Style | StandardCards

Planet Interactive Fiction

Tuesday, 17. June 2025

Renga in Blue

Mystery House II: Finished, Again

(Click here for my Mystery House II posts in order.) First off, a brief correction: The PC-6001 version I’ve been playing (at least up to a certain point, for reasons I’ll get into) is on tape, not disk, but everything on one tape. The files, found if you CLOAD multiple times, are AUTO 1 MYS1 […]

(Click here for my Mystery House II posts in order.)

First off, a brief correction: The PC-6001 version I’ve been playing (at least up to a certain point, for reasons I’ll get into) is on tape, not disk, but everything on one tape. The files, found if you CLOAD multiple times, are

AUTO 1
MYS1
AUTO 2
MYS2 2
MYS2 3

where the double-auto files (meant to load on boot) suggest to me that this is the same copy as the two-tape version I mentioned last time, just someone copied everything together.

As far as why there’s MYS2 2 and MYS2 3, that’s because there’s three volumes! Or rather, there’s two tapes (each called a volume) and three program parts (each also called a volume) at the same time. That is…

Volume 1: has volume 1 on it
Volume 2: has volume 2 on it
Volume 2: also has volume 3 on it

…and all this took a long time to detangle. (Implicit thanks everywhere to the Gaming Alexandria discord, which helped out enormously.) I regret to inform you it gets worse, but let’s see what happens in gameplay context.

Disk from the FM-7 version via Oh! FM-7. I do not have access to this version. The screenshots make it look like it’s based on the Sharp/NEC map. I don’t know how the multiple volumes are handled.

Last time I left off with a cryptic message from a stairway about finding the entrance to the basement. Someone with eagle eyes might have spotted what to do next here, but in this case it was Kazuma Satou from the comments realizing that there was a map/hint page on Mobygames.

The basement and third floor are not shown.

The room in the lower left of 1F — where I found the book hiding the memo — also has a CARPET.

That double black line along the wall.

Some noodling about led me to MOVE CARPET, revealing a locked trapdoor.

This still isn’t enough to finish! You also need to USE HAMMER to bust open the door. Then you completely ignore the door for now and can leave up the stairs.

Trying to go down kills you, and I spent a while trying to survive going down before checking the stairs again.

That’s the end of Volume 1! Volume 2 is an entirely different program on an entirely different tape and doesn’t even carry any variables over. The game requests you reset the computer to move on.

The sequence in volume 1 was intended to get you to bust open a trapdoor before moving on. The reason this is important is that in volume 3 you return to the same room from below and the game assumes you’ve already busted the trapdoor (in a different kind of game, this might have a softlock because you didn’t prepare the trapdoor beforehand).

I want to re-iterate how completely odd and bizarre this is. I’ve never seen a game work this way; the closest I can think of is Savage Island (Part 1, Part 2) where there was an item you might be holding at the end of Part 1, and if you are holding the item you get one password, and if you are not holding the item you get a different password. Since the item is required to make progress in Part 2 early you can get softlocked from the previous game.

Earlier I mentioned “it gets worse” as far as the multi-part situation goes. You see, that NEC PC-6001 file? … is also corrupted. While the 3rd part of the game loads (you have found the jewel and are back on the first floor, now escape), there are damaged lines in part 2. In other words, to keep playing I had to switch computer systems over to the Sharp MZ-2000, where I have the second tape but not the first one. You start with no inventory, so the game assumes you’ve used CAST on the hammer or any other objects from the first floor.

(The Volume 1/2/3 situation still has yet another twist but let’s save that for the end.)

At least this version is likely adapted directly from the MZ-80B original.

The controls now go with the original “type verb and noun separate” system. It’s not as bad as I experienced with Mystery House 1 because there’s no screen swapping, although I quickly found reading memos and taking inventory to be cryptic until I got some source code assistance.

15230 IF D$=”モチモノ”THEN12000

This line in the source code (which is protected from LIST and required shenanigans to break open) is the one that jumps to taking inventory. “モチモノ” is Japanese for, essentially “belongings”, and makes a decent synonym for “inventory”, but is the only command in the game delivered in Japanese rather than in English. There is, fortunately, a function key (F3) which will type the same thing.

This screen will show objects on top (except the player isn’t holding any right now) but also is the only screen you can read memos from. You have to hit F4, which types out READ MEMO (as a whole command, not split!) and then pick the number of the memo. F5 types “RETURN” which will exit from this screen.

Now, a map:

I’ll save the elevator for last. Rotating west, going forward, and entering the door to the south, you get to a room with a picture. The picture has a memo.

The memo says the clock needs to be set to 1 o’clock for the door to open. (Remember back in Volume 1 of the NEC version of the game it said 3 o’clock. More on all that later.)

Going back to the starting position and north leads to a room with a fireplace. Searching the fireplace yields a match.

In the same “room” (it’s another 2 by 1 setup where you see across the long room) there’s a “RACK” partly underneath a “HATCH”. You can MOVE RACK so it now is fully underneath the hatch, then OPEN HATCH to get access to the third floor.

The third floor has what the game calls a SCOOP lying on the ground (shovel) and also windows that mysteriously open to reveal a number.

Just to be clear with a map:

To the north of where the shovel is there’s a rectangle on the wall that looks like it should have a door, but it isn’t. After a bit of struggle I came up with PUSH WALL which opens the passage.

The next room has a clock. This is where the first memo (set to 1 o’clock) comes into play, as you can ADJUST CLOCK and then say you want it at 1. This opens yet another secret passage, this time through the tiny door in the clock.

The next room (and last room of floor 3) has a computer, specifically an MZ-2000 in this version of the game.

RUN MZ2000 will print a memo that you can then take.

マイクロキャビン マーク カラ W ニ 2:S ニ 1

This indicates you’re supposed to start at the Microcabin logo and go west by 2 and south by 1. We’ll need this shortly. Let’s go outside by heading to the elevator.

The mechanics here are weird. You need to press and hold W to leave, or press and hold E to approach the buttons. No other keys work; you aren’t typing on a parser prompt. Wild inconsistency is the most consistent thing about this game.

There’s 3 buttons; the second one kills you, the other two are helpful.

One of them takes you to a garden outside. You need to specify DIG GROUND, at which point the game will ask you for how many steps west and south; this is where the memo comes into play.

The inventory limit of 2 still applies, so you need to cast off one of your items after doing this in order to get the BOX, or TRUNK.

If you try to then saunter through the exit — and you can go down the stairs, you just can’t walk around the first floor otherwise — you’ll find it is locked. You also need a key, which is where the other button on the elevator comes into play.

This leads to darkness, which you can dispel with LIGHT MATCH. (According to the source code, the amount of time the match is lit is tracked in real time. This is very rare for a turn based game but we’ve seen it once in a while, like in how Devil’s Island you needed to wait in real time for a guard to show up.)

The safe lets you enter the 7474 from the window (rather, ADJUST / SAFE, 7, 4, 7, 4) revealing a key inside.

Again you might need to worry about your inventory limit. If you got the BOX first you’re in trouble because you can’t discard the match! The best order is to do the key first and then get the box.

With the key and box in and (with possibly some trouble as mentioned in the caption) you can now officially saunter outside to a win.

With scrolling text.

Now, you may be wondering — hey, Mr. Blog Author, didn’t you say something about needing to bash open a hatch with a hammer in volume 1, how did that come into play? And what about the hole with the rope? Yes indeed: it turns out the MZ version of the game only has two volumes and whatever happened in volume 1 must be different from the NEC version, despite it looking like the same game from the video. I could technically try starting in volume 3 of the NEC version and beating it from there, but I am honestly fine passing for now. (The good folks at Gaming Alexandria are still trying to work out how to rescue the data from the tape for NEC volume 2. I’ll keep everyone posted. My theory is a divergence at the very end allowing for the third volume.)

The start of Volume 3.

I think the multi-volume gameplay mess demonstrates a case of “flying too close to the sun” that many of our authors have suffered, where they need to follow-up their previous game with something more ambitious. (As touted in the ad, “the program size has now doubled, making the adventure even more exciting.”) Still, I found it interesting how reasonable the MZ (volume 2) version of the game was relative to everything else I’ve seen: the only hard part is realizing, for example, you’re looking at a HATCH on the screen and need to apply the parser accordingly. I also got stuck a while figuring out how to work the elevator given it doesn’t even use the parser! So our original author-dentist seems to have kept to reasonable ambitions (apart from the volume-splitting) but the later people who made ports started to get unreasonable, like with the carpet puzzle on NEC or the confusing design elements of the MSX version.

Monday, 16. June 2025

Choice of Games LLC

Coming Thursday: “The Last Scion”—New Author Interview and Demo!

Take to the skies! You fell to Earth as the last remnant of a dying world – can you rise as the planet’s greatest hero and triumph as a beacon of justice? Shrug off bullets, smash buildings with your bare hands, and soar through the air as you battle against vicious villains!  The Last Scion is an interactive superhero novel by D. G. P. Rector. It’s entirely text-based, 200,000 words and

The Last Scion

Take to the skies! You fell to Earth as the last remnant of a dying world – can you rise as the planet’s greatest hero and triumph as a beacon of justice? Shrug off bullets, smash buildings with your bare hands, and soar through the air as you battle against vicious villains! 

The Last Scion is an interactive superhero novel by D. G. P. Rector. It’s entirely text-based, 200,000 words and hundreds of choices, without graphics or sound effects, and fueled by the vast, unstoppable power of your imagination. I sat down with the author to talk about his background as a writing and his experiences writing for Choice of Games. The Last Scion releases this Thursday, June 19th. You can play the first three chapters today, for free.


Tell me about your background in writing.

I’ve always enjoyed telling stories, something I think I got from my father. He’s an incredible story teller, always sharing ghost stories, anecdotes from his life, and sometimes creations entirely of his own with me when I was a child. Both my parents encouraged my creative pursuits when I was growing up, which is something I’m extremely grateful for.

As far as professional writing goes, I had always wanted to make my way in the world as an author. A dear friend and coworker of mine on the late shift made me swear a pact with her to pursue writing more seriously; to actually buckle down and finish projects. Then, in January of 2020, I quit my day job to pursue writing professionally. My intention had been to take six months off, finish my first novel, and submit some short stories. As fate would have it, there was a massive global pandemic, and I wound up out of work for significantly longer than six months. Still, it gave me time to refine my craft. I wound up getting some short stories published, including some science fiction work in Analog and Mysterion, as well as other places. I was searching for places to submit my fiction to when I stumbled across COG, and here we are!

What inspired you to write this game?

I’ve always wanted to write a super hero story! Like many people, I’ve enjoyed the genre since I was a kid, and I thought the ability to engage with the fantasy more directly as a work of interactive fiction would be thrilling. I went for a “flying brick” type of character as the protagonist (think Superman, Captain Marvel, Shazam, the Mighty Thor, etc) in part because they’re so archetypal, but also because the IF medium fits that kind of character particularly well. After all, in a more traditional computer game it would be quite tricky to make encounters fun and challenging for a character who’s bullet proof and can lift a truck over their head, but in an interactive novel, the challenges the character faces are often as much personal decisions as they are questions of skill. Sure, there’s no doubt you’ll win a fight with some bank robbers, but do you prioritize bringing them to justice or protecting the people they’ve taken hostage? That tension seemed very exciting to me.

What did you find most challenging about writing interactive fiction in the COG style?

Well, I have exactly ZERO skill in coding, so I was pretty much a baby when it came to that. Fortunately my editor Jason and everyone at COG was extremely helpful, and I discovered a lot of great guides online. It’s very challenging to think of a work of fiction not just as a series of events in a story, but also as balanced game encounters. After all, when I’m writing prose I usually have one or two ways a particular moment can play out, and I try to select the one that works best for the story. In an IF, every decision point has to have multiple outcomes, so any given scene might play out many different ways. Sometimes these choices are more about flavor, moments where the player gets to frame an encounter in a particular way. Other times these decisions lead to radically different outcomes: falling in love, letting someone die, destroying half the city, and so on!

What are your favorite comics?

Too many to name! Alan Moore & Dave Gibbons’ “Watchmen” of course redefined and elevated the genre. I’m a big fan of Moon Knight, and Charlie Huston’s grim-n-gritty arc called “The Bottom” really made me fall in love with that character. Cable & Deadpool by Fabian Nicieza was a funny, genuinely sweet story about two very troubled people coming to accept each other and learn how to trust. And I’d be remiss if I didn’t mention the late, great Steve Ditko. Spider-Man is of course a giant, but I really enjoyed his work on “The Question”, and his bizarre, intense “MR. A” stories. Ditko was a man of ferocious personal beliefs that he put on display in his work, and while I can’t say I entirely agree with his world view or didactic-ism, I really admire what a direct and unvarnished insight he gave into his mind through the medium of these fantasy-action characters.

(This is of course leaving aside the non-super hero stuff and the whole amazing world of non-
anglophone comics.)

Was there an NPC you enjoyed writing most?

There’s of course a little of myself in all of my characters, but I think Hawkshaw and the Poppet were the most fun to write. I got a lot of really great editorial feedback that really helped me refine and refocus those two. They’re kind of opposites, with Hawkshaw being stoic, direct, and grim, while the Poppet is whimsical and sarcastic, but the two of them also come from this very deep place of pain and alienation. I’m also very fond of Six-Gun Slim, who adds a lot of levity to the scenes she’s in. She doesn’t take any of the heroing stuff too seriously, which provides a fun contrast to the other characters. And I really enjoyed writing her relationship with Sky Pilot, who’s kind of a flustered surrogate-uncle to her.

Finally, I of course enjoyed writing the Conqueror. We’ve all got a few good “Villain Monologues” in us, and having the excuse to write such a grandiose character was a lot of fun. I also tried to include as many opportunities for the player character to mock him as I could, without undermining the genuine danger he represents.

What else are you working on/what’s next for you?

Oof! Who knows? The life of an artist is an uncertain one. I’ve got my debut science fiction novel “The Exile” coming out very soon with Blue Forge Press. It’s a Space Opera Epic about a wanderer with a dark past, caught on the frontier between two interstellar empires on the eve of war. I actually first wrote it about five years back, so it’s exciting to me that it’s finally going to see print. I’ve also done a lot of work in the Battletech fictional universe with Shrapnel Magazine, and I’m hoping to work more in that world.

And of course, I have one two ideas for a sequel/spinoff to the Last Scion!


The Rosebush

Final possibility to register for Narrascope 2025

NarraScope is this coming weekend: two more days to register for online attendance...

NarraScope is an event that supports interactive narrative, adventure games, and interactive fiction by bringing together writers, developers, and players. The Rosebush is happy to be an, admittedly very minor, sponsor of the Narrascope 2025 conference. From June 20 to June 22, narrative games – including interactive fiction – will be put in the spotlight in a series of workshops and talks at Drexel University in Philadelphia, USA. Although in-person attendance is sold out, it is still possible to register for online attendance! Online registration is open until June 18, 2025.

If you’re on the fence, be sure to check out the full schedule. And of course, if you’re giving a talk or workshop at the conference and would like to write up your ideas later in the form of an article; or if attending NarraScope sparks new ideas in you that other people ought to know about – you know where to send your pitches! 😉

Saturday, 14. June 2025

Renga in Blue

Mystery House II: Alternate Realities

Bonus surprise post! Yes, I arise from my slumber for at least a little while. This is the sequel to Japan’s first graphical adventure game, using the same first-person-with-directions view as the previous game. (If this isn’t ringing bells, you probably want to read my posts on the game first. The important thing to emphasize […]

Bonus surprise post!

Mystery House II running on a Sharp MZ-80B2 (a slight variant of the MZ-80B, the original platform for the game). Via bowloflentils.

Yes, I arise from my slumber for at least a little while. This is the sequel to Japan’s first graphical adventure game, using the same first-person-with-directions view as the previous game. (If this isn’t ringing bells, you probably want to read my posts on the game first. The important thing to emphasize is that despite the name and opening graphic clearly coming via the Roberta Williams Mystery House, the Japanese game entitled Mystery House goes in an entirely different direction in both gameplay and content, and the sequel follows suit.)

I have already technically finished Mystery House II in one of its ports — the MSX version, which has an English translation patch — but I had enough disappointment that I mentioned I would return to tackle the NEC PC-6001 port, which I knew from testing was very different.

The situation turned out to be even more complicated than I expected.

“Mystery House is now 200% more powerful … The program size has now doubled, making the adventure even more exciting.” From I/O Magazine, May 1983.

Parsing the ad above, it mentions versions for cassette selling for 3800 yen and for disk selling for 9800 yen. The big catch is that cassette (due to size) was sold as volume 1 and volume 2. In other words, this game was split originally into two entirely separate parts. Volume 1 involves the ground floor (and possibly the basement below); Volume 2 involves the upper floors. You can’t get to the upper floors without finishing everything below, and the way this is enforced is extremely cryptic (I thought for a while I was running across a bug, for reasons you’ll discover).

The PC-6001 version that I did my playing has all the pieces on one tape, but I also have (with the help of the Gaming Alexandria discord and gschmidl) a copy of Volume 2 (and only Volume 2) for Sharp MZ-2000. The “volume 2” version of the game starts on the upper floor of the House; if you walk down to the ground floor, you can only see the room at the bottom of the stairs (identical to the first part of the game) but can’t walk anywhere.

We have seen a trick like this before, with Robert Arnstein’s Haunted House from way back in 1979, as published by Radio Shack. It was made when 16k wasn’t quite as common for TRS-80 so it was stuffed into 4k instead, meaning to get a little more content there’s a tape swap upon arriving upstairs (and the trip is one-way).

There was a cassette version of PC-6001 as well, except both volumes were sold together. Via eBay.

This is very different from the MSX version which had quite a bit of trekking up and down — made painful by an inventory limit of two. The inventory limit carries on here but there’s less space to travel around in. I’m still quite stuck, though, and this is without a walkthrough to consult this time.

The opening graphic is still essentially cribbed from Roberta Williams.

The NEC PC-6001 version is fortunately like the FM-7 version of Mystery House 1 in how it controls. You type commands in regular English VERB NOUN form; this is unlike the MZ versions which have you type each as a separate line. If you are facing a direction like EAST typing the same direction will move forward; if you aren’t facing that direction it will turn you that way. Chronologically Gaming managed to land a copy of the MZ version with volume 1 so you can watch some of the opening of that version here:

It has a major difference you can see by going NORTH, turning EAST, walking EAST, and then turning NORTH.

That’s a MEMO on the ground, not present in the MZ version. You can TAKE MEMO and then READ MEMO, at which point the game prompts you for a number (there are memos 1 and 2 at least, I think up to 4).

That is

メモをさがせ
ちかしつのいりぐちにきをつけろ !!
2Fへまわれ

Search for the memo.
Be careful of the entrance to the basement!!
Go to the second floor.

Just to reinforce the idea I’ve mentioned before that the “VERB NOUN” form is strange for Japanese, from left to right, the first line メモをさがせ can be parsed literally as メモ (memo) を (is the object of action) さがせ (action is search for, imperative form).

Heading in further…

…the first room is a kitchen. Of the items to the south, the only one I’ve been able to refer to is a REFRIGERATOR which has a CUP. To the north is a CABINET, although rather than OPEN CABINET you’re supposed to type SEARCH CABINET.

Both the CUP and CABINET are part of the later MSX game; the TOWEL was not part of it, but the KNIFE did get used for an identical purpose to this game.

Before going on, I should point out while the CUP was referenced in the Japanese text that went with the picture, the CABINET wasn’t, and of course translations can differ so even when at item gets named like the cup was it can be a pain to figure out the English word to type in the parser. Fortunately, the game has a HELP command that gives a fair amount of the needed words:

The game is written in BASIC so normally a list could also be obtained via the method of listing the source code, but the game has some sort of memory-protection preventing this. There’s an emulator (iP6+) that allows dumping the memory into a file, and I used this while the game was on to get a 100% complete list of understood words.

N, E, S, W, U, D, ADJUST, BREAK, DIG, LIGHT, LOOK, MOVE, OPEN, PRESS, PUSH, PUT, READ, RUN, SEARCH, SET, TAKE, TIME, INVENTORY, CAST, USE, TIE, KICK, HELP, UNLOCK, SAVE, BATH, BED, BOARD, BOOK, BOX, CABINET, CARPET, CHEST, CLOCK, CUP, DOOR, FIREPLACE, FORK, GARDEN, GROUND, HAMMER, JEWEL, KEY, KNIFE, MATCH, PAPER, PICTURE, PLATE, RACK, SAFE, REFRIGERATOR, SCOOP, SIDEBOARD, SPOON, TABLE, TOBACCO, TOILET, TOWEL, WALL, WINDOW, MEMO, ROPE, FLOOR, BUTTON, LADDER

Moving on, to the west is a 2-section room of the type seen multiple times in the original Mystery House.

Trying to ADJUST CLOCK (like was possible with the MSX game) gets the message that the clock is broken.

Attempting OPEN WINDOW on the first window (the one to the east) just gets the response that it won’t open; the window after is subtly different:

“Because the window latch is so stiff, it’s difficult to open.”

USE KNIFE works here. I complained about this in the MSX version being arbitrary. The text is a strong clue; the text wasn’t quite so explicit in that version.

After this I dropped the knife because of the stringent inventory limit of only 2 items at a time. It goes back to the cabinet (by “magic”) if you need it again. The verb the game uses for dropping items is CAST.

The scene here doesn’t let you turn; you can only go SOUTH which will put you back in the house. The hammer is used in the MSX version to bust a hole in a wall and there’s also a SCOOP (shovel) later which can be used to dig.

Moving on, south of the two-space room with the clock, there’s a four-way door intersection with stairs.

The south is the front door (locked). Trying to go east leads to a hole going down…

…and trying to go down kills you. (I assume the ROPE mentioned in the object list is used later.) Just like the outside section with the hammer the scene here is “locked” and you can’t turn.

Heading west instead leads to a room with windows to the west and south (OPEN WINDOW just gets “NO!”) and some books to the north.

When trying to TAKE BOOK you are prompted with which book you mean; the game wants you to type a digit from 1 through 6.

Being prompted for a digit. My first time through here I had the CUP and HAMMER which was too many inventory objects, and I was confused why the game wasn’t letting me take a book.

Each book is identical except for one (chosen randomly at the start of the game, I’ve had it be book 2 or book 4), which includes an extra surprise.

Memo 2 says to enter a door at 3 o’clock (3時のとびらをくぐれ). I assume this matches the MSX puzzle of setting the clock, but as I indicated earlier, ADJUST CLOCK just says it is broken, so something is different in the sequencing.

Finally let’s get around to those stairs. Trying to go up them right away, the game asks if you’ve found the second memo. Trying to go up them after finding the second gets the message

ちかしつのいりぐ ちを、あつけましたか?

or something like “did you figure out how to get into the basement?” (Maybe? I could use a Japanese expert to confirm here.)

I mentioned earlier I thought maybe this was a bug; I had no idea why going up stairs would provoke these kinds of “hint” messages (first indicating to find a memo, then pointing to the basement). Once I realized this was a “split” game (unlike the MSX version) the logic clicked into place. It also clicked into place why the MSX version might have changed things around; I can say that the “view” still is far superior in this game as you can see what’s going on to the left or right. You can even see changes in the distance; going back to the two-square room, notice how while looking west you can see the window open to the far right, which is not a detail the MSX version had at all.

I’m technically not on the hook for finishing this version of this game; I’m satisfied enough knowing why the different versions came out the way they did. I’m still interested if anyone has any helpful suggestions for progress. I have a copy of the game here; boot the emulator, pick option 2 for BASIC 32k, say you want 2 pages, type CLOAD, right click and pick Tape->Insert followed by the Mystery House file, then type RUN.


top expert

let’s appearance #1

A wild regex appears! Mainframe Blues From a presentation and interface point of view, Inform games emerged from the rarefied world of terminal applications. While terminals might support varied character sets, they are designed to print, one line at a time, unadorned text. There’s nothing wrong with that. It’s how Inform games do things, and […]

A wild regex appears!

Mainframe Blues

From a presentation and interface point of view, Inform games emerged from the rarefied world of terminal applications. While terminals might support varied character sets, they are designed to print, one line at a time, unadorned text. There’s nothing wrong with that. It’s how Inform games do things, and this is an Inform blog. But if you’re a new author struggling to reach players on itch.io, you might think: “I wish I could post nicer-looking screenshots.”

You’re not alone! The mainframe terminal aesthetic might be a hard sell, excepting ironic, faux retro works. How can we spice things up? We can start by thinking about layout. Because of Inform’s line feed output, it doesn’t really “get” the concepts of tab stops. Earlier versions of Inform permitted the use of separate “windows” for storing different types of content but Inform 10 has no extensions for these presentation elements. I’m not qualified to say why this is, but we have reason to believe that Inform 11 will be much better in this regard.

Since there has been no release date announced for Inform 11, some of us might try to handle things ourselves.

table + faux = tableau?

Let’s try to come up with a way to print something that looks like a table. Every column should like up equally for a uniform look. How can we do it? We can try typing it out. Let’s say a column is, oh, eight characters or spaces wide. To keep a column looking tidy:

  1. type our word
  2. figure out the number of spaces needed to reach our column link (8 minus the number of letters in our word.
  3. add in the spaces.
  4. type a new word, repeat as needed.

By default, that should look like this.

apple fruit yes
car vehicle no
goat animal yes

That’s not it, is it? By default, Inform (and almost everything else) uses variable letter spacing. These proportional fonts have different letter widths based on the width of the letter. This means that the lower case “i” takes up less space than a capital case “Z”. Because of this difference, we can never get our letters to line up unless we switch a monospaced font. We can change these formatting options easily, by the way:

to say some monospaced code:
	say "[fixed letter spacing]Some monospaced text.";

[or]

	say fixed letter spacing;
	say "Some monospaced code.";

We can just as easily change it back:

	say "[variable letter spacing]Some proportional text."

These are long phrases. We can save ourselves some time by substituting abbreviations.

to say fls:
	say fixed letter spacing.

[then we can say]

	say "[fls]Some monospaced text.";

Backc to our earlier example: f we change our output type and count our spaces, we can get something better.

apple   fruit   yes
car vehicle no
goat animal yes

Better, yes? So we want to do a combination of counted spaces and monospaced text. There’s a problem, though. What if we have a lot of text to print, or if we are printing it automatically? We might be repeating through a table or list, for instance. Or values. We’d have no way to count our spaces manually. Instead, we’d have to get Inform to do it for us.

space counter 2025

How could we do it? How could Inform count our spaces for us? It won’t be easy, and in fact it’s pretty rich for beginners like us. I’ve tried to put together an example that can be copy/pasted into a project without too much challenge. You know the old saying, “fake it ’til you make it?” Copy the code and use it until it makes sense! Or, if it makes sense right away, make it better if you like. Here we go.

First, let’s get a table. I’ll copy it from my current WIP.

table of aphoses					
aphosis active description alternate command shortcut count
FLEGECORS FALSE insect curse PLAGUE P 0
HYLUAL FALSE mountainfall ROCKFALL R 0
SLIMUAL FALSE slimefall SLIME SL 0

Sorry this looks so bad! Let’s see what we can do. The longest word in the first column, “FLEGECORS”, has nine characters. What would be a good column length? Let’s try 12.

OK, a 12 character column. Here’s the path I think we should take.

  1. Inform determines the number of characters in a word.
  2. Inform figures out the amount of empty spaces needed to line up the next column.
  3. Inform prints the text, then the spaces, then moves on to the next column.

This will combine things we’ve done before with new tricks. I’ll explain everything as we go.

Let’s make a what’s called a “phrase to decide”. In these decisions, we are telling Inform how to calculate or determine something on the fly. Here’s my phrase:

to decide which text is the tabbed presentation of (t - a text) with (C - a number) spaces:

By saying “which text,” we are asking Inform to come up with a text for us. We can use that text anywhere. It will be like any other substitution. If you thought that Inform could only do this kind of thing with numbers and values, you’re not alone! It took me a while to get here.

We have two variables to work with: (t – a text) and (C – a number). When we ask Inform to make this decision for us, we have to provide it with the text we want it to evaluate. N will represent the column width. We can change this as needed when we make our rules.

The next thing we want to do is figure out the number of spaces needed:

to decide which text is the tabbed presentation of (t - a text) with (C - a number) spaces:
	now C is C minus the number of characters in t;

Since C is the column width, we’ll figure out the amount of space needed by subtracting the number of letters in the word from C. If we are sticking with 12 for a column width, “frob” (4 characters) would leave room for eight spaces. How do we get there? There are a number of ways, actually, but I’m going to do something weird. Bear with me, OK.

Let’s set up a constant. Constants are just what they sound like: they never change. We can make a constant and fill it with spaces.

void is always "                    ";

Void is just a text made of twenty space characters. Using our calculation, we can take/copy spaces from it as needed.

	if void matches the regular expression "/s{1,[C]}":

Whew! That’s a lot to look at, isn’t it? Regular expressions are a powerful tool for finding patterns in text. Think of it as a very advanced form of “control-f” finding on a web page or word processing document. Let’s unpack this phrase.

“if void matches the regular expression” simply means that we are looking for a text that may or may not be in our “void” constant. Now, since void consists only of spaces, there isn’t a lot to look for. In fact, we just want to count out our spaces and get out. That’s what the next part does. The quoted part contains our parameters. This is the hard part of doing regular expressions. The different characters can be intimidating and confusing. But don’t worry! I’ve written this for easy copy/pasting.

“\s{1,[CC]}”

Bit by bit:

  • The the “\s” indicates that we are looking for a space character. Since void is filled with them, we are bound to find some!
  • The curved brackets {} are used to find a specific number of characters. This is how we will count out our line spaces.
  • The numbers indicate a range of spaces. In this case, we want the highest number ranging from 1 to our C (the number of spaces needed to fill our column).

In other words: this regular expression is searching for the line space characters we need from void, based on the column width we have specified.

What’s next?

    let V be "[text matching regular expression]";
    decide on the substituted form of "[t][V]";

“Text matching regular expression” is just what it sounds like. It’s the text we found in our search: a number of line spaces based on our parameters in this case.

We can call that text “V” and print it together with our original text as “the substituted form of ‘[t][V]'”. A substituted form sounds tricky, but it’s just a way to say we are updating a text on the fly.

The “decide on” phrase means that the story has reached a decision. Without having to revisit the regular expression, we can use simple phrases like this in our code.

	say the tabbed presentation of "jump" with eight spaces;

Here’s a working project to play with. Try adding this “to decide” definition to your own project and experimenting a bit!

lab is a room.

void is always "                    ";

instead of jumping:
	say fixed letter spacing;
	say the tabbed presentation of "jump" with eight spaces;
	say "Wow!";
	say the tabbed presentation of "listen" with eight spaces;
	say "Neat."

to decide which text is the tabbed presentation of (t - a text) with (C - a number) spaces:
	now C is C minus the number of characters in t;
	if void matches the regular expression "/s{1,[C]}":
		let V be "[text matching regular expression]";
		decide on the substituted form of "[t][V]";

Output:

>jump
jump Wow!
listen Neat.

A strange journey, but that’s that. But wait, we haven’t even discussed automated printout from tables and such. Let’s do that next time, OK? We have a lot to think about already. Here’s a preview of what we’ll make next:

     APHOSIS     |   DESCRIPTION     |   GRAMMAR     |   SHORTCUT
------------------------------------------------------------
FLEGECORS | insect curse | PLAGUE | P
HYLUAL | mountainfall | ROCKFALL | R
SLIMUAL | slimefall | SLIME | SL

More info re: Regular Expressions:

See my Portrait with Wolf code (see below) for regex with comments
Inform Dcumentation (might be hard to follow)
regex101: build, test, and debug regex
regex tutorial (intended to sell classes, but the first one is free)

p.s.

My spring thing games are out. I’ve written about my process for making them here! The source code is available, too.

Marbles, D, and the Sinister Spotlight
Portrait with Wolf

You can read my post-project essay here:

Animal Games: Spring Thing 2025

How do I feel about my games? I’m very proud of the progress I’ve made with Inform. I’ve worked hard to get better, and I think it’s paying off. I’m a little disappointed in the reception, though. The games didn’t take off in terms of player count or discussion. I think there are a handful of reasons for that. Maybe we can get into that someday, but not now. Let’s keep making IF!

Friday, 13. June 2025

The People's Republic of Interactive Fiction

June 2025 PR-IF Post Mortem

The People’s Republic of Interactive Fiction convened on Monday, June 2, 2025 over Zoom. JP Tuttle, Doug Orleans, Mike Stage, zarf,  anjchang, Josh,  Matt Griffin (with special guest Gussie), and Hugh,  welcomed newcomer. Alice. Warning: What follows is probably not proper English, but just a log of notes from the meeting to jog people’s memories. T

The People’s Republic of Interactive Fiction convened on Monday, June 2, 2025 over Zoom. JP TuttleDoug Orleans, Mike Stage, zarf anjchangJosh,  Matt Griffin (with special guest Gussie), and Hugh,  welcomed newcomer. Alice. Warning: What follows is probably not proper English, but just a log of notes from the meeting to jog people’s memories. This meeting notes are short due to the notetaker having run off early.

July is Narrascope month. In the tradition of PR-IF we typically take a hiatus to encourage everyone to attend Narrascope (virtual registration open until 6/18). On our Boston IF group, there is a discussion about IFTF @ Narrascope. https://narrascope.org/

Narrascope happening June 20-22nd! There’s a special online performance announced for registered attendees. 10/10 would recommend!

Also worth checking out the IFTF showcase:
https://itch.io/jam/narrascope-showcase-2025

Looking forward to seeing you at Narrascope, and let us know on the Boston IF group if you’re giving a talk!!!

FYI from the discussion group– A blog. post by Emily Short about running IF meetups.

Thursday, 12. June 2025

Choice of Games LLC

The Soul Stone War 3—Face the storm with a Dragon at your side!

Hosted Games has a new game for you to play! Reunite with familiar faces, forge new bonds, and continue growing into the legend you are meant to become. The Soul Stone War 3 is the thrilling 260,000-word sequel to the interactive fantasy novel The Soul Stone War 2 by Morgan Vane.  The Soul Stone War 3 is 30% off until June 19th! And you can get The Soul Stone War and The Soul Stone War 2 for 4
The Soul Stone War 3

Hosted Games has a new game for you to play!

Reunite with familiar faces, forge new bonds, and continue growing into the legend you are meant to become. The Soul Stone War 3 is the thrilling 260,000-word sequel to the interactive fantasy novel The Soul Stone War 2 by Morgan Vane. 

The Soul Stone War 3 is 30% off until June 19th! And you can get The Soul Stone War and The Soul Stone War 2 for 40% off as well!

You stand triumphant. After successfully infiltrating Cnamh Briste, you have freed your captured companion and dealt a blow the Lord of All won’t soon forget.

The power of the Soul Stones is growing. Now free from Manerkol’s influence, you align yourself with an unexpected force: The Resistance. Together, you will uncover long-buried secrets, unravel Manerkol’s true ambitions, unite a fractured land—and decide the fate of Dragonkind itself.

The war for the fate of the Soul Stones now rages in full swing. The time to retreat back into obscurity lies far behind you. Every action you now take will impact the fate of all. Rise or fall, Soul Stone Wielder,  your name will be written in legend.

  • Play as female, male, or nonbinary—with options to be straight, gay, bisexual, or aromantic.
  • Continue your romance or try to find love in two new, unexpected places.
  • Forge your relationship with the Dragon God inhabiting your thoughts.
  • Discover one of the best-kept secrets of the Dragons.
  • Figure out the purpose behind Manerkol’s machinations.
  • Nurture the bonds of kinship among your group and grow into a power to rival the Lord of All.
  • Find new and epic ways to tackle problems, utilizing the new powers granted to you by the Soul Stones.
  • Immerse yourself in a rich world full of magic, sacrifice, and love where every choice has unexpected consequences for everyone.

Will you rise to the challenge and shape the course of history, or will you be swept away by the tides of fate? 

Morgan developed this game using ChoiceScript, a simple programming language for writing multiple-choice interactive novels like these. Writing games with ChoiceScript is easy and fun, even for authors with no programming experience. Write your own game and Hosted Games will publish it for you, giving you a share of the revenue your game produces.


In the Halls of Asgard—Hold Asgard together, or walk away from it.

Hosted Games has a new game for you to play! Play as a Norse god living in Asgard. Will you hold your home together with a silver tongue—or walk away and leave the other gods to their quarrels?  In the Halls of Asgard is 30% off until June 19th! In the Halls of Asgard is a 300,000-word interactive novel by Eleanor Cooke. It’s entirely text-based, without graphics or sound effects, and fu
In the Halls of Asgard

Hosted Games has a new game for you to play!

Play as a Norse god living in Asgard. Will you hold your home together with a silver tongue—or walk away and leave the other gods to their quarrels? 

In the Halls of Asgard is 30% off until June 19th!

In the Halls of Asgard is a 300,000-word interactive novel by Eleanor Cooke. It’s entirely text-based, without graphics or sound effects, and fueled by the vast, unstoppable power of your imagination. 

As a god of Asgard, you’ve dealt with your fair share of difficulties, from Loki’s mischief to Odin’s machinations. Still, Ragnarök looms. Will you work with the other gods to prevent it or form your own team and try to win it instead? Either way, you’ll need allies. And power.

Find both as you navigate Asgard’s political waters and deal with its enemies, from the World Serpent, Jormungandr, to the giants in Jotunheim. Send them off with clever words and charm or ride to war with magical weapons.

  • Play as a god; gender and sexuality are unspecified.
  • Choose from five godly domains.
  • Befriend Fenris Wolf—or betray him.
  • Wield Thor’s hammer.
  • Fight against the giants—or join them.

Ragnarök is coming, and Asgard is starting to fracture. Can you keep it together, or will you fall on the final battlefield?

Eleanor developed this game using ChoiceScript, a simple programming language for writing multiple-choice interactive novels like these. Writing games with ChoiceScript is easy and fun, even for authors with no programming experience. Write your own game and Hosted Games will publish it for you, giving you a share of the revenue your game produces.

Wednesday, 11. June 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.


UPDATE, June 10th

The whistle has been blown! News from WWDC, reported on arstechnica:

macOS Tahoe will be the last new macOS release to support any Intel Macs. All new releases starting with macOS 27 will require an Apple Silicon Mac.

(Necessary footnote: Tahoe is "MacOS 26", releasing this fall. "MacOS 27" will appear in the fall of 2026. This will be confusing forever.)

Rosetta will continue to work as a general-purpose app translation tool in both macOS 26 and macOS 27. [...]

A shorter window than I predicted above; Rosetta will stop working in "MacOS 28", meaning the fall of 2027. Also we're getting more advance warning than I expected. I guess Apple realized everybody was doing the same math as me!

But wait, there's a footnote...

[After 2027], Rosetta will be pared back and will only be available to a limited subset of apps — specifically, older games that rely on Intel-specific libraries but are no longer being actively maintained by their developers.

That's a weird footnote. (Michael Tsai agrees.) Why only old games? How will the OS know what a game is? If the Rosetta framework is still installed, can we chivvy it into working on any old app?

...Is this some sort of regulatory requirement? The "Stop Killing Games" idea is popular among gamers. It doesn't have any legal force, though, as far as I know. And while I have some sympathy, I wish even more for developers to stop killing editors and development tools.

(Limited sympathy, I'm afraid. A lot of this boils down to gamers wanting other people's labor for free. Sorry. It's an ongoing thing.)

Tuesday, 10. June 2025

Zarf Updates

Predictions in the Apple-sphere

A couple of months ago, I wrote: [...] It may become impossible to launch a new programming language. No corpus of training data in the coding AI assistant; new developers don't want to use it because their assistant can't offer help; no critical ...

A couple of months ago, I wrote:

[...] It may become impossible to launch a new programming language. No corpus of training data in the coding AI assistant; new developers don't want to use it because their assistant can't offer help; no critical mass of new users; language dies on the vine. --@zarfeblong, March 28

I was replying to a comment by Charlie Stross, who noted that LLMs are trained on existing data and therefore are biased against recognizing new phenomena. My point was that in tech, we look forward to learning about new inventions -- new phenomena by definition. Are AI coding tools going to roadblock that?

Already happening! Here's Kyle Hughes last week:

At work I’m developing a new iOS app on a small team alongside a small Android team doing the same. We are getting lapped to an unfathomable degree because of how productive they are with Kotlin, Compose, and Cursor. They are able to support all the way back to Android 10 (2019) with the latest features; we are targeting iOS 16 (2022) and have to make huge sacrifices (e.g Observable, parameter packs in generics on types). Swift 6 makes a mockery of LLMs. It is almost untenable.

[...] To be clear, I’m not part of the Anti Swift 6 brigade, nor aligned with the Swift Is Getting Too Complicated party. I can embed my intent into the code I write more than ever and I look forward to it becoming even more expressive.

I am just struck by the unfortunate timing with the rise of LLMs. There has never been a worse time in the history of computers to launch, and require, fundamental and sweeping changes to languages and frameworks. --@kyle, June 1 (thread)

That's not even a new language, it's just a new major version. Is C++26 going to run into the same problem?

Hat tip to John Gruber, who quotes more dev comments as we swing into WWDC week.


Speaking of WWDC, the new "liquid glass" UI is now announced. (Screenshots everywhere.) I like it, although I haven't installed the betas to play with it myself.

Joseph Humphrey has, and he notes that existing app icons are being glassified by default:

Kinda shocked to see these 3rd party app icons having been liquid-glassed already. Is this some kind of automatic filter, or did Apple & 3rd parties prep them in advance?? --@joethephish, June 10 (thread)

The icon auto-glassification uses non-obvious heuristics, and Joe's screenshots show some weird artifacts.

I was surprised too! For the iOS7 "flatten it all" UI transition, existing apps did not get the new look -- either in their icons or their internal buttons, etc -- until the developer recompiled with the new SDK. (And thus had a chance to redesign their icons for the new style.) As I wrote a couple of months ago:

[In 2012] 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.

-- me, April 9

Are they really going to bag that policy for this fall? I guess they already sort of did. Last year's "tint mode" squashed existing icons to tinted monochrome whether they liked it or not. But that was a user option, and not a very popular one, I suspect.

This year's icon change feels like a bigger rug-pull for developers. And developers have raw nerves these days.

This is supposed to be a prediction post. I guess I'll predict that Apple rolls this back, leaving old (third-party) icons alone for the iOS26 full release. Maybe.

(I see Marco Arment is doing a day of "it's a beta, calm down and send feedback". Listen to him, he knows his stuff.)


But the big lurking announcement was iPadOS gaining windows, a menu bar, and a more (though not completely) file-oriented environment. A lot of people have been waiting years for those features. Craig Federighi presented the news with an understated but real wince of apology.

Personally, not my thing. I don't tend to use my iPad for productive work. And it's not for want of windows and a menu bar; it's for want of a keyboard and a terminal window. I have a very terminal-centric work life. My current Mac desktop has nine terminal windows, two of which are running Emacs.

(No, I don't want to carry around an external keyboard for my iPad. If I carry another big thing, it'll be the MacBook, and then the problem is solved.)

But -- look. For more than a decade, people have been predicting that Apple would kill MacOS and force Macs to run some form of iOS. They predicted it when Apple launched Gatekeeper, they predicted it when Apple brought SwiftUI apps to MacOS, they predicted it when Apple redesigned the Settings app.

I never bought it before. Watching this week's keynote, I buy it. Now there is room for i(Pad)OS to replace MacOS.

Changing or locking down MacOS is a weak signal because people use MacOS. You can only do so much to it. Apple has been tightening the bolts on Gatekeeper at regular intervals, but you can still run unsigned apps on a Mac. The hoops still exist. You can install Linux packages with Homebrew.

But adding features to iPad is a different play! That's pushing the iPad UI in a direction where it could plausibly take over the desktop-OS role. And this direction isn't new, it's a well-established thing. The iPad has been acquiring keyboard/mouse features for years now.

So is Apple planning to eliminate MacOS entirely, and ship Macs with (more or less) iPadOS installed? Maybe! This is all finger-in-the-wind. I doubt it's happening soon. It may never happen. It could be that Apple wants iPad to stand on its own as a serious mobile productivity platform, as good as the Mac but separate from it.

But Apple thinks in terms of company strategy, not separate siloed platforms. And, as many people have pointed out, supporting two similar-but-separate OSes is a terrible business case. Surely Apple has better uses for that redundant budget line.

Abstractly, they could unify the two OSes rather than killing one of them. But, in practice, they would kill MacOS. Look at yesterday's announcements. iPad gets the new features; Mac gets nothing. (Except the universal shiny glass layer.) The writing is not on the wall but the wind is blowing, and we can see which way.


Say this happens, in 2028 or whenever. (If Apple still exists, if I haven't died in the food riots, etc etc.) Can my terminal-centric lifestyle make its way to an iPad-like world?

...Well, that depends on whether they add a terminal app, doesn't it? Fundamentally I don't care about MacOS as a brand. I just want to set up my home directory and my .emacs file and install Python and git and npm and all the other stuff that my habits have accumulated. You have no idea how many little Python scripts are involved in everyday tasks like, you know, writing this blog post.

(Okay, you do know that because my blogging tool is up on Github. The answer is four. Four vonderful Python scripts, ah ah ah!)

If I can't do all that in MacOS 28/29/whichever, it'll be time to pick a Linux distro. Not looking forward to that, honestly. (I fly Linux servers all the time, but the last time I used a Linux desktop environment it was GNOME 1.0? I think?)


Other notes from WWDC. (Not really predictions, sorry, I am failing my post title.)

  • Tim Cook looks tired. I don't mean that in a Harriet Jones way! I assume he's run himself ragged trying to manage political crap. Craig Federighi is still having fun but I felt like he was over-playing it a lot of the time. Doesn't feel like a happy company. Eh, what do I know, I'm trying to read tea leaves from a scripted video.

  • I said "Mac gets nothing" but that's unfair. The Spotlight update with integrated actions and shortcuts looks extremely sexy. Yes, this is about getting third-party devs to support App Intents so that Siri/AI can hook into them. But it will also be great for Automator and other non-AI scripting tools.

  • WWDC is a software event; Apple never talks about new hardware there. I know it. You know it. But it sure was weird to have a whole VisionOS segment pushing new features when the rev1 Vision Pro is at a dead standstill. My sense is that the whole ecosystem is on hold waiting for a consumer-viable rev2 model.

  • I think the consumer-viable rev2 model is coming this fall. There, that's a prediction. Worth what you paid for it.

  • I'm enjoying the Murderbot show but damn if Gurathin isn't a low-key Vision Pro ad. He's got the offhand tap-fingers gesture right there.

  • I'm excited about the liquid glass UI. I want to play with it. Fun is fun, dammit.

  • I hate redesigning app icons for a new UI. Oh, well, I'll manage. (EDIT-ADD: Turns out Apple is pushing a new single-source process which generates all icon sizes and modes. Okay! Good news there.)

Monday, 09. June 2025

Gold Machine

Leather Goddesses of Phobos 3/3: Joy and Mischief

By investing equally in man and woman protagonists, Leather Goddesses of Phobos neither exploits nor objectifies. Leisure Suit Larry and the Graphical Gaze The history of games containing sexual content has interested critics greatly. Jimmy Maher’s writeup on Leather Goddesses of Phobos is prefaced by several paragraphs about games like Softporn Adventure, Dirty Old Man, […] The post Le

By investing equally in man and woman protagonists, Leather Goddesses of Phobos neither exploits nor objectifies.

Leisure Suit Larry and the Graphical Gaze

The history of games containing sexual content has interested critics greatly. Jimmy Maher’s writeup on Leather Goddesses of Phobos is prefaced by several paragraphs about games like Softporn Adventure, Dirty Old Man, and Farmer’s Daughter. What makes these games so interesting? I think the answer will vary critic to critic, that that answer will likely be “a lot” or “nothing.” I’ll qualify my answer: they are interesting as important evolutionary building blocks that contribute to the foundation of narrative gaming. They are not, in my opinion, very interesting to play.

Smart people can disagree, of course. I hope we can agree on that! I never liked Seirra’s Leisure Suit Larry games by Al Lowe, for instance, but many people did and do. The LSL series began as an in-universe follow up to Chuck Benton’s Softporn Adventure and featured graphical production values that small or individual authors could not easily replicate. This was a corporate and mainstream product offering laughs via sexual innuendo and satire of the 1970s-style male “ladies’ man.”

What makes these games so interesting? I think the answer will vary critic to critic, that that answer will likely be “a lot” or “nothing.”

Recalling previous discussions here, I assert that both Leather Goddesses of Phobos and Leisure Suit Larry set out to create joy rather than arousal. Isn’t that what laughter signifies within a comedic context? Joy? This important similarity aside, though, these games differ significantly in terms of gameplay, presentation, and, ultimately, in the way they offer up their “sexual” content. How so? let’s begin with the wrong answer, which I recently retrieved from Wikipedia:

Larry aimed for laughs rather than pure titillation, setting it apart in a landscape populated by titles like Strip PokerSex Vixens from SpaceLeather Goddesses of PhobosMacPlaymate and Cobra Mission.

People who have played Leather Goddesses of Phobos, must, I’m sure, feel differently. In fact, and this is ultimately what separates Leather Goddesses of Phobos from the rest of the erotic and/or sex comedy oeuvre: there is no essentially male perspective or cultural baggage weighing down the humor of Meretzky’s work. Rather, sex is a source of comic mischief. Leather Goddesses of Phobos is about the joy of harmless transgression. Its protagonists do not go to bars where women characters are essentially locked doors or chests concealing sexual treasure.

Leather Goddesses of Phobos is rather unique among 1980s games with sexual content in that its problems are not problems of conquest. As a final observation regarding Leisure Suit Larry, consider this quote from the MacWorld’s Keith McCandless:

On the reference card supplied with Leisure Suit Larry, under Talking to Women, it says: “Women can be loads of fun…. Women are also fickle. Do not take ‘no’ for an answer.”

And while there are numerous (usually sophomoric) traditional-male laughs, Leisure Suit Larry in the Land of the Lounge Lizards could have been funnier and somewhat more contemporary if Larry encountered (humorously rendered) women of the eighties. If the fun here suffers in comparison with the raunchy and humorous Leather Goddesses of Phobos or Space Quest games, it is mostly because of the retrograde subject matter.

There are two very important elements of the erotic adventure game that are missing in Leather Goddesses of Phobos. The first is the “gaze,” in which a subject is reduced to sexual object. Leather Goddesses of Phobos never objectifies. There are no exhaustive descriptions of body parts or sexual acts. Characterization of bodies–even sexual partners–typically ape the language of pulp science fiction. They are, in other words, parody. The second missing element, already mentioned above, is the design trope of reducing a human character to sexual treasure object or “prize.”

In fact, and this is ultimately what separates Leather Goddesses of Phobos from the rest of the erotic and/or sex comedy oeuvre: there is no essentially male perspective or cultural baggage weighing down the humor of Meretzky’s work here.

These differentiations are reached via more than one path, but the most important method is Meretzky’s artful use of gender selection. I’ve already written about the significance of gender choice in Jeffrey O’Neill’s Ballyhoo, where I called the choice primarily an “existential” one. That is, very little changes about the game, regardless of the player’s choice. Some critics have said that gender choice in Leather Goddesses of Phobos has similarly little impact. I cannot agree, because a chief effect of incorporating both man and woman protagonists is that the treatment of sex emphasizes pulp mischief over simulation or visual representation. Rather than emphasize quote-unqote “transgressive” behavior, Mertetzky creates a world and tone that celebrates transgressiveness generally. A chief pleasure of Leather Goddesses of Phobos is naughtiness for its own sake, and it doesn’t need CGA images of blonde women in bars to get us there.

Wow, Cool Future

I do not wish to overemphasize comments I’ve already made regarding Steve Meretzky’s post-Infocom graphical games, not only Leather Goddesses of Phobos 2: Gas Pump Girls Meet the Pulsating Inconvenience from Planet X!, but also the Spellcasting 101 series published by Legend Entertainment. It is inevitable that some or many of my readers might enjoy them. So be it! I am not the enjoyment police. However, I believe it is worth considering what, if anything, Leather Goddesses of Phobos possesses that those later games lack. The most obvious answer is already provided: the visual elements of these games can foment an objectifying gaze–even if that is not intended (it’s hard to imagine that the Spellcasting 101 series presents a case of accidental objectification).

These differences are hard to miss. Consider the cover art, for instance.

While I will not busy up the page with it, here is a link to a print ad for LGOP 2. It features a woman in lingerie. Please note that I have no moral objection this sort of box art or promotional artwork. I am hopefully demonstrating that the rhetorical position of the later Meretzky games is different: radically different, in fact.

Ultimately, this is another case in which a text adventure game can only reach the heights it has reached because it is a parser game. In Leather Goddesses of Phobos, the author has complete control over that which is or is not visualized. They can imply that which an image would render explicit. They can drive a wedge between the protagonist’s perception of the beautiful and erotic and our own real-life ideas about what is and what is not attractive. The protagonist, likewise, is freed from the burden of appealing to some other’s gaze. Leather Goddesses of Phobos is ultimately about joy for its own sake, about laughter and pleasure without exploitation or harm or consumption. Now that is a real fantasy! I’m reminded of that Kurt Vonnegut quote: “Everything was beautiful, and nothing hurt.”

That’s not all: given its penchant for surrealism, Leather Goddesses of Phobos is really, really suited for the text game medium. Consider the odd names for the docks, or the mouse, or rabbit, the hole at the south pole, or, of course, the famous tee remover. The bottomless dust at the mall. This is a world of wordplay, half figurative and half real. What other medium could realize it? I think many critics and players misunderstand the significance of the tee remover. As I recently wrote, yes, it ultimately turns up–sort of–in that beloved Emily Short game Counterfeit Monkey, but I find it equally significant that LGOP is a game in which the tee remover can exist at all.

I’m reminded of that Kurt Vonnegut quote: “Everything was beautiful, and nothing hurt.”

That is, it occupies a world so pleasantly surreal that many of us are willing to follow wherever things go. Leather Goddesses of Phobos is a game in which a word is, in fact, the essence of the thing it describes. An angle, which has no physical manifestation, is made real by the power of language alone. We players control the world with words, and words alone can make it turn.

That is another joy on display here: the joy of written language.

Afterword

As delightful and effective as Leather Goddesses of Phobos‘s use of gender choice is, we should acknowledge that it narrowly construes gender and attraction in a way that is both a) innovative and forward-looking for its time and b) not in any sense inclusive or representative for all.

I say this as a fan.

Next

Over at the Interactive Fiction Community Forum, I’ll soon be doing a playthrough of Emily Short’s classic storylet game, Bee. I’ll follow that up with a podcast summary! Please look forward to it. I’ll be sure and link the thread on Bluesky and Mastodon, so follow me if you want news about upcoming criticism and game writing projects. If you’re a member at intfiction, please consider joining the discussion!

Hope to see some of you there.

The post Leather Goddesses of Phobos 3/3: Joy and Mischief appeared first on Gold Machine.

Friday, 06. June 2025

Interactive Fiction – The Digital Antiquarian

The Last Adventures of Legend

The early days were the best. We had successes, we had fun, and we had a good business model. As the industry changed, everything became more complicated and harder. — Bob Bates This article tells part of the story of Legend Entertainment. The history of Legend Entertainment can be divided into three periods. When Bob […]

The early days were the best. We had successes, we had fun, and we had a good business model. As the industry changed, everything became more complicated and harder.

— Bob Bates


This article tells part of the story of Legend Entertainment.

The history of Legend Entertainment can be divided into three periods. When Bob Bates and Mike Verdu first founded the company in 1989, close on the heels of Infocom’s shuttering, they explicitly envisioned it as the heir to the latter’s rich heritage. And indeed, Legend’s early games were at bottom parser-based text adventures, the last of their kind to be sold through conventional retail outlets. That said, they were a dramatic departure from the austerity of Zork: this textual lily was gilded with elaborate menus of verbs, nouns, and prepositions that made actual typing optional, along with an ever increasing quantity of illustrations, sound effects, music, eventually even cutscenes and graphical mini-games. At last, in 1993, the inevitable endpoint of all this creeping multimedia was reached. Between Gateway II: Homeworld and Companions of Xanth, the parser that had still been lurking behind it all disappeared. Thus ended the text-adventure phase of Legend’s existence and began the point-and-click-adventure phase.

Legend continued happily down that second road for a few years. Its games in this vein weren’t as flashy or as high-profile as those of Sierra or LucasArts, but a coterie of loyal fans appreciated them for their more understated aesthetic qualities and for their commitment to good, non-frustrating design — a commitment that even LucasArts proved unable or unwilling to match as the decade wore on. Legend’s games during this period were almost universally based on licensed literary properties, which, combined with in-gaming writing that remained a cut above the norm, still allowed the company to retain some vestige of being the heir to Infocom.

By 1996, however, another endpoint seemed to be looming. One of Legend’s two games of the year before had been the biggest, most expensive production they had yet dared to undertake, as well as a rare foray into non-licensed territory. Mission Critical had been made possible by a $2.5 million investment from the book-publishing giant Random House. The game was the brainchild and the special baby of founder Mike Verdu, a space opera into which he poured his heart and soul. It filled three CDs, the first of which was mostly devoted to a bravura live-action opening movie that starred Michael Dorn, well known to legions of science-fiction fans as the Klingon Lieutenant Worf on Star Trek: The Next Generation, here taking the helm of another starship that might just as well have been the USS Enterprise. But there was more to Mission Critical than surface flash and stunt casting. It was an astonishingly ambitious production in other ways as well: from the writing and world-building (Verdu created a detailed future history for humanity to serve as the game’s backstory) to the multi-variant gameplay itself (a remarkably sophisticated real-time-strategy game is embedded into the adventure). I for one feel no hesitation in calling Mission Critical one of the best things Legend ever did.

But when it was released into a marketplace that was already glutted with superficially similar if generally inferior “Siliwood” productions, Mission Critical got lost in the shuffle. The big hit in this space in 1995 — in fact, the very last hit “interactive movie” ever — was Sierra’s Phantasmagoria, which evinced nothing like the same care for its fiction but nevertheless sold 1 million copies on the back of its seven CDs worth of canned video footage. Mission Critical, on the other hand, struggled to sell 50,000 copies, numbers which were actually slightly worse than those of Shannara, Legend’s other game of 1995, a worthy but far more modest and traditionalist adventure. The consequences to the bottom line were devastating. After hovering around the break-even point for most of its existence, Legend posted a loss for 1995 of more than $2 million, on total revenues of less than $3 million. Random House, which despite its literary veneer was perfectly capable of being as ruthless as any other titan of Corporate America, decided that it wanted out of Legend — in fact, it wanted Legend to pay it back $1 million of its investment, a demand which the fine print in the contract allowed. (Random House was certainly not making any friends in the world of nerdy media at this time; it was holding TSR, the maker of tabletop Dungeons & Dragons, over another barrel.)

Beset by existential threats, Legend managed in 1996 to put out only one game, an even more radical departure from the norm than Mission Critical had been. Star Control 3 had the fortune or perhaps misfortune of being the sequel to 1992’s Star Control II, an unusual and much-loved amalgamation of outer-space adventure, action, and CRPG that was created by the studio Toys for Bob and published by Accolade. As it happened, Accolade also served as Legend’s distributor from 1992 to 1994. (RandomSoft, the software arm of Random House, took up that role afterward.) It was through this relationship that the Star Control 3 deal — a licensing deal of a different stripe than that to which the company had grown accustomed — came to Legend, after Toys for Bob said that they weren’t interested in making another game in the series right away. Michael Lindner, a long-serving music composer, programmer, and designer at Legend who loved Star Control II, lobbied hard with his bosses to take on Star Control 3, and was duly appointed Lead Designer once the contract was signed. Being so different from anything Legend had attempted before, the game took a good two years to complete.

Again I have to save the galaxy? Even the box copy seemed determined to undermine Star Control 3.

Star Control 3 received good reviews from the professionals immediately after its release in September of 1996. Computer Gaming World magazine, for example, called it a “truly stellar experience” and “the ultimate space adventure,” while the website GameSpot deemed it “one of the best titles to come out this year.” It initially sold quite well on the strength of these reviews as well as its name; in fact, it became Legend’s best-selling game to date, their first to shift more than 100,000 units.

Yet once people had had some time to settle in and really play it, an ugly backlash that has never reversed itself set in. To this day, Star Control 3 remains about as popular as tuberculosis among the amazingly durable Star Control II fan base. In the eyes of many of them, it not only pales in comparison to its predecessor, but the non-involvement of the Toys for Bob crew makes it fundamentally illegitimate.

Whatever else it may be, Star Control 3 is not the purely cynical cash-grab it’s so often described as; on the contrary, it’s an earnest effort that if anything wants a little bit too badly to live up to the name on its box. And yet it’s hard to avoid the feeling when playing it that Legend has departed too much from their core competencies. The most significant addition to the Star Control II template is a new layer of colony management: you have to maintain a literal space empire in order to produce the fuel you need to send your starship out in search of the proverbial new life and new civilizations. Unfortunately, the colony game is more tedious than fun, a constant nagging distraction from what you really want to be doing. The other layers of the genre lasagna are better, but none of them is good enough to withstand a concerted comparison to Star Control II. The feel of the action-based starship combat — Legend’s first real attempt to implement a full-on action game — is subtly off, as is the interface in general. For example, a hopelessly convoluted 3D star map makes navigation ten times the chore it ought to be.

In the end, then, Star Control 3 is a case of damned if you do, damned if you don’t. Where it’s bold, it comes off as ill-considered: it represents the aliens you meet as digitized hand puppets, drawing mocking references to Sesame Street online. Where it plays it safe, it comes off as tepid: the writing — usually Legend’s greatest strength — reads like Star Control fan fiction. Still, Star Control 3 isn’t actively terrible by any means. It’s better than its rather horrendous modern reputation — but, then again, that’s not saying much, is it? There are better games out there that you could be playing, whether the date on your calendar is 1996 or 2025.

In its day, however, its strong early sales allowed Bob Bates and Mike Verdu to keep the lights on at Legend for a little while longer. A shovelware compilation of the early games called The Lost Adventures of Legend, whose name consciously echoed Activision’s surprisingly successful Lost Treasures of Infocom collections, brought in a bit more much-needed revenue for virtually no outlay.

Nevertheless, Bob Bates and Mike Verdu were by now coming to understand that securing Legend’s future in the longer term would likely require nothing less than a full-fledged reinvention of the company and its games — a far more radical overhaul than the move from a parser-based to a point-and-click interface. Everything about the games industry in the second half of the 1990s seemed to militate against a boutique studio and publisher like Legend. As the number of new games that appeared each year continued to increase, shelf space at retail was becoming ever harder to secure, even as digital distribution was at this point still a non-starter for games like those of Legend that filled hundreds of megabytes on CD. Meanwhile it was slowly becoming clear that the adventure genre had peaked in 1995 and was now sliding into a marked decline; there were no new million-selling adventure games like Phantasmagoria to be found in 1996. The games that sold best now were first-person shooters and real-time strategies, two genres that hadn’t existed back when Legend had been founded.

Mike Verdu, whose gaming palette was more diverse than that of the hardcore adventurer Bob Bates, hatched a plan to enter the 3D-shooter space. Three years on from the debut of DOOM, he sensed that John Carmack’s old formulation about the role of story in this sort of game — “Story in a game is like the story in a porn movie. It’s expected to be there, but it’s not that important.” — no longer held completely true in the minds of at least some developers and players; he sensed that the world was ready for richer narratives and more coherent settings in its action games. His thinking was very much on trend: LucasArts was in the latter stages of making Jedi Knight at the time, and Valve had already embarked on Half-Life. Verdu believed that Legend might be able to apply their traditional strengths — writing, storytelling, aesthetic texture, perhaps even a smattering of adventure-style puzzle-solving — to the shooter genre with good results.

To do that, however, he and Bob Bates would need to drum up a new investor or investors, to stabilize the company’s rocky finances, pay Random House its $1 million ransom, and, last but by no means least, fund this leap into the three-dimensional unknown. As they wrote in their investor’s prospectus at this time, “Legend’s strengths in storytelling and world creation will be used to craft a unique game experience that combines combat, character interaction, exploration, and puzzle solving.” They had already secured what they thought was the perfect literary license for the experiment: the Wheel of Time novels by Robert Jordan, which were currently the best-selling epic-fantasy books in the world from an author not named J.R.R. Tolkien.

After months of beating the bushes, they found the partner they were seeking in GT Interactive, an outgrowth of a peddler of home-workout videos that had exploded onto the games industry in 1994 by publishing DOOM II exclusively to retail stores. (The original DOOM had been sold via the shareware model, with boxed distribution coming only later.) Now, GT was to be the publisher of Epic MegaGame’s Unreal, a shooter whose core technology was, so it was said, even better than id Software’s latest Quake engine. GT was able to secure the Unreal engine for Legend’s use long before the game that bore its name shipped. Even with that enormous leg-up, Legend would need every bit of their new publisher’s largess and patience; The Wheel of Time would prove a much bigger mouthful to swallow than Bob and Mike had ever anticipated, such that it wouldn’t be done until the end of 1999, more than two and a half years after the project was initiated.

As you’ve probably gathered, these events herald the beginning of the transition from the second to the third phase of Legend’s history, from Legend as a purveyor primarily of adventure games to a maker of 3D shooters that retain only scattered vestiges of the company’s past. Yet this transition wasn’t as clean or as abrupt as that from parser-driven to point-and-click adventures. While most of Legend was chasing reinvention in the last years of the 1990s, another, smaller part was sticking to what they had always done. There would come two more traditionalist adventure games before The Wheel of Time made it out the door to signal to the world that Legend Entertainment had become a very different sort of games studio.

So, we’ll save The Wheel of Time and what came after for a later article. I’d like to use the rest of this one to look at that those last two purist adventures from Legend.


Callahan’s Crosstime Saloon is one of those games that I would love to love much more than I actually do. It’s warm-hearted and well-meaning and wants nothing more than to show me a good time. Unfortunately, it mostly just bores me. In all of these respects, it has much in common with its literary source material.

Said source is the Callahan’s series by the science-fiction journeyman Spider Robinson, the first volume of which shares its name with the game. Born in the 1970s as loosely linked short stories in the pages of Analog magazine, it’s written science fiction’s nearest equivalent to the television sitcom Cheers; the stories all revolve around a convivial bar where everybody knows your name, owned and operated by a fellow named Mike Callahan in lieu of Sam Malone. The tone is what we like to call hyggelig here in Denmark: cozy and welcoming, both for the patrons of the bar and for the reader. A sign that Mike Callahan keeps hanging on the wall behind his post says it all: “Shared pain is lessened; shared joy is increased.” The stories manage to qualify as science fiction — or maybe a better description is urban fantasy? — by including elements of the inexplicable and paranormal: aliens drop in for a drink, as do time travelers, a talking dog, and plenty of other freaks and oddities. If you read long enough, you will begin to realize that Mike Callahan himself is not quite what he appears to be. But never fear, he’s still a good guy for all that.

It’s very hard even for a curmudgeon like me to work up any active dislike for a series that so plainly just wants to make us feel good. And yet I must admit that I’ve never been able to work up the will to read beyond the first book either. Even when I first encountered Callahan’s Crosstime Saloon in the stacks of my local library at the ripe old age of twelve or so, it felt so slight and contrived that I couldn’t be bothered to finish it. When I picked the first book up again as part of my due diligence for writing this article, I wound up feeling precisely the same way, thus illustrating that I either had exceptionally good taste as a twelve-year-old or that I am a sad case of arrested development.  (The child is the father to the man, as they say.)

Still, none of this need be the kiss of death for the game. I’ve played a fair number of games, from Legend and others, that are based on books that I would never choose to read on my own, and enjoyed a surprising number of them. But, as I noted at the outset, the game of Callahan’s Crosstime Saloon isn’t in this group.

Callahan’s was the second Legend adventure game to be masterminded by a former Sierra designer, after Shannara, by Corey and Lori Ann Cole of Quest for Glory fame. This time up, we have Josh Mandel, a former standup comedian who had once been a regular on the same circuit as such future stars as David Letterman, Jay Leno, and Jerry Seinfeld. His own life took a very different course when a close encounter with Leisure Suit Larry in the Land of the Lounge Lizards caused him to seek a job with the company that had made it. His design credits at Sierra included Pepper’s Adventures in Time, Freddy Pharkas: Frontier Pharmacist, and Space Quest 6: The Spinal Frontier. Having left Sierra in the middle of the Space Quest 6 project because he was unhappy with the company’s direction, he was available for Legend to sign to a design contract circa late 1995.

Callahan’s Crosstime Saloon is a very well-made game by any objective standard. The graphics and sound, created by a stable of out-of-house free agents to whom Legend returned again and again, are attractive and polished and perfectly in tune with the personality of the books. If the overriding standard by which you judge this game is how well it evokes its source material, it can only be counted a rousing success. Hewing to the series’ roots as a collection of short stories rather than anything so ambitious as a novel, the game uses Callahan’s Bar as a jumping-off point for half a dozen largely self-contained vignettes, which take you everywhere from Manhattan to Brazil, from outer space to Transylvania. (Yes, there is a vampire.)

The worst objective complaint to be made about it is that, if you were to hazard a guess, you might assume it to be two or three years older than it actually is. Barring the addition of a 360-degree panning system, the interface and presentation of the game aren’t very far removed at all from what we were seeing at the beginning of the point-and-click phase of Legend’s existence in 1993. For example, there’s still no audible narrator guiding the show, just lots and lots of textual descriptions of the things you click on. (The characters you speak to in the game, on the other hand, are fully voice-acted.) Its dated presentation may have represented a marketing problem when Callahan’s Crosstime Saloon made its debut in the spring of 1997, but there’s no reason for it to bother tolerant retro-gamers like us unduly today.

Callahan’s Crosstime Saloon was the last hurrah for Legend’s original adventure engine, which had been steadily improved since their very first game, 1990’s Spellcasting 101.

So much for objectivity. Subjectively, this is my least favorite point-and-click Legend adventure game, with the possible exception only of Companions of Xanth, for which my distaste is driven more by the pedophiliac overtones of the books on which it is based than by anything intrinsic to the game itself. I can’t accuse Spider Robinson of so serious an offense as that, only of a style of humor to which I just don’t respond. Alas for me, Josh Mandel chooses to ape that style of humor slavishly. This game is a hall of mirrors where every pane of glass hides a wretched pun or a groan-inducing dad joke or a pseudo-heart-warming “I feel you, man!” moment. It sets my teeth on edge.

And the thing is, you just can’t get away from it. Josh Mandel has chosen to implement every single thing you see in the scenery as a hot spot. And because this is a traditional adventure game, any one of those hot spots could hide the thing or the clue or the action you need to advance. So, you have to click them all. One by one. And it’s absolutely excruciating. The words just run on and on and on… so many words, vanishingly few of them funny or interesting, a pale imitation of a writer I don’t like very much in the first place. I get tired and fidgety just thinking about it. For me at least, Callahan’s is proof that it’s possible to over-implement an adventure game, with disastrous effects on its pacing — a problem that tended not to come up in the earlier years of the genre, when space constraints served as a natural editor.

Sigh…

But of course, it’s well known that comedy is notoriously subjective. You might respond very differently to this game, especially if Spider Robinson happens to be a writer you enjoy, or perhaps if the humor in Sierra’s comedy adventures is more to your taste than it is to mine. I’d be lying if I said I finished it — dear reader, there came a point when I just couldn’t take it anymore — but what I did see of it gave me no reason to doubt that it’s up to Legend’s usual standards of meticulous, scrupulous fairness.

Okay… every once in a while, a joke does kind of land.

Sadly for Legend, Callahan’s Crosstime Saloon sold like a Popsicle in the Arctic. And small wonder: whatever its intrinsic merits or demerits, it’s hard to imagine a game more out of touch with the way the industry was trending in 1997. In light of this, that could very well have been that for Legend Entertainment as a maker of adventure games. Instead, the company ponied up for one last adventure while the drawn-out Wheel of Time project was still ongoing. It was permitted only a limited budget, but it seems like a minor miracle for ever having gotten made at all. Best of all, John Saul’s Blackstone Chronicles: An Adventure in Terror is really, really good.

This project was an unusual one for Legend, in that for once the author behind the literary work that was being borrowed from showed an active, ongoing interest in the game. John Saul was riding high at this point in his career, being arguably the most popular American horror writer not named Stephen King. He was also, as he said at the time, “an old computer gamer, going back to the days of Zork when the adventure was all in text.” He first began to speak with Bob Bates about some sort of collaboration as early as 1995. The two initially discussed a book and game that would be released at the same time, to serve as companion pieces to one another. When that became too logistically challenging — a book tends to be a lot faster to create than a game — they decided that the game could come out later, to serve as a sequel to the book. Even so, Bates was already sketching out a design at the same time that Saul was writing his manuscript.

In the midst of all this, the aforementioned Stephen King tried out a unique publication strategy for his story The Green Mile: in an echo of the way the Victorians used to do these things, it appeared as six thin, cheap paperbacks, one per month over the course of half a year. The experiment was a roaring commercial success, convincing John Saul that it would serve his own burgeoning Blackstone Chronicles equally well. Thus the latter too was published in six parts over the first half of 1997 (after which the inevitable omnibus volume which you can still buy today appeared).

The Blackstone Chronicles revolves around an old, now abandoned asylum that looms physically and psychically over the New Hampshire town of Blackstone. In each of the first five installments, a resident of the town receives a mysterious gift of some sort, an object that once belonged to one of the inmates of the asylum. Strange events ensue on each occasion, until it all culminates in a showdown between a dark past and a hopefully brighter future in the sixth installment. The Blackstone Chronicles isn’t revelatory — creepy asylums in bleak New England towns aren’t exactly the height of innovation in horror fiction — but I found it to be a very effective genre piece nonetheless, one that’s wise enough to understand that shadows in the mind are always scarier than blood on the page. It was also a commercial success in its day to rival its inspiration The Green Mile, with each of the installments reportedly selling in the neighborhood of 1 million copies.

Sales figures like that do much to explain why Legend decided to continue with their game of The Blackstone Chronicles despite the headwinds blowing against the adventure genre. The project marked the first time that Bob Bates had taken on the role of Lead Designer since Eric the Unready back in 1993. Designing games was what he had started Legend in order to do, but navigating the shifting winds of the industry had come to demand all of the time he could give it and then some. Now, though, the situation was a bit more settled, thanks to GT Interactive stepping in with a long-term commitment to The Wheel of Time. Not being an FPS gamer, Bates wasn’t sure how much he could contribute there. Meanwhile his loyal friend and partner Mike Verdu felt strongly that, if Bates wanted to take a modest budget and make an adventure game with John Saul’s help, he had earned that right. The way things were going for Legend and the industry as a whole, it might very well be the last such chance he would ever get.

Bob Bates looks back on the time he spent making this game about madness, sadism, and tragedy as a thoroughly happy period in his own life. The constant stress over how Legend was to make payroll from month to month had, at least for the time being, abated, allowing him to do what he had really wanted to be doing all along: designing an adventure game that he could be proud of. It was gratifying as well to be working with such a literary partner as John Saul, who was, if far from a constant presence around the office, genuinely interested in what he was doing and always available to answer questions or serve as a sounding board. The contrast with most of the authors Legend had worked with in the past was stark.

The game takes place several years after the last of John Saul’s novellas, casting you in the role of Oliver Metcalf, the son of Malcolm Metcalf, the Blackstone Asylum’s last and most infamous superintendent. With a plan to demolish the old building and erect a shopping center in its place having backfired in the books, the town council now wants to make a museum of psychiatric history out of it. Before the museum can open, however, Malcolm’s malevolent spirit kidnaps your — Oliver’s, that is to say — flesh-and-blood son and hides him somewhere in the building. You go there to rescue him, which is exactly what your father wants you to do, having hatched a special plan for your soul. It’s a classic haunted-house setup, no more original in the broad strokes than the premise of the books, but executed equally well. The museum conceit is indicative of the design’s subtle cleverness: the exhibits you find in each room fill in the backstory of what you’re seeing, making the game completely accessible and comprehensible whether you’ve read the books or not.

Instead of pulling out Legend’s standard third-person adventure engine for one more go-round, Bob Bates opted for a first-person perspective with node-based movement through a contiguous pre-rendered-3D space — i.e., the sturdy Myst model, which Legend had previously used only for Mission Critical. With most of the small company busy with The Wheel of Time, the majority of the graphics and much of the programming were outsourced to Presto Studios, who were just wrapping up their third and final Journeyman Project game and were all too eager for more projects to take on in these declining times for the adventure genre. The end result betrays that the budget was far from expansive, but the sense of constrained austerity winds up serving the fiction rather than detracting from it.

Indeed, the finished game is something of a masterclass in doing more with less. The digitized photographs that drift across the screen from time to time serve just as well or better than full-fledged expository movies might have. Then, too, The Blackstone Chronicles uses its sound stage as effectively as any adventure game I’ve ever played; when I think back on the experience, I remember what I heard better than what I saw. Artfully placed creaks and groans and grinds and drips keep you from ever feeling too comfortable as you roam, as does the soundtrack, all brooding minor chords that swell up from time to time into startling crescendos.

And then there are the disembodied voices you converse with as you explore the asylum, who are sometimes deeply unsettling, sometimes downright heart-wrenching. In the category of the former is an all-American boy who talks like a cast member of Leave It To Beaver, but who has found his true calling as the operator of the asylum’s basement torture chamber, where iron maidens are only the tip of a sadistic iceberg. (“When I was a teenager, I killed a few animals and skinned them. People got upset. They said something was wrong with me. I guess what tipped the balance was when I cut up my best friend and put him in my closet…”) In the category of the latter is a little boy who prefers to wear dresses. Following the theories of the real psychiatrist Henry Cotton that such “disorders” of the mind reside in an organ of the body, Malcolm Metcalf proceeded to dismantle the boy piece by piece, beginning by pulling out his teeth and proceeding on to liver, spleen, kidneys, eyes, ears, and finally limbs. Standing there in a bare little room, surrounded by the remnants of the boy in Mason jars, listening to him tell his story… well, I found it fairly shattering. I’m not scared of werewolves or vampires, but I can be scared by monsters who appear in the guise of ordinary humans.

The fact is that many of the horrors The Blackstone Chronicles unveils really did happen inside mental institutions, and not all that long ago. During Medieval and Renaissance times, convents were the places one used to hide away embarrassing or inconvenient family members — usually women. (When Hamlet tells Ophelia to “get thee to a nunnery,” it isn’t meant as a tribute to her religious devotion.) So-called “lunatic” asylums took over this role during the nineteenth and twentieth centuries. When in The Blackstone Chronicles you meet the spirit of an unmarried young woman who tells you she is pregnant, you don’t know whether to believe her own words or to believe her official admission record, which says that she is suffering from an “hysterical pregnancy.” You just know that your heart goes out to her.

The puzzles you encounter as you explore the asylum and engage with its inmates and their persecutors aren’t exceptionally memorable in and of themselves, but they do their job of guiding your progress through the drama; in an echo of the books, they’re mostly object-oriented affairs, with most of the objects being intimately connected to the people who once lived here. Every once in a while, Oliver gets tossed into a situation that led to the death of an inmate: he might get locked inside the “heat chamber,” get hooked up to an ECT (“electroconsulsive therapy”) machine, or find himself strapped down underneath a swinging pendulum straight out of Edgar Allan Poe. If you don’t escape in time, you die — but never fear, the game gives you a chance to try again, as many times as you need. These sequences are as minimalist as the rest of the game, doing much with a few still frames and the usual brilliant sound design. And once again, the end result is more unnerving than a hundred blood-drenched videogame zombies.

The Blackstone Chronicles definitely isn’t for everyone; some might find it traumatizing, while others might simply prefer to play something that’s a little bit more cheerful, and that’s perfectly okay. But if it does strike a chord with you, you’ll never forget it. It’s one of only a few games I’ve played in my life that I’m prepared to call haunting — not haunting in a jump-scare sort of way, but in the way that can keep you up at night, wondering what on earth is wrong with us that we can do the things we do to one another.



If anyone had thought that being tied to such a successful series of books would make the game of The Blackstone Chronicles a hit in its own right, they were destined to be disappointed. GT Interactive saw so little commercial potential in Legend’s side project that they didn’t even want to distribute the game. Released in November of 1998 under the auspices of Red Orb Entertainment, a division of Mindscape, it performed only slightly better than Callahan’s Crosstime Saloon, offering up no justification whatsoever for Legend to continue to make adventure games even as a sideline to their new direction. The future of the studio founded as the heir to Infocom lay with first-person shooters.

What was there to be said about that? Only that it had been one hell of a transformative decade for Bob and Mike’s most-excellent adventure-game company, as it had been for gaming in general.



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 Masters of DOOM: How Two Guys Created an Empire and Transformed Pop Culture by David Kushner, Madhouse: A Tragic Tale of Megalomania and Modern Medicine by Andrew Scull, Callahan’s Crosstime Saloon by Spider Robinson, and The Blackstone Chronicles by John Saul. Computer Gaming World of August 1996, December 1996, February 1997, September 1997, January 1999, and February 1999; Retro Gamer 180; PC Gamer of December 1995. and May 1996

Online sources include GameSpot’s vintage review of Star Control 3 and an old GA Source interview with Michel Kripalani of Presto Studios.

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

In addition to the above, much of this article is based on a series of conversations I’ve had with Bob Bates and Mike Verdu over the last ten years or so. My thanks go to both gentlemen for taking the time out of their still busy careers to talk to me.

Where to Get Them: Star Control 3 is available for digital purchase at GOG.com. Callahan’s Crosstime Saloon and The Blackstone Chronicles can be downloaded as ready-to-run packages from The Collection Chamber; doing so is not, strictly speaking, legal, but needs must.

Thursday, 05. June 2025

Choice of Games LLC

Our 2025 Pride Sale is happening now!

Pride isn’t just for a month! All year, we work to bring you games that offer a diverse and expansive view of love, family, and identity. But we’ll take any excuse to celebrate, and so we’re putting fifteen games on sale this week that showcase and explore that diversity. You can get ten Choice of Games titles and five titles from our Heart’s Choice romance imprint for up to

Pride isn’t just for a month! All year, we work to bring you games that offer a diverse and expansive view of love, family, and identity. But we’ll take any excuse to celebrate, and so we’re putting fifteen games on sale this week that showcase and explore that diversity.

You can get ten Choice of Games titles and five titles from our Heart’s Choice romance imprint for up to 40% off until June 12th! Or get them all in the Choice of Games Pride Bundle and the Heart’s Choice Pride Bundle, both on sale now on Steam!

Heart's Choice rainbow landscape


IFComp News

IFComp Seeking an Artist for the 2025 Logo

We are looking for art for this year’s IFComp logo! We will pay a $250 commission.Artists should express interest by sending us a link to their past work/portfolio via email: [email protected] by June 30 (incl.); the artist will be selected by the end of July.More info:We will request one rough draft for review / edit before the final logo is produced.We must have the final art in hand by August 25

We are looking for art for this year’s IFComp logo! We will pay a $250 commission.

Artists should express interest by sending us a link to their past work/portfolio via email: [email protected] by June 30 (incl.); the artist will be selected by the end of July.

More info:

  • We will request one rough draft for review / edit before the final logo is produced.
  • We must have the final art in hand by August 25th.
  • We will need three versions of the logo: one with no text, one that says ‘IFComp’, and one that says ‘IFComp 2025’.
  • The final image file will be created or scanned at 3600 x 3600 px, and the design should still be clearly legible when reduced for display at 250 x 250 px for the web.
  • If you incorporate a person (optional) we ask that you make the person’s gender ambiguous.
  • We ask that you integrate the IFTF logo into the art in some way.
  • The IFComp logo should imply / be inspired by the many genres of games people make.

We will also request an invoice from the artist that the includes the following terms:

The Interactive Fiction Technology Foundation has the right to use the image in whole or in part, in world-wide publishing, print, or on any merchandise for an unlimited time. The artists reserves the right to use or edit the work to be used in their portfolio. The artist will be paid $250 US dollars, sent by PayPal or Venmo, upon receipt of final image file. IFComp will cover currency conversion fees charged by PayPal.

If you are an artist thinking about making something for this year’s competition (e.g. cover art or a game), the logo may not be or have an obvious reference to an entry submitted this year. We are still open to artists participating in any way, whether it be submitting a game or doing art for an author, in this year’s competition.

Here are the last few years’ logos, just to give you an idea of what we’re looking for…

Please feel free to share this info far and wide - and with any great artists you know! The artist does not have to be part of the interactive fiction community.

Wednesday, 04. June 2025

Renga in Blue

Tiny Adventure (1981)

Today’s story is complicated, as it involves multiple threads converging at a central moment during the history of computing. THREAD 1: Edmund Berkeley You might think the first personal computer in history would be a moment of deep significance. Not exactly. There is, first off, what even “counts” as a personal computer; if we bypass […]

Today’s story is complicated, as it involves multiple threads converging at a central moment during the history of computing.

Also, this image via NASA of the “Pillars of Creation” (aka M16, Eagle Nebula, NGC 6611) is relevant; we’ll get back to it later.

THREAD 1: Edmund Berkeley

You might think the first personal computer in history would be a moment of deep significance. Not exactly.

There is, first off, what even “counts” as a personal computer; if we bypass all that argument to the minimum, the first personal computer was Simon, which could not be purchased in a store but where plans for making one were printed in the magazine Radio-Electronics starting in October 1950. It was the brainchild of Edmund Berkeley (co-founder of the ACM, Association for Computing Machinery) and cost north of several hundred dollars to make (in 2025 currency, at least $3500). It only had 32 bits of memory.

Based on the price, having the plans be meted out in a magazine, and having the entire thing require self-manufacture: it did not have much historical impact. It was, however, only Berkeley’s first attempt bringing something resembling computing to the home, as he had a much better price point with the Geniac (co-designed with Oliver Garfield) of $20 in 1950s money.

Eventually, this sort of “physical computer” was made even cheaper at $5 with the Digi-Comp I, a finite state machine powerful enough it also has been dubbed “the first personal computer”.

Certainly both devices could be programmed as if they were real computers; both devices included guides to programming Nim, an obligatory rite of passage for any 50s/60s computer.

These later devices had relatively widespread use — the Digi-Comp I had an estimated 100,000 in sales — unlike the Simon which remained a novelty. All these products were the logical outgrowth of Berkeley’s attempts to reach the masses with computing, which started even before Simon, in 1949, with his book Giant Brains, or Machines that Think.

These new machines are important. They do the work of hundreds of human beings for the wages of a dozen. They are powerful instruments for obtaining new knowledge. They apply in science, business, government, and other activities. They apply in reasoning and computing, and, the harder the problem, the more useful they are. Along with the release of atomic energy, they are one of the great achievements of the present century. No one can afford to be unaware of their significance.

This is all relevant for today’s story…

THREAD 2: Joseph Weisbecker

…as one of the people who read the book was Joseph Weisbecker, where (according to his daughter Joyce), “he saw for the first time what an electronic computer could do, but, more importantly, how it worked. Binary logic, flip-flops, switching circuits – very simple elements combined in subtle, clever ways resulted in surprisingly sophisticated behavior from a machine.”

Joseph Weisbecker was only a teenager when he read the book; by age 19 (in 1951) he had built his own Tic-Tac-Toe machine. During the 50s he joined RCA, not only working on chip and memory design projects but making lower-end educational toys (akin to the Digi-Comp) intended to bring computers to the masses. He had a special contract with RCA that let him sell his inventions to outside companies, like Think-a-Dot (sold by E.S.R, same company who made the Digi-Comp).

He was in the odd position of being involved with a vast number of the RCA computing initiatives all the way through the 1970s but also being ideologically opposite in a way; RCA cared mostly about large business where Weisbecker kept the flame alive for smaller computing. He put forward a proposal for mini-computers in 1960 (a level between giant mainframes and personal-computers) that was ignored (when this market emerged with the DEC PDP-8 in 1964, it became huge). Where this really became clear is when he went on to make his own personal computer system called FRED, developing it from his home in New Jersey.

Picture of FRED, aka Model 00. Source.

Knowing RCA’s apathy to the idea, he didn’t even bother pitching FRED (which eventually became the basis of the 1802 chip) until after RCA had a collapse of their mainframe computer business in 1971; according to Joyce Weisbecker he’d already been working on it for two years on the side. Later in the 70s he bypassed RCA entirely and wrote a series for Popular Electronics in 1976 and 77 that laid out the design for a personal computer, the Cosmac Elf, with the full 1802 chip design. This computer was essentially the fully-developed version of the FRED.

Via Jim Kearney‘s recent build of a Cosmac Elf.

It isn’t like the 1802 would have gone to waste without the personal computer connection; the chip was the first CMOS (Complementary metal–oxide–semiconductor) chip and consequently had low noise and low power consumption. Both are essential aspects in spacecraft and so an 1802 has found its way both in the Galileo probe launched in 1989 (giving a close-up view of Jupiter and its moons) as well as the famous Hubble space telescope launched a year later (see image at the top of this post).

Mosaic of Europa, from the Galileo probe.

The 1802 also found its way into the short-lived RCA Studio II console, off and on the market in a year. It is notable for having none other than Joyce Weisbecker (as quoted earlier) implement some games, making her one of the first female programmers in videogames.

For our purposes, the important thing to take away is that despite RCA being heavily corporatized, the Cosmac Elf was in a way “liberated” from it, as part of the movement to bring computing to the masses. Speaking of bringing computing to the masses…

THREAD 3: Tom Pittman

…we now need to move from New Jersey to California and the Homebrew Computing Club of Menlo Park.

Are you building your own computer? Terminal? T V Typewriter? I/O device? or some other digital black-magic box?

Or are you buying time on a time-sharing service?

If so, you might like to come to a gathering of people with likeminded interests. Exchange information, swap ideas, talk shop, help work on a project, whatever…

Invitation to the first Homebrew Computer Club meeting

They were founded quite shortly after the launch of the Altair computer, another candidate for “first personal computer” (more properly here, first commercially successful personal computer). While plenty of hobbyists had already made their own systems through arcane means, here was a computer kit that seemed to break things open, 256 bytes of default memory and all–

If it was even possible to get a set. The makers, Micro Instrumentation and Telemetry Systems (MITS) out of New Mexico, had a story featured in the January 1975 issue of Popular Electronics; it was a Hail Mary by the founder, Ed Roberts, after they got their calculator business destroyed by Texas Instruments and friends (it cost more to make a ship a calculator than it did to buy it). They were not prepared for the influx of orders, some made to products mentioned that didn’t even exist yet.

Steve Levy’s book Hackers mentions how one person (Steve Dompier) drove all the way to Alberqueue and “had left the office only after Roberts had given him a plastic bag of parts he could begin working with, and over the next couple of months more parts would arrive by UPS, and finally Dompier had enough parts to put together an Altair with a serial number of four.”

This atmosphere of just touching the edge of the technological revolution was when the Homebrew Computing Club kicked off in the garage of Gordon French, co-founder of the group with Fred Moore. They both had links through the People’s Computing Company which for a brief time had one of the only working Altairs at the time (sent directly to the director, Bob Albrecht, who sang its praises in their newsletter) and that Altair landed in the garage for the first meeting.

We arrived from all over the Bay Area — Berkeley to Los Gatos. After a quick round of introductions, the questions, comments, reports, info on supply sources, etc., poured forth in a spontaneous spirit of sharing. Six in the group already had homebrew systems up and running. Some were designing theirs around the 8008 microprocessor chip; several had sent for the Altair 8800 kit.

Even with hardware there was the problem of software; coding in assembly was quite error-prone and slow, and the PCC already had good experience with using BASIC. Salvation seemed to come in the form of a version of BASIC made by Paul Allen and Bill Gates (with Monte Davidoff) which was sold by MITS…

Via the Computer History Museum, paper tape provided by Bill Gates.

…but it started selling at $397, and eventually landed on (after price reduction!) a price of $200, far more than what many of the computer enthusiasts were used to paying for software ($0).

A “Caravan” also known as the “MITS-Mobile” was travelling from town to town demonstrating the wonders of the Altair, and in June 1975 the Caravan arrived in Palo Alto, California.

The Homebrew Computer Club visited and there was an (early, buggy) version of Allen/Gates/Davidoff BASIC running on one of the computers, expanded to 4K. “Someone” swiped a paper tape which turned out to be a copy, which eventually landed in the hands of Steve Dompier, and from there this copy spread to the community.

All this led to this to the “Open Letter to Hobbyists” printed in the newsletter of the Homebrew Computing Club, February 1976, written by Bill Gates, outlining how it seemed nearly everyone had the pirated BASIC, and given the numbers of how with royalties paid, their time spent developing the product was “worth less than $2 an hour”.

Many hobbyists groused about this; a follow-up letter in a later issue opined that perhaps Gates was directing his ire at the wrong people, and that

I’m sure that if I were MITS, I’d be chuckling all the way to the bank over the deal I got from you.

Some of the Homebrew Computer Club decided the best response was to make their own BASIC. Tom Pittman, in particular, had been a member since the first meeting, and he was one of those who had made his own computer prior to the Altair — using the Intel 4004 chip, with only 4 bits as opposed to the 8-bit chips that came after (the 8008 which was used in the Canadian MCM/70 and the French Micral N, and the 8080 used in the Altair). He took up the challenge. While not the first to do so, Tom Pittman wanted to try charging for it, but a nominal fee only:

Gates was moaning about the ripoffs, and people were saying, ‘If you didn’t charge $150, we’d buy it.’ I decided to prove it.

Tiny BASIC was a variation of BASIC developed to be as simple as possible to fit in small-capacity computers; Pittman made his BASIC conform to the Tiny BASIC standard (and then added in some extra just because he could), and importantly, only charged $5. Rather than for the Altair this was for a different chip (the Motorola 6800) and he eventually sold the interpreter to a company for $3,500 (while retaining the rights to sell to $5 to hobbyists).

The 6800 wasn’t his passion, though, nor the MOS Technology 6502 he also wrote Tiny BASIC for (even though the 6502 showed up in everything from the Apple II to the BBC Micro to the Nintendo Entertainment System). The chip he truly loved was the 1802.

…the microprocessor is even more elegant than Joe Weisbecker intended. This microprocessor is so good that even RCA is not really aware how good it is. The 1802 is a complete and symmetrical microprocessor.

He liked the computer so much he eventually wrote a short course in programming for the commercial-kit follow-up, the Elf II. When he wrote his First Book of Tiny BASIC Programs in 1981 he clearly had his beloved Cosmac Elf in mind.

The Elf II was the commercial-kit version of the original Cosmac Elf design, sold a year later for $100. Source.

And now we finally get to why the threads all tie together, and why they are here on All the Adventures. Pittman’s book of Tiny BASIC programs includes Tiny Adventure, source for a full adventure game.

The instructions specifically mention Crowther/Woods Adventure “provided the inspiration”, but this game has significant differences. It feels very alien to play.

INTERLUDE

Some quick notes if anyone else wants to try this out in an “authentic” way. You need a Cosmac Elf emulator; I used Emma 02. Under File -> Configuration -> Load I picked Netronics Tiny Basic -> Serial I/O and then bumped the clock speed up slightly before starting the emulator (I used 6.5, any farther and BASIC has trouble loading).

I then took the source code for Tiny Adventure, copied the whole thing to clipboard, and pasted it to the emulator screen. This is very slow. I let it run in the background for 15 minutes before it was finished, and then played. There’s some “save” buttons on the emulator which I would assume makes the process faster thereafter but I was getting corruptions trying to get them to work, so I had to cut and paste every single time I was starting the emulator anew (which given this game took me multiple days to beat … well, let’s just say I feel like I was getting the authentic 70s/80s experience).

I tried finding another BASIC interpreter that would work, but even the one marked as TinyBASIC compatible gave me issues. I think there are some unique aspects to the Elf implementation of BASIC that haven’t been ported over. (Despite there being a “standard”, there are quite a few variants as discussed here.) I have no doubt there’s ways to clear up the issue but playing on a historical emulator gave the 1981 flavor, and so worked for my purposes.

THE GAME

Tiny Adventure is set in a fantasy world. There is no quest given. (“…unlike the original game, TA keeps no score; you play for the pleasure of exploring, or set your own goals.”) There isn’t even a specific treasure goal mentioned. We are just told to wander.

So far that’s unusual but not shockingly so, although if you study the instructions above carefully, they also specify you are only allowed to carry one item at a time in your hands. You can store items in your knapsack, but you have to juggle items and put them in and out again if you are trying to use something that’s stored.

Commands are not given in a regular parser fashion. Initial letters are used instead of words. (Usually. Often the game gets fussy if you go past one letter, sometimes it doesn’t.) There’s Take, Putdown, Keep (put in knapsack), Go, Look, Inventory, Help, Open, Close, Attack, Drink.

Look and go do not work like you normally expect. This game involves relative direction. Not only that, it involves relative direction where the paths you travel along don’t necessarily go straight back and forth. This is absolutely unprecedented so let me clarify.

In a game we played recently, The Maze, while it had relative direction, it also gave a first-person view of a maze so it wasn’t confusing. Still, it meant that rather than going north, south, east, or west, the directions were generally left, right, and forward (with “A” for “turn around”). The “tank controls” that happened in the late 90s for some games like Resident Evil were a similar concept.

There’s also been relative direction with text-only games but it has been much rarer. Mystery Mansion had the inside of the mansion start out with relative directions until you found a compass; you’d see in the room description what was to the left, forward, and right, and if you turned to the right and went forward, you would expect to return the way you came by turning around 180 degrees and moving forward again.

Map from Mystery Mansion, showing turning right and going forward, followed by turning around and going forward. The design on this part of the map is in a grid to make this a little easier to manage. It still was a hassle to play.

Tiny Adventure has relative direction, and one-way exits, and directions that turn. It took me a very long time to work out what was going on. An example from the very start of the game:

Essentially, what happened above is

a.) I went forward from the starting room. (G F = “go forward”, and the game requires you to use letters like that)

b.) I used LOOK to turn to the left twice. (L L = “look left”, which both turns the player and describes what is ahead of them, it took me a long while to even realize LOOK doubled as a turn command)

c.) I went forward again, landing me in an entirely different room (G F), except it doesn’t appear to be that way and the only way to realize this issue is to rotate around all four directions and spot something is different.

You might also expect the turning-passage to rotate the direction the player is facing, but no, if you’re facing “north” you’ll still stay facing north no matter what when you arrive at the next location. In the end this makes things easier to map but it was difficult for me to realize this was how the game was working. (You can imagine a player sashaying sideways as their head stays fixed in the same direction.)

To make a map, upon arriving at a new room I would “L R” (look right) four times to get a description of what was in each direction, notating all four on the map. To move around, in order to be careful, I always looked in the direction I wanted and did G F (“go forward”); while you can go back, left, etc. and essentially skip a step, I found it extremely easy to get disoriented if I did any shortcuts.

Perhaps the issue could be mitigated with dropping items? Alas no: there is, for example, a rock to the “west” of the start, where the same rock is in two rooms at once. I think the idea is the rock is equidistant “between” them so the rock could be taken at either place, but goodness the game is already confusing enough as it is. For extra inconsistency, there’s also items you can also see while looking in a particular direction.

I tried my best to map the outside but I honestly gave up trying to make it accurate and just made it accurate enough for me to get through. The really important object on the outside is the sword, which you can use to whack at the two enemies (dragon and troll).

The “fall” drops you in a dark place and I never got around to experimenting with the lantern there.

There’s a cottage with a locked door; the way to get inside is to open the window.

I gave up here on any kind of tracking of left/right. Only the connectivity is accurate. I was making full spins every time I stepped in a new room.

The starting room (bedroom) has a chest with keys, as shown in an earlier screenshot. You can also go in farther to find a flask of “dragon’s tears” and a “lantern”. (The dragon’s tears turn the player invisible. I never found a good place to use them, but since this game is a language tutorial with no set goal the author likely was just tossing in what he thought was neat.)

Down some stairs is a wine cellar with a locked door; using the keys from the bedroom on the door leads to a tunnel. (I’m making this all sound straightforward, but I didn’t find the keys right away because of the look-relative-position issue — I didn’t realize until very late it applied to a chest that could hold an object.)

At the far end of the tunnel is a dragon. If the dragon is sleeping it is easy to dispatch with a sword. According to the source code the dragon can be awake (and wander between rooms) but I never experienced that.

Part-way up the tunnel is another locked door leading to a “troll’s den”. There is a “maiden” in the den that you can rescue.

Another exit in the tunnel leads to a cave with an axe (presumably an alternate weapon — again weird for a regular game but not for a tutorial one), and then out to an island with a boat. When I reached the island the game crashed.

Again, the game gives no specific goal; I figured killing the troll and rescuing the maiden was good enough for me, but the book gives some interesting suggestions:

Can you rescue the maiden and her jewels without killing the troll (leave him locked in his den)? What is the least number of turns to do this?

There are two ways into the dragon’s lair, but you cannot get back out by one of them. Can you find it?

Can you discover what the “magic dragon tears” do for you? Can you undo it? Can you get more, after you use them up?

This is a hard one: If you get lost in the forest, can you get out? Hint: You need to head off in the direction of the ravine, but you must get your bearings before you get lost. Crashing through the underbrush of the forest tends to get you turned around, and you usually end up going around in circles.

Once you solve the forest problem, you might want to take the maiden on a moonlight boat ride around the island. Watch out for the riptide!

How many turns does it take you to visit every place? There are 17 places in all, counting both ends of the tunnel as one place. Usually you can tell you’re in a different place if the scenery is different, or if something you Putdown is no longer visible.

The troll will under certain circumstances, wander around on his own. Can you coax him into the bedroom? Harder yet, can you lock him in the bedroom without the maiden being there to look on?

The relative-movement system is so much like wading through sludge I’m not going to make an attempt at these, but others are welcome to try. That does leave one open question I am intrigued by…

How did this happen?

…by which I mean, why did what is essentially tutorial code in a book end up being designed like it was from an alternate universe? (Not just the movement style, but the lack of goals, and the inventory where you can only hold one item at a time and need to specifically say you want to stuff items in your backpack.) I think there’s some flavor of The Hobbit here (made by a quartet of computer scientists) where seeing how systems play out was considered more interesting than any kind of destination. Regarding relative movement, though, there’s a strong hint in the book:

One common complaint I’ve heard from several people who played this game is that it does not follow standard Euclidean geometry. That is not true. A map (on a flat piece of paper) was drawn of the area before a single line of code was written, and it is faithful to the map. What happens is that in crawling, climbing, or otherwise moving from one place to another, you got turned around, and the way out may not be behind you. Or, the divisions between places (such as rooms) may not fall on cartesian boundaries. This is true to life, and the game is consistent.

That is, the author was trying to create a modeled universe, again with an engineer/computer science bent, and if the player doesn’t have a compass, of course they would be confused and turned around sometimes! And of course you realistically wouldn’t be holding that much, just like a real person! This game was written with the realism-model approach without the consideration that because we are being conveyed the model via text, no matter what happens there is an element of unrealism anyway. Certainly my stumbling around a tunnel felt very different than any kind of being lost in real life I’ve ever experienced; this game is what would be like if you completely bypassed all thought of player convenience. As he states on his own webpage, he “doesn’t play games”; this was a true outsider work.

Which is interesting! I feel like I stumbled across a microcosm of innovation that started and ended where it landed. Pittman is still around and working in computers, but after one more game (Grand Slam Tennis for the Emerson Arcadia 2001) he went on to teach and write about compiler design, work on an automated Bible translation project, and finally (in the present day) teach programming to middle and high school students.

Coming up: I’m taking a break for the remainder of June! Sort of. I have a number of behind-the-scenes things to finish, including some posts that won’t show up until a future date (mystery!). I can say for now the game I have next on my list when I return is a graphical game for Apple II.

CREDITS NOTE: Very special thanks to Kevin Bunch, who is working on a book on RCA and graciously shared some of his research. If you’d especially like to hear him talk about the RCA Studio II at length, he did an interview with the Hagley Museum you can find here.


Zarf Updates

AI web scrapers: a data point

We all know that the Web is currently under attack by AI companies trying to turn scraped data into venture capital. I'd link to the early article I saw sounding the alarm, but I can't find it because there are hundreds of search hits on "ai ...

We all know that the Web is currently under attack by AI companies trying to turn scraped data into venture capital. I'd link to the early article I saw sounding the alarm, but I can't find it because there are hundreds of search hits on "ai bot scraper problems". I guess this article (arstechnica, March) was a big one.

This hit home for me when IFWiki started to show intermittent errors from server load. The server admins for IFTF and IFWiki are currently looking into solutions for that, so I will say no more about it. (I'm not the IFTF tech guy any more!)

However, I am still the IF Archive guy, so I took a look at its logs. Turns out the Archive is getting hammered in the same way. It's just not causing any problems. The IF Archive is entirely static files (except for the search widget). Cloudflare over Apache on static files can handle this load without breaking a sweat.

But I spent a bit of time analyzing the log data. Here's 15 hours of user-agent strings from yesterday:

count from
111784 hits total
48050 Scrapy
16211 GPTBot
15097 (misc strings containing "bot")
11782 ClaudeBot
7530 Amazonbot
4377 (no user-agent string)

That leaves 8737 hits that are human or even vaguely bothering to pass. Not great! I'm not differentiating between LLM scrapers and old-fashioned search crawlers, but it's obviously mostly LLM stuff.

(Note that Cloudflare is set up to cover a lot of the site, but not the index pages, which change frequently. I know this is imperfect practice but it's been okay. Apache and static pages! So the above numbers are representative of our traffic, but they're not all of our traffic.)

But the interesting thing is, they're mostly not bothering to pass. Half of them are openly Scrapy, which is an open-source tool. So the question is, how much of this traffic is well-behaved? I know the common wisdom is "none of it" but it's worth checking, right?

So I added a simple robots.txt file that explicitly blocked Scrapy and a couple of the other top user-agents. What do we find? Another 15-hour block, one day later:

count from
146434 hits total
38009 (one common version of Safari)
34123 Scrapy
26825 (randomized versions of Safari)
9243 Amazonbot
4079 ClaudeBot
5374 (no user-agent string)
699 GPTBot

When I say "randomized version of Safari", I mean like

Mozilla/5.0 (Linux; U; Android 15; zh-CN; V2364A Build/AP3A.240905.015.A2) AppleWebKit/537.36 (KHTML, like Gecko) Version/4.0 Chrome/123.0.6312.80 Quark/7.8.0.751 Mobile Safari/537.36

...but with the build numbers randomized and other strings jammed in.

In other words, a lot of these bots are checking for a robots.txt file. When they see one, they jumble up their user-agent and keep going. Yesterday's user-agent file had 641 unique user-agents. Today's had almost 18000. It would be hilarious if it weren't assholes destroying the Internet for speculative profit.

The numbers also imply a lot of bots that don't do this -- they ignore the robots.txt entirely. (Which is what I expected.) Looks like Scrapy and Amazonbot are most prone to ignore. In contrast, the appearance of GPTBot and ClaudeBot dropped way off.

(Going by the user-agent strings! I have no reason to think "ClaudeBot" hits are really from the company Anthropic, or "GPTBot" from OpenAI. I haven't made any attempt to geolocate IP addresses.)

I guess you could ask why the bots don't always randomize or hide their user-agent strings. Maybe the CPU cost of string randomization is noticeable at the scale they're running.


As I said, the IF Archive doesn't have a load problem right now. So I don't need to change anything. The robots.txt file was an experiment. The only practical change (since yesterday) is that total hits went up 30%. No clue if the robots.txt caused that, but it certainly didn't help any, so I deleted it.

The numbers imply a possible strategy where you don't use robots.txt, but instead configure your server to block the worst user-agent strings. This isn't a simple fix though. I gather that if you throw a 403 error, the bots will retry with different strategies until they get through. So you need to provide some fake-real content. I haven't tried this.

At the high end, this turns into the "AI labyrinth" strategy, which gets a lot of attention these days. I am faintly skeptical -- it seems like an arms race which will waste CPU time on both sides. I don't have AI VC money to burn on that race. However, I haven't tried any of those solutions. We might; Cloudflare is pushing such a feature, and like I said, we use Cloudflare for some things. We shall discuss it.

The other anti-bot strategy that comes up is the client-side proof-of-work challenge, like Anubis. (Aka "force your browser to solve sudokus for heroin access.") That one is going to hose me in particular, because I do a lot of browsing with Javascript turned off. And the IF Archive is committed to serving content without requiring Javascript. That's not an IFTF policy, though -- other services have different requirements.

We'll see if the proof-of-work strategy gets widely adopted. The Anubis docs say "In most cases, you should not need this and can probably get by using Cloudflare to protect a given origin." Again, I have no practical experience here.

More mitigation news as it happens.

Monday, 02. June 2025

IFTF Blog

Announcing the IFTF Patreon

Hello to everybody in the IFTF Community (and beyond!) The Interactive Fiction Technology Foundation’s board of directors is thrilled to announce the creation of a new way that you can help support our mission and get some fun perks in the process. This initiative has been in process for many months and we are delighted to finally launch it for the public. You may now support IFTF on the Patreon

Hello to everybody in the IFTF Community (and beyond!)

The Interactive Fiction Technology Foundation’s board of directors is thrilled to announce the creation of a new way that you can help support our mission and get some fun perks in the process. This initiative has been in process for many months and we are delighted to finally launch it for the public.

You may now support IFTF on the Patreon platform, at the following URL:

https://www.patreon.com/IFTF

Backing IFTF on Patreon provides an additional, accessible route to helping us continue to serve the community of narrative game lovers and its ever-evolving needs. By becoming a member of our Patreon, you can unlock various perks, such as:

• A special role and access to an exclusive channel in the IFTF Discord ($5/month tier)
• A unique profile badge on the Intfiction forums ($5/month tier)
• A scaling discount on NarraScope admission ($10/month tier or higher, after 6 continuous months)
• Access to the Secretest Discord channel ($100/month tier, for you wild and wacky folks!)

We plan to continue to expand the perks over time as each of IFTF’s committees hooks into the system. We also are open to suggestions about additional things we can offer, so if you have ideas, please feel free to contact IFTF.

IFTF Patreon Q & A

Q: I already financially support IFTF another way. Is that changing or being eliminated?

A: No! This is simply another option for helping out.

Q: If I support IFTF via PayPal, it’s considered a tax-exempt donation. Is that still true with Patreon?

A: We advise checking with a tax advisor with expertise in your specific jurisdiction, but Patreon states that “if the creator is a legally recognized not-for-profit company and you receive nothing of value in return for your payment to them, then some jurisdictions allow the patron to take a tax deduction.”

For more information, this is a good place to start: https://support.patreon.com/hc/en-us/articles/207099326-Is-my-payment-to-a-creator-tax-deductible

Q: I have an idea for a perk or feedback about the Patreon!

A: That isn’t a question, but you can still get in contact with us via the many routes outlined on our website: https://iftechfoundation.org/contact/

The Interactive Fiction Technology Foundation is registered in the United States as a 501(c)(3) charitable organization.

Friday, 30. May 2025

Renga in Blue

Caveman Adventure (1983)

Dave Carlos is another one of our authors who transitioned from teaching to computers, like Peter Smith or the authors of Dragon’s Keep. Peter Smith went on to make educational software and Dragon’s Keep was educational software, so it isn’t a shocking transition; Dave Carlos, similarly, had a foot in educational software, culminating with a […]

Dave Carlos is another one of our authors who transitioned from teaching to computers, like Peter Smith or the authors of Dragon’s Keep. Peter Smith went on to make educational software and Dragon’s Keep was educational software, so it isn’t a shocking transition; Dave Carlos, similarly, had a foot in educational software, culminating with a co-written book in 1985 titled Writing Educational Programs for the BBC & Electron.

This book is not meant to be for a child directly; the aim is to teach and encourage parents, teachers and other interested people to write worthwhile and appropriate educational programs. We hope the book will be appropriate to those involved in every sphere of educational enterprise, from nursery level to postgraduate, from special to public schools, and in all disciplines from arithmetic to zoology. This may seem a daunting task but we have made life a little easier by presenting a text which not only contains programs which are ready to run and may be used as they stand or adapted in any way you wish, but also contains the building blocks from which other such programs can be constructed.

Carlos first caught the computer bug in 1980, when a parent asked if he could teach his children about programming his new ZX computer; the article says ZX81, but that wasn’t out until 1981, so either the date is off or the computer is off. Either way, the result was that Carlos bought a ZX computer for himself followed by a BBC Micro, eventually taking a computer job over the weekends while still teaching at Micro Power (a company we’ve explored the history of before).

Meanwhile, he started writing articles for magazines (A&B and Home Computing Weekly), with general advice columns (“This month we consider the important – and difficult – decision of which disc drive to choose”, “How to format discs to work on 40 and 80 track disc drives”) and also printed source code, like Stupid Cupid printed in February 1984.

1984 was also the year he quit teaching altogether, being disillusioned with recent changes in education with the reforms of Margaret Thatcher.

I felt that I couldn’t be the kind of teacher I wanted to be, and I didn’t want to be the kind of teacher that turned up every day, took his pay, and went home with no further thought.

Not long after this he founded his own PR firm, Mediates Ltd, using his publishing connections to aid companies in networking; this company eventually turned into the mail-order company Special Reserve, selling games throughout the 1990s.

Dave Carlos on the left giving out an oversized novelty check as part of a contest for the company Domark.

For adventure game fans, the company is of special interest as they had the Official Secrets adventure game club, and one of the Magnetic Scrolls games was only released as a promotional to members of the club.

Although you now can play it on the official Magnetic Scrolls site.

All this is much farther along than today’s game, which is marked on the source code as being “Version 10” and completed on “12th January 1983”; in other words, this was written when he was still a teacher, and had just started getting deeper into the computer industry.

Caveman Adventure was published by Micro Power / Program Power, the original company Carlos took a part-time job at. Similar to how the author of Eldorado Gold (Dave Elliot) neglected to include his weird early text adventure while discussing his work, Caveman Adventure doesn’t get mentioned in any of the histories including Dave Carlos; his work in publishing, PR, and advertising have been far too significant in comparison.

Via the Museum of Computer Adventure Game History. For fans of the history of weird box art, there’s a blog post by an artist (Chris Payne) who worked to try to make the Program Power art less Weird.

And … I’m going to be honest, I understand the omission. This is an erratic game. I was originally going to chalk elements up to him being a teacher and trying to write something for students, and maybe that was the goal, but: this is both too simple and too hard at the same time.

You are a caveman. You have been alone, but your goal is now to find your old tribe, while gathering treasures on the way. You can drop treasures in the starting cave or carry them with you.

As a caveman, the player’s commands are quite limited: TAKE, LEAVE (drop), DESCRIBE (examine), and USE. I’m being handwavy about whether the player is “roleplaying a caveman” or “controlling a puppet that is a caveman” because the game takes things both ways at once. You are prompted for the name of your caveman (I used “Bob”) and then start in your cave.

Notice: “this is the cave you have lived in for many months” followed by “What should Bob do now?” The closest comparable game I can think of that has been featured here so far is Mad Martha, which talks about “you, as Henry Littlefellow” and then asks what you (using your own name) want to do; it’s clearly a “role-play” situation in the text. That seems to be what the author was going for here but having both “you” and “Bob” emphasizes the disjoint between player and avatar even more.

To explain what’s going on with the game (and another aspect that’s highly unusual) I’m going to start with a “reduced” map which only shows what’s accessible without solving any puzzles.

Again, very reduced verb-set: walking, picking stuff up, looking at stuff, and using. The structure is such that some rooms will have death-exits, and it made me think possibly these were exits that could never be entered; that is, the game was going to be more of a labyrinth where you avoid certain exits rather than a heavy puzzle game. This isn’t actually the case.

To the west, there’s a room with a mouse and a roof that looks like it is about to collapse. If you go west, and then back east again, the roof does indeed collapse.

Heading west says “you need something sharp”. You would think the spear would work, but USE SPEAR gets no reaction. I’ll return to this puzzle later, but I do want to observe right now that this is a game where the obstacles are in the connections between rooms, rather than in the rooms themselves. We’ve seen this before with the game Seek … and that’s pretty much it. Seek was also published by Micro Power so almost certainly was an influence. (Seek additionally had the only-USE system for objects this game does.)

To the south is a bend where there are “flying creatures” blocking the path west; to the east there is a trickling sound of water followed by death.

Turning north from the starting cave, there’s a bearskin just coming out (just treasure, but every single item in this game counts as a “treasure”), followed by a plain with a “bone”.

Try to head north and the game says you’re too thirsty. (This is the problem with the Seek-style obstacle exits; why would Bob be thirsty specifically right there? Bob can wander about with no thirsty issues otherwise.) Going west gets Bob killed in a stampede.

Heading to the east from the plain, you pass by a deadly lion…

…and then going farther you can veer north to the top of a mountain and then die of starvation, as any exit from the mountain is death.

Veering south instead, there’s a waterfall (if you have sound on, there’s a water sound) with a “woman” there. I met the woman before I knew about the restricted verb set so tried TALK WOMAN and ended up taking her instead.

DESCRIBE WOMAN gets “She seems friendly and kind.” Using TAke on her is the right thing to do as she counts as a “treasure” and you can leave her at the cave for points.

There’s one more encounter going east, where you can land in a “raging river” and get a whole “cutscene” of described actions, but I think this might be either randomized or a bug because usually Bob would get “lost” and then inevitably die. (Getting “lost” as a method of death is also fairly unique but shows up in Seek.)

I’ll discuss this more later when it’s actually supposed to happen.

One last element early in the game is that there’s a thunderstorm, and about seven moves in the player’s items will get randomly scattered around. The most effective method of handling this I found is starting the game by wandering back and forth until the storm happens so you don’t lose any items at all.

This doesn’t move the player from the room they were in, although you have to LOOK to confirm this.

With that done, I fruitlessly tried to use the spear on various things — not realizing it was a complete red herring yet — and somehow neglected to DESCRIBE the BONE, which is

A very sharp bleached old bone.

That is, this is exactly what the first puzzle in the game needed. What, exactly, we are doing with the sharp object is unclear; I assume removing undergrowth somehow? (….with a bone?)

Hard work doing… something. This screenshot was taken during an iteration where I had items scattered from the storm.

Moving on…

…there’s simply a sequence of items to scoop up: log, vine, stick, dog, and net, while avoiding the one exit that makes the player/Bob “lost”.

This opens the previous obstacles, although some brute force use of USE may still be required (I still kept trying to use the spear until near the end of the game). Via lawnmowing, while adjacent to the lion, you can USE NET:

This shares Seek’s problem of uncomfortable treatment of space. There is no lion described in the room, yet you can catch one because it is in the next room over.

With the lion caught, you can do the mighty caveman thing and TAKE LION. He’s now your buddy! You can carry the lion and the woman and the log and the burning stick all at the same time. (I know infinite inventory has long been a thing, but not in this era.)

Going back over to where you would normally get stampeded, you can pre-emptively create a stampede, Lion King style, and clear out what turn out to be buffalo.

You don’t find out they’re buffalo until this very moment.

A map update:

While also doing USE STICK to scare off some vultures, you can scoop up a carcass, a tusk, and a coconut; note that if you re-enter the buffalo area from the west you have to scare them off again with the lion.

The coconut is sufficient to quench thirst in order to head north from the plain (still a mystery while taking that route is when it triggers, and you somehow pre-emptively know about the thirst). This enables a side route up the mountain picking up a “skin”, although you still need to deal with getting hungry at top of the mountain.

Uncooked vulture-tested carcass, yum! This admittedly felt caveman-ish. The whole point of getting here is to pick up the flint.

With all that done, we can get back to that raging river. I still am not sure how I got in early (random or bug?) but you’re supposed to USE LOG while at the waterfall that the woman was at (who at this point I had stored at the cave because I needed to inventory space, along with the lion). The river is a series of messages narrating the trip, with no interactivity.

At the end you can arrive at “shallows” where you can USE VINE to get to dry land. I am unclear how this works (are you lassoing something?) but USE can work with the power of brute force.

A dense jungle after requires cutting with the flint. (What were we doing with the bone, then?)

Finally you can reach an “open area of scrub” and get speared and die.

I mean, USE TUSK, which turns into a gift to guards that you can’t see without being killed by them.

I appreciate how the game tried to do something different with Seek’s “exit obstacles”. (It even repeats Seek’s issue where you need to repeat an action every time you go through an exit, but having buffalo and vultures and lions return to their original spots didn’t feel quite as weird as murdering a whole crew of dwarves over and over.)

The one contemporary review I’ve found (Micro Adventurer, November 1983) noted a bug I didn’t spot — the item-dropping from the storm does not reset your inventory counter, so you can end up being unable to carry anything after it happens. (“CAVEMAN Adventure is intended as an introduction to adventuring, and is therefore not too arduous a trial. But it is very well presented, and pleasant enough to play.”) Otherwise the review was fairly positive and mainly gets annoyed at the number of sudden deaths.

A rather more recent review by Gunness just states

What a dreadful, dull game…

and I am inclined to agree the whole thing felt narratively stilted and awkward, although I appreciate the attempt to do something different with the tone, setting, and somehow writing in second and third person simultaneously.

A crucial aspect of living and its enjoyment is the ability to use the senses that we find at our disposal. The ability of a computer to involve a human being in an interactive way depends upon those senses also. This tends to mean the full involvement of sight and sound in the programs we like and use.

Educational programs have a place for such considerations. We sometimes glibly say that a computer is a wonderful motivator for children, especially those who have experienced failure using traditional methods of learning and teaching. What we mean is that a computer can be a motivator if the programs being used are carefully written and involve the child totally in the experience of using the machine. Poor programs can have the opposite effect upon the child, making them as reluctant to use the computer as they may be to use other learning methods. There is nothing inherently motivational about a computer at all; in fact you could argue that a ‘QWERTY’ keyboard is a huge disincentive to use one. If we want to have a positive effect on a child, it is up to the software writers to take this into consideration at the time they plan their programs.

— From Writing Educational Programs For The BBC & Electron by Dave Carlos and Tim Harrison

Thursday, 29. May 2025

Choice of Games LLC

Major update to “Unsupervised”: Defeat the villain!

Today, we’re announcing a major update to Unsupervised, making the game 20% bigger and adding satisfying endings where the original game ended on cliffhangers. Today’s update is available at no additional charge, and we’re putting the entire game on sale, 40% off until June 5! Former friends make the worst enemies. They know your secrets, your scars, your soft spots—but you know theirs, too. Will y
Unsupervised

Today, we’re announcing a major update to Unsupervised, making the game 20% bigger and adding satisfying endings where the original game ended on cliffhangers.

Today’s update is available at no additional charge, and we’re putting the entire game on sale, 40% off until June 5!

Former friends make the worst enemies. They know your secrets, your scars, your soft spots—but you know theirs, too. Will you seek reconciliation… or deliver retribution?

Enemies gather within and without. The odds are against you. It’s time for the ultimate cosmic gamble.
Nothing will ever be the same.

• Face hundreds of foes at once. Will you be a sword-wielding maelstrom of death, the most efficient mass murderer the world has ever seen, or the voice of reason cutting through the carnage?
• Become the climate change you want to see in the world. Will you abandon the warmth of the living flesh and be reborn in heat death or join a transcendental triumvirate that threatens to ignite the very atmosphere?
• Every crisis hides an opportunity. Will you seize it to quietly eliminate those you despise—or do everything in your power to save them?

Wednesday, 28. May 2025

Renga in Blue

Nosferatu: TREES ARE RESERVED FOR COFFINS

I have finished the game, and my previous post is needed for context. Solving turned out not to be a matter of thinking about objects or puzzles or places, but thinking about verbs. cut, dig, climb, read, open, drink, wait, light, throw, tie, say, give, leave, scream, chop While we’ve had games with excess verbs […]

I have finished the game, and my previous post is needed for context.

Solving turned out not to be a matter of thinking about objects or puzzles or places, but thinking about verbs.

cut, dig, climb, read, open, drink, wait, light, throw, tie, say, give, leave, scream, chop

While we’ve had games with excess verbs that don’t do anything in the game, this didn’t seem like the sort of game to do that. I might normally say such verbs “put space to waste”, but it isn’t necessarily a waste; Countdown to Doom at least accepted EAT and SWIM to let the player know they weren’t going to be doing this on an alien planet, and sometimes in a modern Inform game it comes off as restrictive and awkward not to be able to THROW something even if it turns out throwing isn’t useful.

Speaking of throwing, that is one verb (other than wait) that hasn’t been used yet! I had already found the axe worked last time and went through all the other objects in the game and found none of them wanted to be thrown: “I can’t throw (insert item here)”.

The message in the forest about TREES ARE RESERVED FOR COFFINS seems to be here to explain why CHOP only works on the thicket but not here.

So what could we throw an axe at? The locked door had resisted my attempts at violence with CHOP DOOR — which you think would be the right way to bust in (especially given the lack of being able to HIT / SMASH / etc. even though the player has a mallet) — but I hadn’t tried THROW AXE.

Not “moon logic” exactly but the game should have accepted some alternate hitting methods. Limited space on a 8K VIC-20, though!

The inside has a sharp stick and a spade.

We now have and mallet and a wooden cross in addition to a sharp stick, but it doesn’t seem like there’s any “stake a vampire” verb in the set; what’s going on here? You’ll see in a moment. To recap, we also have the magic word unused (OVYEZ) as well as the lamp and the gold coins.

The spade, as I suspected, goes over to the sunny field.

I was storing my items here because of the “Crusifix”.

DIG is a little hard to operate; you can’t DIG CRUSIFIX but rather need to DIG HOLE, at which point a pit will appear you can go in.

Going out requires the ladder, but be careful because the ladder follows similar rules to the rope and will collapse if you have too much in your inventory.

The tunnel leads to a “subterranean cavern” and a seeming dead-end…

…but the THROW AXE is useful again (at least this time throwing seems the most natural thing!) This opens up a cave and nearly the last part of the game.

I had the lamp lit by this point; I don’t know the exact threshold it is needed.

Nosferatu! If I hadn’t spent my time investigating my verb list beforehand, I would have spent a while here uselessly trying to stake the vampire; he’s active rather than fully asleep and if you don’t have the wooden cross, he “rises from the altar, and bites my neck!”

The stick and mallet are complete red herrings. (The presence of a red kipper earlier at least hinted at the possibility.) The right thing to do here is to use magic.

According to the author’s web page, this doesn’t kill Nosferatu, it just gets him out of the way.

We can then grab the Bloodstone and retreat (being careful to drop most everything but the Bloodstone to climb up the ladder without it breaking).

This still isn’t quite the end of the game. The gold coins come in handy, as well as the very last unused verb: wait. You can go over to the bus stop and wait for a bus, and then pay for a ride in gold (!!). I guess he didn’t need exact change.

The author seemed somewhat down on this game…

If all of this leaves you with the impression that I don’t think much of the game, I suppose that’s true. But I still regard it with affection because, well, I was fourteen. Cut me some slack.

…and yes, there were a fair number of irregularities I already pointed out. I enjoyed myself more than some of our other games marked “haunted house” just because it did feel incredibly earnest; also, the fact we were not here to defeat the big bad racked up a few points on my imaginary scoreboard. I will say I could see a player getting incredibly frustrated by the ending and the useless mallet and stake. Although it makes perfect sense to me in a narrative sense why they wouldn’t work, it still would be better a design to acknowledge attempts at using them (along with textual hints suggesting that they’ll never work). This would have made a better overarching theme — sometimes the goal shouldn’t be destruction — that would go along with what happened to the witch (who we didn’t have to beware at all).

Some questions to the author, since he’s been in the comments:

1. What was the logic behind the fake-out with the stick and mallet?

2. Which puzzles were from Myles Kelvin, in the previous co-written game? (Also, was it such that you feel like you should both be on the credits?) What elements carried over and what changed?

3. What happened to the “HIDDEN GROVE” from your original working map?

…we [Myles Kelvin and Mike Taylor] went together to a conference in Manchester organised by Terminal Software. That made us feel very grown up at the age of fourteen or fifteen! Ah, the thrill of being allowed to drink beer!

This will be the last we’ll see of Taylor for 1983. He did have another game (The Final Challenge, aka Cornucopia) but it is lost:

Unlike the other games in this series, it required a VIC-20 with not 8k but 16k expansion – and since I didn’t own a 16k board, I had to borrow one from a school-friend, Richard Monk, in order to write it. Seems strange in these days when 4M of memory is considered woefully inadequate. [Meta-note: I wrote that last sentence in 1997 or ’98. As I write now, in 2001, 4M is truly laughable – most people now consider 64M unusable. No doubt by the time you read this, people will look sniffily on any computer whose memory is so tiny as to be measured in something as piddly as megabytes. Plus ca change.]

Of all my games that have been lost to posterity, this is the one that I would most like a chance to play again. I remember it somehow being invested with a strong sense of atmosphere, and having more-interesting-than-average puzzles. I have often tried to recapture elements of the plot to Cornucopia, as it rather bizzarrely ended up being called, but I have never succeeded to my own satisfaction. I particularly remember a tricky initial portion, necessary to get into the caves where the game took place, and a huge underground cavern with trees growing in it.

He’ll return in 1985 with the ambitious multi-player adventure Causes of Chaos.

Tuesday, 27. May 2025

Key & Compass Blog

New walkthroughs for May 2025

On Tuesday, May 27, 2025, I published new walkthroughs for the games and stories listed below! Some of these were paid for by my wonderful patrons at Patreon. Please consider supporting me to make even more new walkthroughs for works of interactive fiction at Patreon and Ko-fi. The Time Crystals of Cythii (2025) by Garry […]

On Tuesday, May 27, 2025, I published new walkthroughs for the games and stories listed below! Some of these were paid for by my wonderful patrons at Patreon. Please consider supporting me to make even more new walkthroughs for works of interactive fiction at Patreon and Ko-fi.


The Time Crystals of Cythii (2025) by Garry Francis

In this adventure, you play as a young guardian of the Time Crystals of Cythii and the unthinkable has happened. Someone stole the Crystals and now time warps are appearing everywhere. Explore five historical disasters and get the Crystals back before your parents come home!

This game was an entry in the Text Adventure Literacy Jam (TALP) of 2025, placement to be determined.

IFDB | My walkthrough and maps


Eurydice (2012) by Anonymous

In this game inspired by the myth of Orpheus and Eurydice, you play as a young Oxford man mourning Celine, your friend and housemate. Friends are downstairs, if you feel brave enough to socialize. Or, if you’d rather, take the mysterious lyre from your room to nearby Hinksey Park.

This game was an entry for IF Comp 2012 where it took 2nd place. At the 2012 XYZZY Awards, it was a finalist in two categories (Best Writing and Best Story).

IFDB | My walkthrough and map


Crash (2022) by Phil Riley

In this sci-fi adventure, you play as a member of the repair corps of Space Station Omicron-5. Your last job of the day is on the SS Usagi, a Space Marines fighting ship. You just need to fix their microwave and a jammed locker door. But soon after you board the ship, the space station explodes, knocking you painfully to the floor and sending the ship adrift. And now the ship’s computer wants a full reboot. Your To-Do list just got a bit longer.

This game was an entry in IF Comp 2022 where it tied for 22nd place.

IFDB | My walkthrough and maps


Iceweb (2016) by Gil Williamson

In this espionage game, you play as an experienced agent of the Department. Your mission is to retrieve an iceweb device from Pol, a spy in enemy territory. The sub drops you off in a Rigid Inflatable Boat (RIB) with an assortment of gadgets and a can of shaving foam.

This game was written for the e-zine Mythaxis (issue 17 Feb 2016).

IFDB | My walkthrough and maps


A D R I F T (2022) by Pinkunz

In this short survival game, you play as a cosmonaut and a victim of accidental explosive decompression. By good fortune, you were wearing your spacesuit at the time. But now you’re adrift in the void, facing a sun, unable to even turn around. Find a way back to the space shuttle or you’re going to die out here.

This game was an entry in Spring Thing 2022’s Back Garden.

IFDB | My walkthrough and map


The Crew (2021) by Olaf Nowacki

In this short horror story, you’re the captain of a spaceship. You had to ration the last of the supplies, but soon you and your crew will reach Nostreperes, the pale planet, and you’ll have the last laugh.

This story was an entry in Le Grand Guignol (English) division of Ectocomp 2021 where it took 4th place.

IFDB | My walkthrough and map


Mammal (2012) by Joey Jones

In this game, you play as a lowly human slave, suffering beneath the squamous toes of your new lizard overlords. Patrisnake Kssshsss has charged you with getting rid of all trace of mammals in the back rooms of the Don Quixote Memorial Museum.

This game was track 5 in the Apollo 18+20 IF Tribute Album event.

IFDB | My walkthrough and map


Witch Hedwig and The Magic Berries Brew (2025) by Robert Szacki

In this minimalist fantasy game, you play as Witch Hedwig. You need to brew a magic berries brew for your ill son. First, find the brew recipe.

This game was written in AdvSys. This was an entry in the Text Adventure Literacy Jam (TALP) of 2025, placement to be determined.

IFDB | My walkthrough and map


Renga in Blue

Nosferatu (1982/1983)

Terminal Software was started, in a sense, by accident. RW Stevens, aka Reg Stevens, was working at ICL in Manchester (the business computer company, home of Quest). He had started writing games for the VIC-20 over Christmas 1981: …I wrote my first game, which was a computer version of [the tabletop game] Connect 4. I […]

Terminal Software was started, in a sense, by accident.

RW Stevens, aka Reg Stevens, was working at ICL in Manchester (the business computer company, home of Quest). He had started writing games for the VIC-20 over Christmas 1981:

…I wrote my first game, which was a computer version of [the tabletop game] Connect 4. I wrote it in BASIC and I made it look at the board and work out every possible combination and choose the best move from the criteria I’d coded in… which meant it could take five minutes to make a single move! Any player would get fed up waiting so I did the algorithm which worked out the computer’s next move in machine code. That made it as immediate as a human opponent.

He took it to show a colleague of his at work, Andy Hieke. Hieke thought the game was good and that Stevens should sell it, but Stevens replied he couldn’t be bothered; Hieke offered to do it instead. This would become what was published as “Line-up 4”, and it had only very modest success, Stevens at first getting a check for 20 pounds. However, Hieke got interviewed for a piece that landed in The Times and as part of the interview he mentioned an upcoming version of Scramble for the VIC-20.

There was no upcoming version of Scramble for the VIC-20, or at least not yet. Hieke called Stevens and said he needed to write one. This is the first he’d heard of the game’s existence (Stevens was 40 of the time and did not frequent arcades).

I did have my little computer, though, and was finding it fun to program, so I suppose I saw it as an intellectual challenge and rose to the bait. I said I’d have a go, so I took the kids to Blackpool one day to do some research and see what the arcade game looked like.

The game was successful enough to be well-remembered after; the author wrote that

Skramble! was probably my finest moment, although Super Gridder on C64 was probably at least as addictive. The amazing thing about that VIC20 Skramble! was that it was entirely hand assembled.

I wrote it in machine language, but had no assembler or machine language monitor- so I converted the instruction codes into numbers (using the data book for a 6502 CPU) and ‘poked’ them into memory from Basic!

The game got licensed by MicroDigital out of Webster, NY…

…although I’m not seeing the company at New York’s corporation registration site and I don’t have any information how that licensing agreement worked. Stevens did write a text adventure later for Terminal (Rescue from Castle Dread) so we’ll see him again, but today’s game involves a different author, Mike Taylor, who we previously saw here with Magic Mirror.

Nosferatu was written a different process; Taylor had based it on an “unnamed and unpublished game” he’d written with a friend (Myles Kelvin) the year before. Nosferatu was written from scratch with some of the same puzzles as the previous game, and was originally, like Magic Mirror, a “private” game. Once Magic Mirror was published he offered it Terminal and it became his second published game.

He was familiar with (but had not yet played) The Count by Scott Adams, and had not heard of any of the other vampire games we’ve seen here already. The goal is much different than the usual “kill Dracula” goal, as the printed instructions just say we need to “get home from Nosferatu’s castle with the precious bloodstone.”

I made my usual verb list, and none of them suggest we are killing the vampire, although I may be missing some special case.

cut, dig, climb, read, open, drink, wait, light, throw, tie, say, give, leave, scream, thread, chop

Kill, stab, stake, and hammer are not included. (Note, no violence at all! Although there’s an axe you can THROW.) As my ambiguity above suggests, I’m not done with the game yet, although as a VIC-20 game (using the 8k expansion) it surely can’t be too much larger than what I’ve seen?

It starts with a mysterious in medias res moment:

How did end up here? Did we somehow get smuggled into Nosferatu’s castle this way? Did we get attacked and deposited here? I thought briefly (before checking the manual’s objective) that we were playing as the vampire, but that doesn’t seem to be the case.

The opening areas yield up a “bottle of whisky”, a “rope”, and a “7-pound mallet”. In the same room as the rope there is a locked door. A bit farther is a Graveyard with a “newly dug grave” and a warning about needing to BEWARE THE WITCH…

I’m unclear why it turns from a grave to a cave.

…followed by a … bus stop? Hey, there was one in Haunt. Turning south, there’s a sarcophagus that is too heavy to open, although drinking the whisky will give a boost of strength and allows the player to open it.

Inside is a corpse that turns to dust if you touch it (no idea if the dust is helpful) and a wooden cross (which I haven’t used yet).

Heading east from there is a library, with an Atlas, book of Magic, and book of Games.

The book of Magic has a word that seems like it’d be helpful (see above) but I’ve tried it in every accessible room so far to no effect. The atlas mentions a cesspit near a oak forest (which you find anyway even without the atlas) and the book of Games just says:

Bored with this game already, huh?

I mean, it could have booted up Skramble? On an 16K VIC-20?

Moving on, heading north there is a rail at a balcony, and you can tie the rope to go down, finding a brass key and a red kipper. The author is sheepish that a similar puzzle shows up in The Count, and indeed two other vampire games also have this moment, but it almost doesn’t seem like a puzzle as much as a natural action; at least I didn’t feel like there was anything stale going on.

If you carry too much down the rope it snaps and you die.

With the brass key you can unlock the door back up north and open a large new area.

Up first are a “sharp axe” and a “ladder”; this is followed by a pond with a shark and I have no idea if you can do anything with the shark. I’m not even sure how to die from the shark.

What I am sure you can die from is a little farther where there is a “flimsy bridge” and it will collapse if you have too many items. Past the bridge is a hut that is locked and the brass key doesn’t work; I have yet to get in the hut.

I guess it’s implied the shark gets us?

Past that is a “sunny field” with a “crucifix” on the ground (spelled wrong) and I suspect the DIG command goes here but I don’t have any digging tool yet (which might be in the hut! which I haven’t gotten in yet!) What I can do is go around to a “cesspit” which has some gold coins, and use the ladder from earlier to climb out.

An easy softlock. This doesn’t have a save game feature.

There’s a “cliff” with a backwards sign….

…which indicates you’re supposed to use the axe to chop the thicket.

Past this are two rooms at the edge of a chasm, a “safety match”, and a “fountain of youth”. You can use the bottle from earlier (with the strength boost) to scoop up the water from the fountain of youth and take it back to the witch, trading it for a lamp.

(I kind of like how I was expecting some sort of battle confrontation but this was just a trade puzzle!) The match works to light the lamp but I haven’t found anything dark enough for it to have an effect. To recap:

a.) I’ve got a hut I can’t get in

b.) I don’t have a way of digging

c.) I don’t have a way past the chasm (if that’s even supposed to be a thing)

I’ve already visited both sides of the brick wall so I’m not sure if it’s really meant to be a puzzle.

I get the intuition this is going to be the sort of game where I just have to resolve one puzzle and then the rest will be a straightforward progression. But I have to find that one puzzle first!

Saturday, 24. May 2025

Renga in Blue

Cauchemard-House: VOUS AVEZ GAGNE

(Continued from my last post.) I have won the game, by some relativistic value of “won” — I needed to check the walkthrough a few times due to communication issues, but also one wildly unfair spot. I will try my best to convey first what any future potential players might need to have a better […]

(Continued from my last post.)

I have won the game, by some relativistic value of “won” — I needed to check the walkthrough a few times due to communication issues, but also one wildly unfair spot.

I will try my best to convey first what any future potential players might need to have a better chance before getting deep into spoilers. Before any of that, a little more detail on how the game was discovered:

Specifically, this happened on the Sinclair ZX World forums. A user named “willinliv” posted about a set of his father’s collection of “about 30” ZX81 tapes, some of them commercial and some of them hand-made.

One of the tapes from the collection, “GMSave”.

Our tape of particular interest was marked “Jeux 16k” (Games 16k).

I have been trying to get a better capture of the tape ‘Jeux 16k’, which seems to be a collection of software that my Dad traded with a ‘pen pal’ from France. Some of these are pirated copies of mainstream releases but some I kind find any info about or copies online. Unfortunately there are audio drop-outs recorded into the tape, particularly on Side B, and also my expertise is minimal.

Nightmare House was on the side B and did suffer damage. As XavSnap writes…

The wav file is broken and i had to rebuild the Basic file in binary (Bits rotations, bad basic length…).

…also pointing out the source code was explicitly based on the Trevor Toms code.

All objects, conditions and moves are located in the VARs memory segment, but this part don’t match in the P file [that’s the file used by the emulator]

After some significant work after the code was reconstructed. This is important in that it is faintly possible one of the odd behaviors you are about to see was related to the reconstruction, but after thorough enough testing I don’t think so: the game is really meant to be very linear with lots of death options.

If you plan on playing the game yourself, note that:

a.) On the two occasions where there are multiple things — the buttons on the recorder and the three trains — you’re supposed to refer to them by digit. So PUSH 1 or PUSH 2 or ENTER 1 and so forth.

b.) INSERT is used for both putting a thing in another thing as well as for typing.

c.) The way to wait is NOTHING. This might seem rather cryptic from the Apple version which just says “Command?” but the original more explicitly asks “what do you do?” As a conversational response, NOTHING (RIEN) makes sense, but I’ve almost never seen this before in an adventure game, where quite typically there’s an implicit “I WANT TO…” placed before the command; this gets fiddled with on rare occasion (DON’T PANIC from Hitchhiker’s Guide, for instance). The “almost” never is because this command also shows up in Folibus, which I think makes it pretty clear the author was deriving their code directly from Brégeon’s magazine article rather than from the Trevor Toms book.

With that out of the way, here’s the entire map.

Not large, yet somehow it manages many many ways to die. From where I left off last time, I had trouble with an acid bottle (just ignore it) and some trains. As I hinted at earlier, you’re supposed to ENTER one of them; trains 1 and 3 kill you (either by explosion or electrocution). This is hinted at in the previous room, which had an unplugged speaker; if you PLUG SOCKET (not the speaker, and no, the socket isn’t in the room description, even in the French version) you’ll get a hint about “always taking the second”.

With ENTER 2 you enter into darkness and where I got stuck again:

The train here has stopped in darkness. You can’t go any of the cardinal directions, and going down kills you (falling down). This is the moment where you need to do NOTHING.

The train moves along farther and ejects you into the room seen above. There is a beam going from north to south (the little squares in a column), an “electronic eye” next to a door to the west, a “black box”, and exits otherwise to the north and south. Trying to exit either way — at least my first time through — disintegrated me. I checked the verb list and there was nothing along the lines of sliding under the beam or jumping over it (like I did recently in the German game Geheimagent XP-05).

This was the part that I wasn’t stuck on due to the parser, but just being generally unfair. At the very start, there were some tools and a laser gun; you’re not supposed to pick up the gun.

That’s the only difference! You can’t even drop the gun once you’ve arrived at the beam room, you have to have left it behind. There is no indication that the weapon is the issue.

From here, you can go north into a room that looks fairly tantalizing, which has a “hole with a riveted ladder”, and a “window overlooking the sea with a lever”.

You’re supposed to ignore both those things (unless you want to die) and instead pick up the bottle (GOURDE) and cassette (CASSETTE). The bottle can be drunk but there’s a fun death later if you don’t drink it so let’s save that, and take the cassette back to the player at the intersection.

Putting the cassette in the player and using PUSH 2 (again I had to look up the interaction mode here) causes the previously-closed door to the west to open.

Inside is a lamp and a door with a keypad.

There’s also UNE MACHINE QUI RONRONNE, where “ronronne” can be either purring or a hum. I think purring is funnier.

You can’t open the door yet, but you can grab the lamp, turn it on, and jump back on the 2nd train. You will see a code for the keypad in the darkness.

It doesn’t give an explicit number, it just says there is one.

Circling back to the intersection you can then INSERT CODE (or rather, INTRODUIRE CODE) and reach the final room of the game.

There’s a mummy, a lever, a button, and a screen; there’s also a “controller” (or as the Apple game says, “stick”) to the west. The lever, button, and screen are all tantalizing, but again, death maze: push the button and the mummy wakes up and murders you.

If you haven’t drunk the bottle before entering:

You catch the plague. You die.

If you are holding the black box from the room with the beam.

The bomb explodes. You too.

You should ignore everything except for the stick, and pull it:

x

This gives the message

UNE TRAPPE S’OURVRE

VOUS VOUS RETROUVEZ DEHORS. VOUS AVEZ GAGNE.

which translates to

A TRAPDOOR OPENS

YOU FIND YOURSELF OUTSIDE. YOU HAVE WON.

I do want to emphasize that this exact style is fairly specific; we’ve had plenty of games with multiple options to die, but the sheer overwhelming preponderance of death-options here is high enough to form its own mood, akin to a Choose Your Own Adventure where more than half the options lead to a BAD END.

Be an Interplanetary Spy: The Red Rocket, from 1985. Source.

Eventually in 1983 we’ll reach The Manor of Dr. Genius for the Oric, by a known company (Loriciels) but with the same general flavor as Folibus.


Cauchemard-House (1982/1983?)

We’re back in France with this game; the most relevant prior game to read about is La maison du professeur Folibus. As observed in my posts on Folibus, the ZX81 had a stronger impact in France than in its country of origin (the UK); while the competition landscape was one likely factor, a major one […]

We’re back in France with this game; the most relevant prior game to read about is La maison du professeur Folibus.

As observed in my posts on Folibus, the ZX81 had a stronger impact in France than in its country of origin (the UK); while the competition landscape was one likely factor, a major one was the French SECAM format for televisions worked with the UK’s hardware in black and white (ZX81) but was a pain for color (ZX Spectrum). (SECAM’s main difference from PAL and NTSC is that PAL and NTSC have color signals sent by amplitude modulation — how “tall” the electromagnetic waves are — whereas SECAM uses frequency modulation — the “width” of the waves.)

This ramification of this was that the French-translated version of the The ZX81 Pocket Book by Trevor Toms had more an impact than the English original, and La maison du professeur Folibus became the “origin adventure” of France even though it literally wasn’t the first.

Interior of a French ZX81 box, via Sinclair Collection Site; the two tapes came with the set.

Just like how Omotesando’s early status led to further Japanese adventures in building break-ins, the “death-maze house” design of Folibus had a little cloning. By death-maze I am not just meaning a game with lots of ways to die (like, say, Time Zone) but rather that the plot follows a restricted path where one action is right and most others lead to death.

Today’s game is such a clone, and we don’t have a year or even an author.

Via the ZX81 France Facebook group. See the fourth game in column B.

It was rescued by French ZX81 enthusiast XavSnap off an old tape and may have been a “private game” originally meant for family and friends. It seems extremely likely is was made somewhere within a year of Folibus but there’s no way to be certain.

Plot: the protagonist has been kidnapped by a maniac and put in a house full of traps.

The title, as shown above, is Cauchemard-House (Nightmare-House) so that’s what I’m using, but the “d” is a typo; when the good folks at Brutal Deluxe Software ported the game recently to Apple II they not only added an English version, they also changed the title to Cauchemar House.

While this is a Folibus offshoot, there’s one innovation straight away:

That’s a top down view! That’s us (the “o”) with two arms (“(” and “)”). The text just says

YOU ARE IN AN EMPTY ROOM

THERE’S ALSO:
– LASER GUN
– TOOLS

WHAT DO YOU DO?

Scooping up the items and heading north, er, NORD:

No death yet! But soon. There’s no “room description” (I suppose the image is the description.)

THERE IS AN UNPLUGGED SPEAKER
A TROLL APPEARS.
TO THE EAST THERE IS A DOOR WITH A TAPE RECORDER WITH TWO BUTTONS AND TO THE SOUTH THERE IS A RED BUTTON

THERE’S ALSO:
– SUIT

Trying to go NORD results in

UNE FLECHE VOUS TRAVERSE

that is, “an arrow goes through you”; the same result happens in any other direction (other than west, where you just get stopped). You can push the button and the game says it’s just a “projection”; push it again and then the arrows stop happening, although only east is available.

This is a mini train station with three wagons, and an acid flask. Guess what happens if you pick up the acid?

The bottle was leaking, your hands are eaten away, you immediately catch leprosy (LA LEPRE).

For a game to be a death maze it needs death with this kind of frequency. Catching leprosy somehow from a flask of acid is optional.

And … now I’m stuck because of the parser. I’ve been alternating between the French ZX81 version and the translated Apple version (both are on Github) and I haven’t been able to refer to any of the wagons, and I’m still puzzled by the room with the tape recorder (it refers to the recorder having buttons, but I haven’t been able to press either). I also can’t find a way to refer to the troll (although the troll is gone if you go in the wagon room and then come back).

There’s a walkthrough provided by the Apple version so I can certainly muscle through but I’d like to try to puzzle things out a bit longer. While I suspect this is more a parser battle than an object-based one, I’ll still take suggestions in the comments if anyone has one.