O`8 HN0_j@ ThNuTHIS DISK HAS BEEN IMMUNIZED AGAINST MOST VIRUSES BY THE 'ULTIMATE VIRUS KILLER' VERSION 6.3 BY RICHARD KARSMAKERS, *THE* ATARI VIRUS KILLER!!!puke'(*** `  @`! O%`')+/1 35`9=?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@uwy{} @` @ ` @ ` / @ ` @ ` ǀ ɠ @ ` ׀ ٠  @` @`!Aa   !Aa!!#%a'+-/1!3A5a79;=?ACAEaGIKM/SAUaWY[]a!Oegikmoq!sAuaw{}!Aa!AaAaAa!Aǁɡ!Aaׁ١!Aa!Aa " B b  !"!B!b!!!!!"!""#B"%b"'")""-"/#1"#3B#5b#7#9#;#=#?$A"$CB$Eb$G$I$K$M$O%Q"%SB%Ub%W%Y%[%_&acB&eb&g&i&k&&'qsB'o'w'y'{'}'("(B(o(((()")B)b))))*"*B*b****+"+B+b+++++,",B,b,ǂ,ɢ,,,-"-B-b-ׂ-٢---.".B.b...../"/B/b///0#0C0c00 0 0 01#1C1c1`  @`! O%`')+/1 35`9=?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@uwy{} @` @ ` @ ` / @ ` @ ` ǀ ɠ @ ` ׀ ٠  @` @`!Aa   !Aa!!#%a'+-/1!3A5a79;=?ACAEaGIKM/SAUaWY[]a!Oegikmoq!sAuaw{}!Aa!AaAaAa!Aǁɡ!Aaׁ١!Aa!Aa " B b  !"!B!b!!!!!"!""#B"%b"'")""-"/#1"#3B#5b#7#9#;#=#?$A"$CB$Eb$G$I$K$M$O%Q"%SB%Ub%W%Y%[%_&acB&eb&g&i&k&&'qsB'o'w'y'{'}'("(B(o(((()")B)b))))*"*B*b****+"+B+b+++++,",B,b,ǂ,ɢ,,,-"-B-b-ׂ-٢---.".B.b...../"/B/b///0#0C0c00 0 0 01#1C1c1DOC_DISK015VAB_INTROSWR4 |ARCHIPELSWRz ASTERIX SWRBARB2 SWR o)BLOOD SWRBMX_SIM SWRi CONFLICTSWR ENDURO SWR 9 FWAR_DOCSWR#g'FWAR_SOLSWR-;GARFIELDSWR4 HARDDRN SWR7M HEADC1 SWR;HEADC2 SWRvHEADC3 SWR=HEADC4 SWRHINTS SWR$$INDY_SOLSWR)BKENNYDALSWR: KFORCE SWR>[LARRY2 SWRBp3MAYDAY SWROHMINDBENDSWRQl*NTH_STARSWR\ OILIMP SWR_/ PDRIFT SWRcHPHAROAH SWRfJPOLICEQ2SWRy=YPRINCE SWR$DQUARTZ SWR!ROCKNROLSWRSCAPEGH SWR7SHAOLIN SWRSLEEPSOLSWR0SPECT1 SWRSPECT2 SWRSPECT3 SWR+uSPHERIC SWR]]STORMLORSWR ^SWITCHBLSWR b*S_W_BOY SWRmSTDMUSCLESWRoCTERRY SWRrTMNT SWRur>OOBIN SWR!ULT4HINTSWR$ULTIMA3 SWR')VORTEX SWR+XENO SWR/:EDESKTOP INF:DOC_DISK015B_INTROSWR tAUTO LACK S vLACK PRGCSTARTGEMSWRSTARTGEMPRG  Well, here we are at last. Sewer Doc Disk 15 hits the streets after many long delays, but we think it's been worth the wait. Feast your eyes, and satisfy your ears, with the many new improvements in this commemorative issue of everybody's favourite Doc Disks. Marvel at the fantastic Spectrum 512 picture, thrill to the sounds of Mad Max's finest, then satisfy your thirst for knowledge with the new improved doc displaying routine. Coupled together with some faultless coding, and a nice cycling font, we think this is our best disk yet. However, greatness does not come with ease, nor does a doc disk exist without docs. Many thanks to the kind and wonderful people who have sent us their docs recently, including :- The Alien of The Pompey Pirates, Chuckles, Medusa, Paul The Wop, Cardinal, Doug, Trevor, Phantom Lord and many, many others whom I can't remember at the moment. Consequently, I'll now greet all our friends and contacts that ARCHIPELAGOS... ALTHOUGH THIS IS A SMALL FILE, I THINK IT DESERVES IT'S OWN SPACE. ARCHIPELAGOS IS PROBABLY MY MOST PLAYED 'GAME'. DOUG..... Complete levels one and two (easy!), then press RETURN and type in 8421 and press RETURN again and you can now select any Archipelagos you want. Try some of these: 5942, 642, 3467, 2044, 9867, 3410. I was a little dissapointed in Archipelagos 9999, I felt it was much too easy. Anyway I have kept note of what Archipelagos I am actually up to, because one day I will be able to say that I have completed all of them. DOUG..... Sewer Software presents - ASTERIX OPERATION GETAFIX BY MEDUSA 1. THE STORY 1.1 WHEN OBELIX MAKES AN IRREPARABLE MISTAKE. Obelix who was aiming at the Romans, has thrown a menhir on to Getafixs head. The poor druid is no longer in his right mind: he calls Asterix <>, finds Obelix a real scream and loves the music Cacofonix plays. He has gone nuts, no doubt.  Getafix is the only one who can make the beverage which could cure him, but he cannot ever remember his own name. Worse than that, he no longer knows how to make-THE POTION, the magic one that gives superhuman strength to the indomitable Gauls. Without it, they would eventually be defeated by the Romans who are a hundred times as many and much better armed. 1.2 WHEN A DISHONEST SOOTHSAYER MAKES HIS ENTRANCE By a stormy night, Prolix, a crafty soothsayer, makes his entrance into the gaulish village. The Gauls,who already fear that the sky might fall onto their heads,are easily impressed by his <> predictions. Prolix, who sees a means of being fed for free,settles down in a near clearing, waiting for the credulous villagers who are fond of his predictions to bring him some food to <>.He ends up being kidnapped by the Romans who regard him as a means of convincing the Gauls to leave the village. 1.3 WHEN ASTERIX GOES LOOKING FOR WILD STRAWBERRIES AND OIL Asterix, who is the only clear-headed person left to face the soothsayer, is looking for the ingredients which will help Panoramix to recover. Thats why he has to pick up what he thinks is necessary, here and there, in the woods and even in the Roman camp. 2 - DIFFERENT TYPES OF ACTION To collect all the ingredients which will save Getafix from madness, Asterix- the part you are playing-has different means of action. He can move without dificulty, and can: 2.1 BUY Some items can be bought in the gaulish village.They all cost a certain amount of sesterces. 2.2 SELECT THE INGREDIENTS Preparations are done on the screen which is left of the village.A cooking pot cursor automatically appears.It allows you to click on the 3 ingredients you wish to mix with the mouse or joystick.You can put one ingredient back down by clicking again on it. Be careful,you can only use three doses of each. Once the mixture has been done, you can have it tasted either by Getafix or by a Roman you have captured. In order to do so, you will be asked a question. Answer by clicking on the left part of the screen with the <> yes(thumb upward), on keyboard, press RETURN , on joystick, press fire-button- or by clicking on the right part of the screen with the <> (thumb downwards) - on keyboard press the ESC key, on joystick press right button. To leave the place of the mixing,press either the ESC key, or the left ear of the mouse. Haaaaaa, oops, sorry! 2.3 PLAY DICE You can play dice versus the soothsayer, or versus the Romans in the camp. You can try to neutralize them to score some points : stand set back from them, immediately bet an amout of sesterces, knowing that the rule is to score more points than your opponent. The soothsayer or the Roman play first. Then comes your turn. If you use the mouse,shake it in order to shake the dice and click on the right ear to throw. A double allows you to shake again. In case you gain something, you get your bet back plus another amount of sesterces. 2.4 GO WILD-BOAR-HUNTING In some parts of the forest,you can meet wild boars. Avoid being on their way, or it will cost you life points. On the contrary, try to neutralize them to score some points: stand set back from their way, face the screen and strike. 2.5 FIGHT THE ROMANS In some parts of the forest, you can meet a lonely Roman. There is only one alternative left: either escape or fight. On the other hand, if you happen to meet a patrol, they will run away without asking questions. If you get to the entrance of the Roman camp, do not force your way in. Remember you have no magic potion, you may easily be exhausted. You had better try to distract the guards attention. ACTION KEYBOARD JOYSTICK to move arrow to the left, push joystick to the right, up or down left,right, upwards to jump ENTER key or downwards <> button to bend or pick up space key space key to buy near the shop assistant near the shop assistant ENTER key ENTER key to knock down ENTER key <> button a wild boar to play dice come close and come close and press press <> key <> button to come into on the doorstep on the doorstep the chiefs house ENTER key <> button To fight against the Romans Asterix points F1 key center by pressing <> button Asterix gives F2 key to the right by somebody a slap pressing on the in the face  <> button Asterix knocks F3 key downward by pressing from bottom to top <> button Asterix knocks F4 key upwards by pressing from top to bottom <> button 4.METERS 4.1 THEIR PLACE There is a strip at the bottom of the screen, which includes icons on two lines. Ist line: from left to right: 9 spaces containing boar-legs symbolize life points, followed by 6 spaces meant to contain sesterces and 3 spaces in which the items bought by the player appear. 2nd line: the first space contains: -either Getafixs head showing his state ( of health) - or the characters head whose words appear in the following text. Then comes a space intended for 6 ingredients. 4.2 THEIR ROLE Your energy is represented by wild boarlegs that you will have hunted or eaten in the chiefs house. You can lose some if you are knocked down by fish, or if you fight Romans and wild boars. Sesterces can be won by playing dice, and are used for the purchasing of several items in the Gaulish village. A golden billhook is used as a joker, because then your energy decreases more slowly. Another important meter: the druids condition: If you make him drink too many mixtures,his condition will get worse. You had better capture a Roman that you can use as a guinea pig. You have failed once your energy is spent or when the druid is in a terrible state. You have won once you have succeeded in brewing the only mixture which can cure the druid, among the twenty or so possible combinations, and once you have had someone taste it. THE END SEWER SOFTWARE presents.. BARBARIAN II..... Prologue: At the finale of Barbarian - The Ultimate Warrior, the barbarian defeated the warriors of Drax and thus freed Princess Mariana from his evil spell. Drax fled to the dungeons beneath his black castle, vowing to wreak disaster on the Jewelled Kingdom. It is decided that there is only one way to stop Drax. The Barbarian and Mariana - herself an accomplished swordswoman - are the only two warriors skilled enough to survive the perilous journey to Drax's lair. They must stop him before it is too late. Barbarian II - The Dungeon of Drax Choice of Character You may choose to play either the barbarian or Princess Mariana. At the beginning of the game the two characters will appear. Choose your warrior by moving the joystick left or right and pressing fire. Levels You must fight your way through three levels - the Wastelands, the Caverns, and the Dungeons - before arriving at the fourth level, the Inner Sanctum of Drax. These sections must be played in the correct order. Each of the first three levels is a maze consisting of approximately 28 screens. As you view each screen it is possible to walk left, right, or into doors or caves at the back of the screen. The direction you are walking, as viewed on a map, is continually changing and therefore a compass (in which the sword always points north) has been provided at the bottom of the screen. When you reach the exit to the next level the Level Display will pulse as a warning. It is not advisable to leave a level without first collecting all available magical objects (see below). Monsters On each of the first three levels you must fight six different types of monster, some of which can be killed with one well-placed blow. They are: The Wastelands - Saurian beasts, Neanderthal men, Apes, Mutant Chickens, Stabbers, Floaters. The Caverns - Carnivores, Orc Guards, Crabs, Slithering Things, Cave Trolls, Stingers. The Dungeons - Pit Things, Dungeon Masters, Giant Grubs, Gobblers, Eyes, Orclets. If you survive to the Sanctum of Drax you must face the Living Idol, A great Demon, and finally, the dreaded Drax! Magical Objects In each of the first three levels there are two magical objects that you will need to collect in order to survive throughout the quest. The axe increases your strength. The globe guards against death from Drax's magic. The potion increases your resistance.  The key opens portcullis doors. The shield guards against death from the Demon's fire. The Jewel disables the Living Idol when the idol is reached. Energy and Lives Your energy is displayed as a bar at the top right of the screen. When it runs out you lose a life. You start the game with five lives. More lives can be gained throughout the game by collecting any skulls you may find. These contain the life-force of warriors who have preceded you. When you lose all your lives you restart the current level. The energy of the current monster you are fighting is displayed as a bar at the top left of the screen. When it runs out the monster is destroyed. Scoring The more difficult fighting moves will score highly and do more damage. Joystick Moves These are your joystick moves when you are facing right (reverse these when facing left). Without button pressed: up=run, left=walk backwards, right=walk forwards, lower left/right=through a door, down=turn around With button pressed: up=overhead chop or running jump when preceded by run, left=flying neck chop, right=kick, down=low chop To jump across holes or pits you will need to make a running jump. If you do not jump far enough you will find yourself teetering on the far edge of the hole. By swiftly waggling the joystick left and right you may save yourself. GENERAL... Visiting each and every location in the first three levels isn't essential, but mapping is. You won't have to go to each and every room but you will need to pick up all of the objects (two on each of the first three levels) while taking the most direct route possible between entrances and exits. A little known but immensely useful tip concerns the skulls which you'll find on your journeys. Although it appears that your total quota of lives is six, with five life-icons on screen, you can in fact amass lives by picking up the skulls. One skull gives one extra life, so you'll be able to create quite a store. Beware of the pits which cover the first three levels. You can jump over a pit, or fall down it and lose a life. Needless to say, it's wiser to do the former; but don't try to jump over one if a monster lurks on the other side, you'll rebound of it and fall to your doom. Quickly walk off screen and re-enter. The monster will mirror your actions, but it'll be up to you to gain the edge - so run (very fast) and jump! At various locations on all four levels are hideous streams of GREEN GUNK. If you cross their paths you will lose energy, so jump over them. It sometimes happens that you'll get trapped between a stream and a nasty; DO NOT walk forwards, turn around with your face to the monster and let it push you BACKWARDS across the stream. You will still lose some energy but it won't be appreciable. In this game you have to do an awful lot of hack 'n' slashing. Various fighting moves are quite spectacular, but often it's two of the simpler moves - the low chop and the overhead chop - which are most effective. With each of the difficult monsters there will be a particular move, or combination of moves, which is best to deploy. MONSTERS... You'll encounter six categories of monster on each of the first three levels some are very easy others are deadly. There isn't any general hint as far as nasties are concerned, but do remember that you don't have to visit every location. If you have no particular business being in a spot where a monster awaits then the best thing to do by far is to simply to walk away. However, there are specific tips for individual types of monsters, and what follows is a level-by-level guide to thwarting them. LEVEL ONE... Stabbers you don't have to fight - with a bit of skill you can jump over them, and normally you'll have to fight them only if they're guarding an object you want. If you do have to fight, do a kick and then use a low chop. The saurian beasts are the largest and most vicious nasties on level one. One false move and they'll bite off your head, so don't stand up; your best bet is to execute a low chop while kneeling. When you encounter the Neanderthal Men do two low chops to knock one back, then swiftly move in for the kill with a flying head chop. Decapitation's the result. The moves to kill the next two groups are relatively straightforward. Low chop the Floaters and repeat the following moves until an Ape is dead: low chop, followed by kick, low chop and so on... The Mutant Chickens have a very odd name and even odder movements. It's precisely the way in which they move so erratically which makes them formidable foes. Keep on doing low chops, wearing them down until they make a false move. More than likely, you'll end up cutting one in half! LEVEL TWO... The Orc Guards require an overhead chop but make sure that you don't get cornered. If you do then you are sure to get a good kicking. If an Orc Guard tries to stab you do a low chop then continue with overhead chops. Slithering Things squirm across the ground. Chop off their heads with good low chops; use the same tactics with Crabs, which you should find easy meat. And as for the Stingers, the only worthwhile move with these is an overhead chop. If you must tackle a Carnivore try a low kick and pray. Carnivores are amongst the most fearsome of monsters in the game because in the game because they get you helpless on the ground then gobble you up. AVOID them at all costs. You can jump over them but it's very difficult. Cave Trolls, however, you might imagine that you can jump over. Wrong. Try a low chop instead. LEVEL THREE... All of the monsters can walk or slither around, all of them except the Pit Things. The Pit Things lurk in holes in the ground and swipe you with their tentacles. Timing is essential. The best thing to do is to run and to jump as the tentacles withdraw into the pit. On the other hand, Gobblers are relatively easy to get rid of. Kick them or low chops and cut off their heads. Beware, however, the Orclets, who are wild, erratic and crazy. Use low chops, or if you're cornered by one kick it. You'll have the same basic problem with Giant Grubs - but wait until one jumps at you then do a low chop (yes, a low chop, even though the grub will be up in the air). And now for one of those spectacular moves. You will need to perform a well-timed flying neck chop to kill one of the Dungeon Masters. Be in no doubt, a Dungeon Master is a very nasty piece of work. If one tries to punch you do a low chop; if you get kicked, wait until he moves back and then perform your spectacular stunt. The result, by the way, will be pretty spectacular, too: his heart will burst. And finally, the Eyes have it on this level, or rather they don't (have an easy time of it). If you come across one, give it an overhead chop. LEVEL FOUR... You'll start each level with the same number of lives that you finished the previous one with. So if you don't finish level three with a significant number of lives then count your blessings and forget about the final level. It's very tough. Also, don't bother if you have not picked up all six objects from the previous levels. If you do decide to soldier on, on the first screen it's time for the old backwords-rather-than-forwards trick which you deploy with the Green Gunk. Onwards to the mega-fiends..... stand back and execute a flying neck chop to the Great Demon, followed swiftly by a low chop. Pull back and do these moves again. If the going gets tough, retreat after the neck chop. Finally, align your character with the corpse which hangs on the wall. Time a flying neck chop to coincide with DRAX ceasing fire - then hope for the best. DRAX is a very tough cookie, and it's instinct more than anything which will see you through the battle with him. GOOD LUCK..... from several sources typed in by DOUG..... SEWER SOFTWARE presents- BLOOD MONEY..... Tips by David Moore. typed by DOUG..... FIRST..... The first planet you should go to is the one with the submarine - the reason for this is you can collect at least twelve lives. The only weapons you need are the up and down missiles. If you die, get the missiles immediately because you need them to get maximum money. Just before you reach the snakes, go to the middle of the screen and start shooting. If you have the up and down missiles, you will only have to hit them a few tomes. Watch their patterns, and you can manoeuvre around them easily. You have to shoot the snakes in the head to quickly destroy them. SECOND..... The second planet you should go to is the red planet - the hardest one. Get the up and down missiles as often as you can because you wont survive very long without them. If you finished the green planet with about ten lives you will probably use about half of these on this stage. When you get the chance, collect as much money as you can to ensure a regular supply of weapons and lives. At the end of this stage you confront a round face with little arms all the way round it. Shoot all the arms 'till they disappear, but be careful, because they continually shoot balls at you. Make sure you have the up and down missiles otherwise you will have no chance. THIRD..... The next planet to go to is the helicopter one - the easiest. On this you don't need any weapons at all apart from the ones you get anyway! This planet is easy, and it gives you a chance to collect a few more lives. At the end of this stage you get a spaceship that goes up and down and fires at you. Just shoot the middle of it by keeping your chopper lined up with it' centre. FOURTH..... The final level to tackle is the one with the man. Again get the up and down missiles each time you die, and once again collect money for lives and weapons. If you have the up and down missiles you shouldn't have any trouble. At the end of this stage you get a sort of pointed snake with lumps on it's back. Blast all the lumps and then shoot it in the mouth. SEWER SOFTWARE thanks CHUCKLES for yet another DOC that he's typed up for inclusion on these DOC DISCS.... BMX SIMULATOR Richard Darling's BMX SIMULATOR is a brilliant follow-up to his original BMX RACERS. Eye in the sky viewing, amazingly realistic simulation - the starting ramp, burms, bumps, water splashes etc, all have a realistic effect on the rider. A two player option is included. Seven different, progressively harder, courses will test even the best games player. Richard has achieved yet another breakthrough with the first ACTION REPLAY option; Whenever there is a close finish you can see it again on the REPLAY - and if that's not enough, press the "S" key and watch it in slow motion. CONTROLS Use the SPACEBAR to select player options; KEYS VS JOYSTICK KEYS VS COMPUTER RIDER JOYSTICK VS KEYS JOYSTICK VS COMPUTER RIDER JOYSTICK VS JOYSTICK JOYSTICK Player 1 in the Joystick Port 1, Player 2 in the Mouse Port Fire button "on" -- Accelerate Fire button "off" -- Brake Joystick Left -- Rotate bike left Joystick Right -- Rotate bike right KEYS CONTROL -- Accelerate SHIFT -- Brake Z -- Rotate bike left X -- Rotate bike right Either player may use the keyboard but not both. ACTION REPLAY Press "A" at the end of each course for the ACTION REPLAY. Then hold down "S" when you want to view the action in slow motion. HINTS Demonstration mode runs automatically. Press "N" to change the number of courses in the championship. You must complete each course within it's time limit in order to qualify for the next one. Press "S" to start the race. You are then told RIDERS READY - PEDALS READY - GO! Press Accelerate the instant you are told to go - timing is vital, don't lose precious tenths of a second. Race as though you are in a real BMX championship. The burms help you turn, the rough ground slows you down. All the hills and different grade surfaces effect the rider in real life. The number of laps raced and the time elapsed are shown at the bottom of the screen for both riders. The time limit of the course you are racing is shown on the bottom line of the screen, in the centre. There is an award ceremony at the end of a two player game. Chuckles. Earlier on we provided the CODES....now here's some much needed hints. CONFLICT EUROPE..... IF WORLD WAR THREE IS GOING BADLY FOR YOU, TRY SOME OF THESE TIPS, THEY COULD JUST MAKE A DIFFERENCE. NATO Strategy... NATO's main role is to halt the Warsaw Pact advance before the red stamroller reaches France. Depending on the scenario and strength of units there are a number of ways of accomlpishing this. The first requires NATO to open a gap at the centre of the pact line. The quickest way of doing this is to set a dozen or so planes on your assault breaker, set your units to chemical weapons and launch a single nuclear strike early on at the strongest, most central unit. Before long a gap of two squares should have been opened. Send your three nearest, strongest units through the gap behind the northern pact armies. Keep these three units supplied as best as possible. The only obstacle will be the 9th Shock Army who have an army strength of nine. Concentrate your assault breakers on this unit and try to whittle it down. Also set ten squadrons of planes to attack supply lines in order to prevent the Soviets from restocking. This should end with the pact northern armies being eliminated leaving you to concentrate all efforts on the weaker southern army group. Warsaw Pact Strategy... The Warsaw Pact role is easier. Try to drive three groups through the centre, top and bottom of the NATO line as the objective is to conquer France and West Germany rather than get bogged down in combat. Don't waste time attacking neutral units either as it just wastes time. If you really do feel like massed combat, use one or two single nuclear strikes plus chemical weaponry, this should prove fun, if not lengthy. Nuclear Tactics... While not the most devastating, single nuclear strikes are the safest. They stand a lesser chance of provoking heavy retaliation and more importantly limit civilian casualties, helping to give you a good score. If towards the end of thirty days it looks as though you are not going to complete your goal there is a fireplan that will eliminate eight enemy units - also a good move to use when you are on the verge of defeat as it can swing the course of the war. One side-effect it does carry a potentially large reprisal from the enemy, so be warned! And remember, the object is not to end civilisation, but to triumph with minimal civilian and military deaths. from ACE Mag. Oct. '89. typed by DOUG..... Once again a CHUCKLES contribution... ENDURO RACER Game Instructions Once Enduro Racer has loaded the game will flip between the title screen and the high score table. The game can be controlled by using the joystick or mouse. Pressing the button on the joystick or the left mouse button will start the game. CONTROLS The controls for joystick/mouse are: Throttle | | Left ---------------------------------------- Right | | Wheelie Brakes: Joystick Mouse Fire Button Left Button TIME gives the time you have left (in seconds) to complete the current stage. SCORE gives your score. STAGE tells you which of the five stages you are on. SPEED gives your speed in Kilometers per Hour. HINTS & TIPS Avoid other riders, rocks, trees, water etc. Remain on the road (in stage 3 there is water on each side of the road) in order to maintain maximum speed. When you go over the jumps you will lose speed unless you pull a wheelie before reaching the jump. You may also go around the sides of the jumps, though this may slow you down. There are 5 Stages taking you through 5 different landscapes. END OF GAME AND HIGH SCORE At the end of a game the following will appear on screen: STAGE RECORD PLAYER 1 0 47 27 0 50 27 2 0 55 00 62 3 0 59 99 4 0 59 99 5 0 59 99 TOTAL 4 42 24 0 50 27 In the RECORD column the number of the stage is given followed by the fastest time for that stage. In the PLAYER column your times for the stages are given. For the final stage that you were unable to complete a percentage is given showing how far you got through that stage. If you get onto the High Score Table then you will be able to enter your name by using the keyboard. Select ED when you have finished entering your name. Chuckles.  SEWER SOFTWARE - The DOC DISC people - Present - +------------------+ | FUTURE WARS | +------------------+ HOPE YA LIKE IT !!! Docs by ** P H A N T O M L O R D ** Beeep... Beeep... The strident tone of the control monitor woke her out of a light doze. She froze for an instant, surprised by her brief spell of inattention. She concentrated hard on the screen and began to follow the frenzied movement of the green cursor. It blinked twice then disappeared, loudly signifying the end of its activity. 1304 !! She examined the four figures traced on the cathode screen as if she were discovering them for the first time. "1304 ! My God, THEY'VE DONE IT !", she shouted. Baley put the file down. The situation was disturbing. The news from the front over the last two months had been alarming and the Crughons' were becoming ever more active on Earth. "Blasted Crughons !"he thought, "We'll never have enough time !". After more than a century of bitter fighting, the human race had seen its proud colonies fall one by one. Now the Earthlings had dug themselves in on the last free planet and were desperately trying to fight off the constant attacks of their deadly enemies. Baley could not stop himself thinking about the terrible fate in store for them if the SDI did not hold out. For two generations, the magnetic field which jealously guarded the planet had unfailingly succeeded in repulsing the Crughons' increasingly virulent attacks. "Heavens ! I hope they can hold out !". A flood of old memories poured into his mind. The images had become blurred but, strangely, the emotions retained their tragic intensity. He remembered their distress... the mad dash across space... the return to the origins of an Earth which had been abandones a thousand years previously... Lo'Ann, his daughter, then two years old who snuggled down in the arms of her mother, Ellie. He had always admired his wife's courage, and her confidence which she communicated to others had enabled them to endure the great privations of their new existence... Reconstruction had been difficult with the few resources which the planet still possessed. But SDI was worth any sacrifice... because SDI was their last chance. The gabble of the intercom rudely awakened him from his daydreams. - "Father ?" - "Yes, Lo'Ann... what news ?" - "We have just detected a Crughon presence and the earthly controller is positive. They have turned the clock back to 1304, the Middle Ages !!" - "1304 ! Then if my fears were right... No, I daren't think about it... Lo'Ann ! Go to the Chronoporters, we must find out what's happening" The chronoporting room as buzzing with activity. Two simultaneous flashes of light illuminated the room for a fraction of a second... Two silhouettes tembled for a moment then disappeared forever. The last act of this tragic wwar had begun. Historians would call this phase "THE MENACE". I. BACKUP COPIES ---------------- We advise you to make backups of your origional diskettes and only use the copies to play the game. 2. HOW TO PLAY ON THE HARD DISK ------------------------------- INSTALLATION ------------ Check to see that you have more than 1080 kilobytes free on your hard disk. Create a new directory and copy the contents of each of the diskettes into it. STARTUP FROM THE HARD DISK -------------------------- - Click twice on the hard disk icon. - Click twice on the directory icon containing the game - Click twice on the icon DELPHINE.PRG. IV. GAME SYSTEM --------------- "Future Wars" is the first DELPHINE SOFTWARE programme to use the Cinematique system. This is a new generation games system which is entirely mouse-controlled and is designed to make the game as exciting as possible. MOVING THE HERO --------------- The character you are playing moves across the screen as you wish. All you need to do to get him to move is to use the mouse to take the cursor to the spot you want him to go and press the left hand button of the mouse. The hero will then move to the designated spot. Your character will stop on the way if an obstacle blocks his path. All you have to do is designate a different spot which will enable him to move round the obstacle. THE ACTIVATION MENU ------------------- Through the hero, you can take a wide variety of actions despite the very simple activation menu. The activation menu is displayed when you press the right-hand button of the mouse. Move the menu bar to the chosen action and press the left-hand button. You can take the following actions : EXAMINE ------- Enables you to obtain more details about an object in your environment. When the mouse cursor becomes a +, choose the object to be examined and press the left-hand mouse button. Note : Just as in real life, your character will not be able to see some of the details if he is too far away from the object he is looking at. TAKE ---- Is used when you want to collect objects that seem to be useful. When the mouse cursor becomes a +, choose the object to be examined and press the left-hand mouse button. INVENTORY --------- Tells you at all times what objects you have. Press one of the two mouse buttons to quit the inventory. USE --- Allows you to take action using an object you own to affect an object or person in your environment. For instance: You have a key which you want to use to open a door : USE KEY on DOOR. You want to give money to your boss (!!!) : USE MONEY on BOSS. You need something to drink : USE CUP on HERO. OPERATE ------- Lets you take action on an object or person. For example, open the door... OPERATE DOOR press a button ... OPERATE BUTTON. When the mouse cursor changes into a +, select the object on which you want to take action and press the left-hand button of the mouse. SPEAK ----- Will serve to help you talk to the people you are going to meet. When the mouse cursor changes to a +, indicate the character to whom you want to speak and press the left-hand button of the mouse. THE USER MENU ------------- This menu offers functions which are not part of the game itself but which will, for instance, allow you to save, make backups or reload previous sessions. You can access this menu by pressing the two mouse buttons simultaneously. PAUSE ----- Will put the game on hold until you press another mouse button. RESTART ------- Enables you to start the session again from the very beginning. BACKUP DRIVE ------------ Is used for indicating to the programme which disk drive you want to use to make backup. LOAD ---- To continue playing a game you have backed up. When the programme asks you to insert the backup diskette, the list of saved sessions which are on the backup diskette will be displayed. Move the mouse on to the name of the session to be loaded and confirm. (We suggest you have a blank formatted diskette ready) SAVE ---- To save to diskette the game you are in the process of playing, when the programme prompts you, insert the backup diskette. A catalogue containing the list of sessions already on the diskette will be displayed. Choose a free spot and confirm. If there is no room left in the catalogue use a new backup diskette or back up over an existing session. Note : You can back up a session as long as your hero is alive. Consequently, we advise you to use this option regularly and each time the situation is potentially dangerous. During some animation sequences when you are not able to control your character, you will not be able to save the game. But be assured that nothing very dangerous will happen during these sequences, unless it already too late to take preventitive action. ADVICE TO NEW PLAYERS --------------------- If you are playing an adventure game for the first time, here are a few suggestions. - Carefully examine all the objects on the screen at every new point in the game. - Zoom in closer to the objects you are examining because no one is infallible and our hero may only see some of the fine details if he looks at an object up close. - Read the message displayed very carefully because they may give you important clues on how to proceed to the mext step in the adventure. - Use every opportunity you can to take action. - Talk to everyone you can, they may be able to help you choose the best route. - Backup your game as soon as you sense danger. If in spite of all this, you find yourself stuck at any point in the game, check to see whether you have forgotten an object or if you have forgotten to do something earlier on... Every problem has a solution. ATTENTION --------- The following is for new players who may have difficulty getting started in the game. Experienced players need not read this page. - The game begins on scaffolding. - Examine the bucket at your feet. - Pick up the bucket. - Walk to the far left of the scaffolding. - Examine the red arrow which appears on the control panel displayed on the large screen. - There is a half-open window at the top right-hand edge of the screen. - Walk towards the window. - When you are facing it, examine the window. - Activate the window. - You should be entering the building... but if not, click on the window. - You will find yourself in a small room, walk up to the central door and activate the door. - Now carry on... ***** --- T H E P H A N T O M L O R D --- ***** T H E E N D . Thanks to STEW for sending us this excellent solution to a much awaited adventure. If you've solved a new ST adventure recently (or have hints for any ST program with which you're familiar)- send us a DOC (ASCII) and we'll return your disc with a copy of the LATEST SEWER release. FUTURE WARS - TIME TRAVELLERS FULL SOLUTION by STEW (4/2/90) ON SCAFFOLD TAKE BUCKET / EXAMINE SCAFFOLDING / OPERATE RED BUTTON / OPERATE WINDOW / (Enter window). 1st OFFICE (Enter bathroom) / USE EMPTY BUCKET ON SINK / OPERATE DOOR TO W.C. / TAKE LITTLE FLAG (Small red pixel) / OPERATE CUPBOARD / TAKE INSECTICIDE / (Re-enter office) / TAKE PLASTIC BAG / (Walk on bottom right corner of carpet) / OPERATE CARPET (To get key) / USE FULL BUCKET ON DOOR (Bosses) / OPERATE DOOR (Right) / (Leave room). 2nd OFFICE USE KEY ON CUPBOARD (Bottom 2nd from left) / EXAMINE TYPEWRITER (Remember number) / OPERATE TOP DRAW / TAKE SHEAF OF PAPER / OPERATE TOP DRAW / EXAMINE MAP / USE LITTLE FLAG ON LITTLE HOLE / (Save game) / (Leave room). DESCENDING CEILING EXAMINE NUMBERED KEYPAD / OPERATE (then number) / OPERATE (next number) / (Repeat for each number) / (enter door). LABORATORY USE SHEAF OF PAPER IN OPENING / OPERATE GREEN BUTTON / OPERATE RED BUTTON / TAKE DOCUMENTS / (Step into circle of light). SWAMP (Save game) / (Walk towards mosquitoes keeping on the green bits) / USE INSECTICIDE ON MOSQUITOES / (Walk to left watching for glint) / EXAMINE GLINT OF LIGHT (To get pendant) / (go left). LAKE (Go to left hand tree) / EXAMINE FOOT OF TREE (To get rope) / USE ROPE ON TREE BRANCH / (Go to clothes) / GET TUNIC / GET SLACKS / (Go left). INN & CASTLE (Go to guard) / USE PENDANT ON GUARD / (Exit screen at top left) / (Go to big tree) / OPERATE TREE / EXAMINE GROUND (To get silver coin) / Go to Inn) / OPERATE DOOR / (Enter Inn) / USE SILVER COIN ON INNKEEPER / (Go back to guard) / USE PENDANT ON GUARD / (In & out of large hall) / TAKE LANCE (From guard) / (Go back to big tree) / USE LANCE ON MONK'S HABIT (To get it) / (Go back to lake) / (Save game) / USE PLASTIC BAG ON LAKE / (Quickly go back towards the Inn & then down towards the wolf) / USE BAG FULL ON WOLF / (Go to monastery door) / (Save game) / OPERATE DOOR / (Enter). MONASTERY (Follow monks round edge) / OPERATE DOOR (Left) / (Enter room & approach monk a couple of times before leaving) / OPERATE DOOR (Right) / (Enter room & approach Father Superior a couple of times before leaving) / OPERATE DOOR (Left) / (Enter room) / TAKE CUP / (Leave room) / OPERATE DOOR (Top) / (Enter cellar) / USE CUP ON BARREL (Middle right) / (Leave cellar) /OPERATE DOOR (Right) / (Enter Room) / (Approach Father Superior) / EXAMINE FATHER SUPERIOR (To get control device) / USE CONTROL DEVICE ON PIECE OF FURNITURE (To get magnetic card) / (Leave room) / OPERATE DOOR (Top) / (Enter cellar) / USE CONTROL DEVICE ON BARREL (Top of ladder) / (climb ladder). ANOTHER LABORATORY (Get close to capsule) / EXAMINE GLASS CAPSULE (To get gas canister) / EXAMINE CONSOLE / USE MAGNETIC CARD ON CONSOLE (To free Lo'Ann). YEAR 4315 (Go to bright rubble in bottom right corner) / EXAMINE RUBBLE (To get blowtorch) / (Go up a bit then right) / (Walk halfway along bottom of next screen then go up to the brightest lump) / EXAMINE RUBBLE (To get fuses) / (Go to next bright rubble a bit to the right) / OPERATE RUBBLE (To reveal manhole) / OPERATE MANHOLE COVER. SEWAGE SYSTEM (Keep walking till you reach the tap) / OPERATE BLOWTORCH ON TAP / (Keep going till you hear cries for help & see the monster) / (Save game) / USE FILLED BLOWTORCH ON CREATURE. STATION USE LANCE ON VIDEO CAMERA / (Enter station) / (Go to newspaper machine) / EXAMINE COIN COLLECTOR (To get coin) / USE COIN ON MONEY SLOT (Doesn't work 1st time) / EXAMINE COIN COLLECTOR / USE COIN ON MONEY SLOT (To get newspaper) / (Get on train). SHUTTLE PORT (Go down steps) / USE FUSES ON FUSES / (Go back up) / (Stand near arrows and watch the receptionist) / (When she starts to put her make up on, make a dash for the escalator). PRISON CELL (Save game) / USE KEY ON AIR DUCT / USE GAS CAPSULE ON AIR DUCT / USE NEWSPAPER ON AIR DUCT / (Leave cell). CRETACEOUS PERIOD (Go to Lo'Ann to get compressed air gun) / (Follow her) / (Shoot everything especially dangerous ones until leader arrives on floating platform, shoot him & then finish the rest off) / (Shoot Crughon that shoots Lo'Ann) / EXAMINE LO'ANN / EXAMINE LO'ANN (To get pill) / EXAMINE LO'ANN (To get pendant) / USE PENDANT ON LO'ANN / EXAMINE CRUGHON (To get a smelly magnetic card) / (Enter ship). IN CRUGHON SHIP USE MAGNETIC CARD ON CARD READER / OPERATE CASE / TAKE GARMENT / USE GARMENT ON VIDEO CAMERA / (Get in box, by walking upto it) / OPERATE CASE / (Just before you land, save game) / USE PILL ON HERO (Just as doors start to open) / (Move to right side of door & wait until the 2nd guard comes in & then quickly nip out) / (Once at bottom of the ramp go to bottom of screen & then left to hide behind boxes) / EXAMINE BOX / OPERATE BOX / (Leave dimly lit room) / (Save game as soon as you see the count down). CRUGHON FORTRESS (6 minutes & counting) The next instructions are directions to find the computer room. L=Left, R=right, 1=First ladder, 2=Second ladder, D=Down, U=Up eg. R-2-D = Go Right & take the 2nd ladder Down. On your marks, get set, go: R-2-D, R-2-D, R-1-D, L-1-D, R-1-D, R-1-D, L-1-D, L-1-D, L-1-D, L-1-D, R-1-D, R-1-D, R-1-U, R-1-U, R-1-U, R-1-U, R-1-U, R-1-D, R-1-D, R-1-D, L-1-D, L-1-D, L-1-D, R-1-D, L-1-D, R (Enter computer room) / (Save game) / USE MAGNETIC CARD ON CONSOLE / (Leave computer room). Directions for hanger: L-1-U, R-1-U, L-1-U, R-1-U, R-1-U, R-1-U, L-1-U, L-1-U, L-1-D, L-1-D, L-1-D, L-1-D, L-1-D, L-1-U, L-1-U, L-1-U, R-1-U, R-1-U, R-1-U, L (Enter hanger) THE END SEWER SOFTWARE presents... GARFIELD. GENERAL HINTS & TIPS. 1) NEVER EVER attempt to go into the sewers without the torch. 2) To get lots of points do any of the following: a)Go to the Pizza Party (a building without a sign on it). Waggle your joystick left and right to eat pizzas. When you get splatted by a pie you'll fall down a hole to the sewers. If you've eaten a lot you'll see a pizza monster! b)Take the golf ball from the shed to the golf course (the scene before the busty lady picture). Kick it to try for a hole in one. If you miss you'll find the ball near the busty lady. c)Jump on the settee and kick it. You'll then see that it's ripped. d)Pick up the anissed balls for invincibility (as long as you carry them). e)If Odie picks up the aniseed balls he'll not pinch any of your items. SOLUTION. As soon as you start, it's best to pick up the rubber bone and drop it next to the door with the catflap (left from where you start). Wait near the door and, providing he's carrying something already, Odie will bounce up to the door and open the catflap. This gives you quicker access to the "world outside". Now get the torch from the bedroom. Go to the sewers (you can enter them by going to the shed or the park where a busty lady sits). Find Nermel, the kitten, and keep kicking him until he drops a clockwork mouse. Let Odie pick up the mouse and make your way back to the top. Swap Odie, the torch for the mouse and go to the health food shop. The woman's head will spin around and she'll give you a green doughnut. Swap Odie the torch for the doughnut. Head back to the sewers. When you see a large rat near a chest, get the doughnut back from Odie. Drop the doughnut and the rat will clear off and eat it. Kick the chest and a key will appear. Then give Odie the key and make your way back to the top (WITH the torch). Now get the bucket from the back garden. Take it to the hardware shop and drop it. A dollar note will float down. Pick this up and go to the health food shop. Select 'USE' with your joystick and a pile of birdseed will appear. Pick this up. Go once again to the park where the lady sits. Drop the birdseed and quickly pick up the key. A bird will swoop down and take you to the City Pound. Go right, up the alley and right again. Yuo'll now find Arlene!!! She'll give you a smacker on the lips, the screen will fill with flowers and you'll go off together arm in arm!! by Craig Thornton typed in by DOUG..... SEWER SOFTWARE - Present - HARD DRIVIN' Docs by ** P H A N T O M L O R D ** THE GAME -------- It's MEAN. It's HARD. It's HERE! HARD DRIVIN', the ultimate driving simulator, races on to your home computer from its runaway success in the arcades. Now you can get behind the wheel of the world's top sports car on a stunt course. Jump bridges, drive the speed track or even get dizzy on the vertical loop - all in super realistic solid 3D. top drivers can challenge the Phantom Photon in a head-to-head challenge, no holds barred contest to find the top Hard Driver! GETTING STARTED --------------- Hard Drivin' consists of two tracks - The Stunt Track and The Speed Track each testing a different aspect of your driving skills. The Stunt Track features three main stunts - the Bridge Jump, the Loop-the-Loop and the Bank. Pay particular attention to the speed signs and your own velocity. Driving at more than 60 miles per hour over the bridge will launch you into the air to crash on landing, and under 60 mph means you won't jump far enough. the 60 Minimum sign on the Vertical Loop means you will have to drive at 60 mph or more just to stay on the loop as you spin through it! As you practise you should be able to take the Bridge, Bank and Loop at more than the recommended speeds. Make it to the checkpoints on the course and you will recieve a time bonus. If you do a fast enough lap you can race the Phantom Photon (the computer's car) in a race around the Stunt Track. The Phantom drives a mean race and crashing means instant disqualification. GAME TIPS --------- Practise skid control - this can save valuable seconds, as can good road position on the bends. Advanced drivers can usually take the bank at 110 miles per hour by going in on the right and steering heavily to the left on exit - but watch that you don't go over the edge! CONTROLS -------- Amiga, Atari ST, IBM PC : Use Joystick or Mouse for Steering : Joystick or Keyboard for Gearchange. STEERING: The Panel has a small indicator in the centre to show steering position. Mouse: Steer Left/Right Left Fire Button - Accelerate Right Fire Button - Decelerate Both Buttons - Brake Joystick: Push Left/Right to steer Forward - Accelerate Back - Decelerate Fire - Brake GEARS: The panel has a current gear indicator on the far right. You can also select automatic transmission. Joystick: Diagonal Up + Left - 1st gear Diagonal Up + Right - 2nd gear Diagonal Back + Left - 3rd gear Diagonal Back + Right - 4th gear Fire - Clutch Keyboard: Key 1 - 1st gear Key 2 - 2nd gear Key 3 - 3rd gear Key 4 - 4th gear Space - Clutch (Hold Down) T H E E N D . Welcome to the Head Coach docs...although you'd have to be a Head CASE to actually wade through 240k of bloody text just to play some very ordinary football simulation. NOTE:This doc is from the AMIGA...not edited for ST use. S.P Section 1 Introduction Welcome to Head Coach. You will have hours of fun as you enjoy coaching simulated professional football teams. Head Coach provides exciting games without requiring you to be a football expert. You can be playing a game within minutes of opening the package, using simplified play-calling capabilities. However, if you are a serious football fan, Head Coach can be played at a level that requires the utmost in concentration, preparation, and skill. History of Head Coach Head Coach began as an experiment in calculating random numbers and using remote computer terminals. That was 1965. The computer was a large, main-frame computer system. For over 20 years, Head Coach has been consistently acclaimed for its realism, ease of use, and level of sophistication. Head Coach has been installed on two large main-frame computers, three minicomputers, and now two microcomputers. It doesn't take long to get your first game started. Read this section, then read Section 2, Getting Started, and then Section 3, Your First Game, will have you calling plays in minutes. Section 4, The Playbook, describes the two playbooks provided -- beginner and standard. You can have lots of fun playing with the beginner playbook. However, most Head Coach players quickly progress to using the full standard playbook. Section 4 also describes how to modify the standard playbook and make your own playbooks. Section 5, Calling the Offense, and Section 6, Calling the Defense, describe how to call offensive and defensive plays the way the professionals do. Head Coach gives you the option of continuing to enjoy games using the standard playbooks, or learning the offensive and defensive systems for very sophisticated play-calling. You are greatly encouraged to read Section 7, Dot Commands. Head Coach has many features that provide a variety of game playing options. Section 8, Computer Teams, Section 9, The Game Plan, and Section 10, Team Files, describe how to play the computer, construct game plans, and build your own teams, real or imaginary. Section 11 League Play, describes the exciting world of league play. Head Coach provides all you need to organize, play, and keep statistics for multiple leagues. Section 12 Modem Play, describes how to play computer football in its most exciting form -- over a modem. Head Coach allows you and your opponent to be playing from different Amiga computers. The computers may be across the room connected with a "null" modem and cable, or across the country connected by modems and telephone lines. Apppendixes are included that summarize the manual. Hardware Requirements Head Coach requires at a minimun an Amiga system with 512k memory and a monitor. However, if you have at least 1 megabyte of memory on your Amiga, many additional features are available. A second floppy disk may also be used to advantage. Technical Support Technical Support questions and comments for future editions of Head Coach should be directed to the MicroSearch Head Coach Technical Support Group. Phone calls will be accepted Monday-Friday between 9:00 AM and 6:00 PM CST. Or write: MicroSearch Inc. 9896 Southwest Freeway Houston, TX., 77074 USA (713) 988-2818 Section 2 Getting Started It is very important to make duplicate copies of your Head Coach master disks prior to their use. The copies can be used for all functions of Head Coach. The master disks should be kept in a safe place. Duplicating Head Coach using one drive 1. Turn on your Amiga. When the Kickstart prompt appears, insert your copy of Kickstart. Note: While Kickstart is loading you should check the Head Coach Master Disks to make sure they are write-protected. If you are looking at the front of a disk there should be a square opening in the upper right-hand corner. If you cannot see through the opening, the disk is not write-protected and could be accidently erased. Slide the write-protection tab to the open position. It should click into place and stay. Your disk is now protected. 2. When the Workbench prompt appears, insert your Head Coach master disk #1 into the internal disk drive (df0:). Your Head Coach master disk #1 may be used whenever the Workbench prompt appears. 3. When the Head Coach master menu appears, type: diskcopy df0: to df0: The diskcopy utility instructs you to insert the disk to be copied in df0: and press the RETURN key. Because the disk you want to copy (Head Coach master disk #1) is in df0:, press RETURN. The disk copy utility begins reading your Head Coach master disk #1. After a portion of the disk has been read, the disk copy utility instructs you to insert the disk that will contain the copy and press RETURN. Remove the Head Coach master disk #1 from df0:, insert the disk to receive the Head Coach copy, and press RETURN. The disk does not have to formatted. The disk copy utility writes the data from the Head Coach master disk to the copy disk. The disk copy utility instructs you to alternate disks in the internal drive df0: until the copy operation is complete. When the disk copy operation completes, the copy of your Head Coach master disk #1 is in drive df0:. Place your Head Coach master disk #1 in a safe place. Reset your Amiga system by simultaneously pressing the "Ctrl"key and the two "A" keys that are on either side of the space bar. Repeat the diskcopy procedure (diskcopy df0: to df0:) for your Head Coach master disk #2. When both master disks have been copied, insert the copy of the Head Coach master disk #1 into df0:. Reset your Amiga system by simultaneously pressing the "Ctrl" key and the two "A" keys that are on either side of the space bar. Duplicating Head Coach using two drives 1. Turn on your Amiga. When the Kickstart prompt appears, insert your copy of Kickstart. Note: While Kickstart is loading you should check the Head Coach Master Disks to make sure they write-protected. If you are looking at the front of a disk there should be a square opening in the upper right-hand corner. If you cannot see through the opening, the disk is not write-protected and could be accidently erased. Slide the write-protection tab to the open position. It should click into place and stay. Your disk is now protected. 2. When the Workbench prompt appears, insert your Head Coach master disk #1 into the internal disk drive (df0:). Your Head Coach master disk #1 may be used whenever the Workbench prompt appears. 3. When the Head Coach master menu appears, type: diskcopy df0: to df1: The diskcopy utility instructs you to insert the disk to be copied in df0:, insert the disk to receive the copy in df1:, and press the RETURN key. Insert the disk to receive the Head Coach copy in df1:. The disk does not have to formatted. Because the disk you want to copy (Head Coach master disk #1) is in df0:, press RETURN. The disk copy utility copies the contents of your Head Coach master disk #1 to the disk in drive df1:. When the disk copy operation completes, the copy of your Head Coach master disk #1 is in drive df1:. Remove your Head Coach master disk #1 from df0: and store in a safe place. Remove the Head Coach master disk #1 copy from df1: and insert into df0:. Reset your Amiga system by simultaneously pressing the "Ctrl" key and the two "A" keys that are on either side of the space bar. Repeat the copy procedure (diskcopy df0: to df1:) for your Head Coach master disk #2. Contents of the Head Coach Master Disks Head Coach comes on two disks. The disks are named Head Coach Master #1 (headcoach1) and Head Coach Master #2 (headcoach2), and contain: Head Coach Master #1 1 Megabyte version of Head Coach 15 Teams 1 Template team to help you make your own teams 4 Playbooks 2 Gameplans All data files required to play a game DOC utility for viewing Head Coach documentation MAKE utility for creating your own Head Coach disks STATS utility for using a telephone to exchange statistics between two Head Coach systems. Head Coach Master #2 512K version of Head Coach Documentation files LO utility for processing league statistics VIEW utility for seeing what files are on a disk Printer drivers Head Coach Master #1 is configured so that you can reset your Amiga with Head Coach Master #1 in df0: and play a game. Reset means simultaneously pressing the "Ctrl" key and the two "A" keys that are on either side of the space bar. If you have a 512K memory Amiga, you can reset your Amiga with Head Coach Master #2 in df0: and play a game. However, before you start a game you must make a backup copy of your master disks -- it's for your own good! Head Coach Master Menu When your Amiga is initialized by inserting your Head Coach master disk #1 at the workbench prompt, the screen displays the Head Coach commands you may enter. This display is the master menu. Head Coach commands allow you to: View the names of files on the disk Copy disks and disk files Create your own Head Coach disk Transfer statistics files to or from another Amiga Browse through the Head Coach documentation Edit disk files Redisplay the master menu Start a game At the end of the master menu display, the following prompt is displayed: Enter 'help' for instructions, or a HeadCoach command: This is the master menu prompt. When the master menu prompt is displayed, you can enter commands to play games and maintain your Head Coach disks. When an operation completes, the master menu prompt is displayed. Following copying the Head Coach master disks, you can play games using the Head Coach master disk #1 copy as your game disk. However, there is not enough room to save games, form leagues, and keep statistics. Therefore, Head Coach 2.0 provides a utility program, "make", which will automatically build Head Coach disks containing only those files you need. The Make Utility The make program will create your own Head Coach disks complete with the teams you want, optional printer drivers, league files, statistics files, etc. In order to run the make program enter the following: make Make displays a brief introduction and instructs you to push the left mouse button to continue. Make then asks you to enter the number of disks you have on your system. If you have at least two floppy disks, be sure to tell make. The disk building procedure is much faster if two disk drives are available. Make then asks if you would like to format a new disk. By formatting a new disk, you create a new Head Coach disk that contains only those files that are required to enjoy the game. After formatting a new disk, make then asks a series of questions about what to copy to the new disk. What files to put on what disks depends upon how you will be using Head Coach. If you are not going to be supporting league play with its' required files, you can put all the files you need on one disk. However, if you intend to support league play, it is suggested that you build a two disk set. Head Coach allows the following three types of files to be on separate disks: * Programs * Game files * Documentation files When building disks, make asks if you would like to copy the various types of files to the disk being built. For a two disk set, you will need to use make twice. On the first disk, format the disk and include only the program and if desired the printer support. On the second disk, format the disk and include only the game files. Most Head Coach players simply use their copy of the Head Coach Master #2 disk for the documentation files. If you tell make you would like to support a printer, you will be instructed to insert the disk containing the printer drivers, normally Head Coach Master #2, into a disk drive. The Head Coach Master #2 disk contains a set of printer drivers. The drivers are stored in the same format as they are stored on the Commodore Amiga Extras Disk. If you like, you can insert the Extras disk. If you have your own drivers, you must have your drivers stored in the same directory structure as does Commodore. That is, the drivers must be in the "devs/printers" directory. Simply follow the instructions and you will have Head Coach disks customized for your use. The Stats Utility For league play, Head Coach maintains a statistics file for each team. When starting a game, current statistics for both teams must be on a disk. If you are playing an opponent using a modem and telephone line (see Section 12, Modem Play), you may need to get the statistics file for your opponent from your opponent. You and your opponent must use the stats utility by typing: stats Pre-arrange which computer will place the call. Follow the instructions and the stats utility will transfer statistics files as required. See also Section 11, League Play, and Section 12, Modem Play. The rest of this section provides information you need to get the most from your Head Coach system. However, if this is the first time you have used Head Coach, you may be eager to start your first game. If so, you may type "hc", press RETURN and turn to the paragraph in this section titled "Playing a Game" for final instructions on getting the game started. If you have a 512K Amiga, reset your Amiga with Head Coach Master #2 in df0: At some time however, take the time to read the rest of this section and the rest of the manual. The information will enable you to get the most from your Head Coach investment. Data Files Information required to simulate games is stored in disk data files. Because the data files are text files that can be processed using any text editor, you have the ability to customize your Head Coach system. There are four types of files you may edit: team files, playbook files, league files, and game plan files. The team files describe teams. The playbook files give easy to learn names to professional plays. The league files describe the makeup of a league. The game plan files specify playbook plays that are to be used in specific game situations. The files are stored on your Head Coach disks. Data File Names On Head Coach disks the files are named as follows: name.type "Name" is the name of the file (team name for example), and "type" specifies the type of file as follows: team Team file pb Playbook file gp Game plan file lf League file sa Saved game file  (saved game files cannot be edited) stat Statistics file (statistics files cannot be edited) For example, the standard game plan file is named: standard.gp The team file for the Bulldogs team is: bulldogs.team Editing Data Files To edit the files you must use a text editor ("Ed", for example). Use of the Amiga text editor "Ed" is described in the Amiga DOS Users Manual. A brief description of some of the "Ed" commands is presented in Appendix A, Using Ed. To edit a file, your Head Coach system must be displaying the master menu prompt. Type "Ed " followed by the file name, perform the editing functions, exit from the editor, and the master menu prompt returns to the screen. A convient way to create a new file of a particular type is to copy an existing file of the same type to a file named as you want the new file to be named. Edit the new file as required. For example, to create a new game plan file named "special.gp": 1. Get the Head Coach master menu on the screen. 2. Type: copy standard.gp special.gp 3. Type: ed special.gp 4. Make the appropriate changes in "ed." 5. Exit the "ed" editor. Your Head Coach disk now contains a game plan file named "special.gp" that is a modified "standard.gp" file. Team File Template To simplifiy creating a new team file, Head Coach provides a team file template "template.team." The template contains all the required lines for a team file, with places for data values that you provide. The template also contains comments that explain the values that are required. The values that must be provided are either numbers or alphabetic characters. Numbers that must be provided are indicated in the template file by "xx". To indicate alphabetic characters that must be provided for names, the template uses "nn". For example, the following is a template file line for a player description: xx nn nn xx As described in Section 10, Team Files, the data values are: jersey number, name, position, and ability. Properly edited, the required line might be: 25 "JONES, B" WR 3.6 This indicates player number 25 is a wide receiver (WR) named "JONES, B" with an overall player ability of 3.6. See Section 10, Team Files, for a complete description of the format of team files. To use the team file template to create a new team file named "pintos.team", perform the following steps: 1. Get the Head Coach master menu on the screen. 2. Type: copy template.team pintos.team 3. Type: ed pintos.team 4. Make the changes required. 5. Exit the Ed editor Your Head Coach disk now contains a new team file, "pintos.team." The format of the files are described in the following sections: Team files are described in Section 10, Team Files. Playbook files are described in Section 4, The Playbook. Game plan files are described in Section 9, Game Plan Files. League files are described in Section 11, League Files. Playing a Game To start a game you must have the Head Coach master menu on the screen. If your Amiga is not powered on, turn on your Amiga. When the Kickstart prompt appears, insert your copy of Kickstart. If your Amiga is on, but the Head Coach system is not active, remove any disk that is in the internal drive df0: and reset your Amiga system by simultaneously pressing the "Ctrl" key and the two "A" keys that are on either side of the space bar. How the start a game depends upon if you have a 512K memory Amiga or at least one megabyte of memory. Starting your first game on an Amiga with at least one megabyte of memory. When the Workbench prompt appears, insert your Head Coach Master #1 copy into the internal disk drive (df0:). When the Head Coach master menu appears, you may enter any Head Coach command. To start a game, type: hc After pressing RETURN, Head Coach asks: Are you starting up a remote Amiga game? To initiate a game played on two Amigas connected by modems, click the "Yes" box and refer to Section 12, Modem Play, for instructions on starting a remote Amiga game. To play a game on one Amiga, click the "No" box. Next you will see: Are your documentation files stored on a separate disk? Because the documentaion files are stored on the Head Coach Master #2 disk, click the "Yes" box. Nex you will see: Enter the name of the disk, or the name of the driver (i.e., df0): Enter "headcoach2" and press RETURN. Head Coach next asks: Are your files (teams, playbooks, etc.) stored on a separate disk? If you are using the Head Coach Master #1, click "No" because the game files are on Head Coach Master #1. However, by using the "make" utility, you can create a disk containing only the Head Coach program and printer drivers, and another disk containing all files. If you are using a disk created by the "make" utility, and if you have your files on a separate disk, click the "Yes" box, otherwise click the "No" box. If you click the "Yes" box, Head Coach then displays: Enter the name of the disk, or the name of the drive (e.e., df0): You may enter either the name you gave to the data disk when you formatted the disk, or the drive in which the disk is placed. The remainder of the procedure to start your first game is the same as that for a 512K memory Amiga. Skip to the section entitled "Completing the start of your fisrt game". Starting your first game on an Amiga with 512K of memory When the Workbench prompt appears, insert your Head Coach Master #2 copy into the internal disk drive (df0:). When the Head Coach master menu appears, you may enter any Head Coach command. To start a game, type: hc After pressing RETURN, Head Coach asks: Are you starting up a remote Amiga game? To initiate a game played on two Amigas connected by modems, click the "Yes" box and refer to Section 12, Modem Play, for instructions on starting a remote Amiga game. To play a game on one Amiga, click the "No" box. Next you will see: Are your documentation files stored on a separate disk? Because the documentaion files are stored on the Head Coach Master #2 disk, click the "NO" box. Head Coach next asks: Are your files (teams, playbooks, etc.) stored on a separate disk? If you are using the Head Coach Master #2, click "Yes" because the game files are on Head Coach Master #1. If you are using a disk created by the "make" utility, and if you have your files on a separate disk, click the "Yes" box, otherwise click the "No" box. If you click the "Yes" box, Head Coach then displays: Enter the name of the disk, or the name of the drive (e.e., df0): You may enter either the name you gave to the data disk when you formatted the disk, or the drive in which the disk is placed. Completing the start of your first game. Next you see: Do you want to restore a saved game?: If you want to start a new game, click the "No" box. If you have previously saved a game (see Section 7, Dot Commands, the .SA command) and want to restart the game, click the "Yes" box. Head Coach asks if you would like to see a list of the currently saved games, and for the name of the file that was used to save the game. Head Coach then asks: Do you wish to process league statistics? If you want to either create new statistics files for the teams that will play, or update existing statistics when the game is over, click the "Yes" box. If you do not wish to process any statistical data, click "No". Head Coach then asks: Do you want to automatically start a two computer team game? Head Coach provides a special starting procedure if you want to start a game that will be played between two computer controlled teams. If you click the "Yes" box, Head Coach will ask a few more questions then begin the game. When starting a game in the automatic mode, Head Coach assumes that both teams will use the standard playbooks and game plans. Clicking the "No" box starts up a game with neither team being computer controlled. Head Coach then asks: How do you want to select team files? To type in your team file selections using the keyboard, click the "Keyboard" box. To use the mouse to select the team files, click the "Mouse" box. After the team files have been selected, the playbook and game plan files will be selected by typing on the keyboard. If you have at least 1 megabyte of memory in your Amiga, and you have used the mouse mode to select team files, the game will be played using the mouse for all play calling and decisions. Once the game begins, you can use the ".km" dot command to switch to the keyboard mode. See Section 7, Dot Commands, the .km command. The above dialog enables prepares Head Coach to start a game. To start your first game turn to Section 3, Your First Game, and have fun! Section 3 Your First Game This section describes how to start your first game, using the ability of Head Coach to allow simplified calling of plays. A few introductory comments: Throughout this manual boldface words, such as this, are defined in the attached glossary. If you have an Amiga with 512k of memory, all of your selections will be made by typing on the keyboard. If you have at least 1 meagabyte of memory, you may choose to use the mouse to make choices. When keyboard examples are shown in this manual, your typed response is underlined. All keyboard responses require typing a few characters and then pressing the RETURN key. The RETURN key must always be used. For all keyboard responses, you may type uppercase or lowercase letters. Head Coach can be played: * between two players (player-controlled teams) * between a player and the computer (computer-controlled teams) * both teams can be computer controlled and you can sit back and enjoy the game! To play a game, the participants enter play calls and commands. First the offensive team calls the offense, then the defensive team calls the defense. The probable play results are predicted, the play is executed, and, if desired, the play execution is displayed on the screen. When using one computer to play a game, always have the offensive player at the computer. When two players are playing each other (neither team is a computer-controlled team), experience has shown that the player who is on offense should sit at the computer, and the defensive player call aloud the defensive choices. That is, the offensive player at the computer enters both the offensive and defensive choices and commands. Whenever possession of the ball changes, the two players exchange places. If, however, you are using audibles (see Section 7, Dot Commands, the .AU comand), the defense must enter the defensive call without the offense knowing the call. Whenever the ball is being advanced toward the opponent's goal, the ball movement is from bottom to top on your screen. Starting the Game After following the instructions in the preceding sections, Head Coach displays a series of questions. Your responses direct Head Coach how to start the game. This section presents the responses you must enter to start a two-player game (no computer-controlled teams). If you are playing alone, you must make both offensive and defensive calls. To quickly start your first game, proper responses are shown with brief explanations. Detailed descriptions are found in the appropriate sections. If you are using the mouse for team selections, Head Coach displays the team files available on your disk. Use the mouse to click first the home team, and then the visiting team, as instructed. If you are using the keyboard to make team selections, Head Coach begins by asking if you would like to see a display of all the teams on your game disk. Because there is no need to see the display for your first game, respond by typing an "n" as follows: Would you like to see the current team files displayed (y or n)?: n Head Coach then instructs you to type in the name of the team that is the visiting team for the upcoming game. If your are in the mouse mode, click BULLDOGS. If using the keyboard, type the team name BULLDOGS and press RETURN as follows: Enter the name of the VISITING team data file: BULLDOGS When the team file is read from the disk, you will be given a scouting report summary of each team. If in the mouse mode, you will be instructed to select both the visiting and home teams. Then you will be asked for the playbook and game plan choices. Playbook and game plan information is gathered first for the visiting team and then for the home team, using the keyboard. The playbook is a disk file that contains the plays that can be called, by name, for the given team. Head Coach comes with two standard playbooks -- standard and beginner. For this first game, tell Head Coach to use the beginner playbook: The standard playbook for the BULLDOGS is "standard43" Enter 'S' for the standard playbook, 'B' for the beginner playbook, or 'E' to enter the playbook name:b Press RETURN. Next, Head Coach asks which game plan you would like to use. A game plan is a computer file that defines the plays that will be called in specific situations. Head Coach provides standard game plans that you can use to get started. Head Coach next displays: The normal game plan for this playbook is "standard" Enter 'N' for the normal game plan, or 'E' to enter the game plan name:n Press RETURN. So far your responses have provided the information Head Coach needs about the visiting team. The same questions are also required to get the home team established: Getting ready for the HOME team... Would you like to see a display of the teams(y or n)?: n Enter the name of the HOME team: LONGHORNS The standard playbook for the LONGHORNS is "standard43" Enter 'S' for the standard playbook, 'B' for the beginner playbook, or 'E' to enter the playbook name:b Press RETURN. The normal game plan for this playbook is "beginner" Enter 'N' for the normal game plan, or 'E' to enter the game plan name:n Press RETURN. You have now instructed Head Coach to start a game between the visiting BULLDOGS team and the home team LONGHORNS. The team file for the LONGHORNS indicates that the LONGHORNS home field is an indoor stadium. Head Coach next asks you if the home field is the location of the game. For this first game it is, so respond as follows: Is the game being played in the LONGHORN STADIUM (y or n)?: Y Because the game is being played in an indoor facility, no weather information is requested. Next Head Coach asks you to enter a number between 1 and 9999. Enter 1 as follows: Enter a number between 1 and 9999:1 It's almost game time now. The winner of the coin toss is displayed. The team winning the coin toss is told the current weather information and given a choice of receiving, kicking off, or defending a particular goal. Because weather is not a factor in the indoor stadium of the LONGHORNS team, the team with the choice (for example, LONGHORNS) will choose to receive as follows: BULLDOGS you have a choice to receive, kick off, or defend a goal Enter 'R' to receive the kick off 'K' to kick off or 'D' to defend a goal: R The LONGHORNS chose to receive the kickoff, so the other team (for example, BULLDOGS) are given the choice of which goal to defend: Enter 'N' to defend the north goal or 'S' to defend the south goal: N From now on, the way to select plays and enter commands depends upon the current selection mode. Earlier you were told that if you have at least one megabyte of memory of your Amiga, you may choose to enter play calls and commands with the mouse. If you have 512K of memory you must use the keyboard. If you have at least one megabyte you may also choose to use the keyboard. When making choices you will be choosing either an offense, defense, or a dot command. A "dot command" is a special kind of input command, beginning with a dot ("."), that specifies some action to be taken. Head Coach provides many game playing options in the form of dot commands. A few are described in this section. Dot commands are described in detail in Section 7, Dot Commands. Next you are instructed to enter a dot command, either ".KO" or ".RPn." If you are in mouse mode, you see a selection box with: Run Pass Play Action Miscellaneous This is the offensive play selection menu. To enter a dot command (.KO in this case), click the "Miscellaneous". You will then see a screen display of all the dot commands. To make a dot command selection, double click the desired command "KO". You must click the KO selection twice. Later when you are ready to make a play selection, click either "Run", "Pass", "Play Action", or "Miscellaneous" as appropriate. For the run, pass, or play action, the screen will show all the playbook plays for that type of offensive play. Following the playbook choices of that type of play is a list of the dot commands. If you are on defense in the mouse mode, you are presented with the following selection box: Man Zone Blitz Miscellaneous By providing the miscellaneous box, you can always enter a dot command. If you would like to switch between keyboard and mouse mode, use the .KM dot command, described in Chapter 7, Dot Commands. If you are in mouse mode, click "Miscellaneous" and then double-click KO. If you are using the keyboard, respond with the kickoff dot command as follows: Enter either .KO or .RPn (playbook mode): .KO You have decided to kick off. There are two types of kickoffs: normal or onside. If you are in mouse mode, click the appropriate box that is presented to you. If in keyboard mode, make your choice with the following response: Press RETURN for a normal kickoff or press 'O' and RETURN for an onside kick: Press RETURN. When you press RETURN, you see the kickoff and the kickoff return. The game is under way! Calling Plays After the runback of the opening kickoff, you are ready to send in your first play. Take a few seconds to study the scoreboard that is displayed at the bottom of your screen. You have time to study the scoreboard because the 45-second delay of game clock is not running. The following are displayed: current score, ball possession, ball position, down, yards to go for a first, and time-outs remaining. The beginning playbook that you requested contains a set of basic football plays to call. Section 4, Playbook Files, describes the two playbooks (beginner and standard) provided in Head Coach. For now, here is a partial list: SWEEPR - Running play wide to the right SWEEPL - Running play wide to the left DIVER - Running play inside to the right DIVEL - Running play inside to the left DRAW - Looks like a pass, but it is a run BOMB - The "BOMB" -- long pass FLOODS - "Flood" type pass to the strong side (right for this formation) FLOODW - "Flood" type pass to the weak side (left for this formation) SCREEN - Looks like a long pass, but is a short pass HBPASS - Looks like a SWEEPR, but the halfback throws a pass Head Coach requests that you enter your offense. If the game is in mouse mode, use the procedure previously described. If in keyboard mode, call the play by typing the name of the play and pressing RETURN. To begin the game, call a SWEEPR: BULLDOGS enter offense (playbook mode):SWEEPR The "(playbook mode)" indicates that you may call the offensive plays by using the playbook name (SWEEPR) directly. This is described in more detail in Section 4, The Playbook. Now you must make a defensive call. Here are a few defensive calls to try: REGL - Normal, "safe" defense with no particular gamble RUSH - Extra good against the rush, but weaker against the long pass ZONE3 - Good pass defense with 3 players protecting deep ZONE4 - Good pass defense with 4 players protecting deep RDWS - "Red Dog" (rush) the weakside and strongside linebackers DBLW - Double cover wide receivers -- good pass defense against wide receivers GOAL - Strong running defense normally used when the offense is about to score, or when very short yards are needed for a first You now see the request for a defense. For your first call, start with a REGL defense as follows: LONGHORNS enter defense (playbook mode):REGL With the offensive and defensive plays called, the play will be executed (complete with quarterback calls) and displayed on the screen. When the play has been executed, the result of the play is displayed. The cycle of calling offensive and defensive plays continues. Dot Commands Before you begin to call plays on your own, a few of the dot commands need to be explained for you. All commands are preceded by a dot "." -- so they are called "dot commands." All of your responses to offensive and defensive plays will be either a play call, which does not begin with a dot, or a dot command. Some of the more common dot commands are: .CT - Enable or disable a team to be computer controlled .FG - Field goal attempt .PA - Point after touchdown attempt .FK - Free kick following a safety .KO - Kick off .RP - Instant replay .TO - Call time out Refer to Section 7, Dot Commands, for a detailed description of each dot command. Penalties A penalty will probably be called in your first game. When a penalty is called, and the play is over, Head Coach displays the penalty and the team that committed the foul. The team with the choice must then indicate whether the penalty will be accepted or declined. The team with the choice must enter either "A" to accept the penalty or "D" to decline, and press RETURN as follows: LONGHORNS: Enter "A" to accept or "D" to decline: A If you are is mouse mode, penalty choices are made by using simple boxes. In this example, the LONGHORNS team has decided to accept the penalty. The penalty yards are marked off against the opposing team, and the down remains the same. If the LONGHORNS had decided to decline the penalty and have the play results marked off, you would have entered "D". You have called one offense and defense and seen the play result. You are now on your own. Call some offenses and defenses -- have fun! Section 4 Playbook Files A playbook is a computer file that assigns playbook names to a detailed calls (detailed calls are explained in Sections 5, Calling the Offense, and 6, Calling the Defense). By using the playbook, commonly used plays are given simple names, thereby making them easy to remember and to call. Further, if you use detailed calls and discover a detailed call that works well, you can add it to your playbook (while you are playing the game) with the dot command .PM. Adding to your playbook is covered in Section 7, Dot Commands, .PM command. Head Coach provides two playbooks for your use, the beginner playbook and the more sophisticated standard playbook. Each playbook comes in two versions. Both versions use the same offensive calls. Only the defense is different. Currently, professional football teams use a defensive alignment that is normally either a "43" (four linemen and three linebackers) or a "34" (three linemen and four linebackers). Both playbook versions provide the same offense, but one uses a "43" defense and the other uses a "34". The names of the playbooks and their versions are: beginner34.pb beginner43.pb standard34.pb standard43.pb Note: the ending ".pb" is a file type. You do not have to enter the ".pb" when you start a game. The type of defense that the team normally uses is stored with each team file, described in section 10, Team Files. Storing the normal defense for the team enables Head Coach to suggest which standard playbook to use when starting a game. Play Calling Modes When Head Coach begins, both teams are in the playbook mode. In this mode, you call plays by entering the playbook name of the plays. To call an offense or a defense, enter the name of the play, as described in Section 3, Your First Game. As you gain more playing experience, either team may enter the detailed mode, which allows complete professional-styled play calling. While in the playbook mode, each playbook call is converted into a detailed call. If you would like to see the detailed call that is programmed, use the .DP command. See section 7, Dot Commands, for a description of the .DP command. The Beginner Playbook The beginner playbook contains basic plays for offensive and defensive calls. The beginning offenses are: SWEEPR - Running play wide to the right SWEEPL - Running play wide to the left DIVER - Running play inside to the right DIVEL - Running play inside to the left DRAW - Looks like a pass, but it is a run BOMB - The "BOMB" -- long pass FLOODR - "Flood" type pass to the right FLOODL - "Flood" type pass to the left POP - Quick pass which attempts to open a back "popping" out of the backfield SCREEN - Looks like a long pass, but is a short pass HBPASS - Looks like a SWEEPR, but the halfback throws a pass SNEAK - Quarterback carries ball over the offensive center OBPASS - Quarterback throws a pass out of bounds, to stop the game clock KNEE - Quarterback drops to a knee, to keep the clock running ROLLR - Roll-out pass to the right ROLLL - Roll-out pass to the left REVL - Reverse run to the left REVR - Reverse run to the right The beginning defenses are: ZONE - Zone passing defense B1 - Blitz one linebacker B2 - Blitz two linebackers B3 - Blitz three linebackers REGL - Regular (normal) defense DOUBLE - Double cover wide receivers GOAL - Goal line defense RUSH - Rushing defense PREVENT- Prevent the long pass The Standard Playbook Standard Offense The standard offense provides a complete offense with which you may attack any weakness in the defense. The offense provides a variety of formations, runs, passes, reverses, and even provides plays with a player in motion before the snap. When you have called an offense, the formation has already been chosen when the playbook was designed. For a description of the Head Coach offensive formations available, see Section 5, Calling the Offense. Runs Running plays are plays whose name begins with an "R". When you specify a run, at least two things must be provided: 1: Who is carrying the ball 2: Where to carry the ball The ball is carried by one of the following backs: HB - HalfBack FB - FullBack The place where the ball will be carried is called the point of attack, or hole. As shown in Figure 4-1, the holes are in the gaps between the offensive linemen. The holes are numbered with the even-numbered holes to the right of the offense, and odd-numbered holes to the left of the offense. Therefore, the holes to the right are the 2, 4, 6, and 8 holes. The holes to the left are the 1, 3, 5, and 7 holes. The zero (0) hole is directly over the offensive center. When you advance to detailed play-calling, you can specify the hole to be directly at an offensive lineman, or even outside the 7 or 8 holes; see section 5, Calling the Offense. The names for the standard playbook running offenses begins with an "R" for run, followed by the ball carrier of either "HB" or "FB", and specifies the hole by a digit from 0 to 8. For example: RHB8 - Run, HalfBack, 8 hole RFB3 - Run, FullBack, 3 hole RFB0 - Run, FullBack, 0 hole This provides 18 running plays: two backs, nine holes each. For each of the ball carrier-hole combinations, the standard playbook has selected a formation and type of blocking to use. In addition to the basic 18 running plays, you can place an "M" at the end of the name and the play will include a player in motion before the snap of the ball. For example: RHB8M - Run, Halfback, 8 hole, a player in motion RFB6M - Run, Fullback, 6 hole, a player in motion So far 36 basic running plays have been described. All of the 36 basic running plays use formations that have the quarterback immediately behind the center. For a running play executed from the "shotgun" formation, the play name begins with "GR" (gun run). Following the "GR" is the ball carrier -- either QB or FB. Following QB or FB is the hole, 0 through 8. For example: GRQB4 - Gun run, quarterback, 4 hole GRFB8 - Gun run, fullback, 8 hole GRFB7 - Gun run, fullback 7 hole There are no shotgun running plays with a player in motion. Therefore there are 18 shotgun running plays: two backs, nine holes each. The final type of running plays provided in the standard playbook is the reverse run. In a reverse, the QB hands the ball to a running back who then hands the ball to a second running back who "reverses" the flow of the play. The reverse run play names begin with "RR". Following the "RR" is the final ball carrier -- either "FL", "SE", or "HB". Last specified is the hole which is either a "7" or an "8". This provides a total of six reverse runs: RRFL7 - Reverse run, flanker, 7 hole RRFL8 - Reverse run, flanker, 8 hole RRSE7 - Reverse run, split end, 7 hole RRSE8 - Reverse run, split end, 8 hole RRHB7 - Reverse run, halfback, 7 hole RRHB8 - Reverse run, halfback, 8 hole One final run: "RQB0". The ball carrier on this run is the QB, carring the ball over the offensive center -- the famous "quarterback sneak". The above describes the running plays in the standard playbook. Note that the standard playbook includes 60 runs: 36 basic runs, 18 shotgun runs, 6 reverses, and the QB sneak. Passes Passing plays are plays whose name begins with an "P". Following the "P" is a basic pass type. Four of the basic pass types are designed to attack either the strong ("S") or weak ("W") side of the offensive formation. These four are: R - Rollout - Quarterback "rolls" out F - Flood - A number of receivers "flood" a side S - Screen - A pass compelted in the backfield, with a blocking "screen" in front U - Under - A number of receivers clear out an area, and another receiver attempts to become open "under". To specify one of these passes, the "P" is followed by either an "R", "F", "S", or "U". Next must be specified if the attack is toward the strong side ("S") or the weak ("W") side. Next is the side of the field, left ("L") or right ("R"). For example: PFWR - Pass, flood, weak, right PRSL - Pass, rollout, strong, left PUWL - Pass, under, weak, left PSSR - Pass, screen, strong, right This gives 16 basic passes. For passing deep, two pass types are provided. One places four receivers deep ("4D") and the other places three receivers deep ("3D"). Also, these passes can be thrown with a man in motion before the snap. The playbook names for the "3D" and "4D" passes are: P3D - Pass, 3 receivers deep P3DM - Pass, 3 receivers deep, man in motion P4D - Pass, 4 receivers deep P4DM - Pass, 4 receivers deep, man in motion The last pass type is executed from formations which place three offensive receivers on the same side of the formation. This type of formation is call a "triple" formation. The "triple" passes are specified either to the right ("R") or left ("L"), and with or without motion, as follows: PTR - Pass, triple, right PTRM - Pass, triple, right, man in motion PTL - Pass, triple, left PTLM - Pass, triple, left, man in motion The passes described so far (24 passes) are all run out of formations with the quarterback under the offensive center. The standard playbook also provides a set of passes from the shotgun formation. The passes run from a shotgun formation are called "gun passes". The gun pass names are the same as the previously described 24 passes except they begin with "GP" instead of simply "P". For example: GPFWR - Gun pass, flood, weak, right GPRSL - Gun pass, rollout, strong, left GPUWL - Gun pass, under, weak, left GPSSR - Gun pass, screen, strong, right GPTR - Gun pass, triple, right GPTRM - Gun pass, triple, right, man in motion GPTL - Gun pass, triple, left GPTLM - Gun pass, triple, left, man in motion This provides the same number of gun passes as there are non-shotgun passes - 24. There are also two halfback passes. PHBR and PHBL have the halfback running either right (R) or left (L) and then throwing a pass. This completes the description of the standard playbook passing offense. With the basic passes (16 passes), the deep passes (4 passes), and the triple passes (4 passes), and the same number of shotgun passes, plus two halfback passes, the standard playbook provides 50 passes. Controlling the Clock The standard playbook also includes two plays that allow the offense to manipulate the clock. To stop the clock, at the expense of a down, the OBPASS play throws an incomplete pass. To keep the clock running, the KNEE play is used. In the KNEE play, the QB takes the snap from the CR and drops to a knee. This stops the play, but keeps the clock running. This completes the description of the standard playbook offense. The standard playbook offense provides 61 runs, 50 passes, and 2 clock manipulation plays for a total of 113 offensive calls. Standard Defense The defenses provided in the standard playbook provide defensive calls to meet any situation. Before describing these defensive calls specifically, pass coverage, run coverage, and blitzing are described. Pass Coverage There are two ways to protect against a pass: Man coverages Zone coverages In man (also called man-to-man) coverages, defenders are assigned an offensive receiver. The defender follows the receiver, regardless of the path the receiver takes. Man coverages always have each receiver covered, except in cases of mistakes, but they are vulnerable wherever a defender is assigned to cover a receiver of better ability. These "mismatches" are particularly vulnerable deep (long pass). Zone defenses assign each defender a zone (area) to cover rather than a receiver. The defender covers any receiver that comes into the area. Zone defenses protect against the deep pass better than man coverages, but they become vulnerable when more than one receiver approaches an area. Placing multiple receivers in an area is known as flooding a zone. When a defender is assigned a zone, there are actually four types of zones that may be assigned: Pick Zone -- Area to cover is a circle around the defender. Side Zone -- Area to cover is a circle extended to the sideline. Deep Zone -- Area to cover is a circle extended down the field. Corner Zone -- Area to cover is the outside corner of the field. Often pass defenses are combination defenses, including both man and zone converages. Pass defenses are also improved when the defensive linemen ignore the possibility of a run and rush the passer. This pressure applied to the passer can do as much to stop a pass as superior pass defenders. Run Coverage Protecting against the run involves line play that ensures defensive presence at each hole and assigns defenders to each potential ball carrier. Added strength against the run is accomplished by assigning more than one defender to potential ball carriers. Blitzing "Blitzing" occurs when defenders that do not normally penetrate the offensive line or backfield attempt to do so. The defenders assigned to blitz will attempt to put additional pressure on the ball carrier or passer, at the expense of fewer defenders to protect against a pass. Blitzing is almost always done in a man pass coverage to ensure that all receivers are covered. The Defenses The defenses in the standard playbook begin with a letter that describes the basic nature of the defense, as follows: Z - Zone coverage defense M - Man coverage defense D - Double coverage defense R - Run defense B - Blitzing defense G - Goal line defense Zone Defenses The zone defenses begin with a "Z". Next is specified the number of "deep" zones that the defense uses. The number of deep zones is either 2, 3, 4, or 5. Therefore the basic zone defenses are: Z2 - Zone with 2 deep zones Z3 - Zone with 3 deep zones Z4 - Zone with 4 deep zones Z5 - Zone with 5 deep zones This provides four zone coverages. Additionally, you may follow the basic zone defense with one of the following: D - Defenders play deeper than normal S - Defenders pplay shorter than normal This allows a strengthening of the zone defense either deep ("D") or short ("S"). For example: Z3S - Zone, 3 deep zones, short Z5D - Zone, 5 deep zones, deep Z4S - Zone, 4 deep zones, short This makes a total of 12 zone defenses. Man Coverage Defenses The man coverage defenses assign man pass coverages. These coverages work well if the defensive player abilities match up well with the defenders. Also, the man coverages work better against runs than do the zone coverages. The man coverages begin with an "M". The next thing that must be specified is what defenders are going to cover the interior receivers (receivers that are not wide receivers). To have the linebackers cover the interior receivers, use an "L". To have defensive backs cover the interior receivers, us a "B". For example: MB - Man cover, defensive back interior ML - Man cover, linebacker interior Man coverage allows you to provide some additional calls for alignment of defensive linemen. To make the additional call, append an additional letter as follows: G - Defensive linemen play in gaps, rather than directly over the offensive linemen. O - Defensive linemen shift to the offensive strong side -- this is called an "Overshift". U - Defensive linemen shif the the offensive weak side -- this is called an "Undershift". For example: MBG - Man cover, defensive back interior, linemen gapped MLU - Man cover, linebacker interior, linemen undershifted MBO - Man cover, defensive back interior, linemen overshifted Man coverage also allows the use of the deep ("D") and short ("S") letter as was described for the zone coverage. The "D" and "S" move the defensive backs and linebacker alignment for more effective coverage deep and short, respectively. If you would like to specify both linemen assignments and deep or short assignment, use both letters with the linemen assignment first. For example: MLD - Man cover, linebacker interior, linebackers and backs deep MBUD - Man cover, defensive back interior, linemen undershifted, linebackers and backs deep MBS - Man cover, defensive back interior, linebackers and backs short MLGD - Man cover, linebacker interior, linemen gapped, linebackers and backs deep The above man coverage play calling results in a total of 24 man coverage defenses. Double Coverage Defenses When the defense is confronted with an offensive receiver of better ability than the defender covering the receiver, double coverage may be required. Double coverage means that more than one defender is assigned to cover a particular receiver. Double coverage play names begin with a "D". Following the "D" must be the type of defender that will be used to provide the extra defender. The "D" is followed by either: B - Double cover with a defensive back or L - Double cover with a linebacker Finally the play name must specify the offensive receiver that will be double covered, as follows: F - Flanker S - Split end T - Tight end H - Halfback For example: DLT - Double cover with linebacker, tight end DBF - Double cover with defensive back, flanker In order to double cover more than one receiver, one of the following must be used: FS -Flaner and split end TS - Tight end and split end HEADCOACH Pt2 TF - PTight end and flanker TFS- Tight end, flanker, and split end For example: DLFS - Double cover with linebacker, flanker and split end DBTF - Double cover with defensive back, tight end and flanker The standard playbook provides 16 double coverage defenses. Rush Defenses The following defenses are designed to be particularly effective against the rush, or run. All use man defenses with extra defenders covering potential ball carriers. The basic rush defenses are: R1 R2 R3 Each level provides additional keying to stop the run. The R3 defense is much stronger against the run the R1. As you would expect, however, as the defenses get stronger against the run from R1 to R2 to R3, the defenses get increasingly weaker against the pass. The rush defenses also support making special assignments for the defensive linemen, linebackers, and defensive backs. The use of "G", "O", "U", "D", and "S" have the same meaning as described above for the man defenses. A few examples: R1G - Rush 1, gapped linemen R2OS - Rush 2, linemen overshifted, linebackers and backs short R1UD - Rush 1, linemen undershifted, linebackers and backs deep R2U - Rush 2, linemen undershifted R3GS - Rush 3, gapped linemen, linebackers and backs short  R1D - Rush 1, linebackers and backs deep This provides a total of 36 rushing defenses. Blitz Defenses As previously explained, blitzing is an attempt to put extra pressure on the offense by "blitzing", or rushing, players who do not normally do so. The standard playbook provides four blitzes: B1 - Blitz one linebacker B2 - Blitz two linebackers B3 - Blitz three linebackers BB - Blitz at least one linebacker and one defensive back Goal Line Defenses Goal line defenses begin with a "G". Following the "G" is an optional specifier for defensive linemen alignment as follows: G - Goal line, no defensive alignment adjustment GG - Goal line, linemen gapped GO - Goal line, linemen overshifted GU - Goal line, linemen undershifted The above four are the basic goal line defenses. You may choose to append an optional specifier for double coverage, as follows: DT - Goal line, double cover tight end DW - Goal line, double cover both wide receivers For example: GDT - Goal line, double cover tight ent GDW - Goal line, double cover both wide receivers GGDW - Goal line, linemen gapped, double cover both wide receivers GODT - Goal line, linemen overshifted, double cover tight end The standard defense provides a total of 12 goal line defenses. This completes the description of the standard playbook defenses. The standard playbook provides: 12 Zones 24 Man coverages 16 Double coverages 36 Rushing defenses 4 Blitzes 12 Goal lEine defenses This a total of 104 standard playbook defenses. Making Your Own Playbook There are several reasons why you might want to alter the standard playbook: You have started making your own detailed calls and want to include some favorite calls in your playbook. You have started making your own detailed calls and wish to use formations other than the ones in the standard playbook. You may wish to give another name to an existing playbook play. Having scouted an upcoming opponent, you may want to add special plays you feel will be effective against that opponent. The playbook is a text file that can be processed like any other text file within your Amiga system. You may: Copy Rename Delete (be careful!) Type Print Edit etc. Playbook File Names The playbook files provided with Head Coach are named "beginner34.pb", "beginner43.pb", "standard43.pb", and "standard34.pb". As you learned in section 3, Your First Game, Head Coach makes it easy to use these playbook names. However, you may use any file name you like when building your own playbook files. The ".pb" at the end of the name is used to specify the file type ("pb" means playbook), but it is optional. To use your own playbook file of any name, respond to the Head Coach playbook file name request as follows: The standard playbook for the (team name) is "standardxx" Enter 'S' for the standard playbook, 'B' for the beginner playbook, or 'E' to enter the playbook name:e Enter and "e" (or "E") and press RETURN. Head Coach then requests: Enter the name of the playbook file: file This instructs Head Coach to retrieve a playbook file named "file.pb". Head Coach assumes that playbook file names will end in ".pb". If you do not type a period in the file name, Head Coach assumes that ".pb" is part of the name. However, if you would like to use a period with something other than "pb", Head Coach will not assume the end ".pb". For example: Enter the name of the playbook file: whatever.something This example will cause Head Coach to retrieve a playbook file named "whatever.something". Because you provided a period and a file type, Head Coach does not assume an ending ".pb". Any time you are entering the name of a file, you may preceed the filename with the disk drive containing the file, as: df1:whatever.something Modifying Playbook Files There are two ways to alter your playbook. During a game, you may add or delete plays, and write the playbook back to the disk. When you are not playing a game, you may use any text editor (ED, for example) to modify the playbook. See the PM command description in Section 7, Dot Commands, for instructions for modifying your playbook during a game. To use a text editor, you must first understand the format of a playbook file. The playbook file consists of a series of one-line entries, each of which defines a play. The play definition consists of two parts -- play name and play contents. Here is an entry from the standard playbook: "SWEEPR"OR.HB8PF.FBL The name of the play, SWEEPR, is enclosed in quotes ("). Following the play name are the play contents, which can be either a detailed play call (as above) or another play name. In the SWEEPR example above, the name (SWEEPR) has been followed by a detailed play call (OR.HB8PF.FBL), which defines the SWEEPR play. You might like to add the ability to call a play by another name. For example, some Head Coach players prefer to use numbers for play calls rather than letters. To assign another name to an existing play, follow this example: "1"'SWEEPR' This playbook entry defines a play named "1". Enclosing SWEEPR in apostrophes tells Head Coach that SWEEPR is the name of another play in the playbook. SWEEPR will be used to define the play named "1". During a game, the contents of the play will be acquired from the playbook play "SWEEPR" whenever the player enters "1" as a play call. In this manner you may assign multiple names to existing plays. DO NOT REMOVE the existing play from the file. It is used to provide the detailed call. To remove a play from your playbook using a text editor, delete the line that defines the play. Building your own playbook is easily accomplished by using a text editor to add new play calls, delete old ones, or add new names to existing calls. Enter each playbook entry (play) on a separate line. Section 5 Calling the Offense In Section 3, Your First Game, you were guided through getting a game started. You called defenses and offenses using the playbook mode, which allows simplified names to be attached to detailed professional style play calling. To make your own detailed calls, switch to the detailed mode by entering the following dot command: .PB Head Coach places your team in the detailed mode. Entering another ".PB" returns your team to the playbook mode. The mode of calling is set for each team individually. One team could be in playbook mode, and the other in detailed mode. If your team is in playbook mode, you have used the .DP command to enable the displaying of playbook contents, you are using the standard playbook, and you enter a SWEEPR offensive call, the following characters are displayed: OR.HB8PF.FBL These characters are the actual detailed call for the SWEEPR play as recorded in the playbook. The detailed call consists of a series of letters and numbers, separated by dots ".". When entering characters, you may use either uppercase or lowercase, and blanks are ignored. Enter blanks wherever you like to make the calls easier to read. Each character means something specific, is easy to learn, and provides the flexibility of real professional play calling. A complete offensive play call consists of the following parts, some of which are required and some of which are optional: Formation Required Basic Play Required Pass Patterns Optional Play Action Optional Formations In order to describe the formations to be used, the following names are used: Linemen: Left Tackle (LT) Right Tackle (RT) Center (CR) Right Guard (RG) Left Guard (LG) Basic 3 Receivers: Tight End (TE) Split End (SE) Flanker (FL) Backs: Halfback (HB) Fullback (FB) Quarterback (QB) The linemen (LT, RT, CR, RG, LG) are always aligned as shown in Figure 5-1; no variations are possible. The Basic 3 Receivers are positioned by specifying the strength of the formation. The strength, which is either Right (R) or Left (L), is the side that contains the Tight End (TE) and the Flanker (FL). Figure 5-2 shows a strong right formation, and Figure 5-3 shows a strong left formation (without the backs). Once the formation strength has been specified, the strong side of a formation is the side toward the TE and FL, and the weak Side of a formation is the side away from the TE and FL (the side toward the SE). The Backs are positioned by specifying one of the following back alignment types (note that in some cases, one or more of the basic 3 receivers are reassigned): O -- "Open" -- QB behind CR, FB behind strong side tackle, HB behind weak side tackle. I -- "I" -- QB behind CR, FB behind QB, HB behind FB. N -- "NEAR" -- QB behind CR, FB behind QB,  HB behind strong side (near) tackle. F -- "FAR" -- QB behind CR, FB behind QB, HB behind weak side (far) tackle. 1 -- "One Back" -- QB behind CR, FB behind QB, HB outside weak side tackle. G -- "ShotGun" -- QB away from CR, HB between weak side tackle and SE, FB beside QB, TE split (set wide) to the strong side, FL between strong side tackle and TE ("in the slot"). 4 -- "4 Receivers" -- QB behind CR, FB behind QB, TE split (set wide) to the strong side, FL between strong side tackle and TE ("in the slot"), HB between weak side tackle and SE ("in the slot"). 5 -- "5 Receivers" -- QB behind CR, TE split (set wide) to the strong side, FB outside strong side tackle, FL between strong side tackle and TE ("in the slot"), HB between weak side tackle and SE ("in the slot"). W -- "Wishbone" -- QB behind CR, FB behind QB, nearer than other formations HB behind weakside tackle. FL behind strongside tackle. D -- "Double TE" -- QB behind CR, FB behind QB, FL alongside weakside tackle ("tight weak") HB outside weak side tackle ("wing weak"). Figures 5-4 through 5-23 show all formations possible with the specifiers defined so far. With the specifiers you know so far, twenty formations are possible -- ten back alignments with two strengths for each. These twenty offer quite a few choices, but not enough to simulate a professional team. More options are needed to position your offensive players (not linemen, however) in the most advantageous spots. All offensive formations begin with the back alignment and strength. Following the back alignment and strength, you may optionally specify that you would like either the HB and FB or the SE and FL to exchange positions. To exchange the HB and FB you use an "X". To exchange the FL and SE, use a "Y". You can use one or both in any order. Place the exchange character or characters immediately following the back alignment and strength as follows: IRX -- specifies an I Right, with the HB behind QB and the FB behind the HB. The HB and FB have exchanged their normal positions for an I formation. OLY -- specifies an O Right, with the FL playing as a SE on the weak side (right), and the SE playing as a FL on the strong side (left). 1RXY-- specifies a 1 back offense Right, with the HB and FB exchanged and the SE and FL exchanged. If you have used a "Y" exchange the names of the FL and SE have been exchanged for the duration of that play. For exampale, you have called an ORY formation. The FL is now playing SE on the offensive left side of the formation, and SE is now playing FL on the offensive right side. If you want to assign a pass pattern (described later) to the FL playing as a SE on this play, you have to refer to that player as SE. Figures 5-24 through 5-26 show these example formations that specify an exchange. Now you can specify 80 formations, but still more are needed to provide full professional simulation. Following the back alignment, strength, and optional exchange, you may place specific players in specific spots. For each formation there are fourteen "spots" designated, seven to the strong side and seven to the weak (shown in Figure 5-24). The seven on the strong side and the seven on the weak side consist of three spots on the line of scrimmage and four in the backfield. The spots on the line of scrimmage are: T -- "Tight" -- 2 yards outside the tackle L -- "Loose" -- 4 yards outside the tackle  O -- "Out" -- 14 yards outside the tackle The spots in the backfield are: W -- "Wing" -- 1 yard outside the tackle S -- "Slot" -- 6 yards outside the tackle F -- "Flank" -- 14 yards outside the tackle R -- "Running back " -- Behind the offensive tackle When calling these position modifiers, specify the player and the spot that is to be occupied. The player is specified by either the offensive position being played (TE, FL, etc.) or by the player jersey number (81, 26, etc.). The formation spot for the player is indicated by the spot name (T, W, etc.) and the side. Specify the side by entering one of the following: R -- "Right" L -- "Left" W -- "Weak" S -- "Strong" For example: ORFLWL -- Open Right, FLanker Wing Left ILXSETW -- I Left, Exchange, SE Tight Weak 1RFBWS -- 1 back Right, FullBack Wing Strong Figures 5-28 through 5-30 show formations that include position modifiers. The formation portion of the play call ends with a period. Therefore, in the SWEEPR playbook example that began this section (OR.HB8PF.FBL), the formation is an Open back strong Right (OR). The period after the OR tells Head Coach that the formation call is complete. Strategy of Formation Selection Head Coach offers many formation possibilities so that you can gain an advantage for a particular play call by knowing your offense and the defense you are attacking. The alignment for the linebackers, corners, and deep backs depends upon the offensive formation. For example, the cornerbacks (RC and LC) always align, and usually cover, the widest receiver to their side. In a straight OR formation for example, the widest receiver to the offense's left (defense's right) is the SE. If the following formation is called: ORSETWFLFW The SE has been moved tight weak (left) and the FL has been moved flank (wide, in the backfield) weak (left). This makes FL the widest receiver to the defense's right, and the RC that against the OR formation aligns on SE is now aligned on FL. This has forced coverage RC to FL, which may be more favorable to the offense. Use of the "Y" exchange allows you to have either your SE or FL always play on the same side of the field, regardless of the offensive strength. For example, if the defensive LC, who normally plays on the widest receiver to the offensive right side, is rather weak compared to the offensive FL, using a strong left formation would place the FL on the offensive left side. By using a strong left formation with a "Y" exchange, the FL is still on the offensive right side, playing against the weaker defensive LC. The ".MU" dot command (Section 7, Dot Commands) establishes the matchup mode and provides the ability to call plays against your opponent and see the matchups that result. The matchup mode is very useful for evaluating the effect of various formations against your opponent. Basic Play After you call the formation (as indicated by the period), you must specify whether the play is a run or a pass. If the two characters following the period specify a pass type, the play is a pass. If the two characters do not specify a pass type, they must specify a ball carrier. The play is a run. The pass types are: PK - Pocket pass RR - Roll right RL - Roll left RS - Roll strong RW - Roll weak SR - Screen right SL - Screen left SS - Screen strong SW - Screen weak For example, in the SWEEPR playbook call (OR.HB8PF.FBL) the formation is Open backs strong Right, with the HalfBack (HB) carrying the ball. Since a ball carrier followed the formation specification, the play is a run. The PWEAKR playbook call (IL.PK SED HBP FBW TEA FLA) specifies an I Left formation, followed by a PK pass type. The two letters following the formation specify a pass type (PK), so the play is a pass. Passing Plays If a pass has been called, the pass type specified the blocking for the interior linemen and the movement of the QB, as shown in Figure 5-31. Figure 5-31 shows movement, with "R" or "L" as the direction. For the RW, RS, SS, and SW pass types, the "W" means to the weak side, and the "S" means to the strong side. For example: RW -- If in a strong Right formation, RW means Roll Left. SS -- If in a strong Left formation, SS means Screen Left. What you must enter following the pass type specifier depends upon if you have called a screen pass or not. The screen pass input is different from the others. Screen Passes Unlike the other pass types, the screen pass has only one receiver. If you have called a screen pass, the screen pass specifier must be followed by the receiver that will be thrown the ball. Following the screen pass receiver you may press RETURN or type a dot ("."). If you do not enter a dot, the remaining backs and receivers will not move. If you do type a dot, the dot is followed by additional pass receivers and pass routes they will run (assigning receivers and routes is discussed in the following paragraphs). The passer (QB) will not throw to these secondary receivers, but they influence the movement of pass defenders. For example: OR.SWHB.SEP TEO FLH This example calls for an Open Right formation, with a screen pass to the weak side (SW). Because the offense is in a strong right formation, the weak side is to the left of the offense. The pass will be thrown to the HB, with the SE running a Post route, the TE an Out, and the FL a Hook. Non-Screen Passes If you are not calling a screen pass, follow the pass type with a list of receivers and the pass routes that the receivers will run. A pass route is defined by two items: * Where the player will end up relative to his formation position ( the end point) * The path taken to arrive at the end point The end point is defined by two items: * The yards downfield from the formation position * The lateral movement in yards from the formation position The lateral direction of the lateral movement yards is either: Minus yards - Move toward the center of the field. Positive yards - Move toward the sideline. The path names are diagrammed in Figure 5-32. The path names indicate the shape of the route. A "T" route, for example, means that the receiver will travel the full distance downfield and then make a 90-degree turn either inside or outside. The "I" path means that the receiver moves straight toward the end point with no turns. Specifying a Pass Route by Name You may specify a pass route by its name. Head Coach defines a series of route names and their definitions (path, downfield distance, lateral movement). Table 5-1, Pass Route Table, presents the pass routes available. For example, Table 5-1 lists a Post (P) pass as being a "Y" shape path, 30 yards deep, and 10 yards to the inside. A receiver running an Out (O) route will travel 12 yards downfield,9 yards toward the sideline, using a "T" path. A commonly used presentation of pass routes available is the "passing tree". Figure 5-33 shows the named pass routes displayed on a receiver aligned to the right of the offensive CR. If the receiver were aligned to the left of the CR, lateral movements would be reversed. For example, the "In" pass route (I) always moves toward the center of the field. Using the pass route names, the PWEAKR playbook call: IL.PK SED HBP FBW TEA FLA specifies the following pass receivers and routes: SE - Deep hook - (SED) HB - Post - (HBP) FB - Wide cross - (FBW) TE - Angle - (TEA) FL - Angle - (FBA) Specifying a Detailed Pass Route You may also specify a pass route by making a detail pass route call beginning with the slash character "/", followed by the path shape, the downfield yards, the lateral movement, and ending with a final slash character. All fields are separated by commas: /Y,28,-15/ This example specifies a "Y" shape route that takes the receiver 28 yards downfield and 15 yards toward the inside (middle) of the field. To send a receiver on a "U" path 9 yards downfield and 10 yards to the outside, specify: /U,9,10/ The PMIDR playbook call is: OL.PK SEF FLA FBA TEA HB/U,12,15/ This calls an Open Left formation, PK pass with the following pass routes: SEF - SE Fly FLA - FL Angle FBA - FB Angle TEA - TE Angle HB - HB "U" path, 12 yards downfield, 15 yards to the outside Running Plays If a run has been called, you must specify the spot where the ball carrier will carry the ball. The place where the ball will be carried is called the point of attack, or hole. As shown in Figure 5-34, the holes are in the spaces between the offensive linemen. The holes are numbered with the even-numbered holes to the offense's right, and odd-numbered holes to the offense's left. The zero (0) hole is directly over the offensive center. Therefore, in the SWEEPR playbook example (OR.HB8PF.FBL), the ball carrier is the HB (HalfBack), and the point of attack is the 8 hole. If you follow the hole specifier with a plus sign ("+") the hole is moved one-half a hole position to the outside of the specified hole. Using a minus ("-") moves the point of attack one-half a hole position to the inside of the specified hole. For example: 1R.FB4- Normally the FB would run to the 4 hole, between the offensive right tackle and right guard. Specifying the "4-" hole places the point of attack directly over the offensive right guard. If you use either a "-" or a "+", you may follow the character with a number of yards you would like the hole moved either inside or outside, respectively. For example: OR.HB8+12P This calls an open right formation, with the HB carrying the ball 12 yards outside the 8 hole. The "+" or "-" MUST be placed immediately after the hole. If you also specify yards, the yards must be immediately after the "+" or "-" So far you have specified the formation, ball carrier, and point of attack. Two more items can still be specified: blocking and assignments for the remaining backs and pass receivers. If a blocking assignment is not called, all linemen (LT, LG, CR, RG, RT) will block defenders in their area. This is called zone blocking. If a special type of blocking is desired, a series of single character blocking assignments can be included in the play call after the point of attack. Table 5-2 lists the blocking assignments that can be called. In the SWEEPR example (OR.HB8PF.FBL), the first blocking type specified is the "P", or power block. Table 5-2 describes power blocking as both offensive guards pulling to the point of attack and blocking. The "F" or far block indicates that the offside offensive tackle also pulls to the point of attack. Table 5-2 defines the blocking assignments you may make; two need special explanation. The "G" or go block is used to make the defense think that the offense is running to a hole that is wide (7 or 8 hole). The guard who is on the side of the point of attack (onside guard) pulls to the widest hole on that side. When the "G" block is used, the actual hole is the place the guard just vacated. The "G" block is used to defeat the guard keying that the defense may use (described in Section 6, Calling the Defense). In guard keying, the defensive tackles key the guards and go where the guards go. With "G" blocking, the defensive tackle follows the guard away from the hole. However, if you call "G" blocking and the defense is not guard keying, you have no blocker at the point of attack. The letter "Q", which means quick toss, does not actually specify a block. With a "Q" call, the quarterback quickly toses the ball to the ball carrier. You now know how to set your formation, call the ball carrier and the hole for a run, and specify the blocking. These calls make assignments to all offensive players except the backs who are not carrying the ball and the two ends. If you do not specify an assignment for the backs who are not carrying the ball, the backs will stay in their formation spot and will serve as zone blockers to any defender that comes into the area. If the tight end (TE) or split end (SE) is in a tight position (not "loose" or "out"), and the hole is to their formation side, the end will zone block. If the hole is to the opposite side of the formation spot, or if the end is in either a "loose" or "out" spot, the end will run a corner pass route. Table 5-1 lists an additional assignment that can be made for the off backs and ends, the "L" assignment. This assignment, like the blocking assignments, is a single-letter assignment character that follows the name of the player being assigned. For example, in the SWEEPR playbook call (OR.HB8PF.FBL), the FullBack (FB) has been given an "L" assignment. As shown in Table 5-1, that means the FB "leads" the ball carrrier at the point of attack. If you had called: OR.HB8PF.FBLFLL You would have told both the FB and the Flanker (FL) to lead at the point of attack. Following the ball carrier, hole, and blocking, you may place another period and specify pass route assignments, or a lead, or you may specify a back to go to a particular hole. These assignments are made by specifying the player position or jersey number and the single character route specified in Table 5-1. Figure 5-35 shows a final running play example: IR X SELW.FB5TQ.SEL HB8 FLO TEC This calls for an I Right formation with HB,FB exchange; SE Loose Weak. The FB carries the ball through the 5 hole, with trap blocking (RG pulls to the 5 hole), and the QB makes a quick toss to the FB. The SE leads the play (block at the 5 hole), the HB decoys by running to the 8 hole, the FL runs an Out route, and the TE runs a Corner route. Play Action Plays Another class of offensive plays that will add excitement to your games are the play action plays. A play action tries to make the defense expect a certain play, which suddenly turns into something else. For example, the standard playbook includes a run called the "DRAW". A draw is a play that starts out by trying to make the defense think a pass play is being executed. The ball is then handed to a ball carrier, and the play turns into a run. Head Coach provides a simple method of calling one play and then turning the play into something else. Start by calling the play that you want the defense to think you are running. For example, assume you want the defense to think you are running the HB through the 8 hole with trap blocking. Begin by making your detailed call as follows (do not press RETURN yet): OR.HB8T.FBO SEP TEC FLO So far, the play call is normal: Open Right formation, HB ball carrier through the 8 hole with Trap blocking. In anticipation of actually running a pass play, the example above includes pass routes for the FB, SE, TE, and FL. Enter a semi-colon (";") and a pass type as follows: OR.HB8T.FBO SEP TEC FLO;RR The ending ";RR" indicates that all players are to do whatever has been assigned, but the ball is NOT handed off on a run. The QB rolls out to the right and throws a pass. This example is shown in Figure 5-36. There are three types of play action plays: * Runs that turn into passes * Passes that turn into runs * Runs that the ball carrier hands the ball to a second ball carrier -- this is called a "reverse" When calling a run that turns into a pass, the following pass types are valid: PK - Pocket pass position RR - Roll right RL - Roll left RS - Roll strong RW - Roll weak BC - Ball carrier will throw the ball The BC pass type means that the QB hands the ball to the ball carrier, who runs a few steps and then throws the ball. In a BC pass, the QB may actually go out as a receiver. When calling a pass that turns into a run, call the pass as normal, enter ";", and then specify a ball carrier and a hole. Head Coach moves the players so that a reasonable handoff can take place. To call a reverse, simply make the call for the original hand-off. Following the run, place a ";" followed by the second ball carrier and the new point of attack. For example: IRFLSW.HB7Q.FB7;FL8 This calls an I Right formation with the FL slotted weak. The HB will carry the ball to the 7 hole, with the quarterback making a quick toss. The FB leads at the 7 hole. The ";FL8" means that the FB who received the ball from the quarterback hands the ball to the FL running toward the eight hole. Head Coach will examine the path taken by both ball carriers and will make the handoff at the closest point. Important: if the ball carriers do not get within two yards of each other, a fumble will result (after the tackle)! So calling reverses does take practice. Combining Playbook and Detailed Calls Playbooks are very handy. Many times while in detailed mode you would like to call a play just like it is in the playbook. To call a playbook play while in detailed mode, use the playbook name enclosed in apostrophes: 'SWEEPR' Any time an apostrophe (') appears, while in detailed mode, Head Coach assumes you are specifying a playbook name. Head Coach searches your playbook looking for the specified playbook name. When the playbook name is located, the contents of the playbook entry are substituted for the name enclosed by the apostrophes. In the SWEEPR example, entering 'SWEEPR' is treated just as if you had typed: OR.HB8PF.FBL Head Coach has replaced the apostrophes and the playbook name with the playbook contents. If you have modified the playbook contents of the SWEEPR entry, your modified SWEEPR play will be used. This substitution can be used to quickly call a play action play. For example: 'SWEEPR';RR Because Head Coach will replace the apostrophes and everything in between with the playbook contents for the play SWEEPR, the line above is treated as if you had typed: OR.HB8PF.FBL;RR This is a play action pass off of a SWEEPR play. Anything you type after the second apostrophe (";RR" in the example) is still present in your line, after the contents of the playbook name have been substituted. Using this substitution, you can create special formations as playbook names. If, for example, you have a formation that gives favorable matchups, you can place the formation into your playbook (see Section 4, The Playbook, Making Your Own Playbook) and give it a name. For example, if you have created a playbook entry as follows: "SPFORM"ORSETWFLSW Entering the following: 'SPFORM'.FB4W.HB7 Produces: ORSETWFLSW.FB4W.HB7 If you want to use a playbook play while in detailed mode, you can omit the ending apostrophe (') as follows: 'SWEEPR This is treated just like: 'SWEEPR' In this manner, the playbook can be used to hold substitution calls as well. Any command that is entered on one line can be placed into the playbook, given a name, and called up at any time. Section 6 Calling the Defense described in Section 5, Calling the Offense, placing your team in detailed mode allows you to make offensive and defensive play calls in a manner consistent with professional football. A defensive call consists of these parts: Formation Required Formation Shifts Optional Coverage Optional Stunts Optional Special Assignments Optional Blitzes Optional Individual Man Optional Coverages Only the defensive formation is required. However, if nothing else is called, the players won't do anything. To make a defensive call, you must enter a formation. You may also enter a series of blocks, each of which specifies some aspect of the defense to be used. The following paragraphs describe each of the defensive blocks. Formation The defensive formation consists of two digits followed by an optional shift character. The first digit specifies the number of defensive linemen, and the second digit specifies the number of linebackers. The number of defensive linemen must be either 3 or 4. The number of linebackers must be either 2, 3, or 4. These are the legal defensive formations: 32 33 34 42 43 44 Because there are eleven players on a team,the defensive formations specify from three to six players other than linemen or linebackers. The players that are not either linemen or linebackers are divided between: Corner Backs Safeties Backs There are always two corner backs. The number of safeties and backs depends upon the formation. The defensive positions are named as follows: Linemen: Right End -- RE Left End -- LE Right Tackle -- RT Left Tackle -- LT Nose Tackle -- NT Linebackers: Weak Outside -- WO Strong Outside -- SO Weak Inside -- WI Strong Inside -- SI Middle Inside -- MI Cornerbacks: Right Corner -- RC Left Corner -- LC Deep Backs: Strong Safety -- SS Weak Safety -- WS Strong Back -- SB Weak Back -- WB Middle Back -- MB Right and left refer to the defense's right and left. Figures 6-1 through 6-6 show the alignment of the six basic defensive formations. The normal defensive alignment of linemen and linebackers generally follows that shown in Figures 6-1 through 6-6. The alignment of the corner backs is on the widest offensive receiver to each side. The alignment of the remaining deep backs (safeties and backs) is evenly distributed between the corner backs. The normal defensive alignment for the linebackers and deep backs can be affected by the type of coverage that is called. If zone coverage is called, the alignment is not changed from the normal defensive alignment. However, if man coverage is called, the defenders may shift to align with the receivers they are assigned to cover. If the normal defensive alignment positions the defender close enough to cover the receiver, no shift is performed. However, if the distance to the man to be covered is excessive, the alignment of the defender is shifted closer to the receiver. Before describing the optional shift character, the definition of the offensive strength must be reexamined. As described in Section 5, Calling the Offense, the offensive play call includes a strength -- right or left. However, the offensive play call may specify receivers shifted from the normal offensive strength position. As far as the defense is concerned, the offensive strength is the side which contains the most receivers. This is not necessarily the strength that was specified when the formation was called. When the defensive alignment is being determined, Head Coach evaluates the number of receivers to the right and left of the offensive formation and sets the strength accordingly. After specifying the basic alignment (34, 43, etc.) you may specify an optional shift character. The shift character specifies a shift of the defensive linemen in one direction, with a corresponding compensating shift of the linebackers in the opposite direction. The shift characters are: O -- Over, toward offensive strong side S -- Strong, toward offensive strong side U -- Under, toward offensive weak side W -- Weak, toward offensive weak side L -- Left, toward defensive left side R -- Right, toward defensive right side For example, a "43O" (43 with "O" or Over shift) means a 43 alignment with the linemen shifted to the offensive strong side, and the linebacks compensating to the weak side. Figure 6-7 shows a "43O" applied to an "OL" offensive formation. Figure 6-8 illustrates the offensive formation of ORHBWL (Open Right, HalfBack Wing Left), defensive formation of 34R. The "R" instructs the linemen to shift to the defense's Right and the linebackers to compensate by a shift Left. The O, U, L, or R can be applied to any defensive formation. Following the basic alignment and the optional shift, you may specify a "G" to have the defensive linemen play in the "gaps" between the offensive linemen. The linemen will choose a gap, either further inside or outside. You cannot control which gaps will be played. For example: 34G -- 34 alignment with linemen in gaps 43SG -- 43 alignment, shifted to strong side, with linemen in gaps Pass Coverage After you specify the defensive formation, there is a series of optional assignments called blocks, each preceded by a period. The first block that you must call is the pass coverage block. This ensures that you have specified an assignment for all defensive players. As explained in Section 4, The Playbook, there are two basic types of coverage: man (or man-for-man) and zone. The block specifying man coverage begins with ".M", and the block specifying zone coverage begins with ".Z". Many coverages are combination defenses that include both man and zone coverages. When a defender has been assigned a zone, the zone is usually a circle, with possible extensions, either deep or toward the sideline. The size of the circle and the width of the extensions depend upon the ability of the defender. The better the defender, the bigger the area that can be covered. With extensions, the defender is responsible for receivers within the circle, as well as a rectangle that extends to the sideline or down the field deep. The zone is centered about a point known as the zone drop. When the ball is snapped, the defender moves to the zone drop to establish the zone. Head Coach provides four types of zones: Pick Zone -- Area to cover is a circle around the defender. Side Zone -- Area to cover is a circle extended to the sideline. Deep Zone -- Area to cover is a circle extended down the field. Corner Zone -- Area to cover is the outside corner of the field. These zone types are shown in Figure 6-9. Man Coverages A man coverage specifies one defender for each offensive receiver. Normally the cornerbacks (CB) cover the receivers that are the widest to each side, leaving three receivers. You may choose how to cover the remaining three receivers. These choices allow for desirable or undesirable matchups, or present different coverages to the offense. Head Coach provides four man coverages that can be used for each of the six basic defensive alignments. The basic difference between the four coverages is which defenders cover the interior receivers. The four types of man coverages are: O -- Outside LB cover interior two receivers. I -- Inside defenders cover interior two receivers. L -- All receivers are covered by linebackers. B -- All receivers are covered by backs. All defenses have more than five pass defenders. With the five offensive receivers covered, some defenders still need an assignment. The standard O, I, L, and B coverages assign zones to those pass defenders that do not have a receiver to cover man-for-man. Because some defenders do not have a specific receiver to cover, special assignments can be made to those defenders, removing the zone. For example, a defender in a man coverage defense that is assigned a zone may be reassigned to blitz without leaving a receiver uncovered. A zone man within a man coverage also may be instructed to double cover a receiver ( be assigned to a receiver covered by another player). To determine which defenders will be covering which receivers with the multiple offensive formations possible, Appendix C, Defense, presents charts for all combinations of defense and pass coverage. For each defense and pass coverage, the pass defenders are shown assigned to the pass receivers as the receivers line up in an offensive "OR" formation. The assignments are made to provide effective coverage, regardless of the type of offensive formation used. Figure 6-10 shows two of the man coverages from Appendix C. As shown in Figure 6-10, the coverages are really specified by assigning a defender to a receiver based upon the receiver's relative position on the field. "#1L" means to cover the receiver that is the first receiver in from the sideline on the defense's Left. "#3S" means to cover the third receiver in from the sideline on the Strong side. "#2W" means to cover the second receiver in from the sideline on the Weak side. For example, you have called the following defense: 43.MO This calls a "43" basic defensive alignment (four linemen, three linebackers) with Man Outside coverage (".MO"). If the offense has called a "1L" formation, the resulting coverage is shown in Figure 6-11. The coverages are determined as follows: Player Figure 6-10 Figure 6-11 RC #1R FL (1st receiver in on defense's right) WS Deep Zone Deep Zone SS #2S TE (2nd receiver in on strong side) LC #1L SE (1st receiver in on defense's left) WO #2W HB (2nd receiver in on weak side) MI Pick Zone Pick Zone SO #3S FB (3rd receiver in on strong side) You can now specify 24 different combinations of formations and man coverages, each with specific assignments of receiver coverages. Zone Coverages There are four zone coverages that may be specified for each of the six basic defensive alignments. Each of the four is identified by how many deep and corner zones are used. A "5 deep" zone, for example, means five defenders are playing deep (deep zones or corner zones), and the remaining pass defenders are playing short zones. Head Coach provides the following four zone coverage blocks: .Z5 -- 5 deep zones .Z4 -- 4 deep zones .Z3 -- 3 deep zones .Z2 -- 2 deep zones The number of short zones used depends on the number of defenders available for pass coverage, which depends on the basic defensive alignment called. In a 43 defense, there are three linebackers and four deep backs for pass coverage, a total of seven pass defenders. In a "43.Z5" defensive call, the 5 means five deep zones, leaving two short zones. A "32.Z3" uses three deep zones and five short zones, because there are 8 pass defenders. In a zone coverage block, all pass defenders have a zone to cover. Reassigning a pass defender to something else with a subsequent block results in an undefended zone. Appendix C, Defense, diagrams all zone coverages. There are four zone coverages for each of the six basic defensive alignments, resulting in 24 zone coverages. Shift Block The shift block allows you to specify shifts of formation position of defensive players. In a long yardage situation, for example, you might want to shift all pass defenders back 5 yards. This would shift all zones 5 yards deeper and thus make man coverages more effective against the deep pass. The shift block begins: .S The ".S" indicates a shift block. Next, you must call the player or players to be shifted. One of these must follow the ".S": LB -- Shift linebackers. CB -- Shift cornerbacks. DB -- Shift deep backs. AL -- Shift all: linebackers, cornerbacks, and deep backs. player position -- Shift the player specified (ex: RE or MI). jersey number -- Shift the player whose jersey number is specified. Following the ".S" and the specification of player or players to be shifted, you must specify the shift itself. The shift may be either: L -- Left R -- Right S -- Strong (toward offensive strong side) W -- Weak (toward offensive weak side) U -- Up (toward line of scrimmage) B -- Back (away from line of scrimmage) Yards from the line of scrimmage If a direction (L, R, S, W, U, or B) is specified, the amount of the shift in yards must be specified. To place the defender or defenders a certain distance from the line of scrimmage, specify the distance in yards. For example: 43.Z5.SALB5 This calls a basic defensive alignment of "43", 5 deep zone pass coverage, with all pass defenders shifted Back 5 yards. This causes the pass defense zones to be 5 yards deeper than normal, providing extra pass defense deep. Next: 34.MO.SCB0 This specifies a "34" defense, Man Outside coverage, with the cornerbacks shifting up to the line of scrimmage. You can use more than one shift block in a defensive call: 34.MI.SWOU1.SSOW1 This takes a basic 34 with Man Inside coverage and moves WO Up 1 yard, and moves SO one yard to the Weak side. A final example: 43.MB.S2410 This calls a "43", Man Back coverage, with player number 24 10 yards off the line of scrimmage. If a player to be shifted has a jersey number less than ten (a single digit), the digit must be preceded by a "0" as follows: 33.Z5.S06B5 This calls a 33 defense, Zone 5 coverage, with defender number 6 shifting Back 5 yards. Assign Block With the assign block, you can make special assignments to defensive linemen and linebackers. The assign block begins with: .A The ".A" is followed by one or more one-letter assignment specifiers. The assignment specifiers are: I -- Linemen stunt inside O -- Linemen stunt outside P -- Linemen pass rush G -- Guard keying F -- Linebacker force Linemen stunt inside The "I" assignment instructs the linemen to charge to the inside of the formation when the ball is snapped. This is called when the defense anticipates a run inside, typically the 0, 1, 2, 3, or 4 hole. For example: 43.MO.AI This calls a "43" defense, Man Outside pass coverage, assigning an inside charge to the linemen. See Figure 6-12. Linemen stunt outside The "O" assignment instructs the linemen to charge to the outside of the formation when the ball is snapped. This is called when the defense anticipates a run outside, typically the 5, 6, 7, or 8 hole. For example: 34.MB.AO This calls a "34" defense, Man Back pass coverage, assigning an outside charge to the linemen. See Figure 6-13. Linemen pass rush The "P" assignment is used when the defense expects the offense to pass. In the lineman pass rush assignment, the defensive linemen charge the QB. The "P" assignment is very effective in reducing the chance of completing a pass, but if the offense has called a run, the effectiveness of the defense against the run is greatly reduced. Figure 6-14 shows the following call: 33.Z5.AP Guard keying To improve the offense's rushing performance, the offense can choose to have linemen that are not at the point of attack pull and block at the point of attack. The blocking assignments used by the offense for this type of trap blocking are: T, P, N, F, and O blocking (see Section 5, Calling the Offense). If an offense traps a lot, the defense may specify the "G" or guard keying assignments. The guard keying assigns two defensive linemen to key the two offensive guards. When a guard pulls to block at the point of attack, a defensive linemen will follow the guard to the hole. This "G" assignment is an effective defense for an offense that does a lot of trapping in their running offense. The offense has a blocking assignment specifically designed to combat the defense that does a lot of guard keying -- the "G" block (see Section 5, Calling the Offense). For example: 43.MI.AG This calls for a "43" defense, with Man Inside pass coverage and the defensive tackles keying on the offensive guards. See Figure 6-15. Linebacker force The final assignment is the "F" or linebacker force. In the linebacker force, the linebackers ignore the pass and step up to the line of scrimmage at the snap of the ball. This helps stop an offensive run. For example: 44.MB.AF This calls for a "44" defense, with Man Back coverage and all linebackers force. Beware -- this leaves the offensive HB and FB unassigned as shown in Figure 6-16, but it puts eight players on the line of scrimmage. Blitz A blitz occurs when defenders that do not usually penetrate the offensive line or backfield attempt to do so. The defenders assigned to blitz try to put additional pressure on the ball carrier or passer, at the expense of fewer defenders to protect against a pass. Blitzing is usually done in a man pass coverage to ensure all receivers are covered. Blitzes are very effective in passing situations to put pressure on the passer. Against runs, luck is involved. If the blitzing players are on the side of the point of attack, the run is very effectively defended. However, if the offense runs away from a blitz, the offense usually has the advantage. To specify defenders to blitz, enter the blitz block as follows: .B The ".B" is followed by one or more players that will blitz. For example: 34.MB.B WO WI 55 This calls for a "34" basic defensive alignment with Man Back pass coverage and that WO, WI, and player number 55 blitz the QB. See Figure 6-17. In designing a blitz, you must first decide which basic defensive alignment to use. As previously stated, blitzing is normally called from man coverage. In Figure 6-17, a "34.MB" covers all receivers and assigns zone coverages for WO, WI, and SO. Therefore, WO, WI, and SO could be blitzed and still have all receivers covered. Blitzes can be called from zone coverages as well. Because zone coverages do not overlap zones to a great extent, the blitzing player leaves a "hole" in the zone where no coverage is assigned. For example: 34.Z3.BSI This calls a "34" basic defensive alignment, with three-deep Zone coverage and SI blitzing. The "34.Z3" SI assignment is a pick zone in the middle of the field. However, because of the blitz a "hole" in the zone coverage is created in the middle of the field. See Figure 6-18. To call a "safety blitz", which is a blitz involving a deep back, the recommended approach is to call a man coverage that has the deep backs not assigned to particular receivers: 43.ML.BWS SS This calls a "43" basic defensive alignment, with Man Linebacker pass coverage, and a blitz by SS and WS. In this "43", SS and WS do not have specific receivers to cover, only corner zones. Therefore, SS and WS can be blitzed and still have pass coverage on all receivers. See Figure 6-19. Special Man Covers Sometimes the defensive coach needs to assign a defender to cover a particular receiver man-for-man that a standard defense and man coverage does not provide. The most common need to specifically assign a defender to a receiver occurs when double coverage is desired. Double coverage means having two defenders cover a receiver man-for-man. To use double coverages, call a basic defensive alignment and pass coverage that leaves some pass defenders free for additional assignments. Then specify the Cover block: .C The ".C" is followed by one or more cover assignments consisting of a defender and the receiver to cover. For example: 33.MO.CWS SE This calls a "33" basic defensive alignment with Man Outside coverage, and WS covers SE man-for-man. This call has placed two defenders, RC and WS, on the SE, thereby double covering SE. See Figure 6-20. Another example: 33.MI.CSOFL MBTE WOSE This calls a "33", Man Inside coverage, with double coverages on FL (LC and SO), TE (SS and MB), and SE (RC and WO). See Figure 6-21. Combining blocks More than one block can be specified for the defensive calls. Consider this final example: 43U.MO.SWS3.AG.CMITE.BWS This specifies "43U" ("43" with Under shift, or shift to weak side), Man Outside coverage, WS to shift to 3 yards off the line of scrimmage, guard keying, MI to cover TE man-for-man (creating double coverage on TE), and a WS blitz. See Figure 6-22. Section 7 Dot Commands Description HEADCOACH Part 3 The dot commands request special operations. The following paragraphs describe each of the dot commands, in alphabetical order. If you are playing the game in mouse selection mode, click the desired dot command from the display twice. Any additional choices will be obtained by using self-explanatory boxes. This remainder of this section is written for a game in the keyboard selection mode. Each command is specified by typing a dot ".", typing the two-letter command, and pressing the RETURN key. Some commands require additional information on the dot command line, some ask for additional information, and some require no additional information. .1R When Head Coach begins, you are in the playbook mode. After entering a play call, either offense or defense, you need to press the RETURN key only once to complete the call. This mode is the "1 Return entry mode." If you enter the ".1R" command, Head Coach disables the 1 Return mode. When the 1 Return mode has been disabled, Head Coach will continue to ask for a call until you press RETURN without having typed anything. The 1 Return mode is disabled until another ".1R" command is entered. At this time, the 1 Return mode switches. If you are in the mouse selection mode and not in the "1R" mode, you must click the "OK" box in the lower right hand of the menu display to complete a play call. This mode is particularly useful for more advanced players who use multiple entries per call. For example, the offense may want to make a detailed call, set the snap count (.ON command), and specify receivers (.RL command). .45 In professional football, the offense generally has 45 seconds in which to begin the offensive play. Head Coach permits you to either enable or disable a 45 second delay-of-game clock. When the game begins, the 45 second clock is disabled. Entering ".45" enables the clock. When the offense is instructed to enter a play call, the 45 second clock is displayed, but does not actually show 45 seconds. This is because in a real game, the 45 second clock is begun when the previous play has stopped. Head Coach approximates what the 45 second clock will be when the offense gets into the offensive huddle and the quarterback can actually call the play. In this manner, Head Coach gives the player an amount of time very consistent with real professional football. If the offense does not complete a play call before the 45 second becomes zero, a delay of game penalty is assessed. The delay of game penalty is not assessed until the offensive play calling is complete. The offense is not interrupted out of calling the play. Entering ".45" alternates between enabling or disabling the delay of game clock. .AU Head Coach provides a much more realistic game environment by using the audibles mode. When in audibles mode, just like in professional football, the offense may decide to change the called play while at the line of scrimmage. This is usually done because the defense has apparently called a defense which will be very effective against the offensive play called. Sometimes the offense may be looking for a particular defensive setup, for which the offfense has a good play to use. While in audible mode, after the offense and defense have made their play calls, the offense will see on the display the defensive alignment against the offensive alignment. If the offense does not wish to change the play, simply press RETURN ( or click OK if in mouse mode). The play will be executed normally. However, if the offense would like to change the play, simply make another play call. The defense will then get a chance to make another defensive call. In this manner, the game is very realistic. The offense must get the ball snapped before the 45 second clock elapses, if used, and the defense must be prepared for the offense to snap the ball at any time. Remember, if the offense makes any play call after the first, the defense is given a chance to change the defense. Some experienced Head Coach players have noted that by reentering the same offensive call, the defense is given a chance to change but cannot be sure that the offensive play call was really changed. .CJ Sometimes, the colors being worn by one of the teams needs to be changed. Most often, this happens when the home team uses a light jersey at home (most teams wear a dark jersey at home). When a team needs to change jerseys, enter ".CJ". You are asked to enter the name of the team that must change jerseys. .CT The ".CT" command is used to enable a team to be computer controlled or to disable a team from being computer controlled. After either entering .CT and pressing the RETURN key or double clicking the CT, you are asked to enter the name of the team to be processed. Next you are asked to enter "E" to enable the team as a computer-controlled team or "D" to disable the computer-controlled team, returning the team to player control. .DC When a team is placed in computer mode, the computer selects the offenses and defenses. If Head Coach is in "Display Call" mode, the computer generated calls are displayed. Entering ".DC" alternates between displaying or not displaying the computer play calls. .DP When you begin a game, Head Coach does not display the contents of playbook calls (the detailed call). To enable the displaying of detailed calls, enter ".DP". Entering ".DP" alternates between displaying the detailed call associated with a playbook call and not displaying the detailed call. .DR When players are displayed on the screen, either one or two digits are displayed on each player. The numbers displayed can be either the jersey number of the player or the rank of the player. Whenever the ".DR" command is entered, the mode of display is switched between jersey numbers or ranks. You are told which mode of display will be used. This mode is in effect until another ".DR" command is entered. At this time, the mode switches. Because of limited display space, when a player rank, from 1.0 to 5.0, is displayed, it is displayed without a decimal point. For example, the rank for a 3.0 player is displayed as 30. .FG To attempt a field goal, enter ".FG", and the field goal attempt is executed. .FK When your team is tackled behind your own goal line for a safety, the ball is placed on your 20-yard line, and you are instructed to enter ".FK" to kick your free kick. When the computer requests the free kick, you may also enter ".RP" (described later) to replay the previous play, which resulted in the safety. .GR You can consult Head Coach for a play recommendation at any time by entering ".GR". Head Coach evaluates the current situation (down, distance, score, etc.), and based upon the game plan, displays a recommendation. Note: You must have a game plan entered for the .GR command to function. .HE Entering ".HE" displays on the screen a list of all the dot commands available with the function of each. .IN Head Coach permits players to be injured when operating in the "injuries possible" mode. When the game starts, injuries are not possible. To enable injuries, use the ".IN" dot command. To disable injuries, enter ".IN" again. If an injury occurs, both teams are informed of the nature of the injury, and for how many plays the player must remain out of the current game or subsequent games. When the amount of plays has elapsed, both teams are informed that the injured player may now reenter the game. The player may be placed back into the game by using the ".SU" dot command, described later. A player may be injured for more than the remainder of the current game. If league statistics are being maintained, the players' injury status is saved at the conclusion of the current game. When that team plays again, and the league statistics are read in, the player will continue to heal over the required number of plays. .KM As was described in Section 3, Your First Game, plays and commands may be selected by using either the keyboard or the mouse. The ".KM" dot command switches between the two methods. .KO Whenever a kickoff must be executed, you are notified. You are notified by a special message if in keyboard mode, or in the window title bar if in mouse mode. Enter ".KO" to execute the kick-off. .LC To recall the last call that the offense or defense made, enter ".LC". The last call that was made is displayed and treated as if the offense or defense had entered the call again. .MG If you are playing a remote Amiga game, you may transmit a message of your choice to your opponent. After entering the ".MG" command, you are instructed to enter your message. Enter the message and the message is transmitted to your opponent. .MP If you are using the keyboard mode of play and command selection, the mouse is not used. Therefore if you are in the keyboard mode Head Coach can turn off the mouse pointer. Entering the ".MP" command alternates between displaying the mouse pointer or not displaying the mouse pointer. .MU Because the outcome of plays is based upon player abilities, it is very helpful to be able to see your team lined up against your opponent's team with the player abilities displayed. Then you can evaluate how your two teams "match up". To get the player abilities displayed rather than jersey numbers, use the ".DR" command, as previously described. Entering ".MU" then places the game in a special matchup mode. You are asked to enter an offensive play and a defensive play, but the play is not executed. The formation is displayed so that you can look for favorable or unfavorable matchups. When you have finished examining the matchups, press RETURN. Matchup mode is a very useful tool for evaluating the matchups that result from the use of special offensive formations. You remain in the matchup mode until entering another ".MU" command, which restores normal play calling. You might want to usethe ".DR" command again to cause the player jersey numbers to again be displayed. .ND Normally after messages are displayed on the screen, Head Coach delays an appropriate amount of time. If you are in a hurry, use the ".ND" command to eliminate the time delay on messages. This makes for a faster game. This is especially useful if you want to have two teams play as two computer controlled teams. By eliminating the delays, and by also turning off all plotting, a complete game will be played automatically in approximately 20 minutes. .ON Normally the coach sending in the play (you) does not specify the count on which the ball is snapped, leaving that decision to the quarterback on the field. However, in certain situations the coach dictates the snap count for the offense. To specify the snap count, enter ".ON", followed by a single digit snap count (1 to 9) as follows: .ON1 Snaps the ball on the first "hut" .ON5 Snaps the ball on the fifth "hut" If you leave off the single digit snap count Head Coach asks for the snap count as follows: Enter snap count (1 to 9): Respond by typing in a single digit from 1 to 9 and pressing RETURN. If you are in the mouse mode, double click the "ON" command. You next see a requester displayed on the screen. Using the mouse, click the desired snap count. .PA Whenever a point after touchdown attempt must be executed, you are notified. You are notified by a special message if in the keyboard mode, or in the window title bar if in the mouse mode. Enter ".PA" to execute the "point after" attempt. .PB When the game started, you called your plays from your playbook by typing the name of the play. This is the playbook mode. For more detailed, professional-style play calling, you make detailed play calls. When making detailed play calls, you are no longer in playbook mode. If you wish to use only the names of plays from your playbook, Head Coach must be in the playbook mode. If you wish to make detailed play calls, Head Coach must not be in the playbook mode. The .PB command is used to alternate the play calling mode between playbook mode and detailed mode. The game begins with both teams in the playbook mode. While in playbook mode, call a SWEEPR play by entering the play name as follows: SWEEPR If you enter a .PB command, the team is switched out of the playbook mode into the detailed mode. You may still call a play by name, but the name must be enclosed in apostrophes (') as follows: 'SWEEPR' .PC Use the ".PC" dot command to control use of the printer. At any time, the printer is in one of three possible modes: Never print Always print Inquire before printing In the never print mode, the printer is never used. If in always print mode, appropriate information (usually statistics) is sent to the printer when displayed on the screen. If in the inquire before printing mode, you will be asked if it is desired to send the display currently on the screen to a printer. When you enter a ".PC" command, Head Coach will ask you in which mode you want the printer to operate. Also, Head Coach will ask if you are using a single sheet printer. If you use a single sheet printer, Head Coach will pause at the proper times to allow the insertion of a new sheet into the printer. .PM To add, delete, save, or list plays in a team playbook, enter ".PM". A list of the three-letter commands is displayed. If you press RETURN without having entered anything, the playbook maintenance mode is terminated. To see a listing of the plays in your playbook, enter LIS. You can request a listing of all the plays, or enter the name of an individual play to be listed. The contents of your playbook are displayed on the screen, 20 lines at a time. When 20 lines have been displayed, the display operation will pause. To continue looking at the playbook contents, press RETURN. If you have seen enough, press X, then RETURN. To add a play to your playbook, enter ADD. Head Coach asks you to enter the name to be used for your new entry. Enter the name, press RETURN, and Head Coach asks you to enter the contents of the play entry. After entering the contents and pressing RETURN, the new playbook entry is stored. To delete a play from your playbook, you are instructed to enter the name of the play to be deleted. When adding a new entry to your playbook, your entry does not have to be a detailed play call. As explained in Section 5, Calling the Offense, the entry can be a formation, a dot command, etc. To save (write) your playbook on a disk, enter "SAV". Head Coach asks you to enter the name of the file to write. The current playbook for your team is written on the file you specified. .PO Three plotting options are available. If you are in the mouse selection mode, appropriate self explanatory boxes are displayed. Use the mouse to click your choices. If you are in the keyboard mode, after entering ".PO", the computer displays: Do you want to see the teams come from the huddle (y or n)?: Press "Y" or "N" and RETURN. Next you are asked: Do you want to see the play being executed (y or n)?: Press "Y" or "N" and RETURN. Finally you are asked: Do you want the defense to be able to see the formation (y or n)?: Press "Y" or "N" and RETURN. .PS When the game is started, all plotting is done as fast as possible. If you would like all plotting to be done at a different speed, enter ".PS". At this point, the computer displays: Enter plotting speed 1 (slowest) to 10 (fastest): Respond by entering the plotting speed, a number from 1 to 10. If you are in the mouse selection mode, click the desired speed from the display. .PU Whenever you would like to punt (it doesn't HAVE to be fourth down), select a ".PU", and a punt is executed. You may choose to actually punt or to fake a punt. If in mouse selection mode, appropriate boxes will be displayed to allow you to make your choices. If using keyboard mode, select a fake punt by one of the following: .PUF - Fake punt .PUFL - Fake punt, to the left .PUFR - Fake punt, to the right In the fake punt, the punter runs either to the right or left. If you do not choose either direction, the punter makes the choice. You may choose from two options if actually punting the ball. You may choose either one, both, or neither. The first option is the "S" option, which means that you want the punter to punt short, fearing that a normal punt would travel into the end zone. The second option is the "O" option, which means you that would like your punter to punt out of bounds to prevent a punt return. For example: .PU - Normal punt .PUS - Punt short. .PUO - Punt out of bounds. .PUSO - Punt short and out of bounds. .PUOS - Punt out of bounds and short (same thing as .PUSO). As with the other commands, if you are in mouse selection mode, appropriate boxes are displayed to allow you to make your punting choices. .QU If you would like to quit playing the game before the game time expires, enter: .QU .RL Use the ".RL" command to specify which eligible pass receivers the passer considers when throwing the ball. After entering ".RL" and pressing RETURN, you are asked to enter the receivers, either by position or jersey number, that you want the passer to consider. Enter the list as follows: TE 21 FL This line instructs the passer to look at the TE (tight end), player number 21, and the FL (flanker). To force a throw to a particular receiver, such as the SE, enter: SE After entering your receiver list, you are asked if the first receiver named is a primary receiver. If so, that receiver is given special attention. You must enter either 'Y' or 'N' to indicate whether the first receiver is or is not a primary receiver. .RO Entering ".RO" displays a team roster. You are asked which team to display. For each player, the following items are displayed: Jersey number Position Name Rank The players that are currently in the game are marked with an asterisk "*". Any player currently injured is indicated with "I", followed by the number of plays that must elapse before that player may return to the game. As instructed, when the team roster is displayed, you may choose to select an individual player to display. The ability ranks as well as the current game statistics for the selected player are displayed. Press RETURN when you are ready to continue calling plays. .RP To see an instant replay of the previous play, enter ".RP". This plots the replay at the current plotting speed (set with .PS, described previously). To see a replay slowed down, enter ".RP", followed by a number from 1 (slowest action replay) to 10 (current plotting speed), as follows: .RP5 Plots a replay at one-half (speed 5) plotting speed. .RT Using the ".RT" command enables you to play a game with your opponent seated at a "dumb" terminal plugged into the serial plug on the back of your Amiga. A player at the dumb terminal cannot see any plotting on the terminal screen, but play selections can be made and play results annotated. This works out very well if the remote terminal is in the same room with the Amiga, situated so that the player at the dumb terminal can see the Amiga screen when the play is being executed. If the player at the remote terminal cannot see the Amiga screen, the game can still be played, but it is a bit ackward. For example most Head Coach players will agree that the same offensive formation must be used, as the player at the remote terminal cannot see the plays. When the ".RT" command is entered, you are presented a series of questions about the nature of the serial connection to the remote terminal. .SA To save the status of the current game for continuation at a later time, enter ".SA". You are asked to enter the name of a file to use to save the current game conditions. If you do not enter a file type (a period followed by the file type; see Section 2, Getting Started), Head Coach will provide a file type of ".sa". Later, when starting a game, you can enter the name of the file (you do not need to enter the ".sa") and the saved game will be continued. .SC If you would like to practice your play calling, Head Coach has a special "scrimmage mode". While in scrimmage mode, you run plays against your own defense (with the defense wearing jerseys reversed from the offense). The play is not run to a normal conclusion, only to the point of attack. For a run, the play stops when the ball carrier arrives at the hole. On a pass, the play stops when the receiver either catches or misses the pass. The play results are not counted in the statistics. Entering ".SC" alternates between scrimmage mode or normal playing mode. .SE The ".SE" command displays questions so that you can specify a new offensive situation -- ball possession, down, distance, position on field, score, and time remaining. This is not usually used during a game. It is primarily used for setting up special practice situations. .SM Want to play a computer team opponent that gets smarter as the game progresses? The ".SM" (smart mode) dot command alternates between smart mode in which the team learns from the progress of the game, and dumb mode in which the game plan is followed but never modified. In the smart mode at the completion of each play, the play that was called (either offense or defense) is evaluated as to the effectiveness of that call in that situation. The game plan is then modified to alter the probability of making the same call again in the same situation. .SP How about an announcer? If you are playing with a disk that was built using the "make" program, and if you requested speach to be included, your Head Coach can talk. The messages are divided into three categories: All messages Major messages Remote Amiga messages After entering ".SP", Head Coach asks for your choice of messages to be included. Of course, if "All messages" are requested, major messages are automatically included. The "Remote Amiga message" is asked only if you are playing a Remote Amiga game. .ST Entering ".ST" displays the current game statistics for both teams. When you are ready to continue play calling, press RETURN. .SU The ".SU" command is used to substitute a player or players for players currently in the game. There are two modes for substituting players: normal mode and roster mode. In the normal mode, the jersey number of incoming players is a part of the command. In the roster mode, the team roster is displayed on the screen and the jersey number of the incoming player must be typed. If in mouse mode, incoming and outgoing players are selected by the mouse. To substitute a player in the normal mode, enter ".SU", the jersey number of the player coming in, a period ("."), and the position or jersey number of the player being replaced. For example, to bring in number 23 to play halfback, enter: .SU23.HB To substitute number 77 for number 73, enter: .SU77.73 To use the roster mode enter the ".SU" only (no jersey numbers). The roster of the team is displayed on the screen and you are instructed to enter the jersey number of the player coming out. Enter the jersey number of the outgoing player. You are next asked for the jersey number of the player coming in. Enter the incoming player jersey number. If you are using the normal mode, you can substitute more than one player at a time, as follows: .SU14.07;81.88;65.RG This substitutes number 14 for number 7 (note the use of the leading "0" in "07"), number 81 for number 88, and number 65 will play RG. Multiple substitutions can be placed in the playbook. The substitution can then be made by entering the playbook name of the substitute command. .TO To call time out, enter ".TO". You will be asked to enter the name of the team calling the time-out. If the team has time-outs available, time-out is called and the remaining time-outs are reduced by 1. If time-outs are not available, an appropriate message is displayed. .TQ The offense gets the first opportunity to call time-out. If the defense wants to call time-out immediately, the offense must type it in. By using the ".TQ" command, the offense will be asked if the defense should be charged with a time-out before the clocks begin. This is particularly useful when playing a remote Amiga game, as this permits the defense to get a time-out called before the offense has used time off the game clock by making an offensive call. .TV How about stopping the game for that all-important trip to the kitchen? Using the ".TV" time-out will stop the game and all game clocks. Press RETURN to continue the game. .WX Entering ".WX" displays the current weather conditions. After the weather is displayed, you must answer the following: Do you wish to change the weather conditions (y or n)? : If you enter a "Y", and press RETURN, you are asked to provide new weather conditions. Section 8 Computer Teams Head Coach allows either or both teams to be controlled by the computer. This enables you to play a game against the computer, or have the computer control both teams and watch the game! Three steps are required in order for a team to be computer controlled: 1. A playbook must be provided when starting the game. 2. A game plan must be provided when starting the game. 3. The ".CT" dot command must be used to initiate computer control. Providing the playbook and game plan were described in Section 3, Your First Game. Section 7, Dot Commands, explains the use of the ".CT" dot command with which you place a team into computer- controlled mode. Playing the computer To play a game against the computer, begin the game as instructed in Section 3, Your First Game. Be sure to provide a playbook and game plan. Following the opening kickoff and kickoff return, Head Coach asks for the first offensive play. Enter: .CT Head Coach asks for the name of the team to be processed. As instructed, you may enter an "O" for the offensive team, a "D" for the defensive team, or the name of the team you wish to be computer-controlled, and press RETURN. You are requested to enter an "E" to enable a computer-controlled team or "D" to disable. Enter "E" and press RETURN. At this point, the team you have selected is being controlled by the computer, calling plays as directed by the game plan. Computer versus Computer If you would like both teams to be computer controlled, begin a game as previously explained. When Head Coach requests the first offense, initiate computer control on one of the teams. When the next input is required, either offense or defense, initiate computer control of the other team. After placing both teams in computer-controlled mode, you are a spectator -- enjoy the game! Returning to Player Control If both teams are playing a game under computer control, you may regain player control of the team currently on offense by pressing and holding the CTRL key and the C key simultaneously. The next time an offense is required, the offensive team will be switched to a player controlled team. Section 9 The Game Plan In order to be able to make offensive and defensive calls, Head Coach uses a computer file called a game plan. The game plan states which plays are used in specific situations. When it is time for an offensive play call, for example, Head Coach consults the team's offensive game plan and determines which offensive play to call. The game plan is a computer file that provides a list of up to fifteen offenses or defenses that can be called in each play-calling situation. A situation is defined by: Offense or Defense Down -- 1, 2, 3, or 4 Distance -- Short, Normal, or Long There are 24 possible situations, such as: Offense, 1 down and short Defense, 3 down and normal Defense, 2 down and long When Head Coach must provide a play call, first the situation is determined. Within that situation, the game plan provides for up to 15 plays that can be called. Each play provided must be an entry in the team's playbook. Which play to call depends upon the play percentage. The play percentage states how many times out of 100 chances in that situation each play will be called. The total of all percentages for a given situation must add up to 100. For example, consider the following game plan line for offense, 1 down and short: 20 DIVER 20 DIVEL 20 SWEEPR 20 SWEEPL 10 BOMB 10 FLOODS This game plan line for 1 down and short offensive situations specifies: 20% of the time call a DIVER 20% of the time call a DIVEL 20% of the time call a SWEEPR 20% of the time call a SWEEPL 10% of the time call a BOMB 10% of the time call a FLOODS Note that the sum of the percentages is 100, and that up to fifteen plays can be provided. Fewer than fifteen is fine (in this case, six play possibilities). Provided Game Plans Head Coach provides two game plan files -- "standard.gp" and "beginner.gp". The standard game plan is used with one the standard playbooks. The beginner game plan is used with one of the beginner playbook. Using any of the provided game plans, as explained in Section 3, Your First Game, enables Head Coach to generate play calls that are very realistic. On both offense and defense, the provided game plans are conservative, without taking a lot of risks. The provided game plans require that the provided playbooks, as delivered with your Head Coach system, must be provided when you start the game. The play names in the game plan must correspond with the play names in the playbook. Of course, you can edit the provided game plans and playbooks, or create entirely new files, but you must ensure that any play named in the game plan is included in the playbook. Making Your Own Game Plan The game plan file is a text file that can be processed like any other text file within your Amiga system. You may: Copy Rename Delete (be careful!) Type Print Edit etc. Game Plan File Names The provided game plan files provided with Head Coach are named "beginner.gp" and "standard.gp", as previously explained. As you learned in section 3, Your First Game, Head Coach makes it easy to use either provided game plan. However, you may use any file name you like when building your own game plan files. The ".gp" at the end of the name is used to specify the file type ("gp" means game plan), but it is optional. To use your own game plan file of any name, respond to the Head Coach game plan file name request as follows: The standard game plan for (team name) is "standard" Enter 'S' for the standard playbook, 'B' for the beginner playbook, or 'E' to enter the playbook name:e Press "E" and RETURN. Head Coach then requests: Enter the name of the game plan file: file This instructs Head Coach to retrieve a game plan file named "file.gp". Head Coach assumes that game plan file names will end in ".gp". If you do not type a period in the file name, Head Coach assumes the ".gp" is part of the name. However, if you would like to use a period with something other than "gp", Head Coach will not assume the ending ".gp". For example: Enter the name of the game plan file: whatever.something This example causes Head Coach to retrieve a game plan file named "whatever.something". Since you provided a period and a file type, Head Coach does not assume an ending ".gp". Modifying Game Plan Files You may use any text editor (ED, for example) to build or modify a game plan file. However, to use a text editor you must first understand the format of a game plan file. The game plan file consists of a series of entries, each of which either: Begins with "$" -- A comment line Does not begin with "$" -- A data line The comment lines allow you to place notations of any sort in the game plan file. Whenever a comment line is encountered (the first character is a "$"), the remainder of the line is ignored. If the first character is not a "$", the line must be a data line. The provided game plan files ("beginner.gp" and "standard.gp") includes comment lines that indicate the format of the file. These comments can be used as a guide when creating your own game plan files. The data lines within the files are grouped as shown in Table 9-1. Within each data line are a series of play percentage and play name pairs, each of which states the probability that the play named will be called in the situation. For example, the following is an excerpt from the defensive half of the standard game plan, third down, short situation: $ DEFENSE 3 DOWN SHORT 15 GOAL 15 RUSH 15 GOALDW 15 GOALDT 15 REGL + 15 ZONE3 10 ALLB This entry consists of seven play percentage-play name pairs, with the percentages adding up to 100%. Therefore, for each defensive third down and short situation, one of seven plays will be called. The percentages state that: 15% call GOAL 15% call RUSH 15% call GOALDW 15% call GOALDT 15% call REGL 15% call ZONE3 10% call ALLB The seven pairs presented are distributed over two input lines. The "+" at the end of the first line indicates that the line following is to be treated as a continuation of the first line. In this manner you may place up to fifteen pairs over as many lines as necessary. Each line that is to be continued must end with a "+". Section 10 Team Files Much of the realism of Head Coach is a result of having all probable play results calculated based upon player abilities. Player ability is just one type of information that is provided in each team file. Within each file is stored a great deal of information that allows Head Coach to model many factors of the team and of the team performance. Team File Format The team file is a text file containing a series of lines, each of which is either a data line or a comment line. All lines of the team file, except the player lines (explained later), must begin with either a dollar sign ("$") or a dot ("."). Comment Lines Comment lines begin with a dollar sign ("$"). Head Coach ignores the contents of the line. This allows you to place comments and explanations in the team file. Data Lines All data line entries except the players' abilities are stored on one line, with an identifying field at the beginning of each line. The actual player abilities are recorded on up to 45 consecutive lines of one player each. The type of data on each line is specified by a three-character identifying sequence at the beginning of each line. The identifying sequence begins with a dot (".") followed by a two-character data type. Table 10-1 lists the data types available, along with information required for the type. For example, the following line specifies that the punter has jersey number 10 and has a 41.2 yard punting average: .PU 10 41.2 The values on each line must be separated by at least one blank. Character data such as team names, player names, and the home stadium names can be stored in two ways. If the name does not require a blank character to be stored ("Smith,J", for example) the name is recorded without any quotation marks: Smith,J If however, the name requires blanks ("COUNTY STADIUM", for example), the name must be enclosed in quotation marks: "COUNTY STADIUM" Comments on Data Lines Head Coach also allows you to place comments on a data line. Placing a dollar sign ("$") after the data instructs Head Coach to ignore the remainder of the line. You may therefore place comments on any data line, after the data. For example: .ND 34 $ This team uses 34 mostly, but some 43 This line specifies that the normal defense for this team is a "34". Head Coach will ignore all characters following the dollar sign ("$"), which allows you to place a special comment on the line. Specifying Colors In Head Coach, the team file specifies the team color information for both home and away jerseys. For both the home and away jerseys, colors are recorded for the jersey and for the letters on the jersey. Therefore, four colors must be recorded: Home Jersey Home Letters Visitor Jersey Visitor Letters The colors are recorded as a series of three numbers, each of which must be a number between 0 and 15. The three numbers represent the amount of: Red Green Blue For example, black contains no color, so the color value for black is: Red=0 Green=0 Blue=0 Therefore, to build your own team, you must determine the values for the red, green, and blue that constitute the color you wish to see. On your Amiga, a simple procedure to determine color coding is to use the "Preferences" program. Following the instructions in your Introduction to Amiga, activate the Preferences program and use the mouse to set the color bars for one of the color blocks. When you have obtained the color you like, you can determine the amount of red, green, and blue by counting the number of "clicks" from the left that each color slide bar is set. The slide bar at the left end represents a color value of zero (O); the extreme right is a color value of 15. Perform this procedure four times to determine the four colors that you want. The following paragraphs describe each of the types of data lines. NA The ".NA" line contains one field of information, the name of the team: .NA REBELS .NA "FIGHTING MAVERICKS" HF The ".HF" line contains three fields of information: 1. Name of the home field 2. Type of stadium: "I" -- Indoor Stadium "O" -- Outdoor Stadium 3. Type of surface: "N" -- Natural Grass "A" -- Artificial Grass For example, if the home stadium name is "BROWN MEMORIAL STADIUM", which is an outdoor stadium with artificial grass, enter: .HF "BROWN MEMORIAL STADIUM" O A ND The ".ND" line specifies the normal defense that the team uses. This allows Head Coach to recommend a standard playbook when the game begins. There is only one field of information, and the value must be either "34" for a "34" normal defensive alignment or "43" for a "43" normal defensive alignment. For example: .ND 43 This specifies that the team normally uses a "43" defensive alignment. HJ, HL, VJ, VL The ".HJ", ".HL", ".VJ", and ".VL" lines each contain three fields of information: the amount of red, green, and blue for the colors of the home jerseys, home letters, visitor jerseys, and visitor letters. For example: .HJ 0 4 10 .HL 7 6 7 .VJ 15 15 15 .VL 0 4 10 These specify a jersey that is blue with gray letters at home, and white jerseys with blue letters on the road (away, visiting). PU The ".PU" line specifies the statistics of the team punter. This line contains two fields, the jersey number of the punter and the average yards per punt: .PU 8 39.9 This line indicates that the punter wears jersey number 8 and has a 39.9 yard average. FG The ".FG" line specifies the statistics of the team field goal kicker. The field goal statistics are also used to predict extra point and kick-off performance. The line contains three fields of information: Kicker jersey number Number of field goals good Number of field goals attempted For example: .FG 3 18 22 This line indicates the jersey number of the team field goal kicker is 3, and the kicker has been successful on 18 of 22 attempts. KR The ".KR" line specifies a jersey number for a kick-off return player, and the team average kick-off return: .KR 28 18.9 This line specifies that player number 28 is considered the team kick return player, and that the team averages 18.9 yards per kickoff return. PR The ".PR" line specifies a jersey number for a punt return player, and the team average punt return: .PR 14 12.3 This line specifies that player number 14 is considered the team punt return player and that the team averages 12.3 yards per punt return. PL The ".PL" line indicates that the following lines contain the player information. There must be at least 22 lines, and at most 45 lines. Each player line contains, at a minimum, the following fields of information: 1. Player Jersey Number 2. Player Name 3. Position 4. Overall Rank The position can be one of the following: OT -- Offensive Tackle OG -- Offensive Guard CR -- Offensive Center TE -- Offensive Tight End WR -- Offensive Split End and Flanker HB -- Offensive HalfBack FB -- Offensive FullBack QB -- Offensive QuarterBack DE -- Defensive End DT -- Defensive Tackle NT -- Defensive "Nose" Tackle LB -- Defensive LineBacker CB -- Defensive CornerBack DB -- Defensive Deep Back The player name field may contain a player name without blanks, or, if blanks are required, a player name surrounded by quotation marks. The overall rank is a rating of the players' ability. The lowest ranking is 1.0, the best is 5.0, and an "average" player ranked 3.0. For example: 71 "James, B" OT 3.6 This specifies player #71 is named "James, B", is an offensive tackle and has an overall rank of 3.6 Internally, Head Coach uses eleven player abilities: 1. Ability to pass block 2. Ability to run block 3. Ability to catch a pass 4. Running speed 5. Running strength 6. Passing strength 7. Passing accuracy 8. Tendency to scramble while passing 9. Ability to defend the run 10. Ability to defend the pass 11. Ability to rush the passer You can place only the jersey number, name, position, and overall rank on a player line. If that is all you place on the line, Head Coach takes each player's overall rank and, based upon the position, determines the categories listed above for each player. If you would like, after the minimum player information, you may place at least one space, the character "+", another space, and the eleven ranks for the player. In this manner, you may more accurately describe a player. For example: 7 Jones,W QB 4.0 + 1.1 1.1 1.3 3.8 2.8 4 4.0 3.0 1 1 1 This assigns Jones, W an overall rank of 4.0 and specifies all eleven categories. For example, the passing accuracy is 4.0, and the tendency to scramble is 3.0. The "template.team" file on your "headcoach1" master disk includes comment lines to help you in completely specifying player abilities. You may choose to described all ranks on any, some, or none of the player lines. Each line is processed separately. LO, LD, LK, LP, LR, LQ, and LF These lines specify player lineups: LO -- Lineup for offense LD -- Lineup for defense LK -- Lineup for kick-off LP -- Lineup for punting LR -- Lineup for kick-off return LQ -- Lineup for punt return LF -- Lineup for field goal attempt Each of the lineup lines contains 11 jersey numbers, representing the players in the lineup. The lineup entries must be placed after the .PL and the player entry lines. Following are descriptions of the player positions stored in each of the 11 jersey number positions for the various lineups, with an example for each: LO -- Offensive Lineup: LG LT CR RG RT TE SE HB FB FL QB .LO 74 61 60 53 55 17 80 35 32 81 9 LD -- Defensive Lineup For a 43 defense: RE RT LT LE WO MI SO RC WS SS LC For a 34 defense: RE NT LE WO WI SI SO RC WS SS RC .LD 75 99 93 97 56 50 27 34 43 41 29 LK -- Kickoff Lineup Players from left-to-right, ending with kicker: .LK 74 61 60 53 55 17 35 34 80 81 8 LP -- Punt Lineup Players from left to right, ending with kicker: .LP 75 99 93 97 56 27 34 43 29 80 6 LR -- Kickoff Return Lineup Players from left to right,3 rows, starting with row 1, then row 2, and row 3: .LR 75 61 60 53 55 17 34 35 27 80 32 LQ -- Punt Return Lineup Players from left to right, ending with kicker: .LQ 75 75 99 60 17 56 41 43 35 32 80 LF -- Field Goal Attempt Lineup Players from left to right, ending with kicker: .LF 60 61 53 55 99 97 74 75 35 1 3 Remember each line, except the player lines, must begin with either a dollar sign ("$") or a period ("."). Creating Team Files for Real Teams To create team files that represent actual professional teams, you need to obtain: Team statistics Player rankings Team statistics are widely available from a number of publications, usually appearing on newsstands in late summer. These publications will usually include the statistics you need for Head Coach team files: Team punting average Team field goal performance Team punt return average etc. Obtaining  realistic ratings of offensive backs and receivers is not difficult, because league standings of these categories are normally published. However, obtaining player ratings for linemen and defensive players is a bit more difficult. Fortunately, some publications, while not providing an actual player ranking number, do discuss at length individual players and their abilities. Therefore, to build real professional team files: Collect some publications that list team rosters, statistics, and discuss all categories of players. Determine, usually from the publications, the name of the home field, and the colors the team uses at home and on the road. Publications usually provide information to determine the lineups required. Collect your data, and with the Head Coach master menu on the screen, enter a command to edit the file. Suggestion: make a copy of an existing team file or the template team file, naming the copied file the name of the team you want to build. Use a Head Coach editing command to edit the new team file. Remember, player rankings: 1.0 represents the worst ranking of players that play. 3.0 is for "average" players. 5.0 is for the best players. Section 11 League Play Supporting league play is accomplished by: * The "make" utility * Statistics maintenance while playing games * The "lo" (League Office) utility The "make" utility (see Section 2, Getting Started) includes the capability of creating a league file. A league file is a file that the describes a league: * The name of the league * The names of the conferences in the league * The names of the divisions in each conference * The names of the teams in each division When playing a Head Coach game, you may choose to have league statistics read in when the game starts, and updated when the game is over. The "lo" utility accesses the league file to determine the makeup of the league. After determining your choice of how to process statistics (by league, by conference, etc.), "lo" collects the team statistics files for all required teams. Then you may examine the statistics for teams, statistics for players, team standings, etc. Getting a League Started To play a league, begin by reseting your Amiga and inserting your Head Coach disk. When the master menu is displayed, enter: make As described in Section 2, Getting Started, you may format a new disk or simply place new files on an existing disk. When the "make" utility asks if you would like to form a league, click the "Yes" box. The "make" utility then asks a series of questions in order to define the league. When finished, the "make" utility writes a league file onto the disk being "made". You may also use a text editor ("ed", for example) to build a league file. A league file is a text file containing a series of lines. Each line specifies one of the following: League Name Conference Namae Division Name Team Name Here is an example of a league file: .LN HCFL. .CN HCFL. .DN EAST. .TN BULLDOGS. .TN REBELS. .TN HAWKS. .TN BUFFALOS. .DN CENTRAL. .TN CRUSADERS. .TN LONGHORNS. .TN REDBIRDS. .TN HORNETS. .DN WEST. .TN TIGERS. .TN PANTHERS. .TN MUSTANGS. .TN COBRAS. .EN . Each line begins in column one (1) with a period ("."). Following the peiod are two characters which identify the name being defined: .LN League Name .CN Conference Name .DN Division Name .TN Team Name The upper case letters must be used. After the identification of the name being defined must be at least one space, the name, and finally another period ("."). The last line of the file must be the ".EN" line, indicating the end of the file. You must begin the file with the league name, a conference name, a division name, followed by the teams in that division. The remainder of the file defines the remaining teams, divisions, and conferences. You must have one league name. You may have from one to three conferences. Each conference may have from one to three divisions. Each division must have either three, four, or five teams. When beginning a game, Head Coach will ask if you would like to process league statistics -- click the "Yes" box. The statistics files for the teams will be read in. If there are no statistics files, Head Coach will create new statistics files, if you wish. When the game completes, you may instruct Head Coach to update the statistics files. To view team standings and league statistics, execute the "lo" utility from your Head Coach disk. By using the mouse, you can specify the league to be examined, and how the statistics are to be processed. Simply follow the instructions to get the complete statistics picture for your league. Section 12 Modem Play Modem play is also called "remote Amiga" playing. This means you have the ability to play a game against your opponent that is seated at another Amiga, at some remote location. There are two different forms of remote Amiga: * Null modem * Modem The "Null modem" mode means that two amigas are connected by standard RS232 cables with a "null modem" adapter. The RS232 cables and null modem adapters are all standard equipment available at your Amiga store. The null modem mode eliminates the necessity of using a telephone line, but limits the distance between the two Amigas to the length of the cable. If you have two Amigas in the same room or house, the null modem is a good way to play remote Amiga games. If you want to play with a friend across town or across the country, the modem mode is required. The modem mode means that each Amiga is connected to a modem device with a standard Amiga modem cable. Head Coach supports Hayes compatable modems. The null modem may be used at speeds up to 19,200 baud (1920 characters per second). When used with a modem, speeds are limited by the modem being used. Starting a Remote Amiga Game When you begin a Head Coach game, Head Coach asks if you are starting up a remote Amiga game; click the "Yes" box. Head Coach then begins the process of establishing the communication between the two Amiga computers. Head Coach first needs to know if you are starting up a null modem or a modem game. Enter either "N" or "M", as instructed. Head Coach then directs you through a series of questions that will enable Head Coach to establish communication. Before beginning a remote Amiga game, you and your opponent must decide: * Which mode to use (null modem or modem) * Baud rate to use (you are given a list of choices) * Which team will do the calling (The other team will answer) * Which team is home team and which team is the visiting team After answering the questions, if you are in the modem mode, the calling computer will place a call to the answering computer (during the dialog, you have already typed in the telephone number of the receiving computer). The calling computer will send a special message to the answering computer, and await a special response. If the answering computer does not answer in one minute, the calling computer will repeat the request. After the communication has been synchronized, starting the game continues normally. When a team file is needed, the file is taken from the computer for that team (either home or visitor) and is sent to the remote Amiga. In this manner, it is not necessary for each computer to have the files of the opponent team. The home team computer will provide the weather and random number. At this point each player sees a normal Head Coach game, with responses for the opponent being taken from the remote Amiga and transmitted to the local Amiga computer. Each player will see the notice "Waiting..." when the local computer is waiting for the remote player to provide some information. The communications processing in Head Coach is sophisticated. All data is transmitted in small units, with check information transmitted. If a transmission is bad, due to line noise for example, the transmission will be retried. Furthermore, at the beginning of each play, the down, distance, game time, and score is compared between the two computers. This guarantees that the two computers remain fully synchronized. M A N C O V E R A G E S 32.MO Corner Zone__ Deep Zone _________________Corner Zone \ / / \ WB SB WS SS | RC / LC | #1R WO SO / #2S | #1L | | #2W | #3S / | | RE | NT | LE / | | | \ / | () () |() () () \ () () | / () \ () / \ () () 32.MI Corner Zone_________ ______________Corner Zone \ /  WB SB WS Pick Zone SS | #2W / | #2S RC \ / / LC | #1R \ WO SO / | #1L | \ | #3S / | | \ RE NT | LE / | | \ \ / | () \ () () () () \ () () | \ () \ () \ \ () () 32.ML Corner Zone Deep Zone _______________Corner Zone \ / / \ WB SB WS SS | RC / #2S LC | #1R WO SO / | #1L | | #2W #3S| / | | RE | NT | LE / | | | | / | () () / () () ()| () () | / () | HEADCOACH Part 4 () / \ () () 32.MB WB SB WS | #3S SS | #2W | | #2S RC | | / LC | #1R \ WO SO| / | #1L | \ | / | | \ RE NT | LE / | | \ | / | () \ () () () () | () () | \ () | () \ \ () () 33.MO Corner Zone_ ______________________Corner Zone \ / \ MB \ WS Pick Zone SS | | #2S RC | / LC | #1R WO MI SO / | #1L | #2W | | #3S / | | | RE NT LE | / | | | | / | () | () () () () () | () | \ () / () \ / () () 33.MI Deep Zone | | MB WS SS #2W | Pick Zone Pick Zone | #2S RC \ / \ | LC | #1R \ WO MI__ SO / | #1L | \ \ #3S / | | \ RE NT \ LE / | | \ \ / | () \ () () () ()\ () () | \ () \ () \ \ () () 33.ML Corner Zone Deep Zone Corner Zone \ | / \ | / \ MB / WS SS RC LC | #1R WO MI__ SO | #1L | | \ #3S | #2S | | | RE NT \ LE | | | | \ | | () \ () () () ()\ () () | \ () \ () \ \ () () 33.MB MB Side Zone_ WS | #3S SS _Side Zone \ | #2W Pick Zone | | #2S / RC \ \ | \ | / LC | #1R \-------- WO MI \ SS--+-----/ | #1L | \ \ | | | \ RE NT \ LE | | | \ \ | | () \ () () () () \ () () | \ () \ () \ \ () () 34.MO ______Deep Zone / / / WS SS | #2S Pick Zone_ _Pick Zone | RC \ / | LC | #1R WO WI SI SO | | #1L | #2W | #3S | / | | | RE NT LE / / | | \ / / | () \ () () () () () /() | \ () / () \ / () () 34.MI Corner Zone__ WS SS \ | #2W Pick Zone __|_____Corner Zone \ | / / | RC \ | / / | LC | #1R WO| WI SI SO | | #1L | | | #3S | | | | RE NT \ LE / | | | \ / | () \ () () () ()\ () () | \ () \ () \ \ () () 34.ML Corner Zone__ ___Corner Zone \ / \ / WS SS Pick Zone RC / LC | #1R WO WI SI SO | #1L | #2W | | #3S | #2S | | | RE NT \ LE | | | \ \ | | () \ () () () ()\ () () | \ () \ () \ \ () () 34.MB WS SS | #2W | #2S Corner Zone_____ | | \ | Pick Zone _Pick Zone | RC \ | \ / | LC  | #1R WO| WI SI SO / | #1L | | #3S | / | | | RE NT LE | / | | | | / | () | () () () () () / () | \ () / () \ / () () 42.MO Corner Zone______ ____________________Corner Zone \ / \ MB WS SS | #2S RC | LC #1R | WO SO | | #1L | #2W | #3S | | | | | | | | | | RE RT LT LE| | | | \ | / | () \ () () () () () | () | \ () / () \ / () () 42.MI Deep Zone | MB WS _Pick Zone SS #2W | / | #2S RC | / | LC #1R | | WO SO | | #1L | \ | #3S / | | \ RE RT LT LE | / | | \ / / | () \ () () () () () / () | \ () / () \ / () () 42.ML Corner Zone_______ ___________________Corner Zone \ / \ MB WS SS | #2S RC | LC #1R | WO SO | | #1L | #2W | | #3S / | | | RE RT LT LE | / | | \ | / | () \ () () () () () / () | \ () / () \ / () () 42.MB MB WS #3S | SS Pick Zone__ \ #2W | Pick Zone | #2S RC \ \ \ \ | LC #1R | WO | \ SO / | #1L | | \ / | | RE | RT \LT LE / | | | \ / | () (|) () () ()\ () () | | () \ () | \ () () 43.MO ____Deep Zone / / WS SS Pick Zone | #2S RC | | LC #1L | WO MI SO | | #1L | #2W | #3S | | | | | | | | | | RE RT LT LE | / | | \ / / | () \ () () () () () / () | \ () / () \ / () () 43.MI WS SS  Pick Zone | Pick Zone | #2S RC | | \ | LC #1L | WO | MI__ SO | | #1L | | \ | | | | RE RT \LT LE | | | | \ / | () | () () () ()\ () () | \ () \ () \ \ () () 43.ML Corner Zone_ ______Corner Zone \ / \ / WS SS RC LC #1L | WO MI__ SO | #1L | #2W | #3S \ | #2S | | | RE RT \LT LE | | | \ \ | | () \ () () () ()\ () () | \ () \ () \ \ () () 43.MB Side Zone_ WS Pick Zone SS \ | #2W | / #3S RC \ | | / LC #1L | WO | MI | SO | #1L | | | | #2S | | | RE RT LT | LE | | | | | | | () \ () () () () |() () | \ () | () \ | () () 44.MO MB Pick Zone__ Pick Zone | #2S RC \ / | LC #1R | WO WI SI | SO | #1L | #2W | | / #3S | | | RE RT LT LE|/ | | \ | | () \ () () () () () /() | \ () / () \ / () () 44.MI Corner Zone_ MB ___Corner Zone \ | #2S / RC \ | / LC #1R | WO WI SI | SO | #1L | #2W | | #3S | | | RE |RT LT| LE| | | | | | | () () |() () () \ () () | / () \ () / \ () () 44.ML Deep Zone | | MB Pick Zone / RC / LC | WO WI SI SO | #1L | | | #3S | #2S | | | RE RT LT| LE / | | \ | / | () \ () () () ()| () () | \ () \ () \ \ () () 44.MB Pick Zone_ MB \ Pick Zone | #2S RC \ / | LC #1L | WO WI SI | SO | #1L | #2W | | / #3S | | | RE RT LT LE|/ | | \  | | () \ () () () () () /() | \ () / () \ / () () ---------------------------------------------------------------------------- Z O N E C O V E R A G E S Diagrams for zone coverages are not included Figure 4-1: Points of Attack (Holes) 0 ^ SE 7 5 LT 3 LG 1 CR 2 RG 4 RT 6 TE 8 ^ ^ ^ ^ QB ^ ^ ^ ^ FL HB FB Figure 5-1: Offensive Linemen LT LG CR RG RT Figure 5-2: Strong Right SE LT LG CR RG RT TE FL Figure 5-3: Strong Left TE LT LG CR RG RT SE FL Figure 5-4: OR (Open Right) SE LT LG CR RG RT TE QB FL HB FB Figure 5-5: OL (Open Left) TE LT LG CR RG RT SE FL QB FB HB Figure 5-6: IR ("I" Right) SE LT LG CR RG RT TE QB FL FB HB Figure 5-7: IL ("I" Left) TE LT LG CR RG RT SE FL QB FB HB Figure 5-8: NR (Near Right) SE LT LG CR RG RT TE QB FL HB FB Figure 5-9: NL (Near Left) TE LT LG CR RG RT SE FL QB HB FB Figure 5-10: FR (Far Right) SE LT LG CR RG RT TE QB FL HB FB Figure 5-11: FL (Far Left) TE LT LG CR RG RT SE FL QB HB FB Figure 5-12: 1R (1 Back Right) SE LT LG CR RG RT TE HB QB FL FB Figure 5-13: 1L (1 Back Left) TE LT LG CR RG RT SE FL QB HB FB Figure 5-14: GR (Shotgun Right) SE LT LG CR RG RT TE HB FL FB QB Figure 5-15: GL (Shotgun Left) TE LT LG CR RG RT SE FL HB FB QB Figure 5-16: 4R (4 Receivers Right) SE LT LG CR RG RT TE QB HB FL FB Figure 5-17: 4L (4 Receivers Left) TE LT LG CR RG RT SE FL HB QB FB Figure 5-18: 5R (5 Receivers Right) SE LT LG CR RG  RT TE FB QB HB FL Figure 5-19: 5L (5 Receivers Left) TE LT LG CR RG RT SE FL HB QB FB Figure 5-20: WR (Wishbone right) SE LT LG CR RG RT TE QB FB HB FL Figure 5-21: WL (Wishbone Left) TE LT LG CR RG RT SE QB FB FL HB Figure 5-22: DR (Double TE Right) SE LT LG CR RG RT TE HB QB FL FB Figure 5-23: DL (Double TE Left) TE LT LG CR RG RT SE FL QB HB FB Figure 5-24: IRX ("I" Right, Exchange) SE LT LG CR RG RT TE QB FL HB FB Figure 5-25: OLX (Open Left, Exchange) TE LT LG CR RG RT SE FL QB HB FB Figure 5-26: 1LX (1 Back Left, Exchange) TE LT LG CR RG RT SE FL QB FB HB Figure 5-27: Position Modifier "Spots" O L T LT LG CR RG RT T L O ^ ^ ^ ^ ^ ^ F S W W S F ^ ^ ^ ^ ^ ^ R R ^ ^ Figure 5-28: ORFLWL (Open Right, Flanker Wing Left) SE LT LG CR RG RT TE FL QB HB FB Figure 5-29: ILXSETW ("I" Left, Exchange, Split End Tight Weak) TE LT LG CR RG RT SE FL QB HB FB Figure 5-30: 1RFBWS (1 Back Right, Fullback Wing Strong) SE LT LG CR RG RT TE HB QB FB FL Figure 5-31: Pass Types LT LG CR RG RT LT LG CR RG RT | QB QB | | | | | / | | \ / / \ \ / / \ \ / \ / \ RL RR ^^ ^^ LT LG CR RG RT LT LG CR RG RT | QB QB | | || || | / || || \ / / | | \ \ / / | | \ \ / | | \ / | | \ | | SL  SR ^^ ^^ LT LG CR RG RT | | QB | | | | || | | | | || | | | | || | | | | || | | | | || | | | | | | | | | | | | | | PK ^^ Figure 5-32: Path Names ^ <------------ | | | | | | | | | | | | | | | | I T / ^ / | / | / | / | / | / - - - - - - - - - - - - - - - - L V \ \ \ \ /-\ \ | | | | | | | | | | | | Y H ^ ^ | | | | | | | | | \ | \ | \ | (Delays 5 counts) ..... D U Table 5-1: Pass Route Table Downfield Lateral Pass Name Path Yards Yards A Angle I 12 -12 B Blast I 6 -3 C Corner Y 30 10 D Deep Hook H 15 0 F Fly I 30 0 G Go U 7 12 H Hook H 8 0 I In T 12 -9 L Lead -- Not a pass route -- see explanation in text O Out T 12 9 P Post Y 30 -10 Q Quick Post Y 10 -6 S Stay -- No movement 0 0 W Wide Cross T 7 -22 X Cross T 4 -11 Z Zip I 2 -4 hole number -- assigned player goes to hole number specified Figure 5-33: Passing Tree P F C \ | / \ | / \ | / \ | / \ | / \ | / \|/ /| / | D | | I------------|-------------O A\ Q\ H/| |G \ \ | |  \ \ | | W--------------------------\---\| / \ | / X----------------\--| / \ | / \|/ CR RG RT TE Figure 5-34: Points of Attack (Holes) 0 ^ SE 7 5 LT 3 LG 1 CR 2 RG 4 RT 6 TE 8 ^ ^ ^ ^ QB ^ ^ ^ ^ FL HB FB Table 5-2: Blocking Assignments Block Name Meaning C Cross block -- linemen at the point of attack cross F Far block -- Off-side tackle pulls to the point of attack G Go block -- On-side guard pulls away from the point of attack N Near block -- On-side tackle pulls to the point of attack O Onside trap -- On-side guard pulls to the point of attack P Power block -- Both guards pull to the point of attack Q Quick toss -- QB tosses the ball to the ball carrier T Trap block -- Off-side guard pulls to the point of attack W Wedge block -- All blockers move toward the point of attack Z Zone block -- All blockers block the nearest defender (default) Figure 5-35: IRXSELW.FB5TQ.SELHB8FLOTEC / / / / / / | | ______ | | | | | | ____| | | / |___ | | SE \ | LT LG CR RG RT TE/ | \\ QB | / FL \\_____________._______| / \ . / \ . HB_________________/ \ . \______.____FB Figure 5-36: OR.HB8T.FBOSEPTECFLP;RR / / / / / / / \ / / \ / / \ / / \ / / \ | | \ | | \ | ______|__________ | | | | | | | | | | | | | | | | | SE LT LG CR RG RT TE _/ / | \ QB | / / FL \_____|______________|_______/ / | | / HB_____________\____________FB_______/ \ \ \______ Figure 6-1: 32 WB SB WS SS RC LC WO SO RE NT LE () () () () () () ()  () () () () Figure 6-2: 33 MB WS SS RC LC WO MI SO RE NT LE () () () () () () () () () () () Figure 6-3: 34 WS SS RC LC WO WI SI SO RE NT LE () () () () () () () () () () () Figure 6-4: 42 MB WS SS RC LC WO SO RE RT LT LE () () () () () () () () () () () Figure 6-5: 43 WS SS RC LC WO MI SO RE RT LT LE () () () () () () () () () () () Figure 6-6: 44 MB RC LC WO WI SI SO RE RT LT LE () () () () () () () () () () () Figure 6-7: 43O vs OL SS WS RC LC SO MI WO RE RT LT LE () () () () () () () () () () () Figure 6-8: 34R vs ORHBWL WS SS RC LC WO WI SI SO RE NT LE () () () () () () () () () () () Figure 6-9: The 4 Zone Types | Deep | | | | | | Corner \ | | | | | / Corner \ | | | | | / ________________\__| | | | |_/______________________ \ \ (*) / / (*) \ / (*) \ / \ / --------- ---------------\ /-------\ /--------------------- \ / \ / \ / Pick \ / Side \ | | / Side \ | | | | | / \ | | | | | / \ / \ | / \ / \ / \ | / \ / (*) / \ (*) / \ (*) ---------------/ ------- /-------------------- Figure 6-10: 43.MO  Deep Zone / / / / Pick Zone WS | SS | | #2S RC | | LC #1R | WO MI SO | #1L | | #2W | #3S | | | | | RE RT LT LE| | | | | | | | SE | () () () () () | TE | \ QB / FL \ / HB FB Figure 6-10 (Cont'd): 34.MB Side Zone WS SS \ #2W | Pick Zone Pick Zone | #2S \ | \ / | RC \ | \ / | LC #1R | WO | WI SI | SO | #1L | | | / #3S | | | RE NT LE |/ | | | | | SE | () () () () () /TE | | QB / FL \ / HB FB Figure 6-11: 43.MO vs 1L Deep Zone \ \ \ WS SS | #2S Pick Zone RC | | LC #1R | | | #1L | | SO | MI WO | | #3S \ | | #2W | | \| RE RT LT LE | | | | | | | TE () () () () () | SE FL \ QB HB \ \ --------------- FB Figure 6-12: 43.MO.AI / / / / WS | SS | | RC | | LC | WO MI SO | | | | | | | | | RE RT LT LE| | | | | \ \ / / | | | SE | (\ () \ () / () /) | TE | \ QB / FL \ / HB FB Figure 6-13: 34.MB.AO WS SS \ | | \ | \ / | RC \ | \ / | LC | WO | WI SI | SO | | | | / | | | RE NT LE |/ | | |/ | \ | | SE / () () |) () ()\ /TE | | QB / FL \ / HB FB Figure 6-14: 33.Z5.AP Corner Zone Deep Zone Deep Zone Deep Zone Corner Zone \ | | | / | / MB | / | WS SS | | Pick Zone | RC |  LC | Side Zone----------------- WO MI SO---------------------Side Zone RE NT LE | | | SE () () |) () () TE | QB | FL \ | / HB\ | /FB \ | / \ | / Figure 6-15: 43.MI.AG Pick Zone WS \ | Pick Zone SS \ | \ | RC \ | \ | LC | WO | MI SO | | | | | | | | | RE RT | LT LE | | | | | \ | | | SE | () () () \ () () TE | \ QB \ FL \ \ HB \--FB Figure 6-16: 44.MB.AF MB | RC | LC | WO WI SI | SO | | | | | | | | | | RE |RT LT| | LE | | | | | | | | | SE | () |() () ()| |) FB | | QB FL HB FB Figure 6-17: 34.MB.BWO WI 55 WS SS | | | | RC | | LC | WO | WI 55 | SO | | \ | | | | / | | \ | RE | NT | LE |/ | | \ | | | | | SE \ | () (| () |) () /TE | \ | | QB | / FL \ \ | | / \ HB | | FB \ \ / \ \ / Figure 6-18: 34.Z3.BSI Corner Zone Deep Zone Corner Zone \ / \ | / | | WS | | SS----------Side Zone | | RC Pick Zone LC Pick Zone-------WI \ Side Zone------WO SI SO | RE NT | LE | SE () () () () () TE QB | FL | HB / FB / / Figure 6-19: 43.ML.BWS SS WS \ SS \ / RC \ / LC | WO \ MI / SO | | | \ | / | | | \ RE \ RT | LT / LE | | | \ \ \ / | | SE \ () \ () () \ () / ()  TE | \ \ QB \ / FL \ \ \/ -HB \ /\--FB \ / \ / \ / Figure 6-21: 33.MI.CSOFL MBTE WOSE MB------\ WS \ SS | \ | RC | \ | LC | /------------WO MI \SO-----|--------\ | | / | \ \ | \ | | / | RE NT \ LE \ / \ | | / | \ \ / \ | SE \ () () () () () TE \ | \ QB \ FL \ \ ---HB --FB Figure 6-22: 43U.MO.SWS3.AG.CMITE.BWS SS | RC | LC | WO MI----------\ | SO | | | WS \ | | | | |RE \ RT LT LE \ | | | | | \ \ \ \| | | SE | () \ () () --() () TE | | \ \ QB / FL \ \ / HB \ FB-----/ \ \ A few game hints....hopefully not covered on prior DOC DISCS. ARKANOID II On the high score screen, type in the name DEBBIE S (with the space), and you'll have infinite lives. BARBARIAN Boot and run the game as usual, but at some point after the game has started, type in: 04-08-59 ...It will make the Barbarian character almost invincible, but he can still be killed by very high falls, and by the flame-hurling horned demon in the dungeon deep, pictured on the cover. After you type 04-08-59 the screen will turn gray, telling you that you're invincible. Once you make it to Necron, you must have a shield. Face Necron when he turns to face you. When he throws a fireball at you, press the defense button as it hits your shield. BARD'S TALE How to hoard millions in gold without trying: Load your party, go to the stats screen for the first player. Pool all of the party's gold to the first player, then remove him from the party, then load him back in. Then pool the gold to another player. Repeat this for each player. Then turn off the computer without saving the game. Reboot and ezch player will have gold equal to the TOTAL the party had before. Repeat if you're really greedy ! BETTER DEAD THAN ALIEN If you are just about to be hit by an alien or a bomb, press the ESC key to pause, move your ship out of the way, then press N to resume the action. Type CHAMP on the options screen, then press the HELP key. You'll be shown a list of cheat keys. DEFENDER OF THE CROWN To get 1,024 Knights: After conquering a territory, press these four keys at the same time, while the drive is still running: H J K L ... If you do it just right, you'll have 1,024 knights both in your home and in your army. Hey, this is good stuff! Another way was reported in which to get 1,024 Knights, but it doesn't seem to work: After first picking the knight, when Robin Hood appears, type PATTERSON over and over until the map of England appears. Don't press the Return key. If this trick doesn't work the first time, try again. I was only able to get this to work most of the time if, before typing PATTERSON over and over, I first typed in my name with no spaces: GEORGEKNOCHEL Yep, Twilight Zone! DUNGEON MASTER To advance Ninjas a level, stand in a hall and throw all your weapons, then get them and repeat. This also works with magic and Fighter levels: cast a spell at the air, or slash and bash until you gain a level.  F/A-18 INTERCEPTOR Select option "2 Free Flight, no enemy confrontation" from the main menu. Then select zero instead of 1 to 4. The screen will go into a spiral and scroll way south to 34 by 117 degrees, placing your plane somewhere without a runway. To take off you have to use the afterburners. 117 degrees is the furthest south you'll be able to fly, but you can go in other directions. (Is there more to this back door? hmm) LEISURE SUIT LARRY Press ALT and X at the same time to bypass the proof-of-age questions. STARGLIDER (not Starglider II): Boot and play as usual until launched and ready to do battle. Then slow down until completely stopped in space. Press the F1 key to turn on the fixed sight, and press the backspace key to pause the game. Now type: js[space]arg[space]s You should now be invincible! You'll know you're in invincible mode when you can repeatedly press the P key and get additional missiles (up to 9). If the password didn't take the first time, try again. To may have to dock and re-exit for it to work. Once invincible, your fuel will remain constant and shields will never be depleted. Also, a secret built-in 3D object viewer running in the background is available by pressing the z key once you've entered the invincible mode. Use the keyboard to pause [p], select [, and .] and manipulate objects - use all keys except q and ESC. Use the mouse to change point of view and magnification and hold down the right button. .... TEST DRIVE Holding down the joystick button while going around curves prevents you from hitting the wall or going off the cliff. XENON Let yourself be killed off at the beginning of the 2nd stage of the 2nd level, and all aliens in the round are destroyed. SEWER SOFTWARE presents... INDIANA JONES AND THE LAST CRUSADE: THE GRAPHIC ADVENTURE (The Walk-Thru) In this graphic adventure, you become the swash-buckling archaeologist, Indiana Jones, in his search for the Holy Grail. You must travel from your school in New York to Venice and search misty Roman catacombs; then, to Brunwald Castle on thethe Austrian-German border, where your long-lost father, who was recently kidnapped, awaits your rescue! If you play your cards correctly, you will soon find yourself in Berlin.From Berlin, you must catch a Zeppelin flight to Iskanderun, where the Holy Grail is located.... Please note: This walkthru contains all the information to solve this game. However, there are hundereds of multiple solutions that you might come across as you play. If you find yourself in a different situation, it does not necessarily mean you did something wrong. Another problem with writing a walkthru for this game is the randomness factor. Many rooms, objects, and locations change from game to game. I have done my best to "generalize" the random elements. ABOUT THE COMMANDS There are certain things you should know before reading this walkthru. When I mention WALKING to someplace, it means you should use the WALK TO command. Also,remember that the words GET, PICKUP, TAKE, and GRAB all refer to clicking on the PICK UP command. Although most things you'll read herein contain the EXACT commands and moves, some will use synonyms and phrases. BEFORE YOU START It may be a good idea to explore the game on your own before using this walkthru. If you're ever puzzled by anything mentioned in this article, it would help if you explored the area on your own,then returned to the walkthru. This way, you'll have a general idea of the settings and puzzles. BARNETT COLLEGE, 1938 You have just retuned to your school after recovering the Cross of Coronado. Marcus Brody, your good friend, meets you in the hallway. He gives you a nice warm welcome, then asks you for some "translations" he gave you. You open up your note book and give them to him.Marcus says thanks, then continues to take inventory on some valuble artifacts. The first thing you must do is go to the school's locker room (where you can change out of your damp clothes). When you exit, you'll automatically be wearing a nice suit.After taking a quick look at the gym, return to the locker room. This time, when you exit the room, you will be wearing a nifty boxing suit. You will automatically enter the school boxing ring and converse with the muscular coach. You will be given three options of what to say to the coach.If you want a rather easy fight, choose TAKE IT EASY ON ME from the menu of replies. If you want a moderate fight, select the next reply. And if you want to be ready for the real world of adventure, select the phrase GIVE ME ALL YOU GOT. After you can easily defeat the coach, tell the him you can't fight anymore, and maybe next time. You will walk back into the locker room and put your suit back on. Now, walk into your outer office (it is located up and tot he left of the gym). You will notice the room is filled with angry students. Tell them you are sure you can work something out. Then, allow them to relax. Next, you should tell your kind secretary, Irene, to take all the kids names down on a list, and that you will see everyone in order. Because of your charming remarks, the students will allow you to pass. You should now be in your quiet, private office. Walk over to your cluttered desk and keep picking up all the objects on it until you see a package. Pick up the package and open it. As you know, you can't leave the way you came in, so you should walk over to the window on the right and open it. Now, climb outside. When you get outside, two men will greet you. Don't worry, you should go with them. They will take you to New York City, where Donovan, a wealty art collector, will explain the Grail story to you. (If you would like to skip this entire scene, you can push ESC or the right mouse button.) After the speech, you will be returned to the front of your school. Upon arriving at Barnett, you should go to your father's house (click TRAVEL, then select HENRY'S HOUSE).When you get there, you will notice the entire room has been ransacked! Something awful has happend to your father and you want to know what! Run into the small bedroom of the house and take the picture of a cup off the north wall.Now, go to the bookcase nearest the bedroom and pull it down. (Hey, the house is already a mess.) You should see a small piece of tape on the back of the case. Pick it up. At this time, you return to your loving students back at the college. Climb back into your room window and walk to the shelves on the left of it. Open the jar of solvent (use WHAT IS to locate it on the shelf).Now, place the sticky tape you found in your dad's home into the liquid. Again, you should avoid the annoying children and climb out the window! Now you can travel to your father's home again. When you arrive, you should walk to the table with the plant on top (to the left of the door).Pick up the plant and put it on the floor. Next, pick up the tablecloth and examine the chest below it. Use the small key that was in the tape to open the chest. Look inside it and get the old book. Now you are ready to TRAVEL to Venice and search for the second marker Donovan mentioned! AH, VENICE! Welcome to Venice! The first thing you should do in Venice is go to the library. When you are there, you should search for three books: "Mein Kampf," "How to Fly a Biplane," and "Secrets of the Roman Catacombs." (Use the WHAT IS command to scan all the books.) Now that you have obtained the three objects, look in the Grail Diary. The Grail Diary will show a picture of a stained-glass window. Walk to the same window in the library. (Make sure to get the red cordon and metal post before going to the next step.) Now, read the Grail Diary one more time. Note the statement that is shown.(It will say something like "The First on the Left.")The diary is referring to the inscriptions on the pillars behind you. If the dairy mentions LEFT, go to the left pillar; if it mentions RIGHT,walk to the inscription on the right pillar. Now look at the inscription. There will be three Roman numerals on the inscription. If your Grail Diary said FIRST, note the first Roman numeral. If the dairy said SECOND, remember the second Roman numeral. And, if the Grail Diary said THIRD, then remember the third number.Now, walk over to the slab on the floor that has the same Roman numeral as the one you just figured out. ROMAN CATACOMBS Use the metal post with the slab. You should be in a room with three exits. (If not, climb back up and redo the last step.) Take this time to look at the Roman Catacomb book. You will notice there are maps above and below the wording (You will know where you are on the map after walking around for a few minutes.) Exit through one of the doors and walk until you come across a room with two skeletons on the east wall. Look at the skeleton on the right. Now, get the hook on his arm. Keep walking around to the east until you enter a sewer room with a manhole cover. (You should have passed a room with a torch and a room with a slab on the ground.) Climb through the manhole cover. Walk over to the two people called "lovers" (they are on your left) and look at the wine bottle on the table. Take the wine. You should go back in the manhole now. (Note: You may want to fill the wine bottle it the fountain. If you do, you can skip the next sentence.) When you are back in the catacombs, walk to the board that is filled with water and fill the bottle. Next, go to the screen with the torch on the wall. Use the wine bottle with the torch and you will loosen the hard, dry mud. Pull the torch and hang on! When you land, the wine bottle will break. Walk to the east. You should come across a room with a cork and dripping water. Go one more screen to the east and read the inscriptions on the wall. (Write them down; they will help later in the game.) Now, walk out and use the hook in the cork.Next, use your trusty whip with the hook. At this time, climb up the ladder and return to the screen where you filled your bottle. Walk to the door on the right. You will find a strange machine in one of the rooms. Use the red cordon to "fix" the machine. Then turn on the machine by using the wheel on the right. Again,explore the area until you run into a room with three gold statues near a door. Look at your dad's Grail Diary and read what it tells you. Push the statues until they are in the correct order (and the door will automatically open for you). Walk in the door. Soon, you will see a narrow stone bridge. (This bridge will be up if you did not turn on the machine.) Cross the bridge and enter the tunnel on the other side of it. After walking around the catacombs some more, you should find a room with a bunch of skulls on a "table".When you do, look at the Grail Diary. In order to open the door, you must push the skulls in the correct order. (The door will open a small amount if you perform this in the wrong sequence).Each skull is a different note from your father's diary. (Remember that you are Indy, and his left is your RIGHT.) Walk in the door and down the flight of stone steps. You will eventually find the room with the knight's casket. Open the casket and look at it. Now,walk to the grating on the right of the screen and pull the rusty lock that is hanging on it. Climb out out the manhole cover, again. Now, it is off to Brunwald Castle where you must find your long-lost father! BRUNWALD CASTLE (THE GERMAN BORDER) Enter the Castle and tell the butler that your are Lord Robert McFalfa, and you are here to inspect the tapestries. Then, ask him: THIS CASTLE DO HAE TAPESTRIES, DO YE NOT? Then, you knock him out. (There are other possible solutions at this point.) Walk off the screen to the right. Now, go down and into the storage room. Get the servant uniform.When you exit, there will be a guard outside. Tell him you are here to talk with the prisoner. Then, tell him you are Dietrich's successor. Finally, tell him he is leaking information. Now go to the north.Tell the Nazi near the steps that you are selling jackets and you obtained authorization. Then, sell him the jacket for 15 Marks.Walk up the steps and find a room with a chest in it. Open the chest and get the 50 Marks. Wear the servant uniform and talk to the first Nazi guard on the second floor. Give the guard your painting. Walk to the east and go in another room with a small chest. Look inside the chest and get the uniform. Look at the uniform. Continue down the hall. You will run into another Nazi guard. This time you must avoid him or fight. (If you do fight, don't worry; there is a first aid kit in a room to the south.) After fighting, return to the castle entrance. (Remember to put your IndyWear on before going to the first floor.) Walk to the hall and locate a room with a drunk Nazi. Allow him to give you the empty stein. Now, go to the kitchen (a room near where you are currently located). Fill the stein with the spigot (or keg).Walk to the hot coals on the roast boar. Pour the ale on the hot coals. When the hot steam clears, take the roast boar with you. Now, refill the stein and return to the storage room. In the storage room you should use the key you found in the uniform with the clothes lock. Get the grey uniform. Now, walk to the third floor. Wear the grey uniform and talk to the Nazi guard on the third floor. Keep insulting him until he lets you pass. Walk into the room of the head Nazi, Vogel (one of the first doors on the third floor). Give the roast boar to the dog. Next open the drawer and get the pass. Before you go, take the trophy. Before doing anything else, go back to the kitchen and fill the trophy with what's in the stein and go to the second floor. On the second floor, find the alarm room and enter it. Give the Nazi guard "Mein Kampf." Now walk to the security system and use the stein with the grating. Leave the room and go to the art room. (It is near the place where you gave the guard your painting.) Walk to the giant paint-by-number Mona Lisa and push it. Open the safe.Take a good look at the picture in the safe. (It may help you choose the correct Grail.) Now, return to the third floor. Walk up to Biff the Nazi and offer him the trophy (which is now full of ale). Give him one good punch and pat yourself on the back. Search all of the rooms on the third floor until you locate one with a blue couch and candelabra. (It should be a room on the right side of the floor.) Walk to the candelabra and get the silver key hanging on it. Now, find a room with an alarm system on it (there are wires on top). Unlock the door with your silver key and enter the room.(If the room has a cabinet in it, open it and get the 75 Marks. If not, look in the room to the right or left.) Leave the room and Vogel will capture you. Give him the _real_ Grail Diary. When you are tied up, you can move by PUSHing or PULLing the chairs you are tied on. Keep pushing the chairs until you are under the blade of the suit of armor.When you think you are lined up properly, push the suit and hope the axe cuts the ropes...not you. Get up and push the left statue on the fireplace.Now, walk out the fireplace. You should be outside. Walk over to the motorcycle (with the sidecar) and get in. BERLIN Almost all of Berlin is automatic. However, you must give Hitler your unsigned pass when you "bump into" him. AIRPORT When you enter the airport, you will soon realize you don't have the the funds to ride a Zeppelin. To overcome this, you should have Henry walk over to the man in the airport and ask him about his children while Indy steals the tickets in his pocket. Leave the airport and board the Zep. (Note: If you want to skip this part, you can board the biplane at this point.To fly the biplane, read the manual. You can also skip the Zeppelin section.) ZEPPELIN Give the tickets to the man. Now, have Henry walk over to the piano player, while Indy waits by the locked door (near the entrance). Let Henry give the coins to the piano player. When the music starts and the Nazi comes out of the room, have Indy walk inside, open the locker, and steal the wrench. Quickly, walk out of the room. Now, use the wrench in the hole (near the locked door) and turn the wrench. Climb up the ladder. (You may want to save the game before you continue.) You will appear on the Zeppelin catwalks. Keep walking until you arrive at the biplane under the Zeppelin. (This section takes practice.) After flying in the biplane, you will get shot down. When you land, you will be on a farm. Walk over to the car on your left and use it. For the border guards, show them the pass you had signed by Hitler. You are now on your way to Iskanderun, where the final resting place of the Holy Grail is located! THE GRAIL TEMPLE When you enter the Grail temple, you will be unable to save or load the game. Be sure to save it before you enter. THE FIRST CHALLENGE: ONLY THE PENTINENT MAN WILL PASS To get past the first challenge, look in your real Grail Diary (the one that came in the game) and find the picture with the "X" in it. Click the cursor on the same place as the "X" in the game. THE SECOND CHALLENGE: THE FOOTSTEPS OF GOD Look at the top of the screen and note the way GOD is spelled. You can only walk on the letters that appear in the word. For example, if you see JEHOBA on the screen you can walk on J, E, H, O, B, and A. THE THIRD CHALLENGE: LEAP FROM THE LION'S HEAD You must click on a certain point on the opposite side of the giant chasm. Experiment until you find a place that works for you. THE KNIGHT AND THE GRAIL When you have made it to the knight, it is time to choose a Grail. Use the information from earlier in the game to pick the correct one. When you choose the Grail you think is the real one, bring it over to the holy water and fill it. After you have saved your father, you can do a few things. First, you can get the Grail and give it back to the knight. Second, you can let Elsa take the Grail, then get the Grail and return it to the knight. Or, you can take the Grail and try to leave. The first choice is the best of the three. Congratulations on solving INDY! FIGHTING HINTS Each person can develop a good way to fight. I have found a method that seems to work quite often: Push a punch button very quickly (about four times), then back up two times. Keep repeating this procedure until the Nazi is dead. SEWER SOFTWARE presents - Kenny Dalglish - Soccer Match documents - typed by The Jester of QUARTEX!! KENNY DALGLISH MBE Whether on the filed playing, or off it managing, Kenny Dalglish has been more than successful, he's rewritten both the record and fairy tale books! A brilliant player with outstanding skill - put in charge of one of the most successful football clubs in the world - what does he do? Wins the League and F.A Cup in his very first season in charge! This is the stuff that dreams are made of. However throughout his footballing career 'dreaming' has never been associated with Mr Dalglish. A determined positive attitude focused on the important matters of the day has brought him honours at all levels. Internationally,he is Scotland's most capped player with over 100 appearances, including taking part in two World Cup tournaments and scoring as many goals for his country as any other player. At club level, having scored over 100 goals in the Scottish first division for Celtic he transferred to Liverpool to repeat this feat in the England first. His ability to score goals is only surpassed by his talent for making them. A great player in a great team enabled Liverpool Football Club and Kenny Dalglish to pick up 3 European Cups, 6 League Championships, 1 F.A Cup and 4 League Cups! His achievements as a player were recognised by both the Footbal Writers' (in 1979 and 1983) and his fellow Professional Footballers (in 1983) giving him the 'Player of the Year' awards. As a manager, he has already won with Liverpool, 2 league Championships and 2 F.A Cups and was Bells Scotch Whisky Manager of the Year in 1986. So what does he do now? Whatever it is I believe success will be part of it. THE GAME The match is on! Type in the name of your team(and the opposition), set the difficulty and the length of game and away you go. You control the red team playing from left to right. The arrow shows which player you control(the closest to the ball). Before the game starts, Kenny will give you some valuable advice, ignore it at your peril! JOYSTICK CONTROL The player under your control will move in the direction you move the joystick. Pressing fire when the ball is near you will enable you to kick the ball. How far it goes depends on the direction the joystick is in -when you release the fire button. Up and Left : flick ball to players left Up : flick ball forward Up and Right : flick ball to players right Left : chip ball forward Centered : low pass forward Right : boot ball high in the air Down and Left : short pass along the ground Down : medium pass along the ground Down and Right : long pass along the ground KEYBOARD CONTROL Press the following keys T - display time (for a few seconds) S - display score (for a few seconds) P - pause game Q - quit game (good for saving face!) E - turn off in-game action sequences That's it from me I won't say have fun ..cos you won't S E W E R S O F T W A R E Presents TYPED BY THE TWINS OF TRILOGY K N I G H T F O R C E ~~~~~~~~~~~~~~~~~~~~~~~ CONTROLS: A - General Options Toggles the game sound on or off. Exit the game. Saves the game at any stage and returns you to the main menu. Toggle game pause. You can open the time gate of your choice with either joystick or cursor keys. After you have chosen the gate, press SPACE BAR or RETURN. B - Heroes Controls MOVEMENTS: There is the graphic representation of each position of the knight during movement or combat. You start the game with the knight in the middle of the graphic representation of each position of the knight during movement or combat. You start the game with the knight in the middle of the graphic. With the joystick, use sparrows, and with the keyboard, use numbers. Movement: jump jump left jump right \ | / \ | / \ | / \ | / \ | / \ | / \ | / \|/ walk left --------stand still-------- walk right /|\ / | \ / | \ / | \ / | \  / | \ / | \ / | \ duck left duck duck right Combat: There are each position of the knight during combat when standing up or crouched. Press the fire button on the joystick or the space bar and follow these instructions: hit high hit high left hit high right 7 8 9 \ | / \ | / \ | / \ | / \ | / \ | / \|/ hit left 4---------- hit -------6 hit right /5\ / | \ / | \ / | \ / | \ / | \ / | \ 1 2 3 hit low left hit low right hit low 3 - THE STORY On Earth, thousands of years ago, lived a nation of superior intelligence who had the secret of time travel. The secret was possionately sought after by other nations, but only Helias, the master of the kingdom of Belloth had the power to use it. Helias was not a native to the nation, but he had been appointed by the gods to guard the gates of space and time. That was how the kingdom of Belloth became the crossroads of time and space, with each gate being the entrance to the past and the future times. The people of Belloth were a very pacifist people and each individual respected the masters power. But Helias was extremly intelligent and realised that evil beings could destroy any person or a complete civilisation in order to dominate them. So he began to teach the knight and to make him aware of the dangers surrounding the nation and their secret. Knight of Thunder would one day be the most powerful man in the kingdom. ----- AGAIN ANOTHER 100% POWER-TYPING ---- --- DONE BY THE TWINS OF TRILOGY --- -- IN NOVEMBER -- S E W E R Presents TYPED BY CRISTINA OF TRILOGY L E I S U R E S U I T L A R R Y I I ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ LOOKING FOR LOVE! (In Several Wrong Places) INTRODUCTION Not very long ago Leisure Suit Larry looked like a "confirmed bachelor", he lived with his mother and really didn't get out much. It wasn't until well after his 38th birthday that Larry realized that life was passing him by. After work each evening, when his married friends went home to their wives and his divorced friends went home with someone else, Larry had nowhere to go. He was restless and lonely. He found himself staring at girls again, and reading cartoon ads with titles like "The Insult that Made a Man out of Stan." He dreamed of being a rock star (like Barry Manilow or Christopher Cross) and being mauled by chicks who just couldn't keep their hands off of him. Larry's mother didn't know what to do. She had watched Larry through his birth, his childhood, his adulthood, and his second childhood. Now Larry had reached what could only be called a "second puberty." He walked around in a daze, spent hours in his room with the door closed and the stereo blaring. He hid National Geographics under his bed, in his bookcase and everywhere. So Mom did the only just and noble thing.. She kicked Larry out of the house and bought herself a singles condo in South Florida. One month after Larry's mother threw him out he changed. Notice the crisp white leisure suit, the genuine gold-lacquered chains, the "steppin' out" elevator shoes and the "Saturday Night Fever" bouffant haircut. Let there be no doubt, with all the changes Larry went through, he was still a jerk. But now, he even looked the part. A trip to Lost Wages was the turning point for Larry. He arrived in the city looking for "action." His assault on the city started at Lwfty's Lounge, a combination cocktail lounge/brothel. He delighted the disco dames with a 360-degree move that has to be seen to be believed. And, quite by accident, he found out what it was like to find a perfectly wonderful woman worthy of more than just a one-night stand. It was a jolting experience for Larry, and forever changed his views on what he wanted from a woman. Today Leisure Suit Larry is a little older, a little wiser, and a little more eager to settle down. Amazingly enough though, after all that has happened, Larry is still a jerk. However, there's still time for Larry to change. He can't be a jerk forever....(Or can he???) AN OVERVIEW A Sierra 3-D Animated Adventure Game, simply stated, is an interactive movie where you become the main character. In this game, the main character is "Leisure Suit" Larry Laffer, a would-be man-about-town with a receding hairline and no redeeming social values. Each 3-D Animated Adventure Game has a goal, and as Larry, yours is a very special one. You see, Larry has been single for a long, long time. Life as a swinging single has been unfulfilling (and unsuccessful). It's time to find a long term relationship. Someone with whom to spend his declining (and receding) years. Leisure Suit Larry is looking for the holy grail of the singles bar scene. Larry is looking for the girl of his dreams, his soul mate, his long term relationship! HOW TO INTERACT WITH THIS COMPUTER GAME Identify your character onscreen (he's the balding nerd in the white leisure suit). You can move Larry through use of a joystick, mouse, the numeric keypad or direction keys on your computer. Check your reference card for full details. If Larry bumps into anything (barstool, girl, etc.) he will stop. You must maneuver around the object. When Larry reaches the edge of any screen, a new scene will be loaded from the floppy or hard disk. If Larry reaches the edge of a screen and a new screen is not loaded, you have reached a boundary of the adventure game world. An example of this is to try to go left or down from the opening screen of the game. 2.HOW TO CONVERSE WITH THE GAME TEXT MESSAGES (from the computer) Throughout your adventure, the computer will tell you about the situation you are in than would normally meet the eye. This text comes up in a message window on your computer screen. To clear a message from the screen, press ENTER or the mouse or the joystick button. TEXT ENTRY (your input to the game) When you want to do something, such as "talk to the cute receptionist," or "get the handcuffs," type simple, complete English sentences. A dialog bow will appear when you start to type. Press ENTER when your instructions are complete. For more information, see your reference card under the headings WINDOW and INTERACTING WITH THE GAME and TIP #4 under TIPS FOR NEW ADVENTURERS. 3.ACCESSING SPECIAL OPTIONS (Pull down menus) Sierra 3-D Animated Adventures features an array of special options designed to enhance your gaming experience. These options are available by accessing the pull down menus at the top of the game screen. On most machines, use the ESCAPE key and direction keys or the joystick or mouse. 4.SAVING AND RESTORING A GAME IN PROGRESS Every Sierra game product offers a special save and restore game feature. Saving a game is much like putting a bookmark in a book. Your position in the game, including your location, your possessions, and your total point score, is saved to disk for future use. You may use this option whenever you want to take a break from playing your game, or whenever you are about to do something you think you might regret later. A wise adventurer saves his game often. The world of Leisure Suit Larry is filled with potentially lethal situations. Whenever you get killed, locked up in prison for life, or otherwise stopped in your quest, you can restore your game to a past bookmarked point and proceed in your adventure again. For more information on save and restore functions, consult your reference card. SPECIAL TIPS FOR BEGINNING ADVENTURERS 1.LOOK AT EVERYTHING Every time you reach a new screen in your game, type "Look at the scene." Look at everything you can identify in each screen. For instance, in a bathroom you would "Look at the room" then "Look in the mirror," "Look at the sink," "Look at the toilet" and even "Look in the toilet." (Yuck!) The descriptions you get when you look at things can give you valuable clues that will help you in the game and can sometimes be very funny too! 2.KEEP AN EYE ON YOUR INVENTORY Adding items to your inventory (collecting things you find as you play) is a major part of any adventure game. You never know when a rope, a shoe string or even a banana peel can come in handy. When you find something that you think might be useful, type "GET THE......" If you can;t get the item you are trying to get, the game will tell you. Sometimes, the game will allow you to pick up things that could be detrimental to your progress. If, for example, all the characters in the game begin running from you with their hands on their noses, you may want to drop that rotting fish you found on the seashore. 3.PLAY WITH A FRIEND When it comes to playing adventure games, more heads are better than one. You may find it very helpful (and more fun) to play this game with a friend. 4.A FEW CHOICE WORDS This 3-D Animated Adventure Game understands a wide variety of verbs, such as: ASK DRINK HELP LOAD PUSH SWING BEAT EAT HIT LOCK READ TAKE BITE ENTER HOLD LOOK REST TALK BRIBE ESCAPE HUG MOVE RUN TASTE BURN EXIT JUMP NAME SEARCH TELL BUY FACE KICK NORMAL SEE THANKS CALL FIX KISS OPEN SNAKE THROW CARRY FLIRT KNOCK ORDER SHOUT TOUCH CHANGE FRESH LAUGH PAY SHOW TURN CLEAN GET LEAP PLAY SMELL UNLOCK CLIMB GIVE LEAVE POCKET SPEAK WAIT CLOSE GRIP LET PRESENT SPEND WALK CRAWL HEAR LIFT PULL SPILL WAVE DANCE HELLO LIGHT PUNCH SPRAY WINK DIVE LISTEN STEAL 5.YOU'VE GOT TO BE OPEN-MINDED If it's silly, rude, dirty or funny, Al Lowe (Programmer and Designer) probably thought of it when he was designing this game. Some of the puzzles in this game require deranged thinking to solve. When confronted with a problem in the game, try anything and everything. After all, no one ever got a social disease from their keyboard, and you have your RESTORE GAME function if things really backfire on you. 6.IF YOU STILL CAN'T FINISH Feeling frustrated? Can't seem to finish what you start? Is your wife making fun of you? Even the best adventure gamers sometimes can't complete their tasks. Help for your problem is available. Sierra has no less than three ways to help you find relief. 1. Call the Sierra Hint Line at (209)683-6858 between 8 a.m. and 5 p.m. (West coast time). Have your disk and documentation ready when you call. 2. If you own a modem, call the Sierra Bulletin Board System at (209)683-4463. 3. Order your very own hint book for just $7.95. It contains maps and hints on how to play the game, and points out some of the fun things in the game that you may have missed. Call (800)344-7448 to order. Hint books are also available at better computer and software stores everywhere. Don't be embarrassed, this kind of thing happens to all of us. (We promise to be discreet.) WARNING The following documentation is for beginning adventure game players only. The contents include answers to some game puzzles and hints that experienced adventurers may not wish to see. Continue reading only if you are having difficulty getting started with your adventure game. WALK-THRU Watch the opening sequence from beginning to end. It will bring you "up to date" on what's happening in Leisure Suit Larry's life and give you your first look at the adventure to come. Valuable clues to the game may be hidden in the sequence. Watch it closely. When it repeats, >PRESS "ENTER" >LOOK AROUND THE SCENE Walk into the garage. >LOOK AT THE GARAGE Walk until Larry is hidden. >LOOK AT THE GARAGE >LOOK IN EVE'S PANTS >GET THE DOLLAR BILL FROM EVE'S PANTS Walk out of the garage. >READ THE STREET SIGN >SING TO THE BALCONY Walk to the window. >OPEN EVE'S BEDROOM WINDOW At this point, you may want to make some adjustments to the way your game plays. Using pull-down menus, you maw want to adjust the speed of your character or the volume of your music. You may even want to turn the sound off completely. As a last adjustment, pull down the ACTION menu and select FILTH LEVEL. Adjust the amount of filth in the game to your liking. Follow the sidewalk up Ball Road toward the upper-right hand corner of the screen. The screen will change. >LOOK AT THE SCENE >LOOK AT THE BUSHES Follow the sidewalk up the street toward the upper-right hand corner of the screen. The screen will change. >LOOK AT THE AREA >LOOK AT THE STREET LIGHT Continue moving up the street. Cross the intersection and walk to the left glass door of the music shop. >LOOK AT THE DOOR OF THE MUSIC STORE Move up the street toward the upper-right hand corner of the screen. The screen will change. >LOOK AT THE TELEVISION STUDIO >READ THE SIGN Follow the sidewalk to the right. The screen will change. >LOOK OVER THE WALL AT THE HOLLYWOOD SIGN >LOOK AT THE HOLLYWOOD HILLS >LOOK AT THE FREEWAY Follow the sidewalk and exit the screen to the right. >LOOK AT THE LIQUOR STORE Move to garbage bin. >SEARCH THROUGH THE STORE'S GARBAGE BIN Move to the fence. >LOOK THROUGH THE KNOTHOLE IN THE FENCE >TALK TO THE PEOPLE THROUGH THE KNOTHOLE Exit the screen to the right. >LOOK AT THE QUIKIE MART >LOOK IN THE QUIKIE MART WINDOW Enter the store. Walk to the counter. >LOOK AT THE CLERK >TALK TO THE SOUTHERN WOMAN >TALK TO HER >LOOK AROUND THE QUIKIE MART >BUY A LOTTERY TICKET (Be sure to pick six lucky numbers.) Now that you have your potentially valuable lottery ticket, it might be wise to save the game. >SAVE GAME Save your game under the name "GOTTA LUCK-O-BUCK-O." When the save game is complete, move in front of the soda dispenser. >LOOK AT THE SODA DISPENSER >GET A GROTESQUE GULP FROM THE DISPENSER Walk over to the counter. >PAY THE CLERK FOR THE GROTESQUE GULP Leave the store. When this sequence is complete, you may want to select "Keep on muddling," then the restore game feature. Happy adventuring! ----- AGAIN ANOTHER 100% POWER-TYPING ---- --- DONE BY THE CRISTINA OF TRILOGY --- -- IN NOVEMBER -- SEWER SOFTWARE presents.. MAYDAY SQUAD..... NOTE: For these hints to make sense please look at the maps you will find listed on this disk. DOUG..... You must enter the rooms marked with a number. Otherwise you will not be able to complete the game. 1. Blow the safe. Use goggles to search for the disk. You'll need it later in the computer rooms. 2. If you don't activate the elevator it's useless. 3. Don't forget to warn the helicopter. 4. Search around when you're in the library. There's a secret staircase here. 5. Unlock the cells. 6. Search for prisoners. 7. Search for prisoners. 8. Unlock storage rooms. 9. Get the ambassador's daughter. Don't search - theres a booby trap!! 10. There's a secret passage when you search. ARROW SIGN. Starting point (depends on whether you used the stairs or the elevator. GENERAL... Every time you enter a room you must blow away the door with your machine-gun. Later on you can see where you have already been. You only have to see whether the door has been damaged. Regularly visit the First-Aid stations. So long as he isn't in enemy hands, the doctor can heal your wounds. Don't waste your time or grenades on trying to blow the Cell or Storage Room doors. Just unlock them using the computer Never search when you are near a prisoner or when you see the ambassador's daughter. They have placed a booby-trap. MAPS AND TIPS BY JAN VAN MOLL. MAPS BY DOUG..... SEWER Presents M I N D B E N D E R ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ TYPED BY CRISTINA MANUAL SUPPLIED F104 S T O R Y. The Experiment. The glider hovered slowly down onto the landing cross. The anti-gravity convertor came to a stand still humming softly. Gregorius McDuffin casually opened the cockpit and got out. Of course, he would also have been able to fly without this wonder of modern science, but it was really just so much simpler and more convenient like this - he was after all no spring chicken - and anyway, he didn't have to concentrate so hard because the computer controlled the flight. While he was still pondering on the subject of flying, one of his numeous little servants came running across the courtyard to meet him. "Everything is ready," he said and bowed. But as McDuffin was in a foul mood anyway, these were the last words the gnome ever uttered before he was blasted to pieces by a glittering ball of concentrated energy. "You forgot the 'sir', gnome," answered McDuffin indignantly. And he marched off towards the heavy oak door which led to the cellar vaults grinning to himself. He could also have applied modern technology in this case - he did, of course, possess a blaster - but conjuring up a ball of energy out of nowhere was much more impressive. He was, after all, magician and had to stay true to his trade. Thoughtfully, he opened the door and went down the steps. He walked through a brightly lit corridor, at the end of which a heavy steel door barred his way. He quickly gave the colour code and the door swished open. At last he was in his sanctum. Gnomes were running around everywhere making the final preparations. This was where McDuffin carried out his world-shattering experiments, here in his laboratory, which was fitted out with the most up-to-date equipment. His aim was to revolutionize the long-range transmission of hermetic charges of energy. After all, 37% of the total population were reckoned to be magicians, witches, elves or fairies. And up to now they had all had to come to terms with the fact that they were only able to transmit their spells in a direct line, on the beam of light principle. The result of this was that these rays soon hit some kind of obstacle, were then extinguished and thereby wasted. But now this was all going to be changed. McDuffin's fingers ran over the keys of his terminal. His principle was based on the age-old theorem: "The angle of incidence is equal to the angle of reflection". To transmit his magic, he used numerous mirrors, by means of which the rays could be deflected as desired. Simple. After he had given his gnomes the final instructions, he sent off a spell through his transmitter, just a harmless weather spell. The beam of energy appeared on the testing area immediately and hit the first mirror. The gnome positioned at the mirror reacted instantly to McDuffin's commands and tilted the mirror to deflect the beam. He hadn't made it too easy for himself, of course. He had included some obstacles, like in real life. Reflecting and absorbing walls, for example, animals standing in the way, various other magical objects which were to be found in his castle and, of course a bubbling cauldrons, without which no spell had effect and which contained various ingredients to create a successful one. But it was either a case of sabotage or McDuffin should have kept his magic to himself, because at the third or fourth mirror the magic beam stopped working, due to the energy being deflected back into it. Even when the beam of energy penetrated the security blockade, it changed direction in the washroom mirror and headed off towards the hydrogen tanks. There it detonated and blew the whole building - laboratory, gnomes, glider, magician and all - sky high. McDuffin still thought he was revolutionizing the transmission of spells. Ah well, maybe some other time. He had a few more lives left. He owed this success to his magician's honour, didn't he? The weather spell worked really well. It poured with rain. H O W T O P L A Y. After the preview and the title, the main menu comprising of the following options, appears on the screen: 1. Name/Team 2. Level 3. Hall Of Fame 4. Level Creator 5. Info Screen 6. Start Game 7. One Player/Two Players These options can be selected by pressing the button on the mouse and are explained below: 1. Name/Team. This should be selected after the game has started in order to select a player's name if the game has already been played under a certain name. This has been saved and can be selected by pressing the button on the mouse. If this is the first time you are playing, or should you wish to play under a new name, one of the ten names shown, at the beginning all referred to as "NO NAME", can be changed by selecting "ENTER NEW NAME", selecting the name to be changed by giving the new name. The player's name is also connected with the highest skill level limit. At the beginning of the game or after changing the name, the limitis set at skill level 0. When you have achieved the pre-defined skill level successfully, the level is raised automatically and play can continue. But you don't always have to start at the lowest level. You can start at the level you last reached. You can select your skill level as follows: 2. Level. By moving between the symbols (-) and (+), you can set the desired skill level. You can set the skill level limit in advance. Independent of this skill limit, you can select levels from 50 upwards by switching back and forth between 0 and 50 with the field next to "2". This means that from level 50 on you can create your own skill levels. 3. Hall Of Fame. Shows the high score list at the level being played, which has been saved on the diskette. 4. Level Creator. By means of the level creator, levels can be designed and created according to your own ideas. All the elements involved in the game (figures, symbols, etc.), whose function is described below, can be selected (by using the mouse) and used in the play area. The left button on the mouse introduces an element, the right one clears a space. "CLEAR" clears the whole screen. "EXIT" means you are leaving the editor. In the case of "CLEAR" and "EXIT", you are asked to confirm your command as to whether the space/screen is to be cleared or not, or wherher the old level is to be replaced by a new one. In the latter case you can also set a time limit for playing at the selected skill level. 5. Info Screen. This option presents an overview of the game elements, together with a short description of each element. 6. Start Game. By selecting this option the game is started. The skill level you are playing at is shown on the main screen. The window on the right shows the control table. The main objective of the game on every level is to deflect the magician's magic beam, carrying one of McDuffin's numerous spells. The ingredients for each individual spell are to be found in the brightly coloured pulsating cauldrons, which have to be hit by the magic beam. This beam can be deflected by a series of tiltable mirrors, but can also be reflected or absorbed by various objects. When all the cauldrons have been consumed by the beam of energy, the spell is complete and a magic door opens, through which you can now guide the beam. When you have donethat you have achieved that skill level. The window on the right shows the skill level you are playing and the remaining cauldrons, your score, the magic energy supply left for the magician and the overload of the beam. The latter occurs when the magic beam is reflected into itself or onto the magician. Next to the two buttons which switch the background rhythm on and off, the game can be interrupted by selecting the "STOP" option. As you are asked to confirm this, "STOP" can be used when you want a break from play for a certain period of time. An exact description of the individual objects involved in the game follows the description of the menu options. 7. One Player/Two Players. By selecting this option you can switch from one to two players. If you have a joystick connected up to port 1, one game can be played by two players at the same time, one using the mouse, the other the joystick. That is to say, commands can be given by pressing the right or left button on the mouse, or by moving the joystick to the left or right and using the firing button. 8. Quit. This option ends the game. L E G E N D. Gnome With Tiltable Mirror: By pressing the left or right button on the mouse the gnome turns the mirror to the left or right. The beam of energy id reflected by the mirror. Fixed Polarizers: These polarizers only allow the beam to pass through in one direction. The matal polarizer reflects the beam, the wooden polarizer absorbs it. Gregorius McDuffin. The Magician: Sends out the spell in a straight line. Magic Door: Accepts the spell and ends the skill level. Only opens when all cauldrons have been consumed. Cauldrons: Contains all the ingredients for the spell and must all be removed before the magic door opens. Prism: Sends the beam off in a random direction. Metal Wall: Reflects the beam. Wooden Wall: Absorbs the beam. Ice Wall: Melts when hit by the beam, cue to absorbed energy. Amoebiod Wall: Spreads when hit, because of photosynthesis effect. Cobalt Bomb: Blows up the whole skill level. Castle: Can only be removed with the key. Reflects or absorbs the beam according to the material (metal/wood). Sensor Blocks: Are sensitive to light and jump to one side when hit. Surprise Balloon: Contains various other objects. Beamer: Beams the beam to a second beamer! Evil Gnome: Eats amoebas and cauldrons. Fuse: Fuses when hit, can be put back in by using mouse button. One And Two-way Polarizers (Tiltable): Can be turned using the mouse and allow the magic beam to pass through in one or two directions. Light Bulbs: Are switched to a different circuit when hit; must light up to the end the skill level. Fixed Mirrors: Reflect the beam of energy, but cannot be turned or tilted. Bonus ball (red/yellow/blue): Gives bonus points. Spell-Intensifier: Supplies Gregorius McDuffin with new energy. ----- AGAIN ANOTHER 100% POWER-TYPING ---- --- DONE BY CRISTINA OF TRILOGY --- -- IN NOVEMBER -- S E W E R S O F T W A R E presents a C H U C K L E S Doc.... -- NORTH STAR -- The NORTHSTAR PROJECT, the most highly classified operation ever to be undertaken by the four Earth-Lords, has gone tragically wrong...... The year was 2499 and an over-populated Earth was grasped in starvation. Man fought against man, desperate for food. A meeting was caslled and the Earth-Lords decided upon an elaborate plan of action. A space station would be built. Not an ordinary space station; it would not hold just 10, 20 or even 100 people, but thousands upon thousands. There they would be able to produce foods high in nutritional value, very efficiently and most importantly very quickly. The building started and daily flights of scientists and equipment were sent up. As the years went by the steady flow of flights with their large loads accelerated the project almost to the point of completion - until one day when a flight left but never returned. The station, now called NORTHSTAR was paged from Earth, but there was no reply. You have been appointed to fly to NORTHSTAR to find out what is going on and to resolve any problems you may find. Arriving on NORTHSTAR you find that the station has been over-run by an alien hoard. No human survivors can be seen anywhere - are they really all dead? You notice that the life support systems are inoperative, only your robotic implants prevent you from  suffocation. Now your task becomes clear. You must destroy these alien life- forms and re-activate the life support systems by making your way to the NORTHSTAR project centre. HOW TO PLAY The scrolling screen displays you, your enemy and the various obstacles you encounter. Your score, lives remaining, oxygen level, and any weapons collected are also shown. BONUS PODS: These can contain either an oxygen bonus, a score bonus, or a weapon bonus. WEAPONS: At the start of the game your only weapon is your robotic arm. There are a further five weapons to collect, and the use of each will be obvious. The Smart Bomb is the only weapon that uses a special key other than left, right, up, down, and fire.Should you be killed you will lose one of your weapons, but this can be re-collected. HINT: Look before you leap. Shoot everything coming towards you and collect everything that floats away from you. Go for it! Chuckles. Check DOC 13 for instructions to this game, now here's hints on gameplay. OIL IMPERIUM..... To succeed at this game calls for amixture of guile, gamble and strategic thinking. There are two ways to play OIL IMPERIUM. Play safe or take risks. Start by playing safe and take risks later. In the first month you should buy only three or four expert reports. Then after having bought a tank for your oil, set out to purchase two oilfields side by side. It involves losing time, but in the end you'll find out which oilfields are worth buying. If you want to play risky, buy your oilfields without the aid of an expert report. This way you'll save money and time - and that will stand you in good stead later in the game. It's a rule of thumb always to start off modestly, keeping your costs sensibly low but trying to keep your profits as high as possible. Before you start the game, think about what you want to do and then think through every single step. If you spend too much time fiddling with the menu commands you may not be able to sell your oil for one month. However, selling oilfileds to raise capital isn't really worth it. You need these fields later in the game, and of course you'll need to buy oil tanks before buying oil fields. Bear in mind that several oilfields clustered together can be turned into what is known as a 'combination'. You will achieve economies of scale and be able to drill for oil much more cheaply. To start with an average-size tank is big enough, but later you should purchase bigger ones. Start with average tanks to keep check on the amount of space you use. Obviously, though, extra storage is useful if somebody sabotages your tanks. In order to build up a global empire you have to be able to successfully speculate on the world's commodity markets. Each region has a different market price; therefore it pays to think through and select carefully before selling off production areas. Oilfiled fires, of course, can be disastrous. You can call for Ted Redhair if one breaks out, or save on the cost and fight it yourself. Use more dynamite for larger fires; but move your technician well away from the area once he has set the explosives. Remember, also, that sometimes newspapers provide you with information before the telephone will. Start drilling using low pressure. Later, you should always use specialists to save time. Drill as vertically as possible. Burning oilfields are marked in RED. It's important that you plan the route for the pipeline BEFORE it's laid. If one player cannot pay his debts other players can help him. For example, other players can buy an oilfield for $10 million, even though it's only worth $5 million. Once the debtor is in the black, he should pay back this money with interest added. OIL IMPERIUM gives you the chance to out-JR even JR himself. Contracts can be made with saboteurs. As your client they will offer to blackmail opponent's oil purchasers, rob their banks, blow up oil tanks or set fire to their oilfields. It's great fun doing the dirty but don't be too trigger happy: cheap saboteurs are more likely to get caught, and if you do go to court costs can be high, especially during the early stages of the game when your cashflow may be lean. typed by DOUG..... Sewer SoftWare presents..... ----- POWER DRIFT DOCS BY Pier'S Group! ----- MENU OPTIONS: The following options are available from the menu 1. Sensitivity adjust: In joystick/keyboard control mode, this causes a cycling off the three sensitivities (speed with which the car turns from side to side). in mouse control mode, this enables the user to define the required scaling for the mouse and a separate instruction screen is displayed. 2. Control adjust: This toggles between mouse and joystick/keyboard control. Control selected at startup is mouse. To start the game, click either mouse button if mouse mode is selected, otherwise press the joystick fire button or Shift key. GAME CONTROL: In joystick control mode, the following controls apply: Turn left - Joystick left Turn right - Joystick right Accelerate - Joystick forward Brake - Joystick back Gear change - Joystick fire button Keyboard can be used at the same time as the Joystick, Following keys are used: Turn left - , (; on french keyboard) Turn right - . (: on french keyboard) Accelerate - Ctrl Brake - Space bar Gear change - either Shift's In mouse control mode, the following controls apply: Turn left/right - Turn is determed by the mouse horizontal position Accelerate - Mouse left button Brake - Space,keypad,enter,or any direction with da joystick Gear change - Mouse right button In joystick control mode, if it's possible for the user's joystick to register both left and right together (or if left and right on the keyboard are held down together), then the car willkeep it's current turn position. The gear change control is used to toggle the current gear between high 'H' and low 'L'. Help = pause. Resumed by pressing RETURN. May been abandoned with ESC S E W E R S O F T W A R E presents another DOC from MEDUSA (USA) PHARAOH By MEDUSA THE STORY Approximately 4000 years ago a wonderful civilization ruled by the mighty Pharoahs, stretched itself along the banks of the great sacred river Nile. The dynasties of the Pharoahs followed each other leaving symbols of their great power in the forms of impressive monuments, monuments such as the colossal pyramids which still number amoungst the seven great wonders of the world. But one quiet evening during the Nile flood season, the prevailing Egyptian Pharoah passed away, encircled by his relatives, after a long reign of peace and prosperity. OSIRIS, God of the Dead, led him to his final resting place in his great pyramid which had taken hundreds of thousand of Egyptians more than thirty years to complete. Alas, a great rivalry was born between the Gods, showing itself in the form of hate, jealously and discord.SETH, King of Desert and Powerful God of Evil decided that the Egyptian throne should be in the hands of the powerful men of Egypt. Influencial and dominant Egyptians were ordered by SETH to kill all heirs of the last Pharoah. In return they themselves would be given the throne. But AMON-RE the Sun God watched over the Egyptians and save one young heir from drowning in the deep dark waters of the Nile.He was taken to the fellahs, workers who had made a home on the banks of the river. Here the young prince was brought up amoung them as one of their own. You are this young Egyptian, a man of great wit and ambition. One night OSIRIS the God of Eternal Life and enemy of SETH appears to you in a dream. He persuades you with silver and a merchant ship, and the task of socially distinguishing yourself amongst the Egyptians. The money and ship which are put at your disposal by the Gods must be used carefully and sensibly. With them you must reach one of the Egyptian towns. There you must ascend socially and prove to the Gods of Egypt that you are capable and worthy of the Pharoahs throne. LOADING INSTRUCTIONS: Precise loading instuctions exist in the README file on disk 1. To access these, type README.DOC and then press RETURN. CONTROLS Pharoah can be played with the mouse, joystick or keyboard. You can switch between these during the game-parts of the game can be played with the mouse, others with the keyboard or joystick, etc. We advise the use of a joystick during the action sequences. Joystick: To play using the joystick, confirm by pressing the joystick fire button. This can be done at any point in the game. Mouse: To play using the mouse, confirm by pressing the left mouse button.This can be done at any point in the game. Keyboard: To play using the keyboard, confirm by pressing the spacebar.Use the cursor keys. For slower, more precise movements, press the left SHIFT key. ADDITIONAL NOTE To turn the sound on and off, press the ( S ) key. The ESC key has several different functions: -If pressed during the title screen, the introduction will be skipped. -The rolling and unrolling of the scrolls can be quickened. -The entry of your ship into a port can be quickened. -It acts as the pause button during the action sequences. -It interupts the loading and saving sequences. To begin the game, you must choose your name. This can be one of various Egyptian names, like Menes, Djoser, Sneferu, Thutmose or Ramses. Aferwards you must chooose the name of your home town.Here you will find your store to where you can bring your goods which you will hopefully accumulate in the future. Despite the gifts that you have recieved form the Gods,you still belong to the lowest possible social rank. Your task is to climb the steps of the social ladder in any way possible. MAIN MENU The main menu is divided into four parts.In the top, right hand quarter of the screen you can see yourself. The clothes that you are wearing are a reflection of your current social rank. To the left of your portrait you will find three further menu parts. At the top is the Economic Menu, in the middle is the Play menu and at the bottom is the Social Menu. With these menus you can influence the course of the game by clicking on the various icons. ______________________________________________________________________________ | | | Building of a ship Racing Constuct | | Chariot | | | | Shipping Consultant Store | | Trade CHOSEN NAME | | | | | | | | DISK DISK | | Date | | | | | | Load Save | | | | | | ARCHITECTURE | | | | RELIGION HAREM WAR CONSULTANT | | | |____________________________________________________________________________| In the ECONOMIC MENU there are six different icons: 1. The building of a ship, with which you can bargain for certain goods. 2.Camel racing, on which you can bet the cargo of your ship ( See Betting on your Ships Cargo). 3.The construction of a chariot of war, in case you lose one at war and own enough goods. 4. The ships course and trading. 5. Conferring with a business consultant who you can employ when you have a higher social position ( See Business and other Tricks). 6.Inspecting your stores, so that you can discover the amount of stock that you have. In the PLAY MENU you can see: 1. On the left side the loading symbol ( for disk or hard disk) 2. In the middle the date 3. On the right side the saving symbol In the SOCIAL MENU there are four icons which allow you to demonstrate your position and power or which offer you the chance to ascend socially. However, you must use them skillfully to achieve your aim. 1. Architecture ( See -Your Construction) 2. Religion ( See- The Gods) 3. Harem ( See- The Harem) 4. War ( See- War) THE MAP On the map there are 14 Egyptian towns represented by red dots.To discover the names of the towns, you must click on the red points-the name of the town will then appear on the screen. Apart from these towns, 6 large settlements abroad and the desert are depicted. To travel from town to town your merchant ship is at your disposal.At the beginning of the game you have just one ship which has been given to you by the Gods. This ship can be found at your home town and is represented by a white dot. A window will appear with the following information: Top: The name of your ship. Middle: The possible directions in which you can sail. Bottom:The name of the town your ship is currently docked. You can only reach other towns by sailing in the appropriate direction. When you wish to trade your goods, click on the name of the town which appears at the bottom of the window (-the window which appears after you have clicked on the white dot). TRADE You can and must expand your business and become wealthy to be successful.Sail with your trading ship to Upper and Lower Egypt, to Tanis, Memphis, Karnak, Luxor, Thebes or Abu Simbel. You should also try sailing to the foreign towns, such as Byblos, Crete, Sinai, and Somalis. At these towns you should buy and sell metals and valuable stones, building materials, slaves, horses, and food. As soon as you have the chance, you should build more trading ships until you have a fleet. You can then expand your business much faster. If you are well orientated in terms of demand and supply, you will be able to trade in every town. On the trade screen you will see the various goods with which you can trade, displayed twice. If you wish to buy goods, click on the (load ship) symbol. The goods displayed above will show you what this particular town has to sell. On the dislplay below NOT DISPLAYED! you will see the amount of each good that you currently have. If you now click on the goods above, you will be able to adjust the quantity that you wish to buy on the abacus in the middle of the screen. You will see the amount of that good that you have now traded at the bottom of the screen. If you wish to sell goods, click on the (unload ship) symbol. Now the goods displayed above will show you what this particular town wishes to purchase.You can only sell goods to a town if there is a demand for that particular good there. If you wish to deposit goods in your store, you must simply click on the name of your chosen home town at the top of the menu. It is very important to concentrate on the most profitable goods, and those which are desired by the Gods....but, of course that is easier than it sounds. YOUR SHIP AND ITS NAVIGATION You will soon notice that navigating your ship is not as easy as it sounds.The Nile can be treacherous,some of your goods may be ripped from your ship by the stormy waves. Dangerous shallows and goods floating in the water do not make life very pleasant for you. You will find yourself controlling the rudder of one of your merchant ships. Using the joystick (mouse, keyboard) you must avoid the floating obstacles in the water. Touching them will put your ship and its load in danger! If you touch more than three obstacles in one journey, your ship is destroyed along with its cargo! PHOENICIAN THIEVES Occasionally you will come across a band of thieves who want to steal as much of your ships cargo as possible-it is your task to prevent them doing this.The thieves will swim across to your ship and try to board it by climbing up the side on one of the three ladders which hang down to the water. By carefully watching the water and skillfully using your paddle, you must try to stop the thieves from boarding the ship. We recommend the use of the keyboard during this action sequence. BETTING WITH YOUR GOODS During your adventure you will be given the chance to bet on the camel races. You are required to control your camel which will be competing against the fastest Egyptian camels. The stake will be the complete load of one of your merchant ships. You can ensure victory by skillful and fast joystick movements to and for. THE HAREM Naturally you can also choose yourself a wife from the women of the kingdom. After selecting HAREM in the main menu, you can choose your wife by clicking on the various faces. Your choice will prove difficult as each woman has her advantages, for example, Anath, daughter of Sethi the fisherman, is stunning and sensible, whereas Phonis, daughter of the Imhotep the village chief, is intelligent.At some point you can visit the Harem where you will be introduced to various women. You can choose between the daughters of scribes, officers, princes and many more. But be careful- when you ask for the hand of a woman, you will first be expected to bring specified gifts to her father, gifts that are appropriate for her familys social rang. Only then may you marry into this family. THE GODS As soon as you begin the game, you are obliged to show the Gods the respect they deserve. Honour your chosen God with a valuable gift that is fitting with your social rank, or perhaps somewhat higher. Later on in the game you may dedicate a temple or a building to a God. The Gods: AMON-RE God of the Sun NOUT God of the Sky SHOU God of the Wind OSIRIS God of the Eternal Life and of the Nile ISIS God of the Furtile Earth SETH God of the Desert and of Evil HATHOR God of Music and Happiness HORUS God of the Stars MAAT God of Justice and Truth ANUBIS The Bearer of the Dead THOT The Godly Scribe PTAH God of Craft It is possible for you to make sacrifices to the Gods. After clicking on the RELIGION symbol, you must select your God using the screen cursor. You must then select the sacrifice that you wish to make from a choice of three. The priest will explain to you exactly what the Gods desire. If you have the necessary goods in your store, these will automatically be deducted. If you do not have the goods, you must obtain them and gather them in your store within the given period. You must then consult the God once more in order to make the sacrifice. If you should forget this obligation, or be unable to fulfill it, you will be cursed by the Priest.You must then take the cleansing examination. Only in this way are you able to regain the favour of the Gods. The cleansing examination takes place in the big pyramids. You must discover the placed traps. By building a path thru successive rooms you will display your skill. This skill will be the deciding factor-will you be redeemed or fwill your existence be threatened by the seven Egyptian plagues (drought, locusts, famine, fire, war, shipwreckage)? BUSINESS and OTHER TRICKS In the course of your career,you will also be able to climb the social ladder. As soon as you have advanced from citizen to public servant within a province, you will have new possibilities to extend your power and influence. If you have, for example, married into a higher rank, you can now seek the advise of a very experienced business consultant. He will recommend the right business tricks and courses of action that you should take. You can choose your consultant from Egyptian and foreign men (Greeks, Ethiopians, Syrians). You can also dispose of his services if you are unhappy with his suggestions or worried about his trustworthyness. If you do this however, you forfeit the chance to employ him again in the future. You should listen well to your business consultant, he will tell you about Egyptian and foreign settlements;about supply and demand;about the markets in Upper and Lower Egypt;about war garrisons and about the trust that you have for him. You will be able to discuss these topics freely with him as soon as your rank allows it. As you move socially upwards, you will naturally have more and more subordinates. You can then provoke attacks against powerful and rich men who are standing in your way. You can, for example, break into the house of an opponent and poisen the water with which their sacrifices are cared for. CONSTRUCTING MONUMENTS Soon you will become a member of the most powerful social class in your province. You will stand side by side with the governor of the region,perhaps later taking over his position. The title of MASTER will then be added to your name. You now have the power to build the rightful temple. During the next months or years, you will use enormous amounts of granite, lime, wood, alabaster and gold to build a temple to honour the protective Gods. When the temple is complete you can either free the slaves who have worked on the temple, or set them to work on a new construction. WAR Unfortunately you are unable to guarantee eternal peace.As soon as the Hyksos, the terrible Bedouins of the desert or the tribes of the Upper Nubia multiply their attacks on the villages on the banks of the Nile, you must intervene. Your social rank commits you to do this. With victory comes eternal glory. If foreign people invade the land, and you are in possession of one or two chariots of war, you can attack without further ado. You must try to hit the enemy from your chariot using a bow and arrows simply by clicking at the correct moment. Be careful to avoid the arrows which fly towards you-they are dangerous and can kill you, leaving Egypt to the hands of the foe. At the top left of the screen you can see how many chariots of war you have left. At the top right of the screen you can see how many enemies you have yet to hit.It is possible for you to declare war yourself by clicking on WAR in the main menu. You can then define the name of the people you wish to attack. YOU WAY TO THE TOP ONe day you will have sufficient power and property so that you will only associate with the highest officials. Ministers, officers, scribe chiefs, astronomers, astrologers, architects, and painters are all at your disposal. Now is the time for you to go to the Pharoahs Court where the presiding illegitimate rulers will try to conceal their incompetence with intrigue and conspiracy. From this point on you have the right to do everything. Construct palaces, command wars, take control,trade with help from your business consultant, make the best sacrifices to the gods, build legendary Harems which will arouse the jealousy of your heirs. Your enemies will fear you, your people will love you. You reach the rank of PRINCE, the General, the mighty Priest,the bearer of the highest tasks in the Kingdom. You belong amongst the highest people of the Kingdom and will marry the daughter of one of these people. Your wedding will be lavish. You will be called PRINCE and can begin building your final resting place, your Pyramid. When your power has reached its peak, the Gods of Egypt will call you. Your right to the Pharoahs throne will then be tested. Only when you have passed this test will you be named Pharoah, Son of the Sun God AMON-RE. If you fail, you will forfeit your right to eternal life and your soul will vanish eternally. EPILOGUE One evening at the twilight of your life, you Pharoah take one final look at your achievements and work. You can look back at your glorious reign, marked with major victories of content and secure Egyptians,a reign to be eternally praised by the Egyptian Gods. You will be led towards eternal life and will rest in your grave, the great pyramid. From here, for centuries to follow, you will be able to see AMON-RE the Sun God decline on the red sky and disappear slowly behind the dunes of the desert....... Thanks to Trevor for this DOC...the solution appeared on an earlier DOC DISC...... POLICE QUEST II--HOMICIDE OFFICER'S GUIDE PERSONAL CONDUCT The Lytton Police Officer must perform in a professional manner at all times Here are some of the qualifications which are expected of every police officer: COMMON SENSE-is the most important virtue an officer can possess. It will keep you alive and out of trouble. ORGANIZATION-just the facts, and plenty of them. You must keep them in order and at your fingertips (on a note pad would be nice). LOYALTY-a good police officer stands up for his department, his partner and fellow officers. Your life depends on them, and vice-versa. OBEDIENCE-a good police officer carries out his orders willingly, cheerfully, and promptly. INITIATIVE-a good police officer is one step ahead and keeps an eye out for jobs that need doing. he shows that he can be trusted to perform correctly in an emergency. GUTS-a good police officer keeps going when the going gets tough. he doesn't know the words "I can't". RELIABILITY-a good police officer does his job thoroughly. He comes through for you time and time again. INTEGRITY-a good police officer tries at all times to keep a clean record. he upholds the principles of his profession at all times. FAIRNESS-a good police officer gives fair treatment to others and expects the same in return. HONESTY-a good police officer maintains the truth even when it may be costly. CHEERFULNESS-a good police officer keeps his head up even when facing the stormiest of situations. NEATNESS-a good police officer is proud of his uniform and what it represents. He keeps it in immaculate condition. SELF-CONTROL-a good police officer does not lose his temper. PROMPTNESS-a good officer is quick to the scene of a disturbance, and is always on time to meetings. REQUIRED EQUIPMENT Shoulder holster Departmental issue hand gun Handcuffs Departmental issue ammunition clips Patrol car keys Departmental issue field kit which includes: Fingerprint powder (dust). Used for exposing latent prints. Fingerprint brush. For applying fingerprint powder. Fingerprint tape. For removal of (lifting) latent prints. Casting powder. Used to make liquid samples (footprints, tire tracks, etc.) Glass vial. Used to take liquid samples. Eyedropper. Used to transfer fluid into vial. Plastic baggies. Used to preserve and segregate various pieces of  evidence. Camera. Used to take pictures of evidence, scenes of crime, etc. STANDARD OPERATING PROCEDURE I. RADIO PROCEDURES 1. Respond to all radio transmissions as required according to police regulations. 2. Avoid unnecessary radio transmission. II. SHOOTING RANGE PROCEDURES 1. Type LOAD GUN or use the function key listed in the pull-down menus to load your gun. 2. Type RAISE GUN or use the function key listed in the pull-down menus to raise your gun. 3. Use the directional keys to adjust your aim. 4. Type FIRE GUN or use the function key listed in the pull-down menus to fire your gun. If the sights on your gun need to be adjusted, type ADJUST SIGHTS. Use the arrow keys to adjust the windage and the elevation screws. Each time you press an arrow key, the windage or elevation screw will rotate one position. With a little practice you can improve our sights and your shooting accuracy as well. III. POLICE COMPUTER PROCEDURES 1. Turn on the computer. 2. The following prompt will appear: COMMAND> 3. At this prompt, you may type in one of the following commands: dir-This command lists the contents of the current directory. If the current directory contains subdirectories, use the "cd" command (see below). If the current directory has accessible files, a box will appear around the first file name. You may move this box to the desired file name by using the arrow keys. Press ENTER when you have highlighted the desired file name. cd-This command changes the current directory to a subdirectory. After you have typed in this command, the computer will respond with: DIR?> At this prompt, type the name of the directory you wish to change to, then press ENTER. If you enter a name other than a valid directory name, the computer will return to its "root" directory- the directory displayed when you turned on the computer. NOTE: Some directories require passwords. If the PASSWORD: prompt appears, you must enter the correct password to gain access to that directory. quit-This command will allow you to exit the computer. Type in this command when you are finished using the computer. FELONY ARREST PROCEDURES 1. Before proceeding with arrest, your back-up unit must be staked out in close proximity. 2. Have weapon drawn at the ready. 3. Identify yourself as a police officer to the suspect. 4. Command suspect to keep his hands over his head. If at any time the suspect drops his hands, prepare to take defensive action. a. If the suspect flees, follow the suspect on foot. Maintain radio contact if possible. b. If the suspect takes aggressive action (e.g. reaching for weapon, charging you), take necessary defensive actions. 5. When it is safe, approach the suspect. Handcuff the suspect. Always be prepared to defend yourself against hostile behavior. 6. Search the suspect. 7. Read suspect his rights.* 8. Transport suspect to jail. |---------------------------------------------------------------------|- | "You have the right to remain silent. What you say may be used | |against you in a court of law. You have the right to an attorney. | |If you cannot afford an attorney, one will be appointed to represent | |you before questioning, if you wish." | |_____________________________________________________________________| *Miranda Ruling THE USE OF FIREARMS (IN COURSE OF DUTY) The discharge of a firearm at any person will be done only in life- threatening situations. a. A police officer may use a firearm only in self-defense, when assaulted with a deadly weapon. b. A police officer may use a firearm when in fear of his life, or the life of another. HOMICIDE INVESTIGATIVE PROCEDURES I. INITIATE THE INVESTIGATIVE PROCESS A. The detective must have reason to believe a crime has been committed by one or more of the following: 1. Personal observation. 2. Statements of witness(es). 3. Conclusive and/or circumstantial evidence. II. ASSESS THE SITUATION A. Use extreme caution during initial investigation. B. Be on the alert for possible life-threatening situations. C. Be ready to take appropriate action. III. CHECK VITAL SIGNS A. If doubtful, treat the victim as alive. 1. Perform necessary first aid. 2. Notify emergency services. B. Determine possible homicide C. If the person is still alive, consider their dying declaration. 1. If death is imminent, accompany the victim to the hospital. IV. GATHER EVIDENCE Note: The detective must use extreme caution in order not to contaminate or destroy vital evidence. A. Search the surrounding area. B. Recognize out of place, unusual, or damaged items. C. Take photos as soon as possible. D. Dust for prints prior to handling an object. E. Collect appropriate samples. F. Secure names of all persons at the scene of the crime: Officers. Witnesses. Suspect(s). V. NOTIFY THE CORONER A. The coroner takes possession of all property and effects belonging to a deceased victim unless specified as evidence. B. Request a copy of all available reports from the coroner's office to be sent to the police department. VI. CONDUCT INTERVIEWS A. Identify yourself as a police officer. B. Talk to all relevant persons in the area, conducting yourself in a professional manner. Take note of important information. C. Observe the emotional state of the witness. D. Follow up all possible leads. VII. ANALYSIS OF EVIDENCE A. Submit all evidence to the police department's booking officer for processing. B. All reports originating from outside agencies pertinent to an ongoing investigation will be routed to the investigating officer assigned to the case. The following information is for reference use only. Players will not be able to input any of the following codes, but should be familiar with them as they may be referred to during the course of the game. RADIO CODES rc10-1 Radio reception - poor rc10-2 Radio reception - good rc10-4 Received message rc10-6 On the air - not available for call rc10-7 Off the air - out of service rc10-8 In service rc10-9 Repeat message rc10-10 End of shift - off duty rc10-13 Weather check rc10-15 Prisoner in custody rc10-19 Return to office rc10-20 Location rc10-21 Use telephone rc10-22 Cancel rc10-23 Stand by rc10-27 Subject check rc10-29 Check for wants rc10-35 Back-up requested rc10-36 Confidential information rc10-97 Arrived at scene rc10-98 Cleared scene; available for call rc11-41 Ambulance rc11-44 Fatality rc11-48 Furnish transportation rc11-79 Injury traffic collision with ambulance responding rc11-80 Traffic collision with major injury rc11-81 Traffic collision with minor injury rc11-82 Traffic collision property damage only rc11-83 Traffic collision no details rc11-84 Traffic control rc11-85 Tow truck rc11-98 Meeting rc11-99 Emergency, officer needs assistance, respond Code-3 VEHICLE CODE VC22348 No person shall drive a vehicle upon a highway at a speed exceeding the maximum speed limit. VC23152 It is unlawful for any person who is under the influence of an alcoholic beverage or any drug, or under the combined influence of an alcoholic beverage and any drug, to drive a vehicle. VC21453 A driver facing a circular red signal shall stop at the intersection and shall remain stopped until an indication to proceed is shown. VC22450 The driver of any vehicle approaching a stop sign at the entrance to, or within, an intersection, or railroad grade crossing shall stop at a limit line, if marked. VC14601 No person shall drive a motor vehicle upon a highway at any time when that person's driving privilege is suspended or revoked for reckless driving. VC12951 The licensee shall have the license issued to him in his immediate possession at all times when driving a motor vehicle upon a highway. VC23103 any person who drives any vehicle upon a highway in willful or wanton disregard for the safety of persons or property is guilty of reckless driving and, upon conviction thereof, shall be punished by imprisonment in the county jail for not less than five days nor more than 90 days or by a fine of not less than one hundred thirty dollars nor more than five hundred dollars, or by both fine and imprisonment, except as provided in Section 23104. VC20001 The driver of any vehicle involved in an accident resulting in injury to any person, other than himself, or death of any person shall immediately stop the vehicle at the scene of the accident and shall fulfill the requirements of Sections 20003 and 20004. Any person failing to comply with all the requirements of this section under such circumstances is guilty of a public offense and upon conviction therof shall be punished by imprisonment in the state prison, or in the county jail for not to exceed one year or by fine not to exceed five thousand dollars, or by both. VC28001 Any person, while operating a motor vehicle and with the intent to evade, wilfully flees or otherwise attempts to evade a pursuing peace officer's motor vehicle, is guilty of misdemeanor. VC10851 Any person who drives or takes a vehicle not his own, without the consent of the owner thereof, and with intent either permanently or temporarily to deprive the owner thereof of his title of or possession of the vehicle, whether with or without the intent to steal the same is guilty of a public offense, and upon conviction thereof shall by punished by imprisonment in the state prison, or in the county jail for not more than one year or by a fine of not more than five thousand dollars, or by both such fine and imprisonment. PENAL CODES PC148 Resisting or Obstructing Public Officer or Peace Officer. Every person who wilfully resists, delays, or obstructs any public officer or peace officer, in the discharge or attempt to discharge any duty of his office, when no other punishment is prescribed, is punishable by a fine not exceeding one thousand dollars, or by imprisonment in a county jail not exceeding one year, or by both such fine and imprisonment. PC187 Murder (a) Murder is the unlawful killing of a human being with malice aforethought. PC189 Murder of First or Second Degree All murder which is perpetrated by means of a destructive device or explosive, knowing use of ammunition designed to penetrate metal or armor, poison, lying in wait, torture, or by any other kind of willful, deliberate, and premeditated killing, or which is committed in the perpetration of, or attempt to perpetrate, arson, rape, robbery, burglary, mayhem, or any act punishable under Section 288, is murder of the first degree: and all other kinds of murders are of the second degree. PC190.2 Special Circumstances for Imposition of Death Penalty of Life Without Parole. The Penalty for a defendant found guilty of murder in the first degree shall be death or confinement in state prison for a term of life without the possiblity of parole in any case in which one or more of the following special circumstances has been charged and specially found to be true: 1. The defendant was previously convicted of murder in the first degree or second degree. 2. The victim was a peace officer, who, while engaged in the course of the performance of his duties was intentionally killed, and such defendant knew or reasonably should have known that such victim was a peace officer engaged in the performance of his duties. PC196 Killing in Performance of Official Duty Justifiable Homicide is justifiable when committed by public officers and those acting by their command in their aid and assistance, either- 1. In obedience to any judgment of a competent court; or, 2. When necessarily committed in overcoming actual resistance to the execution of some legal process, or in the discharge of any other legal duty; or, 3. When necessarily committed in retaking felons who have been rescued or have escaped, or when necessarily committed in arresting persons charged with felony, and who are fleeing from justice or resisting such arrest. PC207 Kidnapping Defined. Every person who forcibly steals, takes, or arrests any person in this state, and carries the person into another country, state, or county, or into another part of the same county, is guilty of kidnapping. PC211 Robbery. Defined. Robbery is the felonious taking of personal property in the possession of another, from his person or immediate presence, and against his will, accomplished by means of force or fear. PC212 Fear Defined. The fear mentioned in Section 211 may be either: 1. The fear of an unlawful injury to the person or property of the person robbed, or of any relative of his or member of his family; or, 2. The fear of an immediate and unlawful injury to the person or property of anyone in the company of the person robbed at the time of the robbery. PC422 Terrorist Threats - Punishment. Any person who willfully threatens to commit a crime which will result in death or great bodily injury to another person, with intent to terrorize another or with reckless disregard of the risk of terrorizing another, and who thereby either: (a) Causes another person reasonably to be in sustained fear for his or her or their immediate family's safety; (b) Causes the evacuation of a building, place of assembly, or facility used in public transportation; (c) Interferes with essential public services; or (d) Otherwise causes serious disruption of public activities, is guilty of a felony and shall be punished by imprisonment in the state prison. PC459 Burglary. Every person who enters any house, room, apartment, tenement, shop, warehouse, store, mill, bar, stable, or other building, tent, vessel, railroad car, locked or sealed cargo container, whether or not mounted on a vehicle, trailer coach, any house car, inhabited camper, vehicle, aircraft, mine or any underground portion thereof, with intent to commit grand or petit larceny or any felony is guilty of burglary. As used in this chapter, "inhabited" means currently being used for dwelling purposes, whether occupied or not. PC487 Grand Theft.  Grand theft is theft committed in any of the following cases: 1. When the money, labor or real or personal property taken is of a value exceeding four hundred dollars ($400). 2. When the property is taken from the person of another. 3. When the property taken is an automobile, firearm, horse, mare, gelding, any bovine animal, any caprine animal, mule, jack, jenny, sheep, lamb, hog, sow, boar, gilt, barrow or pig. PC4530 Penalty for Escape or Attempt to Escape from Prison. Every prisoner confined in a state prison who, by force or violence, escapes or attempts to escape therefrom is punishable by imprisonment in a state prison for a term of two, four, or six years. The second term of imprisonment of a person convicted under this subdivision shall commence from the time he would otherwise have been discharged from prison. PC11350 Unlawful Possession. (a) Except as otherwise provided in this division, every person who possesses any controlled substance which is a narcotic drug, unless upon the written prescription of a physical, dentist, podiatrist, or veterinarian licensed to practice in this state, shall be punished by imprisonment in the state prison. PC11351.5 Possession or Purchase of Cocaine (Other Than Cocaine Hydrochloride) for Sale. Except as otherwise provided in this division, every person who possesses for sale or purchases for purposes of sale cocaine shall be punished by imprisonment in the state prison for a period of 3 to 5 years. PC12025 Unlawful to Carry Concealed Firearms Without License. (a) Except as otherwise provided in this chapter, any person who carries concealed within any vehicle which is under his or her control or direction any pistol, revolver, or other firearm capable of being concealed upon the person without having a license to carry such firearm is guilty of a misdemeanor. Any person convicted under this subdivision who has previously been convicted of any felony, or of any crime made punishable by this chapter, is guilty of a felony, and if probation is granted or if the execution or imposition of sentence is suspended, it shall be a condition thereof that he or she be imprisoned in the county jail for not less than three months. (b) Any person who carries concealed upon his or her person any pistol, revolver, or other firearm capable of being concealed upon the person without having a license to carry such firearm as provided in this chapter is guilty of a misdemeanor punishable by imprisonment in the county jail not to exceed one year, or by a fine not to exceed one thousand dollars, or by both such fine and imprisonment, except any person, having been convicted of a crime against the person, property or a narcotics or dangerous drug violation, who carries concealed upon his or her person any firearm capable of being concealed upon the person without having a license to carry such firearm is guilty of a public offense and is punishable by imprisonment in a state prison, or by imprisonment in a county jail not to exceed one year, or by fine not to exceed one thousand dollars, or by both such fine and imprisonment. Any person convicted under this subdivision who has previously been convicted of any felony or of any crime made punishable by this chapter, is guilty of a felony, and if probation is granted, or if the execution or imposition of sentence is suspended, it shall be a condition thereof that he or she be imprisoned in the county jail for not less than three months. (c) Firearms carried openly in belt holsters are not concealed within the meaning of this section, nor are knives which are carried openly in sheaths suspended from the waist of the wearer. PC12303.2 Possession of Destructive Device in Public Places. Every person who recklessly or maliciously has in his possession any destructive device or any explosive on a public street or highway, in or near theater, hall, school, college, church, hotel, other public building, or private habitation, in, on, or near any aircraft, railway passenger train, car, cable road or cable car, vessel engaged in carrying passengers for hire, or other public place ordinarily passed by human beings is guilty of a felony, and shall be punishable by imprisonment in the state prison for a period of two, four or six years. PC12560 Penalty for Possession of Firearms by Felons. Every person who has been convicted of a felony under the laws of the United States, of any state, government, or country and who used a firearm in the commission of such felony, who owns or has in his possession or under his custody or control any firearm is punishable by imprisonment in the state prison or in a county jail not exceeding one year or by a fine not exceeding one thousand dollars ($1,000), or by both such term of imprisonment and such fine.  SEWER SOFTWARE - Present - PRINCE HOPE YA LIKE IT !!! Docs by ** P H A N T O M L O R D ** Dark rain-filled clouds rolled and tumbled in the storm-wracked skies above the city of Uppsala. Great sheets of lightining tore the heavens asunder as the thunder roared and bellowed. In the tallest tower of the castle, the King was dying. Brass gongs were struck as the seers and apothecaries cried to the gods for guidance. Shamen wove their magiks about the failing Lord as he lay in his great bed, his body twisted with pain and glistening with sweat. His mouth was a grim line, his teeth grated against each other and though he suffered a thousand tourments, he uttered not a sound. His eyes, clear and blue as the distant ice fields stared with steely determination through the window as the storm that raged above his city. Volgrim had ruled the hundred tribes of the Varagians for forty years, claiming his crown at the unheard of age of twenty. A crown claimed with bloodied steel in a grip of iron. His justice was swift and his revenge total. Few men crossed swords with him and lived and those who did swore fealty to the crown. And so the empire grew. Tribes, who did for time untold held hatred in their hearts for each other, came together under the new law and the lands prospered. The years passed, years that Vorgrim wore lightly upon his bear-like frame. At fifty he was a man of thirty and his sword arm could still best any five foe-men. Yet challengers were few and far between, for with the years had come a universal love for this giant of a man who had achived the impossible and united the tribes for the first time in their history. But now from the Eastern Steppes came a horde of ravaging marauders. Their horse legions were without number and their thirst for dominion unquenchable. For five years their advance had been checked but in the last encounter Vorgrim had been unhorsed in the thick of battle. His great war steed had fallen, crushing the King beneath it. His already war-torn body had lain for some time before his body guard could reach him and remove him to safety. The battle had been won with the retreating hordes fleeing for their lives, leaving the greater number of them strewn upon the field of conflict. Vorgrim however, was fading fast, despite all his physician's best efforts. Repairing to Uppsala, Vorgrim lay in his rooms, fighting his final confrontation, this time with the grim gatherer of souls who came at last, to all, from commoner to king. Vorgrim's many sons and the tribe elders gathered in the great hall while their army's camps surrounded the city walls. All knew the final outcome of their vigil but awaited the King's word. A successor must be named. Bloodline mattered not. The crown could only be passed on to one worthy in the eye of his predecessor, or seized by mighty and hard steel. This was the Code of Steel. As the great fires in the hall cast garish lights and dancing shadows about its length the gathered lords paced uneasily about or sat silently in corners, each looking at the other from beneath lidded eyes. Each fingered the hilt of their swords and axes as they chewed their moustaches impatiently, their brows furrowed and their nerves at fever pitch. Suddenly the great brass doors to the hall swung open and the king's many wives entered, followed by the royal bodyguard who carried the broken body of Vogrim on his bed covered with silver wolf pelts, on top of which lay his broad sword and war axe. The shamen and apothecaries moved alongside, their fingers tracing signs and sigils in the air in a final prayer to the gods. The lords stood as one man while failing leige was placed at the foot of his throne and raised into a sitting position before his followers. His mouth tightened as he was lifted and the muscles in his neck stood out like ropes, sweat pouring down his temples and his eyes glazed over with pain but when he looked once more upon the gathering within the hall all felt the power that had been Vogrim, course from that gaze. Silence covered the hall like a shroud. The only sound was that of the logs cracking in the fire and the king's swift, laboured breathing. He turned to the captain of his bodyguards and slowly nodded. The captain's hands shook as he reached out and removed the crown from his ruler's head and held it high before the gathered mass. All eyes went to it. All breath was held. And Vogrim spoke. "The Code of Steel", he rasped and the paused. "I hold no man among you higher than his brother. I love you all as my own. You have followed my word and guarded my back time without number and I cannot single out one to stand above his fellows." He stopped as he took a deep breath, his chest rising and falling in great pain-filled gasps. A thin line of blood ran from his mouth and he coughed wetly. "Go to the island of the south, take your tribal war bands and prove your worth one final time. Test your hearts and steel for me once more and find the one to take my place. Find my Prince." This said, he looked with tear-filled eyes upon his wives and smiled. His eyes misted over, the blue of the ice fields was lost and he died. The gathered lords filed slowly past the body of their king. Each bent his knee in turn and kissed his chilling fingers and was gone. There was steel to be honed and a crown to be won. The victor would sit on Uppsala's throne. Vorgrim would have his Prince and the Vangarians their king. Vorgrim's word was still the law. CONTROLS -------- ATARI ST and AMIGA ------------------ Control is by use of the mouse. Except where otherwise stated, either button may be used. AIM OF THE GAME --------------- Your objective is simply to kill the Enemy Prince, without losing your own Prince. There are many ways to win, and endless scenarios to try. Playing against the computer you should eventually be able to take on fairly superior armies with a reasonable success rate. GAME SETUP ---------- Once you have some experience of the game, be adventurous in your game set up. SELECT A MAP ------------ Each map offers different strategic opportunities. SELECT AN ARMY -------------- Choose a banner for your army colour. For two player games, players must choose different colours. SELECT BOTH ARMY SIZES ---------------------- Use the [LEFT ARROW] and [RIGHT ARROW] symbold to change each army size. The numbers indicate cavalry regiments, infantry regiments, and total men. SELECT SOUND ON / OFF --------------------- Select the [MUSIC] symbol to enable sound effects. Sound effects can also be turned on/off on the game screen, while the game is paused. SELECT VISIBILITY ----------------- BLIND Enemy troops and banners are always visible +-----+ |BLIND| Enemy troops and banners are only visible when your troops are on +-----+ screen. +-----+ +-----+ |BLIND| Enemy troops are only visible when your troops are on screen. Enemy +-----+ banners are never visible. +-----+ SELECT NUMBER OF PLAYERS ------------------------ SOLO One player game. LINK Two player game. Blue player controls map selection and both army sizes. LOAD Only select this option if you have previously saved a game. TWO PLAYER GAME --------------- PRINCE WAS DESIGNED AS A TWO PLAYER GAME AND YOU OUGHT TO TRY IT LIKE THAT. REQUIREMENTS ------------ Two player games require two computers and a serial connection. The computers do not need to be the same type, any combination of ATARI ST's, AMIGA's, and PC's is permitted. A null modem cable is required to connect the two machines. The connections for 25 way connectors should be: pin 2 to pin 3 pin 3 to pin 2 pin 7 to pin 7 Pin 7 on a 25 way connector corresponds to pin 5 on a 9 way connector. SET UP ------ Players must select different colour armies. The blue player controls selection of the map and both army sizes. Blind can be independantly set. STARTING A GAME --------------- When start is selected, or a two player saved game is reloaded, a communications dialogue box will appear. Both players should select the same baud rate. When a succesful link is established the game will start. ERRORS ------ Communications errors are corrected where possible, but if an error causes the machine to lose synchronisation, a link error dialogue box will appear. You may ignore the error and continue play if you wish, but the results are unpredictable. TROOPS ------ There are 4 ranks of men. PRINCES Wear golden armour REGIMENTAL COMMANDERS Wear silver armour COMPANY COMMANDERS Wear iron armour OTHER RANKS Wear leather There are 2 types of regiments. CAVALRY REGIMENTS have 5 or 9 companies of 5 horsemen INFANTRY REGIMENTS have 5 or 9 companies of 9 foormen There are 3 types of company in each infantry regiment. SWORDSMEN strongest of the foormen. AXEMEN  SPEARMEN weakest against other foormen, but strongest footman against horsemen. MAGNIFICATION ------------- The map can be viewed at 4 levels of magnification At the first level of magnification the whole island is visible but no men may be seen. At the next level of magnification a large section of the island is visible and the regimental commanders are represented as banners. At the next level of magnification terrain becomes visible and regimental and company commanders are visible. Regimental orders are issued at this level. At the last level of magnification full terrain detail is shown and all men are visible. At this level only company commands are possible. GAMEPLAY -------- The main window is the MAP WINDOW. The window on the right is the TROOP CONTROL The window at the bottom is the GAME AND WINDOW CONTROL GAME CONTROL ------------ PAUSE Suspend play, reselect to continue SAVE Save current game, play continues QUIT A surreneder box asks you to confirm your order. The opposing army will be awarded victory. [MUSIC ICON] While the game is paused the quit option is replaced to enable sound effects to be turned on/off. WINDOW CONTROL -------------- [COMPAS ICON] Select the viewing direction required. [DIRECTION ICON] Scroll the window by selecting the appropriate arrow. Hold down the button for continuous scroll. Selecting the central box and holding down the button, links the mouse directly to the window position, for fast scrolling. [BOX ICON] Zoom control. Select the small or large box to zoom in or out using the left button. The same control can be achieved by always selecting the same box but using left or right buttons to zoom in or out. [REMOVE CORPSES ICON] Left button removes all corpses currently on the battlefield. Right button removes bodies as they fall. Reselect to cancel. The map can be centred on any man by selecting him with the right button. The first two levels of magnification have a frame showing the area visible at the next level of magnification. At the first level of magnification where the whole map is seen, the frame can be centred about any area of the map be selecting a new centre. TROOP CONTROL ------------- Select a man to obtain an information display. If you select a man using the right button, then the map will recentre about that man. The information given will depend upon the level of magnification and the status of the company. The information shown is:- FIRST colour of army and number of men remaining. THEN identity of regiment and men in regiment. OR identity of regiment and company, and men in company. THEN strength of the individual selected represented by a bar. When a man from your own army has been selected then a commands menu is displayed. Cavalry and infantry have different menu options. Commands will either be for the regiment or company indicated in the information display. Regimental orders are obeyed by all companies of a regiment (except SCOUTS) and override company orders. The first five options in the command menu are movement orders: for Cavalry TURN, WALK, TROT, GALLOP, CHARGE for Infantry TURN, WALK, RUN, CHARGE, WITHDRAW When the command is selected outlines of the selected group appear in the map window. Use the cursor to kove these outlines to their required destinations and click the left mouse button to confirm the order or the right button to abandon the command. The REFORM command instructs a company or regiment to return to formation about their company commanders. Company commanders will not reform about their regimental commander. SCOUTS ------ The SCOUT command detatches a company from the regimentla chain of command. If this command is issued at regimental level, all companies in the regiment will be put on scouting duty. When a company is in scouting mode, the message in the command menu changes from SCOUT to SCOUTING. Select SCOUTING to return a company to the regimental chain of command. Companies can only be returned to regimental control on an individual basis. If a regimental commander is killed then all companies in the regiment will be permanently assigned scouting duties. COMBAT AND TERRAIN ------------------ When opposing men meet, they will AUTOMATICALLY FIGHT each other. COMBAT EVALUATION primarily involves, the strength of the opponents, and their relative positions. Extra strength is awarded to men who are charging, and to spearmen who are fighting horsemen. TERRAIN is an important consideration for combat strategy, speed and ease of movement, and for conserving energy. GOING UPHILL will use more energy and slow men down, although coming downhill is no easier then travelling on level ground. SAND, ICE, and WATER slow troops down and drain more energy. If you stand about for too long in these places you could eventually die of exhaustion. WOODS and FORESTS are more difficult to travel than open ground. HAMLETS and VILLAGES present no hazard and you may pass through them refreshed with the nourishment they provide. The FASTER you travel the more energy you use. You should only charge for short distances, as the extra energy used will soon outwiegh the combat strength bonus. END OF GAME ----------- When one Prince is killed, no further orders may be issued, but any orders already given will be followed to their natural conclusion. If the second Prince is killed by men following previously issued orders, then no army is awarded victory. A player who surrenders cannot obtain a draw, even if the other Prince dies. Blind or double blind will be deselected to give full visiblity of all men. Select QUIT to return to the title screen. GAME SAVE --------- SAVING A GAME ------------- This option is available on the game screen. Games may be saved on the game disk. Only one game can be saved per disk. In two player mode each machine must have a seperate disk. Game save disks should be as follows:- ATARI ST Any formatted disk may be used AMIGA Any disk may be used Do not use ST or AMIGA disk for any other files or data. LOADING A SAVED GAME -------------------- One player game As soon as the saved game has loaded, play resumes. Two player game Both players should load their saved game. When the saved games have been loaded the communications dialogue box appears. When communications are established, the game resumes. ***** --- T H E P H A N T O M L O R D --- ***** T H E E N D . S E W E R Presents TYPED BY THE TWINS OF TRILOGY Q U A R T Z ~~~~~~~~~~~ GAME CONTROLS QUARTZ is played with a joystick plugged into the joystick port. A number of keys are also used: P................................................................Pause F1-F6.......................................................Select pod Delete.......................................................Trash pod L...........................................Score for next extra lives Return..................................................Use smart bomb O (on title screen).................................Adjust level types If you prefer, the can be used with the joystick to select the pod required, rather than using the function keys. PLAYING THE GAME The action takes place in the lattice layers of a crystal, flying your ship through a cloud of sub-atomic particles. Eventually life forms detect your presence and drag your ship away. Blast through the scrolling section and then destroy the end-alien to escape back to the lattice. Each level consists of a lattice level followed by a scrolling level. Use the LATTICE LEVEL to build POWER UPS for the scrolling section. Any time you die on a scrolling level you may escape back to the Lattice to try and re-equip your ship. When you die, no power ups are lost EXCEPT any multiples. These will be used as SHIELDS allowing you to live a little longer. YOUR LAST LIFE..... On your last ship, any available Pods will be trashed in exchange for energy diverted to the shields, giving you one last chance to survive. (You can deliberately trash an item during play by pressing the DELETE key). Lives are given for scoring points (and in some other ways...?) AVAILABLE POWER UPS Speed.............Speed up (up to 2 are effective. Has no effect in the ........................................................ Lattice level) Extra.........Multiples (On Lattice Level this acts as an extra shield) Armor.....................................This acts as protective armor Flame...................................................A flame thrower Grenade........................A grenade launcher (launches 6 grenades) Octogun....................................................8 way firing Bomb..................3 smart bombs (they destroy everything on screen) Pod........................Adds a new weapon pod (up to 6 pods allowed) Repair...................Adds shield energy (up to 1/2 energy replaced) Amplify..........Improves efficiency of matter synthesiser (leaves some .....................neutrinos in the tubes after a power up is chosen) Record.............Records the current level number and power ups. (You ..............................can restart at this level on later games) YOUR SHIP Your ship comes with following equipment: 1:REGENERATING SHIELD. 2:MATTER SYNTHESISER. This creates Power Ups from raw neutrinos. These are released from destroyed quarks or particles in the lattice levels or from destroyed aliens. Neutrinos come in 3 colours. Collect them in the neutrino tubes. When critical density is reached (when the 3 tubes are full of neutrinos), the synthesiser will convert them into a power up. You have a limited time to choose a power up (push the joystick up or down to go through the available power ups). 3:EQUIPMENT PODS. Pods hold the power ups. Each pod has a small energy store. The contents of each pod disappear when the energy is exhausted. Each pod is numbered and can be switched on or off via the function keys or joystick (not all power ups can be switched). In addition slots can be 'trashed'. This transfers their energy to the shield. THE SCREEN The Big Middle Screen: This screen is where the action occurs! The Little Screens in The Left Side called: PODS You start the game with three pods. Next to each pod is an energy indicator. When this runs out, the power up in that pod will be exhausted. Shield Energy: This shows how many lives you have left (including the life you are currently using). Neutrino Tubes: The collected neutrinos will appear in these tubes. When all three tubes are full, you will be able to select a new power up. Your Score: This shows your current score! ----- AGAIN ANOTHER 100% POWER-TYPING ---- --- DONE BY THE TWINS OF TRILOGY --- -- IN NOVEMBER -- SEWER SOFTWARE presents - Rock'n Roll (Docs) Shopping Tips : To buy an extra you must simply roll the ball over the appropriate symbol. The price is shown to the right of the symbol.The money will be booked from your accound and the shop will than close. If you haven't got enough money to pay for the extra, there is an alternative. It is possible to pay with energy. To make such a risky deal the ball needs to remain on the symbol for few seconds. Only than will such an errangement be accepted (providing you have enough energy). Speed Up : The right tip for all high-speed freaks. Whoever shops here will armour their ball with effective additional power. Up to four of these 'Speed- Ups's' can be used simultaneously. Unfortu-nately this speed-thrill re- mains for only 90 seconds, after which the ball will change down a grear. Armor : High-Tech makes it possible ! If you go for this extra your ball will be wrapped in a tough, protecting shell for a short period of time. Although the ball cannot penetrate the normal barriers, fragile ones are longer problematic obstacles. Repair-Set : Unfortunately some of the tracks may be interrupted. This is where the re- pair-sets come in useful with which you can build a new path. You should use these repair-sets sparingly as there are seldom more sets then are ab- solutely necessary ....... ! Parachute :  Despite the fact that parachuting may not be your favorite passtime, you will soon learn to value them very much ! They can be your last hope when you roll off of the path inyo the precipice. If you react fast enough and open the parachute before the ball hits the ground, you will once agein have saved a life. Continue : If you should be lucky enough to come across one of these shops, don't stop to think. If you possess one of these powerful extras, you are able to continue playing in the level where you lost your last ball. Is that an pffer ???? Bombs : Bombs: Warning ! Explosives ! These bombs tend to be quite dangerous but very effective. It's never a bad thing to have one or more of these in your pack.But don't hang around too long in the explosive area - that could be painful.... ! Spikes : It's no secret that control is difficult on an icy surface. Spikes with which it is possible to equip your ball for a short time, naturally make stopping easier. The question remains, through, can you buy something more important with your money ?? ?????? : Hummmmm. we didn't really want to give anything awy about that. We will just say enough for you to know that it's always worth popping into this shop. Information which will make life easier will be given in return for an admittedly high price. Game Elements : -------------------- Keys & Doors : Restricting doors can be opened with the appropriate keys (distinguished by colour). You need only roll against the door-the door will be opened if the correct key is handly. Diamonds : The players eyes widen in delight. These diamonds will be collected in your account. A red diamond is worth 300 bonus points, a yellow diamond is worth 700 poits, a green diamond is worth 1500 bonus points and a blue diamond is worth 4000 bonus points. Ice : Without spikes you must be extremly careful - onice you'll be slipping all over the place. Slow down ! Fragile Platforms : Not all platforms are plaesant. It is only possible to roll over these fragileplatforms 1,2 or 3 times, depending on how strong they are, after which they disappear. Therefore think carefully about where you roll ! Eggs : If you roll the ball over these eggs, you will, of course, squash them. It seems at first sight as though there is no adventage in this, but who knows... Pleasant Surprises rarely come at the wrong time. Eyes : The more eyes thet are collected, the more of the level map you will be able to see.For technical reason this element is not available on the C64. Fragil Barriers : Unlike the fragile barriers are not unpleasant. Armored balls can ram ob- stacles awy and free a new path - who knows, perhaps you'll build a short- cut.... ! Small Balls : These small ball are defintitely not simple obstacles. A new platform will always apear in the area where they are pushed over the edge into the pre- cipice. This is a safe ,although somewhat strange way to build a new track. Acid : Acid also has unpleasant effects on your ball.Energy-loss will result. Bombs : Do not make the mistake of thinking that bombs can be exploded anywhere. That would be much too easy. Bombs can only be ignited on special, rein- forced platforms. The areas which are left after the bomb has exploded are not necessarily precipices. The result will be different from level to level. Tubes : The tubes are favoured means of transport. If you roll in one side, you will automatically come out at the other side. Teleports : The telepoter is for urgent cases. Practically without time-loss you will be transported to another area. Explosions : You should wait for exactly the right moment to get past these obstacles. If you fail, you will lose energy. Switches : The switchers are a devilish affair. Nobody knows the exact effect of each individual switch - this varies from level to level and from switch to switch. Ventilators : In some areas a harsh wind blows. Ths tends to be due to ventilators which can cause gusty and uneven gales. Magnets : In contrast to the ventilators which blow your ball away from them, mag- nets pull the ball towards them. Absolute concentration is needed to con- quer them. Money : You will also come across problems with Rock'n Roll if you do not possess the appropirate change. 100, 300 or 500 coins will be credited to your account when you collect the respective symbols. Arrows : Unpleasant are these arrows. Your ball cannot resist their influence. It will automaically be pushed in the direction of the arrows. Skillful players can perhaps pvercome the power of one or two arrows which happen to be pointing in the wrong direction. signed : Cristina! SEWER SOFTWARE presents.... Scapeghost instructions by FPL MILANO SCAPEGHOST Alan Chance was on an undercover mission, trying to infil- trate a drugs gang. All was going well, but then something or someone alerted the gangsters and they killed Alan and escaped, taking his colleague Sarah as a hostage. His fellow police falsely blame a mistake of Alan's for tipping off the criminals. Alan has three nights as a ghost to disprove this false accusation,clear his name and gain revenge. Use his detec- tive skills and growing spirit powers to delay the gangs- tars, track down thier new hideout and bring them to justice. OK. The light remained off. Ace made as if to applaud, but thought better of it. > IN I went inside and found myself in the vestry of St. Amigas chapel listening to the drone of PC fans and prayer disks. a bell, a bottle and a candle. > SCORE I scored 15 out of 1000. > RAM SAVE OK. (Before doing anything with these strange objects, save the positions in Ram - i.e. in the computer's memory in case you encounter difficulties and want to return to this point using RAM LOAD. To save on disc or anythink else. > EXAMINE ALL BUT THE CANDLE Bell: it was a small golden ornament. Bottle: as I reached for thebottle of holy water, I felt my strength drain away. I could not move, even to step back from the bottle ! > RAM LOAD Ok. I was inside St. Amiga's chapel, listening to the drone of PC fans and prayer disks. I could see a bell, a bottle and a candle. > TAKE BELL I took the bell. I dropped the key. (Ghosts are relatively weak and cannot levitate many things at once). > GO TO MEMORIAL (letting the computer work out the route Pressany key to abandon this type of "high level" command) I floated north and was outside St. Amiga's chapel of rest. I floated north and found myself beside a fallen oak tree. I floated east and was outside the Sinclair family vault. Exists led west and inside. > RING BELL Slowly and with a great noise, the side ot the vault swung open..................................... HINTS Draw a map (or a series of maps). Remember that the EXISTS ON command lists all the paths from each location. To make life easy for you, the objects that matter in a loca- tion are normally listed in a sentence like, "You can see Ace and a key". Examine all the objects that you see. Most are useful. Use the "high level" commands, such as GOT TO CHAPEL, RUN TO SHED,FOLLOW DOG, WAIT 5, WHICH DO THE WORK OF MANY INSTRUCTIONS. Pressing a key "breaks" out of such commands. Try everything you can think of even weird or dangerous actions sometimes provide clues, and might be fun. You can use UNDO (or Load if you have previously used SAVE) to recover if the results are "fatal". You can word commands in many different ways. For example, if there were an axe and a ball on the ground, you could take the axe by: > GET THE AXE > TAKE AXE > GET ALL BUT THE BALL > LOOK AT THE AXE AND TAKE IT If the game doesn't understand your command, try rephrasing it and using synonyms. If the game still doesn't understand, you are probably trying something that is not important. HINTS FOR PART 1 ================ * build up your strength as a ghost: * recruit your fellow spirits: * buy time by delaying the gang's criminal plans HINTS FOR PART 2 ================ * once in the gang's old hideout, collect clues to help the police work out where they have moved to; * allert the emergency services and make sure that they trip over something really dramatic, so they know foul play is involved. HINTS FOR PART 3 ================ * distract the lookout while the police are arriving: * rescue the hostage and prevent the gang destroying the evidence. SEWER SOFTWARE presents .... CHAMBERS OF SHAOLIN - Documents By CRISTINA for FPL 1. Description of the Game Hang Foy Qua,the hero of this story finally reached the monastry of shao-lin after a long exhausting way and was accepted as a novice.He has to conquer the Chambers of shao-lin . Each of these Chambers will help to unite body and mind in harmony.we will assist Hang Foy Qua on his troublesome way to become a master . therefore we will pass six selected chambers to help him . Hang Foy Qua , aware of the big resposibility for his people and his sister , will try to pass the examination with the best results he is able to get . The better these results are the easier his fight against his enemies will be ! S I - Z H I - B A N test of the stick In this chamber Hang Foy Qua's concentration will be improved and sharpened by constant training . The master attacks him with a bo (a long stick). He may srike to the head , the body or to the legs . Because it will only be obvious at the last moment where the master strikes the bo , Hang Foy Qua has to concentrate to react quickly enough to avoid the blows. Joy-Control: Stick up - JUMP Stick down - DUCK Stick left/right - GO FORWARD/BACKWARD S I - Z H I - R O U - L U A N G Test of Agility In this chamber his reacton will be tested and also the control of the Flic-Flac , a very quick evasie movement . Here Hang Foy Quo needs to escape several objects wich move in different trajectories . Each collision with one of this objects costs him some of his power. Only by touching the YIN & YANG sign will he incease his power . If he whishes to use the Flic - Flac in a fight , he has to pass this test Joy - Control : Stick up - Flic-Flac Stick left/right - Go Left/Right Stick up/Button - Jump Stick down/Button - Duck Button - Turn around S I - Z H I - J U N G - S I Test of balance In this chamber the take off power will be trained.Hang Foy has to jump to and between four rising and sinking poles . By following the signal you must successfully land on ten poles in a little time as possible . If Hang Foy Qua tumbels into the water he must go back again and try again Joy - Control : Stick right - the jump from the veranda to the first pole happens automattically after moving the joystick RIGHT Stick left/right - Turn left/right Button - Jump S I - Z H I - K U A I Test of speed In this chamber a kick will be taught . The Hero's objective is to hit and release a mechanism fixed at the highest reachable point thus enabling him to keep his feet dry . this can only be achieved by repeatedly kicking a ball and making it swing .He not only has to look out for the constantly rising waterlevel but also for the chrushing ball swinging down from a great height. Joy - Control : Stick UPLEFT/UPRIGHT - Turn left/right Stick left/right - Go left/right Stick down - Duck Stick up+Button - Kick Stick left/right+Button - Turn around left/right Stick down+Button - Duck S I - Z H I - L I - S I Test of Strength This chamber is designed to improve the power of a blow . During the lessons the number of boards will increase . Hang Foy Qua has to place his hands at the middle of the board to use as little power as posssible in the blow itself Joy - Control : Button - to stop the moving hands as close to the middle as possible Stick left/right - to obtain as much punch as possible , move the stick quickly from left to right and back S I - Z H I - H O U Test of Fire Here Hang has to be trained for the slow sweeping kick . Standing on a Bridge he has to kick burning baskets away wich the master throw to him to stay alive he must avoid the burning baskets Joy - Control : Stick up - Flic Flac Stick UPLEFT/UPRIGHT - Turn left/right Stick left/right - Go left/right Stick down - Low sweeping Kick Stick downleft/downright - turn left/right 2. THE COMBAT SCENARIO if you feel fit , you can prove your strenght in combat. Choose from the start-menue the option F I G H T . After a few seconds a new menue will appear : FIGHTER VS. FIGHTER COMBAT SELECT SOUND DEMO FIGHT EXIT FIGHTER VS. FIGHTER allows two players to fight against each other .Both will need a stored character COMBAT allows one player to play against the computer . Again he have to load an stored character . In the selection SELECT SOUND you can choose between MUSIC or SOUND FX If you select DEMO FIGHT you can watch a battle - Computer VS. Computer Press SPACE to exit the demo EXIT puts you back to the MAIN MENUE IF you survive FOUR opponents , played from the computer , you are able to enter the last TEST How to use the Character-Disc : After finishing the six chambers you are allowed to store the training-results . The following menue will appear : CREATE SAVE DISC SAVE CHARACTER EXIT First time , you have reached this selection you must CREATE A SAVE DISC You will need a blank new Disk . With the option SAVE CHARACTER you can store the training result of this man A new Save-disc can hold 250 ENTRIES You can EXIT this menue without saving the Character , but be careful , the results are then lost for ever ! JOYSTICK - CONTROL ON FIGHTING SCREEN Stick up - Flic-Flac Stick UPLEFT/UPRIGHT - Turn left/right Stick left/right - go left/right Stick down - Spagat Stick DOWNLEFT/DOWNRIGHT - Turn left/right Button - Turn left/right Button+Stick up - JUMPKICK Button+Stick UPRIGHT - Kick to head Button+Stick UPLEFT - punch to head Button+Stick right - kick to body Button+Stick left - TIGERCLAW Button+Stick down - Low sweeping kick SEWER SOFTWARE presents..... SLEEPING GODS LIE. typed by DOUG..... KINGDOM ONE: CAILA and TAIRA. When you get to the hut, pick up the pebbles and the bowl, and head through the north door. Shoot a bandit if you are attacked and head north to meet the old man. Read the message; then if you want, you can shoot at the old man. But if you shoot at him twice then he won't give you any more help, which will cause problems later. Look around for any ammunition. You can also eat the red berries from some of the trees. Go to the eastern exit and enter eastern Caila. Inspect the signposts for the old road and the blocked pass to the east. Head south, you will pass a molehill which contains your back door key. On the southern boundary you will see two closely spaced trees. They won't let you pass if you don't give them water. Go to the west exit to southern Caila. There you will find a pool (on the map), and you can fill your bowl with water there. Go back to eastern Caila and give the water to the trees in the south. You will now be able to go to northern Taira. In the north-east of northern Taira you will find the bandit leader. Shoot him and collect the map that the old man is looking for. Go to the east exit of northern Taira, and you will arrive in western Caila. In the peasant's hut you will find some mouldy cheese. If you give this to the mousy creatures, they will stop shooting at you and let you through the exits they are guarding. By now, you should have picked up some more weaponry and ammunition, and you should possess a staff sling. This can be used to kill the two-headed creature at the north of western Caila (or the east of northern Caila). When you kill the creature it will drop a circlet of concentration. Visit the old man again, and he will give you a potion which reveals a narrow pass (two closely spaced stones) in the south east corner of northern Taira. The pass lets you through into southern Taira, where, if you approach the magic tree at the centre, you will be transported to the next kingdom. KINGDOM TWO: SYLVAR. In the first landscape you will meet Prince Gregor,who will follow you about the kingdom. Either travel east or south to one of the next landscapes (by going through one of the closely spaced trees at the east or south boundary), and you will find the entrance to the dwarven caves at the southern boundary of both these levels. In order to climb down, you will need a lantern, which will be dropped by a dwarf which you need to shoot near the cave entrance. Go down into the caverns and head south. In the second cave, you will find the spider's lair. Pick up a rope with which you can climb out of the caves. Just outside the next large cave south you will find the throne room of the dwarf king. If you shoot him you will find the prince's crown. You can now go back and give the crown to the prince, who will be waiting for you in the vicinity (make sure you take the correct exit otherwise you will end up in the area either to the east of the caves entrance or west of where you intended!). The prince will give you some gold. Go back through the caves to their southern exit. There you will find a molehill where you will find a belt. Strap this on and you will get increased lung capacity.This combined with the poisoned darts which you will have picked up, will make the blowpipe a very useful weapon. Go south and you will get to the fountain in southern Sylvar, which will transport you to the next kingdom. KINGDOM THREE: DELANDA. There are five islands on Delanda - and you have an advantage that you can see them in the distance across the sea. Note that every time you shoot a seagull it will drop two gold coins. Initially you will need to approach the ferryman, who transpotrts you to a nearby island in return for some gold. Take the ferry to the south island (island two);kill one of the druids, pick up his golden sickle and take it to the mistletoe tree at the centre of the island. Collect some mistletoe and find the dying peasant on the ground, see what he has to say. Go to the west through the two stones (island three). Both stones require mistletoe for transport. Go to the ferryman at the southern end to get transport to island four. Meet the princess, who will give you a ring which will prove very useful later on in the game. You will also find sandals which will make you walk on water. This allows you to get to any island you want. Next, go east to island five,where you will be transported through the well. But before you do so, you will need to pick up the pail, and travel to island two. Take the pail to the peasant, and he will fill it with his blood. Go back to the well, and you will be transported. KINGDOM FOUR: THE SIMALA HILLS. The Simala Hills are populated by vicious ice demons, which you must be very wary of. Enter the southernmost level of the kingdom. Go northwards and you will find a molehill, from which you can gather the 'pouch of renewal'. This will ensure that if you use your crossbow, your ammunition will never run out. However, at this stage you may still prefer to use your remaining blowpipe darts, which are quite effective. At the northwest corner, you will see some warning signs. Be brave and you will get to an ice pass. Fight your way through (it is inhabited by ice demons), and you will arrive to level two. To the northwest corner of level two there is an ice cave. Here you will meet the Hermit of Calia, who will give you a tinderbox. He tells you however, that to start a fire you will have to find a place which is less windy. Leave the cave and head east. At the eastern boundary you will find two boulders which mark the entrance to another ice tunnel. Through this tunnel is level three. At the eastern edge of the ice cave you will find some clothing. Now find the boulders at the northern boundary, and you will find another ice tunnel, which takes you to level four. At the centre of this level you will find the witches, who will give some hints, before igniting in a ball of fire, leaving behind a pile of wood. Go through the ice tunnel to the south of level four, and you will return to level two. Then go through the eastern ice tunnel to get back to level three. The ice cave there is not as windy as the others, so you will be able to light a fire. Then go to the next kingdom. KINGDOM FIVE: MORAV. You find yourself transported to a level with a palace to the north and a temple to the south. Meeting the travellers by the campfire at the centre means you will get some information. Go south to the temple, and here you will meet the Archmage and his helper Hyrakis. The Archmage disappears, and you will have to dispose of Hyrakis. He leaves behind a robe, and you must wear this as a disguise to get into the palace. Go north to the palace, and the guard will let you in. Once inside, go north to the door at the end of the passage. Turn right and take the first door on your right. Inside is the picture gallery, you will find a clue concerning how to get in the door in the south west. Go in and dispose of the two guards. You will collect a chain-mail shirt to wear, and the guards will leave behind some musical instruments. Take the trumpet with you, go back to the corridor, then take the northwest exit, leading to the northwards facing corridor. Go to the north exit, and turn east. In the middle of the north edge of this corridor there is another door which leads to the entrance of the throne room. As you approach the throne, you will be transported to the next kingdom. KINGDOM SIX: SUNDERABAD. You start in the rocky part of the desert. To the north you will see the Archmage standing with the princess Lucia. Try speaking to her, as she will know that you will have met her sister on the island levels. She will give you some help. Go into the cave at the eastern side and find 'the glasses of ultimate cool'. These will help block the worst of the sun's glare. Go through the northern boundary of this level, and you will get to the northern rocky part of the desert. Here you will meet the Great Scarab. She will tell you that you should meet her to the north of the Great Pyramid some time later. You can now go to the north of the Great Pyramid in level five (the eastern sandy part of the desert) and if you wish, go via the water pools in level four in the sandy part of the desert. Note that the daggers which some of the demons drop can be used to get moisture from some of the cacti which dot the landscape. Once you've met the Scarab outside the Great Pyramid, you may go. The Scarab will tell you it's arcane secrets of the pyramid. She tells you find the yellow door, and to use the colour pads. The inside of the pyramid forms a maze. To get through the yellow door, you must have the colours red and green activated. It's easy. Find the location of the yellow door, and make sure that you enter the room with the yellow door once both colours are in operation. Once inside the room beyond the yellow door you will meet the Archmage, and he will vanish, revealing a box. You will then be transported to the next level. KINGDOM SEVEN: THE CATACOMBS OF ESTAMANE. There are twenty rooms and passages in the catacombs, so it is easy to get lost! By disposing of the sorceror in the first room you will get the fireball wand. Go south, and you will come to the Candle Room. Pick up the flickering candle and head east. In the Room of the Headless Woman pick up the amulet, then head east once more. Now turn north and you will come to the Room of the Emperor's Ghost. He will ask you to bring him his daughter who is at the north west corner of the catacombs. Retrace your steps, and you will find that princess Eloise will follow you in search of her father. Go back to the Emperor's room, and the two will meet at last, then evaporate! They will leave behind a bottle which you must take to the fountain to the north of this room. The fountain disappears, and you will need to go to the large room at the centre of the catacombs. Here, you will find the disgruntled peasants rushing towards the fountain. Once they have gone, the three witches who you met in Morav will reappear. They will give you some instructions. You must follow these in order to find the Archmage. Once you find him, he will yet again disappear, leaving behind a scroll with runic script. You will now be transpoted to kingdom eight. KINGDOM EIGHT: CORITANIA. Exit from the first cave, and slay the dragon which is waiting for you outside. Go into the dragon's lair and pick up the spear. Exit and you will find yourself outside Coritania. Beware the fire demons, because they are powerful. You will probably have to use all your available heavy weaponry in order to subdue them. Go through the south exit and in level two go straight through to the west exit, level three. Find the hermit, who will tell you to find the ring in the Plain of Ash. You now have to exit from level three by the east exit, past the dying peasants. Keep your eyes peeled, because the ring is difficult to find. Go quickly, otherwise you will catch the plague. The hermit will give you a potion which will heal plague and take you to the molehill at the west of level three. A cave entrance will appear. Go inside and pick up a suit of armour and a shield. The Kobbolds will then reveal the secrets of Tessera. When they have finished, leave the cave and follow the hermit to the molehill in level two. An exit will now appear to the south. Follow it. You will again meet the three sisters and they will take the ring and convert it into the Ring of Annihilation. This is the only weapon which will kill the Archmage. Head north to level four. Activate the ring - you must be close up for it to work. The Archmage will disappear, but he has not been killed. You must now go back to the cave in level one, where you will find him again. Make sure that you have at least two charges in your ring. Now is your chance to kill him, so do so. THAT'S ALL FOLKS..... C H U C K L E S and SEWER SOFTWARE proudly presents the SPECTRUM 512 manual. The complete documentation to the paint program that offers more than the standard 16 colours on screen. We've split this doc into three equal parts of roughly 52k........enjoy. SPECTRUM 512 TABLE OF CONTENTS 1. INTRODUCTION 2. SPECTRUM 512 TUTORIAL 2. Introduction 2. Lesson One 2. Getting Started and Drawing 4. Drawing 5. Color 7. Save and Load 8. Eraser 9. Lesson Two 9. The FLOATing and FIXED palettes 10. The Shading Area 11. The Blending Area 12. Lesson Three 12. The CUSTom Palette 15. Lesson Four 15. The Drawing Tools 19. Lesson Five 19. Advanced Drawing Tools 21. Lesson Six 21. Modifying the picture 21. ANTI-ALIAS 23. EDIT COLOR 25. Lesson Seven 25. BLOCK functions 28. Lesson Eight 28. Gradiant Fill 36. SPECTRUM 512 REFERENCE SECTION 37. About this Section 37. Synchronization 38. The SPECTRUM 512 screen 39. Painting with SPECTRUM 512 39. Color Selection and Palettes 40. Color Matrix 41. Palettes 44. Menu 44. DRAW 45. POLYLINE 45. CIRCLE/ELLIPSE 46. AIRBRUSH 46. BRUSH 47. PATTERNS 48. FILL 49. EDIT COLOR 52. BLOCK 52. The Buffer 53. Block Moves 55. Buffer Save and Load 57. Gradiant Fill 62. Picture-Buffer Swap 63. ANTI-ALIAS 65. FLOAT 65. FIXED 66. CUST 66. NO ZAG 67. MAG 67. CYCLE 68. ERASE 68. SAVE 68. LOAD 69. QUIT 70. Palette Editor 70. Using the Palette Editor 71. Special Features 71. Tips and Hints 73. Technical Considerations 75. Glossary Appendix A: USING THE SPECTRUM 512 SLIDESHOW PAGE 1 INTRODUCTION SPECTRUM 512 is a unique painting program for the ATARI ST series of computers. It provides access to all 512 colors which the ST is capable of displaying. It also provides powerfull features to aid in using the colors. These features include multiple palettes, anti-aliasing, line smoothing, and curve fitting. SPECTRUM 512 also has cut and paste, picture resizing and distorting, a multiple picture buffer, and a comprehensive undo capability. A slideshow program (SPSLIDE.PRG) is included on the SPECTRUM 512 disk. The authors have placed this program in the Public Domain. You can give it to other people so that they can view your pictures. Instructions for the slideshow program are in Appendix A at the end of this manual. NOTE: There may be one or more files on your disk titled README (on both surface directories and in folders). These contain important update information which you should read before running any program. Double click on any README file, then choose to print it to the screen or printer. This instruction manual is divided into two parts, a tutorial to introduce you to each of SPECTRUM 512's features, and a Reference Section to provide easy look-up of specific points. There may be many words or phrases which are not familiar to you. Some, like right- click,are used to make the manual more readable. Others, like Color Matrix, have special meanings. Still others, like NO ZAG, are unique SPECTRUM 512 features. Look through the Glossary to familiarize yourself with these terms. PAGE 2 SPECTRUM 512 TUTORIAL INTRODUCTION In the following SPECTRUM 512 tutorials, we will introduce you to all of the many powerful features of SPECTRUM 512. Each tutorial is short (about 15 minutes) and designed to be completed as an uninterupted session. The lessons are independant, so you can break between any of them and turn off your computer, but they should be taken in order. Relax and enjoy the tutorials. For best results, don't depart from the material. There will be plenty of opportunity for experimentation at the end of each lesson. If you get lost, start again at the beginning of the lesson you're working on. The tutorials will take you through every function of SPECTRUM 512 and will show one or two examples. Check Hints and Tips at the end of the reference section and the appendices for more advanced ideas on how to use SPECTRUM 512's features. After you have completed the Tutorial, the Reference Section is available as a quick reminder of the details of SPECTRUM 512. LESSON ONE Getting started and drawing SPECTRUM 512 makes a lot of demands on your Atart ST. It requires a full 512K bytes of memory to run all of its functions. Therefore, it may conflict with desk accessories, especially if they wrer not programmed correctly. We recommend that you run SPECTRUM 512 with no desk accessories or memory-resident programs installed. PAGE 3 When you turn on your computer with the SPECTRUM 512 disk in drive A, a special test program called SYNC.PRG is automatically run. Your screen will turn black for a moment and several vertical red lines will appear before you see the familiar GEM desktop. This indicates that the chips in your ST are properly synchronized. If the vertical red lines do not appear, turn off your ST, wait at least 15 seconds, and reboot. Your ST should test OK most of the time, and there is nothing wrong with your ST when it doesn't. Other programs will work fine; it just needs to be repowered to properly display SPECTRUM 512 pictures. NOTE: You can run SPECTRUM 512 without first running SYNC.PRG. If your computer synchronization happens to be off, you will notice random pixels of the wrong color appearing in your pictures. These are not permanent. Simply save your picture, turn off your computer and wait 15 seconds, turn it on again and rerun the SYNC.PRG program.(SYNC.PRG is included in the AUTO folder of your disk so it will run automatically upon bootup, but it may also be run directly from the desktop). Once the synchronization is correct, it will remain so until your computer is again turned off. Once your ST has passed the test, double-click on SPECTRUM.PRG to run SPECTRUM 512. You may begin in either low or medium resolution, but the SPECTRUM screen display will be in low resolution. After loading, a red and black screen will appear. At the top of the screen are the Menu and the title bar. The black area is most of the drawing space (there is some more under the Menu bar and title). The top and bottom borders and the side margins have special uses we'll get to in a minute. Click anywhere in the black area to get rid of the title bar. NOTE: SPECTRUM 512 will not work properly with the earlier M.M.U. graphics chips (those in machines released prior to December 1985). If your screen display consists of streaks of colors, you have such a chip. Get it updated. PAGE 4 DRAWING As you begin, the mouse pointer looks like a pencil. This is the first of 512's painting tools. Hold down the left mouse button and move the mouse. You have just drawn a line with 512, and it is the same color as the mouse pointer. The mouse pointer will always reflect the current drawing color (unless you're using black, in which case it will be some brighter color). Press [Undo] and the line you've drawn will disappear. Press [Undo] again and the line will reappear. Draw another line, then press [Undo]. Only the second line is erased. Almost all of the 512 painting functions may be undone by pressing [Undo]. But once you begin another function, the previous alteration is permanent. Notice the little dot at the end of the pencil. Press and release the left mouse button and then move the pencil away. A single pixel was painted exactly where the dot was. Each of 512's drawing tools has a similar dot. They show you where the drawing will take place. Let's try painting with a bigger brush. First, we need to get the Menu back. Move the mouse pointer to the top of the screen. (You can be anywhere in the top half but you must be more than 10 pixels from the side margins.) Now click the right button on the mouse (we will call this "right-clicking"), The Menu appears and the mouse pointer changes into an arrow. The menu has lots of icons and we will get to all of them before we're through. The thin wavy line in the upper left corner is the one for the pencil, it's called DRAW. But now we want to find the one for BRUSHES. PAGE 5 It's the fifth one in the top row, it looks like DRAW but the line is much thicker. NOTE: 512 makes extensive use of both right and left mouse buttons. In many cases, a function chosen by "left-clicking" will be quite different from that selected by "right-clicking". During these tutorials, and in the later Reference Section, pay close attention to which mouse button you are instructed to click. If neither right or left mouse button is indicated, you may assume that a left-click will do the job. Click on the BRUSHES icon with either mouse button. A sub-menu drops down with a collection of brush shapes. This sub-menu has 38 different brush shapes and the letters "A" and "O". We'll get to all of them a little later. For now, click on the fifth round brush. The Menu disappears and the mouse pointer looks like the brush. A dot in the middle of the mouse pointer shows the exact center. Draw a couple of nice fat lines with the brush - it works just like the pencil, hold down the left mouse button and move the mouse. Of course it's nice to draw fat lines, but 512 is really about color and by now you may be getting pretty tired of red. Move the mouse pointer down to the lower half of the screen. Keep it away from the side margins and right-click. There are the colors! We call this display the Color Matrix. Before we play with it, perhaps you noticed horizontal lines moving down through the side margins. They are the "busy lines" which show that 512 is making some calculations. When the busy lines reach the bottom, 512 is ready to continue. PAGE 6 COLOR Now let's look at the Color Matrix and all those colors.They are arranged in seven hexagons. (If you can't see all seven, try turning the contrast on your monitor all the way up. If you still can't see all seven, see technical considerations at the end of the Reference Section.) The hexagons display 511 of the 512 colors, grouped by brightness. The center dot of the brightest hexagon is white and the remaining center dots range thru the grey scale. The 512th color is black and that is the background. Move the mouse around the hexagons. Notice that the top and bottom borders of the screen change to reflect the color which is under the mouse pointer. The side margins also change, but we'll talk about them a little later. The top and bottom borders always show what we call the Active Color, that is the color which will be used for drawing. The Color Matrix also has three numerals. They show the red, green, and blue components of the Active Color. They make it easy to find the exact color you need. Select a nice blue color, say 226, and right-click on it. The color matrix disappears and you can draw with your new color. Draw a couple of horizontal lines near the bottom of the screen and then recall the color matrix (right click on the bottom half of the screen). After the busy line has travelled through the margins, select a green color, say 050, right-click to exit the matrix, and draw a couple of vertical lines. Call the color matrix again. Suppose we want to draw with the original red color again. We don't know the RGB numbers and it's hard to match exactly. Simply move the mouse out of the color matrix and into the picture. Place it over a red line and select the color by right-clicking. Pretty neat. Call the color matrix again. PAGE 7 Suppose we now want to draw with the blue instead. Here's a problem. All the blue lines are under the color matrix. No problem, move the mouse into the picture area at the top of the screen, hold down the left button, and drag the picture window down until a blue line is visible. Select the blue and draw a few more lines. Selecting colors from within the picture is very handy. In fact, sometimes you may not want to display the color matrix at all. Simply hold down the [Control] key as you right-click from anywhere on the screen([Control]-right-click). Only the three RGB numerals will be displayed and you can select a color from anywhere in the picture with the right mouse button. SAVE and LOAD Of course we will want to save our masterpiece. Call the Menu (remember, right-click near the top of the screen) and left-click on SAVE. A standard GEM file selector box pops up and we can type in a file name. However, we want to show you something else, so click on CANCEL instead. Now right click on SAVE. This time a box pops up where you can specify the default drive, and the 512 file format. Compressed files take less disk space than Uncompressed files. We'll leave the format at the default (compressed). Click on OK to get the GEM file selector box back. Name the file "TEST" and click on OK. The file is saved and we are returned to the picture. Draw another line on the picture so that we will recognize the original when we load it back in, then call the Menu and left-click on LOAD. SPECTRUM 512 has noticed that we changed our picture, so an alert box asks if we want to save our current, altered picture before replacing it with one LOADed from the disk. We don't, so click on "No". We now get the GEM file selector box again. Click on CANCEL and we'll look at the other way to call LOAD. PAGE 8 Right-click on LOAD, click on "No" in the alert box, then look at the new box that appears. We can specify what kind of file we want to load. When we select a file type, only those files will show in the GEM file selector box.If you want all the files to show, you can select ALL. For now, click on OK and find TEST in a familiar GEM file selector box. Notice that it has the extender ".SPC" indicating a compressed file (uncompressed files use ".SPU". Click on the name and on OK to load the file. Loading a file erases the previous picture in memory. ERASER There's one more thing to show you in the first lesson, the ERASER. Call the Menu and click on the ERASE icon. The Menu disappears and the mouse becomes a box with a cross in it. (The box shape is black and may not be visible unless the mouse pointer is over a color.) This is your eraser. Hold down the left button and drag the eraser across some colors. Right-clicking gets rid of the eraser. The eraser is the same as drawing in black. Indeed, you can get more flexible erasers by using black brushes. However, the eraser can be very handy. You can erase the entire picture by holding down the [Alt] key while selecting ERASER from the Menu. Try it now. PAGE 9 Always remember that, once your entire picture has been erased in this way, it is gone forever unless you have saved a version to the disk. You've just reached the end of the first lesson! Take some time now to play with the brushes, the colors, and the eraser (particular the screen erase which we'll be using a lot later on). For now confine yourself to DRAW and BRUSH. When you are comfortable with these functions, move on to lesson two. LESSON TWO The FLOATing and FIXED palettes By now you may have discovered that there are some drawbacks to working with 512 colors at the same time. It is especially tough when you are trying to do delicate shading and blending colors. It can be downright hard to find exactly the right shade. If only the computer could sort them out for you.You are probably also wondering what's going on in the side margins. Well, of course, the computer can sort things out, and it does so in the side margins. The side margins display the palettes. A palette is an area where an artist mixes and blends the colors he or she is using at the moment. Although a painter may have hundreds of tubes of paint in the studio, only a few are on the palette at a time. 512 has three palettes, the FLOATing, FIXED, and CUSTom palettes. Call the Menu and look at the FLOAT, FIXED, and CUST icons. Click on each of them and look at the palettes in the margins. Now deselect them all (click on the one that is highlighted). The palettes in the side margins (as well as the top and bottom borders) disappear, nice for displaying your finished pictures. You select colors from all three palettes in the same way. Select the CUSTom palette, erase the screen ([Alt]-ERASE), and we'll give it a try. Move the mouse alongside a color in the left margin, and right-click (you must be within 10 pixels of the margin). Select some colors from the left margin and draw a few lines with each of them. Each time you select a color, the busy line goes down the margins and then you can draw with the new color. Select one more color from the left and draw PAGE 10 a few lines. Now select a new color from the right margin. Did you see that? The lines in the picture which you drew with the last color also changed. Select a few more colors from the right margin and draw with each of them. They all change every time you choose a new color. Now select a color from the left margin, but don't draw with it. Select another color from the right margin. The lines on the screen no longer change. Draw some more lines with the color you most recently chose from the left margin, then right-click on the colors in the right margin and observe the results. Selecting a color from the right margin is called "altering" the Active Color and it effects everything drawn since a new color was selected from the left margin or the Color Matrix. If you are unsure of what parts of the picture will be changed, just call the Menu. Everything drawn with the active color will turn orange while the menu is visible. Right-margin color altering works with all three palettes. Let's explore the FLOATing and FIXED palettes (we'll get more on the CUSTom palette in the next lesson). Select FLOAT, erase the screen and select a neutral gray (555) from the color matrix (center dot in the upper-right hexagon). Get the number 5 round brush again. THE SHADING AREA Look at the FLOATing palette in the side margins. Most of the margin is taken up with colored bars. This is the shading area. At bottom are 8 bars, ranging from white to black. This is the blending area. The very top bar of the FLOATing palette is called the starting color. Notice that it is the same color as the active color. Below it are the 26 shades closest to it. they are calculated by changing one or more of the RGB values in the starting color. For example, the first pair of bars is made by adding and subtracting 1 to the red RGB value. See the Reference Section for a complete description of the 26 bars. PAGE 11 Draw a couple of lines.Now place the mouse against the blue bar next to the bottom of the shading area in the left margin. (It's the last bar with color in it. Below it is a gray bar and then the blending area.) When you find it, right-click and draw a few lines. The blue becomes the active color. It also becomes the starting color and the shading area is recalculated from the new color. You now have the 26 shades which are closest to the blue color. You can select any of the new shades by right-clicking next to it in the left margin. It then becomes the Active and Starting Colors, and the new shading area is calculated. Try selecting a few colors to see how it works. Of course, there are times when you don't want the shading area to keep changing. That's what the FIXED palette is fore. Call the Menu and select the FIXED icon. Now select some colors and watch what happens. In the FIXED palette the starting color and the shading area do not change, just the active color. That's the difference between the FLOATing palette and the FIXED palette. With the FLOATing palette, the shading area "floats" as you change colors, arranging itself around each new color. Whereas, in the FIXED palette, the shading area remains "fixed" and does not change when you choose new colors from within the palette. Call the color matrix and move the mouse across it. Notice that the starting color and shading area change even in the FIXED palette. Sometimes you'll want to retain your shading area when you call the color matrix. Select any color and then [Shift]-right-click to call the color matrix again.Notice that although the top and bottom borders change, the shading areas are frozen and do not change. THE BLENDING AREA While the shading area behaves differently in the FLOATing and FIXED palettes, the blending area works the same in both. You give it two colors and it produces all the color blends between them. Call the color matrix and select the bright primary blue (007). Move the mouse to the left margin alongside the top half of the blending PAGE 12 area. Hold down [Alt] and right-click. The blending area immediately changes to show all the colors between the blue and black. Call the color matrix again and select bright primary red (700). Move the mouse to the left margin next to the bottom half of the blending area. Again, hold down [Alt] and right-click. The blending area changes to show all the colors between the blue and the red. The colors are calculated moving each of the RGB values in the top color towards their values in the bottom bar. Since the RGB values can only be 0-7, there will never be more than 8 bars in the blending area. Take some time now to play with the palettes, experiment with the shading and blending areas and the left and right margins. LESSON THREE The CUSTom palette. Erase the picture area and select CUST in the Menu. The palette in the side margins is now the CUSTom palette. You can define every color in it and it can have up to 196 colors. By just selecting CUST in the Menu, you may only use the colors already defined. To actually define your own colors, You use the Palette Editor, so let's tale a look at it now. The Palette Editor is invoked in much the same way as you call the color matrix, except that you hold down the [Alt] key while doing it: [Alt]-right-click in the lower half of the screen (always from the margins, of course). The color matrix and the CUSTom Palette are displayed. You can tell that you are in the palette editor because there is a flashing cursor in the top color bar of the CUSTom Palette. Once you get into something, it's always a good idea to know how to get back out again. You may exit the palette editor and return to the main screen by pressing [Return]. Try it, then go back to the palette editor.Now press [Esc] to erase the palette and we'll start from scratch to create our own. PAGE 13 First, we'll put three colors in the palette, move the cursor around among them, insert a fourth color, then delete a color. Select a color in the normal manner, let's start with the primary red (700), which is one corner of the brightest hexagon. When we right-click on the red dot, the color is placed at the top of the palette and the cursor moves down one space. Now select primary blue (007), and primary green (070). You can move the cursor within the palette with the [up arrow] and [down arrow] keys. Move the cursor up to the blue bar. Now select the bright white (777) from the Color Matrix. Notice that the white bar was inserted at the cursor, and the cursor and remaining color bars moved down. Move the cursor to the green bar and press [Backspace]. The blue bar (the one above the cursor) is deleted. Okay, now delete the white bar and insert the blue one again. You should have the bars stacked in the red, blue, green order again. If not, press [Esc] and go back to beginning of this section to rebuild the three-color palette. Put the cursor on the blue bar and press [Insert]. Pretty impressive. The palette editor inserts the full range of colors between the bar the cursor was on (the blue one) and the bar above it (the red one). It's just like the blending area of the FLOATing and FIXED palettes. The cursor moves down to the next bar so that it is easy to build subtle palettes quickly, for example: Clear the palette ([Esc]). Select the following colors (700), (707), (007), (077), (070), and (770). But, instead of searching the Color Matrix for the colors, you can simply type the numbers in directly from the keyboard. The first three numbers typed will become the first color, the next three the second, and so on. Typing in the numbers is a special feature of the palette editor, but once you start a number, you must enter the valid (0-7) numbers to create a color bar before you can do anything else. NOTE: If you find yourself unable to exit the Palette Editor, it's probably because you have accidentally typed only one or two digits of a three digit color and SPECTRUM 512 is patiently waiting for the remaining numbers. Simply press any number key once or twice until a color bar appears in the margin. Press [Backspace] to delete the unwanted color, and [Return] return to the main workscreen. PAGE 14 Okay, we want to add one more color, a repeat of the first one (700) again. There's one more way to select colors - from the palette itself. Put the mouse next to the top (red) bar and right-click. This only works if the background color under the mouse is black. We have a blank picture area here, so it's no problem. If the area had color in it, we could move the color matrix, which has a black edge, next to the bar we want to select. Now, move the cursor up to the second bar (the purple one) and press [Insert] six times. You have a complete spectrum of all the subtle shades between the three primary colors. I'm sure you noticed that they got thinner. As more bars are added, the bars get thinner until they are one scan line high and 196 colors can be displayed. Since this palette is pretty and usefull, let's save it for future use. Press [Control]-[S] to save the palette. The familiar GEM file selector box appears and we can enter a file name. Type in RAINBOW and click on OK. The file is saved and we are returned to the Palette Editor. As long as we are working with the disk drive, let's load the palette back in again. First, clear the palette ([Esc]), then press [Control]- [L]. The GEM file selector box appears and we see RAINBOW.PAL (.PAL is appended to the file names of all SPECTRUM 512 palettes). Click on RAINBOW.PAL and OK. The palette loads and we are returned to the Palette Editor. There is one more feature we need to check out. Clear the palette and build a new palette as follows: Red (700), blur (007), [Space bar], blue (007), green (070), [Space bar], green (070), red (700) Notice that the [Space bars] placed spaces (black lines) between the color bars. Use [Insert] to fill in the color ranges between each pair of colors (be sure the cursor is on the color bar and not on the space). See how the spaces group the colors into useful clusters. The default CUSTom palette (the one we erased at the beginning of this lesson) uses spaces between each color to make them easier to select. PAGE 15 If you select a space from the CUSTom palette and draw with it, your color will be black. A final note on the palette editor: In order to be able to differentiate spaces from black color bars (remember, color bars can be as thin as one scan line), black bars are displayed as flashing gray bars. Add a black bar and a white one to the palette to see what I mean. When you leave the Palette Editor and are ready to paint, the flashing gray bar will change to black. You're now an expert on the Palette Editor. Remember, we leave it by pressing [Return]. (If you can't get out, check the number keys.) Now that you're back in the main workscreen, you can select colors from the CUSTom palette just like the FLOATing and FIXED palettes. Practice with it for a while. Go back to the Palette Editor, experiment with the [Insert] function, design some more palettes, and save the good ones. LESSON FOUR The Drawing Tools Now let's take a look at the drawing tools which are available in SPECTRUM 512. The first is DRAW which we met in the first lesson. Erase the screen, and select DRAW in the Menu. The mouse pointer looks like a pencil and you can draw freehand by holding down the left button and moving the mouse. Notice that the dot on the tip of the pencil is where the line forms. Draw a little with the pencil and then we'll move on. Erase the screen and select white (777) as the Active Color. We'll look next at POLYLINE (the triangle with the dotted baseline in the Menu). Select it by left-clicking on the icon. This puts us in the LINE function and the mouse pointer has a line in it. Left-click about an inch from the upper left of the screen and move the mouse to the upper right of the screen. A "rubber-band" line stretches from the mouse back to the first point. Left-click, move the mouse to the lower left, left- click again, then move to the lower right and, finally, right-click to complete the line. We should have a big "Z" on the screen. PAGE 16 Erase the screen, return to the Menu and select POLYLINE again - but this time do it by right-clicking. We are now in the POLYGON function and the mouse pointer has a triangle instead of a line in it. Draw the "Z" again, exactly as you did above. this time, when you right-click at the end of the figure, a line from the last point to the first point closes or completes the figure. Now we have an hourglass shape on the screen. This is pretty standard stuff, but go to the Menu and click on NO ZAG. Now draw another "Z" next to the first one (offset a little above and to the right, or below and to the left). After a moment you will see the figure drawn as a very smooth "8". NO ZAG smooths the angles into curves and smooths out the stairstep "jaggies" out of the diagonal lines. This is a special capability requiring the hundreds of colors available only in SPECTRUM 512. Erase the screen and select LINE again (left-click on POLYLINE). Redraw the "Z" but left-click twice (not a double-click) at the upper right corner. When you finish the figure, you will see the upper right corner has not been rounded. NO ZAG also works with CIRCLE/ELLIPSE, so let's look at that. Erase the screen, deselect NO ZAG, and select CIRCLE/ELLIPSE (the oval icon) by left-clicking. The mouse pointer has a small circle within it. Left- click in the middle of the screen and draw out the circle by moving the pointer diagonally down to the right. Left-click again and move the circle around. Left-clicking some more will alternate between sizing and moving the circle. Right-click when you are ready to make the circle permanent. Because we left-clicked to select CIRCLE/ELLIPSE, the function drew a proportionally correct circle. By right-clicking instead, we can draw ellipses. This time, turn on NO ZAG, and right click on CIRCLE/ELLIPSE. The mouse pointer has a small ellipse inside it. Now, draw an ellipse so that it overlaps the circle (side-by-side, like the Olympic rings, or over and under; whichever you have room for). Because NO ZAG is on, the ellipse is drawn smoothly. To see what's really going on here we need to take a closer look. Go to the Menu and select MAGnify. Hmm, nothing happened. "Bump" the mouse against the top of the screen - there's the MAGnify window, that rectangle of dots. Now bump the mouse against the bottom of the screen. The window is gone. Bump against the bottom again and it's in the bottom half of the screen. That's the way you work with the MAGnify window: bump where you want it to appear, bump the opposite to make it vanish. Move the mouse to the intersection of the two circles and look at them in the magnify window. Notice that the normal circle is made of all white pixels, but the NO ZAG pixels are all different shades. That's how you get a smooth edge. (It's technically referred to as "algorithmic antialiasing.) PAGE 17 NOTE: MAGnify mode can be disorienting at first and takes a little getting used to. After a short while, however, it becomes second nature. Because all of the SPECTRUM 512 features are active and available while the MAGnify window is on, we encourage you to use it whenever possible to more closely examine the various graphics effects. We need to explore one more function which is related to these tools - FILL. Deselect MAGnify, for now, and select FILL by left-clicking on it. Move the mouse inside the first circle and left-click, the screen colors change while the fill is happening to speed it up. (If you double-click to start the fill, the colors will not change and you can watch the fill in the chosen color. Also, while filling in "slow mode", you may click at any time to halt the fill. You can press [Undo] after either FILL to erase your most recent fill.) Notice that the circle fills nicely to the inside of it's line, but the outside edges are still jagged. Now fill the NO ZAG ellipse (double- click and do it in slow motion if you wish). It has the nice smooth outer edge, but the dark shaded pixels are ruining the inner edge. If only we could combine the best of both. (Of course we can or we would not have brought it up.) Erase the screen and draw a new NO ZAG circle. But this time, when you right-click to fix it, hold down the button. After a moment, the mouse pointer will reappear. Move it just inside the circle and release the button. If you look closely, you will see that it is smooth on the outside and jagged on the inside, just what we need. Fill this circle - isn't that nice? Of course, if you wanted to fill outside the circle, you would have moved the mouse outside before you released the button. PAGE 18 This same technique can also be used with LINE and POLYGON. Erase the screen and draw a polygon, clicking and holding the right mouse button, then releasing it on the side of the line you wish to remain jagged. Now, use FILL on whichever side has the jagged lines. FILL in SPECTRUM 512 is like most paint programs in that it alters all "squarely" adjacent colors with the current active color and stops when it reaches a different color. In the above examples, it altered the adjacent black pixels, stopping when it reached the colored pixels of the circle or polygon. There is one more kind of fill in SPECTRUM 512 - FILL TO NEW. This fill will flood any color or pattern on the screen, and stop when it reaches the current active color. Thus, it's a good idea to set up some kind of "fence" or boundary with the active color, unless you want to fill the entire screen. Erase the screen, deselect NO ZAG, and draw a circle. Change the active color from the left margin or the color matrix, and draw an overlapping circle like you did previously. Now, select FILL by right-clicking. You are in FILL TO NEW and the mouse pointer has an "N" in it. Fill the second circle. Notice that the fill runs right over the line of the first circle (where it is within the second's perimeter) and only stops when it finds the active color. NOTE: FILL TO NEW will not recognize NO ZAG lines as boundaries. Take some time now to go back over this lesson and play with the drawing tools. Work with NO ZAG, use NO ZAG and LINE to create some curves. Try NO ZAG on just one side of a LINE, it works the same as CIRCLE/ELLIPSE and POLYGON. Experiment with "quick" and "slow" FILL, try FILL TO NEW when you have more colors on the screen, and change the active color several times to see how it affects FILL TO NEW. Oh...and don't forget to use MAGnify. PAGE 19 LESSON FIVE Advanced drawing tools Erase the screen (turn off NO ZAG if it's still active), select the color white (777), then select PATTERNS in the Menu (the icon with the chicken wire pattern on it). A sub-menu with 40 patterns drops down. The pattern at the far left is currently selected and is the solid or "no pattern" pattern. The bottom row of patterns may all be replaced with your own custom designed patterns, as we shall see. Select the "XX" pattern that's fourth from the right in the top row. An outline indicates that it has been selected. Select FILL and fill the entire screen. Now select another color from the left margin, then select white once more. (We are doing this so that the first fill pattern on the screen is no longer the active color, even though we continue to use white.) Go to PATTERNS and select the pattern that is a simple "+". Select FILL TO NEW (right-click) and fill the screen again. As you can see, FILL TO NEW lets you fill patterns over patterns. You should now have a nice snowflake design which we'll move to the pattern sub-menu. Go to PATTERNS and [Alternate]-click on any pattern in the lower row. The mouse pointer is now a small box with which you may "grab" a pattern from the screen. Left-click anywhere on the screen and the new pattern is transferred to the selected location in the lower row of the PATTERN submenu. Now, [Alternate]-click on a spot next to your new pattern in the submenu, and right-click to grab your snowflake pattern from the screen. This time your pattern was created in inverse. You can add any design to the lower row of the pattern sub-menu as long as it is drawn on a black background in only one color. PAGE 20 As you have seen, patterns work with fills. They also work with brushes. Erase the screen, select the solid pattern on the far left,and select BRUSHES. Look at the available brush tips and try drawing with a few of them, especially the diagonal lines. Erase the screen again, select one of the patterns you made, and go to BRUSHES again. The brush shapes are displayed in your pattern. Select some different brush shapes and try drawing with your pattern. Now erase the screen, select the "+" pattern, and return to the brushes. Notice that the "A" in the right corner is highlighted and then select the largest square brush (the sixth from the left). Draw with it a bit and then release the button. Redraw over the same area. Do it several times. Notice that no matter how the pattern in the mouse pointer is situated relative to the picture, the patterns always line up and you can't see the redrawing. This is the Aligned mode (that's what the "A" stands for). Go back to BRUSHES and select the "O" for Offset mode. Look carefully at the pattern in your brush tip and notice that when you draw, the pattern matches the starting position of the mouse pointer. In this mode, you may offset your patterns by any number of pixels. You may also use this to grab a pattern from the screen, then "paste" copies of it anywhere with a single click of the mouse. While we're playing with brushes, there is another feature to explore: CYCLE. Erase the screen, select the solid pattern, select the number six round brush and select CYCLE. Now, slowly draw some long lines around the screen. Can you see what's happening? The colors keep changing, they are cycling through the CUSTom palette. CYCLE runs through them, top to bottom, and then repeats. Of course you can arrange the colors in the custom palette any way you wish. You can reset CYCLE to the top of the palette by releasing the mouse button for a moment and pressing [Return]. CYCLE also works with the AIRBRUSH. Let's play with AIRBRUSH a bit before we try it with CYCLE. Deselect CYCLE, erase the screen, select AIRBRUSH 9it's the fourth in the top row and has dots of spray paint on it), and paint with it a little bit. AIRBRUSH lays down a random spray of color, just like a can of spray paint. The longer you spray in one place, the more filled in it becomes. Press [1] and paint. The spray is much slower. Each of the number keys from [1] to [9] is a different flow rate, from slower to faster. Get the MAGnify window. Near the upper left of the window is the current flow rate. This number is only displayed when AIRBRUSH is active. Try painting with a few more flow rates and watch the number change in the MAGnify window. PAGE 21 NOTE: SPECTRUM 512 is pretty busy while the AIRBRUSH is at full intensity (9), and the MAGnify window will not be able to keep up with it. Once you stop drawing with the brush, however, the MAGnify window will catch up to where you left off. Now erase the screen (deactivate MAGnify, if you wish) and press [A]. The mouse pointer on the screen got smaller. Each of the letters [A] through [D] is a different spray nozzle size. The mouse pointer shows the current size. Okay, let's try it with CYCLE. Select CYCLE and paint with the AIRBRUSH. Try slower flow rates (2-5) and nozzle sizes. The combination of AIRBRUSH and CYCLE has lots of possibilities. That's all for this lesson. Spend some time experimenting with these advanced drawing tools. They are simple to use, but very powerful. LESSON SIX Modifying the picture SPECTRUM 512 has two functions to alter a picture after it has been drawn, ANTI-ALIAS and EDIT COLOR. Of course, they are useful in creating pictures as well as altering them. The first one we will explore is ANTI-ALIAS. NOTE: ANTI-ALIAS requires a lot of memory. If you are using a half- megabyte machine with desk accessories or other memory-resident programs installed, ANTI-ALIAS will be inactive and its icon will be lined out. ANTI-ALIAS ANTI-ALIAS provides three tools to modify existing drawings: Anti- aliaser, Blurrer, and Contraster. Each of the tools can be used at various intensities, called "breadths." Whenever ANTI-ALIAS is active, the tool and its breadth are indicated in the MAGnify window in the same way as the AIRBRUSH flow rate. PAGE 22 NOTE: If, at any time, you exit the ANTI-ALIAS mode (e.g., by selecting the Menu or the Color Matrix) you must reselect ANTI-ALIAS mode once more to continue with its functions. If you wish to use the MAGnify window in the following tutorial (which is not necessary), you should activate it now rather than exiting ANTI-ALIAS in the middle of the lesson. The first ANTI-ALIAS tool, Anti-aliaser, smooths the stairstep jagged edges in diagonal lines. Let's give it a try. Erase the screen, select the number 5 round brush and white (777). Draw a diagonal line, a horizontal line and a vertical line across the screen. Now select ANTI- ALIAS. The screen does a color change while some preliminary calculations are made, and then it is ready. Press [A] to select Anti- aliaser and [9] to make the strongest effect (greatest breadth). Double left-click anywhere on the screen, and the pixels over the entire screen are shaded to smooth out the lines. Note, however, that the vertical and horizontal borders are not affected. Press [Undo] to return to the unmodified picture. Now press [B] for the Blurrer. Blurrer generally looks better (and works faster) with smaller breadths, so press [3]. We could double-click for the whole picture, but let's do just one part. Left-click near the intersection of the lines, then drag a small box around the intersection. Left-click again. See how all the pixels near the borders are averaged. Since the colors we are using are already at maximum contrast (white and black), Contraster won't have much effect, so let's draw a new screen. Erase the screen and fill it with a solid yellow-green (552). Get the brush and draw the lines with lavender (405). Select ANTI-ALIAS and, after the color change, press [C] then [1] to get Contraster in its mildest setting. Instead of full screen or block, we'll use the third way of processing the screen - local. Press [Spacebar],the mouse pointer becomes a magnifying glass with a little handle. Press [Spacebar] again and it returns to the arrow shape. Go back to the magnifying glass, and hold down the left mouse button while moving the magnifying glass over the lines. If the MAGnify window is active, you can watch what's happening while you're moving the mouse. The pixels at the edges of the lines are getting "more different". In other words, Contraster increases the contrast at the border of two colors. PAGE 23 Each of these three ANTI-ALIAS tools can be used on the full screen, in a box, or locally. Each can be set to a breadth from 1 to 9. Experiment with the various breadths to see the effects they create. Blurrer and Contraster can be rather strange at the higher levels. Note that once an area of the screen has been altered, going over it again will not change anything, unless you exit then reactivate ANTI-ALIAS. EDIT COLOR The other way to change something that has been drawn is EDIT COLOR. To explore the capabilities of EDIT COLOR we really need to work with a complete picture, so load the BEE512.SPC picture from your SPECTRUM 512 disk. The hexagon facets in the background of the picture make good places to study. Select EDIT COLOR and examine the sub-menu. On the left is a reminder to left-click to make the change global (affecting the whole picture) or right-click to make it local. The first editing item is CHANGE colors. Left-click on the empty box next to "ONE" (note that we click in the empty boxes in this sub-menu). We are immediately in the palette editor, so that we can choose which color to change. The first color in the CUSTom palette will be replaced with the second color; only the first two colors are used, the rest of the palette is ignored. Clear the palette ([Esc]) and select a light green (464) facet for the first color. Select a gold (642) one for the second color. (Remember, you can simply type the numbers in while in the palette editor.) Watch closely as you press [Return] to leave the palette editor, the change takes place instantly. Press [Undo] to restore the picture. Right-click to get the Menu back. Right-click on MANY. MANY will replace the first color of every color pair in the CUSTom palette with the second color pair. We'll start with the same first two colors. Press [Space bar] to make the pairs easier to see, then select the dark blue (006) and the dark red (400). Press [Space bar] again and select lavender (616) and blue-gray (346). Press [Return] and you'll see the AIRBRUSH mouse pointer (because we right-clicked on MANY, we're in Local mode). Press [D] to make the airbrush bigger and then paint with it. Only the colors in the palette change. Press [Undo] to restore your picture, then right-click to return to the Menu. Page 24 The HUE function lets us change the tint of colors by adding or subtracting a value of one to the RGB values. Left-click on R+/ALL and watch the effect. Every color gets redder (1 bit of red is added to each). Left-click on R-/ALL and the picture returns to normal. Now go over to LUMIN. It works the same except that all three RGB values are incremented or decremented together, brighting or darkening the liminance of the picture. Left-click on LUMIN+/ALL to see the effect, left-click on LUMIN-/ALL to reverse it. HUE/SOME and LUMIN/SOME work the same except that only the colors in the palette are affected. Left-click on R+/SOME. We'll keep the same palette, so just press [Return]. Press [Undo] a few times to study the effect. There is one more "hidden" function for HUE and LUMIN which is called ALL EXCEPT SOME. But before we continue, reload the BEE512.SPC picture. We've altered so many colors, it's a good idea to start fresh. ALL EXCEPT SOME alters all colors EXCEPT those in the CUSTom palette. For this example, we'll darken the entire BEE picture EXCEPT for three or four of the background hexagons. Hold down [Alternate] while left- clicking on LUMIN-/SOME (pressing [Alternate] makes it EXCEPT). Press [Esc] to clear the CUSTom palette, then select three or four distinctly different colors by right-clicking directly within the hexagons in the background of the BEE picture (they can be anywhere on the picture), Press [Return] to exit the palette editor, and the entire BEE picture will dim, except for the hexagons containing the colors we selected. Before doing anything else, left-click once more and the picture will be dimmed again - except for the chosen colors. Continue to left-click until the picture dims as far as it will go. The chosen hexagons shine out in the darkness. Notice that you were unable to darken the picture to pure black. This is because the color black will not work in global color change. It will, however, work in local mode. PAGE 25 EDIT COLOR is one of the most powerful features in SPECTRUM 512 and will work just as well on any DEGAS or NeoChrome pictures that you wish to adjust. Take the time now to explore it and ANTI-ALIAS. LESSON SEVEN BLOCK FUNCTIONS BLOCK provides a way to move all or part of a picture back and forth into a special storage area called a buffer. It also lets you change the size and shape of the blocks. Erase the screen, FILL the entire screen with green (070), select blue (007) and select our old favourite, number 5 round brush. Draw the numbers "1", "2", and "3" freehand in the middle of the screen, about one-third of the screen in height. Select BLOCK in the Menu and select PIC to BUF in the sub-menu. Left- click above and to the left of the "1" you drew and drag a box around it. Left-click again. Do the same with the number "2" and then the "3". Although you did not see anything happen, you have just sent copies of those three blocks to the buffer. We can get into the buffer by selecting BUF to PIC or BUFFER SAVE/LOAD. Let's try BUF to PIC. Select it and you will be in the buffer. If all three blocks do not fit on the screen, you can scroll through them by holding down the right button ************************* PART 1 ENDS......PLEASE LOAD/PRINT PART 2 PART 2 of THE SPECTRUM 512 manual continues.... and moving the mouse up and down. Notice that the blocks are in the order that you transferred them and the same horizontal position as they were in the picture. Since we're here, we might as well try copying a block back to the picture. We can grab a whole block by double-left-clicking on it, or we can grab a part of the block by left-clicking in one corner then dragging out a box around the area we want. For now, let's grab all of block two. Double-left-click on it and we're back in the picture. A box shows the size and shape of the block. Move it over the "3" and left-click. It will draw the block over the "3". PAGE 26 Now, hold down [Shift] and move the mouse. The box changes size as you move. Make it about half its original size, release the button and left-click to paste down the block. When it's finished, press [Undo], then press it again - you can always reverse the last operation, The box remains so that we can paste down more copies. Press [Esc] to return the box to its original size. Notice that the resolution of the smaller image is roughly the same in detail as the original. This is accomplished through a technique known as pixel averaging. Now hold down [Alternate] and move the mouse to change the shape of the box. Make it tall and thin, release the [Alternate], and paste it in the upper-left corner of the screen. Return the box to its original size ([Esc]) and press [up arrow]. Paste down the block in the middle of the screen, press [left arrow], press [down arrow] and paste the block again. The arrows flip the block, [up arrow] and [down arrow] flip it vertically and [left arrow] and [right arrow] flip it horizontally. Press [Esc] to restore the original orientation and size. Right-click to get back to the menu, select PIC to PIC. Grab the upside down "2" and paste it below itself. Now select MOVE and PIC to PIC and grab the upside down "2" again and paste it above itself. When COPY is selected, the original is not changed. When MOVE is selected, the original is erased, leaving a black square. Erase the screen and fill the bottom half of the screen with the green color. (This is easily accomplished by first using the LINE function to draw a horizontal green border from the left to the right edges of the screen, then using FILL to fill in the lower half of the screen.) Now, redraw the three blue numbers within the upper, black background. Go to BLOCK and select TRAN and PIC to PIC. Grab the "2" and paste it over the lower green area. This is a TRANsparent copy and the green shows through the black of the original block. Next, select OPAQ and PIC to PIC. Grab the "3" and paste it in the green area. This is an OPAQue copy and the black background from the original block is copied to the destination. PAGE 27 Click on BUFFER SAVE and we are back in the buffer, our "1,2,3" are still there. We can save any or all of these blocks. Left-click on "1" and the mouse has an "S" in it to remind you that you are selecting blocks to SAVE. If we wished, we could save any continuous number of blocks in the buffer by selecting, as our second block, the other end of the stack of blocks. Thus, the first selected block, down through and including the second selected block would be saved as one file. For our purposes, we'll just save "1," so put the mouse back on it and left-click again. The GEM file selector pops up. Name the file "ONE" and click OK. The block is SAVEd and we are returned to the buffer where we can save more blocks. Let's go back to the picture by double- left-clicking. Now click on BUFFER LOAD and we'll get the file back. Any loaded buffer will append itself to the last block in the buffer. If we wish, we can delete blocks anytime we're within the buffer by simply pressing [Alternate] while clicking on the block we wish to delete. Let's delete "2". Put the mouse over the "2", hold down [Alternate] and left- click. "2" is gone and "3" moves up. Now left-click to get the GEM file selector box. Our file "ONE" is there with the extender ".SBL", indicating it's a buffer file. Double-click on it and it will be loaded at the bottom of the buffer, after "3". Double-left-click to return to the picture. We can place whole screens in the buffer and recall them easily. Go to the buffer (PIC to BUF) and erase each of the blocks ([Alternate]-left- click). Double-left-click to return to the workscreen, then select MOVE and PIC to BUF. Of course, you could transfer the whole picture by drawing a box around all of it, but there is a short cut - simply double-left-click anywhere on the screen. The screen blanks as the picture enters the buffer because we are in the MOVE mode. We could also have transferred the picture using COPY, which would have left the original in the workscreen. Now draw a large letter "B" on the empty screen and double-click to MOVE it to the buffer. Draw a large "C" and, without returning to BLOCK, press [F1]. The "C" picture is swapped with the number one picture in the buffer (any blocks in the buffer which are not full screens are ignored). Press [F2] to swap with the second picture. [F3] would swap with picture number three, and so on. The [F10] function key is reserved for a special kind of picture swap. PAGE 28 When you press [F10] your workscreen picture will always be swapped with the last full screen in the buffer, however far down it is. This way, you can always be sure of which picture you're swapping with. NOTE: 512K-byte machines are limited to two pictures and may have to give up ANTI-ALIAS while using the buffer. (The ANTI-ALIAS icon will be lined out when it is inactive.) Larger machines can store more pictures (up to 12 on a one-megabyte machine) but the function keys will only swap the first nine (except for the [F10] function). Also, buffer files created with one megabyte machines which contain more than two screens will be too large to load into 512K-byte machines.) The BLOCK function provides a lot of power and can be combined to do very interesting things. For example, multiple pictures may be shrunk and fit on the same screen to create catalogues of hundreds of pictures on the same disk. Because all 512 colors are available in SPECTRUM 512 at all times, pictures of various palettes may be mixed. The scaling function in BLOCK automatically performs a type of anti-aliasing. Try drawing simple objects with AIRBRUSH using the entire screen, then shrink them down as smoothly detailed modules which can be stored in the buffer, then later pasted into your pictures. The MAGnify window can be used in BLOCK to precisely cut and paste the corner of your blocks right down to the pixel. Before you continue, become familiar with the BLOCK functions. Our final tutorial, Gradient Fill, features one of the most creative - and complex - features in SPECTRUM 512. A good working knowledge of BLOCK will be helpful. LESSON EIGHT Gradient Fill SPECTRUM 512 includes a creative feature we at first thought of calling the "mystery function." It's called Gradient Fill, and is basically designed to allow special fills to create things like sunsets, or shaded pipe shapes. It's so flexible, however, you'll probably find yourself discovering new possibilities the more you play with it. PAGE 29 Gradient Fill is SPECTRUM 512'S most complex feature. If it seems confusing at first, we suggest you play with it a bit at a time, returning to the Reference Section description every now and then to pick up further understanding. In the following tutorial, we will take you through the main features of Gradient Fill. After that, the endless possibilities are up to you to discover. Gradient Fills occur in a special box on the screen called the Gradient Fill Box. To perform a Gradient Fill, we must first create this box - which may be done from either PIC to PIC, or PIC to BUF inthe BLOCK menu. So, erase the screen, erase any blocks or screens you may have in the buffer, and select PIC to PIC in the BLOCK menu. You create a Gradient Fill Box just like you create a block - except you hold down the [Control] key while doing it. While creating a box about 11/2 inches square in the middle of the screen: hold down [Control], left- click in the upper-left corner of your box, drag the box diagonally out and down, left-click again when you reach the lower-right corner, then release [Control]. Unlike block moves, the green box remains on the screen. (Notice also that the CUSTom palette appears, if it was not already there.) This is our Gradient Fill Box. Okay, we've established an area for our gradient fill. We could go on and do a fill right now, but we want to demonstrate that, once established, the gradient fill area is always available for use; we can go on to other things and return later to do our fill. So, click on LOAD in the Menu and load BEE512.SPC picture. Click on PIC to BUF and move the BEE into the buffer (double-click on the screen). Erase the screen, and create your own quick picture. (It doesn't matter what it is. Just grab some patterns and scribble a few different colors on the screen.) After you've finished your "masterpiece," move it to the buffer with PIC to BUF, then erase the screen. Okay, we've got BEE in the buffer screen number one, "masterpiece" in buffer number two, and a blank screen. We also have a special Gradient Fill area reserved in memory just waiting for our return. After creating a Gradient Fill Box from the BLOCK menu, all remaining Gradient Fill commands are accomplished in the keypad area over to the right of your ST keyboard. Press the asterisk [.] and the green Gradient Fill Box returns to your screen.(If the BEE had been on the screen it would have appeared right on top of it.We're using a blank screen right now so we can see the effects better.) PAGE 30 When we first created the Gradient Fill Box, the CUSTom palette appeared. This is because Gradient Fill uses whatever colors are in the CUSTom palette. (If you want a sunset, you put your range of pinks, oranges, and reds in the CUSTom palette.) [Alternate]-right-click in the lower portion of the screen to call the Palette Editor, and we'll create a special palette for our demonstrations. Press [Esc] to clear the palette, then select each of the corner colors in the largest hexagon in the following order: red, magenta, blue, light-blue, green, and yellow. This is not really a "gradient" pattern of smooth color changes, but we want to be able to examine the effects with a simple range of distinct colors. Your margin palette should have the color red at the top, and yellow at the bottom. Okay, press [Return] to exit the palette editor. Select the fifth or sixth solid, round brush and select yellow from the bottom of the palette. Draw a thick, vertical line inside the gradient fill box - about a quarter of an inch in from the left side, with the beginning and end of the line overlapping the top and bottom box, (It doesn't have to be perfect.) After you have drawn the line, press [Enter] on the numeric keypad. This is a very important step; it "sets" or "enters" the active color into the gradient fill memory. If you forget to enter your color after drawing it, it will have no effect in the gradient fill. Let's draw one more line. Select the red from the top of the palette and draw another vertical line, also just inside the gradient fill box, parallel and to the right of the yellow line. Press [Enter] to set the line. All right. We've just set up the colors we want the gradient fill to act upon. All we have to do now is activate the actual fill. Gradient fill requires a great deal of calculation and fills take varying amounts of time depending on the size of the area required to fill. What you really do here is activate the Gradient Fill, let it go to work, and then stop it every so often to see how it's doing. If you like the results, you leave it at that. Or, you may wish to let it go for awhile and see where it grows to. PAGE 31 In this example, we want to fill a small area. The parenthesis keys activate the Gradient Fill. Pressing any other key stops it (the [Space] bar is a handy one). Let's do about a five second Gradient Fill. Press the left parenthesis, [(], the screen turns blank, count to five and press [Space]. The gradient fill area redraws and we can examine the results. Notice that the colors are only growing from the yellow line (and in the order of their position in the CUSTom palette). The rest of the box is red, so the red line doesn't show at all. The top color of the CUSTom palette in gradient fill is the base color toward which other colors grow. The other colors are "source" colors, from which colors will emanate. We could continue the fill from where it stopped by pressing the parenthesis again, but let's look at two different types of fills. Press [Undo] and this time press the right parenthesis [)], wait five or more seconds, and press [Space]. This time the fill effect looks airbrushed at the borders. When you activate gradient fill with left parenthesis, the fill is solid, when you activate it with the right parenthesis, the fill is airbrushed. Press [Undo] again, and this time press the period key in the key pad [.]. The effect this time is a controlled "dithered" fill offering a very smooth color blend. through the remaining examples, we'll use solid, but they could as easily be done with airbrush or dithered. You may also halt your fills and switch modes. Erase the screen. Everything's gone, right? Wrong. Press [(], wait a few seconds, and press [Space]. There's our fill again. The gradient fill area defined by the green box remains in memory, and the fill may be redrawn at any time at the same position on the screen. With the exception of exiting to the desktop, or turning off your computer, there are only three things that will remove the gradient fill area from memory: creating another gradient fill box; filling the upper portions of buffer memory; using ANTI-ALIAS with limited memory. In the case of the last two, you will be alerted and given a choice to proceed or cancel. But look at the fill. Notice that the colors within the gradient fill box are there, but anything outside the box is missing - and the initial colors which we entered are transparent. This can be used to "mask" the shape of your gradient fill. PAGE 32 To further demonstrate the persistence of gradient fill, press [F1] to swap the BEE (remember him?) back to the main screen. Press [(] then press [Space]. The fill continues right over the BEE. Press [F2] to swap the "masterpiece". Before activating the fill again, you may have noticed that each time we press the parenthesis, the clock starts again on the gradient fill process and the colors continue to grow from the previous state. If you've stopped your fill just the way you want it and only want to redraw it to the screen, hold down the [Shift] key while pressing the parenthesis or period. Try it. Press [Shift]-[(]. This time, the screen returns automatically at the end of the fill. Let's move on. Erase the screen and create a new gradient fill box (remember, [Control]-left-click box from PIC to PIC). Make the box about the same size and put it in about the same place. Now, without drawing and entering any colors at all, press [(], wait and press [Space]. The box is solid red - the base color. Press [Undo], select our favourite round brush, and draw a horizontal, yellow line completely through and inside the box, about a quarter-inch from the bottom. Press [Enter] to set the line. Using the same brush, select the light blue color from the left margin and draw another horizontal line midway between the yellow line and the top of the box. Press [Enter], wait a few seconds, then press [Space] and observe the results. Because the blue line is further up the palette, only those colors between it and the top base color are growing from it. Erase the screen and make another gradient fill box. Using the round brush, draw a red line just inside and along the top and right sides of the box. Press [Enter]. Draw a yellow line inside and along the left and lower sides of the box (an "L" shape). Press [Enter]. Do the gradient fill and observe the results. (You may wish to let this fill go for a few seconds). You can use an single-color drawing tool to create shapes within the gradient fill box. You cannot use CYCLE,NO ZAG, or ANTI-ALIAS. The shapes of your entered colors affects the results of the fill. PAGE 33 There is a way to speed up gradient fill. Erase the screen and make another gradient fill box, but this time make a big one - about two- thirds of the screen. Repeat the pattern we did above with the red and yellow opposing borders (don't forget to "enter" both colors). Press [(], wait about 10 seconds, then press [Space]. Whew, we've got a way to go. Press [Undo]. This time hold [Alternate] when you press [(]. The screen will turn dark blue to indicate that SPECTRUM 512 is performing a Rough Gradient Fill. When the screen returns to black, SPECTRUM 512 has completed the Rough Fill and has returned to the normal one. Press [Space] as soon as the screen turns black, and observe the results. Normally, a gradient fill calculates each pixel. A rough gradient fill calculates 10 x 10 blocks. Although a large block may take minutes to complete with a normal fill, you can often get satisfactory results in a much shorter time. For example, press [(] and let the above example continue for 10 more seconds, then halt it and check the progress. Erase the screen and create another gradient fill box, about 2 inches square. Select the largest round brush and the color yellow. Draw a fat, horizontal line completely across the middle of the box extending out both sides. Press [Enter] to set it. Draw a vertical line straight through the middle of the box and extending out both sides. But this time press [+] instead of [Enter]. There are two ways to set colors. When you press [Enter] the color is "absolute" and unchanged by the gradient process. Afterwards, the color becomes a transparent mask. By pressing [+], instead, the color is "modifiable" and is affected by the gradient process. To observe this, activate the gradient fill for a quick count of five, and immediately stop it. Notice that the colors grow outward from the horizontal, absolute line, but the line remains the same thickness. The vertical, modifiable line has colors growing in both directions and is being consumed. Let the fill continue a few more seconds, then check it again. If allowed to grow to completion, it will disappear completely. Modifiable colors are effective only in fills which are halted before completion. They will disappear almost instantly if you use [Alternate]-[(]. PAGE 34 We've already seen a little masking. Let's look again. Erase the screen and make another 2-inch square gradient fill box. Choose the thick brush again. Draw the same yellow, horizontal line and press [Enter] to set it as an absolute color. Draw the same vertical line and press [+] to set it as a modifiable color. Now, call up the color matrix and select some distinctive color that is not in the CUSTom palette (like a dark brown). Draw a thick, diagonal line across the gradient fill box and press [Enter]. This last color is a "neutral" color. Begin the gradient fill, count to five, and halt it. Notice the absolute and modifiable colors reacted in much the same way. The neutral color did nothing. But, if you look closer, you may see that the neutral color acts as a blockade to the flow of the gradient color. (This can be used for some very interesting effects.) Let's look at the masking. LOAD the BEE512.SPC picture back in. Press [Shift]-[(] to redraw the fill without progress. Note that the modifiable color does not act as a mask, but both the absolute and neutral colors do. Press [Undo] and the fill disappears. Erase the screen and press [/]. The original absolute and neutral colors reappear (the neutral will appear in whatever is the current active color). Press [Undo] to get rid of this, then press [.]. This is the same as pressing [/], except that it also redraws the green box. One more thing. Erase the screen and press [Shift]-[(] to redraw our fill. Now, [Alternate]-right-click on the lower part of the screen to enter the palette editor. Move the cursor onto the magenta bar (second from the top), and press [Insert] five times. Exit the color editor by pressing [Return], then press [Shift]-[(] again. You can change the color palette at ant time to effect the colors already established in your gradient fill box. Gradient fill should keep you busy for a long time. Don't be afraid to try new things with it. It's described further in the reference section and in the Appendices, and we've included several sample pics plus their matching CUSTom palettes on your SPECTRUM 512 disk (filename GRAD1.SPC-GRADm.SPC, GRAD1.PAL-GRADn.PAL). See if you can duplicate their effects. PAGE 35 You've reached the end of the SPECTRUM 512 tutorial. From this point, you're on your own to explore its colorful world. Upload your pictures (along with the slideshow program) to bulletin boards and put them in user groups' public domain libraries. Most of all, enjoy the program. PAGE 36 blank PAGE 37 SPECTRUM 512 REFERENCE SECTION ABOUT THIS SECTION The SPECTRUM 512 Reference Section is designed, as its title suggests, as an area of reference for those who already have some familiarity with the program. We highly recommend using the tutorials at the beginning of this manual before reading this Reference Section. SYNCHRONIZATION If you find your SPECTRUM 512 picture displaying scattered pixels of the wrong color, your computer data bus is not properly synchronized. This is easily fixed by turning your machine off for 15 seconds, and then on again. Most programs don't require such a high degree of precision from the ST hardware. SPECTRUM 512 does. The proper functioning of the 512 color display in SPECTRUM 512 depends on the synchronization between the various chips of the ST. Yet there's no hardware mechanism in the ST to guarantee that the synchronization state will always be the same. The synchronization state is fluid for only a fraction of a microsecond after the computer's power switch is turned on. Later, absolutely nothing can change it, including RESER. This means if the computer is in the incorrect sync state after power- up you must turn the power off and try again. On the other hand, if the sync state is correct, you can be sure it will remain so until the machine is turned off. PAGE 38 There's a short program called SYNC.PRG in the AUTO folder of your SPECTRUM 512 disk which automatically determines the sync state after each power-up. If you turn on your computer with the SPECTRUM 512 disk in drive A:, SYNC.PRG will automatically be run. A few moments after the power is applied, the screen will turn black. If the sync is correct, a few vertical red lines appear on the left side of the screen. If you don't see them, just turn the power off, wait 10-15 seconds, and then turn it back on. You do not need to run SYNC.PRG to operate SPECTRUM 512; in most cases the sync state will be correct from the start. And, in any case, the only thing affected by an incorrect sync state is the monitor display (you'll see some minor defects in the pixels of your picture). The computer itself, however, and all peripherals will work normally, and disk files will not be corrupted in any way. So if you discover, while working on your picture, that it's incorrect (some pixels missing in lines, etc.), simply save the picture, turn the power off for 15 seconds, and then on, and load the picture again. If you start with some other program and then decide to use SPECTRUM 512, it's not necessary to reboot the system. Just double-click on SYNC,PRG,and if it shows that the sync state is OK, you can go ahead and start SPECTRUM 512. There are three main areas in the SPECTRUM 512 screen, the top and bottom borders, the side margins, and the picture area. The top and bottom borders display the Active Color, the side margins display one of the three possible color palettes, and the picture area displays the picture. The border and margin displays can be removed by deselecting FLOAT, FIXED, or CUST in the main menu (i.e., by clicking on the one which is highlighted), They can be restored by selecting FLOAT, FIXED, or CUST again. The picture area can also display the Menu, the Color Matrix, and the MAGnify window. The Menu is displayed by right-clicking in the upper part of the screen (and can be removed by selecting one of the Menu boxes), The Color Matrix is displayed by right-clicking in the lower part of the screen (and can be removed by right-clicking on one of the colors). The MAGnify window is enabled by selecting MAG in the Menu. Whether it is actually displayed is controlled by the mouse. (See MAGnify in the Menu section for details). PAGE 39 PAINTING WITH SPECTRUM 512 SPECTRUM 512 works like most paint programs. You draw by holding the left mouse button and moving the mouse. Various shapes, patterns,fills, etc. are also available. Unlike most paint programs, you may, at any time, choose from among 512 colors to draw with. You may select your colors from the color matrix, the screen, or from one of the three margin palettes. Each time you select a new color, SPECTRUM 512 takes a moment to recalculate the screen. This will be almost instantaneously on a simple picture, or take several seconds on a complex one. While this calculation is proceeding a busy line will move downward along the margins. When the busy line reaches the bottom, the calculation is finished. For some functions 512-color display is turned off to speed the calculations. This causes the screen colors to temporarily change to brightly colored stripes. During the time the colors are changed or the busy line is present, all other SPECTRUM 512 functions are suspended. COLOR SELECTION AND PALETTES All of the ST's 512 colors are available in SPECTRUM 512. You may select them by right-clicking in the Color Matrix, anywhere in your picture, or one of three palettes. When a color is selected, it becomes the Active Color and all painting is done with it. The three margin palettes in SPECTRUM 512 are the FLOATing palette, the FIXED palette, and the CUSTom palette. PAGE 40 COLOR MATRIX The Color Matrix is called by right-clicking in the lower half of the screen (more than 10 pixels from the side margins). It is also invoked by the palette editor. NOTE: Selecting from the Color Matrix changes the FIXED and FLOATing palettes. If you want to freeze these palettes so they don't change, call the Color Matrix by [Shift]-right-clicking. The Color Matrix consists of seven hexagonal color groups and three color numerals. (If you cannot see all seven color groups, you may need to adjust the brightness on your monitor. See Technical Considerations at the end of the reference section for more information.) The seven color groups cover 511 of the 512 colors that the Atari ST can produce. The last color is black and that's the background of the Matrix. The three colored numbers reflect the intensity values of red, green, and blue (RGB) which the computer mixes together to produce a color. Each of these numbers can range from 0 to 7 (low to high.) As you move the mouse pointer over the screen, the numbers change to the values of the color under the mouse pointer. To select a color from the matrix, right-click on the color you want. The color can be in the color matrix, the black background, or anywhere in your picture. If the color matrix is covering a part of the picture which you need to see, you may scroll by holding down the left mouse button while moving the mouse up or down to reveal the required area. As you move the mouse pointer over the colors, the top and bottom borders of the screen and the three numerals reflect the color indicated, When you right-click to select the color, the color matrix disappears and the selected color becomes the active color. PAGE 41 NOTE: If you wish to select a color directly from your picture without displaying the color matrix, invoke the color matrix selection mode by [Control]-right-clicking. This can be done while the mouse pointer is anywhere on the screen. PALETTES An artist may have hundreds of tubes of paint but use only a few at a time. He or she makes a palette of the colors needed so they are easy to find and can be subtly blended. SPECTRUM 512 offers you the same capabilities. There are three types of palettes in SPECTRUM 512. FLOATing palette FIXED palette CUSTom palette The palettes are displayed in the side margins and only one can be active at a time. Each palette is selected by clicking on FLOAT, FIXED, or CUST in the menu. The palette display (along with the active color in the top and bottom borders) can be removed by deselecting FLOAT, FIX, and CUST in the menu (e.g., by clicking on the one which is highlighted). It can be restored again by selecting FLOAT,FIX, or CUST. The three palettes are created in different ways, but colors are selected from all three of them in the same way. Place the tip of the mouse pointer alongside the palette color you want. (If it is within 10 pixels of the margin, it is close enough.) When you are next to the color you want, right-click. Selecting a color from the left margin changes the active color in the normal manner.That is, the mouse pointer takes on the active color, all subsequent drawing is done in this color. Selecting a color from the right margin, however, adjusts the active color. When the active color is adjusted, everything in the picture that had been drawn with it changes too. Only material drawn since the last color change is affected by the right margin adjustment. Older material is not changed, even if it is the same color. You can repeat this color adjustment as often as you want - until you again change the active color from the left margin. Once the active color has been changed, anything drawn with the previous color will no longer be affected by future right-margin adjustments. PAGE 42 Right margin color adjustment is handy if, once you have drawn something, you find that it doesn't look right within the existing color environment. Simply go to the right margin palette and select a better color. FLOATING PALETTE The FLOATing palette is divided into two areas. The top 27 colored bars are the shading area and the last eight are the blending area. Shading area - The 27 bars of the shading area are arranged into the Starting Color and three color clusters. The colors in the clusters are derived from the starting color as explained below. The top bar is the starting color, the one from which SPECTRUM 512 calculates the rest of the shading area. In most cases, the starting color will be the same as the active color. Every time a new active color is selected from within the palette, the starting color changes to the new color and the palette is recalculated from the new starting color. In other words, the entire shading area floats from color to color as new colors are chosen. This ensures that you always have all the shades for the color you are using. NOTE: When the color matrix is called by right-clicking in the lower half of the screen, the shading area (like the top and bottom borders) immediately changes to reflect the color under the mouse pointer. When the color matrix is called by [Shift]-right-clicking, the shading area is frozen and does not change. The first cluster has three pairs of bars containing colors created by changing one of the RGB values in the starting color. The changes are made as follows: +1 Red -1 Red +1 Green -1 Green +1 Blue -1 Blue PAGE 43 The next cluster has twelve bars. These colors are created by changing two of the RGB values in the starting color. The changes are made as follows: +1 Red +1 Green +1 Red -1 Green -1 Red +1 Green -1 Red -1 Green +1 Green +1 Blue +1 Green -1 Blue -1 Green +1 Blue -1 Green -1 Blue +1 Red +1 Blue +1 Red -1 Blue -1 Red +1 Blue -1 Red -1 Blue The last cluster has eight bars. These colors are created by changing all three of the RGB values in the starting color. The changes are made as follows: +1 Red +1 Green +1 Blue +1 Red +1 Green -1 Blue +1 Red -1 Green +1 Blue +1 Red -1 Green -1 Blue -1 Red +1 Green +1 Blue -1 Red +1 Green -1 Blue -1 Red -1 Green +1 Blue -1 Red -1 Green -1 Blue Blending area - The last eight bars of the FLOATing palette are the blending area. Select any two colors for the top and bottom bars and SPECTRUM 512 fills in the full range of blended colors between them. Each of the RGB values for the top bar is changed one step per color bar until they match the second color. For example, select the active color you want for the top bar, then [Alternate]-right-click next to the top half of the blending area in the left margin. The top bar takes on the active color and SPECTRUM 512 calculates the blended colors between it and the existing bottom-bar color. Now, select the active color you want from the bottom bar, [Alternate]-right-click next to the bottom half of the blending area in the left margin. The bottom bar takes on this active color and SPECTRUM 512 calculates the blended colors between it and the top bar. You may, at any time, alter the blending area by changing the colors of either the top or bottom bars. PAGE 44 FIXED PALETTE The FIXED palette is identical to the FLOATing palette, except that the shading area does not change when you select a new Active Color from within the palette. In other words, the shading area remains fixed as you use the colors in the palette. This allows you to retain your original Starting Color as you work with its shades. All other features of the FIXED palette work the same as the FLOATing palette. CUSTOM PALETTE The CUSTom palette is called by clicking on the CUST button in the Menu. It is also invoked by the Palette Editor. The CUSTom palette is one you can design yourself. Different CUSTom palettes may also be save and loaded to and from disk. The CUSTom palette can display up to 196 of the 512 colors available. You define and change the CUSTom palette using the palette editor. (See the Palette Editor section for instructions.) MENU The Menu is called by right-clicking in the upper half of the screen (more than 10 pixels from the side margins). It has two rows of selection boxes, 10 boxes in each row. The boxes are selected by clicking on them. DRAW Select DRAW for freehand drawing. There is an extra dot on the tip of the pencil shaped mouse pointer, exactly the size of one pixel. This is where the drawing takes place. Hold down the left button and move the mouse to draw. [Undo] erases what you have drawn since you last left- clicked. [Undo] again restores it. PAGE 45 POLYLINE POLYLINE has two options. If you select POLYLINE by left-clicking, you get LINE and the triangle shaped mouse pointer has a line in it. If you select it by right-clicking, you get PLOYGON and the mouse pointer has a triangle in it. Both options work the same except that LINE draws open figures and POLYGON draws closed figures. POLYLINE will also work with NO ZAG (see below). There is an extra dot at the tip of the mouse pointer, exactly the size of one pixel. This is where the line is formed. Put the dot at the starting point of your line and left-click.The triangle mouse pointer disappears and a moveable line replaces it. Place the line where you want it. Left-clicking fixes the line but allows you to continue a new line from that point. When you are finished with your figure, right- clicking fixes it and returns the triangle mouse pointer. If you are using the LINE tool, nothing more happens. If you are using the POLYGON tool, the figure is completed with a line extending from the last point to the first point. [Undo] erases the lines. [Undo] again restores them. CIRCLE/Ellipse CIRCLE/ELLIPSE has two options. If you select CIRCLE/ELLIPSE by left- clicking, you get CIRCLE and the triangle shaped mouse pointer has a circle in it. If you select it by right-clicking, you get ELLIPSE and the mouse pointer has an ellipse in it. There is an extra dot at the tip of the mouse pointer, exactly the size of one pixel. This is where the circle or ellipse is formed. Put the dot at a point on the circumfrence of the figure and left-click. The triangle mouse pointer disappears and a changing circle/ellipse replaces it. If you are in CIRCLE mode, you may create and enlarge the circle most easily by moving the mouse diagonally towards the lower- right corner of the screen. (In Ellipse, you may move in any direction). Move the mouse to make the circle/ellipse the size and shape you want it. Left-clicking fixes the size and shape of the circle/ellipse, allowing you to move it around the screen. (Bumping the circle/ellipse against the edges of the screen squashes it.) Left- clicking again places you back into sizing mode. You can left-click the circle/ellipse against the edges of the screen squashes it.) Left- clicking again places you back into sizing mode. You can left-click repeatedly, alternating between sizing and moving the circle/ellipse. Right-clicking fixes the circle/ellipse, and returns the triangle mouse pointer. [Undo] erases the circle/ellipse. [Undo] again restores it. CIRCLE/ELLIPSE will also work with NO ZAG (see below). PAGE 46 AIRBRUSH AIRBRUSH is used for free-hand drawing with various sizes and densities of spray. It can be used with CYCLE. The size of the spray nozzle, from small to large, can be changed by pressing the keys [A],[B],[C],[D]. The mouse pointer shows the current size. The flow rate, from slow to fast, can be changed by pressing keys [1] through [9]. The flow rate is displayed in the MAGnify window. [Undo] erases what you have drawn since you last left-clicked. [Undo] again restores it. BRUSH BRUSH is used for free-hand drawing with various sizes and shaped brushes. It can be used with PATTERNS and with CYCLE. When BRUSH is selected, a sub-menu drops down displaying available brush shapes in the active pattern. The active brush shape is outlined. Select a brush shape by clicking on it. The mouse pointer becomes the chosen shape, and there is a dot in the middle of the mouse pointer exactly the size of one pixel. This dot is useful for precise alignment and selecting colors from the palettes. [Undo] erases what you have drawn since you last left-clicked. [Undo] again restores it. PAGE 47 PATTERN ALIGNMENT WITH BRUSHES In the lower right corner of the BRUSH sub-menu are the letters "A" and "O". Click on these letters to select either Aligned or Offset. Aligned insures that the patterns always line up, whereas Offset allows staggered patterns. For example, select a pattern while in Aligned mode, and brush it on. Switch colors, and brush over the previous color. The effect will be to change the color of the pattern because the second pattern lays exactly over the first. Now, select Offset, place the brush over the patterned area of your picture so that the pattern of your brush does not line up with the pattern in your picture. Now draw with it. The pattern is offset to the original position of the brush and mixes with the original pattern, creating a new pattern. Using Offset and created patterns (see below), you may repeatedly "paste" duplicate patterns anywhere on screen with single mouse clicks. PATTERNS Patterns are used with FILL and with BRUSH. When PATTERNS is selected, a sub-menu drops down displaying available patterns. The active pattern is outlined. Select any pattern by clicking on it. SPECTRUM 512 will next wait for you to choose either BRUSH or FILL. The pattern on the far left is solid, you may select it at any time to restore solid brushes and fills. CREATING YOUR OWN PATTERNS. The lower row of patterns in the sub-menu may be replaced and you can create your own patterns by "grabbing" a section of the screen. First, draw your pattern on the screen in any black area, using only one color (plus black). Select PATTERNS, then hold down [Alternate] and click on any pattern in the lower row of the PATTERNS sub-menu. This is where your pattern will go. The menu disappears and the mouse pointer becomes a small box. Place this box over your pattern and left-click. Your pattern will be added to the PATTERNS sub-menu. If you right-click when grabbing a pattern, the pattern will be inversed. You can add up to 20 patterns. If you need more patterns, use a large brush to draw samples of them on the screen and then copy the screen to the buffer (see BLOCK below). These patterns can be quickly rotated through the submenu as needed. PAGE 48 SAVING AND LOADING PATTERNS To save the patterns you create, use a large brush to draw samples of the patterns on the screen. Save this screen in the normal manner. To retreive the patterns, load the screen and transfer the patterns to the PATTERN sub-menu as described above. FILL FILL has two options. If you select FILL by left-clicking, you get the normal FILL, and the mouse pointer becomes a solid triangle with a dot at the bottom. If you select FILL by right-clicking, you get FILL TO NEW and the mouse pointer has a N in it. FILL and FILL TO NEW are used to color large areas. (See also Gradient fill in the BLOCK section, below.) FILL There is an extra dot at the bottom of the triangle mouse pointer which is where the fill begins. Put the dot in the area you want to fill and left-click. The triangle disappears, the screen colors temporarily change, and the active color and pattern spread over the screen. The fill stops wherever it finds a different color, and the normal colors return. Alternatively, you may double-click to fill. This will not turn off the colors and the fill procedure will be slower. However, during a slow fill you may halt the fill at any time by left-clicking. [Undo] undoes either type of fill. [Undo] again restores the fill. FILL TO NEW FILL TO NEW works just like fill except that FILL TO NEW only stops when it finds the Active Color. FILL TO NEW can be used to fill patterns over patterns since it ignores any colors on screen except for the Active Color. An effective method is to create a "fence" in the Active Color using the POLYGON tool, then fill within that parameter using the selected PATTERN. Single-click for a speed fill without true colors; double click for a slow fill with true colors. You may abort a slow fill by left-clicking during the fill. [Undo] undoes the fill. [Undo] again restores the fill. NOTE: FILL TO NEW will not be blocked by NO ZAG lines. PAGE 49 EDIT COLOR EDIT COLOR is used to change any or all of the colors in your picture. This is not the same as adjusting the active color (see Palettes, above). EDIT COLOR can change any or all the colors in your picture, globally or logically, regardless of when they were drawn. THE EDIT COLOR SUB-MENU When EDIT COLOR is selected a sub-menu drops down. Click in the empty boxes to make selections. Each item in the sub-menu can be applied globally or locally. Left-clicking on a selection applies it globally. Right-clicking applies it locally. When a selection is applied globally, it effects the entire picture. When a selection is applied locally, you control it with the AIRBRUSH. (All of the AIRBRUSH options are available, although the flow rates may be slower on complex pictures.) Holding down [Alternate] while clicking on HUE/SOME or LUMIN/SOME gives you ALL EXCEPT SOME. CHANGE - CHANGE replaces color(s) with other color(s). Colors are specified in the CUSTom palette as described below. There is one exception: You cannot change the color black globally, although you can change it locally. * ONE - CHANGE ONE replaces every occurance of the CUSTom palette's first color with the CUSTom palette's second color. It ignores the rest of the palette. Clicking on CHANGE ONE produces the Palette Editor so that you can arrange the colors in the CUSTom palette correctly. Press [Return] to leave the Editor and change the colors. Applied globally, CHANGE ONE processes the whole picture as soon as you press [Return]. Applied locally, it processes only the area sprayed with the AIRBRUSH. [Undo] erases the change. [Undo] again restores it. Right-click to return to the menu. * MANY - CHANGE MANY replaces every occurance of the CUSTom palette's first color with the CUSTom palette's second color, the third PAGE 50 color with the fourth, the fifth with the sixth, etc. It changes every color pair in the palette, so care must be taken to have only the colors you want in the palette. Clicking on CHANGE MANY produces the Palette Editor so that you can arrange the colors in the CUSTom palette correctly. Press [Return] to leave the Editor and change the colors. Applied globally, CHANGE MANY processes the whole picture as soon as you press [Return]. Applied locally, it processes the area sprayed with the AIRBRUSH. [Undo] erases the changes. [Undo] again restores them. Right-click to return to the menu. HUE R+R-G+G-B+B- - HUE increases or decreases the Red, Green or Blue content in the specified colors. HUE will not alter the color black on global changes, but HUE increases will affect black on local changes. * ALL - HUE ALL incraments or decrements the Red, Green, or Blue content of your picture. Applied globally, HUE ALL processes the whole picture and may be repeated by left-clicking. Applied locally, HUE ALL processes the area sprayed with the AIRBRUSH and each pixel is changed only once. You may affect an area again, without returning to the COLOR EDITOR sub-menu, by pressing [Return]. [Undo] erases the last change. [Undo] again restores it. Right-click to return to the menu. * SOME - HUE SOME increments or decrements the Red, Green, or Blue content of those colors in your picture which are also in the CUSTom palette. Clicking on HUE SOME produces the Palette Editor so that you can adjust the colors. Press [Return] to exit the Palette Editor and change the hue. Applied globally, HUE SOME processes your whole picture as soon as you press [Return]. Applied locally, HUE SOME processes the area sprayed with the AIRBRUSH and each pixel is changed only once. [Undo] erases the last change. [Undo] again restores it. Right-click to return to the menu. * ALL EXCEPT SOME ([Alternate]-click on SOME) - HUE ALL EXCEPT SOME increments or decrements the Red, Green, or Blue content of those colors in your picture which are not in the CUSTom palette. Clicking HUE ALL EXCEPT SOME produces the Palette Editor so you can adjust the colors of the CUSTom palette. Press [Return] to exit the Palette Editor and change the hue. Applied globally, HUE ALL EXCEPT SOME processes PAGE 51 your whole picture as soon as you press [Return]. Applied locally, HUE ALL EXCEPT SOME processes the area sprayed with the AIRBRUSH and each pixel is changed only once. [Undo] erases the last change. [Undo] again restores it. Right-click to return to menu. LUMIN + - - LUMIN increases or decreases the luminance (brightness) of the specified colors. In other words it increments or decrements the Red, Green, and Blue equally. LUMIN will not alter the color black on global changes, but LUMIN increases will affect the color black on local changes. * ALL - LUMIN ALL increments or decrements the luminance of all the colors in your picture. Applied globally, LUMIN ALL processes the whole picture and can be repeated by left-clicking. Applied locally, LUMIN ALL processes the area sprayed with the AIRBRUSH and each pixel is changed only once. You may affect an area again, without returning to the EDIT COLORS menu, by pressing [Return]. [Undo] erases the last change. [Undo] again restores it. Right-click to return to the menu. * SOME - LUMIN SOME increments or decrements the luminance of those colors in your picture which are also in the CUSTom palette. Clicking on LUMIN SOME produces the Palette Editor so you can adjust the colors in the CUSTom palette. Press [Return] to exit the Palette Editor and change the luminance. Applied globally, LUMIN SOME processes the whole picture as soon as you press [Return]. Applied locally, LUMIN ALL processes the area sprayed with the AIRBRUSH and each pixel is changed only once. [Undo] erases the last change. [Undo] again restores it. Right-click to return to the menu. * ALL EXCEPT SOME ([Alternate]-click on SOME) - LUMIN ALL EXCEPT SOME increments or decrements the luminance of those colors in your picture which are not in the CUSTom palette. Clicking LUMIN ALL EXCEPT SOME produces the Palette Editor so you can adjust the colors in the CUSTom palette. Press [Return] to exit the Palette Editor and change ********************* PART 2 ENDS...Please load/print PART 3 PART 3 of the SPECTRUM 512 manual the luminance. Applied globally, LUMIN ALL EXCEPT SOME processes the whole picture as soon as you press [Return]. Applied locally, LUMIN ALL EXCEPT SOME processes the area sprayed with the AIRBRUSH and each pixel is changed only once. [Undo] erases the last change. [Undo] again restores it. Right-click to return to the menu. PAGE 52 BLOCK BLOCK is used to cut and paste "blocks" of your picture. When you click on BLOCK, a sub-menu drops down featuring four operational modes and five functions. The operational modes are MOVE/COPY and OPAQue/TRANsparent. The five functions are: PICture to PICture, PICture to BUFfer, BUFfer to PICture, SAVE BUFFER, and LOAD BUFFER. There is a sixth function which uses the function keys instead of the menu, it is PICTURE/BUFFER SWAP. There are also provisions for resizing and flipping pictures. All of these functions make use of the buffer. You may leave BLOCK mode at any time by clicking again on BLOCK. THE BUFFER The buffer is a area of memory set aside to store blocks. It can contain up to 12 full pictures on a 1040ST or two full pictures on a 520ST. When the buffer fills up, you will get the message "Buffer full." As the buffer fills, it uses the same area used by ANTI-ALIAS (see ANTI-ALIAS, below). When this occurs (after about 10 pictures on a 1040ST and immediately in a 520ST) the ANTI-ALIAS box will be lined out to indicate that it is inactive. It can be restored by erasing material from the buffer. NOTE: As with all memory usage in SPECTRUM 512, buffer capacity is affected by any desk accessories you may have installed. For optimum memory, boot SPECTRUM 512 with no desk accessories installed. The buffer is one continuous chunk of memory which represents a "virtual canvas." Blocks (and whole pictures) are stored there in the order you sent them. The first block will be stored at the top, and each subsequent block will be added below the previous one. You can scroll through the buffer by holding down the right button and moving the mouse up and down. You cannot view an area not yet filled with blocks. PAGE 53 No matter how wide or narrow a block is when cut from the main screen, it always takes a full screen width within the buffer, so blocks are not stored side by side. For the same reason, the horizontal position of a block is always the same within the buffer as it was on the picture. Vertically, however, blocks tale only as much as their height requires. COPY/MOVE When COPY is selected, the block is copied from the picture; the picture remains unchanged. When MOVEis selected, the block is cut from the picture, leaving a black hole. [Undo] may be pressed to restore the block cut from a picture after a MOVE - without affecting the captured block. TRANsparent/OPAQUE When TRANsparent is selected, any black areas of the block are transparent and the underlying picture shows through. When OPAQue is selected, the black areas within the block remain opaque and the full block covers all of its destination area. PIC -> PIC PICture to PICture is used to transfer blocks within the main screen. Because it automatically uses the buffer as a work space, it is subject to the same memory requirements. Click on PIC to PIC and the menu disappears. Define a block by left- clicking on a spot where you want one corner of the bloc. Draw out the box by moving the mouse and left-clicking to grab the block (or right- click to cancel the box and begin anew). Hold down [Shift] while moving the mouse to scale the block proportionally, or hold down [Alternate] while moving the mouse to scale the block disproportionally along the horizontal or vertical axes. Press the cursor arrow keys to flip the block in the direction of the arrows. (See Sizing and Flipping, below.) Move the block to the desired location and left-click to paste it down. The normal screen colors will be turned off for speed while the block is drawn. If you wish to leave the colors on, double-click instead to paste it. (The block drawn will be much slower.) Right-click to return to the beginning of the process (i.e., to define another block). Right- click again to return to the menu. If you hold down [Alternate] while defining the second corner of the block, the block will be erased instead of transferred even if you are in COPY mode. Use [Undo] to undo any transfer or right-click to abort at any stage. PAGE 54 NOTE: PICture to PICture may also be used to create a Gradient Fill Box. See Gradient Fill, below, for details. PIC -> BUF Use PIC to BUF to transfer blocks from the picture to the buffer. Click on PIC to BUF and the menu disappears. Double-left-click anywhere on the screen to transfer the entire picture to the buffer. Or, define the block by left-clicking on a spot where you want one corner of the block and drawing out the box by moving the mouse. Left-click to transfer the block. Right-click to return to the menu. If you hold down [Alternate] while defining the second corner of the block, the block will be erased instead of transfered even if you are in COPY mode. OPAQue/TRANsparent has no effect on this function. [Undo] will not erase a moved block from the buffer, but it will restore an erased block from the workscreen if MOVE is in effect. NOTE: PICture to BUFfer may also be used to create a Gradient Fill Box. See Gradient Fill, below, for details. BUF -> PIC Use BUFfer to PICture to recover blocks from the buffer. When you click on BUF to PIC the menu disappears and you are moved to the buffer. If there is more than one screen of images in the buffer, you may scroll through it by holding down the right-button and moving the mouse up and down. You may erase any block the mouse pointer is on by pressing [Alternate] and left-clicking (the remaining blocks will move up). Double-left-click on a block to transfer the entire block and return to the picture. Or, define a sub-block by left-clicking on a spot where you want one corner of the sub-block and drawing out the box by moving the mouse. Left-click to move the block to the workscreen, or right- click to erase the box and begin anew. After you have selected a block from the buffer, you will be returned to the workscreen and a box will indicate the transferred block on the picture. Depending on the size of the block, you may move the box within the workscreen by moving the mouse. Alternatively, you may hold down [Shift] while moving the mouse to scale the block proportionally, PAGE 55 or hold down [Alternate] while moving the mouse to scale the block disproportionally along the horizontal or vertical axes. Pressing the cursor arrow keys will flip the block in the direction of the arrows. (See Sizing and Flipping, below). Move the block to the desired location and left-click to paste it down. The normal screen colors will be turned off for speed while the block is drawn. If you wish to leave the colors on, double-click instead to paste it (the block drawn will be much slower). The box remains so you can transfer the block as many times as you want to. Right-click to return to the menu. MOVE/COPY is not effective in this function, blocks are always copied - not moved, the buffer stays intact. Use [Undo] to undo any transfer, or right- click to cancel at any stage NOTE: You may instantly paste an entire screen from the buffer to the main screen by first selecting MOVE/OPAQue. Next, select an entire screen from the buffer by double-clicking, then click once when the main screen appears. The selected buffer screen will be pasted (instead of redrawn) onto the main screen, replacing whatever was there. This option will only work with full screens from the buffer. BUFFER SAVE When you click on BUFFER SAVE the menu disappears and you are moved to the buffer. (Double-left-click to cancel the Save and return to the main screen). Scroll through the buffer by holding down the right- button and moving the mouse up and down.At this point you can erase blocks by holding down [Alternate] and left-clicking on the block. The remaining blocks will move up. You may save one block or a whole string of consecutive blocks in one file. Left-click on the first block in a string (the mouse pointer changes to a triangle with an "S"), then scroll and click on the last block. The last block may be above or below the first one. To save just one block, click twice on it(but don't double-click). After the second click, the GEM file selector box will appear. Type in the filename (the extension .SBL will be added automatically) and click OK (or CANCEL). Once the file is saved, you return to the buffer where you may save more blocks. Double-left-click to exit the buffer and return to the picture. Blocks are saved in a compressed format, along with the information about the number of blocks in the file and their sizes. Saving blocks does not erase the blocks from the buffer. PAGE 56 BUFFER LOAD When you click on BUFFER LOAD the menu disappears and you are moved to the buffer. (Double-left-click to cancel the Load and return to the main screen). At this point you can erase blocks by holding down [Alternate] and left-clicking on the block. The remaining blocks will move up. Left-click and a GEM file selector box will appear displaying buffer files (with .SBL extenders). Select a buffer file and press [Return] or click on OK. The file will be loaded and the new blocks added to the bottom of the buffer. Left-click again to load another file. Double- left-click to exit the buffer and return to the picture. You cannot transfer blocks to the picture from the BUFFER LOAD function, you must exit and then enter again with BUF to PIC. RESIZING AND FLIPPING Before pasting down a block, you can manipulate it in various ways. Hold down [Shift] while you move the mouse. (Do not press any of the mouse buttons). The box will rescale larger and smaller (maintaining its horizontal and vertical aspect ratio). [Esc] restores the original size. When the box is the size that you want, release the key to move it and paste it in the normal way. Hold down [Alternate] while you move the mouse. The box will stretch and compress horizontally and/or vertically, distorting the shape in the block. [Esc] restores the original size. When the box is the shape you want, release the key to move it and paste it in the normal way. Rescaling, stretching, and compressing use a pixel-averaging technique similar to ANTI-ALIAS. This produces more accurate alterations than conventional techniques. An additional benefit is that you can use rescaling to produce smooth gradients in your picture. Draw an object oversized and then rescale it to the final size. It's like having an ANTI-ALIAS brush. NOTE: Blocks which have been scaled take longer to draw than others. If you wish to paste a rescaled block repeatedly, it's best to perform the scaling once, paste the block, then recapture and repeatedly paste the new scaled block. PAGE 57 Pressing the [up arrow] or [down arrow] keys flips the block vertically. Pressing the [left arrow] or [right arrow] keys flips the block horizontally. Repeated key presses flip the block again. [Esc] restores the original orientation. The block can be pasted or resized repeatedly without altering the orientation. Remember that the block orientation remains as changed through all subsequent block moves unless [Esc] has been pressed. GRADIENT FILL SPECTRUM 512 includes a special Gradient Fill function which is described at this spot in the Reference Section primarily because it is initialized from either PIC to PIC or PIC to BUF within the BLOCK function. Gradient Fill, however, is a completely independent function using several of the SPECTRUM 512 features and should not be considered a BLOCK function. The following description of Gradient Fill functions will be best understood if you actively explore Gradient Fill from the SPECTRUM 512 screen. After defining a specific area on the workscreen, and entering two or more initial colors into that area from the CUSTom palette, Gradient Fill will automatically fill a smooth gradient of the colors between the initial colors using those colors remaining in the CUSTom palette - based on the order of the remaining colors in the CUSTom palette. NOTE: All key press commands in the following section refer to those keys in the numeric keypad cluster to the right of your Atari keyboard. Identical key presses on the main keyboard will not work in Gradient Fill. Thus, pressing the left parenthesis on the main keyboard ([Shift]-[9]) is not the same as pressing [(] on the keypad. PAGE 58 The basic sequence of events in creating a Gradient Fill are as follows: 1. While in either PIC to PIC or PIC to BUF, define a Gradient Fill Box: Hold down [Control] while left-clicking to create the upper-left corner of the box. Size the box with the mouse, left-click to set the box, then release [Control]. The green outline of the gradient fill box will remain on the screen and the CUSTom palette will appear, if it has not already been selected. Alternatively, you may create a full-screen gradient fill box by pressing [Control] and double-=clicking. (From this point, all gradient fill functions will be activated by keys selected from the numeric keypad area.) 2. Enter the palette editor and define (or LOAD) a CUSTom palette of the desired colors to be used in the fill. 3. Using any of the single color drawing tools (i.e., noy CYCLE, NO ZAG, ANTI-ALIAS, or EDIT COLOR), select any color from the CUSTom palette (other than the top color) as a "gradient source" from the CUSTom palette, and paint within the Gradient Fill Box. Alternatively, select any color not in the CUSTom palette as a "masking" color. NOTE: Change One-Local from the EDIT COLOR menu may also be used in Gradient Fill Boxes. 4. "Set" or enter the painted color by pressing either [Enter] or [+] ([Enter] for "absolute" source colors, and [+] for "modifiable" source colors). 5. Repeat steps #3 and #4, above, if more than one source color is desired. 6. Press [(], [)], or [.] to activate the Gradient Fill procedure. ([(] for Solid Gradient Fill, [)] for Airbrush Gradient Fill, [.] for Dithered Gradient Fill). 7. Once the Gradient Fill is activated, the screen colors will turn off and the fill may take anywhere from a few seconds to several minutes to complete, at which time the screen will return to normal and the fill will be displayed. You may halt its progress at any point by pressing PAGE 59 any key, at which point, the filled area will be displayed on the screen. Once halted, the Gradient Fill may be resumed by pressing [(], [)], or [.] again. THE GRADIENT FILL BOX - The Gradient Fill Box, unlike a block, is actually a reserved area of memory containing color information as well as its X and Y location on screen. Once established, any fill effects within the gradient fill box remain in memory and may be redrawn to whatever is currently displayed on the screen. Thus, the screen may be erased, or other pictures may be loaded into memory. At any time, reactivating the gradient fill by pressing [(], [)], or [.] will draw the fill over whatever is on screen. An established gradient fill box will remain in place until a new box is created from within PIC to PIC or PIC to BUF. Only one gradient fill box may be in memory at any time. The gradient fill area of memory may also be eliminated by selecting ANTI-ALIAS (depending on existing memory), or by completely filling the BLOCK buffer. In either case, an alert box will warn you. THE GRADIENT FILL EFFECT - The gradient fill effect is like a wave of colors emanating from the various "source" colors which have been entered within the gradient fill box. Furthermore, the gradient effect depends largely on the arrangement and number of colors in the CUSTom palette, as well as the amount of time the gradient fill has been permitted to run. The top color in the palette is considered the "base" color and all other colors in the palette which are "set", or entered in the gradient fill box will "grow" toward the base color during the fill process - averaging whatever colors are sandwiched between. Thus, if the CUSTom palette consists of, from top to bottom, red, white, blue, and green, and a green line is drawn through the gradient fill box and set, the gradient colors will grow outward from the green line as blue, followed by white. If the fill is halted before completion, the remainder of the gradient fill box will be red, the base color. If the fill is allowed to continue, eventually all the red will be forced out by the white, followed by the blue, and, at completion, the entire gradient fill box will be taken over by the source color and be solid green. PAGE 60 If, in the above example, a second line, consisting of the base red, is drawn and entered elsewhere in the gradient fill box along with the entered green line, the colors will not "leak" out of the box, and the gradient fill will be complete once all middle colors are equally averaged between the green and the red line. ABSOLUTE, MODIFIABLE, AND NEUTRAL COLORS - When setting colors within the gradient fill box, you may press either [Enter] to set "absolute" colors, or [+] to set "modifiable" colors. Or, you may select any color not included in the CUSTom palette as a "neutral" color. If you draw a color within the gradient fill box without setting it by pressing either [Enter] or [+], that color will be erased by the gradient fill. If you set no colors within the gradient fill box, the resultant fill will be a solid box of whatever is the base - or top - color in the CUSTom palette. Absolute colors react as described previously: If a thick green line is set as absolute, given the above CUSTom palette, the gradient fill will flow outward from the line without affecting any portion of the line itself. If, on the other hand, you press [+] to set your colors, the resulting source colors will be "modifiable" colors are subject to the gradient color flow. Given the same thick, green line, the gradient colors will "eat" towards the core of the line until it is completely gone. Modifiable colors are only useful when the gradient fill is halted before completion; otherwise the modifiable color will be completely consumed by those colors around it. (An example of using modifiable color to good effect would be to draw a circle inside the gradient fill box, fill it so it is a solid disk, then press [+] for modifiable color. Now, press [(], then immediately halt the process by pressing the [Space] bar. Observe the progress of the fill and continue until you have a shaded sphere). PAGE 61 Neutral colors from outside the CUSTom palette will block the natural flow of the gradient effect and can be used as special boundaries. MASKING - Althougfh the gradient fill box is rectangular, you may mask your gradient fill to any shape using either absolute colors, or neutral colors. The gradient colors which flow from an absolute color will remain in the gradient fill box in memory, but the color which actually painted the line (or whatever shape) will be masked and transparent if the gradient fill is activated after erasing the screen or loading another picture.Neutral colors from outside the CUSTom palette may be used to create a mask which is unaffected by the gradient effect. SOLID AIRBRUSH, AND DITHERED - Gradient fills may be performed in either Solid, Airbrush, or Dithered mode. Solid creates a solid "banding" effect. Airbrush creates a "dithered" airbrush effect. Dithered uses a special color pattern to create especially smooth blends. Pressing the left parenthesis [(] activates gradient fill in solid mode, pressing the right parenthesis [)] activates gradient fill in airbrush mode, pressing the period [.] activates gradient fill in dithered mode. You may halt the fill at any time and switch fill modes for interesting effects as the one affects the previous work of the other. ROUGH GRADIENT FILL - Because of the intense amount of calculation performed during gradient fill, a large area can take quite a while to complete. (The full screen can take up to 20-25 minutes to complete, although the result will be quite satisfactory after 3-4 minutes). As a result, we have included a Rough Fill option. Hold down the [Alternate] key while pressing either [(], [)], or [.] and the gradient fill will be performed in rough mode. In this case, 11x11 blocks are first calculated instead of individual pixels. (The entire screen takes only 40-45 seconds). Immediately after the rough fill is completed, SPECTRUM 512 begins working again on normal gradient fill. During rough fill, the screen will turn dark blue. When the screen returns to black, the rough fill is complete and you may halt the fill and observe its progress. As usual, you may continue with the fill by pressing [(], [)], or [.] once more. PAGE 62 REVEAL MASKS - As mentioned previously, once the gradient fill box has been established, you may completely ignore it and continue with any SPECTRUM 512 activities (with the exception of ANTI-ALIAS or a filled buffer, depending on memory size). You do not even have to enter any source colors at this point. For that matter, even if you have entered colors, or activated the gradient fill, you may erase the screen, load another picture, or go onto something else. If, at any time, you wish to see the mask of colors you have set in the gradient fill box,press [/] and it will be redrawn on the current screen. If you wish to see the gradient fill box as well as the set colors (if any), press [*]. FROZEN FILL - There will be times when you have halted a gradient fill at a spot that looks just right. You don't want it to go further, but you need to load a picture on which you wish to paste your changed fill. If you hold the [Shift] key while pressing either [(], [)], or [.], the gradient fill will be redrawn exactly as it was last frozen. Because you may change the CUSTom palette at any time, you may even alter the CUSTom palette before redrawing the fill. The new fill will be based on the new colors in the CUSTom palette. (This technique may also be used during a regular gradient redraw). NOTE: See Appendix B for further details on Gradient Fill. PICTURE-BUFFER SWAP One possible use of the buffer is to store several full pictures and bring them to the workscreen for painting. SPECTRUM 512 provides a shortcut for the sequence of picture-to-buffer and buffer-to-picture operations needed for that. When you press the function key [Fn], the nth full picture in the buffer (if it exists) is exchanged with the picture in the workscreen. In other words [F1] swaps with buffer picture one, [F2] swaps with buffer picture two, etc. Pictures in the buffer are counted from top to bottom and any partial blocks are ignored. This is a straight exchange and is not affected by the MOVE/COPY and OPAQue/TRANsparent settings. Picture-Buffer Swap is disabled when ANTI-ALIAS is selected, when a block has been defined and is ready to paste, or when the Menu or Color Matrix is displayed. PAGE 63 The last function key, [F10], is a special "last picture" swap. No matter how many full screens are in the buffer, pressing [F10] swaps the current workscreen with the last picture added to the buffer. NOTE: Up to two full screens may be stored in the buffer on 512K-byte machines. Up to 12 screens may be stored in one-megabyte machines, but any buffer files created with more than two screens may not be loaded into the 512K-byte machines. ANTI-ALIAS ANTI-ALIAS is a picture enhancing tool. The reason that computer pictures have jagged diagonals and chunky circles is that low- resolution diagonal lines create a staircase effect known as aliasing. One way to smooth these chunky lines is by shading them with darker pixels of the same color, but it takes hundreds of colors to do all of the shading needed. Well, SPECTRUM 512 has hundreds of colors and it will do the shading automatically. ANTI-ALIAS has three different functions which produce three different results: the Anti-aliaser, the Blurrer, and the Contraster. These effects can be set to various breadths and can be applied to all parts of the screen. When you are working with ANTI-ALIAS, each pixel is changed only once, so you can move back and forth over an area to get all of the pixels without fear of overdoing any. If you want to treat an area again, select ANTI-ALIAS again. [Undo] restores the unprocessed picture. [Undo] again restores the processed picture. When ANTI-ALIAS is selected, the screen colors change for about 6 seconds while SPECTRUM 512 does some preliminary calculations. When the picture returns to normal, ANTI-ALIAS is ready to use. If, after selecting ANTI-ALIAS, you return to the menu by right-clicking, ANTI-ALIAS will be cancelled and you will have to select it again to use it. FUNCTIONS The Anti-aliaser is the default function when ANTI-ALIAS is called the first time. After that it preserves the function you last used. The Anti-asliaser is designed to smooth only the "stair-step jaggies" of PAGE 64 diagonal lines and color boundries. Blurrer, on the other hand, softens all the lines and boundries, regardless of where or how they appear. Contraster increases the definition between color areas by comparing adjacent pixels and then brightening the lighter one and dimming the darker one. You can move between Anti-aliaser, Blurrer, and Contraster by pressing [A], [B], or [C] respectively. If you are in MAGnify mode, the active function will be displayed in the MAGnify window. BREADTH To produce the ANTI-ALIAS effects, SPECTRUM 512 examines each pixel and averages it with the surrounding pixels. Breadth refers to how far out ANTI-ALIAS reaches to get those pixels. ANTI-ALIAS allows breadths from 1 to 9 which you set by pressing keys [1] through [9]. Anti-aliaser defaults to 9 and is effective at all breadths. Blurrer defaults to 1 and is most effective from 1 to 5. Contraster defaults to 1 and is most effective from 1 to 3. Greater breadths can produce strange (but sometimes usefull)results. The breadth of the active function is displayed in the MAGnify window. Breadth values are preserved when you leave ANTI-ALIAS, so the next time you use ANTI-ALIAS, it will have the same settings. OPERATING MODES ANTI-ALIAS has three operating modes: Local, Box, and Global. Pressing [Space Bar] toggles between Local and Box/Global modes. When ANTI-ALIAS is in Local mode, the mouse pointer is a square magnifying glass with a handle. When in Box or Global modes the mouse pointer is an arrow. LOCAL MODE The Local mode processes the pixels under the magnifying glass. Hold down the left mouse button and move the mouse over the areas you want to affect. [Undo] restores the unprocessed picture. [Undo] again restores the processed picture. Right-clicking deselects ANTI-ALIAS and calls the Menu. BOX MODE The Box mode processes the pixels within a box you define. Left-click on one corner of the area and draw the box out to the size you want. PAGE 65 Left-click again and the area will be processed. The normal screen colors will be turned off for speed while the block is processed. If you wish to leave the colors on, double-click instead to process it (the operation will be much slower). [Undo] restores the unprocessed picture. [Undo] again restores the processed picture. Right-clicking deselects ANTI-ALIAS and calls the Menu. GLOBAL MODE The Global mode processes the entire picture. Double click the left mouse button to begin it. The screen colors change while SPECTRUM 512 works. (Complex pictures with many colors will take longer to process).When finished, ANTI-ALIAS is automatically deselected. [Undo] restores the unprocessed picture. [Undo] again restores the processed picture. NOTE: ANTI-ALIAS requires a lot of memory. It works on a 520ST with TOS in ROM, but large RAMdisks or desk accessories may not leave enough memory. The BLOCK buffer may also use memory which ANTI-ALIAS needs. If there is not enough memory available, ANTI-ALIAS is not available and the ANTI-ALIAS box will be lined out. FLOAT FLOAT displays the FLOATing palette in the side margins. The FLOATing palette has shading and blending areas. The FLOATing palette is identical to the FIXED palette except that the shading area changes in relationship to whichever new Active Color is chosen from the palette. (See Palettes, above.) FIXED FIXED displays the FIXED palette in the side margins. The FIXED palette has shading and blending areas. The FIXED palette is identical to the FLOATing palette except that the shading area does not change when a new Active Color is chosen from the palette. (See Palettes, above.) PAGE 66 CUST CUSTom displays the CUSTom palette in the side margins. You can define up to 196 colors for CUSTom palettes and you can save and load the palettes. (See Palettes, above, and the Palette Editor, below.) NO ZAG NO ZAG affects LINE, POLYGON, and CIRCLE/ELLIPSE (See descriptions, above). When NO ZAG is active, these functions draw without stair-step jaggies. NO ZAG also smooths LINEs and POLYGONS into graceful curves, and it has special functions to use with FILLs. [Undo] restores the picture. [Undo] again returns the NO ZAG shape. When NO ZAG is selected, LINE, POLYGON, and CIRCLE/ELLIPSE work in the normal manner. However, when you right-click at the end of the shape, SPECTRUM 512 redraws it with smoothed lines and curves instead of angles. Should you want an angle to remain (in LINE and POLYGON), left- click twice on the vertex while drawing the shape. this does not need to be a double-click, just two left-clicks on the same pixel. NOTE: NO ZAG cannot be used to create a blocking "fence" for FILL TO NEW (see, below). No matter how you create the NO ZAG line, FILL TO NEW will not recognize it. USING FILL WITH NO ZAG Because a smoothed line has many colors in it, FILL - particularly a solid FILL - will not work properly. The FILL will stop at the smoothed line, but the extra smoothing colors will remain and the seam between the fill color and the border will be rough. Therefore, NO ZAG has a special function for drawing shapes and lines to be used with FILL. When you press the right mouse button at the end of a shape, hold it down. After a moment, the mouse pointer reappears. Move the mouse pointer to the side you will be FILLing and release the button (do not move farther than necessary, SPECTRUM 512 will lose track of which side is which). SPECTRUM 512 will now smooth only the side away from the FILL and things will work properly. PAGE 67 MAG While MAGnify is active, the MAGnify window is available, but not necessarily displayed. Bump the mouse pointer against the top or the bottom of the screen and the MAGnify window appears where you bumped. Bump the mouse pointer against the other side of the screen and it disappears. All program functions are available while MAGnify is selected. THE MAGNIFY WINDOW The Magnify window is 32 pixels wide and 14 pixels high. It displays the area around the mouse pointer. It also displays the RGB values of the Active Color, the AIRBRUSH flow rate (if active), and the ANTI- ALIAS function and breadth (if active). The cursor is four dots which show the location of the drawing tool. When this cursor reaches the edge of the Magnify window, the window jumps so that the cursor is again in the middle. SPECIAL CONSIDERATIONS The ST is heavily taxed by SPECTRUM 512 - displaying 512 colors takes most of its resources. Using the MAGnify feature presses it to the limit. Computer-intensive functions, such as the AIRBRUSH, delay the update of the Magnify window. At the fastest AIRBRUSH flow rate, the Magnify window is not updated until you release the left mouse button. CYCLE CYCLE works with the BRUSH and AIRBRUSH drawing tools. It automatically changes the color as you draw. The cycled colors come from the CUSTom palette which is displayed in the side margins (see Palette Editor, below). CYCLE starts at the top of the palette and works its way down to the bottom, then it repeats (spaces are ignored). You may reset CYCLE to the top of the palette by pressing [Return]. You may exit CYCLE by deselecting it in the Menu or by choosing a new color. PAGE 68 ERASE ERASE may be used to locally erase portions of your picture, or to erase the entire workscreen. Select ERASE and the mouse pointer becomes a large, square, black brush with a white cross on it. Drawing with this erases the picture (i,e,. the picture area is returned to black - black is always the background color in SPECTRUM 512). More flexible erasing tools can be created by choosing the color black and using drawing tools or FILL. [Undo] restores the erased portion. [Undo] again erases it. To erase the entire screen, hold down [Alternate] and click on ERASE. WARNING: There is no reversing an entirely erased screen! Once you have globally cleared the screen, it cannot be recovered. SAVE Left-clicking on SAVE produces a GEM file selector box. Type in the filename and click on OK. The extender (.SPU for UNcompressed files and .SPC FOR COMPRESSED FILES) is automatically appended and the file is saved. Pictures can be saved as either uncompressed or compressed files. Uncompressed files require 51104 bytes of disk space. Compressed files can vary from 20 Kbytes to 50 Kbytes depending on the complexity of the picture. Right-clicking on SAVE produces a dialog box where you can specify the file format, compressed or uncompressed as well as the drive you wish to access. Clicking on OK brings up the standard GEM file selector box. Type in the filename and click on OK. The extender (.SPU for uncompressed files and .SPC for compressed files) is automatically appended and the file is saved. LOAD Left-clicking on LOAD produces a GEM file selector box. Select the picture and it loads, replacing (and erasing) the previous picture. PAGE 69 If you have made any changes on the current picture without saving them, you will first be asked if you want to save your current picture. Right-clicking on LOAD produces a dialog box where you can specify the file format: SPECTRUM, DEGAS, NEOchrome, IFF, or ALL. You can also specify the disk drive from which you want to access your files. Clicking on OK brings up the standard GEM file selector box. Select the picture, and it loads, replacing (and erasing) the previous picture. FILE FORMAT In addition to its own picture file format, SPECTRUM 512 can load NEOchrome pictures, DEGAS or DEGAS Elite low-resolution pictures, either normal or compressed, or IFF format pictures. The IFF option is included primarily to load Amiga low-resolution (320x200) pictures or Amiga Hold and Modify (HAM) pictures. The pictures must be IFF low- resolution or HAM, and be no larger than 50,000 bytes. They must also contain an extender of .IFF; you may have to rename the file so that SPECTRUM 512 can recognize it. NOTE: When selecting to load .IFF pictures, an alert box will appear from which you may select "Dithering:On,Off." This is primarily designed for loading Amiga HAM pictures which originally contained as much as 4,096 colors. The SPECTRUM dithering algorithm blends adjacent color pixels to effectively simulate over 3,000 colors on the Atari screen. QUIT QUIT returns you to the GEM desktop. You will be prompted once to verify that you really want to quit. Click on Yes to quit. Click on No to return to SPECTRUM 512. WARNING: Any changes you have made to pictures in the workscreen or the buffer which have not been saved to disk will be irretrievably lost when you quit. PAGE 70 PALETTE EDITOR The palette editor is used to define the colors for the CUSTom palette. To call the palette editor, place the mouse pointer near the lower center of the screen, hold down [Alternate] and right-click. When the palette editor is active, the Color Matrix appears, the CUSTom palette is displayed in the side margins, and a flashing cursor is displayed in the top bar of the CUSTom palette. You may exit the palette editor at any time by pressing [Return]. NOTE: The palette editor is also invoked automatically by some functions of EDIT COLORS. USING THE PALETTE EDITOR With the palette editor you can create palettes with up to 196 colors. As you increase the number of colors, the color bars get thinner to fit within the margins. Any color can be placed anywhere in the palette, and spaces can be inserted to indicate color clusters. From the palette editor, you may save and load your CUSTom palettes to and from the disk. To insert a new color bar, use the [up arrow] and [down arrow] keys to move the palette cursor through the color bars. When the cursor is positioned, select the color in the normal manner by right-clicking over a color in the color matrix or the picture. The chosen color will be inserted at the cursor, and the cursor and remaining colors will be shifted downward. [Backspace] deletes the color bar above the cursor and moves the rest of the bars up to fill the space. [Esc] clears the entire palette so you can start over. WARNING: There is no [Undo] for a cleared CUSTom palette, so be sure to save your palettes (see below) if you wish to restore them. You can also select a color by typing in its three-digit RGB number. Once you start typing digits, SPECTRUM 512 expects three of them and ignores other keys or mouse clicks until it gets three valid numerals (0-7). You may not exit the palette editor by pressing [Return] until PAGE 71 you have completed entering the three-digit number. You may also select the color from the CUSTom palette itself, right-click next to a color bar in the left margin. This only works if the screen color at this point is black. If it is not, drag (scroll) the picture so that the black background of the color matrix is next to the color you desire. SPECIAL FEATURES The palette editor has some features to help you building the palettes you need. The [Space Bar] inserts spaces (black lines) like those in the FLOAT and FIXED palettes. Each space is always one line high, but you can stack spaces to make them thicker. To differentiate spaces from black bars, the "color" black is displayed as flickering gray while in the palette editor. When you leave the palette editor, the black bars are displayed as black. Also, once you leave the palette editor, spaces will be interpereted as the color black if you select them with the mouse. [Insert] inserts a range of colors between the color the cursor is on and the one above it. The colors are calculated the same way they are in the blending areas of the FLOATing and FIXED palettes. Each of the RGB values for the first is changed one step per color bar until they match the second color. The cursor will advance to the next color bar. No colors are inserted if one of the bars is a space or if the cursor is at the start or past the end of the palette. While within the palette editor, you can save CUSTom palettes to disk and load them back in. Hold down [Control] and press [S] to save. Hold down [Control] and press [L] to load. A standard GEM file selector box appears. indicate a name and click OK. SPECTRUM 512 appends a .PAL extension for palette files. TIPS AND HINTS Working with a lot of colors can become a little overwhelming at first. And, for a while, the dynamic quality of the SPECTRUM 512 color palettes may be confusing. Try painting patches of key colors on an empty part of your screen for future reference. You can even paint a descriptive word or figure using the color. Then you can recall the color just by pressing [Control], right-clicking, then pointing and PAGE 72 right-clicking on the color. These "key color palettes" are easy to use and are stored automatically with your unfinished picture. You may also store such palettes as blocks in the buffer, then paste them to an unfinished area of your picture before proceeding. Try this for producing a quick rainbow of colors in the CUSTom palette: From the palette editor put Red (7,0,0) in the CUSTom palette's first bar, Green (0,7,0) in the second bar, Blue (0,0,7) in the third and Red (7,0,0)(again) in the fourth bar. Now move the cursor up to the second bar (the green one). Press [Insert] three times. Now delete the last Red ([Backspace]). You have a complete rainbow circle. This is great for the CYCLE function. The same technique can be used to fill the CUSTom palette with ranges of subtle shading. Put spaces between the ranges to keep things nice and neat. You can use FILL TO NEW to erase - or "mask out" - a complex, multi- colored area from an area you wish to preserve. Select LINE, make sure NO ZAG is inactive and your PATTERN is solid. Now, choose black as the active color and draw an outline around the shape you wish to retain. Make sure, when you complete the LINE, that its end meets its starting point (MAGnify is helpful here). Finally, select FILL TO NEW, and click in the area outside of the perimeter you have just drawn. If your brushes have disappeared and the BRUSH sub-menu is empty, look to the PATTERN sub-menu. You have probably selected an empty pattern in the bottom row. Select another pattern and everything will be fine. Casting shadows is a snap with SPECTRUM 512. First draw the picture without the shadows. Then select LUMIN -/ALL in the local mode (right- click) from the EDIT COLORS menu. Run the AIRBRUSH over the shadow area and watch the colors darken. If you want the shadow darker, press [Return] and spray it again. If you want to highlight an object that is against a black background without affecting the background, select LUMIN =/SOME in the local mode while pressing [Alternate]. When the palette editor appears, select black (0,0,0) as the only color (to be excluded), and press [Return]. Now, you may run the airbrush over any object to highlight it. If you want to highlight it more, press [Return] and spray it again. PAGE 73 FILL TO NEW can be used to place patterns over patterns. Create a patterned area, select a new color and create a parameter with LINE or POLYGON. Now, select a new pattern and use FILL TO NEW with the POLYGON. If you wish to layered different patterns of the same color, create your pattern, change the active color (using something other than the right margin), then change it back to the original color. Now, draw your perimeter with LINE or POLYGON, select a new pattern, and use FILL TO NEW. TECHNICAL CONSIDERATIONS Up to 80% of the ST's processor time is spent just maintaining the 512 color display for SPECTRUM 512. This restricts the amount of time available for other things, causing some complex functions to run slowly and others to be impractical. Keeping this in mind, you will understand why the 512 color display is turned off for some calculation-intensive functions. This is the temporary "screen color change" used for some functions. Most of these functions can be used (more slowly) without the color change by double-clicking instead of single-clicking when activating them. SPECTRUM 512 can be run from either low or medium resolutions. The GEM file selector boxes and similar screens will be in the resolution from which it was run, but the picture display will always be in 320x200 low resolution mode. Up to 48 colors can be displayed on any single scan line. If you add a 49th color, one of the other colors is deleted and the color in the line which is most like it is substituted. Surprisingly, some Atari monitors cannot display all of the colors which the computer can produce. The problem is contrast ratio, or the difference between the brightest colors and the darkest. On some monitors when the brightness is turned up to see the dark colors, the bright ones get fuzzy. Other monitors never get bright enough to show the dark colors. If you cannot see the full color matrix, it is not a bug in the software. (NEOchrome, for example, will exhibit the same difficulty.) There are some internal adjustments to the monitor that may be some help. We recommend that these be done by a qualified service technician. PAGE 74 (Blank) PAGE 75 GLOSSARY Active Color The color which SPECTRUM 512 is using to draw. It is displayed in the top and bottom borders when they are on. You select the Active Color from the various palettes. [Alternate]-click Hold down the [Alternate] key and click. ANTI-ALIAS A picture smoothing feature of SPECTRUM 512 Blending Area A special part of the FLOATing and FIXED palettes. You can select two colors and the blending area will display the complete range of blended colors between them. Busy Line A horizontal line displayed in the side margins while SPECTRUM is calculating. The busy line moves down the margin. When it reaches the bottom, the calculation is done. Click To press and release a mouse button. Color Matrix The complete 512 color selection area which is displayed when you right-click near the lower center of the screen. [Control]-click To hold down the [Control] key and click. Cursor A flashing bar indicating where you are in the Palette Editor or a four dots indicating where you are in the MAGnify window. CUSTom palette A color palette which is displayed in the side margins when CUST is selected in the Menu. You can define up to 196 colors for it. Double-click To click twice in rapid succession. FIXED palette The special palette which is displayed in the side margins when FIX is selected in the Menu. It has a shading area and a blending area. Left-click To press and release the left mouse button. PAGE 76 FLOATing palette The special palette which is displayed in the side margins when FLOAT is selected in the Menu. It has a shading area and a blending area. Menu The menu for selecting most of the options in SPECTRUM 512. It is displayed when you right-click near the upper center of the screen. Mouse Pointer The shape on the screen which moves when you move the mouse. The mouse pointer has different shapes during different SPECTRUM 512 functions. NO ZAG A SPECTRUM 512 feature which draws shapes without stair-step jaggies. It also draws smooth curves. Pattern A decorative design formed from the Active Color and colors already on the screen. Patterns can be used with FILL and BRUSH. RGB Red, Gree, and Blue. These are the primary colors that the ST mixes to create the other colors. The amount of each color in the mix is quantified by a number from 0 to 7. Right-click To press and release the right mouse button. Shading Area A special part of the FLOATing and FIXED palettes. It displays the 27 colors closest to the Starting Color. [Shift]-click To hold down the [Shift] key and click. Starting Color The color SPECTRUM 512 uses to construct the shading area. It is displayed at the top of the FLOATing and FIXED palettes. Appendix A USING THE SPECTRUM 512 SLIDESHOW Included on your SPECTRUM 512 disk is a program titled SPSLIDE.PRG. This is a "slide show" program that will display your compressed (.SPC) SPECTRUM 512 pictures (it will not display uncompressed .SPU pictures). SPSLIDE.PRGis a public domain program, and may be uploaded to B.B.S.'s and distributed through users' groups and among friends. The simplest way to use SPSLIDE.PRG is to copy the program to a disk containing the pictures you want to show, then double click to run SPSLIDE.PRG. When the program starts, a title screen will appear with instructions. Click on "Show all pictures," and a box will appear asking you to select the drive(s) containing your pictures. Click on the appropriate drive (or drives, you may choose more than one), and SPSLIDE.PRG will cycle through all the pictures you have included on the drive(s). While the pictures are being displayed, you may press any of the function keys to alter the speed of the display. [F1] is the fastest speed, and [F10] the slowest. The [Space] bar will freeze the current picture on the screen; press any function key to continue the cycled display. Press [Return] to step through the pictures one at a time; press any function key to continue the cycled display. At any time during the display, you may press [Help] to return to the title screen, or press [Undo] to exit to the desktop. Thats it folks, this file contains 26,330 words and proved to be a marathon typing effort using my one finger speed style. Chuckles. SEWER SOFTWARE presents - SPHERICAL..... CODES: ONE PLAYER RADAGAST YARMAK ORCSLAYER SKYFIRE MIRGAL CODES: TWO PLAYER GHANIMA GLIEP MOURNBLADE JADAWIN GUMBACHACHMAL from Paul Riley. ACE Mag. Oct. '89. typed by DOUG..... Sewer SoftWare - Present - STORMLORD Docs by ** P H A N T O M L O R D ** SCENARIO -------- This scroll is the last chance we may have before the coming of Badh The Crone. We the faerie guardians lived in harmony with The Realm, watching over it protecting all its creatures. The Realm was famed throughout the land of Llyn Gerrig as a place of winder, peace and beauty. Word of The Realm reached the ears of the Elwords and so came Badh the rotting crone to suck The Realm's life force and so prevent her body decaying further. She imprisoned my sisters and I. Without us to care for it The Realm will die. I have commanded Mael Avin the great eagle to help you. Please hurry Stormlord before it's too late. Rose The Faerie. Stormlord's mission - free the captured and defend the peace and tranquility of his realm. Unfortunately, he must repel wicked monarch, but should he fail, the evil Queen and her dark sovereignity will reign forever. PLAYING STORMLORD ----------------- The game objective is to release the impounded faeries before time runs out. Each level of the game has a small number of faeries that must be released before you can progress onto the next level. Scattered about Stormlord's world are various objects that must be used intelligently to free the faeries and help get through certain parts of the world. To pick up an object or to swap an already held object with one on the ground, simply walk into it. Only time and practice will grace you with the knowledge of where to use certain objects and in what order they should be used, etc. You will encounter Venus fly-traps, huge worms, flies, dragons and many more foes on your travels. All of these must be either destroyed or avoided at all costs. To gain access to far and remote parts of the world, step on the stone blocks located around The Realm. Mael Ovin will then swoop down to carry you to distant parts otherwise inaccessible to you. END OF LEVEL SUB-GAME --------------------- When all the faeires have been released. Stormlord will take part in a mini game in order to try and gain an extra life. The objective of this sub-game is to capture as many faerie's tears as possible within the allocated time. An extra life is awarded when more than 10 tears have been collected. Instead of throwing thunder bolts and swords as normal, Stormlord will now blow a limited number of kisses, represented by red hearts, at the flying faeries. If a heart should touch a faerie, she will fall in love, drop a tear for Stormlord to collect, and then fly away. But be quick as the tears will disolve into the ground quite soon after landing. CONTROLS -------- The game is controlled by a joystick in the usual joystick port. To pause the game press the SPACE bar (press FIRE to restart). To quit the game, press ESC. INFORMATION PANEL ----------------- From left to right the panel sections are as follows: 1) Lives left. 2) Elapsed time represented by a sun that changes to a moon 3) Score 4) Curently held object (When blank nothing is held) 5) 1st digit = faeries so far found 2nd digit = total amount of faeries to be found on the current level. T H E E N D . SEWER SOFTWARE Presents S W T C H B L A D E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ TYPED BY THE TWINS MANUAL SUPPLIED BY MIDNIGHT MANIAC SWITCHBLADE - GAME STARTUP TEXT: For 10.000 years he slept. His mind feeding on the nightmares of the weak. Now he has awakened. As the night bled crimson, the Fireblade shattered and its power died. Then the slaughter began. They never thought he would return. Now Havok reigns the Undercity. I am Hiro, the last of the Bladeknights. I must rebuild the Fireblade and bring the dawn.... Let's Rock ! I N S T R U C T I O N S : SWITCHBLADE - GAME DESCRIPTION : On the cyber world of Thraxx, Havok has returned. After 10.000 years of peace, the Fireblade, source of power for the ancient Bladeknights, has shattered. The night burned red, and the people of the Undercity fell beneath the onslaught of Havok's nightmare creations. Helpness, the Bladeknights died alongside their people. Only one of their order survived. You play Hiro, the last of the Bladeknights, a hi-tech warrior armed with steaith, cunning and a powerful reprogrammable cyber-arm. You must enter the Undercity and reassemble the sixteen fragments of the shattered Fireblade. Only then will you be able to take on Havok and average the death of your people. THE OBJECT OF THE GAME : You must guide Hiro, the Bladeknight through the labyrinth of the Undercity, to recover the 16 fragments of the shattered Fireblade. Once you have collected all 16 fragments, you must use it to defeat Havok, to bring to an end his reign of terror and to avenge your people. THE SCREEN DISPLAY : Switchblade will only display areas of the screen that Hiro has visited during the current game, and in this way, it is a self-mapping arcade adventure. There are many hidden rooms and passageways in this underground labyrinth, so it is wise to explore every suspected exit. To make a newly discovered area visible, simply walk Hiro into it, it will remain visible to you for the rest of the current game. THE GAME INFORMATION DISPLAY : Your score is displayed at the top left of the screen. Your number of lives is displayed at the top centre of the screen. Your vitality is displayed at the bottom left of the screen. When this meter expires, Hiro will lose one of his lives, all modifiers to Hiro's combat power meter will reset and he will lose his current weapon (should Hiro be fighting an end of level Boss creature he will not lose his weapon upon losing a life). Loss of a life also gains Hiro a 2 period of invulnerability. Loss of all lives will end the game. Hiro's combat power is displayed at the bottom right of the screen. Hiro's current weapon is shown at the bottom centre of the screen. Should he be fighting other than hand-to-hand, a small meter to the right of the weapon indicator will show how many bullets Hiro has remaining. When all bullets have been fired, Hiro's weapon returns to hand-to-hand combat. The BONUS and EXTRA displays at the bottom of the screen indicate which of the bonus letters you have collected. As you collect the fragments of the Fireblade during the game, a display at the top right of the screen will show how many fragments you have collected, by building up an image of the Fireblade. This display is blank at the start of the game, and will appear when you collect your first fragment of the Fireblade. The Fireblade is complete when you have collected all 16 fragments of it, and at this time, Hiro's weapon will automatically switch over to the Fireblade itself. CONTROLS : Pushing joystick left and right makes Hiro run left and right. Pushing joystick up makes Hiro jump upwards. Pushing joystick up and left or right makes Hiro jump to the left or right. To increase Hiro's jump distance take a small run up before you jump. Pushing up or pulling down over a ladder makes Hiro climb up or down it. The fire button controls Hiro's combat moves and the firing of his cyber-arm. ESC key - quits current game P key - pauses game Music/Sound FX selection : left-right joystick on title page. COMBAT: By pressing and holding down the fire button, Hiro's combat power increases as indicated by the combat power meter on the bottom right of the screen. When the fire button is released, Hiro will perform a combat move or fire a weapon from his cyber-arm. When Hiro is fighting hand-to-hand (as indicated by a fist symbol in the weapon indicator display), the length of this meter governs the strength and type of combat move Hiro will make when the fire button is released. The longer the combat power meter bar, the more powerful the combat move Hiro will perform : With the meter in the first quarter of the bar, Hiro will throw a punch. With the meter in the second and third quarters of the bar, Hiro will do a high kick. With the meter in the final quarter of the bar, Hiro will do a low sweeping kick. Should Hiro be fighting with a weapon, instead of hand-to-hand, the type of weapon he is fighting with governs the effects of the combat power meter. There are 7 different weapons that Hiro's cyber-arm may fire : Blade : The length of the combat power meter determines the range of this weapon. Scorchball : The length of the combat power meter determines the range of this weapon, however this weapon will take multiple hits on an enemies and will only stop when it hits a solid wall or exceeds its range. Dart: This weapon is of limited range and Hiro's combat power has no effect on the power or range of this weapon. Spinblade : The length of the combat power meter determines the speed at which this weapon is fired. Needle Bolts : The length of the combat power meter determines the hit power of this weapon, by increasing the number of power bolts fired by the cyber-arm. Trispike : This weapon has unlimited range, and Hiro's combat has no effect on the power or range of this weapon. Fireblade : This weapon has unlimited range and is the most powerful weapon in the game - the only one that will defeat Havok. Hiro's combat power has no effect on the power or range of this weapon. BONUSES: These are found throughout the game, hidden in walls and flasks which must be broken open, or simply scattered around the corridors and rooms Hiro visits. Smashing a bricks or flask is worth 10 points. Bonus Point Gems : These vary in size and are worth 50, 100, 200, 400 and 700 points each for their collection. Bonus Flask : 7000 points. Bonus Orbs : These vary in size and are worth 1000, 2000 and 5000 points each for their collection. However if they hit a floor, they will shatter and become worthless, therefore it is important to catch these as they fall. EXTRA and BONUS Letters : Collectionm of these letters lights up the corresponding letters of the words displayed at the bottom of the screen. Should either of these words be fully lit, then a bonus will be awarded. Spelling EXTRA gains the player an extra life and spelling BONUS gains a bonus 10000 points. Weapons Shields : When collected, they change Hiro's weapon to that whose symbol is displayed at the centre of the shield, and in the case of all weapons except for hand-to-hand combat, give Hiro's cyber-arm a full magazine of bullets. Bullet Shield : This replenishes Hiro's cyber-arm with a full magazine of bullets. However, if Hiro is fighting hand-to-hand it is worth 50 bonus points and has no effect on his cyber-arm. Power-Up Shield : This increases Hiro's minimum combat power by one point on the combat power meter, up to a maximum of eight power-ups. Each power-up remains permanent on the combat power meter until Hiro collects a reset power- up shield or loses a life. Should this bonus be hit by one of Hiro's combat moves or cyber-arm weapons, it is turned into a power-up reset shield. Speed-Up Shield : This increases the rate of combat power built up on the combat power meter when the fire button is pressed. Up to a maximum of three speed- ups may be collected, and these will remain permanent on the combat power meter until Hiro collects a reset speed-up shield or loses a life. Should this bonus be hit by one of Hiro's combat moves or cyber- arm weapons, it is turned into a speed-up reset shield. Power-Up Reset shield : 400 points This resets Hiro's minimum combat power by removing any permanent power-ups that the player may have collected from the combat power meter. Speed-Up Reset Shield : 400 points This resets Hiro's rate of combat power build up on the combat power meter. Vitality Replenish : This resets Hiro's vitality to maximum for his current life. Invulnerability : This gives Hiro a sixteen second period of invulnerability (indicated by the appearance of a small ball of energy which orbits Hiro) during which he will lose no vitality. Fireblade Fragment : Collection of each fragment of the Fireblade is worth 10000 points. An extra bonus of 50000 points is given for assambly of the complete Fireblade by collecting all 16 fragments. HAZARDS AND ENEMIES : Flames : 0 points Proximity Sensing Floor Spikes : 0 points Bladeballs : 0 points Spikelice : Mutant insectoids covered with poison tipped spines. 50 points Cybats : Lethal bat creatures that strike with blade claws. 100 points  Mansnakes : Fierce cybernetically enchanced serpent men armed with powerful mechan- ical claws. 100 points Spidors : Wall climbing robot sentries. 100 points Crestheds : Armoured mutant warriors that fight with razor sharp wrist knives. 200 points Reptilons : Powerful lizard men that rely upon pure strength as their only weapon. 250 points Scorpiods : Robot scorpion creature with spinning blade stings. 250 points Flamehogs : Savage armoured boar men, carrying arm-mounted flame throwers. 300 points Kobras : Merciless robot snakes with venomous hypodermic fangs. 300 points Striders : Hideous roborganic war machines armed with high voltage electric stings. 300 points Razorbs : Robot orbs bristling with spinning blades. 350 points BOSS ENEMIES : Giant Spikelouse : 5000 points Giant Scorpoid : 5000 points Giant Cybat : 5000 points Giant Roborganism : 5000 points HAVOK : 50000 points plus bonus of 20000 points for each remaining life on completion of game. ----- AGAIN ANOTHER 100% POWER-TYPING ---- --- DONE BY THE TWINS OF TRILOGY --- -- IN NOVEMBER -- S E W E R Presents TYPED BY THE TWINS OF TRILOGY S U P E R W O N D E R B O Y ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ WONDER BOY IN MONSTERLAND WONDERBOY IS BACK! This time as an adventurous adolescent who must slay the ferocious fire-breathing MEKA dragon before peace can return to Wonderland. Tom-Tom takes on the most malicious monsters ever known. Evil anacondas, vicious vampire bats, mad mudmen and screaming skeletons to name just a few. Collect treasures along the way to strengthen and protect yourself. Revivial potins to perk up life levels, whirlwinds for long rage battles and winged boots to fly. There lies ahead the greatest challenge - a nightmarish adventure of the force of good against evil, as once more the peace-loving people of Wonderland turn to SUPER WONDERBOY to free them from the gasp of MEKA and his murderous monsters!!! The future of WONDERLAND is now in your hands! CONTROLS Joystick - left <--Left --"-- - right -->Right --"-- - up /\ Jump down \/ Down --"-- - Down+fire Special Weapon Fire --"-- - Fire Fire Keyboard - Space bar Enter Door P Pause ----- AGAIN ANOTHER 100% POWER-TYPING ---- --- DONE BY THE TWINS OF TRILOGY --- -- IN NOVEMBER -- If it ever reaches the ST, here's the short docs for .... THE MUSCLE CARS TEST DRIVE II CAR DISK Five stoplight legends for the duel: Test Drive II Remember when gas was cheap, cylinders were eight, and cubic inches meant something? Well, top of the tank, those days are back. Here's five All-American, street-scorching muscle cars for The DUEL: Test Drive II. Roll up your sleeves, squint into the sun, power-shift down the road. To find out how to install THE MUSCLE CARS into THE DUEL: TEST DRIVE II see your TEST DRIVE II MANUAL -=> They say you must 'UPDATE' your disk with the UPDATE file, but it is just a copy protection checker.. This disk will work fine without doing that.. Just tell it where the disk is like you would with the SUPERCARS disk. Simple as that... <=- 1963 Corvette Sting Ray "Split Window" Coupe - (327 CID, 360 HP) One of the greatest collector Corvettes of all. Designed to end the racetrack domination of the Ford powered Cobra, it quickly became the king of the AMERICAN road. 1968 Shelby GT500 Cobra - 428 cid, 335 hp) The Carroll Shelby and Ford Mustang combo that destroyed the challangers. on a good road smooth and fast its mighty engine breeds confidence bordering on arrogance. 1967 Pontiac GTO - (400 cid , 360 hp ) Grand Turismo Omologato by birth, but nicknamed The Goat. It was the first American Muscle Car - A Gutsy performer that frequently blew the doors off other production automobiles. 1969 COPO 9560 ZL-1 Camaro - (427 cid , 550 hp) If ever a killer Camaro existed this was it. Only 69 were built, but its special option, full race aluminum block, 427 cubic inch engine made it arguably the fastest American production car of all time. 1969 Dodge Charger Daytona - (426 cid , 425 hp) A street rocket with incredible macho power. Big tires, big engine, big appetite for long, straight blacktop. This muscle was all bicep the last of a dying breed. -=- DOCS TYPED UP BY... Jamie Starr..... -=- S E W E R S O F T W A R E Presents TYPED BY THE TWINS OF TRILOGY T E R R Y ' S B I G A D V E N T U R E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CONTROLS Joystick only. Joystick for LEFT, RIGHT and JUMP FIRE button fires Yo-Yo or throws rocks. SPACEBAR Toggles between stones and Yo-Yo P Pause Q Quit S Music/FX toggle You may start the game at either the first round or the round you last reached. GAMEPLAY INSTRUCTIONS The idea of the game is to guide Terry to his house through 12 levels of obstacles and adversaries. You have 2 choices of ammunition to fend off the relentless stream of creatures, your trusty Yo-Yo or stones that you find along the way. Some of the nasties require more than one hit in order to destroy them and some will have to be avoided altogether. After each round is completed you are placed in a Bonus level before entering the next round. There are some areas in each section which may only be entered if you have found a key. These are found, as are most of the features, by catching them having hit a baddie. Other features gained in this way are: Invulnerability for collecting the letters of the word "TERRY" Extra bonus time by catching the rings. Extra life for finding all the letters in the word "EXTRA" The white mushrooms should be collected for points qhilst the ones moving up and down increase the time alloted for the round. The others however, should be avoided. The stones can be collected by jumping on the smooth rocks. Collecting the flags will act as score multipliers and for each 20.000 points an extra life will be awarded. There are a number of other features but you will have to look and learn! ----- AGAIN ANOTHER 100% POWER-TYPING ---- --- DONE BY THE TWINS OF TRILOGY --- -- IN NOVEMBER -- God, they'll make a game about anything these days...SEWER presents - TEENAGE MUTANT NINJA TURTLES We suggest that you read the following instructions from Master Splinter before battling through the sewers of New York. TABLE OF CONTENTS INTRODUCTION / HOW TO PLAY.................................... 4 LOADING INSTRUCTIONS.......................................... 5 PASSWORD INSTRUCTIONS......................................... 6 HOW TO BEGIN / RESTART AND END YOUR MISSION................... 7 GAME CONTROLS................................................. 8 INFORMATION SCREEN............................................ 9 SCREENS AND LEVELS............................................ 10 WEAPONS....................................................... 11 THE TURTLE HEROES............................................. 12 ENEMIES....................................................... 13 KARATE BOSSES................................................. 14 PAGE 3 PREPARE TO SHELL OUT SOME PUNISHMENT Steam rises from Wall Street sewers like hot breath from a pack of wild dogs. Just below the pavement's puddle strewn surface, the Teenage Mutant Ninja Turtles have gathered around the leftovers of a family-reunion-sized sausage pizza with extra sauce. Usually these party dudes would inhale the mozzarella platter as if it were the last "za" on Earth, but not tonight. You see, only hours ago, their trusted friend, April O'Neil, was kidnapped from her mobile news van by the vile, ruthless, terrorist bully SHREDDER! He's a Slice-O-Matic crum, a villain more vicious than an army of mind altered Bruce Lees. With their lovely cohort held hostage, the fearless foursome must concoct a way to rescue April before Shredder brain-washes her into joining his Ninjitsu Foot Clan. They'll combine this treacherous task with the mission they've been on since their mutated beginnings- to thrash Shredder and capture his Life Transformer Gun, the lone piece of technology that can turn their rat friend, Splinter, back into the man he used to be. So take control of these heroes in a half shell, and either claim total victory over New York's premier Kick Man... or lead them onto the menu at Mc Turtles (Home of the Quarter Flounder with Cheese). HOW TO PLAY Your initial goal is to rescue the fair maiden, April, a hip version of a medieval damsel in distress. But your ultimate objective is to battle through the streets and sewers of New York until you score a victory at the TECHNODROME, home of the evil Shredder and his Life Transformer Gun. To reach this territory of terror, you must overcome six levels of adventure without getting all four turtles captured by Shredder's Foot Clan Warriors. Each level has several stages. Along the way, your every instinct will be challenged both above ground and below, and imprisonment will happen swiftly if your Life Line runs down or you're run down by a Roller Car. Once a turtle is captured, he is out of action until you find and rescue him. (Prisoners could be anywhere. To release them, simply touch their hand.) At the end of each level (except Level 2) you'll unfortunately find a Karate Boss who is anxiously waiting to turn you into turtle soup. A FINAL SLICE OF ADVICE: Keep an eye out for weapons, ropes and life-sustaining pizza pies as you go. PAGE 4 LOADING INSTRUCTIONS If you don't know the routine, you're fucked! PAGE 5 PSSSST! HERE ARE THE PASSWORD INSTRUCTIONS Oh why bother... (these are missing from this doc S.P). A game screen will appear requesting you to select one of the following: START A NEW GAME CONTINUE A SAVED GAME PAGE 6 HOW TO BEGIN Once you've chosen CONTINUE or NEW GAME, press the Joystick Fire Button. HOW TO SAVE YOUR ADVENTURE FOR ANOTHER DAY At any time during the game, you can use the SAVE GAME FEATURE by simultaneously pressing the CTRL and the S Key. The screen will briefly flash "SAVING GAME" to confirm your command. The disk must be write enabled for this feature. The SAVE GAME FEATURE allows you to save your game status as you progress from one level to the next. You can use the SAVE GAME FEATURE at any time and as often as you wish, but only one game status is saved. Each time you save a game, the current game status replaces the last saved game. The next time you re-boot the game, you can select CONTINUE A SAVED GAME on the introduction screen and return to the same location in New York where you finished your last adventure. STARTING A SAVED GAME When you first load the game, you will be asked whether you wish to: START A NEW GAME or CONTINUE A SAVED GAME. If you select CONTINUE A SAVED GAME, you will resume playing the game from the point where you last used the game save option. If you select START A NEW GAME, you will play the game from the beginning of the adventure. ENDING YOUR MISSION When you are ready to sleaze-out of the sewer, simultaneously press the CTRL and Q Keys. You will then be asked whether you wish to: START OVER or END. If you select START OVER, you will restart the game at the beginning of the first level. You will not need to reset any game configurations. If you select END, you will have a last chance to save your game status before quitting. If you select YES, to the SAVE GAME question, your current status will be saved for future use. If you select NO, to the SAVE GAME question, your current status will not be saved and the adventure will come to a shelf-crushing halt. PAGE 7 GAME CONTROLS During the game, press: Key Function Action --- -------- ------ CTRL P Pause Toggle Pause On and Off. CTRL B Background Music Toggle Background Music On and Off. CTRL E Sound Effects Toggle Sound Effects On and Off. CTRL S Save Game Save the game at the current status. CTRL Q Quit Ends the game and returns to DOS. SPACE BAR Weapons Select Toggle between standard weapon and special weapon (i.e. Boomerang). If the special weapon runs out of ammo, you will automatically revert to the turtle's standard weapon. RETURN KEY Special Features Displays the Information Screen. JOYSTICK CONTROLS Joystick moves the turtle hero in four directions. Up Left__|__Right | Down ATTACK CONTROLS Joystick Fire Button Press and quickly release to fire active weapon. To jump, press and momentarily hold the Fire Button down. TO SWIM Use the joystick to maneuver underwater. To increase your swimming speed, press the Joystick Fire Button rapidly. TO PARTY DOWN IN THE PARTY WAGON To enter the Party Wagon, stand next to it and press the ENTER key. Once inside, use the joystick to cruise around. Press the SPACE BAR to toggle between Anti-Foot Clan Missiles and the Vulcan Cannon. Press the Joystick Fire Button to launch these weapons. To exit the Party Wagon, press the ENTER key. PAGE 8 SPLINTER'S MULTI-PURPOSE INFORMATION SCREEN The first screen that will appear is the information (AKA:INFO) Screen. This screen should be utilized throughout your quest, to read maps and to gain useful hints from Splinter and April (once you've rescued her). From the Info Screen you'll also choose the turtle you wish to guide. Move the joystick Up or Down to select a turtle, then press the Joystick Fire Button to lock in your identity. During play you can return to the Info Screen by pressing the RETURN Key. This is crucial to remember, since you'll gain important advantages by matching each turtle's strengths with those of the various enemies. Area Map Displays diagram of the level you're exploring. Your location is highlighted by a flashing white dot. Red Grid Squares indicate areas where the turtles can move through. White Grid Squares clue you in on underground passages and buildings. / ______________/_________________________________________________________ | :PARANOIMIA:/ Area : | | ___________/_______________ _____ | ||_|_| / |_|_| | ___ __ | || / | | | |LEO |__| | || | | |___|======= | || | | ___ __ | || | | | |RAPH |__| | || | | |___|======= | ||_ _ _ _| | ___ __ | ||_|_|___________________|_|_| | | |MIKE |__| | | | |___|======= | | | ___ __ | | ______________________________ | | |DON |__| | || | | |___|======= \ | || THE MAP SHOWS YOUR | |___/_ \ | || POSITION ON THE GROUND. | / / \ | || YOU CAN DO IT. | / / Weapons | ||______________________________| / / each turtle is | | / / / currently using | | / / The Turtles | | / / Leonardo, Raphael, | | Messages from your / Michaelangelo | | loyal friends / and Donatello. | | / | | Turtle Data | | Colored graph indicates the turtle presently on | | the prowl. | |________________________________________________________________________| PAGE 9 DEATH DEFYING SCREENS The Sunny Side of the Sewer The Streets of New York The Criminally Polluted Hudson River NEW YORK, NEW YORK (A TURTLIN' TOWN) Fifth Avenue/Greenwich Village (Level 1) Hudson River near the Holland Tunnel (Level 2) Wall Street (Level 3) JFK International Airport (Level 4) Shredder's Base inside the South Bronx (Level 5) The Technodrome (Level 6) PAGE 10 PIZZA AND OTHER LIFE SUSTAINING GOODIES Boomerang - If you catch the boomerang on its return, you can use it again and again. Mr. Invincibility - Locate one of these, and you'll find yourself indestructible for a limited period of time. Nunchukus - Michaelangelo's weapon. Bo - Donatello's weapon. Katana Blade - Leonardo's weapon. Sai - Raphael's weapon Whole Pizza - Totally revitalizes your turtle. Half Pizza - Returns a portion of your powers. Slice O' Pizza - Restores a slice of life. Anti-Foot Clan Missile - Perfect for demolishing enemy barricades in Level 3. The Rope - Use in Levels 3 and 4 to leap from building to building. Kiai - When thrown, it travels in a straight line, decimating enemies in its path. Single Shuriken - Hurl these gruesome weapons one by one. Triple Shuriken - Toss in trios. PAGE 11 THE TURTLES (Not to be confused with the Beatles!) The fab four of Karatedom await your beck and call. These jammin' dudes, stars of stage, screen and comic books, are pumped full of pizza power. Each has a different skill and a unique personality. You must decide when is the best time to control each turtle. Return to the Info Screen to switch turtles from situation to situation. Remember: These Samurai sidekicks are only as gifted in the ancient art of warfare as you. LEONARDO - Leonardo's primary weapon is the hair splitting Katana Blade. He's most effective when attacking sewer enemies, especially ones that lurk overhead. RAPHAEL - The needle tipped Sai is Raphael's preferred attack tool. The speec and grace of his strikes are what he prides himself on. MICHAELANGELO - Compared to his comrades, Michaelangelo's power is only average. However, enemies around his feet usually fall prey to his Nunchukus onslaught. His courage will also amaze you. DONATELLO - The dreaded Bo (not to be confused with everyone's favorite Halfback/Left Fielder) is Donatello's form of amusement. Don't be fooled by the fact that it looks like a simple stick, because this baby can take out enemies from both above and below. THE TURTLES' TOP 10 At the end of the game, if your score ranks among the 10 best, you'll be able to enter your name on the Turtle Top 10 List. To enter your name, type up to 10 letters on the keyboard and press the RETURN Key. If you fail to score in the Top 10, you'll automatically return to the beginning without stopping by this illustrious screen. PAGE 12 ENEMIES GALORE Stick 'Em Up (AKA: The Roof Leaper) - Ignorant to the force of gravity, this pesty sewer thug (the product of a horrible chemical spill) pounces about on ceiling pipes, waiting to rain terror from above. Foot Clan Foot Soldier - Following in the thousand year tradition of karate combat, he's a killing machine blindly guided by Shredder's commands. Mouser - With jaws capable of crushing iron sewer gates, the Mouser is Splinter's prime enemy and the turtles' smallest threat. Searchlight Mechanism - If this hovering scoundrel spots you, watch out! Fire Freak - An ex-pyromaniac from Brooklyn, this hot dog takes careful aim before launching fireballs that turn into clones of himself. The Roller Car - In search of turtle fodder, Foot Clan platoons tour New York's famous avenues in Roller Cars (once used by David Letterman during his now famous "smashing" episodes). PAGE 13 KARATE BOSSES Bebop & Rocksteady - Part beasts and part criminal misfits, these guys are Shredder's most trusted sidekicks and the enforcers at the end of Level 1. (Value 4,000 and 5,000 points respectively.) Big Mouser - Ruler of Level 4, he turned to a life of sleaze after being booted from the Mouseketeer Club. (Value 8,000 points.) Mecaturtle - Appearing like your average turtle, this Level 3 commander will show his true colors if you do him any harm. (Value 6,000 points. Value 7,000 points if destroyed after his transformation.) Technodrome Guardian - Level 5's mobile stronghold, this roving ruffian will zap you senseless unless you aim for his eyeclops radar. (Value 9,000 points.) Shredder - At last, your arch enemy at arms length. Of course, he's the meanest of the mean, the dirtiest dirt in town. If you fail to destroy him and capture his Life Transformer Gun, he'll turn you into an ordinary turtle - and considering all the cars in New York, that would make you a leading candidate for a future road kill. AAAAAAARGH! (Value 10,000 points.) PAGE 14 I can remember, so even if I forgot you above, you'll get a mention here. Greetings to the following, in alphabetical order :- Amini Dux, Animal House, Atomic (thanks again for your great packer), Automation, Bob and Jack of L.C.M., Brainbox, Cardinal, Cepheus (the only other Aussie coder I know of), Chuckles, Dal Snuffs, Delta, Devious Dave, Doug, Federation Of Free Traders (not a group of lamers, despite Automation's insistent shit dribbling), Freddy (nice pictures), Garrison Six (sorry to have stolen Axelsoft from you), Guardian Angel of The New Power Generation, Iceman, Jaws, L.D.S., Mad STalker and the Rest Of The STarks, Mantor, Medusa, Merlin, Mug U.K., Mungo Of The Dentrassi, Oldham ST Club, Paul The Wop, ST Association, ST Connexion, Stew, Sub Humans In Turkey, Teddy Stacker, The Carebears (what can I say ?? the best, the greatest, and thanks for the the font Tanis, we'll use it soon), The Gamemasters, The Incoders (great disk magazines, everybody should have them !), The Lost Boys (the second best, the second greatest !!), The Menumasters, The Pompey Pirates (the most thorough and BEST packers around), The Replicants, Trevor, TOR - The Norwegian Trader, Vertigo, Wacky Jacky, Weird Science, Wirral Computer Club and Zodac. If your name didn't appear in the above greetings list, and you would like to see it there, then there are two solutions. Firstly, you can write a brilliant demo and send it to us, for which we will greet you according to the skill level you show. Secondly, if you are just the average ST user with no specific skills, then you can send us a donation. The bigger the donation, the bigger greeting you get - sort of a 'VIZ' Top 10 Greetings List (read the great British magazine VIZ if you don't know what I'm talking about). Despite the fact that you would be greeted, you would also be paying us for our huge efforts, and helping ensure that we keep producing these disks More ULTIMA IV hints...hopefully there's some stuff here that hasn't been covered in previous DOC DISCS. Ultima IV ========= The Quest of the Avatar This game is very complicated and takes time to solve, some of these notes should greatly help you find the Codex. Command Keys: A- attack, push key for direction of swing B- Board a vessel or Mount C- Cast a readied magic spell D- Descend a ladder E- Enter a location F- Fire a ships cannons G- Get chest, opens chest H- Hole up and Camp, allows your party to rest up and heal I- Ignite a torch J- Jimmy lock, use to open locked doors with magic keys K- Klimb up ladder L- Locate position, must have sextant (found in buccaneers den) M- Mix Reagents, mix herbs for spells N- New order O- Open door, indicate direction P- Peer at gem, maps out area around you Q- Quit and Save R- Ready a weapon S- Search, underneath you for hidden items T- Talk with icon in designated direction U- Use, item found while searching V- Volume W- Wear armor, indicate player X- Xit, to leave a ship or mount Y- Yell, While on a horse, iether "Giddyup" or "whoa" Z- Ztats, displays all your players information and items 1= Sulphurous Ash 2= Ginseng 3= Garlic 4= Spider Silk 5= Blood Moss 6= Black Pearl *7= Nightshade >>Found only at J'F" , C'O" or in woods by Sacrifice Shrine<< *8= Mandrake Root >>Found in Fens of Dead and Bloody Plains, A swamp in field< "*"= These Reagents can only be found at the darkest of the night. Spells Reagents ====== ======== A- Awaken, wakes sleeping member 2,3 B- Blink, Teleports you in a given direction 4,5 C- Cure, heals poison and such 2,3 D- Dispell, destroys a magic field 1,3,6 E- Energy Field, Fire, Poison, lightning or Sleep 1,4,6 F- Fireball, Just what it says 1,6 G- Gate, teleport to a moon portal 1,6,8 H- Heal, restores some hitpoints 2,4 I- Iceball, nastier than a Fireball 6,8 J- Jinx, makes enemies fight each-other 6,7,8 K- Kill, destroys the given creature 6,7 L- light, longer than an Ever-ready! 1 M- Magic Missle, weakest energy missle 1,6 N- Negate, allows no magic during a battle 1,3,8 O- Open, disarms and opens chests 1,5 P- Protection, Defends you a bit better 1,2,3 Q- Quickness, Allows more than one attack 1,2,5 R- Resurrect, Revives the dead 1,2,3,4,5,8 S- Sleep, Ancient form of Valium 2,4 T- Tremor, Earthquake that kills lots of monsters 1,5,8 U- Undead, "Turns" undead so that they flee 1,3 V- View, just like peering at a gem 7,8 W- Wind Change, makes you the Weather man 1,5 X- Xit, Gets you out of a Dungeon...QUICK 1,4,5 Y- Y(up), lets you teleport up a level 4,5 Z- Z(Down), Teleports you down a level 4,5 Different spells take different amounts of magic power, some of the spells will leave you totally drained or won`t work unless you have enough points. Mantra [ Rune [ Shrine [Stone ---------------------------------------------------------------------------- Compassion MU Britain, the inn [In mnts. past poison Bridge [Despise Honesty AHM Moonglow [Island North of Moonglow [in moon- gate. Spirituality OM Britainnia,$$room [Black moongate at Minoc [In moun- tain. Sacrifice CAH Minocs forge fire [Over double bridge,Vesper [Orange Justice BEH forge fires [Over doubleuality OM Britaew, Top Jail [NW corner of island, in [Wrong poison Valor RA Jhelom, in tower [S of Jhelom, across water [Destard Humility LUM In Paws Hills [N bank of isle of Abyss ["S" black moon. Honor SUMM Trinsic, SW corner[SW of Trinsic, in poison [Shame, purple. Ask people about each virtue, rune, mantra, shrine, job, codex, and abyss. Once you get a mak of isle of Abyste at mia and rune go to its shrine and meditate once, then LATER twice, and then much LATER three times. If you act like a priest and uphold each virtue you'll eventually become a partial avatar in that form, go see the Seer HAWKWIND every once and a while at the main castle. Credits to-----> Dekay WC146 Wizards Castle main More on ULTIMA III, which was covered in an earlier DOC DISC - however there's enough new info here to warrant inclusion on this SEWER DOC DISC. Ultima III From the depth of Hell... He comes for vengeance! PART I: COMMANDS SPACE BAR - Pass A) Attack B) Board C) Cast D) Descend E) Enter F) Fire G) Get chest H) Hand equipment I) Ignite torch J) Join gold K) Klimb L) Look M) Modify order N) Negate time O) Other command P) Peer at gem Q) Quit and Save R) Ready Weapon S) Steal T) Transact U) Unlock V) Volume W) Wear armour X) Xit Y) Yell Z) Ztatus WEAPONS & ARMOR Weapons Equipment Armor ------- --------- ----- Hands.............A...........Skin Dagger............B...........Cloth Mace..............C...........Leather Sling.............D...........Chain Axe...............E...........Plate Bow...............F...........+2 Chain Sword.............G...........+2 Plate 2-H Sword.........H...........Exotics +2 Axe............I +2 Bow............J +2 Sword..........K Gloves............L +4 Axe............M +4 Bow............N +4 Sword..........O Exotics...........P PART II: The Character Assign each character a # from 1 to 20 Name: up to 13 letters Sex: [M]ale, [F]emale and [O]ther Race: [H]uman, [E]lf, [D]warf, [B]obbit and [F]uzzy Class: First letter of class you want Attributes: Divide up 50 points among the four attributes. Minimum - 5, Maximum - 25 Description of attributes ------------------------- Strength - Important for fighting Dexterity - Grants speed & cleverness Intelligence - Controls Mage spells Wisdom - Imparts Clerical power Maximum attributes attainable for each -------------------------------------- Str Dex Int Wis Human 75 75 75 75 Elf 75 99 75 50 Dwarf 99 75 50 75 Bobbit 75 50 75 99 Fuzzy 25 99 99 75 Characteristics of profession ----------------------------- Weapons Armor Spell Thiving ------- ----- ----- ------- Fighter All All None No Cleric Mace Chain Prayers No Wizard Dagger Cloth Sorcery No Thief Sword Leather None Yes Paladin All Plate Prayers No Barbarian All Leather None Yes Lark All Cloth Sorcery No Illusionist Mace Leather Prayers Yes Druid Mace Cloth Both No Alchemist Dagger Cloth Sorcery Yes Ranger +2 Sword +2 Plate Both Yes Spell Attributes/Special of classes ----------------------------------- Cleric: Wisdom Wizard: Intelligence Thief: Steal/Disarm Traps Paladin: Half Wisdom Barbarian: Some Steal and Disarm Lark: Half Intelligence Illsionst: Half Wisdom, some S & D Druid: Greater of both halfs Alchemist: Half Int., some S & D Ranger: Lesser of Both halfs, some Steal and Disarm Magical spell energy is based on the character's spell attribute. Energy is replaced at the rate of 1 point per turn on the surface, and one point every four turns in a town or dungeon Note: Druids (and Rangers in some versions) regain magic points at 1 MP per Wisdom and 1 MP per Intelegence per turn (e.g. 20 Wis, 30 Int = 2 MP untli total MP is 10 and 1 MP until total MP is 15) which is faster than normal spell casters. PART III: The Game A sample view of Sosaria appears. Hit the SPACE BAR. You are now offered three choices: - Return to view - Organize a Party - Journey onward Only the first letter of any option need be used to select that option. For now, select "O". These are the options that you have: - Examine the Register - Create a Character - Form a Party - Disperse a Party - Terminate a Character - Main Menu SPECIAL NOTES COMBAT: When combat is joined, a special combat sceen appears. Each member of the party is shown separately, as is each monster. The characters can all move, fight and spell individually, in order of their order in the party. Although the players may only attack horizontally or vertically, monsters may attack on a diagonal. You may attack from a distance with a bow, spell or dagger. If you attack with a dagger, it is considered thrown if the enemy is farther than one square away. Experience is given to the character who strikes the fatal blow! CHESTS: When a monster group on land is defeated, a chest will always be left behind. Some will contain treasure, others will be empty. Many of these chests will be trapped. Some traps include: Acid (injures the character opening the chest), Poison (same), Bomb (destroys the contents of the chest and hurts the entire party) and Gas Trap (affects the entire party). Note: Monsters can't go through chests, so you can build "walls" with chests. DUNGEONS: Map everything in a dungeon. There are many secret doors. Magical winds may blow out your torches. If thou walks slowly, glimpses of faint mystic writings may be noticed periodically. There are also many traps and pits. If the Thief is in the front of the party, he will have an excellent chance of spotting traps before the party trips them. If you find a fountain, be sure to stop and drink carefully. TRANSPORTATION: Most progress is on foot, although you may be able to locate or buy horses. To sail a ship, you may not sail against the wind. MOON GATES: Passing through a Moon Gate will teleport the party to hidden powers. Many areas are only accessable through these gates. The coming and going of the Moon Gates is somehow related to the phases of Sosaria's twin moons, Trammel and Felucca. The phases of these moons is indicated at the top of the screen as follows: 0: New moon 4: Full moon 1: Crescent waxing 5: Gibbous waning 2: First quarter 6: Last quarter 3: Gibbous waning 7: Crescent waning TOWN SHOPS: Weapons shop: Buy/Sell weapons The Armory: Buy/Sell armor The Grocery: Buy food Guild Shop: Buy thieving equipment The Pub: Gold may loosen a tongue... The Healers: Restorative healing The Stable: Buy horses The Oracle: Buy knowledge & insight SPECIAL MONSTERS: (There are three types of monster for each reference here, but as they differ only in name, they are not listed.) Thief: Can steal any weapon or armor that is not equipped. Pincher: Can poison. Daemon: Can hurl magic attacks. Dragon: Can attack from three spaces away, even when not in the combat mode! Devil: Can hurl poisoned magic bolts! Pirates: Can fire cannon at all members of party. Sea Serpents: Can hurl magic across water. Man-O-Wars: Can poison/hurl magic! PART IV: Magic A spell will cost you a certain amount of magical energy to cast, as follows: A: 0 pts B: 5 pts C: 10 pts D: 15 pts E: 20 pts F: 25 pts G: 30 pts H: 35 pts I: 40 pts J: 45 pts K: 50 pts L: 55 pts M: 60 pts N: 65 pts O: 70 pts P: 75 pts THE BOOK OF AMBER RUNES (sorcery) ----------------------- A) REPOND This spell kills Orcs, Goblins or Trolls. The spell doesn't always work. B) MITTAR This spell shoots a weak magic bolt at monster. It always hits its target. C) LORUM A very short light spell. D) DOR ACRON This spell transports party down in dungeon. E) SUR ACRON This spell transports party up in dungeon. F) FULGAR This spell fires a magic bolt at a monster. It Always hits its target. G) DAG ACRON This spell teleports party. H) MENTAR This spell throws a magic bolt at monsters. It always hits its target. The higher intelligence, the more damaging the blow. I) DAG LORUM This spell creates light. J) FAL DIVI This spell will allow you to cast almost any Cleric spell. K) NOXUM This spell will damage all your foes. L) DECORP This spell will always kill its target. It won't kill Lord British(I have tried it.) M) ALTAIR This spell will stop time. N) DAG MENTAR This spell will be the same as Mentar (See Amber Runes ) to all monsters. O) NECORP This spell will make all monsters very easy to kill (One hit). P) INAMRES IJNA This spell will kill most monsters. THE ANCIENT LITURGY OF TRUTH (prayer) ---------------------------- A) PONTORI This Spell kills undead (Skeletons, Zombies, etc...). It doesn't always work. B) APPAR UNEM This spell disarms chests. It always works. C) SANCTU This spell heals light wounds. D) LUMINAE This spell creates light. E) REC SU This spell moves party up one level in a dungeon. F) REC DU This spell moves party down one level in a dungeon. G) LIB REC This spell teleports party. H) ALCORT This spell removes poison from one party member. I) SEQUITU This spell takes party out of dungeon no mater what level their on. J) SOMINAE This spell creates light. K) SANCTU MANI This spell heals more than Sanctu but not completely. L) VIEDA This spell is like pearing at a gem. M) EXCUUN This spell kills one monster. N) SURMANDUM This spell ressurects one member. O) ZXKUQYB This spell kills almost all monsters you face. P) ANJI SERMANI This spell restores a member from ashes. It removes 5 wisdom from the caster of the spell. HINTS to unearth Exotics. Exotics hide on islands. Beyond the whirlpool lies a mystic land. Death Gulch is a place of many riches. A well placed will make guardians disappear. In a deep dark forest, Dawn appears. Only Exotic weapons will harm those inside the Exodus castle. A forcefield stops all but the owners of the Mark of Force. The knowledge of Snake inversion is found at the Circle of Light in Yew. To find the Cards the shrines. Ambrosia is the location of shrines. Father Time knows the purpose of the Cards. Father Time lives at the bottom of a dungeon. Hot rods Mark the skin. The Mark of the Snake is required to invoke the Silver Snake. In the Exodus castle lies four Slots waiting for four Cards. You can improve yourself at a Shrine if you can afford it. There are four Shrines and four Abilities. There are four Cards: Sol, Moon, Love, and Death. There are four Marks: Kings, Fire, Force, and Snake. Edited by The Walrus (Tom Bodnar) Thanks to The EGGMAN (Chris Donnell) for procuring the originals on which these are based. Real 'blast from the past' stuff this is - unfortunately no great improve- ment on the old 8 bit versions....but still good fun. VORTEX LOADING THE GAME (Points 1 to 6 deleted - If you don't know how to turn your ST on and shove a disc in the side then you are an IDIOT!) 6. When the game has loaded, press one of F1 through F4 to begin the game (refer to the STARTING THE GAME section of this manual). 7. DO NOT REMOVE THE VORTEX DISK FROM DRIVE during game play. Failure to follow this simple rule may have unpredictable consequences. STARTING THE GAME To begin playing VORTEX you must press one of the following keys: F1 - Single player mode. F2 - Two player mode. F3 - Team mode (2nd mouse necessary). F4 - War mode (2nd mouse necessary). Single player mode allows one player action. Two player mode allows two players to alternately play VORTEX and compare their achievements. Team mode allows two players to play cooperatively sharing resources. War mode allows two players to challenge each other as well as the VORTEX. PLAYING THE GAME OBJECT OF THE GAME The game playfield is an enclosed area of a large elliptical force wall centered on your screen. Two smaller ellipses to the top left and bottom right are small extensions of the force wall and act as traps for the antimatter creatures of the Vortex. The VORTEX is the most visible feature in the game: a large, chaotic spinning mass of stars and dust particles in the center of the field. Your goal in each level is to cool down the Vortex. You do this by starving the Vortex of its fuel. Knock the hunks of matter feeding the Vortex into the force wall and destroy them. Enemies: Enemies will fly out of the core to race around the force wall seeking an exit, and destroy anything in their path. Most enemies are made up of clusters of other smaller enemies. Knock the larger enemies repeatedly into the walls by colliding with them until they overheat and break down into smaller enemies. The smaller enemies can withstand much less and will break up after only one or two hits into the force wall. The enemies will also attempt to knock you into the force wall. You can sustain only a limited number of collisions with the force wall before your player will break down. The amount of strength your player has remaining is shown at the right (for Player A) or at the left (for Player B). Not all types of enemies will be released at the start of the game - be on the lookout for different enemies that bring new danger! Special Powers: Bonus objectives which your allies drop into the containment area will give you shielding ability. To use your shields press and hold the left mouse button. You cannot control your movement while shielded. A pulsing blue sphere in the top right corner (for Player A) or a pulsing green sphere in the bottom left corner (for Player B) will show how much shielding ability you have left. When the pulsing sphere turns black your shields have expired. You can also drop small dummy images on yourself, using the right mouse button. Enemies will seek, these images rather than you. The number of dummy images remaining is visible either below the icons showing the number of men you have left (for Player A) or above (for Player B). CONTROLLING THE GAME Moouse Control: Your player is controlled by the direction and speed at which you move your mouse. Your ship has weight and velocity - Don't accelerate too quickly or you won't be able to stop from smashing into the force wall yourself! Other Keys: P = Pause game action until pressed again. Q - Quit game. HINTS AND TIPS The gates into the small rooms will become open periodically. You can place a dummy image of yourself near the gate to attract enemies into the trap. Once inside, the enemies will bash themselves to bits. The room gates will become one way portals when a certain number of enemies enter. The rooms will not turn one way if you are in them. Ride the edge of the Vortex for a fast spin away from enemies. Avoid being sucked into the Vortex - don't get too close! Some levels have invisible walls, or an invisible VORTEX; The dangers are still there! Careful when you have selected two-players simultaneously; Players can collide with each other! Have fun, and remember... The fate of twin universes lies in the balance. S E W E R S O F T W A R E presents a DOC TYPED BY THE TWINS OF TRILOGY X E N O P H O B E ~~~~~~~~~~~~~~~~~ ---------------------------- MISSION OBJECTIVE ------------------------ "The alien life forms are despoilers of intelligent life" EXTERMINATE THE ALIENS! 1.To exterminate all hostile alien life forms (called "Xenos") that are thought to be infesting the derelict space stations and moon bases. 2.To collect the various forms of hardware thought to be left on board the platforms and bases - which could help the human fight and be useful to the aliens. The appearance of the alien force is repulsive. You must avoid xenophobia! ------------------------------ BRIEFING ------------------------------- The power of the alien force is unknown - initially, only two of your team from the three squads will be sent in. It is for you to assess relative strengths and send in the two most appropriate personalities. The two combatants will report to the shuttle transfer room where the molecules of each combatant will dematerialised and rematerialised in the base. Traveling from room to room and level to level (by using the elevator), you must accomplish the first objective to exterminate the required number of xenos in each level of the base within a time or else the pests will over-run the base. The lenght of time valies with the number of levels. The battle between the Exerminator(s) and the xenos may result in three different outcomes: 1.Time runs out, the xenos overun the base, and the base self-destructs after the Exterminator(s) returns to the mothership via the "transfer disc". 2.The player (Exterminator) orders a "fast destruct" of the base to prevent it from being over-run by Xenos. The base is destroyed after the exterminator returns to the mothership via the "transfer disc". 3.The player (Exterminator) clears the base of Xenos. The Exterminator(s) return to the mothership via the "transfer disc". ----------------------------- INTRODUCTION ---------------------------- Xenophobe is an action-orientated game embodying all that is best in Microstyle games. Easy to play, but difficult to master with a unique splitscreen and a two player opotion. ------------------------------ XENOPHOBE ------------------------------ ...One who has a deathly fear of anything alien. ----------------------------- BACKGROUND ------------------------------ Schickn thought ruefully about the Earth he was leaving - an earth once mighty in his childhood years now insular, polluted, demoralised and dispirited. The proud forays into space during the '30's and '40's marked a period of expansion, an era in which the hope and aspirations of a thousand generations of humanity had been realised. Then in '56 came the first of a series of disasters - The New Phoenix Mars colonists were afflicted by a mystery plague - some say it was a Martian bug. Most blamed the Central Bloc and the Brazilians and Indians in particular. Earths sensitive political equilibrium was deteriorating with the emergence of new so-called super states - India, Brazil and Pakistan being the major powers. India now ruling the whole sub continent with an iron fist and proving a major threat to both the new free states of Russia and China. Whether it was biological espionage by the central bloc we'll never know, but nearly a quarter of a million souls lost their lives and Earth when its confident, possibly arrogant, rush for the stars stumbled. In '58, 80 personnel of the small Io scientific mission were killed by a violent volcanic eruption from the surface of Jupiter. Indeed, '58 was a turning point for humanity - in retrospect, the skirmish was inevitable but, when war broke out between India and China, a limited nuclear exchange turned the great cities of New Dehli and Beijing into a vivid vision of hell. It only lasted a week and only twenty warheads were used but the Earth was turned irrevocably towards a period of introspection. Why spend money on pointless crusades into the unknown when the cost is the spiritual destruction of the Earth itself? Throughout the free world the 'planetists' were in the ascendancy, with the protection of the Earth their major priority. So the huge orbital platforms surrounding Earth became largely derelict, many with only maintenance personnet ana small teams of scientists manning the platforms. Of all mankinds' space colonies, only the moon exists as a living communiy. The moon shuttle being the only regular passenger space shuttle in service. And now this..... In '62, transmissions of an unidentified nature were picked up at the edge of the solar system in the region of Neptune. Unmanned scanners and transmitters in the area quickly ceased their broadcasts, blnking out of existence at the same instant Routine transmissions from the Europa marine colony ceased one week afterwards. The effect Earthside was devastating Xenophobia gripped the world. In some strange way, it unfied the disparate bands of humanity in a common emotion - fear! - WAS IT THE ALIENS AHO DESTROYED THE EUROPA SETTLEMENT? - DID THE MYSTERY MARTIAN VIRUS HAVE AN EXTRATERRESTRIAL ORIGIN? Earth's political strategists now believe the aliens to be studying the planet from our own orbiting platforms ! Contact with the scientific teams on board has been lost. One microwave visual gave a frightening insight to the new inhabitants. Schickn remiiscences were shattered by a sharp expletive by Korolski or kwak to his friends, a native of the now extinct European colony "Look at the.....thing". The space platform was scarred, revealing damage done by the equivalent of high energy laser cannons. Almost surgically, the space station Zero One Five had an oval hole measuring around 100 metres in its upper ring. So,they're here ! No-one on Earth was prepared to eve investigate, all being paralysed by fear. Our 'expeditionary force' was a mixed bag of scientific  idealists. Embittered European mutants and old spacers like myself were the only ones to take up the challenge from 5 billion people. Looking at the so called 'Combat Crew', Schickn could not resist a smile. Here he was, the leader of the oddest band of mercenaries it was possible to imagine. To them this was no adventure, no military campaign. This was a goddamned crusade. A crusade not just against the unknown. To some, like Kwak, it was a simple question of revenge. For most it was a fight to give the people of Earth a purpose - to save the world from X E N O P H O B I A ! ------------------------ HOW TO PLAY THE GAME ------------------------- CONTROLS The standard controls are as follows: Joystick control Waggle: Throw Critter, cut Tentacle, pull off Festor 1.Player standing forward: forward left: a.jump up forward right: jump left b.action 1 jump right \ | / \ | / \ | / \ | / \ | / \ | / \ | / left: \|/ right: ---------------- ----------------- walk left /|\ walk right / | \ / | \ / | \ / | \ / | \ / | \ / | \ down: down left: down right: crouch to left a.crouch crouch to right b.action 2 2.Player crouched forward: forward left: a.stand up forward right: jump to left b.action 1 jump to right \ | / \ | / \ | / \ | / \ | / \ | / \ | / left: \|/ right: ---------------- ----------------- shuffle left | shuffle right | | | | | | | down: action 2 Fire button: Fires in the direction the current weapon is pointing. The player can alter the angle that the weapon is pointing by moving the joystick up or down. The facility to alter the angle of the gun lasts for approximately two seconds after pressing the fire button. Bombs: Space bar - player one throws bombs (if available) 0(keypad) - player two throws bombs (if available) THE STATUS LINE Below each figure on screen is the STATUS LINE. This shows: --------------------------------------------------------- | | | | | | | | | | --------------------------------------------------------- SCORE ACTION 1 ACTION 2 HEALTH 1) The player's current score. 2) The player's remaining health. When this is exhausted your figure loses his life. 3) ACTION 1 & ACTION 2 display functions that a player can invoke at certain points of the game. For instance, when you approach an object to be collected, the Action 2 box will register 'PICK UP "OBJECT"'. To do this you must move the joystick towards you. ACTION 1: | Push Button | Insert Disc Fix Gizmo | Stash Weapon Show I.D. | Lift - Go Up Use "Object" | Break Glass | ACTION 2: Insert Key | Pick Up "Object" Remove Key | Lift - Go Down WEAPONS To help defend against the Xeno attacks you will find a variety of weapons to use. These are: SMOKE GUN Most powerful hand gun ever, nothing can stop it. But suffers from a very short range and don't drop it! PHASER Standard issue single shot weapon. Only really effective against small targets but virtually indestructable. LASER Long range attack weapon that will burn through most armour PISTOL but does lack a big punch. Can be destroyed but is fairly tough. LIGHTNING Medium range electrical weapon which is very effective RIFLE against Xenos. Has a tendency to short out and explode if dropped. BOMBS Hand thrown grenades cause a high intensity explosion but  tend to rebound off walls so use with care. Notes: 1. Should you lose your weapon a droid will appear and throw out a new weapon for use. 2. You can still fight even without a weapon. Remember, you can punch the invaders..........but they're tough dudes. ALIENS Name Description Method Of Attack POD A green spore which will None hatch into a critter after a period of time. CRITTER A cross between a small It physically "latches" onto three-legged squid and the Exterminator with its legs. a scorpion. ROLLERBABY A thick-skinned cross After curling into a ball, it between a large turtle knocks the Exterminator down by and an armadillo. rolling into him (her). TENTACLE Not an individual It "latches" onto the creature, but rather one Exterminator by wrapping around of many long-reaching the Exterminators head. appendages of a huge creature hiding behind the walls. SNOTTER- A very large, leaping, 1. It knocks the Exterminator PILLAR heavily armoured cross down by leaping against him (or between a lizard and a her). caterpillar that spits 2. It strikes (and sometimes a slimey venom at its knocks down) the exterminator victims. with its spit. FESTOR A very large, menacing, 1. It "latches" onto the reptile-like creature Exterminator with its telekine- that waits (behind walls, tic gaze. near doors, windows and 2. It strikes (and sometimes other openings) to attack knocks down) the Exterminator without warning. with a ball-like Egg (which will change into POD after a period of time). ------------------- PERSONNEL DATA / COMBAT CREW ---------------------- DAMAGE TO PLAYER-CHARACTER (EXTERMINATOR) AND PLAYER HEALTH POINTS LOST Description of action that causes damage player health to player-character (exterminator) points lost Exterminator is hit by the Fist of another Exterminator. 1 point Phaser (gun) explodes when it lands too close to a doorway after being knocked away from the Exterminator. 1 point (Laser) Pistol explodes when it lands too close to a doorway after being knocked away from the Exterminator. 2 points (Lightning) Rifle explodes when it lands too close to a doorway after being knocked away from the Exterminator. 3 points The Exterminator is hit by a laser beam from the ball (servomech). 4 points (Smoke) Gun explodes whenit lands too close to a doorway after being knocked away from the Exterminator. 10 points The Exterminator walks into an active Electrical Farce Wall. 50 points A Rollerbaby knocks down the Exterminator. 50 points A snotterpillar strikes the Exterminator with its spit. varies between 35 to 100 points * The Exterminator is hit by dripping slime from the ceiling. 75 points The Exterminator is hit by a Bomb thrown by another Exterminator. 100 points The Exterminator is hit by an Egg thrown by a Snotterpillar. 150 points A Critter "latches" onto the Exterminator causing a 2 points/ continuous health point drain. decrement A Tentacle "latches" onto the Exterminator causing a 4 points/ continuous health point drain. decrement A Festor "latches" onto the Exterminator causing a 20 points/ continuous health point drain. decrement *THE FURTHER THE DISTANCE, THE FEWER HEALTH POINTS WILL BE LOST. BLUE SQUAD Col Schickn. AGE - 52 BACKROUND - Spacer, Mercenary, and Trader. STATUS - Leader of the Combat Crew. Mr Eeez. AGE - 32 BACKROUND - Former Martian Colonist. STATUS - Mercenary. Dr Zordirz. AGE - 38 BACKROUND - Former Member of the Space Platform Science Team. STATUS - Platform Advisor. YELLOW SQUAD Dr Udderbay. AGE -29 BACKROUND - Former Member Of The Lunar Science Team. STATUS - Lunar Advisor. Mr Fogg AGE -24. BACKROUND - Psycopath! STATUS - Mercenary. Col F. Truth. AGE - 30. BACKROUND - Professional Soldier. STATUS - Mercenary. RED SQUAD Mr M Brace. AGE - 25 BACKROUND - Former Colonist Of The I.O. Scientific Mission. STATUS - Mercenary. Dr(Kwak)Korolski. AGE - 26. BACKROUND - Former Colonist Of The European Marine Mission. STATUS - Mercenary. Col Poupon. AGE - 22. BACKROUND - Professional Soldier. 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No vertical blank interrupt vectors left! Error! - Can't work with this TOS-version. Error! - Can't find STARTGEM.SWR in root directory of boot disk. Press any key to exit. EOPA(b\. .. STARTGEMPRG 3LACK PRGCfor your benefit. If you wish to participate in the merriment and mirth, you can contact us at :- THE SEWERS, P.O. BOX 191, MODBURY NORTH, S.A. 5092, AUSTRALIA. Well, what more can I say in a brief introduction. Perhaps that the members of Sewer Software are :- Sewer Rat, Sewer Possum, Sewer Pom, Sewer Hedgehog, Max Headroom and Axelsoft. If I had a bit more room on the disk, I could give you a brief account of the problems we encountered getting this disk ready, but alas, I have only another 800 bytes to go. And so, as the sectors fill in rapid procession, I shall bring this introduction to an end, and leave you with a list of the contents of all 15 of our doc disk series. NOTE : THIS DISK MUT BE COPIED 2 SIDES, 80 TRACKS, 10 SECTORS. SEWER DOC DISK NUMBER 1 Alternate Reality (the instructions) Arkanoid (the instructions) Artura (the instructions) Backlash (the instructions) Barbarian (the instructions) Bard's Tale (the instructions) Black Cauldron (the instructions) Captain Blood (the instructions) Deja-Vu! (clues & hints) Dungeon Master (clues & hints) Elite (the instructions) Falcon (the instructions) Gunship (the instructions) Hacker (the instructions) Jet (the instructions) Leather Godesses of Phobos (the instructions) Leisure Suit Larry (the instructions) Mach 3 (the instructions) Mindshadow (the instructions) Moebius (the instructions) Obliterator (the instructions) Pandora (the instructions) Powerdrome (the instructions) Q-Ball (the instructions) Rambo III (the instructions) Roadwar 2000 (the instructions) Roadwars (the instructions) Sentinel (the instructions) Silent Service (the instructions) Sinbad (the instructions) Slaygon (the instructions & picture) Strike Force Harrier (the instructions) Solutions 1, containing the following (Some partial) :- Ballyhoo, Cutthroats, Enchanter, King's Quest II, Infidel, Hitchhiker's Guide to the Galaxy, Mindshadow, Planetfall, Seastalker, Suspended. Solutions 2, containing solutions to the following :- Borrowed Time, Deadline, Sorceror, Starcross, Tass Times in Tonetown, Trinity, Wishbringer, Zork 1,2,3 Starglider (the instructions) Starglider II (the instructions) Star Wars (game review) Super Huey (game review) Ultima III (the instructions) Uninvited (the instructions) Wizball (the instructions) World Games (the instructions) SEWER DOC DISK NUMBER 2 Battle of Borodino (the instructions) Blood Fever (the instructions) Circus Games (the instructions) Double Dragon (the instructions) Dungeon Master (extensive documentation & picture) Frostbyte (the instructions) Hacker II (the instructions) Laser 'C' Compiler (the instructions - 160K) Laser 'C' Debugger (the instructions) Mousetrap (the instructions) Nighthunter (the instructions) Phantasie I & II A:DOC_DISK.015 `A aBgHz?<=NAPJ@jHz&?< NA\?<NAT`K:Hz/<@??<?NA JkrAB(??<>NAXB?< NA\Ot#,*|:<JgXQHy?< NA\`(E**E$/?< NA\OABg/?<1NABgNAp,gNAp PB y,CZ"C:#, h h$h C>"A "gNu#FNu o Pf# , zCfHy?<NA\?<'Hz?<NNAPJ@fjKB@|ߐ<A??<NAXRI:<?JgQ:<? $\gQRBHy?<;NA\ o PPgTgf zlN4XOF8NA  g "gHz` 3.3NuSTARTGEM.SWROops! No vertical blank interrupt vectors left! Error! - Can't work with this TOS-version. Error! - Can't find STARTGEM.SWR in root directory of boot disk. Press any key to exit. EOPA(b\ (the instructions) Planetarium (the instructions) Plutos (the instructions) Publishing Partner (the instructions - 220K) Quantum Paintbox (the instructions) Seconds Out (the instructions) Vegas Gambler (the instructions) Winter Olympiad (the instructions) SEWER DOC DISK NUMBER 3 Aegis Animator (the instructions) Arcade Hints (hints & cheats to 20+ programs) Batman (the instructions) Battleship (the instructions) BBC Emulator (the instructions) Buggy Boy (the instructions) California Games (the instructions & 2 pictures) Checkmate Chess (the instructions) DB Master One (extensive instructions) Drive Modifications (the instructions & picture) F15 Strike Eagle (the instructions) Flinstones (the instructions) GFA Basic (the instructions - 110K) G.I. Sound Tool (the instructions) Goldrunner (the instructions) Neochrome (the instructions) Protext (the instructions) Rockford (the instructions) S.D.I. (the instructions) Spellbinder (the instructions) Starquake (the instructions) Startrek (the instructions) Streetfighter (the instructions) Tetris (the instructions) The Pawn (solution) Timeworks Desktop Publisher (the instructions) Virus Destruction Utility V2 (the instructions) Whirlygig (the instructions) Zak McKraken (solution) SEWER DOC DISK NUMBER 4 Action Fighter (the instructions) Adventures I, containing solutions to the following :- - Chrono's Quest - Shadowgate - Spiderman Adventures II, containing solutions to the following :- - Tanglewood - Transylvania - Uninvited Arcade Hints II (hints & cheats) Arena (the instructions) Balance of Power (the instructions) Ballistix (the instructions) Bard's Tale (extensive documentation - 70K) Batman (the instructions) Battletech (the instructions) Borrowed Time (the instructions) Chessmaster 2000 (the instructions) Flight Simulator II Scenery (the instructions) Games, containing hints and instructions to the following :- - Spidertronic - Bubble Ghost - Dark Castle - Hostages - Space Racer - Crash Garrett Gauntlet 2 (the instructions) Gold of the Realm (the instructions) Hostages (the instructions) KISSED II (the instructions) Kristal (the instructions) Magnetic Scrolls Adventures, containing solutions to :- - Corruption - Fish Populous (the instructions - 50K & picture) Rainbird Adventures, containing solutions to :- - Pawn - Guild of Thieves - Jinxter Rampage (the instructions) Seurat Paint (the instructions) Sierra Adventures, containing solutions to :- - Leisure Suit Larry - Leisure Suit Larry II - Space Quest II - King's Quest III Tanglewood (the instructions) Test Drive 2 (the instructions) War In Middle Earth (the instructions) War In Middle Earth (solution) Xenon (the instructions) Zany Golf (the instructions) SEWER DOC DISK NUMBER 5 Bard's Tale II (hints & tips) Borrowed Time (solution) Carrier Command (extensive instructions - 90K) Docs Directory (this file) Dreamzone (solution) Dungeon Master (hints & tips) Guild of Thieves (extensive solution) Hitchhiker's Guide (extensive solution) Hunt for Red October (instructions) Jinxter (extensive solution) King's Quest (extensive solution) King's Quest III (extensive solution) Knight Orc (extensive solution) Leather Godesses (extensive solution) Lurking Horror (extensive solution) Mindshadow (extensive solution) Phantasie I (hints & tips) Return to Atlantis (hints & tips) Sub Battle Simulator (instructions) Tass Times in Tonetown (solution) Tips, containing hints and tips to :- - Bard's Tale - Barbarian - Deja-Vu! - Alien Fires - Starglider - Alternate Reality Ultima IV (hints & tips) Uninvited (extensive solution) Zak McKraken (extensive solution) SEWER DOC DISK NUMBER 6 1st Shapes (instructions) A Mind Forever Voyaging (storyline - instructions) A Mind Forever Voyaging (solution) Ballyhoo (extensive solution) Bard's Tale (yet more hints & tips) Black Lamp (instructions) Cutthroats (extensive solution) Death Bringer (instructions) Deep (The) (instructions) Emannuelle (solution) Enchanter (extensive solution) Equation Builder (instructions) Feud (instructions) Ferrari Formula 1 (instructions) Heroes of the Lance (instructions) Hints & Tips 1, containing hints & tips to :- Arkanoid, Arkanoid II, Gauntlet, Gauntlet 2, Powerplay, Rampage, Super Sprint, Test Drive, Where Time Stood Still Hints & Tips 2, containing hints & tips to :- Baal, Bubble Bobble, Bombuzal, Carrier Command, Chrono's Quest, Degas Elite, Dungeon Master, Elite Hints & Tips 3, containing hints & tips to :- Grail Quest, Oids, Overlander Leisure Suit Larry (extensive solution) Lords of the Rising Sun (instructions) Manual Pt. 1 (part 1 of an enhanced ST manual - 60K+) Mayday (instructions) Mavis Beacon's Typing Tutor (instructions) Memory Map (extensive memory map of the ST) Mindroll (solution) Operation Neptune (instructions) Operation Wolf (instructions) Pandora (instructions) Police Quest (extensive solution) Powerdrome (hints & tips) Printmaster (instructions) Prison (instructions) Rambo (instructions) Rocket Ranger (instructions) Running Man (instructions) Scorpion (instructions) Solomon's Key (instructions) Space Harrier (instructions) Space Quest 2 (extensive solution) Starcross (extensive solution) Starglider 2 (instructions) ST Hints (tips for the first time user) Sundog (instructions) Top Gun (instructions) Virus (instructions) Voyager (instructions) Whirlygig (instructions) Word Perfect (instructions) SEWER DOC DISK NUMBER 7 Arctic Fox (instructions) Award Maker (extensive instructions) Baal (instructions) Butcher Hill (instructions) Championship Golf (instructions) Cosmic Bouncers (instructions) Cosmic Pirates (instructions) C Tutorial (introduction to C - 60K+) Demon's Winter (instructions) Elite Hints (more hints) Fast Break (instructions) Fright Night (instructions) Gold Rush (instructions) Hints & Tips (tips to 10 programs) Impossible Mission II (extensive instructions) Kennedy Approach (instructions) King of Chicago (instructions) Manhunter (extensive instructions + solution) Manual Pt. 2 (part 2 of the manual you should have got) Millenium 2.2 (solution) Phasar Home Accounts (instructions) Roger Rabbit (extensive instructions) Simulation City (instructions) Slip Stream (instructions) Space Quest (extensive solution) Star Ball (instructions) STOS Compiler (extensive instructions - over 60K) STOS Maestro (extensive instructions - over 100K) Technocop (extensive instructions) TV Sports Football (instructions) Wanted (instructions) Zynapse (instructions) SEWER DOC DISK NUMBER 8 Barbarian II (map) Bard's Tale (yet more hints & tips) Brataccas (instructions) Chessmaster 2000 (extensive instructions) Devpac Contents (table of contents for the Devpac docs) Devpac Chapter 1 (chapter 1 of the Devpac manual) Devpac Chapter 2 (chapter 2 of the Devpac manual) Devpac Chapter 3 (chapter 3 of the same manual) Devpac Chapter 4 (chapter 4) Devpac Chapter 5 (guess what?) Devpac Editor (quick reference guide for the DP editor) Devpac Gem Libraries (a list of the Gem functions) Devpac Menus (I'm not sure about this one) Devpac Reference Guides (quick reference guides) Earl Weaver Baseball (instructions) Ebonstar (instructions) Eye (instructions) Habaview (extensive instructions) Hacker II (extensive instructions) Hollywood Hijinks (solution) Mission Elevator (instructions) Superbase (extensive instructions) Sorceror (extensive solution) Ultima IV (extensive instructions - 100K+) SEWER DOC DISK NUMBER 9 Blitz Copier (instructions & circuit diagram) Falcon Mission Disk 1 (instructions & map) Federation of Free Traders (brief instructions) Football Manager 2 (instructions) Journey (brief instructions) Jug (instructions) Kingdom of England (extensive instructions) King's Quest I (extensive solution) King's Quest II (extensive solution) Kult (instructions) Lombard RAC Rally (instructions) Mono Monitor Enlargement (instructions) Pictures (25 maps for the Bard's Tale) Ram Disk (instructions and C source code) Upgrade (520ST) (tutorial to upgrade a 520 to a 1040) Viruses (description of known ST viruses) SEWER DOC DISK NUMBER 10 Adventure 550 (extensive solution) Adventureland (solution) Alice In Wonderland (solution) Amazon (solution) Blade of Blackpoole (solution) Count (solution) Curse of Crowley Manor (solution) Cutthroats (extensive solution) Death in the Caribbean (extensive solution) Degas Elite (extensive instructions - 145K) Degas Elite Quick Reference (quick reference guide) Docs Directory  (this file) Dragonworld (solution) Ghost Town (solution) Hardware Specifications (detailed description of ST hardware) Institute (solution) Jokes I (25K of sick, yet humourous jokes) Jokes II (Another 20K of jokes in the same vein) King's Quest 3 Manual (extensive instructions) King's Quest 3 Solution (extensive solution) King's Quest 4 Manual (extensive instructions) King's Quest 4 Solution (extensive solution) Manual Part 3 (part 3 of the 'proper' ST manual) Mask of the Sun (solution) Mystery Funhouse (solution) NEC Multisync (how to use an NEC Multisync with Mega ST's) Police Quest (extensive solution) Police Quest 2 (extensive solution) Space Quest (extensive solution) Space Quest II (extensive solution) Space Quest III (extensive solution) Thexder (instructions) Ultima 3 (extensive instructions) Voyager (instructions) SEWER DOC DISK NUMBER 11 Adventure Quest (solution) Amazon (solution) Ballyhoo (solution) Barbarian 2 (instructions) Beyond Zork (hints) Bible (The) (humourous imitation of bible) Borderzone (solution) Breakers (solution) Blitz Pics (pictures for wiring Blitz copier) Brimstone (solution) Bureaucracy (solution) Black Cauldron (solution) Colossal Adventure (solution) DBMan (instructions) Elite Novella (part 1 of the extensive instructions) Novella Pt. 2 (part 2 - in 2 parts for 520 users) Essek (solution) F16 Combat Pilot (instructions - extensive) F16 Screen (instructions for screen editor) F16 Editor (more instructions) F16 Key Guide (quick reference guide) Federation of Free Traders (instructions) Gnius (instructions) G-Plus (instructions) Ingrids Back (solution) Jigspell (instructions) Kult Pt. 1 (scenario) Kult Pt. 2 (part 2 of the above scenario) Legend Of The Sword (solution) Manual (final part) Powerdrome (instructions) Postman Pat (instructions) Shoot 'Em Up Construction Kit (instructions) Thunderbirds (instructions) War Machine (instructions) SEWER DOC DISK NUMBER 12 Beyond Zork Map (map for beyond zork solution) Beyond Zork Pt. 1 (solution) Beyond Zork Pt. 2 (part 2 of the above) Champ (The) (instructions) Conflict Europe (codes) Disk Structure (guide to ST disks and drives) FOFT Guide (extensive documentatiion) Hillsfar (instructions) Jack Nicklaus Golf (instructions) Moonmist (solution) Pirates Pt. 1 (instructions) Pirates Pt. 2 (part 2 of the above) Pirates Pt. 3 (part 3 of the one above the above) Return To Eden (solution) Rodeo Games (instructions) Sherlock (solution) Sleeping Gods Lie (instructions) Spellbreaker (solution) Stationfall (solution) STOS Commands (brief summary of STOS Basic commands) STOS Manual Pt. 1 (part 1 of the extensive manual) STOS Manual Pt. 2 (part 2 of the above) STOS Manual Pt. 3 (yeah, you know what) Thai Boxing (instructions) Treasure Island (solution) Ultima 1 (instructions) Ultima 2 (instructions) Witness (solution) Worm In Paradise (solution) SEWER DOC DISK NUMBER 13 ------------------------ Airborne Ranger (instructions) Batman (instructions) Balance of Power (instructions) Crimson crown (solution) Farenheit 451 (solution) Frost Byte (instructions) Gateway (solution) Graphics (information/articles) Gnome Ranger (solution) Grand Prix Circuit (instructions) Gold Rush  (solution) Headcoach (instructions) Hints & Tips (hints and tips for various games) Superstar Indoor Sports (instructions) Kennedy Approach (instructions) Kult (instructions) Karate Kid II (instructions) K-View (instructions) Legend (instructions) Lords Of Time (solution) Leaderboard (list of clubs) Leathernecks (instructions) Licence To Kill (hints) Mercenary (instructions) Namy Moves (codes) Neodesk (instructions) New Adventure (solution) Oil Imperium (instructions) Paladin (instructions) Passing Shot (instructions) Phobia (instructions) Populous (instructions & hints) Protext Tutorial Files (tutorial for using protext) Questron 2 (instructions) Quintette (hints) Red Heat (instructions) Romantic Encounters A/T Dome (instructions) Sex Vixens From Space (instructions) Sidewinder (instructions) Skychase (instructions) Star Fleet Battle 1 (instructions/codes) Summer Olympiad (instructions) Super Scramble (instructions) Thunderbirds (passwords) Technocop (instructions) The Deep (instructions) Time Scanner (hints) Total Eclipse (keys) Trinity (solution) Times Of Lore (instructions) Vampires Empire (instructions) Video Vegas (instructions) Virus (instructions) Xybots (instructions) Zork Zero (instructions) SEWER DOC DISK NUMBER 14 ------------------------ Batman The Movie (instructions) Castle Warrior (instructions) Chaos Strikes Back (instructions) Chariots Of Wrath (instructions) Double Dragon (instructions) Elite Passwords (passwords for 'cheating') F16 Combat Manual Pt. 1 (the extensive manual) F16 Combat Manual Pt. 2 (part 2 of the above) Fast Lane (instructions) Fiendish Freddy (instructions) Fighter Bomber (instructions) Ghostbusters 2 (instructions) Gilbert (instructions) Hard Driving (instructions) Hippo Simple Database (instructions) Indiana Jones 3 (instructions) Interphase (instructions) Jokes (various sick jokes) Laser Squad (instructions) Leaderboard (instructions) Leonardo (instructions) Lost Dutchman's Mine (instructions) Manhunter 2 (instructions) Mr Heli (instructions) Multidesk (instructions) Neodesk 2.0 Pt. 1 (extensive instructions - part 1) Neodesk 2.0 Pt. 2 (part 2 of guess what) Neodesk 2.0 Pt. 3 (shit this is big) Promised Lands (instructions) Revolver (instructions) Rick Dangerous (instructions) Robocop (instructions) Scapeghost (instructions) Shinobi (instructions) Space Ace (instructions) Space Ace (solution) Spectrum 512 (instructions) Strider (instructions) Stunt Car Racer (instructions) Thunderbirds (instructions) Vegas Gambler (codes) Wicked (instructions) SEWER DOC DISK NUMBER 15 ------------------------ A Brief Intro (this file) Archipelagos (instructions) Asterix (instructions) Barbarian 2 (solution) Blood Money (instructions) BMX Simulator (instructions) Conflict Europe (instructions) Enduro Racer (instructions) Future Wars (instructions) Future Wars Solution (solution) Garfield (instructions) Hard Drivin' (instructions) Head Coach Pt. 1 (part 1 of the extensive 240K docs) Head Coach Pt. 2 (part 2 of the above) Head Coach Pt. 3 (this is boring) Head Coach Pt. 4 (and unbelievably big !!) Hints & Tips (hints and tips for various games) Indiana Jones The Adventure (solution) Kenny Dalglish Soccer  (instructions) Knightforce (instructions) Leisure Suit Larry 2 (solution) Mayday (instructions) Mindbender (instructions) Northstar (instructions) Oil Imperium (instructions) Powerdrift (instructions) Pharoah (instructions) Police Quest 2 (extensive solution) Prince (instructions) Quartz (instructions) Rock'N'Roll (instructions) Scapeghost (solution) Shaolin (Chambers Of) (instructions) Sleeping Gods Lie (solution) Spectrum 512 Pt. 1 (the much awaited extensive docs) Spectrum 512 Pt. 2 (part 2 of the above) Spectrum 512 Pt. 3 (need I say it ??) Spherical (instructions) Stormlord (instructions) Switchblade (instructions) Super Wonderboy (instructions) T/Drive II - The Muscle Cars (instructions) Terry's Big Adventure (solution) Teenage Mutant Ninja Turtles (instructions) Ultima III (hints & tips yet again) Ultima IV (likewise) Vortex (instructions) Xenophobe (instructions) --------------------------------------------------------------------- Well, that concludes the list for this time, but we'll be back again in the not too distant future with Sewer Doc Disk 20 and an updated list. We hope you enjoy this production, and until next time, goodbye from Sewer Rat and Sewer Software. (part 1 of the extensive 240K docs) Head Coach Pt. 2 (part 2 of the above) Head Coach Pt. 3 (this is boring) Head Coach Pt. 4 (and unbelievably big !!) Hints & Tips (hints and tips for various games) Indiana Jones The Adventure (solution) Kenny Dalglish Soccer (instructions) Knightforce (instructions) Leisure Suit Larry 2 (solution) Mayday (instructions) Mindbender (instructions) Northstar (instructions) Oil Imperium (instructions) Powerdrift (instructions) Pharoah (instructions) Police Quest 2 (extensive solution) Prince (instructions) Quartz