Archive for the ‘ferret’ Tag

Ferret (1982)   33 comments

For today’s selection we have a colossally large game which has been worked on at a steady clip for 40 years, yet it appears almost nobody has heard of it or played it. While Ferret is a 1982 game, it has only been finishable by the general public as of August of this year.

Data General Nova 2, from a Bonhams auction.

Digital Equipment Corporation, of PDP-10 fame (PDP being the Zork mainframe of choice) had some engineers who were frustrated with management and split off to form their own corporation in 1968, Data General.

Data General is mostly known for Nova series of computers (which then helped inspired Xerox with their Alto, which then went on to help inspire Apple with their Lisa). While like any respectable mini-computer it was intended for business, and like any respectable mini-computer it was used for games, or at least one game. (See, for comparison, the ICL corporation and their game Quest.)

ferret. v.i. rummage, search, (around, for, about); search out (secrets).

Data General, while being founded in the US, had a UK Systems Division. In 1982 a small group of people from the Division (whose names we do not know) made a game called Ferret in the language PL/I. PL/I can be best described as an attempt to “fix” FORTRAN and make it appropriate for both scientific coders and business coders, essentially mashing together the FORTRAN and COBOL crowds. Example: original FORTRAN uses matrices in columns, like vectors, whereas for business applications you generally want rows, one row being one entry in a database. PL/I allows “array cross-sections” which essentially let you have it both ways; you can make SUM(B,(*,3)) or SUM(B,(3,*)) to refer quickly to either a row or column. (Source.)

To ZORK players:

Yet again you have the opportunity to experience sleepless nights spent trying to solve parts of a puzzle, because this game is very much like ZORK (only better). You can ignore the rest of this [information] as the game is based on the ZORK philosophy (there are some exceptions and some extras that you will find as you play the game).

Being on a mini-computer meant that the game was essentially only playable by a small number of people in the 1980s, and once the mini-computers were shut down the game stopped being accessible entirely. Just like Quest, there was some interest in porting the game, but unlike that game, it did not go through a whole set of mini-steps: it went directly to a PL/I interpreter for DOS in 2009, runnable under Windows console.

09/09/2009 8.10 Initial release under DOS.
12/10/2009 8.11 Fixes for erroneous messages relating to the lid in the Dark Room.
01/03/2011 9.00 Major extensions to rooms, puzzles, verbs etc.
15/08/2022 10.00 Final functional release with end game.

Oddly, the main package on the official website is for Windows 95. However, it uses an install procedure which triggers modern virus/trojan detectors, and I’m not even sure it is really a false positive (the game copies things into directories which were fair game in Windows 95 but considered highly protected by at least Windows 7). As of the current version of Ferret, the authors have put their own version with install elements removed, so you don’t need to worry about virus detectors; just download that version from the website if you’re having trouble. (EXTRA TIP: If you run FERRET.EXE directly the game exits immediately if you die after the final message; if you run FERRET.BAT instead it will kick you to a command prompt as intended and you can type FERRET to restart.)

Now, I did say the authors were anonymous. Despite the quite recent update, and their endorsement of the ifwiki history page about the game, they are listed as only Ferret Authors. Usually when I have an anonymous game it is because of source code being detached from context, or having REM statements scrubbed, or having the whole package under a “company name”. Here, the authors quite intentionally decided not to be named.

The description of the first room gives a clue to your circumstances: “You appear to be lying in an exceedingly small dark room and you feel as if you have been sleeping for ages. You are very drowsy, your body appears to be quite heavy and feels partially numbed. There don’t appear to be any exits from this room”. You have been automatically resuscitated and find yourself in a post-apocalyptic world where your mission is to explore your new environment and try to discover if there are any other survivors.

I’m still unclear as to the objective. I can say with near-certainty that the game is very, very, long, potentially in Warp territory. From the HELP command of the game, it has:

390 verbs,
3449 objects and there are currently
1785 rooms defined (NB. not all of these are accessible).

Since I managed to do well with Warp during IFComp (2022 still ongoing!) I figured perhaps I could do the same here.

Dark Room
You appear to be lying in an exceedingly small dark room and you feel as if you have been sleeping for ages. You are very drowsy, your body appears to be quite heavy and feels partially numbed. There don’t appear to be any exits from this room.
-> stand
As you attempt to stand up, the lid of your room bounces up due to the impact of your head.
-> kick roof
Owwww!
-> feel lid
Touching that has no effect.
-> feel floor
Touching that has no effect.
-> feel wall
Hmmm…. It’s got a rather nice feel to it.
-> yell
Aaaaaarrrrgghhhhhhhhhh!
-> jump
Jumping like that all over the place only gives you sore feet.
-> i
You aren’t carrying anything.
-> hit lid
With what?
-> kick lid
Owwww!

The opening here actually stumped me for a good long while, and I needed to break out my verb list right away and start checking. Fortunately the parser is good, at least so far (while the game kind-of dates to 2022, this is a direct port of original PL/I source as opposed to the result of remakes, so I expect it to be fairly close).

That’s a lot of orange. There are a few that might be just jokes and some that the game is counting as nouns instead of verbs (SWING: “What would you like to do with that?”) this is still one of the most lit-up lists we’ve had in the entire Project.

SHOW, interestingly enough, states “Show exits mode is enabled.” AUDIT turns on making a transcript of play, and MAKE does the same thing but just with your inputs; the points is to make a “macro file” that can be used to play through a particular section by essentially cutting-and-pasting commands. (This is similar to macros in Warp, but a little more user-convenient.)

Then there’s TEST, and I’ve never seen anything like it before. It has the player run every verb on a single object. A sampling of TEST being applied to the “lid” at the start:

CARRY LID
That doesn’t appear to be possible.
RUN LID
What are you, a computer operator?
GET UP LID
Such notions indicate that you have the brain of a newt.
KNOCK ON LID
Nothing much happens.
IN LID
That disney make much sense to me.
OUT LID
That doesn’t make much sense to me.
UNLOA LID
I don’t think you can load that, let alone unload it.

I guess the verb list isn’t supposed to be that much a mystery. The missing “D” for “UNLOAD” is because the game uses only the first five characters of each word. The Infocom standard at this time was six so this isn’t that unusual.

Moving on with the game itself:

Dark Room
You appear to be lying in an exceedingly small dark room and you feel as if you have been sleeping for ages. You are very drowsy, your body appears to be quite heavy and feels partially numbed. There don’t appear to be any exits from this room.
-> PUSH LID
There is an ominous creaking sound followed by a clunk. Light encircles your body temporarily blinding you.
Twilight Room
Your eyes appear to have adjusted to the light. Beyond your shell-like cover you can see a number of machines, dotted with switches and readouts.
-> LIFT LID
There is a loud piercing creaking sound, the world appears to spin and you tumble unceremoniously to the floor. The container you were in clangs shut.
Resuscitation Chamber
This room contains a number of box-like machines. There is a door to the west. To the left of a display are three illuminated buttons, one red, one orange, one green. In the centre of the room, atop a metal plinth is a large chest. The lid of the chest is closed. Fixed to the side of the chest is a brass plaque.
Exits: –E- ——– —
There is a large box here
-> score
Phase 1 (Awakening)
Mode: Normal
You have scored 5 (out of 1670) points in 54 moves.
Rooms visited: 4. Rank achieved: Dumbo.

Yes, I turned on the show exits mode. I know what I’m like.

Reading the plaque:

There’s a Facebook group for the game with no members as of this writing except for the Ferret authors (and myself). It has been on all the various sites (here’s an announcement post on intfiction, here’s an entry at CASA) but the only glimmer of interest I’ve found otherwise is a post by past Parsercomp entrant Jonathan asking about what people knew about the game, where the only response was the Ferret authors explaining they originally thought of potentially charging money for the game, but that “the money-making boat sailed.” The Ferret authors also explained that the “Adrian” who supposedly finished “Phase 1” by “5-2-2016” (according to the main web page) was familiar with the game from back in the Data General days.

While I’ve gotten a bit farther, I’ll start writing about the post-apocalypse in depth next time.

-> PUSH RED
The door slides into the west wall with a hiss of escaping air.
-> W
You have entered a very odorous room. Your head is starting to spin.
Your head has unscrewed from your body and is bouncing around on the floor.
You’ve bought the big one.

(Part 2 on Ferret is now posted.)

(Part 3 on Ferret is also now posted.)

(At 10 parts now and counting. You are best off using this link which will read everything in chronological order.)

Posted October 6, 2022 by Jason Dyer in Interactive Fiction, Video Games

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Ferret: This Building Has a Grade 5 Security Rating   15 comments

(Continued from Part 1)

While this game positions itself explicitly in the gameplay realm of Zork, mainframe Zork only had a smattering of traditional plot, a sort of after-the-fact info-dump at the very end. Ferret has plot from the very start, interesting moments of world-building, and an overarching mystery.

Inside a Data General Nova 1200 from this video.

After pushing open the lid to the “Twilight Room” you awaken in, you find a two-room area, with a Resuscitation Chamber next to a Air Conditioning Room. The plaque indicates you entered your slumber back in 1963 and now are awake in (probably?) 2083.

Resuscitation Chamber
This room contains a number of box-like machines. There is a door to the west. To the left of a display are three illuminated buttons, one red, one orange, one green. In the centre of the room, atop a metal plinth is a large chest. The lid of the chest is closed. Fixed to the side of the chest is a brass plaque.

There is a large box here

The large box contains a crystal sphere. Breaking the crystal sphere means death.

The sphere shatters into a zillion pieces, liberating a strange misty vapour which starts doing funny things to your nervous system. You appear to be in a zero survivability situation as your brain finds the off button.
You’ve curled up your toes.

Phase 1 (Awakening)
Mode: Normal
You have scored 10 (out of 1670) points in 79 moves.
Rooms visited: 12. Rank achieved: Dense.

There’s a lot of colorfully described death in this game.

Of the buttons (red, orange, green) the red one kills you as it opens a door to the west leading to your death. What you can do instead is press the orange button, letting you pull a lever in the Air Conditioning Room, then letting you press the green button and open the door safely.

-> push green
The door slides into the west wall with a hiss of escaping air.
-> w
Chemical Store
You are in a cool dark room originally designed for the long term storage of
chemicals. Unfortunately the storage racks are nearly empty. Above the eastern
exit is a flashing sign.

There is a green bottle here
There is a brown bottle here
There are some labels here

This opens the map up a bit more:

There’s some scenery painting and a lot of items to deal with, but before I get into any of those, I have to bring up this in-joke:

Computer Room
You are in a room containing lots of useless ICL computer equipment (what other sort is there?).

(Remember, this is the UK division branch, and ICL was another minicomputer maker at the same time so was their direct competition. I recently wrote about ICL’s game Quest but didn’t finish because the port was buggy. Still hoping either the DOS or CP/M version surfaces one day.)

Back to the regular part of the game, you can pick up a gaggle of objects, some of them with different weights (that is, for example, it appears the rope ladder needs to be more or less carried alone):

a green bottle (with liquid), a brown bottle (empty), a step ladder, a coil of rope, a shovel, some steel drums, a crystal sphere, some labels, a metal hook, a slim candle, a match

To the west (at the “stairway” on the map) it is dark, so the only way to move forward is to use the match and light a candle (which has a short life) or more easily, just turn on a generator.

You are in a large square room. Near the south wall is what appears to be an electrical generator. On the side of the generator are two knobs, one red and one green.

Note that there is reason to want one room on the second floor to be dark, so this isn’t just an automatic case of turning on the lights and forgetting about it. Before describing that floor, let me mention one other obstacle:

Maintenance Room
You are in a small dusty room. There is a large steel plate set in the floor. There is a small opening near one edge of the plate. The plate is closed.

The plate is locked. The “opening” seems promising but I haven’t been able to get anything to work out — I’d theoretically like to reach in and feel for a locking mechanism on the other side? I might be visualizing it wrong and the “opening” is only very small, but this is all the description you get.

PUSH UP OPENING
There’s only one thing wrong with that sentence. The words.

(Aside: One of the norms of this game is that, similar to Cambridge games like Hezarin, examine is mostly a superfluous word. It works as a synonym for “read” in places but otherwise everything that you see is what you get. I of course am still going to keep examining everything constantly out of habit.)

Here’s the map including level 2. (Level 3 is blocked off by debris, so just turning on the lights doesn’t help get to it.)

A “filing room” has a purple folder with a piece of environmental plot.

It appears our last name is “Darkins” but the game is non-specific about a first name, probably to allow ambiguity to gender. Most of the games from this early time period had a non-specific character (AFGNCAAP: Ageless, Faceless, Gender-Neutral, Culturally-Ambiguous Adventure Person) so it’s always interesting to see at least a little snipped of character in. Modern games tend to be an all-or-nothing affair, since you can see the character, but text games allow a bit more flexibility and can be at the halfway point: some things are defined, some are left open to the player. (Or maybe: there is much more going on, and it will get revealed throughout the game. We’ll see?)

The second floor also has a photography room. This is where being dark is helpful.

Dimly-lit Room
You are in a dimly-lit room. In front of you is a wooden bench, above which is
a shelf. To your right there is a sink. Above your head is a length of frayed
string hanging from a rusty metal dome. The only exit is an imposing steel
door to the north.
Exits: N— ——– —
There are some interesting objects here:
a small beaker
which contains
some water
a plastic canister
a stained leaflet
-> read leaflet
The leaflet reads as follows –

Absolute darkness is essential
——————————
1. Use five parts water to one part developer.
2. Use ten parts water to one part fixer.

I have no doubt that the green bottle’s mysterious liquid is either developer or fixed, but I don’t have a second mysterious liquid to be the other portion. I also have no way of getting exact ratios like 5:1. I tried pour liquids between containers a while but it doesn’t give me measurements nor have statements like “you can only pour a part of this because the beaker is too small” invoking one of those water pouring puzzles. Still put 60-40 odds there will be a water pouring puzzle here, but I’m missing some items to be able to make things work. This does mean the candle should definitely be saved for later, when I have to shut the generator down in order to make the darkroom work.

Moving on:

Studio
You are in a brightly painted room. Each wall of the room is a different colour. The north wall is white, the east wall yellow, the south wall black and the west wall blue. There is a pile of debris in the middle of the floor. There is a hole in the ceiling.

I tried taking the rope, hook, and rope ladder and making various tosses, but my strong suspicion is that you drop the rope ladder from the top, having arrived to the third floor — in other words, this is a bit of geography that gets looped around to, as opposed to something that gets used right away.

Corridor
You are in a featureless corridor with a large strong door to the east.
Exits: NS-W ——– —
There is a camera-like object mounted high out of reach on the wall to your left. As you entered, a red light on its side began to wink.
-> n
Security Room
You are in a room containing surveillance equipment. Mounted above the smashed central control panel are a number of television monitors. The monitors appear to have been wrecked, however one of them still seems to be functioning. To the right side of the panel is a slot. There is an armoured door to the west. There is a metal plate above the door.
Exits: -S– ——– —

Two important pieces here:

1.) The camera starts tracking as you enter the east end of the corridor. After five (?) turns it finds you and you get fried by a mega-death laser. Given the game’s structure I suspect that means in order to defeat the camera’s mechanism you need to push things to the limit; that is, make two passes by the camera, which gives you enough equipment / knowledge / whatever to stop the security system.

2.) The Security Room to the north requires something for the slot. Oddly I haven’t been able to examine the monitor that is functioning, I don’t know if I’m using the wrong verb? EXAMINE MONITOR just gives “They appear to be monitors.” which is not terribly helpful.

Heading past the camera to the south yields a room with a window, so you can climb outside to a fire escape.

Going up reveals a balcony “just out of your reach” and I suspect this is where you actually climb up to the third floor, I just haven’t tested enough things yet. Going down leads to some “Grounds” where around the back you can find some wooden oars (?) and in the front you can find a signpost.

You are standing on a large tarmac circle in the grounds of a large building. It is just possible to discern a large H painted on the tarmac. There is a strong door to the west which is blocked by a pile of rubble. There is a wooden stake set in the ground near a small gap in a continuous high fence to the east. There is a signpost here.

The H suggests perhaps you’ll find a helicopter later. Trying to sneak out through the east is fatal:

Eeeeeeeeeeee-aaaaaaaaaaaargh!

You feel as though you are floating. In fact you are falling headlong over a cliff. As you see the rocks below approaching at an ever faster rate your totally uneventful life flashes before your eyes in a nanosecond. Splat!

I’m afraid you’ve kicked the bucket.

So to summarize, my obstacles are:

a.) security camera

b.) security door

c.) photography room (maybe needs to be later anyway)

d.) locked panel on first floor

I don’t know if the cliff really counts as an “obstacle” — I think the intent is you somehow escape the complex in a different way. But the various information sources on the game imply you eventually escape and start searching for survivors of the post-apocalypse.

Speaking of: what happened? Why is the building abandoned but the power was left going so you could still survive? Did you really go through the entire 100 year process or is this earlier in time? There’s no treasure-hunting here; rather unusually for one of these giant mainframe (er, micro-computer) games I’m interested in what’s going on as a plot, rather than just hoping for good puzzles.

For those who want to try this game and join in, my bare-bones version is still up. (TIP: Run the FERRET.BAT file, NOT the EXE file — when you die it otherwise kicks you out. If you die with the BAT version you can type FERRET to start the game again and the death message won’t disappear before you can read it.) You are welcome to suggest actions in the comments even if you aren’t playing. The only thing I’ll say is if you know an answer (that is, you’ve played ahead and confirmed something) to put your text in rot13 encryption (use this site). I’m honestly going to be mostly open for back-seating here — this is a plenty long enough game to not make things harder — but I still may want to wait a little seeing a solution if I’ve got a puzzle idea still to test, plus some of the other people reading may not want the spoiler themselves.

Posted October 7, 2022 by Jason Dyer in Interactive Fiction, Video Games

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Ferret: Surrounded By Sea   68 comments

A 1974 Nova Eclipse (with accessories), from the site Novas Are Forever. The site includes a fully-functional Nova emulator.

(Previous posts here, this post assumes you’ve read the previous ones.)

I managed to open up a fair amount more of the map, thanks to some hard-headed persistence and help from my commenters.

The game does a good job trying to maintain the map as a real piece of geography, and in one instance, having a good sense of it can help solve one of the puzzles. But for the first puzzle I just needed to read words correctly as opposed to horribly wrong:

Studio
You are in a brightly painted room. Each wall of the room is a different colour. The north wall is white, the east wall yellow, the south wall black and the west wall blue. There is a pile of debris in the middle of the floor.
There is a hole in the ceiling.

-> drop ladder
Dropped.

-> erect ladder
The ladder stands momentarily, wobbles and then falls to the ground.

The ladder is a “step ladder”. I somehow visualized it indistinctly until this moment, then I thought it was the kind with pieces of rope attached to steps, kind of like the ladder on a tree house. (That is, I thought the ladder falling down was sort of a joke.) But no — it is the regular kind of ladder you unfold that makes steps you can climb, with no rope whatsoever, and if you look at the room description it mentions the pile of debris. The wobbling is meant to be the ladder being unsteady from the debris!

You can fix this by doing DIG DEBRIS WITH SHOVEL first, which clears out enough space:

-> dig debris with shovel
You are spraying rubble everywhere.
-> erect ladder
The ladder is standing under the hole in the ceiling.
-> u
Dusty Room
You are in a very dusty room. There is a small amount of brick dust covering the floor which has a hole in it. There is a small hole in the ceiling.

The “spraying rubble” can happen even in cases where nothing useful is going on, so it is a little deceptive that way.

On the next level there was a Store Room with some tins and a tin opener, and the food is apparently, delicious? (It’s future food, it can last however long it wants.) There was also what appeared to be a dead-end corridor but I’ll get back to that.

If you look back at the “dusty room” you’ll notice a hole in the ceiling — that means you can climb the step ladder to get a bit higher. However, you have to climb the step ladder in the first place to get to the dusty room. The trick here is to tie some rope to the ladder, and then after climbing up, “pull rope” which will also bring up the ladder (which, given the ladder is so heavy no other items may be held while you’re carrying it, sounds like it’d be a workout). This fortunately didn’t take me long because in an earlier experimentation phase I tried tying to the rope to anything I could find and the only item I successfully managed to do it on was the ladder.

-> pull rope
The ladder and rope rise through the hole in the floor.

The last floor has a library with burned books and papers (always convenient so the author doesn’t need to implement any) and a locked wooden door that appears all the world to be the kind first seen in Zork where you need to slip a mat under a door and push a key in the keyhole onto it.

It doesn’t work. You here a clunk as if a key comes out but it doesn’t land on whatever you put under the door. I’ve tried quite a few different items; all of these fit (in either the keyhole or under the door) but none of them work:

paper, photograph, tin opener, stained leaflet, some labels, a slim candle, tiny box, match, charred papers

This may be an extended trick, since the game is trying to out-Zork Zork. You can also try violence:

KICK DOOR
Your foot goes clean through the wood of the door causing you to lose balance. As you fall forwards you impale your anal sphincter on a very sharp splinter of wood, resulting in massive internal injuries and severe bleeding.
You’ve curled your toes.
Phase 1 (Awakening)
Mode: Normal
You have scored 20 (out of 1670) points in 20

This puzzle remains unsolved.

The last thing you can find is a balcony outside, with a plot revelation:

You are standing on a narrow balcony, surrounded on two sides by a short metal railing. There is an exit to the west and a fire escape leading down from the unfenced side of the balcony. Unfortunately the flight of steps leading down from the balcony has been destroyed, however the remainder of the fire escape appears to be useable. A short distance from the bottom of the last flight of steps is a mound of rubble obscuring a doorway.
Your prominent position commands a tremendous view. Below you is a large grassy area surrounded by a tall wire fence. Set in the middle of the grass is a large tarmac circle with an H painted on it.
You are obviously on an island as there is sea in all directions beyond a sheer drop after the high fence. You appear to be about 50 metres above sea level.

This was a nice moment of plot; while I found myself falling off a cliff when trying to sneak through the fence, it wasn’t clear how things really looked outside the complex. Now it seems we need to secure some sort of vehicle (boat? helicopter? experimental teleportation gizmo?) to make our escape.

The rope can tie to the metal railing so you can climb down to reach the fire escape I mentioned last time, but the rope’s knot unties in the process so it is a one-way trip.

As you climb down the rope the badly tied knot comes undone. You land on the fire escape with a slight jolt.

Doing all this left me with the photograph puzzle and the security door with a slot.

Absolute darkness is essential
——————————
1. Use five parts water to one part developer.
2. Use ten parts water to one part fixer.

Both turned out to be connected. I needed a little help with the photograph. I had tried:

a.) mixing some fluid and water to make a solution

b.) making things dark (there’s a couple ways you can do this, the easiest is closing the door where the photograph is)

c.) putting the photograph in the solution

d.) taking out the photograph

The photograph ended up being too faint. I assumed I needed fixer.

The trick here is that there is no fixer, but if you avoid touching the photograph early you can keep it from getting damaged. Use the container itself that the photograph comes in to mix together the solution of water and developer, and only then take the photograph out.

This pass quite easily then solved the locked door mystery.

-> put photograph in slot
Done.
The screen of the only functioning monitor works momentarily, it displays a
picture of a room containing a joystick topped by a yellow button mounted
underneath a smashed television monitor. The floor of the room is covered with
dust and rubble.
-> open door
Opened.
-> w
Armoury
You are in a large room that has obviously been used to store armourments as
there is a distinct smell of gun oil and cordite. There is an armoured door to
the east.
Exits: –E- ——– —
There is a thermonuclear device here
There is a laser cannon here
There is a sharp bayonet here

More on that joystick in a second. The devices were of course tantalizing, but the laser cannon doesn’t work (you can examine to see “a round orifice in the end of the cannon” so maybe that gets filled with something). The thermonuclear device, which I switched on with glee, doesn’t work. (Old-school adventuring involves hunting for deaths and trying to collect all of them. Sometimes they contain clues.) The sharp bayonet, well, it also worked in the keyhole upstairs, but I haven’t found a use for it yet.

This led to my last discovery, the joystick seen on the monitor. It relates to this gizmo:

The camera-like object is now pointing directly at you. Now visible on its face
is a badge upon which is written:
Ferret security systems (laser division)
and a dial which is set to Multi-zap mega-death. Just as you take in these
details the laser energizes and burns out both of your eyes. The laser however
is not content with just blinding you, and continues burning into your skull,
vaporizing your brain.

On the east end of the corridor on the same floor as the armory there is a camera that slowly zeroes in on you before killing you. It turns out you can get it to shoot prematurely. Heading back to the floor with the long-last tins of food:

You are in a featureless corridor. There is a large quantity of rubble and dust piled up against the north wall.
Exits: —W ——– —
-> n
No way to go.
-> move rubble with shovel
You appear to have uncovered an exit to the north.
-> n
Control Room
You are in a room containing electronic equipment. There is a barely audible hum in the room. On the north wall is a smashed television screen. Mounted underneath the monitor is a joystick. Set in the top of the joystick is a yellow button. The floor is covered with dust and rubble.

(Thinking about the monitor display led me here — there isn’t anything airtight that said the room had to be here, but the spot was technically empty on my map and I suspected if any room was connected with the other monitor it would be “geographically close”, so to speak. The rooms are directly on top of each other.)

The joystick is stuck and doesn’t work, but you can still push the button. The first time I tried, when trying to leave the control room I died in an ambiguous way:

The world is becoming very dark, your concentration is wandering.
Your concentration has done a bunk, closely followed by your soul.

What really happens here is that the camera/laser is facing towards the ceiling, so when it fires it destroys that floor, and you fall to your death. So you need to intentionally wait a moment for the camera to zero in on you and point farther down, and then it is safe to press the button. This apparently (according to Voltgloss) resets the pattern of the camera, giving some more safe turns, but the yellow button can only be pushed once.

Assuming the button is pressed at the correct moment, the door to the outside gets busted open:

Corridor
You are in a featureless corridor. There are some shattered door remains hanging in an open doorway to the east.
Exits: NSEW ——– —
The camera-like object continues its downward track.
-> e
Grounds
You are standing on a large tarmac circle in the grounds of a large building. It is just possible to discern a large H painted on the tarmac. There are some shattered door remains hanging in an open doorway to the west. There is a wooden stake in the ground near a small gap in a continuous high fence to the east. There is a signpost here.
Exits: NSEW ——– —

The annoying thing is (other than the slightly longer camera survival time) this doesn’t do anything useful. It would be nice to blast again and destroy whatever is at the large H, maybe opening a passage below? I could see perhaps opening the large door first making it work, but I haven’t had any luck.

Still lots to experiment with, and please, if you figure out the wooden door with the blocked keyhole, drop a line in the comments.

A map showing the outside grounds with new connections from blasting the door and climbing in from above via rope.

(Almost forgot: I solved the plate-on-the-floor puzzle via inserting a hook and turning it. This lets you in a cellar with nothing in it. I assume the cellar comes into play later?)

Posted October 9, 2022 by Jason Dyer in Interactive Fiction, Video Games

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Ferret: The Door   16 comments

The Data General series eventually started to attain a “traditional desktop” look like the MV/2000 here from 1985 (picture from Novas are Forever). I know it could play Ferret because someone back in the 90s posted a message asking if anyone knew how to get a copy of Ferret, noting the machine they used to play the game on.

So, everyone — including both here and on the Facebook group, which at last check had gone up to 30 members — has been getting stalled on the same puzzle. I’m going to use this post just to talk about this one puzzle.

Before moving on, there is the open possibility of a bug, but according to the authors they’ve been using all the various automated systems the game provides to test walkthroughs and make sure they work. So there is some way through although it is not guaranteed to avoid having some slight oddity in parser use making it harder than it needs to be. (Example: An earlier version of the game accepted “lift” but not “push” for the lid at the opening. This was fixed in a later version.)

Part of the question here is: what norm does the game have about red herrings? Various authors have different standpoints, and quite often it helps to catch on to a particular author preference. Scott Adams, for example, has essentially no wasted space (but also a very tight memory capacity; Adventureland had a computer error room as a joke, but later games essentially pass on this as a feature). Let’s break out a boldfaced list:

No red herrings: While this is common amongst games with tight capacity (like one of Bruce Robinson’s games for the unexpanded VIC-20) there are some longer games that have gone with this as a style; Hamil for the Cambridge mainframe is a prominent recent example, which had a room full of dust which normally would be scenery, but in that game the dust becomes an important item for a puzzle (and not via cleaning it!)

Environmental red herrings: While no special effort is made to deceive the player, some particular items (and/or locations) have been placed for realism. Planetfall had, for example, locked rooms you never get to enter. Given the nature of adventure games, it is impossible to place an environmental red herring without it affecting the gameplay, but the author can still try to signal this is happening.

Difficulty red herrings: Items or locations placed with the full knowledge they will make solving puzzles harder. A relatively mild example comes from the opening of Acheton where an inviting mine entrance collapses when the player tries to enter. One common early trick was to include a weapon or other firearm that is never meant to be used and in fact can actively be harmful to the player.

Would a game be willing to put an entire puzzle setup just to spite Zork? I summarized the puzzle last time, but let’s do a full transcript:

Corridor
You are in a featureless corridor. To the north there is a formidable wooden door with a reinforced window.

-> examine door
There is a reinforced window set in the top half of the formidable wooden door.
Approximately midway up the door, and to one side, is a keyhole. There is a gap
under the door.

-> i
You are carrying:
a coil of rope
a shovel
a sharp bayonet
a stained leaflet

-> slide leaflet under door
Done.

-> put bayonet in keyhole
Done.
There is a dull clunk from the other side of the door.

-> look through gap
You can just make out a key glimmering in the room beyond.

-> get leaflet
Taken.

-> i
You are carrying:
a coil of rope
a shovel
a stained leaflet

Just to be clear: this is the heavily-sterotypical puzzle first seen in Zork where there is a locked door where the key was left in on the other side; you slide something underneath, push the key, it falls on the slid-thing, and then you pull the newspaper/leaflet/whatever out and the key has fallen on top of it.

Here, you go through the same procedure with nearly every object in the game and nothing works. What’s truly odd is the game bothers to model the physical aspect of the key falling, and even make a restricted list of items that fit, which tends to be more work than your typical red herring. But maybe the authors are the sorts that would, indeed, do that.

The other option, violence? Just using the bayonet doesn’t work; perhaps the laser cannon might if it was fueled up.

The cannon is quite compact, with a nice finger grip and ornate firing lance inlaid with quaint gold leaf in the post modern neo-romantic style. There is a round orifice in the end of the cannon.

-> shoot cannon
Nothing happens – Oh well, ne’er mind eh.

Various items can be deposited in the “round orifice” (the sphere with the toxic gas is the most tempting) although I haven’t gotten that to translate into the weapon firing.

Other shenanigans I haven’t gotten to work: You can “BREAK CANDLE” to get wax and some string, and I’ve attempted to tie the string to something (the bayonet, say) on order to give it farther reach to be able to make it to the key. No luck.

I also tried using the wax in various ways (maybe the key bounces off the paper it lands on, so make the paper sticky first?) but again, no dice.

Using a thermonuclear bomb in order to destroy the door:

-> pull lever
The thermonuclear device ticks for a few seconds and then stops.
-> examine device
On closer inspection, you notice a small red lever mounted on top of the device. Under the lever is a little quartz window.

….

-> look through window
There is a digital display which reads: 44
-> look through window
There is a digital display which reads: 43
-> look through window
There is a digital display which reads: 42
-> look through window
There is a digital display which reads: 41

….

-> look through window
There is a digital display which reads:♫ 3
-> look through window
There is a digital display which reads:♫ 2
-> look through window
There is a digital display which reads:♫ 1
There is an incredible explosion nearby, due to your exposed situation the enormous pressure wave squashes you to a pulp.

Well, satisfying, but not very helpful!

My current betting odds are 5% we’re doing things right with the paper under the door, just we’re using the wrong parser commands; 35% the procedure is mostly the same but an extra boost is needed; 30% that violence is instead required; 28% the way through is something I haven’t thought of; and a small-but-present 2% that something went awry in compiling version 10.0 that makes the puzzle currently bugged.

Posted October 11, 2022 by Jason Dyer in Interactive Fiction, Video Games

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Ferret: Cool Guys Don’t Watch Nuclear Explosions   61 comments

I have reached Phase 2 (Genesis).

(Click here to read all posts up to this point in chronological order.)

Data General “Dasher” display terminals, from the manual.

So I decided I was done fiddling with the door because I did technically have one thread left undone: the thermonuclear bomb.

On closer inspection, you notice a small red lever mounted on top of the device. Under the lever is a little quartz window.

A couple people had speculated about using the cellar as a method for hiding from its blast. The problem is it didn’t seem to work:

Suddenly, the whole world lights up and you are immediately flattened by an enormous pressure wave. There appears to have been a conflagration in your very immediate vicinity…
Perhaps you shouldn’t play with fireworks.

Still, I was mighty suspicious because Voltgloss observed that the bomb couldn’t be carried up a ladder or through a window to the outside. The only way to get it outside is to go through the blasted-open door, an act that netted 30 points but seemingly had no purpose (since the only thing you can find outside otherwise is some wooden oars, and those travel through the window just fine).

Also, the death message upon blowing up the nuke right next to it talks about “due to your exposed situation” so that really does suggest the cellar as well.

So: what if it was a tactical nuke, clearly strong but possible to be weakened with just a little bit more range? I tried taking it outside and setting the nuke there:

Grounds
You are standing on a large tarmac circle in the grounds of a large building. It is just possible to discern a large H painted on the tarmac. There are some shattered door remains hanging in an open doorway to the west. There is a wooden stake in the ground near a small gap in a continuous high fence to the east. There is a signpost here.
Exits: NSEW ——– —
There is a thermonuclear device here
-> pull lever
The thermonuclear device ticks for a few seconds and then stops.

This gave a fairly large amount of time to hike over to the cellar and start shipping items down. The problem is that you can’t go down into darkness (which the cellar is) without tripping and dying. You can go every other direction, including up; just down means you trip and die. This is interestingly logical but not how darkness is implemented in any other game I’ve seen. Knowing the darkness behavior is helpful in a moment.

This means you have to light the candle. You only have one match, so you can’t extinguish in the middle; the candle additionally burns out fairly quickly, so you have to time things carefully. You essentially want to light it with just enough time to ship any items downstairs you want, and then close the plate just in time.

There is an enormous explosion nearby that virtually deafens you. The room becomes amazingly hot. The floor shakes incredibly and you can just about hear the thunder caused by falling concrete and steel. There is the sound of rock splitting nearby.
-> l
Cellar
You are in a warm stonewalled cellar. The stairway leading up is totally blocked by fallen rubble and debris. There is a gaping hole in the north wall. The floor is slanting to the east.

The “gaping hole” is new and lets you enter a labyrinth, which is still dark, just like the cellar.

The path through the labyrinth at one point requires going up a ramp. This is important because going the other way is dark. That means if you are trying to move items through, you are limited by the time left on the candle (as, again, going down in dark is death). Wooden oars alone (which you’ll need in a second) essentially take all your carrying capacity, so you need to make at least two trips. The key is to drop the oars off immediately after the ramp (as opposed to passing all the way through the labyrinth), and then come back for any other items.

Once past the ramp it is safe to take your time in the darkness moving everything over to the next area, a beach with a boat.

Labyrinth
You are in a cool featureless stonewalled chamber. Sunlight is pouring in through an exit to the south.
Exits: NS– ——– —
There is a small cylinder here
-> S
Beach
You are on a beautiful golden beach. The sea is to the south. There is an entrance to a cave in a sheer rock face to the north.
Exits: NSEW —-SESW —
There is a rowing boat here

The “small cylinder”, incidentally, goes in an “orifice” in the laser cannon. So in addition to the oars I brough along the laser cannon, as well as some food and a brown bottle to hold water (there’s a barrel with water on the beach as well). I’m still not sure if the food or water are useful yet.

(Maybe on MASTER difficulty? I haven’t talked about this yet, but the game is set on NORMAL mode, and there’s apparently — after you pass some threshold — a way to set it to MASTER. Maybe that enforces hunger and thirst timers? Maybe they are being enforced, but they are so long on Normal mode that nobody has noticed them yet?)

To get the boat to move I needed to PUSH OFF BOAT, a verb combo I only found due to applying the TEST command. Then you can either BOARD or EMBARK.

The result of LOOK AT BOAT. Not nearly as fancy as the ASCII art in Warp, but that game didn’t involve a rowboat; however, the rowing section that is about to follow is strongly reminiscent of that game.

Rowing just involves moving in directions; you don’t need to be holding the rows as long as they’re in the boat. (This is good, because as you’ll see shortly, you’ll lose everything you aren’t holding.)

-> BOARD BOAT
You are in the boat.
-> S
Sea
You are in a boat. The boat is surrounded by calm seas. There is land to the
North.
Exits: NSEW NENWSESW —
-> S
Sea
You are in a boat. The boat is in a narrow channel between reefs on the
east and west.
Exits: NSEW NENWSESW —

The first part of the sea map is relatively uncomplicated:

Anything marked red is death. The Stony Beach is a new area but I think it is a trap, that is, I believe your game might be over if you reach here:

You manage to beach the boat but, unfortunately, the stony beach tears out the bottom of the boat making it totally useless. Still ne’er mind aye!
Stony Shore
You appear to have beached on a small island. In the distance you can see a dishevelled old man playing with the pebbles and muttering something about the number of stars is the same as the number of pebbles on a beach.
Exits: —- ——SW —
There is a wrecked rowing boat here

The “FOG” points on the map teleport you to a new section (I think randomly). Here’s that portion of the map:

I know my map isn’t perfect; there’s some messiness in the lower right where I think the game connections might partially be broken. The important part is one particular spot (I have it marked in orange) where you can move the boat NW and find a beach other than the Stony one.

You are in a boat. The sea is a little choppy here due to the wind springing up. The sea to the south seems to be a little turbulent and you can see a reef to the north.
Exits: NSEW NENWSESW —
-> nw
The strong winds from the west blow your boat onto the reefs as you try to row past them. Fortunately, you are not far from the beach and you manage to wade ashore, but the boat is lost.
Beach
You are on a beautiful sheltered golden beach which is surrounded by nasty looking rock formations. To the north is a craggy outcrop of rock which you may be able to surmount.
Exits: N— —-SE– —
-> n
You manage to ascend the craggy rock face with ease, but as you reach the summit you lose your footing and slide down the glass-smooth surface of the rocks on the other side.
Rock Gully
You are in a narrow high-sided glacial rock gully. The gully widens out to the north. To the south is an inclined rockface which is as smooth as glass.
Exits: NS– ——– —

This is clearly a one-way trip, and typing SCORE now indicates you are in Phase 2 (Genesis).

Since you lose everything on the boat, any inventory you have at the moment is the only thing carried on. One of the items has to be the laser cannon, which is only working now due to the cylinder found next to the beach:

Dead End
You are surrounded by rock on three sides. There is a rock gully to the south.
Exits: -S– ——– —
-> shoot cannon
Your action vaporises a large amount of rock, revealing a hole in the east rock face.

The laser cannon is quite heavy; the only other thing I managed to carry was the brown bottle with fresh water, which I picked since the water was near the sample place at the cylinder. It is possible no new items are needed, and this is really a fresh start.

I originally was going to end the post here, but I made it a little farther and solved one extremely nasty puzzle, that does a trick I’ve only once in a puzzle game (Oxyd) and never in an adventure game. So here’s a little bit of phase 2:

After you vaporize a hole, you can go east into darkness, walking east repeatedly until arriving at an open area by a jungle. Wandering the jungle a bit (one of those mazes you can’t map because it swallows up items) lets you find a hut:

-> n
Clearing
You have found a clearing in the jungle. To the north is a small hut.
Exits: NSEW NENWSESW —
-> n
Hut
You are in a small featureless mud hut. Set in one corner of the hut is a table. It would appear that the table used to contain a number of drawers, however there is only one remaining.
Exits: -S– ——– —

The drawer has a control unit (no description, no idea what it is), a plastic card, a written report, an orange pin, a torn card, and an everlasting torch.

Considering the items backwards, the everlasting torch (flashlight, remember this is British!) lets you go back in the dark tunnel and find a key.

The torn card is interesting but I haven’t used it yet:

Same for the orange pin (“The pin is approximately one centimetre long and has an orange head”). The written report gives some times…

Militech Duty Roster
Week 10
Responsible Officer Time
Benskins 00:00 - 04:00
Smithson 04:00 - 08:00
Zebadier 08:00 - 12:00
Harrison 12:00 - 16:00
Johnston 16:00 - 20:00
Jenkinson 20:00 - 24:00

…and the card is a security pass.

Notice how the name “Johnston” is on the schedule from 16:00-20:00.

Wandering the open area some more, I found a grating with a slot. Inserting my card activated the lift.

The card is consumed by the slot. After a few seconds the ground starts to vibrate softly as if ancient machinery deep in the earth is activated. The ground jolts violently and starts to lower slowly, carrying you into the bowels of the earth.

This dropped me down to a place with 8 doors I haven’t been able to open:

You are standing on an area of grass approximately 5 metres below ground level in the centre of a circular room. There are eight doors around the room.

(My score went up by 5 in the process, so I know it was “correct” to do, even if perhaps early — I might be missing an item.)

In the process of this I unkowingly solved a diabolical puzzle. You see, I was playing at about 7:30 PM local time, or 19:30. I mean the actual time, the real one on my system clock. When I tested later I had an entirely different reaction:

The card is consumed by the slot. Far off in the distance an alarm rings briefly. The card is ejected from the slot.

It took me some thought but I realized it was now 5 minutes after 8 PM in actual local time. The game keeps track of the system clock, and unless it is between 16:00-20:00, you aren’t able to solve the puzzle! You can confirm system time is used by typing TIME into the parser.

This definitely strikes me as one of those “intended for multiple players” type puzzles, like the endgame of Adventure 550 which required knowing about passwords from multiple playthroughs. I could see someone who always plays their adventures in the morning simply never resolving the puzzle, and needing someone else who coincidentally played at the right time for help.

No doubt there are other puzzles I’ll only be able to resolve with my hardy commenters, who have been an enormous help through this journey. Thanks to everyone so far!

(Perhaps you might be wondering, what happened to the door? It blew up in the nuclear explosion, right? It was, as confirmed by the authors, a red herring all along.)

Posted October 13, 2022 by Jason Dyer in Interactive Fiction, Video Games

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Ferret: Acquisition   47 comments

(Prior posts about this game here. You’ll definitely need to have read the previous one to make sense of this one.)

A Data General Eclipse. A 16-bit version of this system (according to the authors) is what Ferret started on. The reason for the “phases” structure of the game is that there were memory limits, so upon entering a new phase the game could exchange new rooms for old ones in to save space.

One of the open mysteries of 70s/80s text adventures is why so many of them were enamored with mazes. It didn’t have to be the case; Infocom eked out only a few (although one did show up very late in the game Arthur). Magnetic Scrolls technically had one (in the game The Pawn) that was marked in-game as “totally irrelevant” and could be left via EXIT MAZE.

Ferret was still pretty close to the source: Adventure begat Zork which begat this game. So a bit of footing in that sense is understandable, although my last gameplay session was almost entirely dominated by mazes.

Maze the first was the jungle leading to the hut I mentioned last time. It is fortunately the type of maze that cannot be mapped in such a way to encourage you to not bother, but to just thrash around until finding the thing you need. Maze as narrative atmosphere rather than puzzle.

Maze the second happens with the odd lift that I got stuck on.

Lift
You are standing on an area of grass approximately 5 metres below ground level in the centre of a circular room. There are eight doors around the room.

I figured the way through was the “control unit” I was toting around but I couldn’t get any verbs to work. It didn’t occur to me to OPEN UNIT. (The unit is not described! The game essentially asking you to guess what it looks like.) This reveals three switches; turning (?) the blue switch makes it so now you can traverse through doors:

-> n
I think you’re lost! Shouldn’t you have gone north east?
The door opens as you approach…
Corridor
You are in a corridor with a door at either end.
The door slides shut behind you.
-> ne
I think you’re lost! Shouldn’t you have gone south?
The door opens as you approach…
Corridor
You are in a corridor which curves out of sight in both directions. There are two doors here opposite each other.
The door slides shut behind you.
-> s
OK, I’ll try but down here I don’t know which way that is.
Corridor
You are in a corridor which curves out of sight in both directions. There are two doors here opposite each other.

I wandered more or less at random because the game forced me to; I’m not sure if there was some intent for finding a compass of some sort, but Voltgloss discovered that just typing WALK meant WALK FORWARD, so this could be used to direct the player a little more carefully. However, it does appear based on his investigation that there is no purpose to the maze, because it leads you to an area you can easily reach by just using the iron key found in the darkness.

“End of Tunnel” specifically seems to be the maze’s only destination. Maybe it is meant as an alternate solution for those who didn’t find the key? But figuring out the timing of the slot and working on the direction trick on the maze seem much harder than just finding a key.

There is then, shockingly, not a maze, but a very mild puzzle where you have to push two buttons to make sure that a cable-car you can ride does not fall but takes you to your destination.

-> board cable-car
As you enter the cable-car there is a nearby cracking sound as the rusty old brake system of the cable-car mechanism collapses under your weight. The cable-car begins to travel down its guide-wires gradually gathering speed. As you pass the lowest point on the guide-wires you have a brief but tremendous view of the river winding its way through the beautiful green valley.
As the cable-car begins the long ascent up the guide-wires it seems impossible that it will manage the climb, but luckily (for you anyway) the cable car makes it.

Following arrival immediately comes yet another maze.

Motor Room
You are in what appears to be the control room for a cable car. There is a
steel door in the east wall and a dark maintenance shaft leading downwards.
Exits: —- ——– -D
There is a decrepit cable-car here
-> open door
It appears to be jammed.
-> d
Thump! You hit the ground below quite hard, but you don’t appear to have done
too much damage.
Labyrinth of Twisty Tunnels
You are in a labyrinth of twisty tunnels.

This maze does need mapping, and despite it having nothing more irregular than exits that take you to a random room, the structure is different than normal. Connections between two “proper” rooms in the maze are strictly regular; that is, if one direction goes north, coming back the other way requires going south. If something goes awry in this it means you’ve triggered a teleportation and should restore your game back to where you were. So mapping is more like walking a minefield where you drop objects along the path as opposed to a full twisty-passages experience.

“PIN” is the starting location (and where I dropped an orange pin). Sunlight is the destination. Ever other exit seemed to be a random teleport.

We just left maze the third and now on… shocker, maze the fourth. I haven’t finished mapping it yet because I’m so, so, tired.

The room that gets entered from the labyrinth is marked in green.

It’s a forest with a similar schtick of exits that teleport randomly and where you need to find the “right trail” without teleport shenanigans. Deep in the forest is a shed.

Forest
You are in a forest. There is a delapidated shed to the south.
-> push shed
The shed wobbles for a short time emitting load creaks and groans. There is a load snapping noise as one of the main support timbers of the shed gives way. Suddenly the shed collapses creating a large cloud of dust. As the dust clears you can see that the shed has collapsed into a hollow in the ground as the remains of the shed lie level with the ground.

The shed is empty, but you can convert the shed to “lumber” (a very heavy object) by pushing it down. I’m not sure which way to go past the shed, but somehow entering the forest also tossed me into Phase 3 (Acquisition) so there’s at least progress.

Remains of Shed
You are standing amongst the remnants of an old wooden building.
There are some old smashed timbers here

The forest lets you reach the other side of the jammed steel door, but I’m not sure what the point of that is, unless the lumber needs to be walked back to the cable-car for some reason. I think I’m finally at a puzzle that doesn’t involve solving a maze, at least.

Forest
You are in a forest. There is a steel door set in a sheer rockface to the west.
-> n
Forest
You are in a forest. The ground rises sharply to the west, barring any passage.

Posted October 15, 2022 by Jason Dyer in Interactive Fiction

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Ferret: Your Body Has Been Made Permanently Redundant   31 comments

(Previous posts about Ferret are here.)

She was assigned to the Eclipse Group, which was tiny then and had never had a secretary. The engineers “found” her a desk, as she put it. She opened the team’s lone filing cabinet and found nothing in it, except for a couple of rolls of toilet paper. No list of the group’s members existed. She went from one engineer to another, asking, “Do you have any idea who you work for?” It was the beginning of a long romance.

— From The Soul of a New Machine, about the making of the 32-bit Data General Eclipse

I trudged past the painful maze into another maze, but fortunately right after that the narrative picked up again. Phase 4 (Ascension) has felt a lot more like Phase 1, with a mysterious postapocalyptic feel and coherent geography, something that nearly had gone out the window with what is likely the most painful maze of the game.

Ouch. I believe I have a couple errors, so I’ll refer you to this map from K if you need some playing assistance.

Last time had I had left off on a wobbly shed where the slightest touch would tip it over. Being stuck and combing over everything for clues, and the moment where the shed fell apart.

-> push shed
The shed wobbles for a short time emitting load creaks and groans. There is a load snapping noise as one of the main support timbers of the shed gives way. Suddenly the shed collapses creating a large cloud of dust. As the dust clears you can see that the shed has collapsed into a hollow in the ground as the remains of the shed lie level with the ground.
-> e
Remains of Shed
You are standing amongst the remnants of an old wooden building.
There are some old smashed timbers here

The “hollow in the ground” seemed interesting, so I tried taking the laser cannon and vaporizing the ground, with no luck. But what if I just vaporized the shed before it fell?

-> point cannon at shed
Done.
-> shoot cannon
The shed explodes in a ball of fire, revealing a shallow pit.
-> e
Pit
You are in a shallow pit. There is a ramp leading downwards.
-> d
Level Area
You are on a small level area lit by everlasting glo-globes. There are ramps leading up and down.
Exits: —- ——– UD
-> d
Level Area
You are on a small level area lit by everlasting glo-globes. There is a ramp leading up.
Exits: —- ——– U-

A-ha! Since I was already in a vaporizing mode I fairly quickly found I could vaporize the east wall at the bottom of the ramp. The laser cannon then only had one more shot but it is no longer needed from this point. (There’s one more shot, suggesting perhaps some secret was missed, but this isn’t one of the evil sprawling epics from the Phoenix mainframe, so I think I’m done shooting at things.)

This reveals a shaft with a rope. The rope breaks if you carry too much, so the only item you can tote along is the orange pin. This “forced inventory cleansing” is genuinely rather nice, it keeps the player from second guessing if the remote unit from this phase was meant to be used somewhere in Phase 7.

Viewing Gallery
You are in a very large and airy room. The entire east wall of the room is comprised of a picture window. There is a narrow stairway leading up and a steel door to the north. There is a dark and fore-boding shaft leading vertically down from the room. Set in the south wall is a panel containing three buttons, one red, one amber and one green.
Exits: —- ——– UD
-> look in window
The viewing room is apparently built into the side of a cliff as there is a sheer drop below the window. Off in the distance you can discern beautiful green fields separated by hedges and trees. There is a strange bulbous protuberance overhanging the window.
-> d
Waaaaaaaaghhh!
There is a sickening thud as you smash into the rock floor at the bottom of the shaft.
Anyone fancy raw pancakes?
You’re a dodo.

The buttons open the window (which also leads you to falling doom), a door upstairs (which is originally described as “open” but you can’t go through) and the steel door. Let’s stick with the steel door:

Tunnel Complex
You are in a tunnel complex lit by everlasting glo-globes. There is a steel door to the south.
Exits: NS– ——– —

This is the terrible maze. It wouldn’t be quite so terrible except it keeps going and going and going. I’m going to do my best to mentally block it out now so I’ll just say

a.) you can pick up a white pin to match the orange one

b.) you can get an “aeroplane wing”

c.) you can get a “crate”

and the crate in particular can be used to climb up an “enclosed area”:

Enclosed area
You are on a small level area between two sheer rockfaces. However, part of the southern rockface is only slightly higher than a man. Apart from an exit to the west you are completely surrounded by rock.
Exits: —W ——– —
There is a large crate here
-> get on crate
On a crate
You are standing on the crate.

It took an inordinate amount of fussing to realize I could then just go UP again to arrive at:

Viewing Gallery Roof
You are on the roof of the viewing gallery. Around the edge of the flat roof is a raised parapet. Partly hanging over the eastern edge of the roof is the fuselage of a glider. There is a door to the west.

The aeroplane wing can be toted up the crate-route to fix the glider (PUT WING IN SLOT). There’s a second route up here (the slightly-buggy wooden door that starts out described “open” even though you can’t pass through without closing it first) but the game doesn’t let you pull the wing that way.

ASCII art from the game of the glider.

You can then EMBARK and fly away to land at phase 4, although at the very start I discovered an issue with the meta-features of the game.

As you board the glider it overbalances on the narrow parapet and plummets downwards. Luckily the glider encounters an up-draught and as the nose of the glider rises you feel the wind in your hair and start to experience the sheer joy of gliding. Unhappily the excitement is short-lived as the glider starts to rapidly lose height and career headlong towards the ground. Fortunately the glider lands on soft ground, but the jolt of the landing flings you clear of the craft to land with a bump on a dry patch of land. There is a muted gloop as the glider sinks into what is evidently a swamp, leaving a barely visible wing as the only evidence of its existence.
Dry Land
You are stranded on an area of dry land surrounded an all sides by swamp.
Exits: NSEW NENWSESW —
-> save glider
Saved.
You hear a muted gloop as the wing sinks into the swamp.

I can see this now looking at the transcript, but it didn’t register at the time that saving the game caused a turn to pass. This is not at all true in modern games and even many older ones; all timers are frozen and you can’t kill yourself at a major confrontation just by saving your game. But here, but saving my game, I softlocked it. A turn passed and the wing fell into the swamp, so even though I tried to GET WING, it was already gone. I had to go back to a previous save game (fortunately not far back) and then get the wing immediately upon landing and then only after save my game.

The wing can then be tossed down and ridden like a vehicle, kind of like a makeshift boat, which lets you paddle up to dry land. (The only items you can really have at this point are the orange pin and the white pin. I assume more colors come later.)

A road (which has a “length of steel wire” you can swipe) leads up to a barrier blocking off a cathedral, with the sign above. Fortunately, there is an electric vehicle nearby, with a dial and label indicating how the controls work.

Too bad the bit explaining what to actual do is torn off! Fortunately, the TEST verb exists and lets you cram through enough words to quickly work out what the dials does:

a.) you can TURN it to a direction, representing a point on the compass

b.) and then SQUEEZE DIAL to move the vehicle forward

Just make sure the dial is pointed towards the road before you start moving!

As you motor into the swamp the vehicle slowly descends into the disgusting morass. The cab fills with mud and prepares you to become a future museum exhibit.
Who’s a silly sod, then?

(The deaths are great! I make sure even when some action is going to be an obvious death to do it anyway just to read the text.)

The vehicle allows you to get past that pesky sign into an area with a cathedral. It is a fairly complicated setup and I’m still not fully sure everything that’s going on.

For example, around the fringes of the cathedral, there’s a locked wooden door on the south side that is next to a sign with broken tiles.

The sign is described as having “five tiles” missing, and there’s a pink tile and an aquamarine tile not far away, but no verb has worked to apply one of the colored tiles to the sign. It is possible they aren’t meant to interact at all.

There’s a gap in the fence (similar to the one from Phase 1) but only that one which leads to a cliff, this one also leads to a cliff … but I mean, one that doesn’t go down as far, and you don’t die if you go that way, and you can also TIE WIRE to a stake nearby before you go and it will let you climb up.

-> tie wire to stake
The wire is tied to the stake.
-> e
As you scramble through the gap in the fence you lose your footing and slide incredibly ungracefully down the grassy slope. Luckily, the wire breaks your fall.
Foot of slope
You are standing at the foot of a grassy slope. At the top of the slope is a fence with a gap in it, through which trails a length of wire. The north and south sides of the path are fenced, beyond which are steep grass banks inclined downwards. On the northern side there is another fenced path some distance down the slope.
Exits: –E- ——– U-

I admit having trouble finding simply in that I originally envisioned the wire a little shorter, and I kept trying to use ATTACH and PUT and other verbs rather than TIE. Do people really “tie” wires? I suppose they do, but that’s never the word I’d associate with it.

This leads to a really lovely bit of world-building, a monastery that has a portion sheared off. There are a number of rooms where a portion is missing.

Bedroom
You are in, what apparently was once, a bedroom. However, the east side of the room has subsided into a deep ravine, leaving only a ledge for you to stand on. Beyond the ravine you can see the remains of the east side of the bedroom, also with a ledge.
Exits: –EW ——– -D
There is a clay brick here
-> s
You cannot go in that direction.
-> e
Geronimo!
As you plummet headlong toward the rocky floor from such a great height you realise that nothing in the world could break such a fall. As you fly past the lower storey of the building you debate with yourself about the need to consult with a brain doctor. Your final conclusion is that it doesn’t matter anyway as you attempt to pile-drive the rocks at the base of the ravine.
Your body has been made permanently redundant.

In addition to the clay brick you can find a shabby mattress and a long plank which is too big to move. I really wanted to try making the jump with the mattress but it seems to be a little too shabby to allow for survival.

Here I was stalled for a bit but until I realized the main cathedral also had a drainpipe that could be climbed. Normally it breaks unless you drop everything, but it is possible to “tie wire to drainpipe” before you climb letting you take the wire with you.

The roof of the cathedral has a vent, which you can then enter by again using the wire:

-> tie wire to vent
The wire is tied to the vent.
-> pull wire
You nearly suffer a hernia in your attempts to pull on the wire, but at the last moment, and with a deafening tearing of metal, the vent is wrenched from its mountings. Due to the tremendous effort expended to rip out the vent the wire and vent act in melodious harmony to simulate a loaded slingshot causing the vent to be hurled off the roof, and to land with a thump down below.

Jumping in the cathedral leads to some very odd rooms, which fortunately don’t seem to exactly be a maze.

Waaaaaaaaghhh!
You most unceremoniously hurl yourself down the shaft, and after much bumping and boring, are deposited on a hard floor with a sickening thump.
Room of Abstenance
You are in a room lit by a suffuse glow.
-> push north wall
As you lean your weight against the wall it revolves on a central axis, taking you with it.
Room of Great Gloating
You are in a room lit by a suffuse glow.

There’s a “fat monk” amongst the rooms, but I think I’ve gone far enough — I’ll trudge my way further through phase 4 next time.

Forgot to mention this bit, so I’m tossing it here at the end. In the maze you can find the other half of the torn card from the hut. I have merged the two images here. I assume it refers to the colored pins (since I already have orange and white) leaving two more to eventually find.

Posted October 18, 2022 by Jason Dyer in Interactive Fiction, Video Games

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Ferret: Audience Participation   52 comments

Not quite so big an update this time, as I am needing the help of you, the reader. Even the lurker who never comments: we need you! Yes, we’ve got a crew plundering through Ferret whilst chatting in the comments, but this involves a riddle, and someone random reading this might decipher what’s going on. It is (probably) self-contained and might just need a lateral insight.

From the programmer’s guide for the 32-bit Eclipse.

So last time I jumped into a cathedral, and wow, there’s lots of interesting things here; there’s a video screen that doesn’t work, a mysterious mirror, a “room of descent”, a fat monk who wanders around and occasionally mischievously bonks you on the head (which reduces your health and might eventually kill you if it happens too often); I’ll describe all those in more detail next time.

Importantly for this post, there’s a lock in an “Outer Sanctum”:

Outer Sanctum
You are in a room lit by a suffuse glow. Set in one wall is a combination lock. Above the lock is a numerical readout.
Exits: —- ——– —
-> examine readout
The readout is set to 666

There is a strong clue elsewhere, a multi-sided cube which gives what seems to be a pair of riddles, framed with an outer pair of instructions.

Room of Indulgence
You are in a room lit by a suffuse glow. There is a massive crystalline cube
in the middle of the room.
Exits: —- ——– —
The massive crystal cube contains:
a stone cube with
a north face
a south face
an east face
a west face

-> examine east face

A Message from the Highmost

If you are truly the messiah of knowledge,
and I believe everyone to be the chosen one
at the appropriate time, you should, by now,
have accumulated the knowledge to provide the
key to the Inner Sanctum of the Highmost.

Claim what is yours by rite, undo the lock,
and ascend to the seat of knowledge at the
right hand of the all-knowing one. Set the
celestial lock and you will inherit all.

-> examine north face

Musings of a Monk (Part 1)

It is said, knowledgeable one,
That unto the first of all being
Came four ignorant sons.

It is said, all seeing one,
That unto the second of all being
Came two average daughters.

It is said, omniscient one,
That unto the third of all being
Came three bright sons.

Whose order now occupies the
Seat of all knowledge?

-> examine south face

Musing of a Monk (Part 2)

According to the eye of the Great,
Three ignorant sons will begat only
Ignorant sons, to the count of a man.

According to the eye of the Great,
Two average daughters will bring unto you
Grandchildren of mixed intelligence,
Their number being equal to that
Accessible to the Ruler at the centre
Of the empty board.

According to the eye of the Great,
Three bright sons, will each raise young
To the sum of time, and will be the
Key to the book of knowledge.

-> examine west face

Maxims of a Monk

The book of knowledge has many pages,
Enough pages to satisfy all your questions.

By the number of the devil I beseech you,
The young sons will be the order that
takes the right to own the seat.

I am a mere servant to the knowledge,
I pin my destiny to the omniscient chest,
My death will serve also,
As a guide to those that follow.

The “part 1” at its simplest level implies the number 423 (number of ignorant sons, daughters, bright sons). You can go back to the keypad and enter that number in the lock:

-> set lock to 423
Done.
You are blinded by an intense light and thrown with tremendous force against one of the walls. You momentarily lose consciousness.
-> l
Room of Past Hope
You are in a room lit by a suffuse glow.
Exits: —- ——– —

Now, you can go directly back in the lock room and try another code; unfortunately, we don’t know what that code is. (I’ll mention some theories in the comments, I don’t want to steer people the wrong way without at least thinking about it first. We obviously have something wrong.)

It seems likely that there is a second code entered in the same keypad because if you want without entering a second code, a curtain of light appears at the entrance to the keycode room, and you can enter that instead of the room.

As you enter the curtain you begin to feel really spaced out. This could be due to the fact that all of the molecules in your body have been converted to a digital signal to be beamed to another place. Unfortunately the process does not appear to have completed properly and you are left eternally spread across the space-time continuum.
You’ve taken an inter-galactic overdose.

This strongly implies we’ve “activated the gate” but not managed to make a “teleporter setting” correctly or whatnot.

Any thoughts? There is the faint possibility of a “second lock” (as Voltgloss mentions in the comments) which is actually where the code goes, but give the delay that lets you access the lock still that seems unlikely. Additionally, if you try to input a second code wrongly, there is an alarm and the keypad freezes up disallowing further code entries; if there was meant to be only one code, it likely would be already frozen.

ADD: The code for “part 2” has been brute-forced in the game, and the comment at top includes the code. However, we could still use back-solving to figure out why the riddle matches the code.

Posted October 18, 2022 by Jason Dyer in Interactive Fiction, Video Games

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Ferret: In the Realm of the Omniscient One   37 comments

(This directly continues my prior posts, especially my last two.)

I was hoping for the Cathedral to have fallen, but alas. We do have some interesting codes for the lock from last time as well as some good stabs at riddle-unraveling by Ilmari Jauhiainen and Voltgloss, but actually breaking out is still a problem.

Ad from New Scientist, 16 June 1977.

To be totally clear on the layout (and to recap a little from two posts ago):

The electric vehicle (from two posts ago) busts in the “cathedral” area where you can climb up a pipe, but the only thing you can be holding is a wire. You can also use the wire to get into the eastern “monstery” area.

In this second area four of the rooms have a “ravine” shearing off part.

You are in, what apparently was once, a lounge. However, the west side of the room has subsided into a deep ravine, leaving only a small ledge for you to stand on. Beyond the ravine you can see the remains of the west side of the lounge, also with a small ledge.

In the lounge above you can drop a mattress into the ravine and fall onto it safely, eventually reaching a dark cave which I have yet to tackle (it’s a “trick” maze, I’m not just in the mood for another maze yet even when it doesn’t need mapping).

Geronimo!
As you plummet headlong toward the rocky floor of the ravine you silently congratulate yourself for having the foresight to provide yourself with a soft landing. An expertly executed arm roll leaves you standing in the ravine.
Ravine
You are standing in a ravine between two sheer rockfaces. The ravine narrows to the north and widens to the south.
Exits: NS– ——– —
There is a shabby mattress here

By all appearances (from the wire being the only thing that can be brought in) the cathedral to the west needs to be finished first.

The inside starts you off in a 4 by 4 grid (the unshaded portion above) where to travel anywhere you need to push on walls that revolve.

Waaaaaaaaghhh!
You most unceremoniously hurl yourself down the shaft, and after much bumping
and boring, are deposited on a hard floor with a sickening thump.
Room of Abstenance
You are in a room lit by a suffuse glow.
-> push east
As you lean your weight against the wall it revolves on a central axis, taking
you with it.
Room of Passion
You are in a room lit by a suffuse glow.

This has notable implications in at least two places. In the southwest corner of the map there’s a video touchscreen on one wall (it starts blank, but it does show something later) and if you “spin through” the wall the touchscreen will also travel and so technically gets moved to a new room.

Additionally, there’s a spot where a monk is sleeping by a north wall. You can ignore the monk to start, but to go by the monk you need to wake him up.

Room of Apocalypse
You are in a room lit by a suffuse glow.
There is a fat monk lying asleep against the north wall.
-> wake monk
A gentle tap on the shoulder wakes the monk who stirs and slowly opens his eyes. After a good stretch he appears to be fully awake.

He will then start causing some mischief and most notably will thwack you:

The monk whacks you around the head, pushes a wall, and runs laughing from the room.

This hurts you, according to the DIAGNOSE command. (You start to go from feeling “fine” to “ok”.) Based on earlier solving, this means your inventory capacity starts to drop, and I suspect it might be not possible to win if you get injured enough times (at random).

Laying out “in the open” (as far as things lay out in the open with the odd “pushing” structure are a wooden splint and a metal bolt. You can tie the wire to the wooden splint (which I first tried to make into a flail of some sort) but the game specifically says you can tie it to “one end”. This means you can tie the wire to the splint again and have it tied on both ends, then use the bolt, which is described just as ASCII art…

…as a weapon. This is a bow and arrow, and you can FIRE BOLT AT stuff. The most obvious piece of stuff is a mirror in the lower right corner of the map.

-> fire bolt at east wall
Twang!
The mirror breaks into a number of pieces.
-> e
Room of War
You are in a room lit by a suffuse glow.
Exits: N–W ——– —

This opens the blue-shaded portion of the map I put earlier, leading to either to a pipe with a wheel (the wheel doesn’t want to turn or react in any way) or a swimming pool.

Swimming Pool
You are in a room lit by a suffuse glow. The room contains a swimming pool, with a small ledge along the eastern edge.
You are standing on the ledge. The pool is empty.

The choice of which one is dependent on the lock I mentioned last time. One code makes the pool appear, sans water. There might be some complicated way to get the water from the roof into the empty pool, but I don’t know how.

Another code makes that video screen from the lower left of the map (the one that spins around with a wall) show something that nobody has been able to get to yet:

-> examine screen
The video screen is displaying a picture of an empty room hewn from solid rock. The room is lit by a suffuse light. There is a dark passage leading from the room.

I’m sorry, there’s so much going on it is hard to organize sensibly! I was hoping to wait until the cathedral was solved and I could trace together a coherent narrative, but I don’t even know what to focus on. Some bits may be red herrings for atmosphere. One last area, though, in the upper right of the four by four portion:

Room of Hell
You are in a room lit by a suffuse glow.
-> push east
As you lean your weight against the wall it revolves on a central axis, taking you with it.
Room of Descent
You are in a room lit by a suffuse glow. You are standing on a horizontal section of floor that stretches into the room for about a third of the room’s length. The floor then slopes to form a ramp leading downwards from the level area of floor.
Exits: –EW ——– -D
-> d
Base of Ramp
You are in a dimly-lit room with walls of solid rock and no obvious roof. There are no exits other than a ramp leading upwards to the west.
Exits: —W ——– U-
-> u
Room of Descent
You are in a room lit by a suffuse glow. You are standing on a horizontal section of floor that stretches into the room for about a third of the room’s length. The floor then slopes to form a ramp leading downwards from the level area of floor.
Exits: –EW ——– -D
-> push west
As you lean your weight against the wall it revolves on a central axis, taking you with it.
You hear a dull thud.

Important is the “dull thud” at the end — that doesn’t appear anywhere else. I don’t know what it is but it likely is an item on the other side of the wall. I’ve tried to get the monk to filch it but somehow it hasn’t been happening.

Posted October 20, 2022 by Jason Dyer in Interactive Fiction, Video Games

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Ferret: The Secret of the Inner Sanctum   22 comments

(Posts leading up to this one here.)

From bitsavers. Ferret is the only adventure I’ve played that’s been written in PL/I (usually it has been Fortran, Pascal, or BASIC).

I have reached Phase 5! Doing so required a giant leap of faith, and catching a general structural vibe from the game overall.

By “general structural vibe” let me refer back to Time Zone, the other Gigantogame™ that I played in 2022. About halfway through I was hitting a wall, and almost ready to jump to hints (unlike this game, I was trying my best to play entirely solo) when I realized that you could break into Benjamin Franklin’s shop while he was out and steal his stuff. If you don’t break in, you can visit him peacefully but he doesn’t let you into his back room; I assumed some sort of diplomacy or quid pro quo. But no: you’re here to save the universe, just break and enter, don’t worry about Mr. Franklin, he can get another kite from elsewhere.

The structural vibe of Ferret is:

a.) anything can be a red herring, and it might even be elaborate and have multiple items designed to “feel” like a puzzle

b.) there is no expectation of a “single plausible continuous narrative”

The latter is one of those unspoken rules in adventure games where you might have many, many, deaths, but the “winner” avatar could at least have plausibly achieved victory without reference to the many dead bodies in the background. There might have been a lot of luck in maze navigation or time management, but if we imagine the player has Plot Armor in the television show of your choice, they could reach from the start of the end of the story without a plot hole.

Ferret doesn’t care about that. Any information from anywhere and any timeline is fair game. In particular, the monk from inside the Cathedral drops a magazine:

This gives the clues for navigating a maze outside of the cathedral. Specifically, you fall down onto a mattress, walk into a dark cave, and then take the directions mentioned with the knowledge that the spaces are meant to be deceptive, and that the directions aren’t just the cardinal directions. That is:

NEWS SWEN W

clues the steps

NE, W, S, SW, E, NW

-> e
Triasic Cave
You are in a dark cave.
-> nw
Lower Path
You are on a narrow fenced path cut into an inclined grass bank. There is a secluded cave entrance to the southeast. To the south the steeply inclined grass bank rises above you, while to north the bank continues downwards.
Exits: —W —-SE– —

I’d seen this path earlier; when you go down from the Cathedral to the east portion of the map, it gets described in the text:

Foot of slope
You are standing at the foot of a grassy slope. At the top of the slope is a fence with a gap in it, through which trails a length of wire. The north and south sides of the path are fenced, beyond which are steep grass banks inclined downwards. On the northern side there is another fenced path some distance down the slope.

The map placement is important enough that I’ve marked the two paths in orange and blue here:

The path after the maze leads to another dark cave which doesn’t seem to go anywhere at all. The whole section is mysterious, and for a long time we speculated that something in the Cathedral would cause the next section (with the second dark cave) to open up. But no: the Cathedral has to be done second, so even though there’s a magazine giving a route to a maze, that information is considered fair game for whatever avatar in a different universe navigated the maze without having seen the magazine first.

So what’s the whole point of going to the second dark cave? Well, there’s a “Room of Descent” leading to an empty “Base of Ramp” room in the northeast corner of the cathedral.

As you enter the room the floor splits laterally about one third of the way from the far wall. The furthest section lowers and comes to rest in a vertical position. The middle section then lowers to form a ramp leading downwards.
Room of Descent
You are in a room lit by a suffuse glow. You are standing on a horizontal section of floor that stretches into the room for about a third of the room’s length. The floor then slopes to form a ramp leading downwards from the level area of floor.
-> D
Base of Ramp
You are in a dimly-lit room with walls of solid rock and no obvious roof. There are no exits other than a ramp leading upwards to the west.

The game takes a lot of care to establish the “moving sections” idea here — the trick is that the base of the ramp moves down to the second dark cave! Any items left there can be picked up. That means a heavy hammer and some pins which normally could not be carried in can be left in the dark cave, in order to be nabbed later.

The other thing that had us stumped (that’s me and the crew in the commentors — all this is definitely a collab job) was that the sequence with the mattress in the ravine is

a.) you fall in the ravine, saved by a mattress

b.) you push a boulder to the north, letting you climb back up

c.) only after climbing up do you find a “heavy hammer” which is absolutely needed for the cathedral, and there’s no way to climb back down the boulder

What you can do is simply: after you fall down, move the mattress a bit more to the south. Then you can jump off from a slightly different location (the Sitting Room rather than the Lounge) and fall on the mattress safely for a second time, this time while holding the hammer.

Geronimo!
As you plummet headlong toward the rocky floor of the ravine you silently debate with yourself about the need to consult with a brain doctor. Your final conclusion is that it doesn’t matter anyway as you attempt to pile-drive the rocks at the base of the ravine.
The last thing that passes through your mind is your arse.

(Oops, that’s with the mattress placed wrong.)

Once the hammer is safely in the cathedral, most of everything I mentioned in the last post applies. The difference is that there’s a valve you can now turn.

Room of Water
You are in a room lit by a suffuse glow. There is a pipe running along the western edge of the floor, mounted on the pipe is a circular valve.
There is a black pin here
-> get all
Taken : a black pin.
-> hit valve with hammer
Clang!
-> turn valve
You hear a brief gushing sound.

After the valve is turned, you can go back, shoot the monk (there’s no reason not to, for reasons I’ll get to in a second) and get to the keypad to enter the codes 560, 262, and 423. 560 unlocks a touchpad screen, and is meant to be a “hidden room hint”…

-> touch screen
The video screen activates.
-> examine screen
The video screen is displaying a picture of an empty room hewn from solid rock. The room is lit by a suffuse light and by a shimmering curtain of light rising conically from the centre of the floor and up through the ceiling. There is a dark passage leading from the room.

…262 unlocks the swimming pool (which now will fill with water if you turned the valve beforehand), and 423 gets the teleportation curtain up, with the death involving being disassembled into particles if you try to jump back in the Outer Sanctum. Here’s a quick reminder of that death:

As you enter the curtain you begin to feel really spaced out. This could be due to the fact that all of the molecules in your body have been converted to a digital signal to be beamed to another place. Unfortunately the process does not appear to have completed properly and you are left eternally spread across the space-time continuum.
You’ve taken an inter-galactic overdose.

Heading back to the valve and the swimming pool, where the water is slowly depleting away:

Swimming Pool
You are in a room lit by a suffuse glow. The room contains a swimming pool,
with a small ledge along the eastern edge.
You are wallowing in the water.
The swimming pool contains:
some water

You can safely DIVE INTO POOL now and WAIT (many, many, turns) until the water runs out.

All of the water is the pool has drained away and washed you down the plughole on the way out. You tumble headlong down the drain and land in a sodden mess.
Subterranean Passage
You are in a tunnel cut through sheer rock. There is a hole in the roof. The tunnel floor is quite damp and covered with many fine cracks.

This lets you enter the Inner Sanctum, where the curtain of light from the Outer Sanctum is also accessible.

Inner Sanctum
You are in the Holy of Holies, a room cut in sheer rock. There is a conically shaped shimmering curtain of light rising out of the centre of the floor.
-> enter curtain
As you enter the curtain you begin to feel really spaced out. This could be due to the fact that all of the molecules in your body and possessions have been converted to a digital signal to be beamed to another place. Unfortunately the process does not appear to have been designed as an inter-galactic removals service as only part of your total mass has been digitally encoded. On reassembly various bits of you are absent.
You’ve qualified for the knackers yard in space.

Notice that the death is slightly different here; some of your mass is missing. In short: you can only carry a limited amount of stuff. I haven’t experimented fully, but I believe the colored pins (black, white, orange) might be the only items that will transport safely.

-> enter curtain
As you enter the curtain you begin to feel really spaced out. This could be due to the fact that all of the molecules in your body have been converted to a digital signal to be beamed to another place. Luckily, your ethereal message is in tune with the space-time continuum and after feeling a little nauseous on reassembly, you feel really together.
Desert
You are in a hot and dry desert. You can see nothing around except sand and more sand.
-> score
Phase 5 (Inquisition)
Mode: Expert
You have scored 345 (out of 1670) points in 1491 moves.
Rooms visited: 234. Rank achieved: Hot Shot.

I do want to emphasize how fascinating the breakthrough was. I realized the moment that I was able to successfully tote the hammer into the ravine what the solution had to be, even though there wasn’t any strict reason the second dark cave had to connect to the room of descent. Despite the clearly intentional fog of red herrings (like five colored tiles and a wooden door, which can be entirely ignored) the game did a good enough job of setting up the geography and overall patterns that this genuinely felt like an exhilarating solve rather than just luck.

Death in the desert next time!

Despite the ASCII art, all this is a red herring.

Posted October 25, 2022 by Jason Dyer in Interactive Fiction, Video Games

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