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Monday, 21. April 2025

Gold Machine

Leather Goddesses of Phobos: We’re so Back

I think there will always be people impressed by a marriage between entertainment and exploration of serious topics; and I think there will always be people who say “screw that message shit; I’m here to have a fun time.” (Steve Meretzky, 2013) Leather Goddesses of Phobos (1986) Play and read along with game and source […] The post Leather Goddesses of Phobos: We’re so Back a

I think there will always be people impressed by a marriage between entertainment and exploration of serious topics; and I think there will always be people who say “screw that message shit; I’m here to have a fun time.” (Steve Meretzky, 2013)

Leather Goddesses of Phobos (1986)

Play and read along with game and source files (Obsessively Complete Infocom Catalog)
Packaging, copy protection, etc. (MoCAGH archive)
Packaging, copy protection, etc. (Infodoc archive)
Internet Archive query: “Leather Goddesses of Phobos”
HTML Invisiclues
Archived (z5) Invisiclues
Map (Infodoc archive)

Opening Crawl

  Some material in this story may not be suitable for children, especially the parts involving sex, which no one should know anything about until reaching the age of eighteen (twenty-one in certain states). This story is also unsuitable for censors, members of the Moral Majority, and anyone else who thinks that sex is dirty rather than fun.

The attitudes expressed and language used in this story are representative only of the views of the author, and in no way represent the views of Infocom, Inc. or its employees, many of whom are children, censors, and members of the Moral Majority. (But very few of whom, based on last year's Christmas Party, think that sex is dirty.)

By now, all the folks who might be offended by LEATHER GODDESSES OF PHOBOS have whipped their disk out of their drive and, evidence in hand, are indignantly huffing toward their dealer, their lawyer, or their favorite repression-oriented politico. So... Hit the RETURN/ENTER key to begin!


...


The place: Upper Sandusky, Ohio. The time: 1936. The beer: at a nickel a mug, you don't ask for brand names. All you know is that your fifth one tasted as bad as the first.

LEATHER GODDESSES OF PHOBOS
Infocom interactive fiction -- a racy space-age spoof
Copyright (c) 1986 by Infocom, Inc. All rights reserved.
LEATHER GODDESSES OF PHOBOS is a trademark of Infocom, Inc.
Release 4 / Serial number 880405 / Interpreter 0 Version


Joe's Bar
An undistinguished bar, yet the social center of Upper Sandusky. The front door is almost lost amidst the hazy maze of neon that shrouds the grimy glass of the south wall. Doors marked "Ladies" and "Gents" lead, respectively, northeast and northwest.

You feel an urge.

A Critical Introduction to Leather GOddesses of Phobos

This August will mark the 40th anniversary of Steve Meretzky’s A Mind Forever Voyaging. It is the sort of game that attracts critics, and that attraction has only grown over the years. Hand-wringing over “fairness to Reagan” has perhaps been displaced by anxiety over more recent political developments. AMFV turns up on “best of” lists rather frequently. Even critics who dislike it acknowledge it (sometimes begrudgingly) as a milestone in the evolution of interactive media. I, myself, wrote ten posts about it. Only Brian Moriarty’s Trinity has (or will) receive so much attention.

And yet, for all that, it was both a commercial bomb and an indicator of the future shape of Infocom’s fortunes. To be fair, it was hardly an outlier in terms of its performance. In fact, 1985’s Wishbringer was the lone interruption of the slump that followed The Hitchhiker’s Guide to the Galaxy. Bolstered by widespread love for Douglas Adams and his works, HHGG proved to be a misleading sales blip promising a widening audience that never materialized. While it had something to offer Adams fans (particularly those who invested in Invisiclues), it might have been less popular among fans of the genre, especially those who took pride in solving games without hints.

In any case, the game did not appear to make interactive fiction believers of anyone. Or if it did, those new converts were not interested in Suspect (Lebling 1984), A Mind Forever Voyaging (Meretzky 1985), Spellbreaker (Lebling 1985), Ballyhoo (O’Neill 1986), or Trinity (Moriarty 1986). That is to say nothing of other abuses of the Z-machine: Cornerstone (1985) and Fooblitzky (1986).

How and why did Leather Goddesses of Phobos manage to break that dismal streak? The ready, easy answer is that “sex sells.” I could not avoid the phrase during a literature review of this work. It would be naive to dispute the commercial value of sexualized content, certainly, but leaving things there is a critical abdication. While Leather Goddesses of Phobos is the sixth best-selling Infocom game, the fifth was decidedly unsexualized Wishbringer. The problem with overemphasizing the naughty bits is that one might get the idea that we have on our hands a kind of “dirtbag Ballyhoo” that slavering consumers could not resist.

The contrary truth is that Leather Goddesses of Phobos is Infocom’s last, great puzzler. You may have other games in the back half of the catalog that you enjoy. I certainly do! But if Trinity is Infocom’s highest expression of the cave game as a literary genre, then Leather Goddesses of Phobos is its rambunctious, pulpy counterpart. The voice and setting are a knowing and pitch-perfect send up of classic late night science fiction. Monsters, ray guns, rocket ships. Cave people in animal print swimwear. Ambiguously fetish-inspired alien royalty. LGoP is smart, funny, and giddy with amused affection over its source material.

Since there is only one review of Leather Goddesses of Phobos at the Interactive Fiction Database, I worry that many readers may not realize that this is, in fact, one of Infocom’s best games. Yes, it is bawdy, and that’s an attraction to be sure, but the real story is that people came for the sex and stayed for the game. I have long said that Steve Meretzky was Infocom’s best puzzle designer, and here we find him at his best.

It’s worth noting that, while Leather Goddesses of Phobos is often portrayed as Infocom’s and Meretzky’s retreat from social and political content, it openly mocks the hypocrisy of religious conservatism that was, at that time, an emergent force in Republican politics. LGoP is, for all its apparent silliness, a stunning culmination of Meretzky’s career to date: well-designed, intertextual, humorous, and socially aware: an absolute knockout.

It may be Infocom’s last, great commercial hit, but what a way to go.

Next

We’ll examine the text itself, discussing its craft qualities and elements of play.

The post Leather Goddesses of Phobos: We’re so Back appeared first on Gold Machine.


Renga in Blue

Bedlam: Corrected With Time and Shock Treatment

I’ve finished the game to the extent I’m calling this done; my previous post is needed for context. This unfortunately a case where the Bedlam’s ambitions described by the manual were technically correct but in practice nearly everything is a smokescreen. There are only three (3) endings, and one of those gets chosen at random. […]

I’ve finished the game to the extent I’m calling this done; my previous post is needed for context.

The alternate cover of the Tandy Color Computer version of the game. Via the Internet Archive.

This unfortunately a case where the Bedlam’s ambitions described by the manual were technically correct but in practice nearly everything is a smokescreen. There are only three (3) endings, and one of those gets chosen at random. The game starts to approach a fascinating idea but the author doesn’t quite fully get there. I’ll get back to this thought after I’ve done showing off the game.

Before bringing up TRS-80 screens again, I want to pull one more thing out of the manual: it has a psychological questionnaire.

While this is in the external materials, I’ll still count it as part of the game, marking a first of sorts that gets picked up again by games like A Mind Forever Voyaging and Tender Loving Care. It’s in a format similar to the (in)famous Minnesota Multiphasic Personality Test which gets used as a diagnostic tool. Here are some samples from the real one:

I think I would enjoy the work of a librarian.
I am easily awakened by noise.
My father is a good man (or if your father is dead) my father was a good man.
I like to read newspaper articles on crime.
My hands and feet are usually warm enough.

The test sometimes has the feeling of being “stacked” against the one doing the test and there are questions involving actions supposedly “everyone” has done so they are used to determine if someone is lying. For Beldam’s version, every question has no correct answer, so you are already determined to be psychologically unfit by the end:

Question 2 — Thinking you are smarter than others

Answering Yes points to a “Superiority Complex,” which may be corrected with time and shock treatment. Score 5 points for a Yes Answer.

Answering No indicates a feeling of inferiority, which may or may not be true. Further study is needed, so score 5 points for a No answer.

Unsure shows a very wishy-washy individual. Go back and answer with a Yes or a No, or else give yourself 10 points for your uncertainty.

Question 20 asks about the word PLUGH and is one of the “hints” for the game. PLUGH is from Crowther/Woods but here it is also useful, because if you’ve had the “lobotomy” it will cure it. (I’m fairly sure the neither the doctor nor nurse are licensed professionals, especially for a reason you’ll see shortly.)

Moving on:

To the west of the starting area there is a maintenance room with a “hook” intended for opening windows (there are no windows in this game) a BLUE PILL, and a cabinet with a red key trapped inside.

I tested after some thought GET RED KEY WITH HOOK and it worked. (The only reason it took me a little time is the hook’s description tags it for a totally different purpose which it never gets used for.) With the red key in hand it is possible to open all three doors to the south that are originally locked.

Two of the rooms are padded cells; note that they make for one of the available places that patients can show up them (I’ll give the full list of possibilities after I’m done showing off the landscape). The third red door (the farthest to the east) leads to a new hallway with some more padded rooms (these not locked), a kitchen with a refrigerator and MEAT, and finally an exit blocked by a GUARD DOG.

Now, I had some suspicions already about a branch right here, as I tested EAT PILL on a couple runs, and found sometimes it gets a YECCH, TASTES AWFUL! and sometimes it tastes like nothing:

SEEMS RISKY, BUT O.K. GULP! HMMM. NO EFFECT?

There is indeed no effect … if you’re the one that eats it. If you take the no-taste-for-humans pill and PUT PILL IN MEAT, giving it to the dog will eliminate the dog. (I would have expected the “yecch” pill to be the deadly one. The fact the game parsers the command and doesn’t let you deviate too far otherwise suggested to me I had to just keep trying, but it took until my sixth reset that I got the right effect.

This is close to a victory, but if you try to leave, you get tossed in a locked STORAGE SHED. You need to green key that the “nurse” was guarding. There are two ways of doing this.

One, the “normal adventurer” way, is to use the hook again. You can just GET GREEN KEY WITH HOOK while standing in the adjacent room. It’s unclear the hook visualization lets you reach that far, or that the green key was placed in such a way that this would even be practical, but it’s the sort of thing that was worth a try since it worked on the red key.

Two, the “thing I found out from a walkthrough” way, is to use the lobotomy. Specifically, when it happens, you start wandering randomly, the “wander” phase happens before the “nurse applies electro-therapy” phase, so you can pick up the green key, and have the brain damage trigger, escaping her clutches (and then PLUGH works to get out).

With the green key via either method, when tossed in to the shed you can then escape. (If you didn’t get the green key beforehand, you are stuck there forever. Bummer.)

This escape method only works if you randomly get selected the right ending.

If the game picks the BLUE-PILL-EXIT then you get BluePillA. Otherwise you get BluePillB. Both pills can be dissolved in the hamburger meat and fed to the dog. But BluePillA is poison and will kill the dog.

Before getting into the other two exits, let me briefly describe the characters.

HOUDINI and MERLIN we have already met last time. HOUDINI you can untie and he will follow you around trying to undo a straitjacket, but he’ll never manage (and there’s no way you can help). MERLIN will mutter about you being a demon but also is no help whatseover.

You can also run into a DOCTOR. Or “doctor”. Or “‘doctor'”. It’s hard to tell with this game.

Given the number of unlicensed procedures I experienced while playing, I think the fellow here might be telling the truth. Or maybe he’s only telling the truth on certain world-variants. Either way, he is of no importance to escape.

Next comes PICASSO. He wanders around — doesn’t necessarily follow you, I never quite worked out the logic — and paints doors on the walls.

This represents one of the exits! If this particular ending is the one chosen, then one of Picasso’s painted doors is a real door and you can open it.

THE PAINTED DOOR OPENS TO REVEAL AN ESCAPE ROUTE! YOU HAVE ESCAPED!

Another character you can run across is X-RAY RAY. He is genuinely useful for reasons I’ll get to.

Finally there’s NAPOLEON, the “MIGHTIEST LEADER IN THE WORLD”, as he tells us.

Napoleon being “mighty” is important as there’s a third possible ending. If you don’t have the dog-ending or the painted-door-ending you’ve got a secret-door ending, and you need to wandering around trying either EXAMINE ROOM (I looked this up, it’s pretty unusual parser use) or get Ray to help look at rooms. One of the rooms will have a secret door, but the door is stuck and you aren’t strong enough to open it. Napoleon is, and you can command him with NAPOLEON OPEN DOOR:

NAPOLEON GRABS THE SECRET DOOR AND BUSTS IT OPEN! THE SECRET DOOR LEADS TO ESACPE! YOU’VE MADE IT!

The actual gameplay is fairly chaotic with all the various people and it being unclear what use, if any, do the various people have. In the end, according to random roll,

* there’s an ending which doesn’t involve patients at all

* there’s an ending which involves one particular patient (Picasso)

* there’s an ending which involves a different particular patient (Napoleon)

with X-Ray Ray potentially helping with not only the Napoleon ending, but the Picasso one, as he can see the painted-door exit before it gets drawn in!

Still I feel like this game involved missed opportunity, as for the most part, the interactions you have with the characters is meaningless. It doesn’t always feel that way in practice — I enjoyed prodding Merlin trying to get him to react to things — but without a payoff it was akin to Deadline but without the character interaction model working, or the ability to command characters at all really.

NAPOLEON, GO NORTH
THE OBSTINATE REPLY IS “I DON’T WANT TO.”

What I was really hoping for is something along the lines of Maniac Mansion, where each character has suggested skills and rather than picking characters at the start there are patients randomly assigned to be “helpful”. This would lead to a variety of routes through the game where the skill availability itself is what determines what endings are available.

In actual practice with Bedlam, based on the various testimonials I’ve heard, people often never got as far as an ending; this was a tool to play around and mess around with Merlin and Co., and the randomization added an extra spice which gave it a mysterious aura. That is, by not resolving just exactly what was going on, the game becomes something more in the imagination.

Compared to Xenos, this game is more clever conceptually, while that game works better as an overall experience.

I do want to emphasize this wasn’t end of Arnstein writing games; in 1983 he wrote three action games (Radio Ball, Androne, Reactoid). I’m not sure his full story after, although he eventually returned to his electrical engineering roots. In 1993 his name is associated with three new companies: Rhotech Labs, R & R Labs, and PM Labs. In 1994 Rhotech started advertising a “cartridge emulator” for computers in order to “make your own video game workstation”.

You can see a picture here of their ROMulator.

Coming up: Zodiac Castle, which might be the last “traditional” game of 1982.

Saturday, 19. April 2025

The People's Republic of Interactive Fiction

April meeting (online)

The Boston IF meetup for March will be Monday, April 28, 6:30 pm Eastern time. We will post the Zoom link to the mailing list on the day of the meeting. Note that while the April meeting will be on Zoom, future meetings may jump to other platforms. One of the topics for April is […]

The Boston IF meetup for March will be Monday, April 28, 6:30 pm Eastern time. We will post the Zoom link to the mailing list on the day of the meeting.

Note that while the April meeting will be on Zoom, future meetings may jump to other platforms. One of the topics for April is to discuss what platforms might be good.


Renga in Blue

Bedlam (1982)

1970: the Association for Computing Machinery held a “Special Events” conference in New York City, which they dubbed THE UNCONVENTIONAL CONVENTION. It was essentially oriented towards presenting the still-relatively-new idea of computers to the public. As the co-chairmen Monty Newborn and Kenneth King wrote: Five events are scheduled: Town Hall I and Town Hall II […]

1970: the Association for Computing Machinery held a “Special Events” conference in New York City, which they dubbed THE UNCONVENTIONAL CONVENTION. It was essentially oriented towards presenting the still-relatively-new idea of computers to the public. As the co-chairmen Monty Newborn and Kenneth King wrote:

Five events are scheduled: Town Hall I and Town Hall II are open free to the public and are intended to provide the public an opportunity to question experts on computer related matters; the Cinema Computer will show a series of movies on computer related subjects, computer generated movies, and a movie and a talk on a sophisticated robot; the Computer Arts Festival is featuring the most recent work in computer art and computer music along with a one day forum involving leading figures in the art, music, and education fields; the First United States Computer Chess Championship is the first tournament of its kind.

I admit I’m very interested in the movie schedule (given on page 8 of the source I just linked). It kicks off with the Bell Labs film The Incredible Machine from 1968…

…and somehow passes through the COMPUTER COMPOSED BALLET AND SWORD FIGHT provided by the Central Office of Information in the UK, a group more known in 1970s for PSAs warning children not to play on thin ice and to stay away from electrical substations.

The relevant event for us today from the UNCONVENTIONAL CONVENTION is the chess championship, which (as advertised) was the first of its kind. As these games were played on giant mainframes located scattered about the country, play was done remotely, with moves being called in.

Chess Computer Loses Game in a King‐Size Blunder. New York Times, September 02, 1970. Source.

The first exception to this remote style of play happened during the 1977 running of the championship, as a microcomputer was entered in for the first time: 8080 Chess, designed by the electrical engineer Robert Arnstein of Dallas, Texas, using a S-100 bus.

Ply logic, from the manual for the game. The easiest way to play 8080 Chess now is via the SOL-20 version.

While I don’t have any videos from that particular championship, I do have one from the World Championship that happened the same year in Toronto, so you can watch the style of play.

8080 Chess ended up 9th out of 12 entries; remember every other program was on a large mainframe. 8080 Chess was not necessarily the best microcomputer chess out there, especially given when it was entered into a microcomputer tournament a year later it scored fifth out of 11 (the famous program Sargon won); still, the moment is one that puts Robert Arnstein in the history books.

I mention this because he seems neglected otherwise. We have here the last game we’ll be playing from Robert Arnstein; we started 9 years ago with playing Haunted House (1979) and end our journey here (although Xenos came later chronologically, I’ve covered that game already).

Historically, the trail followed by Ken and Roberta Williams is well-remembered; other Apple II games like Transylvania reflected the same style. Infocom’s Zork sold so well it is perhaps the only pure text-adventure a random modern person could name. Assorted British games like Pimania at least have some recognition in Europe.

The last three Arnstein games — Raäka-Tū, Bedlam, Xenos — also have strong recognition, but for an entirely different group of people. That’s because these were first party Radio Shack games.

When I originally played the game back in 1984, it was at a friend’s house, and it was the first adventure type game I had ever played. I was immediately intrigued that you could tell the game what to do by typing in commands such as go north, go south, open door, etc. Up until that point, the only videogames I had played were the arcade types which were only based on how fast you could push the button to shoot the enemy.

Quoting “Karen” on Xenos from Figment Fly

Radio Shack was possessive about displaying product in their stores, and because there was a lot of them, any products they sold had massive exposure.

While there was a book they sold which listed sources for “indie games”, there wasn’t the massive outflow of third-party boxed product like there was with the Apple II. The Arnstein games thus formed sort of a parallel history of early adventure games, where players who just had access to a TRS-80 had their strong childhood memories form around these games as opposed to The Hobbit or Mask of the Sun. I have no doubt there were people whose first exposure to Crowther/Woods was via Pyramid 2000.

To put it another way, in the major histories of text adventures in the 21st century (Twisty Little Passages, The Digital Antiquarian, 50 Years of Text Games) Arnstein’s name doesn’t appear at all. Now, there are bazillions of authors we have covered here who don’t, but many of those people aren’t well-known by anybody; for a particular subset of players in this particular cul-de-sac of time, these games were pillars in their imagination. I think maybe out of all the games Bedlam should be better remembered universally, because wow, it does something wildly ambitious.

From Figment Fly.

This has a “you’re in an asylum, get out” premise to its plot which suggests to me Arnstein was thinking of Deathmaze 5000 and Asylum, both which would have been well known to a TRS-80 author. From the manual:

There are no hidden treasures to find, no wealth to amass, no score to beat. There is only one goal–get out, if you can. Your success depends totally upon your resourcefulness and your ability to think clearly. There is always one way out, but be warned–the exit changes each time you load the game.

The fact the “exit changes each time you load the game” suggests Arnstein may have also been thinking of Madness and the Minotaur. This is a adventure-roguelike with a “light” amount of randomization: where the nature of the characters is randomized, and linked to that there are consequently multiple endings where only particular endings might be available on a particular playthrough.

To help you escape, you can try enlisting the aid of some of the people you meet. Just remember where you are. Can a man running around painting doors on walls and claiming to be Picasso really help? Can a man who says he is Houdini get you out? What about using “X-Ray” Johnson to burn a hole in the wall to gain freedom? Perhaps the guard dog just needs a little attention. Maybe the nurse or the doctor with the hypodermic needle (if he really is a doctor) can be persuaded to help you.

Their ability to help also changes each time you load the game. Depending on the active escape route, you will either be able to escape without help from anyone, or you will need help from one or more of the people you meet. Some of the inhabitants of Bedlam are neither friendly nor cooperative. They do not get along with other inmates and some will try to stop you from leaving.

Rather than starting in a cell that requires escape, the door is open and you are free to wander.

Except, you might run across a doctor who gets upset and gives you the needle:

After the lobotomy you start “wandering” at random. I did not type the WEST, NORTH, and WEST commands from the screenshot below, the game typed them for me.

While I have trouble saying for certain at this phase of my gameplay, I think the author designed this with a compact map in mind (compared to his other games) and with an emphasis on complex character interactions / random generation. My map so far:

Everything is laid out in a hallway where the north doors are green (unlocked) and the south doors are red (locked). To the far west is an office where the doctor lurks, although the doctor can wander at random; nearby the doctor is a “dispensary” with a locked cabinet (inside I could see a red key), a blue pill, and a hook meant for opening windows. (Please keep in mind some or all of this might be placed randomly, I’ll need to do more tests.)

To the far east is an electroshock therapy room with a women dressed in a roller derby uniform in a uniform that looks like she does roller derby. There’s a green key there but I can’t take it without getting a treatment (losing the green key in the process).

Of the green doors, two of them have patients (again, in my current save-file). “Houdini” is hanging in one:

I haven’t been able to FREE HOUDINI or otherwise help him.

“Merlin” is in another and he thinks I’m a demon he has summoned.

I’ll need to do some more experimentation to see how far down the rabbit hole this game really goes. I know, at the very least, the manual isn’t lying about the multiple endings.

(And for anyone who has played it, please no hints whatsoever, I’m in the “fun toybox” phase of the game despite the lobotomies. I have suffered four so far. I am now wondering if a lobotomy is required for one or more of the endings.)

Friday, 18. April 2025

Interactive Fiction – The Digital Antiquarian

The End of Sierra as We Knew It, Part 2: The Scandal

That’s the challenge: giving the public a formula they know and feel comfortable with, but making it different from anything they’ve seen or experienced before. — Roberta Williams Although Ken Williams left his office at Sierra On-Line for the last time on November 1, 1997, his wife Roberta Williams stayed on for another year, working […]

That’s the challenge: giving the public a formula they know and feel comfortable with, but making it different from anything they’ve seen or experienced before.

— Roberta Williams

Although Ken Williams left his office at Sierra On-Line for the last time on November 1, 1997, his wife Roberta Williams stayed on for another year, working on the eighth entry in her iconic King’s Quest series. King’s Quest: Mask of Eternity turned into the most protracted and tortured project of her long career.

Roberta had long since fallen into a pattern of alternating new King’s Quest games with other, original creations. Thus after Phantasmagoria shipped in the summer of 1995, it was time for her to begin to sculpt a King’s Quest VIII. Yet she was unusually slow to get going in earnest this time around; perhaps she was feeling some of the same sense of exhaustion that her husband was struggling with in a very different professional context. She tinkered with ideas for the better part of a year, during which the fateful acquisition of Sierra by CUC came to pass. By the time a team was finally assembled around her to make King’s Quest: Mask of Eternity in mid-1996, Sierra’s day-to-day operations were teetering on the cusp of enormous changes, not the least of which would be Ken Williams’s dramatically circumscribed authority. To further punctuate the sense of a new era in the offing, Mask of Eternity was to be the first King’s Quest game ever not to be made in Oakhurst, California; this one would come out of the new offices in Bellevue, Washington. Most members of the team assigned to it were new as well, with the most prominent exception being producer Mark Seibert, who had filled the same role on the hugely successful King’s Quest VII: The Princeless Bride and Phantasmagoria.

By this point, the lack of any subsequent point-and-click adventure games that had sold in similar numbers to Phantasmagoria, from Sierra or anyone else, was sufficient to raise concerns about the genre’s health in any thoughtful observer of the state of the industry. Roberta Williams apparently was such an observer, for it was she herself who decided to make Mask of Eternity different from all of the King’s Quest games that had come before, in order to better meet the desires of contemporary gamers as she understood them. Using Mark Seibert, who had played a lot more of the recent popular non-adventure games than she had, as something of a spirit guide to the new normal, she conceived a King’s Quest that would run in a real-time 3D engine, combining her usual focus on storytelling and puzzle-solving with some action elements. The broader goal would be to create a dynamic living world full of emergent potential, rather than another collection of set-piece puzzles linked together by semi-interactive conversations and non-interactive cutscenes. “We didn’t want to make it so you go here and solve a puzzle, then go there to solve a puzzle, then go to a puzzle somewhere else,” she told an early journalist on the scene. “What we really wanted to bring was that sense of going on an adventure, of going on a quest. It’s not just a word in the title. We want you to feel like you’re really doing it.”

Taken in the abstract, her understanding of what she needed to do in order to keep King’s Quest relevant wasn’t by any means completely misguided. Yet circumstances almost immediately began to militate against it cohering into a solid, playable game. SCI, the venerable adventure engine that had powered the last four King’s Quest games and Phantasmagoria, along with dozens of other products from Sierra, was totally unsuited for this one. To replace it, the team wound up borrowing a 3D engine that had been developed by Sierra’s subsidiary Dynamix with flight simulators in mind. They never were able to fully wrestle it into a form suitable for this application; the finished game remains a festival of jank, sporting walls that you can literally walk right through if you hit them just right.

Roberta Williams felt her own authority being gradually undermined as the new order at Sierra, now merely one part of the software arm of CUC, became a fact of life. In the past, she had enjoyed privileges that were granted to none of Sierra’s other designers — such were the benefits of sleeping with the boss, as she herself sometimes joked. She had worked from home most days, emailing her design documents to the people entrusted with implementing them and then supervising their labor only loosely from afar. But she now found that her ability to set her own working hours and location and even to make fundamental decisions about her own game was waning in tandem with her husband’s fading star. “Suddenly finding that she was expected to build another bestselling King’s Quest game, but that the developers didn’t really have to do what she said, was something Roberta had never had to face,” writes Ken in his memoir. “There were days when she would come home crying.”

In the last week of 1996, Blizzard Entertainment, that rising star of the CUC software arm, shipped Diablo to instant, smashing success. A decree came down from above to make Mask of Eternity more like Diablo, by adding extensive monster-killing and other CRPG-like elements to the design. Roberta Williams was utterly out of her depth. Increasingly, she felt like a third wheel on her own bicycle. And yet there was no other confident and empowered voice and vision to replace hers, just a babble of opinions — hers among them, of course — trying to arrive at some sort of consensus on every new question that came up. Whatever his other faults as an administrator and organizer, Ken Williams had never allowed this to happen. His rule had always been that there was one lead designer on each project, and that person called the shots. If the lead designer “wanted something done, whether the team agreed or not, it didn’t matter. It’s her game and her career on the line.” Now, though, this philosophy no longer held sway at Sierra, even as there was no coherent alternative one to take its place.

So, the Mask of Eternity team bumbled along with no clear ship date in sight, more a mob of wayward peasants than a well-honed army. In the meantime, there were more big changes at the corporate level: as we learned in the last article, the merger of CUC with HFS was announced in May of 1997. It was to be consummated that December, with the conjoined corporation taking the name of “Cendant,” from the Latin root that has given us the verb “to ascend” in English. The name was chosen by Walter Forbes, reflecting the conceit of a culture-vulture sophisticate in which he so loved to cloak himself. For his part, Henry Silverman of HFS, who was all about facts and figures and bottom lines, thought one name was as good as another, as long as his marketing people told him it would pass muster on Wall Street.

Well before the merger was completed, there were signs that this shotgun marriage of opposites was going to be a more challenging relationship than either had anticipated. Silverman ran a tight, focused ship, while Forbes’s board of directors and senior managers were, as Ken Williams had experienced firsthand, more inclined to discuss their golf handicaps than matters of vital interest to the company. “They were like children playing at business,” says one of Silverman’s top lieutenants of his counterparts from CUC. Growing concerned about the overall competence level and work ethic of Forbes himself, Silverman suggested to him in November of 1997, before the merger was even completed, that it might be best if he, Silverman, stayed on a little longer as CEO instead of turning over that position on January 1, 2000, as stipulated in the merger contract.

This was not music to Forbes’s ears. He had already been complaining for a while about Silverman’s high-handed style — about the way he was treating CUC as if it was being bought rather than being an equal partner in a merger — and he didn’t even deign to reply to this latest proof of his allegations. The relationship between the two executives grew so poisonous that Silverman hired a private detective to investigate rumors of womanizing and sexual harassment on Forbes’s part, hoping to find some leverage to use against him. Much to his disappointment, the detective failed to dig up enough actionable dirt.

Again, it should be remembered that all of this jockeying was taking place before the merger had even come off. Given the warning signs that were blinking red everywhere by November, one does wonder why Henry Silverman went through with the deal. The best answer anyone has come up with is that he was a creature of the stock market right down to his bones, and both companies’ stock prices had been sent soaring by the news of the merger. To call it off now would cause the stock to crater just as quickly.

So, the marriage was consummated on schedule, with Henry Silverman as the first CEO of the new Cendant Corporation. By virtue of his job title, he ought to have had access to every aspect of the former CUC’s operations and finances. Yet he ran into a baffling resistance from Forbes’s middle managers whenever he tried to dig beneath the surface. When he called on Forbes directly to intercede and get him the numbers he wanted, Forbes said blithely that he would prefer to preserve the “financial-reporting autonomy” of his half of the company. Silverman, whose temper could be volcanic, had to expend great effort to keep it under control now. He explained to his new chairman of the board, as clearly and calmly as he could, that that wasn’t how a merger worked. Forbes seemed to accept this. And yet at the end of February, more than two months after the merger had ostensibly been effected, Silverman still had no clear figures on his desk. His accountants were now telling him that, if these didn’t surface soon, they would be unable to make a legally mandated filing with the Securities and Exchange Commission. Silverman would have to be a far less perceptive businessman than he was not to smell a rat of considerable proportions.

On March 6, 1998, he dispatched his chief accounting officer Scott Forbes — no relation to Walter — from Cendant’s new headquarters in Manhattan to CUC’s old ones in Stamford, Connecticut. The accountant’s orders were to get the numbers he needed by any means necessary, even if it required getting Silverman himself to come onto the speakerphone and threaten somebody’s job. He met with E. Kirk Shelton, Walter Forbes’s right-hand man. Caving at last, Shelton sheepishly explained that there was a little problem — only a little one, mind you — with the former CUC’s books. Its actual revenues during its last year had come in about $165 million under the figures it had reported. While Scott Forbes was still shaking his head at this piece of news, wondering if he had heard correctly, Shelton rushed to add that the problem was easily fixable, by reporting equity from the merger as operating revenue. “We want you to help us figure out how to creatively do this,” said Shelton, as if committing accounting fraud was just another day at the office — which to him it was, as would soon become all too clear.

Henry Silverman was predictably livid when Scott Forbes told him what had just transpired in Connecticut. He tried to contact Walter Forbes, but learned that that gentleman of leisure was on vacation in Hawaii and wasn’t receiving calls. Walter did eventually deign to send an email in response to the CEO’s increasingly furious queries, saying that they would get together and sort everything out when he came home in a few weeks. Like Shelton, he seemed to believe that the discovery of a $165 million shortfall was no big deal — or else he had made a strategic decision to act as if it was.

Not realizing that he would soon be wishing that $165 million was the full extent of the discrepancy in CUC’s books, Silverman said nothing publicly, hoping this could all still be swept under the rug as the mere teething problems that always accompany big mergers, even as he privately vowed to be rid of Walter Forbes by hook or by crook. “I can’t have people working with me that lie to me!” he raged.

Rather belying his own attempt to treat CUC’s accounting irregularities as No Big Deal, Walter Forbes, upon his return from Hawaii, refused to meet with Silverman at the headquarters of the company that they supposedly ran together. Instead he insisted that Silverman and his closest lieutenants talk with him and his on neutral ground, in a Manhattan hotel suite. This meeting took place on April 1, which must have struck Silverman as an appropriate date, seeing how Forbes had fooled him into merging their companies. Brushing off all of Forbes’s efforts at preliminary light conversation, Silverman got straight to the point — or rather to the ultimatum. He was prepared, he said, to look for a way to keep CUC’s shortfall from becoming public and placing Forbes in serious legal jeopardy. He would do this not for Forbes’s sake — for Forbes, he made it clear, he had nothing but contempt — but for that of Cendant’s employees and shareholders. As a condition, though, Forbes, Skelton, and the rest of the old CUC inner circle would have to open their books to him at long last — full transparency across the board. Then they would need to leave the company, just as soon as the necessary severance contracts and press releases could be crafted. According to most reports of the meeting, Forbes and his people agreed to this.

Having vented his rage on these eminently deserving targets, Silverman left the hotel suite feeling cautiously optimistic. The shortfall was ugly, but it shouldn’t be enough to sink the business as a whole. And the upshot of the whole affair was that he would get Walter Forbes and rest of the CUC amateurs out of his hair once and for all. Silverman ordered his accountants to conduct a thorough audit of CUC’s books, to provide him at last with that which he had been seeking for so long, the same thing that Ken Williams had sought much more lackadaisically before him: a proper picture of what exactly CUC did, how it did it, and where its money was coming from and going to. He gave them two weeks.

The day of reckoning was April 15, 1998. Silverman might have suspected the worst when he saw that his own people had brought two mid-level CUC accountants with them, and insisted that they give the presentation, as if afraid of becoming collateral damage of the CEO’s temper. Their fear was thoroughly understandable. For what was revealed on that day was a tale of fraud on a scale literally unprecedented in the history of American business. Over the past three years alone, CUC had conjured out of thin air more than half a billion dollars in revenue that had never actually existed in the real world. To Walter Forbes, business had been a shell game. Now you see it, now you don’t.

CUC’s long tradition of financial malfeasance had apparently begun, as these things so often do, with dubious short-term measures that were intended merely to grease the wheels of the company’s legitimate operations as they passed from a slow-moving present to a doubtless supersonic future. Already before the end of the 1980s, CUC had taken to booking pledged membership fees — fees that would be realized only if the members in question didn’t cancel, which they frequently did — as guaranteed revenues at the start of each fiscal year. More and more such schemes came into play as Walter Forbes and his cronies fell further and further down the slippery slope of fraud. When a new fiscal year began, they would figure out how much money they needed to have made during the last one to slightly outperform Wall Street’s expectations, then fiddle with the books appropriately. Jerry Bowerman of Sierra, in other words, had been onto something when he pointed out to Ken Williams how weirdly consistent CUC’s revenue growth had been for years and years. “That’s categorically impossible,” he had said. “Does not happen.”

Except, that is, in the case of fraud. The scope of the malfeasance was breathtaking, permeating every layer of the company, as later described by the forensic accountant Ron Rimkus.

According to later testimony by the company and the SEC, CUC managers would analyze the difference between actual financial results and the estimates put out by Wall Street analysts at the end of each quarter. They would then target specific aspects of the business to adjust in order to inflate earnings. After determining the best areas to change, the managers would then instruct others in the company hierarchy to adjust the various accounts — thus creating a false income statement and balance sheet. Their methods included under-funding reserves, accelerating recognition of revenues, deferring expenses, and drawing money from a merger account to boost income. After lower-level managers made the accounting changes to the financials, the cycle would be completed by adjusting the top line of quarterly changes and, subsequently, making back-dated journal entries at the division level to get the general ledger to balance. CUC’s leadership was able to hide the irregularities through misrepresented accounting entries, often moving certain transactions off the books. For a company of this size to maintain two sets of books requires a widespread internal effort to produce the second set of books so the company can present a blend of truth and fiction to the auditor without getting caught.

Eventually, CUC started to run out of internal revenue streams to which it could apply its portfolio of tricks. It was at this point that Walter Forbes began aggressively buying up other companies, among them Sierra On-Line and Davidson and Associates. These transactions were always conducted in stocks, never cash. The fraud that followed depended on the concept of the “merger reserve,” meaning the cash profits and assets that the acquired company brought with it into the new relationship. CUC reported this reserve as operating income for the parent company. In order to keep the hamster wheel spinning, of course, CUC had to keep buying more companies with the funny money it had “earned” from its last round of acquisitions. Underneath his unruffled exterior, Walter Forbes had been paddling as furiously as a duck on a placid pond.

But there had to come an end point, when neither the internal shenanigans nor the acquisitions could could continue to paper over the discrepancy between the money CUC said it was making and the money it was really making. This limit point was looming by 1997. And this was what had set Walter Forbes down at a table with Henry Silverman, to negotiate a merger on a whole different scale from the acquisitions he had carried out to date. That said, it’s hard to identify what his real endgame in all of this actually was. He had to know that the fraud would come to light soon after the merger was consummated, and even he could hardly have been delusional enough to believe that Silverman would be willing and able to cover it up and let bygones be bygones. We can only conclude that chicanery had become such a way of life that the deal was worth it to him just to keep the wheel spinning for a few more months. When you get down to it, everything he and his people had done before negotiating the merger had been equally short-term. It was just a question of surviving and continuing to play the rich and successful businessman for today. Tomorrow could be dealt with when it came.

For once, even Henry Silverman was rendered speechless when he was told all of this about the man to whom he had shackled himself. After he picked his jaw up off the floor of his office, his analytical mind went to work. He knew right away that there could be no attempt to hide, minimize, or excuse this fraud; to do so would be to run the risk that the legal authorities would suspect that he and his people were also complicit in it in one way or another. The only way to save Cendant, and with it his own reputation, was to get out in front of the scandal before it broke on its own. He prepared a press release, to be sent out just after the markets closed on that very day. It spoke vaguely of “accounting irregularities” that had been perpetrated by “certain members of the former CUC management,” then announced matter-of-factly that the latter company’s earnings for 1997 would have to be adjusted — reduced, that is — by $165 million immediately, with more such adjustments very likely to come later. Having fired off this bombshell, Henry Silverman went home to get a good night’s sleep, knowing the storm that would break over his head when the next day’s trading began.

The tempest was as violent as he had anticipated, if not worse. Almost 110 million Cendant shares were traded that day, setting a Wall Street record. The stock price plunged from $36 to $19, reducing the company’s market cap by $14 billion. The first three shareholder lawsuits had already been filed before the trading day was over. In the weeks that followed, Cendant adjusted the figure of $165 million to $260 million in missing revenue for 1997 alone, with yet more years full of “irregularities” still craving investigation. Within six months, the stock price would be down to $9, the shareholder lawsuits numbering more than 70.

With characteristic brazenness, Walter Forbes contended that he had known nothing of the fraud committed on his watch — a claim of innocence that was, even if believed, as damning in its way as a confession, what with the degree of incompetence and negligence it would have to reveal. Nevertheless, forgetting what had been discussed in that Manhattan hotel suite on April 1, he fought to stay on as the current chairman of the board and the CEO in waiting of Cendant. He urged stonewalling opacity to the rest of the board as an alternative to Silverman’s strategy of transparency. The ruthless Wall Street money man thus found himself cast in the unwonted role of Cendant’s voice of conscience. “To urge me, as you seem to do, to not properly portray accurate information about our businesses,” wrote Silverman to Forbes in a letter (“I had difficulty looking at him” face to face, he admits), “appears to be of similar ilk to the conduct that brought us to this situation. I will not do that.”

Silverman didn’t manage to force Forbes out once and for all until July of 1998. When Forbes did leave, he took with him ten members of his board (good riddance, thought Silverman!) and a $47.5 million severance check. Whatever the long-term future held for Walter Forbes, he would have no problem continuing to enjoy his current lifestyle for the time being.

While Forbes was doing so, Henry Silverman rolled up his sleeves and set to work repairing the damage the disastrous merger had done to his own, legitimately profitable company. It was a daunting task, but it would prove not to be an impossible one. Hewing still to his strategy of powering through the heart of scandal so as to put it behind him as quickly as possible, Silverman agreed to shell out $2.83 billion in December of 1999 to settle the various shareholder lawsuits. The fact that Cendant, the name now associated with the biggest accounting scandal in American business history, was almost unknown to the American public in any other context, being hidden behind a welter of other brand names that they did know well, was an immeasurable aid to its survival; few consumers made any mental connection to the scandal when they booked a room at a Days Inn or rented a car from Avis. Indeed, most of those rental-car, hotel, and real-estate franchises which Cendant administered were still doing pretty darn well out there in the real world. For all of its difficulties, then, Cendant still had real money coming in, enough to offset the missing funny money of CUC over the long arc of time. It would survive and even expand its franchising reach well into the new millennium. In 2005, it voluntarily broke itself up into four separate companies to better service its increasingly diverse portfolio of brands. Henry Silverman, the first, last, and only CEO of Cendant, walked away from that culmination of fifteen years of work with a cool $250 million. Seen from this perspective, the CUC merger seemed like little more than a bump in the road.

As for Walter Forbes: the pace of criminal law for white-collar offenders like him is regrettably slow in the United States, but, in some cases at least, some form of justice is served in the end. After eight years of legal wrangling, he was convicted of conspiracy to defraud and two counts of submitting false reports to the Securities and Exchange Commission in October of 2006. (E. Kirk Shelton had been found guilty of a similar collection of charges a year earlier.) Forbes was sentenced to twelve years in prison and $3.28 billion in fines and restitution — fines which, needless to say, nobody expected him to ever be able to pay. By the time he was released from prison in July of 2018, the financial scandal that had made him and CUC infamous for a while had been all but forgotten, eclipsed by even bigger ones like the collapse of Enron and the machinations of Bernie Madoff. As far as I know, he is still alive today. If you asked the current 82-year-old Walter Forbes about his history, and if he happened to be in an honest mood when you did so, perhaps he would tell you that his halcyon decades as a jet-setting titan of industry were worth the twelve years of his life he had had to spend in prison to pay for them. He booked his revenue well ahead of his debt to society, just the way CUC always did it.



The infamous merger between CUC and HFS was actually a brilliant stroke of luck for the former Sierra On-line. For if that deal hadn’t gone through, CUC would almost certainly have crashed and burned at some point during late 1997 or early 1998, with no Henry Silverman to hand to clean up the mess. Blizzard Entertainment was doing so well by then that someone would probably have found a way to scoop it out of the wreckage, but Sierra, which could boast of no similar run of recent hits — Ken Williams’s parting gift to his old company of Half-Life wouldn’t be released until November of 1998 — might very well have been permanently buried under the rubble.

As it was, Silverman had no long-term interest in maintaining the software arm of Cendant. For him, games studios and publishers were a distraction from Cendant’s core business, to be unloaded as quickly as possible. To accomplish this, he replaced the rather clueless Chris McLeod — yet another legacy of Walter Forbes whom he couldn’t be rid of fast enough — with a well-respected games-industry executive named David Grenewetzki, whose last job had been with the publisher Accolade. While Blizzard was obviously doing just fine as it was, Grenewetzki’s brief when it came to Sierra and the rest of the software arm was to trim the fat, to finish and ship whatever was reasonably far along and worth the effort, and to cancel whatever was not, all in order to make this superfluous part of Cendant look as attractive as possible to potential buyers. If he did a good enough job that a buyer wanted to keep him on afterward, more power to him.

By this point, King’s Quest: Mask of Eternity had been dawdling along without any firm sense of direction for some eighteen months. Grenewetzki ordered Roberta Williams, Mark Siebert, and the rest of their unruly crew to kick it into gear and get the game done in time for Christmas, assigning them a new set of minders to settle their disputes and make sure they met their milestones. These were effective enough: the game shipped on November 24, 1998. Roberta Williams was largely missing in action during the last few months, choosing to join her husband on a vacation to France while the rest of the team was crunching.

Playing the game today puts me in mind of Douglas Adams’s description of an aye-aye lemur: “a very strange-looking creature that seems to have been assembled from bits of other animals.” Or perhaps the old joke about a camel being a horse that was designed by a committee is more apropos. Collaboration, feedback, and testing are of incalculable importance in any kind of game development, mind you; in fact, I would argue that one of the biggest problems with virtually all of Roberta Williams’s earlier games was that she didn’t engage in enough of these things. Yet a game also needs to have a firm sense of its own identity, which usually translates into having a decisive final arbiter in charge of it. Mask of Eternity all too clearly didn’t have that; neither Roberta nor anyone else was allowed to fill that role. In the absence of an empowered lead designer, Mask of Eternity became a game of bits, a collection of disparate parts that clash more often than they gel.

This strange-looking digital creature that was assembled from bits of other popular games sports the acrobatic challenges of Tomb Raider, the ultra-violent action of DOOM and Quake, the CRPG-lite trappings of Diablo, and even from time to time the puzzle-solving of a traditional King’s Quest, all of it implemented more or less badly. The floating camera is an especial pain, requiring constant fiddly adjustments that break up whatever sense of flow the rest of the game permits you to establish. The writing veers all over the place, from Roberta Williams’s trademark fairy-tale whimsy to adolescent gross-out humor that wouldn’t have felt out of place in Duke Nukem 3D. The dialog is delivered for some reason in a pseudo-Shakespearian diction, all “thee” and “thou” and “by your leave, milady,” read by dulcet-toned British voice actors who clearly have no idea what the characters they’re playing are on about and don’t much care. The game is very hard to connect with King’s Quest at all for long periods, until someone seems suddenly to remember the name on the box and throws in a few gratuitous references to King Graham’s earlier adventures or the history of Castle Daventry. I’m not the best person to wax outraged over all the ways that Mask of Eternity betrays its lineage, given that I’m the farthest thing from a hardcore fan of King’s Quest in general. Yet even I can see why so many gamers who are much more invested in the series than I am consider this, its final official entry prior to a brief-lived and almost equally underwhelming 2015 revival, such an insult to everything that came before.

As is the case with so many such Frankenstein’s monsters, it’s hard to figure out just whom Mask of Eternity was supposed to be for. The series’s usual pool of players — who tended to skew younger and to include more women and girls than was the norm even for the adventure genre in general — would be put off the first time they punched a monster in the face and saw its head fly off in a shower of blood and gore. And yet the demographic that enjoyed more violent and visceral games would be equally put off by the harsh reality that Mask of Eternity just wasn’t a very good action game long before they came across the first convoluted adventure-style puzzle to cement their indifference. You can’t be all things to all people — especially not with all-around execution as poor as this.

If anything, reviewers were kinder to the game than it deserved. Computer Gaming World magazine gave it four out of five stars, whilst admitting that it “required an open mind” and that “the old-school puzzles may frustrate newbies, while the veterans may be annoyed at the jumping and the combat.”[1]Reviewer Thierry Nguyen seemed not to have played any game since the early 1980s. “If you wanted to pull a switch in an earlier game,” he wrote, “you probably would have typed, ‘push box,’ then ‘get on box,’ and finally ‘pull switch.’ Here, you have to literally push the box, jump on top of it, and look up to pull the switch.” What a revelation! The website GameSpot called it “enjoyable” but “occasionally maddening”: “Sierra should be applauded for trying something new, even if its reach somewhat exceeds its grasp.”

But gamers weren’t buying such prevarications, and didn’t buy many copies of Mask of Eternity. Its commercial failure killed the longest-running series in the adventure genre as dead as one of its pixelated goblins. It marked the final nail in the coffin as well of Roberta Williams’s tenure as the “Queen of Adventure Games.” She wouldn’t design another game for a quarter of a century. The times, they were a-changing.


Sierra’s decision to drop the Roman numeral from the eighth King’s Quest game is indicative of the confused, have-your-cake-and-eat-it-too quality of all of its messaging around Mask of Eternity. The logic was that the new generation of gamers Sierra was hoping to attract would be intimidated by its being the eighth game in a series, might even feel they shouldn’t bother with it if they hadn’t played the previous seven. But then, if you are so concerned about reaching these people, why call it a King’s Quest game at all? The only cachet that brand might have held for most of them was the negative cachet of the “kiddie games” their moms or sisters used to play.

Mask of Eternity’s hero Connor looks like he could break Sir Grahame or any of the other protagonists from the first seven King’s Quest games in two without straining his tree-trunk-sized arms.

This level — err, area — is Egyptian-themed. What does this have to do with King’s Quest? Beats me… but Stargate SG-1 was popular on television at the time. Got to tick those boxes…

“Oh, great, another jumping challenge! I love those, especially with these extra clunky controls!” said no player of Mask of Eternity ever.



Did you enjoy this article? If so, please think about pitching in to help me make many more like it. You can pledge any amount you like.


Sources: The books Not All Fairy Tales Have Happy Endings: The Rise and Fall of Sierra On-Line by Ken Williams, Financial Shenanigans: How to Detect Accounting Gimmicks & Fraud in Financial Reports by Howard Schilit, Stay Awhile and Listen, Book II: Heaven, Hell, and Secret Cow Levels by David L. Craddock, Gamers at Work: Stories Behind the Games People Play by Morgan Ramsay, and Last Chance to See by Douglas Adams and Mark Carwardine. Wired of November 1997; New York Times of May 27 1997, July 4 1998, July 5 1998, and June 16 2000; Wall Street Journal of July 29 1998; Fortune of November 1998; Next Generation of June 1997; Sierra’s customer magazine InterAction of Fall 1996, Holiday 1996, and Fall 1997; Computer Gaming World of April 1999.

Online sources include “How Sierra was Captured, Then Killed, by a Massive Accounting Fraud” by Duncan Fyfe at Vice, Ron Rimkus’s analysis of the CUC/Cendant debacle for the CFA Institute, “A Pathological Probe of a Pool of Pervasive Perversion” by Abraham J. Briloff of Baruch College, Forbes’s report of Walter Forbes’s sentencing, and the vintage GameSpot review of King’s Quest: Mask of Eternity.

I also made use of the materials held in the Sierra archive at the Strong Museum of Play.

Where to Get It: King’s Quest: Mask of Eternity is available as a digital purchase at GOG.com, packaged together with the more fondly remembered King’s Quest VII: The Princeless Bride.

Footnotes

Footnotes
1 Reviewer Thierry Nguyen seemed not to have played any game since the early 1980s. “If you wanted to pull a switch in an earlier game,” he wrote, “you probably would have typed, ‘push box,’ then ‘get on box,’ and finally ‘pull switch.’ Here, you have to literally push the box, jump on top of it, and look up to pull the switch.” What a revelation!

Renga in Blue

Grave Robbers (1982)

Working with only 3500 bytes is tough. Only using the first two letters of a word was by necessity. We had to save every byte that we could. The parser just looked at the first word and last word that the player entered. Hence ‘GET THE RIFLE’ would be parsed to ‘GE RI’. We simply […]

Working with only 3500 bytes is tough. Only using the first two letters of a word was by necessity. We had to save every byte that we could. The parser just looked at the first word and last word that the player entered. Hence ‘GET THE RIFLE’ would be parsed to ‘GE RI’. We simply did not have the space.

Each room had a string variable that contained a list of rooms that the player could go to. As an example, if you were in the kitchen and you could go OUTSIDE, DEN, STAIRS, BASEMENT, the string would be ‘OUDESTBA’. This method also allowed dynamic changing of what rooms you could go to depending on actions that you took. If you could no longer go to the DEN, the string would be changed to ‘OUSTBA’. If a new room that you could go to was added such as the GARAGE, the string would be changed to ‘OUDESTBAGA’.

When we programmed, we had to squeeze every byte out of each line of code. There were almost no comments in the code. That was a luxury that we could not afford. Microsoft Basic only used the first two letters of a variable, so our variable names were not terribly descriptive.

While we would have liked to use variable names like ‘MeteorDistance’, we had to settle on ‘MD’.

Bruce Robinson

In the department of high-wire acts in making complicated games for simple machines, I bring you a VIC-20 games with graphics, sound, and animation. It the last 1982 game by Bruce Robinson, who brought us such minimalist fare as Jack and the Beantstalk.

See how the tape cover still indicates unmodified VIC-20.

I was initially wondering how the game might pull such a thing off, even given Bruce Robinson’s talent for putting content in a tiny space. I was fully prepared to talk about the book 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 and how a complex graphical effect could be made using a small algorithm, but that doesn’t seem to be the case here. The code uses line-by-line printing of text-character graphics with only a moderate use of repeats.

Where the tricks really happen is to have lightning effects, which is just past the opening room. Each screen has two versions, a “dark” version and a “lit” version when a lightning strike happens. I’ll show this off more clearly with some screenshots in a moment; for now, I should note we’re given a starting inventory

DYNAMITE MATCHES RADIO SANDWICH IN FOIL

and to make any progress, the first step is to OPEN GATE. There is no text description of the fact it’s a gate; you’re just supposed to assume from the picture. This usually isn’t a problem, but unfortunately, just like the original Mystery House, there’s a moment later which requires parsing some ambiguity in the image.

Opening the gate reveals a sign, which you can see alone with GO NORTH. This is when the lightning and rain start.

I could not get a screenshot of the lightning the conventional way — it only shows in full for roughly a frame before disappearing — so I had to run a video and do a capture.

Going north leads to another sign, with the same effect.

Remember, while this is going on there’s the occasional flashing background and sound effects.

Then comes a room that seems to be completely dark, with even more infrequent lightning. You get an indicator of what’s wrong if you keep trying to go north…

…but it almost feels like understanding the animation itself is a very light puzzle. It took me a couple flashes before I realized that I was looking at a dog (rather than, say, a mailbox).

The sandwich is the right tool here vs. the dog, although it took some effort to figure out how to remove the foil. REMOVE FOIL, OPEN FOIL, OPEN SANDWICH, and various other combinations don’t work; I went to refer to the manual (which is really just the backside of the tape packaging) and it gave this verb list:

buy, call, charm, chisel, chop, climb, close, connect, cross, cut, dig, drop, dump, feed, get, go, inventory, jump, kill, light, look, open, order, press, pull, push, put, return, siphon, start, throw, tie, turn, unwrap, yell

This is a verb list for all the Victory Software games from this time period; “siphon” shows up in the game Bomb Threat. Still, I quickly zeroed in on UNWRAP which is yet another new verb for the collection. UNWRAP FOIL followed by FEED DOG was enough to placate the vicious ASCII representation, and then I could move forward to the last room of this particular area.

Just giving the lit version this time. I originally thought the zeros-instead-of-letter-O spots were just a “graphical effect” but they become important.

There’s no shovel, but we do have dynamite. (I admit going back through the rooms and peering quite carefully at the flashing lights in case I missed an item. There’s nothing lying around, though.) However, because it is raining we can’t light the matches (they turn out to be a complete red herring). What you’re supposed to do instead is LOOK RADIO and find an antenna, then PUT ANTENNA followed by PUT DYNAMITE. This will eventually attract a lightning strike which blows up the dynamite. I don’t think that’s how that’s supposed to work.

I realize that might have been tricky to follow with the dark/light screen tricks, so here’s a video of the opening of the game given by Highretrogamelord, and be forewarned the sound is loud:

If you stay to the end, you’ll see the video stops at LOADING PART II. My guess is the Youtuber hit the same issue I did here: the game crashes with the currently existing copy. So I had to switch to the later C64 version to finish the game, which also gives a fresh title screen:

This reveals both authors, Bruce Robinson and Dr Alan Stankiewicz; according to Robinson himself in my comments the latter was also an author on Hospital Adventure.

The first part of the game is almost identical between the C64 and VIC-20 versions, except that you don’t start with the sandwich; there’s a side room with a TRASH that you need to look in to find the SANDWICH IN FOIL. Ew. I’m not sure what this adds to the game other than making it only 98% linear at the start rather than 100% linear.

The shaded room is only on the C64 version.

Going back to the explosion and going down, we now enter Part II of the game (the C64 just has everything as one file).

Here was my major point of “parse the picture” puzzlement. I originally thought that “high voltage” message was on a sign or poster, but it’s meant to be marking a box, and not just any box, but a FUSEBOX. OPEN FUSEBOX led me to more puzzlement…

…in that I wasn’t sure what the circles were supposed to mean. They’re fuses where one of the fuses is missing and needs a replacement. This is where the FOIL goes. (This allegedly works and is quite unsafe, but we’re just trying to rob a dead person here.) Incidentally, that LE0 0IL logo makes a reprise, and it took a long time for me to realize it’s probably meant to be a chunk of gravestone.

With the fusebox fixed, you can ENTER ELEVATOR — and yes, you have to make another jump to realize you’re looking at an elevator in the distance, but at least I made the correct guess this time.

After some fiddling, 4 is the current floor; 3 doesn’t work, 1 is locked (that’s a keyhole under the buttons there, represented by a playing card spade), so 2 is the only option.

You can move the picture to reveal a safe; trying to OPEN SAFE then has the game request a combination. This is honestly — and unusually for a puzzle like this — the most interesting puzzle in the game. I’ve given enough hints you can solve the puzzle if you want to try before moving on.

The LE0 0IL thing is the code. Flip that 180 degrees to get: 710037 (or as the game enforces by adding dashes as you type, 71-00-37).

Despite my complaining, that’s impressively recognizable as a key.

The elevator is stuck between floors so you can’t go back in. What you can do is douse the fire by using soil from the plant, and then GO FIREPLACE to a dark room, leading up to the third floor we had to skip, and then using JUMP to get back on the elevator.

The key then unlocks floor 1, and essentially right at victory.

You need to CUT GLASS (with the diamond) to get out.

I’m vaguely reminded of the Japanese game Diamond Adventure (just in the shortness of form and diamond as a goal) except there is essentially 0% chance the authors would have heard of it. The comparable aspect is technical, in that both cases the author(s) had to deal with creating a graphics system from scratch, leaving not as much room for the usual aspects of an adventure game.

The tight requirements mean this is a marvel as an artifact even if it doesn’t play as well to the modern player as a game. This was a product of sheer determination to see something resembling a graphical adventure on the VIC-20.

With more memory to work with, this certainly won’t be the last time we’ll see C64 character graphics as an art style; the games by the Australian Brian J. Betts starting in 1983 all fall in this category.

92 through 94 with all the POKE commands is where I think all the flashing happens. Those commands essentially execute assembly language in BASIC and so can cause fast graphical effects.

Coming up: Bedlam.

BONUS UPDATE: Gunther in the comments came up with a method of fixing the VIC-20 original, so it can now be played all the way through. Download here. I have some screenshots of the second part of the game, which is mostly the same, except the fire in the fireplace doesn’t need dousing.

Thursday, 17. April 2025

Renga in Blue

The Mysterious Mansion Adventure: Fixed Version, Plus True Ending

I have two bits of update from my previous posts on this game that make it worth a bonus post. One, I have a version of the game which is very near to the intended experience. You can download it here, and be sure when you start to say YES to loading a save game. […]

I have two bits of update from my previous posts on this game that make it worth a bonus post.

One, I have a version of the game which is very near to the intended experience. You can download it here, and be sure when you start to say YES to loading a save game. (In the emulator DCHector, this moves your tape from 31/63 to 32/63. If you want to rewind the tape back a step, go to Tools/Tape Unit and use the single left arrow to move the 32 back to 31. This lets you overwrite the save file with a new one, or reload the same save file on restart without having to reboot the emulator.) The save file is identical to the normal start of the game, except that the beaker in the laboratory is now bubbling, meaning you can skip using the apparatus (which is broken in the machine code somewhere).

Two, possibly more importantly, is that Gus Brasil figured out the last step in the game. I had realized it had to be a reference to the “FOR EVERYTHING THERE IS A SEASON” song/Bible verse and I spent most of my time trying out various permutations of SAY THING with no luck.

Gus had made an observation based on something I provided a screenshot of straight from the hexadecimal.

The very end of the clip (BIG3SMA4TIN5BEL6TUR) is providing nouns. That is, there’s a BIG KEY, a SMALL KEY, a TINY KEY, a BELL CORD, and a … TUR?

This had briefly flitted in my consciousness when I tried SAY TURN, and it did lead me to wonder if I had messed up some other flag in the game and SAY TURN (either done once, or SAY TURN typed three times in a row like in the song) was the key. Knowing Gus had won the game, I pondered the extra possibilities and … surely not?

Yes, TURN TURN wins the game. Even though it’s a two-word parser, TURN TURN TURN also works (the parser doesn’t accept any more characters, so SAY TURN TURN TURN isn’t even typable).

First of all, what is the character actually doing at this moment? Clearly not saying the words out loud, since saying them doesn’t work (as I amply proved lots of times before writing my post yesterday). TURN TURN is an “non-reality” command, kind of like in Warp how the game asked you to REGISTER SHORT ROPE. At least in Warp you were “talking” to the underlying computer running the game, here it isn’t clear at all how to interpret this final act. (You could be a spoilsport and claim that SAY not working is just a bug, and TURN TURN is being said out loud, but there’s enough intentionality going on I am fairly sure this is what the author intended.)

Second, what happens after? Somehow the player has won, but the game doesn’t narrate escape (as Gus points out, while there is an escape message, it doesn’t get printed in the game). Also, just like how the ending of La maison du professeur Folibus left the main character blue permanently, here there is no indication that the shrinking has been “cured” upon escape.

With the Roger M. Wilcox game Derelict 2147 there was a similarly ambiguous ending, where the player seemed to be trapped on the Derelict of the title even though they had won by gathering all the treasures. Roger made the insightful comment that:

The fate of the craft is probably the same as the fate of being stuck on Trash Island with an empty gas tank. Except there was no “Escape from Derelict 2147” sequel (nor did I ever think about writing one). Basically, once you get all the treasures, the universe ends.

With Mysterious Mansion it is quite possible the author never thought through any of what I just outlined — there’s a victory screen, so the universe ended. Don’t worry about what happened after. Maybe the tiny person who escaped from Mysterious Mansion and the blue person who escaped from the world of Folibus team up and fight crime. Your imagination can take you anywhere.

Since you’re still reading, a quick bonus: here’s the remainder of the 1982 games before we can declare it done, as seen in my post on the final stretch. There’s already a few games in 1983 I suspect will get pushed back, and some 1980 and 1981 discoveries made that will need to be attended to in the future, but after this list is done we can officially embark on 1983 games. Feel free to guess what the order will be!

Bedlam (TRS-80, by the author of Xenos)
Countdown to Doom (from the Cambridge mainframe that brought Acheton, Hezarin, Avon, etc.)
The Curse of the Pharaoh (Peter Kirsch does graphics)
Enchanted Forest (TRS-80 Color Computer does graphics)
Geheim-agent XP-05 (Early German game)
Grave Robbers (Unmodified VIC-20 game with graphics)
The Hobbit (The famous one)
Mexican Adventure (The last Sharpsoft game)
Misadventures 5 and 6 (Two more bawdy games from Ohio)
Zodiac Castle (follow-up to Windmere Estate)

Wednesday, 16. April 2025

Renga in Blue

The Mysterious Mansion Adventure: A Time to Gather Stones Together

(My previous posts on Mysterious Mansion are needed to understand this one.) Unfortunately, not long after my last post, I reached what looks like a fatal bug in the game. Fortunately, I was able to hack my own save file to give myself the required item. I’m glad I did, because what happens after is […]

(My previous posts on Mysterious Mansion are needed to understand this one.)

Unfortunately, not long after my last post, I reached what looks like a fatal bug in the game.

Fortunately, I was able to hack my own save file to give myself the required item. I’m glad I did, because what happens after is astonishing.

Unfortunately, I still haven’t finished the game. I am what I am certain is at the ending but I am unclear if the part I’m on is broken or not. I’m calling this my last post on the game for now.

It’s very likely the programmer of the two Interact text adventures was John Stout, shown on the left in a fall 1982 Micro Video newsletter. He is described as having “a hand in almost every piece of software in our last two catalogs” — that includes Mysterious Mansion — and he had just finished with the CRPG Mazes and Monsters. I think a comparison of coding style might help make the case solid but I’m satisfied enough for now. He’s described as having both B.A. and M.A. degrees in Composition and writing music for the University of Michigan Marching Band. He died in 2017 of cancer.

The one (1) action I still had left I could have simply figured out — although I’ll admit I don’t know how I would have figured this out — is getting the key from the crystal ball. If you have the crystal ball and play the organ, the ball shatters in such a way you can get the key (why this works and just shattering the ball by hand doesn’t, I don’t know). The small key then opens the door in the clock to reveal yet another door. We need a tiny key now.

It turned out all my problems after this point stemmed from a bug. I was unable to operate an APPARATUS in a lab. I should mention this bug wasn’t isolated; when you wear the invisibility ring, it becomes described as a RING IM WEARING even when dropped, and if the SKULL is dropped in a random place it turns into the skeleton of the summoning portal, and you can get a second skull due to inventory bugs that causes the portal to the laboratory to be summoned anywhere.

I had found that if I did PUT LIQUID after the apparatus asked for some juice, I ended up with a RING on the ground. This is true even if you are currently wearing the ring, and it is possible to pick up the second ring (except they’ll merge if you wear the second ring). I am 100% now certain this is meant to be a different object, BUBBLING LIQUID.

Unfortunately the game would normally stop from there, but I felt unusually determined yesterday so I started invoking the spirit of Hackerman. Remember, with great processing power comes great responsibility.

My first step was just seeing what I could find by plowing through the relevant file

The Mysterious Mansion Adventure (1982)(Micro Video).k7

in a text editor. The most relevant item I found was a list of objects…

BED
CANOPY BED
COLLAPSED BED
CRYSTAL BALL
STOOL
STOOL
CROSS
LARGE HOLE
2 MOUSE HOLES
A MOUSE HOLE
DAGGER
DAGGER IN BED

…which continued on sequentially for every object in the game. Notice the two STOOLs. The way object state is handled is to repeat an object multiple times, so there isn’t one RING, but rather a RING and a RING IM WEARING as two separate objects. This why you can hold two rings at once, except when you wear the second ring the rings now “merge” into one.

There are three BEAKERS. The first I believe is empty, the second is the starting one with poison, and the third has the BUBBLING LIQUID that the apparatus is supposed to produce (as opposed to making another RING).

What the parser list of the game looks like in a hex editor.

The emulator DCHector I was using does handle save files properly, although they get saved directly to the tape file (write protection needs to be turned off). I made three save files, one where I did a save from the very start of the game, one where I did LOOK ORGAN, and one where I did LOOK ORGAN followed by TAKE PIPE. I used the program HxD and its comparison feature to figure out where the changes were happening. I also for good measure made a fourth save file for right after I picked up the SKULL at the witch (my inventory had a SKULL, RING IM WEARING, CROSS, DAGGER, and PIPE).

For example, with a save file made after doing LOOK ORGAN, at byte 4010 the first six bytes in hexadecimal were

02 05 05 1c 11 11

after TAKE PIPE they changed to

02 05 05 1c 11 ff

It turns out that that sixth position is the location for the PIPE object, at what happened is it got moved from 11 (the starting room of the game, 17 in decimal) to FF, which is what the game uses to indicate an item is in the player’s inventory. This was sufficient for me to make a chart of different item locations in data.

Ultimate hacker mode, PENCIL AND PAPER.

While I also identified the player’s inventory count number, I didn’t want to fiddle with that. I ended up taking my game-in-progress and turning the CROSS and DAGGER into “00” and giving my player the BUBBLING BEAKER and TINY KEY. After some more experimentation I backtracked and just swapped the cross into the beaker, as the tiny key is only found after using the beaker (so it isn’t busted like the beaker is).

I have a modified save file here where the player is holding the bubbling beaker if anyone wants to try it out. I also have a version giving the player a tiny key as well if you want to jump straight to the end of the game.

Moving on with normal gameplay:

DRINK LIQUID results in the message I SHRINK VERY VERY SMALL.

Also, don’t drink it while you’re at the cat, who then thinks you’re a mouse, whoops!

All items are dropped. There is in fact only one item you can carry while tiny, the TINY KEY (which we’ll get later). Before getting there, I should mention the cat above is a preparation puzzle — there’s a spot on the map later where you need to go through one of the mouse holes and out the other, so the solution is to prepare yourself.

I’ve been on the record as being quite fond of preparation puzzles, but they’re very hard to do without a vicious softlock (you won’t find out about needing the pipe here until later, and you have to backtrack to before shrinking to use the pipe as shown).

Shrinking modifies the player’s ability to traverse the map. (This feels like Retelle’s game Nuclear Sub when you flood the sub; everything is irreversibly changed.) You can’t go from the master bedroom to the attic anymore; what you can do is go in the fireplace and go in the chimney that was previously too small.

This puts you on a roof. You can approach edges on the north, south, east, and west sides. I admit I was stuck for a while here; I tried jumping but it just resulted in death.

However, one of the four sides — the west side — has a balcony below and you can jump down to safety. I don’t know if there’s a way to get a hint for this, I just started testing sides when I realized object-based gameplay was now out the window so my options were low.

You can then find the tiny key, which is the whole point of going through the sequence in the first place. The tiny key can be picked up by our tiny avatar.

If you’ve put the pipe down, you can safely get by the cat; the mouse-hole passage links you down to the starting room of the game.

Then (I assume with some unmentioned climbing about) you can OPEN CLOCK at the last tiny door.

It took me a few beats to realize that the PLAQUE that says FOR EVERYTHING is meant to be combined with the book’s message of THERE IS A SEASON. That is, it is actually reconstructing text of Ecclesiastes 3, the verse that Pete Seeger derived the song There is a Season from.

There is a time for everything, and a season for every activity under the heavens.

Unfortunately now I’m at a hard stop. Remember, we’re permanently small. The tiny key disappears upon using it. That means no inventory at all.

The maze never got used for anything, but I’ve done a pass through with the torch (in case the dim light means an object is hidden) and also while small. Because of the cat, the latter is only possible if you drink the liquid at the cubbyhole…

…and it really feels like there ought to be something to this, given how much work was put into the maze with no reward, but absolutely nothing new is revealed while small I could find. I’m wondering if the Attic was originally designed so that you couldn’t backtrack but had to pass through the maze to get out, but the author left in a “bug” allowing leaving by a simpler route.

There is the SAY verb. It will repeat what the player says as long as it is between one and six characters. So the ending could be some matter of code-word, but I’ve tried everything both reasonable and unreasonable (TURN, PEACE, LIFE, DEATH, SEASON, SPRING, SUMMER, WINTER, FALL, HEAVEN, etc.). I also went and used the actual verb TURN on everything including the clock multiple times.

I’ve checked over closely the machine code and see nothing in the plaintext that suggests a code-word. Given how many broken spots the game has I’m not inclined to push farther as the ending could be just as broken as the lab puzzle was. (Or at least, by skipping over the lab puzzle, some other element needed for the end never got triggered.) However, I feel like I’ve experienced everything the game has to offer (and the ending just shows YOU HAVE ESCAPED) so I’m satisfied with moving on. Readers are still welcome to take a whack in the comments with my fixed file, but coming up, continuing with the minimalism theme: a VIC-20 adventure game that manages with graphics somehow.

From the last of the Hector line, the MX from 1985 by Micronique. Source. This game never got translated into French. We will be returning to this computer in the future with a very nice-looking graphical adventure.

Tuesday, 15. April 2025

Zarf Updates

Whence metroidvania

A few days ago, Kate Willaert wrote: As much as I love the word "Metroidvania," I dislike people calling these games Metroidbrainias because it makes it sound like their root is in Metroid games when they're just standard Adventure games in ...

A few days ago, Kate Willaert wrote:

As much as I love the word "Metroidvania," I dislike people calling these games Metroidbrainias because it makes it sound like their root is in Metroid games when they're just standard Adventure games in real-time. But Adventure is now obscure compared to Metroid, so we have to say it's that? [...] Although I completely admit I might be misunderstanding some essential component of what classifies a thing as a MetroidBrainia. Perhaps the first one would be MYST, which you can beat in 5 minutes if you already have all the knowledge? -- @katewillaert.bsky.social, April 7

Kicking at fuzzy genre boundaries is one of my favorite things in the world, and indeed I had some thoughts there! Let me expand them into a blog post.

First up: genre boundaries aren't defined. I mean, they're not created by definitions. It's a "what I mean when I say X" game. No, worse: it's a "what this community means when they say X" game, and who's the community, anyhow? But I'll lay my own tracks; you can decide whether to follow.

I did not play Metroid or Castlevania because I didn't have Nintendo. My first console was a Playstation. Okay, PS1 had Symphony of the Night, but I didn't play that. I played Soul Reaver, which is where I encountered the gameplay model that people would later start calling "metroidvania".

I wrote (in 2001!):

You spent your time and brainpower exploring, trying to work through some remote corner of Nosgoth, and at the end of each journey was a creature that you fought. Killing the creature gave you some new ability -- climbing, swimming, and so on -- which let you enter the next chapter. -- me, recalling Soul Reaver in my review of SR2

I didn't specify "going back to an earlier area to discover new paths, using that ability." That was a vital aspect though. I loved the feeling of having to think about the game world as a whole. Gained swimming powers? Gotta remember that lake you crossed earlier! You couldn't just think about the current location, because the key to progress might not be in the current area.

So yes: this is absolutely a model drawn from adventure games. The most basic trope of adventure games is "find a thing, then go find where to use it." THE LITTLE BIRD ATTACKS THE GREEN SNAKE, AND IN AN ASTOUNDING FLURRY DRIVES THE SNAKE AWAY! The world must be open and freely explorable so you can make these connections.

Let's extend this concept. Instead of locations and things, track the set of locations you can reach and the set of things you've found. We're no longer interested in where you are, only where you can get to. Every time you open a locked door, your set-of-locations grows larger.

On the left is a traditional adventure map with three locations: Garden, Clearing (beyond a hidden gap in the hedge), and Shed (beyond a locked door). On the right is a linear sequence of three sets of locations: Garden, Garden plus Clearing, Garden plus Clearing plus Shed.

See what this means? A game with no backtracking is a game where you never lose progress or get stuck. That's exactly the Loom/Myst adventure model! To revisit an "earlier state", you'd have to make a move that destroys an item or blocks access to a location. Infocom games and the early point-and-clicks were full of such situations -- but that kind of design fell out of vogue in the 90s.

...It sure sounds like the older, "cruel" adventure style is the real open-world game, while the newer "merciful" style is narrower and doesn't make you think about the whole game. Isn't that what I'm saying?

Kind of! There is a quality I miss about the old games. Not just because I was young in the old days... My pocket example is the Dispel Magic scroll in Enchanter. You could solve several puzzles with it, but it was a one-shot spell. Where to spend it? Figuring this out meant -- yep -- considering all the possible world states you could get into by using up the spell. A world where the guarded door was unlocked? A world where the tangled box was open? What other solutions would work in these worlds? A meta-open-world game!

But of course with Infocom's primitive play system, exploring these worlds meant a lot of save-file juggling. Not fun -- especially on floppy disk. But that was life in the 1980s. See this post for a deeper exploration of that era and what those "you can lose" games brought to the table.

How do we keep that sense of exploring alternatives, but avoid the frustration of juggling save files? (Or even the guilt -- you save-scummer!) Obviously, you make resetting the world a game mechanic, complete with an in-story explanation and a convenient UI for managing state. Which is how I got to Hadean Lands, of course.

And that brings us back to "metroidbrainia" land. You don't need a time loop for a metroidbrainia game; Hadean Lands isn't really a time loop. But it sure is easy to think of the metroidbrainia genre as "time loop puzzles".

Let's unpick this. We got to the metroidbrainia by taking the metroidvania idea -- "go back to an earlier area with a new tool or ability" -- and substituting "new knowledge". You don't have to defeat the swim-demon or buy a shovel or pick up a spell scroll; you just have to know what to do. You could have done it at any time, if only you'd known. That's the key.

A problem that you can solve only if you know how? We call that a "puzzle;" that's what the word means. This is what Kate Willaert is getting at above, and she's quite right.

And yet, Outer Wilds really did feel electrically new. It wasn't a retread of that Myst fireplace puzzle. (Which, to repeat the original comment, you could solve right off the bat if you knew the combination. Bypass all four puzzle Ages and go straight to Atrus.) So what was different about Outer Wilds?

It isn't the time loop. The time loop is a way to emphasize the pure-knowledge nature of the puzzles. The game wipes out all mechanical progress every loop, so you only have your accumulated understanding. And, of course, the time loop means that the game can let you get lost, get stuck, blow up your spaceship, crash into the sun (oh, so much crashing into the sun) -- no biggie, just reset. All the "unwinnability" annoyances get swept away with a single broom.

But, strictly, none of those knowledge puzzles have to do with the time loop. You could imagine doing the same kinds of puzzles in a game which had other workarounds for death and unwinnability. Tougher spaceship, tougher skin, whatever. You'd fly around and try things multiple times, instead of resetting the world on each try.

(Obviously the story of Outer Wilds is all about the time loop. That's not what I'm talking about here.)

It isn't the idea of going back to an earlier location and doing something different. That's been a popular adventure trope since, oh, Zork 1. (When you put all the treasures in the trophy case, you discover a map that shows a new path from the very first location.) "Back to the beginning" is simply good narrative closure. It doesn't give that sense of if only you'd known -- after all, Zork's map isn't an information puzzle. The hidden path is genuinely not accessible until you solve the rest of the game.

(Jason Dyer had to remind me about The Prisoner. O the embarrassment! The layout is a lot like Zork 1. You reach the finale by going back to the Caretaker -- #2, one of the first characters you encounter -- and saying a specific thing. But again, this ending move isn't available until you've gotten at least 850 points by playing other parts of the game.)

No, the division I want to draw between Myst and Outer Wilds is about the intended play experience. That's always shaky ground; people play the game in front of them, not the game the author wants them to play. But the assumption of Myst is that your play-through is a story, your personal exploration story. You begin at the beginning, explore, take notes, solve puzzles, and eventually (since there are no dead ends) reach the end. If you were writing a journal (popular!) then you might omit some of the repetitive fruitless wandering, but you'd write down every single clue, right? Same goes for the published strategy guide, which is inevitably presented as a journal. Shortcutting the puzzles is possible but the notional protagonist didn't do that! That's speedrun-fodder, and speedruns are a glitch aesthetic.

Yeah, the bad endings are a hitch in this seamless-narrative picture. But you only reach them late in the game, by which time you almost certainly have a save file. Or a bank of save files if you're an adventure-game fanatic. Almost nobody would have reached a bad ending and then started over from the beginning! And these days, Myst has autosave. So you can effectively UNDO with a couple of clicks. This very much reads as "how the game should always have been", even for us old-timers.

The other hitch is that the older '80s adventures are anything but a seamless narrative. You die constantly! You waste critical items on stupid ideas! You have to keep a bank of save files! We just discussed this.

We wanted to believe in a narrative through-line. Graham Nelson's seminal "Bill of Player's Rights" (May 1993) talks up the implicit assumption of continuous narrative:

Bill of Player's Rights [...] 3. To be able to win without experience of past lives 4. To be able to win without knowledge of future events

But Graham immediately has to hedge. In an expanded version (Jan 1995), he notes "This rule [3] is very hard to abide by." He gives three examples of puzzles that break the rule, but which still might be considered "fair" by contemporary adventurers. You just can't get through the Infocom era without a reckless attitude: try everything, see what fails horribly, restore an earlier game and try again.

Outer Wilds unquestionably calls for the same attitude; except the "restore" is a diegetic time loop. It's a game of trying wild stuff and dying. And yet, Outer Wilds feels nothing like Zork either! What am I trying to get at?

I think this: solving a puzzle in Zork or Myst feels like, well, solving a puzzle. It's right in front of you. You have a machine or a giant mirror or a row of buttons, and you mess with them. The puzzle responds. You might realize that another part of the puzzle is elsewhere (Myst loves pipes!) and then you run over there to mess with that, but it's still stuff that's right in front of you.

Solving a puzzle in Outer Wilds always happens elsewhere. Is "puzzle" even the right word? It's research; it's discovering secrets. You go out and try things and make discoveries and let them ferment in your brain. Then there's a moment of synthesis, and you shout "Holy crap! The secret was right there in front of me!" And then you go back and apply what you've learned.

...You know, that moment did exist in '80s adventures. It wasn't solving a puzzle; it was solving a puzzle in the shower. (For me that was the Elvish-runes door in Journey.) It was when you said "argh" and walked away from the game, took a walk, ate dinner... and then the lightning struck.

Every classic-adventure fan has experienced that moment -- but it's a rarity. You solve most puzzles by sitting in front of them. The metroidbrainia model ensures that every puzzle you solve feels like that thunderbolt. That's the genre keynote.

This lets us pry open another confusion: why games like Animal Well and Tunic regularly get labelled as "metroidbrainias". (Not to mention Blue Prince, the game that you don't need another review of so I'm writing this post instead.) In these games, you do go out and gather items and powers and treasures. (And put them in the trophy case.) But the game is careful to put more weight on what you do with the power than on the power itself. You may have to do a lot of platforming (Animal Well) or combat (Tunic, if you don't disable it) but the knowledge-based "brania" gameplay remains at least as important.

So there's my account. The Nature of the Metroidbrania Revealed. Does this help us create new and better games? I dunno, maybe. I'm describing a feeling rather than a strict definition. Much less a recipe -- you don't get recipes for better games; you have to do the work. But maybe it's a way to talk about that work. Let me know.


Renga in Blue

The Mysterious Mansion Adventure: A Time to Cast Away Stones

Progress! I think have most of the rooms, but that doesn’t mean I’m through yet. My prior post is needed for context. I flailed at nothing for a while before checking a hint Gus Brasil dropped; he suggested I MOVE the bed. I’m pretty sure I tried PUSH with no luck, ugh. This opens up […]

Progress! I think have most of the rooms, but that doesn’t mean I’m through yet. My prior post is needed for context.

Victor Lamba II HR, one of the French offshoots of the Interact. Notice the AZERTY keyboard. Every time I boot my emulator (which is French) I have to remap a few keys to turn it into QWERTY configuration. Via Retro Ordenadores Orty.

I flailed at nothing for a while before checking a hint Gus Brasil dropped; he suggested I MOVE the bed. I’m pretty sure I tried PUSH with no luck, ugh.

This opens up a HOLE, although it isn’t clear from the description the orientation, so I was a bit surprised when I tried GO HOLE and plummeted to my doom. Oops.

I had worked out the ROPE / SHORT ROPE business earlier — and I could see how that could be a huge hassle for someone who didn’t visualize the fact they weren’t reaching high enough to cut the rope — so fortunately TIE ROPE / CLIMB ROPE was now easy to come by. The landing place is dark.

I also had the MATCH from up in the high cupboard and the TORCH still, so I took these too back to the dark room to find a HOLE with a CROSS and nothing else of note.

Where things get interesting (in the “may you live in interesting times” sense) is upon trying to leave. This requires passing through the hallway with the cobwebs I found no use for.

Dropping the torch before entering is possible, but carrying over my knowledge from Troll Hole, I remembered the dark rooms in this parser allow moving around and dealing with items with no penalty. That is, you can go in the dark room, GET CROSS, and leave with CLIMB ROPE without ever turning on a light. So for my current run I still have a preserved match and torch in case I need it later (which might evade solving some puzzle involving clearing out the cobwebs first, and clearing out the cobwebs might reveal an item, so I can’t forget this entirely).

With the CROSS in hand the most immediately obvious next step was to try it on the vampire.

The vampire drops a ring, and just past the vampire is a skeleton with a missing skull. I figured I needed the skull from the witch, but the witch not only prevents passing through but also prevents taking the skull.

Fortunately, the ring that was just dropped presents a solution to this. I tried WEAR RING in case I could do a magic spell or some such (even though there’s no feedback given) and it turns out there’s a spell at work the whole time.

That is, the ring has turned us invisible! The skull can now be grabbed. The cat with two mouse holes is still hanging out in the same room but doesn’t present an immediate obstacle or threat so I’m guessing we’ll deal with that later.

Before showing off the skull, I should mention that going into the PASSAGE the witch was guarding leads to a CUBBYHOLE with a LEVER. Pulling the lever drops the player into a maze.

This took a bit of work to map at first, and I had to run the clock out once just trying out directions.

I still had the “turn, turn, turn” hint in mind, and thought it might apply here, since rather than the verb TURN it could apply to simple directional movement. The layout finally dawned on me, and the hint indeed helped:

Unfortunately, this doesn’t help me at all; the route here lets you go from the witch area down to the pantry next to the kitchen, but there’s no treasures in between. In Troll Hole, there was a maze where if you hadn’t found the gold nugget yet (too large to take out the normal way) the maze would also seem similarly useless, so that’s what I suspect here: this is intended as an alternate route later in the game.

Returning to that skull I mentioned, and doing PUT SKULL while at the headless skeleton in the vampire section:

The portal leads to a laboratory which is a dead end, with an APPARATUS, LOOSE WIRE, and BEAKER that has LIQUID.

The apparatus is described as having a loose wire and doing TIE WIRE gives the message

IT IS NOW FIXED
BUT NEEDS JUICE

but I’m unclear how to work things past that. I tried POUR LIQUID and the game said O.K. but with no apparent result. I’m worried that the parser is wanting something very specific, here (although it is also faintly possible it wants something other than the liquid). I did incidentally try drinking it…

…with little surprise as to the result. To summarize everything that’s a blatant loose end:

  • There’s an angry cat at some mouse holes (this likely won’t come into play later)
  • I can traverse a maze but didn’t find anything (this likely is meant as a through-route, but maybe I missed a secret)
  • I still can’t get at the small key in the crystal ball, in order to unlock the door in the clock
  • I need to operate the apparatus in the laboratory somehow
  • There’s a chimney too narrow to enter

This is leaving out the possibility of more secrets (like from clearing cobwebs; there’s also an apparently empty closet but maybe something happens there?) I don’t know how close I am to when Gus Brasil got stuck but I’ll take any hints or spectulation whatsoever.

Updated map, with new rooms marked.

Monday, 14. April 2025

Renga in Blue

The Mysterious Mansion Adventure (1982)

This is, as the manual notes, the “spine-tingling successor” to the Troll Hole Adventure, the game we played recently for the rare Interact computer from Michigan (and the less-rare-but-still-unusual Hector computer in France). The historical background is over at that link, so I’ll just dive in. This game is published by Micro Video, rather than […]

This is, as the manual notes, the “spine-tingling successor” to the Troll Hole Adventure, the game we played recently for the rare Interact computer from Michigan (and the less-rare-but-still-unusual Hector computer in France). The historical background is over at that link, so I’ll just dive in.

Well, maybe one piece of history. There’s a story in a 1983 edition of the Micro Video newsletter which talks about a Don Stockton of Ft. Lauderdale who modified his Corvette using an Interact computer. “Besides monitoring the car’s basic electrical functions, the Interact uses a ‘simple BASIC program’ to display a series of menus which Don uses to control gear shifting and other operations when driving.” As Don points out, the chunky character screen ends up being an asset for car visbility.

This game is published by Micro Video, rather than the Long Playing Software label I theorized was just an imaginary “subsidiary” which only used the name once.

There’s no treasure: this one’s just an escape from the spooky house, and with a time limit of 240 moves, ending at midnight. The time limit is emphasized enough the game gives warnings at 180, 120, and 60 moves from midnight. Aardvark’s Haunted House we just played had exactly the same trick (running to midnight with a minute per action) but it ended up being a fairly generous limit (only pushed closer to the limit because of the weird bug that forced me to take out treasures one at a time). However, that was just due to the straightforward nature of the actions. Based on Troll Hole and the parts of the game I’ve seen so far, this one will still have a tight map but might have lots of backtracking, so turn optimization may come into play later.

Not until I’ve solved more puzzles, though!

The layout is the typical multi-floor house with rooms like “kitchen” and “library” and “hallway” and etc.

The text is still chunky. Behold.

This is one step in, after doing LOOK ORGAN and finding the PIPE, which can be taken.

The sign is a warning (“DANGER DO NOT PLAY THE ORGAN”) and if you try that right away without taking away the pipe first, this happens:

NICE LITTLE TUNE
LOOSE PIPE FALLS
ON TOP OF ME
I AM DEAD WITH 236 MOVES TILL MIDNIGHT

The fireplace can be entered; there is a BIG KEY (which can be taken) and a CHIMNEY which is too narrow to enter.

Back at the drawing room, the clock is said (via LOOK CLOCK) to HAVE A BIG DOOR. OPEN CLOCK gets the response

DONT HAVE A KEY

but if you grab the big key from the fireplace first, it will open, revealing a second, smaller door.

I’ll talk later about the small key corresponding to the second door, so let’s visit other places, east first:

THERE IS A SEASON made me immediately think of the following “TURN, TURN, TURN”, so I assume something somewhere needs to be TURNed, but nothing I’ve tried the verb on so far (including the book) has had an effect.

(I went with their Ed Sullivan appearance since The Byrds already made an appearance with Deathmaze 5000.)

Further there’s a WINE CELLAR (with nothing) and stairs down lead to a VAMPIRE who is HUNGRY FOR BLOOD. He prevents going up the stairs or entering an ARCH. The Dracula in Aardvark Haunted House technically doesn’t “kill” you, he just softlocks the game if you don’t have the sledgehammer/stick handy since he prevents you from leaving, whereas here the difference is a death scene.

UNSAFE FOR CHILDREN.

Heading back to the drawing room, there’s a dining room to the north with a TABLE, TORCH, and BELL CORD. You can just pick up the torch, the table doesn’t do anything (?? not a safe assumption given this company’s last game) and the BELL CORD makes noise if you pull it.

We’ll come back to the cord later, and also to the room to the east, which has a kitchen with a cupboard that is out of reach.

For now, heading back to the start and going up:

You can’t take the cobwebs, and TURNing them has no effect either.

Here’s my map for now, but I’m sure it is incomplete:

To the south is a bedroom with bed; trying to TURN it gave me the cryptic message.

DONT SEE IT

After experimenting more, it seems like “fixed” objects give this message, but it’s possible the parser is leaking here in such a way I can figure out which objects are important and which are not. That is, trying to TURN COBWEBS gives a message of O.K. while TURN BED has the odd DONT SEE IT which might imply the cobwebs are important but the bed is not.

To the west of the hallway there’s a crystal ball…

…where LOOKing at it shows the small key (THERE IS A SMALL KEY INSIDE). However, you can’t get it (DONT SEE IT). In other circumstances I’d call that message a bug, but the layer of enigma makes it work. Trying to break the ball is unhelpful…

BREAKS INTO TINY PIECES

…so let’s try EAST of the hallway instead, with a bathroom that has a SINK, STOOL, and MIRROR.

The mirror and stool are both portable, and I assume we can fill something with water from the sink later (like Troll Hole). There is nothing behind the mirror, unlike Troll Hole.

The stool can go downstairs and be used to reach the cupboard in the kitchen. There is a match inside the cupboard which I haven’t used yet, so let’s go north of the hallway to a MASTER BEDROOM with a CANOPY BED. LOOKing notes there is something inside, and going in you find a DAGGER.

It’s a structural dagger! Taking the dagger causes the bed to collapse, and if you’re holding the pipe it lets you survive.

In a game design sense it is likely the player will have found the pipe by now, but it’s possible they won’t be holding it on their current loop through the game.

The collapse reveals a new exit, to an attic with “2 mouse holes”, “passage”, “cat”, “witch”, and “skull”, as well as a passage the witch prevents the player from entering.

The mouse holes are described as being across from each other, the cat is described as mean, and the witch is described as ugly. I tried bringing the mirror in just in case the witch’s ugliness was somehow “magical” but no luck.

One more thing! The stool works to get a match from the high cupboard, but it’s also useful with the ringing cord. If you take the dagger over to the cord you can try to CUT it and get a SHORT ROPE.

Trying to TIE ROPE after gets the message it is too short; the game here is broken. If you take the stool from earlier, drop it, and stand on it before cutting the cord, the result is now a ROPE (rather than a SHORT ROPE) evading the problem.

This feels much denser to describe than is typical for a game this size; the style here has not only any object potentially come into play (multiple times) but the possibility of using an item wrong (so while playing I have to keep track of items from the past and not just what I happen to be holding). There is no walkthrough or video available of this game and even Gus Brasil (who defeated Troll Hole before me) hasn’t been able to beat this game. I’ll take any suggestions people have!

Sunday, 13. April 2025

Renga in Blue

Haunted House: Alfred Hitchcock Presents

I’ve finished the game (previous post here), but the actual gameplay was made horribly intense due to a bug, and a very obnoxious final puzzle. Not a difficult-to-find-bug either — it is one that everyone playing the game and trying to win is guaranteed to hit. I think this was a victim of the Aardvark […]

I’ve finished the game (previous post here), but the actual gameplay was made horribly intense due to a bug, and a very obnoxious final puzzle. Not a difficult-to-find-bug either — it is one that everyone playing the game and trying to win is guaranteed to hit. I think this was a victim of the Aardvark bug-fixing philosophy as mentioned by Bob Anderson:

After 15 revisions of my “Time Trek” game, Rodger took to tossing the cassettes with the new revisions in the trash, rather than fix the production “masters” to quash the bugs.

I don’t know how this particular game would have shipped with this particular bug without the level of apathy Rodger Olson displayed. (Maybe this was a bug not in the Ohio Scientific that got introduced on the Coco?)

From last time, I went back over every room carefully, only finding a handful of extra messages. I did realize the ANTIQUE CHAIR from the den was considered a treasure (I didn’t realize I could carry it, but I was referring to it as a CHAIR, not an ANTIQUE as the game was wanting. Silly me.)

I went back to the desk and drawer that gave me trouble last time, did OPEN DRAWER to receive an empty prompt, and then did LOOK to find there was now a KEY and some SILVER BULLETS visible. I think I did LOOK DRAWER (which just gives A DRAWER, both before and after opening it) and didn’t think to LOOK at the room as a whole again.

The silver bullets and the gun, when both held, mean the GUN is now able to be used on the WOLFMAN. The game decides to spin a random roll to find out if you hit or not, and as I’ve hammered at many times with RNG, this means a player might get in a situation with 10+ rolls where they miss their shot; most adventure games this would mean they’re doing something wrong. (I did have this happen during one of my loops … and I’ll explain why I needed to do some loops in a moment.)

Also, his description is WOLFMAN (WEREWOLF) but you have to use WOLFMAN instead of WEREWOLF, otherwise the parser gets confused.

Killing the wolfman opens the remainder of the top floor.

Going up, straightforwardly, leads to an attic. The attic has an AX and a TRUNK with a BAR OF GOLD, and if a vampire bat comes by and filches a treasure at random (it works like the Pirate of Crowther/Woods, but completely random and you can’t stop it) it ends up here.

North of the wolfman is a bedroom with an extra DOOR. Doing OPEN on the DOOR reveals a skeleton blocking the way.

You can open the jewelry box to find diamonds (treasure) and a watch (not, although I had to test it to find out). The furniture is meaningless other than atmosphere.

You can just GET SKELETON and it will fall out of the way (leaving a SKULL and PILE OF BONES, again useless).

The package of money is another treasure, the flashlight is the method of getting light to the cellar (well, “CELLER”) without having wind blow it out. We’ll go down there in a second, but first south of the WOLFMAN.

The RARE STAMPS makes for a treasure, but it is hooked up to cause the front door to slam and be jammed permanently. The only way out is now through the cellar. (This is the one moment of Aardvark-style geographic interest for the game.) The BLACK BOOK has a combination for the safe (36, 27, 45) which has a KEY (needed to get out of the cellar door) and GOLD COINS (another treasure).

Taking the flashlight down to the cellar, the huge thing blocking our way is FRANKENSTEIN’S MONSTER. You can KILL FRANK but have to specify AXE (if you try the knife from the kitchen, it turns into a bent knife).

It was around this time I decided to start depositing treasures, and around this time I made a horrid discovery. The DROP command of the game is broken. If you drop any item, it drops all items in inventory, and not only that, it doesn’t properly reset the item count. So if you’re holding 6 items, and drop one, your inventory capacity just went down by five. Again, I have no idea how this slipped by given even a minor attempt at playing through will reveal this issue.

Arms full with only two items in inventory.

After a few loops where I fully deciphered what was going on, I ended up only winning by starting out via taking treasures to the entrance one at a time. If you are holding one item, and drop it, no damage is done to your inventory capacity. The ANTIQUE CHAIR, VAN GOUGH PAINTING, GOLD COINS (from the desk) and CRYSTAL BOWL are all available this way. Getting more requires killing the Wolfman which requires both a gun and bullets, so I did that next while only holding those items, then dropping them off after; this damaged my inventory by 1 but this was workable. (This game is for children, eh?)

I then decided to go more gung-ho and tried to carry the rest I needed all at once: PACKAGE OF MONEY, DIAMONDS, BAR OF GOLD, RARE STAMPS, KEY, AXE, FLASHLIGHT. Grabbing the stamps blocks off the front door, but the flashlight + axe can be used to bust through Frankenstein, and then past the monster is the NORTH CELLER with an exit.

The problem is this is still only nine out of ten treasures. I thought maybe the watch or jewelry box itself would count, but no. The items in the NORTH CELLAR come into play here: specifically the shovel, sledgehammer, and stick.

I knew already DIG was a verb and so I tested it dutifully outside and kept getting rebuffed. It turns out digging only works in the south cellar:

Two more DIGs gets the message “AHA!”, and looking reveals a coffin. Opening it up:

I already knew POUND was a verb (yes, this is another one I’ve never seen in an adventure before, I lucked out from the prefix PO being on my list as POKE) and I found via a lot of trial and error that POUND STICK worked. The game asked me “INTO WHAT” so I assumed this was a “make” kind of command and tried STAKE, but no dice.

The stick is already considered a stake. You’re supposed to POUND STICK / DRACULA.

Fortunately I hadn’t broken my inventory too much during this loop and was able to bring the ring over to victory.

I can see why the “for children” tag landed, just considering the puzzles from a bird’s-eye level: kill a wolfman with silver bullets, open a safe with a clearly-visible combination, kill a monster with an axe, kill Dracula with stick and hammer. The actual implementation (especially with the broken DROP command) makes it highly unlikely to be beaten by children or adults without some source-diving.

Dropping the “for children” part, and just considering this as a game, it comes tantalizingly close again to some interesting choices; having the items that don’t get used like the lunch and knife and fire actually work for the atmosphere. This is combined with such an obstinate parser that all value here is nullified, and of course the very last act requires a giant leap of parser finesse.

There’s one more Aardvark game to go but it lands pretty late in 1983; maybe they’ll have finally tweaked their parser by then? In the meantime, coming up: the other mysterious and mostly-undocumented game for the Interact computer, the appropriately titled Mysterious Mansion.

Saturday, 12. April 2025

Renga in Blue

Haunted House (Anderson, 1982)

Aardvark has been with us for a while; they started cranking out games in 1980 for the Ohio Scientific line of computers, with ports to the others made fairly straightforward by every game being in basic. The OSI computer was basic enough that there was limited memory capacity and so the parser system they used […]

Aardvark has been with us for a while; they started cranking out games in 1980 for the Ohio Scientific line of computers, with ports to the others made fairly straightforward by every game being in basic. The OSI computer was basic enough that there was limited memory capacity and so the parser system they used only went up to two letters each word. That is,

KILL DRAGON

and

KICK DRAGON

and

KISS DRAGON

and

KICKBOX DRIVESHAFT

are all interpreted as the exact same command, because the command is read by the computer as KI DR. Whether they really needed to do this is another matter, given the existence of games like Troll Hole Adventure with even more stringent requirements.

Unfortunately, even given we are nearly at the end of the line, there still hasn’t been advancement; today’s game even keeps the “feature” of sometimes giving a blank prompt on a action (successful or not).

Haunted House is by Bob Anderson, who we last saw with Derelict (good ideas, hampered by the parser) and Earthquake (really good ideas, almost good enough to not be hampered by the parser). This game — at least so far — doesn’t quite reach up to either. It’s a straight by-the-numbers haunted house Treasure Hunt, with a ghost, vampire bat, and werewolf.

The ad copy talks about it being “for children”…

It’s a real adventure — with ghosts and ghouls and goblins and treasures and problems but it is for kids. Designed for the 8 to 12 year old population and those who haven’t tried Adventure before and want to start out real easy.

…but while that was somewhat a stretch for Earthquake, it’s really a stretch here. I wonder if this is meant to excuse the fact the map layout seems to be fairly simple, as even the messiest of Aardvark games have had some interesting structure to their maps.

While advertised for a variety of platforms, the only version I’ve been able to find is for Tandy Color Computer.

The objective is to find the treasures and bring them back to the start before time runs out.

Already: why would the time limit be added in a game for children? There are so many games with frozen time, there’s no need for this. There could even be an in-game plot reason for an endless night while exploring a haunted house.

BONUS SIDE RANT

Look, I realize I’m perhaps getting grumpy out of proportion. The thing is, for this era, seeing an adventure marked “for children” is a good thing. I realize a random children’s product from this time might normally and rightfully be thought of as dross…

Oh boy, math drills! From a 1981 Intellivision catalog.

…but in the case of adventure games, a product normally for adults, thinking of children has so far led to innovation; Nellan is Thirsty had an automap, and Dragon’s Keep tried map navigation with menus.

Sierra later (1984) experimented with menu controls including full commands in Mickey’s Space Adventure. Designer Roberta Williams.

This was an era when user convenience was unusual, so thinking about “how do we accommodate younger players?” led to innovations that only became standard years away. In the case of Haunted House, clearly the company thought the map and/or the puzzles were simplistic in a way they didn’t want to endorse as “for adults” yet it has the same terrible parser along with the other Aardvark products and I wouldn’t dare put in front of an 8 year old. Even 8 year old me — who had already written a text adventure in BASIC — wouldn’t know what to do with it.

RANT OVER

You start at the typical house-represented-by-four-locations where going one direction loops around the faces. The south face has an extremely heavy rock; the north face has a CELLER DOOR which is locked from the inside.

Heading to the porch, OPEN DOOR gives a blank prompt and it was unclear to me until I fiddled for a while that this meant it was possible to now go EAST and inside the house.

The inside looks to be rich with objects, but a fair number of them give a blank response to LOOK. It is hard to tell if they are filler or not.

To the south is a DEN. The GUN can be taken, at least. LOOK DESK mentions a drawer, and while OPEN DRAWER gives a blank prompt, and LOOK DRAWER says nothing, if you think to UNLOCK DRAWER it says:

NO KEY

However, I’m still not sure if that’s really the problem, because that’s the response to any command of unlock on any item, even nonsensical ones.

LOOK GUN also is unhelpful and it took me trying to shoot something (and getting the response NO BULLETS) to find out for certain it was unloaded. (I am 99% sure there is a silver bullet somewhere.)

Regarding verbs, I should jump in and mention what I have found by dragging through my standard list:

DIG, READ, OPEN, DROP, EAT, LIGHT, UNLOCK, SHOOT, KILL, FEED, POUND, OF(? offer?)

Remember, only the first two letters are understood, so DIP is considered the same as DIG. I had to use some subterfuge to get all of them. PO when applied to a target in inventory says NO HAMMER, and that’s the only verb that makes sense to me (I previously had it as POUR). FEED will say NO LUNCH if you don’t have a particular food item in inventory.

I still am unclear if OF is OFFER but I’m not sure what else it would be.

The fact PO isn’t POUR was a surprise to me because of this room. I assumed I needed to get water (and WATER — or at least WA — is a recognized noun) and put out the fire, but now I’m not so sure. The painting is at least a treasure out in the open and I was able to confirm after depositing it at the start, the game’s score turns into 10 out of 100 (meaning we’re likely hunting for ten treasures total).

I remember this trick from Trek Adventure. LOOK at anything else gives no message.

To the east is a DINING ROOM with a CRYSTAL BOWL (treasure) and a TABLE AND CHAIRS; next to that is a KITCHEN.

The candle, lighter, knife, and lunch are all able to be taken. OPEN OVEN and OPEN REFRIGERATOR give blank prompts (maybe they worked and I’m doing something wrong as a follow-up?)

Going down the stairs leads into darkness. If you have the candle lit (via lighter) a gust of wind blows it out, so I don’t know yet what is down there.

Instead going up, there’s a BEDROOM (with a BED I can’t interact with) and a BATHROOM (with a SINK and TUB, likewise). Trying to go farther past these two rooms, I am blocked by a werewolf.

Trying to feed him the lunch.

The vampire bat and ghost I alluded to earlier appear at random. The vampire bat will swipe treasures and take them to the attic (which I have yet to reach) and the ghost … looks spooky?

There’s zero walkthroughs or videos I can find for this one but fortunately the source code is BASIC. I’m going to hang on a little longer for the sake of all those 8 year olds out there from the 80s that somehow found themselves trying this game.


Alaskan Adventure (1982)

You can use the months of the Softside Adventure of the Month as a sort of progress tracker of All the Adventure’s trek through 1982. Alaska Adventure is from December. Once again, it is from Peter Kirsch, and once again, it has an experiment in structure. This time it didn’t seem like it ought to […]

You can use the months of the Softside Adventure of the Month as a sort of progress tracker of All the Adventure’s trek through 1982. Alaska Adventure is from December.

Once again, it is from Peter Kirsch, and once again, it has an experiment in structure. This time it didn’t seem like it ought to due to the premise (get 15 treasures). Rather than using that as a prompt for open-world exploration, the player gets sent through a series of small areas in sequence. It is quite possible (very likely, even) to miss a treasure, but you eventually start looping through the areas visited. Essentially Kirsch’s vignette-style is being combined here with a Treasure Hunt.

I have procured versions of the game for Apple II and Atari, but not TRS-80 this time. I went with Atari since it’s been a while and I’ve had previous attempts at trying to get the “best” version of a game go awry.

Before getting too deep in, I should give mention that the term “Eskimo” gets used in the game extensively. It is generally considered offensive now (not to Westerners in ’82); it most likely comes from a word meaning “netter of snowshoes.” Since we’re on mainland Alaska for this game I’m going to go with Yupik generally (as the indigenous people of Alaska prefer) but will still quote the game’s text when appropriate.

The room description for nearly every outdoor room is YOU ARE SOMEWHERE IN SNOWY, COLD ALASKA. I guess that’s one way to save on text space.

The game insistently repeats you are cold and hints you might die…

…but even after many turns (due to having trouble making the map) I managed to get through, so either the turn count value is super high or the constant “B-R-R-R-R-R-R” messages are just meant for atmosphere. The reason I had trouble making the map was the lack of items.

The sled isn’t takable. The shovel, in the trading post, requires that I trade something for the shovel. Trying LOOK SNOW on a couple rooms (the wrong ones) I thought I needed the shovel so I could DIG SNOW and neglected checking the command on the eastmost rooms, one which reveals an antique plate and the other a golden idol. The plate is not a treasure and is meant to be traded for the shovel; when trying to pick up the golden idol the game asks for a container to put it in. The golden idol cannot be collected yet but only can be taken after at least one full loop of the various locations.

Randomly a “huskie” will show up, as shown above. It took me a while to realize what was going on because of the sheer strangeness of the act: you need to GET HUSKIE and then they will land in your inventory. Then more huskies show up, and you can GET them too. You can end with with 6 of them; I imagine the author wasn’t literally imagining them tucked in the player’s back pocket, but even dragging them around snow while leashed seemed a bit extreme. The only reason I even came up with this is the opening mentions the word MUSH, and if you hop on the sled and try to SAY MUSH, the game is fairly explicit about what you need.

Drop the set of dogs while standing at the sled, and it turns into a DOG SLED and then MUSHing will work. (If you drop the dogs anywhere else, you get the message DOGS KLING ON TO YOU which is beautiful. But also confusing since it isn’t obvious doing it at the sled will work.) I think the missing narrative here is that we had a full dog sled and then something went wrong and the dogs scattered (and we lost our cold-weather gear in the process), which is why gathering the dogs up works in the first place.

At the next stop…

This map is wrong. I’ll explain the issue in a moment.

…straightaway you can LOOK SNOW to find an ALARM CLOCK. There’s also some WOOD TWIGS nearby (in the open) and an igloo with a MATCHBOOK, PARKA, and a FROZEN ESKIMO.

The parka allows finally taking care of the constant “cold” messages; for the poor Yupik, if you drop the twigs and light them on fire they will warm up, handing over a RARE COIN, our first treasure.

From there (my first time playing) I went on further, but I actually missed a area. The “every room is snowy, and also you can always go N/S/E/W” aspect to the game makes it easy to think rooms are duplicates that are actually different; there is a second igloo! Here is the correct map:

The extra igloo contains a sleeping Yupik. You can set the alarm clock here, walk out, wait for them to run to work…

…and then go back in and filch a PEARL and a PILLOW left behind, the former being a treasure and the latter being needed for a puzzle. I admit I’m somewhat glad I missed this on a first loop because it seems like one of the more mean-natured of the acts in the game; you’re literally tricking someone and stealing their treasure. Despite the absolute mania for Treasure Hunt style adventures still happening, they often had some thread of “this was being held by a monster” or “this was left behind by the eccentric prior owner” or even just “it belongs in a museum” but this is filching along the lines of It Takes a Thief, but without the early-established amoral character.

I realize the author probably was thinking more along the lines of “this is a sequence of things that can happen” and “here’s a puzzle that works given the setup” without any deeper intent. It just feels jarring given how many Kirsch games have tried to jog some sort of narrative out of the sequence-of-vignettes format.

Stop #3 on the trip involves the our first crisis. The dogs are thirsty, and won’t move without getting some water.

I know I’m missing exits now as every outdoor room still lets you go N/S/E/W, but I found trying to get them all on the map made things harder rather than easier.

We find some Yupik inside a lodge having dinner except they’re complaining about their salad not having dressing. To the west you can find some dressing and then hand it to them. (Again, the author seems to be just throwing out what works without deep message or intent.)

Taking care of this lack of proper salad accompaniment leads to getting an empty water bottle. Also nearby is an empty water dish. The trick here then is to take the SNOW from outside, put it in the bottle, let it melt by the fire, and pour it into the bowl. The dogs will now have water to drink and be happy (until their next crisis).

Also, when you get the snow the game says “you find something else too” which turns out to be a WEDDING RING, not a treasure, although it won’t be used until a later scene.

Onward, I mean, MUSH!

The next crisis: now they’re hungry! Nearby outside there is a room that looks like all the others but not only with SNOW, but also a SNOWBANK. DIG SNOWBANK reveals an igloo to the north.

The igloo has a dead Yupik and a tin of food. The body has a key on it, and we’d have enough for the dogs except we have no way to open the tin. (I missed the key the first time I played through here.)

Further on is a mountain with one of the tricky attributes games from this era sometime have, where the mountain represents two “alternate exits”. First, you can simply CLIMB MOUNTAIN and find a can opener on the top (??) and second, you can LOOK MOUNTAIN to find a cave, and ENTER CAVE.

The cave has a locked door — this is what the key from the body is for — and inside further it is dark. You can light a match to briefly see an ALASKA DIAMOND (a treasure). There is no way to turn on the lights permanently, but you can fortunately nab the diamond in the dark and make a getaway.

MUSH! (You can even just type MUSH on its own rather than SAY MUSH.)

Coming outside, there’s a polar bear (fortunately not one with an immediate hunger for our flesh). A few steps in, there’s an IGLOO with a crying bride, but that wedding ring found lost in the snow now comes in handy.

Now we reach a spot where I absolutely did not get it on the first loop and only found out what to do from the walkthrough. To the east there are some STICKY SHOES you can wear (fair enough) but it turns out the use of them is that with this igloo — this igloo in particular, which looks nothing different than the others — you can climb on top of it.

Oof. It’s been a while since I’ve seen a Kirsch puzzle this unfair.

The speargun goes to the bear (that part was straightforward at least)…

…and then you can GET BEAR — yes, the whole bear — and head over to a trading post in this area that wants to trade furs. DROP BEAR results in you receiving a GOLD KNIFE.

(In case you’re curious, yes, the game has an inventory limit, it’s just very large.)

MUSH and … another crisis!

There are two igloos nearby. One (fortuitously) has a VET and a RADIO. The radio is just playing music; the vet tells you they can’t help without their black bag. The other has a telephone, which oddly asks you to name the radio station calling. You can go back to the vet, listen to the radio, and find out it is radio station KOOL.

This magically gets a mailman over fast enough to land a GOLDEN RECORD (a treasure) into your inventory.

That was straightforward enough, but where is the black bag? This was again call for a walkthrough. Back where you “parked” you need to MOVE DOG, which reveals the black bag (!?!?).

After delivering the bag, you can GET VET (it’s “metaphorical” get, ok?) and drop for service:

It’s not MUSH-time yet! It was my first time through, but there’s a treasure findable via more sticky fingers. You can go over to the telephone-room to find the vet sleeping; then, LOOK VET, and this will reveal a tiny key. This key will open the black bag, revealing a GOLD FILLING, which we abscond with.

I think even the protagonist of It Takes a Thief might start to have qualms at this point.

MUSHing farther, we’re getting closer to the loop; this area, plus one more new one, and we’ll be back at the start.

You remember that Yupik where we used the alarm clock and then stole a pearl and pillow?

At least the game knows our hero is less than heroic.

With the Yupik asleep, you can now LOOK ESKIMO to find a GOLD NECKLACE and then take it. At least by this point in the game I was catching on.

To the north there’s a lake with a DEAD WHALE. You can hop in and get some leaking oil from the whale.

In a different direction there’s a TOTEM POLE. You can LOOK POLE to find a hole, try to GO HOLE to find a treasure chest, and with the aid of the oil helping with rust on the chest, you can OPEN CHEST.

You can also climb the totem pole and look at the face to see an OPAL. You drop the opal but you can get it again by going down and typing LOOK SNOW. Also, there’s a BOX you can nab nearby that’s just hanging out in the snow (this is what’s needed for the gold idol way back at the start).

MUSH on to the last new section:

This is always the screen on a new area, and it always takes testing the N/S/E/W in order to avoid missing rooms. I missed the box from the last area just by missing an exit.

I should mention, first, there’s a SEAGULL that appears randomly in this area. As long as you kept your speargun (I didn’t, once) you can SHOOT it and feed it to a HUNGRY ESKIMO.

To the north is an igloo, and an unfortunate encounter if you just try to enter.

For reasons? … you can CLOSE EYES, head in the IGLOO, nab the VASE, and get out without the negative reaction.

Moving on, there’s a KAYAK with a POOR OLD ESKIMO.

You can drop a treasure (yes, one of the ones you need, you might see where this puzzle is going) and he’ll lend you the kayak. This lets you paddle to a new area, which has an igloo with a MAD ESKIMO who wants your matchbook for some reason.

This yields a BAR OF SILVER.

With the bar of silver safely in hand you can kayak back. Since the treasure is one you need, you need to steal it back. It’s with the naked person, so you need to go through the whole CLOSE EYES routine again (if you can’t see them, they can’t see you stealing!)

The next MUSH loops around. So with the BOX in hand it should be possible get the IDOL and win, right?

…no, not quite. I counted, and found I only had 14 treasures. I missed a treasure, but I just had to MUSH to the next stop to get it, and I’m just going to give screenshots with no commentary.

Despite having 15 treasures now, the game refused to register a win, but perhaps that’s for the best. All the game says is

This adventure
is over

Believe it or not, this isn’t the last Kirsch game of 1982. On the special disk version of Softside there was an extra game of Kirsch’s that uses graphics. After we play that one I’ll do a round-up and some vague amount of comparative rating. I will say while I appreciate the structural experimentation, this game lands near the bottom; there were enough annoyingly hidden parts to drag the overall gameplay down, not even considering having to repeatedly steal from the same person.

Coming up: a haunted house game “for children”.

Thursday, 10. April 2025

Zarf Updates

How long will Intel Mac software work?

When Apple shipped the first ARM ("Apple Silicon") Macs, they came with Rosetta 2: a tool which allowed existing Intel apps to run on ARM. One day, Rosetta 2 will go away, and Intel apps will die. (Just like 32-bit apps died in 2019.) When? ...

When Apple shipped the first ARM ("Apple Silicon") Macs, they came with Rosetta 2: a tool which allowed existing Intel apps to run on ARM.

One day, Rosetta 2 will go away, and Intel apps will die. (Just like 32-bit apps died in 2019.) When?

This is a boring question. You don't need to read this post. I'm only writing it because I've put together this chart at least twice. Maybe three times. Next time I wonder, I'll just re-read this post.

TLDR: The answer is probably 2028 or 2029.


The common rag is that Apple doesn't do backwards compatibility, but that's wrong. They do backwards compatibility. They just consider it a time-limited phenomenon. They're surprisingly consistent about it.

Here's what I mean. I was most active in iOS development in the early years -- iOS 3 to 10-ish. That's when iOS was changing most rapidly. (Particularly the big UI redesign of iOS 7.) It was notable that Apple kept old apps working, with the old UI, when you upgraded iOS on a device.

Once you recompiled the app (with the latest Xcode), you were in the new world. That was the time to redesign your app UI to match the new OS.

Yes, that was extra work for developers. But I'm making a point: Apple put in a lot of work to ensure that OS upgrades didn't break apps for users. Not even visually. (It goes without saying that Apple considers visual design part of an app's functionality.) The toolkit continued to support old APIs, and it also secretly retained the old UI style for every widget.

But, as I said, this was a time-limited thing. After a few years, Apple started to drop the old UI style from the toolkit. Old apps got weird mis-sized buttons and so on. I particularly noticed this with My Secret Hideout, which I never recompiled beyond iOS 5. When iOS 10 came around, Apple started to drop old apps from the store (including Hideout) because they looked like ass. You can debate whether booting them was a good policy, but my app did look like ass. I hadn't touched the code in five or six years.

Five years is, as it turns out, Apple's unspoken time limit.


Here's Apple's first architecture transition:

  • Last 68k Mac discontinued: 1996 (PowerBook 190, Performa 630)
  • OS support for 68k Macs discontinued: 1998 (MacOS 8.5)

In other words, you might have bought a 68040 PowerBook in 1996. It got two years of OS support; then it was orphaned in 1998. That's way under the five-year limit I mentioned. Early days.

(EDIT: I originally wrote "discontinued in 1999", but it turns out it was 1998.)

On the other hand, the software support lasted longer:

  • First PPC Macs: 1994
  • 68k emulator discontinued: 2001 (MacOS X 10.0)

Developers started building apps with PPC support in 1994. (Those were the CodeWarrior years.) But non-updated 68k apps were supported via an emulator. That was retained through the Classic MacOS era; it was dropped when OSX hit. So seven years of backwards support.

(EDIT: I am corrected; the "Classic environment" kept supporting 68k Classic apps through MacOS 10.4 "Tiger", at least for PPC hardware. So more like twelve years.)

Moving on to Intel, the window is exactly five years:

  • Last PPC Mac discontinued: 2006 (Power Mac G5)
  • Xcode support for building PPC apps discontinued: 2011 (Xcode 4)
  • Rosetta discontinued: 2011 (MacOS 10.7 "Lion")

What about the 32-bit software cutoff? That's the one everybody screamed about (in 2019). It's a bit difficult to nail down how long the transition was, though. 32-bit Mac hardware was only sold for a couple of years: 2005-2007, the "Core Solo" and "Core Duo" processors. After 2007, all Macs sold had 64-bit CPUs. Thus:

  • Xcode support for building 64-bit Mac software added: 2006 (Xcode 2.4)
  • Last 32-bit Mac discontinued: 2007 (2006 Mac Mini)
  • Xcode support for building 32-bit Mac software discontinued: 2018 (Xcode 10)
  • 32-bit Mac software support discontinued: 2019 (MacOS 10.15 "Catalina")

Twelve years! That's longer than Microsoft supported Windows 7.

Looking at it, I'm surprised that there still was 32-bit-only software out there. I don't mean "software left over from 2006"; obviously there was some but you knew it was ancient. I mean developers who had just kept on building 32-bit versions of their apps -- never shifting to "fat" (32/64) builds.

You can get into a deep well of reasons why adding 64-bit support was hard. Most of them boil down to dependencies: old libraries, frameworks, game engines. (I'm not even getting into the Carbon-Cocoa business.) I guess the real question is why this transition was slower than the PPC-to-Intel transition, which was nailed down in five years.

Some of that was Apple's own transition, which itself took a few years. The MacOS kernel jumped from 32-bit to 64-bit around 2010. Then there was the Finder, iTunes, and other Mac first-party apps. If Apple is behind, they can't really put pressure on third-party developers.

I suppose there was a lot written on the subject circa 2012 or so. I don't recall any specific articles, though, so I'll let it go.


I'm not providing much support for my "exactly five years" claim, am I? Sorry! It's easier to see in the year-to-year OS updates.

  • I buy a 21-inch iMac (Intel Core i5): 2011
    • MacOS 10.13 "High Sierra" is the last OS that supports it: 2017
  • I buy a first-gen iPad Pro: 2015
    • iPadOS 16 is the last OS that supports it: 2022
  • I buy a 13-inch MacBook Pro (Intel Core i5): 2016
    • MacOS 12 "Monterey" is the last OS that supports it: 2021

I'm cherry-picking devices that I owned, because I kept a list. But the general pattern is consistent: five to seven years.

I don't think Apple is arbitrarily applying a five-year cutoff. (If they did, it would be exactly five years!) I feel like there's generally a hardware requirement, whether that's RAM or a GPU feature or some other motherboard element. But since Apple doesn't advertise hardware details, you have to dig into third-party sites to draw a complete chart. I'm not doing that.

The point is: Apple does the compatibility work for a five-year horizon. Maybe that winds up covering a six- or seven-year-old model; if so, great. If not, oh well.

Thus we can return to the original question:

  • Last Intel Mac discontinued: 2023 (2018 Mac Mini, Mac Pro)
  • Rosetta 2 discontinued: probably 2028 or 2029

They'll announce the deprecation at a WWDC in May (2028 or '29), then ship the de-Rosetta'd MacOS in the fall. Don't wait for the news, of course. Get your ARM builds in gear right now if you haven't.

Footnote: Obviously this post assumes "business as usual" over the next five years, which is, you know, a hell of an assumption. If Apple stops making computers in three months because there are no more CPUs, forget this whole post.


Choice of Games LLC

New DLC out now! “Seek and Destroy” in “Werewolf: The Apocalypse — The Book of Hungry Names”

We’re excited to announce new content for Werewolf: The Apocalypse — The Book of Hungry Names!  “Seek and Destroy” is the latest DLC addition to the sprawling epic. “Seek and Destroy” is on sale, along with the “Book of Hungry Names” base game, the “Wardens and Furies” DLC and “Those Who Refuse to Die” DLC, until April 17th! 

We’re excited to announce new content for Werewolf: The Apocalypse — The Book of Hungry Names!  “Seek and Destroy” is the latest DLC addition to the sprawling epic.

“Seek and Destroy” is on sale, along with the “Book of Hungry Names” base game, the “Wardens and Furies” DLC and “Those Who Refuse to Die” DLC, until April 17th!

“Seek and Destroy” unlocks the options to play as a member of the Red Talons tribe and the nomadic Silent Striders tribe.

And, in a special mission, 175,000 words long, hunt down a vampire who feeds off the weak and the helpless. Along the way, you’ll uncover his connection to forgotten secrets of the Three Families and the bloodstained legacies they left behind.

Finally, at no additional charge, we’ve added support for poly relationships in The Book of Hungry Names. You asked for it, and you can now form a throuple with any two of Elton, Nin, Melodie, or Podge. That’s six variations in all, all with unique dating and romantic experiences.

The whole game including all DLC now comes to a whopping 2.1 million words! Enjoy!

Wednesday, 09. April 2025

Renga in Blue

Stone Age (1982)

Stone Age is the last game from Scott Morgan for TIAdventures, and in some senses the simplest one. I may simply have gotten used to his parser quirks, but I beat it in roughly 10 minutes flat. My guess, if you look at the ad that was published in the ASD&D catalog… …that reading from […]

Stone Age is the last game from Scott Morgan for TIAdventures, and in some senses the simplest one. I may simply have gotten used to his parser quirks, but I beat it in roughly 10 minutes flat.

My guess, if you look at the ad that was published in the ASD&D catalog…

…that reading from left to right, these were still written in the order shown: that is, Haunted House, Stone Age, Fun House, 007: Aqua Base, Miner ’49er, and Vedas, especially since last two felt “denser” than the other games. In terms of the chain-of-recommendations the games have made, it goes in a different order, but it is quite possible all of these were written as one set and the suggestion about getting the next game from ASD&D was made only after a publisher was secured. (On the other hand, Aqua Base was released for cassette only, which suggests special status.)

In all honestly this is just a guess. The simplicity didn’t bother me so much just because it meant that none of the puzzles stopped me horribly (for long) due to parser troubles, and while the game does rip a puzzle directly from Roberta Williams, this version might be considered an improvement.

This one’s a “biome journey”, with the meta-map shown.

As the front cover indicates, we’re a victim of time travel to the past, to “5000 B.C.” Given the presence of dinosaurs, I think we’re a little further back than that, but this is the same author who turned acid into water with some lichen.

The game starts with a reasonably clever in medias res moment as we find ourselves in a cavern with no clothes, and the only real clue to what’s going in is found by typing INV or INVENTORY and realizing we have a “driver’s license”.

Doing LOOK LOG reveals a SPEAR and KNIFE; you can also TAKE LOG. To get further along the stream, you need to USE LOG which will invoke it as a water vessel of sorts. (The only hard part is figuring out the right parser command.)

The bear fortunately succumbs to violence; with KILL BEAR the game asks you with what, so you need to type WITH SPEAR. Just like with Fun House, the two-part aspect to this is fakery; in reality the game is searching for “WITH SPEAR” on its own, and you don’t have to say anything about killing the bear first.

The bear leaves behind a skin, “FLESH&MUSCLE”, and a bone, two which will be useful.

Moving on to the south there is a EUCALYPTUS TREE, and typing LOOK TREE reveals some EUCALYPTUS LEAVES. Doing it again, even after picking up the leaves, reveals more LEAVES.

Further south there’s a BRONTOSAURUS in the way, but you can distract it via the newly acquired leaves.

Also, I know this isn’t a big deal, but we’re off chronologically. (I do know one of my readers is a professional paleontologist, so feel free to chime in here.) Brontosaurus was in the ~150 mya (million years ago) era, whereas Eucalyptus was in the ~52 mya territory. We’re additionally going to be tossing in a T. Rex later which was in the Cretaceous (~75 mya). I really would like to find a game, any game, which treats deep time accurately and we can visit the Eocene or something like that with animals totally outside the normal pop culture. I think a lot of misconceptions about evolution come from the ludicrous time jumps authors seem to put on anything pre-human.

A Phenacodus, an Eocene-era herbivore. 55 million to 38 million years ago. They could have eaten Eucalyptus leaves. C’mon, wouldn’t you love a game full of creatures like this? Picture via Wikipedia.

Moving on, there’s a desert and the bit where I warned Roberta Williams was getting ripped off. Wizard and the Princess had a maze at the very start where there were many rocks and nearly all of them had a scorpion, except for one. That one rock was the one you could pick up without dying. It was such trouble that later printings of the game put a hint card in the package just for that one puzzle.

This game simply has a bunch of rooms described as “desert” not really in a maze, and LOOK ROCK in most cases reveals a scorpion, but there is just one which says you see nothing special. The map is quite simple…

…and you don’t need to spot any subtle graphical differences: so, superior to the original, in a way.

Moving on, there’s a snake blocking the way, just like Roberta Williams, and (again just like Wizard and the Princess) you can THROW ROCK to drive the snake away.

Unlike Roberta Williams (unless you’re jumping over to Time Zone) there’s a T-Rex immediately after. It’s happy with the flesh from the cave bear that was speared earlier.

Next comes a beach, and a boat with a hole. Trying to FIX BOAT has the game prompt you WITH what, but running through my inventory led to all items being ineffective (fair enough, plugging a hole in a boat with a bone seems awkward). This was the only moment that gave me pause.

You’re supposed to go back to the tree and get more leaves. The leaves then can be used to fix the boat via WITH LEAVES.

That’s almost everything! The ocean is a very minor maze (unclear why you’re blocked off from any direction in particular, let’s assume strong currents) and that leads you to another beach and eventually a shack.

Trying to go into the shack, I found myself kicked out for “indecent exposure”.

Confused, I checked my inventory and found I could WEAR SKIN from the ever-useful bear. This allows entering the shack and finding a PROFESSOR with a TIME MACHINE.

If you just try to GO MACHINE, the professor stops you. It took a beat for me to realize I needed to prove I belonged inside, so I did SHOW LICENSE (the driver’s license that starts in our inventory) and got jumped immediately to the end. So fast that even when I recorded in OBS I couldn’t capture the screen, so here’s the text:

ZAP!!!!
YOU MADE IT BACK!!
BUT CAN YOU MAKE IT THROUGH
THE NEXT ADVENTURE?

“The next adventure”, not an ASD&D game. We’ve broken the time loop!

In all seriousness, for its short span the game wasn’t bad; it clearly was intended as a romp, and the ending made me laugh. A bad parser and dodgy writing and minimal world-model all can still sustain an adventure game as long as you don’t spend long in the universe.

In fact, if I were to go back and rate the Morgan games, the only two I’d say are worth playing are this one and Four Vedas (with the albatross puzzle, except that gets spelled wrong). I hesitate to say for certain but I’m guessing the author was young and these were produced at great speed. However, for the end user looking at the company catalog that doesn’t matter: they got advertised along with everything else. This sort of game with this sort of parser — bespoke elements and all — was part of the texture of the age.

The six adventures plus Entrapment, the game picked up by Texas Instruments for official publishing. Via TI-99ers.

Coming up: the final Softside Adventure of the Month for 1982, followed by the final next-to-last Aardvark game we’ll see (ever), followed by the sequel to Troll Hole Adventure.


top expert

Spring Scenes ’25

Hello, fellow authors! I’ve been neck deep in my own work for this year’s Spring Thing festival, which has left me little time for anything else, IF or otherwise. But the submission date has come and gone, and I am once again free to work on my other projects, including Let’s Make IF! You should […]

Hello, fellow authors! I’ve been neck deep in my own work for this year’s Spring Thing festival, which has left me little time for anything else, IF or otherwise. But the submission date has come and gone, and I am once again free to work on my other projects, including Let’s Make IF!

You should check out some Spring Thing games! Not necessarily mine, but a great way to be involved with IF is to be… involved with it! You can find the games here.

Spring Thing Festival of Interactive Fiction

Spring Thing 2025 – Details

Find something you like? Consider telling your friends, or writing a review, or rating games on IFDB. Or sending a nice note! Consider supporting creators who make content you value.

where were we.

Let’s ease back into scenes. Consider this rather bare scenario:

diner is a room.

the lunch counter is a supporter in diner.

a sandwich is a kind of thing.
a sandwich is edible.

the grilled cheese is a sandwich on the lunch counter.

the description of the grilled cheese is "Buttery, gooey, with a delightfully crisp exterior."

What is time in such a place? There is no code to govern the temperature of the sandwich. In the real world, it would become less gooey as it cooled. We’ve talked about this kind of thing before: we could use values or global counters to simulate the temperature of the sandwich.

temperature is a kind of value.
the temperatures are volcanic, warm, cellar, cold.
a sandwich has a temperature.
the temperature of a sandwich is usually cellar.

alternately:

a sandwich has a number called temperature.
the temperature of a sandwich is usually 1.

This hopefully looks familiar! Inform is built to do this kind of thing right out of the box. As values change, the in-game sandwich cools. Just throwing something together…

a sandwich has a number called timer.
the timer of a sandwich is usually 3.

the grilled cheese is volcanic.

every turn when the temperature of grilled cheese is not cellar:
	if the timer of grilled cheese is 0:
		now timer of grilled cheese is 3;
		now temperature of grilled cheese is the temperature after the temperature of the grilled cheese;
	otherwise:
		decrement timer of grilled cheese;
	say the temperature of grilled cheese;

This kind of thing is a bit fiddly, isn’t it? We have a thing–the sandwich–with a timer, and the timer leads to a value we call “temperature.” I’d call this “thing-centered” design. Whether we’re talking about lamp batteries in Zork or the broken dishes in Repeat the Ending, timers and properties have always had a place in parser games.

You might be waiting patiently for me to rework this little snapshot, substituting Inform’s built-in scenes for my from-scratch values, but I won’t. In truth, scenes are themselves values with some nice hooks into Inform’s indexing and syntax. There probably isn’t a huge benefit to just doing the exact same thing with scenes rather than global variables. If I show just the start of the road, you’ll probably see that it doesn’t lead anyplace better.

volcanic sandwich is a scene.
volcanic sandwich begins when play begins.
volcanic sandwich ends when time since volcanic sandwich began is three minutes.
warm sandwich begins when volcanic sandwich ends.

when warm sandwich begins:
	say "Eat your sandwich while it's still warm!";

Using scenes to simulate time is really beside the point. Scenes are meant to make games feel dynamic; they are not, per se, simulation tools. Let’s try to think about scenes differently. When last we convened, I created a scene called “lunchtime.” Let’s go back to that.

lunchtime is a scene.

If a “thing-centered” design spins from the state of the sandwich, what would a player-centered design do? In this game, lunchtime starts whenever the player shows up for it.

lunchtime begins when the player is in the diner for the first time.

In other words, what is this part of the game about? Our choices will make it easier or harder to emphasis certain elements. The sandwich timer might presage a puzzle. Lunchtime seems more like an ambiance. These two aren’t exclusive, of course. We could have ambiance and timers all at once. But it can’t hurt to have an idea about intent.

the description of the diner is "[if lunchtime is happening]The lively diner is in the midst of the lunch rush.[otherwise]A cashier slumps against the register, clearly bored."

next.

Using scenes and relations to print variable texts in Marbles, D, and the Sinister Spotlight.

Tuesday, 08. April 2025

Renga in Blue

Fun House: Science With Mr. Morgan

Rather like how things went with Scott Morgan’s Haunted House, I only had one puzzle left to go, the pit of acid. My previous post is needed for context. I admit I simply had to pull open the source to figure this one out. I had tried the right object out, but the game needs […]

Rather like how things went with Scott Morgan’s Haunted House, I only had one puzzle left to go, the pit of acid. My previous post is needed for context.

I admit I simply had to pull open the source to figure this one out. I had tried the right object out, but the game needs a very very specific phrasing, and it makes me wonder where the author was getting his science knowledge from.

Here’s the basic gameplay loop section; after an action happens, most of the time the game does the command GOTO 410:

410 CALL CLEAR
420 IF W$=”N” OR W$=”S” OR W$=”E” OR W$=”W” OR W$=”D” OR W$=”U” OR W$=”O” OR SEG$(W$,1,2)=”GO” THEN CALL WALK
430 IF M$”” THEN DISPLAY AT(17,1):M$ ELSE M$=”OK” :: GOTO 430
440 DISPLAY AT(1,1):”LOCATION:”;L$(LOC)
450 DISPLAY AT(3,1):”YOU SEE:”;

You might think the different directions call some kind of subroutine which then refers to a data chart where locations are cross-referenced (something like ROOM, 5, 6, 0, 0, 0, 0, where North goes to room 5 and South goes to room 6), but CALL WALK is simply a routine that adds sound effects to the player walking around.

1880 CALL SOUND(5,-3,5) :: CALL SOUND(30,-7,20) :: CALL SOUND(500,-7,30) :: N=N+1

There is a data line that gives directions to the various rooms…

1770 DATA U,DN,S,,N,D,UEW,W,E,SWE,SE,N,NSE,NWE,NE,SE,W,NWE,NW,SW,EW,SD,U,N,O

…but this doesn’t get referred to at all in order to move the player around, just in order to fill the top display under DIRECTIONS. Basically the author is cheating; a normal parser would interpret the data and display directions based on the data, but here he’s listing the exits out manually as a text string. How does the movement actually happen, you might then ask? Manually for every single room. Here’s some of the hedge maze:

1150 IF W$=”N” AND LOC=15 THEN LOC=16 :: GOTO 410
1160 IF W$=”E” AND LOC=15 THEN LOC=14 :: GOTO 410
1170 IF W$=”S” AND LOC=16 THEN LOC=15 :: GOTO 410
1180 IF W$=”E” AND LOC=16 THEN LOC=17 :: GOTO 410
1190 IF W$=”W” AND LOC=17 THEN LOC=16 :: GOTO 410
1200 IF W$=”E” AND LOC=18 THEN LOC=19 :: GOTO 410
1210 IF W$=”W” AND LOC=18 THEN LOC=14 :: GOTO 410
1220 IF W$=”N” AND LOC=18 THEN LOC=22 :: GOTO 410

No other commands are understood, which is why the game is so unresponsive to bad commands.

This does have the odd side-effect of making the mirror room that required a scream being given more synonyms than typical…

730 IF W$=”SCREAM” OR W$=”SHOUT” OR W$=”HOWL” OR W$=”SCREECH” OR W$=”HOLLER” OR W$=”SING” OR W$=”YODEL” THEN 740 ELSE 750

…(that is, pitching an extra OR W$=”VERB” in the line is easy, adding cross-referenced verbs as data is hard) but generally speaking, everything is worse as you can’t tell from the game if a verb is wrong, a noun is wrong, an action is impossible, or the author just happened to fishing for a different phrasing of a command.

Now, here’s the whole section starting with the card-in-sewer leading up to the acid pit:

1320 IF W$=”LOOK SEWER” AND LOC=23 THEN M$=”YOU SEE A CARD.” :: GOTO 410
1330 IF W$=”TAKE CARD” AND LOC=23 AND O(17)=-1 THEN M$=”I CANNOT REACH THE CARD,WITH WHAT?” :: GOTO 410
1340 IF W$=”STICK GUM” AND LOC=23 THEN M$=”TO WHAT?” :: GOTO 410
1350 IF W$=”TO STICK” AND LOC=23 AND O(13)=0 THEN OT=1 :: GOTO 410
1360 IF W$=”WITH STICK” AND LOC=23 AND OT=1 AND O(17)=-1 THEN O(17)=0 :: M$=”I HAVE MANAGED TO GET IT!” :: GOTO 410
1370 IF W$=”LOOK DOOR” AND LOC=23 THEN M$=”IT READS:’EXIT'” :: GOTO 410
1380 IF W$=”GO DOOR” AND LOC=23 AND OPN=0 THEN M$=”CAN’T, IT’S CLOSED.” :: GOTO 410
1390 IF W$=”PUT CARD” AND LOC=23 AND O(17)=0 THEN M$=”INTO WHAT?” :: GOTO 410
1400 IF W$=”INTO SLOT” AND LOC=23 AND O(17)=0 THEN OPN=1 :: M$=”DOOR OPENS.” :: GOTO 410
1410 IF W$=”GO DOOR” AND LOC=23 AND OPN=1 THEN LOC=24 :: GOTO 410
1420 IF W$=”U” AND LOC=23 THEN LOC=22 :: GOTO 410
1430 IF W$=”N” AND LOC=24 THEN LOC=23 :: GOTO 410
1440 IF W$=”GO PIT” AND UN=0 AND LOC=24 THEN M$=”YOU WANT TO LIVE!” :: GOTO 410
1450 IF W$=”NEUTRALIZE ACID” AND LOC=24 AND UN=0 THEN M$=”WITH WHAT?” :: GOTO 410
1460 IF W$=”WITH LICHENS” AND LOC=24 AND UN=0 THEN O$(19)=”WATER PIT” :: UN=1 :: M$=”ACID TURNS TO WATER!” :: GOTO 410

The way through is to NEUTRALIZE ACID, and then say WITH LICHENS when the game asks. I did try THROW LICHENS (even before writing my last post) but that’s because I thought it’d have some interesting side effect, not that it would turn the substance into water somehow.

Anyone have an idea what he’s thinking of here? Some searching led to papers where the acid from lichen was removed via some process, but that’s the exact opposite of using lichen to remove external acid.

The source is a grand total of 219 lines, most of the sort shown above. The author seemed to be more concerned with utilizing the speaker of the TI-99/4A than consistent parser and world modeling.

2010 SUB CAROUSEL
2020 FOR A=1 TO 10 :: L=-99 :: CALL SOUND(L,523,0) :: CALL SOUND(L,659,0) :: CALL SOUND(L,659,0) :: CALL SOUND(L,523,0)
2030 CALL SOUND(L,440,0) :: CALL SOUND(L,440,0)
2040 NEXT A

We’re nearing the end of the trail with the TIVentures as this game says to play Stone Age, meaning we have finally learned what the full sequence is!

007 Aqua Base, Haunted House, Miner 49’er, In Search of the Four Vedas, Fun House, Stone Age

Coming up next: Stone Age, which hopefully will not recommend Aqua Base and put us into an infinite loop.

Monday, 07. April 2025

Renga in Blue

Fun House (Morgan, 1982)

This marks the fifth game I’ve played by Scott Morgan, who had all of his work published by American Software Design and Distribution (ASD&D) as run by Thomas Johnson. (Previously: 007: Aqua Base, Haunted House, Miner 49er, In Search of the Four Vedas.) I haven’t unearthed much more on ASD&D than last time: they were […]

This marks the fifth game I’ve played by Scott Morgan, who had all of his work published by American Software Design and Distribution (ASD&D) as run by Thomas Johnson. (Previously: 007: Aqua Base, Haunted House, Miner 49er, In Search of the Four Vedas.)

I haven’t unearthed much more on ASD&D than last time: they were short lived, mostly focused on Texas Instruments, and their downfall matched that of the TI-99/4A getting taken down by Commodore. Their game Entrapment was slated to be released by Texas Instruments themselves in July and even was shown off at the Chicago Consumer Electronics Show but it never made it out under that label, because Texas Instruments dropped support for their personal computer line first.

One other tidbit, though: ASD&D’s most successful game was Wizard’s Dominion, and that happened to be advertised for both the TI-99/4A and the Commodore 64. For a while it was thought the Commodore version may have never existed, until one was unearthed in Europe. The game somehow ended up with the Swedish reseller Computer Boss International.

This doesn’t have much to do with Fun House other than indicating that a random software house out of Cottage Grove, Minnesota (population in 1980, roughly 19,000) can still have some international reach. (Well, maybe a little bit of the “thought to be lost” part. I had the Fun House listed as lost until LanHawk found a copy in a file helpfully entitled SINGLEFILE.dsk.)

Fun House has a perfectly normal opening where you start, with no context, in a pit with only chewing gum in your inventory. The pit also has a plastic bucket. When you climb out, there’s a clown there, and if you try to walk past the clown, it pushes you back into the pit. You need to find the shaver from the plastic bucket and shave the clown, whereupon it will become your friend.

No, really:

Past that is a slide with some matches to scoop up, with a room of mirrors on the bottom.

From here the game was highly resistant to essentially everything, so I thought it was time to check the manual. It gives a fairly normal list of sample verbs (UNLOCK, BREAK, KILL, PUSH, PULL, EAT, DIG, TIE) but also an explicit hint:

Scream and yell if you will,
when the mirrors make you nil.

SCREAM, then?

This opens the way to a carousel, a scene I don’t fully understand.

The carousel is first stopped; pushing a button gets a message about how IT TURNS, STOPS, AND TURNS AGAIN. Getting on the carousel (RIDE CAROUSEL, not GO CAROUSEL) gets a curious message:

IT TURNS, SHOVES YOU OFF, AND DISAPPEARS.

Leading to another ROOM with some MOVING STAIRS. Trying to climb the stairs gets the response that

YOU FALL TO THE LEFT, AND TO THE RIGHT, AND YOU DISCOVER THAT YOU CAN’T MAKE IT.

Typing LOOK UP shows “YOU SEE SOMETHING VERY USEFUL” and a rope hanging. While I’ve had this command occur enough times I will sometimes test it out of reflex, the reason this occurred to me here was the Scott Adams game Mystery Fun House, which has a similar situation; a merry-go-round has “hemp” falling on your head, and you can LOOK CEILING in order to see a rope. (There’s a moment you’ll see later also taken from Mystery Fun House, so it is clear Morgan had that game in mind.)

The rope doesn’t let you climb, so working my way through the logical choices I found SWING.

This leads to a new small area of three rooms.

At the landing dark room with some LICHEN you can take, there’s an exit leading up, but this is still the spinning stairs and it just knocks you off. My guess is that the path is one-way and not a puzzle you’re intended to solve, but the interesting aspect is once you knock your head, the border of the game goes permanently red.

To the east there’s a vat of water; to the west there’s a fire.

Getting through the fire is a matter of simply re-using the plastic bucket and splashing the fire with water. (Simple when finding the right parser combination. THROW WATER or EMPTY BUCKET or POUR BUCKET don’t work, you need to POUR WATER.)

Past the fire is a hedge maze.

The hedge maze has a stick you can pick up just out in the open, and a “green slime” blocking one of the exits. You can just go around a different way so I’m unclear if the green slime is meant to be a minor plot moment or some kind of puzzle.

The end of the maze has a “room” with a “closed sewer”, a “slot” and a closed door. The sewer has a card but it is out of reach.

This is the other Mystery Fun House moment. You have the gum from the start, and just obtained a stick. You can put the gum on the stick in order to extract the card (STICK GUM / TO STICK / TAKE CARD / WITH STICK — TAKE prompts you with what, which the game normally doesn’t do, so you just have to trust the command is overloaded with a special variant.) The card then goes in the slot, opening the way to a vat with acid.

I have yet to be able to do anything with the acid. FILL BUCKET just has the game respond “WHAT?” The game doesn’t even allow GO PIT:

YOU WANT TO LIVE!

I’ve gotten lucky so far, but the parser has been fairly hyper-specific so it’s going to be harder to run across a command if I’m not sure it’s the command I should be using in the first place.

Sunday, 06. April 2025

Zarf Updates

Dustborn: design ruminations

Dustborn is a queer punk-band secret-agent road trip with campfire singalongs plus beating up fascist cops with an electric baseball bat. What else is there to say? C'mon. About twenty years ago, a mysterious Broadcast freaked out most of North ...

Dustborn is a queer punk-band secret-agent road trip with campfire singalongs plus beating up fascist cops with an electric baseball bat. What else is there to say? C'mon.

About twenty years ago, a mysterious Broadcast freaked out most of North America and gave a few people vocal superpowers. Now it's 2030. You've just stolen a Macguffin from the Puritans (Silicon Valley fascists); you have two weeks to cart it across the American territories ('Murrican-style fascists) to Nova Scotia (Canadian librarians, therefore the good guys). "You" are Pax, rowdy (super-)trash-talker and lead singer. Then there's Sai (your best friend, a brick) and Noam (your ex, a snot) and Theo (notional grownup, the boss but not of you). You've each been dragged into this heist because -- well, the money's good. But each of you has their own motivations as well. Time and campfire dialogue will tell.

(The "lesbian road trip" genre is so strong that I had to count protagonists to verify there weren't any. The cast list is variously queer, black, trans, Latino, robot, Asian, disabled, and Muslim; but no lesbians per se.) (As main characters, I mean. No disrespect to Pax's moms in chapter 2.)

Oh, I didn't even mention "comic book". The presentation is comic book, with an expressive spare line-art style and lovely coloring.

Dustborn turns out to be from Red Thread Games. Looks like I never wrote up Draugen but I thought it was a nice bit of Norwegian farm-noir. But Dustborn is much more ambitious. It's published by way of Quantic Dreams' "Spotlight" label, and it fits there well: big meaty interactive cinema with lots of dialogue choices, quicktime reactions, and -- yes -- Rock-Band-style musical numbers. Also fight scenes (electric bat plus superpowers!) but you can skip those. Or set them to easy mode, which I found tolerably easy.

It's really a narrative designer's narrative design. Gameplay is commentary. Dustborn leans into its this-is-a-choice, Theo-will-remember-that mechanics -- precisely because words are spells and dialogue is divine power. That's the whole thematic gimmick! (Someone's been reading Julian Jaynes.) Pax has a tendency to treat dialogue transactionally -- like you do, playing a narrative game. Happily for the narrative progression, her friends are willing to call her on it.

Consequences are all. The dialogue is stuffed with callbacks to previous choices. And each of your road companions has a narrative state which shifts as you talk to them. Over the course of the game, this leads each character to one of three personal outcomes. (Someone's been meditating on Emily Short's triangles.) Not just at the end: based on their current state, each character can react one of three ways in pretty much every story beat. And of course you, as Pax, have your own ending to consider. When you get to the final chapter, the game isn't shy about announcing "Here are the consequences of your accumulated choices" in 24-point Lampshade Bold.

But I'm not writing about Dustborn because of the narrative structure. (Intensively worked-through but not particularly innovative.) I'm writing about it because, look, lesbian queer road trip! Found family! Besties having arguments and making up! Estranged sisters having arguments and making up! More besties being adopted every chapter and adding their quirky talents to the tour bus! Taking as much time as you want to talk out problems with your exasperating but good-hearted friends!

It's a comedy of emotional intelligence, is what I want to call it. All enthusiastically voice-acted in what must have a dumptruck-sized screenplay of line variations. Top notch stuff. (Ziggy's actor, in particular, knocks it out of the park.)

If there's a flaw, it's that the background worldbuilding doesn't quite hook up to the story. I said the Broadcast "freaked out" the world, which is vague because... I wasn't entirely sure what it did. Beyond the superpowers thing. "Echoes of misinformation" are a story point, which ought to be a commentary on real-world politics and the Internet; but the game doesn't go there. Fascist cops are bad, that's pretty much it. Nor is the world supposed to be a result of the Broadcast and the Echoes. The game world is an alternate history going back to the 1960s. Fascism is the fault of... Marilyn Monroe? I'm not sure what I'm supposed to take from that.

But I'm not writing about Dustborn because of the worldbuilding either. It's a tight story -- all about the characters and their road trip together. It's a ridiculously feel-good experience. You may think the highway singalong is corny the first time (it is), but by the farewell reprise, you will sing along out loud in your computer chair. As you push the quicktime buttons.

I'm not saying you have to sing. But if you're not willing to entertain the possibility, well, you'll probably think Dustborn is corny. That's okay. But don't complain to me about it. Commit to the bit or go home, and Dustborn absolutely commits.

Saturday, 05. April 2025

Renga in Blue

The Troll Hole Adventure: The One Who Knows English

I’ve finished the game, and it turned out to be much more elaborate than I expected for a tiny-space computer. I also have more history to report; this continues directly from my last post. First off, a little more history. Remember that Micro Video took over from Interact once they went under, right at the […]

I’ve finished the game, and it turned out to be much more elaborate than I expected for a tiny-space computer. I also have more history to report; this continues directly from my last post.

First off, a little more history. Remember that Micro Video took over from Interact once they went under, right at the end of 1979. In Micro Video’s own newsletter, I found an article from Cori Walker from 1981 supposedly giving more of an inside story on the rise and fall of the original company Interact Electronics. I say “allegedly” because right away there’s some description of Lochner that seems a bit off (I would call him more a developer on the Dartmouth time-sharing system rather than one on BASIC, even though interfacing with BASIC was involved), and it also doesn’t match with the story as told by Barnich, the engineer at the company who developed the system. Walker specifically claims development started in 1976 only to finish in 1978. Barninch gives the development date starting at 1978. Both have “receipts”, Barnich in form of the actual master board design (with dated photograph) and Walker in the form of a prototype that landed with Micro Video.

You’ll notice no keyboard! According to Walker the system originally had 4K of ram and was meant to be a “console/computer” more along the lines of the Bally Astrocade.

Post-launch, Walker blames “marketing” and “quality control” as issues leading to the company’s downfall. They provided “virtually no support for the machines once sold”; essentially, they were a hardware company with very little experience with manufacturing or marketing (speaking of the CEO, this matches with Lochner’s past experience focused on services for corporate machines).

New products were, announced when they were in little more than the “idea” stage, months before they realistically could be delivered. A user newsletter was talked about, but never produced. Customer letters, inquiries, and phone calls went unanswered, promises were made that were not kept, and Interact came to be viewed as completely unresponsive to the users needs.

(Note she’s not blaming anything about inadequacy of the hardware — trying for too much capability at too low a cost, as I mentioned last time — but she’s also with the company still trying to sell it.)

I think the two stories (development as early as ’76, or only starting in ’78) can be reconciled, given Walker’s reference to new products talked up while in the “idea” phase. My guess is Interact was in some kind of development phase during at least ’77, but spinning their wheels with “idea” meetings trying to land a perfect cost-effective product, resulting in “prototype box” shown earlier. By ’78 they were needing to get something just out the door so landed an experienced engineer (Barnich) to get what was now a “computer” done fast, keeping the same external design.

Micro Video was originally founded in June 1979 looking for ways to use the Interact for promotional displays and businesses. Interact’s slow fall led to their essentially taking over mid-stream; Walker even mentions completing “the software Interact had left unfinished”.

Dave Ross, president of Micro Video (shown above), discusses the software process in the same newsletter as the history capsule.

Some programs, like EZEDIT, were started at Interact before it went out of business, and Micro Video finished them. Some, like Earth Outpost, are patterned after popular arcade games. In this case, it’s a space war type game. Some, like STAR TRACK or our new Troll Hole Adventure, were inspired by games popular on other, larger computer systems. The best source, however, is user requests. The MONITOR, for example, was developed because many people asked to have machine language access.

Regarding Troll Hole specifically: he later mentions programs “submitted by outside programmers must meet certain criteria” so not everything was internal, but his particular phrasing from the long quote above implies Troll Hole was made internally, and there’s something from the content of the game itself (which I’ll get to later) which implies the same. So I think “Long Playing Software” was an attempt at a “company sub-name” for a particular branch of game, leveraging the common ads for adventure games that tout how many hours they take to play. If so, they only used the name once, and when published Mysterious Mansion in 1982 (made by what seems to be the same programmer) it just is given as being by Micro Video.

Heading back to the content, I really did not have many rooms left to find, but I still found the game tough to crack, as the density of object use (and re-use, and the ability to use something the wrong way) was high. I also didn’t have a conception of just how much physical modeling the game was using.

Marked rooms are new.

This is only missing the maze, which I’ll show later but turns out to be a simple grid (and manages to bump up the room count for the ads).

I’ll describe puzzles in more or less the order I solved them, although this involves jumping around the map quite a bit. To start, I had some VITAMINS that were TOO DRY to eat, and while the jug of milk was described as TOO SOUR I still thought it had to apply somehow. I realized the game lets you simply empty the milk and re-fill it back at the pond with water, making the vitamins edible.

With the increased strength I was able to pick up the “stone chair” from the living room, freeing up the Persian rug to get moved over to the treasures. Also, as I suspected, it allowed for dropping the “fragile” treasure (the orb) without it breaking.

I also incidentally realized that the jug of water used for the vitamins had a second use and could be poured at the greenhouse, but I was told that it needed nutrients. I figured (at the time) I needed to wait for an object later.

I also managed to work out the both the ELF and the “singing sword” which was giving electric shocks. The ELF, for mysterious reasons, will be happy if (while holding the cereal, the TROLL CRUNCHIES) if you FEED ELF and drop an animal call. The WELCOME MAT that was hiding the key will COVER THE FLOOR if you drop it…

…and you are safely able to pull out the sword, turning it from a SINGING SWORD into a SILENT SWORD (but still at treasure).

The mat is not described as rubber, so this requires a leap of abductive reasoning both in terms of the composition of the mat and the mechanics behind the sword (not just “magic”).

Poking at the various obstacles left, I was stuck for a while. I managed to realize I could LOOK (CEREAL) BOX again in order to find some PIECES OF GLASS (trying to eat straight out of the box is the only way in the game I’ve found to die, so at least it gets hinted) and they are described as lenses.

I had a paper tube and had been itching to find somewhere to use my BUILD command, so I tried BUILD TELESCOPE and it somehow worked.

Unfortunately, that still didn’t get anywhere on the parts I was stuck: the cobra, the nutrients, the screwed-in cover, the orc, the gold nugget that doesn’t fit through the door. I had vague suspicion perhaps I was softlocked, and in fact I was: every single puzzle I listed was now unsolvable.

Thinking in these terms (what items did I have in the past where maybe I burned something I shouldn’t have?) I realized the screw might be the kind where a dime would work just as well as a screwdriver. The dime I had spent on the pay toilet (in order to get the paper tube) but what if I used it to UNSCREW first?

Indeed this works, and it reveals a button leading to a new room, a DEN.

Now it is safe to spend the dime.

The ANIMAL CALL I had from the ELF I had tried in every single room (BLOW CALL) with no luck, but since this was a new room I tried it here.

Taking this hint back over to the piano that I couldn’t open, I tried not PLAY PIANO but PLAY MISTY. It unlocked the piano, revealing a GOLDEN FLUTE.

Already suspecting I needed a flute for the cobra, I went and played the flute and found that the COBRA DANCES.

That isn’t helpful by itself, but the game is tricky with its item use again: if you take the SILVER BASKET from back at the greenhouse and drop it before playing, the cobra will crawl inside, snake-charmer style.

The cobra can then be toted over to the ORC and released, where it will chase the orc away, sort of a sideways variant of bird-vs-snake from Crowther/Woods.

This allows grabbing the crown for another treasure ticked off, plus access to the cave. The cave only leads to one place, though, a canyon view with a BILLBOARD. I had the telescope already (trying to use it everywhere to no effect) but I instantly knew here is where it applied.

Remember the fertilizer? Now is when that part stops our progress. Using the same logic as with the dime, I realized I had dumped the milk somewhere random, but maybe sour milk could potentially be helpful in gardening? (Can anyone confirm or deny this one? Sounds suspicious.)

This causes flowers to pop up that can be thrown at the canyon rim. (By the way, if you’re keeping track, yes, this involves a fair number of game-restarts. Fortunately the whole area is small.)

The bat that takes the flowers straightforwardly drops a PEARL, one of the treasures.

That’s still not everything yet! Back by the den there was a rope with a balloon, where I found by popping the balloon I could get the rope. Having gotten this far with no use for a rope (including at the canyon) I was starting to get suspicious, and keeping my eye on my verb list, tested out UNTIE ROPE (fortunately this one didn’t need a game restart because I was already in a restart after a restart and I hadn’t bothered to deal with the balloon yet).

The rubber glove let me pick up the frog, which I had noted long back was described as being too slippery, but I had no use for it. I ended up needing to refer to a hint left by Gus Brasil in the comments (thanks!) about how there’s a secret passage from the living room. That had to refer to the picture, but the picture was highly resistant to my efforts to MOVE PICTURE and PUSH PICTURE and so forth. The description is 2 EVIL EYES STARE BACK AT YOU and that message the mirror revealed from long back said PICK 2. I guess they’re supposed to go together, because you can PUSH or POKE the eyes specifically.

This is a second-level noun. I’ve referred to this concept before (see Inca Curse), but just to recap, this is a noun that’s mentioned inside the description of another noun. When game prepares ahead for this, it makes for richer interaction (or in the case of Earthquake San Francisco 1906, a shaggy dog joke). With Troll Hole this is the only place the trick occurs, but I’ll give it a little forgiveness in that

a.) nearly every item is important, so it’s curious for the picture not to be, meaning I had an eye on it still

b.) it has the PICK 2 hint

The SOMETHING that is THERE is a new passage leading to a new room: a spider with a golden web.

Being low on resources — just the frog really — it wasn’t hard to put the two together.

While the GOLDEN WEB counts as a treasure, taking it also opens another passage to a maze. Every room in the maze allows you to go N/S/E/W/U/D and there are 16 of them, but realizing the gimmick makes things go faster:

The edges of the grid wrap around; I have not marked up/down exits as they are more irregular, but the only one that is important is the one that escapes, going down to the POND. It is in a room with a NOTE.

The note also says YOU PROBABLY THOUGHT THIS WAS A MAP BUT IT ISN’T! It’s just a “thank you for playing” type note, but it solely gives credit to MICRO VIDEO. This suggests to me it was written for Micro Video and the LONG PLAYING SOFTWARE name that shows at the start was added as an afterthought meant for marketing.

The maze route is what’s needed to get out the gold nugget (otherwise there are no treasures / useful items). And that’s all ten!

This turned out to be far more satisfying than I expected. I wasn’t originally playing with “rich object properties” in mind due to the 8K memory space, but everything is modeled properly as opposed to being faked (unlike, ahem, certain recent games we’ve seen on more capable systems). The softlocks are irritating but they are also part of what makes the difficulty of the game work; having a DIME immediately where it gets used makes it quite likely a player will use it up quickly and not even think about it for the other obstacle (unscrewing a cover). In other words, the old-school design finesse at least has a rationale, and creates a puzzle that is hard to duplicate otherwise.

The ad in a French magazine at the top of this post starting selling the game in English before it was even translated; it did get a translation in 1982, which was notable just for the sheer scarcity of adventure games translated into French available. Tilt from January 1983 calls out the shortage and mentions La caverne des lutins in a multi-page spread about the format, but because it doesn’t have enough text adventures, it talks about things like Atari 2600 Adventure and the Intellivision game Swords and Serpents.

So this game ended up being wildly obscure in the United States (rare computer, even rarer cassette, only dumped quite recently and found thanks to Gus Brasil) but still ended up being seminal elsewhere due to the happenstance of Mr. Coll’s purchase of Interact’s design. (At the Computer Adventure Solution Archive, while La caverne des lutins has had an entry since 2011, as of this writing The Troll Hole Adventure isn’t mentioned at all.)

Unfortunately, this didn’t happen with Micro Video’s 1982 game (Mysterious Mansion). I don’t know the circumstances of why, but I think it may be even more obscure than Troll Hole; I will investigate when I return to the Interact soon.

Friday, 04. April 2025

Interactive Fiction – The Digital Antiquarian

The End of Sierra as We Knew It, Part 1: The Acquisition

I feel very comfortable working in a company where you can’t touch anything. — Walter Forbes At the beginning of 1996, Sierra On-Line was still basking in the success of the previous summer’s Phantasmagoria, the best-selling game it had ever published. With revenues of $158.1 million and profits of $16 million in 1995, the company […]

I feel very comfortable working in a company where you can’t touch anything.

— Walter Forbes

At the beginning of 1996, Sierra On-Line was still basking in the success of the previous summer’s Phantasmagoria, the best-selling game it had ever published. With revenues of $158.1 million and profits of $16 million in 1995, the company was bigger and richer than it had ever been. In light of all this, absolutely nobody anticipated the press release that went out from Sierra’s new headquarters in Bellevue, Washington, on February 20. It announced that Sierra would soon “merge with CUC International, Inc., a technology-driven retail and membership-services company that provides access to travel, shopping, auto, dining, home-improvement, financial, and other services to 40 million consumers worldwide. Sierra stockholders will receive 1.225 shares of CUC common stock for each share of Sierra common stock. The transaction is valued at approximately $1.06 billion. The merger is subject to stockholder approval and other customary closing conditions.”

As this bombshell filtered down to the gaming sites that were popping up all over the young Web, and eventually to the laggardly print magazines, one question was first on the lips of every gamer who read about it. Just who or what was this CUC International anyway? Or, to frame the question differently: if CUC was such a big wheel, why had no one ever heard of it, and why did CUC itself seem to have such a hard time explaining what it actually did?

Time would show the answers to both of those questions to be more complicated and fraught than anyone could have expected. Still, it was clear from the outset that the path to understanding must pass through CUC’s CEO, a sprightly, dapper-looking man of business named Walter Forbes. This particular Forbes was not a member of the wealthy family who owned and operated Forbes magazine, one of the business and investment world’s primary journals of record. That fact notwithstanding, he had been born into decidedly privileged circumstances, and would certainly not have looked out of place with that other Forbes family at a blue-blood country club. Walter Forbes was a titan of industry straight out of Central Casting, from his artfully arranged salt-and-pepper coiffure to the gleaming Gucci loafers he donned on “casual” days. He was as convincing a figure as has ever walked into a corporate boardroom. In a milieu where looking the part of a General Patton of business was a prerequisite to joining the war for hearts, minds, and wallets, Forbes had the role down pat. With a guy like this at its head, how could CUC be anything but amazing? And how could little Sierra count itself anything but fortunate to become a part of his burgeoning empire?

As Forbes himself told the story to a wide-eyed journalist from Wired magazine in 1997, it had all begun for him back in 1973, when, having recently graduated from Harvard Business School, he was eating dinner one evening with some friends and some of his former professors. Somehow the discussion turned to the future of shopping. “Wouldn’t it be neat if we could bypass stores and send products from the manufacturer to the home, and people would use computers to shop?” Forbes recalled “someone” at the table saying. “Everyone forgot about what we talked about that night. Except me.”

Forbes envisioned a scenario in which brick-and-mortar retailers, those traditional middlemen of the chain of commerce, would be replaced by digital storefronts operated by his own company, which was founded in 1973 under the name of Comp-U-Card. According to his own testimony, he mooted various impractical schemes for priming the e-commerce pump before the technology of telecommunications finally showed signs of catching up with at least some of his aspirations circa 1979, the year that the pre-Web commercial online services The Source and CompuServe made their debut. Now favoring the acronym CUC over the “Comp-U-Card” appellation — needless to say, nobody would rush to embrace that name today; the evolution of language can be a dangerous thing for corporate branders — Forbes took his company public in 1983, with an IPO that came in at $100 million. His business plan at the time, at least as he explained it fourteen years later, rings almost eerily prescient.

Manufacturers would simply send information about their products to [Forbes’s] database company, which would aggregate the data, organize it, and then present it to consumers in an engaging way. When a shopper ordered something, the manufacturer would be notified to ship it directly to the consumer’s home. Since no retailer would be involved, the customer would simply pay the wholesale price, plus shipping charges. The database company would make almost no money on the transactions. Rather, it would make its money by charging the consumer a flat annual membership fee — typically $49 — for access to the data and the chance to buy at such low prices.

Apart from a few details here and there, this is the way that Amazon, the 800-pound gorilla of modern online retail, operates today, right down to the “buyers club” where it makes most of its real money.

But here’s where the waters surrounding Walter Forbes and CUC start to get muddy. (I do hope you packed your diving goggles, because there are a lot of such waters ahead.) For the first ten years after the IPO, CUC actually took very little in the way of concrete steps in pursuit of the proto-Amazonian dream that Forbes had supposedly been nursing since 1973. Instead it administered offline shopping clubs that were marketed via bulk-rate post and telephone cold-calling. This was a sector of the consumer economy that thrived mostly on fine print and the failure of its often elderly customers to do their due diligence, being just one step removed from timeshares on the continuum of shady business models that never turn out to deliver quite what their customers think they are getting; in fact, timeshares soon became a part of CUC’s portfolio too. CUC sold its shopping clubs and other services as turnkey packages that could be purchased and branded by other corporations, thus partially explaining why so few people had ever heard of the company even fourteen years after its IPO. It wasn’t above using guile to retain customers, such as quietly signing them up for automatic recurring billing plans — charges that, it hoped, some portion of its customers who thought they were just making a one-time payment would fail to notice on their credit-card statements. Even the fawning profile in Wired had to acknowledge how close to the ethical edge CUC was prepared to fly.

If a customer takes the trouble to call and quit, the CUC telephone operator goes into what any football fan would recognize as a prevent defense. The operator frantically starts explaining the value of the service, then often sacrifices a $20 coupon or check as a bribe to stick around. They will give up ground, but [will] do anything to keep you from reaching that goal line.

As late as the year that CUC acquired Sierra On-Line, it was the offline shopping clubs that were still the heart of its revenue stream, the subject that its annual report for the year chose to open with and to return to again and again.

CUC International is a leading technology-driven, membership-based consumer services company, providing approximately 66.3 million members with access to a variety of goods and services. The Company provides these services as individual, wholesale, or discount program memberships. These memberships include such components as shopping, travel, auto, dining, home improvement, lifestyle, vacation-exchange [i.e., timeshares], credit-card and checking-account enhancement packages, financial products and discount programs. The Company also administers insurance-package programs which are generally combined with discount shopping and travel for credit-union members, distributes welcoming packages which provide new homeowners with discounts for local merchants, and provides travelers with value-added tax refunds. The Company believes it is the leading provider of membership-based consumer services of these types in the United States.

The Company solicits members for many of its programs by direct marketing and by using a direct sales force calling on financial institutions, fund-raising charitable institutions and associations…

The Company offers Shoppers Advantage, Travelers Advantage, AutoVantage, Dinner on Us Club, PrivacyGuard, Buyers Advantage, Credit Card Guardian, and other membership services. These benefits are offered as individual memberships, as components of wholesale membership enhancement packages and insurance products, and as components of discount-program memberships. For the fiscal year ended January 31, 1997, approximately 536 million solicitation pieces were mailed, followed up by approximately 70 million telephone calls.

Walter Forbes’s digital aspirations that got Wired so hot and bothered are mentioned only in passing in the report: “Some of the Company’s individual memberships are available online to interactive computer users via major online services and the Internet’s World Wide Web.”

Forbes first became associated with Sierra in 1991, when he agreed to join the company’s board. Ken Williams, Sierra’s co-founder and CEO, considered this a major coup, a sign that his little publisher of computer games was really going places in this new decade of multimedia and cyber-everything. He was excited even though, as he admits in his recent memoir, he “never completely understood Walter’s business. To this day, I can’t completely tell you what it was. There were components of it that made sense — for instance, they owned a company called RCI that facilitated timeshare swapping. They also operated a series of discount shopping clubs, where customers would pay an annual subscription fee, allowing them to buy products at near-wholesale prices. Whatever it was, they were certainly doing something right. They had $2 billion in revenue and over $200 million in profit.”

The voice of Forbes whispering in Ken Williams’s ear was a hidden motivator behind the spate of acquisitions that the latter pursued during the first half of the 1990s, which saw the American educational-software developer Bright Star, the French adventure-games maker Coktel Visions, the British strategy house Impressions, and the American sim specialists Papyrus and subLOGIC all entering the Sierra tent. Having thus hunted down and captured so much smaller prey with Forbes at his side, Williams perhaps shouldn’t have been surprised when his trusted advisor started eying his own company with a hungry look. Nevertheless, when Forbes broached the subject with Ken’s wife Roberta Williams, the designer of Sierra’s flagship King’s Quest series as well as Phantasmagoria and many other adventure and children’s games, she at least was taken aback.

“Have you and Ken ever thought about selling Sierra?” he asked her out of the blue one day in the lobby of the Paris hotel where they happened to be attending a board-of-directors meeting. (An insatiable connoisseur of French food and wine, Forbes had had enough sway with Ken to convince him to hold the meeting at this distant and expensive location.)

“No,” Roberta answered shortly. “We’re not interested.”

“But if you ever were, what sort of price would you be looking at?”

“A lot,” Roberta replied, then walked away as quickly as decorum allowed. She had the discomfiting feeling that Forbes was a predator probing for a flock’s weak link, and she was determined that it wouldn’t be her.

But when Forbes brought the subject up in a more formal way, at another Sierra board meeting closer to home on February 2, 1996, Roberta’s husband proved far more receptive than she had been.

The only detailed insider account of what happened next and why is the one written by Ken Williams. Needless to say, this must raise automatic red flags for any historian worth his salt. And yet his memoir does appear to be about as even-handed as anyone could possibly expect under the circumstances. To his credit, he owns up to many of his own mistakes with no hesitation whatsoever. While we would be foolish to take his account as the unvarnished gospel truth, he doesn’t strike me as a completely unreliable witness by any means. I think we can afford to take much if not all of what he writes at face value as we ask ourselves what led him to the most monumental decision of his life, excepting only the decision to found Sierra in the first place all the way back in 1980.

To begin with, Williams admits forthrightly that he was quite simply tired at this juncture of his life, and that his sense of exhaustion made the prospect of selling out and taking a step back more appealing than it might have been just a few years earlier. His fatigue is eminently understandable: Sierra had consumed almost his every waking hour for over fifteen years by this point. He tells us that people had been telling him for ages that he “needed to delegate more, but it just wasn’t in my personality to do so.” More and more as the games got more expensive and the stakes for every new release higher, Williams had felt forced to play the role of the corporate heavy.

My visits to Sierra’s development teams were occasionally liked, but not very often. Left to their own devices, the teams would agonize over the games forever. Asking an artist to compromise quality in order to bring the art in on budget is not a win-win for either of us, but it’s something I had to do every day. Shutting down projects, ruining dreams, staring endlessly at spreadsheets, riding on airplanes. That was my life.

Sierra had become rather notorious these last few years for shipping games before they were ready. At the end of the day, the decision to do so was Ken Williams’s, but he often believed he had no real choice in the matter at all. For Sierra was now a publicly traded company, and he felt it couldn’t afford the hit to the stock price that would result from not having Game X on the shelves in time for some given Christmas shopping season. Now, the skeptical reader might argue that there were surely ways to improve internal processes such that games weren’t continually falling behind schedule, going over budget, and winding up caught in the “ship it now or die” trap — and such a reader would be absolutely right. But that doesn’t change the state of play on the ground from the perspective of Ken Williams, who was not a good delegater and seemed to lack the turn of mind that was required to implement more rigorous methodologies of game development. This situation being what it was, he hoped that the (apparently) deep pockets of CUC would insulate Sierra somewhat from the vagaries of stock prices and holiday seasons, would give him more leeway to grant a promising game the six more months in the oven it needed to become a great one.

In addition to all of the above, Williams leans heavily on his “fiduciary duty” to his shareholders to explain why he was so willing and even eager to embrace Forbes’s offer. As CEO, he says, he was obliged to maximize his shareholders’ return on their investment, regardless of his personal feelings: “To state it simply, the decision wasn’t mine to make. I had a responsibility to the company’s true owners.” Alas, it’s here that I do have to part ways somewhat with the idea of Ken Williams as a completely reliable witness; this statement does begin to veer into self-serving territory.

The majority of Sierra’s shareholders were of the passive stripe, who had little understanding of the company’s business and were thus very ready to listen when the CEO who had just delivered a record profit told them what he thought they ought to do. And Ken Williams made it abundantly clear to these shareholders that he thought they ought to take the deal.

Yet he did so over the objections of virtually everyone he talked to who did understand Sierra’s business reasonably well. His board of directors was unanimous in its opposition, with the exception only of the member named Walter Forbes. Mike Brochu, Sierra’s hard-nosed president and chief operating officer, who was in many ways the architect of the company’s last couple of years of solid growth and profitability, saw no reason for it to surrender its independence now, just when things were going so swimmingly for it.

Likewise, Jerry Bowerman, a former investment banker who was now vice president for product development, says today that he “pleaded” with Williams to at the very least take a longer, harder look at Forbes and his “company that sells coupons” than he had shown any interest in doing prior to this point; something about CUC, Bowerman says, “made [the] hair stand up on the back of my neck.” In particular, he saw a communist convention worth of red flags in CUC’s habit of just beating its earnings expectations on Wall Street every single quarter: “That’s categorically impossible. Does not happen.” But somehow with CUC it did. “He has a fiduciary responsibility, and the board has a fiduciary responsibility, to take the offer seriously,” acknowledges Bowerman. “What [Williams] never did do was, like, hire an investment bank to say, is this actually a fair offer?”

Even Ken’s own wife Roberta was dead-set against the acquisition: “When Walter asked me, did we ever think of selling the company, and I said no, I meant it. I always had a little bit of intuition about Walter. Not that he was a crook or anything like that. Just… take him with a grain of salt.”

Ken Williams normally listened to his wife. As lots of people knew then and will happily tell you today, Roberta was often the final arbiter of what did and didn’t happen at Sierra, in discussions that took place around the Williams family dinner table long after the lights in the boardroom and executive suites had been extinguished. In this case, however, he ignored her advice, as he did that of so many of his professional colleagues. Instead of taking Walter Forbes with a grain of salt, he took his deal — signed on the dotted line, with no questions asked, selling the company that had been his life’s work to another one whose business model and revenue streams were almost entirely opaque to him.

Doing so was without a doubt the worst decision Ken Williams ever made in his business career, but it wasn’t totally out of character for the man. There’s a theory in pop psychology that every alpha male is really looking to become the beta to an even bigger cock-of-the-walk. Be that as it may, Ken Williams — this man’s man who had the chutzpah to imagine becoming a transformative mogul of mass media, a Walt Disney-like figure — could be weirdly quick to fall under the sway of other men who seemed to embody the same qualities he cherished in himself. Sometimes that worked out okay, as when he met the furloughed police officer Jim Walls through his hairdresser and asked that man who knew nothing of computers or the games they played to join Sierra as a game designer. The three Police Quest games that resulted were… well, it’s hard to really call them good in any fundamental sense, but they were good enough for the times, whilst being fresh and unique in their subject matter when compared with all those other adventure games about dragons and spaceships. At other junctures, however, Williams’s gut instinct led him badly astray, as when he asked the police brutalist Daryl F. Gates to replace Walls as the personality behind Police Quest, a decision which appalled and outraged most of his own employees and left a stain on Sierra’s legacy that can never be fully expunged.

Just as the aforementioned two men walked and talked the part of the hard-edged, no-nonsense cop in a way that profoundly impressed Ken Williams, Walter Forbes was the very picture of the suave and sophisticated financier, making monumental deals next to a crackling fire in his elegant parlor, a glass of Chianti in hand, before rushing off to Europe in his private jet to take in an opera. For Ken, a working-class striver without any university degree to his name, much less one from Harvard, the idea that a man like this would be so interested in him and his company must have been a very alluring one indeed.

Had Ken Williams followed the advice of Jerry Bowerman and dug a little deeper into Walter Forbes and CUC, he might have learned some things to give him pause. He might have discovered, for example, that Forbes hadn’t founded CUC himself to pursue his grand vision of e-commerce, as the interview in Wired implies; he had rather bought himself a seat on an existing company’s board with a cash investment from his familial store of same, then fomented from that perch a revolt that led to the real founder being defenestrated and Forbes himself taking his place. If nothing else, this did cast Forbes’s willingness to join Sierra’s board and his early chat with Roberta Williams on the subject of an acquisition, as if he was nosing around for a weak link, in rather a different light.

Of course, there’s been an elephant in the room through all of the foregoing paragraphs, one which we can no longer continue to ignore. Once more to his credit, Ken Williams doesn’t fail to mention the elephant in his book: “Personally speaking, it would be a nice payday.”

Ken Williams had grown up with just one dream. It wasn’t to make great games or to revolutionize entertainment or even to become the next Walt Disney, although all of those things were eventually folded into it as the means to an end. It was to become rich — nothing more, nothing less. “Somewhere along the way, I developed an aggressive personality,” he writes of his boyhood and adolescence. “All that I could think about was becoming rich. Note that I said ‘rich,’ not ’employed’ or ‘successful.’ Amongst the few memories I have from that time is the constant thought of wanting to live a different life than the one I grew up in. I read books about business executives who owned yachts and jets, and who hung out with beautiful models in fancy mansions. I knew that was my future and I couldn’t wait to claim it.”

By most people’s standards, Ken and Roberta Williams were rich by the mid-1990s. But most of their wealth was illiquid, being bound up in their company — an arrangement which entailed duties and obligations that were becoming, for Ken at least, increasingly onerous. “It seemed like everyone associated with Sierra except me was having fun,” he says.

I just wrote that the decision to sell to Walter Forbes was the worst business decision Ken Williams ever made. Ironically, though, it was his best decision ever in terms of his private finances. For he sold Sierra when the “Siliwood” craze of which he had been the industry’s most outspoken and articulate proponent — that peculiar melding of computer games with Hollywood movies, complete with live actors and unabashedly cinematic audiovisual aesthetics — was at its absolute zenith; he sold when Phantasmagoria, the latest poster child for the trend, had just become Sierra’s best-selling game ever. The remainder of 1996 — a year which produced no more Siliwood hits on the scale of Phantasmagoria, from Sierra or anyone else — would show that there was only one way forward for “interactive movies” from here, and that way was down. They were doomed to be replaced by a very different vision of gaming’s future, emphasizing visceral action, emergent behavior, and player empowerment over the elaborate set-piece storytelling that had been Sierra’s bread and butter for so long.

Over the last few decades, signing Walter Forbes’s contract has allowed Ken and Roberta Williams to enjoy that enviable lifestyle that is the preserve of the ultra-wealthy alone, with multiple homes in multiple countries and a boat in which they have cruised around the world several times. Mind you, I don’t say that such a lifestyle was foremost on Ken Williams’s mind when he made the decision to sell; on the contrary, he had every expectation at the time of continuing to manage Sierra for the foreseeable future. I merely say — as if it needs to be said yet again! — that life is seldom black and white.

But we’ve belabored these points enough: Ken secured the preliminary approval of Sierra’s shareholders, signed on the dotted line on their behalf, sent out the press release, then secured their final approval to complete the transaction a few months later. On the face of it, it was indeed a great deal for them: they got to trade in their Sierra stock for 22 percent more shares in CUC, a far bigger, even faster-growing company.

Once all that was behind them, Walter Forbes and Ken Williams and all of their closest associates flew off to Paris in Forbes’s jet to celebrate the acquisition. Some members of the entourage were happier than others. At an expensive Parisian restaurant, Forbes ordered a $5000 bottle of wine, saying it was on him. “I [found] out after the fact, digging around in the accounting system, that he’d expensed it,” says Jerry Bowerman. “So he was just a liar. Just a very fat liar.”



Amazingly, Sierra On-Line wasn’t the only software publisher that Walter Forbes and CUC agreed to purchased during February of 1996. In a way, the other major acquisition turned out to be even more of a plum prize than this one. It was a publisher and distributor of educational software and games called Davidson and Associates. If that name fails to set any bells a-ringing, know that Davidson was itself the proud owner of Blizzard Entertainment, whose Warcraft 2Diablo, and Starcraft, combined with its innovative Battle.net service for online multiplayer play, would make it the hottest brand in gaming over the course of the next few years, a veritable way of life for millions of (mostly) young men. CUC, this company nobody had ever heard of, was suddenly in possession of a gaming empire with few peers.

But for Ken Williams, the time to come would be filled with far less pleasant surprises than the meteoric ascent of Blizzard. After the acquisitions of Sierra and Davidson were finalized in June of 1996, it slowly and agonizingly dawned on him that he had made a terrible mistake. He learned that Walter Forbes had given the exact same promise of ultimate superiority in the new software arm of CUC to both him and Bob Davidson, the co-founder of Davidson and Associates. Forbes obviously couldn’t honor his promise to both men. Worse, it soon became clear that he favored Davidson whenever push came to shove. Davidson’s people took over most of the marketing and distribution of Sierra’s games, with Williams’s own people being sidelined or laid off. Williams chafed at his newfound beta status, and feuded bitterly if futilely with his de-facto superior. When Sierra failed to come up with another hit to rival Phantasmagoria’s sales in 1996 — a failure which further reduced his standing in the conglomerate as a whole, what with the numbers Blizzard was shifting — he blamed it on Davidson’s logistics and marketing.

Yet he did manage to do Sierra and CUC one great service that year, despite the constraints that were being laid upon him. Late in 1996, he agreed to hear a pitch from a new studio called Valve Corporation, founded by a couple of former Microsoft employees who had never made a game before and who were therefore having trouble gaining inroads with the other major publishers. With his background in adventure games, Williams was intrigued by Valve’s proposal for Half-Life, a first-person shooter which, so he was told, would place an unusual emphasis on its story. Even when setting that element of the equation aside, Williams knew all too well that Sierra really, really needed to become a player in the shooter space if it was to survive the popping of the Siliwood bubble. Listening to his gut, he signed Valve to a publishing contract. Well after he left Sierra, Half-Life would become by most metrics the most successful single shooter in history, by a literal order of magnitude the best-selling game that Ken Williams was ever involved with. The landscape of gaming might look vastly different today had he not made that deal; Steam, for instance, was able to come to be only thanks to Half-Life’s publication and success. Not all of Ken Williams’s gut decisions were bad ones. Far from it.

Half-Life aside, though, life under the new regime had little to offer him beyond constraints and warning signs. One of the other perks he had been promised, and that in this case was delivered, was a seat on CUC’s board. His first board meeting only reinforced his sense of the cloud of obscurity hanging around CUC’s operations. He realized that he wasn’t the only person sitting at the table who didn’t entirely understand what the company they were all supposed to be overseeing actually did. The other board members, however, didn’t much seem to care. As long as the stock price kept climbing, they were happy to leave it all in the evidently capable hands of Walter Forbes. Ken Williams:

By the end of the first hour, we had covered everyone’s golf scores and favorite wines. I was not a golfer and was left out of the discussion. I avoided the game, and was disappointed that these pillars of the business world thought it was important enough to disrupt a board meeting. We finally sat at the table, and vacations were discussed. Walter was asked at some point, “How’s business?” He answered that all was good, followed by hardly anything more. I was waiting patiently for the lights to dim and the projector to light up. It never happened. Instead we were back to conversations having nothing to do with CUC. And then the meeting ended.

Feeling out of place among the old-money scions gathered around tables such as this one, tired of having his decisions in the software space countermanded by Bob Davidson, Williams started casting about for someplace else within CUC where he could rule the roost as he had once done at Sierra. He dove deep into another recently acquired company, the e-commerce facilitator NetMarket, which had scored a prominent write-up in The New York Times two years earlier for enabling the first encrypted credit-card transaction — for a Sting CD — ever to take place on the Internet. Yet he was never quite sure of his ground there, and never felt that NetMarket was much of a priority for Forbes — a strange thing in itself, given the way the latter was always rattling on about e-commerce in interviews. Williams had become an executive without a clear role or any clearly delineated scope of authority. It was not a comfortable situation for a man of his personality and predilections.

It might therefore have seemed like good news when Bob Davidson abruptly quit in January of 1997. And yet the circumstances of his resignation were just odd enough that it was hard for even his primary internal rival to feel too sanguine about it. Davidson had had a dream job, running a software empire that had just shipped Blizzard’s Diablo to a rapturous reception. Why had he thrown it away? Williams heard through the grapevine that Davidson had come to Forbes with an ultimatum, demanding that the software arm be spun out from the CUC mother ship to become its own company as the condition of his staying on there. Why had he been so strident about this? Had he discovered something that other people hadn’t? It was almost as if he felt he had to protect the software business from whatever was coming for the rest of the company.

As it happened, Williams was never offered Davidson’s job anyway. It was given instead to one Chris McLeod, a “member of the office of the president and executive vice-president” of CUC with no background in technology, software, or gaming, although he did sport a rather impressive golf handicap.

In May of 1997, Walter Forbes announced his latest deal. CUC was to merge with another company that nobody other than Wall Street investment bankers had ever heard of, one that went by another anonymous-sounding three-letter acronym. But it turned out that HFS (“Hospitality Franchise Systems”) owned a considerable number of brands that actually were household names: Avis Rental Cars, the real-estate chains Century 21, ERA, and Coldwell Banker, and the hotel chains Days Inn, Ramada, Super 8, Howard Johnson’s, and Travelodge. The New York Times diplomatically described CUC, by contrast, as “a powerful but less known force in telemarketing, home-shopping clubs, and travel information.” HFS was far too big for CUC to gobble up like it had Sierra On-Line and Davidson and Associates. This was to be a “merger of equals.”

HFS had been founded in 1990 by an infamously ruthless, hard-charging Wall Street money man named Henry Silverman, who had grown tired of playing “second banana” to the moguls and investors he stood in between. His business plan was deceptively simple: HFS bought brands, then rented them out to others under the franchising model. Said model allowed the company to accrue most of the benefits of running a chain of real-estate firms or rental-car offices or hotels without getting bogged down in most of the responsibilities. Anyone who wished to open a branch of one of these businesses could apply to HFS for a license to use one of its brands. If approved, they would pay a lump sum up-front, followed by ongoing “subscription” fees. In return for their money, they would receive, in addition to the brand itself, guidance on best practices and access to proprietary computer systems. On the stick side of the ledger, they would also need to pass regular inspections, to assure that they didn’t dilute the cachet of the brand they leased. It would be an overstatement to claim that administering such a franchising system was trivial for HFS, but it was much less financially and logistically fraught than actually owning and running thousands of properties all over the country. The Wall Street portfolio managers who had so recently been Silverman’s colleagues ate it up. And why shouldn’t they? An investor who got in on the ground floor with HFS in 1992, when it first went public, would have gotten her money back twenty-fold by the time of the merger with CUC.

HFS was a larger company than CUC in 1997, with a more transparent and more obviously sustainable business model. Although both stock prices were overvalued by any objective measure, sporting fairly outrageous price-to-earnings ratios, you could go out into Main Street, USA, and see the sources of HFS’s revenues right there in bricks and mortar. This was not true of CUC.

Given this reality, those who knew Henry Silverman well would continue to ask themselves for years to come why he had wanted to make this deal in the first place, and why he had failed to look harder into CUC’s business before consummating it. For Silverman, unlike Ken Williams, was not in the habit of letting the gravitational pull of charm, power, and ostentatious displays of wealth trump sober-minded judgment. On the contrary, Silverman was a numbers guy to the core, a classic cold fish who seemed immune to personal charisma when he considered his potential business partners. And yet he allowed Walter Forbes to reel him in almost as easily as Ken Williams had. The player got played: “A master deal-maker bought a pig in a poke,” as Fortune magazine would be writing in the not-too-distant future.

Still, the terms of this deal quite clearly left Silverman rather than Forbes in the catbird seat. The merger agreement stipulated that Silverman would be the CEO of the conjoined venture and Forbes only the chairman of the board until January 1, 2000, after which date the two would swap roles. They would then continue to trade places, in two-year cycles, for as long as they both wanted to keep at it. That said, many of those who knew Henry Silverman best suspected that he never intended to relinquish the position of CEO, that he would find some way to freeze Forbes out when the time came to trade places. In the end, though — and as we’ll see in my next article — other developments would make all of that a moot point. In the meanwhile, Wall Street was all-in; one investment analyst said that it would take “mismanagement for this deal not to work.” She had no idea what a soothsayer she was…

Any merger as big as this one, valued at $14 billion, takes some time to effectuate. It wouldn’t go through until the very end of 1997, by which point Ken Williams would be gone from CUC and from Sierra.

In August of 1997 — “one miserable year after Sierra’s acquisition had been completed,” as he puts it — Williams decided that he had had enough. A proud man, he felt disrespected, even “humiliated,” at that month’s board meeting, where his proposals and all of his attempts to steer the conversation around to actual matters of business had not gone down well. As soon as the meeting adjourned, he sat down at the computer in his office and typed out a letter of resignation. Walter Forbes, this fellow whom Williams had once thought he shared a special bond with as a fellow dynamic man of business, accepted the letter without much comment or expression of regret. It took some time to finalize Williams’s departure with Human Resources, but it was agreed in the end that his last day would be November 1.

So, Ken Williams’s association with Sierra On-Line, the company he had founded and built from the ground up over almost eighteen years, officially ended on November 1, 1997. There was no public or private fanfare — no going-away party, no line of colleagues awaiting a last handshake. Nothing like that. “I just packed my stuff and went home,” he says. Both coincidentally and not so coincidentally, Mike Brochu and Jerry Bowerman, Williams’s right-hand men who had argued so fruitlessly against the acquisition, likewise decided they had had enough at around the same time. This left Sierra as little more than another of Henry Silverman’s brands, in the hands of people who had bought their way into it rather than growing it from the grass roots. They would deign to fund and release a few more games that played in the old Sierra’s worlds, would even employ a few of the old designers to make them. Nevertheless, one can make a compelling argument that the main story of the Sierra that is still so fondly remembered by adventure-game fans today ended on that November 1, 1997, when Ken Williams walked out of his office for the last time, with no one even bothering to tell him goodbye. What followed — and will follow, in the next two articles of this series — was merely the epilogue, or perhaps the hangover; you can pick your own metaphor.

It beggars belief that something so huge — something that touched the lives of so many people who worked for Sierra or played the many, many games of its golden years — could end so anticlimactically, with one unremarkable-looking 43-year-old office worker quietly switching off his computer and driving home. But such is life in the real world. Concluding whimpers are more common than bangs.



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Sources: The books Not All Fairy Tales Have Happy Endings: The Rise and Fall of Sierra On-Line by Ken Williams, Financial Shenanigans: How to Detect Accounting Gimmicks & Fraud in Financial Reports by Howard Schilit, Stay Awhile and Listen, Book II: Heaven, Hell, and Secret Cow Levels by David L. Craddock, and Gamers at Work: Stories Behind the Games People Play by Morgan Ramsay. Wired of November 1997; Los Angeles Times of February 21 1996; New York Times of August 12 1994 and May 27 1997; Wall Street Journal of July 29 1998; Fortune of November 1998.

I owe a big debt to Duncan Fyfe, whose 2020 article on this subject for Vice is a goldmine of direct quotations and inside information. I also made use of CUC’s last annual report before the merger with HFS, and of the materials held in the Sierra archive at the Strong Museum of Play.

Thursday, 03. April 2025

Renga in Blue

The Troll Hole Adventure (1980)

When Kenneth Lochner was hired by Dartmouth away from Montana State College as a programmer in 1964, he had been working in computers for four years. Lochner in particular had been teaching FORTRAN and had been having a miserable time, not due to FORTRAN itself, but due to student experiences in using punch cards: Returning […]

When Kenneth Lochner was hired by Dartmouth away from Montana State College as a programmer in 1964, he had been working in computers for four years. Lochner in particular had been teaching FORTRAN and had been having a miserable time, not due to FORTRAN itself, but due to student experiences in using punch cards:

Returning to the motivation for this system, let it be noted that anyone who has taught a symbolic system to beginning programmers is aware that syntax and logical errors abound in the programs they produce. One can visualize the standard scene in a [IBM] 1620 installation: a group of students loading the assembler, loading and unloading the punch hopper, entering the object deck, watching the typewriter anxiously, and then staring in increasing bewilderment at a machine which has halted, cleared or is in an infinite loop.

Lochner was integral to helping develop Dartmouth’s legendary time-sharing system, where a large computer could have its time divided into slices, and multiple users could then access the same machine simultaneously using terminals (as opposed to slow batch punch cards and their resulting infinite loops). Notably he developed “communication files” which were essentially an early version of UNIX pipes, gluing together the output of one operation/command to become the input of another.

The two computers involved in the Dartmouth system were a GE-235 which executed programs and a GE DN-30 which handled communications. Image source.

As Lochner wrote in an article describing Dartmouth’s progress, “The main purpose for developing the System was to provide for teaching computing to almost all Dartmouth students, including those concentrating in the Social Sciences and Humanities. A second purpose was to tap the hitherto unrealized wealth of small computer problems related to the everyday research activities of a college faculty, small problems that would never be initiated if the turn-around time were as long as a single day.”

The explosion of computing at Dartmouth that followed led to a fair number of important early programs that later showed up in David Ahl’s books like ANIMAL, but for our story today we need to keep following Ken Lochner, as he became restless at Dartmouth, first helping Ford develop their own time-sharing system using a Philco 212…

Picture of internals of a Philco 212. Source.

…and then in 1969 he went over to the newly founded Cyphernetics in Ann Arbor, Michigan, a company focused on commercial time-sharing services. They were successful enough to be bought by Automatic Data Processing in 1975, and two years later Lochner left to found Interact Electronics to work on an entirely new project: the design of a personal computer.

Master Artwork, Interact Model One Home Computer, April 10, 1978. Source.

The Interact Model One aka Interact Home Computer aka Interact Family Computer was designed during 1978 in Lochner’s now-home turf of Michigan. Lochner hired Rick Barnich as the lead engineer (the picture above is his) and was keen on keeping the price tag low, or as Barnich later bluntly stated, “Cost targets dictated the design.” The price managed to stay under $500, making it cheaper than any of the Trinity (PET, TRS-80, Apple II) and even capable of color.

I haven’t seen any interview with Lochner specifically about the restrictions given, but it seems like the goals for the base model were:

a.) cheaper than the three major competitors
b.) color graphics
c.) enough memory to handle a reasonable-sized program (8K RAM, 2K ROM, not dropping to, say, 1K like the initial ZX80)

maybe with the same populist goals in mind as the Dartmouth Time Sharing system had, making something capable enough for both programmers and artists. The sacrifice led to a “chiclet” keyboard, low-res graphics, and a very chunky text mode.

Compilation of some screens via Steve’s Old Computer Museum.

Unfortunately, putting the three main goals together without compromise flew too close to the sun. Interact tried to be generous with their software line (they gave thirteen tapes away on new units; tapes of course were super-cheap) and at the time, Lochner was quoted as saying:

Software is the pivotal point in the mass marketing of a personal computer.

Apparently, it wasn’t, as the machine more or less flopped in a year, selling only a few thousand units (compare to the Commodore PET breaking 200,000). The only reason it became notable is because of Michel Henric Coll, who picked up the technology and re-tooled it for the French market (switching, for example, to an AZERTY keyboard). Letting him take over the story:

I discovered the Interact Model 1 during a trip to the United States in July 1979. It was as simple as can be. I had read a description of it in an American technical magazine. Upon arriving in Ann Arbor, I called Interact and explained that I wanted to sell their product in France. James Scotton, Interact’s general manager, sent a white Cadillac to pick me up at my hotel and devoted the entire day to me. The deal was quickly concluded.

He signed an agreement in September (not long before Interact collapsed and the stock was liquidated), and then:

Having obtained the right to sell Interact under my own brand, I immediately renamed it Victor Lambda. It was during a group brainstorming session organized during a business development internship I attended at the Toulouse business school from January to July 1979 that I discovered the name. We had already decided on the first name, Victor, thanks to the computer’s help. We were looking for the name. Tired, someone blurted out: is it really important to spend so much time on this research to sell a standard computer to a standard customer? [“Standard” or “typical” being “lambda” in French.] It clicked. We had found it.

The Victor Lambda was renamed in a later iteration the Hector. Rather unusually for a program on an obscure system, today’s game has a French translation, and the reason why is the success of the Hector (which took a lot of its software line from the already-existing US line).

Coll showing off disk drives for the Victor II in 1983, a peripheral not available with the Interact base model.

When Interact Electronics folded a year after their hardware launch, they had their stock bought and product continued via Micro Video (a company technically started when Interact was still alive, but only by a few months) and NCE/CHC (a mail order house). While the number of units sold never passed “thousands”, they kept the flame alive for die-hard fans all the way through the 80s.

With die-hard fans come fan groups, one of them being based on out Detroit; from 1980 and 1982 they distributed their Interaction newsletter. The December 1980 issue mentions two adventure games.

This first is a port of Chaffee’s Quest done by Dave Schwab; not trivial due to the font size, and the fact the Interact uses one-dimensional arrays and the original Quest used a two-dimensional array. It is notable mostly in that Schwab got permission from Chaffee for distribution; most of the authors we’ve seen do ports didn’t bother to ask.

The second is a brand-new game specifically for the Interact. It is by “Long Playing Software” with no author given.

The “at last” suggests this is another manifestation of the strong desire for authors to put some form of Adventure on absolutely every system. Despite the enlarged text size, this manages to feel like a “normal” adventure game, just with highly clipped text. Since the memory capacity is higher than the VIC-20, there’s a bit more depth in description than, say, Hospital adventure.

Interact graphics remind me a lot of the “imaginary console” Pico-8.

The ad copy inquires

Can you get the priceless ruby from the King Cobra? What does that strange inscription say? Why do evil eyes watch your every move? Can you solve these and the many other mysteries of THE TROLL HOLE ADVENTURE??? Will you come out rich? Will you come out at all?

and as it implies, this is another Treasure Hunt where we gather all the treasures in the world and put them in a central location. (The line about being “rich” implies we are absconding away with the treasures this time. The troll probably is smelly and deserves it.)

The sign is here just to inform us this is where the treasures go.

To the east there is a pond with a frog (ITS SLIPPERY)…

…and otherwise that’s all of the above-ground. Heading down into the titular Hole leads to an ENTRY WAY.

The front door is locked, but the ENTRY MAT hides a key so that is a quickly-resolved problem. The issue for me starting was the lamp, which refused to light. Mucking about with the shovel I found that DIG back in the starting location revealed a BIC LIGHTER, but even with the lighter in hand I was unable to get the game to understand any permutation of LIGHT LAMP I could think of.

This game does let you plunge ahead and interact with things in the dark — there’s no grues — but you need the light first to know what the items are.

I resorted to making my verb list; fortunately, the game was fairly polite, giving one response (H U H ! ! !) for when it understood a verb but was otherwise confused…

…and a different response (WHAT?) for when the verb is missing from the game’s vocabulary altogether. This let me use my usual list, which was a relief given the number of games lately I’ve been playing with broken bespoke parsers.

However, this still wasn’t enough! Not every verb available is on the list, and I finally found FLICK LIGHTER is what the game wanted (this will be the first time I’ve used FLICK in an adventure game). Just for completeness, I have also found UNS(CREW) but have not been able to apply it yet.

I’ve only found 15 rooms and there’s allegedly 30, so there’s still a fair amount of game to go. At the start there’s a LIVING ROOM with a STONE CHAIR (too heavy to move), a PICTURE, and a PERSIAN RUG (a treasure). The rug has the stone chair on it, so I have been unable so far to retrieve that particular treasure.

Further west is a CEREAL BOX with some CEREAL (TROLL TOASTIES), and a jug of milk that is described as SOUR if you try to chug it.

Turning south, there’s an ARMS ROOM that has an ELF and a SINGING SWORD. I have been unable to interact with the elf; the sword gives a shock when trying to take it, and is described as being stuck in a stone.

Nearby is a BATHROOM with a PAY TOILET and a MIRROR. You can take the MIRROR revealing VITAMINS and a DIME, then INSERT DIME to get into the toilet and find a PAPER TUBE. I have not found a use for the tube. Upon trying to eat the vitamins the game says they are TOO DRY. If you try to BREAK MIRROR you die from it shattering.

Further on to the east is a Vault with a ORC GUARD, CROWN (treasure), and CAVE. The orc prevents taking the treasure or entering the cave. I assume the sword gets used here.

Returning back to the sword and turning south, there’s a TEA ROOM with a CRYSTAL ORB (glowing softly) and an INSCRIPTION. The inscription seems to be written “backwards” and you can read it if you are holding the mirror from the bathroom. (IT SAYS PICK 2, and I have no idea what this is referring to yet.)

No idea if breaking the mirror here is bad, but there’s an inventory limit so I need to keep juggling.

Adjacent is a closet with a BALLOON ON ROPE and a COVER; the balloon has “GOT BUMPS” and the cover is “SCREWED IN”. You can break the balloon leaving a rope but I haven’t found a use for the rope, and it is possible the balloon needs to be used first.

Back where the TEA ROOM was there’s one last branch leading down to an ALTAR with a cobra and a ruby. I have not managed to defeat the cobra but the game does recognize FLUTE as a noun. (I should also note from the verb list that MAKE and BUILD are both verbs, so we may just need to gather supplies and make our own, that is, MAKE FLUTE. The paper tube was suggestive but just holding that wasn’t enough to cause it to work.)

Rewinding back to the kitchen with the sour milk, heading west leads to a room that is too bright to see if you’re holding the lamp. If you’re not holding the lamp, the room is totally dark. The solution is to drop the lamp off before entering and bring in the orb instead, which will give a light enough glow to be visible.

There’s a gold nugget in the room but it is too big to bring up the troll hole. There must be another route to the start.

The are rooms past this, so after noting the HALLWAY on the object list, the right procedure is to grab the lamp, step back into the room with it being too bright, but GO HALLWAY anyway since you’ll keep moving forward.

Not much of note in either room yet. You can pick up a HANDFUL OF DIRT in the greenhouse.

This turned out to be surprisingly complicated and dense. None of the treasures are giveaways; even the crystal orb I haven’t scored yet (dropping it smashes the orb, just like the mirror). To recap the obstacles…

  • there’s an orc guarding a cave and a crown
  • a cobra guards a ruby
  • a gold nugget can’t be brought up the hole to where the treasures go
  • the rug can’t be removed from under the stone chair yet
  • the crystal orb can’t be dropped (probably getting the rug will fix this)
  • the singing sword can’t be pulled
  • the cover can’t be unscrewed

…on top of objects like the sour milk currently remaining unused. I’ve been finding myself thinking more in terms of a standard adventure rather than a minimalist 8K effort. I’m tempted to try the French version (La caverne des lutins, released 1982) to see if the changed text gives any different textual hints that might help me out. I will take any suggestions people have, and I’ll even take spoilers if someone has beaten the game (in ROT13 format only, though, please).

(The second part of this post is here.)