Comments on: Room 26

By: White Raven

White Raven — Thu, 17 Sep 2026 22:33:57 +0000

This is Fox, website admin for Into The Abyss. Max’s comment is post number 10,000! :)

By: sp

sp — Thu, 17 Sep 2026 19:33:41 +0000

I don’t think anyone has mentioned the trap doors explicitly in this room, I think it’s a good observation. And there is no trap door below the correct door.

By: Max

Max — Fri, 11 Sep 2026 06:48:49 +0000

This almost feels too simple, but aren’t the trap doors in front of 36 and 38 indications that they are… trap doors? As in, the wrong doors. Door 38 is literally a trap door since it leads to a trap room, which could be indicated by the fully visible devil in front of it, while the trap door in front of 36 is only slightly opened and has no visible devil because it is also wrong, but less bad.

By: Harsh

Harsh — Sat, 22 Aug 2026 11:55:44 +0000

Actually remember this book, but just getting around to working on it. I noticed that there are three children in the story, determined from page #1 and the 3 door choices. In page #26 the narrator says:

despite the intentions of my visitors, or perhaps because of their intentions.

Since there are three children and they each have in-ten-tions would that not be 3-in-ten and equal the answer that door #30 is the correct next path?

Just a thought, haven’t really uncovered a good explanation of why door 30 is the right choice from other things I have read.

By: Ghost

Ghost — Mon, 13 Jul 2026 16:37:02 +0000

Not sure if this has been mentioned yet, but the squares along the barrier of the stage add up to 17, perhaps a nod to the hidden 17 door later on.

By: DPZee

DPZee — Mon, 06 Jul 2026 15:51:58 +0000

“Not enough light in here,” they remarked. “Not very tidy either.”

These two sentences drive me crazy. Everything about this book is meticulously crafted, yet we’re shown a brightly lit theatre that IS tidy?

We know the correct choice is room THIRTY

“noT veRY Tidy eItHer”

which just HAPPENS to be contained in this sentence? ‘TIDY’ is such a chosen word, like it had to be there for the puzzle to work. And we’re left with ‘NO VE IDY ETER’ for the rest of the potential anagram.

Next we’re told “They objected to my TONE”. Ringing bells are also tuned to tones. The Bell is in drawn in the room, but the patrons in the audience are also ‘SHH’ing. TONE is still in the remaining letters of:

“NO vE idy eTer”

so lets remove them (shh) and are left with ‘V IDY EER’.

Secondly, “Not enough LIGHT in here”. People don’t talk like this. They say “It’s too dark”, so I think there’s a second wordplay clue in here. Maybe it means add “LIGHT” to the remaining letters ‘VY ID EER’ + ‘LIGHT’?

And now we ended up with “DEVILRY THIRTY EIGHT”.

TBH, I was hoping it pointed us to room 30 but maybe it’s a future room hint as well, “THIRTY, EIGHT, DEVILRY” which isn’t as clear. Thoughts?

By: Gideon Johnson

Gideon Johnson — Sun, 05 Jul 2026 06:14:10 +0000

With the multiple devils and the large container of salt, this room is a clear reference to the old superstition “If you spill salt, that results in bad luck. But this can be reversed by throwing salt over your left shoulder to ‘blind the devil behind you.” The key part of that is that it is specifically your LEFT shoulder you must throw salt over.

Combine that with the prose saying “MOST patronizing voice”, the complete clue is simply “Leftmost”.

As for the objects in the room. That’s another hint, as the narrator reacts when the contests “get to close to something” and the correct door is the one furthest from any object. The sign that reads “A” is a clue for the next room, not this one.

By: vewatkin

vewatkin — Mon, 03 Nov 2025 19:55:28 +0000

By: davidws

davidws — Fri, 31 Oct 2025 05:36:04 +0000

Does anyone else see that devil emerging from the stage as the launch of a trident ballistic missile from a submarine? If that other devil is a Voyager probe helping us learn about the solar system as suggested in the posts, then perhaps we’re being shown starkly contrasting ways to use some of our most powerful technology, raising the question of our role in our own story. After some inspired googling, I would like for the two fellows in the audience to be whirling dervishes of the Mevlevi Sufi order. Their hats represent the tombstone of the ego. Their whirling represents the motion of the planets. They follow the poet Rumi who has this lovely poem:

In the echo of silence,
The whispers of the divine are heard,
A melody sung by the universe,
A song without a single word.
Listen to the echo, my dear,
And let your soul be stirred,
In the silence, you’ll find,
The divine’s sacred word.

The guide has a far more sinister plan as demonstrated by his bell ringing disruption of the silence. Perhaps that is Rumi shown in the picture in Room 20…

By: vewatkin

vewatkin — Tue, 09 Sep 2025 17:47:01 +0000

I responded to your comment at length the day you posted it, but my post didn’t appear. I tried again, again at length, and my comment did not appear. It now appears that I can post comments again, but my long responses are still lost. I’ll try to summarize what I said before.

My decades of experience with Maze don’t give me any expertise to determine what makes sense and what doesn’t. Plenty of folk with lengthy Maze experience, including the owner of this website, disagree completely with me about their general understanding of Maze. But one advantage my experience gives me is that I have seen a lot of people do the kinds of things you’re doing, convincing themselves that they have tapped into the mindset of Manson and retraced his methods, when to others it appears that you are drawing meaningless connections of the sort that will always arise when given a book full of deliberate and archetypal symbols, and an unbounded field of potential references. (Basically, you can look for any resonances between Maze and anything in human culture before 1985–history, art, science, literature, mythology, ANYTHING.)

The kind of stuff you’ve been suggesting across this site does not look intentionally inserted in the book, and does not seem like a rational message or puzzle on its face.