PLATO Adventure: The Incomplete Guide   3 comments

I managed to eke out a few more locations on my map from exits I had missed, but I’m going to call this one finally cooked. As a guide for future intrepid explorers who want to get farther, I’ll try to lay out in detail everything I’ve found and all my maps.

Before that…

COMPARING PLATO ADVENTURE’S PARSER TO ZORK’S PARSER

It’s not even close. It’s clear PLATO Adventure is trying to emulate Zork’s “full sentence” mode — more words equals more power! — but I’ve seen enough oddities to say it’s only half-baked.

For example, one of the new locations I ran across was an altar with a book. If you READ BOOK the game gives a confused response; the only thing that works is READ ANCIENT BOOK.

What I’m guessing is happening — other than the game not really understanding the difference between an adjective and a noun — is that rooms with fixed items have the code specific to the location they are at. This means a command like JUMP can plunge the player in a pit where appropriate, but otherwise, the game is confused and act likes it doesn’t understand the command at all. We’ve seen this kind of half-measure with the Wander games which can lead to odd abuses, but essentially, it makes the interface feel much more inconsistent. There will always be misunderstood verbs, but having the game misunderstand a verb if the context is wrong makes the user experience as transparent as mud.

For phrases, that means it’s not really understanding there’s a “ANCIENT BOOK” or “BOOK” object in the vicinity of the Altar, but rather, it’s a hard-coded scenario where “READ ANCIENT BOOK” is grabbed as a whole phrase while in the appropriate room.

COMPARING PLATO ADVENTURE’S GEOGRAPHY TO ZORK’S GEOGRAPHY

There are spots, in Zork, where connections are tangled and confused, but the really odd bits are outside (where there’s a “full circle” around the house) and in a maze. The rest makes enough sense I can visualize regions in my head.

PLATO Adventure seems on the surface to draw on identical rooms, but the configuration somehow seems much more random.

Here’s an example; this is the region that gets opened after solving the Dam #3 puzzle. The “Above Dome” part presumably goes down further but I don’t have a rope. On the right side, the various “long” and “vast” halls are vaguely described and connect more like a spreadsheet than a map. (Jumping back to parser issues again, the game doesn’t seem to understand DIG once you have the shovel. I am guessing there is some room hardcoded to understand DIG after all, but it’s frustrating testing out a command where that isn’t known for sure.)

Despite the nitpicks above, the game isn’t terrible to play … it’s just I can’t make any progress. So, here is my summary; it repeats many points I made in earlier posts, but this is meant to collect everything into a single section:

You start outside, and can go down either a trap door or a mountain passage to get into the underground. There doesn’t seem to be any difference between the two, other than you can leave the trap door open if you take the mountain passage. That still doesn’t help with escape, though, because the trap door is too high to reach if you’re under it. I still have no clue how to return upstairs after going downstairs.

What I’m calling the “central area” has a troll (easily dispatchable by KILL TROLL WITH SWORD) a riddle door (solvable either through WELL, SHADOW, or LETTER E), an echo room (just type ECHO to get out), a maze (which seems to be unmappable, just stumble until you find keys, then stumble out) and the Dam #3 clone. If you go in the maintenance room at the central area and hit all the buttons in reverse order (red, brown, yellow, blue) then you’re able to turn a bolt on the outside with a wrench, opening a secret passage to the area with the shovel I mentioned earlier.

I’m stuck on a large rusty steel door that needs oil — you can find a pool of oil, and then “cover an item” with oil, but there isn’t any way I can see to transfer the oil over to the door. There’s also a pit with a plant that needs water, but I have found no water-holding container.

Connected to some of the central rooms is the “round room” randomizer from Zork. This shuffles you to a few other areas, like the temple…

…which has an Ice Room that threatens to freeze you if you hang around, and a rainbow that I can’t get a reaction from.

Another random exit takes you to mines…

…where you can find a diamond and a rusty rod. The game does understand WAVE ROD in all places but nothing has happened anywhere I’ve tried it, even in obvious places like chasms which might spawn bridges or the rainbow which might solidify.

This is most of the items I’ve found. The diamond and rusty rod are missing.

I’m still guessing there’s some interesting material hiding in the places I’ve missed, and I like the askew-Zork-world in a sense, but raw persistence is only going to get me so far. I especially welcome it if anyone can access the source code; there is apparently a way to see it instead of playing the game on the cyber1 server but you need (I think) the author’s numerical code (?).

Posted March 9, 2021 by Jason Dyer in Interactive Fiction

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PLATO Adventure: 36.5%   Leave a comment

I am, somewhat disappointingly, quite stalled. I might have to stop my traversals here until I can summon up source code or the like.

It’s hard to put a good fixed narrative on what happened, since I essentially went through multiply forays where I started getting more of the lay of the map, but according to the documentation which lists 148 rooms, I have found only a little more than a third.

Various things I found:

• A curtain of light that I wasn’t able to do anything with; one of these is in the Bank of Zork in original Zork but there’s no way to pass through the wall I could find. I may just have the syntax wrong, or there may genuinely be a change to the puzzle.

• Speaking of changes to puzzles, the four colored buttons are in at the Dam #3, but the only way to get them to work I could find was to push all of them in reverse order, causing the room to start flooding. That led to the bolt outside glowing, and then I could TURN BOLT WITH WRENCH, which for some reason opens a staircase in the ravine below the dam as opposed to (apparently) operating anything logical. I feel like the form of the puzzle was taken but not the exact sense.

• Relatedly, I found the “echo room” from Zork, but the only way to solve it is the original way: by just typing the word ECHO. The solution involving stopping the dam water from rushing by only was added later.

• I found the thief and he on one encounter stole my stuff, and on another encounter killed me. I think if you just immediately flee when you see him he doesn’t do anything, which nullifies the impact a little.

• I found a maze of rooms “all alike”. Rather evilly, if you try to drop items to map things out, they end up getting moved to a “central room” which has a set of keys. I just had to guess my way out.

• The mine area is in, kind of — the diamond is out in the open and you don’t need to do anything special to get it — but the rusty rod with a star on it from Adventure is there also. I’ve tried waving the rod in various places with no success.

You’re locked in here and have to PUSH NEXT to get out. The NEXT button is a PLATO in-joke — it gets used all of the time in navigating the network system.

• I found two riddles in addition to the SHADOW one from last time. One of them was the WELL one from original Zork, and one of them is a regular classic.

My main sticking points are a.) the fact I still haven’t been able to get back outside, to the trophy case where the treasures are stored. b.) I don’t have a bottle of water, and I can’t substitute any other container — I can get an empty gas can but the game is just confused with syntax if I try to fill it. This means the plant calling for water in a pit (like in Adventure) can’t be grown into a beanstalk. c.) Relatedly, there’s a rusty steel door, and there’s oil, but I can’t bring one to the other. Oddly, if I try to fill the gas can with oil the game just says it’s now covered with oil (??).

I do worry there might be some bug stymying my progress. Trying to open an object gives a message about opening a book (I don’t have a book in my inventory) and the wobbly parser generally makes me concerned there’s some command too messed-up to deliver. I’m still going to make honest whacks for a few days but I may shelve this game for the moment and move on with my 1981 sequence a little more.

If you’re interested in playing the game yourself, the cyber1 server has it — you have to follow the login instructions, and when it asks what program you want to run, type “adventure” all in lower case. I still don’t understand how to set it up so save games work.

Posted March 8, 2021 by Jason Dyer in Interactive Fiction

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PLATO Adventure (1979)   14 comments

We’ve gone through many variants of Adventure now, including the recently-unearthed Adventure 448, and one open historial question is: why were all the variants made of Adventure, and not of other games at the time, like Mystery Mansion, Zork, and Acheton?

I can at least theorize. In the case of Mystery Mansion, while it was written in portable FORTRAN, it had messy “spaghetti code” with lots of special exceptions rather than a unified and easy-to-modify setup like Crowther’s original. Zork’s MDL language was not exactly mainstream (although the Bob Supnik Fortran port surely could have been modified?) and Acheton was written for a very custom-to-Cambridge system and reached past its small original circle only when it had its commercial release.

Here to shake things up is the PLATO System, which has been written about voluminously elsewhere, because it housed the world’s earliest computer RPG games. It had graphics and networking long before anyone else did. It spawned both Wizardry and Shanghai.

It also had an adventure game remix of Zork.

Credits, as shown, are to Phil Seastrand, Dave Schoeller, and Mark Ciskey. It was typed in by hand from source about 10 years ago, and assuming the records above are correct, nobody has beaten it since.

The game is technically just called “Adventure” but I have to keep my sanity somehow, so I tossed in the PLATO.

PLATO definitely had nothing like MDL, so this is code written from scratch which has some of the rooms of Crowther/Woods Adventure mashed up with some of the rooms of Zork to form its own thing. It certainly starts feeling like it should be an Adventure clone.

Stepping inside the building cross-jumps to an entirely different universe.

Based on what I’ve seen so far we’re at about 5% Adventure, 85% Zork, and 10% the authors doing their own thing.

There has to be some difference geographically because all directions are NSEWUD — that is, none of the “diagonal directions” are in. Here’s a comparison of the outside maps, PLATO map on top, Zork map on the bottom.

Many of the PLATO Adventure locations are still original, even if they re-insert some of the Zork items, like the wrench and candle in the shed below.

I haven’t explored underground that extensively yet. The Round Room for spinning is in; Flood Control Dam #3 is in.

A riddle room is in but has an entirely different riddle than the original. (Not a terribly hard one, I’ll leave the answer for readers to work out in the comments.)

So far I’m wondering if the reason nobody has finished the game yet has to do with logistics more than difficulty. One of the NOTES attached to the game suggests extending the lantern life because it is relatively short on the number of turns. I also ran across a softlock fairly early

which suggests there might be more. I’m just going to cross my fingers that the lack of winners has more to do with lack of attention than extreme difficulty. (It tweaks the Zork puzzles where I already know how to solve them … how hard could it be? Don’t answer that.)

Two other items of note:

a.) Just like Zork, the parser is NOT two-word. If you want to push the blue button, you have to type PUSH BLUE BUTTON and not just PUSH BLUE. It can honestly be stickier than Zork about the indirect objects; I remember being able to just ATTACK TROLL in Zork but for PLATO Adventure’s equivalent you have to specify a weapon, even if you are only carrying one: ATTACK TROLL WITH KNIFE or ATTACK TROLL WITH SWORD. (Either works!)

b.) The help screens list every room and every item. I haven’t checked much in detail because I consider those slight spoilers, but on offhand glance it does really look like a jumbled Zork. Interesting from a theoretical angle is the opening text.

“The main objective of this game is to make points to gain levels” sounds quite alien to the instructions of every other adventure game I’ve played. It strikes me like the sort of thing you’d write to a group that is *only* familiar with CRPGs in an attempt to describe the adventure genre in a way they’d know. (PLATO, being a graphical terminal, could not run Crowther/Woods Adventure, so undoubtedly many players in 1979 were not familiar!)

Special thanks to commenter Louis N, who clued me in that the PLATO system had an adventure game. I knew the CRPGs well and I had checked through all the files at one point and found no adventures, but it looks like the list I checked was made before PLATO Adventure was typed in. Better late than never. If anyone else familiar with PLATO has potential adventure games to suggest, let me know (I know of one other that might count but I’ll need to test it more thoroughly first).

Posted March 4, 2021 by Jason Dyer in Interactive Fiction

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The Staff “Slake” (1981)   8 comments

The ever-prolific Roger M. Wilcox still has seven games left for our 1981 roster, so let’s knock one down, shall we?

His previous two (In the Universe Beyond, Creatures that Live in the Sun) were a bit wacky (that’s technical jargon for “the work of an imaginative teenager who was noodling around with sci-fi ideas and kept cranking games out without worrying about being published”), but this game plays it straight with another collect-a-thon, where the most interesting thing is the title item.

>EXAMINE STAFF
“Slake” is a magical staff composed almost entirely of gold save a ruby on its front tip. Its bottom seems worn from tapping against the ground. It is capable of a “retributive strike” down its middle, which seems divided for this purpose or possibly for another. Its design has three gold snakes wrapped around the entire length of the staff, which is a symbol of weaponry and protection.

The closest I could find to the staff the game is named after. This is a religious staff (a crozier) used by the Eastern Orthodox religion, and is short one snake. (Picture by Kokkarani, CC BY-SA 3.0).

You start fairly traditional aboveground, with a lantern and a passage into darkness. To get the lantern going requires pulling materials from a mound of “white phosphorus” and a “pile of sulfur” (which just happen to be lying around) and MIX them in order to LIGHT LANTERN.

You can use a shovel to dig out some “dirt walls” to find, rather creatively, a “river of wine” that you can use to fill a canteen, as well as a stone called “Staffbreaker” that will be helpful later.

I was stuck for a while on the “Stronghold Entry Point” on the map — there’s a locked gate and no key. I had tried DIG everywhere (including at the aforementioned river of Dionysian bliss) when I hit the realization that while shovels in text adventures usually don’t bother with nouns, it’s still possible to use one.

The key appears in the room description when you DIG SULFUR. This doesn’t really count as guess-the-verb, guess-the-noun, or any sort of standard bad parser behavior, yet I was still psyched out by the parser.

Past the locked gate I was able to get into a treasure room with the staff from the title.

The staff later gets three different uses, all cued by the description text I quoted earlier: the “ruby on its front tip”, the bottom that “seems worn from tapping against the ground”, the middle allowing a “retributive strike”, and it being a “symbol of weaponry and protection”.

For example, proceeding further, you come across a warrior at a “guard station”.

The warrior is swinging a magic sword at you right now!

where the right action is to PARRY.

You parried the swing! In fact, the parry caused your attacker to drop his sword onto the floor. He runs away in fear, leaving the sword behind.

This would have been a hard verb to normally summon up, but I had been stung before by In the Universe Beyond where the hints give information nearly impossible to find otherwise, so I had tried HELP earlier to see if it worked.

I know the verbs PARRY and FILL.

The warrior runs away but does not leave; in order to exit back upstairs (either right after the initial confrontation, or later) the sword left behind must be used against its original owner.

Speaking of odd verbs, just trying to EXAMINE the body indicates two puncture wounds. To find the hidden items — a two-handed sword and a bag — you need to FRISK ADVENTURER.

The second function of the staff is to shoot at stuff; in particular if you jump into a pit (there’s a treasure down there) your way out is blocked by a boulder.

Realizing that you need to “turn” first is subtle and non-obvious. The way I figured it out was fascinating in a ludic-theory sort of way: the game helpfully warns you if you jump in the pit without the staff that you’ve made the game unwinnable, and offers to let you back up. It struck me the only difference between getting the message and not getting the message was having the staff, so the staff had to be the solution, leading me to experiment more and arrive at TURN STAFF. Solving by realizing what was in the negative space, so to speak.

The third use — and more or less the climax puzzle — requires destroying the staff altogether. There’s a stone door where zapping with the staff won’t work, and there’s no key, but you can drop the staff and throw the “Staffbreaker” stone (from back at the river) and cause it to blow the staff up. This is interesting insofar as the staff as it is a treasure, but in being destroyed it makes a new treasure which works as a replacement: gold dust.

I needed to meta-solve past a bug, though. When the explosion happens, the screen flashes RETRIBUTIVE STRIKE! and the main screen returns … but not the prompt. However, game saves were still possible via the menu, so I saved and reloaded, and found myself with an open door and gold dust as was apparently meant to happen.

It isn’t necessarily the climax puzzle because there’s a few side puzzles to mop up (some leprechauns want the wine from the canteen, for instance) the most amusing being a carnivorous goose who can only be satiated by the taste of human skeleton bones.

Untitled Goose Game: The Early Years.

However, I managed to end at 100% treasure without too much trouble after.

The game doesn’t end. You just can take the hint from the declaration of victory and skedaddle whenever.

I did like the game centering around an object with multiple uses that was destroyed in the end. It reminded me of Wilcox making a consistent set of puzzles around an object with The Vial of Doom. The Vial of Doom still remains his strongest game I’ve played so far; The Staff “Slake” isn’t quite top tier simply due to the mundane nature of the treasure hunt, but it still came with some interesting ideas.

Posted March 2, 2021 by Jason Dyer in Interactive Fiction

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Adventure 448: The Shape of a God   7 comments

I’ve gotten through all the new material and found all the new treasures (all six of them). The ending is apparently unchanged (and I’ve, uh, seen it before a few times) so I skipped getting to that. Special thanks to Arthur O’Dwyer who came up with a full walkthrough that I needed to refer to multiple times.

Just to clarify from my last post, the years ’78, ’79, ’80, and ’82 are almost certainly graduation years. So the initial crew of four at Brown University (Dave Wallace, Dave Nebiker, Eric Albert, Les Wu) did their work in April 1978, and Eric Swenson (“EJS@MC”) converted the game for the MIT system a year later.

April 1978 is extremely early; there were no adventures for home computers as of yet, the first coming out in summer of that year (a conversion of Adventure for Heathkit). Adventureland and Pirate Adventure came later. The authors had Zork to refer to, but other than than that they almost certainly hadn’t seen anyone else’s efforts (like Mystery Mansion, Wander, or Acheton) so this is in the earliest depths of adventure gaming, where people were making it up as they went.

The immortal bird and snake fight, which I’ve now seen on loop across many iterations of Adventure, including Crowther’s original. Even this scene has had additions — in particular Don Woods in his “version 2” Adventure put a scene where you can bring the bird outside to a forest — but it generally has been left untouched. Picture from the AMC Halt and Catch Fire version of Adventure.

When I approach one of these games, I always started with my Trizbort file of 350-point Adventure, assuming it gets used as a base, and then run through the map marking as I go which rooms have been checked. Once I start to hit new geography I add new rooms with a special color so I know they weren’t part of the original map.

I found the Throne Room last time, but I had the bad luck of finding the last extra rooms right at the end of my survey. I had been starting to think the Throne Room was the entrance to all the new material, but no: the new stuff is shuffled up next to the entrances to the mazes (all alike and all different).

Some tweaks are minor; the silver bars got moved to a new room, the pirate lair got moved slightly for some reason. The essential “main attractions” are a wizard tower and a druid temple. They are essentially independent of the main game, with one exception.

Here is how the wizard tower opens:

You’re on a spiral staircase lit by torches with an eastern door.

The game uses Adventure’s unfortunate feature of “probabilistic exits” to make the geography messy here. If you go up one floor, going east kills you

You enter a thick, cold, gray mist. You seem to be falling forever and the light slowly fades away.

If you go up twice (without interference from the random number generator) and east, you can find a dagger

You’re in a small hexagonal room with a single door in the west wall.

There is a short ornate dagger here.

but in all likelihood you’ll hit a few “loops” that make the staircase seem endless, and if you aren’t being careful, kill yourself as shown above. This has been a source of endless suffering for me in the past (see especially the “secret exit” room from a maze in Adventure 500) but at least here it was thematic — I totally expect a wizard tower to have weird, TARDIS-like geographical oddities going for it.

Incidentally, going one room up again — with an identical staircase room — and trying to go east leads to death

A hoard of angry dwarves charges through the door as soon as you open it. They are brandishing all manner of weapon and you get crushed in their rush downstairs.

but we can get in there from a different direction. Still, the preponderance of confusion and deathtraps feels slightly off from 350-point Adventure.

There’s something higher if you keep going up but you need an item first to reach the top, which you can find from the magician himself, who you’ll find by going down rather than up.

You’re in the Magician’s Chamber, a large pentagonal room with a spiral staircase leading up from the center of the room.

The magician’s staff is leaning against the wall.

The Magician is here gesturing frantically in front of the elven door.

There is a massive stone Elven door set into the western wall. The surface of the door is covered with indecipherable runes.

Just like the dwarves, violence is the answer to this one.

THROW DAGGER

Your dagger strikes the Magician, who stumbles back in astonishment and vanishes in a cloud of orange smoke.

It maybe should have occurred to me I just killed a Gandalf-analogue, frustrated at trying to get an elven door open, because the next step is the magic word FRIEND. The source code has the text “Speak, friend, to enter” but I wasn’t able to get it to appear; READ DOOR or READ RUNES don’t work.

(The famous door showed up a year later in a game set in actual-Tolkien-verse, Ringen, although in that game you had to nerd out and use the Elvish version of the word.)

SAY FRIEND

You’re in a long straight corridor ending in a massive slab of stone to the east. To the west a slightly smaller corridor continues while there is a passage leading up to the northwest and another leading down to the southwest.

Nearby you can get a “gleaming coat of Mithril chain mail” which you can’t wear (“The mithril mail is a small size, even for dwarves. You don’t stand chance of getting it on yourself.”) and explore some more Tolkien-fan-fiction room descriptions, before finally arriving back in the magic spiral staircase.

You’re in the Dwarves Great Hall where in the past were held great feasts and displayed the most beautiful of their craft. Now the hall look as if a great battle had been waged here. All the smaller passages leading out have been blocked intentionally. The only exits are wide staircases leading down to the west and up to the east.

Once you’re holding the wizard staff (which you can scoop up after killing the magician) you’re also able to get out of the loop in the spiral stair to make it to the top of the tower.

You’re in the magician’s tower, a small cluttered room filled with all manner of strange artifacts, the purpose of which cannot be kenned immediately. The walls of the chamber are themselves cloaked in shadows which seem to move of their own accord. There is one small window in the wall but it is far over your head and lets in a minimum of light. Torches set in the wall across from the window supplement the meager light but the entire room seems to disapprove of light and gloom clings to all the corners. In the center of the room a spiral staircase descends into to the lower levels of the cave.

There is a dusty old broom lying on the ground.

There is a large map on the wall.

There is an unadorned gold ring on a hook on the wall!

The Magician’s Book of Spells is here.

READ MAP

The map shows a small complex of rooms connected to the throne
room by a passage beneath the throne.

READ BOOK

The book seems to be a big book of fairy tales. This particular tale concerns an adventurer wandering around in a cave.

The ring counts as a treasure and “being royal”. The ring and the crown from last time are useful for a scene elsewhere; one outside of the wizard tower, but only a few steps away.

You are at a crossover of a high N/S passage and a low E/W one. You are in a slightly sloping N/S passage which seems to fall off sharply not too far to the North. There is a ONE WAY sign pointing in that direction.

The new passage (heading north) leads down to a druid temple.

You are in a large chamber decorated like an ancient Druid temple continuing to the west with passages leading off to the north and south. A large stone dominates the center of the room.

The sword is firmly imbedded in the stone!

I needed to check the walkthrough here; GET SWORD just says “You can’t be serious!” and you have to PULL SWORD. You need to be sufficiently royal (wearing both crown and ring) otherwise you get this:

PULL

TUG! GROAN! It seems to be stuck. Shall I keep pulling?

YES

Oh Dear! It seems I pulled a little too hard. The sword has shattered into many tiny pieces.

At least it asks before you step into your own softlock? If things go well, you get a treasure instead. (No, you can’t fight stuff with the sword.)

PULL

Voila! The sword has slid effortlessly out of the stone.

There’s a small area nearby where you can SWEEP with the broom from the wizard tower in hand to find a secret area.

The passage leads northeast and northwest.

There is a large piece of crystal here carved to the shape of a God!

If you have the crown and ring, you can escape and take a secret passage back to the Throne Room.

There is one more secret treasure; the broom is useful elsewhere. If you have your Adventure map memorized, you might know where it goes:

You are in a large room full of dusty rocks. There is a big hole in the floor. There are cracks everywhere, and a passage leading east.

SWEEP

Your sweeping stirs up the dust and reveals a piece of paper on the ground.

GET PAPER

OK.

READ PAPER

“Congratulations. Due to your extraordinary abilities as an adventurer, you have won a full four-year scholarship to the College of your choice — limited to Cambridge Massachusetts. Sorry, but Harvard excluded. Void where prohibited by law.”

The code is structured such that Arthur O’Dwyer and Nathanael Culver suspect changing the diploma from Brown to MIT is the only extra change when EJS@MC converted the Brown game to the MIT system.

I very much appreciate that this piece of early history got unearthed — even relative to other “mods” of Adventure this is quite early, only beaten by Adventure 366 (which only tweaked the game in a minor way) and possibly Crystal Cave (which is more like an entirely new game based on the Adventure base game, and where I’m still very uncertain on the dating).

The broom in particular applying both to the self-contained world of the expanded universe and making a new use for an old location was quite delightful. I think the randomizer was perhaps too heavily abused in the wizard tower, but at least there was a plot reason for it. Just to get very specific at the code level (referring to O’Dwyer’s work again), here is the spot on the stairs next to the dagger.

East goes to the dagger room.

Down goes two steps down with probability 60%, one step up with probability 15%, and loops to the room the player is already in with probability 25%.

Up goes one step up with probability 60%, two steps down with probability 15%, and loops to itself with probability 25%.

Just dropping a few items as reference alleviates the problem here, but it’s still a bit unnerving to play through.

One final update to mention: Adventure 448 is now enshrined within Nathanael Culver’s list of Adventure variants, which means it … exists for real, I suppose?

Posted February 26, 2021 by Jason Dyer in Interactive Fiction

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Adventure 448 (1978-1979)   10 comments

Adventure 448 is a variant of Adventure that isn’t listed (as of this writing) on Nathanael Culver’s giant list of variants, nor does it appear anywhere in the rec.games.int-fiction archives. As far as I can tell it simply has been dematerialized from history until very recently. I came across it in rather a strange manner —

Last year, early source code for Zork (circa 1977) was unearthed from MIT archives and put up at Github. This later became playable via a telnet link, which I tried out, but didn’t dive into deeply (I will eventually write about 1977 Zork more in depth, but it hasn’t been a priority).

Unrelatedly, Aaron Reed has recently embarked on a “50 Years of Text Games” series, writing about one text game each week; in 1977 he covered Zork. As part of that he mentioned being able to play Zork online, linking to Andrew Plotkin’s page.

Out of curiosity, I tried the link which included these instructions:

You can try the ITS environment online! Telnet to its.pdp10.se, port 10003 (telnet its.pdp10.se 10003). When it says “Connected…”, hit ctrl-Z. Then type :login yourname. (Any name will work.) Then type :zork to play. :advent is also available; that’s the original Crowther version. You can also try :games;adv350 and :games;adv448.

This boggled me for a second — I wasn’t looking at Zork, but rather the last statement, about adv448. I’d never heard of such a thing, and after checking all my sources, nobody else had either. I consulted with Lars Brinkhoff (one of the main people behind the MIT archive finds) and he said someone else had added adv448 to the PDP emulator that Zork was on, and he gave the credits from the source code:

C Modified for the Brown University system, April 1978
C Dave Wallace ’78
C Dave Nebiker ’79
C Eric Albert ’80
C LES WU ’82 (ALSO MADE CONVERSIONS FOR A NBS-10)
C Modified for the ITS system, July 1979 by EJS@MC

The actual game itself doesn’t list any of the names, but just states “Additional features added at Brown University.”

For most mainframe games with a long time span, the vast majority of the work was done early, and the later dates involve bug fixes (like Warp, Haunt, and Battlestar). Given this game passed through at least four different pairs of hands, I’m not sure if the same metric applies; however, for mainframe games I’ve been going by “first time available to people other than the authors”. I can’t definitely say what happened here, but to be internally consistent with the other versions of Adventure I’ve written about I’ll be shelving it on my big All the Adventures list as 1978.

ADD: Arthur O’Dwyer made the point that the years ’79, ’80’ and ’82 are probably graduation years, so that means it was done all in one go at Brown in 1978, with the “modified for the ITS system” happening a year later in 1979. That makes sense to me (and otherwise the sequence listed is a bit mystifying) so I changed the title to be just 1978-1979.

I knew I had to make this game priority on my queue, not just due to the mysterious circumstances of it being unearthed, but due to the generally ephemeral nature of telnet servers (although I hope the Zork one stays up a long time!)

While I’ll need to do another test run, it looks like nothing outside is changed, but the famous building is slightly different.

You are inside a building, a well house for a large spring.
There are some keys on the ground here.

There is food here.

There is a bottle of water here.

I didn’t make a typo: there is no lamp! The game forces you to use the iconic grate before reaching the lamp.

You are in a 20-foot depression floored with bare dirt. Set into the dirt is a strong steel grate mounted in concrete. A dry streambed leads into the depression.

The grate is locked.

unlock grate

The grate is now unlocked.

GO DOWN

You are in a small chamber beneath a 3×3 steel grate to the surface.
A low crawl over cobbles leads inward to the west.
There is a shiny brass lamp nearby.

I find this an interesting change, and not one I’ve quite seen before. Other versions allow skipping unlocking the grate altogether and blazing through with already-known magic words, but here the authors wanted to force one particular narrative.

That means in Adventure 448 there should be a lamp in this picture. Detail from map by Dennis Donovan.

I haven’t checked far enough to see all the differences, and assess if the changes are major or minor, but here’s the room north of the Hall of the Mountain King.

You’re in the throne room where the walls are covered with large brightly painted murals of Colossal Cave and the lands surrounding it. In the center of the room is a large throne on a raised dias. To the south can be seen the entrance to a large hall while a low passage exits to the north heading slightly downwards.

There is an old crown sitting on the throne!

The resemblance is strong enough I’m wondering if there’s some relation to David Long’s Adventure 501

You are on the east side of the throne room. On the arm of the throne has been hung a sign which reads “Gone for the day: visiting sick snake. –M.K”
An ancient crown of elvin kings lies here!

but I’ll need to get in deeper to tell. My suspicion is this is just coincidence caused by the fact that the named “Mountain King” strongly hints to writers who want to extend the game that it would be appropriate to insert something royal nearby.

Posted February 21, 2021 by Jason Dyer in Interactive Fiction

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Palace in Thunderland: Finished!   9 comments

250 out of 250. One of my jokes turned out to be prophecy. This won’t make much sense without reading the prior posts first. Complete spoilers follow.

I had gotten killed by the Queen of Hearts while playing her game of croquet.

I had noticed that the nearby red and black cards seemed slightly discontented, and also, based on this clue

THE SWORD SINGS IN A COLURATURA SOPRANO VOICE, “WHO WILL TELL THE QUEEN HOW REVOLTING WE ALL ARE?”

I had made a joke the command was to >LEAD REVOLUTION. I was, in fact, quite close.

The odd thing about the above is this won’t work unless you have the flamingo and hedgehog. I suppose the narrative explanation is that the peasants aren’t really paying attention to you until you are set for a game of croquet. At least I solved it, and there is a second clue:

…MOOD TLOVER, WIDER THAN A MILE…

(read the first part backwards)

With that resolved, I realized I still wasn’t getting anywhere without finally working out the power outage issue. If you wait until after the lights go out there’s a “busted fuse” but I didn’t have any luck replacing it; Voltgloss provided some handy hints which led me to the suspiciously empty Arboretum. (I mean, in a lot of 1981 games it wouldn’t be suspicious, but this is a game where nearly everything gets used somewhere.)

THE SWORD SINGS, “EVERY TIME IT RAINS, IT RAINS PENNIES FROM HEAVEN….

For some reason I had failed to EXAMINE POOL and find out the light was too bright to see in the pool. The key was to wait until the lights go out entirely, then use the flashlight.

The goal then is to take the penny down and use it as a fuse. (A Google search for “use penny as fuse” attests to this being a real thing, including this strange Forbes article which uses replacing a fuse with a copper penny as an analogy for businesses on economic life support.) Unfortunately, the flashlight doesn’t quite have enough life left to make the full trip.

Not quite far enough!

I had fortunately had in mind a previous scene with a dormouse which I already wrote about, but let me jog your memory with a screenshot.

The Great Hall with the grandfather clock happens to be close enough to reach with an active flashlight (just west, southwest, then south) so I tried it and had the exact same message as before appear. However, secretly, this extended the flashlight life.

This was enough to make it all the way to where I could insert the penny and get the lights back on. Phew. This is incidentally the only timed event in the game, and you can play at your leisure after, but note in the process of rushing it’s possible to solve a puzzle with an unfortunate shortcut.

It was a shortcut I was suspicious of; it was back with the Jabberwocky where it was trivial to use the sword to kill it. That was the wrong move. The “pink hairnet” I had made last time can be used to catch the critter, which makes me sad, because I had tried to THROW HAIRNET there already and the right syntax is instead CATCH JABBERWOCKY.

Grr, right solution, wrong verb. At least another singing sword hint does signal the intent quite strongly:

TUM TUM TUM TUM
CATCHA BEASTIE WITH A SEINE, WOVEN STRANDS THAT FIT THE BRAIN…
TUM TUM TUM TUM…

Part of the catch to all this is THROW is mapped as a synonym for DROP. With that decision made, there’s a design dilemma, because the author has to either

a.) ignore a perfectly reasonable way to phrase an action

b.) cause a verb which normally behaves one way to switch behaviors in a special circumstance

I’d say b.) is clearly the lesser of the two evils, but it genuinely has been confusing in some games for the Project where a verb takes special dimension and meaning in one circumstance where it takes an entirely different one elsewhere. For example, the HAIRLOOM I utilized last time only worked with USE HAIRLOOM, but the game otherwise acts like it doesn’t even understand what you are talking about with the verb USE (often in text games, this means “please be more specific”).

Anyway, with that resolved, it wasn’t too hard to work out what to do next, as there were very few unresolved problems. Time to unleash the power of a horrible beast on some infant children.

I’m sure they’ll be fine.

With this, I nearly had all the treasures. (I skipped talking about opening an oyster — it’s another “you can blow an item too early” situation — you just need to keep the pink prybar before making a flamingo out of it and OPEN OYSTER to get some pearls.)

GOLD RECORD
PEARLS
CHATEAU LAFEET
ERMINE ROBE
JEWELED SCEPTRE
PLATINUM CROWN
FAMILY HAIRLOOM

I was clearly missing just one, but at a loss as to where and here I confess to blowing through an entire set of Voltgloss’s carefully-constructed clues all the way to the end. Yet another singing sword clue shows up:

THE SWORD WHINES, “I SAY, INSPECTOR CLOUSEAU! THERE’S TREASURE TO BE HAD BUT THE CHABLIS HAS GONE BAD!”

You can SAY INSPECTOR at the wine cellar downstairs to cause a “PINK PANTHER DIAMOND” to appear. Bah. It’s sort of cryptic crossword style, where you’re supposed to omit the “I” from the “I say” and just take “SAY INSPECTOR CLOSEAU” as instructions.

I mean, this puzzle is in line with many of the others, like leading the peasants to revolt, but somehow I still found it totally arbitrary. At least the “seebone” puzzle had the clue in the location it was used, and the clue essentially gives exact directions if you read it correctly. Here, while I understand what’s going on at an intellectual level, this felt like a random kick at the player for fun.

Nevermind, all eight treasures found and safely stowed where the game explicitly says to:

Going up you can see peasants below asking WEAR IS THE RULER?? I had some clothing loot (crown and sceptre) which seemed sufficiently royal.

Oops, not quite. The “ermine robe” is also royal (and I remembered being wearable).

I still hadn’t used one singing sword clue, where it sang “SHAKE, RATTLE, AND ROLL”.

>SHAKE
THERE’S A CROWD OF PEASANTS BELOW WAVING AT YOU, JUMPING AROUND,
AND SHOUTING, “ONE, TWO, THREE, FOUR, COME ON DOWN AND GET SOME MORE!”

This is just indicating you can go back to the start and collect big winner kudos.

This is going to make it my “personal enjoyment” list for 1981 but not my general recommendations. It has been a sort of game I’ve been lacking for a while: dropping the “maze” nonsense, making a compact map, and leveraging the era’s comfort with dead-end puzzle solutions and slightly obtuse hints to make a raw puzzlefest that was, for the most part, fair. It’s something that I know has been in the technical capabilities of the computers in question — even as a TRS-80 type-in — but very few had quite struck the mark, not being able to shake off the cruft of Adventure and Zork.

Also, the extra “dimension” that opened up by realizing the singing sword had unique songs was far more memorable than just a single secret door; it’s as if all the rooms in the game suddenly gained potential secret doors.

We’re not done with Dale Johnson; just like Mad Venture contained a promo for Thunderland, Thunderland contains a promo for his next game.

>READ BOOK
THE COVER IS VERY FADED. ALL I CAN MAKE OUT IS “WIS ROLL”
>OPEN BOOK
THE BOOK IS NOW OPEN.
>READ BOOK
IT READS, “LOOK FOR THE NEXT ATTRACTION, MYSTERY IN MADNESS” AT YOUR LOCAL COMPUTER STORES SOON!”

It eventually came out in 1982 under the name Madsquerade, and involves tracking down a hit man. Sounds rather different from an treasure hunt, so I’m looking forward to it.

In the meantime, I’m going to stay with treasures a bit longer, because there’s a newly unearthed game — one that nobody in the history of adventures, as far as I can find, has ever written about — to dive into next time.

Posted February 20, 2021 by Jason Dyer in Interactive Fiction

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Palace in Thunderland: Hedgehog Croquet   10 comments

Not quite at the end, but two quick updates.

First, I figured out what the pink medicine does. It’s rather subtle, and exploits the fact the player is “looking through the eyes” of the main character as opposed to seeing them from the outside, like a standard third-person point-and-click game.

After growing the pink hair, referring back to this song the singing sword

TUM TUM TUM TUM
CATCHA BEASTIE WITH A SEINE, WOVEN STRANDS THAT FIT THE BRAIN…
TUM TUM TUM TUM…

I used the shears to cut my own hair off, then did USE HAIRLOOM to form a PINK HAIRNET. I am not sure what to do with it (you can’t even wear it).

Second, as a team of commenters figured out, the singing sword’s message of

THE SWORD CROONS IN A TERRIBLE FRENCH ACCENT, “MAY WE, MON SEWER, C’EST SEEBONE ENDEESH LOKAY SHOWN!”

while in the laundry room was a hint to “say” (“c’est”) the word “seebone” “in this location” (“endeesh lokay shown”).

This opened a secret passage going up, leading to a tower with a hedgehog. I could pick the spiky hedgehog up, and importantly, the description matched that of the queen having a hedgehog playing croquet. I had previously got a flamingo but was missing a ball: now I had both of them! So it was time to take both flamingo and improvised ball over to the queen and take her up on her offer to play croquet.

I admit I was heavily anticipating this moment — I have been whacking at the game for a while and kept wondering what the croquet game would be like. This made what happened next even more comical:

With Fortress at Times-End when I was talking about a good trap? This was a good trap. It hit the “participatory comedy” marks — it required the player to act to cause their own demise, it was possible to foresee ahead of time, and it had a long anticipation period beforehand. It is also kind of hilarious.

Unfortunately it also means I’m stumped! I’m willing at this point to accept ROT13 hints of any kind for the remaining treasures, how to handle the power outage, and how to handle the Queen.

Posted February 19, 2021 by Jason Dyer in Interactive Fiction

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Palace in Thunderland: Pennies From Heaven   12 comments

My biggest breakthrough of late is that the singing sword is much more interesting than I originally realized.

I had previously found I could KILL JABBERWOCKY to chop it down, and I could also SING to get a special message.

THE SWORD RUNS THROUGH THE SCALES, “LA,LA,LA,LA,LA,LA,LA,LA…”

I was testing if the sword would calm down Young Tweedledee and Young Tweedledum, and got the LA,LA,LA message again. For fun I tried wandering around singing at other things, and realized many of the rooms of the game have a unique message when the singing sword is used. At least some of the messages seem to be hints for solving puzzles, and in one room singing nets a treasure!

Let me work through this area by area, starting with the basement that has the melting metal box:

Workshop:

THE SWORD SINGS, “JUST LIKE ME, I WANT TO BE…CLOSE TO YOU!”

This clearly is a reference to the carpenter in the same room wanting to be friends with the walrus.

Laundry Room:

THE SWORD CROONS IN A TERRIBLE FRENCH ACCENT, “MAY WE, MON SEWER, C’EST SEEBONE ENDEESH LOKAY SHOWN!”

I don’t know what this is. The Laundry Room is suspiciously random and empty, and this is a tight enough game that might mean something. If you speak the French with a lisp does it come out as some phrase in English?

Dusty Corridor:

THE SWORD SINGS, “DUM, DUM, DRINK TO ME ONLY WITH THINE EYES, PUSH ON, PRESS ON, FOR A BIG SURPRISE!”

This is a hint for the room adjacent, as you can move the wine rack to find a wine bottle that is a treasure.

Music Room:

MAGICALLY THE INSTRUMENTS BEGIN TO PLAY, AND THE SWORD SINGS THE PROLOGUE TO “PAGLIACCI”. THUNDEROUS APPLAUSE IS HEARD AND A GOLD RECORD DROPS AT YOUR FEET!

I maybe should have found this one earlier, eh?

Parlor:

TUM TUM TUM TUM
CATCHA BEASTIE WITH A SEINE, WOVEN STRANDS THAT FIT THE BRAIN…
TUM TUM TUM TUM…

This is in the room with the “FAMILY HAIRLOOM” and sure sounds like a specific hint for what to do with it.

Arboretum:

THE SWORD SINGS, “EVERY TIME IT RAINS, IT RAINS PENNIES FROM HEAVEN….

This has a reflecting pool and counts as “outside” the palace. I haven’t seen any rain.

Maid Quarters:

THE SWORD SINGS IN A COLURATURA SOPRANO VOICE, “WHO WILL TELL THE QUEEN HOW REVOLTING WE ALL ARE?”

Butler Quarters:

THE SWORD SINGS IN A BASSO PROFUNDO VOICE, “BOOM, BOOM, THE QUEEN MUST MEET HER DOOM!”

“How revolting we all are”, heh. >LEAD REVOLUTION

Small Hallway:

…MOOD TLOVER, WIDER THAN A MILE…

I don’t know. It’s between the Maid and Butler rooms.

Lavatory:

THE SWORD SINGS, “HONEY DON’T LET ME RUB YOU THE WRONG WAY…’CAUSE I GET THEM PINKS IN THE NIGHT.”

There’s a vial with pink medicine here. I haven’t found a use for it yet, but you can’t eat it without dying, it’s meant to be applied externally.

Pink Guest Room:

THE SWORD WHINES, “I SAY, INSPECTOR CLOUSEAU! THERE’S TREASURE TO BE HAD BUT THE CHABLIS HAS GONE BAD!”

Yellow Guest Room:

THE SWORD SINGS, “…’ROUND THE OLD OAK TREE, IT’S BEEN THREE LONG YEARS, DO YOU STILL LOVE ME…”

Blue Guest Room:

THE SWORD SINGS, “SONG SUNG BLUE EVERYONE KNOWS ONE…”

Green Guest Room:

THE SWORD SINGS, “IN THE VALLEY, HO-HO-HO, GREEN GIANT!”

The pink message (invoking the movie The Pink Panther) seems the most likely to be a hint of these, as opposed to a song reference or advertising jingle.

Guest Bathroom:

THE SWORD SINGS, “I GET MISTY…JUST HOLDING YOUR HAND!”

The walrus to match the carpenter.

Top of the Turret:

THE SWORD SINGS, “SHAKE, RATTLE AND ROLL…”

Probably a clue that the Tweedledum and Tweedledee rattle can be used as a ball in croquet, but I already suspected that.

Formal Garden:

THE SWORD SINGS, “BE PREPARED…”

This is right next to the encounter with the Queen of Hearts.

So, I still need to ponder over these and get some plan of action going. I think I’m close to the end because based on the point system there are 8 or 9 treasures to find, and I have 4 of them; at the very least I doubt there’s much more in the way of new locations, if any. I’ll try to push for a victory post next time.

One last thing: I got the dormouse to run up the clock as shown in the screenshot, which makes it dead as a dormouse. I still feel bad, though, and I haven’t had anything useful come from this scene.

Posted February 16, 2021 by Jason Dyer in Interactive Fiction

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Palace in Thunderland: Shocked   2 comments

I’ve been mopping up a fair number of easy puzzles, but I’m still stumped by the overarching puzzle of the thunderstorm.

From an old eBay auction.

For the easy puzzles, I’ve found

a.) some jugs of strange liquid which substitute for the valuable wine, so I can bring the carpenter to the walrus without blowing one of my treasures; I’m still not sure what to do with the oysters I get as a result.

b.) a pink globe, pink drumsticks, a pink featherduster, and a pink prybar can be inserted into a MINGO MENDER to form a flamingo, who is presumably used to play croquet with the Queen of Hearts; I’m still lacking a substitute ball

c.) that I can just KILL JABBERWOCKY with the sword (I was apparently doing every verb but the right one) and the singing sword does short work of it

d.) the boots with the Jabberwocky are rubber and allow surviving the blast of thunder, but I’m still missing something in that respect.

Let me give the exact sequence:

20 turns: IT IS GETTING VERY DARK OUTSIDE!

40 turns: IT IS NOW PITCH DARK OUTSIDE!

When this happens, the “outdoor” areas — the garden and the start place — are “lit by huge floodlights”.

60 turns: A NOISY THUNDERSTORM RAGES OUTSIDE!

This is sufficient to kill an NPC: Bill, the maintenance man, who was previously fiddling with wires near a fuse box. The box is rusted shut and there’s no way that I can find at the moment to open it.

80 turns: CRAAACK! LIGHTNING HITS THE PALACE!

If you’re indoors when this happens, and you are not wearing the boots, you die. Either way, the power goes out, and the only way to see is with a flashlight, but the flashlight has a very short life (6 turns). Also, the 80-turn mark is when the metal fuse box gets entirely melted.

I’m not sure if I’m supposed to save Bill before the lightning strike somehow, or do something in between turns 60 or 80, or do something after the full strike happens. My suspicion as that the melted box is a “loss state”, but I’m lacking in gear to do much else. I can’t give the boots to Bill (unless I’m missing some verb wrangling) The only items I haven’t used are some pink medicine, two treasures (an ermine robe and a family “hairloom”), and the oysters. I also haven’t wrangled the rattle from Tweedledum and Tweedledee yet (I suspect it might be round enough for croquet but I’m uncertain based on the description), or made the dormouse happy (the dormouse wants butter, and there’s a churn, but I haven’t found a way of using it).

I do find the lightning storm fascinating in a structural way. As I said in my last post, the game starts wide-open; it feels like one of the typical “simulationist” games like Zork or Adventure, but by having a full scripted event that the player can’t control, there’s an imposed plot point overlaid the freeform puzzle-solving at the same time it is happening. This allows for having both simulationist and cinematic ideas running parallel to each other in the same game.

I’d be happier being past the puzzle, of course. I still feel like I’m making forward progress, at least.

Posted February 14, 2021 by Jason Dyer in Interactive Fiction

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