I’ve finished the game. My previous post is needed for context.
From the Museum of Computer Adventure Games.
This was mostly a matter of realizing the system this was going for, which is to use almost no verbs at all. The command list given in the game is essentially
with a heavy, heavy reliance on DROP. DROP doubles as USE: it applies the object you put to whatever is nearby, and it may or may not display a helpful message as it does so.
The atmosphere is something a cross between Seek and Arkenstone. Seek in that having nearly everything happen with DROP (combined with sparse descriptions) makes for an almost board-game like feel, and Arkenstone in having all of the locations from the book jammed together in a way that doesn’t entirely make sense.
Continuing from last time, there was a warp transporter hanging out near Arthur Dent’s House that I was unable to activate with a crystal. Following my statement above, you just need to DROP the crystal and it works, but it works by opening a passage to the south with no fanfare.
This leads to a “Betelguese Spacedome” and I’ll mark the whole area in light purple. Not everything is accessible right away.
You’re first stopped by a “nutty Vogon guard” and you’re supposed to DROP some peanuts (ha ha, ha).
the Vogon jumps for joy and runs off
with a handful of peanuts
This is immediately adjacent to the Restaurant at the End of the Galaxy (see? it’s like Arkenstone geography) where you can buy a Pan-Galactic Gargle Blaster with money. (Or rather, you try to TAKE PAN, are told the bartender needs money, drop the right item, and then you are allowed to take the Gargle Blaster. Also, take the item you used to pay for it, since it just gets left right there.)
After that comes a fountain with a babel fish that is not cooperative about being picked up…
…and an “angry Arkelsiesure” blocking a hallway. (As usual, it isn’t clear the creature is blocking anything — you only find out after resolving the obstacle.)
Available also for nabbing are some matches, a Vogon mega-steak, and a galactic data card. There’s one locked door (keys are coming soon) and some whalemeat that you do nothing at all with.
We are on an undulating walkway
You can go North, East
That looks like
ten tons of whalemeat
Taking the matches, we can head back over to the hay monster that was stopping us before and set it on fire (again, DROP, not LIGHT MATCHES or anything like that). This opens up a Small Shop with a stun gun, which can then be toted over to the Vogon Captain and — astonishingly enough — used via the SHOOT verb rather than DROP. I guess here it seemed too implausible to activate a gun by dropping.
This opens up the third area, which is roughly “ship + outer space” but again things are very loosely connected to any real geography:
Some keys (told you they were coming) are easy to grab, as is a cheque signed by Zaphod Beeblebrox which is ripped directly from Supersoft Hitchhiker’s. Let’s save the cheque for now and go use the keys:
Poetry, my favorite, and it gets applied in exactly the same way as it does in the Supersoft game: to scare a way a tiger.
From here you can access a “beast of TRALL” who will take the mega-steak, opening passage to a white mouse that is too fast to take. Going east instead leads to an Engine Room described as having an improbable situation. I nabbed the Improbability Drive (just hanging out in town), plopped it down, and was mystified when nothing happened. This is the one part where EXAMINE was useful, as I could EXAMINE the engine.
Fortunately I had one of those; dropping both items activates the engine and new exits, leading to: a Vogon coin, a Vogon data machine, a robot control circuit, chocolates, the Hitch-Hiker’s Guide to the Galaxy, Deep Thought, and a mega-elephant blocking the way. Deep Thought is an item you can pick up and as far as I can tell (despite being the mega-computer that figured out “42” in the book) is entirely useless in the game.
To get past the mega-elephant, you need to go back to the market with the cheesecake, buy it with the Vogon coin, and drop it at the mouse, which suddenly gets described as sleepy. (There’s some text that doesn’t show in the game about it eating the cake up. The cake doesn’t actually disappear, though.) Then toting the mouse over to the elephant:
This opens up a Vortex where there’s a colorful poster; the poster is one of the artefacts. (We’ve already seen two other artefacts, the book of poetry and the Hitchhiker’s Guide. The only way to tell is to drop the items at the Inn and check if your score has increased.)
Toting the chocolate back over to the babel fish — look, this was just something you did in the Supersoft game, I have no idea what the motivation would be here — you can drop it, and the fish will eat the chocolate and get drunk, allowing you to pick it up and get the language-understanding from the book.
If you use the cheque (from way back a bit when we found keys) you can buy the Gargle Blaster and deliver it to the Arkleseizure; as long as you’re wearing the babel fish you will find out exits you can take. Again, this is entirely a ripoff of the Supersoft game, including the softlock that happens if you hand over the drink before wearing the babel fish.
In the original he said to go west.
This opens passages to a dirty towel (not a treasure), a bowel of petunias (treasure), Slartibartfast (who you can pick up for some reason), and Marvin the depressed robot.
Dropping the circuit board from back in the Vogon/space area over here doesn’t seem to work, but it’s just the game’s code being weird; once you have dropped the board, you are allowed to take Marvin, and the board will come along with him.
There’s a third game this all reminds me of, and that’s Eldorado Gold. That was a game which took a different game (Lost Dutchman’s Mine) and did sort of a parody version but was otherwise ripped quite directly, including I expect the code.
Here, there doesn’t seem to be any parody going on: this is just the author apparently being a fan of the Supersoft game and doing their own remix, including stolen puzzles. It still counts as its own game and the extra bugs (and intentional red herrings) mean you can have very strange object lists.
According to the walkthrough on CASA, there’s some unused text:
“The barman won’t let us”
“The barman says THAT’LL DO NICELY”
“The mouse swallows the cheesecake,burps and falls asleep”
“Marvin says LIFE’S TOTALLY BORING and wanders off”
“Great Idea Guys-nothing happened”
“Whoops!! A nasty Vogon just spotted us”
“Vogon has disintegrated us”
“Great Idea Guys,maybe the Megadonkey cancarry some stuff”
“jumping Gargle Blasters,the Megadonkey kicked everything off
and bolted”
which suggests the author got up to the point where the game was “working” and then decided it was good enough to put onto tape. Is Marvin wandering off a softlock or was there meant to be a mechanic where we can follow him around? Was the Vogon meant to be more aggressive? What was the real plan with the Megadonkey? The inventory limit is 3, so an increased capacity would have been welcome. Funnily enough, the presence of the Megadonkey means this game could even have gone to the same source as Eldorado Gold (Lost Dutchman’s Mine) as that game has a mule that you can use to carry inventory, and it isn’t a common attribute in games of this era at all.
Peter Smith will return soon with a Dr. Who-themed game. For now, coming up: two short games, and then the sequel to one of the most difficult games from 1981.
One exit will either send you to a random close-by room if you’re holding the Hitch-Hiker’s Guide, or send you into space if you’re not. I have no idea if there was some plot or puzzle this was supposed to lead to that the author simply forgot about.
In the early 80s, Computer Concepts was a BBC Micro-focused company in the UK mostly known for applications and graphics software, like a Graphics Extension ROM and a LOGO package (LOGO being a beginner language specifically for making computer graphics).
However, just like any company getting their footing at the time, they threw out lots of products; this October 1982 ad emphasizes a word processor (Wordwise, we’ll come back to it) but also five games: Asteroid Belt, Chase, Chess, Reversi, and what the ad calls Hitch-Hiker’s Guide although the cassette box from the Museum of Computer Adventure Games just says Hitch-Hiker.
An adventure based on the characters of the book ‘Hitchhikers Guide to the Galaxy’. The aim of the game is to collect five specific objects that are located in such places as the ‘Restaurant at the End of the Universe’, Arthur Dent’s house and Betelgeuse Spacedome. The computer can understand plain English commands such as North, Shoot and Get. Clues (sometimes very subtle) are given that indicate the whereabouts of these objects or the method of getting to new areas or locations in the game.
Only £5.80 plus VAT!
You might think this is another one of those companies that’s disappeared after producing a handful of dodgy games, but no, they actually did quite well for themselves because of Wordwise. A 1984 ad that mentions a change of address:
That second address is not a normal house. It is a full estate, one built between 1768 and 1773 that has its own Wikipedia page and was used as the set for movies. It was bought by (and still owned by) Charles Moir, who became very rich from his company.
Before Computer Concepts, Moir had been interested in electronics and he’d belonged to computer clubs. After he had finished school, he avoided university and was tinkering with his dad’s business instead. But aged 17 fate took a hand: Moir met Acorn founders Hermann Hauser and Chris Curry. By the age of 21 he’d written Wordwise programming in his bedroom.
Demand for those early machines exceeded expectations and sometimes supply: the BBC’s target for the BBC Micro, for example, was 12,000 units but in the end 1.5 million went to eager young geeks. BBC Micros sat in 85 per cent of British schools.
Moir tells us: “The BBC Micro became huge and the product I did, Wordwise, became very popular on the back of that. All of a sudden I was making a fortune much to the amazement of my parents, because I was 21.”
As far as the author of today’s game goes, Peter Smith, I haven’t found any evidence he had a special relationship with Computer Concepts. He was a math teacher who eventually went full time into software development. His other 1982 text adventure which we will be getting to (Time Traveler) was published by an entirely different company, Software For All. He later did children’s software through BBC Soft (the BBC’s own software house), with titles like Picture Craft, Maths With a Story and Through the Dragon’s Eye.
All this (from two people who either create or land with very respectable companies) makes the content of Hitch-Hiker even more puzzling, as this not only is it a unlicensed product of the Douglas Adams book, it rips in a minor way of a different company’s version of Hitchhiker’s! (This is still two years away from Infocom’s game.)
To back up and explain, we’ve had so far a 1980 version of Hitchhiker’s with the serial numbers crossed out (Galactic Hitchhiker) but for the obscure UK101 where it wouldn’t cause a fuss. We also had a made-with-permission-from-Pan-Books 1981 text adventure by Bob Chappell and published by Supersoft. Supersoft made the mistake of trying to republish the game in 1983 when people were paying more attention to these “electronic game” things, getting themselves a knock on the door from literary agent Ed Victor and a lawsuit. It was settled out of court (despite the letter giving permission) and Supersoft had to rename their game Cosmic Capers.
You might think that a company with deep pockets would also be a target, but Computer Concepts seemed to shy away from games when 1983 rolled around and the sweet word processor money started to pour in, so nobody paid their game much attention. (Compare with how the VisiCalc folks initially published Zork.) The game seems to be rather rare besides.
Supersoft didn’t make a fuss either, even though the opening room seems to be taken directly from their game:
The Five Artefacts Inn is not some sort of Hitchhiker’s lore, but rather simply the location the treasures go in Bob Chappell’s game. (It had an interesting take on “treasure” in the Hitchhiker-verse; a high-value check was not considered a treasure, but a towel was.) There’s also a “rubbish tip” early which shows up in the Chappell game…
…but that’s it. Things go in rather a different direction. For example, the Vogon is not actively trying to kill you. You can try to GET him and the game will say “I’m not getting that villian.I’d shoot him” but there’s nothing in the starting locations that suggests a weapon:
While Supersoft Hitchhiker’s was weirdly laid out I still got the impression of different specific zones; here I have no idea why we’d start next to a small dog, improbability drive, cut price cheese-cake at a intergalactic market, sparkling crystal, strong cup of tea, and pack of galactic peanuts. The level of surrealism isn’t quite up to Fantasyland but it’s nearing that level.
The only real obstacles are a “horrible hay monster” (GET MONSTER: “Sorry I’ve gotten hay fever”) and a warp transporter which says it uses crystals. That means, you would think, the crystal would apply for teleport (and maybe get this game kicked off but I’ve tried many, many verbs with no luck.
USE CRYSTAL, ENTER TRANSPORTER, POWER WARP, ENTER WARP, BEAM UP, THROW CRYSTAL, INSERT CRYSTAL, PLACE CRYSTAL, etc.
INSERT CRYSTAL at least has a prompt about what I want to insert, but typing CRYSTAL just gives no reaction. The game takes the standpoint of simply refreshing the room description if a command isn’t understood, with no hint if it was a verb problem, noun problem, or it just is deciding to be fussy.
I do think this parser has more chinks in the armor than Windmere Estate did so I expect to be able to break through for my next post.
There was briefly some “professional” distribution via Aresco. Based on the manual’s date (December 1979) it was simply distributed throughout 1980. They put in classified ads but not what one might call full professional advertising.
The “Ask Me About Kim-Venture” distribution happened after distribution had trailed off already at the end of summer, 1980, at the Personal Computing Show in Atlantic City. (Only the West Coast event gets described as a “faire” so I was getting the events confused.) Since Leedom himself is in the comments he can check me if I have this right now!
The Apple 1 debut at the Atlantic 1976 show. The man in the picture is a friend of Steve Jobs, Daniel Kottke. Source.
So last time I was stuck due to a dragon eating my bird, and none of my other objects seemingly getting any acknowledgement. The Original Adventure involved fisticuffs, where you ATTACK DRAGON and it asks you if you mean your bare hands and you say yes; this game had no equivalent (although I did test dropping all my items and applying Use, I mean Employ; there’s just no message that appears if you have no objects, though).
I finally peeked at the map which indicated the bird worked on the dragon after all. (??) Rather confused, I tried to drop the bird rather than employ it, and this time the bird scared the dragon off. I have no idea what the difference between the two is (does the game assume “employ” means I wanted to hurl it into the dragon’s mouth? I am failing to visualize what’s happening).
The remainder of the game was relatively straightforward, as I had already resolved the hard part (figuring out where the magic gets used so you can warp at the steps — you can’t bring one of the treasures up from the steps, so warping has to be used).
Mapping was the difficult part; as you can tell above, the directions start to twist more or less on every single step. Everything funnels down to a pair of three “pits” (north, east, south) and going down at the north and the east pit leads to a “hole” where the rope is needed to escape. I think the intent was to fool the player into not also testing going down at the south pit but that leads to an entirely new location, a blue den, and going down again leads to some pearls.
You still need a rope to get out, and it is definitely possible to get softlocked here (one of the ranks in the scoring system is “you got stuck”, accounting for this).
The other element is a Gully, where going west has the game prompt you how.
There’s no description but given there aren’t many objects to play with it isn’t tough to realize the so-far unused rod has to apply here.
This leads the way to some Gold, and just like original Adventure, you can’t get the Gold back up the steps. This is where the teleportation comes into play, and so you can drop the treasures off and win.
The game lets you try for a maximum-optimal time for higher score. This is far tighter than normal but keep in mind the context of this game (it’s already enormously tricky to get the game running in the first place) so I can see trying to squeeze out every ounce of potential interest.
By the way, there were no assemblers, at least I didn’t own an assembler back at this time. All of this was in machine language, and hand-assembled, and I created…I had messages in there…you know, on a 7-segment LED display, you can’t make a K or a W– there’s several letters that are just too complicated to put up there. I could make an S, I can make a lowercase N.
Just to reiterate, the calculator display wasn’t able to show a K or W letter, so the way Leedom worked around that is to simply avoid using words that had either letter. There could be a red room, or blue room, or purple room, but a white room or a black room simply weren’t possible with the technology.
Most histories of personal computing focus on devices resembling a modern computer, with a keyboard and screen — perhaps provided separate from the main product — and the main hardware hidden by a case. However, a full accounting of computers for personal use really ought to be more expansive. If you wanted a computer in the 1950s, you could go with the Geniac, made out of masonite disks and wires.
Some kits from the 1970s involved literal exposed circuit boards. The TK-80, for example, was a kit sold in Japan; one of the earliest adaptations of anime to computers (Space Battleship Yamato) was made for the system.
ASCII Magazine, August 1978, from bsittler via Gaming Alexandria.
The system for today’s game is a KIM-1, which first was sold by MOS Technology in 1976. By default it had room for displaying six characters of text at a time using a “calculator display”.
Based on source code from The First Book of KIM (1979) the six letters could go a long way, allowing for Blackjack games, Hunt the Wumpus, Lunar Lander, and an animal-recognition program called Farmer Brown.
As the symbols above imply, the calculator display can be used in unusual ways; letters and words required creative modifications.
Read the text here as “you are at”.
Today’s author, Robert Leedom, started his experiences with computing in the hardscrabble 60s; while he didn’t build the paperclip computer, he did build an analog computer while in high school. He ran across the People’s Computing Company in their early days, and after attending college at Johns Hopkins (programming with punched cards) he got a job at Westinghouse and obtained experience with a Data General Nova, noodling with the programs from Ahl’s collection of BASIC computer games.
I had seen Colossal Cave Adventure running on an IBM mainframe, so I decided to see how much of a similar game I could cram into 1188 bytes–I think that’s the total on a virgin KIM-1, which was the only computer I had access to. I had no I/O capabilities other than the KIM-1 display and keyboard, plus a cassette tape recorder. Therefore, the program was assembled by hand, and then I typed (on a typewriter, of course) the “listing” of the source code.
Just like a common hack for modern machines is to see if it runs DOOM, programmers of the late-70s-early-80s tried to make every computer play a form of Adventure, even ones that were absurdly limited. Leedom cheekily explains in an interview he managed to fit “26 rooms, 2 treasures to take back, a magic rod, a magic word, a dragon, a bird, a whole bunch of stuff in there and I crammed it all into 1,185 bytes. I left 3 bytes over for user expansion.” In a different interview Leedom explains he used compression rather like the Z-Code of Infocom or the A-Code of Level 9.
He managed to find a local company to print copies and showed up to the 1979 Computer Faire in San Francisco Atlantic City wearing an “Ask me about KIM-Venture” shirt.
I had technical issues getting the game running (I tried roughly back when the game was first dumped) but there’s now a helpful Youtube guide accompanying an online emulator and the source code on Github. Due to the size limit the score can’t be known from the base game; after finishing you can upload the SCORER program to the right address (which copies atop the main program) and run it.
The limited keyboard of the KIM-1 means it has no parser but rather improvises using the buttons available. From the manual:
I love the fact that (due to the letters being restricted to A-F, as in hexadecimal) “E” for Employ becomes the Use button.
Our quest is to find the hidden caves of Nirdarf and its treasures.
Many, many years ago, before the Semi-Colossal Caverns of Nirdarf were the subject of whispered terror, a townsman found a scrap of paper wrapped up in an oak leaf, down in Least Valley. That’s a few miles north of here, and that’s where the last explorers were finally found … absolutely mad. Anyway, this scrap had some scribbling on it, and a little drawing, and lots of the local folks think the message has to do with the caves and the treasures.
The scrap of paper is not only provided in the manual…
…but also gets represented in the game itself. You get prompted to act by what vaguely looks like a question mark, and on the same display you also get shown the “current image” of the most recently seen symbol.
Here’s an animation of the opening of the game just to show what the game looks like to play; I enter a location described as having a 2-inch slit. (This is a larger GIF size than I normally use, but the experience here is so much different than a typical computer game I think it’s important.)
The game kicks off in a clearly-inspired-by-Adventure area. You’re at a stream, a house is to the north, and if you go down while in the house you can find a cellar with a file, cage, and rope.
The game deviates from Adventure upon heading south and arriving at a grate; employing the file (not keys!) turns it into an “open” grate. (The way using objects works is you press E to start the process, and then the game lists each of your objects in order; you press E again when the right object displays in order to use it.)
First off while inside is a “tunnel” with a rod, and a “bird room” based with a bird that can be caught in a cage. The usual behavior applies where you can’t pick up a bird while holding the rod (this is mentioned in the manual as a hint).
Next comes a “purple oracle” room, which I’ll show as actual screenshots. Keep in mind these appear slowly one at a time!
So the purple oracle has a sign that says the magic button is 0. This is hinting about an mention in the manual about the “F” key; if you press it, the game requests what the magic button is. To get the magic started, you need to press “0”. In most locations this will do nothing still (“no joy”) but if you are at the Stone Steps in the underground you get teleported to the Cellar, and vice versa. I don’t know if there are more teleport spots, because I’m stuck immediately after on a dragon.
The dragon blocks all directions except back to the steps. If you employ the bird (thinking perhaps this will work like the snake in Adventure) the dragon simply eats the bird. The rod, rope, file, and cage get “no joy”. I am honestly not sure what to do from here!
I have not tried every item in every place (maybe the bird wants to be free in the glen?) mainly because it is very slow trying to do anything in this game, but I find it fascinating to be stuck with such apparently limited options. I also have not investigated any of the glyphs that show up in the rooms (the symbols that show when the game prompts for an action) and if their significance needs to be gleaned for a puzzle.
There’s a longplay on an actual KIM-1 so I can fall back on that if I need to, but despite it being on such an unusual system I’m going to treat it like a regular adventure game and hold off from looking up hints for a while longer.
Thanks to Code Monkey King and Kevin Bunch, whose interviews with Robert Leedom I used for the history section of this post. Code Monkey King also made the emulator but note you should use the older version of his emulator if you want to play, as the newer one I’ve found has an error. (Specifically, when uploading the main code, it ends up resetting the variables to 0.)
I did not need to bop open the North Star version of the game after all, although I did hit a
I/O ERROR
BREAK IN 0
for no apparent reason once. My biggest breakthrough sounds kind of silly written out, so let me just give a map first. Yellow rooms are new.
Yes, I was foiled by diagonal directions. I had been testing them tediously nearly everywhere (YOU CANNOT MOVE IN THAT DIRECTION, YOU CANNOT MOVE IN THAT DIRECTION, YOU CANNOT MOVE IN THAT DIRECTION, etc.) but had apparently forgot to check in the West Upstairs Hall, one of the only rooms that has any! They’re technically in the room description, but given the presence of zero diagonals briefly, I hope you understand my issue.
THIS IS THE WEST ENO OF THE UPSTAIRS HALL. THERE ARE EXITS LEADING IN ALL DIRECTIONS.
After finding this I also noticed there’s exits up and down, again technically included in “all directions” more often not counted with that sort of statement.
The diagonal rooms technically speaking don’t yield much other than SILKS (just a treasure) and an IVORY CARVING (which we’ll need later). There’s an amusing music room scene which I think does nothing but might be a Cranston Manor reference.
Mr. Strong had almost certainly played Cranston Manor: it was the most famous of the North Star games, having the Apple II version published by Sierra. (This fact was later advertised, trying for piggyback marketing.)
Leading down goes to inside a (non-working) furnace in the basement with a GOLD EGG. I previously did not know the furnace was enterable; the EGG is just like the vase in Adventure where it breaks upon dropping (and you can’t LEAVE it to somehow indicate “set down more gently” like with the UK game Zodiac). I found the proper item essentially by luck, as I had all my stuff (including treasures, warehouse trips came later) in one room including the sawdust box so setting down the egg became safe by default.
Before going up, I should point to the other yellow spot on the upper floor: at the master bedroom, with the suspicious PORTRAIT, it turned out I was supposed to refer to it as a PICTURE, and TURN PICTURE. Just wonderful, game.
The skeleton now unlocks (with INSERT SKELETON) the door back at the well. It does not lead to a new area at all, but rather directly to the warehouse holding treasures.
Since going up the well takes the player almost directly to the warehouse already, having this extra path was puzzling. There’s a reason but we won’t get to it until nearly the end.
Warping back to that UPSTAIRS HALL and going up leads to a rooftop with an observation tower holding KEYS. The keys unlock the trunk back at the garage I was having trouble with (getting STAMPS, just a treasure; the keys aren’t useful for anything else).
You might notice the weathervane being described as to the west. This baffled me for a long time, and for compactness I’ll give the resolution now: the weathervane is to the east rather than the west. (I did say “exits being ornery to find” was the theme!) I will also confess I did not “solve” this issue but rather found this on the CASA walkthrough; I suspected high bug shenanigans.
Turning the weathervane is strongly clued…
…and that drops you in a secret corner of the hedge maze with a dagger.
With the dagger it’s possible to deal with the mysterious STAB RATS message. The problem is the rats aren’t in the same room as the plaque.
One of the items I had been frustrated by was a SACK which stubbornly refused to be opened or have anything else done with it. The sack turns out to be a passive item; if you’re holding it, you can pick up the rats, will end up inside the sack. This lets the player safely cart the rats over to the plaque and finally STAB RATS.
Typo aficionados may appreciate “SQUEEL FROM THE PAIN”.
I’ll show off the destination in a moment, because there’s another way in, involving something I already tried: swimming at the lake.
(The marked-corner spots are dark, which will be important.)
Note that swimming in the lake ends up hitting one of the few bits of world-model awareness in the game’s coding: getting the flashlight wet will fry it. You need to leave the flashlight behind, and you can then nab the DUBLOONS, a SPYGLASS (a treasure, but also useful for something) and a SWORD (not useful at all, even for stabbing rats).
From the map layout, the dubloons/spyglass area can only be reached via swimming. However, to see in the dark rooms, you need to bring the light, which requires taking the rat passage. (It’s possible to walk in the dark without dying for at least a few steps, so it’s fine to swim in first; this also gives a hint that there is, in fact, a secret passage at the STAR BATS room.)
The important dark room is a self-described “RIDDLE ROOM”. You are requested to drop “SOMETHING THAT IS PURE (OR ALMOST).”
This seemed to me like it had to be a treasure, but which one is “pure”? I got the right item first try but I’m not sure if I got lucky or not: I was thinking about the common advertisements (up to at least the 80s) for Ivory Soap.
The “OR ALMOST” in particular made me think of the weirdly exact “99 44/100” tagline for the soap.
You can normally just leave through the south, but the EMERALD can’t be taken that way; however, putting it in the opening sends it through an “ELEVATOR” which is clearly the dumbwaiter…
YOU PLACE THE EMERALD IN THE OPENING. THE MECHANISM WHIRRS AND THE STONE IS LIFTED AS IF IT WERE ON AN ELEVATOR.
…so all my struggle with that got resolved by simply using the dumbwaiter from the other side. (That is, the emerald can now be picked up at the Servant’s Quarters.)
That’s all of that section. The next section I was missing is almost entirely on me.
THE GARAGE HAS LONG SINCE BEEN EMPTY BUT THERE IS LAOOER LEADING UP
Almost entirely: there’s an undescribed exit to the west.
sigh The Nemesis returns.
YOU ARE ON A NARROW PATH
>NW
THIS IS WHERE THE WATER FOR THE ESTATE COMES FROM. THE PUMP NO LONGER WORKS BUT THE FLOOR IS WET FROM A SMALL TRICKLE OF WATER SEEPING FROM THE SEAL. NEXT TO THE PIPE IS A HOLE WHICH LEADS INTO DARKNESS. IT LOOKS LARGE ENOUGH TO SQUEEZE THROUGH BUT…
This area is relatively straightforward, except for:
a.) There’s some RUBIES that you need to be holding the SACK again to get.
b.) There’s a “doorless room” with a LAMP; you need to RUB LAMP to get out, which is almost reflex now for me and early 80s games.
c.) There’s a cufflink in a LOST CAVERN where leaving the room gets the message that something seems to be missing (the cufflink). This puzzle is meant to essentially waste your time since there’s nothing you can do (no elevator chutes or whatnot) and it turns out the cufflink teleported back to the WAREHOUSE where it belongs.
I will say there was a sense of atmosphere built up here; even though it wasn’t really a secret area, the fact it came up late in my gameplay gave the section an extra dose of mysticism.
Oh, and d.) I finally get to use the shovel where DIG??? was the response everywhere. At least the description telegraphs the puzzle.
From here I was really stuck and did a bunch of treasure-transfers back to the warehouse. It started getting fairly stuffed.
It doesn’t even all fit on the screen.
One item that seemed like it might be helpful is the GOLD SPYGLASS from the island. I tried GAZE SPYGLASS, LOOK THROUGH SPYGLASS (not a three-word parser but the game might have decided to be cruel here), USE SPYGLASS, etc., always getting the response
GAZE SPYGLASS???
This is a case which shows why bespoke actions at locations are a super-bad idea. The messages imply that all the syntaxes are wrong; even if you have awareness this might not be the case (as I did by this point) you essentially need to try every plausible syntax in every plausible room. The right room makes sense but it’s very easy given the circumstances to mess up.
I can easily see why from the perspective of Dennis Strong there wouldn’t be a problem here: the text does signal the observation tower is a helpful place for the spyglass. However, this is certainly an abductive reasoning moment and there are far too many circumstances where a player won’t find this because of the extra parser hurdle. (Quick definition recap: with deduction, we have fully known rules and circumstances that when together force some kind of conclusion. With abduction, we have circumstances where we have to infer the chain of events, but it’s a probabilistic guess.)
With the sighting from the spyglass, you can now go north from the “BREEZEWAY” which isn’t described as anything other than being a breezeway.
For the start of this final section, I hit a horrid moment where I thought I needed to restart the game.
Going down the hole causes you to break your neck, in a message reminiscent of trying to jump into the well at the start of the game. At the well, I had used a rope to go down (TIE ROPE) and it formed an odd second shortcut to the warehouse (since the bottom of the well had the skeleton-door leading straight to the warehouse). You’re supposed to use the rope here. I went back to the well to get the rope back:
UNTIE ROPE
UNTIE ROPE???
GET ROPE
THERE ISN’T ANY ROPE YOU CAN GET
??? Really? Fortunately, knowing how bad the parser is, I made a few more attempts, and hit upon TAKE ROPE.
Just to be clear, even though get and take are normally treated as synonyms, for the one specific case of getting the rope back, TAKE works and GET does not. Parsers keep finding new ways to disappoint me.
With the rope and hand we can get into the cave:
Just a bit farther is an unsteady subterranean lake.
The choice above (with the dam about to burst) is once again puzzling. I tried the most obvious thing of directions first (outrunning the event, maybe) but the game told me east and west weren’t exits. I kept going and found that NORTH brings you back to the lake but also floods the tunnel, while SOUTH somehow stops the flood.
YOU MANAGE TO SUCCESSFULLY STOP THE WATER FLOW BEFORE IT FILLED THE CAVERN.
Your guess is as good as mine. All these leads to a dead end and a PLATINUM PLATYPUS.
Just to be clear, I’m emphasizing the parts of the game I had trouble, but this isn’t generally intended as difficult (I think the RATS/BAG thing is the hardest, especially with the poison fake-out). When this was simply a game about exploring new areas and scooping up treasures it felt satisfying, and it is even possible some of the friction I suffered helped make the simple moments come across better.
That is, I enjoyed scooping up the platypus even though I still don’t know what was going on with the dam puzzle.
That’s everything, I think? (There are so many treasures I might have missed mentioning one. I’ve covered all the puzzles, at least.) Once you drop the last treasure in the overfilling warehouse the endgame immediately starts.
This is a two-room endgame, just like Crowther/Woods Adventure.
It also has nearly the exact same solution as Adventure, albeit much more fairly clued. Not only do the room descriptions suggest the keg goes to the rubble, but there was a book long back that made the comment to BLAST those pirates.
I do not care about exploration percentage maximum, although it was good to signal how many chunks of map I was missing.
This could have been a fun straightforward exploration game, but it was undercut by technical issues. Here is another case where I wish the author had a modern copy of Inform (or hell, even AGT) because so many of wobbly parts would be resolved.
There was some imagination and attempt and building a world full of shortcuts and niches. One room I skipped mentioning gives an idea:
FROM HERE YOU CAN SEE THE WESTERN PART OF THE ESTATE. YOU ARE SURROUNDED BY A THICK FOREST OF WALNUT AND OAK TREES. TO THE NORTH YOU CAN SEE A SMALL STREAM WINDING THROUGH THE FOREST. TO THE WEST ATOP A SMALL KNOLL IS SHALL BUILDING FROM WHICH A PIPE EXTENDS TO THE HOUSE. YOU CAN BARELY SEE SOMETHING TO THE NORTH BUT YOUR VIEW IS MOSTLY BLOCKED BY SOME LARGE TREES.
Sure, this isn’t artistic at a prose level, but — this indicates the garage-exit I had missed, and also the author really was thinking about the big-picture view of how everything is laid out. The extra area to the north is hinted at here (and can only be seen by the spyglass on the roof — it really would be a good puzzle if the parser didn’t keep screaming at the player). We’ve had authors that haven’t taken nearly that much care and seem to be just laying down one room after another. I hope even if Zodiac Castle turns out to be a worse game somehow the author keeps up his sense of architecture.
Coming up: a game for a computer with only a six-character display.
Let’s start in the area we’ve already seen, at the room just east of the beginning:
This is the Main Entrance to the estate, although the gate is rusted shut. Through the gate is visible a large low building. South is the Gate House, north, a path runs along the wall, and east is a gravel path.
I was puzzled by this room description at first as it seemed to imply (via it being a Main Entrance) that we entered through that route, so why would it be rusted shut? Maybe we parachuted in, like Avventura nel castello.
A bit across the estate there’s a crowbar, and if you tote the crowbar back, you can PRY GATE to bust it open and reveal a WAREHOUSE. This is where the treasures go.
Let me give my meta-map before going any farther (this gives how things are connected in a general way):
I’m likely missing a fair chunk; the most likely candidate for missing geography is the strange door at the bottom of the well I gave a screenshot of last time. Just as an encore:
The DIARY found early unlocks with a KEY laying around the estate, and it contains the hint that THE SKELETON IS YOUR KEY TO SUCCESS. I don’t know if that means I’m supposed to make some horrid pun to open the door or if I just use something unusual like a bone; since I haven’t found any bones I can’t test that yet.
On to the main house proper:
It’s essentially one long central hall with some side rooms. To the north there’s a study with a map (“25L 40R 88L”) that we’ll use in a moment, and a book which I haven’t puzzled out yet (other than it does count as a treasure).
THIS BOOK APPEARS TO HAVE BEEN THE JOURNAL OF ONE OF THE ANCESTORS OF THE FAMILY. IT DESCRIBES BEING ROBBED BY PIRATES WHILE ON A SHIP FROM ENGLAND. THE MAN WAS OBVIOUSLY UNHAPPY SINCE THE LAST WORDS ARE ‘BLAST THE PIRATES’.
To the south are a candlestick (treasure) and a truly confusing room with a plaque I shared last time.
The plaque says “STAR BATS”.
Thinking in terms of a mirror, this could be written as STAB RATS. Two rooms to the east there are, in fact, bats, and STAB does nothing as far as the parser goes, although KILL works as long as you are holding the poison from the groundskeeper’s house.
In some games this would mean simple victory, but seems to be absolutely no positive effect to killing the rats. I suspect I’m chasing down a blind alley somehow.
Oh, and speaking of parser issues, there’s a Servant’s Quarters with a DUMBWAITER that is resistant to any of my efforts of having it do anything at all. If there’s another giant set of rooms it probably is related to that.
On to the upstairs (map above)! There’s a gold watch, lighter, and pair of earrings just lying about. The earrings are in a MASTER BEDROOM with a truly suspicious portrait which is again resistant to my parser-shenanigans.
Notice how the last parser message is different. I wonder if this is a “chink in the armor” so to speak; occasionally in what is mostly a bespoke parser I can still work out things like “which nouns are useful to try mucking about with” via odd phenomena like this.
The upstairs also contains a room with a roll-top desk (no idea if it can be referred to) and a VAULT. The vault clearly was intended to have the code from the MAP downstairs applied, but I was truly baffled trying a set of commands like TURN DIAL, OPEN VAULT, ENTER CODE, etc. Rob and Roger in the comments let me know that 25L 40R 88L needed to be typed flat out, exactly like that.
Inside is some CURRENCY, and that’s that. (You’re forced to leave behind the MAP, but it seems to have no value.)
Finally, let’s visit the garage and docks:
Not much to speak of yet. There’s that crowbar used on the main gate, a box of sawdust, and a locked trunk I have been unable to open; there’s oars lying around and a boat you can ROW. Typing ROW BOAT, weirdly, leads you over to behind the caretaker’s house where there’s a treasure (a STATUETTE). I’m unclear the geography here, but given you’re supposed to be moving along a stream, I don’t think it’s meant to be a literal wrap-around map like The Hermit’s Secret.
Instead of jumping in the boat you can go west over to a pier, where there’s a lake and an island visible to the southwest. However, jumping the lake and typing SWIM just takes you back to the docks. The boat won’t move and I haven’t been able to steer it towards the island. I suspect this represents a third set of rooms I haven’t seen yet.
That weird “MOVE” response again.
Maybe I’ll switch back to North Star for a while; even if it is buggier than the Apple II version, it might be buggy in different ways that will reveal potential puzzle solutions. Maybe just seeing the text without ALL CAPS will trigger my brain to move in new ways.
This is a continuation of the historical story from Uncle Harry’s Will and Whembly Castle, as today’s game was again sold by Dynacomp for North Star computers, but this time with a different author: Dennis N. Strong. Mr. Strong had two games (this one and Zodiac Castle) show up in the Dynacomp Winter Catalog as “late additions”.
As the disk above implies, there is an important difference between the Strong games and the Turner games: Strong’s were ported to Apple II.
Through the investigations of Roger Durrant, we know the Apple II version of Windmere Estate is preferred (the North Star is glitchier, and the Apple II has some extra ASCII graphics). The reverse is true of Zodiac Castle as the Apple II version of Zodiac Castle has a fatal bug.
This is a straightforward explore-the-place-and-nab-the-treasures adventure; here, they’re going to a WAREHOUSE.
The most notable early difference is that the Apple II port notes
THERE ARE OCCASIONALLY ‘HINTS’ AVAILABLE AT THE COMPLEX SPOTS.
which is not mentioned in the North Star version! HINT is a recognized command on North Star but it crashes the game.
Oddly, the Dynacomp catalog’s “ad” has instructions with more detail than either version. Specifically:
Lights turn on with LIGHT ON or ON; given the light device is a FLASHLIGHT, this is rather difficult to discover (otherwise why not FLASHLIGHT ON?).
There is a strong emphasis on hidden rooms.
The inventory limit is seven unless you can place an item inside another item.
There are deadly vampire bats although there’s “one sure repellant available somewhere out there.”
For the very first part of the game I’m going to give some clips from the North Star version before switching over entirely to Apple II.
You are in the Rose Garden.
You are standing in the middle of a Rose Garden. To the north a path leads to a small Building. To the south you can see a tall hedge row. A path leads east toward the Main Gate, and west is an old Well.
E
You are At the Main Gate
This is the Main Entrance to the estate, although the gate is rusted shut. Through the gate is visible a large low building South is the Gate House, north, a path runs along the wall, and east is a gravel path.
S
You are in the Gate House.
This is the Gate House for the old Estate. It has not been used for quite some time, and there is dust everywhere. The only remaining furniture is a small cabinet on the floor.
There is a locked leather DIARY here!
Opening the cabinet reveals the FLASHLIGHT where I tortured myself for a while trying to activate it before discovering the information from the catalog (again, despite it be referred to as a FLASHLIGHT in text, the parser wants it used by typing LIGHT ON; light is being used as a verb, there’s no way to light the flashlight by using flashlight as a noun).
Heading back to the start and going north:
You are standing in front of what appears to be the groundskeepers house. There are paths west, south, and east. There is a door and one window visible on the ground floor.
N
It is dark – You cannot see anything!
ON
That’s much better!
A devilish looking Vampire BAT swoops down and blocks the way
You are inside Groundskeeper’s House.
This building obviously has not been used recently, judging by the dust. There is a cupboard standing open in the corner.
There is a box of rat POISON here!
There is an old SHOVEL here!
There is a coil of ROPE here!
There is a Vampire BAT here!
Unfortunately, at trying to get something the bat swoops down and kills you. You need to get the “repellent” first before the items.
Well, most of them. The ROPE is not placed here in the Apple II version of the game, but rather past a hedge maze leading to the main house!
Finding this difference (and knowing the Apple II version has working hints) I decided to swap over entirely.
The vampire “repellent” was rather quick to find: you can go up past the bat room.
YOU ARE IN THE LIVING QUARTERS.
THIS IS WHERE THE GROUNDSKEEPER USE TO LIVE. IN THE ROOM ARE A BED, A DRESSER AND A CLOSET.
>OPEN DRESSER
YOU SEE A SMALL JEWELED ‘CROSS’
Entering a dark room without the cross results in the back coming back, so I expect the cross will be carried the entire game, meaning two of the seven allocated inventory slots have already been eaten up. Not great for a treasure collection game!
Fortunately, just in the closet (OPEN CLOSET) there is some relief, as in addition to a gold key it contains a sack; this presumably is what the catalog-instructions was referring to. Unfortunately, I have no idea what command makes the sack work!
I referenced a hedge maze already, so let me give the initial part of the game:
I used Dungeon Scrawl for the hedge maze.
Getting down to the bottom of the well requires simply TIE ROPE (not ATTACH ROPE as the Dynacomp catalog implies)
YOU DEFTLY TIE THE ROPE TO THE CRANK SPINDLE ANO TOSS THE OTHER ENO DOWN THE WELL.
This leads to a waterless “well bottom” which also turns out to be underneath the house. It connects with a “wine cellar” and “furnace” and some stairs leading up to the main building.
I have yet to get in the door with the strangely shaped keyhole.
Everything past this is very open so this is a good place to pause. I suspect the “hidden rooms” are going to cause the biggest pain. This is especially true because the parser is quite non-cooperative. Nearly every command that is not understood repeats the command back with question marks. So if you want to MOVE BED to check for something underneath, it responds with MOVE BED??? and no information is conveyed about if the verb is understood, or if the noun is something even meant to be referred to.
There easily could be a secret here, but nothing I’ve tried has worked. The plaque says “STAR BATS”.
Even the winged birds and the two-footed and four-footed, o silvery
Dawn, have set forth following your regulations of time, from the ends of heaven—
For, dawning forth with your rays, you illuminate the whole luminous realm.
— Rig Veda, I.49 Dawn
I was stalled by, once again, spelling. But in a different way this time! (For my previous antics, see my writeup of Circus.)
You see, I was somehow mentally shelving this game having as a three-letter parser, I think because of the spelling “albotross”; ALB was fine for me mentally, ALBO or ALBOTROSS slightly broke my brain. So I went through what turned out to be correct (KILL) but typed it as KILL ALB and not KILL ALBO (whereupon you must specify throwing the knife).
The manual’s hint specified flying; looking at the dead alb– grr, let’s say, “bird”, the game says it has a hole. Miraculously, probably form playing too many Sierra games, I quickly came up with
LIGHT MATCH
MELT WAX
WITH MATCH
which was sufficient to plug the hole.
THE WING IS NOW SUITABLE FOR FLIGHT.
So just to be clear, we’re toting around a dead bird and using it to fly. Sure? You can then go back to the cold lake and fly your way across, but before showing you the next spot, I should mention this is probably the part closest to the Vedas. The gods can “fly like birds” and get constantly compared to them. In a portion on the Maruts (storm deities):
With your chariots fitted with lightning bolts and with spears, whose wings are horses, accompanied by lovely chants, drive here, o Maruts.
Fly here like birds, with highest refreshment for us, you masters of artifice.
In the literature from this period generally there’s enough references to flying and magical Vimānas (flying palaces or chariots) that modern conspiracy theories have developed around them. The 20th century book Vaimānika Shāstra claims the magic is in reality advanced technology; UFO enthusiasts go on to make claims about ancient astronauts and/or aliens depending on their inclination.
My wondering about a random American in the Midwest picking this as a topic could be resolved by this mythology, as it is one of the most famous pieces of cultural lore to come out of the Vedas. It still easily could be by accident but the moment of grabbing a gigantic bird from the sky and using it to fly did feel just a little bit like a moment of the gods (fly, not glide, we’re launching from ground level).
Across the lake is a narrow island. In the middle a soldier blocks the way.
The soldier has armor so you can’t just use KILL; a quick item roll call:
cup with water, knife, matches, shovel, dead bird, two Vedas, coin
I didn’t have the water before, but while frustrated by the bird I tested TAKE WATER at the lake and it worked. The coin came from looking at one of the Vedas (a bookmark, I suppose) and can be given to the soldier who will take it as a bribe and leave. This is followed by the other end of the island, where you can fly yet again.
No more lake: you’ve landed in a desert, which is fairly empty except for a cactus in the center. I tried various attempts to apply the KNIFE to the cactus before simply attempting a DIG instead.
This leads to an underground chamber and the Yagur Veda.
A bit further is a locked door; the game lets you PICK LOCK and specify you want to use the knife. I appreciate the amount of item re-use this has had.
Then comes the last obstacle, a TOMB ENTRANCE with a zombie and some burning leaves. I didn’t have much to work with but I was still carrying water; pouring it led to the leaves being extinguished and the zombie disappearing with the leaves (??).
Finally the fourth book can be claimed.
The locations for all the Morgan games have generally lacked depth, including this one, although somehow the format of a quasi-mystical challenge made it more playable; I had an easier time than Miner 49’er, certainly, and only got stalled by the bird.
Part of the Yajur Veda, via Wikipedia.
I finally made a breakthrough on the mysterious ASD&D. I was poking about in this catalog which has the RPG Wizard’s Domain mentioned, and the name Thomas Johnson. This ended up being a much better lead than Scott Morgan, and I eventually landed on a timeline page which supposedly has a full story:
A Third-Party software house owned by Tom Johnson and run out of P.O. Box 46 Cottage Grove, MN 55016. The company seems to have surfaced in 1981 and disappeared in 1984, shortly after the 99/4A was abandoned by Texas Instruments. Among the dozen or so BASIC and Extended BASIC educational and entertainment products the company manufactured, perhaps the most remembered were Wizard’s Dominion and Entrapment. Wizard’s Dominion was an extremely popular fantasy adventure type game written by Johnson himself. Entrapment, another Tom Johnson creation, was a Mini Memory assembly language coded game that was so well written Texas Instruments had decided in early 1983 to pick it up and market it. Unfortunately, the big “bailout” of October 28th, 1983 took place first and Entrapment never came to market under the TI banner. It did surface through Tenex Computer Express in 1986 however.
The October date is when the TI-99/4A was discontinued.
There’s no sourcing on the connection and I haven’t been able to unearth anything definitively saying Johnson owned the company, but I’ve found enough products with Johnson’s name attached I’m comfortable saying the paragraph is mostly accurate. Previously I speculated
Still, I get the vibe we’re dealing with a 2 or at most 3 person operation here.
which is right, it’s just there’s really only one person (Johnson) who published Morgan’s work.
Now the Lord of the Sacred Formulation proclaims the mantra worthy to be spoken,
in which Indra, Varuṇa, Mitra, Aryaman, and the gods have made their home.
Just that would we speak at the rites—the faultless mantra that brings good fortune, o gods.
And if you gladly receive this speech, o noble men, it will attain all things of yours worth winning.
— Rig Veda, I.40 Brahmaṇaspati, Jamison and Brereton translation
Scott Morgan of Eden Prairie, Minnesota produced a series of six games for Texas Instruments computers in 1982 published under the name American Software Design and Distribution (ASD&D).
I am not clear on the intended order. I started with the “beginner” game (Aqua Base) which said at the end to play Haunted House, and the ending of Haunted house said to play Miner, and the end of Miner said to play Vedas, so I’m just following the chain. I should find out at the end of this game whether I’m playing Fun House or Stone Age next.
From the Museum of Computer Adventure Games.
In Search of the Four Vedas is one of the two games (along with Fun House) marked as “advanced” although at least the start of the game is straightforward.
During this adventure you must find the ancient books that your tribe lost many years ago. They contain great knowledge of magic and the past.
Your goal is to find the four Vedas of Hinduism: the Rig Veda, the Yajur Veda, the Sama Veda and the Atharva Veda.
I don’t think there’s world-verse integration like we had with El Diablero; it’s just the four books form the “treasures” of the game and are a little more interesting than the usual *RUBY*, *DIAMOND*, and *GOLD NECKLACE*. I am not sure why a random American in the Midwest latched onto the Vedas as a good goal, but I appreciate the variety.
A 450-year old copy of the Rig Veda written on bark. The Rig Veda is the oldest of the four, with it being passed orally from somewhere in the second millennium BC. It includes mantras which allegedly are linked to the creation of the cosmos.
The action kicks off on a beach next to a lake too cold to swim in.
The anchor can be nabbed, the X can be dealt with later, and tree can be climbed.
The manual hints about flying a bird, and FLY ALB says “CAN’T FLY…YET!” so I assume there’s some way of setting it up. Here’s the remainder of my currently accessible map:
While quite small I already have two of the Vedas! The first can be found by retrieving a rope from a nearby cave, tying it to the anchor, and then throwing the anchor while next to a “very large tree”. This allows entering a treehouse.
The shovel can then be carted over to the beach where the X sits; digging reveals a chest and the second of the four treasures.
That went rather quickly, but perhaps the treasure distribution is “imbalanced” and the third and fourth will raise serious difficult. As things go I am stuck as there is not much to noodle around with. The Rig Veda had a coin inside; a hut had matches, wax, and a cup. Other than those I still have the shovel for digging as well as a knife, but that’s it. There doesn’t seem to be any places for secret exits, and the “albotross” is not cooperating with any verbs I’ve tried to throw at it. My guess is, structurally, the bird takes us to Part 2 and that’s where things get complicated or at least Advanced.
About now is when I’d trudge through my verb list but the parser treats every valid command in a bespoke way, so there’s no way to find out (say) LASSO is a valid word without testing it in context.
In 1988, a contest was run by the Adventureland BBS out of Lexington, Kentucky called The Great American Adventure Search.
ADVENTURELAND, the largest public domain Adventure base in America, is looking for a few good adventures. And we are offering a prize for the best! From September 1, 1988 to October 30, 1988 we’re offering a prize for the best adventure uploaded! What sort of a prize? How about the Adventure of your choice? Want a copy of Ultima IV? How about Kings Quest III? You might choose a paid-up license for the Adventure Game Toolkit. Any adventure game you’d like (up to $70.00 in value) can be yours IF the adventure YOU upload is chosen as the best!
It seems to me that there have got to be others out there in modem country who have adventure running around in their heads. If you are like me, you are brimming over with plots, and just can’t fathom how to code them. Well, since I started writing adventures in 1981, I’ve learned alot about how to code.
The tutorial package I just mentioned includes, as a sample game from the author, The Case at KAXL. We played that game here already; it’s notable for trying to model a “real” environment as opposed to a puzzle-laden one, with locations that only exist because they’d be part of a real radio station and not in service of a story. At the time I didn’t have any other information on the author, but I now can say not only was Douglas C. Rogers responsible for all the BBS activity above, he was the one who wrote today’s game, Drive-In. My suspicion of his involvement with radio was correct; while running the BBS he was a professor at Eastern Kentucky University in Communications.
A news story where Doug Rogers discusses campus radio. Source.
Drive-In is a much different game than The Case at KAXL. It is, as The Adventurer’s Guild calls it, smut. In fact, I’m going to drop a not safe for certain work environments warning.
Beware of anything past the magazine cover below.
Adventureland BBS gets a mention in this 1992 magazine for being a member of Fidonet, a communications network for BBSes with different communities.
As Rogers was rather dedicated to the public domain model of adventure distribution, Drive-In didn’t need to follow the same path as Bawdy Adventure with sales in a New Orleans-published book; rather, Rogers himself could simply distribute the game on his own BBS once it got started.
Well, here it is! The big evening
Your buddy Arnie set you up with this little number named Andrea, and here you are
a 1987 version for Coleco ADAM by “ADAMafic Software”
a PC port in 1987 (almost certainly by the author himself, as he ported his other C64 adventure game Nectar of the Gods using the same company name, Program Dynamics)
a port by Alan Pilon in 1988 called Passion Pit with a randomized female companion
a shortened 1990 version called Crusin
I went with the Rogers ’87 port. (The C64 original has a moment mentioned in the Adventurer’s Guild writeup that the author clearly re-considered.)
Before moving on to “the big evening” I’m going to interrupt with a question: is this also “the first” text adventure smut? Not exactly: first of all there’s all the mainframe games we’ve now visited, like Castle ending in a three-way, or Haunt’s “touchdown”, but there’s a general lack of detail. The other early candidate is a game called Porno Adventure (1981) which I haven’t written about yet, and probably isn’t worth a post on its own, so here’s the sidebar–
This game is more a “simulator” than an adventure game and has serious customization involved as the player is able to have a “UNINHIBITED, UNCENSORED ADVENTURE” with “ANY WOMAN THEY CHOOSE”. Unusually, the game lets you swap who you are giving commands to, so while start as a man having an uninhibited adventure with a custom woman, it is possible to change to the woman at any time by typing “0”.
SINCE THIS IS A FREE ADVENTURE, WE SPARED ALL COSTS AND PROGRAMMING SHORTCUTS TO BRING YOU THE PROGRAM IN THE CHEAPEST, QUICKEST WAY POSSIBLE. THEREFORE THIS PROGRAM NILL NOT RECOGNIZE ANY ABBREVIATED COMMANDS.
You are then asked the woman’s name, measurements, clothing, what she calls you, where it takes place, and some other details. You then have a selection of items like “Vaseline”, “priest robe” and “whip” you can pick up before entering the scene.
GENTLY, I TAKE INSERTNAMEHERE’S FACE IN MY HANDS AND DRAW HER TOWARDS ME. SHE TREMBLES AS I PRESS MY MOUTH AGAINST HERS, THEN PARTS HER LIPS, INVITING MY EAGER TONGUE TO EXPLORE THE WARM AND SENSUOUS WETNESS OF HER SOFT MOUTH.
The reaction to KISS is shown above. Sex scenes are also possible. If you swap perspectives, the actions are still done from “I” perspective — it’s just you can specify the command UNDRESS or whatnot and see the result.
Again, this is really a “fantasy simulator” and anything you try succeeds (if the parser understands it). While you are still “in a world” delivering commands like an adventure game, it doesn’t play like one. I’m also unclear if Otto Bresser is a pseudonym. A DOS port in the late 80s changes his name to Dr. Otto Bresser. It does, for certain, qualify as “smut” far more than other games we’ve seen; I think the distinguishing factor is that there’s no “movie cut” past whatever scene gets initiated, and you instead can describe a sequence of actions in detail.
Drive-In is firmly an adventure game. Just like “Dr.” Bresser’s creation it has the player describe actions in detail, as they visit a drive-in with Andrea and attempt to score a touchdown. Very much unlike the Bresser game, you can’t just do whatever you want.
You are in the front seat of your car
You see: ANDREA, wearing halter-top and shorts. loudspeaker. radio (OFF).
Trying to turn on the radio led to a curious response.
WHAT WOULD YOU LIKE TO DO ? TURN ON RADIO
ARE YOU TRYING TO DEAL WITH THE LOADSPEAKER OR THE RADIO? YES
TRY A NOUN-VERB COMBINATION INSTEAD OF VERB-NOUN
The parser here wants LOUDSPEAKER OFF, RADIO ON, or RADIO OFF. The game comes close to understanding the command, it’d be nice if it went all the way! The game hints (when typing HELP, which I relied on quite a bit) that you want to switch from the movie sound (loudspeaker) to music, so the right acts here are LOUDSPEAKER OFF (“I dropped it out the window…”) and RADIO ON. You are then instructed you can HOLD HANDS…
SHE SLIDES CLOSER TO YOU.
…at which point the HELP feature gives no further direction. My other attempts at interaction were either not understood (the game does not understand conversation at all) or lightly rebuffed, so I got out of the car and went searching. (I thought possibly the game was one-room up to that point; the variation Crusin I mentioned puts all the action inside the car.)
You are Outside, next to YOUR car
You see: YOUR car.
YOU CAN GO: NORTH EAST SOUTH WEST
The map is essentially a straight north/south line. You can wander away from it but that either lands you in a VACANT space or LOST, at which point you are stuck there forever until you restart the game. I always like a little existential dread with my dating simulators.
Again, most locations let you go east or west but reach a vacant location or LOST. Once I found a not-useful broken speaker.
There’s a playground along the way with a slide, and on top there is a note via Arnie (who set up the blind date) saying “I forgot to tell you! Andrea is NOT on the pill! BE CAREFUL”; this is an indication a condom is needed.
To the far north is a “snackbar COUNTER” and I was unable to read the sign or find out any kind of menu. (It kept repeating the message on the note from the slide.) The player avatar has a billfold with a dollar and popcorn costs 50 cents, but that’s just by guesswork, I’m sure they have other items.
YOU ARE HOLDING:
shirt which you are wearing.
slacks which you are wearing.
briefs which you are wearing.
billfold.
.50 in CHANGE.
popcorn.
The change is enough to go outside, go to a men’s room (deceptively as a drawn arrow, but going “west” is VOID, sorry, you need to GO MENS) and buy a condom from the machine (except the game only understands RUBBER, by this point I was checking the walkthrough).
After all that, I had nothing left to do but go back to the car. Based on the walkthrough I was missing PUT ARM after HOLD HANDS; the parser is very finicky.
WHAT WOULD YOU LIKE TO DO ? PUT ARM
AROUND WHAT (1 WORD)?
The player is now free to start kissing. FACE isn’t a recognized word. Andrea isn’t into going for the lips right away, but she’s fine with neck kissing. From there the player can move into blowing into her ear, and then she’s fine with kissing lips.
Any further steps mention it getting “cramped” and the idea here is to (without any real mention this even counts as a location) GO BACKSEAT followed by CALL ANDREA.
From here I’m not going to go into intricate detail on each step after. I’m unclear how fixed the walkthrough is and how much is simply “freestyle” choices. (At least some choices the HELP command comes back, at least.) The idea behind the game is to avoid messages like “pushing you away” eventually finally getting to use the rubber. I found it interesting how many different body parts were accounted for (and how easy it was to nonetheless run into an error parser message with an unrecognized part) but the parser made it very difficult to get any progress.
The Case at KAXL was a much better game, but that was a game where the action all clearly fell within the parameters of standard text adventure commands; here, the author was trying something relatively new. The game opened up — due to its nature — a wide potential list of actions, but only understood a fraction of them.
Renga in Blue 