Digital Escape Room: Fairy Tale Quest FAQ Guide

Total Page：16

File Type：pdf, Size：1020Kb

Digital Escape Room: Fairy Tale Quest FAQ Guide • If you are having a hard time reading images please try using Zoom, hold the keys CTRL, SHIFT, and + together to increase size on screen. • Puzzle 1 o You will need to unscramble the letters to make four words. o A common phrase at the start of a fairy tale. o All lower case letters. • Puzzle 2 o Use the alphabet and number key at the top to create a message. o What number is mentioned in the message? o How many colors are in a rainbow? o Just use the number, do not spell it out. • Puzzle 3 o The riddle is referring to a common item used in fairy tales, a specific example would be the evil queen in Snow White. • Puzzle 4 o Did you open the link in a new tab? (if link is not working please contact us at [email protected]) o Are you using the directional key? o Directions are from your perspective looking at your device, not as if you were in the maze. o Answer should be all upper case with no spaces. • Puzzle 5 o Not all of the missing words will be used to fill in the blanks. One word per blank. o Did you notice the highlighted letters? o Hidden message will need to be unscrambled. Three words and all lower case letters. o Open the link to the book in a new tab, it uses the words you need in the story. • Puzzle 6 o Did you open the link in a new tab? (if link is not working please contact us at [email protected]) o The dragon can be hard to find try using the zoom function to get closer. o Did you click on the dragon when you found it? Did a link pop up for you to click? (if link is not working please contact us at [email protected]) o If the link does not pop up, use this link: https://bit.ly/thedragonishere • Puzzle 7 o You could try looking up the Brothers Grimm and their most popular fairy tales by opening a new tab in Google. o Using the image, subtract and add letters or words to create a new word. o Try entering an answer, the error message for each word puzzle includes helpful hints! • Puzzle 8 o Caesar Shift ciphers use the alphabet as a key, then you will take the number given and shift up/left on the alphabet from the letter in the scrambled message to find the correct letter. o There are cipher decoders on the internet if you would like to open a new tab and look for one using Google. o All lower case and three words. • Puzzle 9 o Open a new tab before searching in Google. o Try entering an answer, the error message for each word puzzle includes helpful hints! • Puzzle 10 o Are you using the suggested Color Code key? o Answer should be all capitalized with no spaces. o The gems should be put in from top to bottom across from their symbol. o Do these symbols represent some of the characters you met during you quest? o Think about your quest, who did you meet and what did you help them with? .

Copy Link

Recommended publications

An Analysis of the Devil in the Original Folk and Fairy Tales
Syncretism or Superimposition: An Analysis of the Devil in The Original Folk and Fairy Tales of the Brothers Grimm Tiffany Stachnik Honors 498: Directed Study, Grimm’s Fairy Tales April 8, 2018 1 Abstract Since their first full publication in 1815, the folk and fairy tales of the Brothers Grimm have provided a means of studying the rich oral traditions of Germany. The Grimm brothers indicated time and time again in their personal notes that the oral traditions found in their folk and fairy tales included symbols, characters, and themes belonging to pre-Christian Germanic culture, as well as to the firmly Christian German states from which they collected their folk and fairy tales. The blending of pre-Christian Germanic culture with Christian, German traditions is particularly salient in the figure of the devil, despite the fact that the devil is arguably one of the most popular Christian figures to date. Through an exploration of the phylogenetic analyses of the Grimm’s tales featuring the devil, connections between the devil in the Grimm’s tales and other German or Germanic tales, and Christian and Germanic symbolism, this study demonstrates that the devil in the Grimm’s tales is an embodiment of syncretism between Christian and pre-Christian traditions. This syncretic devil is not only consistent with the history of religious transformation in Germany, which involved the slow blending of elements of Germanic paganism and Christianity, but also points to a greater theme of syncretism between the cultural traditions of Germany and other
[Show full text]
The Tales of the Grimm Brothers in Colombia: Introduction, Dissemination, and Reception
Wayne State University Wayne State University Dissertations 1-1-2012 The alest of the grimm brothers in colombia: introduction, dissemination, and reception Alexandra Michaelis-Vultorius Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the German Literature Commons, and the Modern Languages Commons Recommended Citation Michaelis-Vultorius, Alexandra, "The alet s of the grimm brothers in colombia: introduction, dissemination, and reception" (2012). Wayne State University Dissertations. Paper 386. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. THE TALES OF THE GRIMM BROTHERS IN COLOMBIA: INTRODUCTION, DISSEMINATION, AND RECEPTION by ALEXANDRA MICHAELIS-VULTORIUS DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: MODERN LANGUAGES (German Studies) Approved by: __________________________________ Advisor Date __________________________________ __________________________________ __________________________________ __________________________________ © COPYRIGHT BY ALEXANDRA MICHAELIS-VULTORIUS 2011 All Rights Reserved DEDICATION To my parents, Lucio and Clemencia, for your unconditional love and support, for instilling in me the joy of learning, and for believing in happy endings. ii ACKNOWLEDGEMENTS This journey with the Brothers Grimm was made possible through the valuable help, expertise, and kindness of a great number of people. First and foremost I want to thank my advisor and mentor, Professor Don Haase. You have been a wonderful teacher and a great inspiration for me over the past years. I am deeply grateful for your insight, guidance, dedication, and infinite patience throughout the writing of this dissertation.
[Show full text]
Grimms Fairy Tales Free
FREE GRIMMS FAIRY TALES PDF George Cruikshank,Jacob Grimm,Grimm Brothers,Wilhelm Grimm | 400 pages | 17 Jun 2011 | Penguin Books Ltd | 9780141331201 | English | London, United Kingdom The Brothers Grimm fairy tales had unexpected origins The first edition contained 86 stories, and by the seventh edition inhad unique fairy tales. Philipp was a highly regarded district magistrate in Steinau, near Kassel. Jacob and Wilhelm were sent Grimms Fairy Tales school for a classical education Grimms Fairy Tales they were of age, while their father was working. They were very hard-working pupils throughout their education. However, intheir father died at the age of 44 from pneumonia. This was a tragic time for the Grimms because the family lost all financial support Grimms Fairy Tales relied on their aunt, Henriette Zimmer, and grandfather, Johanne Hermann Zimmer. At the age of 11, Jacob was compelled to be head of the household and provide for his family. After downsizing their home because of financial reasons, Henriette sent Jacob and Wilhelm to study at the prestigious high school, Lyzeum, in Kassel. In school, their grandfather wrote to them saying that because of their current situation, they needed to apply themselves industriously to secure Grimms Fairy Tales future welfare. Shortly after attending Lyzeum, their grandfather died and they were again left to themselves to support their family in the future. The two became intent on becoming the best students at Lyzeum, since they wanted to live up to their deceased father. They studied more than twelve hours a day and established similar work habits. They also shared the same bed and room at school.
[Show full text]
The Green Fairy Book
THE GREEN FAIRY BOOK EDITED BY ANDREW LANG 1892 CONTENTS To The Friendly Reader The Blue Bird The Half-Chick The Story Of Caliph Stork The Enchanted Watch Rosanella Sylvain And Jocosa Fairy Gifts Prince Narcissus And The Princess Potentilla Prince Featherhead And The Princess Celandine The Three Little Pigs Heart Of Ice The Enchanted Ring The Snuff-Box The Golden Blackbird The Little Soldier The Magic Swan The Dirty Shepherdess The Enchanted Snake The Biter Bit King Kojata Prince Fickle And Fair Helena Puddocky The Story Of Hok Lee And The Dwarfs The Story Of The Three Bears Prince Vivien And The Princess Placida Little One-Eye, Little Two-Eyes, And Little Three-Eyes Jorinde And Joringel Allerleirauh; Or, The Many-Furred Creature The Twelve Huntsmen Spindle, Shuttle, And Needle The Crystal Coffin The Three Snake-Leaves The Riddle Jack My Hedgehog The Golden Lads The White Snake The Story Of A Clever Tailor The Golden Mermaid The War Of The Wolf And The Fox The Story Of The Fisherman And His Wife The Three Musicians The Three Dogs 1 TO THE FRIENDLY READER This is the third, and probably the last, of the Fairy Books of many colours. First there was the Blue Fairy Book; then, children, you asked for more, and we made up the Red Fairy Book; and, when you wanted more still, the Green Fairy Book was put together. The stories in all the books are borrowed from many countries; some are French, some German, some Russian, some Italian, some Scottish, some English, one Chinese.
[Show full text]
Read-Aloud: Anthology: Different Lands, Similar Stories
grade 1 Core Knowledge Language Arts® • Listening & Learning™ Strand Different Lands, Similar Stories Similar Lands, Different Tell It Again!™ Read-Aloud Anthology Read-Aloud Again!™ It Tell Diff erent Lands, Similar Stories Tell It Again!™ Read-Aloud Anthology Listening & Learning™ Strand GRADE 1 Core Knowledge Language Arts® Creative Commons Licensing This work is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by-nc-sa/3.0/ Copyright © 2013 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts, Listening & Learning, and Tell It Again! are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners.
[Show full text]
First 100 Stories for Story Listening Stories Beniko Mason First
First 100 Stories for Story Listening stories Beniko Mason first I have been telling fairy tales and folktales from around the world in class as an English lesson since 1990. The combination of listening to stories and reading books has helped my students do well on tests without output or grammar studies. Story- Listening is so powerful that students improve rapidly in listening comprehension and acquire many words. There are countless stories in the world, but I happen to like Grimm Brothers’ house- hold tales. Almost all stories start with, “Once upon a time…” “Once upon a time there was a rich king.” “Once upon a time there were three brothers.” “Once upon a time there was a soldier.” They always start with an introduction of a main character. These stories are very suitable for story-listening lessons in different ways. The stories have interesting content; they are written in rich language; there are many different situations, problems, and characters; and they have stood the test of time. I have gathered here the first 100 easier stories for you to choose from to use for your classes. I will only give you the titles. You can download them from any sites that have the collection of Great Grimm Brothers’ household tales. These stories are not just for children. They deal with many different themes that children may not understand yet, such as deception, loyalty, and true love. Thus, story-listening is not just for children, but for adults also. Story-Listening can be used for any age and also at any levels of proficiency.
[Show full text]
Bogaziçî UNIVERSITES! Dergisi
1070 99 BOGAZiÇÎ UNIVERSITES! DERGISi Bes.eri Bilimler — Humanities Vols. 8-9 - 1980-1981 THE VITAL EQUILIBRIUM: WHAT MAKES A NARRATIVE A FAIRYTALE * Dilek Doltas a ABSTRACT This study aims at emphasizing the integral nature of the fairytales genre by illustrating the delicate balance of style and content apparent in all long-lasting and widely appealing fairy tales, independent of their origins. It also wishes to point out how these tales lose their effective ness and their relatively universal appeal if this balance were forfeited or even disturbed. By com paring four variants of a widely known fairytale, recorded in four different countries at different times in history, the study will seek to establish the sort of modification that can be made in one and the same tale, in order to make it conform to the distinct customs, values, and beliefs of distinct socio-cultural units without disturbing the essential balance of style and content. It may also lead us 10 understand which themes, types, and motifs appear to be constant in these tales and which si. m to change in different variants, reflecting the specific backgrounds of their reciters and au- i: 'dice. Fairytales have been in existence as a form of traditional oral narrative for hundreds of years. According to the Oxford English Dictionary the first reference to the "fairytale" was in 1749. The fairytale scholars lona and Peter Opie explain Doç. Dr., Department of Linguistics and Lit' latme, Hogazii, University. 100 DILEK DOLTAÇ in The Classical Fairytales that the term "fairytale" was derived, most likely, from Countess D'Aulnoy's book Contes de fées, published in 1698 and translated the follow ing year in London as Tales of the Fairys.
[Show full text]
Grimms Fairy Tales Ebook, Epub
GRIMMS FAIRY TALES PDF, EPUB, EBOOK George Cruikshank,Jacob Grimm,Grimm Brothers,Wilhelm Grimm | 400 pages | 17 Jun 2011 | Penguin Books Ltd | 9780141331201 | English | London, United Kingdom Grimms Fairy Tales PDF Book After graduating, Jacob moved to Marburg in to study law at the university; Wilhelm followed a year later. The Willful Child. Includes an episode of type , Loading a Beam Crosswise on a Wagon. The Singing, Springing Lark. Type A, Praying to the Statue's Mother. Type , The War between the Birds and the Beasts. Der Liebste Roland. Arnim and Brentano had published a collection of old German folk songs, and Brentano, wanting to continue his philological pursuits, asked the Grimms for their help in combing library shelves for folktales. In order to save folk tales and preserve them for future generations, the German Brothers Grimm collected stories that had been passed from generation to generation. Not wanting anyone to know what happen, the stepmother devises a plan to make her daughter believe she did it, and then, the stepmother cooks the poor boy and feeds him to his father! The end. They were very hard-working pupils throughout their education. A young princess will only marry if her intended agrees to one thing: if she dies first, he will be buried alive with her. Der Geist im Glas. Continue Reading. Reimer edition at the end of volume 2. Das kluge Gretel. The Twelve Apostles. One day, the beautiful girl is spinning by the well and injures her finger, causing her to drop the shuttle in the well. Type , The Magic Bird Heart.
[Show full text]
The Iron Stove
THE YELLOW FAIRY BOOK EDITED BY ANDREW LANG 1894 CONTENTS Dedication Preface The Cat And The Mouse In Partnership The Six Swans The Dragon Of The North Story Of The Emperor's New Clothes The Golden Crab The Iron Stove The Dragon And His Grandmother The Donkey Cabbage The Little Green Frog The Seven-Headed Serpent The Grateful Beasts The Giants And The Herd-Boy The Invisible Prince The Crow How Six Men Travelled Through The Wide World The Wizard King The Nixy The Glass Mountain Alphege, Or The Green Monkey Fairer-Than-A-Fairy The Three Brothers The Boy And The Wolves, Or The Broken Promise The Glass Axe The Dead Wife In The Land Of Souls The White Duck The Witch And Her Servants The Magic Ring The Flower Queen's Daughter The Flying Ship The Snow-Daughter And The Fire-Son The Story Of King Frost The Death Of The Sun-Hero The Witch The Hazel-Nut Child The Story Of Big Klaus And Little Klaus Prince Ring The Swineherd How To Tell A True Princess The Blue Mountains The Tinder-Box The Witch In The Stone Boat Thumbelina The Nightingale Hermod And Hadvor The Steadfast Tin-Soldier Blockhead-Hans A Story About A Darning-Needle 1 DEDICATION TO JOAN, TODDLES, AND TINY Books Yellow, Red, and Green and Blue, All true, or just as good as true, And here's the Yellow Book for YOU! Hard is the path from A to Z, And puzzling to a curly head, Yet leads to Books—Green, Blue, and Red.
[Show full text]
Modern Storytelling: the Power of Myth Revisited
Rowan University Rowan Digital Works Theses and Dissertations 5-31-1996 Modern storytelling: the power of myth revisited Laura J. Kaighn Rowan College of New Jersey Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Library and Information Science Commons Recommended Citation Kaighn, Laura J., "Modern storytelling: the power of myth revisited" (1996). Theses and Dissertations. 2175. https://rdw.rowan.edu/etd/2175 This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. MODERN STORYTELLING: The POWer of Myth Revisited by Laura J. Kaighn A Thesis Submitted in partial fulfillment of the requirements of the Masters of Arts Degree in the Graduate Division of Rowan College May 1996 Approved by Date Approved W cu- Iq I? f U C 1996 Laura J. Eaighn ALL RIGHTS RESERVED ABSTRACT Laura J. Kaighn MODERN STORYTELLING: The Power of Myth Revisited, 1996. Thesis Advisor: Regina Pauly, School and Public Librarianship, Rowan College of New Jersey. This thesis paper examines the art of storytelling in its modern form. Its purpose is to evaluate the continued use and worth of fairy tale literature within a modern, industrialized society. Through the use of fairy tale literature and interviews of local storytellers it attempts to redefine storytelling as an essential art form and educational medium. Storytelling not only perpetuates our cultural norms and values, but also our sense of humanity as well.
[Show full text]
Cinderella Stories – a Multicultural Unit Reference Book
Cinderella Stories – A Multicultural Unit Reference Book: lots of information and activities The Oryx Multicultural Folktale Series: Cinderella By Judy Sierra Oryx Press - 1992 TITLE AUTHOR COUNTRY Angkat Jewell Reinhart Coburn Cambodia Yeh-Shen Ai-Ling Louie China The Egyptian Cinderella Shirley Climo Egypt Cinderella Susan Jeffers France Raisel’s Riddle Erica Siverman Jewish The Rough-Face Girl Rafe Martin Algonquin Indian The Turkey Girl Penny Pollock Native American Cendrillon Robert D. San Souci Caribbean The Persian Cinderella Shirley Climo Persia The Talking Eggs Robert D. San Souci American South Domitila Jewell Reinhart Coburn Mexican Tattercoats Bernadette Watts English Mufaro’s Beautiful John Steptoe African Daughters The Irish Cinderlad Shirley Climo Ireland Vasilisa the Brave Marianna Mayer Russian The Golden Sandal Rebecca Hickox Middle East Princess Furball Charlotte Huck British Isles Bubba the Cowboy Prince Helen Ketteman Fractured Texas Tale The Little Glass Slipper Charles Perrault France Aschenputtel Grimm Germany Hearth Cat Portugal Katie Woodencloak Norway The Wonderful Birch Finland The Story of Mjadveig Iceland Benizara and Kakezara Japan Cinderella stories originated through the oral tradition of storytelling. That is one of the reasons there are more than 1500 versions of this tale. They can be found in more parts of the world, told in more languages, and in more different ways than any other folktale. The power of Cinderella is its universality. This story shows that within everyone there are common longings and fears. No matter what the culture, the characteristic elements are the same: a young girl (sometimes a young boy) is mistreated by her family, she overcomes this problem with magical help or by her own wits, her true good nature is revealed, in the end good triumphs over evil and she is rewarded.
[Show full text]
Grimms Script July 2011.Cwk
1 Main Cast YOUNG LAD* (high tenor: A below middle to C above middle C) WOLF (baritone: low A - E above mid C) LITTLE BLUE* formerly Little Red Riding Hood (alto - mezzo) GRANNY (alto - mezzo) GRETEL, becomes YOUNG LAD’s PRINCESS* (alto - mezzo - high F) RAPUNZEL (alto) WARTED WITCH (aka WARTY) (alto - mezzo) WHICH WITCH (aka WHICH) (alto - mezzo) SLEEPING BEAUTY’S PRINCE, becomes MEAN OLD KING* (high baritone: Bb low on F clef to F above mid C) SAUSAGE (aka FRANK) * (male or female role, baritone or mezzo: high E) BLUE BEARD, becomes MONSTER (low Bb - mid C) SNOW WHITE , becomes MONSTER’S MAMÁ * (soprano: high Ab) HUNTSMAN, becomes WATCHMEN, FERRYMAN, GOOD KING * (bass: to Eb above mid C) CINDERELLA’S STEPMOTHER , becomes MUDDER* (soprano: high G) SNOW WHITE’S STEPMOTHER, becomes QUEEN (alto or mezzo: high F) ONE DWARF, becomes ELDER BRUDDER THIEF* (alto, tenor, or bass) TWO DWARF, becomes TWO THIEF* (alto, tenor, or bass) THREE DWARF, becomes THREE THIEF* (alto, tenor, or bass) FOUR DWARF, becomes FOUR THIEF* (alto, tenor, or bass) FIVE DWARF, becomes FIVE THIEF*(alto, tenor, or bass) PUSS IN BOOTS *major singing roles Bit Parts Played by Chorus Members RUMPELSTILTSKIN, becomes MILLER SLEEPING BEAUTY, becomes MILLER’S WIFE HANSEL, becomes HUSBAND FROG PRINCE & CHORUS FROG’s PRINCESS CINDERELLA, becomes BIRTH MOTHER (alto or mezzo) CINDERELLA’S STEPSISTER, becomes SERVANT SNOW WHITE’S PRINCE PEA PRINCESS GOLDEN GOOSE (or could be mechanical) SIX DWARF SEVEN DWARF CINDERELLA’s PRINCE (appears only in final scene) 2 Prologue (In blackout we hear LITTLE BLUE’s scream and WOLF’s growl from a distance, rapidly getting louder as lights come up to reveal Grimmlanders all gathered onstage.
[Show full text]