddle of the Guide starting in room 45. We head off to room 6 next via and the clue there “We went down the only way open to us”, and the talk in the text here of there being only one way to go.

We might have exit indicators in a now 3-leg couch with 3 cushions and 1 of them in the door. (And it could be a “matching” cushion). But this should draw attention to the fact that the thing in the middle of the room is somehow standing on 2 legs like it is a bird or something, and of course it is, it represents Raven. One of the legs of the thing does point right at 33, however. So maybe we should take the “matching” clue and connect that bit of wood by the bench to it to make a tripod. And then with the 3 visible bench legs we have another 33. Another clue may be very basic: It IS a signal, and it does have a glove and it points in the direction of 33.

The above does not seem to totally explain the loose wood, however. There is one piece by the bench and one in the doorway nearby. I’d speculate this door goes to 29. The “matching” S and P there would then lead to the matches here, and there are staves leaning against the wall in that room. But this still does not explain the lumber.

There are 6 slats on the box in the lower left, and 6 chips of paint on the bench. The path to 33 divides, so maybe we should divide these 6s into two 3s to get 3,3 = 33.

The poem the Raven ends here, (see introduction) and that is most of what is going on here. Here are the relevant last stanzas of the Raven poem. The comments by the thoughtful one across many rooms lead us to a specific circle of room in order to prove something. The time in the rooms ends in A through G, like the musical note scale and we pass through a music room. We are also clued as to what poem to look for, outside of the circle. Finding clues that match the stanzas progressively around the loop is just confirmation.

Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'

And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!

“Still sitting” in the room may relate to the old broken couch. “Tribal fetish” = Native American Raven. “A work of art” is the poem. “Alone in light and silence” = “leave my loneliness unbroken”. We are given “signal” twice in the text. A token from the poem can be a signal. “Leave no black plume as token” from the poem then can mean that this “signal” is here as a token instead of a black plume.  “Take thy form from off my door” may correspond to the blank poster on the back wall. Vewatkin notes that if we flip back to page 34, “Yes man’s” door is right where the blank paper is. We can construct “My door” in 34. And then when you turn the page there is nothing on “my door”. “Sign of parting” relates to how the corridor leaving here in door 33 divides.

And “take thy beak from out my heart” may match up with the glove on the end of the “beak”. It also matches up with “I tried to hide my smile” from the text. And from room 3 we know the ‘heart of Christopher” is “stop” so this form here (also a “stop”) is also a heart of Christopher, from which the beak has been removed, or at least hidden. This intermingling of symbolism for Christopher and Raven brings to mind the book introduction. “Which half is Maze?” (And which half this world?) And the last line = “And the lamp light o’er him streaming throws his shadow on the floor, and my soul from out that shadow that lies floating on the floor shall be lifted, nevermore. (And the shadow is Raven). The presence of music and dance and shadows in 18 help us make a connection between shadows dancing there and souls dancing in 10, both moving to music which may represent faith in this context (see introduction section).

The poem asks and states the name many times of course “Nevermore”. And this is unquestionably the guide’s name. Or more to the point, he is Raven. A possibility – someone’s (apparent) basement could relate to someone’s foundation or soul, which would fit nicely with the poem.

Appearances: Text here says it appears to be a basement. In 12/28 he says “You know what I say about appearances”. Well – what does he say? Here he says there is some sort of room down there, and of course there is. We infer he means appearances can be deceiving. So let’s look for other times he uses the word. In 25 there is an apparent lack of clues, and also a real lack of clues. In 16 they apparently believe him, and we have no reason to doubt that. In 10 there is an apparent argument in 37 and a real one there. In 9 it appears to be a store room, and for all intent and purposes is one. So – it seems, generally, he uses “appearances” to mean something really is something. But here in 35 – that does not seem to work. That ladder does not go up to another room. It goes DOWN to 41. If we walk around the loop we go back down stairs after room 3. Room 25 comes here directly and it is described as a “high room”. This helps as well to show this is an elevated room. These rooms here have no outdoor lighting, and it is supposed to be the wee hours of the night outside, but in fact, based on ladders, this is the highest set of rooms in the House. And note that the ladder continues up, probably to the roof. But then…where else would a bird live… It seems that maybe this is Raven’s basement and he likes to live above. Room 11 says he hates confinement and the word “gratefully” links from there to here and the couch. Then in rooms 41 and 30 we can find the only two uses of the word “special” in Maze. In 30 we have instructions from the thoughtful one about how to go around the inner loop and end up here. And in 41 the special piece of furniture could well be the ladder. Putting these two clues together we might start associating the ladder with the “I door” and then we find a ladder with a hidden top in room 6 where we find another “eye door” and this confirms it.  The main focus of this is to help us look into Raven’s eye in room 6 to escape, but here it just helps us think of it as a route to the outside. Another hint of that idea may be in the text here. “No REAL choice” – the distinction between real and imaginary numbers is made elsewhere in Maze and here it may mean the is an “imaginary” or “i” choice.

 

There may be path indicators in this room as well, indicating we should take door 3 after we leave here. We have clues to “matching” mentioned above, but it is a two pieces suit, and then the path under 33 divides. Maybe we should split those 3s. Vince Watkins notes that the hooks look like 3-hooks and one is near door 33 and the other off a bit. The cord can indicate a path. 33 then 3. I’d then had it leads to a lightbulb, either a revelation or maybe the one in 13. Then the light shines on the think, maybe indicating we should come back here and outlining the circular path to the Raven poem.  We also have 3 cushions, with one in the doorway, and three visible legs on the bench. The center-thing would seem to be a tripod but seems to be missing one leg as well. All these could help indicate door 3 after this one.

 

Additional thoughts:

The lightbulb can also represent end-of-path (or beginning), just like a RR stop signal can be end-of-path/stop. One hook being backwards compared to the other could refer to backwards nature of room 3. Maybe some connection to Raven bringing light in the beginning of time.

Right and Left are in text and they went Left. “we Left”.

There is a connection to #1. “silences of the Maze are eloquent”. They left the thing standing alone in silence. Perhaps saying that we should not look for an exit indicator here at all. Reinforced by “no choice”, “only one way to go”.

Leftovers: Refinements of message.

Room credit: Mine I think. Some Abyssians “helped” me off the false place I had assigned the suit and allowed it to fall into place here.

Personal Room Satisfaction Rating = 94%

Room 36

I guess we could call this the music room. We have performers in the masks of comedy and tragedy, playing a guitar, and cello or bass, identified by the narrator as a “viol”. What we have here is “chamber music” a small intimate string performance, and it helps us with “chamber” in room 16. This room also gives us “music” in room 7.

The guitarist has 16 wide white stripes on his pants (the top and bottom are partial) and his instrument top is in the door to 16, and other guy has 7 white stripes on his shirt, the bottom tiny bit is his pants I think. His face angles towards 7, but then his one pupil looks to 16 for sure. The other may look to 7, but is unclear. Guitarist is overplaying his part. This seems to mean that right now both doors are equally indicated but the 16 guy should tone it down a bit for us to find the shortest path- still he adds “Plangent brio”, a reverberating liveliness. And note that the happy guy is in the sunlight. That to me that suggests 16 is a harmless maybe interesting detour. (And it is, because the guide’s identity is there). ‘The music was “suited” to the scene may hint at their cloths. The line of the guitar also points to the top of both sets of stripes. There are 16 blocks on the ground and 7 are sun lit. Again dual indicators. They both wear bowlers, and bowling is found in room 8. 8+8=16. Maybe this tells us we can learn something about top-hat in 16. Vince notes the 7 can look like a V and the 6 like a G, which might associate the Guitar with 16 and the Viol with 7.

But if you want to make the case happy connects with 7 then note one of the bars on his stand points at 7. Maybe “turning a corner” indicates if you came from 16, you should take 7. The stone under the foot of “happy” with another stone make a backwards 7. These guys can also be described as Yin and Yang. Yin is hidden, negative, passive, and shaded. Yang is open, aggressive, fast, and sun-lit. This also might suggest we should associate Yang with door 7 which he sits closer too and which is the “quicker” path. Yin’s lower arm points at 16 and so does the edge of his music stand. The 7 lighted stones should be associated with the lighted man. G in Guitar could indicate 7 by alphanumeric coding. (Viol could too with a bigger stretch “Viol’ = “VII” = 7). And in that case we would read the text to understand that Yang was playing louder than Yin. However, Yin and Yang need each other and depend on each other for existence, so really my primary take away here is that the two rooms near by depend on each other and we should visit both and consider them together. But, I think the way to resolve the conflict over which guy represents 7 and which represents 16 might mean involving the medieval tradition that “seeing” = direct experience, and “hearing” = faith. We have both going on here, clearly, in the text, and since this is probably the least critical choice in Maze, if the author wanted to add a philosophy lesson, this would be the place to do it. Based on many other rooms, Yang should be the shortest path, but then why do we have the stripes seeming to tell us the opposite? Note that we can not see Yang’s shirt or Yin’s pants. Their outfits match other than that. I think we are supposed to take it on faith or make the inference that they both wear 7-shirts and both wear 16-pants. Also note that the tops of both instruments point towards the missing number above the third arch, even though we can’t “see” it, I think we are to infer it is the door back to room 45.

There are many references in the text to music. We have noted that sad guy looks to the 7 and a door indicator, but shouldn’t he be looking at music? The text says they were very involved, but yet he is looking away? What if he is looking at music and just like in 13 those are musical notes. That would be a “G” and the other guys would be an “AF”. This is unremarkable until we note that these are the same 3 letters marked by the Trident in room 22. Now all the theatrical references there make a tie in here with the comedy/tragedy masks (mentioned in text) and words like sound, spectacle and concert. In 22 the Trident guides us to look in a couple of places for clues for escape from the trap. Entrance/1/19/23. The “G” specifically would tie in with 23/19 and 19 is where the vital clue to “look in the eye” is located. Now we note the viol brings “warmth” and the “right” sense. “Right” is a big deal in room 23 and warmth of the sun is associated with those rooms. And now we can read the guitarist overplaying his part as a clue to worry less about room 1, and more about “23/19”. Thus we have a refinement and a reinforcement of the clues in room 22. “Stopped to listen” in text here also connects with room 22 and the “stop sign” under the seat. “Reminded” occurs two places in Maze – 22 and 16. He is reminded of a theatrical backdrop and reminded of his neighbors. In 16 “his neighbors” can be in the room next door, here in 36 (although on some level it also means Native Americans and also means Ursa on another level). Theater in 22 also connects to Comedy and Tragedy here. Also, if the guide is the guide to the true path (The Tao) then Yin and Yang as neighbors makes pretty good sense too.

The word "part" seems key to looking at parts of words. In 43 it is part of particular and there are we do is move a plural making "s". In 16 we can find "egret" buried in the sentence. And in 32 we can find an anagram of Raven, "n a ver". There are only two other instances of "part" in the text - 19 and 36. All these places are very guide related (36 slightly less so). Here the best bird I find is in homophone form. "Turning a corner" right after the "part" give us "turn/tern". But here we also have Yang overplaying his "part". That I think helps explain two very non-random words - "...in plangent brio". It is not exact but it gives a clear idea. "In plant embryo". An excess of “in” words may help with this “introspective”, “interrupt, “involved” (thanks sp). And in the story of Raven he turns himself in to a hemlock needle so that the old man's daughter drinks him in a cup of water. Then she becomes pregnant and gives birth the Raven in human form.

19 helps us learn that the guide is singing here. Here we can see it better if we parse the text. “I…was affected by the sound.” (and “affected” can mean “influenced”) One of the visitors noticed me, listening (to him). “Beautiful music, don’t you think?” (subtle hint that his singing is not). He responds stiffly.

This room is one stop on the riddle of the guide answer. The word we are supposed to get here may be “harmony/balance”.

SP notes that a block is close to falling and sad guy looks at it. Maybe the word “ruinous” connects to this being a bad path. Also the text says they were unwilling to interrupt the players and the correct door does not involve walking between them.

Credits: Chamber music is mine. The sets of stripes I may have inherited at least in part, and finished in part. The interpretation about the best path and the interesting path is mine. The connection to 22 is mine. Bird stuff and singing is mine. Other details I picked up.

Misc: In doorway 16 the line in the background lines up perfectly with the peak.

Personal room satisfaction rating - 97%

Credits: Mine unless noted I think.

Room 37

The letter for “SHOULDERS” we are supposed to get here is “E”. The text clues us to look at things from all directions, and a fake clue for door TEN is that it is the reverse of NET, so we are doubly clued here. And in fact almost all the objects here end in the letter “E”. We have: “Cone”, “Sphere”, “Die” or “Dice”, “Table”, “Bottle”, “Vase”, “Rope”, “Handle(s)” and “Eye(s)”. Also the room-level solution gives us “H20” and there is an “H” in that ladder. Both “E” and “H” are hidden letters for “SHOULDERS”. Letters are given either once in an obvious way, or twice in a hidden way it seems.

Two room level solutions lead you to the right exit here. Without them this room is a bunch of conflicting directional indicators.

The cone and the dice which both sound like “ice” and are shaped like cube should bring to mind Ice and ice cream. Cone => ice cream => ice => dice (or ice => cube => dice). The net and the sphere? Basketball of course. But then the ball also goes with the bottle. Medicine ball and medicine bottle. The leg of the table is also circled for us. So leg, basket ball, and medicine – looks like something like “leg injury” to me. Ok so what unified the sports injury and ice of ice cream? Well, ICE. So now we’ve used the room except for the vase and we have ICE. What unifies there 2? Water. And then we note that eyes also water. The answer to the room is “Water?” Well, that ladder looks like an H, and that is a 2 0 over the door and H2O = water. 20 is the correct door. The text says “they all moved closer together” and then picked a door. Sort of like water molecules forming ice? (Yes technically ice expands when it freezes but “freezing” is the intended concept and it is more like a small joke in any case).

The room level solution in the prior room 15, gave “fire fighters” and that would point you to the ladder here too. They are “heroes” from room 15 and that connects to the “H” ladder here.

I wrote to Manson regarding my “room level solutions” he said only that it was true that some rooms had a certain “organizing principle” which is vague and open to interpretation of course.

Let’ look at the case for the various doors without the room level solutions, and remember that if we think we find easy indicators for 3 at any point we might think we should take the 4th via “odd one in”.

The case for 15: The door to 20 and 42 look leading, particularly 20. The first die shows us a 1 and a 5. The other die has a 1, and then 2+3=5. The text hints we should look at the room from above. From there we will see 5 round objects if we include the net, and the stick of the net which could be a 1.

The case for 10: The door to 20 and 42 look leading, particularly 20. This rooms has us look at things from all sides and TEN backwards is NET. 1 table leg is circles by what looks like a zero. When viewed from above the net could look like a 1 and a zero. In 34 we took eyes and both 1s and zeroes. And here we have eyes. Also when viewed from above the bottle will look like an eye.

The case for 42: If we figure out what number should be on the blank face it should be a 4. Then the dice read 42. Viewed from above and not counting the net, there are 4 solid round objects and two cubes, given a 42.

The case for 20 without the room-level solutions for this room and 15: The dice read 2, blank or zero. The table has two visible legs and one is circles by what looks like a zero. The major objects could be viewed as sets of two, with the net giving a zero. 

Vewatkin and abyss folks helped with a number of those observations. Hints to look from above – “look at this from all sides” is the main one. But the pair-o-dice theme in 42 and here might make us think of “heavens” above.

The rattling of the door is explained in room 10. The guest there rattles the door and says, ”Hey it sounds like us in there”. This might start us thinking about how time flows in the maze, and wonder if events in different rooms take place at the same moment. We need that sort of thinking to explain, for example, the connection between what we see in rooms 16 and 4. So thanks to Abyssian vswatkin for the clue to start keeping time in MAZE. (See rooms 1, 23, 4, 30, 13 and 3, 10) Clearly room 10 and 37 happen at the same time. But care is needed. The rattling door happens just as they leave room 37 but when they enter room 10. And then they sit around a while in room 10. So really they enter 10 at the same time they enter room 20.

The introduction section has a whole area devoted to time keeping in the MAZE. It these rooms on the shortest path one hour passes per room, and the MAZE clock in room 30 clicks once. It starts at 8am in room 1 reading FA. In room 30 it reads FC, 42 clicks after AA which gives us a room exit there. By room 4 it is noon, then are the far end of the figure 8 loop it is 4 in the afternoon and the clock reads GA. IT would read GG here, and it is 10 at night now. The room is lit by moonlight, not sunlight. See rooms 1 and 23 for the movement of the sun in the maze. The text uses the word “catch” in reference to the net. The fact that the net is ten backwards connects it to the fact that it is night or might make us think of that. Also near here the guide says “couched” and this should make us think of room 35 and his identity. So what is that shadow? It is a dream catcher.

If we come here following the “Saints” sign in 42 we do indeed find the promised “paradise”. They could even be “holy water”. The open ceiling and the rope ladder for the correct door seem appropriate somehow (maybe helped by the cone pointing up). On the correct path we are almost out of the maze and in the next room we will be able to see that we are out since there is a door to room 1. After traipsing around dungeon-like rooms, this “climb to freedom” seems to fit. And if we have followed the “Saints” sign from 42 we could make an analogy to Jacob’s ladder and an assent to Heaven.

Credit: Old puzzlers found that there was an “E” here. Time was not initially my idea. I’m sure people had the dice door clues before me. Abysians noted the idea of looking from above and a lot of the observations are theirs. The room level solution is mine.

Personal room Satisfaction Rating: 97%

Room 38

This room is part of the Trap. The boot by itself may be symbolic of “lost soul”, a clear Trap indicator. The confusion as they enter suggests they came down the slide. The fact that a door would not open and that they can not climb the slide also suggest this is a Trap. The sign on the wall has a “see” which we should read as “c” and a “nose” and an “ape”. These are an anagram for “no escape”. Also in this sign, we have that a carnival is a “fair” and together with “see” we get “Pharisee” which helps with a puzzle next door in room 22.

We also have a broken key above one door. Vewatkin notes that it looks like the shape of the Trap itself. He also note that the room itself reflects the break at the point the key is broken. So while its obvious first level meaning is that you are in a cage and the key to get out is busted, so you are trapped, it has an additional second level meaning, which is A) stick around this loop of rooms on this side of the Trap, and B) the Trap can be broken.

The Trap does have minimal door indicators AWAY from 24 and there are a couple weak ones here. The key has 2 loops to one side and 2 teeth to the other. 2,2 = 22. Also we have an excess of words with repeated letters in the text. Narrow. Wall. Little. Soon. Impossible. Slippery. Door. Pebbles. Roughly we have 2 words per sentence or clause. That could be a clue for 22 given 4 times. 2 “r”‘s + 2 “l”‘s = 22. Once would be an accident. But he gives it to us 4 times in short space. In addition BOOT and SEE are another set of double letter words.

Vewatkin shared an idea he disagrees with. “Taking pebbles out of shoes” could mean taking “oo” out of “Boot” leaving “Bt” alphanumeric B+T = 2+20=22. 

Does “SEE!” on the wall relate to the Medieval tradition of “seeing” = direct experience and “hearing” = faith? Perhaps. We can see this is an unpleasant place, and if we came from 41 then “seeing” was what we should have followed and gone to room 1. The sign does seem to say “See the nose in front of your face you dumb ape!” lol, among other things.

Credit: Pharisee and the double letters and 2,2 in the key are mine. Vewakins and WR independently for the Key = Trap layout. Other stuff as noted. The rest is pretty obvious.

Personal Room Satisfaction rating: 99%

Room 39

This is the “Poe” room. There are plenty of clues to Poe’s story, “The Cask of Amantadillio”. The action took place in a wine cellar, and the victim was walled up behind brick. The victim was also wearing a jester’s motley, and we can see the image of it over the door, and hear it hinted at in the text. The small hole in the bricks was sealed last. The murderer threw a lit torch into the hole to use up the oxygen, before sealing the hole. The story also mentions “masons”, and the murderer holds up a trowel to show that he is a “mason”.

One note we can make is that we hear a jingle behind the door. The prisoner is still alive. The torch has not yet been thrown in the hole and the final brick laid. The trowel may indicate the path the murderer took. Also in room 4 we have matches, a candle, and wood, and we hear a chopping sound. He may have left to complete his task. This can serve as a clue to room 4. And since you have been through room for on the correct path already, you know that those sounds (chopping and hammering) are in that room.

The pull-toy is probably known as a “Hoopoe” bird, or – “Who?” “Poe!” In any case its primary function is to connect to room 7. We are supposed to arrive at “poetry” there or more specifically the Raven poem. A bird connected with Poe is a clue to that. It seems that its identity of the type of bird is not critical however. The birds in MAZE all seem a bit different, but all have a distinctive crest. Perhaps the crest is Hoopoe inspired.

Letters to the word “SHOULDERS” can be found in this room, the “R” is obvious and there is also an “O” hidden as a tire and an “L” hidden in the two tubes”.  The letters seem to be given either once, in an obvious way, or twice in a hidden way.

It has been noted by Anchorperson smith and Raven that there are 12 bricks on the floor. But if we put in the missing one there would be 11. This seems like a pair of false clues. The associated true clue would be that the person being walled up is “For”tunato from the Poe story. 

The multiplication table indicates the false doors for us in the incorrect first line 1 x 1 = 2. That has both an “11” and a 12” in it. I believe we need to correct that line to get the correct door. We want 2x2=4 (which is of course a square). There are “2” cylinders there. The mouth of one of them could be used to form a set of parenthesis. We could also take the “x” from ‘9x9” which is incomplete and make a plus. We get “(1+1)x2=4. Why only odd squares? I think, but am not sure, that it is simply this – including 2x2=4 would not let us find the answer ourselves, and 2x2=? would be too obvious, and omitting just the 2x2 would also be too obvious. Omitting the even squares makes it more puzzling. But, also, thinking of even and odd might bring to mind the coin flipping in room 4 where we are going, and where we can hear chopping and hammering. In that room the lights on the wall can represent bits. And if we think of the wine bottles in the rack that way they represent “4”, “0100”. “Bottles turned out” in the text helps with this. Or if we count the small fraction of a bottle we see then the 4th bottle is the one turned out. Vewatkin points out that a Masonic greeting is “We meet on the level and depart upon the square” thus lending support to exiting on a square number. 7x7 = 49 emotive states in mystic tradition. Given the nature of mysticism it is no surprise the answer is partly obscured. Or – it might just be a very simple door indicator – the tube points to the number 4.

 

The bottles are of Amantadillio in the story. This is a fortified wine. “4-tified”. The “4-bit” bottle points over to 4 bottles grouped together with a tag on them to indicate who they are “for”. Vewatkin observes that the text mentions labels and that exactly 4 in the rack are missing labels too.

We can see exactly 4 barrel rings in three different groups of barrels. There are 4 doors here if we count the bricked one.

The “S Way” sign read as “This way” is a false lead into a trap and the ladder with the barrel (vewatkin on the barrel there) leaning towards 12 is also a false lead, perhaps. A true indicator we might use to make a set is the trowel. It sits on 4 objects and points up at the 4. It also begins with “T” and many objects here do. It also has 4 sides. Also, it is a Masonic symbol for brotherly love. It evenly spreads the bonding material. The empty barrel is a symbol of something devoid of brotherly love because the barrel will just dry up and fall apart without the contents it needs.

Also note that the secret word in Masonic tradition is revealed to members one letter at a time. Just like the letters on the path. Masonic references are found elsewhere in Maze as well.

Some misc. 4’s include 4 wheels assumed on bird, a group of 4 objects under bird, and the tree plus 3 barrels could be 4 wooden things.

Finally we have a room level solution. The times table, the letters, the toy bird suggest some sort of elementary education or school room. The masonry equipment, in combination certainly with text about someone working and chopping and hammering sounds suggests “construction” or something like that.

The three barrels and the tree go together like a donut and hole. “Three” - “Tree” = “H”. The wine rack and the bottles in the corner give us “4” and we have “S WaY” on this wall. Put them together and we get “4H’s way”. Google it and discover it is “Learning through doing”. Well now – that fits nicely with the other parts of the room giving us “education” and “construction”. We have confirmation. What do we do with this? Well there is a little bit of the room we have not used. 1 barrel by the wine rack, 2 by the door, and 3 by the bird. 1,2,3...4 (learn by doing).

But there is yet another way to see this room. We can divide the room into things that are false and lead to death like the empty barrels and bottles led the victim, and things associated with life/truth. On the right the multiplication table is false, and the bird is fake and the bottles and barrels are empty. An empty barrel points at 12 and an empty bottle points at empty bottles near 11. The barrels on the left side of the room form a symbol of the Trinity. And the Tree above them then becomes the Tree of life from mystical traditions. Both doors on that wall lead to “nodes” on the center branch of the Tree (see introduction). It has also been suggested that the trowel could be a symbol of life since the killer lived, but that is an odd symbol of life in my opinion.

There are a slight excess of words beginning with “h” here, and an upside down h can be a 4, but long story short there are not enough to judge this a clear intentional indicator.

Final notes: The Tree sign partly blocks the door to 11. We can “hear” evidence of both the victim and the murderer, according to medieval tradition we could say we know their existence via faith, then. Does this help? 

PRSR 97%

Credit: Room solution is mine. The “R” is old, the “O” and the “L” are mine. Connection with Poe is old. I think other than as noted above the rest is mine.

Room 40

The word “TRAP” can be found in the symbols, and this is indeed a trap room. If you turn the 38 sign on its side it is a very unhappy face – a good trap indicator. Also a bit more difficult to find is the clue to get out – The bolts around the 6 form an arrow leading to 38 and then to 22 and hints at how to get out. Choosing “more” or “less at random” might also clue us to take the biggest number, 38.

The Trap is shaped like a Key as room 38 helps to make clear. The distant image in front of us looks a bit like a needle and an eye of a needle. I think this is symbolic that this room is on the shaft of the key.

Here we find the 2nd half of the “Riddle of the Maze”.  45 says “Do you think it is written on the wall for all to see?” this clues us that the 2nd half of the riddle is indeed written on the wall, in room 40. The text says “what Maze teaches can be learned in every room” and this is a bit of a clue to decode room 40, since we need the “word value” for a number of Maze rooms to decode it.

The text mentions symbols for planets. There might be a symbol for Pluto, Roman god of the underworld. Pluto was still a planet when Manson wrote. Also, “Pluto” might be a small reference to the cat that runs through room 4, here in room 40. On the far right there is half of an “Earth” sign, which will be discussed below. The text mentions “hills” too, and I do believe there are “hills” there. The wind and water seem to be red herrings, and the guide does indicate he could read some of the symbols but not all.

The code on the wall can be read as follows: Count the number of pen strokes per symbol and then try to match this up to room numbers. Many rooms have an obvious word or phrase value associated with them, and in this way you can start building a message. One clue to do it this way is that one of the guests says the symbols appear to be primitive “signs”. If we interpret that to me numerical room signs, then we have a clue.

Look at the smallest grouping. We have 4 5 7. I think the 7 is a bit of a red herring. It is supposed to be a connection symbol of sorts to say the material here connects to 45.

Let’s move to the bottom of the big wall. We have 3 and 4 = 34, and that is a pretty clear “I”.

That circle with a line through it I take as 10. That room = “measure”. Note that room 10 is clued by eyes and a line in room 34 and this symbol looks like and I with a line.

Next we have “3”, and that is “man”.

The double headed arrow that crosses to the other wall took awhile, I could not make it work with room numbers, so I take it as a symbol. It clearly is relational and should be a preposition. I used “against” because it makes sense in the sentence and with the picture. “By” or “with” work about as well.

The letter “A” is just “A”.

The ballerina is a “soul” as in the room 10 puzzle and like the stick man in 3. Anchorperson noted we might have the ballerina here (and daughter Emily did shortly after, independently). I think we will need “soul” not “sole” in the final puzzle too.

Next we could have a “T” and a “5”. T+root = troot = truth. But better – “T” is “path” from room 2, and 5 is “life” because of the Tree of Life there.

The square could be some sort of bridge or equal sign. Room 4 “it” would fit if we say “its”..

Next we have “2 “big lines and “3” little. Room 23.  “True” (in the pictures) is the key word I have.

The two in the far upper left can be “path”.

Next the “P” and the other things near it are “hills” as the text suggested. We have a “V” nearby. V+hill = Vill which is “will” if you are doing a German accent. It is close enough for us to get the meaning clearly and/or you can grab another hill and make that “V” into a “W”.  

Next is “8”, room 8’s key word is “strike”. Next “3” is “man” again.

Then that can’t be another 8 since it would make no sense, but it can be a “6” with “2” hash marks = 26 = atlas. This is clearly “At last” in context, and if you want you can grab that arrow head for the “T”.

The star seems to be a “3” and the “R” a 4, and I get room 43, and it’s hopeful message of “Keep believing in yourself”.

Put it all together and you have “I measure man by a soul(‘s) path (in) life”. “It(s) true path with strike man at last.” “Keep believing in yourself”. And then adding room 45’s content we have “Some souls will live in the worlds”. And this seems to me to be a general message that how you live your life is what is important. Perhaps as well that though who contribute to the world while here, live on in memory. Then also, once we know the top-hated man represents both the guide and the soul of Manson, we can see at least one way in which some souls will live in the world. Going a bit farther, from room 2 we can infer a number of values: “freedom from tyranny”, “respect for nature”, “unity of humanity”, plus values we can infer from the fact that Kabbalah’s Tree of Life can be found in MAZE.

Regarding the Tree of Life, room 40 is one of the nodes or “sephira” on the central branch. These rooms feature language relating to choices or decision. There is a somewhat muted reference here to choosing pretty much at random, which connects to room 4 which is also a center sephira. The choices can be seen as branches. This sephira is known as “Yesad” it means “foundation” and we can note that the text calls this the “foundation of the MAZE” it is also associated strongly associated with “truth” which is a word that appears on the wall a couple of times.

The final wall has a symbol meaning “earth”, then an “=” and then a “3”, and we know room 3 means “man”, but man is also the answer to the riddle in that room. Put this wall together and you have “Earth = answer to riddle”. However, if you read it differently, and take “Earth” to mean “answer” then “Man = answer” and we have a statement of humanism consistent with the above listed values.

Credits: The path indicator to 38 came from the Abyss site. I think I may have come up with the rest.

PRSR: 99%

Room 41

There are lots of “I”s in this room. The doll is pointing at two of them. I-doll = idol? We have the frog which seems to have “spied” a “fly”. Then we have a “tile” floor, a “bull’s-eye”, a “slide”, and some “fungi”. They are fungi both because they are mushrooms, and because they are on toes, where one might find foot fungus. The text also gives us the word “I”, twice, and repeated words tend to be important. The doll could point to herself “I”. Why all the “I”’s? Well, the correct exit here is to room number 1, and a 1 does look a lot like an “I”.

The Picture of the Frog eying the fly can be a simple TRAP indicator. Vewatkin notes the eyes of the frog are on 38, connecting it with the slide trap. The extra tall risers on the slide could be 1s.

The bullseye + the sarcophagus gives sarcophagi. There the mushrooms on the toes are “fungi” and the lone one is fungus. Fungus/fungi and sarcophagus/sarcophagi give us the take away “1 of many”, and we should take #1 of the many doors. Could “X” on sarcophagus mark the side with the right exit? A possibility is that the X and the Os together wit the squares on the floor suggest tic tac toe. This is a game so it can be “won”. The whole body could look like a one. And the eye could be an “I” which looks like a one. There are 10 mushrooms in the box and one outside and vewatkin noted it points to the first toe. Another connection is that sarcophagus means “flesh eater” and mushrooms and other fungi also eat dead stuff and “recycle” it. Sarcophagi are associated with Egypt and their cult of rebirth. It also has a navel, a symbol of birth. “Naturally” (found only here and in room 10) in the text could help slightly with the “recycled” idea. All this is very fitting, because if you’ve made it here you’ve clawed your way out of the depths of the Loop and made it all the way back to room one to “start over”. “One re-marked” could be a hint towards the starting over idea as well. Finally it turns out the black and white tile floor is symbolic. It was used by Freemasons, alchemist, and other mystical traditions. Duality and opposites are the point. Black can represent death and thus we have another symbol of death and rebirth. And then together they represent the Tao which is about the Unity of everything, and Unity = 1 = correct exit. Kon-tiki adds circles are simples of unity and rebirth (and for fun the 1s can be phallic in we want to get all Freudian).

The doll can be indicating her ears as well as her eyes, but also her twisty braids. Then the twisted hall and the twisty horns match, as well as the doll’s twisty braids. You will get “twisted around” if you go forward, because you will be going backwards through the loop. Then the looped horn near the ladder indicates that is will take you to the start of the loop rooms. The doll holds up one finger on each hand. Two door #1 indicators. The “one” horn near her is the only straight horn and could look like a one. Her sign hangs from “one” tack. It also looks like a “V” which could be like the exit signs. The two horns standing both point sort of at 10 and could be a backward twisted 10, suggesting about your intended path that it is backwards.

There are any number of ones in ladder parts if any straight line is a one. There could be a very dark picture in the door to 10.

Now if we put the whole room together we have an “uber-solution”. “Furniture” is an odd word choice. We of course think of the slide, but we should think of the ladder. There are two in the room really, for reinforcement. Something you do with a ladder = climb. Next to the ladder we have twisted horn(s). “Twisted horns” plus “climb” = “goat” (or mountain goat, ram, etc.., but “goat” will do). Next look at the doll, does she point at her eyes? Yes. But also looks like she has her fingers in her “ears”. (The text gives “but that wasn’t the point” to help with this.) That horn next to her could be a hearing aid. Together we have some form of ear/hear/hearing, etc. Let’s go grab that goat (Baaahhh!). Goat + form of hear = “heard” as in a “heard of goats” and/or you heard something. It has been noted that the fly sits on top of the picture of the frog. It is next to a slide to a Trap room and since you can’t get back up it is clearly a “trap“. Put them together and we have “Fly Trap”. There is a “sarcophagus”. With a bull’s-eye it becomes “sarcophagi”. The mushrooms on the toes where they could be athlete’s foot are “fungi”. The lone one is a “fungus”. What do we have in common between these words? “I” and “us”. In fact there are 2 “I”s and 2 “us”s here. That sign for exit 1? It is shaped even more like a “V” than the others. Let’s grab that, the fly trap, and an “us”. We have “Vee…us Fly- trap”. What is missing that fits like the hole in a donut? “N”. Grab one of those “I”s now and I+N = IN. Put it all together now = “I heard us in…  and the completion to that sentence is of course room one. On the “Maze clock” in room 30 the time here is “FA”, and it is also “FA” in the entrance room #1. Thus we have a situation like in rooms 37 and 10, where the guests can hear themselves. The text says that “they were pretty sure of themselves and went right on to…”, and this is a clue that the Maze clock does not click once between these two rooms.

The tile floor is can mean back to the starting line and tie in with the checkered flag in 20. (vewatkin credit).

vswatkins notes sarcophagus is about to do a trust fall, and “trust” in the text is a clue. SP notes an anagram of "trust fall" is "full start". I note is we take the "eye" and "I" and the navel as "new" we have "I full new start". But “trust” plays an even larger part in the theme of this room. We also need to involve the Medieval philosophy that equates “seeing” with direct experience and “hearing”. The doll is a big clue to that by pointing to both her eyes and her ears and the fact that both can be used in solutions here. Also Vewatkin notes the text says essentially “Who knows where that ends up”, and that could mean the slide, but also the ladder and a couple of the horns. We should take door #1, since we know where that leads. I’ve also noted that the twisted horns might make a very bad sound. Putting this all together, the ladder and the slide are both bad choices, because they do not rely on direct experience or on justified faith and/or inference, but rather rely only on “blind faith”. The horn/sound/faith in door 10 seems distorted and false as well. But we can, here at least, rely on direct experience, seeing, and return to room 1 which we know and have experienced. The eye on this wall helps confirm this. Or given the number of eyes/Is we have found in this room we could say “trust your Is” and the correct exit is indicated because 1 looks like an “I” and also because the sarcophagus on the correct wall looks like a lower case i, has an eye, etc… : "Sure of themselves" also supports the "trust/faith" idea, and trusting oneself is trusting one.

Kon-tiki mentions that the “right” are of the sarcophagus points to room 1.

Vewatkin wonders if all the eyes/seeing clues hear could help us choose door “C” when we get back to room 1.

Kon-tiki notes the slide makes an “A” in its frame and “A”=1. And also:

“I was also thinking along the lines of chutes(snakes) and ladders. the horns look kind of snakey, and there’s the ladder and the slide(chute)…there’s the saying “back to square 1″ that apparently has it’s origin in this game. To expand on the tenuous chutes and ladder theme. The 1 above “door 1″ can be paired with the two circles on the idol’s face to be interpreted as 100 (the goal of chutes and ladders). Especially since the 1 is somewhat connected to the cirlces by the black border of the door.

“But what about the “conical” horns. I’ve been thinking about those cone shapes, like the one in room 13. Since there is typicaly a direction that air flows in a horn, maybe it’s an indication of “wrong way” or “backwards” when the small end is pointing at a door.”

Unlikely but possible stray things could include the bow on the doll. Vewatkin wonders if it belongs to top-hat man.

Personal Room satisfaction rating = 97%

Credits: some of the small elements have been floating around a long time and have been mentioned on the abyss site. The fly exterior to the picture and being a Trap was decoded there. I also got a helpful hint about the lone fungus. (anchorperson smith) The very fertile idea of the Maze clock belongs to vewatkin. The rest I think I pretty came up with on my own. But see notes in text.

P.S.

This is an attempt at spelling out with a little conceptual diagram each step I take, to highlight what rules are in play. Another way the process could be described is that we engage in 3 types of set manipulation. We find the intersection of sets. We also define sets as simply and narrowly as possibly from sample objects, and finally in some cases we find the member of a set not given.

Level 0 – name the components – let’s assign everything names, with the foreknowledge of how we will use them. Before we know this we have to try many names of course. Also at each level other answers are possible, but we choose the ones that will carry us forward the best.

“Furniture” is a rather specific word – it should draw our notice - but all it does is generically identify both chute and ladder. Our useful (at this point) inventory is:

Slide, Ladders, Fly, Frog picture, sarcophagus, bulls-eye, fungus, fungi, twisted horns, horn, ears.   Also while we don’t know we need it yet there is a #1 sign will a v-shaped bottom.

Level 1

Combine ladder and twisted horns to get goat. We are finding a word that diminishes the conceptual distance, that relates closely to both terms. Goats have twisty horns. You climb a ladder and goats climb. Ladder => climb => goat => twisty horns is the conceptual chain. We could ask what is the narrowest simple set containing “climb” and “twisty horn” and get “goat”. Or we could say “goat” is the intersection of the sets “things with twisty horns” and “things that climb”. But we were aided in choosing those specific sets by the fact that their intersection is a very narrow result set.

Ear together with a horn that maybe a hearing aid gives us “hear” – they are both things we hear with. In reality we choose “hearing aid” to fit, so the conceptual chain is: horn => hearing aid => hear> ear

The slide and the frog can both be traps, I’m finding a common function here. The conceptual chain is slide => trap => frog (eyeing fly)

Add the fly and get “Fly trap” just by joining the words.

Combine the words sarcophagus and bull’s-eyes by using parts of both and get sarcophagi.

Final inventory going forward: goat, hear, fly trap, sarcophagus, sarcophagi, fungus, fungi, #1 sign.

Level 2

Conceptually combine goat and hear, and get heard. Goats travel in a heard, and heard is past tense of hear. Hear => heard => goat. Here again we could say “heard” is the intersection of two sets. “Words related to goats” and “tenses of “hear””. And again we choose these two sets from among other potential sets we could use, because of the narrowness to their intersection. In term of philosophy of science we note that narrower predictions = better theories. A poorer alternative would be to say goats and animals, and look at the result set of “animals with ears”, but that is a much wider result set than “heard”.

Combine sarcophagus, sarcophagi, fungus, and fungi. Take the common parts. We get “us”, “us”, “I”, I”.

Sarcophagus => us => fungus, also sarcophagi => I => fungi. See that in all example I’m taking a middle term between the things combined.

We now have “us”,”us”,”I”,”I”,”flytrap”,”heard”, #1 sign.

Leve1 3

Take that Vee from the #1 sign, and combine it with “us” and “flytrap” just by stringing them together. We get “Vee…us flytrap”. We are missing an “n”.

We still have “us”, “I”,”I”,”heard.

Level 4

Use the “donut hole” rule from 45 and take just what is not there in “Vee…us flytrap” we get “n”

Level 5

Now we are ready to string together our pieces:

I + heard + us + I +n + #1 = “I heard us in #1”.

Is this a good result? Yes! It is a good result. In indicates that correct door and fits in exactly with what we previously knew about time in Maze. And in the process we used 100% of our inventory. (Minus the distant horns).

Room 42

First, let’s notice that there are a lot of pairs in this room - A pear, a pair of scissors, a pair of dice, two pairs of boots, and a pair of granular condiment dispensers. “Pair o’ dice” is “Paradise” and might link in our thoughts with the previous room and also with the sign about sinners and saints. Interestingly the “pair ‘o dice” does not go to Adam and Eve room but to a room with dice in it. If we read the dice as landing on “2,2” then they might be an indicator of either “22” or “4”. And then we have the bear saying “Sinners this way, saints that way”, while pointing at 22 or 30. Should we follow the path for the saints? Here is an interpretation put together from folks on the abyss site. The bear indicates the two rooms next to him. Sinners should go back to the Adam/Eve/apple room, and Saints should take the correct path to room 4. And then I noted the end the text says they opened a door, but since the door to 30 is already open, we know this is not the way they went. I then think that once we know that door 4 is the saints door we can read “S” and “P” and Saint Peter and Saint Paul.

But in fact, I believe both doors to the left of the bear are sinner doors and all 3 to the right are saint doors. 30 leads to the Adam room. And 22 is a trap room. And actually I believe this is something that changed very late in design process, perhaps in discussion with publishers. Rather than 22 this door was supposed to be 24. And then in room 4 there would be a door to 22. I think the switch was made because the bear directing sinners to darkness was too hell-like. That messes up the puzzle here a bit and also makes a completely arbitrary door to 24 in room 4. It also messes up the Tree of Life diagram Manson built into the MAZE. (See introduction). I wrote Manson about this but he only answered tangentially and said the change the publishers insisted he made was to the title. He wanted “Labyrinth” but there was a movie coming out with that name. White Raven mentioned there was something else however. So my best inference is that this was a late change by mutual agreement, Manson also went on to talk about the simple pleasure of just wandering through the Maze at random, and the inference I draw from that is that  is that he did make the change late in the process, but agreed with it, because 1000s of people buying Maze and just wandering might be affected by the 42 to 24 dump into “hell” but messing up the map of the tree of life, that seems to play little role in the actual puzzles? Well that might bother one person, 30 years later, who thinks the map could be more elegant. The former outweighs the latter. The scissors look intimidating in any case.

What about the saints? Well, as mentioned S & P can be Saint Peter and Saint Paul. Then door 37 has a pair of dice (paradise) and you find that inside. I might add that since all things there are water related the dice might be “holy water”. There is even something there we could relate to Jacob’s ladder and an assent to Heaven. But what about 25? While most bare/crown references are completely about Raven, I think the references in that room pull double duty and also point to St. Christopher. Christopher means “Christ barer” and the crown can be taken to represent Christ as King of Kings.

The “saint” doors are almost all perfect squares. 4 and 25 are, but 37 is one greater. Could that be a reason the lost boot is in front of the door, are we supposed to “lose 1” for this purpose? The other place we have to go to room 4 on the correct path is in room 39 and there a table of squares is found as a clue to room 4.  

Another solution from the Abyss is the idea that the salt shaker and pepper grinder are not a pair, so we should take that door. Although by itself this does not eliminate door 30. The 4 bear feet in the picture over head are paired and non-paired. Is this a clue for the “almost-pair” shaker and grinder? Or since it is the only “saint-side” door without bear feet over it, perhaps we should bring our feet to door 4. Or since “that” has 4 letters we could read “saints 4-way”.

The text gives us “count on me”, a clue to count things. We can count on the dice. On one die we see 1, 2, 3, and on the other die 4 total spots, and 4 is the correct exit.  The text also says something about claws and tusks, although bears do not have tusks. However, we can count claws and tusks. 1 claw on the umbrella, and notice it really is claw shaped and is different than the handle of other umbrellas we will see. Also, umbrella handles and walking sticks were traditionally made from ivory in the past, and given the elephant’s foot umbrella stand, and “tusk” in the text, I think we are meant to infer these are made from elephant tusks. So, 1 claw on the umbrella, 2 “tusks” in the form of canes, 3 “claws” in the form of toenails on the elephant food, and 4 claws on the bear’s paw holding the sign. We can also count sets of accessories. 1 – lone boot, 2 – a hat and coat (brought to our attention in the text), 3 items in the umbrella stand, 4 boots in the center of the room.

The word to the riddle clue in this room is “bear”, indicated both by the bear and by the bare bear feet in the poster above the doors, which we might associate with the 4 boots in the center of the room. I think this word would be hard to get without the other words of the clue in place, until then we might think of it as the pair/bear room. We might get a bit more help from room 37, since the door to 42 is completely “bare”. Also in room 25, the door back to here is marked with a crown. “For all to see” says the text, that is, it is laid “bare”. And the man above also has a “bare” crown. In that room the “bare crown” is associated with the “shorn and shave” crest of Raven from the raven poem. Another hint of it may be here in 42. Vewatkin noted the top of the coatrack could be a crown. And there is the bear of course.

As I discuss in the prologue this room is mentioned later along the path. In room 23, the first room after the center of the maze, the text tells us that “Now they realized it could rain where they were going”.  And one guest says, “We should have brought that bumbershoot with us from the coat room”, and then “You remember, the one with the animal.” This is a clue that, in the correct sequence, room 42 comes before room 23. And since in room 23 we can see there is a door to the center of the maze, room 45, we might infer that room 42 was on the path to the center if we did not already know that. The umbrella is also a (false) clue to the guide’s identity as discussed in the prologue. Room 23 also connects back here via the bear. Here we “witness a false bear” and there we should not “bear false witness”.

Finally we have an “uber-room-solution” here: Given all the Pairs in the room it is clear we are looking at a pair of dice and we should read “paradise” this is one of the very few things Manson actually confirmed he did in Maze. The one shoe is lost, much as the one in 38 is, and perhaps the hat is also lost as is perhaps the one in 18. We should read “paradise lost” and note that we have just left the “Adam/Eve/apple” room and Milton’s story involves them getting kicked out of paradise. Don’t bother pulling out your copy of Milton, however. From above the elephant foot and the things in it should give us “ivory” and with the pare thing right there, and “tusks” in text “ivory elephant tusks”. And in this context the “coat” is an animal hide. Thus we should be thinking along the lines of man’s destruction of natural paradises.  Now note in the text “we might not pass through here again”. We might think of this William Penn quote: "I expect to pass through this world but once. Any good therefore that I can do, or any kindness or abilities that I can show to any fellow creature, let me do it now. Let me not defer it or neglect it, for I shall not pass this way again." Now look at the poster of the bear/bare feet, and those 4 shoes, and well obviously we should be Saints and put shoes on the bear in the corner. “Saints THAT way” does not mean a door in this case – it means go to the bear”. And then yes, put the four shoes on the 4 bear/bare paws and exit via door 4.

The top hat here is an anagram of “to path” (Thanks SP). The guide says sincerely that he will help them to return, and here the top hat marks the shortest path back to room 1.

The text also says “Still the would not leave anything behind”. Look behind the sign. The bear’s foot is skeletal. This combined with “leave/leaf” in the text connects with room 31.

This room is a sephira on the Tree of Life and like many of those rooms in features a living (well stuffed) thing. This ones name is Hesed. It means loving kindness, and given the quote associated with this room, "I expect to pass through this world but once. Any good therefore that I can do, or any kindness or abilities that I can show to any fellow creature, let me do it now. Let me not defer it or neglect it, for I shall not pass this way again.", we have a good fit.

PRSR – 98%

Credits: Room level solution is mine and “count on me” solution. Saint Peter and Paul is mine. “Bear” word for riddle in old as are many basics. Some credits in text.

Room 43

The “Part” is just “TRAP” spelled backwards, and this is indeed a trap room. Good and bad both appear in the text twice. Repetitions generally are significant. I get “Fair” perhaps, by putting them together. Then that hole? We have a “bell” and maybe gate to “hell” with a sly devil over it. This hints the hole is perhaps a “Well”. Put them together and we have “Fair well”, an appropriate trap room message.

We have “PEEK” which is “KEEP” backwards. Then we have “YOUR SELF” and this means, gasp “yourself”. Then big thanks to Anchorperson Smith who removed the following thorn in my side: There is a “bell leaving” and the message is “Keep believing in yourself”. I see this as a hint that there is a way out of the TRAP. I went a completely different direction in 2012. I found “keep yourself out of hell” and started Christian reinterpretation based on that. But the author informed me I had gone astray. But perhaps not all that far. I had thought the bell has to do with Jesus, but it turns out that Bells in Maze symbolize faith. Here we can substitute “Keep faith in yourself” for “Keep believing in yourself” easily, but the best evidence for it is in room 8, with strong support in 11 and 20. And then both here and in 26 they are found with devils, and faith might be important for walking through the “gate to hell” in front of us.

The text asks “Is it good or bad to have only two choices?” But he also tells us they did not know how to phrase a meaningful question. This invites us to rearrange the question. He also says “You have to be very particular in this House” and in “particular” we can find “part”, which is also given in this room. This gives us even a bit more license, we are given the concept of word parts, and can use that concept. We can take words apart. I get “…Or, is it bad to have only good choice ‘twos’?” This borrows the “s” from the end of “choices” and puts it on “twos”. Also note that “room 22” is given in the text to help us along. This is our main directional indicator in this room, I think, and all roads lead to 22 in the Trap it seems.

The urn with “Your” on it connects to room 17 where we are told “’Your choices are more limited than you know’, I muttered to myself”. We should read this as “Your” choices are limited, that is where we see “your” as in 17 and here the choices are limited. At first glance that is just another message that this is a Trap. But if our choices here are limited in the same way as there, then we should can the clear path in front of us. There it is 45 and here it is 22.

Then we have a pot with “self” on it. There are connections to room 3 here. We find backwards words in both places, and we find pots in 3 and a pot here, and there is a self in 3. Manson uses himself in several puzzles there. This hints we should spell “Pot” backwards and this gives us “top”. Let’s assume that bell says “Tah!” then that backwards is “Hat” and we have “Top hat” an anagram of “to path”. And when the man that represents the guide is wearing his hat he is the guide to the path. Since the pot sits near 22 we have yet another indicator for this door. And we can also note that in 17 when the guide mutters to himself it can be a reference to the pot here.  

Vewatkin notes that if we take both objects as pots then we have “stop” here reinforcing “stop” in 22. I find this less good than the above but still quite possibly an intended meaning.

This room is a sephira on the tree of life. This one is known as “Natzat”. It is associated with “inspiring confidence” and the message here to “Keep believing in yourself” seems to fit well.

This room is described as “a great hall” and 4 is described as “a great hall”. They are the only two “halls” in MAZE except for room 1, an “entrance hall” rather than a “great hall”. (16 uses the word “hall” but in reference to 4). There we have the “foolish face” and in 43 we have the Devil over the door. Also in the door from 4 to 43 we have “ELL”. It’s not hard to put together the two halls and the “ELL” to get hell. But the question then becomes why? Are we to think the devil face here is foolish? Probably. But that’s about as far as I think we can read into it on reasonable footing. It becomes speculative after that. In trying to interpret what that might mean, we can note the fool in 16 seems to indicate the wrong door, and the victim certainly does not steer us right in 39. All three Halls are sephira on the Tree of Life, but that is unlikely to matter. The devil really has not been adequately accounted for. The bell is symbolic of faith it seems…hmm…hell’s bell…dunno. 

“Face over the door” could mean that the other 4 doors have something like a sun symbol over them like in room 4, but I don’t know what this gets us, if anything.

“It was…enough” could refer to the number of doors. Perhaps a pointer to 22, or just indicating there are enough to just go in a circle here.

Credits: The basic elements are old. Anchorperson Smith got a major chunk here. I found the exit pointers to 22 and “Fair well”.

Personal room satisfaction index 97%

Room 44

A cute door indicator may be that the croc ate(8) one(1) of the birds. There were 2 birds and 1 croc indicating 21 before that event. And with all the clock stuff in this room (see below) we might read “the croc struck one”. Then we would have “running mice” here and in 9. No wonder Maze has a cat (room4), lol.

This room turns out to be partly another lesson in Maze time keeping. Let’s do a room solution. Palm in the picture and in the text = “palm”. The rope circles a “handle”. Put them together and get “hand” and then reinforce with raised statue “hand” and the trees “waved”. There is a breeze, which is a wind. The rope is also “wound” around the column. Together we get “wind” with a long “I” sound. The animals are clearly going in circles. “Hand” plus “wind” plus “going in circles” = “clock”. Add that “croc” which rhymes and a “cuckcoo” and we Really have a “clock”. Chain/rope reinforce each other and added to clock give us a “pocket watch”. Then that pillar looks like it could be a winding key for the watch that would wind up the rope. So what the heck does that get us? Well if we look at our pocket watch, and if reflects “outside” time rather than “MAZE” time, the time in this room is either 7pm or 6pm from outside calibrations, with 6 being the better choice. It was 4 pm in room 19, and if you take the shortest path from there to here and back to room one, you click forward one hour per room. So it is 6 pm here, or 18:00, which clues door 18, sort of like the skeleton clock in room 13 did in a false way. The guests will take a big leap back in time through that door, however. The time here on the MAZE clock is “GC”, and it will be “ED” in 18. They will move forward one click of the big hand, as is normal on the correct path, but will also get dumped backwards one “MAZE day”. Every two revolutions of the MAZE clock causes events to happen simultaneously as in rooms 41 and 10. And that bit about “who left the door open” sort of gets us thinking in the direction of the guest nearly running in to themselves again. “Vanishing” through the wall also sort of gives the feeling of this jump back in time. This “re-setting” fits in with a message of “rebirth” which we will get to below.

Sp came up with a highly productive solution. The croc has 9 spikes on his collar. The part of the rope that is on the ground makes a 9. Together they make 18. There are 9 w’s in the text. Nine doubles = 18. There are 9 letters in both alligator and crocodile. (And bird crest, I add, and on the other side maybe “in the wind” or “watch wind”). Courtyard has 9 letters as does convinced. “they wanted to know” = “they wanted two no” = “they wanted two nein” = “they wanted two nine”. (I add “to each other” is “two” and then “nine” letters. There are 9 bricks in the arches. We also have “entirely” in the text to help with that idea.)

Now in room 21 there are yin-yang snakes. The dark one points to 31 and we find pestilence and death there. The white snake points here so we might expect a symbol of rebirth here and indeed there is one. We have two large uprights in the room. The text hints this is important – “all”, “followed” – both have double “L”s. Then we have “21 18” on the doors. Then from above we have the idea of putting together both halves of the room. Look cross-eyed at it for a while and over-lay the two. What is it? A fountain. Now lets note that the two columns look like a Freemason tracing board. What does a fountain symbolize there? The fountain of youth – rebirth. And you will get dumped 16 hours back in time, one MAZE day, and get to start fresh once to make your way back to one. The 9 w’s make sense in connection with this. On Masonic images two columns are sometimes depicted with a third in the middle that merges the outer two. The inner column is labeled “W” for “Wisdom”.

Let’s look at some minor stuff. The crocs tail points at 21, and this seems bad. The shadow of the column falls there too. There could be 18 spheres on top of ther tree, and maybe 18 leaves, and maybe 18 spirals on trunck. In this clockwork room the croc goes counter-clockwise. Another meaning for “palm” is to hold and the opposite is to release. That croc seems held and the palm and the statue palm are on that side. COURTyard is mentioned. The statue is not justice, but if it were her sword would generally be on the croc side, and scales on the other. Athena is associated with justice at least.

Then we have the possibility of PALM-reading. Circles are apparently very bad omens – so avoid 21. Two life “lines” can mean being surrounded by positive energy and thus maybe a clue to take door outside goalposts. Although another reason to choose the door outside the goalposts would be nice. 

Vewatin notes the appropriateness of the left picture for door 21, because all you can do there is go around in a small circle and/or get caught in a trap. I would also note that the symbolism of “winding the watch” works well with the time jump through that door. He also notes that Athena raises one arm. The door choices are either _1 of 1_ and the latter could be indicated by the arm. And 18 is the correct exit.

Could the two loops represent an 8 and then part of a door indicator? Perhaps if we note that the chain goes in circles without winding and the rope does wind up, we could take door 18 to “wind up” back at the start. 

Regarding maps of this room and 31, 21, and 19, these rooms are normally drawn as part of the “loop” rooms, but now it seems clear to me they should be drawn as just outside the house on the main path, and then the move to 18 would be a big jump across the page.

Another thing here is the “statues” in the text and the one full statue we can see. (The others seem to be a pilgrim and a Native American). The riddle of the guide sends us on a quest that is partly “follow the birds”, and we end up with more clues to the identity of the guide. The center statue is “Pallas Athena” and from the Raven poem we have that the bird perched on “a pallid bust of Pallas”. Many Native American tribes considered Raven a god of course, and crater of the world and mankind, so that fits in to the “Raven” clues as well.

“We came in that way” is the guide being honest if coded. That is the way back to room one, and where they came in to the MAZE. It is NOT the way this room was entered, however, and the text alludes to that fact. For the riddle of the guide - We get here from 23 which talks of the 2 trees outside. We go on from here to room 1 because “we came in that way”.

Odd ends: awful lot of “C” words here. Is there another outside the goal-posts solution? Vewatkin notes that the chain is not dragging behind as we might expect.

Credits: Mine I think, except as noted.

Personal room satisfaction index = 97%

Room 45

Much of what needs to be said about this room is in the introduction. Traditionally the riddle is either, “In what house will all live?” Or “What house will all live in?” I think that is probably not quite right. Manson has only ever confirmed that it was close. I think “All” and “None” give us something in between, and the publisher’s clue says “You must choose “between” two pictures. I think the correct question is “In what house will some live?” (I tried “one” and Mr. Manson said I nearly had the riddle correct). This fits in with room 11, where “Live!” instructs us to avoid the Trap, and room 19. Room 22 tells us we will find hope for escape from the trap in 19, and 19 tells us roughly we can avoid the tomb and “live” by exiting into the world and hints at how to do it, and this is what we can do in room 6 by looking into Raven’s eye, and crossing between worlds. The riddle of the Maze part 2 in room 40 tells us “I measure man by a sole truth”, and I think this truth may just be the answer to the riddle of the Maze – “Some will live in the World”.

Some refinements to the traditional understanding of the publisher clues might include the following (see prologue): “displayed their own kind of symmetry” may mean “object” and “observer”. The “Z” is so long, I think because “IN” would be too easy otherwise. Then there are “no two ways to read this sign” is probably just a convoluted way to say “there are many ways to read this sign”. 

Additionally we might note that “all” is in the text which might help separate it from the other choice “nun”, as at least the better of the two choices. “One” is also in the text. “Live” is in the text, which might help choose it over “evil”. “In” is also in the text.

The “eye” could be a bird’s eye, and it is very close to the “LIVE” sign, a clue that looking into Raven’s eye is a way out of the TRAP in 6. 3 instances of “look” help there too.

We need to find the correct exit door. The only objects here not involved in the riddle are the table and chair. Take the numeric value of each of the first letters and add them. 20+3 = 23, and that is the correct exit. The text may hint at that by saying at the end “now we have to find our way back”, as if you could only possibly find this exit indicator if you had already used up all the other objects in the room for the riddle. The spear also points to the correct door (Thanks sp). Also from sp the U could be a magnet pulling us to door 23. Also I + A + M = 9 + 1 + 13 = 23 (“I am 23”), confirming the spear idea.

In room 45 the text has “whoever lived here was a careless person to leave so many things around. They were wrong”. One thing this does is clue us that every item in Maze is important, sometimes in more ways than one. But also given that the Riddle is “In what house will some live?” we should start thinking about who lives here, that is, who is the guide? For reinforcement we can pick up a couple of items and easily get “Who am I?” (W + shoe = who). We can also get “Am I evil?” Also, “See who I am?” The text says “As far as you are concerned” and “you are” is a form of “I am” and can help us know to look in many rooms for the guide’s identity.

To find the answer we can follow a number of different trails of breadcrumbs from room to room. Let’s start with the trail to room 29, because that is where I picked up the trail of the “Riddle of the guide” and then back tracked it to here. I already had nearly all the Raven pieces, but that is where I figured out how to put them together. In 45 we have “They looked and looked” and “after one last look around”. Repeated things are almost always important in Maze. The looks have a function here, but only AFTER you know who the guide is.

Let’s follow “look, look” to room 29 where that is exactly what the blind man says. He also tells us that “here blindness is no disadvantage”, which is confusing in context. But it is really the next link in the trail. We are supposed to follow it to another room. Obviously that room is 24, etc...this leads us to 23 to 44 to 1 to 19 to 36 where we take in the sites of rooms 7 and 16 and then 32 and to 21 and “We know the name”, and from there we continue to 35 and finish in 6 where escape from the Trap is possible.

Regarding the riddle of the Maze “Do you think it is written on the wall for all to see?” this clues us that the 2nd half of the riddle is indeed written on the wall, in room 40. The text says “what Maze teaches can be learned in every room” and this is a bit of a clue to decode room 40, since we need the “word value” for a number of Maze rooms to decode it.

Personal room satisfaction index = 99%

Credit – very little of the non-guide stuff to me, except for “some” instead of “all”, and then I had help, because I guessed “one”. It was almost all done where I got here. 20+3=23 is mine. The clues in the text I found independently, but probably they were known long ago. As for the guide - White Raven found it first, I did as well mostly independently, but a big help was to know I was looking for it. The Raven poem I found.