To recap, Korenvliet was a game from the Netherlands entered into the catalog of the P2000 Computer Club. Unknown to most people after, it was a translation of an English game called Stoneville Manor (up to the point someone recently re-translated the game back to English, without realizing English was the original language!) The same catalog has Piratenavontuur, Pirate Adventure, but it was a little more obviously a translation of Scott Adams. Those two are not the only adventure games in the catalog.
Hans Pennings’s game Schatzoeken (“Treasure Hunting”, sometimes used as the term for modern Geocaching), is not a title that immediately suggests an adventure game, and might be more like a top-down arcade action game. In fact, there is an undated Spectrum ZX81 game with exactly that concept.
However, the P2000 version is an adventure games of the type seen with Gold or Explore: just walking around rooms and making a map, with essentially only movement commands available. Just for the record, since the catalog is nice enough to include dates, the ones given are
(30 June 1982) Schatzoeken
(6 September 1982) Piratenavontuur
(23 December 1982) Korenvliet
that is, the two other translations ports came later. (When I first wrote about the two ports, I had no author, but I can tell now due to this catalog they are also the work of Mr. Pennings.)
There’s a VIC-20 version of Schatzoeken; it has a title screen by an entirely different author, F. E. Leene. The internal date of 12 November 1982 indicates it was written later.
Just to keep things messy, the version I played is a revision from 1983, since I don’t have the one in the catalog from ’82. It comes from a P2000 archive where many of the games were updated within the last year, meaning there are likely un-indexed games floating around; some of the un-investigated titles sound vaguely adventure-like.
Hans Pennings was fairly active in the Dutch software scene in the 80s, producing a big list of P2000 games on top of the ones I’ve mentioned like Marco Polo Jr (a trading game akin to Taipan) and In de ban van een ring (a quasi-RPG based on Lord of the Rings).
I have not checked his entire output so it’s possible there’s another adventure lurking out in ’83 or ’84 but it looks like he mostly stuck to strategy and board games after finishing Korenvliet.
Just like Korenvliet, this turns out to be just another translation, this time going way back, to Roger Chaffee’s game Quest. There are some changes to the game logic so I’ll show the playthrough.
YOU ARE NOW OUTSIDE THE CAVE. GO SOUTH TO ENTER.
There’s a funny message up that can be found by wandering the forest and trying to go up a tree:
NOU, DAAR ZIT U DAN: BOVEN IN EEN BOOM WAT GAAT U NU DOEN? EEN EI LEGGEN?
WELL, NOW YOU ARE UP HERE IN THE TREE WHAT ARE YOU GOING TO DO? LAY AN EGG?
It’s worth going through the steps of the original before the new version (it’s not like most of you reading this will remember how original Quest went!). To summarize:
a.) the player goes in a cave and past a lair of a “gnome king” that is out
b.) the player finds the treasure at a “guillotine” area
c.) the player is blocked trying to get out the front because the gnome king arrives
d.) the treasure gets stolen by the pirate
e.) the player finds the treasure inside the maze, in one of the “dead ends”
f.) the gnome king still hasn’t left so the player needs to find an alternate exit; there’s a set of “labyrinth rooms” where the player eventually finds a “black hole” room; going south then leads to a lab which teleports the player, but if the player goes down instead they’ll make it to the exit.
For this game, to start, there’s no “gnome king”, but rather a troll king instead:
There’s a message that says BILBO WAS HERE that gets changed to KILROY WAS HERE, matching the meme dating back to WW2.
YOU ARE IN A DEEP GAP. HIGH ABOVE YOU SOMEONE HAS WRITTEN ON THE ROCKS
KILROY WAS HERE
The treasure is not at the guillotine but instead in a spot that used to have a “stalactite”; the room called Xanadu gets moved there instead, and the gold is right next to it.
You are in the ashram. There is a heavy smell of incense and all directions look the same.
GO SOUTH
You are in Xanadu. Below you flows the sacred river Alph through caverns measureless to man down to a sunless sea.
YOU HAVE FOUND THE TREASURE
Are you taking it with you?
Just like the original, the exit is now blocked (but by the troll king rather than the gnome king)…
…and a pirate will eventually filch the treasure back.
Suddenly the pirate jumps out of the darkness and takes the treasure from you, he shouts “you’ve found it, I’ll hide it better now!” He takes the treasure and disappears into the darkness.
Rather than the treasure moving to the maze, it moves to the guillotine (where the treasure gets hidden at the start of the first game).
The troll still blocks the starting entrance as the first game, but it is now possible to get through over to the “labyrinth” from the original although the layout is slightly different.
Once arriving at the “black hole” room from the original if you try to go into the place where the original teleports you, here you just get ejected because you don’t have a pass.
There is no pass. You just go east (not down as in the first game), fall into a hole, and make your way to the exit.
Since the only verbs were navigation, despite the map being almost identical to the original this still took some work to beat due to the changes. I’m not sure what the logic of the author was other than simply wanting to put their own flair. My guess is Xanadu seemed like too remarkable a location to waste (it otherwise just is randomly in the path you follow, as opposed to having a treasure). However…
Remember that VIC-20 port I mentioned? That one is not a port of the Pennings version! It instead is a translation from the original, which is why the “Quest” shows up in the title screen. I don’t understand why the “Schatzoeken” would still be there; my guess is the author (Leene) saw the P2000 game, wanted a VIC-20 version, discovered some difficulties porting from P2000, so went back to the source instead. The gold is back up at the “guillotine” from the start, rather than getting moved to Xanadu. The “kabouter-king” (gnome king) is in, as opposed to the troll king.
(This continues from my previous post, which is needed to understand this one.)
With help from ItsMe in my last post who found a hint guide, I was able to get to the end of the game. Before I get to that, I want to drop by another document found by commenter Rob, in the August 19, 1981 version of the newsletter Buss, for Heathkit computers (which Software Toolkit Adventure runs on).
Specifically, Walt Bilofsky wrote an essay about Adventure; one of his points being that it teachers players how to use their computer (the control of a parser being close to the metal, akin to the command prompt on the CP/M operating system). Relevantly for us, he goes on to write a small manifesto explaining what good adventure game interactions look like.
Adventure has been extended and imitated, sometimes well, sometimes poorly. It has been done best when the following rules were followed:
Be consistent. Similar commands should produce similar responses unless there’s a good reason. Similar phrases in messages and descriptions should mean similar things.
Be informative. Especially, make sure that when the user types a meaningless or incorrect command, he gets a message that makes sense, and perhaps gives some hint as to the proper command.
Be rewarding. When the user figures out how to do something, make sure he is rewarded with smooth, reasonable, productive behavior on the part of the program.
I always appreciate when authors this early try to reach for some sort of guiding principles, even if they don’t quite hit their ambitions (see Clardy with Probe One: The Transmitter for another example). I will first play through the rest of Adventure 375 and then compare after to see how close Bilofsky got to his ideal.
Let’s get to the sword first, because that’s quicker to explain:
You are in a large room with medieval furnishings. Two bleached skeletons are hanging on the wall in iron cuffs. The room is dominated by a huge white boulder near the west wall. A tunnel in the east wall turns quickly out of sight. A dark hole in the floor was apparently once covered by a grating or trap door.
A very rusty sword with a ruby-studded hilt is embedded in the boulder!
This puzzle is also, I’ll admit, mostly fair. The idea behind the mechanism is that the sword goes into the boulder, and holds open some kind of latch that holds open the door and allows escape. The sword is described as a treasure, but the rusty blade does not seem to be contributing to the treasure-aspect, so if you could just take along the ruby hilt you’d still have a treasure. It is as simple as BREAK SWORD:
Weakened by rust, the blade gives way and the hilt breaks off in your hand.
When on the ground:
There is a ruby-studded sword hilt here!
There’s still some meta-concern here with the puzzle. While the rusty part does not seem to be contributing to the item being a treasure, as anyone who has watched the horrified look of a Antiques Roadshow host knows, sometimes “cleaning up” a historical item causes it to lose rather than gain value. There’s also the uncertain aspect of transforming a (!) marked treasure into another (!) marked treasure; while we’ve seen non-treasures turn into treasures, this is the first time a state change has happened between two treasures. This is at the very least a puzzle using abductive reasoning rather than iron-clan logic, but it is a good example of the form since it doesn’t take that long to experiment with BREAK SWORD.
The other secret portion I missed is much fussier. It was implied by the magazine that there was something under the troll bridge, but I could not get the game to acknowledge my commands.
You’re on SW side of chasm.
A rickety wooden bridge extends across the chasm, vanishing into the mist. There is a large rusty hook on the bridge’s handrail. Lying on the bridge is a sign which reads “Stop! Pay Troll!”
Step one is taking the sign. Mind you, in all other cases, items that can be taken are separated from the main paragraph, so knowing to do this violates one of the game’s established norms.
You take hold of the sign, but the wood is old and full of splinters. You drop it in the middle of the bridge and spend a moment picking wood out of your fingertips.
Now we’ve got an empty hook: what to do? Normally a kind of rope would be in order, but there is no rope in Original Adventure nor this game. Something that I have long-visualized in one way should be (according to the authors of this game) visualized another way. (See, analogously, my experiences with a bean bag in Asylum II.) The chain that is a treasure and is used to lead the bear is meant to be long, long enough to substitute in for a rope:
HANG CHAIN
The chain is now dangling from the hook down into the chasm.
That’s also not the easiest parser command to find! Hang on to your hats, everyone, it gets worse.
At the bottom of the chasm, there’s no apparent exit, but you can now JUMP to the other side even though a jump was impossible from the top.
You are on a narrow ledge near the bottom of a chasm running SE/NW. Above you the chasm is filled with mist. A rushing stream completely fills the bottom of the chasm. Across the stream is a dark opening in the chasm wall.
I can see why the chasm would be shaped differently farther down making a jump now possible, but the description doesn’t reflect that!
Moving in further is a room with a desk, which can be opened with the keys.
You are in a squarish, dusty room with a good passage SE as its only exit.
There is an ancient roll-top desk in the room.
OPEN DESK
The desk opens, revealing an old, dusty glass inkwell, and a bundle of old yellow papers, tied with a faded velvet ribbon. The inkwell is half full of dust and old dried-up ink. The papers teeter and fall out of the desk, raising a fearful cloud of dust. Sneezing, you read through tearing eyes that these are early certificates of Colossal Gold Mines, 333 Ltd., now one of the giants in the field! The spaces on each share marked “Shareholder’s Name” are all blank.
Again, the norms are no longer being followed here: the inkwell is particularly important. You’re supposed to get the inkwell going again (POUR WATER toted in via the bottle), then use it to sign the documents (although SIGN isn’t understood, you need to use WRITE). But sign with what?
The cheerful bird that chased away the snake has a second purpose.
The bird flutters to a higher perch, letting out an outraged squawk in buzzard dialect (I didn’t know he spoke buzzard)! Translation: “You’ll have to catch me first, pinion plucker!”
Feathers are not described as an object that can be referred to separately on the bird, you just have to take the leap they’d be there. The bird needs to be caught (or re-caught) in the cage before feather extraction happens, and then the feather can be used as a quill. Additionally, there’s some steps omitted going from feather to quill.
POUR WATER
The water splashes into the inkwell, turning the dried-up residue in the bottom into ink.
DIP FEATHER
The tip of the feather is full of ink.
SIGN CERTIFICATES
I see no sign here.
WRITE
Your name is now written as the owner on each stock certificate.
This sequence hit a whole bunch of design issues in a row:
a.) having an object picked up mentioned in the main text rather than a separate line, breaking norms
b.) using the chain in a way that can easily run counter to previous visualizations
c.) being able to jump what seems like it ought to be the same distance, and the description doesn’t make clear the distance is shorter
d.) needing to refer again to an item in the main text, rather than one mentioned separately
e.) needing to extract a non-described feather back at the bird, and somehow immediately it is usable as a quill
f.) tough parser commands along the way like DIP and WRITE
I think, arguably, you could say it meets the “rewarding” and “informative” conditions, but fails on “consistent” with points a and d — it might be consistent in the “author’s bubble” of puzzles, but it isn’t consistent with the game as a whole.
The larger issue is that the points don’t really encompass all the advice needed: parser commands should have reasonable synonyms, the text should not leave anything ambiguous in term of visualization, and there certainly shouldn’t be a brand new noun (feathers on the bird) that the player needs to guess at. In a big-picture sense, the authors were trying for a puzzle more ambitious than the parser was able to handle.
With the two treasures the ending is more or less identical, except you get prompted for the desired name on the certificate and get a password to go with it. I imagine this is to prevent sharing, but someone could have a save very close to the end and just generate another name.
As you release the hat, a cloud of sandalwood-scented smoke appears, out of which steps the Grandmaster of the Colossal Cave Lodge 437 of the Wizard’s Guild. He is wearing a long blue velvet robe, a long, pointed bejewelled hat made of solid platinum, and love beads. He carries a three foot long rod with a star on the end, all of solid gold. His eyes twinkle behind thick gold-rimmed spectacles, and he smiles benevolently as he says,
“Congratulations, young Adventurer. By your ordeals in the Cave you have proven yourself worthy of admission to the rank of Journeyman Wizard in the Wizard’s Guild.” He places the gold Wizard’s Hat on your head and, bending, asks,
“How do you want your name spelled on your Certificate of Wizardness?”
….
Jason Dyer
“All right, young Wizard, your personal Wizard Password is ‘Wyktut’!”
The Wizard waves his wand, and the cave bear and little bird appear in a puff of orange smoke, grunting and twittering their congratulations. You leap onto the bear’s back, and, with the bird fluttering in a circle overhead, you ride out of the building, through a crowd of cheering elves, and into the sunset.
You scored 375 out of a possible 375 using 442 turns.
All of Adventuredom gives tribute to you, Journeyman Wizard and Adventurer Grandmaster!
There is no higher rating! Congratulations!!
Software Toolworks went on to make this “Golden Oldies” collection which has normal 350-point Adventure. My own picture. This was the first commercial adventure game I ever owned.
As mentioned in my last post, Don Woods started editing Crowther’s game in March 1977. He was not working entirely solo; he got ideas from when people at Stanford were trying things out (“oh yeah, I could put a message in for that”), and from his friends. Bob Paraiso, Don’s roommate for part of that period, had what Don calls a “twisted sense of humor” and came up with the clam/pearl and narrow passage puzzles.
I’m relying solely on memory which tends to be fallible (see above: the dwarf ‘vanishes’, not ‘disappears’) but my best recollection is that ADVENT.EXE first appeared on the PDP-10s at ADP (the old First Data in Waltham, Mass.) in 1977. It was an incomplete version which only had about 250 points worth of treasure. I seem to recall that there was nothing past the troll bridge but an ‘under construction’ sign or some such. I believe our copy came from WPI, but word at the time was it was developed at Stanford. Two or three months later we got the full 350 point game.
— John Everett
I was uncertain of this account until I encountered Dave Lebling’s map of Adventure, the one he made prior to starting Zork. It has the exact signature described by Everett of having “under construction” at where ought to be the troll bridge. There also is no notation for an end game.
The content is otherwise nearly identical.
By mid-1977, Woods had added the portion past the troll cave and the endgame, leading to the “canonical” version of Adventure at 350 points, finished by June 3rd, 1977. (Zork already started development by then, but remember they were looking at the 250-point version!) The first “altered” version, Adventure 366, was out by the 15th of July. It added a small area outdoors and a “palantir” which allows teleportation:
You are in the gazebo. The dust is deep here, indicating long disuse. Ancient elvish runes here describe this as a place where one may see many things. Another, more ancient inscription reads “PKIHMN”.
There is a palantir(orb) here.
Relevantly for today’s game, Don Woods had discussions early about the potential for commercializing the software. From Lester Earnest, manager of the Stanford AI Lab (SAIL) he was at, in June 1977 (that is, the same month the game was “finished”):
One general rule that you should beware of is that Stanford facilities (including this computer) may not be used in support of private business transactions. Under certain circumstances, is IS possible for Stanford to sell software, even if it was developed under a research contract. It is conceivable that a sale could be arranged in which contract you might share, but it sounds a bit hairy.
(There’s another fun message from Les being upset about someone managing to sneak on and play Adventure past the server capacity limit. These systems all were expensive to run and time was valuable! The messages all come from the SAIL message system and credit goes to Ethan Johnson for finding the material a few years ago.)
The general perception of software up to this point was often it was not something “intended for sale”, but the mid-70s this was starting to change, so it is a mistake to think at least Woods felt comfortable just having his work be “freeware”. However, the fact it was created on a massively expensive Stanford computer essentially precluded any direct commercialization. Certainly people treated it as public domain, and in an interview with Jason Scott, Don Woods alludes to the fact the people who got the source from him for the game were selling it; when he created a 430-point version which could be thought of as the “master quest” edition of the game (where only recently has anyone been able to manage to get a full 430 points!) he was much cagier about distributing it.
In the same interview, Don Woods discusses Software Toolworks, which came around in 1982; the company wanted them to endorse the game as the “official version”:
Don Woods mentions in the interview that he tested the program over at Will Crowther’s house; they found that there were additional treasures added, so they could not do the endorsement of saying it was exactly the original. Eventually, this was smoothed over, and you can read their “certification letter”.
From the Museum of Computer Adventure Games.
It was also possible to get a letter signed from them if you beat the game (similar to the certificate upon beating Wizardry 4), but none have surfaced. (We incidentally do know what the Wizardry 4 certificate looks like, thanks to Carl Muckenhoupt managing to beat the game when it was new.)
Today, I’m playing the CP/M version from February 1982, the one with the extra treasures that kept Crowther and Woods from saying it matched the original. I have some more detail here about Jim Gillogly and Will Bilofsky, whose names are on the port. Importantly, Walter Bilofsky (of Software Toolworks) was scrupulous about his first product, a C compiler, and tried to contact the original author so he could charge $80 and split with the author 50-50; the author was not interested due to having the early hacker ethic of just wanting to spread the Gospel of C, so Bilofsky just cut the price in half instead. It makes sense he would look for a way to eventually get some royalties over to Crowther and Woods for their game (unlike Microsoft or anyone else who was selling it).
A detail you might not know about classic Adventure:
Welcome to Adventure!! Would you like instructions?
NO
You are standing at the end of a road before a small brick building. Around you is a forest. A small stream flows out of the building and down a gully.
SCORE
If you were to quit now, you would score 5 out of a possible 375.
Where did the 5 points come from? Well, you start the game with them. If you request instructions (that is, type YES at the start) your score goes down by 5.
For my playthrough, given this is now something like the 142nd time I’ve played Adventure, I just referred to a walkthrough early in order to snag all the standard game treasures, keeping an eye out for anything unusual. There was only one obvious difference. Y2 contained a dictionary:
Baggins’ New Dwarvish-English Dictionary
Publ. TA 3005, Imladris
Reformed Spellings
-%&-^~~& (v.t.): to excavate a new side
passage through soft rock
-%!”! (n., fem): small warm granite stone
… These words are hurting my throat. I quit!!
There’s a “magazine” that gets used for the “Last Lousy Point” of the game — it gets dropped at Witt’s End. Importantly, the magazine has always stated (when you attempt to read it) that it is written in Dwarvish. With the dictionary in hand, it comes off different:
Most of these have been damaged by water, but here’s one I can read:
Spelunker Today
Vol. 1 Number 3
We regret to announce that our associate editor was lost while taking two consultants on a tour of Colossal Cave. One consultant returned, his hair and eyebrows turned white from the ordeal, and was able to mumble only “The Dark-room … the Dark-room…”
…
One of our contributing correspondents reports the Troll to be in exceptional good humor; snickering sounds have been heard issuing from beneath the troll bridge.
…
(Advertisment)
CERTIFICATE OF WIZARDNESS
… serially numbered and suitable for framing, may be obtained absolutely free by writing to The Software Toolworks, 14478 Glorietta Drive, Sherman Oaks, CA 91423. Only available to Journeyman Wizards. You must include the Wizard Password which is revealed to a new Journeyman Wizard when he/she has earned the maximum number of points.
…
The rest of this magazine is too damaged to read.
I went through the entire map and found no new passages. Generally speaking modifications to Adventures have fallen into two categories:
a.) adding a random set of rooms “in the open”
b.) trying to secretly hide the new rooms and keep things otherwise consistent
This game goes with (b.). Eventually I turned to the magazine which was the only different material to look at, and took a whack at the dark room that gets mentioned:
You’re in Dark-room.
A massive stone tablet imbedded in the wall reads: “Congratulations on bringing light into the Dark-room!”
This is the place where you have to say PLOVER to get in while also holding a lamp (a puzzle I wrote about when I first played 350-point adventure; it required a lateral leap of faith). Without much else to mess with, I tried PUSH TABLET, and hit new content:
The tablet silently swings open to reveal a small opening to the north.
N
You are in a large room with medieval furnishings. Two bleached skeletons are hanging on the wall in iron cuffs. The room is dominated by a huge white boulder near the west wall. A tunnel in the east wall turns quickly out of sight. A dark hole in the floor was apparently once covered by a grating or trap door.
A very rusty sword with a ruby-studded hilt is embedded in the boulder!
GET SKELETON
I’d really rather not desecrate the remains of these two intrepid adventurers.
DOWN
You are in a very tight foul-smelling hole with damp walls. There is a room above you.
It is not a large section; here the entirety of the map:
The sword in the boulder can be pulled quite easy; this isn’t the “Excalibur” scenario we’ve seen before. The catch is that pulling the sword causes the tablet to shut behind the player, locking the secret room.
You heave on the sword with all your might. Little by little it scrapes out, until finally it comes free.
There is a muffled crash in the distance.
Dropping the sword causes it to return to the boulder and the passage to re-open. Dropping the sword in the room below the Medieval Room will cause the sword to “bounce once” and then return to the boulder, again re-opening the passage. There doesn’t seem to be a way to keep the passage open while holding the sword, and I’ve tried dropping in substitutes and jamming the entrance with no luck.
There is a way out: while the cave-closing countdown will not start if the player has all the “standard treasures” from the original game, the sword is sufficient to put things over the top, and there will be standard closing message followed by a teleport after waiting enough turns:
The sepulchral voice intones, “The cave is now closed.” As the echoes fade, there is a blinding flash of light (and a small puff of orange smoke). . . . As your eyes refocus, you look around and find…
You are at the northeast end of an immense room, even larger than the Giant Room. It appears to be a repository for the “Adventure” program. Massive torches far overhead bathe the room with smoky yellow light. Scattered about you can be seen a pile of bottles (all of them empty), a nursery of young beanstalks murmuring quietly, a bed of oysters, a bundle of black rods with rusty stars on their ends, and a collection of brass lanterns. Off to one side a great many dwarves are sleeping on the floor, snoring loudly. A sign nearby reads: “DO NOT DISTURB THE DWARVES!” An immense mirror is hanging against one wall, and stretches to the other end of the room, where various other sundry objects can be glimpsed dimly in the distance.
However, the sword does not come with the player, and it doesn’t get registered back at the building as one! I can still report the gameplay to the end, though.
In the original, there are two endgame rooms; the second has some special rods, and if you drop one in the NE room, drop it, move to an adjacent room, and type BLAST, it will blow open an entrance to cheering elves. This time things go a little differently:
BLAST
There is a loud explosion, and a twenty-foot hole appears in the far wall, burying the dwarves in the debris.
You are at the SW end of the repository. Debris and broken pieces of mirror are strewn everywhere, burying everything that was stored here. At your feet, partly visible through the rubble, is a large steel grate, next to which is a corroded brass plaque, half obscured, reading “Treasure Vau… Keys in Mai…”
The grate is locked.
A whole has blown open to a “Main Office” which is a new room.
You are in the Main Office of the cave. A large jagged hole in the north wall opens into the Repository. Along a side wall is a large glass display case containing magic rods belonging to great wizards of the past. Another wall is covered with yellowed autographed glossy photos of well-known dragons and trolls. On a bulletin board are many charts and notices, marked “Dragon Duty Roster”, “NOTICE: Workdwarves’ Compensation Rules”, and the like. Through an archway in the south wall daylight can be seen.
Lying to one side is a ring with two large identical keys on it.
The keyring can go over to the treasure vault.
You are in a narrow vault with heavy walls constructed of large stone blocks. Dim yellow illumination glows through a square grate overhead.
A tall pointed wizard’s hat, made of solid gold, and inlaid with moons and stars carved from precious jewels, shimmers in midair!
Suspended a few feet off the ground is a wizard’s robe of blue velvet.
The grate is open.
The hat straightforwardly counts as a treasure, and the robe magically follows you around.
The robe rises gently, swirls about you, and settles around your shoulders. Evidently you have earned admission as a Probationary Apprentice in the Wizard’s Guild.
You can then head outside through the Main Office, walk over to the building, deposit the golden hat, and win.
As you release the hat, a cloud of sandalwood-scented smoke appears, out of which steps the Grandmaster of the Colossal Cave Lodge 437 of the Wizard’s Guild. He is wearing a long blue velvet robe, a long, pointed bejewelled hat made of solid platinum, and love beads. He carries a three foot long rod with a star on the end, all of solid gold. His eyes twinkle behind thick gold-rimmed spectacles, and he smiles benevolently as he says,
“Congratulations, young Adventurer. By your ordeals in the Cave you have proven yourself worthy of admission to the Wizard’s Guild in the rank of Apprentice Wizard. If you divine the remaining mysteries of the cave, you shall be rewarded with the rank of Journeyman Wizard.”
The Wizard waves his wand, and the cave bear and little bird appear in a puff of orange smoke, grunting and twittering their congratulations. You leap onto the bear’s back, and, with the bird fluttering in a circle overhead, you ride out of the building, through a crowd of cheering elves, and into the sunset.
You scored 345 out of a possible 375 using 448 turns.
Your score puts you in Master Adventurer Class A. To achieve the next higher rating, you need 1 more point.
Hence I’ve “won” but I’m still quite curious about the sword treasure and if there’s yet another hidden treasure somewhere. The only hint I can think of is about the reference to the troll being amused in the magazine, but prodding at both the troll and troll bridge have revealed no new actions I can find. It is possible the sword is really the only thing left to bring the score to maximum.
I’d normally try prodding at the source but there’s encryption going on (like the Dian Gerard games). I realize some of y’all are keen on that sort of thing, so I have files here to make the game easy to play. Run the RUN.BAT file, type B: to switch to the Adventure disk, and type ADVENT to run. I left my save files you can look at with DIR, and typing ADVENT SAVENAME will boot a saved game.
As an example, suppose that the referee decides to build a story around the Glittering Caves with their unknown treasures and dangers. The referee must then decide when the story takes place, draw maps of the caves, and build the entire setting for the story. Finally, the referee must invent a beginning for a tale that sets forth some problem for the expeditionary force that will soon make its way into the imaginary realm. Perhaps there are tales of a great storehouse of gold to find or a dragon to be slain. Here, the referee decides that a large party of dwarves has been lost in a previously unexplored region of the Glittering Caves for whom the new expedition must search, discovering treasure and fighting against danger along the way.
— Eric S. Roberts, Mirkwood Tales
Back when I started the All the Adventures project in 2011, I embarked on what I understood at the time to be the first adventure game, Will Crowther’s version of Adventure. Will Crowther had abandoned his unfinished game in 1976 — eventually launching the form known as text adventures — while working at the computing firm Bolt, Beranek, and Newman. Don Woods took up the source the next year making the “canonical” 350 point version of the game which spread across the world. Source for the original (pre-Woods) game was only made public by Dennis Jerz in 2007.
Members of BBN in 1961 when the company went public: Leo Beranek, Jordan Baruch, Dick Bolt, Samuel Labate, and Robert Newman. This is 8 years before the initial demonstration of the ARPANET (leading to the Internet) and more than a decade before Will Crowther started working there. Source.
Before Jerz’s article, it wasn’t known what the original looked like: fantasy or not? How much was a “game” vs. “simulation”? The discovery included puzzles, magic, a maze, and a hint system, resolving this speculation. Still, most writing (including my own) focused more on the simulation-aspect than the magic-aspect of the game, but there was an enormous amount of material about Crowther’s caving experiences and not much about any other possible influences. Off and on Dungeons and Dragons had been mentioned, but even I didn’t make much with the connection, because Crowther didn’t talk about it in interviews and the evidence was light. However:
When a collection of BBNers learned about Dungeons and Dragons, the dungeon master created a game that was particularly detailed, went on for a year, and concluded with a 100-page “final report;” Will Crowther, a participant in Mirkwood Tales, soon after created the first computer adventure game.
That’s quoted from A Culture of Innovation: Insider Accounts of Computing and Life at BBN. Another participant in the campaign (not necessarily the same group) was Dave Lebling, future co-author of Zork and founder of Infocom. The nature of Mirkwood Tales remained murky, and given the lack of the “report” (which is more like a rules description), nobody had opportunity to pull that thread.
You can find the Mirkwood Tales report here. It has not been generally available prior to today (December 5, 2024). (Thanks to Kate Willaert, historian, and Eric Roberts, who ran the campaign and wrote the report. Note that file that Willaert received has had corrections and reformatting, meaning it is no longer 100 pages, but that might have been a round-number estimate anyway.)
I’m going to re-do the entire Adventure story, then replay the game, comparing the virtual cave with the actual cave (as done by Dennis Jerz) and comparing elements of the game with the Dungeons and Dragons campaign that Crowther and Lebling played in (which has never been done before).
…
In the middle of 1975, Will Crowther got a divorce.
He was married to Patricia Crowther, who had met Will while working on a Physics degree at MIT in the 50s, and they had two children. Even without the connection Patricia would have been famous for her caving prowess, as she was part of the 1972 expedition that discovered a link between the Flint Ridge Cave System and Mammoth Cave, in Kentucky, proving they were the same cave and hence the longest in the world.
As a result, Will started making his new game, combining his caving interests with fantasy:
Suddenly, I got involved in a divorce, and that left me a bit pulled apart in various ways. In particular I was missing my kids.
Also the caving had stopped, because that had become awkward, so I decided I would fool around and write a program that was a re-creation in fantasy of my caving, and also would be a game for the kids, and perhaps some aspects of the Dungeons and Dragons that I had been playing.
My idea was that it would be a computer game that would not be intimidating to non-computer people, and that was one of the reasons why I made it so that the player directs the game with natural language input, instead of more standardized commands. My kids thought it was a lot of fun.
The timeline, as clarified by Jerz, has Crowther’s sister (Betty Bloom) taking a sabbatical during the development of the game, which we know to be the 1975-1976 academic year; she play-tested the game regularly, and it was her that ended up being the reason for the first magic word:
I was bored having to go through all the steps every time, and I said, “I want to go directly into the game.” [Dramatic pause.] “Ecks-why-zee-zee-why!”
This is referring to XYZZY, a magic word early in the cave, which is usable from the start to warp directly there. It’s a little odd in that it only bypasses what is barely a puzzle (finding keys to unlock the way in) but it makes sense as a vestigial “developer code”. Magic word as a system mechanic get utilized multiple times later by Woods.
The evidence shows the game being developed up from ’75 before progress stops in early ’76, whereupon it was released to Crowther’s system at BBN and seen by the public more generally. (My dating system for mainframe games gives the original Adventure a date of 1976, where it first started being distributed beyond the author’s inner circle.) Enough copies spread that one landed at Stanford, where Don Woods in 1977 saw it and decided he wanted to expand it. It wasn’t clear how to get into contact with Crowther (who was no longer at BBN by that point) so he sent a message to every single domain on the Internet with crowther@ at the front, getting a hit at Xerox.
This was in March 1977; we have a very exact month for this because files retrieved from Woods’s account include time stamps. The source code is here and a compiled version for Windows is here and will be the version I’m playing.
The plot, in this version, is looking for TREASURE AND GOLD. (In original D&D, finding treasure meant getting experience points. This is part of why the player is able to square off against the thief in Zork only after grabbing some treasure.) The “I WILL BE YOUR EYES AND HANDS” perspective imagines that the avatar in the universe and the computer narrator are one and the same. This is exactly analogus to how the “referee” of Mirkwood is described:
As the expedition wanders through the passages beyond the great Door, the referee acts as the party’s eyes and ears and describes each new scene.
The starting building has no analogue in Mirkwood…
YOU ARE STANDING AT THE END OF A ROAD BEFORE A SMALL BRICK BUILDING. AROUND YOU IS A FOREST. A SMALL STREAM FLOWS OUT OF THE BUILDING AND DOWN A GULLY.
…but it does in the real cave, with one brick building that is now rubble, and also the historic Bransford Spring Pumphouse built in the 1930s.
Via Wikipedia.
Crowther’s building has keys, lamp, food, and a bottle of water that would be standard in all versions.
YOU ARE INSIDE A BUILDING, A WELL HOUSE FOR A LARGE SPRING.
THERE ARE SOME KEYS ON THE GROUND HERE.
THERE IS A SHINY BRASS LAMP NEARBY.
THERE IS FOOD HERE.
THERE IS A BOTTLE OF WATER HERE.
The outdoors are otherwise very small, and this is reflected by the Mirkwood notes:
Most of the action of the Mirkwood Tales occurs in underground caverns or inside large buildings rather than in open terrain. There are two principal reasons for restricting the setting in this way. First, the geography of a subterranean fortress or dungeon is much easier to define than that of an open area above ground. Rooms and passages may be described in relatively simple terms, and it is much easier to work with right angles and measurable distances than with general topographic descriptions. Furthermore, by restricting the world to a smaller area, it is possible to make the passage of time more meaningful. When large distances are involved, the time required to move from one region to another must be taken into account.
In order to achieve the effect of feeling like a forest where the player can move in any direction, Crowther includes “loops” which became quite standard, but also included “random” exits; sometimes a particular exit would do something different, making the act of mapping feel a little uncertain. This legacy caused some clone-games based on Adventure to have random exits (like The Phantom’s Revenge) and it has generally been awful every time. The reason it works here is that the design clearly is nudging the player away from the outdoors to the underground.
The most nightmarish version of random exits I’ve encountered is Dr. Livingston, where I needed to test every exit 10 times just in case there was a random trigger that caused the exit to do something else.
Exits marked with a color go to the “Forest”. Going north from the Forest will sometimes lead to a second, distinct Forest.
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
The Mirkwood campaign book describes a campaign session which kicks off with a cave with a long-forgotten door having old dwarven lettering.
Behold the Door to the Vault of Khazin, Lord of the Caves. Seek not to force this Door, for it is sealed with the power of the sun and the moon.
The riddle indicates a full moon followed by a sun must pass through the sky before the door opens. The Crowther grate rather just succumbs to the keys from the building, feeling a bit more like the simulation, but the results come across the same:
The Door stands open. Beyond the Door, there is a narrow dark passage that leads straight back into the earth.
Crowther’s tries to be a touch more realistic…
YOU ARE IN A SMALL CHAMBER BENEATH A 3X3 STEEL GRATE TO THE SURFACE. A LOW CRAWL OVER COBBLES LEADS INWARD TO THE WEST.
THE GRATE IS OPEN.
west
YOU ARE CRAWLING OVER COBBLES IN A LOW PASSAGE. THERE IS A DIM LIGHT AT THE EAST END OF THE PASSAGE.
THERE IS A SMALL WICKER CAGE DISCARDED NEARBY.
…and Jerz is able to start matching one-to-one pictures from the real cave with Crowther’s map.
The cage is followed by a “debris room” described akin to a real cave, but with Betty Bloom’s testing magic word, and the iconic three foot black rod with a rusty rod.
YOU ARE IN A DEBRIS ROOM, FILLED WITH STUFF WASHED IN FROM THE SURFACE. A LOW WIDE PASSAGE WITH COBBLES BECOMES PLUGGED WITH MUD AND DEBRIS HERE, BUT AN AWKWARD CANYON LEADS UPWARD AND WEST.
A NOTE ON THE WALL SAYS ‘MAGIC WORD XYZZY’.
IT IS NOW PITCH BLACK. IF YOU PROCEED YOU WILL LIKELY FALL INTO A PIT.
A THREE FOOT BLACK ROD WITH A RUSTY STAR ON AN END LIES NEARBY
The black rod represents the serious magic item that Crowther added, and it curiously enough, has two effects:
a.) a bird that comes shortly after cannot be caught while holding the rod
b.) a gap can only be filled with the rod, forming a crystal bridge
Original D&D does not have an generalized identify spell. Items are meant to be identified by experiment. Zenopus Archives mentions an example from the third OD&D book involving testing on some boots and identifying them as elven. Mirkwood also discusses the identification of magic, and again, the emphasis is on experimentation:
In addition to spells, magic appears in the Mirkwood Tales in the form of magical artifacts and equipment. More often than not, the magical effect of some object will not be clear from simple examination of the object, and it may require experimentation or searching for further clues to its nature.
This means the experience of fiddling with the rod — and finding two effects, both positive and negative — are similar to OD&D campaigns. In fact, it is rare in adventures (up to at least 1982) to have this type of dual-effect paradigm, and is more likely to be happened upon by someone creating a “campaign object”.
THE BIRD WAS UNAFRAID WHEN YOU ENTERED, BUT AS YOU APPROACH IT BECOMES DISTURBED AND YOU CANNOT CATCH IT.
Some more cave-matching rooms happen, and then the Hall of the Mountain King.
YOU ARE IN THE HALL OF THE MOUNTAIN KING, WITH PASSAGES OFF IN ALL DIRECTIONS.
A HUGE GREEN FIERCE SNAKE BARS THE WAY!
drop bird
THE LITTLE BIRD ATTACKS THE GREEN SNAKE, AND IN AN ASTOUNDING FLURRY DRIVES THE SNAKE AWAY.
The Mirkwood campaign mentions “orcs and trolls”; with the snake Crowther is likely thinking more on the simulation end, as the Park at least does have venomous snakes (copperheads and rattlesnakes). That’s not the only enemy, as dwarves do appear and throw an axe at first, followed by knives.
THERE IS A THREATENING LITTLE DWARF IN THE ROOM WITH YOU!
In Crowther/Woods, you can pick up the axe and throw it, but that doesn’t work here, as Crowther was seemlingly worried about parser ambiguity in a way almost nobody working with a two-word parser was concerned with afterwards.
I HAVE TROUBLE WITH THE WORD ‘THROW’ BECAUSE YOU CAN THROW A THING OR THROW AT A THING. PLEASE USE DROP OR ATTACK INSTEAD.
Oddly, while you can ATTACK as suggested, the word ATTACK does not take a noun. You have to type ATTACK on its own, without DWARF following.
attack
YOU ATTACK A LITTLE DWARF, BUT HE DODGES OUT OF THE WAY.
The mechanic is clearly fully fleshed out, but Woods obviously did a little fixing here. The other oddity with the Crowther version of the game is that the axe doesn’t need to be held.
THERE ARE 2 THREATENING LITTLE DWARVES IN THE ROOM WITH YOU.
2 OF THEM THROW KNIVES AT YOU!
HE GETS YOU!
Switching back to Mirkwood, the dwarves in the Mirkwood campaign are dead…
The body is clearly that of a dwarf, but you do not recognize it immediately. All of the mail and weapons have been taken from the body, and the middle finger on the right hand has been cut off. Narvi remembers that Darzi wore a ring of gold and sapphire on his middle finger, and believes that this is Darzi’s body, mutilated by a band of orcs.
…but it is not hard to imagine them being alive and hostile. Maybe we’re the orc?
North of the Hall of the Mountain King are bars of silver, and farther north still is a room marked Y2. The Y2 is an actual survey station name in the actual cave. Enough turns in the room will have a hollow voice saying the word “PLUGH”, which this is activated so the player has another method of warping back to the building.
YOU ARE IN A LOW N/S PASSAGE AT A HOLE IN THE FLOOR. THE HOLE GOES DOWN TO AN E/W PASSAGE.
THERE ARE BARS OF SILVER HERE!
get bars
OK
n
YOU’RE AT Y2
A HOLLOW VOICE SAYS ‘PLUGH’
plugh
YOU ARE INSIDE A BUILDING, A WELL HOUSE FOR A LARGE SPRING.
“Jewelry” and “many coins” are off to the south and west of the Hall of the Mountain King and are just lying there (exactly like they are in the Woods version). “Diamonds” are also just lying about to be scooped up.
YOU ARE AT THE EAST END OF A VERY LONG HALL APPARENTLY WITHOUT SIDE CHAMBERS. TO THE EAST A LOW WIDE CRAWL SLANTS UP. TO THE NORTH A ROUND TWO FOOT HOLE SLANTS DOWN.
e
YOU ARE AT THE WEST END OF HALL OF MISTS. A LOW WIDE CRAWL CONTINUES WEST AND ANOTHER GOES NORTH. TO THE SOUTH IS A LITTLE PASSAGE 6 FEET OFF THE FLOOR.
e
YOU ARE ON THE WEST SIDE OF THE FISSURE IN THE HALL OF MISTS.
THERE ARE DIAMONDS HERE!
The only other treasure-puzzle is the “sparkling nugget of gold” which is too large to get up steps, and needs to be teleported via the aforementioned “plugh” method.
THIS IS A LOW ROOM WITH A CRUDE NOTE ON THE WALL.
IT SAYS ‘YOU WON’T GET IT UP THE STEPS’.
THERE IS A LARGE SPARKLING NUGGET OF GOLD HERE!
Crowther clearly intended to expand farther. To the north and down from the Hall of the Mountain King is an area leading to some “messy” rooms which go in random directions, but also one direction that crashes the game…
…and most importantly, an “under construction” sign. This is clearly meant as literal as Crowther was in the middle of “constructing the cave”.
YOU ARE AT A COMPLEX JUNCTION. A LOW HANDS AND KNEES PASSAGE FROM THE NORTH JOINS A HIGHER CRAWL FROM THE EAST TO MAKE A WALKING PASSAGE GOING WEST THERE IS ALSO A LARGE ROOM ABOVE. THE AIR IS DAMP HERE. A SIGN IN MIDAIR HERE SAYS ‘CAVE UNDER CONSTRUCTION BEYOND THIS POINT. PROCEED AT OWN RISK.’
There are exits described that don’t actually exist.
YOU ARE IN SECRET CANYON AT A JUNCTION OF THREE CANYONS, BEARING NORTH, SOUTH, AND SE. THE NORTH ONE IS AS TALL AS THE OTHER TWO COMBINED.
n
THERE IS NO WAY TO GO THAT DIRECTION.
The “crash” on the map incidentally sends the player back to the building at the start, and then immediately quits the game.
The last aspect of note — which has no treasures and is also clearly meant as a stub — is a maze, the “all alike” maze. It has different design than the Woods version, as it is far more regular and there’s no pirate nor pirate treasure.
Mirkwood Tales likely cannot be blamed at all for the maze; the word “maze” does not even appear anywhere in the text.
Crowther’s Adventure has a similar perspective on resurrection as Mirkwood Tales: if you die (via dwarf knife or by trying to walking around in dwarkness) the game simply ends with a PAUSE, unlike the Woods version of the game which offers resurrection for a price. Since Mirkwood is quite directly based on Tolkien, and the player isn’t Gandalf, if they’re dead, they’re dead.
In all games designed along the lines of Dungeons and Dragons, there is a strong temptation to make death somewhat less fatal by allowing resurrection or reincarnation. In Tolkien’s world, the ordinary character has no power over death, and only Gandalf is able to return to the world of the living. As such, resurrection does not play a part in the Mirkwood Tales, and death truly represents the final moment of a character’s existence.
However, the system itself does offer the possibility of resuming the game. Typing “go” will resume a paused program. The overall impression is a “cheater” version of resurrection like the one found later in Orb.
YOU FELL INTO A PIT AND BROKE EVERY BONE IN YOUR BODY!
PAUSE GAME IS OVER statement executed
To resume execution, type go. Other input will terminate the job.
go
Execution resumes after PAUSE.
light lamp
YOUR LAMP IS NOW ON.
It isn’t like Crowther was trying to “adapt Dungeons and Dragons” entirely — this is not an RPG, and nearly every room has an analogue in the real cave — but there’s still clearly some flavor of Crowther’s world found in the campaign he participated in, with the treatment of magic, direct reference to the computer as the “eyes” of the player, and heavy emphasis on dwarves (if a bit more aggressive in this game).
The key to Dungeons and Dragons is that the spirit behind the dragon is not a player in the game. The players all stand together as they come to grips with the forces of the universe. The dragon is part of that universe, and like all things within that universe, good and bad, the dragon is controlled by the designer of the world who acts not as a player, but as a referee in a game of imagination and adventure. The referee sets forth the beginning of each legend, gives out all the new information as the epic unfolds, controls the characters in the story that the players encounter, and manages the workings of the world. And yet, the referee is not the actor in the story. The referee sets the scene, but the players independently determine the course that events will take.
There’s some new material we have when Woods picks up the story, so what I’m going to do next is write about the Software Toolworks version of Adventure (the only one that paid Crowther and Woods) and continue the history at the same time.
Map to the Mirkwood sample adventure given in the document.
Before explaining, I should mention something about my job.
From the Museum of Computer Adventure Games.
I work for a company in Europe. We have both European and US clients. I quite routinely will work on two projects in one day, meaning midstream I need to swap my spelling conventions, so instead of analyzing someone’s work I am now analysing it. I have gotten decently good at swapping continents at will.
With Circus, I had received a snorkel from a seal lion, and had surmised there was some petrol hiding the generator but I just needed to get it out. I mentioned, in passing in my last post, the possibility of siphoning some petrol.
I have never, in any of my business dealings, had to spell the word “siphon”.
aaaaaaaaaaaaaaa
That was it. That was the only puzzle. The game wanted “syphon”. Unless you count having yet another parser struggle spot right after as a puzzle.
The rest is straightforward: short the circuits as I mentioned before (you need to be holding the spanner/wrench, though) and book it for the car, taking off while everything explodes.
You might ask: what about the hacksaw and the cannon and the net? Those were, according to Dale Dobson, part of alternate solutions, but I’m honestly confused about them. To place the net you need to ERECT NET (more parser loveliness) and you can then fall off the tightrope safely, but why fall off the tightrope? Why break into the maintenance shed for a hacksaw? (It can’t be the chest — you have to get into the chest to get the tool to break into the maintenance shed, unless I’m missing something.) The cannon is especially baffling as there really is plenty of time to just walk out, flip on your cool shades, and let the cursed circus explode behind you.
it’s amazing when an adventure game makes you feel like Indiana Jones
too bad it was Indiana Jones trying to spell “Jehovah”
— Voltgloss in the comments to my last post
Unfortunately there was no extra dose of Evil tangling up the plot, unless you count the major parser issues (at least six of them). There was a lot of potential that just never had a pay-off; it’s like if Something Wicked This Way Comes didn’t have Mr. Dark.
Jonathan Pryce as Mr. Dark, who was also in Brazil as Sam Lowry and recently was David Cartwright in Slow Horses.
This game does seem to be remembered fondly by children, so I should add of all the Howarth games so far it was the most fun to “noodle around” in; it’s a place to explore without too many stopping points like Avventura nel Castello. Even though the enigmatic feel might dissipate in the end, your average 6 year old might have never beat it, meaning the game holds onto its mystery.
Coming up: returning to Crowther’s Adventure, the very original before Woods, as history has been found since I last wrote about it, including a 48-page document that has only recently been unearthed.
In the the Star Trek: The Next Generation episode Elementary, Dear Data (season 2) Data tries to play a Sherlock Holmes themed simulation on the holodeck but runs into an issue: the computer mashes all the previous Conan Doyle stories, ChatGPT-style, such that Data knows exactly what the solution is to the mystery he’s given. Hence what ought to be a jaunt lasting many hours is cut into a minute.
Data, Geordi, and Doctor Pulaski in front of a sign indicating The Red-Headed League, giving away significant details of the mystery.
Circus has a related issue. The design is fairly wide-branching (in contrast, with, say, the heavily linear Arrow of Death games), meaning it is possible to access many puzzles at once and solve them in any order. One of the very easiest turns out to be the method of destroying the circus.
Specifically:
STEP 1: Pick up the whip, out in the open in the circus tent.
STEP 2: Go over to the tiger and use the command CRACK WHIP (that exact verb was what I was missing before).
STEP 3: Go down beneath, where you’ll eventually find some terminals and a blueprint. The blueprint says that shorting the terminals will cause a detonation sequence.
STEP 4: SHORT TERMINALS, run away, and boom.
There is still of course a problem given that end screen: there’s still no way to drive away with the car without the petrol. But in a dramatic sense, it feels very weird to have a method already for blowing up the cursed circus (which didn’t involve anything mystical) and just need to get fuel. I was expecting the Evil to somehow interfere.
It is still possible the Evil might interfere because there’s a whole sequence with the cannon that otherwise doesn’t make sense. For the moment, though, the story tree feels a little deflated compared to the high I was on last time. A good analogy is how Geordi and Doctor Pulaski reacted when Data solved the newly constructed mystery instantly. It isn’t like the game is over, but I feel like I’ve skipped to the end nonetheless.
Let’s get to that cannon:
Launching it “splatters you against the canvas”. I had already experienced using the trapeze to get up to the canvas roof, but hadn’t been able to do anything with it; I was trying to open a hole with the penknife that the player starts the game with. I just needed to CUT CANVAS, not CUT ROOF (sigh).
I had trouble getting back, and I think I must have mistyped something before, because I tested again trying to get back on the trapeze (ENTER TRAPEZE) and it worked just fine. Then SWING TRAPEZE a second time lands the player back where they started, so it is possible to go back to the cannon with a cut-ceiling and die again:
Now, I already suspect what I need to do. If you LOOK ROPE it turns out to be a SAFETY NET, so I need to drop it in the right place, but I have no idea where the landing is from that description so I’m going to need to test everywhere I guess (and hope DROP NET is the right command and I’m not supposed to use something fancy). Why do the launch anyway, though? If you set the tent to blow up you can just walk to the exit. Maybe, if you have the car filled up, there’s one more spirit-obstacle that appears that threatens you, and finally Only a Little Evil becomes Actual Evil.
In the department of other-stuff-I’ve solved: I mentioned last time a chest I couldn’t open. OPEN CHEST says “Nothing Happened!”, UNLOCK CHEST gets the response “I don’t understand what you mean”, and SMASH CHEST says
How destructive!
The latter is the worst message of all: it essentially conveys to the player that violence is not the answer and they’re barking up the wrong tree. Yet, the answer is destruction, as you are required to specifically type KICK CHEST.
You can just feel my goodwill for the game soaking away.
With the slippers on, it is now possible to tackle the tightrope, and at the end there is a metal rod. So Matt’s prediction was kind-of on but reversed.
The metal rod isn’t used for tightrope walking at all, though. Back outside the circus tent there was a maintenance door where all the various destroy-verbs (including KICK) don’t work. However, if you are holding the metal rod and try to OPEN DOOR, it works, revealing a HACKSAW:
I don’t yet know what the hacksaw does. I did also figure out the water tank, which had some entirely different cryptic parser shenanigans.
Typing EAST enters the player in the water location, and makes it seem like they are swimming automatically. SEARCH WATER and so forth yield nothing. However, if you type SWIM while you are already swimming (?!) a sea-lion is revealed.
Bringing the fish over (which I previously assumed was for the tiger, but nyet) and feeding the sea-lion yields a snorkel.
To summarize: I have a hacksaw and a snorkel I haven’t used yet. I have a cannon where I can launch myself to the outside, but I don’t know the landing spot to put a safety net (assuming that’s even the intended act). I have yet to get the petrol for the car to escape. The generator is still broken (mentioning the lack of a cable) but it may be there’s petrol in the generator and we’re just supposed to get it out (siphoning with the snorkel, maybe?) but I haven’t gotten any commands like SAW GENERATOR to yield fruit, so I must have a puzzle or two still outstanding.
A good ending might rescue the game, but for now, the parser deception did not make me happy.
Circus is the next of our Mysterious Adventures, and allegedly better than the last, Pulsar 7. According to the author it is his favorite.
Circus comes to mind as the effort that satisfied me most. (Nobody collaborated with me on the one BTW – entirely my own effort). Can’t think exactly why it’s my favourite, but I did think it was cool that a number of people felt it was somehow reminiscent of “Something Wicked This Way Comes” by Ray Bradbury.
I don’t have more history to share at the moment that hasn’t been in my previous Mysterious Adventures posts; eventually Brian will form the company Digital Fantasia to sell his own games but that doesn’t come until 1983.
As is typical of spooky protagonists everywhere, our car has run out of gas on a strange road. We go exploring and find, strangely, an abandoned circus.
Despite us seeing many spooky domiciles games, this one feels a little different; there’s no immediate vampires or clowns with axes chasing the player around and there’s a genuine attempt at a slow burn. Something Wicked This Way Comes doesn’t start with a circus, but rather a storm, where near the end of the fourth chapter there is the incidental smell of licorice and cotton candy.
You can first go south back to the road to visit the car. Going all the way back there’s a hole for petrol, and a boot that is not described in the text version; fortunately, I was playing the graphical version so it was prominent enough for me to try opening it.
The boot (or TRUNK, the game is nice enough to have US/UK synonyms) has a spanner (wrench) and a flashlight, which supplements the player’s starting inventory of car keys, a penknife, and an empty petrol can. We’re better equipped than a doctor dropped off on a secret operation by the Air Force!
Staying outside the circus…
…to the east there’s a generator which needs a cable to be fixed, and a field with a shovel. The shovel digs up a “starting handle” which I presume goes to the generator, but I don’t have a cable yet.
To the west is a maintenance wagon with a locked door. The resistance to my attempts to break the door or pick the lock suggest a key simply comes up later.
Heading inside the tent, having the flashlight on is required.
Again, slow burn: there are no obvious mystical things going on. A clown will occasionally appear and run away, and I’ll show off what happens after the tour:
To the east of the entrance is, straightforwardly, a tank of water you can enter (but DIVE doesn’t work). To the west is a closet, a chest which I can’t open, a clown costume which we’ll get back to, and a whip.
Headed into the ring, there’s a rope you can pick up and two ladders. One leads to a tightwalk (walking leads to death) and another leads to a trapeze. I was able to SWING TRAPEZE to find a new “room” where I was swinging near the roof, but I was unable to do anything yet from there.
Off to the west there’s a freezer with some fish, and off to the right there’s a cage with a tiger. I assume whip + fish + tiger can get something interesting but I haven’t experimented enough yet.
To the north side of the tent there’s another ring where the clown starts appearing (“Clown runs off!”) and a cannon adjacent. You can climb in the cannon and pull a lever to launch it from the inside, which kills you.
If you go back and wear the clown costume, rather than the clown running away they hover nearby instead, and point at the ground. A note appears.
That is, even though we are not technically trapped (we can still walk back to the car just fine) and there are no immediate threats in the circus, the circus is nonetheless cursed and our fate is to destroy it.
This is far stronger (so far) than Howarth’s last game. Somehow the sparse Adams-minimal prose works together with the premise better than any of his regular fantasy games. I also like how there’s a reason for open exploration which nonetheless promises we’re going to get layers as we figure out a mystery, something akin to Voodoo Castle requiring the player to enact a ritual.
Mr. Crosetti looked at the pole, as if freshly aware of its miraculous properties. He nodded, gently, his eyes soft. “Where does it come from, where does it go, eh? Who knows? Not you, not him, not me. Oh, the mysteries, by God. So. We’ll leave it on!”
It’s good to know, thought Will, it’ll be running until dawn, winding up from nothing, winding away to nothing, while we sleep.
“Good night!”
“Good night.”
And they left him behind in a wind that very faintly smelled of licorice and cotton candy.
— from Something Wicked This Way Comes, by Ray Bradbury
I’ve finished, but my “win” had hacking involved; it became a meta-solve where I was prodding at the source code trying to figure out what was wrong, essentially creating a new puzzle in the process.
My first step after last time you might think was a major one; after all, I had trouble lighting some driftwood to scare some wolves.
DIG BEACH yields matches, so I cheerfully took them over to the wolves with driftwood also in hand and tried LIGHT MATCHES and … still nothing. Nope. The game does not understand.
The game does understand LIGHT MATCH but in a different spot: near the dragon there’s a dark room right before the pit.
This means, technically speaking, you can be forewarned about the pit, but it’s faster to die than figure the secret out.
With the crossbow in hand, FIGHT DRAGON goes down a little better than last time (“YOU CAN’T GET TOO CLOSE”, the game said).
Unfortunately the treasure chest is locked, so this still doesn’t win the game. The wolves needed resolving, and I ended up just dumping the source code, which I have here (start Xroar with -lp-file nameoffile.txt to assign a printer target, then type LLIST to send the source code to the printer). The offending portion:
470 IF NO=16 AND OB(5)=1 AND (OB(4)=1 OR OB(7)=1) AND CP=6 THEN PRINT”THE WOLVES HAVE FLED!”:M(6,1)=7:OB(4)=0:R$(6)=”AT THE EDGE OF A PINE FOREST”:GOTO280
480 IF NO=5 AND OB(5)=1 AND CP=28 THEN PRINT “THERE’S A CROSSBOW ON A LEDGE AND A DEEP PIT TO THE EAST”:OL(1)=28:GOTO 280
490 IF NO=16 AND OB(5)=1 AND (OB(4)=1 OR OB(7)=1) AND CP=28 THEN PRINT”THERE’S A CROSSBOW ON A LEDGE AND A DEEP PIT TO THE EAST!”:OL(1)=28:OB(7)=0:GOTO 280
500 IF NO=16 AND OB(7)=0 AND OB(4)=0 THENPRINT”THERE’S NOTHING TO BURN”:GOTO 280
510 IF NO=16 AND OB(5)=1 AND (OB(7)=1 OR OB(4)=1) THEN PRINT”NOTHING HAPPENED”:GOTO 280
To goal is to get line 470 to trigger. Let’s isolate the conditions:
470 IF NO=16 AND OB(5)=1 AND (OB(4)=1 OR OB(7)=1) AND CP=6
The objects are numbered in order starting from 1: the crossbow is OB(1), sword is OB(2), a key you’ll see in a moment is OB(3), the driftwood is OB(4), and the box of matches is OB(5). OB(5)=1 means the box of matches is in the player’s inventory. The line only triggers if you’re holding the matches.
470 IF NO=16 AND OB(5)=1 AND (OB(4)=1 OR OB(7)=1) AND CP=6
OB(4) is the driftwood or OB(7) are some pinecones you only find after scaring the wolves (strange logic there), so the driftwood also needs to be held for the line to trigger.
470 IF NO=16 AND OB(5)=1 AND (OB(4)=1 OR OB(7)=1) AND CP=6
CP is the character’s location (“character place”); CP = 1 is the room EMPTY, CP = 2 is the beach, 3 is a cove, 4 is the first pirate, 5 is the cave they’re guarding, and 6 is the forest. The source after also shows the effects of going north, south, east, and west; 88 means the player is stopped by an obstacle. From the pine forest, the player can normally go north, but they are stopped by the wolves.
1120 DATA EMPTY,0,0,0,0
1130 DATA ON A BEACH,9,0,3,6
1140 DATA IN A SMALL COVE,0,0,4,2
1150 DATA AT THE ENTRANCE TO A CAVE GUARDED BY AN EVIL LOOKING PIRATE!,0,0,88,3
1160 DATA IN A CAVE WITH WRITINGON THE WALL,0,0,0,4
1170 DATA AT THE EDGE OF A PINE FOREST.A PACK OF WOLVES GUARDS THE ENTRANCE,88,0,2,0
On to the last condition:
470 IF NO=16 AND OB(5)=1 AND (OB(4)=1 OR OB(7)=1) AND CP=6
NO is the noun object. This baffled me for a bit; lines 480 and 490 both are “you found the crossbow” triggers, where the noun can be number 5 or number 16 and get the same effect. 5 is the matches, and 16 is…
…the word FIRE. Argh!
So to summarize, you need, upon typing LIGHT as a verb: to be holding the matches, to be holding the driftwood, to be in the pine forest, and to use the noun FIRE. LIGHT MATCH works in the other place because the author anticipated this is a much (much) more normal thing to type than LIGHT FIRE, which requires arbitrarily realizing the noun that previously didn’t exist in the game should be the target.
The wolves are still shown in the room, but they’ve also fled.
After THE WOLVES HAVE FLED! the north exit allows the player in:
The sign indicates you should try going NORTH repeatedly and eventually you’ll get somewhere new: a hut with a key.
This is the very key needed to unlock the treasure.
With most of these games there’s typically some sort of hints and/or a map up at CASA or elsewhere; here I was on my own (it got added to CASA by Strident but with no walkthrough or map). Of course, most people in 1982 were on their own! This is why there were letters to send in to companies, or help columns, or hint phone lines, or authors begging people not to call their phone. Without that, players had to pry at the source code like I did so it was more of an essential part of the 1982-experience than I sometimes get across with these write-ups.
With Vince Apps having many books to his name (admittedly very similar books) it feels strange that his company Apex Trading is still somewhat mysterious.
Haunted House (the oddball of the set, more of a strategy game)
where the main games all feature a lot of “deadly exits” where there isn’t necessarily a way to find out about them until hitting the end screen. Island Adventure is no different and follows the same structure as the other games so I’m fairly certain Vince Apps is the author (~99.5%)…
It has the exact same variable definition as his other games, for instance.
…but I also think this might be an early game of his, if for nothing else the fact the game requires the whole text TAKE INVENTORY in order to show what the player is holding (as oppose to just typing INV or INVENTORY).
From the World of Dragon
A January 1983 ad for the company mentions the games Haunted House, Treasure Quest, Forbidden City, and Pharoah’s Curse in order. I have never found an ad that mentions Island Adventure; perhaps it only showed up in the Apex Trading catalog because the author was sheepish about it (again, I think it’s an early game).
You’ll notice I haven’t linked to a playthrough of Treasure Quest. We don’t have this game. We do have a game called Treasure Quest that’s on TI-99…
…but it doesn’t mention Apex Trading and is undated, attributed to a Jim Beck of Canada where he asks players to please send $5 to his address if they like the game.
Not Brighton, England.
It’s an easy name clash to have and I suspect there’s likely just a lost Apex Trading game out there.
With that out of the way, let’s hit the island, where we are hunting for a “FABULOUS TREASURE”.
Things kick off on a beach with a driftwood, which isn’t quite as common as being in a forest with trees, but it feels up there. When you EXAMINE it is described as “very dry”. (This suggests you can light it on fire, but I haven’t been able to do, which is the main catch to why I haven’t beaten the game yet.)
Don’t worry, the forest is nearby, just to the west.
Incidentally, EXAMINE WOLVES says there are too many to fight, and FIGHT WOLVES doesn’t go well.
Laying out the rest of the map as I have it so far:
To the east of the start is a pirate guarding a cave (hanging near a dead rat and an old boot, for some reason)…
…to the north there’s a cave with too many pirates (probably not meant to be entered)…
…and a pirate who needs a password (which I’ll get a little later).
I was hard stuck for a bit and had to make my verb list early.
I was somewhat suspicious of one room which had a “FLAT BLANK FACE OF A CLIFF” but only a bush. A bush is not a normal “secret mechanism” but I ran through my verb list anyway and got a secret opening.
This leads to a orthogonally-arranged set of caves with one pitfall, and two rooms with a item you can use PULL on. One is safe, the other is death. Death first:
The graffiti reads — keeping in mind the word wrap — LLPU ROF TTSNIAN ETCIUNORTDS. This anagrams to PULL FOR INSTANT DESTRUCTION although it’s faster to just test things out.
The other pull-moment has a slight cryptogram, although again it is easier to yank first and solve later.
Move the letters backwards by one to get PULL FOR WEAPON.
The sword has a serial number of 2119562112 61518 16918120519 where the numbers go with the pattern 1 = A, 2 = B, etc. to translate to USEFUL FOR PIRATES. Given the pirate alone at the cave with the dead rat for some reason is described as needing a weapon to be defeated, this seems redundant.
The “NUT CRUNCHIES” mentioned in the cave are the password to get by the other pirate. This leads to a small area with an empty bucket, another deadly fall, and a dragon.
Here I’d like to try lighting the driftwood, but nothing I’ve tried has worked. I especially am interested because at the WOLVES the command HELP gives the information YOU’LL HAVE TO BE BRIGHT TO GET RID OF THESE! Just to summarize, I have:
some sand, a bucket, some driftwood, a rock, a stone, a dead rat, an old boot, a sword, a flask of water (poison)
The stone and rock are not given any description (I might suspect flint and steel, but they’ve been highly resistant to any verbs working on them at all). The source code is BASIC so checking for a solve should be easy but there’s enough to play around with (despite the murderously limited parser) I’m hanging on for a bit longer. In this kind of circumstance it doesn’t feel like an adventure game as much as a puzzle game where I’m in a battle with the machine to find the next command it will understand.
Believe it or not, we are getting close to the end of 1982. This is my final list. If any games show up after this point they can go on my float-list. That doesn’t mean they’ll necessarily wait, but I don’t need to finish them for 1982 to be “done”.
I am excluding games that are lost media or I am unable to play at the moment for whatever reason (if Testament shows up, for example, I’ll be bumping it up in priority, but it isn’t on this list).
These are more or less in alphabetical order.
…
Arkenstone: minimal type-in for the VIC-20 with some Tolkien inspiration.
Arsène Larcin: French game from Québec for the Apple II.
Bedlam: The other 1982 game by the author of Xenos.
Circus: The last of the Mysterious Adventures from 1982.
The Colonel’s House: First of a supposed series from Rabbit Software, but it looks like only the first game was written.
Cornucopia: One of the Brian Cotton games, although I need to play Witch Hunt Goblin Towers from 1981 first. (Update: have played it, now free to play Cornucopia.)
Crystal Caverns: Hayden’s other text-only Apple II game, other than the buggy Crime Stopper.
The Curse of the Pharaoh: Kirsch, while not busy cranking out Adventures of the Month, also did a graphical adventure that got tossed on one of the Softside special disks.
Renga in Blue 