Archive for the ‘Interactive Fiction’ Category

Oo-Topos: A Jigsaw Without Edges   4 comments

Before I start, a demonstration of the aliens I mentioned in my last post:

A meter-high alien with a drawn laser blocks your way!
The alien giggles insanely and clumsily points a laser at you and fires!
The beam just misses and sears the wall over your shoulder!
You’re at a dead end.


A smile leaps to its four lips as it dodges out of the way.
The alien giggles insanely and clumsily points a laser at you and fires!
The beam slices through you like ah ot knife through butter and you crumple to the ground. In 2 distinct pieces.

You’re going to have to learn to be more careful. Your death comes as quite a jolt to me though I may be able to do something for you. I did study advanced microbiology at the U. of Terra in ’32. Do you want me to help you? (Y/N)

This is randomized, just like the dwarves in Adventure. Sometimes you hit, sometimes you die.

The laser doesn’t work on some of the other aliens, who just ignore your shot and take the laser from you.

I’ve got some but not all of the map. It’s extremely open, with only a handful of obstacles I’ve found so far blocking progress.

Currently, a mess and very much a work in progress.

My annoyances with the game right now are logistical, and in a specialized and odd way that doesn’t show up in adventures much anymore.

There are many items, and some of them seem to be for fixing the ship (like a repair manual), some for solving puzzles (like a cage and a “two-headed snarl” that you can release to defeat one of the aliens), and some possibly just as “treasures” (like a golden ring and a library crystal).

For such a large map combined with a large number of items, the inventory limit is stringent: only six maximum. I kept having to leave items behind.

From Kim Shuette, The Book of Adventure Games.

To make matters worse — and this is the specialized logistical issue — I have no area that seems like a good place to drop them. I’ve seen my ship from afar but don’t know how to get to it. If I knew which location was “close”, I could drop the repair manual and any treasures nearby, but at my present game state, any location I pick is liable to be all the way across the map from its intended destination.

Additionally (as I mentioned last time) there’s an alien who randomly comes to steal your treasures, and I don’t know where they go.

The general emotional impression is akin to doing a jigsaw puzzle without edges; it’s doable, just less psychologically pleasing than it could be.

There are multiple routes across the map, which would normally be a positive thing, but it led to me mapping a maze in a garden which turned out to be entirely superfluous since the end of the maze was somewhere I’d already been, and there were no objects hidden inside.

field nullifier (for nullifying force fields, but it only seems to work on one)
cage and snarl (for defeating an alien)
bottle of elixer
water system
repair manual
atom transmuter
psi cube
bar of vegan silver
terran food
plasma sphere
energy converter
blue goggles
4-D mirror (you can see your past, present, and future in it)
library crystal
light rod
flask of oily liquid
golden ring
betamax casette
rainbow cloth
oxygen recirculator
matter phase-shifter
gloves (need to pick up the phase-shifter)

Remember, the game has an inventory maximum of six at a time! I haven’t used most of the objects listed above, so I can only “discard” a few. Other than some edges of the map I haven’t filled in yet, I’m presently stuck on

a.) getting a “translator” from a room with a robot; the robot stops me before I can get it, and the robot does not care if I shoot it with a laser

b.) getting past a large alien called a “Tras”; once I enter the room, it keeps trying to jump on me, and hits at random (it is possible this isn’t a puzzle, and you’re just supposed to get lucky)

c.) getting by two force fields at doors (even though I have a force-field disabling device it doesn’t seem to work at them)

d.) getting by a force field at a gravcar (ditto). Reaching the gravcar also leads me to being attacked by an alien with a dart (on the object list) but I can’t throw it back nor does the laser work.

e.) a “cold” door adjacent to the Tras

I expect the game to get more fun once I’ve “contained” it; that is, I’ve got a good grasp of the geography, what the open puzzles are, and which direction I should be wrangling the many, many, items to. Getting to that feeling of comfort can be a slog in many adventures, but the issue is especially pronounced when there’s open geography and not a lot of direction.

Posted April 30, 2020 by Jason Dyer in Interactive Fiction

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Oo-Topos (1981)   3 comments

I’ve been looking forward to this one.

You were the one Space Central selected to “volunteer” for this mission. Nothing personal — but a rookie cadet could have handled the situation better. You knew full well what failure would mean, what would happen to millions — perhaps billions — of people if you didn’t return with the plague antidote.

— From the game’s manual

Michael Berlyn, you see, wrote Suspended (1983), one of my favorite Infocom games. Oo-topos is his first game. He formed his own company (Sentient Software) with his wife Muffy Berlyn and self-published it.

Except for the title screen, it was an all-text game for the Apple II; it later had a graphical remake in 1986 published by Polarware (adding Muffy to the writing credits; according to Questbusters June 1986, Michael and Muffy wrote the story together for both versions). I am not averse to playing a graphical-updated version of one of these games for the Project, but I’ve compared the two sufficiently to say they should be considered different games.

I would normally be on my chipper way, except I’ve had warning the original is impossible to complete and crashes near the end. To make things more complicated, the version I’m playing has no version number on the title screen, while this entry on eBay includes a “v1.4”, indicating there’s more than one copy floating around there. Am I playing a broken version or a fixed one? Was the original message just hogwash and the game really is finishable? Is it possible with modern emulation to bust through even if there’s a memory error or some such?

I guess we’ll find out? If all else fails, Voltgloss played the graphical version over at The Adventure Gamer so people can meander over there and read about the ending if this one drops on a cliffhanger.

There’s some random world-building in the manual, but the plot condenses down to: while transporting a vial of anti-plague serum to Earth, you get attacked by aliens who drop you in a prison and strip your spaceship for parts. Your mission is to get the serum back and escape.

Just to give a quick idea of the version differences: while this game has the lock already broken by the main character, the 1986 edition requires you to BREAK LOCK yourself. The 1986 opening room also contains a bottle and some food, and you have to LOOK THROUGH WINDOW to see your ship.

The world starts out very open so I’m still mapping things out; I’ll just mention one curious thing I’ve observed:

Aliens do appear as you explore the planet, but they pop out more or less at random and feel inspired by Adventure. The first alien you see drops a LASER which you can then use to blast an alien that appears later (compare with the first dwarf in Adventure dropping an axe) and the fight scene has some randomness which, again, feels like Adventure. There’s also an alien that steals your “treasures” (akin to the pirate), although I’m unclear yet what constitutes a treasure in this game. The long shadow still looms.

After all — one lone human being against an insane alien planet sounds fair. At least it sounds fair to the aliens.

Posted April 29, 2020 by Jason Dyer in Interactive Fiction

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Escape from Colditz (1981)   11 comments

The original Crowther and Woods adventure hits above its weight class. It has all the sloppy edges of an innovator, but there’s a tactile atmosphere lacking in most of the imitations that follow, and I theorize that this is due to the original being based on the actual Colossal Cave in Kentucky, closely enough that it is possible to match the map of the game to the cave. It’s awful easy to link rooms called “cave” together just out of one’s imagination, but harder to match the character of the WINDOW ON PIT, or Y2, or the HALL OF MISTS, all real locations.

The strength of coding and reasonable puzzles didn’t hurt, either, but my general point is that a certain grounding in reality can elevate what otherwise would be a mundane room location.

The TRS-80 game Escape from Colditz by Stuart Wilkinson is based on a board game, and the board game was made with consultation of someone (Pat Reid) who lived the experience. So for what qualities the game has, it automatically gets some via the same grounding in reality as Colossal Cave.

Unfortunately — and I regret to inform you, given I wrote two posts worth of buildup — in most other respects, the game is very, very, bad.

At least the title screen is a good rendition of the castle.

The instructions state


and that before an escape attempt can begin, you need to collect an “escape kit” consisting of a compass, document, map, uniform, and meal. (Compare with the rules for the board game: “The Escape Kit consists of Civilian Disguises, Magnetic Compass, Food, false documents, maps, and money (Reichmarks). For the purpose of this game, documents, maps, and money have been combined together, providing a total of four components to be collected.”)

The opening screen is above. Notice: no room exits, and more or less no description. This holds throughout the entire game. The only way to find out an exit works is to try it out, and even then you may not know, because the game simply reprints the room description if going a direction fails instead of stating outright a particular move is impossible. We’ve seen this before in Arnstein’s Haunted House, which compounded the problem by putting two identical rooms next to each other (so you couldn’t tell you had changed rooms!) Escape from Colditz repeats the same trick.

The Theatre is three rooms. I only found this out very late in my playthrough. I had entered the westmost room, and then tested the exits by typing GO EAST, GO SOUTH, and GO WEST, which of course looped me back to where I started without realizing I was changing rooms! This meant I missed the eastmost room (with a ladder) altogether.

I had found a PASS CARD, a COMPASS, a MEAL, and a TAG that read “DER BEUTELMAUS” fairly early but I was otherwise stuck. I knew I likely needed to go north of the APPEL


but I was stuck trying “password” phrases, including various permutations of DER BEUTELMAUS. I finally broke down and looked up hints, to find that the prompt was being a continuation of the parser, and rather than the prompt being for what the player would say in response to the guard’s question, it was asking for another parser command, one that had to be typed in exactly.


Bravo, game: you found a brand new way to be awful.

Once I made it by the guard I found a KEY and some DOCUMENTS. Combined with the COMPASS and MEAL I was lacking before, I just needed a MAP and UNIFORM.

For the map, I needed to win another epic struggle of getting the computer to understand me.

The MAP is past this door in a tunnel.

For the missing uniform, the game here invokes another nearly unique bad trope, one I’ve only seen in the original Dog Star Adventure. In the earliest type-in version, that game had a supply room where you had to guess at what the room contained and just try to GET stuff (like a BLASTER) and hope you were lucky.

Once I had my uniform disguise, I was able to stride back through with the pass card and make a beeline for the front gate.

Here we come up to the second-to-worst part: there is only a 50% chance the action above will work. (No doubt attempting to invoke the randomness of the board game.) If the action fails, you lose, with no indication it was random chance that did you in.

And yes, I did say second-to-worst. That’s because there’s an entirely different escape route. You remember the ladder from the theater? You can use that plus a rope to try to climb over a wall, but you always get caught, 100% of the time. (This is after going through the work of collecting an escape kit.) You can check Dale Dobson’s writeup for more detail. (He calls it a “bug” but I’m not so sure the game isn’t just trying to be cruel here.)

Looping back to my introduction, despite all the suffering, there is an interesting setting buried in here. The real Colditz has plenty of tunnels and obscure nooks and crannies via the centuries of history, the board game replicates the same thing, and the TRS-80 game tries to do the same. It’s legions off my being able to recommend it to anyone, but there were still moments, like when I first went underground, or I first stepped in the Chapel, that I felt the distant wonder of adventure games.

I did mention last time there were nine Colditz-inspired adventures — here are the other eight in chronological order —

Colditz (Hans-Peter Ponten, 1981, in Dutch)
Colditz Adventure (Superior Software, 1983)
Colditz! (LVL Software, 1983)
Castle Colditz (Felix Software, 1984)
Colditz (Phipps Associates, 1984)
Mission Secrète A Colditz (CPC, 1985, in French)
Colditz Escape (Adventure Probe, 1986)
Colditz (Uto, 2010, in Spanish)

— and yes, the existence of the Dutch Colditz means it may have come first, but I have a few question marks to resolve with that game before I can say more.

Having gone through mounds of research for a profoundly terrible TRS-80 game, I can say there is good reason why Colditz spawned so many adventures; everything is naturally self-contained, the plot is clear and dramatic, and the interaction for most escapes was based mainly on cleverness-with-items rather than smooth-talking the guards (see: Reid’s failure to bribe a guard in his first escape attempt). It also used to be part of the cultural landscape; there was a time the name Colditz gave instant recognition.

And perhaps it still has instant recognition now in some places? A question I put to my trusty readers.

An 1828 painting of Colditz Castle by Ernst Ferdinand Oehme.

Captain Yule also arranged music for the prisoners’ orchestra. The strains often drowned out preparations for breakouts or distracted guards when escapes were in progress. On one occasion, the music started or stopped to signal two escaping prisoners on the whereabouts of sentries who were in view of the prisoner musicians. And a space below the theater stage was used by four escapees as an exit toward passageways leading to freedom.

From the obituary for Lt. Col. Jimmy Yule who died in 2001. As a prisoner at Colditz, he operated a hidden radio. The secret radio room was discovered in 1993 (!) and still had Yule’s old codebook. It included a poem: “Back in London, here we are / Back to clubs and caviar. / Back to Covent Garden’s fruits, / Back to 50-shilling suits.”

Posted April 28, 2020 by Jason Dyer in Interactive Fiction

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Escape from Colditz (the 1973 board game)   Leave a comment

For my regular readers wondering “where are the old adventure games?” and perhaps pining after ghastly parsers and erratic typos, rest assured they will return soon; I just happened to hit a game in my sequence that took an abnormal amount of background-building to write about it.

For this was Colditz and these prisoners were the bad types, undesirables in the eyes of German High Command. Many of them had already established reputations as disturbers of the peace with their frequent attempts to get out of captivity. That was why they were sent to us.

— from Reinhold Eggers, Colditz; the German side of the story

In addition to “escape-proof” design sensibilities, Colditz Castle was for Prisoner of War officers. By the Geneva Convention, general enlisted men as POWs could be used for labor, while officers could not.

From Pat Reid’s book — we’ll get to him in a moment.

It had multiple Appells (roll calls) a day where all prisoners went to the courtyard for a head count.

If you squint at the floor plan, you’ll see the aforementioned courtyard, but also a canteen, sick ward, chapel, and theatre. Yes, the prisoners put on plays. Some grew their hair longer to play female parts.

Amidst all this, the prisoners of war and German guards were playing a game, of sorts. Both sides considered it the duty of Allied officers to attempt escape, and it was the duty of the guards to stop them. Punishment for being caught escaping was a month in solitary, not death. By all accounts, Reinhold Eggers, the security officer in charge of Colditz, treated all escape attempts with good humor, although he made sure to take pictures and pass them on to other POW camps when something new was attempted.

When Pat Reid (Royal Army Service Corps) arrived, he had already made one escape attempt from Oflag VII-C (Laufen castle in Bavaria) involving a 24-foot tunnel. At his arrival at Colditz, he attempted a second escape attempt with 12 prisoners, this time going through a sewer pipe, but the guard he bribed had warned his comrades and they were waiting.

As was the traditional punishment, he spent a month in solitary confinement; after leaving he accepted the position of Escape Officer and helped with other escape plans before finally making an escape himself in October 1942. He went in a pit, through a cellar, and out a flue, using the Singen route to make it all the way to Switzerland.

Pat Reid is perhaps the most famous escapee because he wrote about his exploits in his memoirs, which later got turned into a 1955 movie…

From IMDB.

…and then a 1971-1973 BBC series.

From Nostalgia Central.

A writer for the series (Brian Degas) teamed up with Bob Brechin and Pat Reid himself to make a board game, Escape from Colditz.

Picture by Gary James, Attribution Share Alike.

The map for the board follows roughly the real floor plan. The setup is asymmetrical: one guard player, four Allied players, each playing an Escape Officer trying to help their men escape. Movement is done via dice, and the objective of the Allied players is to collect an Escape Kit of Compass, Food, Disguise, and Papers (each represented by a card) before making a final break for freedom. The objective of the guard is to stop that from happening (in the original version, within a certain real amount of time; on a more recent reprinting, within a certain number of turns).

From an old eBay auction.

While the game was quite popular on release, roll-and-move (think, ex: Clue) was the norm. Modern players (including, to be fair, myself) don’t have as much tolerance for highly random mechanics, but I still think Escape from Colditz is a narratological marvel. Gameplay and theme are not only tightly wound but the involvement of an actual Escape Officer meant heightened verisimilitude. I sometimes wonder: if tabletop RPGs hadn’t spawned from standard wargames, but they were still invented, where would they come from? It seems like a small jump from narrative board games — in Escape from Colditz the players are characters in an asymmetrical setup, just like Dungeons and Dragons — to dropping the board and having story scenes start to trump mechanics.

According to the CASA database, Colditz spawned 9 different adventure games. Escape from Colditz (1981) is the first, sharing a title with the board game, and is indeed based on it. I’ll get more into the relationship between the two (and how good the game itself is) next time.

Posted April 27, 2020 by Jason Dyer in Interactive Fiction

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That One Time the Gestapo Helped Some Prisoners of War Escape   1 comment

By the end of summer in 1940, it had become clear to all but the most stubborn that the Nazis were about to take Europe.

In September 1939, the Germans invaded Poland; in April 1940, Denmark and Norway; in May, a strike through Belgium, Luxembourg and the Netherlands; on June 23, 1940, Hitler went on tour in Paris.

When the Dutch capitulated to the Germans (amidst that dreadful summer) all naval officers were required to sign a statement that they would engage in no hostile activities; some refused, including Lietuenant-Commander Etienne Henri Larive. Larive was consequently sent to the POW camp Oflag VI-A in Soest, Germany.

He got out two months later (using a civilian clothes disguise) but before he made to freedom, he had to get out of enemy territory to Switzerland. He noticed that the railway from Singen to Schaffhausen passed very close to — but did not pass through — a protruding piece of the Swiss border. He theorized that controls would not be as tight as at the place where it actually crossed. Starting from Singen, he went west, then turned south, but got lost and ended up in Gottmadigen.

He tried to ask for directions but aroused the suspicion of locals; eventually, he smuggled into a train for Schaffhausen, but was caught at the last stop before the border, and taken back to Singen.

From Google Maps; you can see how close Larive got, and why a map and compass — which Larive did not have — were important tools in a POW escape.

Under interrogation from a Gestapo agent, Larive admitted he was a Dutch officer.

What happened next was the consequence of two things 1.) the unnamed agent had worked in Holland before the war so was relatively friendly and more importantly 2.) the agent was convinced the war was going to be over by Christmas.

The agent explained how the original plan was a good one, as the Singen train stop was the last before papers were checked; he asked why Larive hadn’t simply gone over the border. Realizing that Larive didn’t know the local terrain, the agent showed just how close he had gotten on a map and explained how the border was not guarded.

Perhaps the agent’s monologuing was also due to Larive’s next destination: Oflag IV-C, aka Castle Colditz, the castle turned maximum security prison, considered “escape-proof”.

It was not escape-proof.

View from the inside. Source. CC BY 3.0 from SKOMP46866.

The war, of course, lasted long past Christmas, and Larive in the meantime spread the word of the “Singen route” before breaking out in 1941, this time for good.

His escape involved a game called stoolball similar to rugby.

Several times a week, prisoners were taken outside the Castle to exercise in a small park. The Dutch discovered there was a bolted manhole.

Under the cover of a “scrum”, two of the prisoners (one of them was Larive) unbolted the manhole and slipped inside. One of the prisoners who stayed outside replaced the bolt with a replica made of glass.

In order to foil the headcount made before going back in the Castle, the Dutch had made dummies:

This photo gets shown off in a brief NOVA video where they re-enact the escape.

The Singen route was used by other POWs escaping from Colditz, including one of the most famous; we’ll get to him — and the subsequent landmark in board game history — next time.

Posted April 20, 2020 by Jason Dyer in Interactive Fiction

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Irvin Kaputz: More Like Icarus Kaputz   8 comments

One of my favorite unfinished works of art is the American Commissioners of the Preliminary Peace Agreement with Great Britain (1783-1784).

The artist, Benjamin West, did not die suddenly or get a creative block; the British representatives refused to pose for the picture.

This is a little bit what Irvin Kaputz is like. We have an adventure game left incomplete, but frozen in time at a particular moment and for — what might seem now, at least — a very unusual reason.

I did “solve” one puzzle since last time by poking through the source. By dropping the flag from the 18th hole of the golf course at the top of a pyramid, a crack in the pyramid opens up; you can use a lantern to go in and find a maze.

The maze hides a parchment (“IT’S ONE OF THE STOLEN TREASURES”), and a CLOSED STONE TOMB.

Past this point, everything is clearly broken. Brian Decker did some source-diving after my last post and found that fully 30 of the verbs don’t even work and just funnel down to EXAMINE. The HELP as mentioned in the instructions isn’t even recognized. While all the rooms “exist”, it is impossible to reach the entire map.

This is probably an example of a “private” game (like some of Roger Wilcox’s work), one not originally meant to escape in the wild. The incomplete nature is non-obvious at first appearances; bugs appear early, but serious bugs even in published work were not unusual for the time.

The author clearly had some ambitious notions about world modeling. In nearly every other game of the period, having MATCHES would mean they would LIGHT LAMP (as they do in this game) but they would apply nowhere else; here, you can not only burn items like a FLAG but they change form afterward into a BURNT FLAG. The water (with the GOLDEN ANCHOR I was never able to get) also affects objects, as the MATCHES turn SOGGY and the PARCHMENT becomes a SOGGY OLD RAG.

Unfortunately, the author ran straight into the dread TRS-80 16K size limit. If you’d like to experiment, go back to the source code from my last post, go to any of the PRINT statements, and add one (1) character. Then try running the code at Willus. The game crashes and refuses to load. Delete a character in any print statement (even a different one) and the game loads again. (The file itself is 13K, but given the “exactly one character” circumstance, they were formatting their disk in the same manner as on Willus.)

When critiquing old games it can be easy to forget the technical limits the people at the time were straining against. For example, I’ve gotten fussy with games that only accept TAKE but not GET as a verb (or vice versa). For taking objects, Irvin Kaputz understands TAKE, PICK UP, GET, GRAB, and REMOVE; it accepts LOOK, EXAMINE and DESCRIBE for looking at objects; and it ran out of space before it could add more. The programmers of many of the games we see from the era likely hit the same limit, but were humble and cut back.

This painting by Joseph Lange of Mozart is not unfinished in the traditional sense. The center rectangle is a finished miniature, and then someone later (probably but not necessarily the original artist) cut-and-paste onto a larger canvas with the intent of expanding it. The kludge is more obvious from a pre-restoration photo. More about this is at Michael Lorenz’s blog.

Posted April 16, 2020 by Jason Dyer in Interactive Fiction

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Irvin Kaputz (1981?)   8 comments

One of my lingering questions for the project has been what to do with games that lack both an author’s name and year of release. Where should they be placed in sequence? Without a biography or definite historical context to peg to, it’d be easy for these games to fall through historical memory.

But: we’re doing all the adventure games here, even though I was tempted to let this one slip away (for reasons you’ll see shortly).

I tagged this game as “1981” for a few reasons:

  • This was from a TRS-80 Model I disk. Tandy replaced the Model I with the Model III by 1980 and the number of Model I-specific games started to decline.
  • In archaeology, when an artifact can’t be dated based on its own properties, it helps to look at the layer it came from and if anything nearby can be used as a date instead. At Ira Goldklang’s site where this was first archived, the disk collection it was in had one program each from 1979, 1980, 1981, and 1982.
  • It’s a treasure hunt with *asterisks around the names of treasures* (13, in this case, hidden by the “thief-eccentric” Irvin Kaputz). We’ve only had 3 and a half treasure hunt style adventures in 1981 (Inca Curse, Miser, Chambers of Xenobia, and I’m counting Hezarin as half) which puts the percent roughly at 20%; this means in 1981 the style is still around but starting to fade out as a plot device (compared to around 40% of games the year before, and more than 60% the year before that). If we’re playing the odds, 1981 might even be an overestimate.
  • The title screen has the “I am your puppet” phrase which started to be less common after 1981.

Still, I want to emphasize this is a straight guess, and there’s nothing preventing the game from being from 1987 or some such.

The parser of Irvin Kaputz is bizarre to the extent I was unclear if I was seeing bugs or “intended” messages. For example, UNLOCK DOOR at the screen above leads to


The game was thinking UNLIGHT and only looking at the first three letters of the word. But then, I tried OPEN DOOR


which led me to suspect the verbs were mismatched and not going to the right actions. After a bizarre scene with a robe…

…and the fact that the HELP command mentioned on the title screen from the top of this post doesn’t even exist, I decided this was one of those adventures where studying the source code was going to be part of the challenge.

Before I get to the source code, let me lay out what I’ve managed to reach:

Out in the open at the start there’s a *GOLDEN CALF* and *JEWELED FRUIT*. The northwest corner of the map has a golf course where a *RUBY* hides within the 18th hole, and in the sea next to a boat there is a *GOLDEN ANCHOR*. I haven’t been able to get out of the sea once I’ve gotten in.

The boat itself has some MATCHES which I can use to light a RUSTY OLD LAMP, but I haven’t been able to get into any dark places and the lamp has otherwise not been useful.

Other than the LOCKED DOOR at the start I haven’t been able to get in, there’s also a CLOSED GATE (ditto) and a DRAWBRIDGE with PORTCULLIS (same).

I’ve put the source code here. If you want to test it out, you can go to the Willus site I use and pick a random BASIC program (like this one, Election Simulator 1980), cut and paste the source code, then hit “Emulate edited program”.

A few observations I came up with based on the source:

  • I originally thought the game only understood GO NORTH and so forth fully spelled out, but the abbreviations N, S, E, W, U, and D are in; they need to be typed with a period after them. I’ve never seen this before in any adventure game, and is distinct enough if I ever see it again I will suspect the game is somehow linked to Irvin Kaputz.
  • There’s a message about LEAVE YOUR TREASURES HERE AS YOU FIND THEM that I haven’t come across in the game proper; I suspect I haven’t been to the right room yet. The game’s SCORE command says I have so far recovered 0 treasures.
  • The game has weirdly detailed rules for burning things that aren’t the lantern. You can burn the robe (you die because YOU BURN WITH IT), the flag at the 18th hole of the golf course, and a parchment which I haven’t found yet.
  • The I SEE NOTHING VERY SPECIAL message is coming from the game defaulting to an item’s EXAMINE description if an action isn’t done. That still doesn’t mean the actions aren’t broken, but this might be quirky game design rather than a bug.

What I haven’t been able to do as of yet is make progress. This is partly my tentative desire to not completely spoil the game — I haven’t line by line tried to see what verb might apply to the gate, for instance — and partially because I was frankly hoping/expecting to find a simple bug due to a character corruption (or something similar) that doesn’t seem to be there.

I’m also willing to call this one “done”; I’ve squeezed out some interesting information regarding the movement and detailed arson abilities, but I don’t know if Irvin Kaputz has anything else left to give.

Posted April 15, 2020 by Jason Dyer in Interactive Fiction

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