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Earthquake San Francisco 1906: Finished!   11 comments

From Mobygames.

Mostly parser struggles up to the end, although there was one bit where the coding just had bizarre issues. As usual, you should read my previous entries about this game before getting to this one.

I made some small progress on my own via my first “off the keyboard” solve in a while — I was standing in line at a store waiting when I decided to run through game scenarios in my head, and it intuitively occured to me if the game wasn’t letting me use the ladder to get across the crack (even though that’s reasonable based on the depicted size) maybe I could pole vault over. Back on the computer, I tried VAULT and got a response WITH WHAT?, which meant I was on the right track. I needed a pole, but I was out of options for finding one, and meandered uselessly across the map for long enough I set a timer (15 minutes) and resolved to check hints if I couldn’t make progress in that time. (I’d already done this twice earlier in the game, and both times I had a breakthrough.) With no luck anywhere, I finally found out I was supposed to sit on a cushion.

Hmm, OK. Except SIT and SIT ON CUSHION and any other plausible variant fails to be recognized. I finally hit upon


and had to stop playing for a while, because I was infuriated. Usually I can laugh goofball parser antics off, but somehow this one made me feel much less worse than normal, especially since the end result was causing an “EVIL LOOKING MANDARIN” to bring a plate of food. Eating the food leaves a FORTUNE


The only gate I could think of was the iron gate that I struggled earlier to unlock, so I poked and prodded and searched and got absolutely nothing, and because my patience was ruined by the earlier puzzle, checked to find I had to PULL IRON GATE which somehow yields an IRON ROD.

VAULT works with the iron rod, leading to a pagoda with a locked glass door. Given I’d used most of what I was carrying (except the paddle and diamond) I tried out the diamond:

Then I got stuck again (the graphic suggests I’m supposed to reach through the hole and unlock from the other side) until I realized the game is obsessive about the verb CLIMB, which works to go directly to another locked door. Some frustrating wandering later (and using the philosophy that almost every room has something, and the garden next to the restaurant hadn’t been used yet) I came across a helpful person who gave me a brass key for no apparent reason.

The word here shows up in older dictionaries without much fuss (see Fowler’s 1926) as an analogue to “Irishman”, “Englishman”, etc., but still had some slur use early, and by 1945 H.L. Mencken points out it is definitely considered a slur in the Chinese community (see Hughes, An Encyclopedia of Swearing). It’s possible someone circa 1981 might overlook the problem but remember “EVIL LOOKING MANDARIN” just happened too.

Passing through yet another locked door, I finally found myself on a street with a dead body.

This scene will come up again later.

Heading east my progress was blocked off yet again, so I dutifully toted my inventory over — including Fruity the small dog, meaning the wet pants are canon — and Fruity was helpful one more time.

You have to leave for a while and come back to find a hole dug. Fruity takes off, I choose to assume to safety.

The hole dug by Fruity led me to a hotel room and yet more frustration.

Despite the game never having any prior, the safe is a red herring. I wasted so many verb attempts trying to get something to happen.

Trying to go any of the directions led to HUH? I just shrugged and looked up the next step: PRY BOARDS. They’re in the picture but I don’t know how to make “BOARDS” show up in the text description, which makes it the first and only time in the entire game where this happens.

This led me to a soldier who wanted me to drop my stuff so he could steal it.

Good atmosphere, but too bad the game keeps alternating good moments and frustrating ones.

This would have been fine had the soldier only appeared once, but he camps if you bring along any items whatsoever. It turns out — again I just looked up hints — you can OPEN DOOR in one of the locations just past the soldier, which will lead you back to the hotel room. Then, subsequent OPEN DOOR commands will let you skip the soldier area. I assume the intent was a door that was locked on the other side that you then unlocked, but if you try to refer to that door from in the hotel room before reaching it from the other side, the game just goes “HUH?” like it doesn’t exist.

Finally I reached a dock for escape from San Francisco, only to get stopped again.

The key here is the dead woman I left behind earlier — you can dump your wet pants and UNDRESS her to get her dress, which is apparently sufficient to disguise as a woman. If that makes you feel uneasy, just wait for the next scene:

After a few turns, a hole appears…

…and the boat sinks and everyone dies, except you manage to swim to a piece of floating wood.

Some use of the paddle later and you make it to Oakland, and can hop on a wagon.

A quick reminder because it sure was easy to forget when playing: our goal was to reach the Portman Hotel in Oakland to pay some kidnappers and get your wife back. You need to pay attention when the wagon is passing by the aforementioned hotel and CLIMB DOWN, because if you stay on any longer the wagon tumbles down a hill and everyone dies.

I was disappointed at the end — I was expecting to have a double-cross, and maybe a shoot-out using my handgun, but no — you just PAY the dodgy-looking gentleman (assuming you remembered to bring your cash from the start of the game all the way to the end) and you get a win screen.

The immediate words that come to mind here are “wasted potential”. There’s a fair number of intense scenes: you get buried under a building and the screen turns black, you have to shoot a soldier who thinks you’re a looter (or is just shooting without caring), you have to deal with a soldier who is himself a looter, and the boat to safety turns out to be a deathtrap. However, the overlay of parser frustration ruined many of the parts, and the tone was just off — it’s simply difficult to convey the gravity of mass death in the format of sharply truncated text and slightly askew Apple II graphics.

Will Moczarski (who wrote about the game here and here) expressed that “the story of Earthquake clashes with its setting” which I believe is referring to the actual acts done by the player compared to the seriousness of the disaster. Additionally, having the criminal genre mixed with the disaster genre is a time-honored tradition, but that’s not quite what’s happening here, and in the end, the plot hook and conclusion seem incongruent with the rest of what’s going on.

We’ve still got some Jymm Pearson to go — he had a busy 1981! — as his next venture is Saigon: The Final Days (set in the Vietnam War) and his first game where his wife Robyn Pearson is listed as co-creator. For the curious, I’m now at the three-quarters mark in my sequence with about 25 games left to go before wrapping up 1981 entirely.

Posted June 18, 2021 by Jason Dyer in Interactive Fiction

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Earthquake San Francisco 1906: Adventures With Fruity   Leave a comment

(This post won’t make much sense without reading my previous ones in this series.)

Slow and jerking progress. I’ve somewhat got “in the mind” of the author here.

Reading the Author’s Mind Point #1: The parser has some “general” verbs that work anywhere — I listed them last time — but also some locations/objects with custom responses even on verbs that normally provoke a “huh?” and a custom phrase in one case (that is, the verb was not recognized, but the full verb-and-noun-combo was).

For example, SCREAM in order to get un-buried from the rubble doesn’t work anywhere else. (I had solved the puzzle before I went and made my verb list.) Rather more frustrating and important is that I was staring at the blank wall from last time…

…looked at the lumber in my inventory, and thought to try MAKE LADDER. This led to the response


which does not happen if you try to make a ladder anywhere else, even though there’s no logical reason for this! I was just lucky enough to try the command in the right place.

Moving on, I needed the aforementioned “something” I lacked — I presumed nails, and possibly a hammer, so went searching for them.

Reading the Author’s Mind Point #2: Events can happen in previously visited places. The game doesn’t keep track of the number of turns (except for if you are in imminent danger and have one turn to react) so this is event-based, meaning if you hung out and searched a place for many, many, turns, you may still have missed anything, because time doesn’t “advance” until you get further along.

Case in point: I had sauntered back to the start and somehow encountered the dog below near where the fruit seller was. I will call him Fruity.

Nooooo Fruity that’s rotten fruit, you’ll get sick.

I’m not sure what triggers Fruity to appear — I think it may just be getting into the sewer, or something close to that — but it means that after any progress, prior locations need to be checked.

Points #1 and #2 combined to have me go back and scour each location looking for nails (or a hammer). It occurred to me at the ruined hotel there could be some nails in the debris, even though I did LOOK on everything I could think of.


I apparently hadn’t done LOOK WALL because that yielded me … a handgun? (I tried another look after and the game said NOT NOW!) Well, that doesn’t solve the ladder problem, but I did have a soldier to deal with, and unlike the poor human we gunned down in Escape from Traam he’s actively trying to hurt us, so:

Still feel kind of bad, because the only reason for doing this is to steal the nails from his pack.

Just nails and lumber aren’t quite enough, though. After some frustrating attempts at searching nearby some more…

Still haven’t found anything here, for instance, but the game has me absolutely paranoid something will eventually pop up so I have to keep returning.

…I hiked back all the way to the hotel, and amidst my searching, tried LOOK WALL again. Remember, I found a handgun but couldn’t find anything else!

I double checked, and it looks like the hammer will not appear until you use the gun. I very much get the impression the author had a “script” of action, but even with liberal use of “drama time”, I don’t understand why the handgun and hammer can’t appear at the same time.

With hammer, nails, and lumber in tow, I was finally able to walk back to that wall and MAKE LADDER (and of course I had to walk back first, given that MAKE LADDER doesn’t even get recognized as an understood phrase elsewhere in the game!)

Horray! I was able to ladder myself over the wall, only to drop into a courtyard with an iron door that was too hot to the touch from a fire on the opposite side, and to have Fruity pee all over my pants. This left my inventory with WET PANTS, and no, I’m not kidding. You can avoid this if you immediately go away from the courtyard and don’t try to interact with the door while holding Fruity — more Drama Time it seems. The WET PANTS take up an inventory slot and you can’t drop them without eventually getting arrested for indecent exposure, so I’ve got one save game where I keep the wet pants and one where I avoid getting them to have that extra inventory slot.

ASIDE ABOUT INVENTORY SLOTS: The inventory has a maximum of six, and since the game is linear, it’s a royal pain — whenever I’ve made progress I’ve done back-and-forth trips trucking all the items in the game farther to the front of the line. Will I still need the gold and silver keys used earlier? Probably not, but I got bit so hard in Traam I’m not taking any chances. As part of the back-and-forth trips you have to be careful not to block your progress by not taking along key items; for instance, a crowbar that you use at the very start needs to stay in your inventory to be able to use the manhole cover to the sewer (it’s not obvious this is the case, but the game stops you if you aren’t holding the crowbar, which I found out the hard way).

Fruity runs to the south after the incident and, perhaps to make up for past transgression, digs up a boat paddle (which I haven’t gotten to use yet). I wasn’t getting anywhere with the hot door (I thought maybe the wet pants might serve to cool the handle down or some such) so I had to move on, by jumping up some stairs (steps are missing so if you just CLIMB you die) and finding a horse.

CLIMB HORSE and RIDE HORSE both work (although it took me a while to work this out, progress was much more disjointed than I’m making it seem) leading up to a cliff. Unfortunately, the horse took off on its own and died. Trying to climb further led to death.

This better not happen to Fruity or I’m going to get grouchy.

Back a room I found a CREVICE


so I had to LOOK QUARTZ




followed by LOOK FLAT SPOT


followed by LOOK OBJECT, finding a DIAMOND and leading me to wonder if the author was attempting some analogue of a shaggy-dog joke in puzzle form.

Speaking of shaggy dogs, I was stuck so decided to go back and try the iron door again. This time, the fire had abated and I was able to go through. In a Drama Time sense this makes sense, but why couldn’t we have waited the fire out earlier …? It’s very easy for Drama Time (in the way this author is using it) to interfere with puzzle solving.

Past are the three rooms above. The first two I thoroughly and tried every manner of LOOK and MOVE and DIG I could think of, but I found nothing. It wouldn’t surprise me though if after making a small bit of progress I’ll find a postage stamp under one of the cushions for no good reason.

This means the only puzzle I have to work on is the crack in the ground, but trying to CLIMB or JUMP or apply the ladder in any sense has led to falling to my doom For the record, my inventory (carried and uncarried) is CROWBAR, HANDGUN, SMALL DOG (Fruity!), LADDER, GOLD KEY, SILVER KEY, LETTER, WAD OF BILLLS (from the very start of the game), PADDLE, HAMMER, DIAMOND, and depending on what reality fragment I’m in, WET PANTS. I’ll take speculation as to what to do next in the comments, but if you outright know the answer please use ROT13; I’ve somehow managed to go without hints so far, and I’d like to try for at least a little longer.

Posted June 17, 2021 by Jason Dyer in Interactive Fiction

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Earthquake San Francisco 1906: Diegetic vs. Non-diegetic Plot   9 comments

From Mobygames.

I’ve mentioned, offhand, the idea of “diegetic plot” before without much expansion, but it’s useful here.

In movies, “diegetic music” refers to music that is part of the world itself, as opposed to background soundtrack. In a game, often there are actions that are not really part of the story, either by restoring saved games (as I wrote about with Pyramid of Doom) or more subtly, being nonsensical. If a fire is raging through a city, and I decide to test every verb possible to just to see what might work (WASH APPLE, SLIDE APPLE, CLEAN APPLE, …) even if no death occurs to “reset the world”, the story is essentially “paused”.

More subtly, if the player does LOOK FLOOR and LOOK CEILING and LOOK WALL and all sorts of other actions which may or may not even be referring to real objects in the game, even amidst a riot, is that really part of the plot?

Following from last time, as I was stuck, I did indeed try to examine every location carefully to see if I missed something, and found if I use DIG at the opera house I could find a locked iron box, but I had no key. I eventually resorted to restarting and checking the instructions carefully, which mention to use your “eyes and ears” to avoid missing anything. Oho. Perhaps (as the verb list above shows) I should be trying LISTEN everywhere?

The above was in the portion of the map leading to a dead end which was previously just scenery. After LISTEN I was able to CLIMB to find the missing child.

After the rescue, and returning the child to the father, the child left behind a gold key. The gold key — cosmically — unlocks the iron box back at the opera house, which itself holds a silver key. The silver key then works on the iron gate I was being stymied by last time.

Fair, it’s just adventure game logic, try not to think too hard about why the child has a key for a box in an opera house (that out of all the things inside, is the one thing we find in the debris) and the box contains the essential key we need for more progress — the focus is on we rescued a child from a burning fire in the 1906 Earthquake rather than sneak by a dragon or something.

To get to this moment, there was a lot of flailing. I could just try to focus on what worked — listening — but even if I consider some of my wilder stabs at progress to be “out of canon”, so to speak, it’s hard to zero in on the true progress.

Enough distraction —

Past the iron gate is a street with “extreme heat” and a manhole cover leading down. After LIFT COVER (which again, took lots of non-diegetic noodling around to find)…

I got stuck in a very tiny sewer maze with only two rooms. After a great deal of back and forth I reached into my bag of difficult-game tricks and came up with LOOK UP, getting the image above (just like in Nuclear Sub and Forbidden Planet except this time I learned my lesson and tried it on my own without checking hints).

I was able to then CLIMB up to an area with a street leading to a dead end, where again I’ve spun my gears with various LOOK attempts with no luck. The only thing I’ve managed to do is get killed, because in the spot where you first poke out of the manhole, if you LOOK (rather than just leaving) a soldier finds you, and then in the turn after shoots you.

It’s possible I’m supposed to confront the soldier somehow, but throwing various objects doesn’t help, and I don’t have a weapon. Maybe I missed one in the territory I’ve been through so far? Time to check everything over again, I guess.

I have the feeling the “final plot” is going to be smoothly scripted, it’s just figuring out how to get there which is bumpy.

Posted June 15, 2021 by Jason Dyer in Interactive Fiction

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Earthquake San Francisco 1906 (1981)   3 comments

From the Museum of Computer Adventure Games.

On April 18, 1906, the San Andreas fault ruptured, estimated magnitude (by most current research) from 7.7 to 7.9. It lasted less than a minute but was devastating: buildings collapsed, fires raged through the city, and the water mains broke meaning the firefighters couldn’t use them. Artillery troops tried to control the blaze by dynamiting particular buildings (it didn’t work). Full-on looting caused the mayor to declare looters would be shot on sight. Estimated deaths were originally at 700, although that likely understates the true number by at least a factor of 3.

“Souvenir Hunters” from a photo in the National Archives.

75 years later, Jymm Pearson wrote a game on TRS-80, later ported to Apple II, the second of his games set in a historical time period. (Previously: Curse of Crowley Manor.) You awaken on the day of April 18 in a hotel room, with a wad of cash and a threatening letter: your wife is being held for ransom.

Given this is 1906, I suppose that means our character is male. We haven’t seen a lot of defined-role games so this doesn’t bother me, although since there isn’t much character painting past this point, I think most modern players would want to choose both genders.

Just to be clear, this is the regular Jyym Pearson parser we’ve seen before, where there’s an entirely separate room description found by hitting ENTER, so items aren’t shown in the graphical window (unlike Wizard and the Princess or Creature Venture). Additionally, there’s extensive use of LOOK, and you need to both LOOK alone and LOOK at every item carefully to avoid missing anything.

Gameplay-wise, the opening is rough; there’s a wad of cash (only referable to by the full phrase WAD OF BILLS, not WAD or BILLS) and a locked door we can’t open (the key never turns up). You can LOOK to find an envelope on the dresser, but can’t get the envelope, but must instead LOOK ENVELOPE to see a letter inside, which if you try to read says you need to pick it up, so you can finally GET LETTER and READ LETTER to get the screenshot above.

South there’s a bedroom where you can MOVE BED to find a crowbar (…?), and a few turns after is when the earthquake hits. (Yes, that means it is set not real-time but drama-time — the earthquake doesn’t hit until you find the crowbar, as opposed to being after X turns. This is much more polite than many games of the period. It’s possible to miss the letter or cash before the earthquake happens, but it is fairly unlikely.)

You can use the crowbar to lift a beam off your feet and find yourself in the collapsed building.

Outside is an apple seller…

Just to show off the how the text side looks, although this scene also lets the player know about the soldiers shooting looters.

…a piece of debris hiding a gold watch (which you can find via CLIMB and DIG)…

…and an opera house that collapses upon approach.

This scene appears to be here purely for drama (which is kind of impressive for 1981). There were two distinct quakes but they happened within the same minute, but I’m still willing to allow this scene as hedging to historical record.

I was stuck here briefly until I realized I could CLIMB at the original looted hotel.

Bribery via gold watch works here.

Climbing farther is a locked gate and firefighters at work.

Trying to head south from here to a dead end. I had a building collapse on me.

I was expecting a YOU DIED screen, but no, this is all intended: you’re supposed to SCREAM and have a soldier find and dig you out.

You can grab some lumber from the fallen building.

I admit I’m impressed so far! This came off as a series of dramatic events with a main character struggling to survive (and an interesting plot hook, to boot) as opposed to a jammed-together mix of puzzles, even with the slightly confused parser. I’m not sure if it will hold up to the end, as I am now stuck from here. I assume the locked gate is my next objective, but nothing I’ve tried has been successful at barreling through.

My (obviously incomplete) map so far.

Posted June 13, 2021 by Jason Dyer in Interactive Fiction

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Gold: An Utterly Dark Place   Leave a comment

I finished Gold, thanks to Voltgloss discovering how to fix the BASIC source code. One line in particular

9310 LOAD

should be


It’s possible to do this fix even on the online emulated version. Just quit the game (with X, then Q) and type the “9310 SCROLL” line and hit ENTER (or NEWLINE as the keyboard puts it). You don’t actually type the letters S C R O L L but rather the letter “B” which types the word all at once. Then, typing GOTO 1 (“G” gives a full GOTO) will restart the game with the fix.

This indicates that the command is being stored as a single byte so this is likely just a corruption from dumping the tape (like Scott Adams’s name being misspelled on the version of The Golden Voyage I had).

Leaving off from last time, I couldn’t get east of a particular cliff without the game crashing. Actually taking the route…

…led to a “treasure room” next to a locked door. This locked door turns out to be the same as the one I couldn’t open before (even with a ring of keys) but unlocking the door works from the other side, and landed me to the north of the bridge where the gold was stored. So this represented an alternate way of reaching the gold:

I assume there’s a better way of drawing this out so the crazy-connection up top isn’t necessary.

I’m unclear if this really had anything to do with reaching the end of the game, but since I knew I was no longer even potentially stymied by a bug, I went to work trying to figure out where the wraith stored the gold after hiding it “well”. Since the character is clearly based off the pirate of Adventure hiding treasure in a maze, I took the guess the same thing happened here, and went for the odd three-dead-end-room spot I mentioned last time:

Got it in one! However, the prior exits blocked off were still blocked, so I started wandering in case another random event came up. As part of my wandering I tried entering the laboratory, thinking something different might happen rather than getting kicked out; indeed, instead of a laboratory there was a room with the “rumbling bowels of the earth”. (Voltgloss theorizes this triggers the second time you get the gold, I haven’t tested enough to be sure.)

Heading on from there leads to a small maze which I didn’t even bother mapping but just wandered hoping to get lucky, and then a dark room:

I was thusly deposited at the entrance past the obstacles and able to escape!

I have no idea if this is the max score. If it is I reckon the contest-givers assumed 103 would be an unlikely guess for a final score, so only someone who won would find it.

I don’t have much else to comment on, other than it is quite curious how closely this game resembled Quest in structure: go in to find a treasure also purely by navigation, get the entrance blocked off (at least two different ways), get the treasure stolen (to be recovered in a dead end) and only find a true exit in a maze deeper in the map. I don’t think it’s genuine direct influence (although there were a few Commodore PETs in England at this time, there were not many); rather, both authors were riffing off of Adventure, and when boiled down to its fundamentals of navigation, the twin ideas of “require an alternate exit” and “have a pirate-like figure steal the treasure” become natural ways of adding a smidge of plot to the proceedings. After all, Adventure itself had a gold treasure that was too heavy to carry up stairs, and required an alternate exit to get it back to the starting house.

Posted June 11, 2021 by Jason Dyer in Interactive Fiction

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Gold (1981)   9 comments

Via zx81stuff.

Hilderbay Ltd was founded in 1979 and claimed in a later ad that their first product was for vacuum tube computer. Their software held to a general theme:

  • Critical Path Analysis
  • Stock Control
  • Mortgage + Loan
  • Payroll
  • Simple Word Processor
  • Statutory Sick Pay
  • Kempston Centronics Interface S

Somehow, amidst all these utilities and business software, they produced a two-pack game cartridge for the ZX-81: Pick a Word and Gold. (No name is attached to any of them, although they did publish a short book attributed to Andrew Pennell.)


For example, if you can pick KEN, CRIME, and PEST, you win the game, since they all have the letter E. I admit I don’t know what the optimal strategy is, but the game claims on difficulty level 2 the best you can do is hold the computer to a draw.

Now, this is All the Adventures, not All the Computer Renditions of Tabletop Games (although here’s a link to play Pick a Word online), so what really interests us is the other game from the set, the wildly obscure Gold, which does happen to be listed on Mobygames, but under the category Compilation where nobody can find it. I came across it by browsing the website zx81stuff more or less at random.

The game is one of the surprisingly few from this era that ditches having a parser (see: Quest, Adventure in Murkle); even games which clearly stretch the machines they are designed for include the tried-and-true two word (or some multi word variant).

This is partially just cultural inertia — after all, strategy games of the time, from Oregon Trail to Taipan, were perfectly comfortable with menus. Even Japan started with a parser, even though the Japanese language doesn’t mesh with the two-word standard so well, and they started getting creative with menus when forced to by constraints. (Adventure in Murkle in particular also drops a parser due to be stuffed into a tiny 4K of space.) There’s design issues, too, but let’s get exploring now and save discussing them for after–

The map as I managed to get it. I can’t say it is the “complete map” for reasons I’ll get to.

As implied by the opening screenshot, your objective is to grab “a huge treasure”, and you are limited to direction commands, Get, Leave (drop stuff), and Open. As expected, a great deal of the gameplay consisted of just wandering around, and since the game doesn’t bother to specify exits, you have to test N/S/E/W/U/D on each and every room.

My first time through. I tried to get the strongbox if I couldn’t unlock it, thinking I could tote it around. Note that the way to specify an item is simply to list the first letter, so I was spoiled as to the existence of Sapphires when I was really trying to get a Strongbox. Somehow the game managed to make an almost-no-verb setup feel awkward. Also, the “man-eating spider is not here” message is going to become important.

The keys for the strongbox above are nearby, and inside the box are the sapphires, so there’s not much suspense in finding them. Most of the room descriptions are the standard “imagine what a random fantasy cave might look like” form…

…except for this part.

You get looped if you go into the laboratory back to the place you were in. “Pale, sightless creatures” is an interesting phrase; not common enough to be a cliché, but standard enough it shows up in that exact order in a number of books; ex: “Aidan had expected a dark, dreary place, one fraught with jagged edges, cold pools of water, and pale, sightless creatures.” When is a turn of phrase too stale, however colorful it may be?

Structurally, the game lets you meander in a fairly straightforward way to the northwest corner of the map and grab the “gold” of the title, just past an ice bridge (with a locked door I’ve never managed to open). Where things get interesting is when you try to get out.

The front exit has two routes, but they are both blocked off as shown above. (Quest did the exact same trick, where once you found the treasure you couldn’t go back the way you came.) A third exit through a trapdoor doesn’t allow you to fit the gold through either. Wandering back to see if I missed anything, I had a wraith steal my gold.

I’d love to talk more at length about how even with extremely limited actions available the game managed something of a plot structure, but things cut off right here — I haven’t gotten farther, and with the current extant copy, I don’t think I can. That’s because one exit — east at the “sheer wall” quoted earlier — is the only one I haven’t tried, but it crashes the game. It is faintly possible I missed an exit on my map, as has often happened before, but I did treat things quite systematically. The only hitch is the dead ends.

One way a number of these games saved on space is to have rooms in mazes have a simple “Dead End.” as the description. It allows tossing in a bunch of extra navigational headache for the player without much more work for the author. On my map I started marking the dead ends as “cut off” exits because it took too much space to keep adding the rooms:

Two rooms right at the entrance. The “Turning” has a dead end going west and a dead end going down.

I started testing exits on each dead end just in case they weren’t really dead ends (The Tarturian did this trick) but after about 10 or so with no luck I just started assuming every dead end was real. Then near the end of my mapping I came across this by accident:

Yes, going east from a dead end didn’t say that direction was impassible, but rather, took me to a new dead end. However, the result was just a multi-dead-end as opposed to a new secret area. It is still faintly possible one of the myriad dead ends holds something genuinely interesting, but because of the crash on the cliff exit, I don’t have high confidence the game is winnable as is.

Or if “winnable” is even the right way to think about it. Early issues of Your Computer advertised a contest:

If you can’t find it amidst the messy text, the ad is promising the one who sends “the highest score” by 31 July 1982 will win a “64K Memotech” (a memory expansion pack). I have been unable to locate any results, but it may mean the high score is a little fuzzier than the average for this time period. (How did they keep people from cheating, anyway? You get 1 point for each room visited so there’s not a lot of “impossible” scores as long as you pick something reasonable.)

Gold still exists as an interesting specimen of trying to make an adventure with limited flexibility of action. It’s also somewhat astounding how awkward it still is to control; the specify-objects-by-their-first-letter system is somehow worse when it fails than a parser. “I didn’t understand that” — fair, I was trying to take an spiderweb but it was just an item of decoration — “I don’t see any sapphires here” — what? The first seems like intransigence but not fatal, while the second is a straight error, and made me feel uncomfortable in my actions, like I wasn’t getting a real treasure, but a fake virtual one that sets a variable flag.

Posted June 10, 2021 by Jason Dyer in Interactive Fiction

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Medieval Space Warrior (1981)   Leave a comment

Another Roger M. Wilcox game to knock off the pile, this one supposedly with loose inspiration from Arthur C. Clarke.

Cover by Richard Powers.

So, in preparation, I dutifully read a synopsis and the first few chapters. One billion years in the future, so far ahead in time that exploring the universe is in the past, one city on Earth — that of Diaspar — remains, and everything is run by a Central Computer, with new generations created and controlled by the computer, except for the unique “Alvin” who has the urge to go outside the city. The environment is philosophical and religious and heavy, so I was a bit boggled when I started the game and this happened:


You are in the middle ages on a plain. Visible items:

Evil wizard. Sealed-off castle.

Obvious exits: West


That was the keystone! The castle crumbles.
That was the Wizard’s favorite castle! He strikes you down with a magical thunder bolt!

Erm, what? That was a little sillier than I expected.

The actual solution here eluded me a bit; I tried HELP which notified me “I know the noun MAINTENANCE” which will be important later but is no use for this puzzle. Based just on pure intuition I went back to the starting “dirt hill” and started to DIG where I found a gold nugget. Giving the nugget to the wizard:

The wizard says “Thanks,” picks up the gold nugget, stretches his arms up and out to make his body look like a Y, scintillates brilliant yellow, and flies off into the distance. Unfortunately, his glasses fell off on the way up.

The game becomes a little less silly past this point, but that was some opening. Oh, and taking the keystone still collapses the castle (leaving you with an iron rod), but the wizard doesn’t see so you are able to enter the rubble, dig to reveal a forge, use the forge to sharpen the iron rod into a spear, grab a nearby log to tote along, find a teleporter to jump up to a spaceship…

All of a sudden, you feel yourself transformed into coherent light. You streak through Earth’s atmosphere as though the 200 kilometers didn’t exist, and rematerialize inside a cylindrical room.

…with an alien who starts shooting at you, and use the rod as a spear to kill the alien.

OK, only a little less silly. What follows is a tightly structured linear set of rooms that reminded me of Tanker Truck. I won’t go into the puzzles blow by blow, but you

  • shoot a second alien with the gun from the first alien
  • sing a song on a sheet (“re mi do do sol”) in order to open a portal (“sing re. sing do. etc.”); according to the author it’s the Close Encounters of the Third Kind tune
  • shoot the log with the gun to turn it into ash, which you can use to cover a “circuit protector”, and then when you try to shoot the protector, rather than the beam bouncing off it will destroy the protector
  • climb a statue marked “The Master” and find a red gem, which you can turn and “hear a grrrrsphydink from below” opening a secret storage area
  • find an alien helmet too small to fit your head, but it has purple lenses that you can pop out and put into the wizard’s glasses; the glasses help you see in a dark room later

You are in the Master’s first chamber. Visible items:

You see the glowing face of the Master.

I will have to say the puzzles were relatively smooth to solve; along the way there’s a viewscreen which compactly explains why you’re here.

An alien fleet is approaching Earth. It will arrive in 71 centons.

I never quite understood what the Master business was about — it’s the one element borrowed from City and the Stars, but only tangentially so (*) — but at least it added some nice atmosphere in the last part of the spaceship.

You are in the Master’s second chamber. Visible items:

Closed portal marked “The Master”.

At the last room there were computers which I got horribly stuck on, and had to use my one outside hint of the game.

I had forgotten about the hint inside the game about MAINTENANCE being a noun. As an aside, while adventure games have sometimes been explicit about verbs, this is the first time I’ve seen a noun be a hint, and I really wasn’t sure what to make of it. MAINTENANCE is in fact a key word:

Okay, “maintenance”
A mechanical voice intones, “PERMANENCY DEACTIVATED.”

After the maintenance mode is active, the computers can be pushed over, which I guess is how future tech works?

The computers topple over like dominos! The ship disappears at the last computer bank fails.

The game lets you know since the flagship has been destroyed (I guess that’s where we were the whole time) the fleet turns around and Earth is saved. We can then (assuming we wisely donned a space suit before destroying the ship) make it home.

Why was a person from the past needed in the first place? Best not to think about it too hard, I suppose. I almost suspect the title Medieval Space Warrior came first because it sounded cool and it was built around that.

Still, this was pretty brisk like Tanker Train, and I’m hopeful the author has shaken out the fussier puzzles out of his system. I theorize part of the reason commercial games often had absurd puzzles in this era is the feeling that if progress is “too smooth” then the game is insufficiently dense, with “not enough game” to it. $20 was not an atypical price (that’s what each Scott Adams game cost); with inflation that would be close to $60 in 2021 money. With the amount of content possible in a TRS-80 game, an “easy” game would be over in less than an hour (like Local Call for Death) — is that worth $60 of your time? Mind you, its relative smoothness might be why Local Call for a Death is superior to much of the work of the period, but I could see sheer economics would make authors reluctant. With Roger M. Wilcox’s private games, economics wasn’t a concern, but he was still emulating the games he saw, and he mentions in a comment two moments from the game are direct homages

* Touching a panel activates it, but pressing the panel causes a short-circuit. This comes DIRECTLY from Scott Adams’ _Strange Odyssey_, one of the 3 Scott Adams adventures that had a strong impact on me.

* “You hear a grrrrsphydink from below” is an homage to — perhaps even a direct quote from — _Death Dreadnought_ by Biff and Spudd Mutt. As a teenager, that game had a certain allure because the ads for it said it was “Rated R for gory descriptions”. Ooh, edgy!

(*) In the book, long before the main events start, the Master came back to Earth with his followers, and Alvin eventually finds the Master’s old spaceship as part of the plot. It’s not a flagship for an alien invasion or anything like that.

Posted June 6, 2021 by Jason Dyer in Interactive Fiction

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Creature Venture: The Battle with a Very Skittish Land Squid   10 comments


As with my finale posts in general, if you’ve arrived here from elsewhere, you should read my prior posts on Creature Venture first, even though this part is generally self-contained.

From the Gallery of Undiscovered Entities.

I assume it’s due to memory conditions, but the previous Highland games have all been split into “parts” with separate source code files where any “shared code” needs to be copied over. So for the “cutscene death” of The Tarturian the game just sends the information about what items have been acquired in the game and plays the ending appropriately.

Here, the authors have a “traditional” parser but didn’t bother to transfer over the same commands between parts. This is why in Part 1 trying to PUNCH a random item just said NO whereas using it in Part 2, PUNCH gave a hint. This difference extends to verb vocabulary, meaning that words understood in one part aren’t necessarily understood in another, and vice versa.

I fortunately sussed this out before approaching the master quest of Creature Venture, so I caught that, for example, KISS now worked as a verb. However, I still needed quite a few more hints, with a mixture of absurd actions I feel no remorse at spoiling and reasonable puzzles I was just too tired to get after wrestling with the absurd puzzles. What I will do here is narrate the rest of the game straight, without solving difficulties listed, then go back and explain how far I got on each puzzle.

After the warning on the top of this post, about needing a magic word, you are dropped in a new place with a dagger, flashlight, and batteries. The batteries have a limited life, and your inventory limit is changed: you can only carry a maximum of five items.

This means the best way to start is to leave the starting ring behind while you clear some puzzles. To the west there is the promised chasm, and with no hints in particular, you’re supposed to SAY SHAZAM. This makes a bridge leading to a room with some cake (it’ll make you briefly large if you eat it, you’ll need to save it) and a strange tree that you can nevertheless CHOP and get some rubber, even though CHOP never worked in the game prior to this.

Down below there’s a pick in a wall; pull it out and some water start flowing, which you can plug by typing PUT RUBBER.

Heading back to the starting area (ignoring a cup and a tack that are both there, which are complete red herrings) there’s a locked door next to a pool of oil. You can try to BREAK DOOR but it says you need more delicacy, so the thing to do is THROW DAGGER which somehow bounces off a rock creating sparks which then light the oil which sets the door on fire.

Headed north you get trapped by a cage, but fortunately you can EAT CAKE to temporarily get large and bust it open.

Further north there is a complete dead end. The trick is to DIG while holding the pick, which lets you tunnel through the wall. This leads further to a rug and a pencil, although the best thing to do after scarfing them both is to head back to the entrance (assuming you ditched the pick, you you have enough inventory room to grab the ring, too).

To the north there is a “mimic” chest which turns into a medusa.

The right answer here is to KISS SERPENT, and not, as one might fully and logically expect, KISS MEDUSA. This is sufficent to get the mimic/medusa to move revealing stairs going down, where you can find another dead end, where quite naturally, the obvious thing to do is use the pencil to DRAW a DOOR.

Past the door is a key; you can then head back and find a chasm that you can FLY the rug over, a large snake where RUB RING charms it…

…and a locked door where the key can be applied. Then: the final obstacle.

Which you can defeat via…. you know what, let’s save that. Maybe you (as in reader you, not you visualized theoretically playing the game) can come up with it before I spoil the puzzle in a few paragraphs.

So I was doomed from the very beginning — I did suss out from the hint in the instructions (that I planted at the top of this post) that I was going to need to guess at a magic word as oppose to extract one from the game in any way (noteworthy: it understands SAY XYZZY, even though nothing happens) but I just couldn’t summon up SHAZAM as a possibility and had to look it up.

The tree, rubber, and cake section I worked out on my own. Then I hit the dagger being thrown making sparks, and pretty much lost all willpower. My first impulse on the initial dead end was to use the PICK which was correct, but I couldn’t find the right syntax of DIG (I tried HIT WALL and the like). I did know to FLY with the rug, and my first impulse with the pencil was to DRAW stuff (including drawing on the snake, as shown) but I was far past patience and sanity to work out DRAW DOOR. I did KISS MEDUSA quite early and needed hints for KISS SERPENT. And finally, RUB RING on the serpent was totally reasonable (even if totally random magic) but I was too weary to work through my items by that point.

In an abstract way, there is something weird and refreshing when all the rules of fairness get broken, but it doesn’t feel as much fun from the inside. The master game portion really harkens back to the ludicrous endgames of works like Adventure and Warp, where I get the feeling it might start to be fun as a group — if 5 people are playing with notes, maybe one of them randomly will try throwing the dagger. I doubt there’s any sane ratiocination process to arrive at throwing the dagger, but that doesn’t mean someone won’t solve it (I hit upon YELL BOO myself last time, remember).

Oh, and the octopus? You’re supposed to TICKLE it. Anyone work that out?

With this kind of puzzle, yes, I suppose there is a theoretical path to what happened, but it gives me an avant-garde feeling, like words and causality have been deconstructed.

Endgame aside, I did enjoy this the most of the Highlands library so far; the goofy humor settled into a rhythm, the janky art was at least consistently so, and the puzzles before the endgame were tricky but not impossible. (According to the Gallery of Undiscovered Entities, this was the best selling of their games, briefly reaching the top 10.) We only have one more game to go to finish with Highlands (Mummy’s Curse) and at least I can say they’ve all been interesting to talk about.

Posted May 31, 2021 by Jason Dyer in Interactive Fiction

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Creature Venture: The Battle with Satan   5 comments


By some miracle, I still have avoided hints. I even technically “won” but there’s a master section I’ll explain at the end.

My first breakthrough was in regard to magic words. I had worked out SAY SESAME in an empty shed by the starting location opened a secret passage with a dagger, but I was stumped on BEEZ, from a diary in a bookcase.

SAY BEEZ did cause the bookcase to vibrate but nothing to happen. I knew (from my RES shenanigans, and an explicit message in the instructions) that the game supposedly only understood the first few letters of a word … but that turns out to be untrue in this case. On a whim (due to the paper being torn) I tried SAY BEEZLEBUB and was told by the game


Wait, what? Did the magical invoking diary misspell the word? A brief poke at the Internet yielded Beelzebub, and SAY BEELZEBUB caused the bookcase to move to the side and reveal a secret passage. This was bizarre-meta in both the defying the first characters of text rule on top of the computer … gamemaster? … acknowledging their own bad spelling, and how it somehow is reflected in the diary as well.

Past the passage was a maze.

Not much to say this time — only north/south/east/west directions but I also ran out of items for mapping, so I had to do the thing where I test an exit on a blank room to see if that behavior matches any of the blank rooms currently on my map. I didn’t even get to short-circuit my mapping, as I found the destination last.

This led to the long-awaited shovel.

You can KILL the creature as long as you have the dagger. This helpfully makes the dagger disappear.

The shovel I would normally then take back to the marked spot from the painting I’ve already mentioned, but it turned out to be too big to take back through the crack in the wall. The only thing I could do is hand it to the elf to through it to the room with the oozlybub.

I was horribly stuck and tried all the different improbable things I’m used to trying from adventure games, and by a miracle I came across


which caused the monster to disappear. I’m sure in other circumstances I would look it up and say “how could anyone solve that?” By dumb luck, apparently.

Shovel in hand, I could then finally find my long-awaited magic lamp.

If you rub more than 3 times, the lamp vaporizes you. This will be important later.

Now, I was still stuck, so I went back carefully over any game instructions I might have missed, and noticed that the text very specifically says PUNCHOUT BOOGEYMAN as one of its sample phrases. If you try to PUNCHOUT in the second half of the game (but not the first, it’s different BASIC source code so the responses to verbs are slightly different) the game says


(If you try it in part 1, the game just says NO.) Even more meta, this command is also mentioned on the cover of the game (I quoted it on my first post, if you go back and check)! So I was able to PUNCH BOOGEY guarding the cage and pick it up.

I could then grab a BAT nearby, and try releasing it in every room, finding it not very useful yet.

I also discovered that rubbing the lamp near the mimic _was_ safe … the first time. It needed a magic wand.

I had previously tested this when I didn’t even know RES was restoring a saved game. The player had apparently found the wand already, but it wasn’t obvious from the inventory display that there was a wand there, because is big enough it overlaps the wand picture. Another pitfall of the pictorial inventory.

With the magic wand I could open the cave-in at the fireflies. The fireflies turn out to be an unlimited light source, meaning you can drop the flashlight and batteries. (Also: technically optional, I’m fairly sure.)

I had finally chipped away all the puzzles I could find and was stuck on hidden puzzles again. The only remarkable-looking place I hadn’t fiddled yet with was a stump.

Trying to break the stump led to a custom message about needing a more delicate approach. I ended up ramming through my verb list and finding RUB worked as a teleporter (since the bark has been “rubbed off” due to people using the magic, aha).

The snake is easily defeatable via bat, so I was then able to go north, and run into our pal Lucifer, as shown at the screenshot at the start of this post. Fortunately, he doesn’t attack right away, he just blocks your passage.

After some thought, and realizing I didn’t have many items left to try anyway, I tried RUB LAMP (the genie wasn’t able to help). Going with an alternate approach of dropping everything, I typed DROP LAMP.

I wish I could say I was clever and thought of this — leveraging the don’t-rub-more-than-3-times rule to vaporize Satan, and I guess if anyone can do it, a genie can — but this was another accidental solve. Still, I’ll take it as a win.

(It also looks like it does this even if you haven’t used up the wishes, so I think the mechanic backstory may be more along the lines that demons aren’t allowed to use genies.)

And I really do mean a win — the game lets you quit out at this point if you want, but if you want to go for even bigger treasure, you can do the bonus master quest. It’s essentially a contained short story — you get reunited with the dagger, flashlight, and batteries, and have a short number of turns to win. I’m still not through that section so you’ll see my flawless(-ish) victory, or rampant use of hints, for my finale next time.

Sneak preview.

Posted May 29, 2021 by Jason Dyer in Interactive Fiction

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Creature Venture: Accidental Magic   3 comments

I did manage progress without hints, but in an entirely unprecedented way.

As far as “normal” play goes I still wasn’t having much luck but I realized I hadn’t given Creature Venture my “try every possible verb” treatment yet.

There wasn’t much in the way of surprise (although I’m still not sure what TRADE is referring to yet) but where things got very curious indeed was the verb RESET. When I tested it, I was warped to a new room.

(You may see already where this is going. It took a while for it to dawn on me.)

This was an entirely different area. Rather helpfully, I ended up finding a passage that led me back through a “behind the mirror” room…

… to a room I recognized, with a fireplace. I never could work out what the rectangular thing above the fireplace was, so I figured it out by accident.

EXAMINE MIRROR notes there’s no reflection, so you can just ENTER MIRROR to reach the area I was in. This was a rather unorthodox way to work out what the item was, but having items be so cryptic you can’t refer to them seems more like a bug than a feature, to be honest, so I happily went along with it, even though I was still unsure why RESET was working.

I also noticed, after a couple mapping forays, that the RESET word changed my inventory to include a magic lamp marked with THREE TIMES. I baffled over if any clues I’d seen would indicate this would happen, but still did some tests where I would RUB LAMP in various locations to see if anything useful would come of it.

And then finally, it struck me: the game is only interpreting the first three letters of the input. The game is reading RESET as RESTORE. I was restoring a saved game that was previously on the disk I was using!

In all fairness, it was still using DAVE as the name (I switched from JASON based on suggestions from my comment crew) and because I’m not playing with authentic disk speeds there was no obvious delay. But that certainly counts as my first puzzle-solve via antique pre-existing save.

So, what’s past the mirror?

I’ve managed to eke out a few more puzzles. There’s a rebus puzzle on a pillar right when you come in…

…which gives a word which allows opening a door nearby. Behind the door is a bottle of water. You can use the water to grow a tiny tree into a big one.

Climbing the tiny tree gets up to a “Kybor”, and your guess is as good as mine as to what that is. I tested my ill-gotten lamp and the genie made short work, leading to a “Boogieman” guarding a “cage” I still can’t pick up. (There’s a bat elsewhere where if you try to pick it up the game asks where you cage is, so I assume that’s the next step after solving the puzzle.)

To be clear, the save game that’s on the disk has a flashlight that’s almost out of charge, so I’ll need to figure out where the lamp comes from for real. While I was testing the genie out, though, I tried it on the Mimic.

Things don’t turn out too well for the genie.

On the northeast corner of the map there’s some fireflies which you can pick up with the empty bottle (the one that had water). I assume the fireflies might substitute for the flashlight running out, but the problem is the cave-in has me trapped. I don’t have a way of digging myself out and after enough turns you run out of air and die.

So to summarize, I’m stuck on:

a.) the same oozlybub as last time

b.) finding the magic lamp, for real

c.) getting back out of the cave-in

d.) getting by the Boogieman to get the cage

Posted May 28, 2021 by Jason Dyer in Interactive Fiction

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