No matter how small an Adventure you write, it will take far, far more time and effort than you thought it would.
— Peter Killworth from How to Write Adventure Games for the BBC Microcomputer Model B and Acorn Electron
Double surprise!
You may be wondering why I am ending my 1982 sequence with what I am marking as a 1983 game. As of this writing, Mobygames, CASA Solution Archive, and IFDB all list the game as 1982. Unlike Critical Mass where I could find a physical copy with the date, there’s no rationale I can find to even get the year by mistake. Acorn User in their May 1983 issue states outright that
Acornsoft are due to release seven new packs this month — three on chemistry, a programming package called Microtext, Draughts and Reversi, Starship Command (see reviews) and another adventure — Countdown to Doom.
Ads start to appear in the second half of the year, so I am fairly certain I have already ended my 1982 sequence and am starting 1983 (however, I’m still happy to hear evidence to the contrary).
To backtrack to the history: this is another game by Peter Killworth. We haven’t seen him for a long time, not since Brand X / Philosopher’s Quest, but technically he’s been busy, because 1982 was the year he took Brand X (which he wrote for the Cambridge system with Acheton, Hezarin, Avon etc.) and turned it into a commercial product for Acornsoft.
I had a problem which revolved around using a pivot to get up a cliff. Put weight on one end, and the other goes up — but you have to be careful to get the weight right. I programmed it on the mainframe, and left it for a friend to have a look at. When I came back next morning, I was deluged with messages from people I’d never heard of, all telling me where I’d gone wrong in the program.
With the launch of the BBC Micro, Acornsoft started looking towards Cambridge University for software, with the offer of a BBC Micro to takers; a friend of Kilworth’s had a program accepted so Killworth decided to convert Brand X (which is how it became the originally-abbreviated Philosopher’s Quest).
Converting from a mainframe to a home computer means — like Infocom by necessity, and Level 9 by choice — he needed to include a text-compression algorithm in order to fit everything he needed.
I have an unofficial competition running with Pete Austin of Level 9 and various other people on text compression. We’ve got it to about fifty per cent.
Throughout 1983 — which we’re now kicking off — he wrote Castle of Riddles and Countdown to Doom as original games for the BBC Micro, and also converted Partington’s Hamil. Eventually, with all the Topologika editions that happened in the late 80s, he wrote an expanded version. Unlike Philosopher’s Quest which essentially restored the mainframe content, the new content was written specifically for Topologika. A third edition appeared in 2000 when Killworth announced conversions of his three “Doom trilogy” games for z-code (that is, the type of file Infocom used that can be run with software like Frotz, Nitfol, etc.)
Killworth in 1984.
This game is fairly special to me in that not only have I beaten the game before (in the year 2000 incarnation) it represents what I might call the first difficult adventure game I’ve ever beaten without hints. (Infocom? Always relied on the Infoclues somewhere. This makes my memory of how to solve the puzzles foggier, which is why I barely remembered Zork III’s content at all when I played through. I had beaten Lucasarts games without hints but none of them were “difficult” in the same way as a game by a Cambridge oceanographer who moonlights with adventure games.) Part of the reason I had waited until the end of “1982” to play this is I figured some extra passage of time might help with forgetting how things work. I still have the walkthrough I had to write to beat the game in the end, though.
What I haven’t beaten (or played before) is the older, shorter version, and after much waffling that’s the version I’m going with. This is partly to juke my memory of the game even further, but also because this is a case (unlike the other Cambridge games) where the extra content was truly a late-80s addition.
As implied earlier, this ended up being the first of a “Doom trilogy”, a set of games on the planet Doomawangara. The first game is a relatively traditional solo-character treasure hunt, the second involves timing out a series of events akin to a mystery like Suspect but it’s a planet-adventure instead, and the third game involves a group with multiple characters.
Our ship crash lands and we need to look for six “components”. In addition to the components there are six “treasures” which seem to be optional (I don’t remember them being optional before) although like any proper adventure we’re going to try to get them all. (It’s not an “innovation” exactly as even Acheton let you get away without having all the treasures, and on my Hezarin playthrough I skipped two, but it is interesting that the game is formally set-up to let you bypass all the treasures.)
There’s a hard time of what seems to be 220 turns; this is why I needed a walkthrough last time I beat the game, because while it isn’t a ludicrously tight time limit (like Madventure, which required solving puzzles in different ways to optimize) it also isn’t one that you can hit by natural exploration.
You start trapped in the ship you crashed in as the exit door is jammed; there’s fortunately an explosive that can help as long as you LIGHT EXPLOSIVE followed by THROW EXPLOSIVE (and clear some space). Unfortunately, just trying to open the door from that kills you, as a reminder this is still a game from the Cambridge family of authors.
Using PUSH DOOR instead gets out, and leads to many directions to explore. We’ll search around the planet next time.
(I’m still doing a “concluding 1982” post like I did with 1981, but I’m going to finish this game first. Since I’m updating my recommendation lists, feel feel to speculate what might land on them; the four categories are Games everyone should play, For adventure enthusiasts, Things I personally enjoyed quite a bit that didn’t make the above list, and Some bonus games for historians.)
This resolved, after the fact, one of the more cryptic aspects of the game.
First of all, regarding that THIS PLACE IS TOO FULL TO ENTER message — I was still so baffled about it that I checked the book which supposedly mentions it (see above) and it is indeed right there in print, as a feature of the game. Importantly, it said the message always happens from the two particular locations I had seen it at. (Why did the authors leave it in after v1.0?) It certainly was considered a bug by the time the Macintosh version came out, which fixed the issue (but it was made after the Guidebook). The important thing is that I knew the game definitely intended an alternate exit and I wasn’t just running into a random glitch (as opposed to an intentional one), so I resumed multiple whacks at what seemed to be the only method of exit, the forest with the spider.
I still was not having any luck evading the creature, and I found out after the fact it is designed such that you can never get through by going west. Fortunately, I found an alternate route in the process, as the wood elf would occasionally wander in and toss me in the elf dungeon.
I already still had the red key from the butler, so I could unlock the door right away and go out. There was one alternate exit I hadn’t used yet because it seemed a bit broken: a “magic door” just north of the room with the barrels. I was able previously to get a description of an elf coming, but I hadn’t tried the WAIT command to see if anything would happen.
I was able to then GO THROUGH MAGIC DOOR to get out.
Going west exits directly to the main nexus area so I was able to take a beeline for the exit. Thorin found me along the way so he was able to share in my victory.
Crowther/Woods adventure ending, except this time the dwarves and hobbits are joining in the cheering crowd.
There’s enough lingering questions I’m going to list them all first before I start answering:
What was the curious key all about?
Why is it that exits sometimes seemed to be missing?
What was going on with Gollum’s riddle?
What do you actually need to do to win?
Why was this game so popular?
Why did credit for the game “drift” over time?
Onward with:
What was the curious key all about?
After everything was over (this is on the way home) I got a hint from Thorin as to the utility of the key
I had seen the effect of this without even realizing the key was causing the effect. It turns out to be completely unnecessary, but here it is:
This allows a “side route” around the dragon so Bilbo can theoretically go into the lair and nab the treasure, I assume without confronting the dragon at all. It is so blatantly obvious to coax Bard into shooting the dragon (and so difficult to get the key) this really seems mis-adjusted.
To put it another way, if you have two alternate routes to solve a puzzle, and one is quite straightforward and doesn’t require any extra preparation, having a second route which is much harder to solve for and provides no benefit is unhelpful (and even provides extra danger, as the dragon can wander back in its lair and find you anyway!)
Incidentally, the golden key from the mountains — at least according to the Guide — serves no purpose whatsoever. That whole piece of geography is meaningless.
Why is it that exits sometimes seemed to be missing?
There was a game mechanic I had missed here. At the start of the game you get a curious map that nobody can read, and I had additionally taken the first NPC encountered (Elrond) and tried to get him to read it too, and he was just responding “no”. This was early on when I wasn’t understanding yet just how bad the RNG could get; the key is to simply keep asking.
This also explains my sometimes-missing-exit problem: an exit is picked at random at the start of the game to be missing from the map. If it’s the one above, it isn’t essential to the game, but sometimes the exit is quite important, like the one from the Misty Mountains going east (the one that was missing quite often in the Mac version of the game!)
Map that came with some editions of the game. Via eBay.
What was going on with Gollum’s riddle?
Petter Sjölund indicated in the comments that he got a different (very famous) riddle with his port, and sometimes the right answer would get him strangled anyway. Even if he answered the riddle correctly and survived, Gollum would just immediately ask the same riddle over again.
I think the answer probably is “dark” or “darkness” but after many attempts I never was able to deliver this answer to Gollum and live. The walkthroughs just say to kill him; you don’t even need to do that because he doesn’t toss you in the dungeon so it’s easy to simply walk on by. (The only reason killing him is helpful is his corpse serves as a marker on a map space in order to tell if you’ve gone back to a particular room.)
What do you actually need to do to win?
With everything going it may be unclear what the winning sequence is. As far as I can tell the simplest way is:
1. Get Elrond to read the map (in case of bad route)
2. Wait a beat and get the key from the trolls after they have turned to stone, then use that to get the sword (Sting), the rope can ignored; the rope can be used for an alternate route over to Lake Town but it’s fairly obtuse
3. Do a rush in the Goblin area and grab the one ring. From Inside Goblins Gate I found the route NE, N, W, SE, SW to be pretty good at evading being caught. With the ring in hand and then worn it easy going the rest of the way.
4. Get caught by a wood elf. (It’s possible for the wood elf to be dead by accident. Reset.)
5. Wait for the butler to open the red door while imprisoned, then sneak out while wearing the ring. Jump onto a barrel at the right moment to escape.
6. From Lake Town, instruct Bard to go north and SHOOT DRAGON. Grab the treasure.
7. Get caught by the wood elf again.
8. Instead of going the barrel route, go to the room with the magic door and WEAR RING, then EXAMINE MAGIC DOOR. It should show an elf approaching, at which point you can WAIT, then GO THROUGH MAGIC DOOR.
9. Walk home and put the treasure in the chest.
You don’t need Thorin if you’re simply going to avoid getting caught by the goblins (given Gandalf seems to be inclined to randomly show up).
Regarding the point with the rope, you can take the rope over to the river and snag yourself a boat. This is utterly baffling to me. “THROW ROPE ACROSS – Repeat until the rope lands in the boat on the other side of the river.”
I do wonder if it’d be possible to simply murder both the pesky dwarf and wizard at the start and still make it through, which segues somewhat into…
Why was this game so popular?
The Slovenian magazine Moj mikro had a brief profile of adventure games in 1984, when they were first starting to appear in Yugoslavia. The text of the article mentions three games: Crowther/Woods Adventure, Kontrabant (the first Slovenian adventure game) and The Hobbit. It was considered an urtext.
When The Hobbit game came out, the ZX Spectrum was still getting started with software. This is in a game that managed to be in development for longer than the lifetime of the system, and any ZX Spectrum text adventures that had come out by this point tended to be fairly weak, like The Zolan Adventure. So first mover advantage could be considered part of the explanation.
However, that doesn’t fit the absolutely huge spread to this game, far out of proportion from what seems the quality. This is a game with bugged rooms that gets left in the game just because, Gandalf stumbling about purely at random, Gollum telling a riddle where the right answer can kill the player, and highly uneven design on puzzle difficulty. However, it also — like when Grand Theft Auto 3 first came out — invites experiment. I normally have zero temptation to replay adventure games, but I truly wonder if there’s some method through that avoids picking up the One Ring at all (you’d need to get the curious key, at least). I also wonder how far I can take the “multi-command” trick with NPCs and if can have Thorin go grab the ring for me while Bilbo just hangs out in comfort. The slight train-wreck experience (including key NPCs just randomly being dead when you need them) is actually beneficial to the feel of the game as world-toolkit, where it doesn’t matter if you’re trying to win but to see if Thorin can do hobbit-tossing. Strident mentions in the comments that:
I should point out that, despite myself and my father playing this game for probably a hundred hours… and having the guidebook… I don’t think we ever actually “completed” it.
That is, if a character literally falls off the map into void taking a key item with them, that’s not contrary to the alternate goal of having a world to muck about in.
Each object had a set of characteristics, and you could perform actions on the object based on the characteristics. For example, it could be alive (an animal) or dead. It had weight associated with it. So you could pick up any object that was light enough and use it as a weapon, whether it was a “weapon” or not. If it was a dead animal, that was no different from any other heavy object. If it was a live animal, it would probably struggle or fight, depending on it’s character profile.
Each animal’s “character” was a list of actions that they could choose between. Sometimes, they would just cycle through the actions one after the other, and sometimes they would change to a different set based on what had happened before – like the friendly dwarf, who could become violent once he’d been attacked (or picked up). An action could invoke a general routine – like, choose a random direction and run, which was the same for all animals; or, it could be an action specific only to this animal, like, choose any live object and kill it.
I certainly do think something went awry nearly right when the game came out, as Mitchell started to get the lion’s share of the credit. There is for example this interview from Computer Answers May 1984…
…and there’s another mention in Crash a few years later which credits Mitchell with the Inglish system. (It mentions how, despite it having fancy affordances, people were still sticking to much simpler inputs.)
I’m going to put blame mostly on the magazines. Ian Malcolm who worked at the company pointed out to me on Bluesky that Mitchell was not a “interact with the public” type of person and “mostly wanted to be left alone”. That is, his face was being put up because the magazines wanted one, not that he was ever keen on the idea. While there was valiant effort in early articles to credit all four, there was a strong tendency then (as there still is now) to assume a single auteur behind a creative effort and leave everyone else behind. Malcolm also points out that Mitchell was the only one who stayed at Melbourne House (Megler only worked at Beam for a year while finishing her degree before going to IBM, I am not sure where Ritchie went) so interviews after 1983 would naturally gravitate towards a person the magazines could reach.
(Possibly in Megler’s case there was some sexism. She’s on record being annoyed about people thinking she wasn’t doing programming, which does seem related to gender-perception, but as far as credit goes I think the evidence is more toward it being a general issue.)
BONUS: What’s the deal with Arkenstone?
This is something I ran across rather at accident.
Back in January I wrote about a game from the book ZAP! POW! BOOM! Arcade Games for the VIC-20 by Mark Ramshaw. It was entitled “Adventure” in its UK version and “Arkenstone” in its UK version. It played like an extremely abbreviated version of The Hobbit where you could take a spear and kill the dragon yourself.
It has the same “abbreviated geography” as parts of the Melbourne House version of The Hobbit, although with everything crunched into two printed pages for an unexpanded VIC-20. The game came out before The Hobbit and could just be coincidence, except, well — let me bring up this picture I posted on Sunday —
Over the Spectrum was one of the Melbourne House books of type-ins that was still bulking up their finances, with the BASIC code produced by Neil Streeter and Clifford Ramshaw. The adventure game may or may not have been written by Clifford (he’s credited, at least, with a “Caves and Pitfalls” game in a ZX81 book); the important point is that Clifford is the brother of Mark. In other words, there is strong chance Mark saw an early version of The Hobbit (maybe even the TRS-80 version) so was inspired to make his own VIC-20 extremely-pruned-down version as a result. Rob has done more investigation here in the comments.
…
If you’re wanting to read further takes on The Hobbit in general, there’s Jimmy Maher, Data Driven Gamer (with a dissection of the internal logic, like how the goblins follow patrol patterns), Aaron Reed, and Helen Stuckey. I don’t particularly disagree with anyone’s game evaluation; Jimmy Maher points out the parser despite having fancy features is also terribly finicky in other respects (you can’t ENTER BOAT, you can only CLIMB INTO BOAT). Megler also has a long retrospective here on her webpage, including this part, which seems a good place as any to close out:
The division between inanimate object and NPC was left intentionally a little blurry, giving extra flexibility. For example, the object overrides could also be used to modify character behavior. I actually coded an override where, if the player typed “turn on the angry dwarf”, he turned into a “randy dwarf” and followed the player around propositioning him. If he was later turned off, he’d return to being the angry dwarf and start trying to kill any live character. Fred and Phil made me take that routine out.
I almost finished the game. I seem to be getting my victory stomped on from a bug, but this game is of the nature it is hard to tell what is really considered a bug, and it is also hard to tell if there’s some alternate method of getting by something or if a softlock is at hand.
Normally I would look up what’s going on and make this my finishing post, but I’m going avoid hints and do one more run from scratch (and consequently, one more post). There’s enough dense mechanics going on (and enough extra history I need to cover) it’s worth spending the time.
In 1989, The Hobbit landed in a Tolkien Trilogy collection. Via Spectrum Computing.
First, regarding Gollum’s riddle: I have no idea. I never solved it and I don’t think I need to solve it.
The format I’ve been using is SAY TO GOLLUM “WORD” and everything that’s managed to go through causes Bilbo to get strangled. The parser is such that you can’t say arbitrary things; it has to be a “recognized” word in the parser. These words work, but cause death:
space, empty, water, dark, darkness, light, wind, pause, A through Z (except X and Z), heart, food
These words aren’t recognized by the parser at all:
Gollum frankly can just be ignored. If you’re carrying (not wearing) the gold ring, he’ll snatch it from you, but otherwise you can invisible-icize your way out. Or, alternately, you can KILL GOLLUM WITH SWORD, and there doesn’t seem to be any penalty for doing so.
No penalty other than perhaps a bad end result to the Lord of the Rings trilogy, but that’s a problem for a different hobbit.
Besides that, I did manage to make a more or less sensible map of the Goblin Dungeon.
Until you have the ring, you can’t just blaze through the map; there’s a fairly high chance of hitting a goblin who tosses you in Goblin Jail™. With the ring it’s still possible to get caught but the probability I have ascertained (after enough tests) to be much less. It’s possible to get out of Goblin Jail and I’ll show you how but the process is so convoluted (with an apparently useless “reward”) that on my Final Run, For Real This Time I plan to just restore my save game if it happens.
Let’s talk about that “reward”:
There’s sand you can dig, revealing a trap door which is locked. Since neither the golden key nor the large key worked on it, I experimented with getting in the forceful way, and found that a.) HIT is interpreted as attacking which only works on creatures b.) STRIKE on the other hand can be used to damage objects, and STRIKE TRAP DOOR WITH SWORD will annihilate it.
This is only a problem because it also annihilates the sword, which is additionally your light source. (It was only at this moment that I realized the sword was doubling as my light source.) However, this let me know destruction is possible, so I tried it with my fist the old-fashioned way.
This is just bad RNG! You just have to keep going. I’ve even gotten the breaking to happen in just one hit. (For more on the theoretical implications of this, see my old post on Adventure 500. I don’t think that one applies so clearly here because authors seemingly intended a situation like the one above.)
With the trap door broken by hand, there’s no exit: it simply reveals a “cache” which has a “small curious key”. As far as I have been able to find this small curious key is needed absolutely nowhere in the game (it certainly doesn’t work on the dungeon door!) So there’s no reason to deal with this room at all.
Still, since it turned out to involve all the game’s systems, let me show off how I got out of the goblin dungeon. You can either get tossed in by a goblin, or walk in yourself. If you walk in yourself, there’s a “goblins door” you need to open first, and then upon going southeast the door is shut behind you.
My first attempt at being creative was using orders to the companions. I discovered you don’t have to just give one command (SAY TO THORIN “GO EAST”) but you can give a whole list of them (SAY TO THORIN “GO EAST THEN TAKE RASPBERRY THEN THROW RASPBERRY AT GANDALF THEN GO WEST”). Given the one-way door behavior described above, I tried timing out having me enter the room while Thorin waited a turn, then having Thorin open the door after Bilbo’s been trapped, letting me head back out the room again.
That didn’t work; I tried instead having Bilbo being the one handling the door on the outside. That is, I would say THORIN, WAIT THEN GO SOUTHEAST THEN DIG SAND THEN SMASH TRAP DOOR THEN TAKE KEY THEN GO NORTH. After giving this command, I’d have Bilbo OPEN GOBLINS DOOR, then keep doing that to make sure the door stays propped open while Thorin is rummaging inside the room. I found that the digging was successful but not the smashing. The smashing RNG is so uneven it is possible this technique would eventually work, but I eventually found a much easier way.
You see, the inside of the room has a window, and to the northeast, you can find the outside of the same window. I was visualizing the window as very high because Bilbo couldn’t reach it, but Bilbo is a Hobbit. Even the dwarves are taller than him. Thorin can open the window!
See the “no”. Sometimes orders are refused for no apparent reason other than RNG, making everything even more difficult to coordinate.
Furthermore, with an open window, while Bilbo can’t walk through, Thorin (and Gandalf) can.
I was still stuck for a bit before I realized I could ask Thorin to carry Bilbo, then drop him off again once outside. With this, I was able to simply
a.) walk into the dungeon with Thorin following
b.) dig the sand, spend however much time it took to smash the trapdoor and get the key
c.) have Thorin pick Bilbo up
d.) have Thorin open the window, then go west
e.) have Thorin drop Bilbo
Without Thorin around, I managed to have Gandalf just show up once on his own, for a true escape rather than an intentional-walk-into-the-dungeon scenario.
It seems like Gandalf will eventually show up if you’ve lost Thorin somewhere (maybe).
Finally I got to use the much-touted character interaction system, but as I already mentioned, there’s no reason to go through with this setup in the first place. Argh!
With that nonsense out of the way (and my curious key which I was eager to use, but never did) I went over to the Mirkwood gate. This is the gate last time where in one iteration it was closed and in another it was open; I went with a save file version where it was open so I could go in farther. It turns out with an invisibility ring on, rather than getting thrown in elf-prison by the wood elf there you have an opportunity to use the short sword and get an elf corpse.
However, the river remained impassible, so I figured — based on the actual content of the real book — I wanted to get captured.
I had inadvertently ditched Thorin by this point. I think he would have made this section more complicated.
There’s a red door to the west and a red door to the southwest, both locked. Waiting long enough, there was a sound of a red door unlocking. I used the opportunity to toss the door open and go west (with the ring on). This leads to a small area where one direction is blocked by a “magic door” (may or may not be openable) and the other direction has a wine cellar with a butler.
Invisibility is very important here; while there’s some RNG, the butler is pretty much guaranteed to toss you back in the dungeon if you’re spotted. The goal here is to go for a ride in a barrel. He has a sequence where he drinks some wine, then when the barrel is empty he tosses the barrel down a trap door. Right when the barrel is tossed you can JUMP.
That “I SEE NOTHING TO JUMP ONTO” message is how I figured this out in the first place; I knew the context would have to be either a platform or a moving thing where Bilbo was hitching a ride.
This leads down past the portcullis and Bilbo now is in Lake Town!
A fairly important character is here: Bard. He’s the one that shoots the dragon down with an arrow.
You might think there’s some convoluted events here to get Bard in the right spot in order to kill the nearby dragon, but you can actually just give him orders until he’s with the dragon…
…then SAY TO BARD “SHOOT DRAGON” and he’ll do his thing.
The treasure is right there, and there’s a path that seems like it returns to the main nexus area (as a one way trip) but there’s a huge issue: it passes through that bugged room that said the game was FULL.
It’s still “FULL” and there’s nothing I can do with it. According to Alastair in the comments “The Place Too Full to Enter is a left over diagnostic which we used while debugging the program. We forgot to take it out after testing and it should be ignored.” That’s great, but what if the bug is preventing progress? Remember, I found in the Macintosh version the room was appropriately empty.
The reason why this might not be a softlock is that it is still possible to go back through the forest. If you go south of the lake you land at the “waterfall” to the far east of Mirkwood where a spider lurks. The problem is the spider is still doing its thing and I haven’t been able to sneak (or sprint) through without being detected.
Me trying to see if adverbs mentioned in the manual make a difference. They do not.
I fully acknowledge it is possible this is the “intended” route and is just a specific puzzle I’m supposed to nail down, but the game ought to be clear if a bug is a bug or not. The main problem with the spider is you can’t refer to it before it pounces (the eyes don’t register as something in the room); I’ve even tried murdering Bard and nabbing his bow (the version of the book where Bilbo gets affected by the One Ring real early, my precioussssssssssss) but his arrow, despite killing everything else, doesn’t work.
I think I’m due for a restart. Either victory next time or glorious defeat!
My first piece of progress since last time was fairly unique to the Hobbit-playing experience in general. Recall I had tested various versions of the game, including Macintosh and ZX Spectrum, before settling on the MSX version of the game. In the Macintosh version here is what it looks like at the start of the Misty Mountains (just east of Rivendell):
I was then informed (see above) there were exits going north, south, and west, and mapped things out appropriately. Even though I switched over to the MSX, I still had a partial map going and kept with that, not noticing that in the MSX version that same room had exits going north, south, west, and east.
But wait, it gets even stranger! I went back to check the Macintosh version again just in case, and this time the exit was there.
Sometimes it appears and sometimes it does not. This is not dependent on time; I’ve had it happen upon waiting and I’ve had it happen upon just making a beeline straight there. It is not dependent holding the map, looking at the map at any time during the game, or even having it physically present. This quixotic behavior seems to be a general feature of the game; I expected having the creatures running around with their own agents to cause chaotic effects, but I never expected sometimes to have an exit be possible and sometimes it just not be there.
I don’t know how to make progress otherwise; I can reach the sword, rope, large key (from the troll) and golden key (from randomly walking around the mountains) but otherwise can make no progress when the game is in this state. However, I am fairly sure there’s some intentionality going on because there’s a geographic exit later that does a similar disappearing trick.
Going east on the MSX version, through the exit in question. I don’t think FOLLOW ME actually does anything, or at least the companions only follow the command half the time, which matches roughly what happens when they just are left on their own.
My next map shot is most definitely a work in progress and there’s some cryptic spots I’ll clear up in context:
Passing by to the north is a “dry cave” with a “crack” — that will be useful later; for now we can pass further east until arriving at Beorns House.
Tolkien’s own illustration.
In The Hobbit Thorin’s group arrived at the hall needing aid after dealing with goblins (by this point in the game I hadn’t met any, I’ll meet many more later) and wargs (in game, I had seen one that got killed by Elrond). Quoting the Tolkien Gateway:
Gandalf and Bilbo Baggins approached Beorn while the dwarves waited. Sitting upon the veranda the wizard told their tale as pairs of dwarves arrived, thus holding Beorn’s interest and preventing him from shooing away a crowd of beggars. Beorn aided the company once he confirmed their story. Months later, at Yule-tide, Gandalf and Bilbo returned with Beorn after the Battle of Five Armies to Beorn’s Hall. There they stayed until spring when the wizard and the hobbit could recross the Misty Mountains on their way to Bilbo’s home.
Here, it’s just a room with some food. There’s no character interaction, nor does any character you bring in seem to do anything interesting while here. (Please note, however: any assertions I make about what characters can or cannot do is quite unsteady at the moment.)
There’s a “heavy curtain” revealing a cupboard and the cupboard has some food. Adding the curtain seems like overkill unless it is part of a puzzle somehow.
This place serves as a nexus to essentially four branches. I will take the north branch first, out to the Great River.
Farther past the Great River are some mountains and then a very curious direction that says THE PLACE IS TOO FULL FOR YOU TO ENTER.
I’ve left and come back multiple times with no luck. What’s even more baffling is I went back later with the Macintosh version and found it described as a “barren empty high place” with no exits other than the way back.
Southeast of the mountains is a room described as “forestriver”; trying to enter the river causes poor Bilbo to get rammed against a portcullis. I am assuming it is possible to raise this portcullis later for a possible route.
Rewinding back to our nexus and taking the northeast branch:
This is another part of truly disappearing geography, although less puzzling than the first. I have sometimes been able to go east and I assume a “wood elf” who appears sometimes is responsible for opening it; sometimes the wood elf additionally will toss Bilbo (and anyone else who happens to be around at the time) in prison.
No progress on an escape yet but I haven’t tried that hard, as I was working on a goblin cell instead you’ll see later.
On the occasion where I was able to bust through there was a “west bank” but the same sort of issue with the river came up. So let’s go back to the Nexus and take the south branch:
This leads to Mirkwood proper. Heading east eventually leads to a “waterfall” but I haven’t been able to see it for more than a moment because a spider comes down and has Bilbo for a snack. This is true even when invisible wearing the One Ring (spoilers! yes I managed to get the One Ring later).
Finally, back to the nexus, there’s the northwest branch, leading to “Goblins Gate”.
Inside is a big messy maze and I have not mapped everything out.
The main issue with mapping at least at the start was in some cases a goblin would nab Bilbo and toss him in the goblin dungeon. The dungeon has some “sand” with a trapdoor found via DIG SAND but the trapdoor is locked, and neither of my keys (large or golden) fit the lock. The trapdoor does not react to BREAK or similar verbs (at least as far as I could find); I was even inside with Thorin and having him whack the trapdoor didn’t help either. (SAY TO THORIN “HIT TRAPDOOR” actually works — it just doesn’t cause any forward progress.)
Here’s part of the map in progress, and I hope you understand why it won’t be helpful to show the whole thing yet:
Despite all the rooms being a “Dark Stuffy Passage” it does seem like the exits are unique; that is, if a room has exits northwest, west, and southwest, that’s going to be the only room in the maze like that. However, I really don’t trust that and it is so easy to befuddle things — especially with goblins randomly tossing the player in the dungeon — I’ve been having to check carefully just in case. I may have found the important things anyway. First of all, Gollum:
I tried SAY TO GOLLUM “SPACE” and got strangled from behind, which I guess means the answer was wrong.
Secondly, a certain golden ring which just happens to be lying around:
You can WEAR RING and it sort of seems to work. Here Gollum is acknowledging the invisibility:
However, goblins can still throw you in the dungeon even with it on (it ends up being “unworn” when this happens). I also wrapped back to a “goblin hall” that I had been unable to get to due to always being thrown into the dungeon while trying to enter but now the game just decides there isn’t an exit there anymore.
I managed to wander with the ring over to a “crack” and a goblin helpfully opened and went through the crack. I was able to follow, which dropped me right at the place west of “Beorns House” that I started at. Unfortunately, as I already mentioned, the ring doesn’t help with Mirkwood, nor does it help with either river. I think I have to get caught by the elves next so I’ll muck about there next time; the only catch is sometimes I don’t find an elf! I’m assuming some of the went the wrong direction and fell off into a river.
I’m not doing a general system evaluation yet, but look: the fact characters are somewhat inconsistent is interesting, but in terms of concrete gameplay, it’s just been a pain to deal with because I haven’t been able to predict anything. Sometimes — sometimes — I can kill a goblin with a sword, but that’s as far as I’ve been able to get with anyone.
I assume answering Gollum’s riddle(s) might get me something, but since I already have the One Ring and managed to escape, I’m not so sure about that.
Oh, and sometimes my items disappear for no reason. I had the golden key, now I don’t. Character took it, I assume, and dropped it somewhere? I’ve also had the One Ring just go poof on me once while running about outside but at least that feels thematic.
Hopefully more progress next time, and still, just as a reminder since many people know this game, no hints whatsoever, thank you. I’ve managed to be unspoiled for 40 years so I might as well enjoy the result now.
The early 1970s were some of the most tumultuous years in Australian politics. The Australian Labor Party, defeated since 1949, finally regained power in 1972. Gough Whitlam took the spot of Prime Minister, running on an agenda of progressive reforms and a slogan of It’s Time.
In that span, amongst other things:
The last Australians returned from the Vietnam War in December 1972, the same month Whitlam took office
The Health Insurance Bill was proposed in 1973 and passed in 1974, giving universal health insurance
An Aboriginal Land Fund was created
There was a significant increase in the education budget, and college school fees were abolished in 1974 (this one didn’t last, University fees came back in 1989)
The “White Australia” policy favoring Europeans for immigration was ended
Due to complex reasons including budgetary stalemate, in December of 1975 Governor-General Sir John Kerr terminated Gough Whitlam’s appointment, explaining that he has the power to do so under section 64 of the Constitution. (This is as wildly abnormal as it sounds, and constitutional scholars are unclear if the move was even legal.) Labor lost the election that followed, and while Whitlam maintained party leadership, he eventually lost that too in 1977 and resigned.
In the middle of these progressive years, 1973, Outback Press was founded.
There would be whole years when no one would publish a single Australian novel … No one was publishing, so we decided, in the pub, there were four of us.
The quartet above formed the leadership aiming for a young market. Quoting the writer Colin Talbot from a contemporary account:
The books we plan to publish will rely heavily on fiction, on poetry, on large format graphic and photographic works, sociojournalistic studies, that higher consciousness stuff, but not ecology. We will be relying on offset printing, eye-grabbing graphics and unconventional typography. The new journalism is one of our strong things.
They set up offices in what Morry Schwartz calls a “barn of place” that was “previously a junk shop for used plumbing fitments”. Three of the four — excluding Milgrom — moved in and “in between incessant debate, chess play-offs and live rock practice, some publishing actually happened.” It helped that they started the same time as the Whitman government was in full swing, as part of their educational push they established grants in literature, giving Outback Press $5000.
They managed to get some significant poetry, plays, and art photography books, although rather infamously the print quality was low and the books now are known to fall apart; however, keep in mind this was a time when Australian publishing was still being built from very little.
Part of the issue was the Traditional Market Agreement, which essentially gave Britain stewardship of the Australian market. If a British publisher got rights from an American publisher they immediately got the Australian rights by default. This understandably upset Australian publishers who in 1976 — via an anti-trust case in the United States — forced the agreement to be abandoned.
Outback saw this as an opportunity to get American authors, and while they had luck with some titles, on a trip of Milgrom’s he found that the publishers were still reluctant to sell to an Australian market without a British market attached; the Traditional Market Agreement, no longer law, held in spirit.
This led him to decide, if what publishers wanted was a British publishing company, he needed to make one; that way he could get American rights for both markets. Once finishing his work for Outback he moved with to London his wife Naomi Besen to form Melbourne House.
Speaking of Naomi Besen, now known as Naomi Milgrom (current job, billionaire philanthropist), despite being brought up in a rich family she always had a progressive bent, studying language and education in college and spending the three years before moving to London teaching language to autistic and schizophrenic children. Prior to the 70s, education to disabled children in Australia was not considered a right, and it wasn’t until ’73-’74 (Whitlam administration, again) that government funds started to be put towards precisely this issue. This means both directors of Melbourne House were involved in cutting-edge progressive causes immediately before founding their new company.
The selection of Melbourne House varied widely, with everything from the The Complete Book of Walking (by exercise expert Dr. Charles Kuntzleman) to the Commies-in-the-Vatican novel The Last Conclave (by the exorcist Malachi Martin).
The co-directors had interest in computers — Alfred even had supercomputer and mainframe experience from his college days — and they formed an offshoot company, Beam Software, in 1979. This is contrary to a date of 1980 you may have seen elsewhere but 1980 is when they were founded in Australia; the initial Beam Software was London-based, and you can see some of their catalog from this August 1980 ad:
Note their sales of “Adventure”: specifically, they offered the Scott Adams games up through Pyramid of Doom, selling for TRS-80, Apple II, Commodore Pet, and Exidy Sorcerer.
ADVENTURE by Scott Adams is incredibly complex, detailed and fascinating. It is like no other program you have ever seen! Defeat exotic wild animals to get treasures, or work out how to get out of a quicksand bog. You can communicate through two-word commands such as ‘go south’, ‘climb tree’, ‘throw ax’, ‘look around’, etc.
Unlike most available games ADVENTURE is full of surprises. It may take you more than an hour to ‘find a treasure’ and will probably take days or weeks of playing to get a good ‘score’.
This same ad also contains, importantly, their first original product. Milgrom had read an article in the Australian newspaper Financial Review mentioning a need for books for home computers users, so Milgrom went on to write 30 Programs for the Sinclair ZX80. The launch of the book coincided with him and his wife moving back from London, starting the (always planned) Australian versions of their two companies.
I should emphasize — for anyone thinking of Milgrom as “just” a publisher — that the ZX80 book has some very technical stunts, like a version of Gomoku that manages to wrangle 1k of memory by using the screen itself as memory storage and requiring the user to POKE memory locations outside of the regular type-in. Programming technical proficiency became a signature of Melbourne House and it was only years later that they hired a “designer” that was a non-programmer.
Speaking of hiring programmers, Milgrom made his first hire in December 1980, William Tang. They had no office at the time and the ZX80 was so low on capability their first program was sketched out on paper.
ZX80 doesn’t even do machine language by default so hacky methods (detailed in the ZX80 book) had to be used in order to do input. The first Melbourne House tape — a ZX80 version of Space Invaders — came out in February 1981, just in time for the ZX81 to drop and make all the retailers want to wipe the slate clean.
Melbourne House incidentally ran into some difficulty with the Beam Software name as well, clashing with another company. From Personal Computer World, December 1980:
As you may be aware, we advertised in the August issue of PCW, offering software and books under the name Beam Software.
Our advertisement attracted not only useful business but an objection from Beam Office Equipment who have established extensive trademarks and other rights in the Beam name.
As you know, we have discontinued use of the name Beam Software, and apologised to Beam Office Equipment for the inadvertent infringement of their right.
We will be continuing our business in software and books under our registered name, Melbourne House Publishers.
This was eventually smoothed over as Beam Software started to be used in Melbourne House products, but one certainly gets the impression there was hardscrabble chaos and Melbourne House made their finances work purely with their book sales. Even that aspect was in danger at the transition from ZX80 to ZX81 in early 1981 as the ZX80 book suffered the same fate as the ZX80 tape, and the only reason the company hung on is that the US version of the ZX81 wasn’t out yet; Melbourne House kept selling the US version of their book, giving enough time for Melbourne House to produce a ZX81 edition.
The Hobbit was always the project I wanted to do. I think it is the premier fantasy adventure in British literature and that’s why we went for it. We had some contingency plans if the Tolkien Estate could not give us permission to do it, but luckily they were delighted with the idea.
Space Invaders obviously isn’t The Hobbit, but it was clearly what was in mind when Melbourne House started advertising for a programmer at the University of Melbourne. Veronika Megler, a computer science student in her last year, responded and brought her friend Philip Mitchell on board; they became hires number 2 and 3 after Tang.
Alfred’s dream was to provide a natural language interface, and he hired Stuart, who was a language expert, to figure out how to do that.
That’s a team of four, and that’s what gets stated in the 1984 book titled Guide to Playing the Hobbit…
The program was written as a group effort by Philip Mitchell and Veronika Megler, with Alfred Milgrom and Stuart Ritchie over a period of 18 months.
…as well as an interview with Milgrom made right at the game’s release, where he refers to the “four of us” making the game. I’m emphasizing this point clearly because I have seen elsewhere a.) just crediting Philip Mitchell as “writing the Hobbit” b.) just crediting Megler and Mitchell.
Milgrom’s directive was to write the best text adventure ever.
We looked at ordinary adventure games and decided that we wanted to do something that would gо further and really stretch micros to the limit.
The micro in question they were using was a TRS-80 (the ZX81 clearly not being up to the task at hand, and the TRS-80 being the original home of the Scott Adams games that Beam Software briefly was a reseller of). It was written entirely in machine code — remember, all four of them were quite technical — and as Mitchell notes, by the time the ZX Spectrum came out (early 1982) they had done enough development to have a “basic TRS-80 version”; since both machines were Z80 based it was possible to port machine code from one to the other.
Megler designed the overarching structure of the game, selecting locations and designing the characters as well as the underlying artificial intelligence engine behind them. Philip worked on the overall engine as well as screen interface, while Ritchie worked on the parser.
We were very fortunate to have the services of Stuart Ritchie who developed what he calls his Inglish program. Stuart did a dual major in English Linguistics and Computer Science so he was really the ideal person to do it.
(I’m curious if the other language expert of the company — co-director Naomi Besen with experience in teaching language to autistic people — had any input into this, but she isn’t mentioned in any of the materials.)
There’s other materials out there on the history, and I haven’t gotten into the bizarro existence of Arkenstone, but I’m going to leave that behind all for now and get into the game itself. It launched to a spectacular reception, spreading from the original ZX Spectrum version to many other computers, and sold copies in the hundreds of thousands. There are numerous testimonials about this game forming core memories, so I was looking forward to finally popping it open, but the question arose: which version to play with?
I could use version 1.0, as the Data Driven Gamer did, but that version is allegedly quite buggy; a version 1.2 works a bit better, and if I go far enough along there’s Apple II and Macintosh versions with lengthier text. A shot from the admittedly lovely Macintosh port:
Original text: “You are in a comfortable tunnel like hall”. I’m keeping this version as a backup.
The other issue, other than bugs and changing text, is that of graphics. The early ZX Spectrum versions have art — part of the whole point of switching from TRS-80 — although the art was re-worked later.
Something about the ZX Spectrum version made me quite uncomfortable to play, and as I’ve written about before with Demon’s Forge, I don’t always feel obliged to play the earliest version of a game. Especially here, based on the timeline, many people played one of the later ports (either 1.2 ZX Spectrum or a different platform). I did worry the augmented text may have been a step too far, but I found a port that had both the original text and the new art: the MSX version.
Mind you, I was still a bit uncomfortable playing, and you’ll see why in a moment. The premise has us as Bilbo Baggins, where Gandalf the wizard and the dwarf Thorin accompanying us on a quest whilst following a “curious map”, on the way to get the dwarf treasure from the dragon Smaug. Notice: only one (1) dwarf. Understandable.
The opening room has a wooden chest. Trying to open it, examine it, or search it reveals nothing. I have no idea what the chest is about. The curious map is similarly unrevealing, where trying to read it just shows curious symbols. Trying to talk to either Gandalf or Thorin generally leads to no response or “No.” Gandalf in particular starts wandering on his own with on apparent rhyme or reason, and while Thorin follows me, I have yet to get him to do anything helpful. The closest I was able to do in terms of interaction was (following the manual) give the command SAY TO GANDALF (or THORIN) “READ MAP” but neither one has anything useful to say, as they can’t read the symbols either.
The manual comes with a verb list…
…but none of them seem specific to character conversation. I admit perhaps being a bit spoiled by the setup of Deadline, with a host of autonomous characters that you can talk to and will react to most every normal action. Here the characters seem a little more abstract, kind of like mobs in a MUD, but the intent seems to be to have characters that respond to commands but not to conversation. Deadline’s characters tended to the opposite, responding to conversation but not commands.
The map has the same “geographic jumping” as Arkenstone, but is more mixed:
That is, the spans are unequal between jumps; getting to Rivendell (see above) is just a matter of going EAST and then SOUTHEAST, but other times a single “step” is more like a traditional adventure. I also don’t understand how (on the map above) NORTH and EAST from the Lonelands lead to the troll clearing while NORTHEAST leads to a new area. (If nothing else, if you’re planning to have raw beginners play the game as Helen Stucky did with a museum exhibit, this aspect is bound to be confusing.)
Inevitably, with either route, you start by coming by a troll which has a key you need:
If you linger here, or head back in while the troll is still around, the troll will kill you. The idea here is — following the book — noting that this game has time pass (you’ll see the sun rise/set) so if you leave and come back not long after the trolls will now be stone.
Fortunately the key itself does not turn to stone, and you can head north over to a troll lair and unlock it.
The lair has a “strong short sword” and a “rope” that seem like they’ll be useful. With the troll area done we can go back past the troll to Rivendell, where Elrond hands over some lunch but I’m otherwise unable to make conversation.
Surely there’s some actions that work? Otherwise he feels like a prop here.
Past this the game suddenly switches to traditionalist mode with what is more or less a regular maze. I had to drop items to map it out properly.
There’s a “narrow path” that eventually leads to a “steep zig-zag” where at the end there’s a “deep misty valley” with a golden key, but the only exit I could find goes back to the narrow path.
I assume I’m missing an exit although I’ve combed over twice already. Maybe there’s some character that needs to be at a particular spot at a particular time. Gandalf still acts erratically; here he is grabbing the large key I had (which unlocked the troll lair) and asking “what’s this?”, a question I have no way of answering.
I have a feeling I’m dealing with very different norms than traditional adventure gameplay and I’ll need to puzzle out things like a.) are there hidden secrets in random spots? b.) do the characters give mention of these spots? c.) even though it seems like the characters act at random, is there anything useful they can do?
For now, please no hints whatsoever! Two more Mac pictures to close things out for now:
Not every room in the ZX Spectrum (and the corresponding room in the MSX version) is illustrated, but the Macintosh version has pictures everywhere.
The extra text may serve to make the game harder, not easier; there’s no reference to a Homely House in the MSX game, and it can’t be referred to in either version.
I’ve been doing research on The Hobbit published by the Australian/British company Melbourne House. One thing I knew ahead of time is that The Hobbit was technically their second “1982” adventure, as they published a port of Crowther/Woods for ZX Spectrum by Abersoft. I was never planning on doing a stand-alone post for the game as it really is just an abbreviated Adventure; also, Melbourne House only picked it up for publication later.
However, I found there was another adventure game that Melbourne House did publish before The Hobbit. I’m going to save my full history for that entry, but to be brief: they were originally a book publisher (the publisher, Alfred Milgrom, had experience dating all the way back to a student newspaper at the University of Melbourne) and they branched into games, with their first “original” product being a book of type-ins for ZX80. Type-in books made a fair amount of their profits in the early days before they hit a best-seller with The Hobbit.
The last game of the book is just called Adventure. Despite it clearly having some tutorial aspects it is definitely a full game; so much so that we’ve seen it on this blog in a modified version by a different author. I’m not going to announce which until after going through the game, so you can test your knowledge of 1982 adventures and try to puzzle it out early.
The games were republished a year later in tape form so I didn’t need to worry about typing in the type-in.
This is yet another “gather-the-treasures” game but at least there’s the excuse of being a tutorial of sorts. (While the text doesn’t have a “tutorial sequence”, there’s fairly detailed source explanations.)
The tutorial aspect also gives some excuse for the fussy parser, where “take” works but not “get”, and you also need to type the first part of a “noun phrase” even if that happens to be the adjective. That is, to get the lamp — I mean take the lamp — the right command is either “take brass lamp” or “take brass”.
There’s a locked trapdoor you can’t get in to start, so here’s the map of the aboveground:
You can scoop up a bottle of rum in the kitchen heading north, and be just a little startled stepping outside to find an “endless desert”. I mean, I realize people live in deserts, and it might not be the main character’s house, but usual the start area is a little more pastoral.
Also, the game doesn’t let you move anywhere, including from the starting room, unless you’re carrying the brass lamp. That means for the purposes mapping the semi-maze out via dropping objects, the only item you have to work with is the bottle.
Eventually you can find a “shovel” and “lake” at an oasis. The lake will pull you under and drown you if you try to go in, but the shovel is immediately useful: testing DIG all over the desert (the one case where it doesn’t feel weird) reveals a large key in a random spot. This key unlocks the trapdoor in the house. I guess someone had it fall out of their pocket. I hate trying to find my lost car key in an endless desert.
The lake gets taken care of later.
Here, now, is the area below:
The down-below kicks off with a troll guarding a sword. You can “kill troll” and the game will ask you what with; I fortunately paid attention to a spot in the directions that mentioned you can just hit enter to specify you mean your bare hands. That works on the troll, with the only tricky part being it’s a “mean troll” so you have to call it by that whole name or just “mean”.
You can then proceed east to find out whoever resides here (us, or weird uncle, someone else) is residing almost directly over the GATES OF HELL.
I’m going to say weird uncle.
The way is locked so you need to do a side trip down a “passage”. Along the way there’s a pirate who snatches your bottle of rum and leaves a gold coin behind…
…and a green dragon that needs to be killed by using the sword twice. Unlike Crowther/Woods bare hands don’t work here.
At the end of the passage is a “rope tied between the floor and the ceiling” and doing “cut rope” reveals an ivory key. This not only is the key for the gates of hell, but it also counts as a treasure (just like the gold coin from the pirate and Persian rug from the dragon).
Going into hell, we find a devil that says we have to go the right direction (this half-resembles death in Adventureland where you can make it out of limbo if you randomly pick the right way out).
The correct way is west; this leads to a “silver wand” which gets used almost immediately after to summon a bridge over a chasm, Crowther/Woods style.
Along the way there’s a part where you can dive directly into hell if you want…
…but otherwise the whole point is to nab the silver wand and ruby along the way and reach a passage which lands you back where the rope/ivory keys combination was. There’s also a “snorkel” along the way and this helps get the last treasure, and if you are carrying it you can safely dive into the lake in the desert.
If it hasn’t struck you yet, this is Hells Bells by Jacqueline Wright.
The desert is a forest in that game; the brass lamp is a candle. The pirate is now a witch (which is interesting since the pirate likely comes from Scott Adams, which likely comes from Crowther/Woods, so we have a fourth-generation “telephone game” copy). Hell mostly operates the same, with a “zombie” this time and the “angel of death” giving threat if you go the wrong direction.
Instead of getting a snorkel for a lake at the end, you get a gas mask for a sulfurous well, which honestly makes more sense to me than the original. (The diamond is implied to be at the bottom of the lake, right? If we’re getting “dragged down” by either bad swimming skills or some sort of local water suction, how do we get back up again?)
I’m not begrudging the author here, but it’s fascinating to see that someone took the book essentially as it was supposed to be — a model to copy in order to write new games. I doubt Melbourne House ever became aware of Hells Bells, though.
Next: Actually The Hobbit unless my research picks up something else wild I need to cover first. Includes never before seen history!
We’ve run through quite a bit of Peter Kirsch games now, with Magical Journey coming first chronologically, followed by Kidnapped, followed by kicking off the Softside Adventure of the Month series with Arabian Adventure. He edited the series but didn’t write them all; Crime Adventure was by Neil Bradley (age 12). David Steenson’s Windsloe Mansion Adventure (Jan. 1982) and James Bash’s Klondike Adventure (Feb. 1982) were the last of the series written by an outside party, as Kirsch started to crank out the entirety of the adventure series himself:
The wild swerving between ideas means that Kirsch hit has some very early examples of adventure game genres, like conceptual-Sci-Fi-with-a-twist (Arrow One) and Western (The Dalton Gang). If I had to pick of the 1982 games, I’d say my favorite in terms of gameplay was Arrow One (with the alien language) and my favorite in terms of plot was The Mouse That Ate Chicago (which unfolded in a genuinely clever way, and with an ending “twist” that was logical and inevitable rather than just dropping from nowhere).
Frustratingly enough, I still haven’t been able to find more about Kirsch beyond what he wrote in Anatomy of an Adventure, where he stays strictly to the process of writing an adventure with no hint as to his biography otherwise.
Planning for my next adventure always begins long before the completion of my last, and it’s always different and perhaps even harder to solve.
He won’t have quite as many Kirsch games in 1983 because January 1983 is the last of the Adventures of the Month as a proper running concern; his games start to drop more irregularly.
The reason we’re playing a “bonus game” today is because in addition to their regular type-ins in the magazine proper, Softside also had a special “disk version” (see above). The disks often just had what was in the magazine (meaning the subscribers didn’t have to type in code themselves), but there was occasionally something extra. By this phase in Softside’s run games were starting to get more platform-specific; the Apple II March 1982 edition had: Hexapawn, Program Matcher, Disk Peeker/Poker, Gravity-Float Trace, and Magical Shape Machine; while all three had source code in the magazine, the latter three programs were Apple II only.
Screenshot of the Magical Shape Machine.
The Atari disk included a platform-specific adventure game from Kirsch and while it gets a mention in the magazine, there’s no source code (presumably it was considered too long, especially given the magazine was trying to be written for multiple machines at once). As far as why it didn’t simply get ported over to be used as one of the Adventures of the Month by Kirsch, that’s because it has Atari-specific graphics:
The game is odd in other ways, as there’s no regular parser.
Instead of typing a full two-word command as in most adventures, all you need to do is to type the keyword: GET or OPEN, for example, instead of GET BOX or OPEN DOOR. And, if an item is not relevant in a particular situation, you will not be able to DROP an item you are carrying. Such memory conserving devices allow the game to fit into just 16K of RAM.
I admit I tried booting up the game before seeing this instruction so I was trying to struggle and type GET FLASHLIGHT before realizing what was going on (you’re just supposed to type GET). This is made even more cryptic with the use of sound feedback; legal and illegal moves are indicated purely by sound, where a “good move” gets a “bell tone” while an “illegal move” gets a “loud buzz”. This makes it look like on the screen (other than objects moving around) there’s no response at all to actions.
The lore states that a “lone thief” entered the tomb of “Pharaoh Ickabathan”, stealing “the two rubies which had been placed as the eyes of the mummy”. The thief was confused trying to escape and dropped the rubies; the mummy, now sightless, found the thief and killed him. After, the mummy went back to its sarcophagus, but put a curse of darkness on the land that could only be broken with the restoration of the rubies.
There are two: one red and one green. The red ruby, although hidden, should be relatively easy to find. The green one is another matter altogether. In order to succeed you must find both, return them to the mummy, and exit the pyramid.
It’s sort of like the protagonist of Inca Curse messed things up and now we’re trying to fix it!
Quickly ignoring for the pyramid a moment and wandering into the desert, going east twice leads to a flashlight (which, again, you need to GET to pick up, not GET FLASHLIGHT). Heading back to the pyramid, then using CLIMB followed by LIGHT:
The hieroglyphs can be READ but the only feedback you get is a musical dirge, implying what they say by vibes. This is so deeply unusual — I can think of no other instance of reading-by-music — I clipped a video so you can listen.
Here’s a map of the rest:
There are two major points of difficulty, one partly created by the unusual verb system, one wholly created by the system. But to hit things in sequence:
East of the entrance is a four-way junction. To the north is a waterlogged room we’ll get by later (SWIM and JUMP don’t work)…
…whereas to the south there is a series of room consisting of 1.) a giant clam 2.) a bed in a dark room and 3.) a button. The button simply lowers a ladder later (and needs to be re-pressed after using the ladder since it will retract). The bed hides the first (red) ruby which can be found by using MOVE:
The clam is the first “unusual verb system” point. This is a puzzle in normal circumstances I’d be fine with but in order to test out verbs the process is VERB – WAIT FOR ANNOYING BUZZ – VERB – WAIT FOR ANNOYING BUZZ – etc. I still tried OPEN, PRY, HIT and a few other words in what amounted to literal minigame of guess-the-verb.
In my actual play I didn’t get this until later, but just to save time, the right verb is KICK, revealing a FUSE.
Going back to that junction and heading east, there’s a room with a rug and a button that doesn’t work. Doing GET will take the rug, revealing a key that you can also get.
A side passage from the same place leads up some stairs to a room with “something hanging from above”. If you’ve pushed the other button already the thing hanging (a ladder) drops to reveal further passage.
The top of the stairs have a locked door where the key straightforwardly works to unlock it, revealing the lair of the mummy.
We have the red ruby already; we’ll return shortly with the green one. Heading back out into the hall and going to the far west, there’s a FUSE BOX. While clearly this is where the FUSE goes, I had an impossible time figuring out how to put it in; REPLACE, PUT, INSERT, FIX, etc. were doing nothing.
I needed Dale Dobson walkthrough help although afterwards I realized I could have figured things out by paying more attention to the instructions. Specifically this spot:
And, if an item is not relevant in a particular situation, you will not be able to DROP an item you are carrying.
My brain just thought “no dropping” but glossed over the “relevant in a particular situation” spot — what this is meant to imply is that you can drop things, but only in puzzle-solving spots like this one. DROP is what places the fuse.
With the fuse fixed, the non-working button now drains the watery room.
This leads by a corridor with a rope, and further on a pit with a stake. TIE will tie the rope to the stake so you can go in the pit.
(Rubies technically can’t be green, but it’s part of a mummy that awakens and does curses of darkness, so I’m fine with that. Or to put things a different way, in a fictional universe adjacent to reality, the things that seem slightly off ought to be near the unreal parts.)
With both rubies in hand you can then go back and fix the mummy. Well, not FIX. DROP again. At least I knew now what to do.
It would be fun if this led to a big escape sequence with the mummy chasing us and parts of the geography modified to make puzzles act in a different way than coming in; an Aardvark game might do this. Instead we can just walk out to victory.
In context, as a game tossed on a diskmag, I would not have been disappointed; this certainly went farther graphically than I expected, and the clunky parser control at least had a logic to it even if in practice I had trouble. Circa March 1982 (assuming an older-me from that year) I likely would have filed the experience, and moved on to try to figure out Hexapawn.
The 3 by 3 board has three white pawns and three black pawns, where each pawn can either move forward one or capture diagonally, and the goal is to either advance a pawn to the other side or leave the opponent stuck with no moves. The computer opponent has black and starts at “random”, but eventually, through learning when it loses, it will always do best play. With optimal play black will always beat white.
Coming up: There’s only two games left, The Hobbit and Countdown to Doom. Anyone want to take bets?
I’ve covered early German computing history and especially the history of the Video Genie in my post here about The Mysterious House; you may want to read that post first, as today’s game is another one for Video Genie, the TRS-80 clone that managed to be more popular in Germany than the original.
This game previously hadn’t been indexed but Rob had brought it up in a discussion on German adventure games; some 1982 classified ads mention the game is for sale. It is one of the earliest known German adventure games.
Bode + Winkler are given as the publisher but I have found no evidence of them beyond the two classified ads for this game.
An author doesn’t get listed in the game itself. Cross-referencing the ad leads to a “Thomas Karcher” having the same address as the classified ad but I’m sticking with Bode + Winkler as the “author name”.
The start of the walkthrough gives an action list, so I pulled it out right away. This isn’t just because of my difficulties with German; it’s also because all bets are off as far as what verbs might be considered “standard” when hopping over to another language. For example, this game includes both SCHLEICH (SNEAK) and LAUF (RUN) as verbs which are rare in English adventures from this era. The INVENTORY command is AUSRUESTUNG (EQUIPMENT).
LADE (LOAD)
GREIF (GRAB)
SCHLIESS (CLOSE)
NIMM (TAKE)
BEOBACHTE (WATCH)
WARTE (WAIT)
KLETTER (CLIMB)
SPRING (JUMP)
GEH (GO) — NORDEN, SUDEN, OST, WESTEN
RENN (RUN)
SCHLEICH (SNEAK)
LAUF (RUN)
LIES (READ)
DRUECK (PUSH)
ISS (EAT)
LEG (PLACE)
WIRF (THROW)
OEFFNE (OPEN)
SCHAU (LOOK)
SCHIESS (SHOOT)
AUSRUESTUNG (EQUIPMENT)
Generally speaking (at least in the games I’ve played so far) this means I can just think about translating nouns. This method was foiled early by a separable prefix which I’ll explain in a moment.
Our job is to break into a hunting lodge, steal a secret microfilm, and get out. We start with nothing whilst in a dark forest near the lodge.
ICH BEFINDE MICH IN EINEM DUNKLEN WALD.
I AM IN A DARK FOREST.
You can wander north, south, east, or west; if you wander in the wrong direction for too long the game says you are lost and starts over.
You need to start by going east before reaching a hedge.
ICH STEHE AN DER WESTSEITE EINES GRUNDSTUECKS, DAS VON EINER HOHEN HECKE UMGEBEN IST. EIN DURCHLASS IST NICHT ZU ENTDECKEN.
I’M STANDING ON THE WEST SIDE OF A PROPERTY SURROUNDED BY A HIGH HEDGE. PASSAGE THROUGH IS NOT VISIBLE.
Then go south, which travels along the hedge until arriving at the entrance. There’s an agent guarding the way.
ICH STEHE HINTER EINEM BAUM VERSTECKT AN DER SUEDSEITE EINES GRUNDSTÜCKS, DASS VON EINER HECKE UMGEBEN IST. 30 METER NÖRDLICH BEFINDET SICH DER EINGANG. EIN FEINDLICHER AGENT BEWACHT DEN EINGANG. ER TRAEGT EINE PISTOLE BEI SICH.
I’M STANDING HIDDEN BEHIND A TREE ON THE SOUTH SIDE OF A PROPERTY SURROUNDED BY A HEDGE. THE ENTRANCE IS 30 METERS TO THE NORTH. AN ENEMY AGENT IS GUARDING THE ENTRANCE. HE IS CARRYING A PISTOL.
This is where the verb list ended up being both helpful for me and (specifically for me) trouble. The presence of WATCH was exceedingly odd so I paused to wait, and a moment came up where the enemy agent’s back was turned.
I then tried RUN and then GRAB and … well, I was close. The game was fishing for GREIF AN, that is, using the separable prefix AN which turns GRAB into ATTACK, and yes, the AN really has to be there.
(Brief German lesson which I’m probably going to botch up: some verbs in German have separable prefixes. In some circumstances these prefixes will stay attached to a verb, that is, “angreifen” — to attack — will maintain the “an” in front. When the verb is in a sentence as a finite verb, the prefix moves to the end of the sentence.)
I imagine for a native German that’s completely implied by the verb list but my brain was not thinking that at all. I saw ICH BIN TOT quite a few times.
Having properly pummeled the enemy agent, you can nab their pistol and go inside. The room description mentions the possibility of going east and west but those both involve DIE DETONATION DER MINE and our protagonist messily dying.
Progress for a while after this is linear, as shown above, as long as you don’t get tempted to kill yourself again. For example, the first room of the hunting lodge has a empty elevator shaft to the east where going in kills you.
IM SCHACHT IST KEINE KABINE. ICH FALLE.
THERE’S NO CAR IN THE SHAFT. I’M FALLING.
Just north there’s some “caviar”…
ICH STEHE IN EINER KLEINEN KAMMER. IM NORDEN SEHE ICH EINEN SCHMALEN GANG, IM SUEDEN EINE TREPPE. NEBEN MIR LIEGT EINE KONSERVENDOSE MIT DER AUFSCHRIFT -ECHTER KAVIAR-.
I’M STANDING IN A SMALL ROOM. I SEE A NARROW CORRIDOR TO THE NORTH, AND A STAIRWAY TO THE SOUTH. A CAN OF FOOD LABELED “REAL CAVIAR” LIES NEXT TO ME.
…but opening the can kills you with a gas that makes you fall asleep.
Along the way there is a room with ammunition where you can load the empty gun you obtained from the enemy agent (incidentally, if the gun was empty, how was the agent shooting you earlier? Grrr.)
ICH STEHE IN EINEM KLEINEN, QUADRATISCHEN RAUM AM SUEDENDE EINES LANGEN GANGES. IN EINER ECKE STEHT EINE KISTE MIT MUNITION.
I’M STANDING IN A SMALL, SQUARE ROOM AT THE SOUTH END OF A LONG CORRIDOR. IN ONE CORNER IS A CASE OF AMMUNITION.
A bit farther north there’s a side passage that leads to a “rocket”. Going in farther I assume we somehow get blasted by the rocket or fall in or die in some other horrible way because the game is not specific. Getting past my translation issues demonstrates we’ve fallen in:
“Delete me from the pensioner list. I’m f fa faaaaalling!”
Avoiding the side passage and going north normally also kills you, this time with an alarm.
ICH STEHE IM SUEDEINGANG EINES ACHTECKIGEN RAUMES. EIN WEITERER EINGANG IST IM NORDEN. IN DER LINKEN UND RECHTEN WAND BEFINDEN SICH IN KNIEHOEHE ZWEI SELTSAME OEFFNUNGEN.
I’M STANDING IN THE SOUTH ENTRANCE OF AN OCTAGONAL ROOM. ANOTHER ENTRANCE IS TO THE NORTH. IN THE LEFT AND RIGHT WALLS, AT KNEE HEIGHT, ARE TWO STRANGE OPENINGS.
After some thought and fiddling with some gum nearby (red herring) and the caviar (still just deadly) I tried to JUMP (SPRING) north and it worked, leading to the north side of the map.
You can walk around the other side of the rocket and find a small key; otherwise, the way to go is east where there’s a room with a console inside containing a red button and a green button. Pressing the green button will launch the rocket at your home base and kill everyone. Pressing the red button will cause an explosion, I assume destroying the rocket. Fun design choices, hope your minion doesn’t have their finger slip!
ICH STEHE IN DER SCHALTZENTRALE. HINTER MIR FAELLT DIE TUER INS SCHLOSS. MITTEN IM RAUM STEHT EINE KONSOLE MIT EINEM ROTEN UND EINEM GRUENEN KNOPF.
I’M STANDING IN THE CONTROL CENTER. THE DOOR CLOSES BEHIND ME. IN THE MIDDLE OF THE ROOM IS A CONSOLE WITH A RED AND A GREEN BUTTON.
Pressing either button incidentally activates the only “special effect” of the game with a rapidly moving zigzag pattern rolling down the screen.
Assuming you’ve pressed the correct button, the way out is now blocked, although there is a new room (a dungeon) that is revealed. You can go in and find a skeleton as well as a note containing a numerical combination which will get used in a moment.
ICH BEFINDE MICH IN EINEM ENGEN MUFFIGEN KERKER. UMPFFF! ICH ENTDECKE AM BODEN EIN MENSCHLICHES SKELETT. NEBEN MIR LIEGT EIN BESCHRIEBENER ZETTEL.
I’M IN A CRAMPED, MUSTY DUNGEON. UMPFFF! I DISCOVER A HUMAN SKELETON ON THE FLOOR. A NOTE LIES NEXT TO ME.
Heading south, you get attacked by three enemy agents and have a gunfight. This is just a matter of typing SHOOT AGENT (SCHIESS AGENT) over and over until the luck works in your favor.
With the agents dead, you can step over them to find a safe and use the combination at the skeleton (it was 898 for me, looking at the walkthrough it seems to be randomly generated). Inside is the microfilm.
ICH STEHE VOR DEM TRESOR. DIE TUER IST OFFEN. IM TRESOR LIEGT EIN MIKROFILM.
I’M STANDING IN FRONT OF THE SAFE. THE DOOR IS OPEN. THERE’S A MICROFILM IN THE SAFE.
Getting out I thought was the only hard part. Everything up to here was reasonable to solve, if mostly a death-trap maze where sometimes you just have to test out the red button. In the same room as the safe, you can shoot the safe door, which somehow opens a secret door. I assume I missed a hint somewhere?
IM WESTEN OEFFNET SICH EINE GEHEIMTUER, HINTER DER SICH EIN FAHRSTUHL BEFINDET.
A SECRET DOOR OPENS TO THE WEST, BEHIND WHICH LIES AN ELEVATOR.
The secret elevator leads back to the entry room of the hunting lodge, so escape is now just a matter of making a beeline south to victory.
The president says to Central: congratulations, you did it!
I don’t know if this game had any particular influences; CLUB-80 did have Scott Adams in their catalog so I’m going to assume some Secret Mission. I also liked how the gunfight with the three agents resembled the circumstance in Crowther/Woods adventure where multiple dwarves have built up, just in that game you’re using an axe and in this one you’re using a gun.
Map from the CLUB-80 newsletter showing both Alexander who wrote the walkthrough and Gunther who was the president of CLUB-80. There’s a “Walter” in either Switzerland or Austria.
Alexander did keep up the Adventure Corner column; in the issue I pulled the map from, he gives a walkthrough for the graphical adventure Atlantean Odyssey. It is possible more of interest may be pulled up in later years (I have yet to read every issue), but for now this seems a good way to end my non-English explorations of 1982.
It turns out — despite multi-line issues to an extent it’s still puzzling what happened — Gus Brasil had already busted through with the power of editing the BASIC lines directly, so was able to put a “fixed” version of the game. This fixed version still crashes at a critical point but it was enough for me to get through to the end of the game. (EVEN MORE EXTRA: Stay tuned to the end — there’s a specific reason all the issues happened.)
I’m still not entirely sure about two of the puzzles, but let’s continue from where I crashed last time…
…which was at the trunk shown, where the game just breaks with a syntax error. The fixed version goes past this, revealing that inside the trunk there is a small chest.
Unfortunately, trying to OPEN CHEST brings up the EXPLOSIONS which got us at the troll cave last time.
The chest-in-trunk is a trap, and one we’ll get back to, as I was able to (with the fix) use the ASK command. The reason the original broke is it set a variable marked ASK, which nameclashed a protected word in Color Computer BASIC (ASC). The exact circumstances here are important not only to fixing the problem (just change the variable name to something else) but also because it seems impossible this would happen with some kind of bad dump error. Yet, how was this game able to run then? There was a review in the Rainbow only two months after the game’s release which didn’t mention any fatal bugs, although the reviewer did have the same problem as I did in figuring out what the graphics were supposed to depict.
Yes. Nice green grass. Pretty green trees. Purple tree frogs. And, oh no. We’ve broken a rule and told you something about the adventure. Yes. that thing is a tree frog.
Well, we weren’t sure what it was. We tried a bunch of things and didn’t get it right. Finally, we went a-hunting in the list of variables (one reason I like Basic Adventures — when I get stuck I can cheat) and figured out it was a tree frog. And, while I still have not found out what to do with the tree frog, at least I know what it is.
The review does, importantly, indicate that the reviewer did not finish the game. Maybe they didn’t try using the ASK command at all?
Oh, by the way, the tree frog is used for nothing. I think. We’ll get back to that later.
With the ASK command working properly, I was able to ASK ORACLE — the wandering old man with the staff and ASK SHINVA, the tree dryad. In both cases they gave cryptic hints.
Speaking of cryptic hints, I’ll mention I knew RUB was a verb that worked (both from using my verb-testing list, but also plowing through the BASIC code later trying to diagnose crashes) and found it applies to the URN.
This technically gives four clues: TRANSLATION OF FIVE WILL GET YOU CASH, U REPLACES K, YKG / KYA (on the urn), and CIRCLE THRICE IF TRAPPED (as “said” by the urn). I have no idea what what the first three clues mean; I’ve finished the game and circling thrice is the only one I “used”.
I spent a long time trying to get literal translations of the word “five” (like “cinq”) to work out to something, but without luck; to be honest I was still leery about the possibility there might be some broken code, so I poked around until I found curious reference to a noun “BOT”. This was in the OPEN section, so I tried OPEN BOTTOM while holding the chest, and it worked, revealing gold coins.
Now, do the unused clues point to this directly somehow? Or maybe the clue about five points was meant to apply to something in one of the items that I never used in the game (to disclose right now I never used: hip boots, mushrooms, stump, lake, fishing net, tree frog) and from that item I would get a second clue suggesting I could have opened the chest from the bottom safely. Or maybe — and this is very very possible — the author(s) had some elements in mind but never bothered implementing them due to running out of space / time / mental willpower.
Fortunately, I had already done ASK TROLL (“MONEY FOR SAFE PASSAGE”) so I knew where the coins needed to go.
That is, while you can kill the troll with a sword, the cave is then trapped with an explosive and you die. All three items carried at the start (sword, food, rope) are red herrings.
This led to a new area…
…and a new background graphic. Finally not the same three trees over and over.
Just this graphic over and over instead.
An offshoot branch leads to a rock blocking the way which I was unable to move. You can try to JUMP ROCK but you hit your head on the ceiling and die.
What’s important to start is an axe to the far west of the cave. With the axe in hand, it is now possible to go back to the ogre and the princess and KILL OGRE (sword wasn’t able to get through the tough skin, I guess).
With the ogre dead you can now ASK PRINCESS and crash the game.
Using video capture I still wasn’t able to get right up to the crash so this is missing a word.
I think the message is about using the nymph’s “name” but after multiple repeats it kept zipping by so I’m not sure. Either way the word SHINVA isn’t useful, but I knew (again from needing to extract the verb list during debugging) that VAN was a verb, so maybe VANISH which is an anagram?
Yes! This let me get down to a small 2 by 2 area of caves with apparently nothing in them.
Going back through the clues I had not used yet (which was all of them at this point) I decided Circle Thrice could apply here so I tried going E, S, W, N repeatedly, doing a circle and seeing if something would happen. On the third time while going west there was mist described visually by giving the word “MIST”.
Then going north led to the key, which landed in my inventory without having to even pick it up.
Thus I was able to get back to the cage, OPEN CAGE, GET PRINCESS, and walk my way to victory (go back to the castle at the start and GO CASTLE).
To the best of our knowledge, the majority of the software companies you mention went out of business years ago and are no longer marketing software for the Color Computer.
I’ve found other Genesis Softwares, including one in Missouri founded in the 90s, but that’s a fairly popular company name so I don’t think they’re any relation; the trail goes cold for now.
Thanks to everyone in the last thread who helped with prying open this game’s secrets. I am still Secret Agent-ing in German so we’ll get back over to the normal TRS-80 next time.
EXTRA: Gunther has the extra issue worked out (one of the lines was too long) and has a download here. This version of the game works with no crashes.
In order to fix that issue, he modified the princess dialogue line to cut the apostrophe-S from the word “NYMPH”:
Also, all the spare clues have now been resolved. Gus Brasil found that if you LOOK CHEST you get an additional picture with helpful information:
These letters shifted (translated) by five will get the command OPEN BOTTOM as needed to open the chest safely.
Regarding the urn’s text, as noted by John N…
…applying the “U for K” clue gets ?U? U?? which is close enough to RUB URN that it seems like the game is meaning the player to jump the rest of the way (the similarity to OPEN BOTTOM helps). I had skipped needing this information as I had solved the puzzle by simply knowing RUB worked and it ought to be tried on things that looks magic.
EXTRA EXTRA: As BB Durall observes in the comments, ASC is not a protected word while loading from tape rather than disk. Gunther tried extracting the BASIC and using that to be in no-disk mode and was able to get the game to run without modifications. Download the BASIC here, then run with xroar -m coco -no-machine-cart -run ENCHANT.BAS which will load the file “off tape”.
Genesis Software — at least the version of the company we’re talking about here, not the business software company from Washington — started advertising in The Rainbow in October 1982.
The magazine was, essentially, the central information outlet for the TRS-80 Color Computer all the way up to 1993. Nearly everything for Color Computer went through its pages. The only evidence of Genesis Software’s existence outside of its games is from its ads in the Rainbow. They were based in Manchester, Missouri, and since they used a PO Box and no other identification in their source code that’s all I can say. In addition to Enchanted Forest which we’re playing today, they also published two more adventure games in 1983 (Bigfoot, Secret of the Crypt) but neither is currently available on any archive.
While we’ve had adventure games dating back to Mystery House that imply objects solely through their pictures, there’s still text scattered throughout. This game has the unique aspect of wanting to show all the action solely through pictures.
This might be completely fine with a high-end enough system (or even an Apple II with a skilled enough artist) but let me give an example of what I was dealing with in Enchanted Forest:
Is it a jellyfish? Tiny yoda? An alien blob? This is a TREE FROG. Fortunately the game gives an extra command (WHAT) to let you know what’s nearby, but the fact an extra step is required suggests the author genuinely hoped it’d be unnecessary.
So if the TREE FROG is there, where are the lake, stump, and mushrooms in the picture? This game also features directionality, akin to The Haunted Palace: you can LOOK NORTH, LOOK SOUTH, LOOK EAST, and LOOK WEST. Most directions just have the three trees; in the location above typing LOOK EAST shows a different scene.
If you walk a direction (north, south, east, west) you will automatically be facing that way when you enter a new location. In the place you start, where there is a castle in the distance, you start facing south; you only see the castle if you re-enter the same room going from south to north or LOOK NORTH while standing there.
Here’s the overall map I was able to reach:
My particular phrasing of “was able to reach” usually indicates this is going to be a part 1 of x post. Unfortunately, I was stopped because the game — at least the copy of it available — is very broken. There are numerous crashes at essential points and it is clear there’s something corrupted in the lines preventing progress. An picture to illustrate, where the game crashes in the middle of drawing a graphic of an open trunk:
This is followed by
SN ERROR IN 1255
which is just a long list of drawing commands.
I can at least give a general idea of the gameplay. You start with a rope, sword, and food; your inventory limit is 3 so you can’t pick anything up without dropping something off first.
The Enchanted Forest of the title is very open; available just from walking around are a lantern, old urn, fishing net, and hip boots. One room has Shinva the Wood Nymph (where I would love to ASK SHINVA but that command crashes the game)…
…and a troll guarding a cave (which is easy to KILL while holding the sword from the start of the game).
Unfortunately, entering the cave kills you with EXPLOSIONS.
The princess we’re looking for is out in the open, past a sign that says BEAST IS EAST.
Because of the directional views, if you approach this room from the south (and don’t LOOK EAST) you won’t see the sign.
The tree frog I mentioned earlier is a wandering creature, as is an ORACLE who can appear in any the normally empty rooms.
ASK seems especially pertinent here, but again, game crash.
I tested this with all the different CoCo versions and multiple emulators but no dice; the crashes feel “authentic” to me in that I think the emulator is reacting appropriately to the code that’s in the file. That is, something went wrong in the process of dumping the disk. It might even be possible to repair the damage but it isn’t just a single line causing the crashes, so this goes back on the technical issues pile for now.
I did want to document this game, because directionality-graphics are quite rare for this time and it seems like everyone who used them came up with idea on their own (the only game in the category that because famous was Asylum II; however, that was designed around an RPG-style maze so isn’t quite the same gimmick as Haunted Palace and this game). Rather than the graphics being like pages of a book giving a full view of a location, they resemble more the actual perspective of the avatar in the world.
Coming up: Geheimagent XP-05 — Abenteuer-Spiel in deutscher.
Renga in Blue 