Style | StandardCards

Planet Interactive Fiction

Tuesday, 15. September 2026

Zarf Updates

Late summer mysteries

Three mysteries... or games which are mystery-shaped, at least. Plus one which doesn't fit the theme but does fit the symmetry group. The Mermaid Mask This Bed We Made Cognition Method He Who Watches The Mermaid Mask by SFB Games -- game ...

Three mysteries... or games which are mystery-shaped, at least. Plus one which doesn't fit the theme but does fit the symmetry group.

  • The Mermaid Mask
  • This Bed We Made
  • Cognition Method
  • He Who Watches

The Mermaid Mask

The piratical Captain Mortuga lies dead in a locked room. On his piratical submarine. Luckily, the young substitute captain has summoned the dynamic duo of Grimoire and Sally to solve the crime!

This gets mentioned in "static deduction" genre lists, but it's actually not. It's a traditional mystery game. You interrogate suspects, search the mansion for clues, unlock a few locked doors, show every clue to every suspect, and eventually call everybody together in the Dining Room to Explain All. I mean, the mansion is a submarine and everybody was arguing in the Mess Hall before you barged in, but it's the same genre as Deadline or any millionth Sherlock Holmes game.

Which is not surprising, because The Mermaid Mask is third in a series that dates back to 2014. The second game shipped after Obra Dinn, but not by enough to redesign the whole game model, even if the designers had wanted to. And why would they? Nothing wrong with an old-fashioned locked-room mystery.

The game leans hard on its cast of characters. The ship has nine residents, counting the captain and the, er, ex-captain. All are involved in a tangled web of secrets and awkwardly concealed motives. You'll have to dig down through the layers to reach the one that got Mortuga's throat slit.

The voice-acting and animation are top-notch. The writing is... uneven. I liked the story; there's a lot of knotty and interesting stuff going on. But the writers seem to have gotten stuck in banter mode. Every little aside between Grimoire and Sally is mugging for a chuckle, and a 50% hit rate is not good enough for that sort of thing. Really, even if it were 100%, it would get samey.

An interesting side note: the game does a great job of having you play Grimoire-and-Sally. The truly dual protagonist is a bit of a rarity in videogames. Aside from one tutorial scene where Sally naps, you are never playing one character with the other as sidekick. It's always both.

(Or maybe neither? The gameplay isn't really about solving mysteries in the Holmesian sense. The game mostly asks you questions like "What piece of evidence shows X?" Then Grimoire-and-Sally narrate X. They're running the show; you manage the evidence files.)

(Oh jeez, you're playing the notebook. That's hilarious.)

The other problem is pacing. Post that tutorial chapter, you spend a huge chunk of the game walking around and collecting evidence. Oh, they throw in a few research questions and a sequence of puzzle boxes to tide you over, but mostly it's click everything and lawnmower the topic lists. Eight times over. (For the eight living characters.)

Once you've got most of the evidence, the game starts unlocking "suspicion" topics. That's how you pin down each suspect and solve their sub-case. This is where the game actually starts. But it takes you half the game to get there, and that first half is essentially all static dialogue. I seriously came close to uninstalling before I got to the mystery part.

The mystery part is more satisfactory. (Albeit in a police-procedural way, as I said.) It's not a difficult game. It's not trying to be; the game is generous with clues, and the UI is easy to brute-force if that's the way you want to tackle it. I'll be honest: I did a lot of brute-forcing. It was easier than trawling one half-rememebered snippet from the archived ocean of clue responses. But it's a perfectly good mystery yarn. Interwoven collection of mini-character-mysteries, I should say. With a big eerie mystery at the end.

I'm glad I gave it a try, but the format doesn't do it for me.

This Bed We Made

A narrative game about investigation, but not police investigation or even private investigation. You are Sophie Roy, an overworked underpaid hotel maid. Thank heavens for social invisibility, though, because you are the most dedicated snoop in 1950s Montreal. Journals? Photos? Letters in locked jewelry cases? If it's in your hotel, it's fair game.

Today, however, something has Gone Wrong. The frame story doesn't hint at what, but the police are keen to hear everything you've learned. Time to flash back through your day on the fifth floor. But... maybe don't tell the police everything.

This reminded me a lot of Disappearance at Dahlia View. Poking around is the whole game. There are some light puzzles. Suitcase combination locks, torn-up notes, an extremely simple cipher. (Diegetically simple: it was invented by schoolkids.) If you're not sure of your current story goal, hit a key and Sophie will muse revealingly to herself. Really the biggest obstacle I faced was convincing myself that reading private mail isn't scary. Nobody will catch you in the act, at least not in real itme.

Your snooping isn't police-shaped like Ex-Detective Conway's, mind you. You will not be setting up card-and-string boards or fill-in-the-blanking crime reports. The game doesn't even reveal what the crime is until quite late. You're just putting together details of people's lives, aided by your co-conspirators behind the hotel desk.

This makes for a good comparison with Mermaid Mask. Both games are all about the gathering of info. But Mermaid Mask thinks it's a detective game. Secretly it wants you to rush through the gathering phase so you can get to the important crime-solving. This Bed knows it's a snoop game, so it concentrates on making the gathering phase a delightful and engaging story. I much prefer that approach.

That said, I did not solve the crime. That is, I got to the end of the story and I still don't know how <spoiler> got <spoiler>ed! I also got a rotten ending, although, to be fair, this is because I didn't pick up on the other core mechanic.

See, in addition to peeking at evidence, you have the option to destroy any piece of evidence. This isn't meaningful for most of the game. But after you leave the fifth floor for the last time, the police will arrive and tromp through all your carefully cleaned hotel rooms. Have you discovered anything that 1950s asshole cops might misread, or read in bad faith? Consider well before you push that elevator button.

I reloaded before that "won't have a chance to return" warning, did some prudent additional cleaning, and got a better story outcome. But still not a perfect one. And I still don't know how the crime got crimed.

Maybe this is just the way of choice-based games. This Bed does a fair amount of your-choices-matter (aka "Beth will remember that"). I could have just screwed myself early on. And then, as I freely admit, I'm bad at detective games which don't hold my hand.

But I'm not going to replay more than that last ending scene. I got happy endings for <spoiler>, <spoiler>, and <spoiler>. The last few puzzle pieces will just have to take care of themselves.

Cognition Method

A mysterious geometric object has been found near Jupiter. The astronauts exploring it found mysterious geometric puzzles. Then they disappeared. One of them is your son.

This is a very enthusiastic puzzle game which is handicapped by being enthusiastic about things that we have seen an awful lot of. Gravity-shifting puzzles. Crates on plates. Brutalist archicture. Noneuclidean nightmare corridors created from your trauma. Sad Dad Astronaut.

None of these are bad schticks. I have loved all of these schticks individually, and they fit together no problem. But the result feels very by-the-numbers in narrative, environment, and puzzle design. You can pretty much call every Silent-Hillian door gimmick and every line of dialogue as they come out.

The only really new combination is "gravity puzzles" plus "massive brutalist spaces". There's fun moments when you enter a brain-meltingly vast space that makes you feel like a bug in a cathedral, and then you figure out how to send yourself flying to the top of the cathedral.

On the down side, some annoying platforming. Not difficult, but annoying.

For a puzzle game, it's not all that densely packed with puzzles. We've gotten used to the test-chamber pacing where every puzzle flings you straight into the next one. This isn't that. The world is spaced out with architecture and memory bubbles. Cognition Method wants you to absorb its monologues and its monolithic silence as you move through.

And, let's be fair, this is some high-quality monolithic silence. The game doesn't just slap one brut-concrete texture on giant cubes and call it a day. Every one of these spaces is different. Lighting, atmosphere, enclosure. Little decorative features of water or ivy. Some spaces are oppressive; others are liberating. Indoors, outdoors. Elements are echoed and rearranged. It's poetically done.

Overall, a nice architecture tour paced with weak dialogue and a modest number of modestly fun but not mindblowing puzzles. Cognition Method is successful at what it does, but it's got a lot of competition.

He Who Watches

I haven't finished this one. In fact I've barely gotten to the meat of the game. But I mention it because it's running the same notional dogpark as Cognition Method. You got your crates, your plates, and your gravity shifts. But it's a very different set of design choices.

He Who Watches runs firmly on the test chamber model. You literally teleport from one puzzle to the next. The spaces are functional, and some of them are imposing, but there's no pretense of atmosphere or architectural beauty.

(Not in the main body of the game, I should say. A very brief opening scene lets you traverse an outdoor mountain path. That's good setup. I wouldn't be surprised if the late game goes somewhere mind-expandingly cool. But for now, I'm looking at acres of test-chamber tiles.)

As for narrative, I've gotten about one line so far. Solve puzzles for the puzzle god to become the puzzle god. Probably. Again, we might get more later on.

No, this is a puzzle game pure and simple, and it goes hard on them. I am definitely getting a workout.

Some of this is the mechanics, which are really not intuitive at all. Your tool is a bow-and-chain-arrow with a peculiarly rigid chain. The gravity rules let you shift around any inside angle, but no outside angle. No jumps either, not even hopping down off a cube. This makes for extremely persnickety navigation.

But I can't deny that these mechanics are productive as heck. Every puzzle has a distinct Neat Idea, all built on the basic mechanics. Just to show off (and to provide oft-needed boosts), the game uses the "insight" hint model: every room lets you peek at an easier puzzle using the same trick. (I think Can of Wormholes did this first?) So you know the designer had something specific in mind. I'm dozens of puzzles in and there's no sign that they're running out of ideas.

The puzzles alternate between self-contained rooms (the aim is always to reach the exit) and larger complex chambers, which offer more entangled multi-step challenges. The steps are unlocked by solving the small puzzles, but then you have to figure out how to get around. Everything is organized around a rather alchemical-looking symbolic map. I look forward to finding out more about that.

You want secrets? You got secrets. I don't got secrets -- yet! I can definitely see where some secrets must be hiding. I look forward to getting into more of those, too.

Anyway, this is just to say that I am eating the plums that are locked in the gravity-shifting puzzle box. Cognition Method had the visual and environmental juice, but He Who Watches is sweet and delicious.

Monday, 14. September 2026

Choice of Games LLC

Author Interview: Josh Labelle, “Hunter: The Reckoning — Day for Night”

These monsters aren’t just in the movies! Will you hunt the vampires, werewolves and others stalking Hollywood, or will you become a monster instead? Hunter: The Reckoning — Day for Night is a one-million-word interactive novel by Josh Labelle set in the World of Darkness. It releases this Thursday, September 17th, and you can wishlist it on Steam today! We sat down with Josh to discuss the game. W

These monsters aren’t just in the movies! Will you hunt the vampires, werewolves and others stalking Hollywood, or will you become a monster instead? Hunter: The Reckoning — Day for Night is a one-million-word interactive novel by Josh Labelle set in the World of Darkness. It releases this Thursday, September 17th, and you can wishlist it on Steam today! We sat down with Josh to discuss the game.

We’re so happy that you’ve returned to Choice of Games for another round! Your last title, A Crown of Sorcery and Steel, was high fantasy–pretty far away from the (sort of) real world of Hollywood that you’re writing in this time. What was the biggest shift for you in moving between genres? What felt liberating and/or constraining about moving to a grittier lower-magic setting?

It was so completely freeing to not have to make up everything that the player encounters in the world. I am a huge Hollywood and movie aficionado, and spent hours finding the exact right intersection or alley on Google Maps to set something at. It was also fun to slip in pieces of Hollywood trivia everywhere that I could.

World of Darkness source books were also a huge help and inspiration. When I needed to add a weapon or vehicle, I’d crack one open and pick something out or be inspired by one of the details about an NPC inside, and I tried wherever possible to capture the flavor of those source books.

The other advantage of writing a book set in a real place was that I could actually go and visit. I happened to be in Hollywood twice for work during the writing process, and I took the opportunity to marinate in the vibes and gather impressions and observations. That’s something you just can’t do when your book is set in a fantasy world of elves.

You’ve chosen a really distinctive literary style for the game, and an unusual structure as well. What drew you to those stylistic elements? What do you feel they bring to the game?

Day For Night is written in the style of a movie screenplay, with sluglines for scene headers, dialogue speakers denoted by character cues above each line, and at times even parentheticals describing facial expressions or performance subtext. Since the book is about Hollywood and moviemaking, and even allows you to play as a struggling ex-screenwriter, this seemed like it fit the subject matter. I wanted to put the player at the center of their very own monster-hunting action thriller.

I wish I could say that this was part of the initial conception and all part of my master plan, but the truth is that partway through working on the over one million words of this book, I hit a point where writing “Character X says” or finding some clever way to denote a speaker again was becoming less and less exciting. The screenplay format allowed me to break free of this kind of thing and keep the second person present tense prose breezy.

This also all felt in keeping with the vibe of World of Darkness source books where there are frequently sections written in the style of someone’s blog or some other in-world communication.

In terms of structure, Day For Night is focused on exploring Hollywood and tackling problems in any order you want. I was very inspired by Kyle Marquis’ brilliant Night Road and the feeling of freedom that created in me when playing.

One of my goals was to have as little of the book as possible on the critical path, and when I had to have things on the critical path, I tried to allow them to be tackled in different orders. Players are always given several quarries to focus on—investigating a werewolf sighting can be chapter 2, or 3, or 4, depending on how eager you are to get to it. Maybe on the next replay, you’ll tackle it last with more prep time, or first to meet a certain character faster.

Players can also completely ignore their quarries for a while and pursue Hollywood movie gigs, steal a Ferrari and go on a high speed chase, rob stores around Hollywood to acquire money (but watch out–you’ll be banned if caught), and splurge on cars, kit, weaponry, and upgrades for their skills.

Of the four major romanceable characters, three can die in the very first chapters that they’re introduced (some by the player’s hand!), while the fourth, you can choose to go the entire book without ever once meeting. There are entire sidequests involving cursed ventriloquist dummies, demonically possessed sitcom dads, vampires in cowboy boots, and suspected vampire sex murders that the player can completely miss if they choose not to engage with some factions. I’m hoping that players enjoy the level of freedom on offer, which is inspired by my experience playing tabletop.

Day For Night focuses on a veteran Hunter who has been dealing with the forces of darkness for more than five years now. Why did you choose to go this way instead of focusing on a Hunter at the beginning of their career slaying bloodsuckers?

Day For Night is a story about getting older, burning out, and navigating interpersonal relationships complicated by the hunt. To tell that story, I needed a Hunter with a history, who had been through some dark times already. I also felt that other Hunter books have told stories of becoming a Hunter quite well already, and I wanted to tell a different story.

When players first meet their Hunter, they’re at a low point, having just come off a disastrous hunt that left a good friend dead and most of their weapons and kit destroyed. Players will need to build themselves back up, face or run from their trauma, uncover their own past and baggage, deal with complicated existing relationships, and ultimately decide whether it’s time to call it quits.

…also, I figured that this would be the quickest way to get to the vampire killin’. Sue me!

Your other major ongoing work is for Disney Dreamlight Valley! Which I was excited to learn, because I’m a huge Disney fan. I imagine that it’s a lot of fun, but also a unique challenge to write in a canon with such well-established lore and such a dedicated fanbase–much like writing in World of Darkness! How do you approach playing in a sandbox like this?

My entire career has been defined by kind of a weird split. By day, I work on fun and colorful casual life sim games, and by night I write stuff with way more dragons, elves, vampires, and violence.

In the case of writing for World of Darkness, it was exciting and freeing to work on a property that’s known for tackling difficult and adult subject matter intelligently, and it was fun to get to go as gory as I wanted with action sequences.

In writing for these kinds of existing properties, I try to really soak in as much as I can of the source material and ask myself what fans might want to see or how I can play with their expectations.

In the case of World of Darkness, throughout the entire writing process, I kept a huge stack of the source books on my desk on one side while I had my Hunter: The Reckoning and Vampire: The Masquerade dice on the other. It helped to stay in the vibe.

The Los Angeles of World of Darkness is a wonderfully rich place to set a story. It was a complete thrill to incorporate Nelli G. into the book, allowing players to get more and more drawn into her web throughout the story if they so choose. As well, players should watch out for a chance to meet some of the Bone Gnawers of Griffith Park depending on some of their choices.

Players will eventually uncover a story that’s been happening in the background under the noses of the Anarch Barony throughout the past fifty years of Hollywood history, and this was incredibly exciting to get to weave into the fabric of this world.

Of course, if a player is completely new to the World of Darkness, Day For Night will introduce them to all of the elements above as a Hunter experiencing and discovering these strange things for the very first time. No prior knowledge required!

Day For Night shows a lot of love for Hollywood and filmmaking alongside its critiques of Hollywood culture. Who are some filmmakers that inspire you?

I went to film school and am a movie obsessive – I’m inspired by everything from film noir to old Hollywood musicals to ‘90s romcoms.

But during the writing process for this, I watched a lot of John Carpenter movies, and I hope his style infuses some of Day For Night.

I also spent a lot of time watching Shaw Brothers martial arts movies and other Hong Kong action flicks, as well as ridiculous ‘80s slashers (particular favorites are Blood Rage and Chopping Mall–check them out!), all of which inspired some of the completely gonzo action that happens throughout the book.

I hope players will particularly enjoy a fight scene on a waterbed where they can scissor off a vampire’s head with a pair of samurai swords (watch out for it, achievement hunters!), which is the kind of thing I never could have written if I hadn’t been watching movies like the above.

What are you working on next?

Well, first, it’s gonna be a really, really long nap, because it turns out that writing a million plus words of interactive vampire killin’ kind of takes it out of you. Then I’ll probably reconnect with some of the friends and family that I’ve been ignoring for the past two years while I frantically wrote more and more branches of this thing, completely unable to get myself to stop.

Ohhh, but you’re probably talking more like a next creative project. I’m not quite ready to leave Hollywood yet. I have another Hollywood vampire story set in the 1930 through ’50s that I’m very interested in telling at some point. (All after that really long nap, of course.)


top expert

don’t call it a “roguelike.”

A project in flight. notes from a crazed Resident Evil fan. I’ve wanted to make a survival horror game with Inform since, well, before I even learned how to use Inform. You see, among my sophisticated and varied interests, such as cats, John Berryman, Infocom, Søren Kierkegaard, DC Comics, the narrative games of Autumn Chen, […]

A project in flight.

notes from a crazed Resident Evil fan.

I’ve wanted to make a survival horror game with Inform since, well, before I even learned how to use Inform. You see, among my sophisticated and varied interests, such as cats, John Berryman, Infocom, Søren Kierkegaard, DC Comics, the narrative games of Autumn Chen, and first edition Advanced Dungeons & Dragons, perhaps no interest is as sophisticated and varied as my regard for Capcom’s survival horror franchise, Resident Evil. Fellow fans among my readership may wonder: “There are so many types of Resident Evil fans. What kind of fan is Drew Cook?”

🧡Favorite character: Jill Valentine
🧡Favorite “modern” game: Resident Evil 2 (2019 remake)
🧡Favorite “classic” game: Resident Evil (2001 remake)
🧡Raid mode or Mercs: Raid
🧡Favorite POV: 3rd-person
🧡Favorite ship: I actually like imagining that everybody but Ada and Claire are aromantic (but I don’t ship them)
🧡Favorite non-game media: Zach Cregger’s upcoming film. I haven’t seen it, but we all know it will be better than everything else.
🧡Favorite weapon class: shotguns.
💔Least favorite character: I love Leon, but the fans have officially worn me out.
💔Least favorite “modern” game: Resident Evil IX: Requiem
💔Least favorite “classic” game: Code Veronica (X)
💔Least favorite game media: I’m no hater, but I can’t get into the Milla Jovovich movies.

Why am I telling you all of this? I am excited to announce, here, today, my own survival horror project, Inherent Depravity.

what is Inherent Depravity?

ID is what I have taken to calling a “rogueless,” a combat-heavy adventure across a fixed map. It’s a strange word, I admit, but “roguelite” doesn’t quite fit. One of the things I love most about Resident Evil games is that they become, on subsequent playthroughs, efficiency problems. How can they be beaten more quickly and with fewer resources? What strategies are necessitated if the ability to save the game is limited?

Modern games tend to award “achievements” or “trophies” for specific accomplishments, and some games offer in-game rewards, as well. These perks and bonuses more or less map to the “metagame” of roguelite designs. Unlike roguelikes, though, Resident Evil games rely on route optimization and mastery. Procedural generation, a staple of the roguelike/lite oeuvre, has no place in this model. I will list what I consider the signature features of a Resident Evil-style survival horror work with metagame elements.

  • Strong combat emphasis
  • Fixed maps with predictable enemy and item placements
  • Strategically malleable, ie, multiple paths to success
  • Varied weapons with different advantages and weaknesses
  • Healing and buffing items in fixed, limited quantities
  • Ammunition and other combat expendables in fixed, limited quantities
  • Saving the game is limited in some way (only possible in certain amounts, or at specific points)
  • Player power increases as the story advances
  • A variety of enemy types requiring a variety of tactics
  • Strong information management for the player: dynamic mapping, a system for organizing information uncovered during play.
  • Multiple playable characters with unique play features
  • Unlockable elements to scale power in future playthroughs, enabling a higher level of play (completion in less time, with fewer saves, and so forth)

In my experience, the best Resident Evil games each ship as two games in one. There is the first and most familiar game, which simply consists of completing the game’s story, and there is the second, deeper game of replay and optimization.

I have long wished to make such a game, and Inherent Depravity (also known as Inherent Depravity; Malevolent Occupancy or ID;MO) will be my attempt to do just that.

getting started.

This will be a big Inform game with a lot going on. Where to begin? The characters in Resident Evil games are such an important part of the experience. It makes sense to begin there.

a protagonist is a kind of person.
an enemy is a kind of person.

If this is a design requiring turn-based combat, we will probably need to devise some statistics to govern encounters. That’s going to take a bit of thinking, certainly. Whatever the particulars are, our combatants will need some measure of health to safeguard, lose, or regain.

We could declare a “current health” and “maximum health” as new value properties.

a person has a number called current health.
a person has a number called max health.

the max health of a person is usually 5.
the current health of a person is usually 5.

That’s easily done! Of course, in a large game with 40 or so enemies, our program might get a little messy if we proceed in this manner, especially if a fully-built combatant has several other statistics to manage. I will use a table instead.

a protagonist is a kind of person.
some protagonists are defined by the table of player characters.

table of player characters
protagonist max health current health
chad 45 45
june 40 40

an enemy is a kind of person.
some enemies are defined by the table of monsters.

table of monsters
enemy max health current health
zombie 5 5
hunter 7 7

As the documentation notes, Inform will, all on its own, determine that a protagonist has a number called max health, and, should we review the output from showme chad, we will see that things sit as they should.

>showme chad
chad - protagonist
location: out of play
unlit, inedible, portable; transparent, male; singular-named, proper-named
description: none
initial appearance: none
carrying capacity: 100
printed name: "chad"
printed plural name: "protagonists"
indefinite article: none
list grouping key: none
max health: 45
current health: 45

As new combatants are implemented, they can be added to a relevant table. Note that, if we have a more developed organizational strategy, we might break things up a bit.

an enemy is a kind of person.
a zombie is a kind of enemy.

some zombies are defined by the table of z-types.

table of z-types
enemy max health current health
gurgler 5 5
groaner 7 7

…and so forth. There’s more to do, of course. We have health, but no means of dealing damage, nor have we identified a way to calculate attack success and failure. While there is not yet an actual model for conducting combat, let’s quickly add some more statistics as food for thought.

table of player characters
protagonist max health current health accuracy speed defense
chad 45 45 7 5 7
june 40 40 5 8 5

There. I imagine these are mapped as follows:

  • health: a measure of durability
  • accuracy: influences a combatant’s ability to strike in combat
  • speed: affects evasion and turn order
  • defense: a combatant’s ability to absorb damage

This should be enough to determine combat outcomes. I don’t mean to reinvent the wheel here: combat should move quickly according to small but impactful choices with a strong secondary goal of resource preservation.

This is not yet enough to stage a fight, though, as there does not exist a means for delivering damage. Perhaps that can be sorted soon! As I’ve already indicated, weapon variety is a significant feature in survival horror games, and Inherent Depravity should participate in that tradition fully.

Hopefully, we can get to that next time!

next.

Experiments with rulebooks producing results, weaponry, and so forth.

I hope to release Inherent Depravity during Spring Thing 2027, but only if it is finished. I have high hopes! The map is perhaps 2/3 complete.

The 64461-word source text has successfully been translated into a world with 63 rooms and 195 things, and the index has been brought up to date

Saturday, 12. September 2026

Renga in Blue

Twin Kingdom Valley: Engulfed in Flames

(Continued from my previous posts.) Last time I left off on a narrow fissure leading to Watersmeet, and a cave nearby that’s a maze. Also, just for the record, I had a brass key (from the very start) and a bronze key (from the witch where I traded the crystal ball). There was one gold […]

(Continued from my previous posts.)

Some of the C64 screens have animated clouds.

Last time I left off on a narrow fissure leading to Watersmeet, and a cave nearby that’s a maze. Also, just for the record, I had a brass key (from the very start) and a bronze key (from the witch where I traded the crystal ball). There was one gold door I was unable to unlock; we’ll get back to that today.

Regarding Watersmeet, I knew something special was going on because there’s some text about it in the intro of the BBC Micro version:

It is believed that the lake itself has some mystical properties which, some say, are derived from the many potions of witches and so forth, which have been split into the rivers and streams throughout the ages.

It is also said that a wise man may look upon the secret of life, which lies nearby.

I tried filling a jug and getting the same “refreshing” message I did with beer, so I was puzzled for a bit.

I pulled out the verb list and realized it had “swim”, so I tested it and found that swimming in the water healed wounds. There’s something else special going on, but I didn’t realize it until later.

The C64 graphic conveys a little more clearly this is a place you’d want to swim.

Analogous to Adventure having one “all different” maze and one “all alike” maze, this one required dropping objects to map things out. Fortunately, it’s relatively small; if you knew there was nothing else hidden you could find the two things inside without much effort (the paths tend to lead to them, rather than away from them).

The first thing is a “holdall”, a duffle bag for those Americans out there. It increases your inventory limit, but is a bit fussy to operate. In order to get any items in, you have to FILL HOLDALL, and then the game prompts each of your inventory items one at a time.

Also, make sure you don’t put a lit lamp in!

You can PUT THING IN HOLDALL to get something in just fine, but the only way I was able to get items was via EMPTY HOLDALL which dumped all of them at once.

For the second thing to find, you might notice from the holdall room four of the exits lead to Maze (4), and from there all of them eventually lead to a rock fall.

The upshot, in a maze-narrative sense, is that Hall wants the rock fall encounter right away, as opposed to making it a secret that may not be found for a while. A player normally wouldn’t have to do any mapping at all (except from their perspective they don’t know they’ve exhausted the maze).

At the rock fall you are informed you need to find the chest of the desert king if you want to pass.

From here I was stuck for a while; without the next revelation, I’m not sure if any more progress is even possible (although this author does like putting multiple entrances and exits to things, so I can’t say for sure until I’ve finished the game).

Back at Watersmeet, if you DRINK WATER straight from the source without filling a jug first, you’ll get a special ability: seeing secret doors.

This is a curious moment insofar as many players would not realize there is an issue here at all; someone who drinks straight from the water first would not know (nor would it be likely they’d test) that the water loses its magical potency once in the jug.

Unfortunately, with me getting the ability so late, it means I have to check everywhere I’ve been on the map. I’ve checked most places; back at the room-of-bones in the witch maze there’s a secret locked silver door to the west; as I have yet to find a silver key I do not know what is behind it.

The important secret door anyway is back at the cave I was just in, right at the entrance before the maze starts: there is a small hidden complex to the east: bedroom, kitchen, sitting room. Inside the kitchen is a gold key.

Conveniently, there’s a second secret door that leads right to the hall from last time that ended at a locked gold door. This goes to a dungeon which will eventually lead up to the domain of the Desert King, so the Forest King and Desert King areas are directly connected (you don’t have to go outside to travel between them).

Right away there’s two dungeon doors that take a bronze key (the kind I got from the witch); opening the first one frees a princess.

UNLOCK DOOR WITH BRONZE KEY
It is now open.

A princess flees. She doesn’t recognise you.

This happens so incidentally that it circles back to the author’s own mission statement about how you are not the main character of a story, but rather just the inhabitant of a world. It is possible the princess will come up later (I haven’t gotten back over the map yet to see where she ended up) but at least this particular moment felt like an anti-story of sorts (not in a derogatory sense, just in a “games can have different goals from each other” sense).

A second dungeon door had an “ill giant”. The giant was friendly so I tried handing over my axe; guards are on the floor above and it proceeded to wallop some of them off-stage.

The graphic that gets used for all the “dungeon breakout” rooms.

To see the aforementioned guards, just go up a trapdoor to a new section.

Remember, I don’t mark any of the wandering enemy locations because I don’t know where their “home base” is.

Once again (while mapping things out) I am mostly able to ignore the NPCs; I did get whacked once hard enough to die but I had a save close enough I didn’t lose any progress. For the most part the rooms are just scenery so information is progress.

There’s one “guard room” as shown here with a “uniform”, but the uniform seems to have no effect on the guards. “Wear” isn’t a recognized verb.

There’s a storage room and cellar that would normally be pure scenery except there’s beer in the cellar. The game does have a thirst timer and you will die if you don’t drink anything.

Just passing through and going up another floor leads to the main complex of the Desert King.

The ground floor has a study (scenery), dining hall (scenery), kitchen (scenery), and workshop (not scenery, there’s a cauldron of oil). My guess is in addition to a thirst-timer the game has a lamp-timer, but you can refill the lamp with oil from this cauldron.

The cauldron is depicted in the room, unlike most items, but it also is so heavy you can’t pick it up (even with all items dropped, the game says “you can’t carry any more”.)

Going back to the main stairs, and going up to the upper floors…

…it looks like from the map, other than locked doors, it’s still pretty much obstacle-free. It’s a little denser in guards, and you can find the Desert King himself wandering around, with a gold crown and a sword.

One of the doors is silver (like the one in the crypt) and one is given no metal-color at all, but I think that’s because to open it I need the master key. This is where the dragon from the cover art shows up.

Well, sort of shows up — again, no characters displayed in the graphics. I’ve been able to get the Desert King to follow me, so I’m wondering if somehow I could have him get inadvertently fried by the dragonfire.

Cover zoom-in, from Plus 4 World.

There’s one more tower that has a witch with a “gold staff”. I have not tried tangling with her yet. You can also leave the castle out the front drawbridge but it just leads to the desert on the north side of the chasm; I haven’t tried searching thoroughly but it doesn’t look like there’s anything to find other than more scenery.

To recap my obstacles:

1. two silver-locked doors

2. one “no description” locked door that presumably needs the master key from the dragon

3. the witch and the king in the Desert castle

I assume the chest is behind one of the locked doors, so I’m not counting it as an obstacle. Looking back at previous content, we could also count the dwarf holding onto a diamond ring; I haven’t found anything to trade for it yet. I did manage to simply kill the dwarf, and this was a very sad encounter where it just kept running away as I chipped away at its health.

The heaviest moment of “you are just like the random enemy NPCs” in the game.

I haven’t tried my secret-door vision absolutely everywhere (secret entrance in the mountains, maybe?) and there’s the eternal issue of me simply missing an exit, but I think I’m hovering close to the end and I really need to enact a strategy to handle the NPCs rather than just run away from everything.

In general, other than the moment with the water, there haven’t been “puzzles” in a regular sense; knowing that a gold key should be taken to a gold door is closer to what I’ve termed a natural action, and the NPCs clearly have enough randomness and multiple approaches that they feel more like obstacles (akin to a CRPG) rather than puzzles.


Gold Machine

Bureaucracy, or Michael Bywater Saves the Day

Infocom goes to (development) hell. Bureaucracy (1987) Play game and review source filesPackaging, copy protection, etc (MoCAGH archive)Packaging, copy protection, etc (Infodoc)Internet Archive Query “Bureaucracy Infocom”HTML InvisicluesArchived (z5) InvisicluesMap (Infodoc) Opening Crawl Important!Our records show that you do not have a licence to operate this software.Normally, you wo

Infocom goes to (development) hell.

Bureaucracy (1987)

Play game and review source files
Packaging, copy protection, etc (MoCAGH archive)
Packaging, copy protection, etc (Infodoc)
Internet Archive Query “Bureaucracy Infocom”
HTML Invisiclues
Archived (z5) Invisiclues
Map (Infodoc)

Opening Crawl

Important!

Our records show that you do not have a licence to operate this software.

Normally, you would be required to complete a Licence Application Form and mail it (with proof ofpurchase) to our Licensing Department, and then wait the customary four to six weeks for processing.

Luckily, for your convenience, we have, at the last minute and at great expense, installed a remarkablenew on-line electronic application form on this verydisk, which will be processed by our modern 24-hour computer service moments after you fill it in.

[Press any key to begin.]
Unique data entry field for the player to complete with fields for name, address, etc.
[Your blood pressure just went up.]
You have been granted Licence Number 870602.
Thank you for your cooperation, Ms D. Have a nice day.
Well now, Ms D, aren’t you glad you left your previous job? The Deep Thought Corporation of America was of course a great company to work for, except for the no-coloured-socks dress code, and you really enjoyed being Vice President (Software Development), especially the opportunities it gave you to cause considerable inconvenience to many hundreds of thousands ofpeople you had never met.
But Happitec is going to be much more fun. The money’s better, it’s a great place to live and work and you’re really looking forward to your Paris vacation.
You’re pretty pleased with your new home, too, and don’t really mind that the removals company fouled up slightly due to a computer scheduling problem. After all, you won’t be using your new place for the next two weeks, and they promised to have everything installed by the time you return.
In fact, the only tiny cloud on the horizon is a silly bit of bother with your bank about a change-of-address card. You know the sort of thing? You send them a change-of-address card, and they say “Oh dearie me, that’s not our official change-of-address form, the computer won’t like it a bit, you’ll have to fill in a proper one, we’ll send one to you,” and they do, but they send it to your old address along with your new US Excess card and your cheque book...?
Of course you know the sort of thing. It’s exactly what has happened to you. But Happitec’s enlightened employee policies mean you don’t really care. After all, who needs money? Pick up your Happitec cheque, grab a bite of lunch, a cab to the airport and then you’ll be living high on the hog at Happitec’s expense. What a truly enviable situation you find yourself in, Ms D.
BUREAUCRACY
A Paranoid Fantasy
Copyright (C) 1987 Infocom, Inc. All rights reserved.
Bureaucracy is a trademark of Infocom, Inc.
Interpreter 1 Version C
Release 116 / Licence Number 870602
Front Room
This is the living room of your new house, a pretty nice room, actually. At least, it will be when all your stuff has arrived as the removals company said they would have done yesterday and now say they will do while you’re on vacation. At the moment, however, it’s a bit dull. Plain white, no carpets, no curtains, no furniture. A room to go bughouse in, really. Another room is visible to the west, and a closed front door leads outside.

Twelve and Counting

Making a game about impersonal corporate and governmental waste must have seemed a very Infocom thing to do. Zork had its Flatheads, and Planetfall‘s Stellar Patrol seemed to run on red tape. The social critiques leveled by those texts, we can surely all admit, were toothless and apolitical. Voters happily throwing money at Reagan’s Star Wars antiballistic program, as an easy example, did not feel personally attacked by jokes about the Frobozz Volcano Construction company, even if the two institutions had the exact same amount of nothing to offer their taxpaying citizens.

That isn’t to say that Infocom didn’t have a great deal to say about 1980’s America. It absolutely did, as we’ve maintained here all along, but it said many of those things because all texts must, in the end, say something. There were exceptions, of course, as A Mind Forever Voyaging and Trinity can attest, but those would prove to be singular works of courage that were both commercial failures in their time.

The Hitchhiker’s Guide to the Galaxy, one of Infocom’s bestselling games, indicated a third way, buoyed as it was by Douglas Adams’s good-natured humanism. If I had not written so much else besides, I might have made some observations regarding the bright vapidity of the Nutri-Matic or the Heart of Gold‘s artificial intelligence. Adams’s lampooning of corporate euphemisms, public relations speak, and computation-precipitated stupidity were both timely and prescient. It is not so hard to imagine chatGPT anthropomorphized as 20 Nutri-Matics in a trenchcoat.

Infocom’s The Hitchhiker’s Guide to the Galaxy was a massive success, and the company must have been delighted at the prospect of another Adams game. Milliways: The Restaurant at the End of The Universe was already a twinkle in the board’s eye, presumably, but Adams had another idea, inspired by a very relatable and human experience with his bank, which would not, no matter how he tried, acknowledge his change in address. What if a game could be made of such a fiasco?

This must have been a novel idea in those days. Hadn’t modernists like Faulkner and Joyce elevated everyday human experiences, granting them sprawling and epic grandeur? Why couldn’t a computer game do what they had done? Thus germinated Bureaucracy, an idea that was entirely Adams and, it must be said, rather groundbreaking for its day. The Hitchhiker’s Guide to the Galaxy had trod some of this ground. One town’s planning commission is another planet’s Vogon fleet, after all! What would it be like to stage a surreal, hilarious conflict with various financial and governmental institutions as a game?

The construction of Bureaucracy is a long and meandering yarn that I cannot do justice here. I encourage you to read Jimmy Maher’s accounting, which is filled with twists, turns, and, rather memorably, Brian Moriarty’s characterization of Douglas Adams as “lazy.” This is the closest that Infocom has come to what the discourse now refers to as “development hell,” a seemingly intractable period of non-production that threatens to leave a work permanently unfinished. Steve Meretzky, we know, had trouble getting time from Adams, and perhaps completion of The Hitchhiker’s Guide to the Galaxy must have sometimes seemed in jeopardy, but Bureaucracy was by comparison the real thing. It took years for it to ship, which must have seemed a lifetime at a studio with such dwindling prospects.

Would the Real Author of Bureaucracy Please Stand Up?

Although it might feel oddly estranged from Infocom’s production practices, Bureaucracy was touched by several implementers, and is credited to “Douglas Adams and the Staff of Infocom.” The packaging makes light of this unusual situation by inventing a fictional author meant to represent them all:

Original Implementer W. E. B. “Fred” Morgan was dragged out of an early retirement (spent developing new strains of Scotch) to collaborate on Bureaucracy. A prolific hacker, Fred worked on ZIL, the implementation language for Infocom games; Muddle, the implementation language for ZIL; and Zork I, Zork II, Zork III, Enchanter, Deadline, Wishbringer, Ballyhoo, Trinity, Cutthroats, and the sampler. Fred also helped develop Infocom’s database manager, Cornerstone. After Bureaucracy, Fred plans to re-retire, and begin work on a hooked rug, roughly the size of Delaware, representing the Great Underground Empire.

As funny as this all is, it masks the truth: it was Michael Bywater, British humorist, broadcaster, and capable harpsichordist, who pushed Bureaucracy over the finish line. I do not believe we can quantify how much of this frankengame should be attributed to him directly, but the record suggests that it would have been finished by Bywater or else by nobody at all. Some critics–perhaps not intentionally–have implied that we are left with Bywater as a consolation prize or “off-brand” Adams, and that’s really an unkindness I’d like to resist. Whatever the merits might be, Michael Bywater was a creative in his own right with a distinctive voice and not simply “somebody other than Douglas Adams or Steve Meretzky.”

Perhaps a lack of authorial clarity–it is hard to say who exactly wrote which specific parts–has engendered a dearth of critical enthusiasm. Even though Bureaucracy has many fans today, it is one of Infocom’s least remarked-upon works. It has, like Leather Goddesses of Phobos, Arthur: The Quest for Excalibur, Border Zone, Sherlock, and Journey, garnered only one review at the Interactive Fiction Database. By the time it released in 1987, three years after the blockbuster success of The Hitchhiker’s Guide to the Galaxy, audience responses were similarly muted. Then and now, few have known what to make of this strange game.

I, perhaps unwisely, will try to make something of it! It is not, mechanically, a favorite of mine, but its interest in gamifying contemporary life is innovative and forward-looking. Bureaucracy is, even if we might need help remembering it, an important game that tried a new thing worth trying.

Next: Saving the Queen and Other Mistakes

Coverage continues with a look at the text and paratext of Infocom’s Bureaucracy.

Monday, 07. September 2026

Renga in Blue

Twin Kingdom Valley: The Maze of the Witch

(Continued from my previous posts.) I have the first two underground sections (the one from the locked grate, and the one from the cave at the trail) mostly mapped out and connected, so now seems like a good time to pause. It makes the geography a little clearer to start with the trail entrance, although […]

(Continued from my previous posts.)

I have the first two underground sections (the one from the locked grate, and the one from the cave at the trail) mostly mapped out and connected, so now seems like a good time to pause.

First entrance to the underground.

Second entrance to the underground.

It makes the geography a little clearer to start with the trail entrance, although in my playthrough I started with the grate and only connected it up later.

At the cave entrance there’s a metal door to the east (which is unlocked) and a passage to the west. Go west twice and you’ll end up in the Hall of the Forest King and tossed in a dungeon. I have yet to experiment with this section. (It sounds like they need a bribe; maybe this whole section is forced and it’s possible to retrieve the bribe, but it’s just as easily possible with this sort of game that you can avoid this encounter altogether.)

Prior to making it to the Forest King you can swerve down into a long hall and eventually reach a dead end with a gold door. The doors are helpfully color coded with keys (you’ll need a gold key for a gold door) but I don’t have the appropriate key yet.

Heading back to the cave entrance, and going through the open door, there’s a small section of rooms containing a “short wooden rod”, a “short dagger”, and a “crystal ball”. You might remember the crystal ball from last time; this is the area that links directly with the grate. Near the dagger is a locked bronze door (again color-coded, I’ll bring back the key later).

Also in this area is the part that took the most significant chunk of my time, an exit to a maze. The maze does not have graphics and swaps things to text-only mode.

The text-only mode is partly due to mazes being awkward to show graphics of, but also as a hint, as this is simply an “all different” style maze from Crowther/Woods. This starts in a “turny twisty little maze of passages” and different rooms have different names.

The different names can be used to make a map, but I admit I always find these kinds of mazes a headache. I went with old-fashioned object dropping. Fortunately, the different wandering NPCs don’t seem to want to brave the maze, so it doesn’t have a character like the Thief from Zork I picking things up. Unfortunately, your inventory capacity is too low to map all the rooms, but I remained stubborn and started moving objects to get rooms like “ROD 3” and “BALL 2” as I was mapping things out. Generally, the paths converge on a central area with a witch (if you move at random, you’re likely to eventually reach the witch).

The witch has no visuals attached (none of the NPCs do, but even the maze itself has no visual) so it’s just straightforward text. If you hang out for longer than one turn the witch starts to throw spells, and eventually you’ll die.

I took multiple tries at fighting (using the dagger) and had no luck; it’s possible I was causing damage via HIT WITCH WITH DAGGER but the game wasn’t giving any feedback.

Still, the witch didn’t start immediately attacking: maybe the witch is “neutral”? I had a crystal ball I wasn’t able to use for anything yet, so I tried GIVE BALL.

I still need to experiment with the moods of the NPCs and how far you can push them. There was an elf running around outdoors with an axe (the one the troll normally liked to hold) and I did ASK ELF FOR AXE and the elf just handed it over. I don’t know if “trade value” is a thing and if a series of swaps are possible; maybe the game can be won entirely by “diplomatic victory” rather than getting in standard RPG fights.

With the bronze key claimed, I went to escape the maze (I already had the exit mapped) and unlocked the bronze door. Unfortunately, the troll was waiting for me and gave me a heavy wallop. I fled through the bronze door, then locked the door behind me.

This gave some breathing space, but unfortunately led to a dead end: a stair going to a room with a diamond ring, some gold, and a dwarf. I haven’t tried contesting the dwarf over the treasure yet, but there’s no aggression so I suspect some more trade-swaps might be in order.

One last thing to mention with the witch maze: a side passage, leading to a room with bones:

The room has a shaft leading up to the Hall of the Forest King but it just results in you getting tossed in the dungeon again. I’m not sure if the shaft has a “reason” in a puzzle-solving sense or if it’s just meant to build more environment.

One last wrinkle, because I was trying to be completionist about my map: I already had everything mopped up when I tested one more exit leading back from the skulls to the maze. I didn’t know which room it was going to, but the all-different style of room name still applied, so I wrote down just this room description, then did a quick run through my already-made map to see what location it corresponded to.

I tried moving on to the third underground but it’s another maze. It makes reference to a Desert King, but I already burned my mapping energy on the first maze, so I’ll save that for next time.

Saturday, 05. September 2026

Renga in Blue

Twin Kingdom Valley: Outdoors

(Continued from my previous post, read that post first before this one.) As is usual for one of these massive games of this era, the best place to start is outside. I’ll be showing it off in three sectors, the first being the environs around the starting cabin (the one that has the key / […]

(Continued from my previous post, read that post first before this one.)

As is usual for one of these massive games of this era, the best place to start is outside. I’ll be showing it off in three sectors, the first being the environs around the starting cabin (the one that has the key / jug / lamp and is the place where the treasures go).

I originally thought perhaps this was going to be on a grid and I could do something more minimal, but no: this is a traditional Adventure map with twists and turns along with one-way paths. It does make creating the map feel less like “lawnmowing” and for certain swerves of landscape (like the mountains) breaking out from a grid makes some sense.

Description: The picture is your view west. You are wandering through high mountains, paths lead west, north west, south.

I ended up switching my mode fairly quickly to “picture first time, but not on second visit” since the game lets you just hit TAB to see the picture at any time, but also because the “first time” aspect is handy for mapping. If I arrive at a room that does not give a picture, I know I’ve already visited it, meaning I didn’t need to do any “breadcrumbs” like I was mapping out a maze; I especially found this helpful in a couple aspects where the map re-united in a way I wasn’t expecting. For example, the quarry to the west of the start — one of the first places you should visit for reasons I’ll get into later — has a flint stone. There’s two exits elsewhere on the map that land back on the quarry (one-way), and without the “no picture” clue I would have thought it was a different quarry.

That’s incidentally not saying the exits are south and east, but rather there’s just one exit “southeast”. There’s another unmentioned exit to the east which goes back the same way. Unfortunately despite the system constantly letting you know what you can find in different directions, enough directions are unmentioned I have to test all of them.

If from the start instead of heading west to the quarry but take the road east instead, it leads to The Sword Inn. The inn is drawn farther away and then closer (applying the system I discussed last time which draws “objects” rather than scenes and can change the size).

This is important not only in the technical application of Trevor Hall’s system, but also in his philosophical approach on how to treat space. Especially with modern text adventures having a road of multiple “rooms” can be considered fluff and is best cut; despite the wandering creatures (which I’ll get to) there’s a fair amount of empty space on the Twin Kingdom map. From one of his interviews:

It’s boring if you only have 20 places to visit. If you don’t have some ‘dead’ locations with nothing happening, you go from one nasty disaster to another, which is too intense. You need padding, to get lost before you find something.

He’s likely thinking of Scott Adams (who was tight by necessity); we recently had a Marc Leduc game make terrific use of tiny space so this is more of a general standpoint than an absolute rule. However, it does fit in with his goal of creating an “environment” rather than just a story (that in a graphical sense feels vaguely like walking around a modern open world game).

The inside of the Inn has a “keeper” and some “beer”. You can fill your jug with the beer (it “refreshes” you if you drink it).

This led me directly to wonder what kind of character interaction was possible: could I have a conversation? The game helpfully gives a complete verb list from the start:

help option inventory score draw picture view look quit end drink swim wave wait ask empty pour fill give off on light unlock open close shut lock get take drop throw cut hit

The only commands on there that are “social” are give and ask (I guess “wave” could be here that’s for a “wave wand” kind of command). I was able to give my key to the keeper, then ask for it back. Maybe it’s useful to have an NPC hang on to things for you? (Not the keeper, since you can just stash things in the cabin, but there might be a section later where this comes up.) No way to ask about rumors or the like.

Speaking of NPCs, wandering around the aboveground I’ve found at least two elves, one gorilla, and one troll. The gorilla and troll are both pains; they will sometimes follow you and whack you with whatever weapon they have at hand. (The gorilla specifically will “throw” its items while the troll will “hit” you.) I’ve just been trying to map things out but occasionally I suffered a death in the middle of testing exits or whatnot.

NPCs can fight each other; here the troll has whacked an elf. You might also notice the troll carrying a flint stone; that’s the flint stone (the only one in the game) nabbed from the quarry, so assuming you’re in this circumstance you need to extract it from the troll in order to use it, and given the flint is used to light the lamp, it becomes important fairly quickly. I find it easier to just nab the flint first and avoid the problem.

The map I started this post with includes one of the three ways underground: just west and north of the starting room.

It’s the most elaborate room in terms of the graphics trying to depict the grand span of the environment.

You are in a clearing. North is a forest path. East is a forest path. South you can see a road. Down is a locked brass grate through which you can see a narrow passage.

While I haven’t placed any of the moving characters on my map (due to the fact I don’t know for certain their home bases) I’m pretty sure after enough attempts the gorilla always starts here with a wooden club. It’s possible to ignore it, unlock the gate, and run on by. I’ll show the first two rooms of the underground but I’m staying with the outdoors otherwise.

There’s a crystal ball here, but I haven’t gotten it to work yet.

Moving north…

…there’s not much new to see. (Unless I’m missing a secret, of course.) It’s just meant to be a pleasant forest environment, although rather oddly there are two one-way exits leading over to the mountains.

Notice how the game consistently tells you what the direction the view is in, and this direction changes based on the room (and not some kind of relative-direction setup based on where the player came from). This is pretty rare but it showed up in The Palms.

To the far north there’s a “Top of Waterfall” and going north farther has you dive into a crocodile pool, which you immediately are forced out of by the game.

This is a canyon where you can go west and see the spring farther in the distance (again, using the “object” paradigm rather than completely pre-cooked “scenes”).

Going even further you can find a cave (the second underground entrance). A very brief look at the cave (which I’ll save for a later post):

The cave in context (on the northeast side of the map):

Most of these rooms are just connective tissue; the sloping trail which enters the cave connects back up to the forest, and the forest lets you go south to eventually reach the quarry (that’s the one-way passages I mentioned earlier), west to a “cliff top” (which lets you quickly loop back to the first map) and a fissure.

You are on the south edge of a deep fissure. North you can see down a dangerous fall.

Despite the game saying “you are dying” if you go north, you can actually survive the fall, landing in a narrow canyon! Going west in the canyon leads to a narrow fissure with Watersmeet at the end, and a cave (the third underground entrance) right beforehand.

Just a brief look at the cave in the fissure.

Going east just lands back in the canyon with the crocodile pool, so that’s everything (probably) on the outside. I admit I haven’t tested every single direction in every room (the room exits it gives usually are right) and of course one of the underground sections may pop back outdoors again (like to the north side of the canyon, I imagine). I also don’t know if the three undergrounds I’ve found merge together or if all three are separate.

There’s still a lot to explore with the NPCs; I haven’t tried fighting back yet (they’re pretty possessive of the weapons, and I’ve been focused on mapping anyway). I do know you can arm the “allied” NPCs and have them fight as well, so even if all the game is tracking is how good your weapon is, there could be some interesting strategies involved.


The Sharpee Blog

Who draws the line break?

Apparently, not the Author.A post came through Planet IF this week about wrangling line breaks in Inform 7. It is a good post, in the sense that it accurately describes what an Inform author has to do. That is what bothers me about it.The setup is a bowl
Who draws the line break?

Apparently, not the Author.

A post came through Planet IF this week about wrangling line breaks in Inform 7. It is a good post, in the sense that it accurately describes what an Inform author has to do. That is what bothers me about it.

The setup is a bowl of ice cream whose description cycles through three flavors, and an every-turn rule that nags you to eat it. The output has a stray blank line between the description and the nag. The post then walks through the fixes: append a substitution to the end of the string, no change; move it into the say phrase, no change; attach it to each individual sentence, that works. Then the improvement: define a substitution that prints Unicode character 46 so that the period at the end of a sentence is not a period as far as the compiler is concerned. Then a rulebook that prints a stanza of Berryman using a substitution meant for command clarification, because that substitution happens to suppress the engine's paragraph logic and nothing else does.

The author's own line is the tell. "None of this quite feels like sitting down to write, though, does it?" No. It does not.

Why Inform is like this

Inform 7 is built on top of Inform 6, and it kept Inform 6's output model. Text goes to the Z-machine or Glulx screen stream the moment a say phrase runs. That stream is one way. The Glk specification says it in a sentence: "A window stream cannot be read from, only written to." The Z-machine offers no way to ask where the cursor is either. So the runtime has no way to look at the screen and ask whether it is at the start of a line or whether a line was just skipped.

Graham Nelson says as much in the comment at the top of the paragraphing code in the Inform kits, and it is worth quoting because it is the whole story:

Most users probably imagine that it's implemented by having I7 look at where the cursor currently is (at the start of a line or not) and whether a line has just been skipped. In fact, the virtual machines simply do not offer facilities like that, and so we have to use our own book-keeping. Given the huge number of ways in which text can be printed, this is a delicate business. For some years now, "spacing bugs" (those where a spurious extra skipped line appears in a paragraph break, or where, conversely, no line is skipped at all) have been the least welcome in the Inform bugs database.

The bookkeeping is two global flags. The compiler sets the first one before every say phrase, and the runtime checks it at "divide paragraph points" between rules and prints a skipped line if it is set. The sentence-ending punctuation rule is not even a runtime check. The compiler looks at the last character of the literal text in a say phrase and, if it is a full stop, an exclamation mark or a question mark, compiles in a newline. That is why the post's fix only works when the substitution sits right next to the period, and why printing the period as a character code works at all: the compiler is looking at the source string, and a character code is not a full stop.

Layout, in short, is a side effect of printing, computed from the text itself, at the moment each fragment goes out. Inform 7 put a natural-language surface on that stream without replacing the stream. Every substitution in the post is a way of poking one of those flags from inside a string, because the string is the only place an author can stand.

That design has a consequence that no amount of substitution vocabulary can fix. The prose and the layout instructions live in the same string. When the layout is wrong, you edit the prose. When you cannot edit the prose without changing what the reader sees, you disguise the prose so the engine misreads it. Printing a period as a character code is exactly that: lying to the layout engine about what you wrote.

A thirty thousand word story written this way carries hundreds of these disguises. Every one of them is a place where the author stopped writing and started negotiating.

What Sharpee does instead

In Sharpee the story never prints anything. Actions and phrases produce text blocks during the turn, and when the turn is over the report service assembles them. Paragraphs are structure, not punctuation. A phrase is a block. A blank line inside a phrase body is a paragraph break. A single line break is a {br} marker. The renderer owns the margins between blocks, and the theme decides what those margins look like.

Nothing in that pipeline reads your sentences to decide where a paragraph goes. A period is a period. Here is the ice cream in Chord.

create the Lab
  a room

  A bowl of ice cream rests on the counter. {ice-cream-look}

  on every turn while the ice cream is on the counter
    phrase eat-it
  end on

create the counter
  a scenery supporter in the Lab

create the ice cream
  aka bowl
  on the counter

define phrase ice-cream-look, cycling
  It looks like delicious vanilla.
or
  Chocolate! My favorite.
or
  Strawberry with real chunks of fruit in it.
end phrase

define phrase eat-it
  You had better eat that ice cream before it melts!
end phrase
Who draws the line break?

The description is one block. The every-turn nag is another block. The space between them is the paragraph margin, the same margin every paragraph in the story gets, and it is the same on the first turn, the fortieth, and after every flavor. There is nothing to tune because there is nothing computing it from the text.

The poem is the same idea with the other marker.

define phrase dream-song-14
  Life, friends, is boring. We must not say so.{br}
  After all, the sky flashes, the great sea yearns,{br}
  we ourselves flash and yearn,{br}
  and moreover my mother told me as a boy{br}
  (repeatingly) 'Ever to confess you're bored{br}
  means you have no
end phrase

Each {br} produces a line that stacks flush against the previous one. If the stanza needs a gap, you leave a blank line, and it is a paragraph. No rulebook, no borrowed substitution, no trailing break rule to cancel a break that appeared from somewhere else.

A different split

The post ends with "do not accept defeat," which is a strange thing to have to say about typesetting a paragraph. An engine should not be an opponent. The reason Inform's is comes down to one decision made a long time ago: that the printing routine is where layout gets decided. That was a choice with real benefits. Building on Inform 6 gave Inform 7 the Z-machine and Glulx, every interpreter ever written for them, and twenty years of library behavior that already worked. The paragraphing flags are the price of that choice, and it is a price paid by every author, on every project, in every string.

Sharpee and Chord make a different bet. The virtual machine pattern bought portability by fixing a byte code and asking every platform to write an interpreter for it, and the price of that portability was an output model from the era of the teletype: a stream of characters with no structure the interpreter could see. The web is now the runtime that every platform already has. A story delivered to a browser inherits its portability from the browser, and it gets to deliver structure instead of characters. Sharpee's engine hands the client a list of text blocks with keys and classes, and the client lays them out with the same tools every web page uses. A paragraph is an element. The space between two paragraphs is a style. Neither of those facts has to be reconstructed from a flag after the text has already gone by.

I should be honest about where that bet still has gaps. Vorple has been putting Inform stories in a browser with real HTML and JavaScript for years, and Hugo shipped graphics and sound in its own runtime a long time before that. Both offer visual capabilities Sharpee has not tested against yet. Sharpee has sound, and it has minimal image placement, and neither is at the level those two systems reached. What Sharpee has settled first is the thing this post is about: the shape of the text. The rest is work I know is ahead.

The one place I expect an argument is this. What happens when two rules both report on the same turn, and the author meant them to be one paragraph? In Inform the answer is to reach for the run-on substitution and hope the flags cooperate. In Sharpee the default is that two reports are two paragraphs. If two things happen independently, they are two facts, and the reader gets two paragraphs. When the author knows they belong together there are two ways to say so, both in the source. A phrase can splice another phrase into its own prose with a marker, which is what the ice cream description does with its cycling flavor. And a phrase can be tagged as running on, so that wherever it fires, its text joins the paragraph before it.

on every turn while the ice cream is on the counter
  phrase eat-it
end on

define phrase eat-it, run-on
  You had better eat that ice cream before it melts!
end phrase
Who draws the line break?

The tag is a property of the phrase, not of the place it is called from, so the author decides once where the text lives. The joining is done in the source, where the author can read it, not at the output, where nobody can. The engine never guesses. It either has one paragraph because the author said so, or it has two because the author did not.

The marker splice is current capability. The run-on tag is filed and not yet built.

Sharpee's split is that the story says what is true and the presentation layer says how it looks. The same story renders in a terminal, in a browser, and in Chord Writer, with different themes, and the author has not written a single character of layout for any of them. When an author wants a different look, they change the theme, not the prose. When a tester pins a transcript, the text is the text; there is no whitespace to fight over.

The best argument for this is the one the post makes by accident. Authors want to sit down and write. The tool that lets them do that is the one that never asks them to hide a period.


Note: I did use Claude to help write this entry because I wanted a deep comparison of text emission from VM-based IF platforms to Sharpee/Chord. Claude is able to look into code and validate how things work and dig up salient quotes from Graham about this subject. Nonetheless, the original line break post is one of the central catalysts for building Sharpee at all and for how I designed text-emission. It also exposed a small gap where run-on is required. TL;DR - I hated managing text output in Inform 7 and honestly this is probably an outcome from having designed Channel IO back in the FyreVM/Textfyre days.

Friday, 04. September 2026

The Sharpee Blog

Sharpee 5.3, Chord 3.6, Chord Writer 1.4

Three things shipped together this week: Sharpee 5.3.0 on npm, Chord 3.6.0 (the story language), and Chord Writer 1.4.0 (the Mac app you write in). The last public release was 5.1.1 and Chord 3.3.0 in mid-August. Everything below happened
Sharpee 5.3, Chord 3.6, Chord Writer 1.4

Three things shipped together this week: Sharpee 5.3.0 on npm, Chord 3.6.0 (the story language), and Chord Writer 1.4.0 (the Mac app you write in). The last public release was 5.1.1 and Chord 3.3.0 in mid-August. Everything below happened in the two and a half weeks between.

Most of it started with porting Secret Letter to Chord, and about every third scene ran into syntax issues. So I updated the syntax to help out.

Chord

Timers came first. A timer belongs to a character or to the player, runs through named turns, and can carry prose and chance rolls on the way.

define timer search for the wandering mercenaries
  arriving
  lingering
    Those mercenaries are getting uncomfortably close.
  meanwhile, one chance in 5
    phrase merc-idle
end timer

You control it, read it, and react to it in plain words.

start search
stop search
restart search
reset search
interrupt search

while search is lingering
while search has expired

when search expires
  phrase merc-spotted
end when

There are more places to move things to. Here means where the player is standing. Offstage means nowhere, and the thing keeps its state and can come back later. A random adjacent room is picked one open exit away at the moment the line runs. A region can declare a landing, so you can move someone to the Grounds and the story knows which room that means.

move the guards here
move the monkey offstage
move the player to a random adjacent room

create the Grounds
  a region
  containing the Market Square, Commerce Street
  landing the Market Square

The player is a role now, not a block. You no longer create the player. A character is marked playable, and the story says who holds the role. The same line swaps the player mid-game.

create Alex
  a person
  playable
  starts in the Market Square

before the game starts
  change the player to Alex
end before

Every clause names its actor, and the word it is gone from clause heads. A line reads on its own now, without holding the whole block in your head.

on the player taking
after the guard entering

Characters can act in a single sentence. That character performs the real action through the same path the player's commands take, and a goal plan can use the same sentences as its steps.

the guard opens the door
Teisha talks to the player

goal secure-the-key, high
  seek the player
  take the brass key
  go east
end goal

Chapters are an extension that declares chapters as events, and once declared they can be used anywhere a condition goes.

story
  title: The Secret Letter
  use chapters

define chapters
  market - Chapter I: Grubber's Market
    begins when the game starts
  commerce - Chapter II: Commerce Street
    begins when the player visits Commerce Street for the first time
end chapters

on the player talking during commerce
  refuse no-time-to-chat
end on

A pile of smaller things landed too. Imports can import. Proper names work on any create block, not only people. An exit can be one-way. A marker can ask for a noun with no article. Possessive names resolve everywhere.

import "regions/market"

create Grubber's Market
  scenery, proper

create the Market Square
  a room
  north to the Alley, one-way

define phrase another-one
  No one notices you picking up another {bare item}.
end phrase

while the Weaponsmith's Stall is blocked

And a couple dozen loader and parser defects found by playing the port, all fixed.

Sharpee

Under the language, NPCs now act through the platform's own action pipeline. When a character does something, it is the real action, validated and interruptible, and the narration knows who was present to see it. The story's own reactions run before the platform moves the characters. There is a new static analysis, the World Index, that reads a compiled story and reports its map, what can be reached, and what looks unfinished. And a long list of text fixes: articles on plurals, third-person names, room descriptions on arrival, answering and saying goodbye in conversations.

Chord Writer

The app speaks Chord 3.6 and bundles the 5.3 toolchain, so there is nothing to install. New since 1.3: imported fragment files are first-class source in the sidebar and editor, with New Import and Extract Selection to Import in the File menu; a World tab showing the World Index; a menu-less Play pane with a Publish option; and the usual editor fixes. This is the first version that arrives as an auto-update to existing installs.

Documentation

sharpee.net has new guide pages for timers, chapters, the player role, sound and images, and testing with the tree document. Every guide was swept against the current syntax.

Where to get it

Chord Writer is at sharpee.net/chord-writer/download, one build for Apple silicon and one for Intel. The platform is on npm as the sharpee packages at 5.3.0, with the devkit package as the command line. The Secret Letter port is not done, so do not expect a game yet. Expect the language to keep moving as it gets there.


Interactive Fiction – The Digital Antiquarian

Porsche Unleashed

I’ve had a running joke with my wife Dorte for almost as long as we’ve been a couple. I reasoned back in the day that, since she was going to be a doctor — a more reliable source of income than writing about computer games — she should be expected to buy me the Porsche […]

This Porsche is very much leashed. The one I got wasn’t even a turbo model.

I’ve had a running joke with my wife Dorte for almost as long as we’ve been a couple. I reasoned back in the day that, since she was going to be a doctor — a more reliable source of income than writing about computer games — she should be expected to buy me the Porsche of my dreams at some point. Needless to say, I’m still waiting. I had to learn the hard way that a doctor in Denmark doesn’t earn quite as much as one in the United States. (On the other hand, a doctor here doesn’t have to work such ridiculously long hours or have to pay ridiculous insurance premiums either, so it all balances out.)

The closest my dream ever did come to fruition was not that long after we moved to Denmark, when Dorte decided to empty out much of our meager bank account to rent me a Porsche for a weekend as a birthday present. But bless her heart, she didn’t know one model from another. So, what with our finances being so stretched, she just took the cheapest one when she booked the rental online — something called a Cayenne.

This was not the Porsche of my dreams. It was a hulking SUV of the sort that… well, I won’t say that I left the United States just to escape them, but I did enjoy not being surrounded by so many of them on European roads, especially given that my standard mode of conveyance in my new life was a bicycle. Having had no idea where we were going when we climbed into a bus that morning to get to the rental place, I was more confused than disappointed as I handed over my freshly minted Danish driver’s license to the man behind the desk in order to drive away in the least interesting vehicle on the premises.

Of course, it didn’t take me that long to work out what had happened. When I did, I didn’t know whether to laugh at the best wife in the world or hug her as I observed her dismay. So, I did a little bit of both. It was like landing in an O. Henry story — but with Porsches.

In that same “Gift of the Magi” spirit, the Cayenne turned into the gift that kept on giving. We drove down to Germany that weekend to visit my in-laws, whom Dorte had informed of my big surprise beforehand. Their faces showed as much shock as hers had when they saw what we rolled up in. I then had to inform everyone, in my insufferable car-nerd way, that this Porsche was no real Porsche at all, that it was just a rebadged and gussied-up Volkswagen, with an automatic transmission, for Pete’s sake. My father-in-law thought this speech was the best part of all. He still talks regularly about the “Volksporsche” Dorte found for me.

In the end, then, we all got more pleasure out of that frumpy Cayenne than any Boxster or 911 could have given. Even Dorte has come around to admitting that the whole episode was pretty darn funny.

She hasn’t tried again; in fact, I haven’t driven another Porsche since. (In real life, that is; more on the virtual breed momentarily.) The next time Dorte led me to an undisclosed location on my birthday, it was to meet the kitten she’d picked out for me. Thankfully, unlike my Porsche, the kitten was just exactly perfect.

As the car enthusiasts among you are doubtless already raising hands to point out, the irony of my Volksporsche story is that the two brands — the one so utilitarian, the other so prestigious — have always been intimately linked. The Volkswagen Beetle was, after all, designed by a fellow named Ferdinand Porsche. And for most of the second half of the twentieth century, Porsche sports cars and that humble Volkswagen were the only mass-produced cars to sport rear-mounted, air-cooled engines. This is just one of the things that you will learn if you spend some time with Need for Speed: Porsche Unleashed, a rather unusual entry in Electronic Arts’s signature series of aspirational driving games.


Porsche Unleashed is a digital love letter to the marque. No other driving game has ever been so laser-focused on a single brand; even the police cars in this game are Porsches. You could say that it all amounts to an extended corporate infomercial, and you’d be completely correct. But what an infomercial!

Like all aspirational driving games, Porsche Unleashed is a snapshot of the moment it was created. Released in March of 2000, it captured the storied sports-car maker as it charged into the new millennium with renewed purpose and optimism. Porsche had recently survived a near-death experience, and, like many a survivor of same, it had emerged determined to seize life by the throat and make up for lost time.

In 1986, Porsche had a record year, turning out 50,000 cars. In 1993, it made 14,000. Between these two data points lay a brutal sales collapse, exacerbated by a global economic downturn but primarily caused, said many, by arrogance and complacency. Hemorrhaging money, facing the very real prospect of bankruptcy, the company turned to a 38-year-old wunderkind engineer named Wendelin Wiedeking to turn things around. He remains a polarizing figure among Porsche enthusiasts to this day.

For Wiedeking utterly remade the company, turning it from an old-school maker of semi-handcrafted vehicles to an efficient, ultra-modern mass manufacturer. He went to Japan to tour the factories of Toyota, Honda, and Nissan, then returned to Porsche’s hometown of Stuttgart to implement the same processes there. In five years, he reduced the amount of time it took to make a Porsche 911 from 128 hours to 70 hours, increasing throughput in terms of cars per employee per year from 4.9 to 9.1.

The Boxster, the car which did much to pull Porsche back from the brink. Unsurprisingly, it features prominently in Porsche Unleashed.

More controversially, he revamped the model lineup, saying it was no longer possible to survive by making vehicles that appealed exclusively to the kind of uncompromising sports-car connoisseurs who had bought Porsches in the past — the sort of people who regarded heel-and-toe braking as an essential life skill and weren’t bothered in the least by fiddly maintenance procedures or a complete lack of luggage space. He introduced the Boxster, a mid-engine roadster that was cheaper than the flagship 911 model, more livable, and less demanding to drive and maintain. Porsche sold 16,000 of them in their debut year of 1996. For his next trick, Wiedeking gave the world a more robust and practical variant of the 911 itself, the first ever to be powered by a water-cooled engine; the anguished cries of the purists can still be heard echoing down through the years. By the turn of the millennium, Porsche’s total vehicle production had returned to its 1984 levels, with profit margins that were much higher. The financial pages were calling Porsche the automotive turnaround story of the decade, calling Wendelin Wiedeking a genius. Not content to rest on his laurels, he had moved on to his next trick: a luxury SUV called the Cayenne, based on a Volkswagen design, that was set to reach dealers in 2003. The purists (hey, that’s me!) would soon have more cause than ever to howl.

As of the year 2000, though, Porsche was still a maker of sports cars only, with a proud past, a winning present, and a bright future. It felt it had something to celebrate. And indeed, Porsche Unleashed was nothing if not a celebration.

This, then, was Porsche’s motivation. That of Electronic Arts is slightly harder to discern. Like so many other driving and sports games, the Need for Speed series has always been a bit of a black box, lacking the big public-facing personalities who place their stamp on the more design-centric genres. The decision to go in a more historical, simulation-focused direction with Porsche Unleashed is counter-intuitive on the face of it, in that this was the opposite of the direction the series had been trending over its last couple of installments — and, for that matter, the direction it would continue down as soon as this installment was done. It may be relevant to note here that Hanno Lemke, the series’s guiding light from its inception until 2007, seems to have had the least to do with this entry; he is credited here as only the executive producer rather than a line producer.

For whatever reason, Porsche Unleashed is in some ways of a piece with what came before — it’s still every inch an aspirational driving game — while being quite dramatically different in tone and feel. It is, dare I say it… classier? The only tacky part of this game is the name; Porsche Unleashed sounds more like branding for a man’s razor or a sexual supplement than a vital creative work.

I originally played it not long after its release, attracted by its Porsche-centric focus and by a stellar review from the long-defunct Games Domain, my favorite gaming website lo those many years ago. I vaguely remember loving it, but my most indelible recollection is of breaking at least three driving wheels — pulling the shift paddles right off, I believe — in my over-enthusiasm to finish first. When I picked the game up again last year, I was curious whether my jaded middle-aged self would respond to it in the same way. I didn’t buy a driving wheel, for two reasons: because it seemed incompatible with my present-day preference for playing games from the couch, and because I knew that Dorte would laugh at me as soon as I emerged from my office with such a contraption just as much as I’ve laughed at her for the Cayenne fiasco over the years. But even with a plain old Xbox controller, the magic was still there for me.

In the interest of full disclosure, I should tell you at this point something that you may have already gathered for yourself: that Porches have always been the exception to my general disinterest in high-priced, high-powered sports cars. This may be down to their shared heritage with Volkswagen, a brand with which I was quite enamored and could actually afford in my younger days. The very first Porsche-branded car was the 356, built in the immediate aftermath of the Second World War, by some reports with money looted from a factory for military vehicles which Ferdinand Porsche and Anton Piëch, the company’s patriarchs, had set up in Stuttgart. That first 356 was little more than a Volkswagen Beetle with a different body, a stiffened-up chassis, and a souped-up engine capable of churning out all of 40 horsepower. (If that doesn’t sound like much, know that it was almost twice what you could expect from a Beetle in those early days.)

Prior to the tenure of Wendelin Wiedeking, there was a clarity of purpose — almost an austerity — about Porsches that I have always adored. They didn’t chase trends. In fact, they scarcely changed at all over whole stretches of years (which, yes, was doubtless a big reason for the morass the company had sunk into by the beginning of the 1990s.) They remained rear-engined and air-cooled long after even Volkswagen had given up on that design. To drive a car of such a design fast, you really had to know what you were doing. If you didn’t, that heavy rear end would start to come around on you, you’d hit the brakes trying to plant it down again, and in the best case you’d find yourself sitting in a roadside ditch with the hood pointing in the wrong direction entirely. Some people, myself included, found something deeply appealing about such an uncompromising vehicle. You bought a Ferrari or a Lamborghini to show off to others. You bought a Porsche for yourself. Looking back on the late 1980s — my formative years in car culture, as they were those of the modern aspirational driving game — I find that the Porsches from that time have aged a heck of a lot better than their slightly more expensive companions in games like Test Drive, even if the company wasn’t selling as many of them as it might have wished.

So, all of this is surely bound up with my appreciation for Porsche Unleashed. But I think a difference is discernible in this Need for Speed game regardless. Certainly you won’t find a sleeker and more stylish game from the turn of the millennium, a time when tastes in gaming aesthetics in general were often still those of nerdy adolescents. Although it was made in Canada, the feel of the game is more European than North American, which is only appropriate given the subject matter. The chilly house beats that play behind the proceedings are a perfect match for the airbrushed discotheque-ready sheen of the rest of the production.


Another thing you’ll notice before you actually set yourself behind the wheel are the gallery of photographs and press clipping awaiting your perusal, now or later. Although I’ve never been to Porsche’s official museum in Stuttgart, I can imagine that its mood might be a lot like this, at least if they’re doing it right.

But of course, none of this would matter at all if the cars weren’t fun to drive. Happily, then, fun they are. Really, really fun. Porsche Unleashed lands in exactly the right sweet spot between an obviously artificial arcade game like the old Outrun and a fiddly, rigorous simulator like the NASCAR games from Papyrus Design. It is, in other words, an aesthetic simulation par excellence; it feels like you’re actually driving one of these cool cars. The 911s are the highlight of the experience, as they by all rights ought to be. You have to learn that, when that infamously squirrelly rear end comes around on you, you can’t follow your natural instinct to hit the brakes, for that way lies a disastrous spin. No, you have to step on the gas, which will transfer the car’s weight to the rear and let those loosy-goosy tires grip the road again. When you figure out that you can throw your car into the curves, let the back end drift around deliberately, and then down-shift and clomp down on the accelerator to power out of them, it’s an awesome, well-nigh revelatory moment. I’m not sure that I can recall a more satisfying feeling in all my decades of playing videogames. Spend some time with this game, and you will begin to understand why people love those vintage 911s so much.

The streets of Monte Carlo.

All of the courses you can drive are located in Europe. They include the streets of Monte Carlo, the German Autobahn, and a rather generic industrial zone that could be found on any of six continents. But most of them put you on twisting smaller roads, mostly in France. While this is in some ways an odd choice for a game about a legendary German automaker, the end result is so lovely that I’ll let it pass without further comment.

These courses are all a blast to drive and explore, with plenty of the shortcuts and hidden byways that virtual motorists love. They looked spectacular in the year 2000, and still stand up surprisingly well today; this game is almost as effective an advertisement for France as it is for Porsche. It seems weird to use the word “bucolic” in reference to a franchise called Need for Speed, but for this installment it really is applicable. I sometimes like to take an old, slow 356 out just to practice my line through the courses and enjoy the scenery. Call it a reminder of what driving a sports car used to mean: driving well, and having a great time doing it, even if you weren’t going all that fast in absolute terms.

Out for a Sunday drive in a 356. I’ve said it before and I’ll say it again: it’s funner to drive a slow car fast than a fast car slow…

Just one year after Need for Speed: High Stakes introduced a longer-term meta-game to the franchise, Porsche Unleashed gave you two of them, both equally well-done. Its direct equivalent to the High Stakes career mode is called Evolution. Just like in the previous game, you start out with a single modest car and an equally modest sum of cash, with the dictate to go forth and win races to improve the state of your garage and your bank account. But Porsche Unleashed adds a larger historical chronology to the proceedings. As you open up new races to enter, you also advance through time from your starting point in 1950, when the only car you can buy is a Porsche 356 that sways and rolls more than a fat man on a bender and is powered by what sounds and performs like a lawn-mower engine.

In one of the few reflections of the direction the franchise took after this game, Porsche Unleashed lets you tune your cars in career mode. I must admit that this sort of thing exceeds my patience level. I find it easier just to buy new cars instead of mucking about with my existing ones.

In addition to its other attractions, the Evolution mode is another fine history lesson, this time an interactive, hands-on one. When the 911 comes onto the stage in 1964, well after the 356 has overcome its humble origins to get pretty darn good, you might feel like many a 356 aficionado did at the time: skeptical of the newcomer, to put it mildly. But rest assured that the 911, an automotive icon for a reason, will win you over quickly enough.

To its credit, the Evolution mode includes lots of Porsches that aren’t the 356s and 911s around which the brand built its reputation. The 914 is here — this being the semi-infamous Volksporsche which combined a Porsche chassis with the exact same motor that powered the Volkswagen bus I owned all those years ago. (I kid you not.) And we can have a go with the 944, a later lower-end sports car, and the 928, the grand tourer that Porsche made twenty years before the Cayenne was a gleam in Wendelin Wiedeking’s eye. None of these cars is as fun to drive as the fishy-tailed 911, but it’s great to see them nonetheless. Ditto the real oddballs, such as the Porsche 550 Spyder, which looks like an overturned bathtub and is a terrifying handful on the road, such that you can understand all too well how the actor James Dean could have met his death in one in 1955. All told, playing through the entirety of the Evolution mode, from that first 356 to the Y2K incarnations of the Boxster and 911, is quite a trip. A course that used to take you six or seven minutes to traverse will be done in barely two by the time you’ve finished assembling your garage full of Porsches. Evolution indeed!

The 914, the ugly duckling of the Porsche flock.

The other meta-game here is a dramatic new innovation for the series. The Factory Driver mode is a sign of the changing times in gaming circa 2000, when more and more genres were finding ways to include set-piece story lines. The story here isn’t a particularly good one in the abstract, mind you, but it’s notable for existing at all. More importantly, it’s at least as entertaining as the Evolution mode in practice.

On the skid pad in Factory Driver mode.

You’ve come to Porsche to work as a test driver. Over 34 assignments, you have to prove your mettle and fend off various challengers from among your colleagues. Some assignments take place on a slalom course right there in the factory parking lot, but most repurpose the same roadways that you race on in Evolution mode. Realism is not a priority; I certainly hope that the real Porsche doesn’t deliver its cars to the port for shipment by racing them at breakneck speeds over public thoroughfares. Some of the assignments are really hard, at least for a middle-aged man like me; it took me more than an hour of trying to complete an embarrassing number of them. But boy, are they fun, and boy, is it satisfying when you win a race against the clock that had seemed impossible at the outset.

Yes, I am proud. It wasn’t easy, let me tell you.

In fact, I think that I adore this part of the game even more than the rest of it; I don’t even mind that you’re mostly driving 1990s-vintage Porsches in Factory Driver mode, with only the occasional blast from the past. This mode is actually an excellent place to start with the game, as it will teach you skills that will serve you well when you move on to Evolution mode. The only drawback to this ordering is that, if you’re at all like me, you may find that Evolution mode, good as it is, pales just slightly in comparison.

As has surely become all too clear by now, I have very little bad to say about this game. Normally, when I’m writing about a game, I try to temper my criticisms by reminding myself that there is someone out there who likes it a lot more than I do, who cares about it more than I do. Well, that may not be the case with Porsche Unleashed. Even grizzled, jaded critics like me have those special games that stick in our craw for reasons that we may not be entirely able to articulate. Porsche Unleashed is one of those games for me. It seems that all I can bring myself to do is gush over it.

Yes, it’s easy enough to call it too slick by half, to call it corporate propaganda. But it’s just so well-done, so aesthetically masterful and so carefully calibrated for the maximum enjoyment of yours truly, that I don’t care. Part of me feels bad that I haven’t found any other driving games to fall in love with in the same way as this one. Another part of me — the bigger part, I think — feels that, when a driving game is as good as this one, what’s the point of having any others?

Despite reviews that tended to be almost as gushing as the one I’ve just written, Porsche Unleashed was less commercially successful than its predecessors in the Need for Speed series. That disappointment prompted a franchise course correction — or rather re-correction, back to the direction the series had been trending before this detour into a single marque’s history. I feel like I ought to write that this was a shame, but, honestly, what would more games in this spirit have looked like? Ferrari UnleashedLamborghini Unleashed? I suppose you could try, but somehow it wouldn’t be the same. Or maybe that’s just the Porsche lover in me talking once again.

As it was, the Need for Speed series soared to new commercial heights early in the aughts by capitalizing on the craze among the youth for “tuning” and (illegally) racing more ordinary and accessible cars, as celebrated by the 2001 cinematic blockbuster The Fast and the Furious and its sequels. For many post-millennial driving-game fans, Porsche Unleashed remained relevant primarily for the sixteen-year (!) exclusive license Porsche had granted to Electronic Arts; this meant that their cars could not appear in anyone else’s games, even as EA’s own were now favoring Hondas and Nissans and even Volkswagens over Porsches and Ferraris and Lamborghinis. When the long moratorium finally ended in 2016, it was front-page news on many a gaming website. (Would we have gotten more exclusively Porsche Need for Speed games if the first one had been more successful? It’s tempting to wonder — but, again, what else could those games have done that the first one didn’t?)

Today, the expired status of the same license agreement means that Porsche Unleashed is not available for purchase anywhere. But you can still find it in the musty back hallways of the Internet, including at a certain archiving organization. It can be tricky to get running well on modern hardware, but it’s not impossible. A good place to start is with the “Combined Patch” by Tsalikon. Just make sure to play the Windows rather than the Playstation version; the latter is so dramatically stripped down as to be for all practical purposes a different, inferior game altogether.

Naturally, you will have to decide for yourself whether it’s worth the effort to track down the game and get it running. I can only say that it was most emphatically worth it for me to renew my relationship with this old flame. I am, it seems, a driving-game monogamist. What I lack in my breadth of appreciation for them is made up for by the depth of my attachment to this one.



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: I drew my brief summation of Porsche’s recent history and situation circa 2000 from a Harvard Business School case study by Jeffrey Fear and Carin-Isabel Knoop. And let me recommend the book The Nazi Billionaires by David de Jong to anyone who wants to explore the darker side of Volkswagen and Porsche’s origins, the stuff you will never see in a slick propaganda piece like this one.


top expert

where will it end? who will draw the line (break)?

Please help, I can’t hold all these line breaks. If you’ve been messing with Inform for a little while, this has probably happened to you. >llabA bowl of ice cream rests on the counter. It looks like delicious vanilla.You had better eat that ice cream before it melts!> See that extra line space up there? […]

Please help, I can’t hold all these line breaks.

If you’ve been messing with Inform for a little while, this has probably happened to you.

>l
lab
A bowl of ice cream rests on the counter. It looks like delicious vanilla.


You had better eat that ice cream before it melts!

>

See that extra line space up there? Between “vanilla” and “You had better?” Sooner or later, we all will produce a passage with either too few or too many line spaces. In some cases, it may seem impossible for us to hit the right number.

WI §5.8 Line breaks and paragraph breaks from Writing with Inform takes an optimistic view: there are perhaps only few adjustments needed, so only a few adjustments are possible. This is true nearly all of the time! We can fix this case, for instance. Let’s look at the offending code.

lab is a room.

the interderminate ice cream is on the counter. "[IC_desc]".
the counter is a scenery supporter in lab.

IC counter is initially one;

to say IC_desc:
say "A bowl of ice cream rests on the counter. ";
if IC counter is one, say "It looks like delicious vanilla.";
if IC counter is two, say "Chocolate! My favorite.";
if IC counter is three, say "Strawberry with real chunks of fruit in it.";
increment IC counter;
if IC counter is four, now IC counter is one;

every turn when the interderminate ice cream is on the counter:
say "You had better eat that ice cream before it melts!";

Where is the line space coming from? There are hopefully only two places to look. The first is in the third sentence, "[IC_desc]". The second is in the actual description for [IC_desc].

We know that the [run paragraph on] substitution can suppress line breaks. According to the documentation:

This text substitution produces no text. It’s used only for a side-effect: it prevents a paragraph break occurring after the present text is printed, in case Inform might be tempted to place one there. Example:”

Well, let’s give it a try!

If we revise our third line of code to match the following:

the interderminate ice cream is on the counter. "[IC_desc][run paragraph on]".

Nothing changes. Let’s try adding something to the end of our substitution, instead.

to say IC_desc:
say "A bowl of ice cream rests on the counter. ";
if IC counter is one, say "It looks like delicious vanilla.";
if IC counter is two, say "Chocolate! My favorite.";
if IC counter is three, say "Strawberry with real chunks of fruit in it.";
increment IC counter;
if IC counter is four, now IC counter is one;
say run paragraph on;

That doesn’t change anything either! In this particular case, we’ll want to stay close to the punctuation. Inform makes these spacing decisions at the end of sentences, even if the influencing factors aren’t always clear. In this case, for instance, we could decorate our individual sentences so:

	if IC counter is one, say "It looks like delicious vanilla.[run paragraph on]";

That should do it! All we have to do is type those words in those brackets every time we write a text substitution. That shouldn’t add up to much in a 30k word project.

lets not run so far or so long, [run paragraph on]

Or mightn’t it? Most of us like to avoid typing when we can. We can shorten that up in a few ways. Since the inflection point is the period symbol (.) in our text, we could always approach that a different way. Credit where credit is due: Zed Lopez suggested this to me while I was fighting my way through Repeat the Ending, which has an outlandish amount of printed text.

What are we to do? Inform checks for punctuation at the end of our quoted passages, but it doesn’t check to see if we are displaying punctuation characters. How do we print a period without putting it into our sentence? We print its Unicode character. In inform, we can use a special text substitution that invokes a Unicode character code. The Unicode character code for period, for instance, 46. Where do we get this information?

Unicode references are ubiquitous. The main thing we Inform authors need is one that contains decimal codes (hex codes are apparently more popular). Wikpedia has a full list. Note that we can’t use all Unicode characters, and many of our favorites will lie tantalizingly beyond reach, as the highest possible code in Inform 10 is 65535. Humble Unicode 46 is certainly doable. We can try these:

To say dot:
say unicode 46;

To say fs:
say unicode 46;

To say p:
say unicode 46;

All will print a period. I’m partial to dot, though p is more economical. Some of our English friends might prefer fs for full stop. Any will do, as our extra space is now happily gone:

to say IC_desc:
say "A bowl of ice cream rests on the counter. ";
if IC counter is one, say "It looks like delicious vanilla[dot]";
if IC counter is two, say "Chocolate! My favorite[fs]";
if IC counter is three, say "Strawberry with real chunks of fruit in it[p]";
increment IC counter;
if IC counter is four, now IC counter is one;

alternatives

We don’t have to do it that way, though. We could strip the periods out of our substitutions altogether, and place one in initial our description code, and then append [run paragraph on] to the end of it.

the interderminate ice cream is on the counter. "[IC_desc].[run paragraph on]".

We’re already halfway to a Frankenstein text, with our first “A bowl of ice cream…” floating above the other options. We could put a single period on a line at the bottom.

to say IC_desc:
say "A bowl of ice cream rests on the counter. ";
if IC counter is one, say "It looks like delicious vanilla";
if IC counter is two, say "Chocolate! My favorite";
if IC counter is three, say "Strawberry with real chunks of fruit in it";
say ".[run paragraph on]";
increment IC counter;
if IC counter is four, now IC counter is one;

None of this quite feels like sitting down to write, though, does it? We don’t carry loose periods in our pockets around with us or else paint period-shaped specks on our screens when we write, after all.

Nevertheless, with some judicious added touches, we can usually get things to look the way we want them to.

further adventures.

Let’s say, for some reason, we wanted to make a rulebook that printed, line by line, the first stanza of John Berryman’s “Dream Song 14.” As anyone peeking under the hood of my own Portrait with Wolf might tell you, it can be hard to lay out poetry in Inform, but we can manage this one easiliy enough:

before jumping:
follow the typesetting rules;

typesetting is a rulebook.

a typesetting rule:
say "Life, friends, is boring. We must not say so.";

a typesetting rule:
say "After all, the sky flashes, the great sea yearns,";

a typesetting rule:
unless one is one, say paragraph break;

a typesetting rule:
say "we ourselves flash and yearn,";

a typesetting rule:
say "and moreover my mother told me as a boy";

a typesetting rule:
say "(repeatingly) ‘Ever to confess you’re bored";

a typesetting rule:
say "means you have no";

If we park our text at the top of a jumping action, we’ll get this:

>jump
Life, friends, is boring. We must not say so.After all, the sky flashes, the great sea yearns,
we ourselves flash and yearn,
and moreover my mother told me as a boy
(repeatingly) "Ever to confess you're bored
means you have no
You jump on the spot.

It isn’t quite right, but we can get there! We’ll need to enforce a page break between “say so.” and “After all,” because that’s how the poem goes.

If we just assert one, as in "Life, friends, is boring. We must not say so.[line break]";, we’ll come away with an extra line space.

>jump
Life, friends, is boring. We must not say so.

After all, the sky flashes, the great sea yearns,

We can use the familiar Unicode trick, or else we can append [command clarification break]. We aren’t clarifying any commands, obviously, but we are asking the [command clarification break] to do what the documentation says that it will. Specifically:

This text substitution produces a line break, and then also a paragraph break if the text immediately following is a room description brought about by having gone to to a different room and looking around, in which case a line break should be added.

[command clarification break] is, whatever its intended purpose, an excellent means for suppressing Inform’s default tendencies to make complex determinations regarding line breaks. Since we don’t usually use the specific code that the Standard Rules uses to print room descriptions while going, we aren’t likely to ever prompt unwanted extra line breaks via [command clarification break] (see here for more information).

In other words:

a typesetting rule:
say "Life, friends, is boring. We must not say so.[command clarification break]";

Is this a superior option to typing [dot]? It requires more characters, which is certainly a strike against it! Let’s look once more at the entire output. There’s a paragraph break missing there. That’s because there’s no period ending the final rule:

a typesetting rule:
say "means you have no";

Adding a period would solve everything, but what if we don’t want one? If we simply add a [run paragraph on] substitution, we’ll end up with two breaks. The answer is another [command clarification break] at the end:

a last typesetting rule:
say command clarification break;

do not accept defeat!

I’ve struggled with stubborn line breaks in past projects, but I’ve been able to figure them all out (so far). I hope I haven’t jinxed anything by saying so! For further reading, consult this forum thread for other suggestions, tactics, and commiserations.


Zarf Updates

Hugo Award stats, 2026

Back in April I took a look at the Hugo Award finalists, with an eye to seeing how the votes might divide up. I did this because the 2025 Best Game voting showed an interesting split between "indie" and "big company" voters (in some sense of ...

Back in April I took a look at the Hugo Award finalists, with an eye to seeing how the votes might divide up. I did this because the 2025 Best Game voting showed an interesting split between "indie" and "big company" voters (in some sense of those very subjective terms).

Well, the 2026 Hugo Awards were announced this weekend, and the results are... boring. No! I don't mean boring; we got a great lineup of new works across SF media, and I was excited to see them. But as statistics, there's not much to say.

(The 2026 Hugo Full Statistics report can be found on the LACon Hugo Award site.)

Best Game

The winner for Best Game was Clair Obscur: Expedition 33, a game which has already won so many award slates that the developers have run out of champagne and are now toasting with Grape Nehi. If we look at the (still very cool) Sankey diagram:

A flow-chart of colored ribbons. It begins on the left with the six nominees. Then the colors divide and converge as four of the nominees are eliminated, leaving "Clair Obscur: Expedition 33" as the survivor on the right. Best Game 2026 runoff. Click for larger version.

...we learn that the voters were heavily in favor of Clair Obscur from the kick. After each other candidate was eliminated, its partisans leaned towards Clair Obscur. So Clair Obscur won. Indie vs AAA? Narrative vs combat? Sorry, people just liked the game. That is all there is to say.

Okay, Hollow Knight voters had a thing for Hades 2, which is mildly interesting.

I was of course rooting for Blue Prince, which made a respectable second-place showing. (BP has also won a metric ton of awards, so don't take my snarking above too seriously.)

It's worth noting that when Blue Prince was eliminated in the last round, almost half its votes dropped out. That is: a large fraction of the people who listed Blue Prince did not rank Clair Obscur on their ballot at all. This indicates a strong voter split between fans of cryptic puzzlefests and hair-trigger combat mechanics... But you didn't need me to tell you that.

As for me, I still can't parry for crap so Clair Obscur is not going on my wishlist.

Since the report provides it, let me add the list of nominees that didn't make the finalist cut:

  • Split Fiction
  • Tiny Bookshop
  • The Lord of the Rings: Fate of the Fellowship
  • Strange Antiquities
  • Type Help
  • The Alters
  • Blue Planet
  • The Séance of Blake Manor
  • Death Stranding 2: On the Beach
  • Daggerheart

Yay for Type Help and Strange Antiquities! Blake Manor was also worth playing but didn't really work for me. I am sort of interested in The Alters but thinking about survival games makes me tired.

This shall not be the last you hear of Type Help. I expect to be a Hugo voter next year, and I absolutely intend to nominate The Incident at Galley House.

Best Related Work

I also paid attention to Best Related Work, because I am a fan of both Ada Palmer and Elizabeth Sandifer. (I support Sandifer's Patreon.) Here again the fans had a favorite and stuck with it, although the challengers were closer.

A flow-chart of colored ribbons. It begins on the left with the six nominees. Then the colors divide and converge as four of the nominees are eliminated, leaving "Inventing the Renaissance" as the survivor on the right. Best Related Work 2026 runoff. Click for larger version.

"Last War in Albion" (the Gaiman essay) was a hell of a piece, but it just didn't have a strong constituency.

Back in April I said "I want to read Inventing the Renaissance but I have not yet dug in and done it." Guess what, I still haven't. This time for sure. As soon as I finish the books I picked up at NecronomiCon, and the fourth Heaven's Vault book which has been making sad eyes at me for months...

Nominees that did not make the finalist cut:

  • We Will Rise Again: Speculative Stories About Political Protest, Resistance, and Hope (Karen Lord, Annalee Newitz, and Malka Older)
  • Enshittification (Cory Doctorow)
  • When People Giggle at Your Name, or the 2025 Hugo Awards Incident (Grigory Lukin)
  • Dreaming of Autonomous Vehicles (Jaroslav Olša, Jr.)
  • Nigerian Speculative Fiction: The Evolution (Chukwunonso Ezeiyoke)
  • r/fantasy 2025 Book Bingo (r/fantasy Bingo Team)
  • The Outspoken and the Incendiary (Terry Bisson)
  • Mark as Read Column (Molly Templeton)
  • The Martian Trilogy (John P. Moore, et al)
  • Spring, Summer, Asteroid, Bird: The Art of Eastern Storytelling (Henry Lien)

(I have not read any of these. Wait, I must have read some of the original "Enshittification" essay, but the nomination went to the book. Anyhow the word "enshittification" immediately outgrew Doctorow and that's the part I now remember.)

In conclusion

Blogging about Hugo statistics is boring. I should read/play/watch more works and blog about them instead. Onward to Montreal in 2027!

Thursday, 03. September 2026

Choice of Games LLC

God of Chaos—Shatter civilization as the world’s last surviving god!

We’re proud to announce that God of Chaos, the latest in our popular “Choice of Games” line of multiple-choice interactive-fiction games, is now available for Steam, Android, and on iOS in the “Choice of Games” app. It’s 30% off until September 10th! Shatter civilization and avenge your pantheon as the world‘s last surviving god! Will you liberate humanity from t
God of Chaos

We’re proud to announce that God of Chaos, the latest in our popular “Choice of Games” line of multiple-choice interactive-fiction games, is now available for Steam, Android, and on iOS in the “Choice of Games” app.

It’s 30% off until September 10th!

Shatter civilization and avenge your pantheon as the world‘s last surviving god! Will you liberate humanity from tyranny, or let the world burn?

God of Chaos is an interactive dark fantasy novel by Brennan Gilpatrick. It is entirely text-based, 325,000 words and hundreds of choices, without graphics or sound effects, and fueled by the vast, unstoppable power of your imagination.

Once you were known as the Sovereign of Lies. The Master of the Fey. The God of Chaos. Humanity feared you and hated you. An outcast even among your fellow gods, no one minded when an Alchemist order sealed you in a prison of pure darkness, away from the land of Vildmara.

After a millennium, you have finally broken free—but Vildmara is nothing like the home you left.

In your absence, the Alchemists went on to murder all of the other gods, conquer all mortal kingdoms, and force humanity into submission. Undead soldiers patrol the streets. The Fey have been hunted to near extinction. A sentient machine rules supreme. They even outlawed the name ‘Vildmara’; everyone lives in the Iron Shelter now.

Desperate to overthrow the Alchemists, a tribe of druids has freed you from the void. You are a shapeshifting, curse-slinging, charming-as-hell deity back on the scene, and in a land ruled by tyrannical order, chaos has the power to move mountains. You are the only god they couldn’t kill.

Will you aid the druids in their quest to heal the natural world, seeking out a mystical artifact that can revive the land itself? Or will you regain the trust of your ancient allies the Fey, and rally them to your cause? Maybe you’ll join the Rustmongers, and help them tear the Iron Shelter down and watch everything burn. Will you show mercy to the descendants of your captors, or subject them to sweet, twisted revenge?

Will you become a savior, conqueror, or destroyer?

  • Play as male, female, or nonbinary; gay, straight, bisexual, monogamous, polyamorous, asexual, and/or aromantic.
  • Choose your form: an infernal imp, a strikingly beautiful human, a shadowy elf, or a devious primate.
  • Romance or befriend a renegade druid, an anarchist mercenary, or the descendant of your most hated enemy.
  • Take command of the machine that rules the Iron Shelter, dismantle it safely, or sabotage it to plunge civilization into madness.
  • Show mercy to the descendants of your captors, or subject them to sweet, twisted revenge.
  • Hypnotize a masquerade ball. Command an undead legion. Ride a freakin’ Jabberwock.

The heavens sit vacant: the world is yours to shape.

We hope you enjoy playing God of Chaos. We encourage you to tell your friends about it, and recommend the game on Facebook, Twitter, Tumblr, and other sites. Don’t forget: our initial download rate determines our ranking on the App Store. The more times you download in the first week, the better our games will rank.


The People's Republic of Interactive Fiction

September meeting (online)

The Boston IF meetup for September will be Monday, September 28, 6:30 pm Eastern time. We will post the Google Meet link to the mailing list on the day of the meeting. We are still aiming at an in-person meetup in early October. The date is not yet settled. We’ll post here when we know […]

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

We are still aiming at an in-person meetup in early October. The date is not yet settled. We’ll post here when we know more.

Tuesday, 01. September 2026

IFComp News

Welcome to the 32nd Annual IFComp!

The 2026 Interactive Fiction Competition has officially begun!For the next seven weeks, players and judges around the world will be diving into this year’s crop of brand-new interactive fiction. We’re delighted to share that 71 entries have been submitted this year. We’re excited to see what this year’s authors have created, and we hope you’ll find plenty to discover and enjoy.As always, you don’t

The 2026 Interactive Fiction Competition has officially begun!

For the next seven weeks, players and judges around the world will be diving into this year’s crop of brand-new interactive fiction. We’re delighted to share that 71 entries have been submitted this year. We’re excited to see what this year’s authors have created, and we hope you’ll find plenty to discover and enjoy.

As always, you don’t need to play every entry to be a judge. You only need to play and rate at least five entries to submit a ballot. Whether you’re a seasoned IFComp veteran or joining us for the very first time, welcome!

Judging is open now and runs through October 19.

A Note About Content Warnings

Authors may provide content warnings for their entries, and those warnings are shown by default. If you would prefer not to see them, whether to avoid spoilers or for any other reason, you can turn them off using the setting at the top of the ballot.

The Colossal Fund

Our annual Colossal Fund helps provide cash prizes to the authors of the top two-thirds of IFComp entries, while also supporting the Interactive Fiction Technology Foundation and its work.

This year, we’re using Zeffy to process donations. Zeffy does not charge IFTF any processing fees, which means more of your donation can go toward authors and IFTF’s work. Zeffy will ask whether you’d like to make an additional, optional contribution to support their service. You can change that amount to whatever you’d like, including $0.

Our goal this year is $8,000, with a stretch goal of $10,000. If you’d like to contribute cash or donate another prize, you can learn more at https://ifcomp.org/about/prizes.

What’s New in 2026

Last year, we said that we planned to revisit IFComp’s rules around generative artificial intelligence after hearing from the community. We did, and IFComp incorporated a new rule for 2026.

All player-facing content in an IFComp entry must now be created by humans, including prose, cover art, and in-game assets. Entries also may not require judges or players to interact with external AI or generative services during play. You can read the complete rule, along with all of our author rules, here. Thank you to everyone who shared feedback with us as we worked through this change.

For Our Judges in the United Kingdom

The United Kingdom’s Online Safety Act continues to affect the availability of some IFComp entries to users in the UK.

As we did last year, we have taken a case-by-case approach rather than restricting the entire competition. Authors were asked during registration to identify whether their entries contain content that could be subject to the OSA, and our Curation Team reviewed entries for potential concerns as part of our pre-competition review.

As a result, UK judges may find that some entries are not available to them. As of launch, 15 of this year’s 71 entries are geoblocked in the UK. We continue to dislike restricting access to creative work, but we are required to comply with UK law. Our goal remains to limit those restrictions as much as reasonably possible.

Our Awards Ceremony

We’ll celebrate the conclusion of this year’s competition with our annual virtual awards ceremony, where we’ll announce the results and recognize this year’s authors.

The awards ceremony will be held on Twitch at 4:00 PM Eastern on October 24.

Until then, there’s a lot of IF to play!

Anything we haven’t covered? Still got questions? Email us at [email protected].

Thank you in advance for judging, and welcome to IFComp 2026!

Jacqueline Ashwell
September 2026


Eamon Adventurer's Guild Online

Solution Found: Wm. Trent’s “Search for the Key” Mystery

In the March 1991 issue of the Eamon Adventurer’s Guild Newsletter, Wm. Trent described a mystery involving Donald Brown’s The Search for the Key:Dear Tom,One of my favorite games is a short game (only 20 rooms) called “Search for the Key” (#80) by Donald Brown. For the casual player this game probably doesn’t do much for them. You cannot enter this game with a powerful character but as a beginner.

In the March 1991 issue of the Eamon Adventurer’s Guild Newsletter, Wm. Trent described a mystery involving Donald Brown’s The Search for the Key:

Dear Tom,

One of my favorite games is a short game (only 20 rooms) called “Search for the Key” (#80) by Donald Brown. For the casual player this game probably doesn’t do much for them. You cannot enter this game with a powerful character but as a beginner. I note that it is rated as a 2. My rating for it since it is such a challenge would be about 7. I have played it at least 200 times and have lost only about 5 times in the last 150 times. I would say that I know more about this little game than the author. Usually I lost because of broken weapons so that I had no way to eliminate the black panther. I usually finish up with $80,000 to $100,000 and four of the best weapons that money can buy. I don’t know anyone who ever was able to get more than two weapons. At one time I was running it as the Eamon Challenge on our BBS offering anyone who could come out of the game with $40,000 a $25 prize. No one solved the mystery so I have not revealed it. I doubt if the author even realized the quirk in the game which allowed me to win this way. I wonder if you or any of the other adventurers can figure out how I do it. - Wm. Trent

Nobody solved his challenge.

Years later, when I corresponded with Trent, he could no longer remember how he had done it.

In 2026, with considerable help from ChatGPT, I believe the mystery was finally solved.

Reverse-engineering the actual Eamon disks

The breakthrough began almost by accident.

I recently realized that ChatGPT could now Apple II .dsk disk images. Rather than relying only on walkthroughs, reviews, or surviving documentation, ChatGPT could examine the disk catalog, Applesoft BASIC programs, room and artifact data, monster statistics, and special game logic.

I first uploaded John Nelson’s standard Eamon conversion of The Search for the Key, Eamon #80.

ChatGPT reconstructed the dungeon and found several quirks that were not obvious from the published reviews. Among them was an unintended way to avoid fighting the Black Panther: the player can FLEE into the Key room, GET KEY, and then use the Key as described in the introduction by entering:

    SAY <your character's name>

The player is then teleported home.

But that still did not explain Trent’s extraordinary amount of money or his four excellent weapons.

More importantly, something Trent wrote did not agree with Nelson’s converted version:

“You cannot enter this game with a powerful character but as a beginner.”

Nelson’s standard #80 contains no such restriction.

That suggested we were looking at the wrong disk.

The original tournament version

Fortunately, a copy of Donald Brown’s original tournament version of The Search for the Key survives. I had never actually seen this version before. After locating it on Huw Williams Eamon Wiki, I uploaded the tournament edition of the game and we were able to compare both:

  • Donald Brown’s original self-contained tournament disk.
  • John Nelson’s later conversion into standard Eamon #80.

The tournament disk was the missing piece.

Unlike the later conversion, it contains its own character generator, Main Hall, weapon shop, spell shop, character records, and tournament-specific game launcher.

And buried in that code were the answers to virtually every clue Trent had given us.

Trent really did have to use a beginner

The tournament version explicitly checks the adventurer before allowing entry.

It totals the character’s armor expertise and five weapon abilities. A brand-new character begins with a total of exactly 25.

If the total has risen above 25, the game rejects the player with:

    FOO! YOU HAVE ALREADY GOTTEN THE KEY!

So Trent’s statement was correct.

He really could not simply bring an experienced Eamon character into the adventure.

John Nelson removed this tournament restriction when he converted the game to standard Eamon, which helps explain why people studying #80 years later could not reproduce what Trent described.

The perfect “beginner”

The tournament character generator gives the player 48 points to distribute among Hardiness, Agility, and Charisma.

No attribute may be below 3 or above 24.

That means the player can deliberately create:

Hardiness: 24
Agility:   21
Charisma:   3

This is an exceptionally powerful fighter who nevertheless qualifies as a brand-new character.

The extremely low Charisma turns out to be the key to the entire mystery.

The Main Hall pricing bug

Every time the player visits Marcos or Hokas, the program creates a temporary Charisma value.

The relevant code is essentially:

    C2 = CH + INT(11 * RND(1) - 5)
    C2 = C2 + (C2 = 0)
    RTIO = 10 / C2

The program accounts for the possibility that temporary Charisma might become zero, avoiding a division-by-zero error.

But Donald Brown apparently never considered what would happen if it became negative.

With a permanent Charisma of 3, the random adjustment can produce:

    C2 = -1

The resulting price multiplier is:

    10 / -1 = -10

Prices become negative, and the purchasing routine then subtracts the price from the adventurer’s gold.

So if the price is -30,000:

    GOLD = GOLD - (-30000)

The player's gold increases by 30,000.

In other words, Hokas and Marcos start paying the adventurer to buy things from them.

The $91,000 clue

Hokas sells four spells.

At the -10 price multiplier, their prices become:

BLAST    -30,000
HEAL     -10,000
SPEED    -50,000
POWER     -1,000
----------------
TOTAL    -91,000

Buying all four spells can therefore increase the adventurer’s wealth by approximately:

$91,000.

That was the moment the solution became difficult to dismiss as coincidence.

Trent had written:

“I usually finish up with $80,000 to $100,000…”

The bug naturally produces almost exactly the amount of money Trent reported.

The player can repeatedly return to Hokas until the favorable temporary-Charisma roll occurs, making the process reproducible.

Four of the best weapons money can buy

With approximately $91,000 in hand, Trent’s other mysterious claim becomes straightforward.

Marcos will sell a “very good” sword with:

    Complexity: +10
    Damage:     1D8

The tournament Main Hall permits the adventurer to own four weapons.

So the player can buy four top-quality swords:

    SWORD
    SWORD#
    SWORD##
    SWORD###

This also explains Trent’s comment that his rare losses usually happened when his weapons broke and he could no longer defeat the Black Panther.

The four swords were not merely trophies.

They were spare weapons.

We reproduced Trent’s result

We then tested the theory on the actual tournament disk.

I created a character called TEST2 with:

    HD = 24
    AG = 21
    CH = 3

Using the negative-price exploit, I learned all four spells, acquired plate armor and shield, and bought four +10, 1D8 swords, then went on the adventure.

The resulting character screen showed:


That is almost exactly the result Trent described in 1991:

  • A beginning character.
  • Four of the best weapons money could buy.
  • Between $80,000 and $100,000.

One exploit beyond Trent

Our analysis of Nelson’s later conversion also uncovered another quirk.

The Black Panther, normally the final serious opponent, does not actually have to be killed.

The player can FLEE south into the Key room, then:

    GET KEY
    SAY <character name>

and teleport home.

Interestingly, Trent apparently did not use this method. His letter says that his occasional losses occurred when all of his weapons broke and he could no longer kill the Panther.

If he had known the FLEE trick, broken weapons would not necessarily have prevented him from completing the adventure.

So in one respect, our investigation may have found a shortcut that even Trent did not know.

Why the secret remained hidden

The mystery survived for decades partly because The Search for the Key existed in two significantly different forms.

Donald Brown’s tournament version included its own Main Hall and New Characters routine. 

John Nelson’s 1984 conversion retained the adventure itself but transformed it into a conventional Eamon adventure.

The economic exploit that made Trent’s feat possible was therefore largely outside the dungeon that later players knew as Eamon #80.

Someone searching the converted adventure for a hidden treasure room or a gold-duplication trick would never find the real answer.

The secret was in the tournament Main Hall.

Solution found

ChatGPT’s ability to inspect the original Apple II .dsk images made it possible to reconstruct both versions of the game, compare their BASIC code, identify the tournament-only beginner restriction, discover the negative-Charisma pricing bug, and test the resulting strategy.

We then reproduced Trent’s published claim on the original tournament disk:

    $95,301 in gold and four +10, 1D8 swords.

After approximately 35 years, Wm. Trent’s Search for the Key challenge appears to be solved.

---------

Disclosure note: This summary was made with the assistance of ChatGPT.


Zarf Updates

The Visible Witness is now available to all

September is upon us, and with it that least regarded of the early Infocom games: The Witness. As usual, the source code repository is also live, licensed with the open-source MIT license. In addition, I've posted high-resolution scans of ...

September is upon us, and with it that least regarded of the early Infocom games: The Witness.

A screenshot titled "The Visible Zorker: The Witness". The left side of the window shows the opening of The Witness, with the opening room description. The right side shows a list of ZIL function calls and the message "What should you, the detective, do now?"

As usual, the source code repository is also live, licensed with the open-source MIT license. In addition, I've posted high-resolution scans of the original folio manual and feelies.

I wouldn't say The Witness is unfairly disregarded. It's Infocom's second mystery game, a followup to Deadline. Deadline was groundbreaking interactive narrative; it presented a huge New England mansion and a cast of dynamic characters with their own plans and schedules. (Until you, the detective, barge in to upend them.) The Witness was... more of the same, except with fewer characters, a smaller house, and a shallower mystery to solve.


The Witness is mostly remembered in the IF community for three things:

First, it's the Infocom game which can be solved in the fewest commands. People got competitive about finding minimal paths to the winning outcome. (See this comment by eriktorbjorn, for example.)

Second, the 1938 period atmosphere. It's really the game's best quality. You start out schlumfing up those mean streets (or a mean driveway) on a chilly Los Angeles night with a storm moving in. Thunder crashes, Monica's grey eyes flash, and the language never lets up. The packaging and the text glitter with love for the noir era.

A red matchbook from a fictional restaurant called "The Brass Lantern". The phone number "ADeline 1308" is printed on the cover; another number, "CHANDLER 1729", is hand-written inside. The back says "Good luck, long life" with a circular Chinese symbol. I wrote a whole other post about this matchbook from the game package.

(Okay, not noir exactly. You're still a police detective rather than a down-at-heels private eye. Still, it's a scene you can get your teeth into.)

Third, the flip side: the weirdly toothless portrayal of Freeman Linder's weirdly Orientalist household. As Drew Cook points out, The Witness is a double period piece: 1930s California as depicted by 1980s Boston tech guys. The result is Phong the butler, described as "obviously Asian, but no definite nationality". Nor does he have a definite first name, or any definite motivation or personality other than sniffy resentment of his boss. The player is apparently expected to accept this and never inquire more deeply than Linder does.

At least Phong's dialogue is pointedly free of comedy Asian dialect. This is a step up from Deadline's panto Scots gardener and Black-unless-she-isn't housekeeper.

Actually, there's a bit more to note about Phong. The game never gives him another name, but we have an archived design document which refers to him as "Hui Phong". (Design doc is SPOILERS if you haven't yet solved the mystery!) Indeed the game accepts HUI as a synonym for PHONG.

But this raises a question. By the time I graduated college, "Phong" didn't come off as an ambiguously Asian name at all. It was immediately recognizable as the given name of Bùi Tường Phong, a Vietnamese scientist in the brand-new field of computer graphics. (I hope I copied the right diacriticals.) Anybody who studied CGI around 1990 would know what "Phong shading" was.

But would game developers in 1983 have known? Bùi Tường's paper was published in 1975, shortly before the man died of cancer. (Shockingly young, and very possibly as a consequence of US defoliants in the Vietnam war.) Had "Phong shading" made the rounds at MIT by 1983? Did the Infocom crew select "Phong" as a generically Eastern name, or was it intended to read as Vietnamese -- or a reference to a specific person -- to the knowledgeable eye?

I honestly have no idea. But I wanted to add that context to the discussion.


One more quirk of the month. The Witness is the first Visible Zorker game I've tackled with no source code for a released version.

We have source code, yes. But it's not the source code for The Witness release 22, the version on the Masterpieces CD and the last official release of the game. The source code is for release 23 -- a dev version which was in progress (and apparently abandoned) in late 1984.

In fact, the source code doesn't even match release 23 perfectly. In a few places, the source code was clearly updated, but never recompiled. (There is no "r24".) The most obvious example is the game banner:

The WITNESS: An INTERLOGIC Mystery
Copyright (c) 1983 Infocom, Inc. All rights reserved.
WITNESS and INTERLOGIC are trademarks of Infocom, Inc.

The r23 and r22 game files have the same banner, as does every known earlier version. But if you look at the source file, it's quite different:

    <TELL
"The WITNESS
Infocom interactive fiction - a mystery story|
Copyright (c) 1983 by Infocom, Inc.  All rights reserved.|
">

Someone went through and rubbed out the "INTERLOGIC" trademark, which Infocom was discarding around 1984. They also commented out the TANDY bit check. Neither of these changes are visible in the playable r23 game file, nor in the intermediate compile stages verbs.zap or verbs.xzap.

This left me with a problem. I always prefer to use the Masterpieces release of each Infocom game for the Visible Zorker. That's the version which almost everybody sees these days, whether on an archive site, GOG, or a dusty CD off Ebay. But I had no r22 source to work from.

(I tried comparing r23 to r22 but the differences were too great to paper over. Mostly having to do with rearranged code, rather than changes to game behavior. Still: too much to account for.)

My only option was the r23 game file. Again, this is an in-development version and may have bugs. Okay, sure, every Infocom release has bugs. But this version may have bugs that would have been caught during QA! Keep an eye out.

Then there's the differences between the archived r23 source and the r23 game file. Fortunately, these were minor. The banner trademark and a couple of tweaked messages seem to be most of it. I have done my best to revert the source code to the exact state it was in when the r23 game file was generated. I may have missed a spot; I apologize if so.

More reading:


On the scanning side, I have now completed my set of high-res scans of the folio era. Enchanter and Seastalker are new to my collection this month.

I don't have any of the grey-box releases, and I don't feel the urge to start collecting them. See the MoCAGH collection (Archive.org mirror) if you want those. I'm probably done scanning Infocom stuff... unless interesting ephemera turn up.


Upcoming work:

Visible Planetfall will be the next public release on October 1st. Enjoy your visit to Resida, land of foonetik speleeng.

Patreon supporters got access to Visible Planetfall a month ago, and Visible Enchanter today. Please remember that the Visible Zorker is a Patreon-supported project! Your donation is immensely appreciated. (And credited in each game's "About" page, of course.)

And finally, no September 1st IF post would be complete without a link to the Interactive Fiction Competition! It's not quite open, but it will pop sometime on Tuesday. Scores of newly-hatched IF games for you to play and (I hope) rate. Enjoy.

EDIT-ADD: In fact, 71 new games, available now.

Monday, 31. August 2026

Key & Compass Blog

New walkthroughs for August 2026

On Monday, August 31, 2026, 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. Kinophobia (2025) by Bruno Dias In this spooky […]

On Monday, August 31, 2026, 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.


Kinophobia (2025) by Bruno Dias

In this spooky game, you play as an exorcist hired to spiritually cleanse the abandoned and haunted Armature Studios of its twenty-four ghosts who each died in a different year. To banish them, learn their names, causes of death, and years of death. Ari, your research assistant, is just a text away.

This game was an entry in Ectocomp 2025’s Le Grand Guignol (English) division, placement to be determined.

IFDB | My walkthrough and maps


Grand Island Bank Robbery (2026) by Mathbrush

It’s Valentine’s Day, 1925, in Grand Island, Washington. In this triptych story of crime, justice, and love, you play as Cooper “Coop” Johnson, a would-be ne’er-do-well. To become the newest member in Boss Hogg’s gang, find and collect all the treasures hiding in the Grand Island Bank. Can you do it? Should you? What would the boss say?

This game was an entry in ParserComp 2026, placement to be determined.

IFDB | My walkthrough and maps


Dead Man’s Chest (2026) by Garry Francis

In this game, you play as a nerd who, while doomscrolling old newspapers in the library, read that the treasure chest of the notorious pirate, Captain Cutter, is hidden somewhere in or near his now-abandoned Scottish mansion. This is your chance to be the treasure hunter you always wanted to be! You plan to break in and find that dead man’s chest for yourself.

This game was an entry in ParserComp 2026, placement to be determined.

IFDB | My walkthrough and maps


Acid Whiplash, or, Rybread Celsius Can’t Find a Dictionary (1998) by Ryan Stevens (as “Rybread Celsius”) and Cody Sandifer

In this surreal extravaganza, you seek fulfilment by learning more about Rybread Celsius, that fabled interactive fiction author who is both regaled as a master wordsmith and reviled as a gibbering gargoyle. Find a dictionary and enjoy mad textdumps! Hic! Haec! Hoc! Who loves ya, baby?

This game was an entry in IF Comp 1998 where it took 23rd place.

IFDB | My walkthrough and maps


The City (1998) by Sam Barlow

In this odd small game, you play as a man in a featureless room with a video recorder, a tape, and a control. The sole exit leads to a dead end where a suited man is standing. Play the tape, ask the man your questions, and learn what you can about the city.

This game was an entry in IF Comp 1998 where it took 13th place.

IFDB | My walkthrough and map


The End Means Escape (2000) by Steve Kodat (as “D.O.”)

In this short but exceedingly surreal game, you start in a room where everything moves and talks on their own. Later on in this adventure, you’ll escape from a dictionary, meet people who don’t move or talk at all, and orbit a sun.

This game was an entry in IF Comp 2000 where it took 21st place. At the 2000 XYZZY Awards, it was a finalist in the Best Puzzles category.

IFDB | My walkthrough and maps


Nerves of Silicon (2026) by Dissolved (aka DissoluteSolute)

In this short sci-fi game, you play as Sam Nave-Trench. You drew the short straw, so you’re the first to wake from suspension. Your coldsuit is here to protect you from Antarctica’s chill. You find a memory of you, Acacia, and Janet at your wedding. And there’s the mindstrate in which your essence recently resided within its spooky silicon nerves. But you have a job to do. You may well have forever, but let’s not waste it.

This game was a participant in Shufflecomp 2025, where it placed 12th overall, and 13th place in the Use of Songs.

IFDB | My walkthrough and map


A Very Strong Gland (2024) by Arthur DiBianca

In this sci-fi puzzlefest that uses limited commands, you are abducted by aliens to their vessel so they can test your intelligence gland. During the testing, the vessel crashes. Gain their trust and help them fix their own vessel, proving you have a very strong gland indeed!

This work was an entry in IF Comp 2024 where it took 19th place.

IFDB | My walkthrough and map

Sunday, 30. August 2026

Renga in Blue

Twin Kingdom Valley (1983)

It’s not your world. You arrive there and you’re a person, a creature, just like all the others. You see something shiny and think maybe you could go get it, so off you wander. You’re not controlling the game – you’re part of it. — Trevor Hall, interviewed in 2006 With this, we reach one […]

It’s not your world. You arrive there and you’re a person, a creature, just like all the others. You see something shiny and think maybe you could go get it, so off you wander. You’re not controlling the game – you’re part of it.

Trevor Hall, interviewed in 2006

With this, we reach one of the most well-remembered games of 1983.

It is often mentioned in the same context as The Hobbit, and this includes advertising from the time (“EAT YOUR HEART OUT BILBO!”) The setting is a “mythical place where two kings reside” who “hate each other”; you are an “adventurous, bounty hunting, greedy human” and your goal is to “finish the game with as much wealth as possible”. This is a standard treasure hunt, in other words, but it has illustrations for all the rooms, and it has dynamic NPCs (the latter point being why it gets compared to The Hobbit).

The author, Trevor Hall, has an unfortunate namespace clash with a more famous musician, but fortunately he’s done multiple interviews (1, 2, 3, 4) so I’m able to give some history.

P. M. Skinner is Pete Skinner, a friend of Trevor’s.

Trevor Hall studied Computer Science in Manchester, getting a taste of arcade games at the student union and obtaining his first computer, the text-only Acorn Atom. By 1982 he started publishing with Bug-Byte.

I think I did what many others wanting to publish did (and presumably still do):
1: Find a game publisher who already exists, and has some titles available, and adverts in mags etc.
2: Send the game for evaluation.
I think Bug-Byte was the first I tried, and they offered a good royalty rate. I don’t know where the company got its start up cash, but there were 3 main players who handled (or mishandled) all that. They had some advantages, like a good artist, a very good deal on rent in a new unoccupied building, their own tape duplication machines. They built a good name from the Spectrum Manic miner series, BBC micro stuff from me and others, and some C64, but lost the Manic Miner programmer to another company. That was probably a bad turning point for them.

In this case he did not simply send games to be independently evaluated (like Simon Wadsworth where his second game Time Warden fell down a black hole and he switched to making games for Artic): he had demo games impressive enough to be a regular contract worker for Bug-Byte. The company has featured here enough times (including the Manic Miner kerfuffle) I won’t recap their history other than to say they were one of the most prominent software houses soliciting games from anyone.

Bug-Byte was getting 20 or 30 games submitted some days and most of them were useless and went straight in the bin but some were excellent.

— Chris Cannon, who selected games for publishing at Bug-Byte, via Acorn: A World in Pixels

Hall has four games credited for 1982, and two more for 1983 prior to Twin Kingdom Valley, all for BBC Micro: City Defence, Galaxy Wars, Space Invaders, Dogfight, Sea Lord, and Oblivion. Space Invaders is worth a screen as Trevor credits working on the game as how he learned assembly language.

The single-pixel bullets mean the barriers last a bit longer than regular Space Invaders.

Hall’s first experiences with adventure games were his friends playing Crowther/Woods which appeared on “big computers” at the university:

I never got very far in Adventure. There was some version of some system at the university, which we found fun to play, but, time on those systems was limited, and we had to study sometimes.

He remembers one of his friends commenting on the characters “standing still” with the same puzzle to solve whenever a character is encountered. He saw some home computer games with the same issue:

The troll was always standing by the bridge. It made no sense! So I thought, why not make every creature in the game, including oneself, pretty much the same. Make everyone able to walk around, pick things up and fight. Let them interact.

In other words, he wanted a game where you are not the protagonist of a story, but rather part of a world.

He and some friends drew maps (using “little green pieces of paper he’d swiped from the computer science lab”) and worked out how connections to other places could be described in a “few bytes”. He describes the parser as “easy” (“tokenize the text, and recognize a verb and an object”) but had more trouble with the graphics. He wanted 3D but found it to be too slow, so he used scaled pictures instead with flood fill. The general idea was to have scenes not thought of as being single pictures (like Sierra) but compositions of objects; he modified the code so “program wouldn’t attempt to draw underneath something that was already there.”

Road outside wooden cabin at the start of the game. The game states outright “the picture is your view north”.

The trees from the scene above are both the same object image, drawn at different scaling levels. Sierra’s Time Zone and Melbourne House’s The Hobbit would have both trees drawn as individual graphics. Rather than a “picture book” model, Hall aimed to make an “environment” akin to modern 3D worlds. Note that Hall’s “priority drawing” system glitches a little bit with one of the flowers; it gets drawn in whole but then some of the tree lands on top, while most of the tree is drawn “behind” the flower even though it appears on the screen after the flower. When Hall talks about Pete Skinner drawing “many of the objects” he really means objects, not entire scenes.

His world-representation paradigm (thinking of the world as “3D space” even though it isn’t) applies not just to graphics but to text. Graphics are reused where you see things from farther away or closer, but the rooms are designed such that things seen from afar can be included in the textual description. Despite the BBC Micro being relatively plentiful on space this sort of maneuver was needed in order to include all 175 rooms he was aiming for.

Hall talks more about his NPC design in his interviews but let’s come back to that when we have some more context, and get into the game itself. From the start there is again the eternal question: which version? The original is BBC Micro; there’s also the Electron, Spectrum, and C64, and I know at least the C64 has more rooms than the BBC Micro version does (so revisions happened, like The Hobbit). Still, comparing all the graphics, the BBC Micro version looks the most “intended”; the graphics appear designed for a screen with a particular color scheme and resolution.

C64 version. Notice how the flowers look a little mangled. There’s an animated hopping bunny, though!

The game helpfully gives six options for how text and graphics work:

1 Draw picture if room unvisited, give long description
2 Draw picture if room unvisited, give short description
3 Draw picture always, give long description
4 Draw picture always, give short description
5 Don’t draw picture, give long description
6 Don’t draw picture, give short description

For the moment I’ve set things to always show pictures and long descriptions, but let me show long vs. short in the starting rooms.

You are on a road.
North you can see a wooden cabin.
North east is a forest path.
East you can see a road.
West you can see a road.
South is a wooden fence through which you can see forest.

?N

You are inside a wooden cabin
South you can see a road.
There is an empty stone jug here.
There is a brass key here.
There is an unlit oil lamp here.

The “short” version cuts out all the direction descriptions: just “You are on a road” and “You are inside a wooden cabin” without mentioning what is east/north/etc.

The cabin is where the treasures go.

The map is not only large but immediately open, so I’ll save giving the lay of the land next time, but one quick visit to another place:

The gorilla is an enemy you can fight that can also follow and randomly thwap you with the club it is holding. The enemies can pick up weapons that happen to by lying around; again, this feels strongly like MUD behavior. An elf was nearby and later the gorilla had nothing and the elf had the club; it appears the elf simply stole the club.

A gorilla is here with nothing.
An elf is here with the following
  A wooden club

Allegedly the puzzles aren’t elaborate (at least compared to The Hobbit) so this really does give a different feel than a standard adventure game. I’ll report back in next time if that holds up.

Thursday, 27. August 2026

Renga in Blue

The Temple: Dangerous to Move In the Dark

(Continued from my previous post about what is likely the first adventure game written in Sweden on a home computer.) I may not have squeezed out every single piece of working game from The Temple, but I’ve squeezed out most of it. Once past the initial issue, the game’s crashes don’t come back until later, […]

(Continued from my previous post about what is likely the first adventure game written in Sweden on a home computer.)

I may not have squeezed out every single piece of working game from The Temple, but I’ve squeezed out most of it. Once past the initial issue, the game’s crashes don’t come back until later, but they come back spectacularly.

The only Janic bag I’ve found multiple pictures of, from Tradera. They were the company that later picked up Commodore products and ended up sending their PET computers to Datatronic when they went bankrupt.

Exterior of Janken Minidata, where the PET computers eventually ended up. Source.

I switched to just using v1 (although anyone adventurous enough to edit the game might want to look at the early version of the game as well). After fixing the “burn” issue (where I changed “go” into “goto”) and I made sure to use directions with abbreviations (“n” instead of “go north”) I was off and running again. It took a while before another hard crash. I still am not clear if this was “left unfinished” or just undone by the bugs (caused by bad transfer issues, perhaps?).

To recap the action, we start in a cell with a bed that has a pillow and matches, and nothing else useful. If you hang out long enough in the toilet room someone arrives to deposit an item.

Me messing around with random directions in case leaving room directions out is one of the game’s issues.

Regarding the “kn” typo above, I assume the intent is the word “in”. In PETSCII the binary for “k” is 01001011 and the binary for “i” is 01001001, exactly one bit difference; of course it could be a perfectly ordinary human-made typo, but this sort of thing does make me suspicious. (See “Scgtt Adams” from The Golden Voyage, clearly a one-bit error.) The game also uses KNVENTORY rather than INVENTORY.

Going back to the main cell, there’s a bowl with food, and inside the food is a saw-blade. It looks like we have a friend on the inside, on our mission, which is to (????). (Really, I still don’t know. There’s dragons later and a diamond but the game just being a treasure raid doesn’t mesh with something else you’ll see later. Maybe it’s a mixed quest where we have multiple goals.)

You can then cut the door with the saw (“That was a hard work”) and get farther inside.

The first of three maps.

There’s a “gray corridor” with a locked door we can take care of in a moment; going upstairs to the kitchen, you can find a knife in a cupboard (which will get used much later).

There’s also a warning about “watchers” in the room to the east which you fortunately don’t need to heed too closely.

They’ll only wake up if you PRESS BUTTON which sets off an alarm.

The keys can be used to both the window and the downstairs door. It’s better to unlock the window first because once you unlock the downstairs door (another cell) you’ll lose the keys going in.

You’ll lose the keys even if you drop them off elsewhere first and aren’t holding them, so this counts as a bug, but maybe it’s a bug in a “plot continuity” sense; you need the wire to get out of prison, and there’s more keys outside the prison, so this is a clean way to avoid referring to two sets of keys. Just: it’s a softlock if you lose them too early.

So far, the items: matches, pillows, wire, knife, explosives. Heading outside the window, there’s a fire-escape going up, another locked door, and an exit to the west. There’s another locked door (which you need those keys for!) although the door is jammed from the other side so you can’t go through anyway.

To the west in the prison yard there’s a parked car, but you can’t do anything with it yet, so it’s time to go up the fire-escape and use the wire as a rope.

Can you climb a wire in real life? It happened in Ferret as well.

This is not an intensely guarded prison, but I’m guessing our Man on the Inside might have helped with that.

The landing spot has some driftwood and a boat at a sea. If you try to swim in the sea, you die; if you try to go via boat, you die.

It is faintly possible this is not just intended as a death-trap; while this is a “biome journey” of sorts like Wizard and the Princess nothing is one-way. In fact, it seems to be useful to maybe go back into the prison.

The reason you can’t unlock and go through the front door of the prison is the stone as seen above. I would think the explosives would take care of that problem but I never got them to work. If you do this, when you get the car-keys later (which you’ll see shortly) I think you can possibly drive the entire car out and do things with it.

Moving on from the unexploded rock, heading north there’s a ferry. Get on and you can find a radio, the car-keys (told you) a book, and a button. Pressing the button causes the ferry to move to a new destination. You can re-press the button to go back.

Voilà, the third map:

Straight off the bat you can find a pistol (if you try to KILL anything before finding the pistol the game says you need one). Then there’s a bit of branching, including:

▸ a desert with an note, a torch, and a cactus; the note says the nose can be very useful.

▸ relatedly, on a “narrow ledge” you can find a pamphlet mentioning you can TURN the nose in all directions

▸ a “high wall” with some scratchings; reading them reveals the word DIRAM, although I tried to use it and crashed the game

▸ a “liane” in a swamp which baffled me for a while; I realized after a bug I’ll show off later that it was referring to liana vines but for a while I thought it was a person and tried to talk to them

▸ with the liane you can tie it to a pillar at a collapsed bridge and retrieve some ratsbane

The use of the word reminds me of Citadel Adventure using the word “embrassures”. Sure, it’s technically a word in English (spelled wrong) but it’s extremely rare compared to all the other English words; this is the sort of move someone who learned English as a second or third language would make. I would guess the Swedish equivalent (lian) is more common? Mooware on Bluesky pointed out that liane is vine in German (spelled that way) so maybe Stefan Modin was just mixing languages generally.

Now, for that bug that led me to realize it was a vine in the first place: if you go north from where you find the pamphlet, you’ll end up in a dark place.

I was able to goto 7 and keep the game going, but without light. I tried “go hole” and usually died…

…but one time I successfully made it, coming across a treasure with dragons and a chest.

The buggy room has a letter you can read and find the word LOUZI; trying SAY LOUZI teleports you to a new area.

The new area includes a pit with rattlesnakes and a shovel. I have tried digging many places with the shovel although I admit I have not tried digging all the places with the shovel (that is, taking it all the way back to the prison yard etc.) I feel like I’ve hit the “broken threshold” enough that I can’t distinguish between a puzzle and a bug, so this seems like a good spot to close things up for now. If I ever get confirmation the game is fixed to the point of being completable (maybe not all the bugs) I’ll take another swing.

For now, we’re headed back to England, as coming up: Twin Kingdom Valley.

Tuesday, 25. August 2026

The Sharpee Blog

Actors are Actors

Admittedly, both Sharpee and Chord are still very young and cranky. I continually find seams in both through working with Chord. In my latest set of activities, I started to port my old Textfyre game, Jack Toresal and The Secret Letter, to Chord. I'd talked to Mike Gentry
Actors are Actors

Admittedly, both Sharpee and Chord are still very young and cranky. I continually find seams in both through working with Chord. In my latest set of activities, I started to port my old Textfyre game, Jack Toresal and The Secret Letter, to Chord. I'd talked to Mike Gentry earlier in the year about making a new version with specific changes and he loved all of it. Sadly, he's moved on from IF and was not interested in helping. I'll eventually have a separate post about these changes, but I'll summarize by saying I'm opening the world up and removing the rails (those were intentional for the target audience) and changing the main character in a very important and present-day meaningful way. I am using Claude to port the code, but all content changes are mine, including puzzles/logic/text.

A problem surfaced from complaints I had about event capturing in actor/npc blocks in Chord. There was a lot of what I call inelegant phrasing to the syntax. That led to digging into the differences between the player character and NPCs in Sharpee and Chord and this seam was telling me that NPCs needed to be dissolved into the platform and Actor was a singular architecture concept.

This is the offending language that started everything...

after entering it, while the stall is blocked
  phrase keeper-yells
  move the player to an adjacent room, randomly
end after

I was bothered that a) the target actor is not identified here, and b) 'it' is ceremonial and not really necessary. Pushing on those two seams followed this progression:

create the sword
  on taking it
    refuse sword-not-for-you
  end on
create the sword
  on the player taking
    refuse sword-not-for-you
  end on

In the below example, we explicitly say who the event capture is targeting...in this case the Actor currently designated as the player.

create the Grocery Stall
  a room
  states: open, blocked

  after the player entering, while the Grocery Stall is blocked
    phrase keeper-yells
    move the player to a random adjacent room
  end after

The only exception is an actors own block:

create Jack
  a person
  playable
  starts in the Northwest Junction

  on going while the wandering mercenaries is aggressive
    refuse merc-held
  end on

In this case, there is only one target actor so explicitly naming the actor would be redundant.

And for 'it' and 'its', they survive in one place: Trait definitions...

define trait kick-escape
  on the player kicking
    refuse when it is oblivious: merc-dont-provoke
    phrase merc-break-free-kick when it is aggressive
    change it to approaching
    reset its lunge
    start its recovery
  end on
end trait

This also led to the player being a role that can be changed.

Before...

create the player
  starts in the Northwest Junction
  kick-yourself
  wears the old gray cloak
  wears the woolen cap
  wears the boots
  carries the cloth satchel

  Jack Toresal, who has been a boy in this market for as long as anyone here has
  bothered to look.

  on going while the wandering mercenaries is aggressive
    refuse merc-held
  end on

  after going while hunted
    restart waiting
  end after

And now that will be...

create Jack
  a person
  playable
  starts in the Northwest Junction

  Jack Toresal, who has been a boy in this market for as long as anyone here has
  bothered to look.

  on going while the wandering mercenaries is aggressive
    refuse merc-held
  end on

With the new block...

before the game starts
  change the player to Jack
end before

Which allows us to change the player character when we choose...

create Viola
  a person
  playable
  starts in the Chapel

  Viola.

create the Chapel
  a room

  A chapel.

  after Jack examining the seal
    phrase cut-to-viola
    change the player to Viola
  end after

And now all actors in chord are the same and one is the player character at any designed time. All of their actions thread through the platform exactly as the player character does today. (and no, this was not the case for the current npc-plugin architecture).

This is a very big change to Sharpee and Chord, so needs full regressions with both and the platform and chord sample stories.

Monday, 24. August 2026

Choice of Games LLC

Author Interview: Brennan Gilpatrick, “God of Chaos”

Defy nature’s laws and avenge your slain pantheon! Humanity once feared and hated you, but now, awakened from a thousand-year slumber, you are their only hope. Will you liberate them from the tyrants who now rule over them, or let the world burn? God of Chaos is a 325,000-word interactive dark fantasy novel by Brennan Gilpatrick. It releases next Thursday, September 3rd, and you can wishlist it on
God of Chaos

Defy nature’s laws and avenge your slain pantheon! Humanity once feared and hated you, but now, awakened from a thousand-year slumber, you are their only hope. Will you liberate them from the tyrants who now rule over them, or let the world burn? God of Chaos is a 325,000-word interactive dark fantasy novel by Brennan Gilpatrick. It releases next Thursday, September 3rd, and you can wishlist it on Steam today! We sat down with Brennan to discuss the game.

You’re coming to Choice of Games with a lot of videogame-writing experience, most notably for the first-person shooter Payday 2. What was it like writing for an established franchise? How did you approach writing within the boundaries of an already-created property?

Payday 2 will always have a special place in my heart. My friends and I played that game to stay connected during the pandemic, so joining that narrative team not long after was incredibly exciting. It was also a big responsibility. The Payday franchise has a devoted and vocal fanbase; they’ll let you know if you get something wrong.

When writing for an established franchise, my first priority is to understand the characters. I study their personalities, histories, relationships, et cetera. Through this, I receive crucial insights about the storyworld. Personalities show me the story’s tone. Histories reveal the rules and mechanics of the setting. Relationships teach me what behaviors are “believable”. Characters are the first aspect of a story that audiences connect with, and Payday 2’s ensemble cast is particularly beloved. Once I felt I could write those characters, everything else came together.

In God of Chaos, you’ve created the potential for a massively powerful PC, which had to be a lot of fun! How—if at all!—did you constrain the PC’s power? And conversely, what’s your favorite wacky thing that the PC does with their power?

Writing the PC in God of Chaos was a blast! Whenever I read about different mythologies, the trickster deities always seem to have the most fun. I really wanted to capture that free-spirited mayhem here.

However, I knew the PC’s power couldn’t go totally unchecked. The stakes would feel nonexistent. My solution was not to nerf the PC, but to raise the danger of the world around them. Early in the story, an Alchemist faction develops an arcane crystal that can, among other things, kill a deity. When they conquer the land, the Alchemists integrate this crystal into their weapons, their machines, everything. The one thing that can harm the PC becomes woven into the very fabric of civilization. Boom! Stakes galore.

My favorite flex of the PC’s power happens near the middle of the story. During a ballroom fight scene, the player receives the opportunity to: A) present themself as a massive cosmic entity, B) take command of the gruesome undead soldiers present, or C) hypnotize the Alchemists into a group dance Beetlejuice-style. Each of these scenarios was so much fun to write, and I think this moment really captures the PC’s versatility. You can be epic, horrifying, and downright absurd; all are equally valid to the character.

There’s some fascinating worldbuilding in God of Chaos: you’ve got Fey creatures and divine magic on the one hand, and railroads and flying ships on the other. What’s the dynamic between magic and technology in this world?

The dynamic is combative to say the least. In the beginning of the story, Vildmara is a land of gods, monsters, and everything in between. The human race grows desperate for some sense of control, and they use technology to achieve it. In classic human fashion, they overstep. Vildmara becomes the Iron Shelter, an empire of machines and industry.

Technology in this world seeks to eradicate magic, and vice versa. As the last living god, the PC has a chance to decide how things play out. They can favor chaotic magic above all else, or embrace technology and the control it represents. Or, they can strive for balance. Or ignore the struggle entirely and just wing it. It’s up to them!

In addition to your extensive game-writing career, you’re also a novelist! Your debut novel Battery Life is set in a sci-fi dystopia–a very different world from the one in God of Chaos. Where did the seed of that story come from?

It’s so funny you bring this up! I was recently comparing Battery Life to God of Chaos, and while the settings are very different, I noticed some thematic overlap. Both stories concern the painful transformation of a world. In Battery Life, it’s our Earth plunging into a neon-soaked dystopia. In God of Chaos, it’s a fantasy world forced into an industrial revolution. I must have dramatic, world-shifting cataclysms on the mind. Wonder what that’s about!

I wrote Battery Life from a story that I outlined with my best friend since high school. It’s an amalgamation of all our favorite sci-fi concepts from books, movies and video games. It’s also a meditation on the unreliability of mentor figures; something I was working through while writing. The story involves a young woman whose remote space station crashes back to war-torn Earth, landing her in the path of a charismatic and untrustworthy scavenger. It’s a love letter to post-apocalyptic roadtrips. If people like God of Chaos, they should check it out!

What are you working on next?

Great question! I’m currently doing narrative design for an RPG project in its early stages. I can’t say too much about that yet, but the team is very talented, and I think we’ll have something cool to share soon!

Regarding personal projects: I have a few ideas for a new interactive fiction game, and I’m about to DM again for the first time in ages. I also have an outline for a dark romance horror novel, inspired by my strange late-night drives while living in LA. I’m very excited about all of these concepts; I just need to decide what to tackle next. Stay tuned!

Sunday, 23. August 2026

Renga in Blue

The Temple (1982)

The last time this blog visited Sweden was with Stuga a full 15 years ago; one day, I will go back to that game and toss in the history of Swedish mainframes and academic computing alongside. However, we’ve got a complicated story with enough threads as-is. The threads will eventually unite in the late 70s. […]

The last time this blog visited Sweden was with Stuga a full 15 years ago; one day, I will go back to that game and toss in the history of Swedish mainframes and academic computing alongside.

A 1963 photo of the BESK, via Stelios Kessanidis on Facebook. The BEST (1950) and follow-up BASK (1953) were the earliest Swedish computers.

However, we’ve got a complicated story with enough threads as-is. The threads will eventually unite in the late 70s. Let’s start in Italy–

I graduated in 1953, precisely the year the first transistor was presented by my old professor under a showcase in a display case. Those were truly different times, there was everything to do, everything to invent, everything to build.

— Massimo Rinaldi, via a 1992 interview with M&P Computer

One way to arrive at the mini-computer, the computer small enough for a regular business, was to start with the design of giant mainframes and work down; that’s how Data General worked, as told in my story on Thissala. Another way was to start with simpler machines and work up. This was the method adopted by Massimo Rinaldi.

After his graduation in 1953 he spent a brief time with the company Hasler (design, they were a competitor to IBM) followed by some work at Raytheon (radar and telemetry). He broke out on his own in 1969 and founded Transimatic Italiana, intending to make his own calculating devices. He had great success in ’62-’63 selling what he dubbed the ED 114 straight out of his garage. It went for 3,135,000 Lira in 1962 (about $53,000 in modern USD) and had “addition, subtraction, multiplication and statistical functions, but not division”. Despite his success, when he made his next product (first dubbed the elma 3000 with his garage version, later named the IME 84) he had trouble getting it off the ground as he needed partnership with a real company with a real factory. (It was more of a mass-production product, rather than one expensive enough where he could custom-make one for each customer.) It took him a year (and multiple brush-offs with Olivetti) but he finally found one with Edison S.p.A., selling his company and becoming head of research and development.

The IME 84 came out in 1964, and while it was not the first desktop digital calculator (see my story on the British company Sumlock), it was one of first fully transistorized ones, or you could say “modern” ones. (The “one of the” phrase is because the Friden Model 130 and Sharp CS-10A both came out in 1964. Rinaldi did have patents and successfully defended his US patent against Sharp.)

It still had a foot in the past; for example, the multiplication and division signs had different equal buttons, and addition was still counter-based rather than binary-based; this was improved on two years later with the 86S model.

By the end of the 60s he had founded a new company with the Mael line, and while he called it a “calculator” in an interview, the Mael 4000 is sometimes cited as being a computer. It’s not really a “desktop computer” as much as a “desk that is a computer”, but it does do the majority of operations one might expect to buy a Data General Nova for, and it is technically programmable (although designed to stay only with accounting operations). It came with 2K of memory (expandable).

Via technikum29. Source. The electronics are in the cabinet to the right.

Mael’s products eventually diverged into regular computers, although nothing that was a serious “hit” for the general public; their products after tended to lean more to calculation devices for business, rather than trying to surf the hyperwave of personal computing.

Mael is the first company involved in this complex web; next up comes Diehl, from Germany.

Diehl was founded in 1902 and did precision metal forging (like door handles); they started making mechanical calculators in the 1950s (see example video above) and by the 1960s made their own electronic transition. They landed a little later than the IME 84 (by two years) with the Combitron. The electronics were designed by an American, Stanley Frankel, formerly a physicist with the Manhattan Project.

A portion of the Combitron’s layout, via Facebook.

Similar to Mael, they entered the computer market from the bottom-up, making their computation devices elaborate enough to do the same accounting you could do on a computer (not play Spacewar, alas). Also similar to Mael, they finally had what people would recognize as “proper” computers by the late 70s, with almost no effect on the market.

Source. These sold from 1977 to 1981.

Since we’re not juggling enough balls yet, let’s go back to the 50s yet again, this time in Sweden. Handic Bolagen was founded in 1952 (president: Gunner Wenner­ström, vice-president: Stig Wenner­ström). They focused on audio equipment like radios and broadcast receivers, mostly produced with a distinctive orange color, although they also had a line of sports equipment (golf, skiing, boating, the “high end” sports).

Ad from the Jan. 1975 issue of the Swedish magazine Radio & Television.

In 1977 they were sold to the investment company Svenska AB Navigator. I’ve seen a source say this means they were now state-owned but it’s a little messier than that. Svenska AB Navigator was formed in 1969 as a sort of “collector of companies” with the main purchasers being affiliated with state enterprises and a pension fund. As of January 1976 28% was with state enterprise, a third was with the pension fund, a small portion was cooperatives, and the rest (28%) was holdings by private owners of the original companies; they had non-voting shares after selling out to Navigator. Essentially this was a back-door method of state company ownership without a vote from Parliament.

Two more threads to follow! The first is Datatronic. They were founded in 1968 by Torsten Frey and Hans Sundén and started selling mini-computers (of the “calculator” bent) to businesses in 1970, specifically the Mael line. They picked up the Diehl line in 1975; based on the timespan, this means they were selling the Mael 4000 (the combination desk-calculator) before switching to Diehl and then being bought by them outright. By 1977 Diehl wanted to drop them, although I’ll return to that point in a moment.

Our final thread is still in Sweden and the company Janic, founded by Jan Bergekrans. In the earlier years of the company they did handbag sales. The founder one day had read about Commodore and their calculators, and decided he wanted to diversify. (It’d be an absurd leap if he decided to sell the desk-computers straight off the bat, but these were devices where “you can fit it in your purse” was part of the sales pitch.) He had great success along with Commodore, and he started to add the Commodore PET to his sales in 1977.

Radio & Television, December 1977. The same issue has ads (from other companies) for the IMSAI 8000 and the Sol-20.

So just to recap, before reaching the apocalypse of 1977/1978 that’s about to happen:

Mael: Italian calculator manufacturer, eventually getting into business computers
Diehl: German calculator manufacturer, eventually getting into business computers
Handic: Swedish consumer electronics, bought by a “state corporation” in 1977
Datatronic: started to sell (not manufacture) calculators, initially Mael before switching to Diehl and becoming wholly owned
Janic: Swedish handbag manufacturer which got into calculators through Commodore and eventually the Commodore PET

All of these companies (except Handic) had major exposure to the calculator market, and while it was already dropping, in 1977 the market utterly fell off the map. Calculators that were going for $300 back in 1971 could now sell for $20 or less; price drops from warring companies like Sharp and Texas Instruments were so frequent that retailers were skittish about owning too much stock.

A retailers’ greatest problem occurs when Texas Instruments or some other manufacturer cuts prices without warning, leaving the retailer stuck with expensive inventories. Most manufacturers offer 30‐day price protection. This is little consolation however, for a store carrying a two‐month or three‐month inventory.

There was an entire ecosystem built around having slow, personal service around desk-sized calculators/computers; this was getting undermined by not only cheap calculators but by the ability of businesses to now buy personal computers. It was possible to transition and survive (Mael, for instance, still kept going strong with products like point-of-service machines) but certainly something in these companies needed to change.

Diehl in particular needed to get out of Sweden. Outside investor/consultant Mats Gabrielsson (and two employees of the company) bought the struggling company for a single Swedish krona, switching it over from Diehl back to Datatronic in name early in 1978.

Despite Janic hooking up with Commodore who went on to later success, the 1977/1978 period gave them too much exposure to the calculator crash, and Jans made a plan to declare bankruptcy. He contacted Mats Gabrielsson (from being a consultant through the 70s, he knew everyone in the industry) and asked about buying the Commodore agency, selling the 50 PET computers he had in stock as part of the deal. The contract was signed October 30 and the PETs were meant to be collected October 1. That was a Sunday, so the driver needed to be bribed with four Pong games.

Mats with a Commodore PET. Source.

One other company worth mentioning with the Janic bankruptcy story: Janken Minidata. They were the second computer store in Sweden, and the first to sell Commodore machines. The store was owned by Kenneth Palmestål and Jan Eliasson. Kenneth Palmestål had visited the Stockholm Technical Fair in 1977 and saw a Commodore PET 2001 (exhibited by Janic); he ordered one which arrived in December, and when he tried to start it up the computer broke because it had been too cold.

He still had a determination to sell computers, and with his friend Jan Eliasson (who had been working selling calculators, of course) he formed his computer store. He had heard about the approaching Janken bankruptcy and had made a deal with Jan Bergenkrans to buy the remaining machines, but when he rented a truck to pick them up he found out the machines had already been sold. He eventually got his supply from Datatronic instead.

Inside Janken Minidata. Source. They also sold the KIM-1, NASCOM, and TELMAC 1800 kit computers in ’79, and in later years sold the Apple II and the Luxor ABC (a Swedish computer I’ll discuss in some future post, as it does have adventure games, including the first in Swedish on a home computer).

Returning to Datatronic and their ambitions to sell Commodore, two important points: first, Commodore used Datatronic as an agent, and never entered the market directly until later in the 80s (this is in contrast to Denmark, where they did battle with the ZX Spectrum directly). Second, because of Datatronic’s past, their network contacts and sales expertise were hooked up with the business desk-calculator companies (Mael and then Diehl) so they didn’t have the reach needed for a mass-consumer product. While they (re-)launched with initial success (with computer stores like Janken Minidata), they needed to get the network of a consumer firm, which is why a few years later they purchased Handic.

This divested Handic from the “state” control into the hands of Datatronic. (One reason why it’s false to say Handic was nationalized is that this didn’t require an act of Parliament.) They created Handic Computers and Handic Software both as spinoffs although they weren’t strict about their naming conventions. The motivation for the purchase was straightforward access to the company’s distribution network, meaning nearly all foreign subsidiaries (Denmark, Germany, US) were sold; they only kept the one in Holland, as they were too tightly integrated, so they split operations of that subsidiary 50/50 with Commodore. They weren’t done building a network, also buying Ekman Import (a distributor of electronic equipment) in 1982. By this time the VIC-20 had come out in Sweden and was wildly successful.

This manual is marked as being from “handic electronic ab”.

Datatronic/Handic heavily encouraged the growth of computer clubs. For example, the Westerås VIC club came from the company Rastionell Programutveckling (RPU); they became close with Handic, with members of the club sometimes going on to work there (quoting my source, “in some cases with the delay of a few years, as the young people first wanted to finish high school”).

Westerås club members via Vic News 2-1 published by Handic.

Our author today, Stefan Modin, hails from Skultuna, fairly close to Västerås (spelled Westerås in older documents). He is presumably somewhere in the photograph above.

Skultuna in red, Västerås and the club to the southeast in blue. Eskilstuna is also near and will be important in a future post.

According to the research of regular commenter (and expert on Nordic computing history) Rob, Stefan Modin formed his own company name “SkultSoft” to riff off his hometown name, and wrote three adventures: The Temple, Spider Mountain, and The Mutant Spiders. The Mutant Spiders was picked up by Granda Software (we’ll get to them in a future post). For now, let’s just focus on The Temple, which you can download off a forum thread (look for “rpu-adventures.zip”).

Unfortunately the files we have are broken (according to Anders Carlsson who did the preservation, it’s “really tough to get somewhere”) but we’ve had this kind of situation here before. Poking through the source code, the game “feels” complete, just it’s getting some erratic bugs. Some may be linked with this being on a Swedish VIC-20. There were differences; the PET was (for instance) modified to include the letters Ä, Ö and Å. Since it’s relevant here, some VIC-20 specific details:

An expansion kit modified the [, £, and ] keys to print, respectively, the diacriticised characters Ä, Ö, and Å, but this required alterations to the Kernal decoding tables, the keycaps and the Char ROM; these changes obviously messed with programs using the brackets and £ symbols, and also, because the new keyboard mapping obliterated the graphic characters on the @ key, made it just about impossible to type in certain programs. Peter Karlsson says that the Swedish characters were added after the Z (in both lower and upper case modes) in the order defined by ISO 646-10, rather unhelpful because the ISO order is not alphabetical and so simple ASCII sorting didn’t work correctly. Some graphics symbols also got altered when shifting to upper/lowercase mode.

Based on the nature of the errors, I don’t think these modifications are what’s causing the problem, but given what happened with Citadel Adventure, I can’t discount anything at the moment.

Just as a reminder, on VIC-20 screens I have been squaring them up for readability. This would be twice as wide on a real VIC-20.

You start in a cell. There’s a toilet to the east, and you can also go on the bed. Note that it does not give a room description anywhere unless you “LOOK” first; it’s a little like playing an Infocom game on SUPERBRIEF in that way. It makes some sense on a VIC-20. The only previous games the author likely had access to (based on a VIC News article) are the ones from Scott Adams, and they don’t have that behavior (no “split screen”, but the screen clears and a room description displays when entering a place).

Trying to “go bed” in the “pre” version immediately results in a crash.

?type mismatch error in 45200
ready.
list 45200

45200 if b$<>”row”andb$<>”boa”andb$<>”fer”andb$<>car”andb$<>”bed”andb$<>”sta”then45300

Notice there’s a quote mark (“) missing from car. Retyping the line exactly as is with the quote mark fixes the problem. (It’s already fixed in v1.)

Getting the pillow and matches and then using “go up” to leave results in another type mismatch (in the “pre” version).

Trying to do the same thing in the “v1” game results in an entirely new bug.

Just typing “u” works though.

There’s one other accessible room to the east of the cell.

This is on v1, pre crashes when you examine the toilet.

Trying to “go toilet” gets the response “AH! That was better!”

I proceeded to then try to do something with the pillow and matches with no luck.

The source code in question has:

if x<>19orx<>20thenprint”It wont ignite.”:go7

The issue is “go7” which should be “goto7”. Line 7 is the main parser. That wouldn’t be caused by character issues, would it?

With the number of bugs I’m not going to put myself on the hook for going any farther (I don’t even know what the goal is!) but it quite likely is the first adventure game from Sweden on a home computer so it’s worth some effort. It doesn’t feel like a systemic kind of issue (one POKE in memory and everything works) but more like Marooned with an abandoned work in progress. Still, we were eventually able to get through Marooned (thanks to exploradorrpg) so I’m not going to call this one impossible.

Saturday, 22. August 2026

Zarf Updates

Rusty Lake and Hidden Town

I am always happy to see another Rusty Lake game. It's not a high-velocity studio, but they're reliably high-quality and enjoy experimenting with their chosen form. (Co-op gameplay! Short film!) I am also always happy to see another Rusty Lake ...

I am always happy to see another Rusty Lake game. It's not a high-velocity studio, but they're reliably high-quality and enjoy experimenting with their chosen form. (Co-op gameplay! Short film!)

I am also always happy to see another Rusty Lake knockoff. These are pretty common; creepy-haunted is not a complicated vibe. I've got a whole folder on these on my iPad. The Strange Case series; Hotel Orpheus; Forgotten Hill...

...My folder is labelled "Submechanical", because when I first played a Rusty Lake game -- or "Cube Escape", as it was titled back then -- I decided it was a Submachine knockoff. It turned out to be a speciation event instead; but of course that's hindsight. My point is that there's nothing wrong with being a knockoff, especially at three bucks on the mobile store.

Now I have played both the new Rusty Lake and a new batch of "if you enjoyed that, why not try...?"

  • Servant of the Lake
  • Hidden Town (series)

Servant of the Lake

This year's Rusty Lake experiment is... realism? Okay, not really. But Servant of the Lake is distinctively not set in a hallucinatory dream-box. It's populated by living (if Gorey-esque) Vanderbooms, not corrupted souls. And you are almost certainly not dead.

Not to say that the Rusty Lake crew has never taken this tack. But Servant of the Lake has a more grounded storyline than most of the series. You arrive at the manor house as an extra hand, helping Aldous Vanderboom and his housemaid with a weekend family gathering. You will clean, cook, and serve dinner for three days. Then you will depart.

The game is framed around that schedule and your task list. Also the manor, which opens up as you progress through the weekend. It's a steadier basis than we usually get. And while there are plenty of puzzles mixed in, you're generally after some straightforward goal like "porridge". ...Until you're not, of course.

It's a pretty substantial game overall. The individual tasks are bite-sized, but there's a lot of them. Then there's a big list of side tasks which you can go back to if optional-bonus-stars are your thing. They're generally not my thing, but there's also a hint of extra storyline which I have not yet investigated. Hm.

I know it sounds weird to say that linear time and a mappable world are delightful innovations. For once, they are. Expectations, ya know? I'm sure that the next venture to Rusty Lake will be off-beat in a different direction.

By the by, I name-dropped "Vanderbooms" as if we all knew the Rusty Lake continuity by heart. In fact I cheerfully disregard it. There's a family tree in one of the games, isn't there? No clue how Servant fits in. It has a 19th-century vibe (you arrive in a horse-drawn carriage) but nothing is definitive. If there's some kind of over-arching plotline, the developers have never tried to sell me on remembering it.

EDIT-ADD: Whoops, forgot a document at the start that specifies the year 1839.

Hidden Town (series)

As I said, I occasionally browse the App Store for this kind of game. A couple of weeks ago one popped up with the title Hidden Memories. This was, in fact, a series of nine games that launched on iOS all at once. No, it's not somebody turning a vibe-coding crank. It's a studio called Dark Dome which has been releasing games on Android for years; then they got ported to iOS en masse. Also coming to Steam at the end of this month! I don't know if they'll break out, but the devs are giving it their best shot.

So what are the Hidden Town games like? You've already gotten the idea. You're locked in a room, or a few rooms. Something Creepy Happened. There's locked doors and drawers and cabinets. Each one requires either a key or a four-symbol combination. Combinations are hidden in modestly clever clues or environmental puzzles. Repeat until shocking conclusion.

I'm making it sound rather formulaic, but really that's just because I binged several years' worth of games in a week. I did that because they're pleasant and diverting and when you finish one you're happy to jump into another one.

The games are on the narrative side, like Servant. But Hidden Town doesn't have the hard edge of Rusty Lake. It doesn't go for body-fluid humor, and the characters are all cuties. (As opposed to the haunt-raddled wrecks who populate Rusty Lake.) Then again, the cute art only adds to the sting when somebody turns out to be evil or possessed or whatever's on this week. Hidden Town isn't a happy place.

One minor confusion: each game ends with an epilogue chapter labelled "Premium Content". On iOS, this is not a separate add-on; it's part of the base game, which you pay for up front. (I guess the iOS versions are all "premium content".) I assume it worked differently in Android-land. My guess is that Steam will work like iOS, but we'll see.

As with Rusty Lake, the games are lightly tied together. The epilogue chapters generally feature characters from other stories dropping in or getting caught up. As with Rusty Lake, this is flavor, not crucial. You can play the games in any order, and you definitely don't have to make a crazy-string wall to keep track of the connections.

The Dark Dome developers are based in Peru. The English localization (or writing, I don't know their process) is sometimes shaky. On the up side, they can mix a bit of authentic Inca mythology into the general cult-creepy setting. They don't go overboard it with; only a couple of of the games really delve into that aspect. But it's a nice change of pace from "witches".

An enjoyable binge, anyhow.