The title translates to The House of Professor Folibus, and yes, we’re back in France.
When I wrote about Des Cavernes dans le poquette I mentioned, as an aside, that the Sinclair ZX81 dominated more than the ZX Spectrum. As late as a May 1983 issue of Micro Systèmes (a magazine that had been around since 1978), the ZX81 gets twenty mentions and the ZX Spectrum gets zero. While the ZX Spectrum French debut was in June of 1982 (compare to the UK getting the product in April) the rollout was sluggish and I haven’t entirely deciphered why. My best guess is related to the SECAM format for televisions, which was France only (Europe otherwise used the entirely different format PAL). It already takes some effort to cope with linking the black-and-white ZX81 to SECAM, but the color format of the ZX Spectrum had even more trouble.
The competitor Oric-1, which took off at the same time in the same price category, was instead easily able to cope. Quoting the CPCWiki: “the Orics were the only machine in their price range to ship with an RGB output socket, which made them the only machine in their price range to be usable with French SECAM televisions, via their SCART(/Peritel) sockets.”
Thus, in a curious way, a ZX81 book from the UK — The ZX81 Pocket Book by Trevor Toms — ended up being more influential in France than its place of origin.
If that book sounds familiar, yes, we’ve covered it before. The City of Alzan was the sample adventure game. The system got used for Greedy Gulch (and two other games on the same tape I haven’t gotten to yet). It was derived off a 1980 article in Practical Computing, and that article was used for both the Artic games and the massively popular Quill system, but the Trevor Toms system itself in the UK didn’t go as far. The ZX Spectrum smashed up the ZX81 market enough that it became irrelevant by 1983.
In France, the book became the ur-text for early French adventures, kind of like Crowther/Woods Adventure for mainframe games and Omotesando Adventure for Japanese games. This is because of La maison du professeur Folibus by Alain Brégeon, which essentially kicked off French adventures as a real genre.
The game isn’t exactly the first French text adventure; Bilingual Adventure (1979) and Mission secrète à Colditz (1980) came before. But Bilingual Adventure was not well-distributed outside the US, and it was just a port of Adventure; Colditz was a private game for family and friends and only published later. If we want to be finicky, using Hugo Labrande’s phrasing in an interview with the author, we can say it is the first original French adventure game with wide distribution.
Alain Brégeon wanted to work with computers since he was a child and through the 70s he was, as he calls it, an “inspecteur” maintaining large systems (that is, mainframes). He started to get interested in “small systems” (home computers) in the 80s and got a ZX81 in kit form (as he notes, it wasn’t like IKEA, it required soldering). Given his expertise and interest in electronics, he started selling hardware for the system he made out of his garage (including, yes, SECAM adaptors).
Not long after, Brégeon obtained a copy of the Trevor Toms book (original from 1981, translation published early 1982). He became interested in the adventure system, especially City of Azlan, admiring the “codification quasi booléenne” (quasi-Boolean codification) of the logic.
This made him want to write his own adventure. He had already published a bowling game in an earlier issue of Micro-Systèmes, and in issue 24 (July/August 1982) his game appeared with both source code and, importantly, a detailed explanation of how it worked.
There are two “modern” versions of the game. One, by Xavier Martin, adds art in all the rooms. The other, by Antoine Vignau & Olivier Zardini at Brutal Deluxe Software, is a conversion to Apple II; it includes an English translation and manual that lists all the vocabulary the game uses.
You find yourself in Professor Folibus’ laboratory. To get there, you had to go through a thousand dangers and avoid as many traps. But you are not at the end of your troubles. This house is in fact a labyrinth from which you will have to discover the exit while showing intelligence and cunning because there is no shortage of traps on this route.
— From the Brutal Deluxe manual
I wanted to see the art so I tried out the Martin version some, got stuck, tried the Apple II version, and stayed stuck. I don’t think this game is long — there’s only so much space in the source code — but it starts with a frustrating sequence where I must be missing something.
This is, akin to Medieval Castle, a story where you go in somewhere for no obvious reason, and then the goal is to get out. Unlike Medieval Castle, this place you’re trapped is quite deadly.
You are in front of a house; the door is open.
I had a little trouble at the start; the directions (N/S/E/O) don’t work. You’re supposed to use ENTRER (ENTER), and the door closes behind you.
You are in a corridor. There is a door to the east and a door to the west. There is also: fire, candle
It seems quite natural to pick up the candle and light it, but that’s a mistake. Heading east, there is a room with a strange smell where it explodes and you die:
(To restart the game you’re supposed to type GOTO 10. This is normal for ZX81.)
I will say the deaths in this game are somewhat distinguished from the ones in my last game, Pharoah’s Curse. Heading east just on its own reveals the smell but you don’t die; with a little more caution you can avoid the death, and even on deaths you can’t avoid (as you’ll see shortly) you at least bring forward the death by actions a little more elaborate than going east rather than west (falling into a pit) or opening a box revealing a snake. It isn’t quite as elaborate a setup as the “hang you by your own rope” moments in Journey (1979), but it leans more in that direction.
Even without the candle-death the odor room doesn’t seem to provide any use. Going west instead leads to a room with a paper; after GET PAPER there’s a KEY you can also get. What you can’t do is read the paper or otherwise examine it, and I would have been fiddling with that moment for a while had I not had the Brutal Deluxe verb list in front of me.
Further west is a machine with a red button and a green button. If you push the green button it starts “getting carried away”; if you push the red button it simply “starts”, but either way, after a few turns the whole house will explode.
To the north from the exploding machine are a closet and some wires. You can find tools in the closet and REPAIR WIRES.
REPAIR is an uncommon verb to use here. I’ve had FIX in games, and MEND once, but I don’t think I’ve ever had REPAIR. One of the interesting things about playing non-English games is they’ll sometimes reach for verbs whose English equivalent isn’t in the typical stock of adventure verbs. Colditz had “assommer”; “knock out”, and distinct from “hit”, which I don’t think I’ve seen in an adventure otherwise.
Unfortunately, fixing the wires just leads to the same result as before with the machine. But maybe it is meant to fix the elevator to the north?
Going up just results in the game saying “the elevator does not move” and going down is not possible (I assume there’s no basement). If you hang out in the elevator, the cable breaks and you die, or as the Brutal Deluxe version says
You crash down: deaed
If you press the red button it does provide power, enough that you can go UP in the elevator, but immediately upon arriving there’s an unfortunate scene involving a damp room and an electrical wires.
“Une corde” is a rope.
There’s not a lot to noodle with! I suspect I am missing something very simple. I imagine the electricity comes from the generator, so if the generator were off, I’d be able to survive stepping south. However, I need the electricity to go up the elevator. Hence … ?
Here’s the verb (and noun) list from the manual if it helps any.
Vince Apps has previously graced us with Devil’s Island and Forbidden City, and other than self-publishing under the title Apex Trading, he was mostly distinguished by having a whole set of books of BASIC source code in his name. For example:
40 Educational Games for the Electron
40 Educational Games for the BBC Micro
40 Educational Games for the Dragon
40 Educational Games for the VIC-20
40 Educational Games for the Atari
40 Educational Games for the Commodore 64
40 Educational Games for the Spectrum
40 Educational Games for the Amstrad
Some above even got Spanish and German translations.
The “Educational Games” series of 40 had picks with a minimum of complexity so they were easily portable. Less easy to port were the games in his Commodore 64 Program Book — now not solely “educational” works — and only some of them show up in his Texas Instruments version of the same.
However, the MSX version of the Program Book got the same set of games, including two adventures: the previously mentioned Forbidden City, and today’s game, Pharoah’s Curse.
This is the kind of adventure game that even your older friends and family may like to play, as it involves logic, memory and the powers of deduction —- you don’t have to be a crackshot arcade games player.
On this adventure you will be seeking for treasure, of course, but you will have to decide whether or not to collect stone urns, iron rods, boxes, earthenware pots and daggers on your way to the centre of the pyramid.
You will have to decide whether or not to go East, West, North, South and whether or not to open doors, enter ante rooms and tackle mazes. Beware that floors may crumble, walls may collapse, mists may envelope you as the tombs are protected against robbers such as you.
This text is from the printed book, not the game text. This game turns out to be extremely simple — even compared to the author’s last two games — and in such cases I always like to see what “script” the author has in mind for the players. The author mentions “deciding” twice. I think the expectation is that with the deathtraps in place (which you’ll see in a second) the player will be nervous at every step, basically relying on the power of possibility space, as I’ve written about long ago:
I know traditionally the “diegetic plot” of an adventure is the one that goes through without deaths … On the surface, the player is walking through a door. Underneath, the player is avoiding a death-trap. Without both branches simultaneously, part of the story is missing.
For Alien, which had a similar number of deathtraps, I think the author was just amusing themselves. Here, the author is hoping you’ll feel a tangible feel of danger and make it so even a choice of East, West, North, and South has some gravity. (Using authentic C64 load speeds, maybe there is something to fear. The game also runs fairly slow so if you die without saving it takes a while to get back to where you started.)
Anyway, let’s go raid for treasure!
You start in a “Valley of the Tombs” complex with multiple places to raid. In a Maze-Like Complex of Caves you can find a parchment with a clue.
In three burial chambers there are caskets, where you can find a key, a cloak, a mummy, and a box. The mummy, unexpectedly, does not sit up and mutter curses; the box, on the other hand, kills you.
The cloak includes a slip of paper with the clue:
HE WHO CARRIES UNTO HIS OWN REFLECTION INSIDE ON SHALL GO
TRANSLATION BY ADVENTURE TRANSLATIONS INC.
COPYRIGHT 2040 B.C.
The key goes to a door leading to the next section, with two pyramids. The first has some sand and you can just DIG SAND to reveal a secret entrance. If only all tomb raiders had it that easily. Or most of them are falling in the pit traps and so forth.
There’s an iron rod (which is useful) and a dagger (which isn’t). The iron rod was mentioned by the parchment earlier as being used to STRIKE a man, and the STRIKE verb is important. At the second pyramid there is a statue you can STRIKE with the rod.
At the inside there is a mirror, and here is where the second clue (from the cloak) comes into play, and the very specific word go in the phrase “ON SHALL GO”. GO MIRROR while holding the cloak leads to the last area.
This is simply a matter of navigating around the instant-death rooms until you reach the End, whereupon there is a sign you read that triggers the winning screen.
There was a large rock we moved earlier to open a passage to find the parchment, but this one is just a red herring.
Especially given the ending where the “treasure” was just a room, this came off as treating the idea of an adventure as an abstract exercise, which might be true if this was written for the book. However, this game was published in ’82 and the book was in ’84.
Devil’s Island, being by the same author and having a similar number of death rooms, makes a good comparison, in that I found that game plausibly sell-on-a-tape worthy, whereas this one seemed far too light. Oddly, I think the “hard” bits in Devil’s Island are at their essence unfair and bad design: the starting puzzle being real-time without letting the player know, the woodcutter that has only a random chance of appearing, the randomly appearing guards where you need to “run or fight”. But they made the experience “crunchier” so I had to reckon with it longer.
What I mean to say is the manifestation of some of these more outrageous elements we’ve seen in games is because otherwise (given authors who can’t handle complex mechanics) the game would be “for beginners” and there’s only so many that can go on a store shelf before the customer starts to be grumpy.
Coming up next: Il y a une porte en fer à l’ouest, et une autre au sud marquée « DANGER ».
One of the earliest homegrown computers for the British market was the Nascom 1. (This is the same computer Level 9 got their start on.) Alan Butcher had obtained one in ’78, and at his company (British Telecom) there were enough other people interested in the same computer that he was able to start a computer club.
From the Centre for Computing History.
This club soon expanded past British Telecom employees to the general public. An early member who joined was Bob Simpson, who we’ve mentioned here before: he was the founder of Micro Power. Micro Power had some early Nascom games but they were essentially focused on Acorn computers like the Electron and the BBC Micro. They published Seek, the game that was essentially stateless and all action happened in the connections between rooms, and a game they just called Adventure, which had a princess who didn’t want to be saved and an out-there “meta-narrator” mechanic.
They were started out as half-computer-store half-publisher, with Micro Power’s growth as a major software company happening organically.
As the place became a hub for people, they would bring along programs they’d written and Bob would say, ‘I will sell that for you.’
— Chris Payne, Marketing Assistant for Micro Power
Alan Butcher (who eventually became the software manager) notes that people in the publishing side spent time in the store:
Having the retail outlet helped a great deal in keeping in touch with customers; the shop would be packed with enthusiasts only too willing to give feedback.
Part of the Nascom club I mentioned also had David Elliott as a member (described as a “young kid” by Chris Payne), which is how he got connected with Bob Simpson and Micro Power. David Elliot is the author of today’s game, Eldorado Gold.
Computing Today, May 1982.
David Elliot has been interviewed but he doesn’t mention his text adventure game (originally for Nascom, see above) at all. He calls his first game Alien Destroyers, even though it almost certainly was Eldorado Gold. (That Nascom ad was from May; the first ad for Alien Destroyers was in September, and the ad includes a BBC Micro version of Eldorado Gold.) So: why did he neglect to mention it? Was it because the book all this is coming from (Acorn: A World in Pixels) was specifically oriented towards the Acorn products anyway? I don’t think so based on his phrasing:
Alien Destroyers was my first game, and not the best implementation, but a learning experience. Funnily enough, it being one of the first Micro Power games, meant it was on the back cover of magazines tor several months. It was quite nice for me, but I expect a bit boring for the readers and a push to get new games written.
I don’t mean “derived” like we recently saw with ADV.CAVES where the exact same source code had a new company name dropped on top, but clearly the author was using the original source code and map as a reference and tweaking it to make his own game.
From the Centre for Computing History.
The meta-structure of both games is identical. You start at your shack/hut, with a mule nearby. At hand is a map, a lamp, a gun, and carrot(s). You can wander into the desert and follow the map to a secret canyon, make your way to a mine, dig holes in the mine to get some treasure, and take a ladder that goes directly from the mine to the starting residence, obtaining victory.
The original game was simple but managed to have some charm due to, first of all, the main narrator being THE GHOST OF BACKPACK SAM who takes on a old-time-Western accent for even basic parser messages.
GOOD LUCK AND I HOPE YOU DON’T END UP A GHOST LIKE ME.
The mule also can be befriended with the carrots and the saddlebags it carries around can increase the size of your inventory. The canyon includes an encounter with Indians that can result in a gun battle although the best route is to steer clear because it will eventually kill you; the gun that the game starts you with is in fact a red herring. (This is similar to how Time Zone had a number of scenes with angry indigenous people where the right play is to avoid them.)
The source code was distributed past its TRS-80 origins — it was one of the games on the ADV.CAVE disk of Apple II games, and had a printing in The Captain 80 Book of Basic Adventures. Speaking of computers popular in the UK, there’s ports for the Atom, BBC Micro, C64, and Nascom; there’s even a version for Microbee (a computer essentially exclusive to Australia).
So it makes sense David Elliot got a hold of the source code; what he did maybe could be thought of as a parody.
You start in your hut with a chart showing a path to a mine, and a gun. Outside is the mule, as in the other game, although the mule only is carrying around a shovel, not saddlebags. Just to the west of the mule is a carrot.
I’ll speak more of the mule in a moment. The ghost town in the original game just has a saloon where you’re meant to find keys that are used to open up the mines. In this version, there’s a bank with some bank notes you can try to take, but then you get tossed in a jail. It’s just a trap — you’re supposed to steer clear. The only thing you really need is some more cartridges for the gun. Given the fact the gun was a useless red herring in the original game, this gives a hint that things are going to roll down differently.
Hey, it worked in Deathmaze 5000.
Going in the desert and following the map/chart is identical; there are no Spanish coins in the cave, just a jar of oil (which can be used to revive the lamp if it runs low, but you don’t need to). If you go into the Indian encampment rather than a shootout there’s just nobody there.
I wonder if anyone was disappointed by the ad copy and cover image.
There’s no keys in town, so entering the mine is not handled the same way as before.
And now is where I reveal the big change I alluded to. You use the gun, twice.
First, the mule just eats your carrot if you try to feed it and never gets close, so instead of the mule being a helper who follows you around, you’re supposed to SHOOT MULE.
Since there’s no keys, you also use the gun (with the extra cartridges from town) to blast the door.
The mine is essentially identical: you can grab some gold, diamonds, and silver, two of them requiring the shovel to DIG.
There’s a ladder you can use that will take you up a secret passage back to the starting location. Then you need to go back to the hotel in the ghost town (as the instructions say) and type SCORE to win.
It almost seems like this was meant to be a parody game; that is, the young author started with the source code and mucked about with it as a learning exercise, especially noting how useless the gun was. He decided to make the gun be an integral part of the game and simplify the mule mechanic by just making it a poor victim.
OK, it isn’t that much a mystery the game didn’t come up in an interview. At least its existence is interesting as a historical snapshot.
Perhaps you’d like to play the author’s game Swoop instead. It feels halfway between the gameplay of Galaxian and Demon Attack. Patterns of birds that swoop down are trickier than either of those two games and birds will aim for collision more often, giving a different flavor to the gameplay loop.
I’ve managed to beat the game, and while not the most cryptic game ending I’ve ever managed to resolve, it surely is in the top 5. I in fact had been mid-sentence trying to write my “I’m sorry, no idea how to finish this” post when I tested something and made a breakthrough.
First, to clear up some things I was puzzled on last time.
Regarding the goggles and the gravshafts, if you are in a room without wearing goggles, and then you put them on while in the room, the gravshaft is now “visible” and any future passes through the room do not require goggles. If you are simply entering the room while wearing the goggles (which does show the gravshaft, and even mentions in the text description there is one there) it will not give this effect. Taking the goggles off causes the gravshaft you spotted to “disappear” and you’ll walk in the trap if you try to leave. Yes, this seems like a bug.
This is a case where I entered the room wearing goggles. The better approach is to enter without goggles, put them on, and take them off again.
Additionally, the change of color when wearing goggles is the sole thing making drones invisible. This is meant to encourage the fact you shouldn’t leave the goggles on; I had at least one time I forgot I had them on so I thought a drone was just invisible normally, but it really is a goggles-only condition. I’ll grant this is canny in a game-design sense in that the traps are relatively nullified out if the goggles can be worn all the time.
One other method to deal with the traps is to use a WELDER. This also seems to be bugged, as if you’ve “spotted” the trap the welder doesn’t work, but if you haven’t then you can use the welder to seal up the hole.
There’s one last very important fact about gravshafts I didn’t discover until later, but let’s get back into gameplay.
The way the game is supposed to be configured — and I’m not sure it is airtight — is that you start on a floor where you can immediately find goggles, and then while carefully avoiding traps, find a white crystal and a black crystal. Somewhere on this floor there will be a place you can use the TRANSLATOR and open up a door, and to get down further, you need to use a white crystal to remove a force field.
The force-field door and translator door incidentally both visually appear (although don’t open) with the GOGGLES, which makes another good reason to test them in every room. Also, “floor” is somewhat approximate, as some of the rooms in this area might still be up or down stairs, but there’s still always a “white crystal barrier” blocking off any further objects.
Picture from a different playthrough; that black rectangle is stairs leading down, and they need me to USE WHITE CRYSTAL to pass.
The second section is where you find a welder and a blue crystal. So just to list all items: gun, translator, goggles, white crystal, black crystal, blue crystal, welder. There’s only one more we’ll talk about in a moment (a remote).
Other than an auditorium, which is just for color…
It is possible to find items or even gravshafts here.
…there’s another force field. This force field requires you to USE the BLACK CRYSTAL. The black crystal, oddly enough, causes all the objects you are carrying — except for your gun — to disperse to random spots on the map. The best option here on a playthrough is to drop everything but the black crystal, use it, and then don’t worry about where it snuck off to (you’ll see why in a second).
With the force field removed, you can enter into a room with a “faint hum”. The goggles reveal a gravshaft, although oddly, it won’t stay revealed if you do the wear/take off goggles trick. The goggles also reveal the remote.
Here I was trying to figure things out so brought every single item. I was holding the gun but it’d normally go in the gap to the left.
I tried every single item and saw nothing. I went back and tried every single item on every single room and saw nothing new. Don’t forget the shoot-em-up thing was still going on: I fought off waves and waves of drones in the meantime (I started getting decent at shooting them down, they more mostly an annoyance if I was trying to use goggles, since swapping the goggles off takes enough time for them to get you).
(Incidentally, last time I commented how swapping between joystick and keyboard would be a pain. There’s a contemporary review of the game that points out the annoyance, and suggests the game be played cooperatively, where one person uses the keyboard and the other the joystick.)
I thus was ready (and started) to write my final post, but for some reason it occurred to me even though the game doesn’t let me GO DOWN, perhaps I could USE GRAVSHAFT. At no other point in the game had I tried to USE an item “in the world”.
Access denied!!!
Huh, that’s a new message. I went back and tried USE GRAVSHAFT elsewhere — with one of the goggle-revealed gravshafts –and found I could “teleport” to a new room that way without getting hurt. So there was something special about the hum-room gravshaft.
It still wasn’t staying revealed without the goggles, but mucking about with my items, I somehow found if I picked up the white crystal the gravshaft suddenly appeared. Put it down, it suddenly disappeared.
The condition turns out to be extremely finicky: you have to be carrying the white crystal and the blue crystal and not the black crystal. As long as all three are true, the gravshaft in the hum room will reveal itself, and you can USE GRAVSHAFT.
This is on a return trip where I realized getting the black crystal was counterproductive, so I didn’t even bring it.
USE GRAVSHAFT takes you to the final room. There’s no visible exits other than the gravshaft, but if you wear goggles you can see an exit to the north. Then you can try to GO NORTH and crash the game.
Whoops! Again I considered maybe I was at the end and the game was broken. However, I took the time to ferry items over in the shaft just to see if I could cause something new to happen. (Incidentally, if you try to bring the black crystal to the end, you’ll get teleported back to the starting room. Black sheep of the crystal family.)
Nice of the game to tell me dropping the white crystal is death rather than just killing me. It never was clear what the two crystals are actually doing.
I finally hit paydirt with USE WELDER which opens up a shimmery rainbow door.
You still can’t just walk through, but since the REMOTE hasn’t been used yet, it didn’t take long to test out USE REMOTE and get the final animation sequence.
Bye bye, crystals.
We get back in our rocket and take off.
Winning is 100 points, each normal droid kill is 10, each invisible droid kill (with goggles) is 20, 10 points for each item. The score is pointless because you kill an overwhelming number of droids to make it to the end and you can always farm more.
I was unimpressed with the random generation aspect. I tried a “serious attempt” on this three times, and on my second attempt, the map yielded no black crystal, making the game impossible to win. So at the very least the random part is buggy. Additionally, there was nothing interesting in the random setup — which crystal you see first is honestly boring, along with if there’s a gravshaft in the auditorium or not. Randomness is interesting in Rogue because the exact layout of walls tactically affects what happens with the monsters; here, the drones appear in an identical way no matter what the layout is, and because the puzzles need a specific sequence, the items still appear more or less in the same order.
In a holistic game design sense, if you’re making a roguelike, the random aspect needs to contribute something to the game that makes multiple games play in a truly different way. With fixed adventure puzzles there isn’t the same benefit (and this was an adventure, despite the exhausting mini-game spread throughout, where I literally sometimes had to stop mid-typing to fiddle with arrow keys). And sure, someone could try “generated” adventure puzzles — like the riddles changing in Apventure to Atlantis — but doing it in a satisfying way seems to still be only in the capacity of human hands.
Referring back to the essay I mentioned from Clardy:
While Synergistic Apventures are full of obstacles, hazards, puzzles, and traps and while they may take hours or days (or even weeks in some cases) to play, it will never be because you are stuck trying to guess what the author wants at some point. The puzzles have logical solutions and hints are given. That doesn’t necessarily make them easy, but you won’t have to call us for help.
Consider the promise broken. The game never explains why the crystals act the way they do, and the only “alternate” solution has to do with using a welder instead of goggles to handle a gravshaft, but to find out the pit is there to begin with you’d normally use the goggles anyway. It seems like the author really just wanted to be making more RPGs, but the genre boundaries were still ill-defined.
We’ll be seeing another Clardy-Ollmann Jr. adventure team-up, but only in (squints) 1989 with The Third Courier. That’s punting it down a bit.
Let’s try a “normal” adventure game next time, shall we? (Maybe. It’s a company where the two times they’ve been featured here the game seemed initially normal and later went off the rails.)
We last saw Robert Clardy with the odd hybrid game Apventure to Atlantis. This one’s even odder, and combines a shoot-em-up like Galaga and an adventure game.
From Mobygames.
To understand how this happened, it will help to back up to 1981. Synergistic Software had released Odyssey: The Compleat Apventure the year before and moved into a new office. They were working on Atlantis, and Synergistic put out a newsletter titled The Synergistic Source.
It includes reprints of some reviews of Synergistic products, and also hypes up the upcoming game Apventure to Atlantis. As part of this, Clardy philosophizes on his goals in his essay “What is an Apventure?” It reminds me a little of Ron Gilbert writing a “manifesto” (Why Adventure Games Suck) placing his design at LucasArts in opposition to what was going on with Sierra On-Line. There are five important differences with Clardy’s essay vs. Gilbert’s:
1.) it mashes Clardy’s earlier RPGs together with Atlantis, muddying the definition of an “adventure” in general
2.) it feels very much written as a after-the-fact justification, insofar as Clardy’s first game was simply made by modifying Bob Bishop’s Dragon Maze and likely had very little philosophizing involved
3.) since this was written in 1981 it is only based on Sierra On-Line’s early work
4.) it’s meant for commercial self-promotion
5.) it doesn’t land quite as definitively and coherently as Gilbert’s rules.
Still, it’s useful to see someone this early in gaming history being introspective about their work, and what is said here gives a concept of what Clardy was going for.
Apventure is a term meaning an Apple-Adventure that we’ve coined here at Synergistic Software. These are adventure games specifically designed to take full advantage of all of the Apple’s many capabilities.
Clardy consolidates this to mean “animated, with no static displays”, “sound effects”, and “random events to keep the challenge of the apventure fresh.”
The third feature listed above, random events at all stages of the adventure, is also rarely seen in other adventure games. Every apventure is different. The hazards and obstacles and the placement of treasures and magical items all vary from game to game. A fresh adventure awaits your every visit.
In a sense, this is a linear adventure. Without object A, you can’t get object B. Without object B, you can’t get to a new location, and so on. If you get stuck at any point, you can’t go on to new areas. True, that’s part of the rules in this universe, but it can be frustrating, especially when you know there are undiscovered wonders beyond your reach. The other problem is that once the game is solved, there is nothing left to do with it. Since it is linear, you will have encountered every obstacle and seen every location after a successful play.
This is the essence of Clardy’s idea. As he states, he wants each game to allow resets where each involve a “new world”, where “your old maps are obsolete”, and where “a variety of resolutions or paths that can be followed to reach the goal”. Essentially, he’s saying all adventures should be adventure-roguelikes.
We heard an identical sentiment from Tom Rosenbaum which led to the making of Madness and the Minotaur.
Tom loved to play adventure games but was disappointed in the computer adventure games that were out there because they had no re-play ability. Once you solved them, playing again was exactly the same. Tom also liked board games like Civilization, and decided that a computer game with the randomness and unpredictability of games like this would be something he would enjoy playing over and over.
Despite us seeing many experiments now, the adventure-roguelike essentially died as a form; it was more suited to RPGs with recurring systems of monster combat that could easily be built off of; the narratives of adventures are more likely to be one-shot. Despite many attempts at “adventure creators”, even using modern AI, the necessity for custom content means the genre tends to land into “hand made” territory. Diverge too much and you’re not dealing with an adventure game any more. AI Dungeon isn’t really an adventure as much as a story-telling companion.
(Incidentally, Clardy chopped out the last part of the review paragraph he was quoting: “On the other hand, finding the solutions and conquering the obstacles is a pleasure. For all the frustration encountered, the program made me think, and provided hours of fun.”)
In addition to being different from play to play with random elements, every Synergistic Apventure must have a variety of resolutions or paths that can be followed to reach the goal. During a given game, you should never get bogged down trying to figure a way past a given barrier or hazard. If you can’t figure out the secret of some obstacle, just go some other way. The other way may be longer or more dangerous, but at least you aren’t stuck forever.
This feels like the RPG “contract” where you can sit around and level up if a boss is too difficult, so again seems to be aspiring to another genre. Atlantis did have some puzzles with multiple solutions (in the last island sequence especially) but plenty more that did not. There are adventures with hand-crafted alternate solutions to everything (or like Wishbringer, at least a way forward) but the modern avoidance of being stuck comes down more to a design sense closer to the ideas encapsulated by Gilbert’s essay.
Probe One: The Transmitter is not called an Apventure, but that’s likely just because it’s for Atari. I don’t know why Atari but probably because of the programmer he was working with: Clardy is listed in the manual as providing the design with everything else credited to Lloyd Ollmann Jr.
This is Lloyd Ollmann Jr.’s first game and he went on to have a career all the way through the 80s and 90s, including (along with Clardy) working on the adventure game The Third Courier. (The CRPG Addict played it and he called it “a nearly pure adventure game masquerading as an adventure-RPG hybrid”.)
From the back cover:
You are the commander of the Terran Confederation scout ship PROBE ONE. You have been sent to bring a newly developed matter transmitter to Terra before it can fall into the hands of the Drelgan Hegemony. The device is the only hope the human race has of averting extinction in their war with the Drelgans.
We hear an emergency call from a research colony which was attacked by a warship. The colonists, dying of radiation, programmed labor droids for security. The matter transmitter in the title was at the colony and it needs to be rescued.
REQUIRES: 40K, ATARI 400/800, BASIC cartridge, Paddles or Joystick.
Joystick or paddles required!
Specifically, the little white thing that kind of looks like the ship from Demon Attack is your gun. You can move it left or right just like the ship from Demon Attack, and every once in a while droids appear that you need to shoot down exactly like Dem–, like, hm, the UFO from Space Invaders, except the droid will stop in place somewhere and if you wait to long it will come down and nab you.
I mapped the left and right joystick controls to my left and right keyboard arrows, and “shoot” to my up arrow. The droids can appear slow (at the easy difficulty level, 1) or fast (and the hard level, 5). I picked 3.
The keyboard controls otherwise are
G go
T take
D drop
U use
O off
L look
I inventory
? display all valid commands
where if you see, let’s say, goggles, you press T for Take, and then type the word GOGGLES and then hit ENTER. This is all while also being ready to spring with the joystick. My keyboard configuration was fine but this seems like it’d be obnoxious to keep switching from joystick to keyboard and back.
This is most comparable to the middle sections of Apventure to Atlantis, which had randomly generated palaces where occasionally you’d wander in a room and see a critter you need to shoot. The shooting was always from a single point on the bottom of the screen and you changed your angle to aim. Here the shooting being just left-right scrolling feels a little better (in a gameplay sense, not a verisimilitude sense) but that’s good because droids can pop up at any time.
It also copies the Altantis schtick of objects being cryptic blobs of pixels that are hard to decipher, and you need to LOOK CORNER or the like to get an idea what the object is.
If a droid gets you, they don’t kill you outright, but rather carry you to the opening room. (Although “each attack may cause some internal damage” so eventually you will get hurt.) The terrible part about this is that your objects get left behind, and your gun is considered one of those objects, so you no longer have the joystick-or-paddle-controlled ship on the bottom to shoot at droids. This is especially bad if the gun ends up somewhere you can’t get to.
For example, in one of my playthroughs, I went north twice, then went back south once and fell down a gravshaft. The gravshaft teleports you somewhere random. However, it isn’t always the same random, so if you fall and lose your gun after, and then try to go back to get it, you might have no plausible route to retrieve it. You can make the game unwinnable by doing this.
The main key for making any progress I discovered early is the goggles which always appear in the first room. You want to USE GOGGLES to look for traps and secret exits in every single location. For example, you can see the gravshafts with them on, and if you leave a gravshaft room while wearing goggles, you won’t fall in.
I’ve found, so far, multiple crystals (blue, black, white) in addition to the goggles, but I don’t know how they work. It doesn’t help that there’s a four item inventory limit and the gun and goggles are essentially required at all times.
The game also gives you a “translator”. It makes the famous song from Close Encounters of the Third Kind, and where I first tested it, it opened a new secret door. I have no idea why a translator would open a secret door, especially since I’m supposed to be at a “human” base?
Oh, did I mention some of the drones are invisible? They will block exits if you try to leave so the only way I found one was being told there was a sentry, but since I couldn’t see one, I tried shooting randomly in a bunch of places before succumbing to getting scooped up again back to the start.
Anyway, the general summary is: I’m feeling the burn, but I’ll keep persisting for now. Ernst Krogtoft, who has terrific photos of a real copy, was also deeply puzzled: “I played for about an hour and I never really knew what I was doing or what was going on.”
I do get the sense this is structured enough like Atlantis that I should eventually have a breakthrough. If nothing else, having a save state feature (which the original does not have) might “fix” the game to be playable since I can undo unfortunate trap accidents.
In the 90s and beyond, Paul Rinde would go legit, eventually having a large Mobygames entry with titles like “Senior Vice President” at companies like Wizardworks, GT Interactive, and Infogrames, eventually becoming CEO of Destineer. (Wizardworks admittedly launched with dropping a bunch of user-made DOOM levels on a CD-ROM, but at least they started making collections with regular companies, like this 9-pack of the SSI Gold Box games.)
In the 80s, though, he founded Keypunch Software which cranked out multi-packs of software. Sometimes they grabbed from the public domain, sometimes they did not. It was possible to send games to them — John Romero’s game Subnodule ended up being done that way — but otherwise it seems like they scavenged whatever they could get, meaning authors did not necessarily get paid.
From Mobygames. “Sub Hunt” is actually Subnodule (and it even says so when you load the game).
When they published Cavern of Riches in their Adventure Pak — without permission, as the author confirmed — they broke the game with a bug when trying to add color, making it impossible for the score in the game to go up, thus making it impossible to win.
Today’s Pak of Interest is Space Games, a set of four games for DOS. It includes versions of Star Trek, Lunar Lander and Space Invaders. Space Invaders is quite funky, allowing up-and-down control and starting your ship at the top of the screen.
The fourth game was a public domain game from 1982, Alien.
From an old eBay auction.
This is one of those cases where I think a lot of people were exposed to the game through the Keypunch version, as it doesn’t seem to have been widely known otherwise. It lists a date in March 1982, but as when the code was started, not finished? Also there’s what was a very standard IBM title screen at the time.
This look hits a nostalgia chord for me.
There was in fact a whole raft of IBM freeware games that used the format, sometimes with the mysterious tagline after (MAV-5-5-K in Alien’s case). The programs LCM and ZAP-IT were also by MAV-5-5-K. SERPENT was by USR-5-5-K. ATTACK was by MOD-5-5-M. That post I just linked includes a comment by Glenn Snow, who ran a BBS starting in 1985 called The Snow’s Dorm which collected many of these games. He explains:
… I ran the BBS well before (1985) it became connected to the Internet. I started The Snow’s Dorm using the RBBS “BBS-in-a-box” setup, which came on a CD-ROM, and included hundreds of free or shareware files which could be offered for download to the BBS’s users. … As for the games you are talking about, they were just included on the original RBBS CD-ROM, and my BBS was only one of several hundred which made those files available for download from that CD-ROM. I have no idea where the “mystery codes” you’re talking about came from or what they signify. Quite likely they were just a categorization scheme for keeping track of who wrote what. It was a common practice for members of PC user groups to include their user-group identification as a way of getting in touch with the author. (These groups were flourishing well before generalized email became a reality, so you couldn’t just put a “john-doe@system.com” style email address as a contact point.)
I feel like someone, somewhere, has to know about what the cryptic XXX-5-5-Z format is all about, but let’s move on for now with the actual game.
The premise of the game puts you as the sole survivor of a luxury liner caught in a storm near a planet. You manage to make a landing, but the planet itself suffered from the storm and everyone human is dead. Your goal is to find a spaceship and escape.
The above minimal directions, combined with the fact that it wasn’t understanding any other commands I was throwing at it, led me to think this was another pure-explore game rather like Chaffee’s Quest. That’s close to correct: it is possible to get nearly to the end of the game without anything other than compass directions.
The main thing I missed is trying out LOOK, or rather —
The game understands upper-case only. If the game doesn’t understand a command — any command — it just repeats the room description. Because the game starts out on the plain shown above, I was trying “s” “e” “w” for a while and getting the same plain description, and this seemed “normal” — it made it appear like the first puzzle was getting to some kind of structure. In the middle of this I tested “l” and also had identical behavior.
A storm approaches, and if you take too long to get indoors, you die.
I had thus put “look” out of my mind (or rather as the game wants, LOOK) since it is very standard for the LOOK command to repeat the room description. I found out much later — after I had gotten to essentially the end of the game — that LOOK is more like a general “search” command and it will give unique information at particular cases. When I realized I should use all caps for directions I never bothered to re-test if LOOK did something different than normal. Mind you, normally LOOK says
Danger is everywhere…watch out
so I might have fallen into the same issue even without my parser-comprehension mishap.
For example, LOOK reveals there’s a blaster here, but we’ll get back to that later! I dutifully tried to map square by square, with lots of death along the way. On the outside, there’s death because you lingered too many turns. On the inside — once you arrive at a cave — there’s death by pretty much anything.
A sampling:
The goal is to pass through the cave through a narrow path (narrow because most any deviation is death) before finally arriving at an abandoned base:
The map is somewhat broken in this section:
The goal, at least as planned by the author, is to get to the end of the rail line which has a tram, then ENTER TRAM. (You find out the command ENTER TRAM from using LOOK, which I still didn’t think to try yet.) However, there’s another room that weirdly enough drops you in a tram no matter which direction you can go. I don’t think I can blame this bug on Keypunch.
The tram destinations here either lead to a.) a blocked-off place you can’t go to b.) back to two possible rooms in the tram area c.) back to the bugged room so you have to hop right back on the tram after getting off or d.) to a waiting space pad where you need an security code.
Stumped about the code, I combed back over the map to check if I missed anything, or if there were any clever messages along the route I took that could be re-interpreted as a security code. I finally go round to trying LOOK again, and, whoops:
One of the other rooms in the tram area gives the security code straight out, no real puzzle-solving required:
I even tried LOOK SCREEN and USE PANEL and so forth when I got to this room (prior to re-discovering simple LOOK) just because it seemed special.
With the code it is then easy to hop in a ship and leave:
I did say this wasn’t pure exploration though! With LOOK you can find that skeleton early on is holding a blaster, then GET BLASTER. Then, in addition to the cave, there’s a metal door you can blast into:
While inside you can also find a skeleton with a knife, and use the knife to try and fail to fight off a slug-thing:
The whole section turns out to be a dead-end though, because there’s a sealed door. You can get in through the other way. The door-blasting segment is purely for color.
I think the author-intended order to things was: the player finds the blaster early, and they bypass the cave at first and look for the “front entrance” which they blast open. Then they have the fake-out encounter with the knife — this might be the first alien the player meets — where the player hasn’t realized yet there’s a huge amount of ways to die and you’re never going to defeat them all and there’s a path that avoids all of them. Stumped, the player turns to the back entrance in the cave, and saunters through danger to the tram section, discovering along the way they could loop back to the knife area from the back.
Despite the moments of action I still think this game is safely sortable with the pure-exploration crowd. I’d rank the ones we’ve seen as roughly
Explore < Quest < Dante's Inferno < Alien < Gold
which weirdly seems kind of high. I might have even enjoyed it more than Gold? I suppose I was willing to be good-natured about the thing knowing this was likely some high school student uploading to a BBS and only ended up in a commercial package by circumstance (all the other games listed had some kind of commercialization). Also, the deaths were always different and amusing and the weird bugs and spelling mistakes just gave it the “public domain charm” for me as opposed to annoyance.
One of the exits just crashes the game.
I’m not going to argue with this review from The Almighty Guru which ranks the game at 7 out of 50. But I still … enjoyed? … it? I guess the game accomplished what it set out to do, which seemed to be kill the player mercilessly.
I’ve got a slightly different post today, and I think if you take a look at the first screens of the two products (sold by totally different companies, with totally different authors mentioned) you’ll see what I’m talking about:
First, Adventure-65 for the Ohio Scientific series of computers:
Second, just “Adventure” for VIC-20:
Yes, it is exactly the same game. The first is from Technical Products Company in Florida, with the proprietor Daniel B. Caton (not necessarily the author, but he’s the only name I’ve seen associated with the company products). They have ads listed back to 1978 and had the unusual specialty of the Forth language, as Caton was an astronomer; Forth was adopted in 1976 by the International Astronomical Union and used all the way through the 80s as “the astronomer’s programming language”.
The second is from Computermat, and seems to have first been advertised in a winter 1982 magazine for VIC-20 while eventually also showing up for C64. In all the cases the game (paired with “Caves of Silver”) is listed as being by Mark William.
Not only are these these same game, but these are the exact game as an Apple II game we’ve played before: ADV.CAVES.
The game was extremely short and had not much to remember it by, other than
a.) There was a kitten that could be used to scare a dragon. Not only that, but the dragon moved elsewhere so the kitten had to be kept around in case it got used to solve the puzzle again for the dragon adjustment.
b.) There was a pit with a fairly low chance of being able to CLIMB out. There was no reason to go into the pit except it gives points (every new room gives points). I originally thought a 100 point run required being stuck in the pit forever, but I finally found repeated iterations of CLIMB would eventually work to escape.
OK, there is one difference — the VIC-20 version has an ending. With the other versions you’re supposed to just be satisfied when you reach 100 out of 100.
My guess is that ADV.CAVES was the original game, and simply released as public domain. It’s hard to trace the path from there. If you look at one of the other mysterious Apple II compilation disks that ADV.CAVES came from, there’s source code in HORSERACE.bas…
19900 REM THIS PROGRAM WAS
19901 REM DOWNLOADED FROM
19902 REM ‘THE SOURCE’ VIA
19903 REM WALT MARCINKO’S
19905 REM “APPLE CITY”
19907 REM SOURCE #: TCD912
…which indicates this may have been someone downloading through the online service The Source (1978-1989) and grabbing all the source code they could. Of course, this pattern doesn’t apply to every single program on the disk, but it’s one possible vector.
Then, since ADV.CAVES was public domain, both William and (probably) Caton packaged it up for their respective systems. There are other sequences, like: William wrote the original game for Apple II, then packaged it for Ohio Scientific and had it sold by Caton, then packaged it for VIC-20 and C64 and had it sold but Computermat. I find this scenario unlikely; while some people transitioned between computers this is an unlikely set.
Certainly repackaging public domain work was hardly new, and we’ve even seen an author way back in 1979 calling people out on the practice. I’m consequently still leaving ADV.CAVES at 1980, and putting the other games at 1980 (for OSI, just a guess based on when the company was active) and 1982 (for VIC-20) respectively.
(I’m also tagging this to link with the old ADV.CAVES post, so for the benefit of someone reading in sequence: you might want to know this post was written 5 years after the other one.)
None of this quite matches the cheekiness of Keypunch, which cheerfully packaged loads of software without permission (we have confirmation from one author of this). We’ll next be turning our attention next to another public domain game — this time for DOS — that received similar treatment.
(In the video above I’ve linked a demonstration of what using The Source was like, from a 1983 video.)
It also is the last game listed with the CASA Solution Archive from the pair of Leroy C. Smith and Paul Austin. I’d love to thus dump a lot more historical knowledge, but alas, I haven’t turned up much since the letter to the editor last time. I did find out that PAL Creations had an Australian distributor, as seen in this ad from the Australian version of the Rainbow, March 1986:
I found that Jarb Software in Florida (later California) distributed a version of Eno, but only Eno (suggesting that it was PAL’s first adventure). Jarb Software was otherwise an early contributor to the magazine The Rainbow (see September 1981) and they published something in 1983 called The Adventure Creator (not by PAL).
I found that all the Dragon Data games (that is, Eno, Stalag, and this one) were later published by the company Eurohard, translated into Spanish.
I also checked the address PAL used and it is residential San Diego, not in a business location, but other than that, the games are all we have to work from. I don’t know how a relatively obscure company got distribution by Australia, the UK, and Spain.
From World of Dragon.
So let’s turn to Mansion of Doom, which at least makes a solid end to the “trilogy”. We are here to rescue a princess from a vampire.
Just like the other Smith/Austin jams, this game gives a specific list of verbs and mostly sticks to it. (The “mostly” turns out to be a problem, but we’ll get to that.)
This displays whenever you type a not-understood verb.
The style is a bit different here. Rather than many objects jammed into a small set of locations, the map is much more spread out, with some rooms serving as mere connective tissue.
There’s no exit here to go back to town. This becomes a problem.
However, it works out because the game sticks to a rigorous map: three floors aboveground plus an attic, and two floors belowground, where each floor is a 5 by 3 grid with stairs in the middle. The sense you are filling in a map lends a sense of continuity many adventures of this era lack, and the game is able to add anticipation with “gaps” also do a couple “fake-out” moments where it looks like an exit exists which doesn’t work. For example, on the map below showing the first floor, the “rancid room” has a stuck door on the east wall which simply won’t open; you’re supposed to get to the southeast room via passing a snake from the north instead.
The snake we’ll need to pass by later, for reference:
Early on you find a lit candle…
…but when you get to the stairs, the candle gets blown out. There are dark rooms (mostly downstairs, one upstairs in a secret room) and they get lit by a different method, so the “light source” idea is a fake out.
You need to go down a floor to find a power switch. Normally you’d PULL SWITCH or the like but keep in mind the extreme parser limits (GET, DROP, LOOK, READ, QUIT, HELP, OPEN, CLOSE, SHOOT, EXAMINE, INVENTORY). You need to CLOSE SWITCH.
As far as what’s with the funky text there (that’s “lights”), this reflects one of the other game’s canny moves. The game is filled with cryptogram-text which turns out to be “Transylvanian”. For example, here’s a map from the first floor; the text says “sub basement”:
I originally thought the game might be going full cryptogram-solving, but I was able to put together two pieces of information, one from the second floor and one from the third floor.
On the west side of the second floor is a bookcase. LOOK BOOKCASE reveals a math text, but also a secret passage behind the bookcase, leading to a room with a “large mallet”.
To actually read you need to OPEN TEXT first before typing READ TEXT, which reveals Z=0.
On the southeast side of the third floor, there is another bookcase with an almanac and a dictionary. The almanac gives a time for sunset (7:39 PM) which I assume is a time limit, although I never hit it in my gameplay. (Time passes 2 minutes per turn, and there’s a watch on the second floor if you need to keep track.) The dictionary is more complicated, and gives the mappings from A through Z for a full set of 26 symbols.
The math text clue confirms the end symbol is Z.
Now you can start translating cryptograms. For example, just to the north there’s a desk with a “note”.
This is oddly the one that gave me the most trouble, because it starts with a nonsense word (“yorel”) and then there’s two slash symbols (“/”) not in the original code (“w” is the slash the other direction, “\”). The “/” ends up being a space, so the text reads
YOREL CONFINEMENT MAGIC
This is for a moment later (which doesn’t have to happen if you’re already protected!) where Dracula can scoop you up and drop you in confinement, and the word YOREL helps you escape.
Other important messages: on a cross you can find “this plus garlic equals safety”; the garlic is just laying around on the second floor, and indeed if you are carrying both items the vampire won’t snag you, making YOREL not needed.
A sign near where you find the watch says “time backwards”. What this is referring to is a magic potion elsewhere that is marked as “EMIT”, and if you drop it time will reverse back to noon. This gives you extra turns in case you’re short and sunset is approaching (again, I ended up not having to use this in my final run; the main time save is that information given doesn’t change, so you don’t have to re-locate the clue messages on a repeat playthrough).
Consider, now, the first basement level…
…and note the room marked with a “werewolf” and “key”. When you first enter the room it seems like there’s an exit going down, and if you refer back to the map (which talks about the sub-basement, that is, the floor below this one) that makes it seems like all you need to do to reach the goal is to get by the werewolf.
The result of trying to bypass the werewolf, or take the key.
There’s a silver bullet that seemed promising — it worked in Transylvania, anyway — but in Transylvania, where I started with a firearm and had trouble finding a bullet, here the game does the reverse. I scoured everywhere for a gun, and the only reason I didn’t resort to weird and improbable actions is that the game only understands a handful of verbs. I finally gave up and loaded the binary file, to see if there was any plaintext that would help, and my eye caught one about the attic.
I hadn’t mucked with the attic much, since OPEN CHEST gives the response the chest is locked, so I figured I just needed to wait until I obtained the key, which meant finding the gun before messing with the chest. However, if you try to GET CHEST a trapdoor opens up.
I’m not sure how to feel about this. It’s certainly an arbitrary action, but it isn’t an improbable one, and it isn’t like sudden trapdoors aren’t thematic.
I tried E in the mirror room and made it to a “gun room” which had the long-needed gun. The game loaded it up automatically, once I picked up a bullet.
I checked source code later and the down-exit disappearance is quite clearly intentional; I suppose the author intended it as a mirage. I could at least get the key back up to the chest — where opening the chest does not open the trapdoor, weird — and found a sack of baking soda.
The translation element added just the right amount of friction to make the action of finding a text substantial.
Now I was seriously stumped, although once I confirmed the down-exit-poof was truly a fake-out, I knew the snake had to be the way to go. Elsewhere there was a mongoose, and I just needed to get one to the other as it kept evading my attempts to take it.
There’s a cage elsewhere and I thought holding it or dropping it would help, but no dice, I was getting the same “RUNS AWAY FROM YOU” message. There’s a rat nearby (which I thought I could use to attract the mongoose) but it eluded my efforts too, so I went even further down the food chain and tried to grab some worms (the game just doesn’t let you).
Tried to take these maggots over to some frozen meat in another room to see if I could get some meat chunks somehow, but you can’t take the maggots.
Finally — finally — I came across the fact the cage was not open when I dropped it:
This is proof a parser can have bad moments even when the verblist is restricted. There should have been some transparency as to the reason why the cage was failing; it’s not obvious at all to visualize with the “RUNS” message that the cage being closed is the issue.
The mongoose quickly took care of the snake:
The sack of baking soda takes care of the next obstacle:
A brief moment of “oh, the game wants it open to be able to work”.
With acid defeated, I looped back to where I knew there were a hammer and stake (in rooms right next to each other), clung onto my cross and garlic still, and went for the finale:
SLAY is not a verb given on the list, but another cryptic message says TO SLAY VAMPIRE SAY IT so I guessed what the game was getting at.
This is probably the worst lack-of-information response I’ve seen in a while. Why did the staking fail? I realized way back at where the math text was I had left a “mallet” which is sort of like a hammer, so I put that in my inventory and tried it instead.
I realized, after the fact, that the hammer is described as 10 ounces and mallet is described as 15 pounds. So clearly, the hammer wasn’t heavy enough, and you’re just weakly poking at the vampire with just the mere hammer and stake. Ugh.
If you try to get the princess before killing the vampire she turns to ash.
With princess in tow, I went out to the front door and … nothing happened. I assumed there was just some sort of automatic “travel home” sequence — how’d our main character get here otherwise? Deeply puzzled, I had to plunge into the source code, and found that in the “mirror maze” area, one of the exits mysteriously takes you back to the Town Square. Not exactly where I’d be looking for the path home!
One last trick to point out is that there are two women you can rescue. Remember me not needing to use YOREL? You get this scene if you do use it:
You can cart this woman with you, but she’s not the princess.
THE TOWNSPEOPLE SAY ‘THAT IS NOT PRINCESS MARLENA!! WHERE IS SHE? GO BACK AND SAVE HER!!!
Yes, that’s right. Our princess is in another castlemansion the same mansion, but a different part.
OK, fine: I appreciate the various fake-out moments were a general theme (wrong exit down to the vampire, wrong hammer, wrong victim) so it made the story feel more dense than normal. As whole this held up much better than I’d expect from such absolutely minimal parts. Mansion of Doom built good atmosphere with just single-word room descriptions.
Also a random quicksand trap you can’t escape, but at least I didn’t waste much time trying.
So I’d normally sign off with some sadness we will not see any more of the Smith/Austin games (like Stone of Rokan), as they’ve had heavy constraints yet managed to go in creative directions. However, I said the trilogy we’ve played (Eno, Stalag, Mansion of Doom) was all that was listed at CASA Solution Archive. They occasionally miss things!
Remember that Australian distributor, Computer Hut Software? Somehow, one of the 1983 adventure games from PAL Creations, Space Escape, has survived to us through them. So we’ll be visiting PAL Creations at least one more time when we reach the halcyon halls of 1983.
I’ve finished the game. This continues directly from my previous post.
Fortunately, I was just having some bleed-over trauma from The Sands of Egypt, and the rest of the game went smoothly. (Well, except for a moment at the very end.) To continue directly, I had been misinterpreting this scroll:
:read scroll
It says,
“PHLURF” is the key to this adventure.
:say phlurf
Oops! Your magic is not too accurate.
You will have to find the key for yourself!
I read this as “the magic word didn’t work, you need to revise what you said, or find some item to enhance your capabilities”. Instead, the way to read this is “yes, you cast the spell, but it didn’t turn out accurately, and it made a key somewhere which you need to find”. That is, a key appears in a different place and you just need to find it, so solving the puzzle just involves via walking back to the crocodile moat:
You are on a grassy knoll south of a huge castle. Between you and the castle is a moat full of crocodiles. A tree now spans the moat creating a bridge. A path goes east.
There is a gold key here.
I admit I did not solve the puzzle, but just was wandering in case I missed something, and had to puzzle a bit why the gold key was sitting there.
The gold key goes to the chest I’d been toting around, so another puzzle solved right there:
:unlock chest
A wizard’s staff falls out onto the floor!
Suddenly a voice says,
“This can free anything from the tightest of situations.”
This immediately suggested the stuck ruby.
You are in the Priest’s chamber. There are many sacred objects and prayer books here. There is a curtain to the south.
Imbedded in a quartz slab is a sparkling ruby!
:wave staff
The quartz disappears and the ruby falls to the ground.
Which of course immediately suggested the statue with the missing ruby.
:insert ruby
You feel the floor give way beneath your feet as you fall down into a dark and gloomy dungeon. The ruby bounces off your head and lands on the floor beside you.
You are in a dark and gloomy dungeon. A horrifying skeleton is chained to the wall and is looking down at you with haunting eyes. There is a hole in the ceiling to the north and some kind of equipment to the west.
There is a ruby here.
This leads to a new small area.
The only purpose down there, other than the authors describing a grim torture room (very teenager vibes) is to find a pool of oil, where you can FILL FLASK to get a flask of oil. To get out, you climb a latter, and unlatch the hatch that leads to the weapons room from the other side.
The oil goes to the rusted door, leading to some royal chambers:
This room is the holding place for the Royal Crown Jewels. The plentiful supply of gold, silver and precious jewels must be worth millions! There are rooms to the west and south and an open gate to the east.
There is a royal crown here.
:w
You have entered the King’s chambers. His closet contains only the most elegant of clothes. His beautiful brass bed is covered with white silk sheets. You can see the setting sun through the huge bay window. The room exits to the east.
All you need is the royal crown. The game doesn’t let you take the treasure or even touch it, really. You’re not here for treasure, you’re just exploring and passing through. (I love how explicitly and vividly the treasure is mentioned in the room description only to have it be utterly unimportant.)
The crown goes back to the cathedral with the gold ring. This is the only slightly unintuitive puzzle but given the gold ring is what immediately occurred to me, that’s only slightly.
:drop crown
The crown glows white hot as the altar suddenly begins to rise towards the hole in the ceiling. When the platform completes its ascent, you find yourself in a room high above the cathedral.
You are in a room resembling an attic. You are still standing on the altar, but your surroundings have changed greatly. Dust is everywhere, and the room has a smell of mildew. Light is coming in from the east.
Just to the east of here is a room with a window overlooking a village, and a rug that seems to be moving.
You are looking out of a large French window. You can see a small village in the distance. Under your feet is an Oriental rug that seems to be vibrating. The room goes in to the west.
And here I was stuck for the second time for a long period. Clearly I was meant to use the rug as a flying carpet, but my failure to SIT RUG and MOVE RUG and TAKE RUG and so forth led me to be confused.
:examine rug
I don’t understand.
:use rug
I don’t understand.
:fly rug
I don’t understand.
The problem is, again, this is a Sands of Egypt-style parser — almost every failure to do something is mapped to “I don’t understand”, and not to any clarity why something didn’t work. A good parser is about handling and re-directing failure easily and transparently; if the player types something “wrong” but their situation is clarified it can stall them for five seconds, if they type something “wrong” with no feedback they might be struggling for 10 minutes.
The winning solution was to just type FLY on its own.
:fly
You almost lose your balance as the rug takes off and glides through the window. The rug takes you over an immense field to the town, where the people eye you very suspiciously.
And that’s it! This game really emphasized the points I made recently about how a less robust parser can still work as long as the game sticks with very simple puzzles. The only problem is it is still possible to get stuck on a simple puzzle (in this game, one which involves walking into the right room) and then the player is free to type all sorts of absurdities in an attempt to get forward and then the parser is back to being miserable again. Still, I think all the games from Crandell and Peterson have fallen on the safe side of the valley. That is, in the development of ambitious adventure authors, a valley metaphor is appropriate:
(Yes, I could have made this look nice in Figma, but Microsoft Paint was calling to me.)
Mind you, some authors have played enough adventures that they start directly in the deep hurting section, and Infocom pretty much had their parser mastered straight out of the gate. What I’d really like to see is an author progressing all the way from the left side to the right side, but we’re just not deep enough into adventure history for that to happen yet.
Medieval Castle marks the last of a trilogy by De Crandell and Joe Peterson, who wrote an “Explore” system for the TRS-80 as a system for their games. They were private rather than distributed, and only placed on the Internet much later. (See: Enchanted Cave, Lost Mine.)
“Medieval Castle” was the final in the “trilogy” of our late-nite teenage adventure creativity. This one forced us to add even more features to the language, and I believe it really became “sophisticated” with this one. Castle is perhaps the most colorful of the adventures, but not as mystical somehow as Enchanted Cave. De and I didn’t make any more games after this one.
This is not the last of the Explore system games — there’s one more based on a raunchy 80s comedy movie — but we’ll get to that game a different time.
Continuing the pattern of “teenaged prodigies who wrote adventures and went on to fame”, this is Joe Peterson from a group shot at the Southwest Research Institute, where he was manager of mission operations, and was in charge of the New Horizons spacecraft that went to Pluto.
Rather than screenshots I’m going to do text clips, but just a reminder what the system looks like, first:
I’m still paranoid the web page this comes from will disappear some day, although there is technically an Android port so the game is preserved. We have the source code of the Explore system proper but not the script for any of the actual games.
Just like the other two games, there’s no given plot. Here you encounter an Enchanted Castle, and are supposed to pass through all the way until you get to the finish. There’s no particular reason we’d go into the castle in the first place, so the plot is just “have an adventure”.
You are standing at the edge of a cliff. Far off in the distance you see a large castle surrounded by a moat and engulfed in an ominous fog. About a mile below you is a winding river. There is a dirt path to the north.
:n
You are at the base of a tree. There seems to be something caught in the top. A dirt path goes south.
:u
You are standing on a branch near the top of the tree.
There is a hang glider here.
Unlike the other two games this was not a one-shot deal. I am in fact stuck early in a way that is uncomfortably reminiscent of the game I just played, The Sands of Egypt. I am concerned becoming “sophisticated” is code for “tried to do some complex puzzles in a parser that doesn’t support it.”
At least the start is simple enough. You can grab the glider mentioned and take it back to the edge of the cliff, and JUMP, landing at a grassy knoll.
You are on a grassy knoll south of a huge castle. Between you and the castle is a moat full of crocodiles. There is a tree at the edge of the moat. A path goes east.
The east a short way leads to a woodcutter’s cabin, which has an axe, and you can take it back to the knoll and CHOP TREE in order to form a path across the crocodile moat.
:chop tree
The tree falls and forms a bridge across the moat.
:n
You are directly outside the castle. There is a large archway to the north, which serves as the main entrance. To the south is the bridge and the moat.
There is a scroll here.
The scroll is the first cryptic part of the game.
:read scroll
It says,
“PHLURF” is the key to this adventure.
:say phlurf
Oops! Your magic is not too accurate.
You will have to find the key for yourself!
Does that mean I’m “pronouncing the word” wrong? Does it only make sense in the right place? Is the thing written on the scroll really a cryptogram that changes to something else? (At the very least, I tried rot1, rot2, rot3, etc. up to rot25 with no joy.) Using it anywhere else after the first time just gets the message that nothing happens.
This opens the map a bit more, but I’m not finding much luck anywhere I prod.
You are in the main hall of the castle. You are greeted by a majestic red carpet, which extends through a low archway to the north. Sunlight reflected off the waters of the moat can be seen through a large archway to the south. You can see an immense room to the east. A spiral staircase twists up out of sight.
First off, on a branch to the east is a cathedral, with a platform having an “imbedded gold ring about the size of a crown” and a hole high on the ceiling that will no doubt later be important. To the north of that is an altar with a ruby I can’t get at.
You are in the Priest’s chamber. There are many sacred objects and prayer books here. There is a curtain to the south.
Imbedded in a quartz slab is a sparkling ruby!
:get ruby
I see no way to pick up the ruby.
:chop ruby
I don’t understand.
:chop slab
I don’t understand.
:rub slab
I don’t understand.
:push slab
I don’t understand.
Going back to the castle entrance and heading north instead, you pass by a statue with a missing ruby eye (clear where the ruby is going after you get it, at least) and then a rusty door I have seen borrowed from many games already.
:n
You are in a low north/south hallway between two arches. There is a small statue resting on a pedestal on the right side of the hall. The statue is missing one of its ruby eyes!
:n
This is a magnificent room with a ceiling twenty feet high. At one end sits a beautiful throne made of solid gold. The red carpet ends at the foot of the throne. There is a doorway to the west. To the south is a low archway.
The steel bar door to the west is so rusty it won’t budge.
However, unlike those games, I haven’t been able to beat the rust. Upstairs there is a “wizard’s laboratory” with a “flask” and a “bottle of liquid” but neither is helpful based on any command I’ve tried (OIL DOOR, POUR LIQUID, THROW FLASK, etc.) I know the bottle is toxic because it kills you if you drink it but past that I’m baffled.
Showing off a little bit of upstairs, but there isn’t much to do yet:
You are in the wizard’s quarters. There is a strange looking pointed hat on a night stand beside an unmade bed. There is a curtain to the west, and the room exits to the north.
There is a chest here.
:s
This must be the wizard’s laboratory, for there are many bottles filled with strange colored liquids and powders.
There is a small tunnel to the south and a curtain to the east.
:w
You are in the weapons room. There are all kinds of swords, daggers, shields, and crossbows resting against the walls.
There is a grate in the floor, but the latch is on the other side. A tunnel goes north.
I’d normally think the latch is a puzzle clearly solvable later once we actually reach the other side, but I’m stumped on all other avenues so maybe you’re supposed to reach the latch somehow. If there’s a way to express this in the parser I haven’t figure it out.
I’d say someone is welcome to peek at a walkthrough if I’m not missing an obvious verb, but this has no walkthroughs on the Internet. So anyone who wants to help will need to play this for themselves, which you can do online by using the link here. I’m hoping this is a momentary hiccup and the gameplay will return to normal after (meaning I’ll finish by my next post) but it may be the authors decided they needed to crank up the difficulty for their finale, or at least crank up the level of obscurity of commands required to interact with the game.
ADD: Managed to figure out the issue (in the comments if you don’t want to wait). Crisis averted, however.
Renga in Blue 