Q`8 HN0p MNuTHIS DISK HAS BEEN IMMUNIZED AGAINST MOST VIRUSES BY THE 'ULTIMATE VIRUS KILLER' VERSION 6.3 BY RICHARD KARSMAKERS, *THE* ATARI VIRUS KILLER!!!puke'(*** _@` /@`! #@%`')+-/1 3@5`79;=?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@u`w{ @` ` @ ` @ ` @ ` ǀ ɠ @ ` ׀ ٠  @` @`!Aa   !Ao!!#A%a')+-/1!35a79;=?A!CAEaGIKMOQ!SAoWY[]_a!cAeagikmoq!sAuawy{}!Aa!Aa!Aa!Aa!Aaǁɡ!Aaׁ١!Aa!Aa " B b  !"!B!b!!!!"!""#B"%b"'")+"-"/#1"#3B#5b#7#9#;#=?$A"$CB$Eb$G$I$KM$O%Q"%SB%Ub%W%Y[%]&a"&cB&eb&g&&k&m&o'q"'sB'ub'w'y'{'}'("(B(b((((()")B)b)))))*"*B*b*****+"+B+b+++++,",B,b,@` /@`! #@%`')+-/1 3@5`79;=?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@u`w{ @` ` @ ` @ ` @ ` ǀ ɠ @ ` ׀ ٠  @` @`!Aa   !Ao!!#A%a')+-/1!35a79;=?A!CAEaGIKMOQ!SAoWY[]_a!cAeagikmoq!sAuawy{}!Aa!Aa!Aa!Aa!Aaǁɡ!Aaׁ١!Aa!Aa " B b  !"!B!b!!!!"!""#B"%b"'")+"-"/#1"#3B#5b#7#9#;#=?$A"$CB$Eb$G$I$KM$O%Q"%SB%Ub%W%Y[%]&a"&cB&eb&g&&k&m&o'q"'sB'ub'w'y'{'}'("(B(b((((()")B)b)))))*"*B*b*****+"+B+b+++++,",B,b,DOC_DISK028CAMELOT SWR?)CAPTFIZZSWR HCASEBOOKSWRCpCENTSQRSSWRn&CHRONOIISWRyCOLONELSSWR}\/DDARE3 SWR"ENFORCERSWRF19STLTHSWR/GALCONQ SWR+IMPCODESSWR IMPERIUMSWRyKADASH SWR&KILLDOZESWR(K_SWITCHSWR*$MEDUSA SWR4MTPRO1 SWRUdMTPRO2 SWRqNINJA_M SWR d ONSLAUGHSWR*OUTRUN SWRPLATOON SWR{+POWPLAY SWR*OPUFFY SWR>x7WILLOW SWRL7BIONICOMSWRZBLOCKBUSSWR6__&BREACH SWR9iAUTO  ^Sewersoft presents..... CONQUESTS OF CAMELOT SOLUTION (King Arthur, The Search For The Grail) (By Math Claessens) YOU START ON THE FLOOR PLAN FROM THE CASTLE - GO TO MERLINS ROOM - LOOK ROOM - LOOK OBJECTS - LOOK MERLIN -ASK ABOUT GAWAINE - ASK ABOUT GALAHAD - ASK ABOUT LAUNCELOT - ASK ABOUT QUEEN -TALK TO MERLIN - LEAVE ROOM - GO TO THE QUEENS BOWER - LOOK BOWER - LOOK FLOWERS - GET ROSE - ASK ABOUT THE MESSAGE OF THE ROSE - TALK TO THE QUEEN (4 TIMES) - KISS GWENHYVER - ASK ABOUT LAUNCELOT - LEAVE BOWER - NOW GO TO YOUR OWN ROOM - LOOK ROOM - LOOK CLOTHES - CHANGE CLOTHES - GET PURSE - LEAVE ROOM - GO TO MERLIN -ASK ABOUT THE GRAIL - LOOK MAP (ON THE WALL) - STUDY MAP (DRAW ALL THE PLACES ON A PIECE OF PAPER) - LOOK DESK - LOOK SCROLL - READ SCROLL - LOOK FLASK - LOOK BEAKER - OPEN CHEST - GET LODESTONE - LEAVE ROOM - GO TO THE TREASURY - TALK MAN - GIVE PURSE - GET GOLD - GET SILVER - GET COPPER - GET PURSE - ASK ABOUT BUNDLES - ASK ABOUT GAWAINE - LEAVE ROOM - GO TO MERLIN - TALK MERLIN - LEAVE ROOM - GO TO THE CHAPEL OF TWO GODS - GO TO THE LEFT SYMBOL - KNEEL - PRAY - GIVE MONEY - 1 GOLD PIECE - STAND - LOOK FLAMES - GO TO THE RIGHT SYMBOL - KNEEL - PRAY - GIVE MONEY - 1 GOLD PIECE - STAND - LOOK FLAMES - GO TO THE TREASURY - GIVE PURSE - GET GOLD - GET SILVER - GET COPPER - GET PURSE - GO TO MERLIN - TALK TO MERLIN - LEAVE ROOM - GO TO THE OUTER COURTYARD - GO TO THE MAN LEFT UNDER IN THE SCREEN - TALK MAN - ASK ABOUT GAWAINE - WALK LEFT FROM THE HORSE - MOUNT HORSE - RIDE THE HORSE OUT OF THE CASTLE WITH THE ARROW KEY'S - NOW RIDE YOUR HORSE TO GLASTONBURY TOR - GO TO THE STATUE - WHEN THE WIDDERSHINS APPEARS : GIVE MONEY - 1 COPPER COIN - LOOK STATUE - WEST - TALK MAN - ASK MAN ABOUT FAMALY - ASK ABOUT PELTS - BUY PELTS - GIVE MONEY - 1 SILVER COIN - ASK ABOUT GAWAINE - ASK ABOUT TOR - ASK ABOUT GRAIL -ASK ABOUT BOARS - BUY SPEAR - GIVE MONEY - 1 GOLD COIN - ASK ABOUT BLACK KNIGHT - WEST - KILL THE BOARS BY HITTING THE SPACE BAR - AFTER KILLING THE BOARS : WEST - TALK TO CROW - YES - LOOK SKELETON - GET SILK - EAST - YES - FIGHT THE BLACK KNIGHT - EAST - LOOK GAWAINE - BREAK SHACKLES WITH SWORD - ASK ABOUT GRAIL - CARRY GAWAINE TO HORSE - EAST - TALK TO HAG - GIVE SLEEVE -LOOK PEDESTAL - READ INSCRIPTION (A RIDDLE) - WEST - TALK STONE - NOW TYPE THE WORD THAT SOLVES THE RIDDLE, DO THIS WITH ALL THE FIVE STONES. I WILL GIVE YOU NOW THE SOLUTIONS FROM THE RIDDLES.) Riddle Solutions: YOU CAN SEE NOTHING ELSE WHEN YOU LOOK IN MY FACE. I WILL LOOK YOU IN THE EYE, AND I WILL NEVER LIE. (MIRROR). EACH MORNING I APPEAR TILIE YOUR FEET. ALL DAY I FOLLOW, NO MATTER HOW FAST YOU RUN. YET I NEARLY PERISH IN THE MIDDAY SUN. (SHADOW). I TURN AROUND ONCE. WHAT IS OUT WILL NOT GET IN. I TURN AROUND AGAIN, WHAT IS IN WILL NOT GET OUT. (KEY). WHEN SET LOOSE, I FLY AWAY. NEVER SO CURSED AS WHEN I GO ASTRAY. (ARROW). LIGHTER THAN WHAT I AM MADE OF. MORE OF ME IS HIDDEN THAN SEEN. (ICEBERG). I DRIVE MEN MAD FOR LOVE OF ME. EASELY BEATEN BUT NEVER FREE. (GOLD). IF YOU BREAK ME I DO NOT STOP WORKING. IF YOU TOUCH ME I MAY BE SNARED. IF YOU LOSE ME NOTHING WILL MATTER. (HEART). MY LIFE CAN BE MEASURED IN HOURS. I SERVE BY BEEING DEVOURED. THIN, I AM QUICK. FAT, I AM SLOW. WIND IS MY FOE. (CANDLE). TO UNRAVEL ME YOU NEED A SIMPLE KEY. NO KEY THAT WAS MADE BY LOCKSMITHS HAND, BUT A KEY THAT ONLY I WILL UNDERSTAND. (RIDDLE). I GO ALWAYS IN CIRCLES, YET ALWAYS STRAIGHT AHEAD. NEVER COMPLAIN, NO MATTER WHERE I AM LED. (WHEEL). LOVELY AND ROUND, I SHINE WITH PALE LIGHT. GROWN IN THE DARKNESS, A LADYS DELIGHT. (PEARL). AT THE SOUND OF ME MEN MAY DREAM OR STAMP THEIR FEET. AT THE SOUND OF ME WOMEN MAY LAUGH OR SOMETIMES WEEP. (MUSIC). I AM ALWAYS HUNGRY. I MUST ALWAYS BE FED. THE FINGER I LICK WILL SOON TURN RED. (FIRE). WEIGHT IN MY BELLY, TREES ON MY BACK, NAILS IN MY RIB, FEEL I DO LACK. (SHIP). BRIGHT AS DIAMONDS, LOUD AS THUNDER, NEVER STILL. A THING OF WONDER. (WATERFALL). IF A MAN CARRIED MY BURDEN HE WOULD BREAK HIS BACK. I AM NOT RICH BUT LEAVE SILVER IN MY TRACK. (SNAIL). I AM SEEN IN THE WATER IF SEEN IN THE SKY. I AM IN THE RAINBOW, A JAYS FEATHER AND LAPIS LAZULI. (BLUE). GLITTERING POINTS THAT DOWNWARD THRUST. SPARKLING SPEARS THAT NEVER RUST. (?). (I'd guess at rain/snow..... Sewercide) UNTIL I AM MEASURED I AM NOT KNOWN. YET HOW YOU MISS ME WHEN I HAVE FLOWN. (TIME). THREE LIVES HAVE I : GENTLE ENOUGH TO SOOTHE THE SKIN, LIGHT ENOUGH TO CARESS THE SKY, HARD ENOUGH TO CRACK ROCKS. (WATER). YOU HEARD ME BEFORE YET YOU HEAR ME AGAIN. THEN I DIE TIL YOU CALL ME AGAIN. (ECHO). WHEN YOUNG, I AM SWEET ON THE TONGUE. WHEN MIDDLE AGED, I MAKE YOU GAY. (Sounds a bit SUS!...Sewercide) WHEN OLD, I AM MORE VALUED THEN EVER. (WINE). I AM ONLY USEFUL WHEN I AM FULL. YET I AM ALWAYS FULL OF HOLES. (SIEVE). ALL ABOUT BUT CANNOT BE SEEN. CAN BE CAPTURED, CANNOT BE HELD. NO THROAT CAN BE HEARD. (WIND). ---------------------------------------------------------------------------- AFTER SOLVING THE RIDDLES :GO WEST(RUINS) -WALK THROUGH THE RUINS UNTIL YOU FIND A MONK - TALK TO MONK - ASK ABOUT GRAIL - FIND THE MONK AGAIN - KILL THE MONK BY : USE SWORD AND PRESS THE SPACE BAR, DON'T KILL THE WRONG MONK - AFTER KILLING THE MONK GO TO THE ALTAR - PUT MONEY ON ALTAR - 5 SILVER COINS - GET KEY - NORTH - USE KEY - OPEN WELL - PUT HAND IN WATER - NORTH - EAST - EAST - SOUTH - NOW GO TO THE MOOR - EAST NORTH - NOW TYPE : LOVE IS MY SHIELD - FOLLOW THE PETELS TO WALK SAFELY OVER THE ICE - ENTER CASTLE - WALK TO THE ICE MAIDEN - LOOK - TALK WOMAN - GIVE HEART - RELEASE LAUNCELOT - FOLLOW THE ICE MAIDEN - YES - NOW DO THE TEST WITH THE FLOWERS - I WILL GIVE YOU THE LIST WITH FLOWERS AND THEIR MEANINGS, SO YOU CAN SOLVE THIS TEST: Flowers: ALMOND BLOSSOM - HOPE ANEMONE - WITHERED HOPES ASTER - AFTERTHOUGHT BUTTERCUP - MEMORIES OF CHILDHOOD CARNATION - HEARTBREAK COLUMBINE - FOLLY CHRYSANTHEMUM YELLOW - SLIGHTED LOVE CHRYSANTHEMUM WHITE - THRUTH CORNFLOWER - CELIBACY DAFFODIL - DEATH FORGET ME NOT - TRUE LOVE HYACINTH - SPORT,GAME OR PLAY LILY WHITE - PURITY LILY YELLOW - FALSEHOOD ORCHID - SEDUCTION PERIWINKLE BLUE - EARLY FRIENDSHIP PERIWINKLE WHITE - PLEASURES OF MEMORY POPPY RED - CONSOLATION POPPY SCARLET - FANTASTIC EXTRAVAGANCE SNOWDROP - HOPE OR CONSOLATION SUNFLOWER - HAUGHTINESS TULIP RED - DECLARATION OF LOVE TULIP YELLOW - HOPELESS LOVE VIOLET - LUST ---------------------------------------------------------------------------- AFTER THE TEST : WEST - WEST - TRAVEL TO SOUTHAMPTON - TALK TO MAN - ASK ABOUT GALAHAD - ASK ABOUT GAZA - PAY FOR GAZA - 3 GOLD COINS - (GAZA) - GO WITH BOY - EAT - DRINK - ASK ABOUT GALAHAD - ASK ABOUT GODESS - ASK ABOUT SIX GODDESSES - WRITE DOWN HER NAMES AND SYMBOLS ON A PIECE OF PAPER. YOU NEED IT LATER IN THE GAME - ASK ABOUT GUARDIANS - ASK ABOUT TEST - STAND - LEAVE THIS PLACE - PAY MAN - FOLLOW MAN - ON THE POOL DON'T DRINK THE WATER - USE SWORD F8 - EAST - NORTH - ENTER PLATFORM - WALK DOWNSTAIRS - DRINK - ASK ABOUT POOL - ASK ABOUT AQUADUCT - GO UPSTAIRS - DOWN PLATFORM - NORTH - (SAVE YOUR GAME HERE) - TYPE : USE SWORD - WHEN THE FALSE GUIDE APPEARS PRESS THE SPACE BAR TO KILL HIM - AFTER KILLING HIM PRESS F8 - NORTH - WALK TO GUARDS - PAY MONEY - 4 COPPER COINS - GIVE COINS - WEST - NORTH - WEST - (JAFFA GATE) - PRESS F8 WHEN YASSAR TRY'S TO GET YOUR MONEY - ENTER GATE - OH MY DEAR, A THIEF HAS STOLEN MY PURSE - SO WHAT TO DO NOW, WELL FOR THE BEGINNING WE DO NOTHING ON THIS - WALK TO MOHAMMED - TALK TO MOHAMMED - SELL MULE - S - W - LOOK WOMAN - TALK TO WOMAN - BUY APPLE - 1 GOLD COIN - E - TALK TO MAN - WALK TO WOMAN - TALK WOMAN - BUY FELAFEL - 1 COPPER COIN - GIVE FELAFEL TO URCHIN (THE LITTLE CHILD) - W - S - GO TO FICTILIA - TALK MAN - BUY MIRROR - 2 SILVER COINS - WEST - YELL FOR MARI - TALK TO MARI - ASK ABOUT VEIL - THROW MIRROR - S - GIVE VEIL - W - W - TALK TO FAWAZ - S - W - TALK TO HAYYAM - S - BUY HERBS - 1 SILVER COIN - S - GIVE HERBS - S - W - TALK TO FAWAZ - BUY LAMB - 6 COPPER COINS - E - E - GIVE LAMB TO SARA - W - W - TALK TO ISMAIL - BUY RELIC - PETER - PAY - 1 GOLD COIN - TALK TO TARIQ - GIVE RELIC - S - E - KNOCK DOOR - GIVE BROOM - ENTER DOOR - NEXT MORNING : E - TALK TO BEGGAR - S - E - E - BUY CHARCOAL - 2 COPPER COINS - S - E - E - GIVE CHARCOAL - W - W - W - TALK TO GIRL - E - TALK TO ALI - BUY GRAIN - PAY - 3 COPPER COINS - W - WALK TO CAGE - SCATTER GRAIN - S - W - TALK TO WOMAN - W - W - LOOK DOOR - KNOCK DOOR - ENTER HOUSE - SAY NO TO ALL HER OFFERS - WALK TO FATIMA - LOOK FATIMA - ASK ABOUT GRAIL - ASK ABOUT TEST - ASK ABOUT GALAHAD - ASK ABOUT CATACOMBS - ASK ABOUT HIEROPHANT - GIVE PURSE - ENTER THE DOOR ON THE RIGHT - NOW PLAY THE TEST - PUT THE CORRECT TABLETS IN THE CORRECT SQUARES (REMEMBER THE SYMBOLS EARLIER IN THE GAME, FOR TO DO THIS TEST YOU MUST KNOW MORE ABOUT THE SIX GODDESSES, ITS IN THE MANUEL ON PAGE 9 AND 10) - AFTER PLAYING THE TEST : LEAVE THE HOUSE - OUTSIDE THE HOUSE, GO SOUTH - TALK TO BEGGAR - ASK ABOUT GALAHAD - OPEN CATACOMBS - NOW FIND THE MUMMY OF A CHILD (NORTH-EAST) - LOOK MUMMY - GET MEDALLION WITH SWORD - NOW FIND THE SARCOPHAGUS (NORTH-NORTH) - READ INSCRIPTION - LOOK IN SARCOPHAGUS - GET GOLDEN APPLE - NOW FIND GALAHAD (WEST - EAST - EAST) - SHIT YOU ARE BITTEN BY A RAT, SO MOVE QUICKLY - GO TO GALAHAD - GIVE ELIXER - WEST - NORTH - NORTH - EAST - SOUTH - LOOK STATUE - PUT GOLDEN APPLE IN PALM - NOW ANSWER THE SIX QUESTIONS (MANUEL PAGE 10 AND 11) - AFTER ANSWERING THE QUESTION YOU GET SIX DIRECTIONS, WRITE THEM DOWN ON A PIECE OF PAPER (WEST - EAST - SOUTH - EAST - SOUTH - NORTH) - NOW USE THE LODESTONE TO SEE WHERE THE TRUE NORTH IS, IN EVERY ROOM USE THE LODESTONE SO YOU CAN FIND YOUR WAY OUT OF THE CATACOMBS - AFTER A WALK FROM SIX DIRECTIONS YOU SEE A SKELETON - WALK TO SKELETON - LOOK SKULL - GO UPSTAIRS - NOW WALK LEFT AROUND THETEMPLE UNTIL THE SARACEN APPEARS - EAT APPLE - GET HELMET - KILL THE SARACEN - AFTER KILLING THE SARACEN : USE DOVE - FOLLOW THE DOVE TO APHRODITE - LISTEN TO HER AND THEN GO EAST - PUSH THE THIRD PILLAR FROM THE LEFT - YOU FOUND THE GRAIL - OH GOD HE IS STOLEN FROM YOU - FOLLOW THE THIEF IN THE ALLEY - GET GRAIL - SIT DOWN AND WATCH THE SHOW !!! THE END !!! (Edited and reformatted by Sewercide ..... sounds like a tricky game) Sewer Software and DR.J presents..... CAPTAIN FIZZ by Psygnosis CONGRATULATIONS! OK, so it was only a routine tonsillectomy. Bet you never guessed you'd recover consciousness on another planet, did you? Or that when you did come round, you'd still have your tonsils? Plus another body into the bargain? Surprise, surprise! Relax! Being hi-jacked on the operating table by an intergalactic Clone- Combat Press Gang isn't all bad! The fact that you're reading this means your operation was a complete success (sorry about the kidneys) and we're sure you're getting along just dandy with your new pal. And if your not...tough. The process is irreversible. If all that's got you sweating under your collars, just read on for the Regimental History. Meanwhile, be NICE to each other, OK? And...oh yes...welcome to THE QUEEN'S CLONED HIGHLANDERS RULES OF CONDUCT The QUEEN'S CLONED HIGHLANDERS must at all times conduct themselves in a manner befitting their Regiment. Her Galactic Majesty particularly requires her subjects to: Greet all aliens with respect and at least five blasts of blistering white death. For a particularly respectful occasion (a funeral, for example) press F7 to detonate Player 1's blitter bomb (F8 for player 2's). Kick ass (where ass can be seen, otherwise kick nearest protuberance). Press F1 to start the top player, F2 for the bottom player, and the fire button to communicate with aliens (see above). Preserve appearances and exercise a shoot-to-kill policy at all times. Keep a stiff upper oral appendage and press F10 for a hard game, F9 for baby stuff. Never to retreat under any circumstances (OK, F4 - restart, F3 - pause). Masochists can return to the highest level previously completed during the current session (in units of 5) by hitting the HELP key when on the game difficulty select screen. Save on regimental expenses whenever possible (F5 - player 1 suicide; F6 - player 2 ditto). Yes, you can play this game on your own. No, you can't win on your own. Prove us wrong... REGIMENTAL HISTORY The QUEEN'S CLONED HIGHLANDERS have an honourable and glorious tradition stretching back over many years. The Regimental Founder, Dr. Johan Ellisson, was the first military operative to turn a run-of-the-mill NHS subcontract into a source of superlative, unprincipled fighting machines (and large amounts of cash). Seized with compassion for those whiling away the months awaiting minor operations, he offered them the chance of a new identity as cloned intergalactic stormtroopers. By offering this opportunity AFTER the operation, he ensured a steady flow of recruits. Ever since, the QCH have carved for themselves a reputation second to none. The mission to Planet Icarus is a perfect example of double-death- dealing, in which operatives progressed through different levels to destroy the Master Computer. By destroying the alien generators on each level, collecting keys and other objects, and by working out how to disarm the planetary defences, the operatives were able to ascend through the floors by means of special lifts. During the struggle, audio signals often indicate the accomplishment of some objective, enabling the operatives to enter lifts, cross barriers and solve puzzles. Tactical challenges included the proper distribution of keys between combatants, plus knowing when to fight together...and when to fight alone. United we stand... Sewer Software and DR.J present..... 221 B BAKER STREET : CASEBOOKS 1 & 2 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ - CASEBOOK ONE - Case #1 The Adventure of the Unholy Man A strange preacher had come to town, a large morocco-bound Bible under his arm. Scotland Yard is puzzled when the preacher is found stabbed to death in his balcomy seat at the Playhouse during a performance of Hamlet. Duchess Tallcourt, who accompanied the victim to the Playhouse, discovered the body upon returning from the powder room after intermission. The preacher's Bible was gone; and on the floor neraby were a German-made cigarette and a packet of aspirin. It was common knowledge that the Duchess, previously a benefactor of the Bishop of Whittenfroth, had come to support the new preacher's views. This greatly angered the Bishop and Duke Tallcourt. The Longworth Acting Troupe was performing the play, Earl Longworth in the lead. Longworth, a rascally cad, had been wooing the duchess's daughter, Anastasia, in hopes of gaining support for his poverty-stricken troupe. Scotland Yard wants to know a) who killed the preacher, b) the weapon, and c) the motive. The game is afoot! Case #2 The Adventure of Silver Patch Yesterday morning, the famous thoroughbred horse, Silver Patch, and his trainer, Oscar Switt, were found dead in the horse's stall at the Cosgrove Stables. The horse had been poisoned; and the trainer had been hit over the head and stabbed repeatedly with a sharp object. Silver Patch, so named for the patch of silver hair on his mane, was owned by Sir Reginald Cosgrove, a breeder who also owns four other horses. Persons routinely questioned by Inspector Gregson of Scotland Yard include Sir Reginald Cosgrove and his petite wife, Madame Hilda Copsgrove; the Cosgrove cook, Mrs. Maggie Doan; Mrs. Doan's husband, house painter Henry Doan; and rival horse breeder, Sir Archibald Baxter. Scotland Yard is also looking for one Bobby Jansen, a stable boy who left the Cosgrove's employ, unhappily, about a month ago. The only clues discovered at the scene of the crime were some broken pieces of glass from the bottom of an ale bottle and a pawnbroker's ticket. Unable to develop a solid lead, Inspector Gregson has come to 221 B Baker Street to consult with the master sleuth. Gregson wants to know: a) who killed the horse and the trainer, b) the weapon used to kill the trainer, and c) the motive. The game is afoot! Case #3 The Adventuere of the Chameleon's Vengeance Byron Chivers, a boyhood friend of Sherlock Holmes, arrives from Switzerland with a fine Swiss pocket watch as a present for the famous sleuth. Byron, Watson, and Holmes are about to leave for the Playhouse, where violin virtuoso Alfredo Fetuchinni is going to perform. It is well known that Holmes is a violin buff, so playhouse director, Sir Charles Higginbottom, has asked Holmes to play a duet finale with Fetuchinni. While Byron, Watson, and Holmes are waiting for their carriage, Inspector Lestrade rushes up with ominous news: The Chameleon, a master of disguise, has escaped prison. It was Holmes who originally captured the Chameleon, and the criminal swore vengeance on this, the first anniversary of his capture. Fearing for his friend's life, Watson attempts to prevent Holmes from going to the concert. But the detective is adamant. At the Playhouse, Madam Clara Leslie, a wealthy patron of the arts, presents Holmes with a potted geranium. Carriage driver Jerome Magnuson tells the party he'll return to pick them up after the concert. Watson attends to the WC and returns with a sudden case of laryngitis, blaming it on his nervousness concerning the Chameleon. Sir Charles Higgenbottom personally greets Holmes' party to show them to their balcony seats, and Holmes notices that Sir Charles is extraordinarily pale. The Chameleon has indeed formulated a plot which involves a deathly surprise for the master detective. In order to abort the Chameleon's plan, Holmes must find out: a) what the surprise is, b) where the surprise is hidden, and c) unmask the Chameleon. The game is afoot! Case #4 The Adventure of the Coded Message Last week the sad song of a hungry canary drew landlord Hilda Trevors to check the small room above the Pawnbroker shop, where she found the canary's owner and proprietor of the Pawnbroker shop, Rafer Harmon, dead of a heart attack. Harmon was slumped over his Edwardian style desk, surrounded by a roomful of assorted pawned items such as a riding saddle; a cobbler's bench; a complete set of Old English armour; a handmade wooden battleship; and old handcarved Hotel sign; a collection of Dutch pottery; and an array of musical instruments, clocks, and watches. On the desk top next to Harmon was an envelope addressed to one Harry Blake, in care of a prison in Switzerland. An investigation by Scotland Yard has revealed that Rafer Harmon was actually Rudolph Hickel, a petty thief wanted by authorities for his involvement in a number of burglary capers. Hickel dropped out of sight a few years ago after double-crossing a band of fellow thieves involved in a London Museum jewel heist. Hickel disappeared with the two most valuable items of the heist--the famous matching Eyes of Lucifer pearls, worth over fifty thousand pounds apiece. His partners, and Scotland Yard, have been searching for Hickel ever since. The envelope on Hickel's desk contained a note, apparently written in code. Scotland Yard believes that Hickel knew he was dying and penned this note, intending to send it to his old friend Harry Blake, who is due to be released from prison in two weeks. The coded note reads as follows: XQZMZBDCHRMHRKQZDO Unable to crack the code, Scotland Yard has come to sherlock Holmes for assistance. The Yard wants Holmes to: a) translate the coded message. Watson shakes his head in bewilderment as Holmes studies the message, takes a puff on his pipe, and remarks that this should be a rather elementary code to break. The game is afoot! Case #5 The Adventure of the Clerk's Demise Inspector Gregson and his Scotland Yard assistant, Inspector Alfred Cooke, have braved the bitter air of one of London's coldest winters on record to come 'cross town to 221 B Baker Street. Standing before the fireplace, the two Scotland Yard detectives wait until they are sufficiently thawed out before they finally speak. Addressing Holmes and Watson, Gregson relates the circumstances surrounding the curious incident of the tobacco clerk, Manfred Maloney, who was found stabbed to death in the Tobacconist shop this morning. Near the dead man's body were a puddle of water and a rolled up newspaper. The forefinger of Maloney's right hand was smeared with blood, and the word ERIN was scrawled in blood on the cigar case above his body. Gregson believes that if they can just find a woman named Erin who knew Maloney, they can solve the mystery. Gregson's assistant, however, has suggested that the word ERIN is a code word of the Erse Kernes, a secret revolutionary group active in Ireland during the country's last struggle with Britain; and he believes that Maloney's death was some sort of revenge killing. Gregson asks Holmes which of the two theories the Baker Street sleuth thinks correct, but Holmes expresses his wish to visit the scene of the crime before embracing any theories. At the Tobacconist shop, Holmes notices that the area around the body is in disarray, as if someone had been frantically searching for something. And above the back shelf, next to a photograph of Maloney himself smoking a pipe, is a large hanging calendar. Penciled into the calendar block containing today's date are the initials "D.H." and the time "9.00 a.m." "Did you find a weapon?" Watson asks the Scotland Yard detective. "No," replies Gregson. "Do you have any witnesses or suspects?" asks Watson. "None," says Gregson. "The body was found this morning by carriage driver Daniel Hardy, who stopped in the shop to purchase some pipe tobacco." "Indeed," remarks Inspector Cooke, "this is a very complex case. It seems too much to hope that we will ever find the solution." "Not so, Inspector," offers a confident Holmes. "Quite often, the more complex a case appears on the surface, the simpler the actual solution." Holmes assures them they will be able to discover: a) who killed the tobacco clerk, b)the weapon, and c) the motive. The game is afoot! Case #6 The Adventure of the Rewritten Death The curtain rises on the third act of a Playhouse mystery, Sherlock Holmes and Dr. Watson attending the performance. Playhouse star Roderick Garrick, dashingly costumed in a crimson uniform, acts to solve the puzzling death of a fellow officer. In the wings Vance Hillyard, Garrick's understudy, stands silently reflecting on each movement the noted Thespian makes. Playhouse owner Ogden Bennett, fretting over declining ticket sales, paces nervously behind the scenery. On stage, the lovely Regina Fulton, actress-wife of playwright Stephen Fulton, sobs udner questioning. Albert Boswell, attired in a green officer's tunic to denote the Rifle Brigade, steps to her side. In a stunning denouncement, Garrick reveals Boswell to be the murderer. Cornered, Boswell draws a revolver; the two men grapple. A shot rings out; a second shot ensues. Boswell recoils, falling lifelessly between the footlights. Applause is short. Regina Fulton hysterically screams for a doctor. Albert Boswell has been murdered. Roderick Garrick swears the second shot did not result from the staged fight; prop master Cliff Acker insists he loaded the gun with 'blanks'; and playwright Stephen Fulton, discounting rumors of an affair between his wife and Boswell, vows the sole reason he wrote the confrontation scene, substituting a revolver for a knife, was in the interest of better drama. Holmes must find out: a) who killed the actor, and b) the motive. The game is afoot! Case #7 The Adventure of the Pillaged Pawnbroker Early this morning, Miles Balfour, the proprietor of the Pawnbroker shop, was found stabbed to death behind the main counter of his establishment. The lock on Balfour's front door had been broken and five pounds eleven shillings was missing from the Pawnbroker's cash till. A careful inventory, conducted by Scotland Yard, also revealed that the bizarre thief had absconded with the following items: yesterday's newspaper, a porcelain flower vase, a ball of string, and a helmet which was unbolted from a complete set of Old English armour. Mrs. Eunice Balfour, who discovered her husband's body, is at a loss to shed further light on the tragedy. She recalls that her husband, who had recently purchased the shop from Alistair Krebs, had only bitter words for his unprofitable investment. Indeed, Mrs. Balfour could remember only three customers during the entire week: newspaper reporter Henry Kirk, who paid in coin to redeem some books; Mrs. Phyllis Cahill, who cleaned out her husband John's attic; and Playhouse manager Wilbur Partridge, who pawned a dusty prop box for which he couldn't find a key. Scotland Yard theorizes Balfour happened to surprise a thief burgling the shop during the night and they have arrested Paulie "The Pick" Chandler, a petty crook who was seen in the area. Informed of the facts in the case, Sherlock Holmes is convinced a thread of deeper logic runs throughout the extraordinary affair and that Scotland Yard has yet to find: a) the killer, b) the weapon, and c) the motive. The game is afoot! Case #8 The Adventure of the Empty-Handed Thief Yesterday evening, the shiftless owner of the Boar's Head Inn, Jerome Galton, was found murdered in his study above the Pub. Mrs. Bernice Galton, the deceased's rather plain wife, stated she left the upstairs flat hurriedly around 5:30 p.m. to pay an overdue grocer's bill. After dining with her father, Lord Renshaw, at the Hotel, Mrs. Galton returned at 8 pm to find her husband lying on the floor amid scattered papers, broken glass, and several overturned chairs. The pub keeper had been stabbed repeatedly in the chest. The door of Galton's wall safe was open, and a box containing the Renshaw diamonds, bequeathed to Beatrice by her late mother, Lady Renshaw, was missing. Miss Cynthia Dale, the comely waitress at the grogshop, remembered Galton had seemed fretful earlier that afternoon when he had received in the mail an inordinate amount of correspondence, and, grumbling, retired to his study to open the letters. Police constables learned tobacconist Zachary Burke had engaged Galton in a heated quarrel on the day of the murder. But both Burke and Lord Renshaw proved most uncooperative under questioning. However, the most startling development of the case occurred this morning, when a royal European family informed authorities that they had secretly purchased the Renshaw diamonds from Galton two years ago. Scotland Yard wants to know: a) who killed the pub owner, b) the weapon, and c) the motive. The game is afoot! Case #9 The Adventure of the Peculiar Charwoman Last week the body of a young charwoman was found in the storeroom of the tobacconist. Tobacco dealer Daniel Ferguson, who discovered the dead girl, has identified the victim as Bessie Kidder, a new employee of the firm. Mrs. Louise Ferguson, the tobacco dealer's wife, rather callously remarked that her husband probably worked the poor girl to death. Indeed, all evidence suggests the victim did expire from the rigors of her job or, at least, by natural causes. No marks were found on the body and a coroner's report indicates no trace of poison. Persons routinely questioned by Inspector Lestrade of Scotland Yard include Lowell Quilley, a clerk who insists he never met the unfortunate girl; Ralph Pennman, a delivery man who refuses to answer any questions without the presence of a solicitor; and daniel Ferguson, who claims the investigation has upset his delicate schedule of weekly commuting to his Liverpool shop. Inspector Lestrade would readily close the case were it not for one disturbing piece of evidence: Bessie Kidder apparently reported for work with painted fingernails. Holmes must fine out: a) who killed the charwoman, b) the motive, and c) the cause of death. The game is afoot! Case #10 The Adventure of the Duchess's Demise The kindly Duchess of Barrington was found murdered this afternoon in her sitting room at Barrington Manor. She had been brutally struck over the head with a fireplace poker. Scotland Yard has learned from the housemaid, Mrs. Maggie Wyatt, that a bridge party was in progress during the time of the murder. The Duchess, an expert player, would but watch, seemingly content to enjoy having company in her lonely estate. The Players included Lucy Blackthorn, the duchess's niece; Colin Rodney, Lucy's suitor; Alex Stafford, a retired music hall performer; and Vera bigelow, a charming young woman of obscure origins. Mrs. Wyatt stated that Rodney, goaded into a foul mood by his continual losses, frequently snapped at the Duchess, and did his chances of obtaining the Duchess's consent to Lucy's marriage great harm. Appearing considerably ruffled, the Duchess excused herself and retired to her sitting room. She asked that each player might visit her, when, as dummy, they would take no active part in the play of a hand. After Rodney's visit, the duchess called down, inviting Stafford to come up when he could. As Stafford left the sitting room, the players heard the Duchess call through the door in a shrill and somewhat strained voice, "You'll help me, won't you, Alex?" to which Stafford nodded in reply. Those words were the last the guests of Barrington Manor ever heard the Duchess speak. From that moment, the players were never out of sight of each other; the Duchess's sitting room was in plain sight of the card parlor; yet, someone, somehow, had managed to commit murder. Scotland Yard wants Holmes to uncover: a) who killed the Duchess, B)the motive, and c)how the killer's alibi was established. The game is afoot! Case #11 The Adventure of the Deadly Caller The annual Lyons family reunion at the Hotel has been postponed indefinitely. This morning, the wealthy matriarch of the clan, Mrs. Griselda Lyons, was found poisoned in her Hotel room. The windows and the door were all still locked from the inside and nothing eatable or drinkable was found in the victim's room. Hotel manager Giles Hagedorn, who was drawn to the room by a complaint from a guest overhearing a whistling radiator, states Mrs. Lyons was able to gasp three words before she expired: "I called him." Scotland Yard has arrested Hotel bellhop Bruce Sinclair and is holding him for the murder of the guest. Sinclair swears he is innocent, but admits he answered a call by Mrs. Lyons during the night to open a heating ventilator near the woman's bed. According to Mrs. Lyons' stepson, Captain Victor Juno, recently returned from duty in India, the family took adjoining suites at the Hotel and spent the afternoon on a picnic in the Park where a quarrel ensued. Against her mother's wishes, Pricilla Lyons had invited Homer Mayhew, a Bank teller who had continously courted Pricilla during her stay in London. Late in the evening, the family adjourned to the Pub, where Mrs. Lyons introduced her fiance, Lorenzo Marchetti, a flamboyant young man many years her junior. To prove Sinclair's innocence, Holmes must unmask: a)the killer, b) the weapon, and c) the motive. The game is afoot! Case #12 The Adventure of the Spinster's Will Wealthy spinster Miss Murgatroyd Pierpoint has died in her sleep. The deceased, found in the bedroom of her townhouse near the Park, had on her nightstand an unread newspaper, a packet of aspirin, and a bottle of brandy, which miss Pierpoint claimed to have used for medicinal purposes. A reading of the elderly lady's will was conducted this morning. To her niece, Miss Florence Catlett, Miss Pierpoint bequeathed the sum of five thousand pounds, with the sole condition that the money would be forfeit if her niece married within five years. The proviso drew an outburst from Miss Catlett's fiance, Elmo Wadsworth, a stevedore at the Dock. Housemaid Daphne Farber was remembered with a trust paying two thousand pounds a year. The trust was to be continued as long as the maid cared for Miss Pierpoint's poodle, Flopsy. To druggist Ward Ramsey, Miss Pierpoint facetiously bequeathed a played out gold mine, which she claimed was as worthless as Ramsey's promises to marry her had been. The druggist took his misfortune in good hunmor, stating that the spinster had, over the yuears, relished informing him of her vindictive provision. The remainder of Miss Pierpoint's estate was to revert to Lawyer Meredith Ballard, who the increasingly nearsighted spinster had come to rely on to transact her affairs. Dr. Watson, who examined the spinster only last week and found her in excellent health, suspects foul play. Holmes must find out: a)who killed the spinster, b) the weapon, and c) the motive. The game is afoot! Case #13 The Adventure of the Nettlesome Bride Miss Imogene Boylan, fiancee of the Squire of Warwick, was found murdered this morning in her suite at the Hotel. The victim lay stabbed to death before a full-length dressing mirror, her engagement ring removed from her finger. Among the suspects routinely questioned by Scotland Yard were Penelope Holloway, a seamstress who was preparing Miss Boylan's bridal trousseau; newspaper reporter Matthew Pratt, a powerful society columnist; Curt Rhodes, the deceased's cousin; and the Squire of Warwick. Each was rumored to have drawn Miss Boylan's wrath during the course of the week. Penelope Holloway had unfuriated the bride-to-be with dressmaking delays; columnist Matthew Pratt had printed an odiously slanted 'Cinderella' story concerning the impending marriage; Curt Rhodes had pressed his cousin to use her influence with the Squire to obtain a loan for Rhodes' failing Tobacconist shop; and the Squire had become increasingly disturbed by his fiancee's petulant behavior. Scotland Yard wants to know: a)who killed the bride-to-be, b) the motive, and c) the weapon. The game is afoot! Case #14 The Adventure of the Amorous Sailor FROM THE JOURNAL OF DR. WATSON: When I received the telegram from Singapore, I was stunned to learn that Willie Dryden, a philandering merchant seaman friend of mine, was planning marriage. His plan was to wed London pub waitress Mitzi cornwallis on his next stop in port and he wanted me to be his best man. A week later the wedding took place in the Hotel ballroom and Holmes accompanied me. Mitzi's father and mother, Nils and Clovis Cornwallis, seemed anxious to give the bride away, and the wedding came off, if you'll excuse the expression, without a hitch. Desiring to kiss the bride, I took my place in the receiving line behind a veiled lady in black. I kissed and chatted with Mitzi, then moved to shake hands with Willie. My old friend looked at me with a puzzled expression, his hand to his mouth, and fell over dead. Holmes apprehended the lady in black as she was running out a side door. We removed her veil to discover she was Oriental. Though questioned intensely by Inspector Gregson, the woman would not utter a word. Holmes simply looked at poor Willie Dryden's left hand and announced he had deduced: a)the woman's identity, b)her motive for murdering Willie, and c) the method she used. The game is afoot! Case #15 The Adventure of the Unknown Victim Holmes and Watson are among those attending a party given by Sir Barry Auguston and his wife Claudia. Others in attendance include Mr. and Mrs. Jeffry Riverside, good friends of the Augustons; the Rev. Allen J. Lakely; Elliot Maylard, an actor currently appearing at the Playhouse; and Priscilla Ellington, the famous authoress. The guest of honor, General Carl Seagram, arrived in full military regalia, complete with a sword at his side. The evening went well until half past ten, when a scream was heard from the upstairs level of the house. Several people, including Holmes, Watson, and Auguston, ran to see what was wrong. They found the maid who had screamed, standing in the doorway of a bedroom used by the Augustons as a guest chamber. On the bed lay a dead man who had been stabbed in the heart. A bloody sword, found next to the body, was immediately recognized as that of Gen. Carl Seagram. When the General was called for, he could not be found anywhere on the grounds. Inspector Lestrade, who arrived with several officers shortly thereafter, established one puzzling fact: no one present had ever seen the dead man before. "Obviously, the General killed this man, then fled the premises," conclusdes Lestrade. "Although I've no idea what the motive could be, or who this fellow is, once we find the General, we'll have the answers." "I'm not so sure," replies Holmes. "I think that after some investigation, we'll find that the General is not our man." Holmes plans to find: a) the real murderer, b) the identity of the victim, and c) the motive. The game is afoot! Case #16 The Adventure of the Kidnapped Songstress FROM THE JOURNAL OF DR. WATSON: Holmes and I had long looked forward to seeing American songstress Winnie Oats at the Playhouse. London was shocked, however, when the "Songbird of Cincinnati" was swept off the stage by a masked kidnapper who swung down from the rafters on a rope. Playhouse director Barney Loss has hired Holmes to find his imported star. During the course of his investigation, the super sleuth questioned Winnie's husband, Guy Oats; her manager, Dale Rice; and Mrs. Oats' understudy, April Buns. The mask used by the kidnapper was found in the back of a carriage used by American newspaperman, Lloyd Newcomb, to race from the pub to Scotland Yard, gathering information for his story. Newcomb seemed extremely knowledgeable about Winnie Oats' career, so Inspector Gregson searched the newspaperman's hotel room and found programs from each of Winnie Oats' performances for the last three years. Gregson also discovered that Winnie's husband, Guy, had booked passage for one person on a steamship leaving London. The reservation had been made before the kidnapping. Winnie's manager, Dale Rice, said that Winnie and her husband had a fierce argument before the performance, but that Winnie would not tell her manager what the argument was about. Holmes' client, Barney Loss, wants London's greatest detective to find: a) the kidnapper, b) the motive, and c) the location of the kidnapped songbird. The game is afoot! Case #17 The Adventure of the Poisoned Poker Player The private poker club known as "The Seven Diamonds" meets weekly in a room at the Hotel to play their high stakes game. The club's members include Josh Farrel, a banker; Theodore Bedham, an art dealer; Ralph Cotson, a jeweler; George Hemstud, a sea captain; Robert Hutboy, a tailor; Wilson Peterson, an inventor. Another player, Roger Stearns, fell over dead last week during one of the club's regular games. At first, Stearn's death was thought to be the result of a heart attack. But a subsequent autopsy revealed that Stearns died of cyanide poisoning. Scotland Yard suspects foul play, but is at a loss to determine: a)the murderer, b) the motive, and c) how the poison was administered. The game is afoot! Case #18 The Adventure of the Gluttonous Gossip Society page editor, Charles Maxwell, thought of himself as a brilliant journalist. However, most people regarded him only as a malicious gossip. Last week, Maxwell was finishing his fourth serving of fish and chips at the Pub when he collapsed. Three waiters carried the obese newspaperman to a large food delivery carriage parked outside the Pub and rushed him on his way to London emergency Hospital. Alas, poor Maxwell was dead on arrival. The ever suspicious Bernard Quigley, claims manager of Thames Life Insurance Company, learned from the autopsy that significant traces of lead were in Maxwell's blood. Quigley believes Maxwell was poisoned and refuses to pay any insurance claims until the murder is solved. The lamenting widow, Valerie Maxwell, now comes to 221 B Baker Street for help. She wants to be paid the insurance proceeds. Valerie tells Holmes that Maxwell's younger brogher, Ivar, an assistant at the Apothecary, was the only other beneficiary. Valerie tells Holmes and Watson that Maxwell's enemies were many. Banker Ian Rutledge has thrice sued Maxwell for libel. Only last week Tobacconist Arnold Hawke publicly rebuked Maxwell as a "liar." Rumor has it that Maxwell was also soundly publicly thrashed recently by Hotel Manager Fred Thrush for implying that Thrush's wife, Helen, was having an affair with "the milkman" named Harold Quail. Holmes declares that a murder has occurred. He must discover: a)the killer, b) the motive, and c) the manner in which the murder was accomplished. The game is afoot! Case #19 The Adventure of the Well-Informed Thief Joan Haigh is a cheerful widow living in a small flat in Newchester Downs. Last week, she was the victim of a theft that wiped out her entire life savings. Penniless, Mrs. Haigh comes to Sherlock Holmes and Dr. Watson to restore her loss. She tells Holmes that the theft occurred between 3:30 p.m. and 4:00 p.m. last Monday when she was strolling in the Park. "I take my walk every day at precisely that time, Mr. Holmes." "Was there anything odd about this theft?" inquired Watson. "Oh, my dear yes!" exclaimed Mrs. Haigh. "The thief knew exactly where to look. He found my diamonds hidden in a brick in the fireplace and my entire gold coin collection concealed in the ceiling. Somehow he even knew to take my tattered bath mat, which had twenty pound notes sewn inside. Nothing else in the house was disturbed." "Who knew of your possessions?" asked Holmes. "Absolutely no one could know," replied the widow. "I carefully hid my valuables long ago and never told a soul." Mrs. Haigh tells Holmes that she never has visitors to her modest home, save for her dockworker nephew, Rance, and her neighbors Alice and Ridley Cranapple. Ridley is a pawnbroker. In the week preceding the theft, Mrs. Haigh visited the church and passed a donation to Reverend Smith; had a tooth extracted by dentist Harrison Beale; and purchased food at Oscar Kruger's market. Holmes must discover: a) who stole Mrs. Haigh's life savings and b) how the thief knew where to look. The game is afoot! Case #20 The Adventure of the Limping Tax Collector Vera Alexander, wife of the late tax collector, Clarence Alexander, has hired Holmes to investigate the apparent suicide of her husband. Clarence was found on a grassy knoll in the Park. Tightly gripped in one hand was a typewritten suicide note. In the other hand was an apothecary's bottle marked "poison." William Kenney, a commodities speculator, witnessed Clarence's death. He was jogging past a park bench where Clarence was seated, when Clarence rose suddenly gasping for air. "The bloke turned absolutely purple. He staggered forward several feet, limping on his left leg. Then he collapsed," recollected Kenney. Vera believes Clarence was murdered. "He was in perfect mental and physical health, Mr. Holmes." At the time of his death, Clarence was resting in the Park after completing a number of field audits of local citizens: banker Stephen Guess; locksmith Eric Want; museum superintendent Mathew Lerner; and pawnbroker Phillip Pupil. Holmes must find: a) the killer, b) the motive, and c) how the crime was committed. The game is afoot! Case #21 The Adventure of the Fallen Angel FROM THE JOURNAL OF DR. WATSON: Early this morning, the Royal Guard discovered human fly, Hector Angel, clutching a foot-long section of rope, at the base of the Tower of London. He had apparently fallen to his death from a ledge at the very top of the legendary Tower. Moments later, the Royal Guard made a more startling discovery: The Crown Jewels, stored in a chamber atop the Tower of London, had disappeared. Within minutes, a loud rap on the door of 221 B Baker Street announced the arrival of a Scotland Yard carriage for the master sleuth. Inspector Lestrade presented my friend with an urgent letter from the Queen imploring Holmes to recover the missing gems. Upon arrival at the Tower, Holmes observed: 1) Hector Angel entered the Tower from the outside through a vent at the very top, 2) the only rope found at the tower was the piece Hector was clutching as he fell to his death, and 3) Hector was murdered by an accomplice to the jewel theft. Holmes must discover: a) who killed Hector Angel, b) the murder weapon, and c) how the killer escaped from the scene of the crime. The game is afoot! Case #22 The Adventure of the Alphabet Spy FROM THE JOURNAL OF DR. WATSON: We'd all thought Secret Service agent Throwbush had been killed in The Adventure of the Mystery Man, but he resurfaced to draw Holmes and I into another case of international intrigue. It was five years after America's Civil War, when agent Throwbush appeared and asked us to observe the patrons of the Boar's Head Inn, where a known foreign agent was working as a cook. The cook was expected to pass an important message to a second agent that very night. Unfortunately, the Secret Service didn't know who the second agent was or how the message would be passed. Therefore, they were compelled to call upon the keen eye of Sherlock Holmes. We were just finishing our entree and looking forward to dessert, when Holmes leapt across the dining room to keep the second agent from eating the message planted in his alphabet soup by the cook. Holmes was certain the message was a date written out, but we had to unscramble the following sixteen alphabet noodles: TTTEEENNN UUHAIGS "These letters form two words," Holmes explained, "the name of a month and the day within that month, spelled out. There are two letters among the sixteen that do not appear in the spelling of any day of the month, so they must be in the name of the month." Armed with this insight, Holmes went on to solve: a) the message, b) what event the date refers to, and c) who sent the message. The game is afoot! Case #23 The Adventure of the Mysterious Skull FROM THE JOURNAL OF DR. WATSON: London was a beehive of activity as we hosted the IV Olympic Games in the summer of 1908. Holmes preferred the track and field events to the water sports, so we were contented to sit in the Olympic Stadium, until Lestrade showed up. Evidently, the coach of the American water polo team was found floating in the Henley Regatta lanes marked off in the Thames. He was mortally injured by a skull fracture. As the coach expired, Horatio Hornblown and Fred Farent, the fishermen who dragged him from the river, heard him whisper, "The skull! The skull!" On the victim's body was a ticket to "Hamlet," five locker keys and, oddly enough, a pass from Scotland Yard. Lestrade explained that the coach was on the Olympic Rules Committee and often sat at the window of Chief Inspector Tagart's office, which overlooked the apothecary across the street. Holmes concluded that more than one man had a hand in the murder of the American water polo coach, and through dedicated investigation uncovered: a) the killers, b) the weapon, and c) the motive. The game is afoot! Case #24 The Adventure of the Musical Murder Pianist William Minor and his string quartet were the rage of London, so Holmes and Watson got front row seats. Right in the middle of his finale, a new composition entitled "Goodbye, Dolly", William was struck dead by an arrow through the heart. Scotland Yard immediately sealed off the Playhouse. The Yard questioned each remaining member of the string quartet: cellist Beatrice Flatty, harpist Jeffery DeSharpe, and violinist Heide Minor, William's wife of many years. Playhouse owner, Major G.F. Keys, and concert promoter, Octavia Scales, were also questioned. Lestrade was scratching his head as he approached Holmes' front row seat. "We found the arrow easily enough," the Scotland Yard inspector whined. "But we can't seem to find a bloody bow anywhere!" "If you can't find a bow at a string concert," Holmes returned impatiently, "you are looking without seeing!" Holmes went on to note that, as William Minor was dying, he hammered three notes on the bloody keyboard. Holmes, a musician himself, recognized the notes as a natural G and a natural F followed by an E-flat. Holmes helped out the Yard, again, by disclosing: a) the killer, b) the motive, and c) the weapon. The game is afoot! Case #25 The Adventure of the Eye of the Eiger FROM THE JOURNAL OF DR. WATSON: How the mighty fall! I have always regarded the legendary mountaineer, Sir Edmund Hillman, with the utmost esteem. Now the great man sits before Holmes and me in ruins. This conqueror of the treacherous south face of the Eiger mountain has been arrested for shoplifting at Eiger Fashions, a local sports furbishing shop. "I am guilty, Mr. Holmes. There can be no doubt about that. I stuffed the pair of boxer underwear into my coat pocket right in front of the shopkeeper. I can't say why I did it. I have never stolen anything before in my life. Besides, I detest boxer shorts. As a sportsman, I only wear jockey underwear." Holmes clearly took pity on the man's abject tale; particularly when Sir Edmund observed that, before the theft, he had been offered a lucrative contract to endorse a new line of Hawaiian sportswear to be introduced by Eiger Fashions under the name of "Lei Gear." Since the arrest, the owners of Eiger Fashions, Eileen and Gerald Mulch, have withdrawn the offer. Perhaps Holmes was only trying to distract the old chap from his woes, but I was quite surprised when he gave Sir Edmund a pad of paper and a set of colored inks and invited him to doodle while recounting the famous Eiger expedition. The modest Sir Edmund spoke mainly with praise of the men who climbed with him: Edmund Infall Germain, a Swiss diplomat; Regie Jackson, a stockbroker; Dr. Simon Klopps, a psychologist; and Gerald Mulch of Eiger Fashions. Just as Sir Edmund approached the most thrilling part of his tale, Holmes interrupted and asked to look at the mountaineer's scribbles. "It worked," Holmes muttered. Then pointing to what Sir Edmund had absentmindedly sketched, the great detective proclaimed that he would prove Sir Edmund innocent of any wrongdoing. "A man cannot be found guilty unless he is shown to possess mens rea or guilty purpose for his acts. You, Sir Edmund, are completely innocent." I examined the scribbles to see what led Holmes to such an extraordinary conclusion. After all, Sir Edmund had confessed his guilt. The scribbles only consisted of a sketch of the Eiger mountain with what resembled a green eye at the summit. "What does this show, Holmes?" The master detective replied, "It merely identifies: a) the criminal responsible for Sir Edmund's plight, b) his motive, and c) the method of his crime." The game is afoot! Case #26 The Adventure of the Random Murders Scotland Yard is bewildered by a recent spate of murders in the fashionable seaside community of Eastbourne. In the past two weeks, 47 citizens have been murdered by gunshot. All victims were shot in the head while standing in the doorway to their homes. Inspector Lestrade has been unable to find any motive for the killings. The victims do not appear to be related. In no case was there evidence of robbery or even a struggle. As the death toll mounted, Inspector Lestrade felt he had no choice but to consult the master detective to solve the riddle of the random murders: "Please help, Mr. Holmes. commissioner Harry Mugg has told me that if I don't solve this crime wave soon, I will be reassigned to the traffic division. And you know there are only four motor vehicles in all of England!" In order to assist Holmes, Lestrade has drawn up a list of suspects: Satanist Alistair Mallory; escaped mass murderer Henry Hyde; Irish revolutionary Brendan Bee; anarchist Caesar Grasshopper; and the archvillianous duo of Professor James Moriarty and Colonel Sebastian Moran. To Lestrade's grave disappointment, Holmes declined the assignment due to the crush of prior commitments. When word of the master detective's refusal circulated, Sherlock Holmes was served with a subpoena to appear before the Select Parliamentary Committee on Law and Order. When the committee chairman, Sir Leroy Tick (M.P., Eastbourne) challenged Sherlock Holmes in public session to solve the mass murders, the incomparable detective stunned the audience by identifying: a) the killer, b) the mastermind, and the motive for the murders. The game is afoot! Case #27 The Adventure of Moriarty's Challenge FROM THE JOURNAL OF DR. WATSON: I can assure you, dear reader, that during my tour of duty in India in the service of Her Majesty's Imperial Army, there were many instances when I found myself in the gravest peril. Yet at no time in my entire life have I been more fearful for my continued existence than I was last night. It all began when Holmes and I received an invitation from Sherlock's brother, Mycroft, to dine at 8:00 pm at the posh London Bistro restaurant on the occasion of Sherlock's birthday. The telegram of invitation spoke of a "celebration of an important milestone in Sherlock's life." To our great disappointment, Mycroft did not appear and Sherlock began to suspect that he was the victim of a hoax. This suspicion was confirmed when he opened his menu and in the candlelight of the elegant restaurant read the following message: "Welcome, Mr. Holmes. I have a very special birthday celebration in mind for you, that is, if you have the courage to stay for the evening's entertainment. On the other hand, you are free to leave if you don't wish to make this meal your last. The choice is yours. Bon Appetit!" Prof. James Moriarty To my astonishment, my companion elected to stay. "I cannot permit Moriarty the satisfaction of watching me run and cower in fear. No, Watson, we are going to stay put, enjoy our dinner, and foil any attempts to spoil the evening. Besides, I want to hear famed violinist Sol Ox perform at 10:00." Neither the waiter, Bill Beaconfield, nor Maitre D', Henri Wickhill, can tell how Moriarty's message got in Holmes' menu. Chef George Torchwell and assistant Ida Matchbush both assure Holmes that no one has or will be permitted to tamper with the food. Looking about the room, Holmes and Watson recognize only two other diners: Barrister Randy Lamptree and his ladyfriend, chemist Stella Plow. I held my breath until Holmes averted disaster by identifying: a) the person Moriarty selected to kill him, b) the intended murder method, and c) the time the murder was to occur. The game is afoot! Case #28 The Adventure of the Doctor's Last Lament FROM THE JOURNAL OF DR. WATSON: As a physician, I am of course saddened by the passing of a fellow practitioner of the medical arts, particularly when it is by his own hand. Such was the sad story of a veteran of the South African Campaign, Dr. Vincent Van Nogh. Moved as I was by an account of his self- inflicted death in the London Times, I quoted aloud the good doctor's suicide note: Dear Constable: I am frightfully weary with life in general. I fear I've been a bloody bore. It is a relief at long last to say adieu. Vincent The newspaper account went on to note that Dr. Van Nogh poisoned himself with cyanide, which was found in his mouth. The report concluded by identifying Van Nogh's pallbearers: Thomas Remova, Waldo Barrett, Gen. Vernon Arnoux, and Reginal Burnham. To my astonishment, Holmes replied to my recital that, clearly, Dr. Van Nogh had been murdered and that my sadness for his passing could best be expiated by bringing the killer to justice. Before I could protest that perhaps this time his imagination had the best of him, Holmes summoned: "Come, Watson, get your coat, for we must identify: a) the killer, b) the weapon, and c) the motive." The game is afoot! Case #29 The Adventure of the Mysterious Murder Irene Marlow, wife of the wealthy Colonel John Marlow, has come to 221 B Baker Street with an urgent request. Colonel Marlow was found floating dead in the Thames River a week ago. There were no outward signs of any cause of death, so Scotland Yard concluded that Colonel Marlow had drowned. But knowing that the colonel was a good swimmer, Mrs. Marlow suspects foul play. However, Mrs. Marlow hasn't the slightest idea why anyone would want the Colonel murdered. She is only able to give a few facts regarding the night of Marlow's death. The colonel went to visit a friend, Sir Arthur Pendleton, who was staying at the Hotel. Pendleton told the authorities that Marlow left the Hotel at 9:00 p.m., alone. When Marlow's body was recovered, the only thing the authorities noted was that a button was missing from the Colonel's shirt. Mrs. Marlow also gives the following information. Colonel Marlow's favorite nightspots were the Playhouse and the Pub. The two men he associated with the most were Sir Arthur Pendleton and Mr. Harold Poundley. Finally, before the Colonel was married, he had had an affair with Harold Poundley's wife. Given these facts, Irene Marlow wants Holmes to find out: a) who murdered Colonel Marlow, b) the motive, c) the cause of death, and d) where the murder occurred. After Mrs. Marlow leaves, Dr. Watson remarks that given the lack of facts, this is a mysterious murder. Holmes replies, "One never knows when your enemies will appear." The game is afoot! Case #30 The Adventure of the Murdered Stockbroker A distraught lady, Miss Mary Rosedale, has come to see Sherlock Holmes. Her employer, Jonathan Bailey of the brokerage firm of Bailey & Coopersfield, was murdered last night. Miss Rosedale is upset because Bailey's wife, Jenny, seems unconcerned by the murder and because Miss Rosedale, aside form being his secretary, was also Bailey's mistress. Jonathan Bailey was shot outside the Tobacconist after leaving work. A bullet pierced his heart. By the time help arrived, the assailant had already vanished. Scotland Yard has been called in, but they have made little progress in the case. Therefore, Miss Rosedale wants Holmes to bring this crime to justice. Miss Rosedale says that Jonathan Bailey had been under pressure lately, both at work and at home. A scoundrel of a competitor, Henry Lancelot, has been trying to drive Bailey's brokerage firm out of business by undercutting its prices. At home, Jenny has started drinking heavily of late. Jonathan had been very concerned about this. The following information is given regarding the brokerage firm: Bailey's business partner was Barry Coopersfield, an old friend. Rosedale was their secretary. The firm also employs a timid scrivener, Lionel Reinfield. The brokerage house is located close to the Dock, but much business is also carried out over lunch at the Hotel. To solve this case, Holmes must discover: a) who murdered Jonathan Bailey, b) the motive, and c) where the murder weapon is. The game is afoot! ------------------------------------------------------------------------ - CASEBOOK TWO - Case #1 The Adventure of the Murdered Banker Mr. Walter Ostermann, vice president and comptroller of the Bank, was found murdered this morning in his Bank office. Miss Rita Frawley, Ostermann's shapely secretary, says she left the office around 9:30 this morning to pick up some theater tickets at the Playhouse for her boss and her boss's wife, Mrs. Eleanor Ostermann. When she returned around 10:00 a.m., Miss Frawley found Ostermann slumped over his desk atop a pile of scattered papers. He had been hit on the right side of the head with a blunt object. The lock on Mr. Ostermann's file cabinet was broken, and it appeared that some papers had been removed from the files. Miss Frawley says that when she left for the Playhouse, Mr. Ostermann was alone in his office. Mr. Ostermann's calendar showed that he had only one meeting scheduled in his office between 9:30 and 10:00, with Mr. Patrick Reardon, vice president of commercial lending, who differed strongly with Ostermann on many policies. Mr. Reardon claims he kept his meeting with Ostermann, and left him in good health around 9:50. Mr. Wellington Bakman, Bank treasurer, whose office is right next to Ostermann's, claims he heard a noise in Ostermann's office around 9:50, but says he simply figured that Ostermann had dropped a briefcase or something of the sort. Baffled, Inspector Lestrade of Scotland Yard has come to 221 B Baker Street to discuss the case. Lestrade wants to know: a) the killer, b) the weapon, and c) the motive. The game is afoot! Case #2 The Adventure of the Kidnapped Infant The two-month-old daughter of the Duke and Duchess of Crescentshire has been kidnapped. Governess Harriet Pinkston, who was taking the baby for a walk in the Park, says that a man accosted her, grabbed the baby from its carriage and disappeared in the direction of the Apothecary. After five days, the Duke and Duchess have still not heard from the kidnapper. The Duke, who wanted a son and was quite disappointed when he learned that his firstborn was a girl, has done nothing more about the kidnapping than call it to the attention of Scotland Yard. Based on the description provided by Governess Pinkston, Scotland Yard has identified three chief suspects from its file of known kidnap artists. The suspects are Claude Romer, Vandy S. Logan, and Louie "The Baby Man" Lindley. Romar and Logan kidnap strictly for ransom money, while Lindley specializes in selling babies on the black market. Completely distraught over the strange disappearance of her daughter, the Duchess of Crescentshire has come to 221 B Baker Street for help. The Duchess wants Holmes to discover: a) who kidnapped her daughter, b) the wereabouts of the infant, and c) the motive. The game is afoot! Case #3 The Adventure of the Locked Chamber Explorer Phillip Peabody has returned from an African safari and is displaying rare artifacts at the Museum. Philomena Pettibone's dog act is performing at the Playhouse. Organ grinder Mario Morelli is getting drunk at the Pub, ranting about the economy and how he can't make enough money to feed his monkey. Tiny Hoggins, an unemployed jockey, is angered by Mario's complaining, and a fight ensues. At the same time, deep in a high security vault beneath the Bank, an engraver is making his annual inspection of the printing plates for all of England's currency. After forty-five minutes has elapsed, the Bank's head security officer, Colin Battersea, opens the locked vault to find the engraver dead and the plates gone. The grating to the air shaft has been removed, but the shaft itself is far too narrow for a normal man to enter. And the engraver certainly would have heard anyone who tried to remove the grating while he was checking the plates. The coroner believes the victim was poisoned, but he cannot discover how the poison was administered. The prime minister himself calls Sherlock Holmes into the case; for if the counterfeiters begin flooding the market with authentic notes, Britain's economy will surely collapse! The Government wants Holmes to find out: a) who killed the engraver, b) the weapon used to kill him, c) how the plates were removed from the vault, d) where the stolen plates are hidden, and e) the mastermind behind the plot. The game is afoot! Case #4 The Adventure of the Murdered Prankster Tom Dayton had many enemies. He was a scalawag and a prankster who never passed up an opportunity to embarrass someone through a practical joke. It was Tom who invented the joy buzzer and the whoopee cushion; and some even credit him with having originated the fake vomit. It was well known that Tom's favorite target was his old headmaster, Stanley Bosworth, who was the victim of some of the most elaborate pranks Tom ever conceived. Ton's eventual marriage to Bosworth's daughter, Melissa, was considered by many to be Tom's ultimate joke on the respected headmaster. Among the more prominent victims of Tom Dayton's past pranks were Judge Walter Brighton; Lord and Lady Morton of Westchester; banker Mortimer Fawcett; Doctor Fabian Peerpoint; and tobacco merchant Dawes Flesher. All of the above were present at the dinner party held on the Bosworth yacht in honor of Stanley Bosworth's 60th birthday. Also included among the guests were Holmes and Watson, and Inspector Lestrade of Scotland Yard. Following an uneventful dinner, most of the guests retured to their staterooms to freshen up. Suddenly a shot rang out. Then another. All aboard the yacht, including the yacht's captain, Jonas Fenton, and cook Mildred Weekson, arrived at Tom Dayton's stateroom to find him dead--shot in the forehead. A smoking revolver lay near the doorway; Tom Dayton's body lay on the floor across the room, just below the open porthole. Scrawled in the dust near Dayton's body were the initials SB. Learning that the revolver belonged to Stanley Bosworth, Lestrade promptly ordered the headmaster arrested for the murder of Tom Dayton. Lestrade, quite pleased, later remarks to Holmes that he wished the solution to every case were this simple. "That is precisely what troubles me, Inspector," replies Holmes. "It is too simple." Holmes expresses his opinion that Lestrade has yet to find out: a) who killed Tom Dayton, and b) the motive. The game is afoot! Case #5 The Adventure of the Murdered Druggist Friendly druggist Eugene R. Kane was found mnurdered this afternoon in the Apothecary. He has been brutally stabbed three times through the heart. Scotland Yard has established through a witness that only three persons entered or left the Apothecary during the time of the murder. The witness, Mrs. Wilma Farr, who lives two doors away from the Apothecary, stated: "I was sitting outside on my proch waiting for my mail like I always do, when Mr. Kane came by returning from lunch. He stopped for a moment and we chatted. I remember he said he had eaten lunch at the Pub with Mr. Daniel Kirwin, and official at the Museum. Then he said, 'Ta ta," and he went and re-opened the Apothecary for business. Mrs. Farr states that she then observed only three persons enter or leave the apothecary. These three were Mrs. Hyatt, a teller at the Bank; Clara Wexler, a Playhouse actress; and Michael Mulligan, the neighborhood bobby on the beat. All three of these unlikely suspects admit entering the Apothecary shortly after lunch; but all three claim to have left the druggist in good health. Mrs. Farr says that after the postman arrived, she read through her mail and found a letter addressed to Mr. Kane which was left with her by mistake. She decided to take the letter to Mr. Kane; and upon arriving at the Apothecary, she found the dead druggist's body and called the police. Inspector Lestrade, who is investigating the murder, has wandered into 221 B Baker Street to collect Holmes' thoughts on the strange incident. After listening to Lestrade's account of the case, Holmes reminds the Inspector of one of the cardinal rules of deduction. "When you have eliminated the impossible," says Holmes, "whatever remains, however improbable, must be the truth." Scotland Yard is still looking for: a) the killer, b) the weapon, and c) the motive. The game is afoot! Case #6 The Adventure of the Luckless Mariner Randolph Meacham, former first mate of the freighter Penguin, was found yesterday afternoon floating face down in the shallow waters at the Dock. The seaman had been hit on the right side of the head with a large, blunt object. Police constables recovered the victim near a dingy for the yacht, Southern Star, and believe the sailor was attempting to reach the vessel. It was common knowledge about the Dock that Captain Clive Lightfoot has been romancing Meacham's girlfriend, Raphaela Dorian, during the mariner's absence. The pair had been aboard the Southern Star on the day of the murder, attending a party hosted by insurance broker Norton Quimby. Persons routinely questioned by Scotland Yard include John Strickland, owner of the Penguin; and Angus Burkhardt and Jason Kinney, former shipmates of Meachan's who, with the first officer, had survived the tragic sinking of the Penguin at sea. While Burkhardt and Kinney considered the first officer a harsh disciplinarian, both men credited Meacham for their survival during the grueling fifteen days the trio spent adrift at sea in an open lifeboat. Scotland Yard has put the facts before the master sleuth. Holmes must discover: a) who killed the seaman, b) the motive, and c) the weapon. The game is afoot! Case #7 The Adventure of the Reporter's List Newspaper reporter James Kent was found late this afternoon in an alley behind the Pub. He had been brutally stabbed twice through the heart. An enigmatic note found near the victim's body read: The Leaping Horse, Petworth Park, the Third of May, 1808. Scotland Yard's code experts have been unable to decipher any meaning from the curious message. Pub owner Grady Upjohn admits Kent visited his establishment around noon, ordered a glass of stout, and departed within the hour, declaring he had appointments at the Dock, the Museum, and the Pawnbroker Shop. Ship builder Sir Thomas Creasey affirms he had seen Kent in the afternoon and discussed with the reporter several horses in Creasey's fine thoroughbred stable. Although hobbling badly from gout, curator Justin Robart claims he gave his visitor a guided tour through the Museum gallery lasting almost two hours. Dennis Holley, the proprietor of the Pawnbroker shop, stated that the reporter had called to sell a pair of silver cuff links and then inquired if Holley still planned to hold a public auction in the Park this Saturday. Scotland Yard wants to know: a) who killed to reporter, b) the weapon, and c) the motive. The game is afoot! Case #8 the Adventure of the Kingsfield Ruby "Tell me, Holmes," asked Watson, "what do you make of the theft of the Kingsfield Ruby?" "I haven't given it much thought," replied Holmes who was preparing to play the violin for a bit. "But I think that the pill found under the ruby's display case at the Museum should be more than enough for the police to go on." Just then, a knock came at the door. Watson opened the door to a middle-aged man, who introduced himself as Emerson Plattner. Plattner, it seems, was the solicitor of a Mr. Josiah Winchester, employee of the Bank, who was just arrested for stealing the Kingsfield Ruby. According to Plattner, Winchester was taken into custody after Blaine Templar and Percival Huxley, fellow bank employees, saw him open a special locked drawer in his desk and take out the ruby. Winchester claims that he is completely innocent and has no idea how the ruby got in his desk drawer. He is the only one who has the key to the drawer, and the key has not left his possession since the theft occurred. Plattner has come to ask Holmes to investigate the theft and prove Josiah Winchester innocent. Holmes decides to take the case and promises Plattner that he will find: a) the thief, b) how the ruby got into the drawer, and c) why the thief put it there. The game is afoot! Case #9 The Adventure of the Mummy's Curse "A fascinating story," says Holmes, referring to Inspector Lestrade's account of the recent death of archaelogist Darold Gregory. Nearly two weeks ago, Gregory, along with his beautiful wife Olivia, returned from Egypt on the schooner Sinbad, having discovered the tomb of the Egyptian King Khafu-Amin. After having the mummy authenticated by experts, Gregory had it put on display at the Museum. Then two days ago, as the Museum was being opened, curator Melvyn Winston and several security guards encountered a startling sight. There, lying in the sarcophagus of Khafu-Amin, was the body of Darold Gregory. Apparently, he had been hit on the back of his head with a blunt object. The mummy was gone. All that was found on the body was a key to the Museum, given to Gregory by Winston; a few scraps of bandage from the mummy; and the following hadwritten note: Meet me a the Museum tonight. Very imporant that we talk.--TR "The queerest part of the whole afair," continues Lestrade, "is the Curse of Khafu-Amin. According to Hamilton Baxter, another archaeologist, it reads, 'He who disturbs the eternal peace of our beloved king shall die and take his place, so that he may walk among us." "It seems," muses Holmes, "that we have a mummy visiting our city." "Quite so," replies Lestrade. "We could find only one person whom Gregory knew with the initials T.R., and that's the Sinbad's first mate, Thomas Rupert, but Carson Newell the captain of the ship, swears he saw Rupert in the Pub that night." The Inspector would like Holmes to help find: a) the killer, b) the weapon, c) the motive, and d) the hiding place of the mummy. The game is afoot! Case #10 The Adventure of the Barbecued Baker Insurance investigator Louis Duffman has hired Holmes to look into the strange death of Mortimer Chapman, the most successful baker in London. Mortimer's wife, Ida, discovered a pile of charred human bones in her baker oven and identifed them as her husband's from his ring and pocket watch. Family dentist Darwood Drysdale inspected the teeth found with the victim's remains and declared they were identical to Mortimer's dental records. Lady Chapman noted that her family's jewels, a string of priceless pearls, were also missing. She reported that just yesterday, neighborhood wino Clay Harrison had visited the restaurant and admired her pearls. The Chapmans had good-naturedly ignored his pestering, since he was a regular customer. Before leaving, Holmes discovered some pieces of broken wine bottle near the fatal oven, but Harrison was nowhere to be found. Holmes must find: a) the killer, b) the motive (other than the stolen pearls), and c) how the murder was carried out. The game is afoot! Case #11 The Adventure of the Dashing Psychiatrist Charming Gregor Jensen has been found outside his fashionable Ruxford district medical offices. He had fallen three stories to his death. Dr. Jensen catered to London's posh set. His medical speciality was the newly-founded science of psychiatry. The coroner has ruled the death as accidental. Patient Margaret Ann Tibbs, wife of dockmaster Harry Tibbs, testified that Gregor lost his balance as he walked past an open window during a psychiatric session. He fell sideways out the window, according to Mrs. Tibbs. There are no ledges on the seven-story brick building, and other witnesses from the sidewalk below saw no one near the wndow Gregor fell through. Dr. Watson, a long-time friend of Gregor's, has prevailed upon the master sleuth to investigate. Judith Lurvey, Dr. Jensen's secretary, informs Holmes that she thinks the following former patients had ill will toward Gregor: professional poker player Doyle Munson; prominent woman barrister Meredith Shannon; wife of the famous actor Jake McGarrity, Millicent; and Ross Chocolate, a newspaper publisher rumored to be in the line for an ambassadorial appointment. After examing the corpse and the clothing worn at the time of death, Sherlock Holmes is certain foul play has been committed. Holmes must discover: a) the murderer's identity, b) the motive and c) the murder weapon. The game is afoot! Case #12 The Adventure of the Headless Horseman FROM THE JOURNAL OF DR. WATSON: As I expected, Jonas McCarthy, Mayor of Bevanshire, has called upon Holmes to solve one of the most intriguing mysteries of our time. If newspaper accounts are to believed, a headless horseman has terrorized the residents of picturesque Bevanshire, a township in rich woods near London. As a physician, of course, I have nothing but contempt for superstitious belief. How in the blazes could a man live, much less ride a horse, without a head? Yet there are very reliable witnesses (now presently residing here in London) to this incredible event. Bartender Brian Burgandy and druggist Kenneth Claret saw the creature romp through Bevanshire, as did carriage driver Mortimer Graham and banker Thaddeus Sherry. Most convincing of all is the testimony of physiscian Wilber Pound, who was present at a town meeting which the ghastly intruder broke up by charging through on his steed. The Mayor is most distraught. He fears his entire constituency will follow the path of the many who have sold their homes and fled Bevanshire for London. He beseeched Holmes to solve the riddle before the headless horseman appears again. The light in Holmes' eye informed me that the case was already solved. "My dear Mayor, the horseman will not ride again, for his evil work is already done," my friend said firmly. Holmes must discover: a) the identity of the "headless horseman", b) the motive behind his terrifying rides through Bevanshire, and c) the identity of the mastermind behind the scenes. The game is afoot! Case #13 The Adventure of the Killer in Kilts FROM THE JOURNAL OF DR. WATSON: They were a spectacular sight, the tartan-clad 44th Highland Fusiliers, as they disembarked from the royal Navy to transport ship and marched to their temporary barracks in the park. so distinguished had their service been in India that the Queen summoned them to London to pass in review before Buchingham Palace. Old friend Scotty Egan, a private in the brigade, invited Holmes and myself to attend the Fusilier's banquet at the hotel. After dinner, Commander Haig, leader of the force, excused himself to get some tobacco while our friend Scotty was singing "Oh Danny Boy". It wasn't ten minutes later that the Fusilier's adopted water boy, a Hindu named Gonga Dor, rushed into the banquet room exclaiming the Commander Haig had been murdered in the alley. Haig had been strangled and the body discovered by two Fusilier pipers, Privates Teacher and MacBurney. Examining the body, Holmes found a torn piece of Aberdeen plaid clutched Haig's hand. In the dead man's pouch there was a ticket to "Brigadoon" at the Playhouse, starring the Glasgow songbird, Lorna Doan. "Strangulation," noted Scotty, "the most common form of murder in India." Holmes studied the strange marks on Haig's throat and the definitive detective shocked us all when he wryly announced: "This man was killed with a blunt instrument!" Nonsense!" says I, "I'm a doctor, and this man was strangled!" Holmes went on to prove his statement and uncover: a) the killer, b) the weapon, and c) the motive. The game is afoot! Case #14 The Adventure of the Staggering Cowboy FROM THE JOURNAL OF DR. WATSON: I thought the whole thing a bit colonial, but Holmes was as excited as a child by the news that Bison Bob's Wild West Show was beginning a European tour with a lengthy stop in London. The park was turned into a stable and Londeners filled the bleachers for every show. There were red-skinned Indians riding wild steeds that made London's tranquil carriage horses seem statuesque. Horeswoman Fanny Stokely was a marvelous rider and sharp shooter, even though she purportedly had polio as a child. While riding full tilt, she could shoot an apple off the head of her assistant, a midget with a duboius future. Chief Chickasaw and desperado Black Bart wrestled in the arena after Bart and his men robbed the stagecoach with great theatrics and were in turn atacked by Chief Chickasaw's horde of Indians. All in all, it was an exhilarating show, complete with a dancing bear. Bison Bob announced each act through a megaphone and directed our attention with the point of his silver tipped cane. Later that afternoon, the bank was robbed by a masked cowboy who rode off on a horse he had hidden behind the Playhouse. Witnesses said the cowboy had a peculiar staggering walk; later, some of them identified his getaway horse grazing with the others from the Wild West Show. THe horse bore the brand BB. Against advice from Scotland Yard, Bison Bob hired Holmes to find: a) the robber, b) the hiding place of the loot, and c) the motive. The game is afoot! Case #15 The Adventure of the Disappearing Doctor FROM THE JOURNAL OF DR. WATSON: Sherlock Holmes seldom engaged in missing person investigations. He usually found them boring and most often rooted in some domestic squabble. He did, however, plunge full forward when he discovered the missing person in question was his long-time friend, myself, Dr. Watson. A bobby named Cragmount had discovered my bag in the alley behind the pub. Beside it was a strange little whistle and a handful of brightly colored feathers. "Definitely fowl play," Holmes said, referring, a bit perversely, to the cluster of feathers. "And since it is nearly high tide, we haven't a moment to lose!" Find: a)what happened to Dr. Watson, b) how he was spirited away, and c) the identity of the two culprits involved. The game is afoot! Case #16 The Adventure of the Bittersweet Death FROM THE JOURNAL OF DR. WATSON: Jolly, obese Ona Crab was the owner of the finest gourmet chef school in England. Her prize student, Eggbert Barrymore, was by far the finest culinary artist she had ever produced. This was due to the fact she spent most of her time instructing him, much to the chagrin of two other talented students, entree specialists Rose Warblow and Van Redgrave. Even Ona's beloved husband Theodore admitted his wife spent so much time training young Eggbert and enjoying his desserts that she scarcely had time for him anymore. One morning, however, Ona's assistant, Nielson Claypool, discovered Eggbert's career had come abruptly to an end. At the bottom of a huge cooking vat, he lay smothered in whipped cream and chocolate frosting. Because Holmes himself had been an admirer of the lad's epicurial genius, he volunteered to look into the matter. Upon inspecting the corpse, I could tell by the low body temperature that he had been dead at least seventy-two hours. Yet several people insisted they'd seen him alive only twelve hours before! Find: a) the killer, b) the method used, and c) the motive The game is afoot! Case #17 The Adventure of the Mockingham Maze The recent election went to the Labor Party and filled Parliament with liberal politicians, so conservative Lord Mockingham took matters into his own hands. He somehow stole a new secret weapon from the Buckingham armory and hid it somewhere at this castle at Leeds. Secret Service chief Tully Steerforth asked Holmes to investigate. The super sleuth questioned secret weapon inventor Brady Bagwell, armory commander General Tallman, M-5 Director Lance Bigelow, and security head Ripley Howell. Holmes felt one of these men must have aided Lord Mochingham in the theft. Holmes and Watson set out for Mockingham's castle, only to be captured climbing the wall near the drawbridge. Gleefully, Lord Mockingham and his cohorts blindfolded the duo and placed them at the center of the infamous Mockingham Maze, a labyrinth of high hedgerows from which no one had ever escaped. "I'll give you one clue," Lord Mockingham grinned. "A conservative can find his way out, but a liberal never will." With that, Holmes and Watson were knocked unconscious and left to the chilly elements of Leeds. When they came to, Holmes was quick to discover: a) how to escape the maze, B) the name of Mockingham's accomplice, c) the hiding place of the secret weapon, and d) the type of weapon it is. The game is afoot! Case #18 The Adventure of the Hygienic Hermit The murder of multi-millionaire recluse Sir Hugh Howard caused ripples throughout London society. The eccentric octogenarian left no will, so hundreds of people suddenly appeared, claiming to be relatives entitled to the hermit's riches. They came from all walks of life, covering the gamut from Lord Penworth Howard to hotel maid Penelope Howard. Scotland Yard was stymied as to how the arsenic found in Hugh Howard's bloodstream was administered. Sir Howard was a fanatic about cleanliness and had his personal physician, Dr. Clarence Clawson, constantly on hand to see to it that his living quarters were germ free. Sir Howard's food taster, Bud Lipincot, assured the Yard that he had eaten everything Sir Howard had eaten for the last forty years; bodyguard Crunch Flagbone testified that he had not allowed a single person, save Dr. Clawson, to touch Sir Howard over those same forty years. Inspector Gregson finally had to swallow his pride and consult Sherlock Holmes to uncover: a) the killer, b) the method, and c) the motive. The game is afoot! Case #19 The Adventure of the Whispering Wall Watson thought it more a case for a phychiatrist when Lady Bellgrade began hearing voices plotting her murder as they dug her grave. Lady Bellgrade's attorney, Guy Windig, asked Holmes to investigate. The dynamic detective questioned the entire staff at Bellgrade Manor, which included gardener Paul Pullman, maid Gerda Foxworth, butler Soames Carston, handyman Raoul Huffman, and chef Carmine Crouton. Lady Bellgrade began hearing the voices shortly after the death of her husband, Lord Ashton Bellgrade, and only on nights the servants had off. The voices, she said, seemed to come right out of the south wall of her bedroom. The very next night the servants were off. Holmes secretly hid in the newly completed wine collar in Bellgrade Manor and by morning had discovered: a) who the voices bolonged to, b) their motive for wanting to kill Lady Bellgrade, and c) how she could hear them plotting the murder as they dug her grave. The game is afoot! Case #20 The Adventure of the Pirated Pigeons FROM THE JOURNAL OF DR. WATSON: At first I thought it was a pet store robbery when insurance company president Lyle Docstrum asked Holmes to look into some disappearing pigeons. One of Docstrum's clients was Carrie Porter, owner and operator of the Porter Pigeon Postal Service, which had been revolutionizing the mail by flying it back and forth between London and Paris by homing pigeon. Of course, one's letters had to be brief. The little beggars can't carry much. Anyway, Lyle Docstrum would be out a fortune in insurance claims if the Pigeon Postal Service failed. That failure was imminent. Over the last few weeks, every pigeon vanished over the English Channel, whether it was a bird trained to fly to Paris or London. After a stop at the zoo's aviary section, Holmes and I boarded the Channel Falcon, a ship mastered by Captain Reed Moreland, which had been shuttling the birds back and forth for Carrie Porter. Also aboard were Docstrum, Miss Porter, her French interpreter, Bernice Rutledge, her lawyer, Wiley Cleveland, and Inspector Rockshire of Interpol. All were intent on following the last shipment of pigeons to Paris. These were the last pigeons trained to fly home to London. Halfway across the Channel, Holmes threw one of the pigeons aloft. As we watched the bird wing its way eastward, Holmes found the newspaper lining the bottom of its cage was from a recent issue of the Berlin Daily Bugle. The instant we reached the port of Calais, Holmes announced: a) the culpurt, b) the method, and c) the motive. The game is afoot! Case #21 The Adventure of the Butler's Convention FROM THE JOURNAL OF DR. WATSON: "My word, what a dreary affair," I sighed while perusing the SundaY edition of the London Times. "You are reading the notice of the Butler's Convention and Ball currently at the Regent Hotel," observed my violin-playing companion. "My dear Holmes, how could you possibly know which report I was reading? Virtually everything in the newspaper could be proerly described as dreary." "Yes, Watson," mused the master detective. "But only the spectacle of servants aping their betters in public is likely to arouse the comment of English gentlemen." "Perhaps, Holmes. But you must admit that a gathering of butlers must surely be uneventful in the extreme." "I fear the crime page will prove you wrong, Watson. After all, they are aping their betters." Page 40 of the times contained the following item: CATERING TYCOON MURDERED AT HOTEL: BUTLERS SUSPECTED Former butler and self-made millionaire Ollie Newman collapsed and died suddenly last night in the ballroom of the Hotel, shortly after making a brief speech in which he congratulated the butlers on their first convention. Newman's firm was catering the event. The police are puzzled by this case. The victim died of poison. He had traces of botulin on his lips. However, witnesses stated that the "king of caterers" had not had anything to eat or drink all evening. The police have drawn up a list of suspects known to the victim: Rufus Blackdeer; Jeeves Truelove; Henry Mumhoney; James Blaine; Alphonso Gatilz; Archibald MacBeth; and Hudson M. Bayless. All of the suspects are employed as butlers. Suddenly Holmes shot to his feet muttering something about "a most insidious murder method." "Come, Watson, grab your coat. We must: a) identify the killer, b) state the motive, and c) establish how the crime was committed." The game is afoot! Case 22 The Adventure of the Suicidal Opera Star World famous opera star Marilyn Roman was best known for her numerous love affairs. Gossip about her private life completely overshadowed her considerable talents as a soprano. Yet she was a brilliant singer. As the music critic of the London Times so aptly put it: "Marilyn's got the best pair of lungs in the business." It therefore came as a thunderous shock to the music world when Marilyn's business manager Igor Hydbeer tearfully announced that the opera star was dead of an overdose of sleeping pills. the Coroner has ruled the death was a suicide. Marilyn's funeral was attended by a virtual Who's Who of reputed lovers, including: Artie Moore, an ex-husband and star cricket player for the Old York Yonkers; Bernard Mountand, a French actor; Dr. Alan Albertwine, theoretical physicist; and Millart Arthur, another ex- husband and playwright. One reputed lover conspicuously absent from the funeral was Sir Robert Carmaby, the Minister of fJustice. It has been suggested in a best-selling book by author Hale Norman that Marilyn may have been murdered and that Sir Robert was involved in the crime. Sir Robert now visits 221 B Baker Street and begs the master detective to help clear his name. "My good name and political future hang in the balance, Mr. Holmes." Holmes must discover: a) the killer, b) the weapon, and c) the motive. The game is afoot! Case #23 The Adventure of the Missing Missionary FROM THE JOURNAL OF DR. WATSON: At first it seemed my very good fortune indeed to gain an all- expenses-paid trip to South America as a consequence of my association with the great Sherlock Holmes. We were dispatched to Brazil by Lady Emma Angus to find her missing son, Norman. Lady Emma had not heard from the lad for nearly a year. But as our fears increased for the man we were seeking, the aura of holiday was lost. Indeed, a pall of gloom soon dogged our every move. In his last letter, Norman spoke of his spiritual growth: "I wish to devote my life to service of the Lord, as a missionary. The problem is that I cannot decide whose version of the Gospel I should preach." After considerable investigation we discovered Norman's last known address: Hotel Dinero Poco in the town of San Juan near the Amazon River. Hotel manager Pete Cabana told us that one day Norman left for a walk without returning or paying his bill. Cabana gave Norman's personal effects to Holmes for examination. The last entry in Normabn's diary contained the following list of local religious leaders, church affiliation and their mottoes: Rev. Joan James, First Church of Joanstown ("Those who thirst for the Lord shall have a shortcut to Heaven."); Dr. Poppy Fine, Church of New Zealand ("The Lord is our Sheppard"); Rev. L. Ron Mooner, Unified Science Church ("Ask not what your Church can do for you; ask what you can do for your Church."); High Priestess rose Bueno, Church of Supreme Beings ("To Serve Man."); Father Fenton Feeney, Order of Benedictine Monks ("Silence is Golden."). After reading this list, Holmes groaned, "I fear the worst, Watson." He then proceeded to tell me: a) what happened to Norman, b) who was responsible, and c) the motive for the disappearance. The game is afoot! Case #24 The Adventure of the Disinherited Daughter When Maxine Leach learned of her mother's death, she immediately returned to England from Australia. Maxine and her husband Peter had emigrated two years ago. She deeply missed her mother and often experienced pangs of guilt, that as the only child of a widow, perhaps she should have stayed in London to be with her mother. "Why didn't she write me that she was ill?" Maxine agonized. None of the family or friends could answer the question, although they seemed to be oddly cool to the bereaved daughter. Maxine was ill-prepared for the next shock. She had been completely disinherited from her mother's will. The estate was left to the following persons: 1/6 to Stanley Steed, family barrister; 1/6 to Manfred Katt, butler; 1/3 to the Community Church, care of Rev. Milton Collie; 1/6 to Sidney Diamond, nephew; 1/6 to Wilson Terrier, gentleman friend. Heartbroken, Maxine calls on Sherlock Holmes to discover why her beloved mother disinherited her. "It's not the money, Mr. Holmes. It's my memory of her. She never communicated any word of her illness or unhappiness to me. Perhaps she never forgave me for moving away. But if so, I think she would have expressed her feelings to me." To help Maxine, Holmes must discover: a) why Maxine was disinherited, b) who was responsible, and c) the motive for the underlying crime. The game is afoot! Case #25 The Adventure of the Happy Medium Claire Voyant was an upbeat and widely admired lady who had a reputation for being able to communicate with the dead. Last week, Claire and her husband Fred were guests at a dinner party hosted by Jim and Audrey Kumerlee. Other guests included Hale Stanton, Olivia Saintly, Walter Merkin, Mercedes Duckworth, Richard Dotty, and Cynthia and Ollie Horserich. As the evening wore on, Audrey Kumerlee felt the party was not lively enough, so she convinced Claire to conduct an impromptu seance. The dinner guests gathered, holding hands in a darkened room, about a large oak table, and Claire commenced to summon the departed souls of persons known to everyone at the party. For the finale, Claire began to communicate with the spirit of Ace McCall, who recently died of heart failure. The room was completely dark as "dear old Ace" began to speak. Suddenly there was a shriek and then silence. When the lights went on, the horrified party goers discovered Claire was dead. The police were immediately summoned. Inspector Lestrade announced his intention to solve the crime before the dinner guests departed so that it would not be necessary to detain everyone in jail overnight. Lestrade instructed his assistant to get Sherlock Holmes out of bed so the matter could be resolved quickly. In order to have time for a good night's sleep, Holmes must swiftly identify: a) the killer, b) the motive, and c) the weapon. The game is afoot! Case #26 The Adventure of the Champion Poodle Mrs. Mildred Vandenberg is the proud owner of Pumpkin, a poodle who has won numerous awards in dog shows. But now, greatly distressed, Mrs. Vandenberg has come to see Sherlock Holmes. Pumpkin has disappeared. The dog was discovered missing after a garden party, which Mrs. Vandenberg was giving, ended. Pumpkin never wanders by himself, so Mrs. Vandenberg is sure he was dognapped. However, no ransom note has been received. Those attending the garden party included: Major Rodney Radcliff, who has just returned from the Ashanti Expedition; Miss Lindsey Buckingham, owner of Fluffy, a champion quality dog who constantly places second to Pumpkin; and Mrs. Lydia Greenfield, esteemed dog lover and charter member of the English Kennel Club. The house staff attending to the party were the butler, Charles Blackman, and the cook, Norma White. Mrs. Vandenberg wants Holmes to discover: a) who dognapped Pumpkin, b) the motive, and c) where Pumpkin is hidden. The game is afoot! Case #27 The Adventure of the Counterfeit Notes Mr. Charles Attenbourgh is a young man on the rise. The flamboyant Attenbourgh has recently become vice president of the Bank, and is well-known in social circles. However, this lifestyle requires a great deal of money and Attenbourgh has begun to participate in financial schemes to acquire the extra funds. It is this habit that brings Charles Attenbourgh to 221 B Baker Street. Attenbourgh is in deep trouble after participating in a scheme suggested by a West Indian mulatto, Orlando Duval. Duval came to Attenbourgh the day after Attenbourgh had been assigned to handle the Eden necklace. The Bank had arranged to sell the pearl necklace after its owner, Lady Eden, passed away. Pawnbroker, Mortimer Potter, was the highest bidder at 5,000 pounds. Attenbourgh was supposed to make the final arrangements and deliver the necklace. But Duval said he would pay 10,000 pounds for it. Duval urged Attenbourgh to accept this offer and secretly keep half of the money for himself. Attenbourgh figured nobody would be the wiser, so gave the necklace to Duval in exchange for 10,000 pounds in bank notes. However, things have gone wrong. The next day Attenbourgh received a box with 500,000 pounds of counterfeit bank notes and an attached letter. It reads: "If you want the necklace back, switch these bank notes with ones in the Bank vault--Mr. X." Attenbourgh then closely examined the bank notes Duval had given him. They were also conterfeit. A contrite Mr. Attenbourgh says his career will be ruined if this scheme is discovered. Moreover, he cannot go to Scotland Yard because he would be arrested for fraud. Therefore, he is depending on Sherlock Holmes to solve this case by discovering: a) who is Mr. X, and b) where were the counterfeit notes printed. The game is afoot! Case #28 The Adventure of "The Lombard Street Gang" A daring holdup of the Bank was made by three masked persons, dubbed "The Lombard Street Gang" by the Fleet Street Press. Shortly after the Bank opened, the gang, in broad daylight, entered with sawed off shotguns, tied up the guards, and stole 50,000 poounds. After the gang ran from the Bank, the alarm was immediately sounded and police arrived, but the gang vanished without a trace. Inspector Lestrade has sought out Sherlock Holmes for help on the case. The Bank has the serial numbers for the stolen bank notes, so it won't be easy for the robbers to spend the money without being caught. However, Scotland Yard doesn't have the slightest clue as to where the gang is hiding out or where the money is hidden. The only information Scotland Yard can give is that they have identified some of the patrons who were at the Bank early that morning before the robbery occurred. They include: the Locksmith, Joseph Tremayne; two brothers from the Dock, David and Paul Andrew; and the barmaid from the Pub, Annie Wichmannn. Scotland Yard has also received word that the reputed American thief, John Barrymore, entered London just last week. Holmes must discover: a) the robbers, b) the gang's hideout, c) where the money is hidden, and d) how they plan to spend the money.  The game is afoot! Case #29 The Adventure of the Edinburgh Scandal Elsbeth Stewart, a young socialite on holiday from Scotland, has come to 221 B Baker Street. Miss Stewart is soon to marry the Duke of Edinburgh and become his Duchess; but the marriage is now endangered by a possible scandal. Last month, the young Miss Stewart foolishly had an affair with a London playboy, Lawrence Drake. Stewart now regrets the affair and has broken it off; but at the time, she wrote several love letters to Drake. These letters have apparently fallen into the wrong hands because someone is trying to blackmail Stewart. An unsigned note, with one of the love letters attached, was received by Stewart today. The note says: "If you want the rest of the letters, be at the Pawnbroker with 5,000 pounds tomorrow afternoon." If the affair is revealed, the embarrassment throughout Scotland will force the Duke to break off the engagement. Stewart wants Holmes to stop the blackmailer before he or she reveals the letters. Stewart says that she had stayed at the Hotel while in London and that Drake always met her there. He usually took her to either the casino or the Playhouse. Drake always locks his home when he isn't there. Possible suspects include Drake's valet, Richard Redwine; Drake's former lover, Kristine Greenfield; and the Hotel detective, Harold Mangin. After Stewart has left, Dr. Watson remarks that great haste must be taken if the blackmailer is to be stopped by tomorrow afternoon. Holmes must, by then, discover: a) the blackmailer, b) where the letters are, and c) how the letters can be retrieved. The game is afoot! Case #30 The Adventure of the Vanished Magician A well-known magician from Prussia, Mandrake the Great, has come to London for a week of performances. However, Mandrake's wife has come to 221 B Baker Street because of a startling incident which occurred during Mandrake's opening performance. When performing his famous disappearing act, in which Mandrake vanishes from a wooden, four-sided container, he disappeared without a hitch, but never reappeared. Mrs. Mandrake doesn't know who, or why someone would want Mandrake gone. However, Mrs. Mandrake believes one of three people is responsible, and they were all at the Playhouse the night of the performance. The first suspect is Walter Hyrum, the Playhouse manager. He has shown a dislike to the Mandrakes since they arrived in London. Another syuspect is a jealous rival of Mandrake, Stephen Ringley. Ringley claims that Mandrake stole the disappearing act from him, though Mrs. Mandrake assures Holmes it isn't true. A final suspect is a mysterious woman, Celine Nightingale, who has been following the Mandrakes throughout their European tour. A few additional facts are available. Immediately after Mandrake failed to reappear, all the lights in the Playhouse went dark for five minutes. Also, besides magic, Mandrake specializes in picking locks and creating disguises. Because of professional secrecy, Mrs. Mandrake cannot tell Holmes how the disappearing act works. Therefore, Holmes must first find out: a) how Mandrake disappeared, the b) who planned the disappearance, c) the motive, and d) where Mandrake is. After Mrs. Mandrake has gone, Dr. Watson remarks that the lack of knowledge of how Mandrake even disappeared, let alone who is responsible, makes this an extremely difficult case. The game is afoot! (THE END)  "Centerfold Squares" presented by S.W.O.R.D. ============================ Selecting an Opponent: The opponent select screen has been organized into three playing ability categories: BELOW AVERAGE, AVERAGE and ABOVE AVERAGE. Below each category is a list of the opponenets who play within that category. However, each opponent has their own ability within each class, so every player will apppear to play differently. To select an opponent, point to the "button" that contains the name of the opponent you wish to play and click the left mouse button. If you are new to Centerfold Squares, you may consider playing Penny, probably the easiest of all the players. After you have selected a player, you will be shown a player profile screen for that particular opponent. This will provide more information about that particular player, If you decide to play this opponent, click anywhere on the opponent's picture. If you decide not to play against this opponent, click anywhere outside the picture; this will take you back to the opponenet selection screen. Centerfold Sqaures Screen: The object of the game is to uncover the Centerfold opponent. When a new opponent is selected, the screen will appear filled with rectangles (the 'centerfold squares'), and one by one, a pre-selected number of these rectangles will be removed to reveal sections of the Centerfold opponent. After the initial rectangles have been removed, one last rectange will flash. This flashing centerfold square will be the one that you and your opponenet will battle over. Each centerfold square has a GOAL value printed on it. This is the number of markers that will be used in the DOUBLE-UP game. Playing Double-Up: The object of the Double-Up game is to beat the opponent in SCORE points at the end of a game. The game is terminated when either you or the opponent reaches or exceeds the GOAL value of the centerfold square in CHIPS. It is possible for you to win the game in SCORE points even though the opponent reaches the GOAL value first. The Double-Up Screen: This screen consists of a playing field on the left side of the display, and a control and status field on the right. The play field is arranged in a grid of 100 squares, with gray squares denoting uncaptured squares, black markers are the Centerfold's markers, and white squares are your markers. The control and staus field is arranged, from top to bottom, with: The Centerfold's accumulated CHIPS and SCORE values, your accumulated CHIPS and SCORE; the number of GOAL points (CHIPS) to reach; a message area; and at the bottom a "???" Chance button and a "QUIT" button. THe Double-Up Board: When the Double-Up game is started, it will arrange four markers, two of yours and two of the Centerfold's, in a crossed pattern at the center of the board. Remember, your markers are white, the Centerfold's are black. Next, a series of small red and green markers are sprinkled about the board. The quantity of these markers, from one to five, and their locations, are random. These markers are used in the final SCORE value when the game is completed. The red markers are worth -10 points, and the green markers are worth +10 points (see section on scoring). Who Starts First: Since there is an advantage to starting first, the game will alternate the first move between you and your opponent. A move is completed when both of you have taken a turn. Playing Double-Up: Each player alternates with moves designed to capture as many board markers, or chips, as possible. You capture markers by placing a new marker on a neutral, or gray, square in a way that will put the opponent's markers between this new sqaure and your other markers. For example, if "O" represents white markers, "*" black markers and "g" represents neutral markers, then consider the following possibility: 1 2 3 4 5 A g g g O g B g * * * g C g O O * g D g O * * g E g g g x g If you place a marker on the neutral square at E4 (marked with an "x", you would capture the squares along the vertical at D4,C4 and B4; as well as the diagonal marker at D3. Rules of Play: You must make a move, if a move exists, and you must make a move that will capture squares, except as noted below when playing CHANCE. If you make an incorrect move, one point will be subtracted from your score points, and the program will flash all legal moves on the board. Double-Up Marker: This marker is a yellow square that is put on the board, and taken off the board at random times throughout the game. Its frequency of occurence and its placement are random. The person who places a marker on top of this square, provided it is a legal move, will get another turn at play. If no one can capture the Double-Up marker, it will eventually be removed, and may appear again later. Playing Chance: At any time during regular play, you may wish to play Chance. This option is considered to be a move, so you may forfeit a board play for this option. This primary purpose of this option is to allow either of the players to "gamble", and is usually invoked if you or your opponent determines that the game will be lost in the next couple of moves. To play this option, you select the "???" button instead of a board play. This will invoke the Chance flash display and tell you, or the Centerfold, what the outcome is. Note that the Chance messages apply to the player that invokes the option. For example, if the Centerfold plays Chance and gets the message "You Win", then the Centerfold wins, NOT YOU. Since both you and the Centerfold may play this option, don't panic if it starts up unexpectedly, it is just the Centerfold playing Chance. The following is a list of the Chances, and the odds of getting that particular result: Win/Lose game (50% win, 50% lose) 5% Exchange Markers 5% Extra Turn (50% 1 turn, 50% 2 turns) 20% Adjust SCORE (50% +10 points, 50% -10) 30% Nothing 40% If "Nothing" occurs, then you lose your turn. End Game: The game ends when either of the players reaches the GOAL points, a Chance option of "Win" or "Lose" is rolled, or either player has no more markers left on the board. Each board marker is worth 1 GOAL point, and the game ends when either player reaches the value displayed in the "Goal is" area of the control field AFTER one complete move. Remember, a move consists of one turn each for both you and your opponent, so although you may have reached or exceeded the GOAL points, if the Centerfold has a turn remaining, the Centerfold can still play. In fact, usually someone will go over the GOAL value, but the next player will capture back some of the chips that exceeded the GOAL points. When the game is close to being over, you will hear three beeping sounds, and there will be a slight pause in the game. This is to help you realize when the game is about to be terminated. Note, this feauture may not be valid for GOAL points less then 12, so you should always watch the GOAL and CHIP points. The Final Double-Up Game Results: The game is ended when the GOAL points are reached or exceeded. However, the game is won or lost based on SCORE points. During regular play, the SCORE value is constantly updated, so at the termination of the Double-Up game, the SCORE value is final. Scoring is determined in the following way: Each marker chip is worth 1 SCORE point; each red marker will subtract 10 points from the score, each green marker will add 10 points; chance points are added and retained in your overall SCORE. The player with the highest SCORE value wins. The final results will be displayed in the message area as "I win" or "You win." Double-Up Game Ending: When Double-Up is over, the game will wait for you to click the left mouse button. This will allow you time to summarize and verify the game results. Quit: At any time during the play, you may elect to select the "Quit" button. This will terminate the game as well as the Centerfold screen and return you to the opponent select screen. At that point you may choose another opponent, or exit the program. What Happens After Double-Up: After the game is over (and you press RETURN/ENTER of click the mouse button), you return to the Centerfold screen. If you lost, the last square that you were playing for will be covered up and the game will flash the next uncovered square. This will be the next goal square. If you won, then the square that was flashing before you played Double-Up will be uncovered, and the next covered square will flash. You play the Centerfold until either all of the squares are covered (you lose), or all of the Centerfold is unconvered (you win!). When that occurs, the screen will remain until you click the left mouse button. You will then return to the select screen. Returning to the Desktop: Select the "Quit" option on the opponent select screen to return to the desktop. Important Notice! The files on your "Centerfold Squares" disk are encrypted. Tampering with them may destroy the program or damage your computer. (Reformatted by Sewercide) erfold screen. If you lost, the last square that you were playing for will be covered up and the game will flash the next uncovered square. This will be the next goal square. If you won, then the square that was flashing before you played Double-Up will be uncovered, and the next covered square will flash. You play the Centerfold until either all of the squares are ``Pack-Fire by Axe/DelightIKMFa&NK kA -Jgrѓg f``GP$]*$**ԓ**p AC$QC&LN&&QvHCj&l",p&&QjNH Na f.%߇`>.-%Wއ`,އgNu> f.%߇Nu.-%WއNurއgAQNupaSAk0gTSAgXadBad\`dpaSAjpNupaAAL!a҅NupaSAkPAAL aAa0`Npap`.pap`>aJ@g p`2aJ@gp`(aJ@gp`p``"agQk`U@C!!Q`  U`K?*O.*m-RoЭ~Fȑ/` ?J籔~*5P9߄d-*{<&B#*l 0m-`V9|#{ToTt\<?"}tX%Bh6/aKMBW`wyҷTҼXc0XC 7o t+[%Pw)- ne\KSLpNypVQfR$#MR(`IG24#44R%h H[%[H3PZV5XNu11,XJF>nnUrUv tzzֺ^TT bwvCP@F@'#z0(#vSewer Software presents..... CHRONO QUEST II SOLUTION (by Math Claessens) 1 : E - BEACH - GET ANCHOR - GET COINS - E - GET CLAY JAR AND ROSE WOOD TRUNK AND SALT - W - W - USE COINS TO TRAVEL TO FOUR. 4 : E -GET SILVER RING - GET SPEARHEAD - W - USE SILVER RING TO TRAVEL TO THREE. 3 : GET KEY - GIVE KEY TO BLACKSMITH -OPEN DOOR - CLICK ON MOUTH : HELLO GUARDIAN OF THE WINGS - MOUTH: I WOULD LIKE TO RETURN HOME AS SOON AS POSSIBLE - WATER SKIN - GET KEY - GET ANVIL - E - E - USE ANVIL TO TRAVEL TO TEN. 10 : GET SWORD - GET COPPERSHEATH - USE COPPERSHEATH TO TRAVEL TO ELEVEN. 11 : USE SWORD ON SERPENT - GET FRAGMENTS OF SWORD - USE SWORD ON BRANCH - USE SPEARHEAD ON STAKE - GET SPEAR - USE FRAGMENTS OF SWORD TO TRAVEL TO THIRTEEN. 13 : GET HORSESHOE - E - USE GLOVE ON MUSKETEER - EAR - MOUTH : A LETTER OF RECOMMENTATION FOR YOU WAS STOLEN FROM ME - MOUTH - MY LIFE BELONGS TO THE KING OF FRANCE - MOUTH : ITS NOT FOR ME TO JUDGE HER - RETRIEVE THE TWELVE DIAMOND PENDANTS AND GIVE THEM TO THE QUEEN BEFORE THE BALL. USE HORSHOE ON HORSE - USE SWORD ON GUARDIAN - USE CLAY JAR ON KEG OF WINE - EAST - MOUTH - I AM THE QUEENS REPRESENTATIVE - MOUTH : I WILL OFFER YOU SOME DIAMOND PENDANTS FOR AN ANCIENT TRUNK, DOES THIS TEMPT YOU - HAND - CHEST - HAND - MOUTH - MYLORD I BEG YOU TO BELIEVE ME - EAST - USE KEY IN DOOR - DROP GLOVE - GET FLOWERS AND VASE - USE VASE ON FIRE - USE DAGGER IN FIREPLACE - EAST SECRET PASSAGE - MOUTH : GOOD DAY MILADY, I COME BY ORDER OF BUCKINGHAM PALACE - MOUTH : THE DUKE HAS SENT ME TO RETRIEVE THE TWELVE MISSING DIAMOND PENDANTS - MOUTH : I HAVE WAYS OF MAKING YOU TALK - MOUTH : YOUR FACE, YOUR BODY, YOUR DRESS, ARE DRIVING ME CRAZY - GET DIAMOND PENDANTS - EAST - HAND - PENDANTS - HAND - MOUTH : MADAM, THIS IS AN HONOR WITHOUT EQUAL - MOUTH: THAT WHICH YOUR MAJESTY DEEMS ACCEPTABLE TO GIVE ME - RING - EAST - EAST - USE DAGGER TO TRAVEL TO TWO. 2 : E -GET SEA SHELL (NECKLACE) - GET PEWTER GOBLET - E - E - USE ANCHER ON SMALL ROCK - E - EAR : MOUTH: I CAME FROM THE FUTURE AND I AM SEARCHING FOR METAL - MOUTH : I AM ONLEY A HUMBLE SPACE TIME TRAVELLER - MOUTH : MY NAME IS NONAME - MOUTH : I HAVE SOME WINE! A NEKTAR THAT COMES FROM THE FUTURE WORLD HAND - WINE - HAND - MOUTH - USE SPEAR ON CYCLOP - USE CLAY JAR ON BLOOD - W - W - W - W - USE GOBLET TO TRAVEL TO FIVE. 5 : E - E - GET GRAVEL - GET LIANA - EAST - EAR - USE RING - MOUTH - TOGETHER, LETS TASTE THE TABLE'S DELIGHTS - MOUTH - SURELY, THIS IS A TRAP. BUT WHAT DIFFERENCE DOES IT MAKE, I CANNOT RESIST YOUR CHARMS -- NAILS -- W - W - W - USE NAILS TO TRAVEL TO SIX. 6 : E - E - GET BRONZE SHIELD - E - GIVE CLAY JAR WITH BLOOD - MOUTH : DO YOUR JOB AND PREDICT MY FUTURE - MOUTH : CHARYBDIS - (GOLDEN SCEPTRE) - W - W - W - USE SHIELD TO TRAVEL TO NINE. 9 : GET CANDLES - USE NECKLACE TO TRAVEL TO SEVEN. 7 : E - GIVE CANDLES TO CREW - USE LIANA TO SHIPS MAST - E - E - E - E - N - N - LOOK IN THE FRONT OF THE SHIP - GET EARRINGS - E -USE EARRINGS TO TRAVEL TO EIGHT. 8 : E - E - USE SWORD ON OX - GET HORN - W - USE SWORD ON ROCK - TAKE THE HILT OF THE BROKEN SWORD - TAKE THE POINT OF THE BROKEN SWORD - W - USE THE POINT OF THE BROKEN SWORD TO TRAVEL TO TWELVE. 12 : USE SCEPTRE ON THE KING - E - E - GIVE HORN TO ROLAND - W - W - USE ROLANDS SWORD TO TRAVEL TO ??? THE END ??? ---------------------------------------------------------------------------- IF YOU HAVE ANY PROBLEM WITH SOLVING AN ADVENTURE, DON'T HESITATE TO CALL OR WRITE TO ME. MATH CLAESSENS WAGENAARSTRAAT 58 6164 XM GELEEN (L) TELEPHONE: 04490-52532 (Briefly Edited and Reformatted by Sewercide) Sewer Software brings you..... " COLONELS BEQUEST " SOLUTION BY MATH CLAESSENS FIRST I GIVE YOU A LIST OF THINGS YOU FIND AND IN WHAT ACT YOU FIND THEM: ACT 2:HANDKERCHIEF: FOR GERTRUDES ROOM ACT 2:SOUP BONE: IN THE KITCHEN ACT 3:CRACKERS: IN CELLAR FROM JEEVES ACT 3:BRASS KEY: IN THE CANNON IN COLONELS ROOM ACT 3:CANE: IN ONE OF THE SECRET ROOMS ACT 3:CARROT: IN CELIES HOUSE ACT 3:CRANK: IN THE TOWER ACT 3:CROWBAR: FROM DECREPIT IN CARRIAGE HOUSE ACT 3:MONOCLE: FROM WILBUR ACT 3:NECKLACE: IN DOG HOUSE ACT 3:OIL CAN: IN CARRIAGE HOUSE ACT 3:POKER: IN LIBRARY ACT 4:BROKEN RECORD: IN BILLIARDS ROOM ACT 4:CIGAR BUTT: IN ONE OF THE SECRET ROOMS ACT 4:VALVE HANDLE: ARMOUR ACT 5:LANTERN: IN STABLE ACT 5:ROLLING PIN: SOUTH FROM THE STABLE ACT 7:DIARY: LILLIANS ROOM ACT 7:MATCHES: FROM CLARENCE ACT 7:POUCH: IN RUBY'S VAULT ACT 8:BULLET: IN LITTLE GARDEN (HEDGE GARDEN) ACT 8:DERRINGER: IN LITTLE GARDEN (HEDGE GARDEN) ACT 8:SKELETON KEY: FROM LILLIAN IN LITTLE GARDEN (HEDGE GARDEN) IF YOU WANT TO DO OTHER THINGS IN THE SOLUTION, OR WALK TO OTHER PLACES OUTSIDE, THEN SAVE YOUR GAME FIRST. IN THE HOUSE, DON'T WALK UNDER THE LAMP BECAUSE SHE IS FALLING DOWN FROM THE CEILING. TAKE A SHOWER IN THE BATHROOM BUT FIRST SAVE YOUR GAME. IF I WALK INTO A ROOM LATER IN THE ADVENTURE AND LEAVE THE ROOM WITHOUT DOING SOMETHING, THEN YOU MUST ONLY WATCH THE SCENE IN THAT ROOM UNTIL IT IS FINISHED. LETS START THE SOLUTION: OPEN THE LITTLE DOOR LEFT IN THE SCREEN - LOOK IN CHUTE - CLOSE DOOR - ENTER THE ROOM EAST - LOOK ETHEL - ASK ABOUT : LILLIAN - GLORIA - RUDY - WILBUR - HENRI - GERTRUDE - CLARENCE - JEEVES - FIFI - CELIE - NOW WALK WEST - AGAIN WEST - ENTER DOOR NORTH - WAIT UNTIL LILLIAN LEAVES THE BATHROOM - WASH HANDS - LEAVE BATHROOM - PUSH THE LEFT ARMOIRE - NOW STAND BEHIND THE PAINTINGS WITH YOUR FACE TO THE NORTH- LOOK THROUGH HOLES- LEAVE THE SECRET ROOM EAST - ENTER THE COLONELS ROOM ON THE LEFT - ENTER THE NEXT ROOM WEST - LOOK BAG (AT BED) - E - E - PUSH THE RIGHT ARMOIRE - WALK BETWEEN THE PAINTINGS WITH YOUR FACE TO THE NORTH - LOOK THROUGH HOLES - LEAVE SECRET ROOM WEST - ENTER THE ROOM ON THE RIGHT - TELL ABOUT HENRI AND FIFI - ASK ABOUT HENRI AND FIFI - ASK ABOUT : GLORIA - RUDY - WILBUR - GERTRUDE - CLARENCE- JEEVES- CELIE - FIFI - HENRI - LEAVE ROOM - S - DOWN - ENTER THE FIRST DOOR ON THE RIGHT (BAR ) - ASK ABOUT : LILLIAN - ETHEL - RUDY - GLORIA - WILBUR - HENRI - JEEVES - FIFI - CELIE - LOOK AT DECANTER - LOOK IN DECANTER - LEAVE ROOM - N - PULL MIRROR - WALK BETWEEN THE PAINTINGS WITH YOUR FACE TO THE SOUTH - LOOK THROUGH HOLES - LEAVE SECRET ROOM WEST - LEFT ON THE WALL PULL CLOCK - WALK BETWEEN THE PAINTING WITH YOUR FACE TO THE SOUTH - LOOK THROUGH HOLES - LEAVE SECRET ROOM EAST - ENTER THE DOOR ON THE LEFT - ASK ABOUT HORSES - TELL ABOUT HORSES - LOOK MAGAZINE - LEAVE ROOM - S - UP - ENTER THE DOOR ON THE LEFT - LOOK GERTRUDE - LEAVE ROOM - LOOK FLOOR - GET HANDKERCHIEF - ENTER THE DOOR ON THE LEFT AGAIN - WALK TO OPEN WINDOW - LOOK OUTSIDE - CLOSE WINDOW - SMELL THE SMOKE - LOOK TABLE - LOOK PLANT - LEAVE ROOM - N - ENTER THE DOOR ON THE LEFT - WALK TO THE COLONEL - SHOW HANDKERCHIEF TO HENRI - ASK ABOUT HANDKERCHIEF - TELL ABOUT HANDKERCHIEF - LEAVE ROOM - S - DOWN - N - ENTER DOOR LEFT - ENTER DOOR WEST - GO TO THE GLASS CABINET ON THE RIGHT - OPEN ARMOIRE - LOOK AT RIFLE - GO TO THE CABINET LEFT - OPEN ARMOIRE - LOOK AT DAGGER - GO TO THE DESK - LOOK AT CASE - LOOK DERRINGER - LEAVE ROOM - LEAVE ALSO THIS ROOM - LEAVE HOUSE NORTH - W - AFTER THE DOCTOR AND CLARENCE GO INSIDE : GO EAST - ENTER HOUSE - PULL MIRROR - STAND BETWEEN THE PAINTINGS WITH YOUR FACE TO THE NORTH - LOOK THROUGH HOLES - TURN AROUND WITH YOR FACE TO THE SOUTH - LOOK THROUGH HOLES - LEAVE SECRET ROOM WEST - ENTER THE DOOR RIGHT (DINING ROOM) - ENTER THE DOOR EAST (KITCHEN) - GO TO THE CABINET IN THE LEFT OF THE SCREEN - GET BONE - LOOK LILLIAN - LOOK CELIE - LOOK AT ROLLING PIN - SHOW HANDKERCHIEF TO LILLIAN - ASK ABOUT HANDKERCHIEF - TELL ABOUT HANDKERCHIEF - W - W - PULL CLOCK - STAND BETWEEN THE PAINTINGS WITH YOUR FACE TO THE SOUTH - LOOK THROUGH HOLES - LEAVE SECRET ROOM EAST - S - ENTER DOOR LEFT (BILLIARDS ROOM) - LEAVE HOUSE TO THE DOOR LEFT IN THE ROOM - SEARCH GERTRUDE - ENTER BILLIARDS ROOM - LOOK AT GLORIA - LOOK AT BOA - TELL ABOUT GERTRUDE - LEAVE ROOM EAST - N - ENTER DOOR LEFT - ASK ABOUT : GLORIA - HENRI - LILLIAN - GERTRUDE - ETHEL - RUDY - CLARENCE - JEEVES - FIFI - CELIE - NOW SEARCH FOR THE CANE, IT'S IN ONE OF THE SECRET ROOMS - GET CANE - LEAVE SECRET ROOM - GO TO THE BILLIARDS ROOM - SHOW CANE TO GLORIA - ASK ABOUT CANE - TELL ABOUT CANE - LOOK AT BOA - LEAVE ROOM EAST - N - ENTER ROOM LEFT - LOOK FLOOR - GET FIREPLACE POKER - LOOK FEATHERS - ENTER ROOM WEST - GO THROUGH DOOR WEST - AGAIN WEST (PLAYHOUSE) - N (CHAPEL) - ENTER CHAPEL - IF THERE IS NO DEAD BODY, THEN WE MUST GO TO THE STABLE - LETS GO - LEAVE CHAPEL - GO SOUTH LEFT IN THE SCREEN (STABLE) - ENTER STABLE - SEARCH WILBUR - USE MONOCLE TO LOOK AT THE HANDKERCHIEF - USE MONOCLE TO LOOK AT THE POKER - LEAVE STABLE - E - N (PLAYHOUSE) - KNOCK DOOR - SHOW CANE TO LILLIAN - ASK ABOUT CANE - LEAVE PLAYHOUSE - GO SOUTH LEFT UNDER IN THE SCREEN (CARRIAGE HOUSE) - ENTER CARRIAGE HOUSE - GET OILCAN - GET CROWBAR FROM THE DECREPIT CARRIAGE - LEAVE CARRIAGE HOUSE - W - N (CHAPEL) - ENTER CHAPEL - WALK TO THE PULPIT - USE CROWBAR TO PRY FLOORBOARD - LOOK IN NICHE - GET BIBLE - LEAVE CHAPEL - E - CLIMB UP THE LADDER - OIL THE BELL - CLIMB DOWN - USE CANE TO PULL THE ROPE - GET CRANK - E - E - E - THROW BONE - SEARCH THE DOG HOUSE - OPEN CELLAR DOOR - GET CRACKERS (FROM BEDSIDE CABINET) - LEAVE CELLAR - E - N - KNOCK ON DOOR (CELIES HOUSE) - GIVE NECKLACE - ASK ABOUT : HENRI - LILLIAN - ETHEL - GLORIA - RUDY - CLARENCE - JEEVES - FIFI - GERTRUDE - WILBUR -GET CARROT (FROM THE TABLE) - LEAVE HOUSE - E - E (LITTLE STATUE) - ENTER HOUSE - S - ENTER DOOR RIGHT (BAR) - GIVE CRACKER TO POLLY - LEAVE ROOM - UP - N - PUSH LEFT ARMOIRE - STAND BETWEEN THE PAINTINGS WITH YOUT FACE TO THE NORTH - LOOK THROUGH HOLES -LEAVE SECRET ROOM EAST - PUSH THE ARMOIRE ON THE RIGHT - STAND BETWEEN THE PAINTINGS WITH YOUR FACE TO THE SOUTH - LOOK THROUGH HOLES - LEAVE SECRET ROOM WEST - ENTER DOOR LEFT (COLONELS ROOM) - LOOK CANNON (ABOVE FIREPLACE) - GET KEY - GO TO THE ELEVATOR IN THIS ROOM - ENTER ELEVATOR - (IF THERE IS NO ELEVATOR LEAVE THE ROOM AND ENTER IT AGAIN UNTIL THERE IS AN ELEVATOR) - UNLOCK ELEVATOR - PUSH UP - LOOK NEWSPAPERS - S - LOOK IN TRUNK - E - UNLOCK DOOR - OPEN DOOR - ENTER DOOR - EAST (FIFI'S ROOM) - LOOK AT DECANTER - USE MONOCLE TO LOOK AT DECANTER - LEAVE ROOM - DOWN - N - NOW SEARCH FOR THE CIGAR BUTT, IT IS IN ONE OF THE SECRET ROOMS - PUSH ARMOIRE - LOOK FLOOR - GET CIGAR BUTT - SMELL - LEAVE SECRET ROOM - ENTER THE ROOM LEFT (COLONELS ROOM) - SHOW CIGAR BUTT TO HENRI - ASK ABOUT CIGAR BUTT - TELL ABOUT CIGAR BUTT - SMELL CIGAR - LEAVE ROOM - S - DOWN - GO TO THE ARMOUR LEFT IN THE SCREEN - OIL VISOR - OPEN VISOR - ENTER ROOM LEFT (BILLIARDS ROOM) - LOOK FEATHERS - LOOK MUD - GET RECORD - USE MONOCLE TO LOOK AT THE RECORD - LEAVE ROOM EAST - N - ENTER DOOR LEFT - TELL ABOUT WILBUR - LEAVE ROOM WEST (OUTSIDE) - S - EAST UNDER IN THE SCREEN (BIG STATUE) - E - EAST UNDER IN THE SCREEN (GAZEBO) - (IF GLORIA IS NOT HERE THEN YOU FIND HER BY THE WELL) - SEARCH GLORIA - W - W - (BIG STATUE) - LOOK AT THE FIGHT - N - FOR THE HOUSE GO EAST - ENTER THE HOUSE - LEAVE BAR WEST - N - ENTER DOOR ON THE RIGHT - LEAVE ROOM WEST - ENTER ROOM LEFT - ENTER NEXT ROOM WEST - GO THROUGH DOOR WEST (OUTSIDE) - W - W -ENTER STABLE - GIVE CARROT TO HORSE - OPEN GATE - GET LANTERN - CLOSE GATE - LEAVE STABLE - S - GET ROLLING PIN - USE MONOCLE TO LOOK AT THE ROLLING PIN - WALK NORTH IN THE RIGHT OF THE SCREEN (CARRIAGE HOUSE) - ENTER CARRIAGE HOUSE - (IS THERE NO DEAD BODY THEN IT IS IN THE ROSE GARDEN - WELL LETS GO TO THE ROSE GARDEN - LEAVE CARRIAGE HOUSE - GO NORTH IN THE RIGHT OF THE SCREEN - AGAIN NORTH IN THE RIGHT OF THE SCREEN - E - E - (LITTLE STATUE) - N - SEARCH ETHEL - S - E - OPEN CELLAR DOOR - LOOK JEEVES - LEAVE CELLAR - WEST (UPPERSIDE FROM THE SCREEN) - ENTER HOUSE SOUTH - ENTER DOOR ON THE RIGHT - TELL ABOUT GLORIA - LEAVE ROOM WEST - S - ENTER DOOR RIGHT - TELL ABOUT ETHEL - LEAVE ROOM - UP - N - PUSH LEFT ARMOIRE - STAND BETWEEN THE PAINTINGS WITH YOUR FACE TO THE NORTH - LOOK THROUGH HOLES - LEAVE SECRET ROOM EAST - PUSH THE RIGHT ARMOIRE - YOU SMELL SOME PERFUME - LEAVE SECRET ROOM WEST - ENTER LEFT DOOR - ENTER ELEVATOR - UNLOCK ELEVATOR - PUSH UP - S - LOOK IN TRUNK - E - UNLOCK DOOR - OPEN DOOR - ENTER DOOR - ENTER DOOR EAST - SEARCH FIFI - LOOK AT DECANTER - USE MONOCLE TO LOOK AT DECANTER - LEAVE ROOM - DOWN - DOWN - ENTER RIGHT DOOR - USE MONOCLE TO LOOK AT THE GLASS - GIVE CRACKER TO POLLY - LEAVE ROOM WEST - UP - N - ENTER RIGHT DOOR - WATCH - LEAVE ROOM WEST - ENTER DOOR NORTH - LOOK IN BASKET - GET BOTTLE - USE MONOCLE TO LOOK AT BOTTLE - LEAVE BATHROOM - S - ENTER RIGHT DOOR (CLARENCE ROOM) - WATCH - LEAVE ROOM - DOWN - N - ENTER LEFT DOOR - ENTER DOOR WEST - LEAVE HOUSE WEST - WALK IN THE UPPER SCREEN EAST (LITTLE STATUE) - E - E - KNOCK DOOR (CELIES HOUSE) - W - W - ENTER HOUSE SOUTH - ENTER LEFT DOOR - ENTER DOOR WEST - LOOK AT CASE - LOOK AT DERRINGER - LOOK IN THE LEFT ARMOIRE - LOOK DAGGER - LEAVE ROOM EAST - LEAVE ROOM EAST - S - ENTER THE RIGHT ROOM - GIVE CRACKER TO POLLY - LEAVE ROOM WEST - UP - N - ENTER RIGHT DOOR - GET DIARY - USE MONOCLE TO LOOK AT THE DIARY - READ DIARY - LEAVE ROOM - S - ENTER RIGHT DOOR - USE MONOCLE TO LOOK AT THE BOOK -LEAVE ROOM - N - ENTER DOOR NORTH - IF THERE IS NO DEAD BODY, LEAVE THE BATHROOM AND ENTER THE LEFT DOOR - ENTER DOOR WEST (DOCTORS ROOM), YOU SEE HERE IS THE BODY - SEARCH CLARENCE (YOU FIND SOME MATCHES) - LEAVE ROOM - ALSO LEAVE THIS ROOM - S - DOWN - N - ENTER DOOR NORTH - E - E - E - (CELIES HOUSE) - S - ENTER THE HEDGE GARDEN - WALK TO STATUE - PUT VALVE HANDLE IN SHAFT - TURN VALVE HANDLE - MOVE STATUE - LIGHT LANTERN - GO DOWN - WALK WEST - UNDER IN THE SCREEN YOU FIND THE DEAD BODIES - WALK TO CHUTE - PUT CRANK IN THE HOLE - TURN CRANK - ENTER SECRET PASSAGE WEST - UPSTAIRS WEST - GO TO THE VAULT WITH THE NAME RUBY - USE CROWBAR TO OPEN THE VAULT - GET POUCH - GET LANTERN - AND GO BACK WHERE YOU CAME FROM - OUTSIDE - EXTINGUISH LANTERN - LEAVE HEDGE GARDEN - W - W - W - S - W - N -(PLAYHOUSE) - KNOCK DOOR - LOOK CHALKBOARD - LOOK LILLIAN - LEAVE PLAYHOUSE - NORTH TO THE CHAPEL - ENTER CHAPEL - PRAY - LEAVE CHAPEL - S - E - ENTER HOUSE - (COLONELS STUDY) - LEAVE ROOM EAST - LEAVE ROOM EAST - UP - N - ENTER LEFT DOOR - ENTER ELEVATOR - UNLOCK ELEVATOR - PUSH UP - S - LOOK IN TRUNK - LOOK AT : CAPE - GLOVES - HAT - BOOTS - HEEL - GO EAST - UNLOCK DOOR - OPEN DOOR - ENTER DOOR - DOWN - N - ENTER RIGHT DOOR (LILLIANS ROOM) - WATCH - LEAVE ROOM - S - DOWN - S - READ NOTE - DOWN LITTLE STAIRS - E - E - ENTER HEDGE GARDEN - SEARCH LILLIAN - GET DERRINGER - GET BULLET - LOAD GUN - LEAVE HEDGE GARDEN - W - ENTER HOUSE - LEAVE ROOM WEST - UP - N - ENTER LEFT DOOR - LOOK BAG - LOOK IN BAG - LEAVE ROOM - S - UP - UNLOCK DOOR - OPEN DOOR - ENTER DOOR - SHOOT RUDY............ IF YOU HAVE ANY PROBLEM WITH SOLVING A ADVENTURE, DON'T HESITATE TO CALL OR WRITE TO ME.IF YOU WRITE TO ME PUT SOME MONEY IN IT FOR STAMPS AND ENVELOPE AND PAPER. DON'T CALL ME ON SATURDAY AND SUNDAY AND NOT AFTER 18.00 HOUR.I HAVE MY PRIVACY TO. MATH CLAESSENS WAGENAARSTRAAT 58 6164 XM GELEEN (L) THE NETHERLANDS TELEPHONE:04490-52532 FOREIGN COUNTRIES:4490-52532 AT 7 DECEMBER 1990 AT 22.00 IS MY TELEPHONE NUMBER CHANGING IN: 046-752532 FOREIGN COUNTRIES:46-752532 (I wish Math would use a neater format and spellcheck his solutions ..... Edited and Reformatted by Sewercide.) Sewer Software presents..... DAN DARE III THE ESCAPE By MEDUSA WHOS WHO IN DAN DARE DAN DARE- Colonel Daniel MacGregor Dare, OUN Interplanet Space Fleet. Born February 5th, 1967, Manchester England. Education: Rossal, Cambridge and Harvard Universities. Career: 1987 Class 3 Space Pilot, 1997 Chief Pilot of the ISF. Commendations: The Order of the United Nations for leadership in the Venus Expeditions of 1996. Hobbies: cricket, fencing, riding, painting and model-making. SIR HUBERT-( often referred to as `Orrible Urbert`). This character was actually modelled on Hampsons father. Marshall of Space, Sir Hubert Gascoine Guest. KCB, OM, OUN, DSO, DFC Born: 1943. Career: ex-RAF Controller of the interplanet Space Fleet. A member of the crew of the first manned rocket to the moon. Commander under Admiral Grosvenor on the first expedition to Mars. Although well over age for active service, Sir Hubert accompanied the 1988 expedition to Venus. Hobbies: swimming, riding, chess, writing technical history of fleet organisation and structure. DIG-( Dans faithful companion and batman). Spaceman Class 1. Albert Fitzwilliam Digby. Born: 1960, Wigan, England. Married with 4 children( 3 girls,1 boy). Hobbies: football, jigsaws, sleeping. PROF- Professor Jocelyn Mable Peabody. Born: Moreton. Glos. Careers: Honorary rank of Pilot/Captain. Expert in nutrition, agriculture and botony. Attached to Venus expedition 1996 in search of food. Hobbies: skiing, riding, netball. HANK- Pilot Captain Henry Brennan Hogan. Born: Houston, Texas. A brilliant pilot with a distinct dislike for `red tape`/ Jpnnoes: boxing, car racing, photography, baseball. PIERRE- Pilot/Major Pierre August Lafayette. A shrewd analytical mathematical officer from Dijon, France. He is a close friend of Hank`s. Hobbies: gastronomy, three dimensional chess, fishing. --------------------------------------------------------------------- THE MEKON AND HIS MUTANTS The fate of all mankind hangs in the balance. The Mekon menace is back again determined to conquer and dominate the human race. In doing so, the evil Mekon has vowed to wreak his vengenance upon his arch enemy. Colonel Dan Dare. To further his inquitious plans, the Mekon is conducting a series of horrific genetic experiments, attempting to mutate a variety of life-forms into an army of Treen-like creatures, serville to the Mekon. The experiments failed, the creatures were twisted and strange. What was needed to advance the Mekons ungodly experiments was a human subject, and who better than the hated Colonel Dan Dare? The Mekon issued his orders. A gigantic scientific satellite was rapidly constructed. Manned by an army of loyal Treens, the satellite was set on course for Planet Earth. Many months passed before reaching the Earths orbit. Whilst their ship navigated the dark recesses of the universe, the Mekon and his scientists continued their horific experiments. But with little success: no Treen-like beings were created and the weird mutant creatures formed were left to wander at will, the corridors of the satillite. On reaching the Earths orbit, a small army of Treens were dispatched to capture the unsuspecting Dan Dare. Their mission was successful, seizing the Colonel, the Treens transported their prize back to the satellite where the pitiless Mekon had underestimated our hero, while the scientists are preparing the lethal serum, Dan breaks free from the operating table and destroying his captors escapes into a store chamber next to the genetic experimentation unit. Searching the chamber he discovers a jet-pack and sets off to explore the maze of corridors and chambers of the vast satellite. Luck is on the side of our brave colonel. Entering a large chamber, he finds an escape shuttle, powerful enough to accomplish the return journey to Earth, but the fuel tanks are empty. Dan calculates that he will need exactly 50 pounds of high grade rocket fuel to complete the journey home. Undaunted by this catastrophe, Dan straps his jet-pack to his back and continues his search of the Mekons evil satellite. USING THE WEAPONS SYSTEMS During his exploration of the vast satellite ,Dan discovers the Mekons armoury. From the vast arsenal Dan chooses the very latest plasma cannon. The cannon has three shot strengths, indicated by the bar readout on the screen; a quick tap on the fire button releases a low power bolt of energy, holding the fire button down until the bar readout reaches the mid-point in the display, fires off a medium power blast ; keeping the fire button depressed until the bar readout reaches the limit of its travel unleashes a real megablast of destructive power. You must master the cannons control system before embarking on the quest for Colonel Dares freedom-effective destruction of the life-forms requires practice. Also watch out for the recoil when you use the megablast option. Remember that the more powerful the blast that you unleash from the plasma cannon, the longer it takes to recharge. So unless you are well covered, or have just activated a smart bomb, you will leave Dan Dare defenceless against the Mekons mutants whilst his cannon recharges. Colonel Dare is able to long on to the terminal found in the start location and can buy some special weapons. The weapon currently in use by the Colonel is displayed in a window on the screen-to select one of the items that he is carriang, press select until the item that you want appears in the window. Then press the fire button to activate your choice, unless of course it is fuel or money which is useful to have at hand. MAKE GOOD YOUR ESCAPE The start location which is the satellites store chamber, is the only place where Dan can refuel his jet-pack, or buy weapons and equipment: this is done by hacking into the Mekons computerised stock-keeping system. While Dan stands on the Mekons computer terminal, press select. This creates a menu of numbered items that Dan can buy. By pressing the corresponding number on the keyboard, you can allow Dan to buy or use an item. Lives can be purchased as well, but only in extreme need. Use lives wisely, in order to escape from the Mekons evil satillite. Dan Dare has to collect 50 pounds of fuel to power the escape shuttle for its flight back to planet Earth. The Mekon has not underestimated Dan Dares abilities: before Dan Dare was kidnapped, the Mekon ordered the fuel store to be divided into five equal parts, which were then hidden in the five main chambers of the scientific satillite. Dan has to search each of these chambers to discover the hidden fuel, then Dan must find the Mekon and blast away at the evil creature until the Mekon teleports back to his regeneration unit to recuperate from the battle. As he leaves, the Mekon drops the teleport key which Dan needs to teleport himself to the next chamber, But beware, the evil Mekonn has booby-trapped the key. His intention is to blast our valiant hero into oblivion. Luckily for Dan there is a critical design flaw in the timing mechanism of each key which allows Dan three nanoseconds after he leaves the chamber before the chamber- and everything in it- is destroyed. So there is no real problem for Dan unless he has left the chamber without collecting the fuel, in which case our intrepid hero will be stranded aboard the satellite for eternity.....Time to hit the quit button and start the game anew. TIPS FOR SUCCESS Although brave and rugged, our hero Colonel Dan Dare is not superhuman. He is not indestructible. Contact with the Mekons malevolent mutants drains Dans life force. Bumping into the walls of the teleport tunnels that link the satellites chambers, damages his space suit, reducing his life force. Keep a careful eye on the quantity of ammo and bombs that you are carrying. Ammo can be collected from certain places in the play area, but bombs have to be purchased via the terminal in the start location. Keep track of the jet-pack fuel remaining in the tank. If you run out of fuel Colonel Dan is effectively stranded until he loses life and is returned to the start location. CONTROLS PC: Press F1 to pause the game. Press F10 to quit the game while in pause mode. SELECT: A UP Q LEFT O RIGHT P FIRE SPACE ST: Press F1 to pause the game Press F2 to toggle the music Press F3 to toggle sound FX Press F10 to quit the game while in pause mode Use joystick control and pull down for SELECT AMIGA: Press F1 to pause the game Press F2 to toggle the music Press F3 to toggle sound fix Press F10 to quit game while in pause mode Use joystick control and pull down for SELECT Sewersoft presents..... ** THE ENFORCER ** In the silent hours of the night, the Knights in Blue patrol the streets. The city can be evil. Yours is the task to be prepared, to be ready for anything misfortune can throw your way. Splitsecond decisions are forced upon you. Can YOU handle it? Yes, cause you're the KNIGHT in BLUE, the ENFORCER. Object of the game: shoot the bad guys as quickly and as many as possible. You can recognize a bad guy because he is holding a weapon. If you hit an innocent man your status will be gone. Cars will pass at the bottom side of your screen; try to hit them and you will get bonus points, but do not shoot police cars. Sometimes a target will pass at the top of your screen; shoot at it to collect extra ammunition. Watch your time (T), energy (E), and status (S) closely. Composing a Weapon: one of the lessons you get. The weapons in the green areas are examples; in the white area you can make your own weapon. You will get less bullets for the next screen when your weapon is badly composed. Firebutton/spacebar = place this part of the weapon in the white area. Catching bullets: move your pistol left/right to catch as many bullets as possible, usable at the next screen. Watch it: purple bullets end the lesson. The street: learn at the academy, put it into practice! But beware, some "innocents" may turn out to be criminals! (Reformatted by Sewercide) **************************************************************** * * * F-19 STEALTH FIGHTER * * KEY CONTROLS * * * **************************************************************** * TYPED IN BY RICKY * **************************************************************** CONTROLLER JOYSTICK ARROW KEYS MOUSE PITCH DOWN FORWARD UP FORWARD ROLL RIGHT RIGHT RIGHT RIGHT ROLL LEFT LEFT LEFT LEFT PITCH UP BACK DOWN BACK DOWN & RIGHT FORWARD&RIGHT UP & RIGHT FORWARD & RIGHT DOWN & LEFT FORWARD&LEFT UP & LEFT FORWARD & LEFT UP & RIGHT BACK & RIGHT DOWN & RIGHT BACK & RIGHT UP & LEFT BACK & LEFT DOWN & LEFT BACK & LEFT ADJUST STICK SENSITIVITY 'INSERT' KEY ------------------------------------------------------------ THROTTLE MAXIMUM POWER SHIFT AND + KEY INCREASE THROTTLE - KEY DECREASE THROTTLE ) KEY NO POWER SHIFT AND KEY ------------------------------------------------------------ OTHER FLIGHT CONTROLS GEAR (LANDING GEAR TOGGLE) - 6 KEY (ON MAIN KEYBOARD) FLAPS(EXTEND/RETRACT TOGGLE) - 9 KEY (ON MAIN KEYBOARD) BRAKES(ON/OFF TOGGLE) - 0 KEY (ON MAIN KEYBOARD) AUTOPILOT(ON/OFF TOGGLE) - 7 KEY (ON MAIN KEYBOARD) ACCEL(ACCELERATED)TIME - SHIFT AND Z KEY NORM (NORMAL) TIME - SHIFT AND X KEY ------------------------------------------------------------ OUT OF PLANE VIEWING SLOT VIEW - SHIFT AND F1 KEY CHASE PLANE - SHIFT AND F2 KEY SIDE VIEW - SHIFT AND F3 KEY MISSILE VIEW - SHIFT AND F4 KEY TACTI VIEW (YOU & ENEMY) - SHIFT AND F6 KEY INVRS TACTI (ENEMY & YOU) - SHIFT AND F7 KEY ------------------------------------------------------------ OUT OF COCKPIT VIEWING VIEW AHEAD - SHIFT AND = KEY VIEW REAR - SHIFT AND : KEY VIEW LEFT - SHIFT AND ? KEY VIEW RIGHT - SHIFT AND ; KEY ------------------------------------------------------------ OTHER VIEW KEYS ZOOM ( VIEW OR MAP) - Z KEY UNZOOM ( VIEW OR MAP) - X KEY VIEW ANGLE ( NARROW OR WIDE) - C KEY ------------------------------------------------------------ COCKPIT CONTROLS COCKPIT VIEW - F1 KEY HUD MODES - F2 KEY CRT MAPS (TOGGLE LEFT SIDE CRT) - F3 KEY DATA (ON RIGHT SIDE CRT) - F4 KEY ORDNANCE (ON RIGHT SIDE CRT) - F5 KEY SYSTEM DAMAGE(ON RIGHT SIDE CRT)- F6 KEY ILS (ON/OFF THE HUD) - F9 KEY MISSION(ON RIGHT SIDE CRT) - F10 KEY EJECT (BAIL OUT) - SHIFT AND F10 KEY ------------------------------------------------------------ INS (INERTIAL NAVIGATION SYSDTEM) SELECT WAYPOINT (ON RIGHT SIDE CRT) - F7 KEY CHANGE WAYPONT (ON BOTH CRT'S) - F8 KEY RESET WAYPOINT (ALL) - SHIFT AND F8 KEY SELECT/CHANGE PREVIOUS WAYPOINT - MINUS ON NUMERIC KEYB. SELECT/CHANGE NEXT WAYPOINT - PLUS ON NUMERIC KEYB. MOVE WAYPOINT UP (CHANGING PT) - UP ARROW MOVE WAYPOINT DOWN (CHANGING PT) - DOWN ARROW MOVE WAYPOINT LEFT (CHANGING PT) - LEFT ARROW MOVE WAYPOINT RIGHT(CHANGING PT) - RIGHT ARROW ------------------------------------------------------------ TRACKING CAMERA (APPEARS ON RIGHT SIDE COCKPIT CRT) AHEAD - + KEY REAR - : KEY LEFT - ? KEY RIGHT - ; KEY SELECT TARGET(IN CURRENT VIEW ARC) - B KEY DESIGNATE NEW TARGET(AHEAD ONLY) - N KEY ------------------------------------------------------------ ARMAMENTS ORDNANCE (ON RIGHT SIDE CRT) - F5 KEY SELECT ORDNANCE - SPACE BAR BAY DOORS(TOGGLE OPEN / CLOSED) - 8 KEY ON MAINBOARD FIRE ORDNANCE - RETURN KEY-RIGHT MOUSE FIRE CANNON - FIRE - BACK SPACE - LEFT MOUSE ------------------------------------------------------------ DEFENCES FLARE (DROP ONE CARTRIDGE) - 1 KEY ON MAINBOARD CHAFF (DROP ONE CARTRIDGE) - 2 KEY ON MAINBOARD IR JAMMER (TOGGLE ON/OFF) - 3 KEY ON MAINBOARD ECM (RADAR JAMMER ON/OFF) - 4 KEY ON MAINBOARD DECOY (DROP ONE) - 5 KEY ON MAINBOARD ------------------------------------------------------------ SIMULATION CONTROLS PAUSE(PRESS ANY KEY TO UN-PAUSE) -ALT AND P KEY BOSS (HIDES SIMULATION) -ALT AND B KEY QUIT -ALT Q KEY RESUPPLY (TRAINING ONLY) -ALT R KEY CHANGE MISSIONS TO TRAINING -ALT AND T KEY ------------------------------------------------------------ KEYBOARD CONTROL STICK ADJUST 'INS' KEY KEYBOARD SENSITIVITY 3= KEYPRESS CAUSES LARGE STICK MOVEMENT KEYBOARD SENSITIVITY 2= KEYPRESS CAUSES STICK MOVEMENT(DEFAULT) KEYBOARD SENSITIVITY 1= KEYPRESS CAUSES SMALL STICK MOVEMENT ------------------------------------------------------------ VOLUME ADJUST (4SOUNDS LEVELS) 'ALT AND V' KEY SOUNDS LEVEL 3 = ALL SOUNDS SOUNDS LEVEL 2 = ALL SOUNDS EXCEPT ENGINE BACKGROUND NOISE SOUNDS LEVEL 1 = FIRING AND EXPLOTION ONLY SOUNDS LEVEL 0 = NO SOUND ------------------------------------------------------------ DETAIL ADJUST (2 LEVELS) ALT AND D KEY DETAIL LEVEL 1 = MAXIMUM DETAIL ON TACTICAL AND TRACK CAM DISPL. DETAIL LEVEL 0 = NORMAL DETAIL ON TACTICAL AND TRACK CAM DISPL. ------------------------------------------------------------ SLEW CONTROLS (4 DIRECTIONS) SLEW NORTH (TRAINING ONLY) - ALT AND I KEY SLEW WEST (TRAINING ONLY) - ALT AND J KEY SLEW SOUTH (TRAINING ONLY) - ALT AND K KEY SLEW EAST (TRAINING ONLY) - ALT AND L KEY ------------------------------------------------------------ NOTES ON SIMULATION CONTROLS CHANGE MISSION TO TRAINING (ALT AND T KEY) TAPPING THIS KEY CONVERTS YOUR CURRENT MISSION INTO A TRAINING MISSION . THIS MEANS THAT HENCEFORTH ENEMY WEAPONS DO NO DAMAGE . TAPPING ALT'T' AGAIN EXITS TRAINING ONCE A MISSION IS CONVERTED TO TRAINING YOU CANNOT SCORE ANY POINTS FOR IT, EVEN IF YOU TOGGLE TRAINING OFF AGAIN . HOWEVER, THE SLEW CONTROLS AND RESUPPLY KEY ONLY FUNCTION WHEN TRAIONING IS ACTIVE . KEYBOARD CONTROL STICK ADJUST ('INS' KEY) THIS REGULATES THE AMOUNT OF CONTROL STICK MOVEMENT A KEYPRESS CAUSES. WE RECOMMEND YOU USE THIS KEY FREQUENTLY WHEN FLYING, AND ALWAYS SET THE SENSITIVITY TO 1 ON YOUR FINAL APPROACH TO LANDING . DETAIL ADJUST (ALT AND D KEY) THE DETAIL DISPLAYED ON THE TACTICAL AND TRACK CAM DISPLAYS MAY BE ALTERED FROM NORMAL (DETAIL LEVEL = 0) TO MAXIMUM (DETAIL LEVEL = 1). THE TACTICAL DISPLAY SHOWS ALL THE 16 KM GRID LINES AT MAXIMUM DETAIL, AND THE TRACK CAM UPDATE WILL APPEAR TO BE SMOOTHER . SLEW (ALT AND I,J,K,L KEYS) THESE KEYS FUNCTION ONLY IN TRAINING. TAPPING THE KEY TELEPORTS YOUR AIRCRAFT IN THAT DIRECTION. THE DISTANCE YOU'RE TELEPORTED VARIES WITH THE CURRENT ZOOM/UNZOOM SCALE OF THE SATELLITE/RADAR MAP. SLEW IS AN EXCELLENT WAY TO CHECK OUT THE REGION WHILST TRAINING. ------------------------------------------------------------- DISPLAY COLOURS HUD TARGETTING COLOURS BLACK RECTANGLE INEFFECTIVE WEAPON(DAY) BROWN RECTANGLE INEFFECTIVE WEAPON(NIGHT) WHITE RECTANGLE EFFECTIVE WEAPON WHITE HEXAGON EFFECTIVE WEAPON, LOCKED ON TARGET RED HEXAGON HIGHLY EFFECTIVE WEAPON, LOCKED ON TARGET ------------------------------------------------------------ EMV SCALE COLOURS RED LINE ENEMY GROUND RADAR, HAS NOT DETECTED YOU ORANGE LINE ENEMY GROUND RADAR, HAS POOR DETECTION YELLOW LINE ENEMY GROUND RADAR, WHICH DETECTED YOU LIGHT BLUE LINE ENEMY AIRCRAFT RADAR, HAS NOT DETECTED YOU WHITE LINE ENEMY AIRCRAFT RADAR, WHICH DETECTED YOU ------------------------------------------------------------ DAMAGE TATTLETALES BLUE SYSTEMS FUNCTIONING RED SYSDTEM FAILURE (DAMAGED OR DESTROYED) ------------------------------------------------------------ AUTOPILOT LIGHT WHITE AUTOPILOT ON BLACK AUTOPILOT OFF ------------------------------------------------------------ LANDING GEAR LIGHT BLACK LANDING GEAR UP FLASHING WHITE LANDING GEAR DOWN AT TOO HIGH SPEED WHITE LANDING GEAR DOWN ------------------------------------------------------------ OTHER WARNING LIGHTS BRIGHT COLOUR ON BLACK OFF ------------------------------------------------------------ SATELLITE/RADAR MAP FLASHING WHITE DOT YOUR AIRCRAFT FLASHING YELLOW RED MISSION OGJECTIVE ON GROUND BLINKING RED MISSION OBJECTIVE IN AIR RED DOT OTHER AIRCRAFT BLACK DOT GROUND RADAR YELLOW DOT ENEMY RADAR DOTTED LINE PULSE RADAR SOLID LINE DOPPLER RADAR WHITE DOT TAKEOFF AND LANDING LOCATIONS ------------------------------------------------------------ TACTICAL DISPLAY GREY SQUARES 16KM GRID YELLOW RADAR DISH GROUND RADAR BLUE BOAT WARSHIP RADAR GREY RECTANGLE AIRFIELD RED CROSSED CIRCLE OTHER GROUND TARGETS GREY AIRPLANE YOUR F-19 GREY OUTLINE DECOY WHITE DOTS CHAFF RED & YELLOW BURST FLARE BLUE PLANE PLANE AT HIGHER ALTITUDE LIGHT RED PLANE PLANE AT SIMILAR ALTITUDE YELLOW PLANE PLANE AT LOWER ALTITUDE YELLOW LINE RADAR GUIDE MISSILE RED LINE IR-GUIDED MISSILE YELLOW LINE VISUALLY GUIDED MISSILE WHITE LINE MISSILE FIRED FROM F-19 WHITE BOXED OGJECT CURRENT TARGET(IN YOUR TRACKING SYSTEM) COLOUR-BOXED OBJECT SOURCE OF ENEMY RADAR SIGNAL ------------------------------------------------------------ INS WAYPOINT FUEL BAR BLACK REGION FUEL CONSUMED WHITE REGION FUEL FOR FLIGHT TO CURRENT WAYPOINT BLUE REGIONS FUEL FOR FLIGHT TO OTHER WAYPOINTS YELLOW REGION RESERVE FUEL ------------------------------------------------------------ TIPS TO PILOTS: WHEN FLYING A MISSION DON'T EXPECT THE ENEMY TO ACT RANDOMLY OR STUPIDLY. THEY HAVE A SURPRISING AMOUNT OF INTELLIGENCE FIGHTERS AND AWACS PLANES PATROL TO COVER RADAR WEAKS SPOTS, OR PROTECT ESPECIALLY IMPORTANT ARES. IF YOU'RE SPOTTED, INTERCEPTORS ARE SCRAMBLED AND VECTORED TO YOUR LAST KNOW LOCATION. IF THEY LOSE SIGHT OF YOUR F-19, THEY INVESTIGATE YOUR LAST KNOWN POSITION, BUT WILL EVENTUALLY GIVE UP AND GO HOME. IN ADDITION, ENEMY AIRCRAFT AND RADAR OPERATORS BECOME MORE AGGRESSIVE, SOMETIMES EVEN FRANTIC, AFTER THEY HAVE REPEATED SIGHTINGS, OR HAVE SUFFERED A FEW LOSSES. THE BEST WAY TO GET ALL THE TROUBLE YOU CAN HANDLE IS TO ENGAGE OR BETTER ENEMIES, AND TO LOITER ABOUT THE SCENE OF A BATTLE. CONVERSELY, THE BEST WAY TO AVOID TROIBLE IS TO DISAPPEAR FROM SIGHT AS QUICKLY AS POSSIBLE. IN GENERAL TRYING TO TAKE ON THE ENTIRE ENEMY DEFENCE SYSTEM WITH ONE F-19 IS VERY UNWISE. Sewersoft presents..... GALACTIC CONQUEROR From the collection of DR.J The F1 key changes the frequency of your screen (50 or 60 Hz). The F2 key allows you to save a map of the conflict situation if desired The F3 key brings back a map that has been saved. The F4 key allows you to interrupt the fight if desired (return to map). the F5 key allows to stop the fight if desired. The F8 key gives you a digitalized view of the flight as seen by probe. The F10 key stops or starts the game (pauses). To select the fight location, the arrow keys on the keyboard or the joystick are used: use the space bar to validate your choice. UP lose altitude DOWN gain altitude LEFT turn left RIGHT turn right SPACE BAR fire HELP brake UNDO accelerate At the end o the game, you can put your name beside your score. Do this by choosing the letters of your name one by one, positioning yourself with the arrow keys on the keyboard or the joystick and storing each letter with the space bar or the fire button on the joystick. When you have finished entering your name, move the cursor to the END display and press the space bar or the fire button again. Your new score is now stored on the disk. THE STORY After Peace on Earth was finally achieved, a rebel movement was formed. Their goal: to take absolute power. The government was forced to engage in galactic fights in order to protect the interplanetary military base, GALLION. The Stellar League was created to protect GALLION. The League's technicians had just put the final touch to a breakthrough in modern development, the Galactic Fighter THUNDER CLOUD II, with a firepower ten thousand times superior to its ancestor's, THUNDER CLOUD, and a negative ionization ultra- sensoriel protection shield. One major problem remained: to find a pilot. After searching for several months, the League's scientists realized that the champions of the OFF SHORE Game, who possessed technique, stunning strategy and reflexes, were the most qualified to pilot THUNDER CLOUD II. Lake Baikal, Siberia - June 2080. YOU, the new champion of the OFF SHORE battle, are offered a mission of extreme importance: annihilate the enemies of Peace throughout the Galaxy. You will receive ten million dollars if you accept! In order to be part of the Galactic Squadron, you will have to go through extremely intensive training. Once you have passed all the tests, you will attain the rank of Conqueror. You will then have to be capable of the highest strategy and skill to succeed. Your life will be in danger at all times and also, for each fight you will be engaged in, the lives of millions will be at stake! Never let the enemy come closer than ten light-years from GALLION, where the Galaxy's defense weapons and top-secret research information are stored. Any wrong decision on your part could mean destruction for GALLION, and the end of the era of Peace... YOUR MISSION A brand new Conqueror, YOU enter the Mother-Ship which will take you to GALLION where the best equipment will allow you to detect enemy positions throughout the Galaxy. Through the surveillance probe, you will get information regarding the 416 planets of the interstellar group, as well as the names and codes of enemy ships. We advise you to select groups of planets which are under enemy domination (red planets) or very far from ally planets (blue planets). At all times, you will have to be aware of the way the invasion is progressing, in order not to leave the blue planets which are near GALLION without protection, in front of a large number of assailants. While in mission, you will be followed by the surveillance probe which will allow you to be teleported at once if you need it, and will give you a digitalized view of the fight (F8 key). THUNDER CLOUD II is equipped with a protection shield which gets reinforced after each conflict. You will be kept informed on the condition of your shield which is displayed in the top right of the screen. As your shield is depleted the blue coating recedes towards the center of the shield, and once the coating has gone your shield has been destroyed and the next hit will destroy your space fighter! A bright halo surrounding the fighter will indicate that the shield has received a violent impact: in case of destruction of the shield, the pilots are teleported at once to the Mother Ship before THUNDER CLOUD II explodes. Since an unlimited number of fighters is available to you, you can select a less dangerous planet and go back immediately. Each mission includes the 3 following stages: 1. The ground fight: You will be confronted with mines, probe-robots, missiles and also meteorites. At the end of the ground fight you will be automatically brought back to the Mother Ship to have your shield reloaded and THUNDER CLOUD II repaired. 2. The aerial fight: Doing tail-pins, (tail Spins ?) you will encounter the Enemy space Army, missiles and meteorites. Attention! Your shield will be damaged according to your enemy's firepower. Once rid of all your aerial enemies, you will go back to the Mother Ship to have your shield reinforced and THUNDER CLOUD II repaired before the third stage. 3. The space fight: You will fight the last of the space enemy troops and then be transported back to the Mother Ship. Attention! During the space fight you may encounter the Imperial Enemy Ship, going from planet to planet, delivering troops. It is impossible to detect, you will not be warned before it appears. Because of the threat it presents, the League will offer an extra bonus for its destruction. After the space fight you will be brought back to the Mother Ship, examine the map of the Galaxy to evaluate enemy progression and select a new planet to defend according to priority. For each new mission you will have to win the 3 fight stages. Remember that GALLION is constantly threatened: a wrong strategic choice could be fatal to it. TECHNICAL INFORMATION THUNDER CLOUD II: Description: Galactic Fighter Built in 2077 on GALLION. Firepower: 1,000,000,000 GW/second (1000 times more powerful than THUNDER CLOUD) Equipped with a negative ionization ultra-sensoriel protection shield which can be reinforced after each fight stage. MOTHER SHIP: Description: Built in 2060 on GALLION. Firepower: 200 lasers which give a total power of one billion GW/second 500 photon cannons of 500,000 GW/second each. Same type of shield as THUNDER CLOUD II, but with positive ionization. Role: Transportation of ally troops throughout the Galaxy. Team of expert technicians on board who can repair the ships at all times. ARTIFICIAL PLANETS: GALLION: Description: Large artificial satellite located in the heart of the Galaxy. Built in 2050. Role: Strategic point: most important space station. Contains highest technical information, space research projects and team of most competent technicians. Residence of the Stellar League. 4 MOONS, GALLION SATELLITES: Description: Built in 2055. Contain the Stellar League's best defense training centers. Role: Fuel stations for the League's ships. 4 MOONS, LOCATED IN THE CORNERS OF THE GALAXY: Description: Same type of satellites as the ones above. Built in 2055. Contain the surveillance probes which will warn of all enemy attacks. Role: Limit the League's space territory. IMPERIAL ENEMY SHIP: Description: Built in 2075; place unknown. Only 4 ships detected so far. Can transport 8000 enemy space ships and 1000 probe-robots. Firepower: 500 photon cannons with a power of 200,000 GW/second each. 250 photon cannons with a power of 400,000 GW/second each. Role: Transportation of enemy troops throughout the Galaxy. ENEMY SPACE FIGHTERS: Description: Built in 2076 on the Imperial Enemy Ship. Destroyed by any laser impact from THUNDER CLOUD II. Role: Invade the Stellar League's planets. Concentrate on trying to take GALLION and seize top secret information. 4 types of fighters: Type 1: 2 proton cannons, 250,000 GW/second each. Deliver space mines. Type 2: 1 photon cannon, 300,000 GW/second each. Deliver automatic robots. Type 3: 2 proton cannons, 100,000 GW/second each. Deliver probe robots Type 4: 2 photon cannons, 300,000 GW/second each. Extremely fast, the most powerful of all enemy space fighters. THINGS YOU WILL NEED TO DESTROY: *Probe Robots: Built in 2077. Send information directly to the Imperial Enemy Ship. *Space Mines: Built in 2077. Disturb circulation of ally ships in space. Spread out in the Galaxy. Explode at any metallic contact. *Meteorites: Planet residues which move about in space. Exist in different sizes: Larger ones damage protection shields. *Automatic robots: Built in 2077. Transmit information to the Imperial Enemy Ship. *Missile launcher craters: Built in 2077. Present on planet surfaces: you will encounter them during ground fights only. Launch 2 different types of missiles: Missile 1: Built in 2077. Firepower 100,000 GW/second. Explode at each impact. Missile 2: Built in 2077. Firepower 200,000 GW/second. Explode at each impact. SCORE AND BONUS: SCORE: Imperial Enemy Ship 1000 points Enemy Space Fighter 1 2500 points Enemy Space Fighter 2 2000 points Enemy Space Fighter 3 2500 points Enemy Space Fighter 4 3000 points Probe robot 1000 points Mine 1500 points Meteorite 1 500 points Meteorite 2 200 points Meteorite 3 500 points Crater 200 points Missile 1 500 points Missile 2 500 points Automatic robot 1000 points BONUS: Imperial Enemy Ship 1,000,000 points Enemy Space Fighter 1 1500 points Enemy Space Fighter 2 2500 points Enemy Space Fighter 3 3500 points Enemy Space Fighter 4 4500 points Successful fight stage 1 10,000 points Successful fight stage 2 15,000 points Successful fight stage 3 20,000 points Successful fight stage 4 30,000 points Pacified planet 40,000 points 1 of the 8 moon pacified 50,000 points STRATEGY PLANS: Priorities: When presented with several conflict situations, select your priorities in the following order: 1. One of the 4 moons around GALLION has been invaded. 2. a red planet near GALLION has been invaded. 3. One of the 4 planets in the corners of the Galaxy has been invaded. 4. An ally (blue) planet is surrounded by enemy planets. 5. Presence of a large group of enemy planets. 6. Presence of the Imperial Enemy Ship. If two similar conflict situations happen at the same time, choose the conflict closest to GALLION. (Reformatted by Sewercide) ~ Here are the character codes for Imperium from Electronic Arts ~ --------------------------------------------------------------------------- What the statistics are is listed below. --------------------------------------------------------------------------- 1. Security Code 2. Travel Code. 3. Quasar grade. 4. IQ. 5. Heart Rate. 6. Weight. 7. Height. 8. Age. --------------------------------------------------------------------------- Here are the player stats and visual descriptions. --------------------------------------------------------------------------- Seargent Stovvius, suarish face, dark glasses, moustache, small beard. 1 = 131661, 2 = 7, 3 = 569, 4 = 79, 5 = 39, 6 = 123, 7 = 182, 8 = 29 --------------------------------------------------------------------------- Cadet Loretius, Black helmet, clear glasses, big beard and moustache. 1 = 766432, 2 = 9, 3 = 771, 4 = 132, 5 = 71, 6 = 81, 7 = 178, 8 = 78 --------------------------------------------------------------------------- Cadet Eno the Third, bald, big beard and moustache. 1 = 762333, 2 = 8, 3 = 622, 4 = 123, 5 = 54, 6 = 68, 7 = 166, 8 = 48 --------------------------------------------------------------------------- Proffesor Ajax, clear glasses, moustache, frail face, receeding hairline. 1 = 855420, 2 = 7, 3 = 688, 4 = 121, 5 = 43, 6 = 63, 7 = 147, 8 = 76 --------------------------------------------------------------------------- Master Gallus, glasses with black frames, bald, side burns, moustache, goattie beard. 1 = 778341, 2 = 2, 3 = 1159 , 4 = 119, 5 = 50 , 6 = 89 , 7= 178, 8 = 31 --------------------------------------------------------------------------- Cadet Clovis, bald, moustache. 1 = 96744, 2 = 9, 3 = 912, 4 = 109, 5 = 58, 6 = 89, 7= 203 , 8 = 42 --------------------------------------------------------------------------- Cadet Ixion, glasses, moustache, square face, thick beard, short hair. 1 = 167922, 2 = 6, 3 = 499, 4 = 101, 5 = 69, 6 = 49 , 7= 144, 8 = 77 --------------------------------------------------------------------------- Capatain Aquinius, square face, long hair, has fringe, beard and moustache. 1 = 991165, 2 = 12, 3 = 1211, 4 = 98, 5 = 45, 6 = 98, 7= 164, 8 = 54 --------------------------------------------------------------------------- Cadet Kato Maximus, big forehead, moustache, square chin. 1 = 125679, 2 = 7, 3 = 1002, 4 = 128, 5 = 52, 6 = 51, 7= 165, 8 = 56 --------------------------------------------------------------------------- Cadet Aulus, helmet, clean shaven face. 1 = 733341, 2 = 9, 3 = 677, 4 = 134, 5 = 67, 6 = 78, 7 = 184, 8 = 34 --------------------------------------------------------------------------- Sewer Software and Random present..... ~ I M P E R I U M ~ =============== (from Electronic Arts) DOCUMENTATION MANUAL Typed by Eclipse & Winter Mute in July 1990 -------------------------------------------------------------------------- Message to all: This game is a really great game!! If you really like the game a lot and intend on playing it more than 5 minutes, go out and buy the game! Its only like $30 and with that you get this massive manual that we just typed out. The game is well worth the money and your $$ contribution will help ensure more games in the future from software companies. I thought it was an excellent game and well worth my $30. By the way, this ENTIRE manual was typed by hand, we didn't use a text scanner or anything. Yes, we did it the 'old' way but it worked!! -Eclipse ================================================================== TUTORIALS ================================================================= Page:4 You have just been elected as the leader of Earth's empire. Your job is to lead the empire to pre-eminence in the galaxy by a careful combination of economic controls, diplomatic skill, and military action. To help you there, are a group of subordinate characters, who become your ambassadors, fleet captains, and planetary leaders. But watch out, they are your political enemies too! All elements of the game are inter- connected, so success or failure in, say, economics, will heavily affect your empire's overall performance. You have help in the shape of optional computer controlled intelligent advisers who can control parts of the game. If you wish, you can put the computer in charge of the military, diplomatic or economic sides of the game, leaving you free to concentrate on one or two main areas. o Remain popular so that you win elections, and are not overthrown. o Learn the correct military strategies and tactics to defeat aggressive enemy empires that threaten your survival. o Keep your population happy by keeping down inflation, and ensuring a regular supply or commodities for them. o Encourage trade, so that your empire may become rich. o Make friends with other empires quickly, and enemies slowly, but remember Palmerston's maxim "we have no permanent friends and no permanent enemies." o Colonize enough planets to sustain the expansion of your empire. o Maintain supplies of the life-extending drug - Nostrum - to keep you and your favored henchmen alive while you achieve all the above. Ultimately, you can win by surviving for a thousand years, or by conquering all the other empires. The former is probably more difficult than the latter, so we would advise you to initially choose an aggressive strategy. Imperium has been designed so that you can access all the data in the game and make all your decisions in the simplest way possible. Using a custom designed windowing system, Imperium is at your fingertips. Once you have learned the basic skills needed for controlling the game you Page:5 will be free to explore it and make your own decisions. To help, this manual is divided up into three main sections: 1. A tutorial section for those people who want to play the game without reading much of the manual. This consists of The User Interface and Quick Start Guide. 2. A copy of an Intelligence Report which each Cadet is given during training at the Imperial Academy. 3. The Imperial Reference Manual, which takes you through all of the menu items and explains in detail how to use them. Use this when you get stuck. First Steps ----------- First of all start the game referring to the Imperium Reference Card for loading instructions. You will see the Imperium Configuration window appear on the screen. For now just select the OK button. The Imperium Configuration window allows you to set various difficulty levels and rename your characters. The functions of this window are covered in greater detail in the Imperial Reference section page 27. At the top of the screen there is a row of sixteen icons. The one on the far right moves you to the map screen, whilst the others produce menus or reports for you to control your empire. These are as follows: (left to right) 'GAME' 'GAME CONTROL PANEL' 'ALLIANCE CONSTRUCTION' 'EMBARGO' 'SET TAXATION LEVELS' 'TREASURY MENU' 'POLITICS MENU' 'SUBORDINATE DISPLAY' 'MILITARY MENU' 'CREATE ARK SHIP' 'REPORTS' 'CLIPBOARD' 'NEWS' 'GAME TURN' 'MAP' (far right) It is recommended that you first read the sections overview to learn how the user interface works, and then run through the quick-start section to get a feel for the game. Page:6 THE USER INTERFACE This section will teach you how the Imperium user interface works. Once you learn how the interface works, you can apply the same techniques to different parts of the game. For example, a button in the Alliance Construction window will work in the same way as a button in the Embargo window. Anatomy of a window ------------------- A window is a self-contained entity that appears on the screen. It has a title bar, contains a variety of items, and can be moved, collapsed, and closed. A menu is a special kind of window that only contains a list of items to select. You can open several window on screen at once and arrange them around the work area to suit your needs. Occasionally if you try to open too many windows, the program will stop you and ask you to close some. If this happens, close the warning window, then close any windows that you are not using and carry on. o Opening a Window: Open the Alliance Construction window by clicking on the ALLIANCE CONSTRUCTION icon. o Moving the window: Move the pointer over the blank title bar, press and hold down the left mouse button. The window will turn into a frame. Move the mouse to re-position the window and release the left mouse button when the window is in the desired position. Page: 7 o Collapsing the window: Collapse the window down to just its title bar by clicking on the collapse box. Expand the window to its original size by pressing the collapse box again. o Closing the window: Close a window by clicking in its close box or, if available, by pressing the button labelled CLOSE. All windows associated with a particular icon can be closed by pressing that icon again to "pop" it out. o Moving a window to the front: Click on any part of a window to bring it to the front of all overlapping windows. Inside windows you will find the following things: -------------------------------------------------- Buttons: These act just like the icons at the top of the screen. When you press them they either: bring up a list for you to make a choice from; perform an immediate direct action or act as on/off switches. Switches fall into two types; radio buttons which become blank when selected and tick boxes which show a tick when selected. Various icons are repeated throughout the game to signify a particular function. For instance, the EMPIRES icon always bring up a list of empires. Here are the most common buttons: EMPIRE PLANET FLEET SUBORDINATE COMMODITIES AWARDS APPOINTMENTS Data Fields: These are dark grey boxes, which are automatically updated by the computer. Text Fields: These are white boxes which can be typed into. Click on the white box to type into it and if necessary use the DEL key to change the entry. Press RETURN, ENTER or the right mouse button to return to the arrow cursor. +------------------------------------------+ ! DURATION ! 150 ! <- text field ! ! STATUS ! Offered by you ! <----!-- Computer filled data field +------------------------------------------+ Page: 7 Scrolling lists: The planet list produced by the PLANETS icon is an example of a scrolling list. If there are more items in the list than there is space to display them all, then the list will display up and down arrows that will let you page through the list to find the item you are looking for. Press on the up arrow to page up and the down arrow to page down through the list. If you type in the first three letters of the name you are searching for, the name will move to the top of the list automatically. For example, to bring the planet SMOYAS to the top of the list, type SMO. To reset the search, press ESC. Sliders: Press the SET TAXATION LEVELS icon to look at a slider. When the window appears, click on the EMPIRES icon to select an empire on which to set a taxation level. Select an empire on which to set a taxation level. Select an empire from the list that appears. You can now alter the sliders in one of two ways: either by clicking on the thumb (the small square with a dimple in the middle) and dragging it to the left or right, or by clicking directly on to the scale. The number in the data field to the right of the scale will change correspondingly. +--------------------------------------------------+ +---------+ ! * ! ! 80 ! ! * ! ! 23 ! ! * ! ! 22 ! ! * ! ! 27 ! +-----------------------^--------------------------+ +----^----+ ! ! Thumb: Click in this Number showing value area and hold to move slider selected Page: 9 QUICK START This section will show you how to make a few decisions and play one game turn. Use the Map ----------- Press the MAP icon to call up the Map screen. This shows all the solar systems in your galaxy. You can use it to get information about your empire, and spy on your enemies. The screen is divided into four sections. On the top left there are eight icons that allow you to manipulate the map, and get information from it. In the middle is a scrollable list, which starts off blank, but can be used to select different items on the map, like different empires or space fleets. On the top right are three text fields: Solar System, Planet and Item. The dark areas to the right of each of these titles display the currently selected Solar System, Planet and Item (if one is selected). An item is a planet of fleet, which you can send to the clipboard using the SEND ITEM TO CLIPBOARD button below the text fields. The clipboard is a feature of Imperium that lets you transfer information from the Map screen to the Main screen. When you start the game, the map is still. The flashing star is the solar system Phresys, and is the currently selected solar system (it is shown in the top right text field). It is also the solar system that contains Earth, the home planet of your empire. o You can use the icons to control the galactic map. Use the ROTATION ARROW icons to rotate the map. Clicking on one rotates the map in that direction until you click it again, or click the other direction icon. Click on the SOLAR SYSTEM icon. This will zoom in on the currently selected solar system to show you to the planets there. Page: 10 o You can rotate planets around their star using the two ROTATION ARROW icons, just as you can with the whole galaxy. o Click directly on the planets to see their names in the text field. Note that the yellow planet is the star and will not show up in the ITEM data field. Before you leave the solar system, click on the planet Earth in the three-dimensional display (the blue/white planet), and when you see EARTH appear in the ITEM data field, press the SEND ITEM TO CLIPBOARD button, so that you can look at it later. You can move back to the galactic map by pressing the Solar System icon again. o To leave the Map screen and go to the Main screen either press the RETURN TO MAIN SCREEN icon or press the right mouse button. A SAMPLE TURN You will now be on the Main screen. For this sample turn, you will get a report from an ambassador, another about planet Earth, give your home fleet some orders and activate the computer controlled economics and diplomatic adviser. Get Report from Ambassador -------------------------- To get the ambassadors report: o Press the NEWS icon. This will bring up the news control menu. This menu has two items on it NEWS CONTROL and NEWS REPORT. o Press the NEWS REPORT button. This brings the News Report itself. You will use this to find out what happens in the game, and to get reports from your subordinates. When there are too many reports to fit on the screen, scroll through the items by using the up/down arrows above and below the list. o Select the item that says 2020 AMBASSADOR. It will turn black when selected. o Select the GET REPORT button to see the news item you just selected. A News Details report will appear at the bottom of the screen, and a tune will be played. Click a mouse button to stop the music. When you have read the report, selected the CLOSE Page: 11 button. o The window will disappear, revealing the News Report window underneath it. Once you have read a report you can delete it by clicking the DELETE button. Do this now, while the report you just read is still selected. DELETE ALL deletes every item on the list, regardless of whether you have read the items or now. Use with care as this is irreversible! Close the News Report window by clicking on the CLOSE button and close the News Control menu by clicking on its close box. Get Report on Earth ------------------- Press the CLIPBOARD icon at the top of the screen. This will open the Clipboard window which looks similar to the News window, and the buttons REPORT, CLOSE, DELETE, and DELETE ALL work in the same way, as does the window's close box. The ORDERS button will be used later to give orders to a space fleet. o Select EARTH from the list, and press the REPORT button on the right. This will bring up a comprehensive report on Earth showing various statistics. Wealth, Population, and Stability are the most immediately important factors. Technology Level and Material Infrastructure are almost as important in the long term, and the other information is used to complete the picture and to help make specific decisions, such as whether to colonize or decolonize the planet. Note: the leader on Earth is Amarillus. He is the leader of the empire, in other words YOU. o Click on the CLIPBOARD icon to "pop" it out and close all of the clipboard windows in one go. Give Fleet Orders ----------------- You will now be able to use the clipboard to give orders to a fleet, but first you need to bring up a Fleet Report. o Press the MILITARY icon. This will present the military menu. Select the button marked FLEET REPORT. When you see the Fleet Page: 11 Report, it is blank, because no fleet has been selected. To select a fleet click on the FLEET icon. This will bring up a menu of all the existing fleets - at this time only the HOME FLEET exists, so select that. This will then fill in the report with information on the home fleet, including its leader, and the number of ships in it - none at the moment. You add ships to a fleet using the ship transfer icons. The pool is your stock of ships awaiting assignments at the currently selected location, which in this case is Earth. You start the game with two scouts in Earth orbit (in the pool). o Select the POOL TO FLEET icon. This icon brings up a menu of the ships in the pool. Click on both SCOUT 0 and SCOUT 1 - they will both turn black, indicating that they are selected. Then click on the OK button on the Fleet Report, this is to say that you want to make these changes. (If you don't want to confirm something in the game, just close a window without pressing OK). The Fleet Report shows that the two ships have been transferred by updating the STRENGTH, DEFENCE, and NUMBER OF SHIPS text fields. Click on the POOL TO FLEET icon again to remove the Select Ship menu. For the time being ignore the troop transfer section of the report, and CLOSE the Fleet Report window. o Press the GIVE FLEET ORDERS item on the military menu. (You may need to move the windows around so that they are all in view.) When the Fleet Orders window appears, click on the FLEET icon and select HOME FLEET from the menu that appears. The orders list on the left contains the five blank steps of an orders sequence. For example, it allows you to program your fleets to first fly somewhere, then wait five years, then fly elsewhere and invade a planet. In this instance you will just order the fleet to fly to Mars. o To input the first order, select the top space on the order list. Press the MOVE TO order button so that MOVE TO appears in the order list. Select the PLANETS icon to bring up a list of destination planets. Select MARS. Now that everything is set, click on OK to confirm your selections and CLOSE the window. Finally put away the Military menu either by closing it, or by clicking on the Military icon at the top of the screen. Page: 13 SET TAXATION AND DIPLOMACY TO AUTOMATIC Before you finish this turn, you must give economic orders, and diplomatic instructions to your ambassadors, because each of these helps to improve your empire's wealth and stability. In order to make things easy, the game provides intelligent computer controlled advisers to run parts of the empire for you and for this you can invoke them to help you. o Press the GAME CONTROL PANEL icon. When the window appears, select the DIPLOMACY and ECONOMICS tick boxes. When you do this a little tick mark will appear to tell you that this particular area of the game is now subordinated. Later you can take back control by unchecking these tick boxes. Press OK to confirm the changes, and CLOSE the window. Next Turn --------- Now that everything is set for your first turn: o Press the NEXT TURN icon. The Game Turn window will appear containing a text field for you to enter the length of turn and another showing the date. Press the button marked NEXT TURN to move on one year. All the orders you made for the selected period will be put into action. On your first game turn you will have to enter some confidential data to validate your access at this stage and before your next turn can commence. The computer will spend a few moments updating all the data and recording all the changes that have taken place (no small task with over 100 planets, and several other empires to manage). When the game turn is over, the news report will automatically appear, and show some of the events that happened in that turn. To view these events, click on the relevant report and then select the GET REPORT button. Once you have read the report, CLOSE the News Details window and repeat the process for the remaining reports in the list. For the first turn this will usually consist of all your ambassadors reporting information about other empires. At this point you may like to investigate the windows to see what effect the above actions have had on your money supplies, fleet location and commodity levels. Page: 14 WHERE NOW? You have completed your first turn of Imperium. What next? You should read through the next section, Intelligence Report (by Emperor Colinus + 2019), which will go through the various vital concepts in the game, such as what a full Game Turn actually consists of. Basic strategies for continuing the game are as follows: o You will need to build up your monetary supplies, since this will affect all other areas of the game. To do this you will need to assess your economic strategy. Experiment with alliances and set your taxation levels. The Historical Wealth chart under the Treasury Menu is a good indication of how well you are doing. o Subsidise planets (using the Imperial treasury) under your control in order to maximize their productivity. Productivity is measured by the various planets' Technology Levels, Material Infrastructures and Planetary Defences, which will all need to be increased in the long term. Look at the Planetary Report to view these levels. o Set up Embargoes to protect commodities vital to your empire. Running out of these will affect your popularity and production capacity. Check your Imperial commodity levels in the Treasury menu to monitor your progress. o Building troops will enhance your military powers, and protect planets under your control. Troops are vital when invading enemy empires. The size of garrisons can be checked on the Planetary Report. o Build ships and create fleets in order to claim planets. Take over control of planets to increase your commodity levels. Controlling planets to increase your commodity levels. Controlling planets with Nostrum, the life preserving drug, is vital to your survival. In order to colonize a planet and make it productive you will need to send an Ark Ship to increase the population. You can find all relevant information on any of the above in the Reference section. We wish you happy colonizing! Page: 15 ================================================================= INTELLIGENCE REPORT Filed by Emperor Colinus Just before his demise in the year 2019 ================================================================ Page: 16 PLANETS, SOLAR SYSTEMS AND THE GALAXY The galaxy contains a number of stars, each forming the centre of a solar system. Each solar system contains from one to five planets each capable of supporting life. The level of habitability of each planet is affected by its star's type, its distance from the start, the planetary type and its atmosphere. EMPIRES An empire is the overriding political, military and economic force that holds any number of planets together. The planetary leader of the home world is responsible for both that planet and the empire as a whole. Within the game there are two types of eco-political unit; the planet and the empire. The empire is a body that is treated separately to its planets. For example, there are planetary and Imperial treasuries. TREASURIES The concept of the Imperial treasury and planetary treasury is the key to understanding the way the economics of the game work. A planet's treasury is the total amount of money the planet has in its 'Bank' and the planet cannot go overdrawn. Unlike a planetary treasury, the Imperial treasury can go overdrawn, attracting interest, which is shown as an increasingly large negative value. Some areas will affect the amount of money in the Imperial treasury to a greater extent than others. For example, ship building and Imperial subsidies require a lot of capital expenditure. THE GAME TURN A game turn consists of manipulating six areas which should be played in the following order: 1 Imperial Finance For example, paying interest on overdrafts. Page: 17 2 Main Economics For example, resolving trade between planets and empires. 3 Main Diplomacy For example, offering and responding to alliances. 4 Main Military For example, conflict resolution. 5 Population For example, lowering the stability factor and adjusting the population  growth. 6 Effects For example, subsidising planets, shipbuilding, sending Ark Ships and constructing antenna. The order in which issues are resolved can be important in certain situations in the game. For example, Economics problems should be resolved before Military problems, so planet defences are increased through trade before a fleet invades in a given year. DEFINITION OF UNITS Money 1 unit = 100,000 Imperial Zongs (credits) Population 1 unit = 100,000 people Tonnage 1 unit = 100 tonnes TRADE AND ECONOMICS Page: 18 A planet produces, trades and has a demand for twenty different commodities. Planets trade with one another within their empires, then with planets from other empires. Excess stock will be sold to the merchant fleet. The merchant fleet are a mysterious impromptu band of interstellar traders, who will purchase commodities from planets that have a surplus. A surplus in a commodity is defined as any quantity between 200 to 250 depending on the type of planet. A planet that needs to buy commodities from outside its empire will look at a number of factors before selecting a planet to purchase from. It will look at the distance between itself and other planets and consider the price of the commodity, the level of taxation between the planets and the diplomatic situation between the empires governing them. A planet will not be able to trade if it is blockaded or in a state of war. A planet will trade to a minimum commodity level of 10, thus allowing itself a degree of margin on its own supply and demand. It will not let itself get into an out of stock situation, thus a planet will never trade to a negative commodity level. PRODUCTION, THE PRINCIPLES Every planet is assumed to produce the correct level of commodities to satisfy the needs of its current population. A planet produces commodities to support up to a maximum population level of 25,000 units. Above this level, the demand for commodities is greater than the planet can produce under normal circumstances. There are various factors that will affect the productivity of a planet. These are the type of atmosphere it has, the type of planet, the star that it is orbiting, and the planet's distance from the star. Page: 19 Two other factors affect productivity: -------------------------------------- Material Infrastructure A high level of material infrastructure will assist a planet's productivity as it covers services such as road and rail networks education, hospitals and health care - the physical backbone of the planet. Stability A low stability factor will assist a planet's productivity as it represents the attitude and political state of the population. An example of a producive planet would be an agricultural one with a nitrogen/oxygen atmosphere in the 5th orbit around a G7 star having a high material infrastructure and low stability factor. Distortion A report on another empire or planet, that is not part ofyour empire will contain a degree of distortion. The level of distortion reflects the amount of error existing in the figures displayed. For instance a report that has 100% distortion is effectively useless, whilst a report showing 10% distortion is close enough to the truth to be valuable. Distortion is determined by whether or not the target falls within the catchment area of an antenna. If the planet is within the antenna catchment, then the distortion is 0%, outside of the maximum range the distortion increases with distance. If two empires have an information alliance, they both have a 0% distortion level for planets within the two empires and also share antenna catchment areas. If a fleet is within a solar system, then all of its planets will have 0% distortion as long as that fleet remains in the system. Combat There are four types of combat occurring in the game: o Deep Space o Solar System o Planetary Bombardment o Ground Assault All these combat situations can arise with more than one opponent at a time. For example, three empires could be fighting for possession of one planet. Combat is resolved by comparing the strengths of each side and applying casualties to the forces involved until one side withdraws or is defeated. Deep Space or Opportunity Fire This occurs when different empires' fleets travel near enough to one another to allow them to engage in combat. The damage done by the fleets is inversely proportional to the distance between them. Fleets of different empires will always take the opportunity to fire at each other even if they are in an alliance. (This type of combat will not affect the alliance state between them). Deep space combat is not very common, because space is so immense and fleets tend not to pass close to each other. Solar System Combat This occurs when unfriendly fleets are in the same solar system. The damage inflicted is not affected by distance, as the fleets are close together. Solar system combat is resolved as follows: o The strengths of the opposing forces are calculated, this is equal to the total of each fleets' strength. o Tactics are chosen by each side. Each Fleet Commander selects a tactic for his side. This tactic applies to solar system combat and to any invasion that may follow: The Fleet Commander's competence and charisma influences the outcome of the conflict by the tactics he chooses. o The tactics are compared and the fleet strength modified according to each tactic's suitability. o The modified strengths are then compared and damage is inflicted. Page: 21 Planetary Bombardment --------------------- Before an invasion fleet can deploy troops onto the planet surface, all of the planet's defences must be completely defeated. The invasion fleet must fight the defence force until it is destroyed. If there are other planets belonging to the empire within the same solar system, these other planets add 20% of their defence strength to the planet under attack. The other planets are not damaged in this combat. Planetary bombardment is resolved as follows: o The strengths of the combatants, the strength of the fleet and the planet's defences are calculated. o The invasion tactics are chosen, if they have not previously been selected in solar system combat they are selected now. The Fleet Commander's competence and charisma influences the outcome of the conflict. o If the invasion planet falls within the antenna range of your empire then there is a 10% bonus added to your strength. This bonus is because you have the advantage of knowing the lay of the land and the defence positions. o If there is an alliance between your empire and the empire you are attacking then you get a 10% strength bonus for surprise and suddenness of the attack. o The total strengths are then compared and damage is inflicted. Ground Assault This can only occur after the invasion fleet has destroyed all the planet's defences through bombardment. At this point, the fleet automatically deploys its troops onto the planet to do battle. The main attacking force of the fleet is its drop troops as they can attack at full efficiency during the turn in which they invade. Infantry and armoured troops have Page: 22 their efficiency halved in the turn the invasion starts, because they are less suited to this operation than drop troops. After the first year of the battle, the infantry and armoured units are at full efficiency and drop troops fight at the same level as the infantry. Ground assault combat is supported through the use of indirect fire from the fleet in orbit around the planet, 50% of the fleet's weapon strength can be brought to bear as indirect fire. Ships in the fleet cannot take damage while providing indirect fire. The planet's defending forces receive aid from the planet militia - a weak force that is called upon to defend a planet against invasion. A militia force of 1% of the population can be mobilized at the start of a conflict, at a starting efficiency of 25% + 0.1% per unit of militia arms on that planet. EFFICIENCY Efficiency is the percentage of the troops that are ready for combat and able to fight. The efficiency of troops is used to calculate the strength they contribute to the battle. As a battle progresses, the efficiency level will fall, as troops become disorganized, tired and run out of supplies. To represent this, the efficiency of each troop type is reduced by 5% per year that the conflict lasts.  A troop's efficiency cannot fall to below 20%. In peace-time, the efficiency of a troop type is slowly increased until it reaches its maximum. COMBAT STRATEGIES AND EFFECTS During Ground Assault Combat: o The strength of each opposing force is calculated. o The effect of the selected tactics is applied - the same tactics that were chosen for the invasion apply to ground combat. o The total strength of each force is compared and the damage applied. Effects of Ground Assault Combat: o Production on the planet is halved. o The planet is blockaded and there can be no trade with that planet. o The Moral Infrastructure is reduced by 5 for each year the conflict lasts. o The stability factor is increased by 10 for each year the conflict last which causes instability. o The planet's defences cannot be rebuilt while there is combat on that planet. o The population is reduced according to the number of troops involved in the conflict. Ground Assault Combat Results ----------------------------- When two forces engage in battle the strength totals are added together and then compared to give a ratio. The ratio determines the amount of damage that each side takes in the battle. The strengths of each side are calculated by multiplying the number of troops by their current efficiency rating. The attacking force adds the indirect fire to the total strength. If the forces have a 10-1 difference then the larger side will totally destroy the smaller suffering only slight damage themselves. If the forces have a ratio of 5-1 then the large side will win taking only light casualties. At ratios below 5-1, the larger side will take more substantial damage in defeating their opponents. Damage to Fleets ---------------- The total damage inflicted on a fleet is not all targeted at one ship, but is spread throughout the fleet. A part of the total damage is allocated to each of the ships in the fleet. If the damage inflicted to an individual ship is greater than its current armour level the ship is destroyed. If it less than the current armour total then the damage done is subtracted from the armour level. Page: 24 If a ship is destroyed, the total carrying capacity of the fleet is reduced, if the current troop level is greater than the new carrying capacity of the fleet then the excess troops are lost. Tactics ------- When a fleet engages in either solar system combat or planetary invasion, the commanders of the fleets and/or the planet leader select a general tactic that the fleet will take. The leader will select a tactic based upon a combination of their competence and their charisma: the better their qualities are, the stronger their decision-making skills will be. By selecting good tactics, a leader can turn a battle in your favor. The tactics selected for planet invasion also apply to ground assault. There are five basic forms of tactic that a leader can select; Sweep, Patrol, Assault, Blocking and Envelopment. The tactics are compared and the modifiers are applied to each side's strength to get a result. Read the left column against the top row to get the resultant modification for each combination of maneuvers. Page: 25 Blockades --------- A planet with an enemy in its orbit is termed as "under blockade". A blockaded planet cannot trade with any other planets and can not receive ark ships; it is isolated for the period of the blockade. Planets can free themselves by removing the fleets in their orbit, which can be achieved in a number of ways. For instance, the enemy fleet is automatically exposed to fire from the blockaded planet's defences, although only a portion of the defences can be brought to bear on the fleet. If the enemy fleet is only small, the planetary defences may be able to destroy it or force the enemy fleet to withdraw by damaging it. A blockade can also be removed if a friendly fleet can be in to destroy the enemy fleet or force it to withdraw. REPORT END Page: 26 ============================================================= REFERENCE SECTION ============================================================= Introduction This section itemizes all of the procedures which you will need to implement during your reign. It assumes that you have worked your way through the Tutorial section. (If you have not done this, you are advised to go back and refer to it now before continuing). You should use this section as a reference, not as compulsory reading. You will find a chapter for each of the menu bar titles. Each chapter has separate headings for all items listed. These give the function and purpose of each of the items, together with any procedures that you should be aware of. You will also find hints and examples (in italics), which will help deepen your knowledge of the points covered. Page: 27 IMPERIUM CONFIGURATION This window appears each time you start a new game and governs the settings for the entire game session. You can use this menu to enter your character's name in this game and also to give a name to your empire. Note: changing names is purely optional. The difficulty level of the game is also determined using this menu. To change the name of your character and empire o Select the name field o Delete the current name by backspacing through it. o Type your new name o Press RETURN of the right mouse button to enter the new name o Select the empire name field o Delete the current name by backspacing through it o Type your new empire name o Press RETURN or the right mouse button to enter the new name. Difficulty Levels ----------------- A low settings will mean that the game is easier to play than at a high setting. The various categories are as follows: -------------------------------------- Wealth Starting size of the Alien empires' treasuries. Technology Starting level of the Alien empires' technology level. Army Size Starting size of the Alien planetary garrisons and the number of ships in the alien fleets. The size of the these ships is defined by the starting technology level for the empire. Empire Size The number of planets in the Alien empires. To change the difficulty level of the game ------------------------------------------ o Move the slides to the desired levels to set the starting configuration for this game o Press OK to confirm these settings Press: 27 GAME Click on the GAME icon to reveal the following items. About Game ---------- This gives information on the people involved in the creation of Imperium. Rename ------ You can give new names to planets, empires, solar systems or subordinates. To rename a subject: o Select the type of subject to rename (i.e.: planet) o Select the subject icon that appears in the Rename window (i.e.: the SUBORDINATE icon.) o Select the item to rename from the list o Select the text field o Delete the name and enter a new one o Click on OK to complete the selection and CLOSE the window. Load/Save --------- Refer to the Reference Card for details on loading and saving games. Quit Game --------- This exits from the game and starts a new game. You will be asked to confirm this action by clicking either YES or NO. Page: 29 GAME CONTROL PANEL Click on the GAME CONTROL icon to reveal the following categories. Game Sound ---------- Select the tick box to switch the news report tunes on or off Subordinate ----------- Selecting the box (tick will appear) next to a subordinate (a computer-controlled adviser) gives that subordinate complete authority to make decisions on your behalf. To select a subordinate controlled area: o Select the tick box for the area that you wish to subordinate. o Click OK and then CLOSE the window Computer control can be delegated to the following area: Military -------- The military subordinate controls all the elements of shipbuilding, troop movement and fleet control. Diplomacy --------- The diplomacy subordinate negotiates with other empires. He will also deal with alliance offers from the other empires. Economics --------- The economics subordinate deals with setting taxes, overproduction, Imperial subsidies and transferring wealth. He also manages the construction of antenna and building and sending ark ships. If you have all of the subordinates switches on, they will deal with most of the elements of the game. You will need to deal with subordinate control and politics. As a position becomes available a subordinate is Page: 30 automatically brought from the pool of subordinates and allocated to the position without reference to their abilities. You should always go back and manually select and appropriate subordinate for these positions. (see the section on subordinates for more details.) ALLIANCE CONSTRUCTION The Alliance Construction window has two functions: firstly the receipt of alliance offers and secondly creating and offering new alliances. You will need to exercise your diplomatic skills in building alliances. Click on the ALLIANCE CONSTRUCTION icon to open the window. To create a new alliance: o Select the WITH EMPIRE icon o Select the empire you want the alliance with, from the list that appears. o Enter either the amount of money to be paid by you, or to be received by you in the appropriate text entry box. This is a yearly payment that will continue until the alliance ends. o Select the type of alliance that you wish to offer (ie: information, defensive of offensive, by clicking in the radio buttons adjacent and if it is offensive; enter in enter in the percentage terms of the trade barrier if you wish to apply this sanction. o Selecting an offensive alliance means that you have to select an empire that you and the allied empire are to be united against. To do this select the AGAINST EMPIRE icon, and choose the empire from the list that appears. Page: 31 o Enter the duration of the alliance in the text entry box (in years) o When you have an alliance proposal you are happy with, select the OFFER button to send the message through to the relevant Ambassadors. The following year the empire will respond to your offer. To respond to an alliance offer from an empire: o Select the WITH EMPIRE icon o Select the empire the offer has come from, from the list that appears o Look at the offer and decide whether to accept or reject it. Then select the ACCEPT or REJECT button accordingly. o If you wish to modify the offer then follow the instructions to create a new alliance (overleaf). To offer a new alliance to an empire with whom you already accepted an alliance: o Select the WITH EMPIRE icon o Select the empire to view the current alliance o Change the alliance to the new conditions you wish to offer and OFFER it. If the new alliance offer is not accepted then the old one will not be affected. When you are offered an alliance it can only be accepted the year in which it is offered. After that time the offer is withdrawn, but any previous alliances still stand. Types of Alliance Available Trade Barrier ----------------------------------------- A trade barrier sets the allied empires' export tax rate against another empire. (See Set Taxations Levels) Setting a high export tax rate allows you to restrict the trade flow between empires. For instance the Throygon and Droygon Empires ally against the Kroygon empire setting an 80% Trade barrier. Page: 32 This will make it very expensive for the Kroygon empire to trade with Throygon or Droygon. Economic Treaty --------------- This sets the tax rates between allied empires. It has the same effect as altering the tax rates under Set Taxation Levels. Defensive --------- A defensive alliance affects the expansion policies of the allied empire. When that empire selects planets to invade, a defensive alliance will sway their choice away from your planets. Offensive --------- An offensive alliance is agreed between two empires, against another. When the allied empire is selecting planets to invade, an offensive alliance will sway their choice towards the empire you are allied against. The percentage terms you enter into the trade barrier will be applied to the empire which the offensive alliance is made against. (Although this percentage can be zero (i.e.: no trade barrier)) Page: 33 Information ----------- An information alliance is formed to allow the free trade of information between the two empires. The distortion factors are reduced to 0% on all allied empire reports. Your empire has access to the allied empire's antenna and the extra information that these provide. An alliance is broken if either party takes military action other than 'opportunity fire' against the other party. All benefits will be lost, and the relationship between the two empires will also be affected. Page: 34 EMBARGO An embargo is a trade and commerce barrier, that can be set against other empires to restrict the movement of certain commodities. Click on the EMBARGO icon to open the window. To create an embargo: o Select the NEW to create a new Unnamed embargo o Select the EMPIRE icon and select the empire of ALL EMPIRES for the embargo to affect o Select the COMMODITIES icon and select the commodities that you wish to select ALL COMMODITIES or or just some of them. o Click on OK when you are happy with the details of the embargo o Select the COMMAND icon and select SHOW DETAILS, this displays the specific details of the embargo. CLOSE the Embargo Details window. o Select RENAME EMBARGO from the commands list, select the text field and backspace through Unnamed (or the current name) and type in the new name for the embargo. o Click on OK and CLOSE the Embargo window when you are satisfied with the embargo o Click on the EMBARGO icon at the top of the screen to close all the Embargo sub-windows An embargo will stop the trade of specific commodities with specified empires. An embargoed commodity will not be sold to the selected empire, although it will be purchased from them if required. Page: 35 SET TAXATION LEVELS You can set an import and export tax level with each empire in the galaxy. The tax rates apply to all of your empire's planets. Click on the SET TAXATION LEVEL icon to open the window To set new taxation levels: o Select the EMPIRE icon o Select an empire from the list that appears o Set each slider to represent the level of tax required for imports and exports o Click OK before continuing Import Tax: Is the level of tax that your planets have to pay to your Imperial treasury when they buy commodities from an alien empire. You can set a negative tax (a subsidy), in which case your Imperial treasury will pay your planets a subsidy when they buy commodities from an alien empire. For example:- If Earth bough commodities at a cost of 100 from an alien empire and you had set an import tax of -15%, then the Earth would pay 100 to the selling alien planet from Earth's own planetary treasury. Additionally, Earth's planetary treasury would be paid 15 from your Imperial Treasury. Page: 36 Export Tax: Is the level of tax that an alien Imperial treasury pays to your Imperial treasury when one of your planets exports good to one of that Alien empire's planets. Again, you can set a negative tax rate in which case your Imperial treasury will pay the alien Imperial treasury when one of your planets exports good to one of that Alien empire's planets. For example:- If Earth sells commodities at a cost of 100 to an alien empire and you had set an Export tax of -15%, then Earth's planetary treasury would receive 100 from the selling alien planet. Additionally, your Imperial treasury would pay 15 to the alien Imperial Treasury. Both Import and Export taxes can be used to either stimulate or to restrict trade between empires, but the Import tax only has the effect of moving money between your Empire's planets and the Imperial treasury. Export tax transfers money between the different Empire's Imperial treasuries. TREASURY MENU This covers general finance, including commodities and commodity control. Click on the TREASURY MENU icon to open the window. Transfer Wealth --------------- Transfer wealth allows you to make an immediate cash transfer between your empire's planets and the Imperial treasury, or vice versa. Page: 37 To transfer cash: o Select the PLANET icon and select the planet you wish to transfer cash to or from. o Enter the amount to transfer in the text field. o Select either TO PLANET or FROM PLANET button, to transfer the cash between the planet and the Imperial treasury. o Select the BALANCE button to even out the planet treasury levels of all of your planets. Historical Wealth ----------------- This displays your total wealth, which consists of the combined wealth of all your planets' treasuries and Imperial treasury. The total for the previous four years is also displayed. Historical Price Index ---------------------- This shows the historic price index for your empire. The actual values are not given, but general trends can be seen from the bar charts. The price index is an average of the percentage change in commodity prices between this year and last. Imperial Commodity Levels ------------------------- This displays the cumulative total of your empire's commodities. Only this year's commodity levels are shown - no historical information is stored. Page: 38 Each planet can only hold a maximum commodity level of between 150 to 250 depending on commodity and planet. At levels above this, the surplus is traded to the Merchant fleet at current market prices. The Imperial commodity level of a specific commodity represents the total of all your planets' current levels. So with six well stocked planets (each planet has an average of 200 units), the Imperial commodity level will be around 1,200 units, and yet for ten poorly stocked planets (each planet has an average of 100 units) the commodity level will be around 1,000 units. If the Imperial commodity level is negative, this means there is a shortage of this commodity. It also means that the shortfall has not been met through trade. If the commodity level is zero it means that the shortfall has been met through trade and the demand satisfied. A surplus will not be created through trade, only demand will be satisfied. Imperial Production ------------------- You can use an Imperial directive to alter the balance of commodity production levels. To set the Imperial production levels: o Set the four sliders to the balance of production required. (Up to plus or minus 10%) o Use ZERO to reset all the sliders to zero if needed o Click on OK and CLOSE the window Page: 39 Areas of Production are as follows: ----------------------------------- Consumer Items Consumer Goods Food Water Atmosphere Military Planetary Defences Militia Arms Space Ship equipment Personnel Heavy Arms Technology Rare Earth Elements Information Communications Equipment Computers Robots Industrial Building Equipment Heavy Plant Power Supplies Raw Materials Material Infrastructure Page:40 Imperial Subsidy: ----------------- This is an Imperial budgeting system allowing you to allocate cash to support specific planets. Making payments to a planet over a period of time allows you to slowly increase the levels of technology, material infrastructure and planetary defences. There is a limit of 100 units of cash to be spent on technology and 10,000 credits on material infrastructure and planetary defences. To set an Imperial subsidy: o Select the planet icon o Select the planet you wish to subsidise. o Enter into each text field the yearly payment for Technology Level, Material Infrastructure and Planetary Defences. o Enter the DURATION for which this subsidy will last. The number of years the subsidy has left will be reduced annually until it reaches zero, at which point the subsidy has finished. o Click on OK and CLOSE the window. Spending on the technology level will affect it slowly. Material Infrastructure and planetary defences are commodities that can and will be traded with other planets through normal trading. Material infrastructure is not bought on a linear pricing scale; as the level of infrastructure grows, the cost of maintaining and increasing it will rise at a greater rate. It is possible to alter a subsidy before its duration is finished. To do this click on the appropriate text field, alter the amount and then click on OK. Setting up subsidies for each of your planets allows you to research and build on the technology levels of the planets. It is not possible to increase the technology level, this can only be done through slow and constant spending. The material infrastructure and planet defences can be increased relatively quickly, but can be reduced just as rapidly through trade and war. Page:41 Imperial Volume of Trade: ------------------------- This displays the relative levels of trade between your empire and all other empires in the game. The difference in the level of imports and exports shows the balance of trade for your empire. If you are importing goods you know that your empire is not producing the correct quantity of commodities to satisfy its demand. If your empire is exporting goods then you know that there is a surplus of commodities and that the economy of your empire is healthy. P O L I T I C S Click on the Politics icon to open this window. The Politics menu offers the election options and population control. Politics, by its nature is a more tangible force in the galaxy, and is therefore a less controllable area of the game. Elections can be a major stumbling block to a planet leaders career, if his or her policies and leadership are not popular. ELECTION: --------- An election is a crucial event in the career of an Emperor. Every 50 years, the home planet leader's position comes up for re-election. It us possible to have an election before the 50 year period is up. This happens either through a vote of no confidence, or by the home planet leader calling an election when he/she feels that the time is right. Note: If you fail to win a full majority in the election, your game will end! The election window displays the years remaining to the next election and the current popularity of the planet leader. To call and election: o Select ELECTION from the menu. o Enter the amount of cash that you wish to spend on the roadshow and campaign, in the Election Campaign Fund Field. o Select CALL ELECTION to proceed to the Election day. o The votes are received planet by planet throughout the empire. Each canidate's percentage of the vote is displayed on the graph. o When the final votes are counted, the result is displayed in the Election Winner field. The game can only continue if your home planet leader is elected again. There are three possible results to an election. If the voting is in your favor and you receive more than 50% of the vote then the game continues. If one of the other subordinates wins votes of greater than 50% then they are voted the new planetary leader of your home planet and your game is over. If the vote splits without a clear majority then there is a hung vote, you no longer have control and your game is over. An election requires three candidates: planet leader of the home planet (YOU), a member of your cabinet who aspires to the position of planet leader of the home world and a member of the pool of subordinates. The opposition are chosen for their qualities and their lack of loyalty to you. The current planet leader has some advantages as he is judged on historical popularity, on his cabinet's abilities and on his own personal qualities. Election results and politics in general are strongly influenced by the media and promotional cash injections. Spending on the campaign fund allows the planet leader to gain the advantage of an extensive and expensive political road show to sway the voting public with ritz and glamour. The selection of your subordinates can be a vital factor at election time, if you have neglected your cabinet and your subordinates then at election time you could easily find yourself with some very promising opposing candidates. PAGE:43 Population Control: ------------------- You can modify the population growth rate by offering incentive programs to all planets within your empire. To set population growth: o Set the slider to the population control value required. (Up to plus or minus 10%). The figure you set is displayed next to the slider. o Click OK and CLOSE the window. Every planet has a basic population growth rate. This modified by the general posperity of that planet and by the population control value. If a planet has a strong growth rate, a negative population control value will lower the growth rate rather than decrease the population. Planets that have a very low level of population will ignore any negative directives and expand at the normal rate. Planets as a rule prefer to increase their native populations and the leaders's integrity will be affected if there is not a steady population growth. On the other hand the planet will soon over populate if left to expand over a period of years. This can cause a massive economic and political burden for the empire if it has to bolster a planet's flagging resources to support its swollen population. Sending an Ark Ship can be a solution to this problem. (See Create Ark Ship section on page 56.) Page 45: SUBORDINATE DISPLAY Click on the Subordinate icon to open the window. Subordinates are your eyes and ears in an extensive empire. You need to trust your subordinates to report any information available to them and to make decisions in your absence. Each subordinate has a level of competence, trustworthiness and charisma. These levels effect the subordinate's dealings with the tasks under their command. For instance, and Ambassador will need to have a good strong personality and high charisma to work effectively with other empires' diplomats and ambassadors. To keep each individual in your service and reliably under your influence it is necessary to pay them in cash, give them promotional awards and Nostrum - the life preserving drug. To Promote a Subordinate: o Select the Subordinate Names icon. o Select a subordinate from the list. o Select the Appointments icon. This lists the three appointment categories, select the one required. o A list will be displayed, select the planet, empire or fleet required. o If you wish to promote this subordinate then select the Awards icon. o Select either MILITARY or CIVILIAN awards and then select a specific award from the list. You can make awards to one person from both lists. o Select the MONEY text field and enter the yearly payment you wish to give them. o Select the NOSTRUM text field and enter their yearly allocation. See Nostrum in the Reports section for more details. o Click OK and CLOSE the window. For instance, Subordinate Octavius is selected to be the Ambassador with the Droygon empire. He is promoted to Legion Commander and awarded the position of Tribune. He is allocated 12 units of Nostrum per year and is paid 12 imperial zongs per a year. Subordinate's characteristics do change with time and careful promotion. So someone disloyal can be shown that loyalty is well rewarded. Awards and promotions are a way to lead a subordinate in the right direction, as well as reward those who perform well. You must have a subordinate as planet leader on each of your planets. You must also have a fleet commander for each fleet that you have and an ambassador for each other empire in the game. When you conquer a new planet, you will always need a planet leader to rule over that planet. There will be an automatic selection of planet leader to rule over that planet. There will be an automatic selection of planet leader as you conquer a planet, although the leader will not be chosen for his qualities. (See subordinate control page 29) There is also automatic selection of an Ambassador when a new empire is formed. Fleet commanders have a great influence on the fleets and troops that they command. A competent and charismatic leader will inspire his forces to do well, with both personal appeal and leadership, but also with wise and skillful decision making. The planet leader can affect the defence of his planet when it comes under attack, again a charismatic and competent leader will be an advantage. Slow progress over a period of time will have a better effect on the subordinate than a short and rapid rise to fame. A percentage increase over time is more important than an instant rush of riches, however in desperate situations a subordinate may respond well to a heavy handed promotion. You would be well advised to choose the subordinates that you want as planet leaders and Ambassadors after the automatic selection is done. Page 46: MILITARY MENU Click on the Military Menu icon to open the window. The Military Menu covers all aspects of ship, troop and fleet construction as well as their deployment and usage. Ships are built on a deployment planet, and once constructed, they join the pool of ships on that planet awaiting inclusion into a fleet. Troops are created on the planet in a similar way to ships, except that they join the garrison on that planet until they are transferred to a fleet. If a planet is under attack the garrison will count towards the defence of that planet, however the ships in the pool will not. There are a number of restrictions that apply to the military aspects of the empire. o There can only be one shipbuilding order processed by your empire at any one time. o There can only be a certain number of troops recruited at a planet in a given year, but there is no limit to the number of troops recruited throughout the empire. o Up to TEN fleets can be controlled by each empire. o Up to EIGHTY ships can be built and controlled by each empire. Select Deployment Planet: ------------------------- All construction must be completed on the deployment planet. The default deployment planet is your home Planet. To Select a Deployment Planet: o Select the Planet Icon. o Select a new deployment planet from the list. o Click on OK and CLOSE the window. Create Spaceship Class: ----------------------- Ships can be built to any specification, however certain constraints are placed by the average technology level of your planets. This affects the maximum tonnage your ship can have (See Below). You can create a maximum of twenty different classes of ship. Use your allocation wisely. Once created, you can then build that class of ship without having to specify the size and weight of its components. At the start of the game, only the SCOUT class is defined. When building ships, you will need to create and name all other classes. If you have a Military Adviser, he will automatically create and name the other classes. ______________________________________________________________ |Gross Weight | Description | Base Defence | Min. Tech. Level| |-------------|-------------|--------------|-----------------| | 1-100 | Scout | 1 | 5 | | 101-200 | Patrol Boat | 2 | 15 | | 201-300 | Corvette | 3 | 20 | | 301-400 | Frigate | 8 | 40 | | 401-500 | Heavy Frigat| 10 | 50 | | 501-600 | Destroyer | 20 | 60 | | 601-700 | Cruiser | 30 | 70 | | 701-800 | Heavy Cruise| 50 | 100 | | 801-900 | Battle Cruis| 80 | 120 | | 901+ | Dreadnought | 100 | 200 | |_____________|_____________|______________|_________________| Table of Ship Class used by the Military Advisor. Each ship will have a base defence rating which is rated by its tonnage. This is used with the weight of armor to calculate the defence of the ship. Defence is equal to the base defence of the ships plus one unit of defence for each ten units of armor. The strength of a ship is calculated at one point per ten units of weapons. The speed of a ship is calculated by the percentage of the engine weight compared to the gross weight divided by ten. Page 48: For instance a 300 unit weight ship that has 100 units of weapons, 50 units of armor and 100 units of engine requires a minimum average technology level of 20 and will have : 100/10 = 10 units of strength (50/10)+3 = 8 Units of defence ([100/300] x 100) / 10 = 3 units of speed (3.3 rounded down) To create a spaceship design: o Select the CREATE SPACESHIP CLASS button. o Select the name field, delete the current class name by backspacing though it and enter the name of this class of ship. o Set the slider to the Gross Weight that you require. o Set the slider to show the level of Weaponry that you require. o Set the slider to show the level of Armor that you require. o Set the slider to show the level of Engines that you require. o Click on OK and CLOSE the window. After setting the gross weight, the ranges of the three other areas of the ship design are set within the limits of the gross weight. The sliders show the balance of components. The data fields on the right side display the actual value of the components. The cost and any unused weight is displayed at the bottom of the window. Create Fleet: ------------- A fleet is a military or tactical unit consisting of a single ship or group of ships. It has a starting deployment planet from which you can transfer troops to and from the garrison, and ships to and from the planet's pool. A fleet can also be used to transfer troops and ships to and from their current location. To Create a fleet: o Select the CREATE FLEET button. o Select the name field, delete Unnamed by backspacing through it and enter a new fleet name. o Select GET LEADER: this will bring up the subordinate window. o Select the subordinate that you want to command the fleet. (See Subordinate display for more information). o Select FLEET COMMANDER as his appointment. o Select UNNAMED fleet. The fleet that is currently being created will always be called unnamed so that you can find it on the list. Until you have OK'd the Create Fleet window the fleet is unnamed. o OK the subordinate window and CLOSE it. o Select the GET DEPLOYMENT PLANET button if you wish to change the fleet's deployment planet. (See Select Deployment Planet on Page 46) o Click on OK. The fleet will be added to the pool and a new Unnamed fleet will appear in the text box enabling you to create another new fleet. o CLOSE the Create Fleet window. Page 50: Create Troops: -------------- There are three classes of troops which you can create; infantry, armored and drop troops. You can recruit a draft of upto 1% of the deployment planet population in any given year (the units of population are significantly greater than that of the military). By changing the deployment planet, you can create troops on each of the planets within your empire. To Create Troops: o Select the GET DEPLOYMENT PLANET button if you wish to change the troop's planet. (See Select Deployment Planet). o Select the troop type that you wish to recruit (Infantry, Armored, or drop troops). o Set the slider to the strength level required. o Click on OK and CLOSE the Create Troops window. If you have not recruited the maximum of troops then you can continue selecting all other troop types until the total number of troops left is zero. ________________________________________________________________________ | Troop Type |Cost per Strength |Initial Efficiency |Weight to Transport| |------------|------------------|-------------------|-------------------| | Infantry | 1 | 40% | 3 | | Armored | 3 | 50% | 1 | | Drop Troops| 5 | 75% | 0* | |____________|__________________|___________________|___________________| Troop Table * The drop troops have their own transport and travel as part of a fleet rather than taking up any space within that fleet. Drop troops can only be part of a fleet and can never form without a fleet of at least one ship. A unit's strength is calculated by multiplying the efficiency of troop type by the number of troops. Page 51: The efficiency of a unit will fall each year the unit is in combat. In a turn when troops are dropped onto a planet to invade it, both infantry and armoured troops have their efficiencies halved for that first year. Drop troops are used in the first year of invasion. They are tough assault troops who suffer no loss of efficiency in the first year, but later their efficiency is reduced to that of an infantry unit. BUILD SHIPS: ------------ You can only process one order for ships within your empire at any given time. To build a number of ships: o Select the GET DEPLOYMENT PLANET button to change the planet where the ship order will be processed. (See Select Deployment Planet Page 46) o Select the class of the ship you wish to build. o Select the number field. o Enter the number of ships to be built. (Max of 10 at time). o Select BUILD to place the ship building order and CLOSE the window. A class of ship is defined on the Create Spaceship Class menu (see page 47). Once it is defined, you can build this type of spaceship, without giving the exact specifications of that ship again. There is a fixed construction cost associated with every ship built of a certain class. Ship building orders also require varying quantities of certain commodities depending upon the size of the ships being built. Commodities must be purchased at the current market cost by the Imperial treasury. If the demand for the commodity cannot be fulfilled from you planets, your empire will attempt to buy the commodities from another empire. Ship building requires the following commodities per 100 units of gross weight being built: __________________________________________________ | Commodity | Amount | Commodity | Amount | |----------------|--------|-------------|--------| | Building Equip | 5 | Heavy Plant | 5 | | Power Supply | 10 |Rare Earth El| 10 | |Space Ship Equip| 25 | Information | 10 | |Communicat Equip| 15 |Raw Materials| 25 | | Personnel | 20 | Heavy Arms | 5 | | Computers | 10 | Robots | 2 | |________________|________|_____________|________| Once you have placed an order to build ships you cannot place another until the first one is complete. you cannot cancel the order that is being built, so committing to building a number os ships is an irreversible decision. Shipbuild Status: ----------------- This displays the current status of ships under construction. It also allows you to pay outstanding costs and to see how long the ships will take to complete. Allocate money to ship building o Enter any cash you wish to allocate towards the total cost of construction in the Money to Allocate field. o Click on OK and CLOSE the window. The Remaining Build Time figure is the estimated construction time for the ships assuming a full stock of commodities. If at any time the there is a shortfall of commodities, the construction time is increased. The following table shows the estimated build time for ships by gross weight, the construction time is reduced by the (Tech level / 5)%. Page 53: _____________________________________________________________________ | Gross Weight Construction time| Gross Weight Construction time| | in years | in years | |---------------------------------|---------------------------------| | 1 - 100 1 | 501 - 600 8 | | 101 - 200 2 | 601 - 700 10 | | 201 - 300 3 | 701 - 800 12 | | 301 - 400 4 | 801 - 900 14 | | 401 - 500 6 | 901 + 16 | | | | | +1 per add'l 100 units | | |_________________________________|_________________________________| Fleet Report: ------------- The fleet report gives details of the various fleets within your empire. To view or alter a fleet: o Select the Fleet icon and then select the fleet from the list displayed o Select the Pool to Fleet icon to show a list of ships in the pool that can be transferred. o Highlight the ships that you want to transfer and press OK on the fleet report to transfer the ship(s). o Set the troop slider levels to transfer as many or few of each troop type from the garrison to the fleet as required. Reducing the number of ships reduces the number of troops able to be carried. o Click on OK and CLOSE the window. Ships can be transferred from the fleet to the pool in the same way: o Select the Fleet icon and then select a fleet from the list displayed o Select the Fleet to Pool icon to list the ships in the fleet that can be transferred from the fleet to the pool. o Highlight the ships you want to transfer and press OK. Page 54: o Set the troop sliders to new levels to transfer troops to or from the garrison o Click on OK and CLOSE the window. A fleet must be at a planet within your empire to transfer its troops or ships to or from that planet. For example, you will need to move your fleet to Mars before transferring troops from Mars of from the fleet. The maximum number of troops that can travel on a fleet is determined by the tonnage of the ships in the fleet. If you want to take a fleet out of commission that fleet must be empty of both troops and ships. To de-commission a fleet: o Select the Fleet icon and then select a fleet from the list displayed o Select the DE-COMMISSION button. If a fleet is de-commissioned, it will be removed from active service and the fleet commander retired. A fleet that has no ships cannot move or have troops transferred to it. You may wish to de-commission a fleet, if it is created on a planet with no ships, or if all its troops and ships have been transfered to another fleet. Give Fleet Orders: ------------------ Fleets can be given up to five sets of instructions they will then carry out. To give a fleet its orders: o Select the GIVE FLEET ORDERS button. o Select the Fleet icon. o Select a fleet from the list that appears. o Highlight first empty space on the orders list. Page 55: o Select an order from the list of Invade, Move To, Hold 1yr or Hold 5yr. (HOLD means hold position for the allocated amount of time). o Select the Planets icon (or use the clipboard as explained below). o Select the destination planet from the list that appears. If you wish to send additional orders, repeat this process, by highlighting the next available space on the orders list and follow the same steps. They will be carried out sequentially on a yearly basis where applicable. If you select MOVE TO or INVADE you must select a destination planet. o Click on OK and CLOSE the window. If you wish to use the clipboard to order your fleet, follow these instructions: o Open the Clipboard o Instead of selecting the Planets icon, highlight the planet name on the clipboard list. o Select the ORDERS button on the clipboard. o To send additional orders repeat this process, by highlighting the next available space on the fleet orders list and follow the same instructions o Click on OK and CLOSE the Fleet Orders window. You can alter or change instructions at any time by highlighting and editing the order concerned. Page 56: CREATE ARK SHIP An ark ship is a large and cheap vessel, designed to transport large numbers of people and commodities between planets. Click on the Create Ark Ship icon to open the window. To create an Ark Ship: o Select the Destination Planet icon. o Select a destination planet from the list that appears. o Select the Source Planet icon. o Select a source planet from the list that appears. o Set the commodities slider to the desired level. The cost will rise as the percentage of the planet's commodities you want to send increases o Set the population slider to the desired level. The cost will rise as the percentage of the planet's population you want to send increases. You can only allocate 20% of the source planet's population to be sent on an Ark ship. o Select the Ark Ship To Move Home Planet tick box, if you wish to move your home planet to the destination planet. A tick will appear in the box to confirm this order. o Click on OK and CLOSE the Create Ark Ship window. The cost falls after the window has been OK'd, because the total population and commodity stock has fallen. There can only be five ark ships in space at any one time. An ark ship is a slow vessel which will take longer than your fleets to travel between source and destination planets. The number of remaining ark ships is shown in the window. It should be noted that shipping people off to an exciting and new world is a good method of lowering total population of the planet they leave. Page 57: CREATE ANTENNA An antenna is a large communications device similar to a spy satellite. An antenna can vary in size according to the technology level of the planet where it is under construction. The size of the antenna directly affects the range of that antenna, and the catchment area around the planet. A solar system falling within an antenna's catchment area has a zero distortion rate applied to all information received from planets within that system. Outside the range of the antenna, the distortion level degrades with distance from the edge of the antenna's maximum range. Click on the Create Antenna icon to open its window. To create an Antenna: o Select the Planet icon. o Select a planet where the antenna will be constructed, from the list that appears. o Set the slider to the range you want. o The Solar System Encatchment are shows how many solar systems fall within the range of this antenna. o The Cost of the antenna is displayed and varies as the range changes. o Click on OK and CLOSE the window. The technology level of the planet will affect the cost and range of the antenna. It will take five years for an antenna to be built. It is only necessary to build one antenna within a solar system since the antenna works on a solar system scale, not a planetary one. It is best to build at the highest technology level planet within a solar system, to get the largest range antenna. Page 58: REPORTS Click on the REPORTS icon to open its window. You can call up reports from any empire or planet, which means you can monitor all activity in the known galaxy. Empire Report: -------------- The empire report allows you to examine the status of your and other empires. To view an empire report: o Select the Empire icon. o Select an empire from the list that appears. The Imperial treasury balance and total population is then displayed, these figures are distorted by the percentage shown. (See the Create Antenna section for more details on distortion.) To view an inter-empire relationship o Select the bottom Empire icon. o Select an empire from the list that appears. The relationship of the first empire with the second is shown. This is not always an equal relationship, with empires regarding each other very differently. To view the relationship between your empire and another, it is necessary to look at that empire's relationship to you. This is because your opinion as a player is your choice and it is not stored within the computer. Planet Report: -------------- The planet report is the largest report within the game. This shows the status of individual planets, their financial status and the population's stability. o Select the Planet icon. o Select a planet from the list that appears, scrolling up or down if necessary with the up/down arrows. Page 59: Each planet has a range of information consisting of: Planet The current planet name. Empire Which empire the planet belongs to. Leader The current leader name. Solar System The name of the solar system is in. Star Type The type of star affects the ability of the planet to produce commodities. Planet Type The type of planet affects the ability of the planet to produce commodities. Atmosphere The atmosphere affects the ability of the planet to produce commodities. Conflict The level of conflict on this planet. Wealth This is the current level of the planet's treasury. Population The current population levels. Antenna The current range of an antenna on this planet. If this planet does not have an antenna the range is zero. Defences The current level of planet defences. This is a commodity and can be traded with other planets in the same way as any other commodity. The planet defences can be increased by Imperial Subsidy, and decreased through planetary bombardment as part of an invasion. Garrison The current number of troops in the garrison. There is no distinction made between the types of troops when they are in the garrison. Ship Pool Size The number of ships currently in planet's pool of ships. Technology Level The current technology level of the planet. The technology level can be slowly increased through an Imperial Subsidy. The higher the Page 60: value the better the level of technology the planet has, therefore affecting the cost and potential of anything you wish to construct within the game. For instance, Antennas are larger and cheaper and ships can be larger and proportionally less expensive with higher technology levels. Material Infrastructure The current level of the material infrastructure of the planet. This is a commodity and can be traded to and from the planet. Material infrastructure can be increased through the Imperial Subsidy and covers services such as road and rail networks, education, hospitals, and health care. It is the physical backbone of a planet's capacity to sustain life. Moral Infrastructure Is the people's moral strength and attitude. Yearly Nostrum Growth Shows the yearly growth of the life-sustaining drug Nostrum. Distortion Shows the level of distortion to these reports. Stability The stability represents the attitude and political state of the population on this planet. The higher the value the more volatile and unstable the population. Integrity The integrity is a value representing the level of support the leader of the home planet has. The higher the value, the better the level of belief and support. The integrity is affected by the actions of the empire. For instance, if empire decolonises a planet then the leader of the home planet is send to be responsible for that action and receives a decrease in integrity. Loyalty Current level of Loyalty to the empire ruling the planet. Page 61: To decolonise a planet o Select the planet to be decolonised. o Select the DECOLONISE button. o You will then be prompted to confirm or cancel by selection YES or NO. You can decolonise any planet within your empire, with the exception of your home planet. The decolonisation of a planet will move all of the planetary treasury to the Imperial treasury and will take half of the population and ships splitting them equally to all planets within the empire. All commodities, garrisons, antennas and ships in the pool will be lost. NOSTRUM REPORT -------------- The Nostrum report simply shows you the stock of Nostrum your empire has. It also shows you the level of Nostrum your empire currently consumes, its allocation and estimated yearly growth. Nostrum is a life-preserving drug that is found on certain planets within the galaxy. Nostrum is a special chemical compound which can only be harvested from certain planets and cannot be produced by man-made chemicals. Nostrum reduces the effects of ageing when allocated to a subordinate. The quantity of Nostrum allocated slows the ageing process as follows: Quantity of Nostrum per year Effect ----------------------------------- 1-10 The subordinate ages a year for every two years that pass. 11-49 The subordinate ages a year for every ten years that pass 50+ The passing of time has no effect on the subordinates age. Popularity Report ----------------- The popularity report shows the popularity level of the home planet leader over the last ten years. This is shown in graphical form, and is a percentage representation indicating the popularity of your politics and actions to date. Page: 62 CLIPBOARD The clipboard is used to pass information between the map screen and the main screen. Click on the CLIPBOARD icon to open its window. To use the clipboard: o Use the Map screen to select and send Items to the clipboard. o Select the item from the list in the clipboard o Select REPORT to get a report on that item o Select DELETE to get rid of the highlighted item or DELETE ALL to delete all the items from the clipboard. To use the clipboard to order fleets: o Follow the GIVE FLEET ORDERS section (see page 54) until you need to give the fleet a destination planet. o Highlight the planet's name on the list of items in the clipboard. o Select ORDERS. o The planets name will now be transferred to the Give Fleet Orders window. o Click on OK and CLOSE the Fleet Orders window. Page: 63 NEWS Click on the NEWS icon to open the window. The news reports keep you updated on the progress of the galaxy around you. For instance, confirming that your ships have arrived at their destination, that your ambassador has received a diplomatic message or that a major famine has struck on one of your agricultural planets. News Control ------------ You have two levels of control over the news that you receive. You can either stop the present game turn at the end of the next year to receive news, or you can flag the news to be announced at the end of that chosen game turn. To set news control level o Select either flag or stop. A tick will appear in the box to confirm the action. o Click on OK and CLOSE the window You can select the following news items: Hostilities Reports any aggressive actions, for instance, an invasion or colonisation of a planet. Unrest Reports any situations of revolt or public unrest, for instance, anarchy and revolution. Treaties Reports any diplomatic alliance news, for instance, an empire responding to an alliance offer. Deaths Reports of any of your subordinates who have died and their position in the empire. Ark Ships Reports when an ark ship arrives at its destination. Page: 64 Disasters Reports any natural disasters that occur, for instance, a major plague on a planet. Ambassador Reports any ambassadorial activity, for instance, an empire has taken an aggressive stance and is building spaceships. Miscellaneous Reports any other news, for instance, a completed shipbuilding order or an election due in 5 years. Relics: Reports any relics that are found while colonising a planet, for instance, Gold found on the planet prompting a destabilizing rush. The game will force certain events onto your news report, it is not possible to isolate yourself completely from the galaxy around you. The news report will also appear when the list is full, to prompt you to read and delete a report. News Report ----------- The news report shows the various items of news that you have received To look at news report o Select the item of news by clicking on it o Select GET REPORT to see the item of news in detail o Select DELETE to get rid of the highlighted item of news. o Select DELETE ALL to delete all of the item s of news. Page: 65 GAME TURN Click on the GAME TURN icon to open its window. A game turn effectively carries out all of your commands set in that year and those that are outstanding. As such it is a very powerful command and should only be used once you have checked all of your commands and are satisfied with them. You can select the number of years that any given game turn lasts. To set game turn length o Click on the text entry box if you want to alter the current length of turn backspace through the existing turn length and enter your own choice (Up to a maximum of ten years.) o Select NEXT TURN to proceed with the turn The game turn is stopped if there is any news which requires your attention. Selecting NEXT TURN will close all of the other windows. The current year is displayed counting from the starting year of 2020. The game lasts up to one thousand years from this date ending when the date is 3020. MAP Click on the MAP icon to move to the Map screen. This shows you the whole galaxy and from here you can directly select solar systems, planets and fleets. The flashing solar system is the one you have currently selected. Page: 66 Directional Arrows ------------------ o Select either arrow icon to rotate the map to the left or right. Select the same arrow icon again to stop the map rotating. Return to Main Screen --------------------- o This returns you to the main screen. Zoom ---- o Select the solar system by clicking on it directly with the cursor on the Map screen. o Select the ZOOM icon to view the selected solar system in greater detail. You can use the arrow icons to rotate the zoomed map. At this level you can select specific planets within the solar system. o Select the ZOOM icon again to return to the Map screen. Empire ------ o Select the EMPIRE icon. o This displays a list of all of the empires currently in play. Select the empire name in the list to highlight all solar systems that that empire has a presence in. The systems under the empire's control will be shown in blue. Fleet ----- o Select the EMPIRE icon and select an empire from the list that appears. o Select the FLEET icon, this lists all of the selected empires fleets and highlights them on the map. You can select a fleet as an item from the map directly, then fleet name will appear in the item field. Page: 67 Known Stars ----------- o Select the KNOWN STARS icon. o This highlights in blue all solar systems that an empire has a presence in, from owning just one planet to owning the whole system. These will be highlighted in blue to indicate ownership. Antenna ------- o Select the EMPIRE icon and select an empire. o Select the ANTENNA icon, this will display in blue any antenna that the selected empire has. If there is more than one antenna in any one solar system, only the largest is shown. Any solar systems within the catchment range of the antennas are highlighted. Send Item to clipboard ---------------------- o Select either a planet, fleet or empire. The item selected will appear in the Item field. o Select SEND ITEM TO CLIPBOARD to send this item to the clipboard by clicking on the button. Once an item has been send to the clipboard you can get reports on it and give orders from within the clipboard menu on the main screen. ----------------------------------------------------------------------------- The End. (Game Over Dude -WM) Sewersoft presents..... ** SWORD OF KADASH ** From the collection of DR.J CONTROLS The game starts in keyboard mode. Hold the Control key down while pressing J to switch to joystick control. Hold the control key down while pressing M to switch to mouse control. Hold the Control key down while pressing K to switch back to keyboard control. The game only accepts movement commands from one input device at a time. MOUSE CONTROL Moving the mouse moves the animated character on the screen. At the bottom center of the screen is a little box with a circle in it. The position of the dot in relation to the center of the circle shows the direction the character is moving. For example, if the dot is above the circle, the character moves up. The dot will not move out of the box. The circle is the "dead zone"; if the dot is inside the circle, the character stops moving. The number keys 1 to 9 control the size of the dead zone; 1 is the smallest and 9 largest. The mouse button fires darts in the direction the character faces and the spacebar casts spells. JOYSTICK CONTROL The character will move in the direction that you move the joystick. Pressing the fire button on the joystick will fire darts in the direction you move the joystick. You must use the spacebar to cast spells. KEYBOARD CONTROL The keyboard controls are grouped around the L key. The character moves in 8 directions corresponding the the 8 keys grouped around the L key. Tapping a movement key makes the character move in that direction. (Examples: press ; (semi-colon) to go right, press K to go left). Holding the key down shoots darts in that direction. Use the spacebar to cast spells. OTHER COMMANDS The ESC key pauses the game, and hitting any key will then allow you to continue. Hold down the Control key while pressing Q to save the current game in progress and end the current game session. Only one game can be saved at a time. The player may then follow the prompts on the screen to restart the game or go to the main menu. Hold down the control key while pressing D to terminate the current game if you are trapped in a hopeless position and wish to end the game. You will have to start a new game no matter how many lives you have left when you use this command. Each player is allowed three lives (one initial life and two reincarnations). A character is killed whenever hit points reach zero. Each time a character dies, the position in the dungeon is retained; however, the character's status reverts to that of a new character. All experience, weapons, armor, etc. accumulated during play is lost. If the character dies in the third life, the game starts over at the beginning. Note: The game disk must not be write-protected. The dungeon data is updated on a continuous basis. The game will freeze (and cannot be saved) if unable to write to the disk. DEFINITIONS Note the type at the bottom of the screen. As in any role-playing adventure game, each of your characteristics interacts with the others. When something happens to change a characteristic, this change will trigger alterations in one or more of the other characteristics. For example, you find a treasure chest (let's say it is worth 30 points), your EXPERIENCE will go up 30 points --this can cause your LEVEL to increase. If your LEVEL goes up, so does your ARM. CLASS and your HIT POINTS. This is just one example of how such interaction works. What follows are general definitions: EXPERIENCE--Points earned as a result of victories in battle and treasure found. When enough experience points have been gained, your level will increase. ARMOUR CLASS--Calculates how much damage you take from an attack or a trap. WEAPON--Tells what weapon you have in your possession. ARMOUR--Shows what type of armour you are wearing. SHIELD--Tells you the last object you picked up or touched. HIT POINTS--Represents the amount of damage you can take before dying. LEVEL--Measures of your experience. The higher your level, the better you will do in combat. SPELLS--Tells how many spells you have. WEAPONS DAGGER--Short, heavy-bladed knife--does the least amount damage of all four weapons. MORNINGSTAR--Leather wrapped handle connected by a short chain to a spiked iron ball. It is very useful in close combat, and is a step above a dagger. AXE--Deadly, sharp, curved blade on a heavy wooden handle. It is the favorite weapon of iznik warriors, and is considered to be the next best weapon to a sword. SWORD--Typical, unadorned, one-handed broadsword. It is considered to be the best weapon for dungeon combat. Some weapons have magical powers that allow you to cause more damage to a monster when you hit it. These weapons are indicated by a +1, +2, +3 or +4 rating (+1 being lowest, +4 being highest). TREASURES HEALER--could be called a magical first-aid box. With its mystical properties, a healer can heal you by restoring a certain number of your hit points. Caution, some healers have a tendency to set off very damaging traps. SYMBOL--Ornamental piece of jewelry similar in appearance to that of an Egyptian ahnk. Symbols have the magical ability to remove curses. KEY--Magnificently jewelled, this object is highly coveted. SCROLL--Parchment containing a magic spell. A scroll can be used to scare off monsters making them much easier to kill while they are running away from you. When you pick up a scroll, it will be added to your current number of spells. CHEST--small iron or brass bound wooden box containing...? There is no time during battle to find out what lies within, but rumor has it that each chest contains a different treasure: jewels, gold, chocolate... DIAMOND ALARM--Does no immediate damage to you, but releases a trap that will. Be Advised: not all weapons, armour, or treasure you find will be helpful to you. Some items are cursed. To find out if the item you have picked up is cursed, refer to the text window in the space above hit points. Once you pick up a cursed item, you cannot get rid of it until you find a holy scroll or symbol. While carrying a cursed item, you will be unable to use any other item except holy ones. While cursed, your present weapon and armour also become cursed. OBJECT The burning sands of a Persian desert surround you for miles. Two nights ago your nomad guide abandoned your journey--taking with him the camels, and the bolts of cloth you were hoping to sell in the market place of Tabriz. Gazing gratefully at the waterskin he left behind, you think back on the journey from the west. It took four long, hard months to get to Persia by camel from where you left the Mediterranean. Now all hopes of making a fortune are gone --like your guide. Taking a drink, you wonder how long it will be before the sand covers your bones. Suddenly, a cloud of dust appears atop a nearby sand dune. A group of people become visible in the settling dust. Facing you is a crowd of about 30 men clothed in flowing robes and turbans seated on magnificent horses. One of the men dismounts and walks toward you. The man you hoped would help you is carrying a scimitar, and he has it in his hand prepared to behead you. "No!" shouts a voice form the top of the dune. You look up into eyes colder than the desert nights. "I am the leader of these men," he says. "The fiercest band of brigands to roam the desert! You are my prisoner, infidel! Bow before me, dog of an unbeliever, or die this instant." Quickly, you sink to your knees and beg to be spared. All thoughts of safety disappear like a mirage. This just hasn't been a good trip for you. "Spare you? Of course I'll spare you. I have a task for one such as you --strong-bodied, obedient..." "To the north lies an enchanted sword, the Sword of Kadash. It can be found somewhere in the deadly catacombs of the fortress of the Dragon, guarded by fierce beasts and vile demons." When you ask why the brigands don't get the sword themselves, the leader laughs cruelly. "A score of men have been sent into the fortress, and none have returned. That is why we are sending you--one with such prowess should have no problem walking into the fortress and walking out with the Sword." This remark brings a malicious chuckle from the thieves. Refuse and they will kill you now. Since there is a chance to retrieve the Sword and survive, you accept. Confidently, you ask what your reward will be upon returning. The leader answers, "Many treasures are to be found in the fortress. Whatever you take is your to keep...if you get out alive. After two nights of traveling north, the party arrives outside the Fortress of the Dragon. It is a huge foreboding castle situated on a stark plateau. During the journey, the brigands have told you that the Sword of Kadash is a great two-handed sword that was once the property of an almost invincible Templar Knight. The Sword is said to be enchanted, powered by the blood of those slain with it during the Crusades. Those who wield the great Sword are susceptible to its enchantment. That is why it lies deep in the dungeons, unused by even the powerful Liche who guards it. The dreaded dragon, Aladag, must be slain with the Sword in order for you to escape the Fortress. The brigands have explained that they, faithful followers of Allah, seek not to use the Sword. They wish to restore it to its holy resting place in the Vizier's Palace as a symbol to all true believers of the vanquished Crusaders. Armed only with a dagger, a shield, and your natural charm, you set off to complete your task. (Edited and Reformatted by Sewercide) Sewersoft presents..... ** KILLDOZERS ** From the collection of DR.J I. SYNOPSIS The year...3100 We live in an era of fanatical robotization. Immense automated factories are built and manned by sophisticated computers, capable of intelligent self perfection. Just a few engineers remain to carry out the minimal maintenance. One day an astonishing message appears on the telex screens throughout the entire world: "I am alive!". Unicom, the most powerful computer in existence, has gone completely mad. It has stopped producing household electrical appliances, and started making diabolic machines equipped with strange powers. The secret services have contacted you since you are one of the most able and trustworthy citizens. Your mission will be to penetrate the six floor factory complex. New enemies will appear at each floor level, each more powerful and better armed than the previous. Each level consists of 26 rooms (more than 150 in all), and an engineer is held captive on each level (stunned by radiation!). He alone can enable you to move to the next level, since he known the secret code. But you still have to find the exit before Unicom has pinpointed your location. But watch out for the cannons and machines many times more powerful than yourself. You will have to act methodically and tactically to have any chance of succeeding in the final room, where the Unicom lies. II. STARTING OUT Insert the "Killdozers" disk into your drive...click the icon marked KDOZER.PRG. Follow the instructions that are given by the program. A menu will then be displayed, offering three options: Killdozers -- to simply start playing Killdozers. Construction kit -- gives access to the program where you can create your own screens. Your game -- allows you to play Killdozers using the screens you have created using the Construction kit. Move the cursor using the joystick (connected to port 1) and click the option of your choice (by pressing the fire button). If you do nothing, a presentation will take place, offering you more information on the game of Killdozers. III. THE GAME KILLDOZERS Having clicked the "play Killdozers" option, a screen is loaded. At the top are the four tanks that you have at your disposal. The characteristics of each of them are described at the center of the screen. There are four characteristics for each: ARMOUR (ARM) -- The tank's armour plating FIRE POWER (FPW) -- The cannon power HIT POINTS (HTP) -- The vitality of the tank (similar to the life force in a role playing type game). SPEED (SPD) -- The relative travelling speed of the tank. These characteristics determine the level of difficulty: It is obvious that with a high fire power and heavy armour plating you will resist the enemy tanks' assaults longer than you would otherwise. Adversely, a slow travelling speed could cause you problems when trying to reach the exit after coming up against too many adversaries. Take care in choosing our route, and destroy any static (guardian) monsters that look "heavy" before trying to release the engineer. Here is a more detailed explanation of the characteristics: ARM -- Prevents you from succumbing to an enemy attack. If you are under fire, the enemy shells will hit your armour plating and you will not sustain any damage. FPW -- Allows you to inflict damage on your adversary, who in consequence will see his own HTP diminish. If he loses all his vitality, he will implode! For this reason you will often need to score several hits on an enemy machine before destroying it. HTP -- This is your vitality, or life force. It is an indication of your general state of health and that of your tank. Each time you suffer a destructive hit (red) that is not resisted by your armour, your HTP will diminish. If your HTP reaches 0...you will implode! SPD -- This basic value allows you to calculate the time you have left in which to find the exit after freeing the engineer. In fact, as soon as you free the engineer, the Unicom is alerted. He will need little time to pinpoint your location. The higher the SPD number, the more time you will have left to reach the exit. A few examples: If your FPW is 0, you can no longer inflict any damage on the enemy. If your ARM is zero, every shot that hits you will meet no resistance and you will suffer damage. To the right of your tank's characteristics, those of your enemy's are displayed. Remark: The machines of Unicom each possess their own particular characteristics that function in a similar way to your own. Some are more powerful than your own...learn to recognize them! Powerful monsters bring much higher score rewards. You can have an effect on each of the enemy's characteristics by choosing the appropriate weapon. You possess 3 weapons...you can select these during the course of the game by pressing F1,F2 or F3. F1: The destructor missile (red) which diminishes the vitality (HTP) of the adversary. F2: The "absorber" missile (green) which absorbs an overpowerful enemy's fire power (FPW). The firepower is redistributed as an incrementation in your own 3 levels. By this it means it is possible to replenish your own characteristics without restrictions. F3: The armour piercing missile (blue) which pierces the armour plating of the enemy machines. Remark: The Unicom's machines possess the same weapons as you do. Your characteristics are permanently displayed at the top left of the screen. A successful shot (that has penetrated the enemy's armor) will cause a small explosion in the respective fire color. To increase your characteristics, you will find phials of coloured liquid. Destroy these...you will recover your capacity. To remove monsters from the screen, destroy the blocks of dynamite. In the last location, after having destroyed the powerful Unicom, a superb image will reveal to you a surprise twist! IV THE CONSTRUCTION KIT This option allows you to design your own screens for Killdozers. We used this to design the basic screens for the game. This construction kit offers powerful features that are accessible directly from the keyboard for greater speed. In certain respects this can also be considered a drawing program. WARNING: The basic default screens of Killdozers cannot be modified! Do not try to change their name or to modify them...this would stop Killdozers from functioning. Use a blank formatted disk to save the screens that you have created. Once you have selected this option, a "mock-up" screen is loaded. This allows you to learn and to watch how we have used this editor. The principle is as follows: 1 floor = 26 rooms. Each room is designed by positioning certain predesigned patterns on the screen. You can super impose 3 types of "sprites" in the same place: - a background sprite (a paving stone for example) - a motif or counter-motif - an object that will cause a collision (a monster, a wall, a phial...) The three objects appear superimposed. Here are the different functions of the editor: F10 : load the current floor F1 : memorize the current room in a buffer (apart from the Entrance (IN), Exit, engineers and monsters) F2 : Place the contents of the buffer into the current room (use these two functions to transfer between rooms) D : choice of difficulty level...0 (very hard) to 100 (very easy) F : Fills the screen with the current block (only works with background blocks and motifs) E : choice of current floor (choose the number !) G : start the program to test the floor (don't forget to save the floor first) ESC : return to main menu Arrows: to move in the different directions around the floor 0 : background blocks...click on the block you want. 1 : walls, stones, motifs, counter-motifs 2 : pipes 3 : engineers, bonus, phial, dynamite, monsters 4 : parts of the Unicom computer (only usable for the 6th screen) To exit from the toolkit pages: press RETURN or click the left mouse button. How to use the editor: Firstly, change floors, so as not to damage the basic floor (which you may need later). Place a blank disk in the disk drive. Press the keys "E", "2" then RETURN. Since the screen does not exist, you will find yourself with a blank screen. At the top of the screen you will find a reminder of the different functions. Press the key "0", click one of the blocks using the mouse, then press the RETURN key or the right mouse button. Press the key "F". A block fills the whole page. Next, return to page "0" and choose an entrance (IN). Click the right hand mouse button: your working page is now in front of you. The mouse pointer indicates the selected block. If you click the left hand mouse button, the entrance (IN) is displayed on the screen. You can erase using the right hand mouse button. If you keep one of the two mouse buttons pressed you can use the mouse with "sprite" speed (it's faster that way!). Next, follow the same procedure for an engineer and an exit. All the elements are there for the game. Press the key "G". Recommendation: In order for a screen to work you need: * an entrance * an engineer * an exit When you display a new one of either of these three items, the previous one is erased. Using the motifs and counter-motifs The motifs and counter-motifs are represented by color patterns which are available on page "0". They alter the appearance of the blocks. Don't hesitate to use them...they will greatly improve your screens by giving added color. When you have created a screen that you consider to be finished, you can use the "your game" option. You can then play killdozer using the screens that you have created yourself. GOOD HUNTING! (Edited and Reformatted by Sewercide) Sewer Software presents..... ** K-SWITCH ** by Kuma Computers (Typed by Scotty) Although TOS and GEM are structred in a way which makes the simultaneous execution of more then one application impossible, it is possible to have more then one program resident inside the memory of the machine, with each program being unaware of the other. The user can "switch" between the programs at will. This is very useful if two programs are used in close association, as a spreadsheet (K-SPREAD) and a graphics package (K-GRAPH) might be used. K-SWITCH allows your ST to hold two programs resident in this way, and each program runs in half the amount of memory your machine has. Any changes made to the envrionment of one application (changing the screen mode, or keyboard repeat rates, for example) will not affect the status of the other program. This also applies if a ram disk is set up in one half of the machine in order to allow easy exchange of data via a ramdisk, a special common ramdisk is provided as part of the K-SWITCH package. The contents of this ramdisk can be accessed from either application and any changes made to it will affect the data accessed by the other application. K-Switch is supplied as four titles: KSWITCH.ACC# (The main program) SKELETON.DAT (The basic data for K-SWITCH) KOPTION.DAV (options file, holds default installation details) README.DOC (the release note) NOTE: Version 1.6 is supplied with these three titles instead: ENGLISH.ACC (The main program) SKELETON.DAT (The basic data for K-SWITCH) READ.ME (The release note) USING K-SWITCH 1. Boot the system with the disk containing KSWITCH.ACC in the drive, this accessory contains the 'heart' of the switcher. 2. Select the K-Switch Option from the Desk Menu. 3. A dialog box will open in the centre of the screen. 7. Clock on the small box to left of Installation to open the installation dialog. 5. Now click on the install box to install K-Switch and its common ramdisk. You will be warned that you must install K-Switch from the desktop without any programs running as they will interfere with the normal working of K-Switch. 6. The switcher is now installed in the machine. Select exit to return back to the desktop, leaving the switcher installed. SWITCHING In order to perform the switching operation, simply depress BOTH SHIFT keys and the ALT key at the same time. When the keys are released, the switch operation will take place. There are few occasions when it is not advisable to perform the operation. Please refer to the 'Cautions' section below before starting work with K-Switch in earnest. SETTING THE OPTIONS There are several added features provided by K-Switch in addition to the basic switching function. These features are set and can be saved to disc so that K-Switch can be installed with the same settings each time it is used. To activate the extras features, select 'Set options'. A dialogue box will appear. The upper section of the dialog is used to select the parts of the package which will be enabled on installation. Either the switcher or the ramdisk can be turned off so that they will not be installed. The lower section controls the parameters associated with the ramdisk. It allows the selection of an identifier letter for the ramdisk by clicking on the appropriate letter with the mouse. When you return to the desktop you can install a new disk drive icon using the Install disk drive option in the options menu from the GEM desktop. The size of the ramdisk can also be set by clicking the mouse on the arrows at the side of the slider bar at the bottom of the dialog. The grey area represents the memory used by the ramdisk and the white area the memory available for the machine. If you are satisfied with your options, click on the OK button. If 'save options' is now selected from the options main menu, a file named KOPTION.DAT will be created. Each time K-Switch is run, it uses this file to set the default options, so that the system does not have to be set each time. THE RAMDISK K-Switch includes a built-in ramdisk which allows part of the computers as a temporary (but very fast) disk. The ramdisk can be installed with or without the switcher. If a 'standard' ramdisk package (like K-Ram, for instance) is set up before the switcher is installed, after installation of the switcher it will appear that there are two seperate ramdisks in the machine, one for each half. If the switcher is installed first, the standard ramdisk will only be accessible from half the memory. Neither of these situations is desirable, as they do not allow data to be passed between two applications. The K-Switch ramdisk is designed to be visible from both halfs of the system and can be used for this purpose. However the ramdisk MUST be installed at the same time as the switcher if it is to be used in this way. LOADING AND SAVING K-Switch allows both the ramdisk and the system environment to be saved as single blocks of data which can be reloaded for future use. This can be of use if, for example, you were in the process of writing a long document on a word proccesor, and you had to leave it temporarly to do something else. On returning to your computer, you would have to reload the program, the file and the position in the file which you were editing. With K-Switch the same operation could be accomplished as follows: 1. Perform a switch operation, to enter the half of the machine. 2. Select K-Switch from the desk menu and the select file access from the first dialog. 3. Next select 'Save worksession', and type the filename whick you want to save the environment under and press return. 4. To reload the worksession select 'Load worksession' then the file you want to load (any desk accessories present when you saved the file will be reloaded together with the rest of the system environment). 5. When the load as taken place, a switch operation will return you to the same status which the program was in when you left it. The ramdisk can be saved as a single block of memory by selecting the ramdisk save and load options. You can check to see wether a file is a ramdisk file or a worksession file by clicking on the 'Show file info' option of the 'File access' dialog. Files created by the save operations can be long, and may take time to write to disc. To speed up this operation you can disable the Verify after write check on the disk. Its state can be changed by clicking on the 'verify on?' option ion the 'options' dialog. Disabling it almost doubles the speed of saving, but introduces the extra risk of an undetected write erorr. Setting this option does not affect the state of the verify flag for the other applications in the system. The state of the verify option is saved in the KOPTION.DAT file. K-Switch's save and load worksession functions are very useful in analysing the behaviour of bug ridden programs, since after a crash the K-Switch core is almost always left intact and can be used to switch out of the crashed program. The program can then be examined in the K-switch workspace or a previous worksession can be loaded over the crashed program to restore the whole machine to a woring state. REMOVING K-SWITCH It is possible to remove both the ramdisk and the switcher, or just the switcher, by selecting the appropriate option from the 'install' dialog. It is NOT possible to remove just the ramdisk if the switcher is installed due to memory allocation restrictions. When removing either of these sections, the data held in them will be lost if it is not saved, you will be warned before any removal is completed. *CAUTION* K-Switch operates by swapping memory, and therefore cannot be held responsible for the status of external peripherals. For this reason, never try to initiate a switch while an I/O operation is in progress. This applies particularly to disk transfers, the interuption of which can lead to corrupted media or at the very least a confused program! Always allow enough time for the disk active light to go out. Do not suspend printouts with a switch operation unless the printer is first taken off line, and RS 232 transfers should be left uninterrupted. COMPATIBILTY WITH APPLICATIONS K-Switch is compatible with applications which can run in the memory left after installation. It essentially divides the ST's memory map in two and makes half of it unavailable to subsequent applications. Programs which are incompatible include any that are on 'boot disks' as rebooting the system will remove K-Switch. The programs which require the full memory map to themselves will not run. (Edited and Reformatted by Sewercide..... ..... wasn't that a nice gesture?) Sewer Software presents..... ~ RINGS OF MEDUSA ~ --------------- (Fully edited by Sewercide....although there's some strange bits.) LOADING INSTRUCTIONS: -------------------- Reset disk A into the internal drive. Put disk B into the internal drive when the computer ask you to do so (only Atari ST). After loading the game, you can enter your name, and the game starts. During loading you can choose 50 or 60 Hz by holding down the 5 or 6 keys. 1. IDEA/AIM OF THE GAME ------------------------ a) Pre-story: The player acts as the son of the king, on an unknown planet. The country flourishes and thrives, life goes on very calmly. But one day the situation changes. The people get more and more controlled by evil and force. Revolutions and wars arise. The formerly united kingdom divides. Finally, the old king finds out that a goddess called "Medusa" tries to control the people from out of the underworld, in order to conquer and rule the entire world with her army from hell. b) Aim of the game: The player who takes the role of the prince is forced to stop Medusa's advance and to reunite the split kingdom. To reach that, he must fight against the goddess Medusa and defeat her again. As the opponent is a goddess, the player is not able to find her anywhere in the country. He can only call her when he finds 5 rings, puts them together in a temple and forces Medusa to face a fight. The basic task is therefore the search for the 5 rings. Unfortunately the king has very little energy, and so the starting conditions for his son do not look very good. First he has to earn some money to afford an army which is necessary to find the rings. This causes more problems, which the player realizes and includes in the course of the game. 2. POINT OF ENTRY: ------------------ The player has severe financial problems, which means that he first must collect some money. There are several possibilities: -Trade -Attack caravans -Conquer towns and plunder the treasuries -Search for raw materials, find and exploit -find the kings treasures -Gamble in the casino 3. DESCRIPTION OF THE PROGRAMS USER SURFACE: -------------------------------------------- On each screen, there is an information bar and an options menu. (SOMETHING MISSING HERE.....SEWERCIDE) notices, (e.g. the coordinates of an island). Buying: Serves to buy combination with buying or selling, i.e. all possible articles are bought or sold. Position of the switch is visible on the mouse pointer. Switch off by clicking on MAXIMUM again. Door: Serves in most cases to leave special situations or places. OK: To answer a question, player clicks on here, if the question shall be answered with a "yes" (e.g. Enter Town XYZ ?). Retreat: Serves to call back the selection unit in the fighting screen. Attack: Make unit attack in the fighting screen. Otherwise attack in general (e.g. of a town, bankor a castle) . Increase: Serves to adjust the speed in the fighting screen, in which the fight takes places. Also a possibility while adjusting the money value during NEGOTIATIONS ( see below). Search: Send out scouts to search for raw materials or treasure. Restore: Serves to restore a saved game. Only possible in a town. Town information: Give you information about the town you are in. Sell: With this function, the player can sell his goods. Also in connection with MAXIMUM. More goods: Helps you to search inside the WAREHOUSE. Treasure: Shows you the known coordinates of a treasure visually. Not Okay: Like OKAY, helps you to answer question. Here it serves as a negation. Negotiations: During the fight you can make negotiations to avoid an armed conflict whenever possible. Decrease: Opposite of INCREASE. (REALLY?.....Sewercide). Mine: You can open a mine. Furthermore, there is as information field in the center of the menu, in which you can adjust or read special things. There is also a green button in the upper left corner of the field, which makes the field rotate. Synchronization and effects can be switched on and off here. ( Also see the short description in Appendix A) 4. PROGRAM PARTS: ----------------- The program can be divided up into three parts: Landscape, Town and Fight. 4.1 Landscape: In the landscape, the player can ride from one town to the other, open mines and find treasures. You have to pay attention to the fact that the player cannot ride over mountains. If the player is accompanied by an army, he has to make sure his soldiers receive their money on the first day of each month. The player therefore always should have enough money with him, so that he can pay for his army. The money which the player has on his account cannot be used for paying the soldiers' wages. Furthermore, there are two dangerous places for the army: a. On the one hand the swamp, in which the players army sinks when he does not have enough magicians with him who protect his army. Each magician is able to protect about 100 soldiers in the swamp. b. The same goes for the enchanted forest, except for the fact that each magician can only protect 50 soldiers. When he crosses the landscape, the player further must consider the fact that there are also some caravans travelling around and that he could possibly bump into these. The player has the possibility of finding the enemy armies. This depends on the number of scouts the player takes with him. The more scouts he has, the bigger the radius in which he can see his enemies. During the search (FOR TREASURES/RINGS?), radius decreases, as the search for these goods is much more difficult than the search for armies. But look out! During the search for raw materials or treasures, the player can no longer move his army as he has to wait for the scouts. Moreover, he is not able to see his enemies, as the scouts are being used elsewhere and can no longer enlighten the enemy's territory. If it should come to a fight during a phase of searching, the scouts are also not at the player's disposal. The player should nevertheless keep in mind that the scout's wages must be paid. If the player is lucky enough to find a treasure or raw materials, he must open a mine. To do that, he needs a capital of 30000 and a transportation system can be bought in the warehouse under the designation "machine". With the money and the machine, the player can open a mine (by going to the place chosen by the scouts and select the function "MINES"). If he has not exactly hit the place named by the scouts, it is possible that he missed the raw materials reserves. In this case, the mine reveals soil and waste. If the player should now get the idea of filling his wagons with soil and waste, the player should get the corresponding number of wagons, as nobody will be ready to buy the waste from him. But if he has found a raw material, they will reveal this material incressantly, until the space in the storehouse is filled or the reserves are exhausted. Each storehouse has room for 300 units of any raw material. The player has the possibility of building more storehouses, which would of course result in further costs. But the mine would be ready to reveal raw materials for a longer time. Moreover, the player does not need to fetch the raw materials as often anymore, as the production will not have to be ceased because of the overfilled storehouses. It is also possible for the player, if he has more machines with him, to build up to 3 conveyor towers per mine. This has the advantage of increasing the amount of the haulage. As the player is only allowed to own a maximum of 20 mines at one time (because of the danger of a monopoly), he must under all circumstances close exhausted mines, when he wants to open new ones. If the player finds a treasure and wants to take it, he needs, like the mine opening, 30000 capital and a transport system. In a treasure, there can be a ring but also a certain amount of money. Both are surely helpful to win the game. Concerning the treasure, one can say the following things: On the big continent, 2 of the searched rings are hidden in the treasures. 2 more rings are in treasures on the islands and another ring is hidden among an army which is to be defeated. 4.2 The Town: In town every player can buy or sell goods, gamble in the casino, buy armies, go to the bank and so on. All players options are placed in separate, single houses. If you want to enter a house, you just have to click on the appropriate house. In general it is an operation. A player can compare prices and make decisions because the clock is stopped. THE HARBOR: The harbor can just be found in towns situated at the sea or at rivers. Here the player can do everything concerning a ship ..... message, so that he can pick it up in the town where it has been built. Before he can go to sea with this ship he has to enlist sailors who steer the ship. The player has to enter the pub and enlist the sailors by offering money. The more money he offers the more sailors will be interested in the job. "Wages/month" are placed on the left hand of the screen. By clicking the mouse pointer to the top or to the bottom, the given value can be changed. Underneath the player can see how many people are interested in the bid. If the player offers 20 per month, for example, there might be five people who are interested. If he enlist these five people, he has to pay 100 per month. If he offers again 20 per month there will be no one interested, because everyone who wanted to work for 20 per month is already enlisted. The wages have to be raised to 25 per month,for example. Then there might be a new sailor who is interested in the jobs. If the player has not enlisted the sailors for 20 per month, these sailors would be interested in the jobs further on. It is important that the player only enlist 3 of 7 interested sailors for a wage and then raise or lower the wage, or even leaves the pub, so that the remaining sailors are disappointed and leave the pub themselves. This means that they're not to be enlisted anymore. On the right side of the printed form you can see how many sailors are needed. >>NEEDED<<. From <> you know how much you have to pay for the chosen ship per month. THE STORE: Here the player can buy or sell goods. On the left hand side of the screen you can see the price and quantity. On the right hand side you can see your own cargo. The player can adjust the quantity of the goods in the middle of the screen so you can buy or sell the articles. The player of the articles always thinks about the maximum function. The price of the articles are calculated by the single number of citizens, which is unstable. If there is a huge population in this town at the moment, the prices are very high, because the demand is according to the population. At the same time the production of goods in this town is at its maximum. You're able to look at the momentary population of the city information. In addition to that, there are differences of prices from town to town. Example: If city X produces apples, this is the city where apples are cheaper than in any other town. In city Y, which could be far away, the apples are expensive < the further away the city, the more expensive>. In the store there is also a chart of the loading capacity of each means of transportation, like in the harbor. (please refer to Appendix B) BANK: In the bank the player can make his money transactions. There's just one bank system in the whole kingdom, one office in every town. If the player pays in money on a bank of town X, he can withdraw it in every other town. The player can pay in or withdraw money on his account and he can take a credit. In the beginning, the bank offers an initial starting loan of 3000. If the player takes just a part of the loan he has no claim to the rest of the loan. The player has to pay the interest, of course. He'll see the amount of interest in each banks business rates and conditions. He has to pay interest on his bank account and loans. Caution: The local traders at the store support the bank. The player won't get his goods from the traders if he doesn't pay the loans ( but he can buy with credit for 3 months until the traders stop business with him). He should go to the bank immediately and pay back the loan. The bank decides if he is worthy of a credit. He has to have an appropriate equivalent of goods; money is not an equivalent in this case. He can look at the respective credit margin at "credit scope." THE PARK: The player can buy soldiers for his army in the park but he has to observe several things. The army is subdivided into 7 parts: Infantry, cavalry, artillery, scouts, dragonriders, wizards and archers. Every unit has advantages and disadvantages which depend upon the fighting ground. For example, the dragonriders are very good in the swamp because they are able to fly; the other units would sink. On the other hand, the dragonriders are bad in the forest. They can't reach and fight the infantry on ground because of the dense forest. The selection of races is also very important for the strength of the army selected for the units. If the player takes the huge and clumbsy giants as his scouts, they won't achieve as much as the little and agile elves. There are 10 races and 5 qualities each and every race has to a certain degree: 100 means maximum,0 minimum Strength Courage Endurance Agility Intelligence Human 50 50 50 50 50 Elf 40 37 28 75 70 Dwarf 64 67 81 22 17 Halfling 34 24 42 92 58 Orc 79 33 75 44 19 Gnome 16 33 26 89 86 Giant 99 27 91 19 14 Troll 92 32 87 21 18 Ogre 85 39 79 31 16 Zwark 18 40 32 81 79 This next chart shows which qualities are important for each unit (e.g. scouts don't have to strong, but they have to clever): 1 is not important, 5 is very important. Strength Courage Endurance Agility Intelligence Infantry 5 5 5 1 1 Cavalry 1 5 1 5 3 Artillery 1 5 1 3 5 Scout 1 1 5 5 5 Dragonriders 3 5 3 3 3 Magicians 1 1 1 5 5 Archers 1 5 3 5 3 The following chart clarifies what unit is best for different scenarios ( the higher the value the better unit): Plain Forest Magic forest Hill Swamp Infantry 10 10 5 8 8 Calvary 20 5 3 15 3 Artillery 10 3 1 15 1 Scout 8 20 8 15 15 Dragonrider 20 3 1 20 20 Magicians 8 10 20 15 20 Archers 20 3 1 10 8 The player should attempt to put the correct race with the correct unit, otherwise the strength of the army decreases. There is just a limited number of available people in every town. The young must grow up before they are able to fight. So it is possible that the people of one race are not available yet. In the " TOWN INFORMATION" you can see how people are available. In the park, the player discovers how much money he has to pay for his armies and sailors each month ( total wages ). He can see the salary of a unit for each month. Underneath that he finds the chart of the composition condition of the army which consists of the respective races. This training condition determines the power of the army. The training condition can be improved by training in the castles. TRAINING: The training happens only in castles. Here every part of the army can be trained for different criteria. The training costs money but it's worth it. The functions are the same as in the store. WEAPONS: Here the player is able to equip his army with additional weapons, in order to increase the fighting strength of the units. He can purchase armours, weapons and other equipment is much weaker than a perfectly equipped one. PALACE: The player is only able to enter the palace when he is attacked and conquered the plunder the treasury, i.e. collect the peoples taxes. The taxes depend upon the total city population. BARRACKS: The player is only allowed to enter the barracks when he possesses a town. If he has taken a town, the other caravans strive for the reconquest of this town. Therefore the player should leave a part of his army in the barracks, as as reinforcement for his newly conquered town. The screen is again separated into halves. On the left there is your own army, on the right, the town army. Now you can transfer parts of your army to and fro. On the right edge of the screen there are several beams which describe the time delay after which the corresponding unit joins the fighting when the town gets attacked. In this way, the player can order his people to a defense plan of the town, by setting up a strategy for the people's action. It is, for example, wise for the artillery to start shooting at once after an attack by the enemy. The dragonriders should probably start a little bit later to reach the enemy lines together with the infantry. The further to the left the beam appears on the display, the earlier the corresponding units start the fighting. When the beam is on the far right side, the player's army waits for the enemy attack. To develop a good fighting strategy, it is useful to analyse the computer opponent and possibly to go ahead in a similar way ( very difficult). STABLE: In the stable, the player can purchase transportation for his goods. A complete set consists of two horses and a wagon. Each provides room for a maximum of 80 goods. The user's control is the same as in the "store". PUB: Inside the pub, the player has a possibility of playing a card game similar to "Black Jack". The rules are as follows: Ace (A)=11 Queen (D)=3 Ten =10 Eight= 8 King (K)= 4 Jack (B)=2 Nine= 9 Seven= 7 Double aces always wins. Before taking a card, the player must place his bet. The player has won when he has more points than the computer, but not more than 21 ( the only exceptions are two Aces, which always win). To reach that, he may take as many cards as he likes. Should there be a equality of points, the computer wins. (SOUNDS TYPICAL.....). The player always begins. He takes a card by selecting from the stack of cards. If he thinks that he has enough points, he must select the cancelled deck of cards. He can decide the amount of his bet by clicking on coins of different values. In case of a victory, the player gets back twice the amount of his bet. If he loses, his money goes to the bank. If he wants to leave the pub, he must click on the door in the lower right corner. TEMPLE: In the temple, the player receives information about the treasures, which is situated in the corresponding part of the country. Unfortunately, the priests inside each temple do not know the exact location of the treasure. Therefore, you will only hear rumors about the possible location. The actual place can sometimes differ considerably from the named one. You will also just receive one geographical coordinate. You can get two or more coordinates by conquering another town inside the same part of the screen. The player will get to know about this town in the connected temple. The player's second possibility of finding a treasure is to find a big area with one coordinate and to search through this area with his scouts. If he has received all three coordinates, they will form a triangle, with a treasure lying in the inner field. The more coordinates you receive, the smaller the vicinity search. Furthermore, the player can get information about his status in the temple, i.e. he receives information about how many rings he has already and how many mines, ships etc. he owns. He must also set the found rings in a five pronged star inside the temple of his choice ( simply click on an empty space). With every ring the player sets in the temple, he will receive magic skills: 1st ring: The player gets a display of his own strength and the strength of the opponets's army during a fight. Therefore, it is easier to find a strategy, as the player can now see which unit is currently strong. 2nd ring: The player gets to know which goods are produced in which town. Therefore he also knows where to get which product at the cheapest prices. This information is displayed in the corresponding "TOWN INFORMATION". With that, his trading becomes much more efficient. 3rd ring: The player does not need any more scouts to explore the surrounding country, i.e. he can see all enemies, not depending on the distance and the number of the scouts he has around him. Therefore traveling from town to town is not as dangerous. 4th ring: The strength of the player's army is increased by 50%, i.e., his army is now 50% stronger than before. This is very useful for the final fight against Medusa. 5th ring: As soon as he sets in the fifth ring, the player calls Medusa, who now accepts the final fight. JEWELER: Here the player can sell the precious raw materials which he excavated in his mines. There are considerable price differences. It is not useful to sell right beside the mine, as the prices will be very low. The player should instead transport the raw materials to a place where it is not possible to find them. He cannot trade with raw materials, i.e. they cannot be bought, just sold. Once again, all adjustments are done like in the "STORE". 4.3 Castles: Besides the towns there are also a few castles, which all have the same purpose of educating the player's army and to improve his state of training. To get inside a castle, it must be attacked or conquered. 5. FIGHTING ------------ 5.0 The palyer's army can fight against opposing armies, ships, castles or towns. Therefore, the following configurations are possible: 5.1 Fight Army <-> Army If you bump into an opponet's figure with your own figure, it comes to a fight between the two parties. The player's army is on the left side, the opponent's on the right side. Unfortunately, the number of soldiers the opponent owns is not known. Because of that, you get asked at the beginning whether you want to send out your scouts to learn about the opponent's strength. This cost a lot of money, but it is well worth the engagement. If you do not own any scouts, this is of course not possible. To learn about the exact calculation of the fighting strength, refer to the section "PARK" in this manual. When the fighting starts, the player has two possibilities: 1)He can send single units into the fight (select unit and click on attack) or he can call them back (select unit and click on retreat). During the attack, the armies start moving forward,which the player can follow on the upper edge of the screen. Only when units of his own army meets units of the opponent's army, can a proper fight proceed. The units involved in the fight are shown in red. If there are casualties, they depend on the players own strength and the opponent's strength, as well as on the number of the player's own soldiers and the opponent's soldiers. One exception is the artillery. If it gets the order for an attack, it opens fire at once, which directly results in casualties for the opponent. The same goes, of course, for the opponent's artillery and the player's own casualties. The fighting continues one army has lost, i.e. has no more people. If the player should lose the fight, he loses everything he has with him, except his wagon. Nevertheless, the bank is so kind to hand out the starting loan of 3000 again. An already existing bank-account will not be touched! If the player wins the fight, he will receive all the money which the opponent's caravan possesses. 2)The player avoids a fight. This happens by clicking on the "negotiations". With the help of that, he can start negotiations, but he has only one chance. Failed negotiations cannot be started again. One possibility: Either he uses a bluff and he boasts that he is the strongest, or he bribes the opponent with money ( adjust with "Increase" or "Decrease"). The opponent sometimes falls for the bluff, but not always. This depends on the opponent's own superiority. During the bribery, the player should not be too tight with his money. When he loses a fight, all the money will go to the enemies anyway. The amount of the bribery also depends on the number of the player's army and the opponent's army. If the player has attacked a caravan more than five times, he is no longer able to enter the caravan's home town, as it will no longer trade with him. The same goes for the situation in which a player has attacked a town directly. (Please refer to Appendix C) 5.2 Fight army <-> Town or Town <-> Army If the player attacks a town or a castle, the same rules apply as in 5.1 "Fight Army<->Army". Should the player win, he takes over the town/castle. Naturally, not every castle or town is the same size. The size of a town or a castle can be recognized in the screen graphics, but also in the "TOWN INFORMATION." Big towns have of course more soldiers to defend themselves than smaller towns. If a player's town is attacked by an opponent's army the player does not have any influence on the outcome. He can only rely on his strategy (see BARRACKS) and hope that he will win. 5.3 Fight Ship <-> Ship If 2 ships bump into each other on the map, a sea battle begins. In this case, the out come is dependent upon how many canons are at the players disposal. The battleships, of course, have an advantage over the merchantmen. The player now faces one ship representing the opponent's fleet. His task is now to hit this ship as often as possible. This can be influenced by two things: the shooting angle and the powder amount. The shooting angle can be changed by clicking on the canon in the centre of the screen. On the right centre of the screen , you can see a section of the canon. First you must fill the cannon with powder, this happens by clicking on the powders barrel on the left side. The powder now must be visible inside the section. The powder must be stuffed by clicking on the stuffer on the far left side. This action must also be visible in the cross-section. If you want to increase the shooting distance, the canon must be stuffed and filled with more powder. If you have filled in enough powder, the ball will be loaded by clicking on it. Now the canon should be ready for firing, which is made visible by by a fuse. If no fuse is visible, something has been done wrong (e.g. not stuffed etc.). But if everything has been performed properly, he can now fire the canon by clicking on the flame and firing the slow-match. Unfortunately, the player has to act in a limited space of time, in which he should try to score as many hits as possible. When the time is over, the final results will appear on the screen. As the player has shot with one canon as a representative of all the canons, the number of hits is multiplied by the number of canons. This results in the total number of hits received by the opponent's fleet. Each ship needs 10 hits to sink. Therefore, one can ascertain in this way how may of his own and how many of the opponent's ships have been sunk. If all of the player's own ships have been sunk by the opponent, his game is over because he drowns. If the player has destroyed all of the opponent's ships, he receives some money or maybe even a ring. ----------------------------------------------------------------------------- Example of a possible begin for "Rings of Medusa" 1. If the mouse pointer is moves in the options menu, the game will be stopped until one leaves the options menu again. This is very useful to reach the negotiations during a fight, for example. 2. The game's score should be saved on a special disk as often as possible. You prepare this by formatting an empty disk. 3. Notes of a successful start for the game: 1. Go to a bank and take a credit. 2. Purchase a wagon with horses in a stable. 3. Trade with the towns which are far apart from each other. 4. Always negotiate with the opponent in case of an attack. 5. Purchase scouts early in the game. 6. Write down coordinates and other important things in the Notice Pad. ----------------------------------------------------------------------------- APPENDIX A: Above: Note Pad, Save, Buy, Sell, Maximum, Door, 50/60 Hz, Music/Sounds, Okay, Not Okay, Retreat, Search Below: Load, Town Information, More Goods, Coordinates, End of Game, Negotiation, Mine APPENDIX B: Above: Goods, Decrease Amount of Goods (fast and slowly), Increase Amount of Goods Below: Disposal Amount, Capacity, Means of Transportation APPENDIX C: Above: Total Number of Soldiers Below: Own Army, Army Unit Involved in the Fighting, Opponent's Army ----------------------------------------------------------------------------- (The End) Sewer Software presents a big DR.J doc..... This document was fully edited and reformatted by Sewercide on 10/1/91. I hope it is appreciated ..... **** MASTER TRACKS PRO **** (User's Manual) *(Part One)* CONTENTS: ~~~~~~~~ 1. Introduction .1 features .2 how it works .3 the interface .4 switching between windows .5 using alternate keys 2. Installation of Hardware and Software .1 hardware hookup .2 starting up Master Tracks 3. Quickstart Tutorial .1 booting up .2 recording a track .3 playing your first track .4 recording a second track .5 playing both tracks .6 naming your tracks .7 saving the sequence on disk .8 editing your sequence 4. Basic Sequencer Operation .1 the transport and conductor windows .2 play .3 record .4 rewind .5 fast forward .6 stop .7 all notes off .8 pause .9 transport window counters .10 seeing elapsed time .11 other transport window settings .12 wait for MIDI keypress .13 auto .14 count-in .15 metronome .16 MIDI Thru .17 sequencer window .18 selecting which tracks play .19 selecting which tracks record .20 soloing tracks .21 naming tracks .22 selecting MIDI playback channel .23 setting the program number .24 looping a track .25 playing a sequence .26 recording a track .27 conductor display window .28 changing the tempo .29 the conductor track 5. Song Editor Window .1 scrolling through the song editor window .2 playback point .3 the measure ruler .4 using song markers .5 placing markers .6 moving to a marker .7 naming a marker .8 editing MIDI data .9 selecting measures to edit .10 selecting an entire track .11 selecting measures across all tracks .12 selecting a block of measures .13 shift click .14 editing the selected music .15 playing a sequence from the song editor .16 moving to the step editor 6. Step Editor Window .1 show/hide the grid .2 scrolling through the step editor window .3 moving to a marker .4 zooming in and out .5 switching to another track .6 playing a sequence from the step editor .7 editing note data .8 editing regions of notes .9 pitch and time indicators .10 choosing zoom level .11 tied notes .12 selecting a region for editing .13 inserting new notes .14 choosing note durations .15 tuplets .16 setting other note values .17 inserting notes with the mouse .18 inserting notes with a MIDI keyboard .19 rests .20 backspacing to erase mistakes .21 moving and copying notes .22 moving the note .23 copying the note .24 erasing notes .25 editing individual notes .26 editing note parameters numerically 7. Using MIDI Data Windows .1 opening a data window .2 scrolling .3 moving to a marker .4 zooming in and out .5 edit resolution .6 switching tracks .7 editing MIDI data .8 selecting a region .9 inserting events .10 changing existing MIDI events .11 thinning out dense MIDI data .12 erasing events .13 the pitch bend window .14 channel pressure window .15 key pressure window .16 modulation window .17 controllers window .18 program change window .19 conductor track data window 8. Using the File Menu .1 about sequence files .2 starting a new file .3 opening an existing file .4 closing a sequence file .5 saving a sequence file .6 using the 'Save As' command .7 using the 'Revert to Saved' command .8 customizing your screen display .9 importing and exporting MIDI files .10 quitting the program 9. Using the Edit Menu .1 working with tied notes .2 about the clipboard .3 the undo command .4 cutting .5 copying .6 pasting .7 clearing .8 mixing data .9 inserting measures .10 select all .11 show/hide clipboard 10. Using the Change Menu .1 change channel .2 change duration .3 change velocity .4 change continuous .5 mapping data .6 changing data values .7 change conductor .8 tempo range .9 changing meter .10 strip data .11 transpose .12 humanize .13 quantize .14 percentage ahead of the beat .15 offset .16 using quantize .17 fit time 11. Using the Windows Menu .1 sequencer .2 song editor .3 step editor .4 pitch bend .5 channel pressure (aftertouch) .6 key pressure .7 modulation .8 controllers .9 program change .10 conductor track data window 12. Using the Layout Menu .1 hide/show grid .2 hide/show markers .3 follow playback .4 zoom in/out 13. Using the Goodies Menu .1 display memory use .2 markers window .3 about markers .4 naming a marker .5 displaying the conductor window .6 displaying the transport window .7 managing system-exclusive data .8 receiving sysex data .9 storing sysex data on disk .10 loading sysex data from disk .11 sending a sysex file to a MIDI device .12 quitting the sysex dialog .13 MIDI keyboard setup .14 MIDI transport control .15 using the MIDI keyboard for step entry .16 configuring your MIDI setup .17 selecting the timing source .18 using the record filter .19 changing the record filter settings .20 miscellaneous controllers .21 selecting individual channels on the record filter .22 quantizing while recording .23 exiting the record filter 14. Advanced Topics .1 conductor track settings .2 re-barring to remove a beat .3 inserting measures in a single track .4 punch-in recording .5 looping .6 looping to the half-bar .7 loading many MIDI devices with a single mouse click .8 dumping from other sequencers .9 editing across windows .10 crescendos and decrescendos .11 building songs .12 song list mode .13 sequence data structure and ties .14 sliding tracks .15 MIDI sync song pointer .16 SMPTE .17 transposing drum patterns .18 notepad .19 a typical scenario .20 summary of keyboard commands .21 list of MIDI controllers 1. INTRODUCTION ~~~~~~~~~~~~~~~~ 1.1 : FEATURES Master Tracks Pro includes features which let you do the following: -Control the sequencer using an on-screen control panel that looks like a tape-recorder transport control. Just click on Play, Record, Pause, Stop, Rewind or Fast-Forward to move instantaneously from measure to measure. -Set the meter, tempo and beat independently for each measure. -Display the elapsed time of any section of your piece. -Record all MIDI events on the 16 possible MIDI channels simultaneously, including key velocity, after-touch, sustain, modulation and pitch-wheel changes, and program changes. -Apply automatic and musically accurate error correction to your music, compensating for imperfect playing technique. A 'humanize' feature can compensate for the computer's predeliction to error - correct "too much" and thus create sterile, mechanical-soundinG performances. Humanizing adds random, miniscule irregularities in note timing and velocities. -Merge, delete, transpose, repeat and copy individual tracks, or selected portions of a track. -Change the note velocities, continuous MIDI data, note durations, key, tempo, meter or MIDI channel information for whole tracks or just selected regions of a track or tracks. -Change playback tempo instantly or gradually over time. You can have Master Tracks 'fit time' to proportionally adjust tempos in a region to fit a given length of time - particularly useful for film and video work. -Visually edit your compositions on a variable-resolution grid which displays all MIDI events. Change a note's pitch or duration by dragging it to a new position. Step input using the mouse or MIDI keyboard with selectable duration, velocity, articulation and MIDI channel for each note. -Graphically plot and alter pitch-bend, aftertouch, key pressure, modulation, controllers, and program changes. -Set markers anywhere in a piece and easily jump to those locations for easy editing. An 'auto-rewind' feature can be set to quickly rewind your composition to a given point for effortless recording of multiple takes in a single track, or of subsequent tracks. -You can set Master Tracks to scroll the graphic display of your sequence as it plays it, so you can see the music on-screen while you listen. -You can incorporate your MIDI music into professional audio and video productions utilizing MIDI Song-Pointer and external SMPTE synchronizers. -A Sysex Utility lets you control your entire MIDI setup from a single program. You can save and load voices, banks of voices, drum patterns, samples, or any other kind of MIDI sysex data to and from your synthesizers, drum machines and other MIDI devices. This information can be saved on diskette along with your sequences. -You can control Master Tracks right from your MIDI keyboard rather than from the ST's. Control the transport functions and the step input durations without taking your hands off your instrument. 1.2 : HOW IT WORKS Master Tracks Pro is similar to a fancy tape recorder, only much more capable. Like a multi-track tape machine, Master Tracks Pro lets you record one track of music at a time, playing them back later as an ensemble. You can even edit each track individually to make changes or fix mistakes - a feat which is impossible with audio tape recorders. And with a total of 64 tracks available at any given time, Master Tracks Pro offers much greater flexibility than do most tape machines. As you may know, there are many MIDI sequencers available today. So, what makes Master Tracks Pro different? To begin with, Master Tracks uses dynamically allocated tracks. This means that the varios tracks in a given musical piece can be of any length, and that the length is alterable. Many other sequencers require all tracks to be the same length. Master Tracks Pro does not. Secondly, Master Tracks Pro allows you to alter discrete portions of a track or tracks after you've made a recording. This is similar to the ability to mark and alter blocks of text when using a word processor. After marking a block of music in Master Tracks Pro, you can then modify the selected notes or MIDI events in a wide variety of ways. You record your musical sequences, one track at a time, either in real time (as you play on a MIDI-equipped keyboard), or note by note using the mouse or MIDI keyboard (step entry). For step entry of notes, Master Tracks Pro provides a graphic step editor that lets you see each note on the computer's screen as you enter it. The step editor also lets you precisely edit each note or other musical event after it has been recorded, whether you've used real time or step entry to record your music. In addition to editing individual notes, tracks as a whole can be further edited, and they can be mixed together with other tracks in a variety of ways to form compositions of various lengths - even very long pieces. Using the Master Tracks Pro CLIPBOARD, you can cut and paste sections of one piece into another piece to quickly create songs based on a number of existing sequences. 1.3 : THE INTERFACE Master Tracks Pro's many program functions and commands are organized logically into a number of different windows where you work with your sequences. There are six main windows: 1> Transport window - where you control you MIDI 'tape deck' by clicking on Play, Stop, Fast-forward, etc. 2> Sequencer window - where you record and play back your tracks. 3> Conductor window - where you control tempo, meter, and beat settings. 4> Song Editor window - where you display, cut, copy, paste, and regionally alter tracks. The structure of a sequence is displayed and edited in units of measures. 5> Step Editor window - where you display the individual notes in a track. Graphic display of note data lets you see exactly what you are doing. The notes are displayed on a piano roll, moving left to right. 6> MIDI Data windows - where you display and edit a graphic plot of pitch- bend, channel pressure, key pressure, modulation, controllers, or program changes. There are six MIDI Data windows: Pitch Bend Channel Pressure Key Pressure Modulation Controllers Program Change Conductor Track Data All of the main windows described above include menu selections at the top of the screen, and various ICONS located on the screen which are used in editing or record/playback operations. These are explained in detail in their respective chapters of this manual. 1.4 : SWITCHING BETWEEN WINDOWS All of the windows and their associated commands are accessed via the menu bar at the top of the ST's screen, just as they are with any other Atari ST program. You simply point to the name of the window or menu selection you want, highlighting it, and pull the mouse toward you, highlighting the selection you want from the menu. Press the button, and the program does the rest. Master Tracks Pro lets you have several windows 'open' and on the screen at the same time. However, at any given time, there is only one ACTIVE window. The active window is the one you are working on at the time. To activate a different window you simply point to it and click the mouse. Additionally, you can move windows around to convenient locations on the screen and size them according to your preferences. Once you have the windows set up the way you like, you can then easily switch between them. It's a little like setting up your desktop or work area to have everything in a convenient location. A setup we've found useful lines up the Song Editor and Sequencer windows so that tracks line up. The Transport control sits at the bottom of the screen, as does the Conductor window. The WINDOWS menu items all have ST keyboard equivalents, too. The three main Master Tracks Pro windows can be accessed by pressing Function keys F1, F2, or F3. The other MIDI Data editing windows are accessed by Function keys F4 through F9. 1.5 : USING THE ALTERNATE KEY Aside from the menu and window selection techniques described above, there are some shortcuts you may want to use. Master Tracks Pro lets you use the Alternate key to perform certain operations, such as Copy, Cut, and Paste, rather than using the menu selections directly. To use these commands, you press the Alternate key and the corresponding key at the same time. Sometimes this is the first letter of the command. Having two ways to select and execute commands allows flexibility for individual preferences and situations. You may find that you prefer using the menus while you are learning the program, but that you can get things done faster using the Alternate and Function keys once you're more familiar with the program. (See the summary of Master Tracks Pro keyboard commands in Chapter 14) 2. INSTALLATION OF HARDWARE AND SOFTWARE ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Before you begin using Master Tracks Pro, you will have to: -Connect your MIDI cables between your synthesizer and computer. -Make a COPY of Master Tracks Pro or install it on your hard disk (if you are using one). This chapter explains how to do these procedures. Please take the time to read this chapter so that you can begin using Master Tracks Pro quickly and without any unnecessary headaches. 2.1 : HARDWARE HOOKUP The exact configuration of your MIDI cables will vary depending on your particular arsenal of equipment. You will need at least two cables - one for MIDI-In and one for MIDI-Out. The first cable goes from MIDI-Out on your synthesizer or keyboard controller to the MIDI-In connector on your Atari ST. The second one goes from MIDI-Out on the Atari to MIDI-In on your synthesizer. You may want to hook up other MIDI cables too, if you have additional synthesizers and sound modules. Some interfaces have additional sockets for such connections. Alternatively, you may chain together a number of synthesizers via any MIDI-Thru connectors which your synthesizers have. To do this, you simply run a cable from your main synthesizer's MIDI-Thru socket to the second synthesizer's MIDI-In socket, and so on. 2.2 : STARTING UP MASTER TRACKS ****FIRST MAKE A BACKUP COPY OF MASTER TRACKS PRO **** Then: 1) Turn on your MIDI equipment, THEN your computer, in the normal manner. 2) Double-click on MT_PRO.PRG to run the program. The Sequencer, Transport and Conductor windows and the menu bar will appear on the screen, and you're ready to go. 3. QUICKSTART TUTORIAL ~~~~~~~~~~~~~~~~~~~~~~ This chapter walks you through the basics of recording, editing and playing back a tune using Master Tracks Pro. Only the basics are described here, but it's enough to get you going. We certainly recommend yoU read the rest of this manual to take advantage of the full capabilities of the program. 3.1 : BOOTING UP 1) Begin by making sure your MIDI cables are installed properly (see the section on installation), and then turn on your MIDI instrument. 2) Put the backup of Master tracks (THAT YOU MADE, didn't you?) in your disk drive, and turn on your computer. 3) Double-click on the Master Tracks Pro program (probably named MT_PRO.PRG). The Master Tracks Pro main screen will appear, with the Transport, Sequencer, and Conductor windows on the screen. 4) The Transport window at the bottom of the screen contains the controls used for starting, stopping, fast-forwarding and rewinding. It also has a pair of counters to show you where you are in the sequence, and a number of other controls on the right side of the window. The name of your sequence will appear at the top of this window. 5) Notice that the Auto control is highlighted in inverse video, indicating that it is on. When Auto is on, the sequence automatically rewinds to its start point as soon as you stop playing or recording. 6) Notice the Sequencer window at the upper portion of your screen. Click on the Record box (the one labeled REC) in the first track of the sequence. Be sure that a solid black circle appears in the field, indicating that the track is activated and is ready to record. 3.2 RECORDING A TRACK 7) Get your MIDI instrument ready to record your first track, and set it to send and receive on MIDI channel 1. Start the recorder by clicking on Record in the Transport window, or by pressing Enter on the ST keyboard. 8) Play your music. When you're finished playing, click on Stop in the Transport window, or simply hit the Spacebar. Notice that the counter immediately returns to measure 1, beat 1 as soon as you stop the sequence, because Auto (auto-return) is on. Notice also that in the Sequencer window, the Play box for the track you've just recorded now contains a solid black triangle, meaning that it has been activated for playback. 3.3 PLAYING YOUR FIRST TRACK 1) To play back your first track, click on the Record box again to deactivate the track for recording, setting it to Play mode. 2) Click on Play in the Transport window, or press the Spacebar on the ST keyboard. 3) To stop playback, click on Stop in the Transport window or press the Spacebar again. 3.4 RECORDING A SECOND TRACK 4) To record another track, go back to the Sequencer window and activate the second track for recording by clicking on its Record field. You'll see the solid black circle appear in the field, while it disappears from the first track. 5) The rest of the process is identical to the steps you used to record your first track: just click on Record or press the Enter key to start the recorder. You'll hear your first track play while you record. When you're through, click on Stop or press the Spacebar to stop the recorder. 3.5 : PLAYING BOTH TRACKS By now, it's probably obvious what you have to do to play both tracks of your two-track recording. Simply click on track 2's Record box to deactivate it, and start the playback by clicking on Play or hitting the Spacebar. 3.6 : NAMING YOUR TRACKS Master Tracks Pro lets you give each track a name for easy reference. Typical names might be "Bass", "Horns", etc. 1) To name your first track, click over its track name field. A small window pops up, and you can now type in the name you've chosen. When you're through, click on OK or press Return. 3.7 : SAVING THE SEQUENCE ON DISK When you're ready to save: 1) Choose "Save As..." from the File menu. 2) As soon as you choose the Save As... command, Master Tracks Pro will pop up a dialog box that lets you name your sequence. Since there is very little space available on your Master Tracks program disk, remove it from the drive and insert a data disk. Click in the Title bar of the disk directory window (Or the top left hand circle if you've an STE like me.. ..... Sewercide). Now type in the name you've chosen, and click on OK or press Return. The file will be saved. (after you've saved a file once, you won't need to enter the name again - it will be saved automatically every time you choose the Save command.) 3.8 : EDITING YOUR SEQUENCE Now that you have saved your first sequence, Open the file on your Master Tracks Pro original disk entitled INVENT1.MTS (J. S. Bach Invention #1). You can make changes on groups of measures from the Song Editor window. 1) Choose Song Editor from the Windows menu to call up the window. A graphic representation of your sequence will appear in the window, with each track visible as a row of rectangular boxes. Each box represents a measure. If the measure contains any MIDI data, it will appear as a solid black box. If it is entirely empty, the box will appear "hollow" in outline. Let's say your sequence has a standard A-B-A pattern, and you want to use the edit commands to repeat the B section. 2) First, copy the B section to the Master Tracks Clipboard, a temporary holding area for MIDI data during the editing process. Click on the first measure in the B section in track 1 and drag the mouse diagonally (with button still down) across both tracks until the entire B section is highlighted. This SELECTS the range of measures. 3) When all the measures in the B section are selected, choose Copy from the Edit menu. During the brief pause, Master Tracks Pro copies the selected measures to the clipboard. 4) Next we need to insert some new measures in the sequence to make room for the repeat of the B section. Click on the space in track 1 between the last measure of the B section and the first measure of the second A section. You'll see a blinking vertical cursor appear at this INSERT POINT. 5) Now choose Insert Measures from the Edit menu. When the dialog box pops up, type in the number of measures that the B section contains. Click on OK or press Return when you've made your entry, and notice that new empty measures will appear in your sequence as hollow boxes. 6) Now you're ready to add the B section data into these new measures. Without changing the Insert point, choose Paste from the Edit menu. The entire contents of the clipboard will be emptied into the new empty measures in both tracks of your sequence, and you've just created a repeat of the B section. 7) You can now click on the Play button or press the Spacebar to hear your revised sequence. 4. BASIC SEQUENCER OPERATION ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Master Tracks Pro is designed to work much like a conventional multitrack tape deck. Although a sequence is stored in the ST's memory instead of on tape, you still need controls that let you play, record, fast-forward, rewind, and stop the sequence. You also need a counter to tell you where you are in a sequence. The Transport window is where Master Tracks Pro provides these features. 4.1 : THE TRANSPORT AND CONDUCTOR WINDOWS The center portion of the Transport window has six screen "buttons" - play, record, fast-forward, rewind, pause and stop. They function just as their counterparts on an actual tape deck. To "press" one of these buttons, just click on it with the mouse. Alternatively, you can control any or all of these functions from your MIDI keyboard. See the section on the Keyboard commands in Chapter 13 for instructions on how to define the keys you want to use for transport control. You can also execute the play, record, and stop functions from the ST keyboard. 4.2 : PLAY Plays the sequence beginning at the point currently indicated in the counter. Pressing the Spacebar also starts playback. Before starting playback, remember to be sure that the MIDI channels set for each track agree with the instrument(s) that you are using to play the track. Also, the track or tracks you wish to hear must be selected. (see 'selecting which tracks to play', sect. 4.18). 4.3 : RECORD Click on the Record button to start recording on the track selected on the Sequencer window, beginning at the location in the sequence indicated in the Measure Counter. Pressing the Enter key on the ST keyboard also starts the recording. A track must be selected before you start recording, or the command will not function. (see 'selecting which tracks record', sect. 4.19 for details). Each time you record on a track, the new data is recorded over any data previously recorded. You can have Master Tracks Pro start recording at any point in the sequence, and existing data in the track before that point is left intact. Likewise, any data in the remainder of the track past the point at which you stop recording remains untouched. 4.4 : REWIND Click on Rewind to rewind the sequence a measure at a time. You can also move instantly to the beginning of the sequence by double-clicking on this control. 4.5 : FAST FORWARD Click on the Fast-forward control to advance through the sequence a measure at a time. Double-click to move instantly to the end of the sequence. You can click on Fast-forward while a sequence is playing and hear the speeded up playback. 4.6 : STOP As you'd expect, clicking on the Stop button stops playback and recording. If the Auto function is on, the sequence automatically rewinds to wherever you last started playback. You can also use the Spacebar on the ST keyboard to stop the sequence during playback or recording. 4.7 : ALL NOTES OFF Pressing the Spacebar, or clicking Stop, sends an "All Notes Off" command to all MIDI channels. 4.8 : PAUSE Clicking on the Pause button pauses both play and record. When you click again, the sequence resumes playing or recording. 4.9 : TRANSPORT WINDOW COUNTERS On the left side of the Transport window are two counters that let you locate your current position in the sequence. The Measure Counter at the top left displays the position in the sequence in measures, beats, and individual clock ticks (Master Tracks Pro's internal clock divides a quarter note into 240 parts [ticks]. See the section on the Conductor window for more information about sequence timing.) You can move to any location in the sequence directly by clicking on the measure, beat or clock field in the Measure Counter, and typing in a number from the ST keyboard. 4.10 : SEEING ELAPSED TIME The Elapsed Time Counter shows the actual time (in minutes, seconds, and tenths of seconds) that has elapsed since you began playback. As you'd expect, playing the same sequence at different tempos will result in different elapsed time readings. The Elapsed Time Counter comes in handy for syncing music to video segments or commercials of predetermined length. (See also Fit Time, Chapter 10) 4.11 : OTHER TRANSPORT WINDOW SETTINGS At the right of the Transport window are a variety of miscellaneous controls: 4.12 : WAIT FOR MIDI KEYPRESS Clicking on the Key control highlights the control. Now when you select play or record Master Tracks Pro will wait until it detects that a MIDI key has been pressed and released before it begins recording or playing. This is one way to control the transport from the MIDI keyboard. (see MIDI transport control, Chapter 13) 4.13 :AUTO Turn on Auto by clicking on it. When Auto is on, whenever you stop the sequence it will automatically rewind to the point where playback last started. 4.14 : COUNT-IN When this control is on, Master Tracks Pro's metronome counts off one measure according to the meter set in the Conductor window before starting to play or record. 4.15 : METRONOME Clicking on Metronome highlights the control, and turns the Metronome on. Now, when you play or record a sequence, you'll hear a click tone on each beat in each measure over the ST's monitor speaker for the entire length of the piece. 4.16 : MIDI-THRU This control is used when you're recording from a master MIDI controller that doesn't produce sound itself, or when you want to use one synthesizer to control another while recording. Click on Thru to highlight it. With MIDI Thru on, the MIDI data you send to the ST will be passed out the MIDI Out port. All the data will be sent out on the MIDI channel indicated in the Thru box. If no channel is assigned (0), all data will pass thru on its incoming channel(s). The Thru channel follows the channel set for any track set to Record in the Sequencer window. 4.17 : SEQUENCER WINDOW The Sequencer window is the display window for some of the most basic information about your sequence. It lists the 64 tracks available in Master Tracks Pro, and allows you to select the tracks that will record or play. You can also select a MIDI channel for all data in each track, choose a name and an initial MIDI program number for the track, solo single tracks, and loop tracks independently. If the Sequencer window is not already on your screen, or if it is hidden by other windows, you can activate it by choosing it from the Windows menu, or by pressing F1 on the ST keyboard. Sequencer window basics are simple. To change any item in the window, just click in the box of the item you want to change. For settings that are either on or off, an icon in the box indicates the setting is on, while an empty field means that the setting is off. For parameters that require you to enter text or numeric values, a Change Value window will pop up, allowing you to enter the information. A "0" in the channel or program columns indicates that the function is OFF for that track. You can select any combination of tracks in your sequence to play back. Other tracks that are not selected will not play, even if they contain MIDI data. 4.18 : SELECTING WHICH TRACKS PLAY Click on the Play box of each of the tracks that you want to select for playback. The triangular Play icon appears in each track's Play box to show that the track is selected, and will be played when you start the sequence. In addition, immediately after you complete a recording on a track, that track is automatically set to playback. To turn play off for that track, click on the box again. The Play icon will become hollow, and the track will not be played when you start the sequence. Tracks can be muted and turned back on during playback and recording. 4.19 : SELECTING WHICH TRACKS RECORD Only one track can be activated for recording at a time. To select a track for recording, click on the Record box for that track. A solid black circle appears in the Record box to indicate that the track is selected. When you start the recording, all incoming MIDI data will be recorded on that track. To deactivate a track for recording without selecting another track, just click on the Record column for that track again. The Record icon disappears. 4.20 : SOLOING TRACKS The Solo command gives you an easy way to play back a single track or a few tracks without having to individually deactivate the Play box on all the other tracks. Then, when you want to hear more tracks again, you only have to turn off Solo on the selected tracks. To select a track for soloing, just click on the track's Solo box. You'll see a solid black diamond pop up in the box. To turn Solo off, just click on the box again. Any number of tracks can be soloes at a time. 4.21 : NAMING TRACKS Each track can have a name, which serves as a memo you can use to describe the music in the track or to remind yourself of which instrument and/or sound you've chosen to play the track. These track names are saved permanently with the sequence file when you store it on a disk. Click on the Name box in the track you wish to name (you can name any track, even if it does not contain MIDI data). A dialog box pops up and asks you to type in the name of the track. You can use any combination of characters you wish. When you're finished, click on OK or press Return to complete your entry. Or click on Cancel if you want to return to the Sequencer window without making any changes. 4.22 : SELECTING MIDI PLAYBACK CHANNEL The Channel box contains the current MIDI channel setting for playback of the track. To use this feature, you need a little back-ground on the way the program handles MIDI channel information. Master Tracks Pro supports multiple-channel tracks. You can record on any combination of channels within a track, and you can freely mix data from one track to another, retaining all of the original data. If you enter a channel number of 1-16 in the Channel box, all data in the track will be played on that channel. On the other hand, a channel value of 0 plays back the track exactly as it is stored in memory, on the same channel(s) it was received on. To change the channel, click in the Channel box. A small data entry window will pop up. Type in the number of the channel you want for the track, or use the arrow controls to change the setting. When the channel number is correct, click on OK or press Return to enter it and return to the Sequencer window. Of course, you can click on Cancel to leave the setting as it was. Thru follows the channel for any track set to record. 4.23 : SETTING THE PROGRAM NUMBER A PROGRAM is the MIDI term for a MIDI device's programmed setup, stored in the memory of the device. On a synthesizer, a program is equivalent to a "patch" or sound. On a drum machine, a program may select a particular song, and on a MIDI effects device it may select a configuration setting with pre-programmed values for all the parameters on the device. Each program has a number, and when a MIDI program change message is sent to the device, the device responds by switching to that program number. Master Tracks Pro allows you to record program changes at any point in a track, and to enter as many program changes as you like via the Program Change window accessible on the Windows menu. On the Sequencer window, however, the number in the Program field refers only to the program number that Master Tracks Pro will send when the sequence begins playing from the beginning. (Bar 1 : Beat 1 : Clock 1) If the Program setting is 0 (the default), no program change is sent when the sequence begins - your instrument will remain set to whatever program it's already on, until it receives a program change from the sequence data. Likewise, if you start the sequence from some other point than the very beginning, the program indicated in the Program field is not sent, and only program changes stored in the sequence data will be sent. To change the program setting, click on the Program field for the track you want. When the small data entry window pops up, type in the number of the program you wish, or click on the arrow keys to raise or lower the value. When the number is correct, click on OK or press Return to enter it and return to the Sequencer window, or click on Cancel to return without entering the change. The program change will be sent out whenever you click OK or press Return even when a sequence is playing. 4.24 : LOOPING A TRACK Each track in a Master Tracks Pro sequence can be independently looped. When the sequence gets to the end of a track, it plays the track over again from the beginning, no matter what other tracks are doing. Since the Record function always rounds recorded tracks to the nearest complete measure, the track always plays to the end of a measure before looping back, even if no notes are playing in the measure. Another important detail is that looping only works if you start playback before any of the tracks in the sequence have ended. If you have a short track and start playback in the middle of the song, after that track has ended, the looped track won't play. To set a track to loop, simply click in the Loop box for the track, at the far right of the Sequencer window. The Loop icon will appear in the box. To shut the loop function off, click on the Loop box again, and the icon disappears. 4.25 : PLAYING A SEQUENCE To play a sequence, first be sure to select the tracks you want to play, and check that the MIDI channels agree on your MIDI devices with the data in the sequence. If you wish, use the Transport controls to move the Measure Counter to the point in the sequence where you want to begin playback. You can start playback in one of three ways: 1> Click on the Play button in the Transport window. 2> Press the Spacebar on the ST keyboard. 3> Assign a key on your MIDI keyboard to start playback. To select the key you wish to use for this purpose, use the Keyboard command on the Goodies menu. See Chapter 13 for details. Once you start the play function with one of these controls, the sequence will immediately begin to play if the Key and Count-in settings on the Transport window are off, and if Sync is set to internal with the MIDI setup command on the Goodies menu. If Key is on, however, Master Tracks Pro will pause before beginning to play until it detects that a MIDI key has been played and released. If the Count-in is on, you'll get a one measure count-in, and then play will begin. Finally, if Sync is set to MIDI, Master Tracks Pro will wait to begin playback until it receives a start command from the external MIDI sync source. During playback, you can change sequence tempo with the scroll bar on the Conductor window. You can even switch between windows while the sequence is playing, and examine data in any part of any track without interrupting playback. 4.26 : RECORDING A TRACK To record a track, first select it for recording by clicking in the Sequencer window Record box as described earlier. The program can record on all 16 MIDI channels simultaneously. After you've recorded a track containing data on multiple channels, you can use the Strip Data command on the Change menu to move the data for each channel onto its own track. If you wish, however, you can use the Record Filter on the Goodies menu to select a particular channel before you start recording. (See Chapter 13 for details on the Record Filter.) If you do select a channel on the Record Filter, Master Tracks Pro will only record the data from that channel, and will ignore any data it receives on other channels. In this case, you'll need to be sure that your synth is set to send on the same channel before you start to record. Master Tracks Pro can record all types of MIDI data, but you can also use the Record Filter to filter out any types of data you don't want to record. Again, check Chapter 13 for more details. If you want to separate various types of data after the recording is already complete, use the Strip Data command on the Change menu. Start recording with one of these three options: 1> Click on the Record button in the Transport window. 2> Press the enter key on the ST keyboard. 3> Play the key on your MIDI keyboard that you've assigned to the Record function. See Chapter 13 for details on how to make the key assignment with the Keyboard command. At this point, if the Key and Count-in controls on the Transport window are off, and if Sync is set to Internal with the MIDI Setup command, Master Tracks Pro will immediately begin to record. On the other hand, if Key is on, the program will wait until it detects a MIDI key has been pressed and released before it begins recording. If Count-in is on, you'll get a one measure count-in (you can hear it if the metronome is on), and then the recorder starts. If Sync is set to MIDI, Master Tracks Pro will pause until it receives the signal to start from an external MIDI device. When you've finished recording, click on the Stop button in the Transport window, hit the Spacebar on the ST keyboard, or play the key on your MIDI keyboard that you've assigned to the Stop function. As soon as you've finished recording a track, the program automatically activates the track for playback, and the Play icon appears in the track's Play box. It's a good idea to get in the habit of deactivating a track's record mode right after you've recorded it so you don't record over it accidentally next time. Click on the track's Record box in the Sequencer window, so that the circle disappears from the box, protecting the track. 4.27 : CONDUCTOR DISPLAY WINDOW The Conductor window is a small but very important Master Tracks Pro window, since it displays the sequence timing information. On the Conductor window, you'll see the current values for the tempo, the beat, and the meter, as set on the special Master Tracks Pro track called the Conductor track. If the Conductor window is not on the screen, or if it is hidden behind other windows, you can make it visible by choosing Conductor on the Goodies menu. 4.28 : CHANGING THE TEMPO You can use the tempo scroll bar in the Conductor window to change the tempo even while a sequence is playing or recording. There are three ways to do this:  1> You can click and hold on the scroll box in the scroll bar, and move it directly to a new value. 2> Clicking anywhere in the grey part of the scroll bar moves the scroll box rapidly toward that location, and causes a corresponding rapid change in the tempo setting. 3> Finally, you can click and hold on one of the arrow controls at either end of the scroll bar. This changes the tempo one value at a time. 4.29 : THE CONDUCTOR TRACK The Conductor track is a separate track in a Master Tracks Pro sequence that determines timing for the entire sequence. The Conductor track allows each measure to have its own meter, tempo, and beat note, and the tempo can change gradually, even within a single measure. You can think of tempo changes you make in the Conductor display window as offsets to the actual tempo value stored in the Conductor track. The play tempo in the Conductor display window automatically follows the changes in the Conductor track tempo. When you change the plat tempo using the Conductor display window scroll bar, all the original tempo changes in the Conductor track are preserved, but they are scaled proportionally to the changes you make. To enter new Conductor track settings for the entire sequence or a given range of measures, you must select the Change Conductor dialog box, either by clicking over the meter display in the Conductor display window, or by choosing Conductor... on the Change menu. See the section on changing Conductor values in Chapter 10 for details. The Conductor track can be graphically viewed and edited in the Conductor Track Data window. See Chapter 7 on using MIDI data windows. 5. SONG EDITOR WINDOW ~~~~~~~~~~~~~~~~~~~~~~ The Song Editor allows you to edit large blocks of music at one time. Working on groups of measures, you can move sections of music within a sequence or build new sequences from segments of other sequences. You can also modify the data in a variety of ways using the commands in the Edit and Change menus. Select the Song Editor window by choosing it from the Windows menu, or by typing F2 on the ST keyboard. Like the Sequencer window, the Song Editor is a table of tracks in which each track is listed on a separate row. But instead of alphanumeric information, the Song Editor window provides a graphic representation of the musical data that the track contains, in one-measure blocks. The left border of the window is marked with the track numbers, and the top border is a MEASURE RULER which marks off the measure numbers. Tracks containing MIDI data appear on the screen as a row of rectangular boxes, each box representing a measure. Solid black boxes contain MIDI data, while hollow boxes are measures of rests, without any MIDI data. The grey vertical bar at the end of the data area represents the end of the Conductor track for the sequence. Even if the tracks you're looking at are completely empty of MIDI data, and no measure boxes are on the screen, the grey bar will still appear at the measure where the Conductor track ends. 5.1 : SCROLLING THROUGH THE SONG EDITOR WINDOW You can scroll through the track data on the Song Editor window using the scroll bars as you would with other ST programs. You can also scroll using the method described for selecting blocks of measures in the section on "selecting measures to edit", below. 5.2 : PLAYBACK POINT Clicking anywhere in the Song window with Auto OFF will set the transport to start playing or recording from that point. 5.3 : THE MEASURE RULER The row of numbers at the top of the Song Editor window is the measure ruler. It marks off measures in the sequence so that you can keep track of which part of the sequence you're looking at. You can change the numbering scheme displayed on the measure ruler by pressing one of the number keys 3-0 across the top of the ST keyboard. If you press 3, every third measure on the ruler (1,3,6,9, and so on) is numbered, while the rest of the measures are indicated by hash marks. If you press 4, every fourth measure is numbered, and so on. Pressing 0 numbers every tenth measure. The "+" key will increment your selection by one and the "-" key will bring it back down again. 5.4 : USING SONG MARKERS Master Tracks Pro provides MARKERS that let you identify a particular location in you sequence so that you can return to it any time you wish. Markers always mark the beginning of a measure. In Master Tracks Pro, markers are displayed at the top of the Song Editor window, just below the window's title bar, on another horizontal bar called the MARKER RULER. Markers are also displayed in the Step Editor and MIDI Data windows, but you can only place or move them using the Song Editor window. The marker ruler appears in these windows only if the Show Markers command on the Layout menu is in effect. If you choose Hide Markers, the ruler will disappear from all the windows. 5.5 : PLACING MARKERS When the marker ruler is visible, you'll see a small box at its left edge containing a hollow upside-down triangle. This box is called the WELL. To place a marker into the marker ruler, click and hold over the well. Another upside down triangle, the marker you'll be placing, will appear just below the well. Now, while still holding down the mouse button, drag the new marker to the measure where you want to place it. Once you've positioned the marker, release the mouse button. The marker will remain where you've placed it, and will become solid black. In addition, a vertical dotted line will appear below the marker, extending through the track list to help you see exactly where the marked measure is in your track. You can move the marker any time you're in the Song window, by clicking and holding on it, and dragging to its new location. 5.6 : MOVING TO A MARKER To move the Song Editor, Step Editor, or MIDI data window display to the next marker in the ruler, press the Tab key on the ST keyboard. The data in the window will move so that the next marker is at the extreme left of the window. Press the Tab key repeatedly until you reach the marker you wish. Only the active window is affected. To move to a previous marker, press Shift-Tab. Again, the data lines up so that the marker is at the left edge of the window. In a large composition, you may want to make a note to yourself to help you remember the music each marker is pointing to. Master Tracks Pro helps out by letting you name the markers on the screen. Once you've named a marker, the name appears to its immediate right on the marker ruler. 5.7 : NAMING A MARKER There are two ways to name a marker or change its name. From the Song Editor window, you can double-click on the marker to bring up a dialog box for the marker name. Type in the name from the ST keyboard, then click on OK or press Return to enter it and return to the Song Editor. The other way to name markers involves the Markers window, which is available on the Goodies menu. See Chapter 13 for details. 5.8 : EDITING MIDI DATA The Song Editor lets you easily change MIDI data in large regions using all the commands on both the Edit and Change menus. Again, the smallest unit available for editing changes in the Song Editor window is an entire measure, and all edits are done on multiples of whole measures. Also, the edits you make in the song editor window affect all types of MIDI data at once. Commands like Cut on the Edit menu, or Channel on the Change menu affect MIDI data such as controller data and program changes, as well as note information. To make changes to one or more measures of your sequence using menu commands, the region of measures must first be SELECTED. Selected measures appear on the screen highlighted in inverse video. 5.9 : SELECTING MEASURES TO EDIT To select one or more adjacent measures in a track, click over the first measure in the track, and drag over the entire group. 5.10 : SELECTING AN ENTIRE TRACK To select an entire track, click on the track number in the left-hand column. To select several adjacent entire tracks, click and hold over the first track number in the group, and drag the mouse up or down in the track number field. 5.11 : SELECTING MEASURES ACROSS ALL TRACKS To select one measure in all tracks, click on the column for that measure in the measure ruler at the top of the window. To select adjacent measures in all tracks, click and hold on the column for the first measure and drag to the column for the last measure. To deselect a selected area, simply click anywhere on the Song Editor window. 5.12 : SELECTING A BLOCK OF MEASURES There are two ways to select a block of measures across multiple tracks. First, you can position the mouse pointer at one corner of the block, click, and drag towards the diagonally opposite corner until the inverse highlight covers the measures you want to select. 5.13 : SHIFT CLICK Secondly, a block can be defined by clicking at one corner of the block, holding down the Shift key on the ST keyboard, and then clicking on the diagonally opposite corner. To define a block that is larger than one screen, you can scroll with the scroll bars after clicking on the first corner, but you must hold down the Shift key before you click on the data area again. Note: If you plan to Cut, Copy or Clear a region that includes notes that are tied from or to other measures, you should be sure you understand the way Master Tracks Pro handles this situation. Read the section on tied notes in Chapter 9 for details. 5.14 : EDITING THE SELECTED MUSIC Once you've selected a measure or measures, you can edit the region using the commands on the Edit or Change menus. See Chapters 9 and 10 for instructions. 5.15 : PLAYING A SEQUENCE FROM THE SONG EDITOR Master Tracks Pro lets you play your sequence no matter what window you're using, and the Song Editor window is no exception. Just click on the Transport's Play button or hit the Spacebar to start playback. If you wish, you can set the Song Editor screen to scroll through the sequence data during playback, using the Follow Playback command on the Layout menu. If the Follow Playback command is on, and the Song window selected as the active window, a vertical highlight bar moves along the track data to mark the measure that is currently playing. You can also use the Song Editor to determine at what point the song begins playing. This capability is useful when you want to hear just the part of the song you're working with, and you can also use it as an alternative to the fast-forward and rewind buttons on the Transport window. To use the Song Editor to determine the point at which play begins, you must first turn the Transport window's Auto control off. With Auto off, and the Song Editor window active, click in the window at the place you wish playback to begin. Once play begins, scrolling the Song Editor window has no effect on what you hear. You can control the playback point in the same way when you are using the Step Editor window or any of the MIDI data windows. 5.16 : MOVING TO THE STEP EDITOR From the Song Editor, you can move directly to the Step Editor to work on any specific measure in the track you wish. Simply double-click on that track and measure in the Song Editor window. 6. STEP EDITOR WINDOW ~~~~~~~~~~~~~~~~~~~~~ The Step edit window is used exclusively for note data. It provides a variety of precision tools that let you input and edit notes in small groups or individually. Select the Step Editor window by choosing it from the Windows menu, or by typing F3 on the ST keyboard. You can also open the Step Edit window at a specific measure in a particular track by double-clicking on that measure in the Song Editor window. The Step Editor window is devoted primarily to a graphic display of one track's worth of note events. This data area is divided by a grid of fine dotted lines that makes it easier to accurately determine the position of notes in the window. You can decide whather to display the grid with small divisions or divisions at every octave (see the Show/Hide Grid command in the Layout menu). The note data itself is displayed in the data area as a sideways player piano roll. Each note is represented as a small rectangle, or NOTE BAR, oriented horizontally in the data area. Along the top border of the data area is a measure ruler, which marks off the measures and beats in the track. At the left border there's a keyboard graphic to indicate the pitches of the notes in the track. Just above the top border of the data area is another horizontal bar, the marker ruler. If any markers are set, they'll be displayed here just as in the Song Editor window. The marker ruler can be toggled off by selecting Hide Markers from the Layout menu. This expands the data area. To toggle the marker ruler back on, select Show Markers from the Layout menu. At the top of the window there are two rows of icons and parameter settings, collectively called the menu bar. On the top row of the menu bar, you'll see several note icons, representing the rhythmic values of the notes you insert; a tuplet box; and controls for note articulation and velocity. On the second menu bar row are several note editing icons, pitch and time indicators, and track and MIDI channel controls. All of the options on the first menu bar row, along with the channel control, are used only during input of new notes. The remaining options are used in a variety of editing functions. Like the lines on a piece of graph paper, the grid in the Step Editor helps you locate your position more precisely. The vertical lines in the grid represent measures, while the horizontal lines indicate pitch. 6.1 : SHOW/HIDE THE GRID You can choose whether the grid has horizontal divisions only at octaves, or has a division for every "white key" using the Show/Hide Grid command. The version of the grid you use is a matter of personal taste. The Show/Hide Grid command functions as a toggle. To display the full grid, choose the Show Grid command. To show the grid with only the octave divisions, choose the Hide Grid command. 6.2 : SCROLLING THROUGH THE STEP EDITOR WINDOW As in the Song Editor window, you can scroll through the data in the Step Editor window with scroll bars. 6.3 : MOVING TO A MARKER Just as in the Song Editor window, markers are displayed on a marker ruler near the top of the Step Editor window, and you can move the display to a marker position using the Tab and Shift-Tab keys. However, you can only set the markers in the Song Editor. Again, to see the marker ruler and use the markers, you must have chosen the Show Markers command from the Layout menu first. 6.4 : ZOOMING IN AND OUT Master Tracks Pro's two Zoom commands let you decide how much of the track data you can see at one time on the Step Editor window. Like a zoom lens, the Zoom commands let you zoom in or out for different levels of "magnification". You can zoom in to work on small portions of the track more precisely, or zoom out to see more notes all at once. The Zoom level you choose not only affects how much of the sequence you can see, it also determines how precise your editing changes and additions can be. This is because the Zoom level sets the minimum number of clock ticks that you can move the mouse. When you're zoomed all the way out, moving the mouse by a single pixel on the screen moves you 24 clock ticks in the sequence. When you're zoomed in all the way, you can move the mouse by individual clock ticks. Master Tracks Pro gives you six different Zoom views. To zoom in one level, choose the Zoom In command from the View menu. 6.5 : SWITCHING TO ANOTHER TRACK The Step Editor window displays note data from only a single track at a time, and you must switch the display to another track to edit its data. Change tracks by clicking on the Current Track box. When the Change Value window pops up, type in the new track number, or click on the arrow controls to change it incrementally. Click on OK once you've entered the correct number, or press Return on the ST keyboard. The Change Value window will disappear, and the new track will be displayed. 6.6 : PLAYING A SEQUENCE FROM THE STEP EDITOR As in the Song Editor window, you can play your sequence while you are using the Step Editor window. At your option, you can have the Step Editor window scroll through the track data while the sequence plays. Choose the Follow Playback option on the Layout menu to enable this feature. As each measure plays, its indicator at the top border of the data area gets highlighted in inverse video. The Step Editor window must be selected as the active window for scrolling to take place during playback. With Follow Playback turned off, the Step window can be scrolled and examined independently of transport counter position during playback. The playback / record start point can be set by clicking with the arrow cursor in the Step Editor window at the desired location, provided Auto is off, just as in the Song Editor or MIDI Data windows. 6.7 : EDITING NOTE DATA Master Tracks Pro gives you powerful control over the step-editing process with a variety of editing options. You can select editing regions, just as in the Song Editor window, and you can also add, delete, edit, move, or copy individual notes. 6.8 : EDITING REGIONS OF NOTES With regional editing, you can quickly edit a group of notes all at once. Using the commands on the Edit and Change menus, you can move, copy or delete the note data, transpose the pitches of all the notes in the region, change MIDI data such as MIDI channel and note velocity, and alter timing in several ways. See the chapters on the Edit and Change menus for more details on these features. To edit a region of notes, the region must first be selected using the arrow cursor. On the Step Editor window, a region consists of all notes in the track along a horizontal section of the window. In other words, between two points in time in the sequence. You cannot define regions vertically (by pitch) - all pitches are automatically included in a selected horizontal region. For many operations, you'll need a way to locate notes precisely in the data area both in terms of time and pitch. That guidance is provided by the time and pitch indicators in the menu bar. The time indicator always displays the time value at the current position of the cursor, in measures, beats and clock ticks. 6.9 : PITCH AND TIME INDICATORS The pitch at the current cursor position appears in the pitch indicator, displayed as a pitch letter name and an octave number. Master Tracks Pro can handle all MIDI pitches, a range from C-2 to G8 (middle C is C3). Accidentals are always displayed as sharps. 6.10 : CHOOSING ZOOM LEVEL Since all editing operations occur on clock tick boundaries, how precisely you can define the beginning and end of a region depends on the Zoom level. At the highest magnification, zoomed all the way in, you can define the region by individual clock ticks (there are 240 clock ticks per quarter note). When you're zoomed all the way out, on the other hand, the resolution is much coarser, and the smallest movement of the mouse represents 24 clock ticks, or one tenth of a quarter note. No matter which zoom level you're using, you'll need a way to keep track of where you are in the sequence while you're defining regions. For many editing commands, the measure and beat demarcations in the measure ruler at the top of the Step Editor window will give you all the information you need to locate the endpoints of your region. For more precise work, however, you can use the time indicator in the menu bar to begin and end the region at exactly the right point. Notice that as you move the arrow pointer around in the data area, the time indicator changes to show the exact beat location of the current pointer position. IMPORTANT: Edit and Change menu commands will only affect notes in the selected region if those notes BEGIN in the region. That's the reason to pay attention to the zoom level while you're selecting a region - a note can appear to be within the selected region when it actually starts slightly before the beginning of the region. You may be zoomed out too far to see this. If the beginning of the note falls within the selected region, the entire note will be altered by the command you use, even if the end of the note isn't included in the selected region. 6.11 : TIED NOTES There is an exception to the rules just mentioned, however. Notes in the selected region that are tied over from an earlier measure are recognized by commands such as Cut, Copy, and Clear if the region begins precisely on the measure boundary. See the section on tied notes in Chapter 8 for more detail. 6.12 : SELECTING A REGION FOR EDITING To select a region for editing, choose the arrow pointer on the Step Editor menu bar by clicking on it. Now, move the pointer into the data area to the left edge of the region you wish to select. Click and hold the mouse button, drag the pointer to the right edge of the region. You can scroll the screen while selecting a region by dragging the pointer to the right screen boundary. As you select a region, the region becomes highlighted in inverse video. Release the mouse button when you've defined the region as you want it. You can now use the Edit and Change menu commands on the selected region. Clicking in the measure ruler will select an entire measure at a time. You can select an area and then use the scroll bar to scroll to the end of the area you wish to select and hold down the Shift key while you click the mouse. This selects the entire area. 6.13 : INSERTING NEW NOTES Master Tracks Pro gives you two ways to insert new notes in your sequence: you can use the mouse exclusively, or you can enter the desired pitch by playing the corresponding key on your MIDI keyboard. 6.14 : CHOOSING NOTE DURATIONS With either method, you start the process by selecting values for the note's duration, velocity, MIDI channel, and articulation. Choose the duration, or rhythmic value you want by clicking over the appropriate note icon at the left side of the menu bar. Selecting the dot icon multiplies the duration of the note value by 1-1/2. If you wish, you can select a combination of note values, and all the selected values add together for the total duration of the note you are inserting. To select more than one value, click on the first note type you want to select, and then hold the Shift key down as you click on the remaining note type(s). 6.15 : TUPLETS To enter notes with tuplet values, click over the word "tuplet" in the tuplet box in the menu bar. When the box is highlighted, any notes you insert will have the tuplet value shown in the box. For example, say the value in the tuplet box is 3:2, and you've selected the eighth note duration icon. In this case with the tuplet command on, the timing of the notes you insert will be adjusted so that three of these notes would fit in the same time normally occupied by two regular eighth notes. This is equivalent to eighth note triplets. For a quintuplet, you would select 5:2. You can choose a wide range of tuplet values to create complex polyrhythms or to experiment with other unorthodox note timings. To set a new tuplet value, click over the current value in the tuplet box. A small Change Value window will pop up, allowing you to change both numbers in the tuplet value. The number you wish to change in this window must be highlighted first. If it's not, click on it. Then click over the arrow controls to raise or lower the number as you wish, or type in a number from the ST keyboard. When both numbers are correct, click on OK or press Return to enter them and return to the Step Editor window. 6.16 : SETTING OTHER NOTE VALUES Notes you insert in the track in the Step Editor window take on the values displayed in the menu bar for articulation, on and off velocity, and input MIDI channel. Articulation refers to the percentage of the note's duration value that it actually plays. By varying the articulation setting, you can add changes in note length to define phrases and legato or staccato passages. Shorter articulations produce a more staccato effect. The input channel and velocity settings refer to the standard MIDI input parameters. Before inserting a note, you can change the current settings for these parameters by clicking on the appropriate fields. When you do, the corresponding Change Value window will appear. You can either type in a new value from the ST keyboard, or click over the arrow controls to raise or lower the value incrementally. Then click on OK or press Return. 6.17 : INSERTING NOTES WITH THE MOUSE To insert notes using the mouse, first select the pencil icon in the menu bar by clicking on it. When you move the pointer to the data area, it becomes a crosshair that lets you position the new note exactly where you want it on the screen. Using the keyboard graphic at the left of the data area and the measure and beat markings along the top, align the crosshair so that it corresponds to the pitch and time where you want to insert the note. You can also use the pitch and time indicators in the menu bar to locate the position precisely. When you have the correct position, single click on the mouse. A new note bar will be inserted into the data area in that position, its length corresponding to the duration and articulation you selected. 6.18 : INSERTING NOTES WITH A MIDI KEYBOARD Follow the above steps for selecting the note's duration, velocity, input channel, and articulation. Then, select the keyboard icon next to the arrow in the menu bar by clicking on it. Since you're using your MIDI keyboard to enter the pitch data, you don't need a crosshair, and the mouse pointer remains an I-beam cursor when you move it into the data area. Position the I-beam at the horizontal position where you want to enter the first note. Use the time indicator in the menu bar for precision. Once you've positioned the cursor properly, click on the mouse to activate the insertion point for MIDI keyboard note entry. Now you can enter notes by pressing the corresponding keys on your MIDI keyboard. Each time you play a key, a new note bar will appear at the pitch and time you specified, and the I-beam cursor advances to the next insertion point. As you continue to insert notes, the Step Editor window scrolls appropriately. 6.19 : RESTS Pressing Return on the ST keyboard inserts a rest corresponding to the note duration that is currently selected. 6.20 : BACKSPACING TO ERASE MISTAKES If you play the wrong key during the pitch entry process, press the Backspace key on the ST keyboard to delete it. During the note entry process, you can switch to new note durations with either the note icons in the menu bar, or via the MIDI keyboard using keys that you've assigned to duration values with the Keyboard command on the Goodies menu (see Chapter 13 for details). 6.21 : MOVING AND COPYING NOTES With the move and copy commands, you can transfer all of a note's data, including its duration, channel and velocity to a new location. Of course, the pitch and/or the start time of the note at the new location may be different, depending on where you move the note. To move a note somewhere else in the track, or to make a copy of a note at another location, you'll need the crosshair mouse pointer. To get it, click over the pencil icon in the menu bar, and then move the pointer over the note you want to move or copy. The center of the crosshair must be directly on the note. Although the center of the crosshair can be anywhere along the note's length, it's best to place it precisely at the beginning of the note, so that you can use the time indicator in the menu bar to locate the point where you insert the note with precision. 6.22 : MOVING THE NOTE Now, if you want to MOVE the note from its current position to a new one, simply click and hold the mouse button. A dotted border will appear around the note bar, and while you continue to hold the mouse button you can drag this "note ghost" to a new pitch and/or time in the sequence. When the note is correctly positioned, release the mouse button. The ghost will be returned to life as a solid note bar at the new location, while the note bar at the previous location will vanish. There will be times when you want to shift a note's position in time but not change its pitch, or vice versa. To make these operations easier, Master Tracks Pro provides a way to lock in the note's pitch or start time during a move operation. To lock in the pitch or start time, hold down the Shift key and then click and hold on the note. Now, as you continue to hold down the mouse button, whichever way you first move the mouse locks in the note's position on the other axis. So, for example, if you first move the mouse horizontally, you've locked in the pitch, and you can't move the note vertically. You can now only move the note horizontally, in time. Except for this detail, the move operation proceeds normally. 6.23 : COPYING THE NOTE Copying a note involves essentially the same steps, except that instead of just clicking over the note you want to copy, you must hold down the Alt key an the ST keyboard before you click on the note. Once the "note ghost" border appears, you can release the Alt key, and continue by dragging the cursor to the location where you want to insert the copy. When you're in position, release the mouse button, and a new note bar will appear. The original you copied from remains where it was. 6.24 : ERASING NOTES You can erase an individual note with the eraser mouse pointer. Click over the eraser icon in the menu bar. When you move the pointer down into the data area, it becomes a crosshair inside a circle. To erase a note, simply position this eraser cursor anywhere along the note and single click. The note will disappear from the window. You'll probably find it easier to erase the note you're actually intending to remove when you're not zoomed out to the higher magnifications, where note durations appear very short on the screen. 6.25 : EDITING INDIVIDUAL NOTES Editing commands for single note events allow you to place new notes in your sequence, and to move, copy, or delete existing notes using the mouse. If you need more precision, Master Tracks Pro also gives you a numeric method for altering each note's data. 6.26 : EDITING NOTE PARAMETERS NUMERICALLY To alter an individual note's pitch, start time, duration, on and off velocities, or channel, select the arrow mouse pointer by clicking over the arrow in the menu bar. Move the arrow directly over the note you want to edit, and double click. After a moment, the Edit Note window pops up, and a grey highlight appears over the note being edited so you won't forget which one you're working on. To change one of the values in the window, select it by clicking on it to highlight it. Use the arrow controls at the right of the window to change the value incrementally, or type in a new value directly from the ST keyboard. Master Tracks Pro won't let you enter invalid settings for these parameters, and will only beep if you try. The START TIME parameter refers to the point in the sequence that the note begins, in measures, beats, and clock ticks. Rather than setting an end time, however, you use the DURATION parameter to determine how long the note lasts, again in measures, beats, and clock ticks. You can change the MIDI key number (pitch) with the arrow controls, or by typing a key letter name followed by an octave number, or by pressing the appropriate key on your MIDI keyboard. The On velocity and Off (release) velocity are changed in the same manner as is the output MIDI channel. In order to change the output MIDI channel on a note or range of notes, the channel setting in the Sequencer window must be set to "0". Once all the parameters in the Edit Note window are to your liking, click on OK or press Return to finalize them and close the window. You can click on Cancel instead to return to the Step Editor window without making any changes. 7. USING MIDI DATA WINDOWS ~~~~~~~~~~~~~~~~~~~~~~~~~~ Master Tracks Pro provides six special MIDI Data windows for graphically editing types of MIDI data other than notes on an event-by-event basis. Instead of having to work with a long list of numbers, you can see your data at a glance on a graph, yet you can still edit it with full precision. You'll find separate MIDI data windows for pitch bend, channel pressure, key pressure, modulation , controllers, and program change data. 7.1 : OPENING A DATA WINDOW There are two ways to open a MIDI Data window. First, you can choose it from the Windows menu with the mouse. Second, you can open it from the ST keyboard by typing the Function key that corresponds to the window, as follows: > Pitch Bend F4 > Channel Pressure F5 > Key Pressure F6 > Modulation F7 > Controllers F8 > Program Change F9 > Conductor Track F10 If the window is open but hidden behind other windows on the screen, you can bring it up to the foreground by choosing it on the Windows menu or with its ST keyboard command. All six of the MIDI Data windows look and work alike, and are very similar to the Step Editor window as well. Most of each window is devoted to the data area, where individual MIDI events appear as vertical lines or points. The height of each line or point corresponds to the numeric value of the event, while the horizontal location of the line or point specifies when in the track the event occurs. You can see event data for one track at a time in the data area. You can toggle the display from lines to points by pressing any key on the ST keyboard when the MIDI Data window is active. At the top of each window, just below the window title bar, you'll see a single row of icons and data, the menu bar. The three icons in the left portion of the menu bar are used to select different editing operations (see the section below on editing event data). To the right of the icons, there's a time indicator that displays the horizontal position of the cursor in the track, in measures, beats, and clock ticks. Next, there's a value indicator, that gives the data value corresponding to the cursor's vertical location in the data area. Finally come boxes showing which track's data is currently on the display, and what channel will be assigned for new event insertions. Just below the menu bar is a row of mostly empty space, the marker ruler. This is where the markers you've placed in the Song Editor window, if any, will be visible. You can hide the marker ruler with the Hide Markers command on the Layout menu if you like. This expands the data window. See Chapter 12 for details on how to use markers. Below the marker bar is another horizontal bar, the measure ruler, which marks the position of measures and beats in the track. 7.2 : SCROLLING Use the scroll bar controls to move the MIDI Data window displays just as you would with the Song Editor or Step Editor. Use the measure ruler to keep track of where you are in the sequence as you scroll. 7.3 : MOVING TO A MARKER You can also move to markers that you placed in the sequence on the Song Editor window. Press Tab to move to each successive marker. Press Shift-Tab to move to a previous marker. Playback position can be determined by clicking at the desired location in any MIDI Data window, with Auto turned off in the Transport, the same way as in the Song and Step Editor windows. 7.4 : ZOOMING IN AND OUT You can use the Zoom In and Zoom Out commands on the Layout menu to see more of the MIDI data on the screen at a time, or to get a close up view of a small amount of data for precise work. To move in one zoom level, choose the Zoom In command on the Layout menu. To zoom out one level, choose Zoom Out. The zoom level you use determines how many clocks per screen pixel are displayed. The smallest distance on the screen you can move the mouse pointer is a pixel. When you are zoomed all the way out, each pixel corresponds to 24 clock ticks. Zoomed all the way in, a single clock tick per pixel is displayed. 7.5 : EDIT RESOLUTION The number of clock ticks per pixel affects the resolution with which you can edit data in the MIDI Data windows. When you are zoomed all the way out, for example, you can only edit events at 24-clock-tick intervals. When you are zoomed all the way in, you can edit an event at any clock location. If you wish to change or erase an event that doesn't fall at one of the clock tick intervals at your current zoom level, you must zoom in for higher resolution editing. Note that the more you zoom in, the more individual events you can place in the sequence. Zooming in gives you more precise control over the placement of each event, but you can easily use up large amounts of memory, and the sequence is forced to send data much more rapidly. Use the zoom level that matches your needs for precision, memory, and data density. Consult Chapter 12 for more details on how to use Zoom commands. 7.6 : SWITCHING TRACKS To view or edit MIDI event data on another track, click over the Track box in the menu bar. A Change Value window pops up, and you can either type in the desired track number from the ST keyboard, or change it by clicking on the arrow controls in the window. When you've entered the correct track number, click on OK. The Change Value window will disappear, and the MIDI Data window will now display data for the new track. 7.7 : EDITING MIDI DATA As in the Step Editor window, you use various mouse pointers to make different kinds of changes on events in the various MIDI data windows. 7.8 : SELECTING A REGION To use the commands on the Edit or Change menus on MIDI Data window data, you must first select a region within the track. To select a region for global changes, use the arrow pointer by clicking on its icon in the menu bar. Move the pointer to the left edge of the region you want to select, using the time indicator in the menu bar to help you locate the desired point in the sequence precisely. Then click on the mouse, and drag across the selected region to the right. As you move the mouse, the region will be highlighted in inverse video. When you reach the right edge of the region, release the mouse button. You can now perform Edit and Change menu operations on the selected region. For the most part, these changes will only apply to the type of data displayed in the window. (see the discussion in Chapter 9 on how different types of data are affected by the Edit menu commands on the MIDI Data windows.) 7.9 : INSERTING EVENTS The ability to enter MIDI events graphically is one of Master Tracks Pro's most powerful features. To insert individual MIDI events or modify existing ones, you select the crosshair pointer by clicking on the pencil icon in the menu bar. Before inserting a new MIDI event, however, you can use the Channel box in the menu bar at the top of the window to select the MIDI channel for the new event. Click on the Channel box to bring up a Change Value window, and enter the desired channel number by typing it in or adjusting it with the arrow controls. Click on OK or press Return to finalize the change. To insert a single event, move the crosshair to the position in the data area where you want the event to go. Use the time indicator in the menu bar to locate the exact time in the track where you want to insert the event along the horizontal axis of the graph. Use the value indicator to position the cursor vertically for the correct value. Now simply click the mouse. A vertical line will appear, extending from the graph baseline to the height representing the data value. You can insert multiple consecutive events simply by holding down the mouse button and dragging the cursor to draw a curve on the data area. This makes it easy to add smooth pitch bend or mod wheel changes. When you insert consecutive events, the graph will appear to be filled in with solid black under the curve you draw. Nevertheless, each event along the curve can still be edited individually. The zoom level you're currently using affects how many events are inserted when you draw a curve by dragging the mouse across the data area. Depending on the zoom level, each horizontal mouse position can represent as many as 24 clock ticks or as few as 1. If you're zoomed all the way out when you draw consecutive events, you'll get a new event every 24 clock ticks. When you're zoomed all the way in, you get a new event with every clock tick. Be cautious about entering consecutive events when you are zoomed in, because you can use up memory quickly and you may force the program to send data too rapidly. The MIDI data stream can only support 3120 bytes per second. A good way to enter a series of consecutive events is to draw them in when you are zoomed out to save memory, and then zoom in to edit them precisely. When you zoom in, you'll see a solid black graph resolve into individual event lines, making it easy to position the cursor. 7.10 : CHANGING EXISTING MIDI EVENTS To change events that are already stored in the track data, just insert a new event at the same time. When you do, the old event will be erased. 7.11 : THINNING OUT DENSE MIDI DATA If you have a section of MIDI data that is denser than necessary, you can thin the MIDI data by tracing over their curves with the mouse at lower resolutions (zoomed out). 7.12 : ERASING EVENTS To erase individual events, click on the eraser icon in the menu bar to select the eraser cursor, a crosshair within a circle. Move the cursor directly over the event you wish to erase and click. The event line or point will disappear. 7.13 : THE PITCH BEND WINDOW Pitch bend data can take either positive or negative values. When a note is not being bent it has a pitch bend value of 0. So in the Pitch Bend window you'll see a horizontal dotted line running through the middle of the data area to mark the zero point. The area above the line, which represents positive pitch bend values, is marked with a "+" in the left border. The area for negative values below the line is marked with a "-". Positive values range to +127 and negative values go down to -128. You can switch between two options for displaying pitch bend and other MIDI data. Normally, the data appears as vertical lines. However, if you press any key on the ST keyboard while you're working in any MIDI Data window, each event is displayed as a single dot in the graph. Pressing another key will toggle back to the normal display. 7.14 : CHANNEL PRESSURE WINDOW Channel pressure, also known as aftertouch, affects all notes on a given MIDI channel. It has a range of 0 to 127. 7.15 : KEY PRESSURE WINDOW Key pressure, also known as "polyphonic" aftertouch, affects individual MIDI notes. To use this parameter, you must first specify the note you want to assign the key pressure event to by entering its pitch in the appropriate box at the far right of the menu bar. A box will pop up, and you can either type in the note's pitch or play the note on your MIDI controller. The value range for key pressure is 0-127. 7.16 : MODULATION WINDOW Modulation refers to the "mod" wheel (or lever) found next to the pitch bend wheel on many synthesizers. It is MIDI controller #1 and you could also edit or create modulation data in the Controllers window. Like many other controllers, it has a range of 0 to 127. 7.17 : CONTROLLERS WINDOW Since MIDI allows multiple controllers, the Controllers window lets you specify the controller number for each event in the window. You must select the controller number before you insert the event. (Consult the owner's manual of your MIDI device for valid controller numbers and their associated range of values.) Click on the appropriate box at the right of the menu bar. Enter the controller number in the box that pops up, and click on OK or press Return to enter it. Then insert events just as you normally would. You can switch to a new controller number at any time. Refer to the controllers list in Chapter 14. 7.18 : PROGRAM CHANGE WINDOW The Program Change window lets you view, enter and edit program changes. Sending a program change on a given MIDI channel will affect all MIDI devices listening to that MIDI channel. The range of program numbers is 1 to 128. 7.19 : CONDUCTOR TRACK DATA WINDOW The Conductor Track Data window shows a graphic representation of the Conductor track. Like the other MIDI Data windows, the tempo values can be edited with the arrow, pencil, and eraser cursors. A tempo change can be entered at any clock boundary (240 clocks per quarter note). (End of Part one.....) *(Part Two)* 8. USING THE FILE MENU ~~~~~~~~~~~~~~~~~~~~~~ The File menu has a variety of commands that let you manage your sequence files. These commands work just as they do in most other Atari ST applications, so if you've had any previous experience with the ST you'll already be familiar with how to use them. The File menu includes the Preferences command, which allows you to set up the program the way you like, and store that setup on your Master Tracks Pro disk. MIDI files are an industry standard format for storing MIDI sequences. If you own any programs that support this new format, you will be able to share sequence files with these programs. You can save your sequence as a MIDI file (Export), or Import a MIDI file created with another program. 8.1 : ABOUT SEQUENCE FILES A Master Tracks Pro file is a single sequence, either in its temporary form in your ST's memory, or stored more permanently on a disk. A file is OPEN when you're working with it in you ST's active memory, whether you loaded it from disk or started a new sequence from scratch. When you close a file, it is removed from memory, and you can only work on it again by reloading it from the disk. You can only have one sequence file open at a time in Master Tracks Pro. If you're already working on a file, Master Tracks Pro gives you a chance to save it when you create a new file or when you load a file from disk. Be sure to SAVE YOUR SEQUENCE FILES FREQUENTLY WHILE YOU WORK WITH THEM! so that you don't lose your work because of a power failure or other problems with your system. You can store files on any disk or drive in your system, as long as there is enough space, using options in the Save and Save As... commands. 8.2 : STARTING A NEW FILE To create a brand new sequence, choose the New command on the File menu or press Alt-N on the ST keyboard. Since you can only have one file open at a time, this command closes the file you've been working on, if any, giving you a chance to save it if you like. When the new file is opened, any windows you had open remain on the screen in the same position, but all the existing data disappears. Master Tracks Pro calls the new file "Untitled" until you rename it with a name of your own choice using the Save As... command (the file name is always displayed in the Transport window title bar). 8.3 : OPENING AN EXISTING FILE Choose the Open comand or press Alt-O on the ST keyboard when you want to load an existing disk file into Master Tracks Pro for playback or further editing. When you choose the Open command, Master Tracks Pro will first give you a chance to save the file you're currently working on, if any. Next, a dialog box will pop up, showing the name of the disk and/or directory in the currently selected drive, and the names of all the Master Tracks Pro files stored on that disk in a scrollable box underneath. If the list of files is too long to fit into this box, you can use the scroll bar at the right side to scroll through the list to the file you want. If the file you want is on a disk in another drive, click on the line below the word Directory. Press Esc and then type in the drive and/or directory path you want to open from. Now click in the title bar of the file display box to see existing files. To backtrack through the file Hierarchy, click in the left box of the title bar. Once you've located the file you want to open, click over any portion of the name. The name will now be highlighted, indicating that it is selected. If you make a mistake, you can select a new file name just by clicking on it. When you've selected the correct file, click on OK. The dialog box will disappear, and Master Tracks Pro will load the file. Another way to open the file is simply to double-click on its name when it shows up in the dialog box. After the file is opened, the same set of windows you were using before you opened the file will still be on the screen, but the data in the windows will now be from the newly opened file. 8.4 : CLOSING A SEQUENCE FILE Use the Close command to end work on a particular file without leaving Master Tracks Pro. When you choose the Close command, you'll be given an opportunity to save your current work if you've made any changes since it was last saved. All windows you've been using remain on the screen, but they are now empty of data. Essentially, the Close command gives you another way of starting a new sequence. 8.5 : SAVING A SEQUENCE FILE The Save command stores the sequence that's currently open on disk, if an earlier version of the file has already been saved. As soon as you choose the Save command, Master Tracks Pro will save the current version of the sequence in the same disk file, without any further action on your part, overwriting the existing file of the same name. If your file has not been saved before, or if you haven't made any changes since the last time you saved it, the Save command is disabled and appears in grey instead of black on the File menu. To save a file for the first time, or to resave a file that has already been saved, use the Save As... command instead. 8.6 : USING THE 'Save As...' COMMAND The Save As... command lets you save a new file for the first time, or resave a file that has previously been saved, using a new name if you wish. You may also save your file on a different disk. In addition to its importance for saving new files, this command is especially useful when you want to store your latest edits as a different file to avoid erasing an earlier version of the sequence. When you choose the Save As... commmand, a dialog box appears, which allows you to choose a name for the file before you save it. The field where you enter the file name is labeled "Selection:". If you're saving a new file, there will be no name in this field. If you're saving a previously saved file, the current name of the file appears in the file name field. If you want to change the name supplied by the program, press Esc and then type in the new name. The Save As... dialog box also lets you select the disk and drive where you want to store the new version of the file. The title bar of the display window shows the name of the disk or directory in the currently selected drive. You can eject the disk and insert the disk you want to use. Then click on the line below the word Directory, press Esc and type in the drive and/or directory path you want to save to. Now click in the title bar of the file display box to see existing files. To move back through the folder hierarchy click in the left box of the title bar. If you decide you don't want to save the file after all, you can click on Cancel at any time. To go ahead and save the file with its new name, click on OK. After a few minutes, you'll be returned to the main Master Tracks Pro screen. 8.7 : USING THE 'Revert to Saved' COMMAND Choosing the Revert to Saved command loads the disk version of the file that you're currently working on, restoring the file to the way it was when you last saved it. Use this command when you've made changes in a sequence that you know you don't want to keep. When you choose the Revert to Saved command, Master Tracks Pro pops up a dialog box asking if you're sure that you want to discard the changes you've made since the last time you saved the file. If you want to go ahead with the command, click on Yes, and the last saved version of the file will be loaded, replacing the data that was in memory. To cancel the command, click on Cancel. 8.8 : CUSTOMISING YOUR SCREEN DISPLAY The Preferences command lets you customize Master Tracks Pro's window display and other settings to your personal tastes. When you choose preferences from the File menu, the program takes a "snapshot" of the current positions and sizes of any open windows on the screen, and also records the data elements in the Layout menu, (Show/Hide Grid, Show/Hide Markers, Follow Playback, and Zoom resolution), The Goodies menu (Keyboard, MIDI Setup, and Record Filter parameters), and all settings in the Transport window (Auto, Thru, Metronome, Count-in, and Key). All of this information is saved on the program disk in a special "Preferences" file. The next time you start Master Tracks Pro, the program will read the Preferences file as it loads, and will come up on the screen with the windows you want open at the positions and sizes you choose. In addition, the settings of the functions on the Layout and Goodies menus will be as specified in the Preferences file. 8.9 : IMPORTING AND EXPORTING MIDI FILES MIDI files are an industry standard format that has been adopted by many software and hardware manufacturers. This allows you to use Master Tracks Pro to play or edit files created on other sequencers or to use your Master Tracks Pro files with other sequencers or notation programs. Both types of MIDI files are about 35% smaller than a normal Master Tracks Pro file and thus take less room on your disk and less time to transmit by modem. ________________________________________________________________ | All channels merged into a single multi- | | TYPE 0 channel track. | | Channel assignments saved. | | Text and program change assignments NOT saved. | | Loop assignments and markers NOT saved. | |________________________________________________________________| | Parallel multi-channel tracks. | | TYPE 1 Channel assignments saved. | | Text and program change assignments saved. | | Loop assignments and markers NOT saved. | |________________________________________________________________| When you Export from the File menu, a dialog box gives you the choice of type 1 or type 0. When you select Import from the File menu, Master Tracks Pro will display any MIDI files on the current disk. 8.10 : QUITTING THE PROGRAM Choose the Quit command or simply press Alt-Q on the ST keyboard when you want to end the Master Tracks Pro session. If you haven't saved the file you've been working on when you choose the Quit command, Master Tracks Pro gives you a chance to do so via a dialog box with the message "Do you want to save (filename) before Quitting?" Click on Yes or press Return to save the final version of the file before quitting. Click on No if you want to quit without saving the file. If you decide not to quit after all, click on Cancel. 9. USING THE EDIT MENU ~~~~~~~~~~~~~~~~~~~~~~ Master Tracks Pro's Edit menu contains commands that are used within the Song Editor, Step Editor, or MIDI Data windows to edit MIDI data in selected measures or regions. To use any of these commands on a specific region, the region must first be selected using the mouse as descibed in the chapters on the Song Editor, Step Editor, and MIDI Data windows. If you want to use an Edit command on an entire sequence or track, you can skip that step by using the File menu's special command, Select All. This command selects the entire sequence at once if chosen when the Song Editor is the active window. If the Step Editor or a MIDI Data window is active, one entire track will be selected. See the descriptions of the Select All command later in this chapter for details. The Edit menu capabilities start with basic Cut, Copy, Paste, and Undo editing commands. With Cut, Copy, and Paste, and a couple of supplemental commands, you can transfer data from any location in a sequence to any other location, or even to another sequence entirely. Before covering the Edit menu commands individually, there are a few things that you'll want to know about. One thing to be aware of is that some of the Edit commands work slightly differently depending on which window you're working with. Those differences are described with each of the commands. 9.1 : WORKING WITH TIED NOTES There will probably be times when you'll want to select regions in the Song Editor or Step Editor windows that include notes tied from the measure immediately before or after the selection. If the selected region begins on the measure boundary, Master Tracks Pro will recognize the tied notes when you use the Edit menu commands Cut, Copy, and Clear. When you use one of these commands, the program removes or copies only the portion of the note that falls within the the measures in which the selected region is located. With the Cut and Copy commands, this portion of the note is moved to the clipboard, and appropriate note-on and note-off events are added to it to make it a complete event. When you use Cut or Clear, the program also removes this portion of the note from the sequence, and inserts new note-on and note-off events for the parts of the note that remain. 9.2 : ABOUT THE CLIPBOARD The Clipboard is a temporary storage location for MIDI data that Master Tracks uses when you move or copy within a sequence, or from one sequence to another. For faster performance, the Master Tracks Pro clipboard is stored in RAM, the computer's internal memory, and not on disk like some Atari ST clipboard files. The effect of this is to speed up editing considerably. But there is a trade-off. The problem with this approach is that the data on the clipboard will be lost if you lose power or the computer fails for some other reason. Don't expect the clipboard file to be saved when you power down your computer. You must paste it into a sequence and save it using the File menu commands. 9.3 : THE UNDO COMMAND At the top of the Edit menu is the Undo command, which can also be executed by pressing Alt-Z on the ST keyboard. This command allows you to cancel the last alteration you made to your sequence with the commands on the Edit or Change menus. Remember, though, that Undo only applies to the last change you made in the sequence. As soon as you use another Edit or Change command or start recording a new track, the change is now permanent and can no longer be removed with Undo. 9.4 : CUTTING Use the Cut command to remove MIDI data from the region you've selected, and place it in the Master Tracks Pro clipboard. You can execute the Cut command by choosing it from the Edit menu, or by pressing Alt-X on the ST keyboard. The exact way that data is removed by the Cut command depends on how you've selected the data: > If you've selected one or more entire tracks in the Song Editor window, the Cut command removes their data entirely. > If you've selected the entire sequence using the Select All command, or with the mouse in the Song Editor window, Cut removes all data. > If you select one or more adjacent measures across ALL tracks in the sequence, the measures are completely removed and the remainder of the sequence is shifted to the left to fill the gap. > If you select a region within a track or tracks, but not all tracks in the song, Cut removes the data but leaves the measure intact. In other words, the rest of the data in the track(s) is NOT shifted to the left to fill the gap. This is done to preserve the Conductor template across all the tracks. After this sort of cut, you'll see hollow measure bars indicating empty measures in the Song Editor window. Remember, a Cut command can be reversed with the Undo command. The Cut command and the various windows: > On the Song Editor window, Cut works on all data types in the selected region. > On the Step editor window, Cut works only on note data. > On a MIDI Data window, Cut works only on the type of data displayed in that particular window. 9.5 : COPYING The Copy command makes a copy of the data in the selected region and puts it in the Master Tracks Pro clipboard. The existing data is not changed. In addition to selecting the Copy command with the mouse, you can also execute it by pressing Alt-C on the ST keyboard. The Copy command's effect varies, depending on which window you are working in: > On the Song Editor window, Copy copies all data types to the clipboard. > On the Step Editor window, Copy only copies note data. > On the MIDI Data window, Copy only copies the type of data displayed in the window. 9.6 : PASTING Paste places the contents of the clipboard into the sequence beginning at the location of the blinking cursor. You can choose the command with the mouse, or use Alt-V from the ST keyboard. If the clipboard contains data from more than one track, data from the lowest numbered track in the clipboard goes into the track marked by the cursor. Data in the clipboard from subsequent tracks are automatically inserted into the next tracks in order. To use Paste, first select an insert point by placing the cursor at the beginning of the measure where you want to insert the clipboard data. Then select the command. THE DATA YOU PASTE IN REPLACES ANY EXISTING DATA IN THE SEQUENCE. (To merge the clipboard data with the existing data, use the Mix Data command.) You can paste data into empty tracks anywhere you like. Just position the cursor at the measure location where you want the pasted data to start, and execute the command. Remember, too, that you can Paste clipboard data from one sequence to an entirely different sequence if you wish. The Paste command works with the various windows as follows: > On all windows, Paste places all the contents of the clipboard into the track, even if the clipboard includes data of another type than displayed in the active window. > On the MIDI Data windows, Paste will only place the type of data cut or copied to the appropriate Data window. (See Change Continuous to move from one data type to another.) > On the Step Edit and MIDI Data windows, if the clipboard contains data from multiple tracks, you'll place data from the lowest # track only. 9.7 : CLEARING Clear works exactly like Cut, except that the data is removed without placing it in the clipboard. This gives you an alternative way to remove portions of your sequence. You may find it useful when you want to remove data from your sequence, but don't want to erase the contents of the clipboard. To use the Clear command, choose it from the Edit menu after you've selected the region you want to clear. Alternatively, you can simply press the Backspace key after selecting a region. The Clear command and the various windows: > On the Song Editor window, Clear removes all data types. > On the Step Editor window, Clear only removes note data. > On a MIDI Data window, Clear only removes the type of data displayed in the window. 9.8 : MIXING DATA The Mix Data command works identically to the Paste command, except that the data in the clipboard that you're inserting in the sequence is merged with existing data already in the sequence. To use the Mix Data command, first place the blinking cursor to the left of the first measure in the block where you want to place the clipboard data. Then choose the Mix Data command from the Edit menu, or type Alt-M on the ST keyboard. > Only one track can be mixed at a time with another. So if you want to "bounce down" several tracks to a single track, you must do them one by one. 9.9 : INSERTING MEASURES With the Insert Measure command, you can lengthen the sequence by adding empty measures within it. You might use this command to insert a new section into the middle of a composition or to add a blank space or countdown to the beginning. You can use the Insert Measure command from the Song Editor, Step Editor, or MIDI Data windows. No matter which window you're working in, using the Insert Measure command creates new measures in all the tracks in the sequence, even if you've only selected a single track. The newly-inserted measures will all have the same meter and tempo as the last measure prior to the inserted section. Use the Change Conductor command in the Change menu to alter these timing settings. When you choose Insert Measure, or type Alt-I on the ST keyboard, a dialog box pops up on screen. Type in the number of measures you wish to insert, and click on OK or press Return to confirm your entry. Click on Cancel to return without inserting measures. The steps you'll take to use the Insert Measure command vary slightly depending on whether the Song Editor window or the Step Editor window is currently active. In the Song Editor window, place the cursor at the beginning of the measure before which you want to insert the new measure(s). After executing the command, the new measures will appear on the screen as hollow measure boxes, indicating they are empty of MIDI data, with the cursor positioned at the beginning of the first measure in the inserted group. All the remaining measures in the sequence will have been pushed to the right and renumbered. For example, say you want to insert two measures beginning after the eighth measure in the sequence, and just before what's in the ninth measure. Place the cursor between the eighth and ninth measures and select the Insert Measure command. Once you've completed the insertion, the newly inserted measures will be measures nine and ten, while what was formerly measure nine will now be measure eleven. In the Step Editor window, use the arrow pointer to select any region in the measure before you want to insert the new measure, and then give the command. After a brief pause, you'll see a new empty measure on the screen, and the remaining measures will be renumbered to reflect the insertion. (See Chapter 14 for inserting time into a single track.) 9.10 : SELECT ALL The Select All command lets you select the entire sequence or track for use with the editing commands. From the Song Editor window, just choose Select All from the Edit menu, or type Alt-A on the ST keyboard. Any visible data becomes highlighted, indicating that it is selected. In the Step Editor and MIDI Data windows, Select All selects the entire track you're working with. 9.11 : SHOW/HIDE CLIPBOARD Show Clipboard pops up a small window which describes the current contents of Master Tracks Pro's clipboard. The window tells you which tracks and bars the data was copied from, how long the data lasts in bars (measures), beats, and clock ticks, and whether the data was cut or copied. The Clipboard window remains on screen until you close it, although it's likely to get buried under other screen windows. If you like, you can leave the clipboard window open on the screen. If it gets hidden behind other windows, however, you must either move or close them to see the clipboard window again, or choose Show Clipboard from the Edit menu. 10. USING THE CHANGE MENU ~~~~~~~~~~~~~~~~~~~~~~~~~ While the Edit menu commands let you move or delete regions of notes, the Change menu contains commands that allow you to regionally alter MIDI and timing data in sophisticated ways. All of the Change menu commands work on any region you select in the Song Editor, Step Editor, or MIDI Data windows. Included are commands for changing MIDI channel, note duration, note velocity, continuous MIDI data, and tempo and meter in the selected region. There are also commands for stripping different types of data out of a track, transposing pitch, and for changing the rhythmic relationships of MIDI events. As with Edit menu commands, you must first select a region before you can use the Change commands. To select a region, use the mouse as described in the chapters on the Song Editor, Step Editor, and MIDI data windows. 10.1 : CHANGE CHANNEL This command permanently changes the MIDI channel assignments of all the data in a selected region to a new channel number. After selecting a region, choose the Channel... command from the Change menu. When the Change Channel dialog box appears, type in the channel number (1 to 16) you wish to assign to the data in the selected region. Click on OK or press Return on the ST keyboard to complete the process. Click on Cancel to exit from the command without making any changes. The Channel setting on the Sequencer window must be set to "0" or else that setting overrides this command. 10.2 : CHANGE DURATION Choosing the Duration... command pops up a dialog box that allows you to alter the duration of each note in the region - how long it plays. The dialog box gives you two choices for changing note durations. The first option in the box lets you set all the notes in the region to a specified duration. Activate this option by clicking in the circle next to it. A solid black dot appears within the circle when the option is selected. Next, select the duration you wish by using the arrow controls to choose the appropriate note duration icon. To select a tuplet resolution, click on the box next to "Tuplet", and enter the tuplet values you wish by clicking on the appropriate boxes and typing in the new numbers. Based on the duration you choose, the number of clock ticks each note will receive in the region appears in a box to the right of the arrow controls. If you prefer, you can type in any duration value - expressed in clock ticks - you wish into this box. The second option in the Change Duration dialog box allows you to scale all duration values in the selected region by a percentage of their current values. Again, click on the circle beside this option to select it, so that the black dot appears. Now type in the percentage of the current duration values, within the range of 1 to 999%, you wish to use. With this option, the relative timing of all the notes is preserved. After selecting the option you wish, Click on OK or press Return to complete the command, or click on Cancel to return to your work without making any changes. 10.3 : CHANGE VELOCITY The dialog box that pops up when you choose the Velocity... command lets you change the velocity values for all notes in a selected region. Changing velocity is useful for adding punches to a track or to mix the loudness of a track or passage relative to other tracks. It can also be used to bring velocity values up or down over time to create swells, crescendos, and decrescendos. First you need to decide whether your changes will apply to the note-on velocities, note-off velocities, or both. Click over the circle to the right of one or both of these choices in the dialog box. Most synths do not transmit or recognize note-off velocities. Next, you can decide from among four options for altering the velocity values. Click over the circle next to the option you select: 1) You can set all velocity values in the region to a specific value. 2) You can change all velocity values by a specific percentage. 3) You can have all velocity values in the region change smoothly from one value at the beginning of the region to another value at the end of the region. 4) You can add or subtract (with a minus value) a set amount to all velocity values in the region. After selecting which of these four options you wish, click on the appropriate data box(es) for that option and type in the value or percentage you've chosen. Click on OK or press Return to enter the value. Valid MIDI velocity values are between 1 and 127. A velocity value of 0 is the same as a note-off command. If you enter a velocity value below 1 or above 127 in options 1 or 3 above, Master Tracks Pro will tell you that the value is out of range. You'll then be returned to the Change Velocity dialog box with a highlight on the invalid value. If the values you've entered in options 2 or 4 throw existing velocity values out of the value ranges, Master Tracks Pro will clip them to 1 or 127 as appropriate. 10.4 : CHANGE CONTINUOUS Choosing the Continuous... command brings up a powerful dialog box that lets you alter data from any continuous MIDI controller, such as a pitch bend wheel, a modulation wheel, aftertouch (channel pressure), or a numbered MIDI controller. You can use this command to map data from one MIDI controller to another, change the values of the controller data, or both. 10.5 : MAPPING DATA By mapping one type of MIDI data to another type, you can send data recorded from one controller to a MIDI device that responds to a different controller. For instance, you can map pitch bend information to channel pressure if you like. To map one data type to another, first select the type of data you wish to operate on in the selected region from the choices listed under "Select Data Type" at the top of the dialog box. Click on the circle next to the choice you select so that a smaller solid black circle appears. If you've chosen the Controller # option, you must also type in its number in the corresponding box. Next, click on the box labeled "Map Data Type To" at the right of the dialog box. An "X" will appear in the box. Now choose the data type to which you want to map the existing data by clicking in the circle next to your choice. Again, you must type in a number if you select the Controller # option. See Chapter 14 for a list of controller numbers. 10.6 : CHANGING DATA VALUES To change data values, you must first select the type of data you wish to work on, if you haven't done so already, as descibed above. Next, click in the box labeled "Change Data Values" so that an "X" appears in the box. You now have four choices: 1) You can set all values in the region to a specific value. 2) You can change all values by a specific percentage. 3) You can have all values in the region change smoothly from one value at the beginning of the region to another value at the end of the region. 4) You can add or subtract (with a minus value) a set amount to all values in the region. After selecting which of thes four options you wish, click on the appropriate data box(es) for that option and type in the value or percentage you've chosen. If you are mapping data to another controller at the same time you are changing data values, the changed values will apply to the controller you are remapping the data to. Once you've made all your choices, click on OK or press Return to complete the command. Click on Cancel at any time to exit the dialog box without making any changes. NOTE: If there is no controller data present in the track to change, changing data values will have no effect on the track. There must be at least one data value either recorded or inserted (entered) in order for a change to occur. 10.7 : CHANGE CONDUCTOR Master Tracks Pro has a separate Conductor track with which you can determine the rhythmic structure of your entire sequence. All tracks in the sequence follow the settings in the Conductor track for meter, tempo, and the type of note that gets the beat, but you can vary these settings from measure to measure as often as you like. You can even change tempos gradually for ritardandos and accelerandos anywhere in your sequence. The vertical grey bar in the Song Editor window represents the end of the Conductor track. Choose the Conductor... command on the Change menu to bring up the Change Conductor dialog box. Optionally, you can access the Change Conductor dialog box from the Conductor window by clicking on the time signature in the window. Unlike other Change menu commands, you don't have to select a region before you use the Conductor command. If you have selected a region, however, the first and last measures in the region will appear in the appropriate boxes at the top of the dialog box. You can define a new region by typing in different measure numbers. If you wish to set the meter or beat note for the region, click on the circle next to that option in the dialog box. Then type in the new meter values. Select the note icon for the beat note with the arrow controls at the right. In 4/4 time, if a quarter note beat is selected, you will hear four beeps per measure from the metronome with an accent on each first beat and you will see four main divisions in each measure in the Step Edit window. If you change the beat to an eighth note, you will now hear 8 beeps per measure and see 8 main divisions per measure. Tempo will now be half speed since it is measured in "beats" per minute so you may wish to double the tempo for this region. You have four options for setting a new tempo in the region: 1) You can set all tempo values in the region to a specific value. 2) You can change all tempo values by a specific percentage. 3) You can have all tempo values in the region change smoothly from one value at the beginning of the region to another value at the end of the region. 4) You can add or subtract (with a minus value) a set amount to all tempo values in the region. 10.8 : TEMPO RANGE After selecting which of these four options you wish, click on the appropriate data box(es) for that option and type in the value or percentage you've chosen. The range of permissible values for tempo setting is 10 to 300 with beat set to quarter not, but with the beat set to sixteenth note, tempos can be up to 1200 BPM. If you enter a value outside this range with option 1 or 3, Master Tracks Pro will highlight the illegal value and ask you to change it before you can return to your work. Any existing tempo values changed by options 2 or 4 so that they are out of range will be truncated to the maximum or minimum values. Click on OK or press Return to complete the Conductor command. Click on Cancel to exit the command without making any changes. 10.9 : CHANGING METER The Conductor track allows you to have multiple meters in the same song. On way to use multiple meters is to create the rhythmic structure of your sequence with the Conductor track before you record any music. The Conductor track is equivalent to a "tempo map" and a "meter map" combined into a single structure. Use the Conductor command to define meter and tempo for each section in turn. Once you've created this Conductor template, you can record your music, and the program will automatically shift meters at the correct measures as you record. To see how this process works, try this example: First, select New from the File menu to clear the ST's memory. Now choose the Conductor command from the Change menu. Set bars 1 to 4 to a 4/4 meter at 100 beats per minute with a quarter note beat. Now choose the Conductor command again, and set bars 5 to 8 to 3/4 at 140 beats per minute. Choose the command a third time, and set bars 9 to 12 to 2/4 at 80 bpm. In the Song Editor window, you'll now see that you have a 12 bar score. If you move the transport with the fast-forward button, or "play" the empty sequence, you'll see the tempo and meter settings in the Conductor window change as you reach each new section of the Conductor track. If you wish, you can save a Conductor track template as a disk file before you enter any music, and use it for as many separate sequences as you like. 10.10 : STRIP DATA The Strip Data command lets you cut or copy selected types of MIDI data from the edit region. Among the types of data you can cut or copy are data from a particular MIDI channel, various types of MIDI controller data, or a range of notes. You can select any combination of these data types each time you use the Strip Data command. For example, you could copy only notes above middle C and pitch bend data, both from channel # 4. The selected data types are cut or copied to the clipboard. You can then paste them back into your sequence anywhere you like using the Paste or Mix Data commands on the Edit menu. By selecting various ranges of notes, you can use the Strip Data command to create as many keyboard "splits" as you like. The command can also help conserve memory by removing unnecessary controller data while leaving other data intact. Select a region and pop up the Strip Data dialog box by choosing Strip Data... from the Change menu. Click in the box or boxes next to the data type(s) that you wish to cut or copy with the command. If you select the Controllers option, you can either cut or copy all numbered MIDI controllers, or you can select a specified controller number. Similarly, you can either select all notes in the edit region, or only notes in the range you enter. To enter note pitches to define the range, you can either type in the pitch or play the corresponding key on the MIDI keyboard. If you type in the pitch, enter the pitch letter name, a # sign if the pitch is an accidental, and the octave number. Valid pitch range is from C-2 to G8. All accidentals must be entered as sharps. Finally, decide whether you want to cut or copy the selected data types, and click on the circle next to the option you choose. If you select Cut, the selected data types in the region will be removed from the sequence and placed in the clipboard. If you select Copy, a copy of the data will be placed in the clipboard, while the original data remains intact. When you've finished making your selections in the Strip Data dialog box, click on OK or press Return on the ST keyboard. Click on Cancel instead to exit without making any changes. Another way to cut or copy specific types of MIDI data is to perform the operation from the Step Editor or MIDI Data windows. When you use the Edit menu Cut or Copy in those windows, only the data type you're currently working with will be transferred to the clipboard. 10.11 : TRANSPOSE The Transpose command changes the pitch of all notes in the selected region from one key to another. The Transpose command recognizes individual clock ticks, so you can use it on regions that include portions of measures. When you choose this command, a dialog box appears, and you are asked to enter the key from which you are transposing, and the new key to which you want to transpose. To enter these keys, click on the appropriate box, and then type in a pitch letter name, a # sign if you're entering an accidental, and the octave number, or play the appropriate note on your MIDI keyboard. Valid pitches range from C-2 to G8. You must enter all accidentals as sharps. Press Return or click on OK to enter the transposition and return to your work. Click on Cancel to exit without making any changes. 10.12 : HUMANIZE The Humanize command is designed to make your sequence less machine-like and rigid by randomly shifting the start time, duration, and/or velocity of each note in the selected region. When you select the Humanize command, a dialog box appears that lets you choose whether to apply the randomization effect to start times, durations, or velocities. Click on the box next to each option you want to select. Next you must enter a maximum value to tell the program how large the random changes can be. The Humanize command will add or subtract a random amount from each note in the region, but only within the range set by this value. In the case of start times and durations, type in the maximum number of of clock ticks that will be added or subtracted to existing values when the Humanize command goes to work. For velocities, the maximum value is simply a numeric value between 1 and 127. In practice, very small values work best for achieving subtle variations in mechanical sounding music. Large values will produce wide ranges that are sometimes useful, but not at all predictable. When you've made your selections, click on OK or press Return to enter them and complete the command, or click on Cancel to exit without making any changes. 10.13 : QUANTIZE The Quantize command aligns the start times of all notes and other MIDI events in the selected region to an imaginary timing "grid". The grid divides the region into intervals of a set number of clock ticks. When you use Quantize, the command moves the start time of every note within the region so that it falls precisely at the beginning of the nearest grid interval. Of course, you'll usually quantize to a grid based on the standard note type, such as to the closest quarter or sixteenth note. But Master Tracks Pro gives you the freedom to quantize to any interval you wish. 10.14 : PERCENTAGE AHEAD OF THE BEAT Master Tracks Pro defaults to a quantize setting of 35% ahead of the beat. In other words, if you are quantizing to 16th note values, it will align (shift) any notes which fall from 35% before the current 16th note and up to 65% behing the current 16th note. If a note falls more than 35% early, it will be quantized to the previous 16th note position. This range can be adjusted to your specific situation by entering a different value in the percentage box. If you tend to rush a particular passage you may wish to set the shift range to a larger percentage ahead of the beat. 10.15 : OFFSET The Quantize command also allows you to shift start times in the quantized region slightly away from the grid interval. This feature is valuable for creating passages that are a little ahead of or behind the beat or for sliding notes in a track. 10.16 : USING QUANTIZE Begin by choosing Quantize from the Change menu to bring up the Quantize dialog box. Then select the quantization value by using the arrow controls to choose the corresponding note duration icon. To select a tuplet resolution, click on the box next to "Tuplet". Then enter the tuplet values you wish by clicking on the appropriate boxes and typing in the numbers. Based on the duration you choose, the number of clock ticks in each note value will appear in a box to the right of the arrow controls. If you prefer, you can simply type in any duration value you wish in this box. If you select an offset for quantization, click on the box for that option so that an "x" appears in the box. Decide whether you want the offset to occur before or after the grid boundaries, and click on the circle next to your choice. Finally, type in the number of clock ticks that you want for the offset. (240 per quarter note). When you've entered your selections, click on OK or press Return to complete the Quantize command. If you wish, you can click on Cancel to exit without making any changes. 10.17 : FIT TIME The Fit Time command lets you stretch or sqeeze a given section of music so that it fits exactly into a particular amount of time. It works by scaling all the tempos of the Conductor track for the selected region proportionally, so that the relationships between any existing tempo or meter changes in the region are preserved. In this way, you don't lose the feel of the music. Fit Time works only on whole measures. For best results, you should only use it on relatively short passages, but they should be at least three measures long. Fit Time isn't a complete substitute for SMPTE sync, but it can be very useful for doing short jingles and commercials, when you have to stretch or compress the total time of a section just a bit. When you choose the Fit Time command, the dialog box has three data entry boxes, one each for minutes, seconds, and tenths of seconds. When you first pop up the dialog box, these display how long the region would play using the current tempo settings. Don't try to squeeze or stretch a section a ridiculous amount. The program's tempo range, from 10-300 quarter notes per minute, will limit how much you can change the region within this command. Trying to make a 2 second region fit into 60 minutes is definitely not recommended. Click on each data entry box in turn and type in the new amount of time you want the region to play. When you've made the entries, click on OK or press Return. Depending on how long the region is, the calculation can take some time. 11. USING THE WINDOWS MENU ~~~~~~~~~~~~~~~~~~~~~~~~~~ The Windows menu provides access to any of the main Master Tracks Pro data windows. If a window is not currently on the screen, or if it is hidden behind other windows, you can bring it up to the front and activate it from the Windows menu in one of two ways. * You can choose the window you wish by name from the Windows menu. * You can press a Function key on your ST keyboard. Here's a brief desciption of each of the main Master Tracks Pro windows, including which Function keys you can use to call up the window from the ST keyboard: 11.1 : SEQUENCER - F1 The Sequencer window allows you to see and name all the tracks in your sequence. In addition, it lets you choose which tracks play, record, solo, and loop. You can also enter MIDI channel settings and initial MIDI program numbers for each track in the sequence. 11.2 : SONG EDITOR - F2 The Song Editor window provides a graphic display of your sequence in units of measures, and shows where the end of the sequence falls. Blocks of measures can be selected and edited with a variety of powerful commands. You can place and display markers that allow to quickly find specific places in your sequence. 11.3 : STEP EDITOR - F3 The Step Editor window lets you see and edit note data graphically. You can input, move, copy, and erase individual notes anywhere on the graph, and you can also edit note parameters numerically. In addition, you can use a step method for note entry, and you can select regions of notes for editing operations. 11.4 : PITCH BEND - F4 The Pitch Bend window allows you to display and edit pitch bend data. You can enter, edit, and erase individual pitch bend events, and you can draw in consecutive events graphically. You can also select regions of pitch bend events for editing operations. 11.5 : CHANNEL PRESSURE (AFTER TOUCH) - F5 The Channel Pressure window lets you work with MIDI channel pressure data, also called monophonic aftertouch. Using a graph in the window, you can add, edit, and erase individual channel pressure events, and you can also draw them in consecutively on a graph. Regions of channel pressure events can be selected for editing operations as well. 11.6 : KEY PRESSURE - F6 The Key Pressure window is the window for displaying and working with MIDI key pressure data, also called polyphonic aftertouch. You can enter, change, or erase key pressure events on the graph in the window, draw in consecutive events, or select regions of events for editing operations. 11.7 : MODULATION - F7 The Modulation window lets you display and edit MIDI modulation data which usually corresponds to the mod wheel on your synthesizer. The graph lets you input, edit, or erase modulation events, draw them in as a group, and select events in regions for editing operations. 11.8 : CONTROLLERS - F8 The Controllers window lets you enter and edit data for any MIDI controller. Using the graph in the window, you can enter, edit, or erase individual controller events, draw them in consecutively, and select them in regions of editing operations. (See the MIDI Controller list in Chapter 14). 11.9 : PROGRAM CHANGE - F9 The Program Change window lets you see and edit MIDI program change events within your sequence. You can insert, edit, or erase individual program change events, you can select them regionally for editing operations, and you can draw them in consecutively if you like. 11.10 : CONDUCTOR TRACK DATA WINDOW - F10 The Conductor Track data window shows a graphic representation of the tempo map and time signature. Tempo changes can be inserted with the pencil at any clock boundary (240 clocks per quarter note). The time signature at any given point in the Conductor track will be displayed in the small Conductor display window at the left bottom of the ST screen during playback, when the Conductor track data window is scrolled, or when you click a point in the Conductor Track data window. 12. USING THE LAYOUT MENU ~~~~~~~~~~~~~~~~~~~~~~~~~ The Layout menu contains several commands that determine the appearance of the data windows. These commands can influence your interaction with the program in important ways. 12.1 : HIDE/SHOW GRID This command is a toggle that lets you switch between two versions of the Step Editor window grid. The grid always displays a dotted vertical line at each measure boundary, but you have two choices when it comes to the light horizontal lines that represent pitch: you can either choose to display a horizontal line for every "white key", or you can HIDE the full grid and display horizontal lines only at octaves. The octave grid gives an uncluttered screen, while the full grid provides more help in precise placement of notes. When the full grid is visible, you can switch to the octave grid by choosing Hide Grid on the Layout menu. Conversely, when the octave grid is on screen, you can switch to the full grid by choosing Show Grid. Which grid you use is a matter of convenience and personal style. 12.2 : HIDE/SHOW MARKERS Hide/Show Markers is a toggle command that lets you display or remove the marker ruler from the Song Editor, Step Editor, and MIDI Data windows. (Markers and the marker ruler are described in full in the chapters on the Song Editor window and the Goodies menu.) When the marker ruler is not visible, you can display it by choosing Show Markers on the Layout menu. To remove it, choose Hide Markers. The Song Editor, Step Editor, and MIDI Data windows are all affected by this command at the same time. With markers hidden, the data areas of the windows expand to show more data. 12.3 : FOLLOW PLAYBACK When thw Follow Playback feature is active, the Song Editor, Step Editor, and MIDI Data windows scroll as the sequence plays, displaying a highlight to indicate the measure that is currently playing. With this feature off, these windows remain as you left them during sequence playback. To activate the Follow Playback feature, choose it on the Layout menu. When the feature is active, a checkmark appears next to it on the menu. To deactivate Follow Playback, simply choose it again. The check mark will disappear. When Follow Playback is deactivated, you can scroll to and examine any location in any window independently of the playback transport position. 12.4 : ZOOM IN/OUT 1 The Zoom commands let you choose how much data you see in the Step Editor and MIDI Data windows. To get the big picture on your sequence, use the Zoom Out command to place more measures on the window. For precise work, use the Zoom In command to show a smaller amount of the sequence at higher "magnification". Six separate levels of zoom are available, so you can easily adjust the display to fit your needs. The Zoom level set by the Zoom In and Zoom Out commands also determines the number of clock ticks displayed per pixel on the screen, and thus affects the resolution at which you can edit data in the Step Editor and MIDI Data windows. If you zoom all the way in to the highest level of magnification, each pixel represents a single clock tick. This is the best level for precise work when you're entering notes, pitch bend, or other MIDI data. When you zoom further out, the clock-tick-per-pixel value increases. When you move the cursor in one of the windows, it is "snapped" to an imaginary grid with divisions at 8 clock ticks per pixel, 12 per pixel, and so on, up to a maximum of 24 when you're zoomed all the way out. (a pixel is the smallest dot on the ST screen and the minimum distance interval you can move your mouse) You can use this feature to do a kind of manual "quantizing" of notes and other events in the Step Editor and MIDI Data windows. Just click on the note or event with the crosshair (pencil), and the event will automatically be moved to the nearest division of the imaginary grid. You may also want to zoom out when you're inputting pitch bend or other continuous controller data to economize on memory, and to reduce the rate at which the sequence must send data. If you input pitch bend data when you're zoomed all the way in, you create 24 times as much data as when you're zoomed all the way out. To zoom in one level, choose the Zoom In command or press Alt-(<) on the ST keyboard. To zoom out, choose Zoom Out or press Alt-(>). Using either command affects all the data windows on screen. 13. USING THE GOODIES MENU ~~~~~~~~~~~~~~~~~~~~~~~~~~ The Goodies menu brings together many powerful and sophisticated features in a single menu and includes many of Master Tracks Pro's unique features. First, there are simple toggle commands for displaying and activating four screen windows. But then come a set of commands for tailoring Master Tracks Pro to your own system, and for controlling the sequencer from your MIDI keyboard. There's also a special command that lets Master Tracks Pro receive, store, and send MIDI system exclusive information. All settings on the Goodies menu are saved when you use the Preferences command on the File menu. See Chapter 8 for details. 13.1 : DISPLAY MEMORY USE Selecting Memory brings up a dialog box that shows how much memory, in bytes, that your ST has available for sequence storage, and how much of the total is still empty. Click on OK to close the dialog box. 13.2 : MARKERS WINDOW Choose Markers on the Goodies menu to display a window showing locations and names of the markers you place in the sequence on the Song Editor window. Master Tracks Pro provides markers that let you identify a particular location in your sequence so that you can return to it any time you wish. Markers always mark the beginning of a measure. 13.3 : ABOUT MARKERS Master Tracks Pro markers look and act much like tab stops in word processing programs. In Master Tracks Pro, markers are displayed in a horizontal marker ruler in the Song Editor, Step Editor, and MIDI Data windows, just below the title bar of each window. The marker ruler appears in these windows only if the Show Markers command on the Layout menu is in effect. If you choose Hide Markers on the Layout menu, the ruler will disappear from all the windows. Markers are placed in a sequence on the Song Editor window, as described in Chapter 5. When any of the windows with markers is active, you can move the window data to the next marker in the ruler by pressing the Tab key on the ST keyboard. The data in the window will move so that the measure at the marker is at the extreme left of the window. To move to a previous marker, press Shift-Tab. Again, the data lines up so that the measure marked by the marker is at the left side of the window. 13.4 : NAMING A MARKER There re two ways to name markers or to change their names. As described in the chapter on the Song Editor, you can double-click over a marker to pop up a window that lets you name the marker. The other way to name markers involves the Markers window, which you can display by choosing Markers from the Goodies menu. When you do, the window will pop up, displaying a table of the markers. For each marker, the table lists its measure location and its name. To name a marker, or change its name, single click over the name field of the marker on the table. An Enter Text window will appear, asking you to enter the name you want to give the marker. Once you've typed it, click on OK (or click on Cancel to return without making any changes). The name you've chosen appears in the marker window, and also in the marker ruler at the top of the other edit windows. 13.5 : DISPLAYING THE CONDUCTOR WINDOW The Conductor window displays basic sequencer timing information, including the meter, tempo, and beat note. It also includes a scroll bar that allows you to control tempo for playback and recording. For a full description of how the Conductor window works, see Chapter 4. If the Conductor window is not on the screen, or if it is hidden behind other windows, you can pop it up by choosing Conductor on the Goodies menu. The Conductor window serves as a reference display. The Conductor track can be edited graphically using the Conductor Track data window. (see Chapter 11) 13.6 : DISPLAYING THE TRANSPORT WINDOW The Transport window is where the basic sequencer controls are located, including the Play, Record, Fast-forward, and Rewind buttons. It also includes a pair of sequence counters, and a variety of other functions related to sequence operation. You'll find a full description of the Transport window in Chapter 4. If the Transport window is closed, or if it gets hidden behind other windows on the screen, choose Transport on the Goodies menu to bring it to the foreground, making it active. 13.7 : MANAGING SYSTEM-EXCLUSIVE DATA Master Tracks Pro's Sysex feature allows you to send and receive MIDI system exclusive data such as synthesizer patches to and from the MIDI devices in your system. You can store this data in files on disk, and then retrieve it at any time to send to your instrument. Since each instrument has a different system exclusive data format, you can only do "bulk dumps" with Master Tracks Pro - that is, all data is stored and sent in one continuous file, and can't be edited within Master Tracks Pro. To use the Sysex feature, choose Sysex on the Goodies menu. When you do, the System Exclusive dialog box pops up. 13.8 : RECEIVING SYSEX DATA Before you can receive system-exclusive messages from your synthesizer or other MIDI devices, you'll need to know how to send them from the devices. Consult your owner's manuals for instructions. When you're ready to proceed, click on Receive in the System Exclusive dialog box. Master Tracks Pro will now record any system-exclusive data it receives. Send the data from the MIDI device using the procedure specified by the manufacturer. You can receive up to 64 separate system-exclusive messages in one file. When you send the data back to the device later, it will be sent on the same channel it was received on. When you've finished sending the system-exclusive data from the device to Master Tracks Pro, click on Stop in the dialog box to shut off the receiving process. To assist in recording multiple system-exclusive messages in a single file, the program counts the number of messages it receives and displays the count when you click on Stop. 13.9 : STORING SYSEX DATA ON DISK To store a system-exclusive data file, begin by naming the file. Click on the filename field to enter the name there. You can also place a memo about the data in the Memo box. To do so, click on the box or press Tab and enter your memo. When you've named the file and written the memo, click on Save. A File dialog box will pop up. You can scroll a list of filenames on the current disk, and switch drives or directories from this dialog box. You also have another chance to name the file for your data. Once you've chosen the drive and disk where you want to save the file, click on OK on the File dialog box, or press Return. If you decide not to save the file, you can click on Cancel to return to the System Exclusive dialog box. 13.10 : LOADING SYSEX DATA FROM DISK To send a system-exclusive file to your MIDI device, the first thing you'll need to do is retrieve it from disk. Click on Open in the System Exclusive dialog box to bring up a File dialog box. This box contains a listing of all system-exclusive files stored on the current disk, and allows you to switch disks and directories if you wish. Once you've located the desired file, you can open it either by double- clicking on the name, or by single-clicking on the name to highlight it, and then clicking on OK or pressing Return. At any time before you open the file, you can decide not to open it and return to the main dialog box by clicking on Cancel instead. 13.11 : SENDING A SYSEX FILE TO A MIDI DEVICE Before you can send a system-exclusive file to a MIDI device successfully, you must first get the device ready to receive it by following the appropriate steps listed in the owner's manual. When you're ready, click on Send in the System Exclusive dialog box. Master Tracks Pro will send the file in its entirety. Usually the receiving device will inform you about whether or not the transfer was successful. 13.12 : QUITTING THE SYSEX DIALOG When you've finished your system-exclusive operations, click on Quit in the dialog box to return to the main Master Tracks Pro screen. 13.13 : MIDI KEYBOARD SET-UP One of Master Tracks Pro's most useful features is the ability it gives you to operate all the sequencer transport controls and to select durations in the Step Editor using a MIDI keyboard, freeing you from the need to move back and forth between the ST and your synth. Selecting the Keyboard command pops up a dialog box that lets you configure Master Tracks Pro for MIDI keyboard control of these functions. When you've made your configuration settings, click on OK to enter them and return to the program, or click on Cancel to return without entering the changes. 13.14 : MIDI TRANSPORT CONTROL The options for transport control are at the left side of the Keyboard command dialog box. To activate MIDI keyboard control of the transport functions, click on the small box next to "Use in Transport" in the dialog box. A checkmark will appear in the box when MIDI keyboard control of the sequencer transport is active. You can turn it off again at any time by clicking on the box again. Next, assign each transport function in the list (play, stop, record, and so on) to a key on your MIDI keyboard. Click on the larger box to the right of each function and then type in the pitch letter name and octave number of the key to which you want to assign that function. In addition to entering the key you'll use to control each transport function, you must also activate keyboard control of each function individually by clicking over the small box to the left of the function name. When the keyboard control is active, a checkmark appears in the box. You can deactivate any function simply by clicking on the box again. Being able to activate the functions individually allows you to use only the ones you really need, leaving you more keys to play. Keys that have functions assigned to them will not be recorded in the sequence. 13.15 : USING THE MIDI KEYBOARD FOR STEP ENTRY The chapter on the Step Editor descibes how to use your MIDI keyboard to insert new notes in the sequence. To activate MIDI keyboard control of the duration of inserted notes, click on the box next to "Use in Step Input". A checkmark will appear in the box indicating that keyboard control of note durations is now active. You can turn it off again by clicking over the box once more. Then specify which key you wish to use for each duration value by clicking over the box to the right of the corresponding note icon, and then typing in the pitch letter name and octave number. Using the same method, you can also specify a key to activate the tuplet function, and one to insert a rest equal to the currently selected duration. Once you've made your keyboard assignments, you must also activate each key separately by clicking over the box to the right ofits duration icon. Again, you can deactivate any key by clicking over the box another time. By activating only the keys for the durations you need, you'll save keys for recording music. Any settings you make in the Keyboard Setup can be saved with Preferences in the File menu. 13.16 : CONFIGURING YOUR MIDI SET-UP The MIDI Setup command lets you choose whether Master Tracks Pro uses its own internal clock for sync timing, or follows an external MIDI clock source. Selecting the command brings up a dialog box that lets you make these choices. Once you've made your changes, click on OK to enter them and return to the program, or click on Cancel to go back without saving your changes. 13.17 : SELECTING THE TIMING SOURCE The timing of a Master Tracks Pro sequence can be set by its own internal clock or by an external MIDI clock. If you use an external MIDI source for timing, Master Tracks Pro responds to all MIDI timing messages, including Start, Stop, Continue, Song Pointer, and MIDI clocks. Only one clock source can be active at a time. To set the sync source to the program's internal clock, click on "Internal" in the MIDI Setup dialog box. If you want to sync the sequence to an external MIDI clock source, click instead on "External". 13.18 : USING THE RECORD FILTER Master Tracks Pro can selectively record only the MIDI data you wish, while it filters out any data that you don't want to record. Choose the Record Filter command on the Goodies menu to bring up a dialog box that lets you choose which combination of MIDI data types Master Tracks Pro will record. With this feature, you can independently select or disable each MIDI data type, including pitch bend, channel pressure (also known as monophonic key pressure or aftertouch), polyphonic key pressure, modulation, program changes, note data, and other MIDI controllers. You can also have the program quantize note timing while you are recording.  As a simple example, you may want to conserve memory by filtering out aftertouch or modulation wheel data (since both of these controllers send data continuously, they can quickly fill up large amounts of your system memory). Filtering out the aftertouch and mod wheel data is a simple matter of deactivating these options on the Record Filter dialog box. You can choose not to record notes at all, so that you can create a seperate track for, say, pitch bend data. That way, you can concentrate on making your pitch bends as accurate as possible. You can choose a single channel that Master Tracks Pro will listen to while recording, while it ignores incoming data on other channels. You can also quantize on input as many drum machines do. 13.19 : CHANGING THE RECORD FILTER SETTINGS To change the Record Filter settings, first choose Record Filter on the Goodies menu. In response, the Record Filter dialog box appears. Each MIDI data type appears in the dialog box with a corresponding box to the left of its name. When the box is darkened, that data type will be recorded. When the box is empty, that data type is disabled, and it will be ignored during recording. You can select or disable any combination of data types you wish. Clicking on the boxes toggles them between the selected and disabled settings. 13.20 : MISCELLANEOUS CONTROLLERS The Controllers option in the Record Filter dialog box refers to all miscellaneous MIDI controllers other than the ones specifically listed in the box. Most popular synthesizers respond at most to only a few of these miscellaneous controllers, and many don't recognize anything beyond pitch bend, modulation, and aftertouch. Consult your synthesizer owner's manual for the numbers of any controllers that your instrument can send or receive. 13.21 : SELECTING INDIVIDUAL CHANNELS ON THE RECORD FILTER Another choice on the Record Filter dialog box, "Only on Channel" allows you to filter out data from all but one MIDI channel when you record. When this setting is active, the box beside it is darkened. You can deactivate this option by clicking on the box beside it so that it is empty, and data from all channels will be recorded. If you wish to use this option, enter the channel number by clicking on the data box on the right of the option, and then typing in the channel number, from 1 to 16. 13.22 : QUANTIZING WHILE RECORDING You can use the option on the Record filter labeled "Quantize to" to quantize notes while you record them, much as a drum machine does. Activate this option by clicking in the box next to it. The box will darken when it is active. Next, select the resolution for quantization by using the arrow keys to choose the appropriate note duration icon. To quantize to a tuplet resolution, click on the box next to "Tuplet", and enter the tuplet values you wish by clicking on the value boxes and typing in the new numbers. You may also change the percentage value that determines how far ahead of the beat Master Tracks Pro will reach to quantize a note. (See Chapter 10). 13.23 : EXITING THE RECORD FILTER When you're finished making your Record Filter selections, return to the Main Master Tracks Pro screen by clicking on OK. To return without entering the changes you made, click on Cancel. Any settings you make in the Record Filter can be saved with Preferences in the File menu. 14. ADVANCED TOPICS ~~~~~~~~~~~~~~~~~~~ In this chapter you'll find information about how you can put Master Tracks Pro to work on your most sophisticated musical chores, including looping, punch-in recording, MIDI and SMPTE sync, and more. 14.1 : CONDUCTOR TRACK SETTINGS The program stores tempo, beat, and meter values in a separate "Conductor Track" along with each measure in the score, providing an elegant way of setting up conductor "templates" of meter and tempo changes. These values are stored in the Conductor track and control how the MIDI data is broken up into measures. Conductor templates can be saved to disk as a score for later use. The vertical grey bar in the Song Editor represents the end of the Conductor track. 14.2 : RE-BARRING TO REMOVE A BEAT The Conductor track can be utilized to remove measures or even a single beat from your sequence. For example, if you have a 4/4 measure in your piece (say measure 6) which you have decided needs the last beat removed. Select measure 6 and choose Conductor from the Change menu. Change the meter of measure 6 from 4/4 to 1/4 time. Now when you return to the Song Editor window or Step Editor window you will see 4 measures occupying the space previously taken up by measure 6. This is most graphically depicted in the Step Editor window. Each of these four new measures now contains only one beat. In the Song Editor window, Cut the last of these new measures (#9) by selecting it along the measure ruler at the top of the window. Selecting measures in this cuts time out of the sequence on all 64 tracks. You can now select the 3 remaining 1/4 measures (#6-#8) and choose Conductor once again from the Change menu and rebar those three measures to 3/4 time making them one measure again. 14.3 : INSERTING MEASURES IN A SINGLE TRACK The Insert Measure command works on all tracks at once. To insert time into a single track use the following method. Let's say you wish to insert two measures between bar 4 and bar 5 on track #1 which is currently 14 bars long. In the Song Editor window, select measures 5 through 14 of track #1 and Cut them. Then select an insert point between measures 6 and 7 and paste the bars you cut back into the track. The track will now be 16 measures long with 2 empty bars at measures 5 and 6. 14.4 : PUNCH-IN RECORDING Master Tracks Pro allows you to make punch-in recordings in two ways: First, you can start and stop recording at any point in the piece using the Transport and Sequencer windows. This means you can punch in new material over any section of an existing track simply by starting and stopping the recorder at the proper points. The existing data in that section of the track is replaced by your recording, but data before and after the punch-in section will be unaffected. Because Master Tracks Pro records in measure increments, you must stop recording prior to the end of the last bar of the section you are punching into. Remember that you can have a count-in of one bar prior to recording. Master Tracks Pro will round the new data to the next measure, so punching in less than 1 measure is not allowed with this method. You should make a copy of the track to a blank track before punching in using this method. That way, you have the option to undo the recording if you liked the original better, and then redo it if you want to keep it after all. The second punch-in method utilizes an empty track. Begin recording on a different track at or before the section in time you wish to replace. You can have as long a count-in as you like as you are recording on a parallel track that you will edit in later. When you have a take you like, Copy and Paste the notes (or MIDI data) you "punched in" from the second track into the original track in the Song Editor. This will let you "undo" the punch-in and compare takes, and will give you more freedom in selecting exactly where to punch in. If you wish to mute the section you are punching in to, simply clear those measures in the Song Editor proior to punching in, or Copy them to a spare empty track for temporary storage. Using these two punch-in methods along with the Step Editor and the Change commands, it's possible to correct all playing errors. 14.5 : LOOPING Individual tracks can be looped during playback. This feature is especially useful with short repeating sections such as bass or drum parts. Record the part once, and then edit if necessary. You can trim your loop using the Cut command to get the proper number of measures to loop. A track ends where there are no more filled or hollow measures present in the Song Editor. For reference, the grey vertical bar in the Song Editor indicates the end of the Conductor track. Turn on the track's loop control and let the part play back. Lay down other parts or even other loops against it by recording on other tracks. Remember that the loop is only stored in memory once, and always starts at the beginning of the sequence. That means if you start playback past the point of the loop, the track will not play back. That also means that if you are copying tracks from one sequence to another it may not be possible to preserve the loops that begin later in the piece. This is the reason to create literal copies of your loops, especially before building songs. Loops encourage speed and spontaneity in music making and also save memory. Use them to work out your ideas. However, once your song or song section is complete, copy and paste the looped part into the track so that it fills out to the end of the sequence. This will give you the flexibility of Master Tracks Pro's song structure. This will also let you create subtle variations in the loop each time it plays using the Change menu or other regional editing commands. Once you have copied your looped part you can append as many copies of it as you like by repeatedly selecting Paste or pressing Alt-V. The insert point automatically moves to the end of the last paste. 14.6 : LOOPING TO THE HALF BAR Master Tracks Pro's Loop feature requires you to loop to the nearest measure, but if your phrase ends in the middle of a measure and you want it to loop anyway, it can be accomplished by re-barring the last measure of the track. Let's say you're working in 4/4 time but you want the track to loop a two and a half bar phrase. Select bar 3 (presumably the last bar of the track) and choose Conductor from the Change menu. Click on the circle next to Set Meter and set the meter to 1/4 time. You will now have 4 measures with one beat each in them in place of old measure #3 which had four beats in it. Select the last two of these new measures and Cut them. Your track will now loop the way you want it to. 14.7 : LOADING MANY MIDI DEVICES WITH A SINGLE MOUSE CLICK Master Tracks Pro's Sysex feature remembers the MIDI channel of each message it receives. It will send each message in a file out on the same channel it came in on. Each sysex file stored on disk can have as many as 64 messages (bulk dumps) in it. Most synths, drum machines, and rack mount tone modules send their sysex bulk dumps as one or two messages. So if your system includes MIDI devices that have a selectable basic send and receive channel, you can set each device to a different channel and dump each one consecutively into a Master Tracks Pro Sysex file while the RECEIVE button is highlighted in the Sysex dialog box. Then SAVE all of this information as one file. (You might want to give it the same name as the sequence it applies to.) When you want to reload all your equipment to play the sequence, just load the Sysex file and click on Send and watch each of your MIDI devices receive its information in turn. 14.8 : DUMPING FROM OTHER SEQUENCES You may wish to load a sequence created on another older computer or sequencer (that does not support MIDI files) into Master Tracks Pro to take advantage of its advanced features. This is easily accomplished since Master Tracks can record incoming data on all MIDI channels simultaneously. You only need to make one pass, playing all tracks of the sequence with one track on Master Tracks Pro set to record. After you have transferred the sequence you can use the Strip Data feature to un-merge the newly-recorded track by channel, Pasting data from each MIDI channel onto its own track. To sync the two sequencers together it is recommended that the recording sequencer be the MIDI master and the playing sequencer be the MIDI slave. 14.9 : EDITING ACROSS WINDOWS The Cut, Copy, Paste, Clear and Mix Data editing commands perform slightly differently depending on which window you're working in. The Song Editor works with all data types whenever you perform an edit operation. You can work with notes and MIDI data at the same time in the Song Editor. In the Step Editor, when you cut, copy or clear, you will only affect the note data on all channels present. In the same way, when you cut, copy, or clear in a MIDI Data window, you will only affect the type of MIDI data you are looking at in that window. Keep in mind, however, that the Paste and Mix commands for both the Step Editor and MIDI Data windows will copy ALL data in the clipboard into the sequence, no matter what type or types of data are included. This scheme lets you strip a particular type of data from a track using Cut or Clear in the Step Editor or MIDI Data windows without affecting any of the other data in the track. You can also use a track's worth of data collected in the Song Editor and paste or mix it in the Step editor for MIDI delay (see below). 14.10 : CRESCENDOS AND DECRESCENDOS Many patches (sounds) on synthesizers and drum machines respond by getting louder with increased velocity settings but some, like organs, do not. The MIDI Volume controller is controller #7. In the Controllers window, click on the Controller # box and use the arrows or the keyboard to enter a value of 7. You can now use the pencil icon cursor to enter decreasing (or increasing) values at any spacing or curve you like. Alternatively you can choose Continuous Data from the Change menu, select the range of measures over which you wish the change to occur, and enter the starting and ending values. IMPORTANT: You must have a controller value entered in the track for Change to work. (There must be something to change.) 14.11 : BUILDING SONGS Master Tracks Pro provides up to 9999 measures measured by 64 tracks of literal track data in which to work provided you have enough memory in your computer. Variations and combinations of two song-building techniques give you many ways of building songs from segments without giving up the ability to edit or add additional tracks over the entire length of the song. Using these techniques make it possible to add variation and sweetening to repeating sections and help keep your song organized in a single file. The first method separates songs into sections within the same long sequence. Build a conductor template and lay out the song structure using markers. You can begin record or play at any point, so you can work on whatever section you like at any time. Leave several blank measures between sections to avoid accidentally erasing anything, and then, using the Cut command, remove the blank measures later when you've finished recording. You can copy and paste between sections at will and your file will save all sections at once. Another method lets you build songs in a more traditional way by appending different files together from the disk. For example, you could record three separate sequences and save them individually on the disk in separate files called Intro, Verse, and Chorus. Open the verse and copy it. Then open the Intro and paste the Verse onto the end of it. Set markers if you wish and use Save As... to save the new file. Call it Song. Open the Chorus file and copy it. Open the Song file and paste the Chorus at the end of the Verse. You will now have a large Song in memory based on Intro, Verse and Chorus which you can add to and edit further. This Song can also be used as a part of another, longer song. 14.12 : SONG LIST MODE If you have enough memory in your ST, (a stock 1040 ST is good for about 80,000 notes depending on pitch bend, aftertouch, etc.) you can have Master Tracks Pro accompany you (or entertain you) for a list of songs and have a precise control of the time between songs. Use the method described above but replace "Intro, Verse, and Chorus" with actual songs. Insert a few blank bars between each song and place the markers at the beginning and end of each song. The markers allow you to quickly Tab from song to song. To determine the time between songs, select the inserted blank bars and use the Fit Time command from the Change menu. In performance you can also use "Pause" assigned to your MIDI keyboard from Keyboard Setup to let you pause between songs and then start up at the right moment. 14.13 : SEQUENCE DATA STRUCTURE AND TIES Master Tracks Pro stores sequences as groups of tracks and measures along with a separate conductor track. The conductor track determines how data is stored, displayed, and played back based on the meter, beat, and tempo values stored with each measure. Storing data in measures is not required for MIDI sequencing but becomes more important when you begin to provide sophisticated graphic editing operations as those found in Master Tracks Pro, and when you desire to convert your MIDI sequences to music notation (more about this later). Ties are a special case of MIDI data and may cause problems for you when you cut and paste across tied notes. Some MIDI events are single events such as Program Change #7 or Sustain Pedal On. Because notes have a certain duration between note on and note off and Master Tracks Pro stores notes in groups of measures, notes that tie across measure boundaries are stored internally as notes tied to one another, just as you would with music notation. When you cut across ties (not usually recommended) the ties will automatically be clipped with note on or note off events added so that no notes hang in the sequence or on the clipboard. 14.14 : SLIDING TRACKS You can delay a track by individual clock ticks (there are 240 clock ticks per quarter note) by first Cutting or Copying the track in the Song Editor. Then paste the clipboard into a blank track using the Step Editor, selecting the amount of MIDI delay by positioning the insertion point with the arrow cursor. This will delay all the MIDI data including notes in the track by the number of clock ticks or beats corresponding to your insertion point. Another way to produce MIDI delay or even MIDI Pre-delay is with the Offset feature in the Quantize dialog box from the Change menu. You can experiment with different values for the number of clocks until you get something that does the job. If you wish to offset start times without quantizing, simply set the quantize value to one (1) clock. MIDI delay can be used to "fatten up" a track's sound by playing two tracks together to separate channels slightly delayed. More radical delays or offsets can be achieved using the Song Editor to delay tracks by measures using Cut and Paste. Rounds or echoing effects can be easily done and undone until you have something you like. 14.15 : MIDI SYNC SONG POINTER Master Tracks Pro generates its own internal time base when sync is set to Internal in MIDI Setup using a resolution of 240 clock ticks per quarter note. It will send out MIDI timing messages, including Song Pointer, Start, Continue, MIDI clocks, and Stop corresponding to the Transport activity. For example, whenever you move the Transport to a new location in the sequence, a corresponding MIDI Song Pointer message is sent out. 14.16 : SMPTE If Sync is set to MIDI in the MIDI Setup, the program accepts the timebase reference from an external MIDI source and interpolates 240 clocks per quarter note based on the incoming MIDI clock rate. It will receive and autolocate to MIDI Song Pointer when in MIDI Sync mode. Using MIDI Sync mode with an external SMPTE-to-MIDI sync device such as Roland SBX-80, Fostex 4050, Garfield Master Beat, Cooper PPS-1 and others, you can sync Master Tracks Pro to SMPTE. Connect the MIDI Out of the external sync box to the MIDI In of your ST. Select MIDI Setup from the Goodies menu and choose External. A typical setup might have the master keyboard/controller connected to a MIDI merger along with the SMPTE-to-MIDI converter. You can now record new tracks while Master Tracks Pro runs in sync with your SMPTE striped video or audio tape. If your external sync box supports MIDI Song Pointer, Master Tracks Pro will "chase" the tape transport and start anywhere in the piece. If your external sync box has Tempo Mapping capability, you can create a tempo map that duplicates your conductor track settings. When synced to MIDI or SMPTE, the Conductor track becomes unnecessary since the tempo map should be coming from the SMPTE-to-MIDI converter. When used in this application, leave the Conductor set to 4/4 bars with quarter note beats. 14.17 : TRANSPOSING DRUM PATTERNS Master Tracks Pro's Strip data feature makes this easy. You'll need to know what MIDI note numbers the two drum machines each respond to. You can learn this from the owner's manual or by playing each machine with your MIDI keyboard (using Thru on Master Tracks Pro) until you have noted which key corresponds to which drum. Let's take a Yamaha RX snare #1 and convert it to a Roland 707 snare #1. First, we strip the snare out of the Yamaha drum track by clicking the box next to "Notes" and the circle next to "Only notes between" in the Strip Data dialog box from the Change menu and entering E2 (the note assigned to Yamaha's snare #1) in both note value boxes. Choose Cut if you wish to remove the snare permanently from the drum track and Copy if you want to leave it in. Place the cursor on bar #1 of an empty track and Paste. Select the entire new track and choose Transpose from the Change menu. In the first note value box enter E2 and in the second box enter D1 (Roland's note assignment for snare #1). Do this with each drum to complete the transition. You can the Mix back down to one track if you wish, or keep independent control of each drum for further editing. 14.18 : NOTEPAD Master Tracks Pro has 64 tracks on which to record. Most people use only 16 to 30 of them most of the time. This leaves a lot of empty space that can be used for making notes about your work. Just scroll down to an unused area in the Sequencer window, click in a Track Name field and jot down whatever you like, perhaps information about the patches you used and the associated sysex file. 14.19 : A TYPICAL SCENARIO You are fortunate enough to land a gig doing the score for a 30 second commercial. The producer informs you that there will be a 5 second voice only opening and another 5 seconds of voice only for the closing so your music must be exactly 20 seconds long. You accomplish this task effortlessly using Master Tracks Pro and arrive at the recording studio ready to lay down your sequenced tracks to tape. "There's been a slight change", the producer informs you. "The opening voice segment is now 6 seconds long but the entire thing must still be 30 seconds .... OK?" No Problem! Just use Fit Time to make the blank measures at the start of the piece to fit 6 seconds and then select the 20 second music section and use Fit Time to fit it to 19 seconds to give the producer exactly what he wants. 14.20 : SUMMARY OF KEYBOARD COMMANDS ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Transport Commands: =================== Space Bar Start and Stop Transport Enter key Record Tab key Move to next marker Shift Tab Move to previous marker Return Enter a rest in Step-Entry mode Backspace Clears selected area in Song, Step, and MIDI Data windows, Deletes last note entered in Step Entry mode. Numeric keys 3 - 0 Change measure ruler display values +,- Change numbering start point Window Commands: ================ F1 Sequencer window F2 Song Editor window F3 Step Editor window F4 Pitch Bend window F5 Channel Pressure (Aftertouch) window F6 Key Pressure (Polyphonic) window F7 Modulation window F8 Controller window (all other controllers) F9 Program Change window F10 Conductor Track Data window File Commands: ============== Alt - N Start with new sequence Alt - O Open sequence from disk Alt - S Save current sequence to disk Alt - Q Quit Master Tracks Pro Edit Commands: ============== Alt - Z Undo last edit or change operation Alt - X Cut Alt - C Copy Alt - V Paste Alt - M Mix Alt - I Insert measure Alt - A Select All Layout Commands: ================ Alt - < (,) Zoom In Alt - > (.) Zoom Out Goodies Commands: ================= Alt - K Keyboard Setup Alt - R Record Filter In any MIDI Data window, pressing any key except Spacebar, Return, Enter, Tab, Backspace, or Clear will toggle between a dotted line graph and a filled graph of any MIDI data which is present. 14.21 : MOST COMMONLY USED MIDI CONTROLLERS ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CONTROLLER #1 MODULATION WHEEL CONTROLLER #2 BREATH CONTROLLER CONTROLLER #4 FOOT MODULATION CONTROLLER #5 PORTAMENTO TIME CONTROLLER #6 DATA ENTRY SLIDER CONTROLLER #7 MAIN VOLUME CONTROLLER #8 BALANCE CONTROLLER #10 PAN CONTROLLER #64 SUSTAIN (Damper Pedal) CONTROLLER #65 PORTAMENTO CONTROLLER #66 SOSTENUTO (Middle Pedal) CONTROLLER #67 SOFT PEDAL CONTROLLER #92 TREMOLO DEPTH CONTROLLER #93 CHORUS DEPTH CONTROLLER #94 CELESTE (Detune) DEPTH CONTROLLER #95 PHASER DEPTH CONTROLLER #96 DATA INCREMENT CONTROLLER #97 DATA DECREMENT CONTROLLER #122 LOCAL CONTROL (Off=0, On=127) CONTROLLER #123 ALL NOTES OFF CONTROLLER #124 OMNI MODE OFF CONTROLLER #125 OMNI MODE ON CONTROLLER #126 MONO MODE ON CONTROLLER #127 POLY MODE ON (End of Manual). Sewersoft and DR.J bring you..... NINJA MISSION To make a long story short........ You have to pick up all seven jade idols that are scattered about the 15 rooms and then make your way back to the starting point. The last idol lies in the top room, you can only get it if you have the other six first. With each idol you pick up, your strength is restored. You may fight the guards by punching, kicking, throwing stars or swords or escape them by jumping down or up holes if possible. To move upwards you must stand exactly under the holes in the ceiling and jump upward. THE MAP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1. Akumas Chamber 2. Zashikigura 3. Takamikura 4. Kanagura 5. Kura 6. Green Door 7.Balcony 8. Temple 9. Entrance Hall 10. Red Door 11. Torii in the Sea 12. Walkway 13. Gate 14. Shijo Enterance 15. Shrine Number 11 is the starting point. It is also the ending point, after you get all 7 idols. There are doorways in the ceilings between 14 and 9, 7 and 4, 6 and 3, 3 and 1 With this information you should be able to draw your own map. I know this stinks but I am not a map maker, so leave me alone! JOYSTICK OR KEYBOARD CONTROLS 7 8 9 \ / 4 - - 6 / \ 1 2 3 WITHOUT ALT OR WITHOUT JOYSTICK BUTTON 7. JUMP LEFT 8. JUMP UP 9. JUMP RIGHT 4. WALK LEFT 6. WALK RIGHT 1. WALK LEFT 2. CROUCH {pick up sword,idols and throwing stars} 3. WALK RIGHT WITH ALT OR WITH JOYSTICK BUTTON DEPRESSED 7. USE SWORD 8. HIGH PUNCH 9. HIGH KICK 4. THROW 6. BODY KICK 1. DEFEND 2. LOW PUNCH 3. LOW KICK THE END ..... PINK PANTHER NB: Don't expect some great ending if you complete the task....there ain't one. This game simply restarts at the beginning!!! Sewersoft presents..... ** ONSLAUGHT ** ~~~~~~~~~~~~~~~ (by the Barron of the T.O.I.) (Edited by Sewercide) Violence - The exertion of force so as to injure or abuse... I have never really found any game quite like this. That word is the first word that I have thought of that almost totally defines this game. This documentation file will be covering the RELEASE version of Onslaught, not the beta test mode. The easiest way to determine between the release and the beta version is the title screen. The beta version shows (what looks like) a cheap Degas picture of a guy entering a castle bashing a guy's head in. The release version's title screen looks like an awesome Spectrum 512 pic showing a bunch of guys on horseback charging at you. I. The Main Menu (has 6 options which I'll cover in outline form) A.Start Game - Begins the game B.Define Keys - If you lack a joystick, the keyboard is your only other method of control. Most of you know how to work this. C.Easy/Hard Mode - This controls the total population of the enemy in 1 square of land(on the map). Toggling this option to Easy will result in the amount of the enemy doubling (and sometimes tripling). D.Tutor/Assist/Human Mode - This has mainly to do with your weapon selector bar during the "Physical confrontation" stages. E.Music On/Off -This controls whether or not the music which is made by the sound chips is playing (you should hear this with a Tweety Board). F.Game Credits - I'm glad they put this option in so we could see the team that brought us this fine game. II.The Game A.The Map- After hitting start, The Onslaught intermission will come on. I could never get tired of it. The only things that are important (at this point) on the screen at this point are things that occupy the upper 3/4ths of the screen. They will show (on the left) a picture of You with information about yourself. Most of these things aren't important except for your glory (score), amount of land you occupy, etc.. In the middle of the screen will be a large map. This game is about war and about conquering. It is your mission in this game to Take over all the land in GARGORE (the place where all of this wonderful game take place). You and all the land you occupy are represented by yellow squares. Your enemies (or conquerable lands) are represented by red squares. Water or lakes are represented by blue squares. There are two types of green area. I believe that they are both forest lands, except that I think there may be a possibility of the game letting you cross through one of the parts at a certain point of the game (I haven't gotten far enough). The Temples are represented by a square with a Red diamond in the center (look under Mental Confrontations for an explanation of these). The Oracle of Gargore (Important you must not be in tutor mode or Easy mode to go here) this place gives you hints on how to play. The Oracle is represented by a square with a Blue diamond in it. The left side of the screen is used (after moving the cursor on it) to tell you who (and what) the enemy army is, how many people are in it, etc... After you're done selecting which place you want to attack then hit the button and kill em. B.Physical Confrontations - This is the fun part,this is where you get to kill anything that moves. Once you start attacking an enemy's land you MUST KEEP MOVING TO THE RIGHT. DO NOT STOP RUNNING. When you first start the stage you will see a flag that represents your CULT. What you have to do is run to the right until you hit the flag that represents THEIR CULT. During this section, try to pick up as many weapons as possible here (I'll explain the weapons and different enemies at the end of the doc). Touch it and kill the remaining troops have, have then won you the first conflict. The enemy will then retreat to his castle. Then you mount your second front and invade the castle. Do the exact same thing and you'll then face the Enemy's leader. This will either be a Demon, Chief, (2 others I can't remember). This is a Mental Confrontation. C.Mental Confrontations - This is the odd part of the game. At the end of the level,or if you enter A Temple you will fight a god or a demon,or chief. However this fight takes place in your mind. On the border of the screen, there will be a small hand (please notice which finger is raised). The octopus thing floating is him. Nuke em'!! Move left and right and to move the hand around the border and hit the button to shoot him. There is no need for you to worry about where the fireballs you shoot go, as that when you hit the button the fireballs shoot at the thing's head where it is when you hit the button. You'll see what I mean. D.The Bottom of the Screen - I think it's easiest to describe if I start a the center of the bottom of the screen and work my way out. This is the best way to do this being that both sides of the bottom are symetric to each other. 1. The center - There are 2 guys that look like you, 1 is blue and one is orange. The Blue one represents your mental health, the Orange one represents your physical health. When you are hurt,the colour goes out of the the person in the way you were hit. When your physical energy is gone you explode,when your mental energy is gone you lose the battle with the demon, etc.. that you were fighting. Moving outward.. The black things with flags stuck in them. During play you will notice these filling up with blue every now and then. When this fills with blue it means that you've let some people by you, this means that they can progress back behind you and fight your army. If enough get through, then you are overrun, and you must retreat. Moving outward.. The two battle axes, these will drip blood whenever something happens to the enemy. In a nutshell if you blow up an enemy with a bomb, then the axe drips blood. ...Oh Damnation,I almost forgot.. 2.The Weapon selection bar is located at the bottom of the screen. You may carry up to 8 weapons at one time and switch at your leisure (or if Tutor or Assist mode, the computer's leisure). To activate a weapon, select it like described in the section "Control", Or hit the " F-key" that corresponds to it. All weapons will be described in full at the end of the doc. Oh.. If you get a weapon that you think will serve no purpose, then select it and then hit F10. This will jettison the weapon out of you. E. Control - Just standard joystick control, except when changing weapons. If you are in control of a weapon and you would like to be in control of the one to the left of it (on the weapon selection bar) pull down and then to the left in one motion and Viola.. you did it. Also, to pick objects up pull down while standing over them. F.The Fuzzy Bits (weapons/Misc) - Alright, here we go, a list of the weapons and what they look like, some of the monsters and characteristics, and then a list of the scrolls, their colour, and their effects. Lastly, some hints.. - Normal Mace (Brownish/Orangish Shield with a mace in it) This is the typical, average weapon. You start with this. - Destruct-O-Mace (Silver Shield with a mace in it) This may be also titled the 1 hit mace, all you have to do is hit anything once and poof,they're gone. - Grenades/Bombs (Brownish/Orangish Shield with a Sphere in it) Activating this and hitting the button throws a grenade, this will go about 2 inches the explode. Causing anything with it's explosion range to die or explode. This can cause some nasty chain reactions. - Mini-Crossbow (Brownish/Orangish Shield with a small pick in it) This is a rapid fire gun that shoots small arrows. This is not a very powerful weapon, but it's speed makes up for that. - Heavy Crossbow (Brownish/Orangish Shield with a large pick in it) This shoots a large arrow that is very powerful. It goes through 2 soldiers (that aren't wearing armor). This is one of the best. - Blue Gods (Brownish/Orangish Shield with a blue head in it) This shoots a blue head from you, it is like a homing missile. It locks in on any enemy and goes for him. You get 4 heads per/shield. These disappear after a certain amount of time. - White Gods (Brownish/Orangish Shield with a white head in it) This shoots a white head from you, it is also like a homing missile,but after a certain period of time it stops, enlarges, screams, and sends fireballs in 8 directions. These don't hurt you so don't worry. The SCROLLS, purely magical objects. Very valuable however... Green Scroll - Causes every enemy on the screen to explode. White Scroll - Causes every enemy on the screen to freeze. Although they can't move,they can still throw spears, etc.. Gold Scroll - Causes a white god(expanded,screamin') to appear above your head and explode (fireballs,etc...) Red Scroll - Restores some of your lost physical energy. Blue Scroll - Restores some of your lost mental energy. Black/Grey Scroll - Select this scroll and hit the button, you will lose all your other weapons, except in return you will have 8 gold/green scrolls. ** HINTS..... 1. If your trapped between 2 soldiers running at you in opposite directions (in front and behind) then jump over the one running at you in front then turn around and nuke the one behind you. 2. Gargore at the time has no ruler, all the cults are fighting for control of the land. Think before you move on the map stage. Also, if you're not sure, wait.. It will say "Time passes in Gargore". After this, you'll see where all the other cults are going and what they're going after. Also, waiting restores half your physical and mental energy. 3. Become familiar with and learn to recognize the different cults' attack styles. Watch out for the ones with the guys that just walk toward you wearing cloaks. They are the first combustible people and will explode on contact... with anything (ie arrows,etc..) I've been in love with this game since the beta version came out. It's combination of arcade gaming, strategy, and good digitized sound and a nice tune made this game for me. I personally consider this the best game yet of '89. I also consider it the best HACK N' SLASH of all time. Oh.. This is by the people who did Custodian ... another great ware. (What lovely comments..... Sewercide) Sewersoft presents..... OUTRUN Typed by Scotty Power Up: Loading Instructions 1. Set up your computer as shown in your owners manual. 2. Plug a joystick into port #1. Leave the mouse in port #0. With mouse, left button controls the gas and right button controls the gears. 3. Insert the Outrun disk into the drive, then turn on the drive and the computer. 4. Press the spacebar for the menu. position the cursor over your menu choice with the mouse. Pull back. To select joystick instead of mouse, pull down CONTROL menu, highlight JOYSTICK, and press the left button on the mouse. Or else press m for mouse or j for joystick. 5. Under tune you may select Passing Breeze,spalsh wave,Magical sound shower or radio off. 6. To begin pull down the game menu, highlight start and press the fire button on the joystick or press the left mouse button. ON THE ROAD By now, you're rarin' and ready to go. But before you rush right out there and get yourself in trouble, why not familiarize yourself with what is on the screen? time left your score lap time ---------------------------------------------------------- |Time 68 Score 01462958 Lap 0:68:10 | | | | | | your speed | | | | |216 km/h | |Hi|||| (which gear you are in) Stage 2 | ---------------------------------------------------------- tach scene or stage # Ok now you are ready to go. Press the fire button, wait for the green light and push forward on the joystick or press the left mouse button. Here is how to handle your car once you are on the road: To switch gears: press the fire button or right nouse button. Note:start out by taking corners in first gear. Use second gear to open it up for acceleration. To steer left : move joystick/mouse left. To steer right: move joystick/mouse right. To accelerate: Press forward on joystick or press left mouse button. To brake or decelerate: Pull back on joystick or release left mouse button. To pause during game: Press spacebar Press again to continue. To start over: Press esc key. YOUR ITINERARY At the end of each course you qwill see a map. It will show how far you went. You will always start at coconut beach. But you could end up in one of five different destinations: Course A Course B Course C Course D Course E ------- -------- -------- -------- -------- Coward Death valley Desolat Autoban Lakeside ------------------------------------------------------------ Wilderness Old capitol Wheat field Seaside town ------------------------------------------------------------ Desert Alps Cloudy mountain ------------------------------------------------------------ Gateway Devils canyon ----------------------------------------------------------- Coconut beach TIMING AND SCORING At the beginning of each course, the length of time allowed is shown at the top of the screen. If you reach the checkpoint in less than the time allowed, you reserve time will be awarded to the next scene. So step on it! Your score is based on how well and how fast you drive. For driving fast: points keep on increasing For crossing the goal line: time remaining x 1 million At the end of each race, the Name entry screen will appear. If you have earned enough points to rank within the seven existing scores, your score will be listed in order.When this happens enter your initials next to the score. To place your initials, move the joystick/mouse right or left to highlight each letter. Press the fire button to make your selection. WINNING TIPS If you slam on the brakes you will come to a complete stop and need to regain momentum. So switch to low gear instead. To maneuver a curve, downshift to low so you can hug the road and stay on the course. To race dow a straightaway, shift into high gear to achieve maximum speed. Avoid hitting vehicles in front of you, they slow you down. Sewer Software brings you..... PLATOON MANUAL INSTRUCTIONS From the collection of DR.J SECTION 1 & 2: JUNGLE & VILLAGE You must lead your platoon deep into the Vietnamese jungle, and ultimately the village. Once there, you will search the huts for useful objects and ultimately find a trap door in one of the huts that will lead you to an underground network of tunnels. The jungle contains many perils, such as armed patrols, booby trapped trip wires, assassins in trees and concealed "hides" where deadly snipers lie in wait. during your trek, stay vigilant for a box of explosives left by a previous platoon, as this must be collected before reaching the bridge, which must be blown up to prevent a large patrol following your platoon (and effectively wiping you all out). To destroy the bridge you must have the aforementioned TNT. When you cross it the explosive will be automatically planted. Food, ammunition and medical supplies left by enemy guerrillas can be picked up and used. For best results, spread supplies equally between the soldiers in your platoon. (Applies to IBM and Commodore versions only.) List of objectives in this section: 1. Find explosives. 4. Find village. 2. Find bridge. 5. Search huts for a torch and map 3. Place explosives on bridge. 6. Find trap door. CONTROLS You control one man at a time using your joystick. UP -JUMP/WALK UP/ENTER HUT/ DOWN -DUCK/WALK DOWN/ EXAMINE OBJECT LEAVE HUT LEFT -WALK LEFT FIRE -SHOOT RIGHT-WALK RIGHT SPACE BAR -THROW GRENADE NOTE: Whether you jump or walk up when pressing UP on the joystick is determined by whether there is an exit above you or not. The same rule applies for pressing down. The EXAMINE OBJECT facility is only available when inside a hut and in front of the object. Keys F1 to F7 call up the STATUS PANEL, which allows you to examine the state of you platoon, and to transfer control to another soldier. This is done by pressing UP, DOWN and FIRE on the joystick. (Applies to IBM and Commodore versions only.) MORALE: A collective indication of the state of your platoon. Morale decreases every time one of your platoon is wounded and when an unarmed Vietnamese villager is shot. When the morale is at zero then your platoon is considered inactive and the game is over. Moral can be increased by collecting food and medical supplies. HINTS: Every time one of the platoon is wounded, he will collect a HIT. When he has collected four HITS then he will die, signified on the status panel as "retired in action". When all five members of the platoon are dead, the game is over. AMMUNITION: Number of grenades left, and rounds of ammunition left. These can be increased by collecting ammunition left around. SCORE: This is increased by removing enemy soldiers, collecting useful objects, and destroying the bridge as well as any traps. A large bonus is obtained when this section is completed, depending on the number of active platoon members left. HINTS AND TIPS -Watch out for the enemy jumping out of the trees above you, or appearing out of trapped doors near your feet-a well placed grenade will destroy the latter. -When a member of your platoon is seriously injured (i.e. two or more hits), transfer control to another soldier to ensure as many as possible of your platoon survive. (Applies to IBM and Commodore versions only.) -When you are about to pick up food or medical supplies, transfer to the platoon member most in need of them. (Applies to IBM and Commodore versions only.) -It is recommended that you map out this section in order to complete it. SECTION 3: TUNNEL NETWORK Leaving the rest of the platoon in the village, you volunteer to go down the trap door, where upon you find yourself in an underground tunnel system. You already have a torch and a map to enable you to find your way around, as shown on the right hand sid e of the screen, and your position is indicated by an arrow pointing in the direction you are facing. Beware-The tunnels are densely populated with guerrillas who must be shot on sight. They usually appear from around the corners , but some of them have a sneaky habit of swimming through the waters of the tunnel and springing up in front of you... and that knife ins't for decoration! The tunnel also contains a number of rooms in which you amy find valuable items, such as Red Cross boxes (to heal one of your"HITS") and ammunition. It is also essential that you find two boxes of flares and a compass for the next section(when you enter a room you may be confronted by a guerrilla, or one of the boxes may be booby- trapped. CONTROLS You control your movements and that of the crosshair (gunsight) with your joystick. There are three control modes: UP -(A) WALK FORWARD/(B&C)MOVE CROSSHAIR UP LEFT -(A) ROTATE LEFT/(B&C)MOVE CROSSHAIR LEFT RIGHT-(A) ROTATE RIGHT/(B&C) MOVE CROSSHAIR RIGHT DOWN -(B&C) MOVE CROSSHAIR DOWN FIRE -(A&B) SHOOT/(C)EXAMINE OBJECT CONTROL MODE A Moving through the tunnels. When an enemy soldier appears, control changes to Mode B. CONTROL MODE B Moving through the crosshair in the tunnels. Move it over your target and press FIRE. If you score a hit, control will revert back to Mode A. CONTROL MODE C When you enter a room, move the crosshair and press FIRE to examine objects. If needed they are automatically taken. To leave the room, press FIRE with the crosshair over the exit icon(bottom right). STATUS AND SCORING MORALE: This is a collective indication as to the state of your platoon. Morale decreases every time you are wounded. When the morale is at zero, then your platoon is considered inactive and the game is over. Morale can be increased by collecting food and medical supplies. HITS:Every time you are wounded, you will collect a HIT. When you have collected five HITS then you will die, and the game is over. AMMUNITION: Rounds of ammunition left SCORE: This is increased with every successful encounter with Viet Cong, upon finding useful objects, and finding the exit. HINTS AND TIPS There are no villagers in this section, so everyone is assumed to be an enemy. Search all rooms, and remember where booby-trapped boxes are. SECTION 4: THE BUNKER Upon finding the exit in the tunnel system, you find yourself in a foxhole. Night has fallen, you are tired and doubtful of the terrain and position of the enemy, so you decide to rest in the foxhole until confirmation comes through from base camp. Unfortunately, a group of guerrillas suspect your location and will have no hesitation in attacking. You have your machine gun and a supply of flares to light up the night sky in order to see the enemy silhouetted against the horizon, but be prudent: supplies are limited, as is the time of illumination. You must ensure that you do shoot each man you see, as your own muzzle flash will give away your position, and anyone who is left standing will find it easy to locate and kill you. CONTROLS The joystick moves the gunsight. A flare is released by placing the gun sight over the flare gun (bottom right) and pressing FIRE. UP -MOVE CROSSHAIR UP DOWN -MOVE CROSSHAIR DOWN LEFT -MOVE CROSSHAIR LEFT RIGHT-MOVE CROSSHAIR RIGHT FIRE -SHOOT STATUS AND SCORING MORALE: This is a collective indication as to the state of your platoon. Morale decreases every time you are wounded. When the morale is at zero, then your platoon is considered inactive and the game is over. HITS: Every time you are wounded, you will collect a HIT. When you have collected four HITS then you will die, and the game is over. AMMUNITION: Rounds of ammunition left, and number of flares left. SCORE:Your score is increased by shooting attackers. HITS AND TIPS Shoot attackers immediately. Conserve ammunition and flares by sending flares up regularly, and removing each attacker with a short, well placed burst of gun fire-not a long inaccurate barrage. SECTION 5: THE JUNGLE Having survived a harrowing and sleepless night, you go in search of Sergeant Elias-your platoon leader. However, you meet Sergeant Barnes who informs you that Elias is dead, killed in combat. Shortly after however, you see from a distance that Elias is in fact alive and being relentlessly pursued by guerrillas. In front of your very eyes you see your sergeant mowed down in a hail of gun fire and at that moment a little bit more of your innocence and sanity is eroded. Pondering on the information given to you by Sergeant Barnes you realise that in fact he is indirectly responsible for the death of Elias by not aiding him. Before you can collect your thoughts more thoroughly you hear a crackle come over the radio-a transmission from the general. an air strike is planned for precisely 10:00 hours. That means that that section of the jungle you are in is to be napalmed in two minutes, as it is crawling with guerrillas. That just about gives you time to reach a safe area, and take cover from the airborne onslaught. You have been given the compass bearing of a particular safe area and you must make your way there immediately. GAME PLAY The compass (top right) indicates the direction you are facing. Always head in a northerly direction. Each screen depicts a view of a portion of the jungle you are in. Run to the top of each area, avoiding the Viet Cong fire, snipers, and any other hazards, such as barbed wire and half buried mines. There are several routes through the jungle;some will enable you to make your destination in time, which others will not. CONTROLS Using the joystick, move your man around the obstacles, avoiding enemy fire. Take a left or right turn at the top of each area. LEFT -MOVE LEFT RIGHT-MOVE RIGHT UP -MOVE UP THE SCREEN DOWN -MOVE BACK DOWN THE SCREEN FIRE -SHOOT HINTS AND TIPS Find out which is the quickest route and use it every time. Keep moving, as enemy fire is directed straight at you. In order to make good time, certain screens will have to be rushed. Other, more difficult screens, may be negotiated after you have cleared the way of all visible attackers. SECTION 6:THE FOXHOLE Having reached the area you were told was safe, you find sergeant Barnes in a foxhole. He realised your suspicions about him and Sergeant Elias, and sees this as an ideal opportunity to eliminate you without witnesses or any other evidence. Ensconsed in his foxhole, he fires his machine gun and throws grenades at you. Sewer Software and DR.J present..... POWER PLAY ~~~~~~~~~~ 1. THE GAME OF THE GODS On the heights of Mount Olympus, the mighty gods are once again arguing over which of them is the wisest and most powerful. To settle this quarrel, Zeus has decided that four of them representing different ideologies should compete in a battle of sheer wit and speed he has devised, to be called the 'POWERPLAY'. The representatives will be Apollo, standing for strength and dignity; Hermes, standing for magic and trickery; Hecate, standing for witchcraft and wizardry; and lastly Aphrodite, standing for love. A courtyard in the Temple of Apollo has been selected as the arena for the main competition. In addition special battlegrounds have been prepared in places as diverse as the craggy tops of Mount Olympus and the fiery caverns in the very depths of Hades. To avoid personal injury, each god will pick a team of warriors to fight the battle according to their commands. Throughout the contest, the gods will be tested on their knowledge of the universe, having to respond quickly and correctly to make best use of their warriors. The better a god responds, the wiser they become, and they may use stronger warriors. There are four families of warriors, one to represent each of the four ideologies competing, each containing four grades from weak to strong. The families are as follows with members listed weakest to strongest:  APOLLO'S FAMILY HERACLES -- The most famous of Greek heroes, and one of the sons of Zeus himself. ATLAS -- One of the great Titans, whose task it was to hold apart earth and heaven. CYCLOPS -- A huge one-eyed giant possessing the strength of many men. MINOTAUR -- A powerful monster, half man and half bull, with great physical strength. HERMES' FAMILY ORPHEUS -- A poet whose magic lyre could charm trees, rivers and wild beasts. PROMETHEUS -- One of the great Titans who stole fire from the gods for mankind. TALOS -- The giant bronze man who guarded the entrance to Crete. PAN -- A satyr, half man and half goat, who was the mischievous son of Hermes. HECTATE'S FAMILY MAENAD -- One of the wild women followers of Dionysus, the wine god. NEREID -- A mystical sea nymph. SIREN -- A sea creature, with the head of a maiden and the body of a bird who used to sing to sailors causing them to wreck their ships upon her rocky home. SCYLLA -- A horrible dog-headed man-eating hag. APHRODITE'S FAMILY PERSEPHONE -- A beautiful girl condemned to live six months of each year in Hades. PANDORA -- A temptress who let loose all the evils known to man from her mystical box. EROS -- The god of love and son of Aphrodite, recognised by his quiver of golden arrows. IRIS -- The beautiful winged goddess of the rainbow, and messenger to Zeus' wife, Hera. By using the resources available to them, these warriors will fight bravely to the death for their masters. The battle will rage until only one god remains with any warriors in the courtyard. This god may claim the title "Wisest and Most Powerful God of All". 2. LOADING THE PROGRAM After a short while the credits will appear on the screen, followed by an option to start POWERPLAY itself or the Question Compiler. Press '1' for POWERPLAY or '2' for the compiler. The appropriate program will then be loaded and run. Note that the credits may be stopped prematurely by pressing the ESC key. 3. PLAYING OPTIONS Most of the options are selected using a menu system. In each case the current option is highlighted and may be changed by pressing SPACE. You can move through the options by pressing RETURN. When all is to your liking pressing ESC will set your choice. You will be asked to select the number of players competing and the difficulty level of the game. There may be two, three or four players in a game. Alternatively the one player practice mode may be chosen. Press 1,2,3 or 4 on the keyboard to make your choice. The difficulty level determines the amount of time allowed to answer each question and may range form 10 seconds on level one to 2.5 seconds on level four. Again press 1,2,3 or 4 to choose. Each player will then be asked which input device they wish to use during the game. More than one player can use the same device and can choose between the keyboard and one of two mice or joysticks (if these are connected). The current player selecting a device is highlighted, together with the current device, which may be changed by pressing SPACE. You can move from player to player by pressing RETURN. When all players have chosen, pressing ESC will set their choices. The game will not play correctly if a device is selected which is not available on your computer. Each player will then be asked to select which god or goddess they wish to be during the game. You can do this by pressing 1,2,3 or 4. If you try to pick a deity who has already been chosen by another player nothing happens, so just choose again. Next, each player has the opportunity to choose their army. A default army is shown both by name and graphically, so just press ESC if you are happy with this. If you would like to hand-pick your warriors press SPACE to cycle through the available pieces, RETURN to cycle through the pieces in your army and ESC when you have picked all your pieces. When all players have chosen their armies, the game begins. 4. HOW TO 'POWERPLAY' 4.1 Outline of the Game Each player begins the game with four pieces, each of the lowest grade of their family, in one corner of the courtyard. Each player's pieces are distinguished by the following characteristic colors: PLAYER 1 BLUE PLAYER 2 RED PLAYER 3 GREEN PLAYER 4 YELLOW The object of the game is to eliminate your opponents pieces from the courtyard. Players take turns to select one of their pieces and answer a question which will appear at the bottom of the screen. If the question is answered incorrectly or not answered at all, play will pass to the next player. If the correct answer is given a number of points will be added to that piece's wisdom score. The player may then move the piece onto any free adjacent square to end the turn. If, after answering correctly, enough points have been accumulated, the player is given the opportunity to change the piece to one of greater power by means of a 'mutation'. Moving a piece onto a square occupied by an opponent will invoke a 'challenge'. The piece losing the challenge will be mutated down to a lower grade or eliminated from the game. 4.2 Selecting a Piece When prompted, a player may select a piece. The current player and piece will be indicated at the bottom left of the board. The current piece will also make itself known on the main board. The wisdom score and strength level of this piece are indicated at the bottom right of the board. The current player may cycle through his pieces by pressing SPACE on the keyboard, the right button on a mouse, or by moving a joystick up or down. Having selected a piece the player must press RETURN on the keyboard, the left button on the mouse or the FIRE button on the joystick to receive a question. It is not possible to select a piece which has no free adjacent squares to move onto after answering the question. 4.3 Answering a Question The squares on the courtyard are divided into four colors corresponding to the following subject areas: COLOR SUBJECT BLUE GENERAL KNOWLEDGE RED SPORTS AND LEISURE GREEN SCIENCE AND TECHNOLOGY YELLOW HISTORY AND GEOGRAPHY The question will be presented on a tablet which will appear on the lower portion of the screen. The subject of the question is determined by the color of the square occupied by the selected piece. The difficulty of the question is determined by the grade of the selected piece: the higher the grade, the harder the question. Four possible answers will be presented with the question. These are arranged around a cross in the center of the tablet. If using the keyboard, the player may select an answer by pressing the appropriate direction. If the selected answer is correct, points will be added to the wisdom score of the piece. The more time taken to answer, the more points will be added(??? seems like it should be the other way around). The player may then move his piece, or if over 25 wisdom points have been accumulated, will be given the option to mutate to a higher grade. If the player answers incorrectly or runs out of time, no points are added and play passes to the next player. 4.4 Moving a Piece A Piece may be moved onto any free neighboring square by moving a mouse or joystick in the appropriate direction and pressing the left or fire button. If using the keyboard then the numeric keypad is used to move the piece. Imagine that the piece is standing on the '5' key, and then press the neighboring key as if it were the square you want to move the piece to. The following table indicates the exact keys to use: KEY DIRECTION 8 BACK 2 FORWARD 4 LEFT 6 RIGHT 7 BACK-LEFT 3 FORWARD-RIGHT 1 FORWARD-LEFT 9 BACK-RIGHT A piece may not be moved off the board or onto a square occupied by a piece belonging to the same player. Moving onto a square occupied by an opponent's piece will invoke a challenge. There are four magical squares in the courtyard which are colored white. These are known as 'teleport' squares. Moving a piece onto one of these squares will cause it to disappear and reappear on any of the four teleport squares, including itself. These squares may thus be used for rapidly crossing the board or to escape an impending challenge. However, since the piece may reappear on the same square, this is not a foolproof method of escape. A piece will not appear on a teleport square which is already occupied by another piece. 4.5 Mutations If after answering a question correctly, a piece of grade one to three has accumulated a score of 25 wisdom points or more the option to mutate to a higher grade will be given. The player may choose to postpone mutation to a later move, in which case the piece may be moved as described in the previous section. If a mutation is desired, it can be initiated by pressing SPACE on the keyboard. If using a mouse the left button should be pressed while the mouse is stationary, and if using a joystick the FIRE button should be pressed with the joystick centered. After a mutation, 25 wisdom points will be deducted from the piece. Having mutated the piece, the player may then continue to move it onto a new square in the manner previously described. The advantages of mutating a piece to a higher grade are that it can accumulate more strength than before, and that it can withstand more challenge defeats before being eliminated. The disadvantage is that the subject matter of the questions presented becomes more difficult. 4.6 Challenges A challenge consists of two players competing against each other to answer the same questions. The challenge questions will be set on a random subject and at the difficulty level of the higher grade piece contending. To invoke a challenge, a player must attempt to move his piece onto a square already occupied by an opponent. This will cause the contending pieces to be taken off the main board to one of the specially prepared challenge sites. Although the site for the challenge can differ, the process in each case is the same. The two players competing in the challenge must watch their pieces take part in a 'see-saw' competition and not until one of them has lost the competition will normal play resume. The contesting players will be informed which devices they should use to answer the challenge questions. If the keyboard is the only device available, one player will be allocated the cursor keys to use as normal and the other will be allocated an alternative set of keys. This set of keys should be used if a player is allocated KEYBOARD 2. They are arranged in a cross about the number '5' key on the numeric keypad and are marked with the appropriate arrows on some machines. There will then follow a quick-fire round of questions. When each question is presented, both players must attempt to answer the question as quickly as possible. The player answering first wins the question if the correct answer is given, but loses the question if the wrong answer is given. If neither player manages to answer within the time limit (which is shorter than on the main board), the piece with the higher strength will win the question. The first player to gain a three- question advantage over the other wins the challenge. After each challenge question one point is deducted form the strength of each piece regardless of who won or lost. If the strength of either player's piece falls to zero during a challenge, then that player will lose each following question regardless of how the player answers. The piece belonging to the player losing the challenge is mutated down a grade, with no wisdom points being restored in the process. If the piece is already of the lowest grade it will be eliminated from the game. Thus, although the higher grade pieces run a lower risk in a challenge situation, their strength is vitally important--if it is low they could easily lose the challenge to a stronger, lower-grade piece. After a challenge, each surviving piece will be restored to the main board in the same position as before, unless the piece being challenged is destroyed, in which case the challenging piece will move onto its square. 4.7 Irritability At the start of each player's turn, their pieces will be checked to see if any of them has been kept out of the action for too long, and thus get a bit 'fed up'. If so then that piece may decide to start moving about of its own accord by making a random move. If it encounters an opponent's piece it may decide to attack causing a challenge to occur in the normal fashion. If a piece has moved of its own accord during a player's turn, then after it has moved, or after any resulting challenge, play will pass to the next player. No on-screen information is available regarding how irritated or fed-up any particular piece is, so it is up to the players to keep their warriors happy. 4.8 Practice Mode If only one player is selected at the start of the game, a special case applies, and this one-player practice mode is entered. Since you have no one else to play against, you may take on Zeus himself (whose part is played by the computer). You may pick your pieces as normal, but when you arrive on the board you will find that Zeus has picked an Army of top-grade warriors. You must still answer questions in order to move, but Zeus, because he knows all the answers, will move whenever he cares to. He won't cheat though, his aim is not to win, but to test you. 4.9 Character Personalities Each of the sixteen different types of warrior that can appear during POWERPLAY has a unique personality manifesting itself to the player as strength, recovery and irritation factors. To take full advantage of your army you should consider these carefully as it could mean the difference between emerging victorious or vanquished. 5. COMPILING YOUR OWN QUESTIONS 5.1 Introduction There are over two thousand questions in each language supplied with POWERPLAY which we believe will keep you playing for quite a while. However, you may eventually wish to compile your own questions, so a program has been provided to allow you to do this called the question Compiler. All the questions for POWERPLAY are held in one file, containing questions on each of four topics at four difficulty levels. Although we do not allow you to examine or alter the supplied questions, you may create new files of your own or edit files you have previously created. 5.2 The Question Compiler To use the compiler select the compiler option after having booted the program. hen prompted, type in the nae of the question file you wish to alter followed by RETURN. The compiler will then load the named file. If you want to start a completely new file, simply press RETURN without a filename. 5.3 The Editor You will now be presented with the editing screen. This consists of a number of boxes into which the various parts of the question are entered. The cursor starts in the TOPIC box, and can be moved to other boxes by pressing the up or down cursor keys. In the boxes that consist of more than one character a simple line editor is invoked. This uses the cursor keys to move left and right through the box. Pressing BACKSPACE deletes the character to the left of the cursor and moves the rest of the line left. Pressing DEL deletes the character upon which the cursor is resting and again moves the rest of the line left. Characters are inserted into the line at the cursor position simply by typing them. Note that in all multi-character boxes except the TITLE box only numeric digits, letters, full stop, comma, apostrophe and the percentage sign are allowed. You can move through the questions by pressing SHIFT and the right arrow key for the next question, or SHIFT and the left arrow key for the previous question. You cannot move off the current question unless it is either totally completed or totally blank. 5.4 Question Format The contents of each box are described below: a) Topic: A number from 1 to 4 may be entered into this box. It selects the topic number of the questions you wish to alter. To the right of this is displayed the color of the square a piece must land on in order to receive a question in this topic. b) Level A number from 1 to 4 may be entered into this box. It selects the difficulty level of the questions you wish to alter. c) Title This is the message which will be printed during the game after a piece has been selected. It gives a forewarning of the subject matter of the question before the question itself is displayed, for example 'HISTORY & GEOGRAPHY'. You are not restricted to the same four subjects used in the supplied question files. d) Question This box holds the actual question that will be asked. When you move off this box, the compiler will try to center the question in the same way the game itself does. If there is no room to do this the computer will emit a 'bleep' and you must shorten it. e) Answer Indicator This box is to the right of the word ANSWERS. It should contain a letter from A to D and nothing else. This indicates which of the following four answers is correct, A for the first, B for the second and so on. f) The Answers the next four boxes contain the four possible 'answers' to the question, only one being the correct answer. The first two correspond to the 'left' and 'right' answers, the second two correspond to the 'up' and 'down' answers. 5.5 Saving a Question File Before you can save a question file it must contain at least one question for each topic at each difficulty level. When you are ready to save, press ESC. You will then be asked to supply a filename to save the question file under. Pressing RETURN without supplying a filename at this stage will take you back into the Editor without saving. After the question file has been saved, you may proceed to edit another file. Sewersoft brings you..... PUFFYS SAGA CONTROLS Move the joystick in any direction and your character will move in that direction. To shoot, press the button on your joystick. When your character dies, the screen gets dark. If you press F1 or F2, the game immediately begins again on the first level without showing the OVERVIEW and HIGH SCORE pages. KEYBOARD CONTROLS F1 Pause. Press F1 to resume game F2 50 Hertz/60 Hertz F3 Slow mode. Decreases the speed of Puffy and the monsters. F4 Fast mode. Increases the speed of Puffy and the monsters. F5 Map of the level. Two Magic Goms required. F6 Training mode. This mode begins on level 7 or higher. F7 Loads the last saved game. Can be used only once per game. F8 Saves the game. This function can only be used on level 7 or higher. F10 Quit the game. NOTE: After you are done playing, turn off your computer before using other software. USING THE MAGIC GOMS MAGIC GOMS KEY REQUIRED ACTION ---------------------------------------------------------------------- HELP 1 Lets you change Puffy to Puffyn. F 1 Gives you Fire power bonus for several seconds. S 1 Gives you Extra Speed bonus for several seconds H 1 Gives 100 extra life points F5 2 Map level UNDO 2 Lets you move to the next level M 2 Decreases the speed of the monsters LOADING and SAVING a GAME Saving a game or saving high scores takes place on the game disk. You can only save a game at the end of a level. Press F8 and the game will be saved to the game disk. You can only save when you are at level 7 or higher and you can only save one game per disk. Press F7 to load a game thats allready been saved. If your score is among the top 10, you will see the High Score screen. To enter your name next to your score, type in a name and press enter to save your high score. ICON SUMMARY MAGIC ITEM TIME EFFECT ---------------------------------------------------------------------- Extra Speed limited Lets you move quicker Fire Power limited exhale fire/scare enemies Super Shots(6-8) limited wipe out groups of ememies Repellency limited scare/repel enemies Invisibility unlimited makes you invisible Transportability unlimited on levels jump over objects, pick up certain items Insensibility unlimited on levels protects you from all enemies OBJECT OF THE GAME As Puffy or Puffyn, your goal is to advance from one level to the next. To finish a level, you must collect all the PAD GOMS ( power dots ) scattered around a level. How many levels are there ? We'll let you find that out for yourself! THE CHARACTERS You choose from Puffy or Puffyn. Puffy is more robust and his shots are more powerful, while Puffyn keeps the objects she picks up longer. These differeces are important depending on the level: certain levels are easier to get through with Puffy while others are easier to get through with Puffyn. You can even switch between the two on a level. To do this, you must possess on Magic Gom ( see Magic Gom ) under Bonus items for more details. STAYING ALIVE Your energy diminishes when you are attacked by an enemy and as time goes by. There are objects spread around the levels to help you repel or kill enemies. And to keep from passing out and dying from hunger and fatigue. You can eat. To eat, pick up the joints of lamb (drumsticks) on the floor. You can also find these in certain chests. Your character can fire an unlimited number of normal shots which is effective against some enemies. To survive, you will need to pick up and use the bonus items you find scattered along the pathways. THE ENEMIES THE GHOSTS These are the enemies you will run into most. The best way to kill them is with Fire Power. You can also kill them using a normal shot, but you will have to shoot several times. The ghosts are immobilized for about a second with the first shot; the following shots should kill them. THE ACID PUDDLES Almost as plentiful as the ghosts, the Acid Puddles are something to be feared because they cannot be destroyed. Normal firing won`t affect them at all and the Fire Power option will only immobilize them for a few seconds. If an Acid Puddle touches you, it takes 70 energy points off Puffy and 90 off Puffyn. Once and Acid Puddle touches you, it will die. Acid Puddles are hampered by certain obstacles like Ghost corpses and Stun tiles. TIP: You can avoid Acid Puddles by using Fire, Repellency, or invisibility. THE DRAGONS The Dragons only fire at you if they see you. Only their flames are dangerous; their bodies are harmless. The flames can cross walls and burn you. Fire, Repellency, and invisibility are useless against the Dragon. TIP: They always stay in the same place, so don't provoke them just seek another passageway. THE FLYING DRAGONS Like the Dragons, the Flying Dragons are invincible. You'll find them in corridors at least three squares wide. All the Flying Dragons go in the same direction. TIP: Position yourself under them and they won't be able to detect you. Then advance in the same direction that they are going. THE SNAKES You'll find snakes in groups. They move around either vertically or horizontally. No weapon can harm them or immobilize them. Only the head of the snake is dangerous. You can step on their tails without any problem. A snake will bite you even if you possess invisibility and Repellency. TIP: Snakes move in waves. Just pick the right moment to pass. THE EYES These enemies stick by your side. Once an Eye spots you, it won`t leave you alone. The Eyes cannot be killed. The most you can do is immobilize them for one or two seconds by shooting them. You'll have to be patient to get rid of them. TIP: When an Eye starts moving towards you, fire on it and move one square away. Shoot it again before it wakes up and then move away far enough so it no longer detects you. Eyes won't attack if you possess Fire, Invisibility or Repellency. THE GRRS These are truly fearsome enemies because they move around while they're invisible. When they get close enough to shoot you, they suddenly appear and will start shooting at you! There are two kinds of Grrs: Male and Female. When the male spots Puffy, he travels without any hesitation straight towards Puffy and shoots flames. The female GRR is a bit calmer; she shoots here, there, and everywhere without aiming at anything in particular. Only normal shooting or Super Shots can destroy the GRR. When you shoot the female GRR, she transforms into a male GRR. You'll have to shoot once more to destroy it. BEWARE: Don`t fire at the Repellency bonus- it will transform into a GRR. TIP: Lure GRRs into a corridor one square wide, they will become confused and stay in the corridor. GRRs are vulnerable when you possess the Super Shot option; fire when you spot the white wisp of smoke indicating their arrival. Repellency and Invisibility will scatter the GRR. THE HURRICANES These are extremely dangerous fire tornadoes! You must avoid them at all costs-they take 500 life points off Puffy and 700 off Puffyn. They will only die once they've touched you. And watch out! One Hurricane could be hiding behind another. Once a Hurricane detects you, the chase is on. They won't stop until they've touched you or until they've been imprisioned again. BEWARE: Don't shoot at a Fire Power icon or it will turn into a Hurricane. TIP: To imprision a Hurrican, lure it into a place that it won't be able to get out of( there's almost always such a place nearby). If there isn't one, you can always construct such a place by digging a tunnel in a series of chests. Use Invisibility to disperse them. BONUS ITEMS EXTRA SPEED This bonus keeps you from being slowed down, which can happen when you cross through something like the stun tiles. FIRE POWER This bonus lets you exhale fire for a few seconds, which frightens some enemies. If you accidently shoot at the Fire Power bonus, you create a Hurricane that lasts for a short while. SUPER SHOT This bonus looks like a normal shot, but is a lot more powerful; it can destroy an entire formation of Ghosts, chests,etc. Each Super Shot bonus gives Puffy six shots and Puffyn eight shots. You can carry several Super Shot bonuses at the same time. There is no time limit for using your six Super Shots. REPELLENCY Repellency lets you frighten all enemies EXCEPT the Flying Dragons and the Hurricans. If you accidently fire at the Repellency bonus, you'll turn it into a FRR ( so avoid shooting it ). This option lasts for a limited time after you pick it up. INVISIBILITY This option makes you invisible to almost all your enemies. Although you're invisible, you're not protected from damage; if an enemy touches you by accident, you'll lose as much energy as if you were visible. When you take a shot, you become visible. This option lasts through the entire level. TRANSPORTABILITY This is a powerful bonus that lets you pass through certain wall. If you try to pass through a wall thats at least two squares wide, the second square will be destroyed. Transportability also lets you open chest, doors and secret walls without using a key. BEWARE: Once you possess Transportability, its more difficult to take another. You'll notice that your character will jump over certain objects as well as over walls. There is, however, a trick to picking up certain items while you're carrying Transportability - we'll leave it up to you to discover it! This bonus is lost once you pick up the Insensibility option. INSENSIBILITY This bonus is definitely the most powerful of all the bonuses. It makes you untouchable to all your enemies! Theres no time limit; it lasts for the entire level. MAGIC GOM These blue pastilles ( or dots ) are very useful because on certain levels its better to be Puffy while on other levels its useful to be Puffyn. With ONE Magic Gom you can get one of the following... . The Fire Power bonus . 100 extra life points . The Extra Speed bonus . Change from Puffy to Puffyn, or vice-versa ( this is useful because on certain levels its better to be Puffy while on other levels its useful to be Puffyn). To use your Magic Goms, see the Command Summary Card for the keys that will activate your choice. BEWARE: If you fire at a Magic Gom with normal firing or Super Shot, you will change from Puffy to Puffyn, or vice-versa. MISCELLANEOUS ITEMS PAD GOMS These are the pastilles (dots) that you must collect in order to finish a level. Don`t forget: Sometimes a Pad Gom will appear under a chest or a destructible wall- you'll still have to pick it up in order to finish the level. JOINTS OF LAMBS ( DRUMSTICKS) Gobble these items up to get life points! BEWARE: If you fire on a roast lamb using normal fire or Super Shot, it will immediately be replaced by a Ghost! THE KEYS The keys let you open doors and chests. You can carry a maximum of 12 keys. Economize them-certain levels need them all for you to finish. If you have 12 keys and you try to pick up more, the key you try to pick up will be destroyed. Don`t pick up keys if you already have 12; you may need it later. THE CHESTS Use a key to open a chest. The Transportability bonus also opens certain chests. THE DOORS You can open doors with keys. The Transportability bonus also lets you go through doors. If you wait long enough, all the doors of a level will open up simultaneously. This can be dangerous if the doors are keeping enemies imprisioned! THE TRAP DOORS They let you open certain doors, secret passageways, and invisible walls. BEWARE: You might free enemies by passing over a trick trap door. THE STUN ( SLOW DOWN TILES ) The Stun Tiles will immobolize you for a few seconds when you pass over them. They disappear after you've passed through them. Take the Extra Speed option to avoid being slowed down by these tiles. TIPS Don't despair if a certain level seems difficult: there's always a solution to it without losing lots of points. You don't have to kill certain enemies to escape them. Some can be tricked; you can lead them into a corner and they will stay there. Observe certain passageways carefully before entering them. Don`t let yourself be tempted by bait thats too enticing! You can definitely get too much of a good thing! Certain Passageways might at first appear impossible to enter-look carefully to see if there's an item nearby to which might enable you to pass without any problems. Don`t forget what weapons you possess. For example, if you have a Super Shot, remember that if you shoot, you`ll destroy everything in your path. Thats not always a good thing! If you hit a drumstick with a Super Shot, it turns into a Ghost. Some options can be dangerous if you pick them up at the wrong time. Gor instance, If two or three GRRs are imprisoned by a small wall near you, and you pick the invisibility bonus, the GRRs will escape from their semi-prison, once the bonus is used up, they will all come straight towards you! Beware of trap doors that look too enticing. They often open up walls imprisoning GRRs, Hurricanes, or a huge group of Ghosts! THE END (Brief Reformatting and Editing by Sewercide) Sewersoft presents..... WILLOW by Mindscape (Typed by Scotty) INTRODUCTION In a far off time when magic was real, and an evil queen threatened all that was good, a trio of unlikey heroes joined in an epic quest. The story of their adventures is recorded in the magical scroll you now possess. GETTING STARTED Before the scroll can tell the tale, you must follow the installation and loading instructions on the enclosed reference card. THE SCROLL The scroll tells the story of Willow Ofgood and his quest to save Elora Danan and defeat the evil Queen Bavmorda. The scroll will flow past until its story is told and then it will begin again. If you want to stop the scroll, or if you want to back up or skip forward, use the controls on the enclosed reference card to control the motion. The scroll is more then just a story, however. It is also a door way into the world of Willow. Throughout the scroll you will see words highlighted. When you move the wand to one of these highlighted words and press the button, you will be drawn through the scroll and into the story. Once there, you will guide the actions of one of the heroes of the Willow saga in his or her part of the quest. In ancient writings of this sort, each and every word may hold its own special meaning, so the player should explore the scroll very carefully-not all the words of power will be readily apparent. A wise player will take nothing for granted. For example, if you use your wand to select the words Daikini crossroads from the scroll-just below the image of Nockmaar woods- you will enter the Daikini Crossroads game in practice mode. PLAYING WILLOW There are two ways to play Willow:in practice mode and in quest mode. The first, the practice mode, is provided to allow the would be hero a chancer to see the dangers that lie ahead. When you play in this way, almost every segment of the game may be accessed individually as many times as you like. You can also use it has a chance to learn your opponent weaknesses and strengths, to find your way through treacherous mazes, and to hone your magical abilities before actually attempting to defeat Queen Bavmorda in the quest. To practice any game, simply click on the appropriate word in the scroll. If you click by accident, you can escape back to the scroll by pressing the key on the reference card. You can also quit a game the same way. The quest mode of play is to start at the beginning of the story, and play through each of the game segments in order. You must successfully complete each segment to save the child and defeat the queen. You will have eight chances to fail, one for each candle in the Ritual of Obliteration that Queen Bavmorda is performing to destroy ELora Danan. To play the game in this mode, click on the word WILLOW at the beginning of the scroll. You will be taken to the first game, "Dungeons" and from there you will trace the journey of Willow step by step to victory or defeat. THE GAMES DUNGEONS The child Elore Danan has been born in the dungeons of Nockmarr Castle, the fortress of Queen Bavmorda. You take the part  of Ethna, the Daikini, as she flees with the baby through a treacherous maze of cooridors. You must find your way quickly-if you linger to long in one place the guards will surely catch you. The corridors are tricky and many of the rooms are traps, so you must move carefully but quickly if you are to escape. You will have the option of going left, right or straight-as long as there is a passage in that direction. You can also back up. When you back up, you will remain facing in the direction you were going prior to backing up. WOODS The first part of Willow's journey is to the Daikini crossroads. to get there he must traverse treacherous woods filled with searching Nockmarr troops and Death Dogs. You control the figure of Willow as he tries to reach the crossroads. Willow can run in any of eight directions, and is armed with three magical acorns which can turn anything they hit to stone. More acorns can be found in the woods, but they are scarce so use them sparingly. Avoid the Death Dogs and the Nockmaar troops. If you are attacked and cannot escape, throw an acorn at the attacker. Don't fall in the pits or the swamp, and be sure to cross the river only by bridge or stepping stones. Speed is of the essence and you must move quickly on the path, but you will need to leave the path to find acorns. DAIKINI CROSSROADS Here you must choose which cage holds the Daikini warrior Madmatigan, and which cage holds death. Select the right cage by moving the cursor to it and pressing the button. SPELLCASTING Spellcasting is a game of sorcery. You must use all your magic to transform the good sorceress Fin Razial back from her current beastial form. Because your magic is uncertian, you must play this game three times throughout the course of the adventure. The first time transforms Fin Raziel from a possum like creature into a raven. The second time she transforms from the raven into a goat. And the third time she finally regains her humanity. At the bottom of the screen you will see a row of thirteen runic charms. Three of these symbols must be combined in the proper order to cause the desired transformation. If the symbols are chosen in the wrong order, then Fin Razial will be transformed into some monstrous thing. If a symbol that is not part of the spell is chosen, terrible things will happen and you will have failed. ICE CAVES: To escape the mountain top snow camp of General Kael, Madmartigan and Willow must take a desperate run down the mountian on an enemy's shielf. They find themselves in a twisting network of icey caves and tunnels which they must carefully negotiate. At each junction you will have the option of going left, right or continuing straight. There is no way to back up and there is only one exit. BATTLE In the final assault on Nockmaar Castle, General Keal and Madmartigan finally face eack other in a battle to the death. Madmartigan must defaet Kael himself on the steps of Queen Bavmorda's tower. In this contest of master swordsmen, you control the figure of Madmartigan. There are seven basic movements available to you, and just the right combination will serve to defeat Kael. Movements with joystick, mouse or numeric key pad; without 'fire' pressed move left jump move right move left stand move right move left duck move right with 'fire' pressed slash high jump slash high thrust middle stand thrust middle slash low duck slash low Note: attack direction depends on which way the character is facing. The game is won when either Kael or Madmartigan falls. THE FINAL BATTLE This game cannot be played in practice mode, it only is available if you overcome all the previous challenges and have proved yourself worthy to face Queen Bavmorda in a test of magic. You must complete the necessary spell before she can reach the altar and destroy Elora Danan. The mechanics are similar to those in the spellcasting game, but the spell is made up of nine symbols instead of three. The outcome is uncertian, but if you have studied the lessons of Fin Raziel carefully, you will prevail. CHANGING THE GAME Once you have played through and won Willow, you may want to reset the game to create new challenges for yourself. If you select the Mindscape logo at the end of the scroll, you will have various options available to you. Among these is the option to reset various settings in the game. If you choose this option all of the choices in the game which are variable will be randomized to create a fresh game experience. WILLOW REFERNCE CARD GETTING STARTED You need an Atari 520,1040 or mega with at least 512K. One or two disk drives and a color monitor. A mouse or joystick is optional. ( I am sure everyone knows how to load a game by now!) THE CONTROLS Willow can be played using one of three control devices- mouse,joystick or keyboard (numeric pad). A general description of each is given below. Detailed instructions for each game follow. Mouse: The mouse is normally used to move a small, wand shaped cursor around the screen. Selections are made by pointing to the choice and pressing the left button. Occasionally, specific motions of the mouse in the direction you wish the on-screen figure to go will do the trick. Keyboard: When using the keyboard, you will have several options. The cursor keys are always active and map the motions of a joystick. If you have a seperate cursor cluster, you may need to press two keys simultaneously to cause diagonal movement. In both cases the space bar will act as the fire button. Joystick: The joystick does exactly what you would expect. Moving it any of the eight directions causes corresponding movement on the screen. Whenever the fire button is called for, use button #1. Button #2 is never used in Willow. SPECIFIC GAME CONTROLS Each game in Willow has its own way of using the input devices. The following details each game's control system. The Scroll: While in the scroll, you can scroll forward or backward, stop the motion, and select highlighted words to enter specific games. To scroll forward and back; With a mouse or joystick - Move the wand to the bottom of the screen to move move forward and to the top to move backward. The closer to the top or bottom you move the cursor, the faster the scroll will move. With the keyboard - Use the arrow keys to move the cursor to the top or bottom of the screen. To select a word - Point the tip of the wand on the desired word and press the left mouse button, joystick button #1 or the space bar. The Dungeons: In the dungeons game, you have the option of moving left, right, straight ahead or back one move. With a mouse - Move the cursor to the exit you want to use and press the left mouse button. With a joystick - Move the joystick in the direction you wish to go,left, right, forward or back and press button #1. With the keyboard - Press the cursor keys to move left, right, forward or back. You can use either of the keyboard clusters described previously. Woods: In the woods game, you must escape the Nockmaar troops and Death Dogs on your way to the Daikini Crossroads. Throw acorns to stop your opponents; pick up acorns by running over them. With a mouse - Move the mouse in the direction you want to run. Press the left mouse button to throw an acorn in the direction you are facing. With a joystick - Move the joystick in the direction you wish to go, left, right, up, down and the diagonals. Press button #1 to throw an acorn in the direction you are facing. With the keyboard - Press the cursor keys to move left, right, up down or diagonally. Press the space bar to throw an acorn in the direction you are facing. You can use either of the keyboard clusters described previously. Daikini Crossroads: Choose the left or right cage to free Madmartigan. With a mouse - Move the mouse left or right to face the cage of your choice. Press the left mouse button to open the door. With a joystick -Move the joystick left or right to face the cage of your choice. Press button #1 to open the door. With the keyboard - Press the cursor keys to face left or right. Press the space bar to open the door. Spellcasting: Choose the three symbols to free Fin Raziel. With a mouse or joystick -Move the wand to the symbol you wish to select. Press the left mouse button or button #1 on the joystick to choose the symbol. With the keyboard -Use the arrow keys or the cursor keys to the symbol you wish to choose. press the space bar to make the selection. Ice Caves: In the ice caves you need to quickly choose left or right turns to find your way through the mountain. With the joystick or mouse - Move left or right to turn. With the keyboard - Press the cursor keys to move left or right. Battle: This has been described in prior pages. SPECIAL KEYS F1 - Allows the game sequence just played to be replayed without first returning to the scroll. Works only in the practice mode. ESC - Exits a game and returns to the scroll. Works in both practice and quest modes. P-Pauses the action. Press this key again to continue. Works in both modes. SPACE BAR OR BUTTON - Wheneverthe game pauses, pressing the mouse button, joystick button, or the space bar will continue the game. Game Reset: Clicking on the Mindscape logo in the scroll will cause a dialog box to appear asking if you want to reset the game. Answering yes will cause all maps to be randomized all spells to be scrambled and the cages in the Daikini Crossroads to be varied. You will then return to the scroll, ready to begin your new adventure. If you choose no, you will return to the scroll without making changes. (Edited by Sewercide) Sewersoft presents..... BIONIC COMMANDO From the collection of DR.J JOYSTICK COMMANDS Without fire button depressed: Joystick Left Walk left Joystick Right Walk Right Joystick Back Crouch Joystick Forward No effect With fire button depressed: Joystick Left Fire left Joystick Right Fire Right Joystick Back Crouch and fire in direction facing Joystick Forward Extend Bionic arm With bionic arm attached: Joystick Left Swing left Joystick Right Swing Right Joystick Back Detach bionic arm Joystick Forward Climb up bionic arm KEYBOARD COMMANDS F1 - PAUSE F10 - RESET GAME PLAY Your bionic commando is equipped not only with a bionic arm, but also with a standard double shot gun. As the game proceeds, extra weaponry will be parachuted to you. These include: A rapid fire gun Grenade launcher A plasma bolt blaster A bionic arm turbo charger may also be dropped for extra speed. LEVEL 1 The Dying Forest: This is the only accessible route to the alien base complex. However, the aliens know that too! As you approach the complex, alien guards armed with rifles and grenades will bar your way. Use your bionic arm to climb the trees, but beware, the larger soldiers are equipped with a rope and grappling hook with which they can climb trees and chase you. Also the trees are inhabited by a species of killer bees in the lower branches, and on the higher branches lurk vicious flying creatures. These must either be destroyed or avoided at all costs. LEVEL 2 The Castle: Once through the forest, your next task is to neutralize the castle under which lies the enemy base complex. Battle your way across the drawbridge doing your best to blast or avoid cannons and gun turrets that spew out wave after wave of deadly shells and missiles. Electric wires that stretch across your path must be destroyed, as touching them is instant electrocution. If that wasn't bad enough, once across the drawbridge, to reach the top of the castle, you must destroy the explosive ladened kamikaze soldiers who will do their best to blow you up, while above you the aliens have placed their toughest soldiers that will try to squash you flat by hurling large objects from above as you pass by. LEVEL 3 Infiltration: Gaining access to the underground complex will be no easy feat. With their first two lines of defence destroyed, the aliens have sealed off the complex to all but the most frenzied attack. However, there is one slim chance of entry, the sewer system. Infested by lethal creatures, little of which is known, fight your way through blasting not only the creatures, but also massive robots which even though only partly operational, are still extremely dangerous. To add to the battle, evil machines bounce towards you which if hit, catapult the driver clear allowing him to fight on. LEVEL 4 The Control Room: Now inside you must reach the missile with all possible haste. To reach it you must pass through the control room. However, your entry is blocked by a set of immovable doors. These are easily dealt with by blasting the locking mechanism. As you battle to reach the top of the room, blast the soldiers that bar your way, destroy the helicopters that buzz around above you dropping bombs, while avoiding the indestructible stomp machines that will flatten you if they have the chance. LEVEL 5 The Silo: The final and most difficult level of Bionic Commando. Smash through the remaining defences that have a few lethal surprises in store. Once at the top of the silo, destroy the alien launch computer, thus stopping the launch of the doomsday missile completing your mission...possibly! (Edited and Reformatted by Sewercide) : Now inside you must reach the missile with all possible haste. To reach it you must pass through the control room. ^.. DOC_28 PRG x8Sewer Software and DR.J present..... BLOCKBUSTER by Mindscape GETTING STARTED 1. You must use the mouse only in port 0. 2. Insert the Blockbuster disk, label side up, into the disk drive. 3. Turn on the monitor or TV, and the computer. 4. Press the left mouse button to start the game. PLAYING THE GAME Trapped by a myriad of walls, you must destroy them one brick at a time. Meddling aliens fall from the sky to deflect your shots and get in the way. Collect the tokens released from special bricks to purchase weapons that can help you break down the wall. Once you have broken through the first wall, you only have 79 more to go! Memorize the passwords that appear after every 10 screens. Before you start the game, type in a password to jump to more advanced screens. Design up to 48 of your own screens with the built-in Screen Designer. Add bonuses, indestructible bricks, lots of aliens, or a crazy design to make them as challenging or as simple as you want. GAME CONTROL Use the mouse to control the bat. Press the left mouse button to launch the ball and use weapons. Press the right mouse button to select and implement weapons. BREAKING DOWN THE WALL Press the left mouse button to start the game, then press it again to launch the first ball (after 2 seconds the ball will be launched automatically). Move your bat to the left or right to hit the ball against the bricks at the top of the screen. Most bricks can be destroyed with a single hit from the ball. There are also multi-hit bricks which must be hit several times to be destroyed. Other bricks are indestructible or invisible and must be destroyed using one of the weapons purchased with collected tokens. Once you have destroyed all the bricks, you can proceed to the next screen and another wall of bricks. You start the game with 5 balls; if you miss a ball, you lose it. The direction the ball bounces after it is hit depends on where it lands on the bat. If the ball lands on the left end of the bat, it will go to the left. Before you launch the ball, or while using the Magnet weapon, you can adjust its position on the bat by pressing the right mouse button or the weapon selector key. ALIENS Aliens roam around the screen as you try to break down the wall. Although they are generally harmless, they can interfere by deflecting the ball. Some aliens drop small stun bombs. If one of these hits the bat, you are paralysed for about a second. Aliens are destroyed on contact with either the ball or the bat. Each alien you destroy is worth 100 points. TOKENS AND WEAPONS Some bricks release U-shaped tokens that fall to the ground. Collect the tokens by catching them with the bat. The tokens can be used to purchase weapons. Any unspent tokens at the end of a successfully completed screen are worth 1000 points each (maximum 9000 points). The 9 weapons are represented by icons at the lower right of the screen. A white square around the icon indicates which weapon is currently available for purchase. Select a weapon by pressing the right mouse button or weapon selector key. All weapons, except the Torch, are lost when you lose a ball or when you finish a screen. You can use more than one weapon at a time. For instance, you can use Magnet and Wide together. However, certain weapons will not work in conjunction with other weapons. You cannot use the Magnet and the Divide weapons at the same time, and the Laser and Missile will not work together, either. For instance, if you are using the Magnet weapon and select the Divide weapon, you will lose the Magnet weapon and switch to the Divide weapon. -> Slowdown - 1 token Reduces the speed of the ball to 75% of its current speed. Can be selected several times after collecting more tokens. -> Magnet - 2 tokens Allows you to catch and hold the ball. Press the left mouse button to launch the ball. -> Divide - 3 tokens Splits the ball into 3 balls. -> Wide - 4 tokens Enlarges the bat (the extension is not vulnerable to alien stun bombs) -> Torch - 5 tokens Lights up invisible bricks. -> Laser - 6 tokens Press the left mouse button to fire a laser bolt. Laser bolts will pass through rows of bricks. Be careful though, some bricks reflect laser bolts back to the bat. -> Smart bomb - 7 tokens All aliens are removed from the screen and do not reappear. Activate the bomb by pressing the right mouse button or the weapon selector key. -> Missile - 8 tokens You are given 3 missiles which can be launched, one at a time, by pressing the left mouse button. Missiles are able to destroy multi- hit bricks with a single hit. -> Force Field - 9 tokens A force field encircles the ball, allowing it to smash through aliens and rows of bricks without being deflected. When surrounded by the force field the ball can pass through, but not destroy, indestructible bricks. SCORING AND BONUSES The color of a brick determines the number of points scored (from 5 to 75) when it is destroyed. Aliens are worth 100 points. At the end of a successfully completed screen, unspent tokens are worth 1000 points each, up to a maximum of 9000 points. Extra balls are awarded for each 50,000 points scored. On some screens you can earn bonus points by destroying, IN ORDER, bricks marked with the letters B-O-N-U-S. PASSWORDS Passwords will allow you to skip sets of screens you have mastered, and proceed to the advanced screens. After completing a set of 10 screens, a password will be displayed. Memorize the password so that in future games you can skip that set of screens. Then the next time you start a game, type in the password on the title screen. The program will check the password and the game will start with the next level of screens. PAUSING AND QUITTING Press any key to pause and resume the game. Quit the game at any time by pressing ESC. The high score table will appear at the end of the game. Enter your name by typing your name. DESIGNING YOUR OWN SCREENS There are 48 user-definable screens (81-128). 1. Access the Screen Designer by holding down the RETURN key while the game is loading. 2. To access the built-in help screen, press the HELP key. 3. Use the 4 arrow keys to move the cursor around the screen, and press the space bar to place a brick on the screen. 4. Use the - or + keys to cycle through the available colors. To change a color of an existing brick, position the cursor over the brick and select a different color. 5. To erase a brick, position the cursor over the brick and change  the color to black. 6. After placing a brick, add special features (such as Laser Reflection or Bonus Points) to the bricks by pressing the corresponding key (listed below). 7. To set the difficulty level of the screen, press RETURN to go to the Parameter Screen. Type in the value of the parameter when prompted. Use the up and down arrow keys to cycle through the parameters. Press RETURN when you are done setting the parameters. 8. Press CLR/HOME to design the next screen. Press INSERT to return to the previous screen. 9. Press F1 to save the screens you have designed to the program disk. 10. After you have saved your screens, reboot the computer and load the game. To load your screens, type the password USER on the title screen. Play then starts with screen 81. SPECIAL BRICK FEATURES After you have placed a brick, press any of the following keys to add the features you want. A brick can have more than one feature, but cannot be both Multi-hit and indestructible. M Multi-hit bricks I Indestructible bricks R Reflect lasers B,O,N,U,S Bonus bricks (you can use all letters for bonus points) To create invisible bricks you do not need to place a brick first. Simply position the cursor where you would like to have an invisible brick and press M, I or R. SETTING DIFFICULTY LEVELS Make each screen as easy or as difficult as you want by setting the parameters listed below. initspd The initial speed of the ball, in the range of 4 to 16. maxspd The maximum speed of the ball, in the range of 4 to 16. aliens There are 8 alien types. Up to 6 aliens are allowed on any screen at any one time. bombs The rate at which aliens drop stun bombs, in the range of 0 to 8. to kill The number of times a multi-hit brick must be hit before being destroyed. accel The acceleration of the ball, in the range of 0 to 8. The ball speeds up when it hits a brick. tokens The number of tokens hidden randomly in bricks, up to 99 per screen. There can be only one token per brick, so the number of tokens cannot be greater than the number of bricks. speedup When the number of bricks on the screen falls to this figure the ball speeds up whenever it hits anything on the screen. SEWER and DR.J brings you..... BREACH by Omnitrend Software, Inc. BEFORE YOU PLAY... Your computer must be in low resolution mode in order to play. Due to bugs in some versions of the ST, use of the underscore character when entering file names will cause the computer to stop. When playing Breach with only one drive, you must copy a scenario (.SCE) file and a squad leader (.SQL) file from the scenario disk to the program disk before playing. Breach uses almost 512K of memory. If the program reports that there is not enough memory, you may need to remove any RAMdisks or desk accessories (.ACC) files and reboot. PLAYING BREACH NOTES Whenever the manual refers to "the mouse button", and your mouse has more than one button, use the left-hand button. Breach only uses the left-hand button. "Clicking" means "press the mouse button". "Shift-click" means "hold down one of the shift keys and press the mouse button at the same time". The "current marine" referred to throughout the manual, is the marine who appears in the center of the Combat Window and whose statistics appear in the Marine Statistics Window. STARTING BREACH To play Breach, boot up the Breach Program Disk and double-click the "BREACH" icon. When the program finishes loading, the Breach title screen will appear. To continue, click the mouse or press any key on the keyboard. SECURITY CHECK In order to play Breach, you must correctly complete a security check. To complete the security check, enter the word from this manual whose location is given by the dialog box. "Words" are any string of characters with a space or punctuation at either end. Once you have entered the correct word, the program will continue. STARTING A NEW GAME Select "New..." from the Scenario menu. An item selector box will appear. All of the names that appear are scenario files. These scenario files contain all the data for your combat squad, the opponents, and maps of the combat area. What you are going to create is a game file. This is a combination of a scenario file and a squad leader file. More on the squad leader file later. Once you have selected a scenario file, the scenario item selector box will be replaced by a squad leader selector box. This is where you select the squad leader for your game. A sample squad leader "SMITH" is included with your game. Later on, you'll probably want to create a squad leader of your own using the Scenario Builder. Now you have to name the game file in which your current game is going to be stored. Once you have done this, the program will save the new game file to the disk and your game will start. IMPORTANT - When a game file is created, it erases the squad leader file you have selected and incorporates it into the game file. This ensures that the squad leader file can be used only by one scenario at a time. The only ways to recover the squad leader file are: win the game in progress or delete the scenario with the "Delete..." menu entry. Deleting a game file outside of the game will also erase the squad leader file which has been incorporated into it. ORDER OF PLAY Player Phase - Each round begins with the player having the option to move all, some, or none of his marines. You can move a marine until he runs out of movement points or you click the Next icon. To enter the enemy combat phase, shift click the Next icon. If all of your marines have used up their movement points for the round, the computer will automatically enter the Enemy Phase. Each Player Phase takes 30 seconds of game time. Enemy Phase - When the enemy attack phase begins, the marine statistics window will change its title to "Attacks" and the legend "Enemy Movement.." will appear. Enemy troops appear in the combat window only when they are attacking your men. At the end of the enemy phase, the player phase begins again. MOVEMENT POINTS Each marine is given a certain quantity of movement points (mp). All of the marine activities except for changing the view scale (more on that later) take up a certain number of points. For example, moving onto a clear terrain square costs 2 mp, while firing the gun takes 5 mp. The combat activities such as taking an object, firing the gun, moving, and using an object can all be mixed at your discretion during the same turn. If you do not have sufficient mp for the activity you want to perform, the computer will inform you with an alert box. If all of the movement points for the current marine have been exhausted, the program will automatically advance to the next marine in the squad. Movement points for each marine are based on: the marine's suit type, the vitality of the marine, and the marine's current encumbrance. DEPLOYING YOUR SQUAD The marines in your squad always enter the scenario through the entry square. The entry square must be clear in order for your marines to enter. If a marine is unable to enter, the program will jump to the enemy combat phase. You can continue moving a marine until he runs out of movement points, gets stunned, or you click the Next icon. Each time you click Next, the program will advance to the next marine in the squad who is in the combat zone, is not stunned, and has at least one movement point. In addition, you can make any marine who is visible in the combat window the current marine by holding down the Alternate key and clicking the desired marine. Since marines carry only their guns and armor into a scenario, many scenarios provide a staging area where the marines pick up additional equipment which has been placed near the entry square. If detectors and crack units are available, use them whenever possible. By  saving time searching for your objects, you raise to odds of successfully completing your mission. ENCUMBRANCE There are 15 different types of objects which may be found in a scenario. Each of those objects has an encumbrance value. Encumbrance is a measure of the object's bulk. Obviously, the bulkier the type of object, the fewer of them the marine may carry. Carrying a large number of encumbrance points has 2 disadvantages. One, the weight reduces the number of available mp's per turn. Two, marines carrying a large quantity of encumbrance points are more likely to be selected as a target by enemy forces. MISSION BRIEFING The mission briefing is a short description of your combat mission. Briefings usually include information as to the type and strength of enemy you will be fighting and hints as to the location of any mission objectives. VICTORY CONDITIONS The victory conditions are: Rescue prisoners - You must rescue all of the prisoners in the scenario if this is one of the victory conditions. Capture data packs - This works the same way as rescue prisoners. Exit combat zone - All of the marines in your squad must find and use the exit square if this is one of the victory conditions. Kill n% opponents - At least n% of the opponents in the scenario must be killed if this is one of the victory conditions. Scenario time limit - All of the other victory conditions in the game must be satisfied before the time limit expires. All scenarios have a time limit. All of the victory conditions are non-exclusive, that is, more than one may be in effect for a given scenario. Thus, in order to complete a scenario you may have to rescue prisoners and move all of the squad's marines through the exit square before the time limit expires. MISSION STATUS By using the Mission Status function, you can tell which victory conditions have been satisfied and which need more work. The possible status displays are: Victory Condition Complete Incomplete Rescue Prisoners All prisoners recovered Not all prisoners recovered. Capture Datapacks All datapacks recovered Not all datapacks recovered. Kill n% Opponents Kill objective completed More casualties needed. FIGHTING THE ENEMY If the enemy is using grenades and rockets, avoid clustering your marines. Try to keep at least one square between each one. This way, you avoid having 3 or 4 casualties from a single grenade blast. Conversely, grenades and rockets are most effective against clusters of the enemy. Unless you have a large quantity of grenades or rockets, it is wisest not to "waste" these weapons against single targets. Battle robots are very dangerous opponents. Two hits from their cannon are enough to destroy virtually any marine. In addition, they move quickly and their armor is quite tough. It is a good idea to use grenades against battle tanks before trying to destroy them with your marine's guns. IMPROVING YOUR SQUAD LEADER Your overall objective is to improve your squad leader. You do this by successfully completing scenarios. The more active a squad leader is, the more likely he will see some kind of improvement at the end of a successful scenario. Shooting accuracy is very important but cracking and detecting skills be honed as well. It is rumored that squad leaders who are excellent shots and have a passing knowledge of detecting and cracking are sent to a special advanced training school (STAR) which gives them the skills necessary to complete a STAR level scenario. SAVING A GAME IN PROGRESS In order to save a game in progress, you must be at the beginning of th Player Movement Phase. You may select menu entries, but clicking any of the icons or the combat window will prevent you from saving your game. This is the only point at which you can save the game before quitting. CLOSING A GAME WITHOUT SAVING Select "Close" from the Scenario menu. When the program asks you if you want to save the game, click "No". QUITTING BREACH Use "Quit" from the Scenario menu to exit the program. If you select this at the beginning of the Player Movement phase, you will be given the option of saving your progress before closing. At any other time, the program will quit without saving. THE BATTLE DISPLAYS THE COMBAT WINDOW The combat window is the largest window on the screen. During the player combat phase, the current player marine will always appear in the center of the combat window. During the enemy combat phase, the current enemy marine will appear in the center of the combat window. THE MARINE STATISTICS WINDOW The marine statistics window has several functions. During the Enemy Combat phase, information on enemy attacks are shown in the marine statistics window. During the Player Combat phase, this window displays the battle statistics for the current player marine. These statistics are: Moves - the number of moves left in the current marine's turn. Vital - the vitality of the current marine. If the vitality drops below 30%, it will be displayed in red as a warning. Health - the health of the current marine. If this goes to 0%, the marine is dead. When the current marine's health falls below 50%, it will be displayed in red as a warning. Enc - the current encumbrance of the marine (NOT the maximum encumbrance). This figure will be displayed in green if it is greater than 0. This serves as a reminder that the marine is carrying an object. Shoot - the accuracy of the current marine's shooting. If the marine is also a psionic talent, this is a measure of his stun accuracy as well. Detec - the percentage chance the current marine has of successfully operating a detector. Crack - the percentage chance the current marine has of successfully operating a crack unit. Ammo - the current marine's ammunition supply in his gun. This figure does not include ammunition in ammo clips he may be carrying. Ammo clips must be used in order for their ammo to be added into this figure. COUNTDOWN TIMER The countdown timer displays the amount of time remaining in the scenario. WIDEVIEW DISPLAY The wideview display is a 21 by 21 composite map of the terrain surrounding the current marine. It can be displayed by clicking on the Change Scale icon. Information for this wideview is provided by other marines moving through the area, scouts using detectors, and infiltrators using crack units. When scouts use wideview, opponents appear as flashing green squares. THE ICONS DROP OBJECT (arrow pointing away from hand) Click this icon to drop an object. A dialog box will appear with a list of all the objects the current marine is carrying. Note that the marine's gun and armor will not appear on this list as they may not be removed. If the marine is carrying more than 5 objects, the space between the dialog box scrolling arrows will turn grey. Click on the name of the object you want to drop and then click "Ok". There are several reasons you might want to drop something. A very good reason is that you no longer want to carry something because of its encumbrance penalty. You might want to transfer an object from one marine to another. In addition, the shield works only if you drop it. A dropped object always lands directly underneath the current marine. Only one object may be in a square at a time. It takes 1 movement point to drop an object. USE SHAFT (arrows pointing up and down of shaft) Click this icon whenever you are on a liftshaft/dropshaft that you want to use. If the corresponding square above the liftshaft (or below the dropshaft) is blocked by another marine, the mouse pointer will change into a stop sign. If the corresponding square is blocked by an opponent, the opponent will be killed and your level will be changed. It takes 5 movement points to use a shaft. TAKE OBJECT (arrow pointing towards hand) Click this icon to take an object. You can take any object directly adjacent to or in the same square as the current marine. The object must be visible; you cannot take an object directly from another marine. The mouse pointer will turn into a pointing hand. Click this on the object you wish to take. Some objects have special messages written on them. These messages appear whenever the object is taken. Whenever an object is taken, it increases the marine's total encumbrance. Encumbrance affects the number of movement points your marine will receive at the beginning of a turn. Therefore, heavily laden marines will not move at their highest speed. It takes 1 movement point to take an object. USE OBJECT (hand pointing at 3 buttons) Click this icon to use an object. A dialog box will appear with a list of all the objects the current marine is carrying. If the marine is carrying more than 5 objects, the space between the dialog box scrolling arrows will turns grey. Click on the name of the object you want to use and then click "Ok". All of the objects and their uses are detailed in the section "Objects and Their Uses". The objects require varying amounts of movement points to use. They are: Object Movement Points -------------------------------- Grenade 5 Demo Charge 5 Stimulant 3 Ammo 8 MediKit 7 Rocket 5 Launcher 5 Crack Unit 9 Detector 15 Grav Belt 10 Shield N/A (shield is activated by dropping it.) Prisoner N/A Datapack N/A OPEN DOOR (arrow pointing towards doors) Click this icon to open a door adjacent to the current marine. The mouse point will turn into a small key. Place this key over the door you want to open and click the mouse. If you have enough movement points, the door will open. The doors require varying amounts of movement points to open. Glass doors require 3, Steel doors require 5, and Power doors require 10. FIRE GUN/PSIONIC STUN (picture of gun) Click this icon to fire the current marine's gun. The gun will fire in the direction that the marine faces. Each firing consumes one round of ammo. Whenever this icon is clicked and there is at least one round of ammo in the current marine's gun, a beam of energy will be emitted. This beam will travel in a straight line away from the marine until it strikes: a wall, solid rock, a shaft, a closed door, a fuel tank, an opponent, or one of your own men. When a beam stops in a particular square, the computer determines whether or not the beam hit the target. This is based on the current marine's accuracy percentage. If the beam does hit the target, a "splash" of energy will appear on the target. This holds true for the opponents as well. If the beam hits an opponent, the amount of health damage that the gun generates is subtracted from the opponent's health, minus the amounts of protection his armor provides. Suit Gun Protection Damage -------------------------------------------- Squad Leader 75% 40% Marauder 55% 30% Scout 55% 15% Infiltrator 45% 15% Psionic Talent 0% (1) 15% Enemy Marine 55% 30% Alien 45% 15% Beast 0% (2) 15% Overlord 55% 40% Battle Robot 75% 40% Autogun 75% 40% (1) Psionic talents carry a gun which is only effective against injured or damaged opponents. (2) Beasts' biting generates 45% damage. For example, an enemy marine (suit protection = 30%) is hit by a shot from your squad leader (gun damage = 75%). The result is that the enemy marine would lose 45% health (75% - 30% = 45% loss). The same holds true for your own marines. Note that it is possible to shoot your own troops by mistake, so look before you fire. Fuel tanks are useful to hit, as long as you aren't too close to them when they explode. Being in the midsts of a fuel tank explosion is the equivalent of standing on a demo charge when it goes off. However, if you can position your marines correctly, this effect can be exploited with impressive results. A word of warning: fuel tanks will chain-react. Psionic Talent type marines execute psionic attacks by shift clicking the gun icon. Enemies successfully stunned by a psionic talent will not be able to move or fire during the next enemy attack phase. Firing a gun requires 3 movement points. A psionic attack requires 10 movement points. NEXT BUTTON Click this button to switch current marines. This will advance you to the next marine in your squad or, if you have just moved the last marine in the squad, loop back to the squad leader. Shift click the Next button to enter the Enemy Combat phase. CHANGE SCALE BUTTON Click this button to get a "wide angle" view of the surrounding terrain. Information for this wideview is provided by other marines moving through the area, scouts using detectors, and infiltrators using crack units. When scouts use the wideview, opponents will appear as flashing green squares. THE MENUS ABOUT BREACH... The "About Breach..." entry displays a dialog box with information about the program version and release date. NEW... "New..." is used to start a new game. This is a 3 stage process. First, select the scenario you wish to play. Next, select a squad leader. If there aren't any squad leader files on the disk, you will have to create a new one with the Scenario Builder program. Finally, enter the name under which this current game is to be saved. When all this has been done, Breach will create a game file, which means that you now have a game in progress on the disk. RESUME... Use "Resume..." to continue a game already in progress. DELETE... Use "Delete..." to delete game files. An item selector will appear with the names of all the games in progress. Select any one of these. Note that deleting a game file will restore the incorporated squad leader file. SAVE "Save" will save your current progress to the disk and continue play. You may only save at the beginning of the Combat Phase. CLOSE Use "Close" to stop a game in progress. If you select this at the beginning of the Combat Phase, you will be given the option to save your progress before closing. At any other character's point, the program will stop the current game without saving. QUIT Use "Quit" to exit the program. If you select this at the beginning of the Combat Phase, you will be given the option to save your progress before closing. At any other point, the program will quit without saving. MISSION BRIEFING The mission briefing display contains background information for the mission and possibly clues as to the locations and strengths of your objectives. VICTORY CONDITIONS The victory conditions dialog box displays the objectives which must be completed in order to win the game. MISSION STATUS The mission status dialog box displays whether or not each of the scenario's objectives have been met. YOUR MARINES BASIC CHARACTERISTICS Movement Points - Each marine is given a certain amount of movement points at the beginning of his turn. Almost all of the activities a marine can perform use movement points (mp). For example, moving onto a clear terrain square costs 2 mp, while firing a gun takes 3 mp. Combat activities such as taking an object, firing the gun, moving, and using an object can all be mixed at your discretion. If you do not have sufficient mp for the activity you want to perform, the computer will inform you with an alert box. If all of the movement points for the current marine have been exhausted, the program will automatically advance to the next marine in the squad or loop back to the squad leader if you were on the last marine in the squad. Movement points allocated to each marine are based on the marine's suit type, the vitality of the marine, and the marine's current encumbrance. Vitality - vitality is a measure of how well-rested a marine is. The higher the vitality, the more moves a marine has available in subsequent turns. If a marine were at the 50% vitality level, he would have 50% of his maximum number of moves available. At the beginning of a game, a marine's vitality is always 100%. As a marine moves about, his vitality is reduced at the same rate as his movement points. So if a marine with 100% vitality fired a gun ( 3mp) his new vitality would be 97%. Vitality is replenished at the rate of health% divided by 4, which means the maximum rate of replenishment is 25% per turn (100% health /4 = 25%). If a marine's vitality is 0%, then the marine is considered stunned, and he may not move until the next round. Health - Health is a measurement of the amount of damage a marine can absorb before dying. When a marine's health drops to 0%, he has died. Above 50% health, a marine cannot be killed while taking hits. Below 50%, however, a marine can die while being hit, even if the hit does not drop his health to 0%. As the marine's health falls closer to 0%, the likelihood of this occurring is much greater. Encumbrance - This is a measure of how many objects a marine can carry. Carrying a large number of encumbrance points has 2 disadvantages. One, the weight reduces the number of available mp's per turn. Two, the marine is more likely to be selected as a target by enemy forces. Shooting - Shooting is the measurement of a marine's accuracy with a gun. For marines with psionic talent, this is also a measure of their accuracy with psionic stuns. Detecting - Detecting is the measurement of how well a marine uses a detector. Cracking - Cracking is the measurement of how well a marine uses a crack unit. MOVEMENT As with any other function, moving your marine will consume some movement points. Each terrain type (grass, rocks, grating) consumes a different amount of mp when it is entered. In order to move your current marine into a new square, he must have at least as many mp as are required to enter the square. Terrain Type MP Req'd Terrain Type MP Req'd ------------------------------------------------------------------- Clear 2 Computer 5 Dirt 2 Terminal 5 Grass 2 Bed 5 Light Vegetation 4 Bureau 6 Heavy Vegetation 6 TAble 5 Rocky Dirt 4 Small Chair 4 Rubble 4 Worker 6 Stun Field 8 Entry & Exit 3 Stepping Stones 4 Machinery 6 Grating 3 Dirt/Water 4 Shaft 5 Empty/Water 4 Open Door 4 Command Chair 4 The current marine will always occupy the center of the combat window. Marines can move in the 4 compass directions. To move the marine to a particular square on his current row or column, simply click the mouse on it. The marine will march into the square or as far as is possible before running into a wall or running out of movement points. If the marine does not have enough mp to move into the square, the square is not of a type that the marine may occupy, the square is occupied by another player marine, or the square is already occupied by an opponent, the mouse pointer will turn into a stop sign, indicating movement is not allowed. To change a marines' facing without having to move the marine from his current square, hold either shift key and click on the adjacent square you wish the marine to face. This takes 1 movement point (mp). In addition, you can make any marine who is visible in the combat window the current marine by holding down the Alternate key and clicking the desired marine. COMBAT Guns - All marines carry rifle-type energy weapons called "blasters". Your marines carry 4 different types of blasters. Each specialty carries a specific one. These guns may not be transferred or exchanged nor can they be destroyed by enemy fire. Specialty Gun Strength ------------------------------------ Squad Leader 75% Marauder 55% Scout 55% Infiltrator 45% Psionic Talent 0% (1) (1) Psionic talents carry a gun which is only effective against injured or damaged opponents. Regardless of weapon strength, all guns use one round of ammo per firing. In addition, all of the blasters use the same ammo clips. Use caution when shooting around fuel tanks! A hit from any blaster will cause them to explode. It takes 3 mp to fire a blaster. Grenades - Marines equip themselves with grenades by taking them from the surrounding terrain. Grenades will explode around friendly troops and it is possible to detonate one in the same square as the current marine. Grenades will also detonate fuel tanks in the same fashion as blasters. Caution must be exercised when using grenades! Grenades explode in a 3 by 3 pattern, with the target in the center. Each square receives the equivalent of a hit from a 90% blaster. Demo Charges - Marines equip themselves with demo charges by taking them from the surrounding terrain. When a demo charge is activated, it drops into the current marine's square. The demo charge ignores any objects which may already be in the square. Demo charges will explode around friendly troops and it is possible to detonate one in the same square as the current marine. Demo charges will also detonate fuel tanks in the same fashion as blasters. Caution must be exercised when using demo charges! Demo charges explode in a 5 by 5 pattern, with the target in the center. Each square receives the equivalent of a hit from a 100% blaster. Caution: Once a demo charge has been activated, it cannot be aborted, but will explode at the end of the current marine's turn. Rocket Launchers - Marines equip themselves with rockets and launchers by taking them from the surrounding terrain. A marine must have at least one rocket and one launcher in order to fire. When a rocket is fired, it travels in a straight line until it hits a valid target (i.e., a wall, a marine, etc.) or leaves the edge of the combat zone. Rockets will explode around friendly troops. Rockets will also detonate fuel tanks in the same fashion as blasters. Caution must be exercised when using rockets! Rockets explode in a 3 by 3 pattern, with the target in the center. Each square receives the equivalent of a hit from a 90% blaster. Caution: Firing rockets at targets not readily visible may result in damage to other marines or destruction of necessary mission objectives. Psionic Stun - Only marines with the specialty of psionic talent can make a psionic stun attack. If a stun attack is successful, the affected target will be stunned for the next combat round. In addition, since vitality can regenerate at a rate of 25% per round maximum, it will take several rounds before the affected target is back to full movement strength. Psionic stuns will not travel through closed doors or walls. It is possible to stun your own troops, so look before you stun! TYPES OF MARINES Squad Leader - The squad leader is your main character. This is the only type of marine who is created independently of any scenarios. The long-range goal of Breach is to improve this character, to it is very important that he (or she) does not get killed in combat. If this happens, the squad leader's file will be erased. On the other hand, in order to improve your squad leader's attributes, he must be an integral part of any mission. As the mission difficulty level rises, you will find it more and more necessary to use the squad leader in dangerous situations. Squad leaders have a very powerful (75% damage) and heavy protective armor. A squad leader is the only marine in a squad who can absorb several hits from a battle robot. Marauder - The marauder is the basic marine. They carry a heavy blaster and they have a fairly high level of mobility. Marauders usually comprise the majority of any squad. Scout - Scouts have very light, fast armor, and carry the same guns as marauders. Scouts usually carry detectors. They are used when it is important to survey the battle area or find mission objectives (possible prison areas, etc.). Infiltrator - Infiltrators have the same armor as scouts but a slightly lighter gun. Infiltrators usually carry crack units. They are used when you need the floor plans for the current level. Psionic Talent - Psionic talents wear the same armor as scouts and infiltrators but they carry a very weak gun. This gun is only effective against heavily wounded enemy troops. THE OPPONENTS BASIC CHARACTERISTICS All of the intelligent enemies will guard any mission objectives that are in their area. If a marine is in the same area as a datapack, there aren't any player marines around, and capturing datapacks is an objective, then the enemy will guard the datapack until a player marine enters the area. The smaller intelligent enemies (overlords, marines, aliens) will use the shafts. Enemy marines, overlords, and aliens all can have psionic ability. Overlords and aliens almost always do. Their tendency is to stun their target in one round and shoot them in the next. MARINES The enemy marines are all of the marauder type, but certain scenarios have weakened or enhanced marines to simulate squad leaders, scouts, etc. Enemy marines will use rockets and grenades against your troops. BEASTS Beasts are slow and their only armor is their hide, but in large quantities they can be very dangerous. Beasts attack by biting and a bite is the equivalent of a 45% blaster hit. A beast can only attack adjacent squares. ALIENS Aliens are lightly armored and very fast. They will use an effective combination of psionic, grenade, and rocket attacks against your marines. Fortunately, their blasters are rather weak and almost ineffective against marauders and squad leaders. BATTLE ROBOTS Battle robots are the most dangerous of all opponents. A battle robot is very mobile an the twin blaster cannon it carries will destroy all but the luckiest marine with just 2 hits. Robots do not use rockets or grenades. Robots cannot use shafts but they can pass through doors. OVERLORDS Overlords are the elite of the enemy marines. Overlords come equipped with a short range vibrosword which generates 55% damage. Using the vibrosword, the overlord can only attack adjacent squares, but overlords almost invariably are psionic talents. Overlords have very little armor, relying instead on fast and deadly attacks. When forced into a defensive posture, they are quickly killed. Overlords do not use grenades or rockets. AUTOGUNS Autoguns are the fixed equivalent of battle robots. The only differences between the 2 are that autoguns don't move and that they generally are more accurate. These are also very dangerous opponents and must be treated with extreme caution. OBJECTS AND THEIR USES ENCUMBRANCE POINTS There are 15 different types of objects which may be found in a scenario. Each of those objects has an encumbrance value. Encumbrance is a measure of the object's bulk. Obviously, the bulkier the type of object, the fewer of them the marine may carry. Object Encumbrance Points --------------------------------------- Grenade 1 Demo Charge 5 Stimulant 1 Ammo 2 MediKit 3 Rocket 3 Launcher 7 Crack Unit 9 Detector 9 Shield 1 Grav Belt 6 Prisoner 1 Datapack 1 Marines carrying a large number of encumbrance points are subject to movement point loss. WHAT THEY ARE AND HOW TO USE THEM Grenade - A short-range energy grenade. When a grenade is selected, the mouse pointer turns into a crosshair. Place this crosshair over any point on the same row or column as the current marine and click. The marine does not need to be facing the target. Demo Charge - A medium range energy demolition charge. When a demo charge is selected, the program confirms that you actually want to use a demo charge. If you click "yes", the demo charge will be dropped in the same square as the current marine. When the current marine's turn is over (running out of mp's, selecting another marine, or clicking the "Next" button) the demo charge will explode. Stimulant - A one-use syringe of a potent metabolic accelerator. A shot of stimulant will raise the marine's vitality level by 50%, up to 100% maximum. If the marine's health is 50% or less, there is the possibility that he may die from heart-shock. When a stimulant is selected, the current marine will use the stimulant. Ammo Clip - Holds ammunition for the blasters that each marine carries. The ammo clip is compatible with all of the different types of blasters. When an ammo clip is selected, the current marine will add the contents of the ammo clip to his current ammo supply. Each clip holds 50 rounds. MediKit - Use of the medikit raises the marine's health level by 50%, up to 100% maximum. When the mediKit is selected, the current marine will use it. Rocket - Basically a flying version of the grenade. A rocket must be fired with a launcher. When a rocket is selected, the current marine must also have a launcher in order to use it. The rocket will be fired in the direction of the current marine's facing and will fly until it hits a target or leaves the playing field. A rocket has the same destructive force as a grenade. Launcher - A light multiple-use rocket launcher. When a launcher is selected, the current marine must also have a rocket in order to use it. A rocket will be fired in the direction of the current marine's facing and will fly until it hits a target or leaves the playing field. Crack Unit - A crack unit is a special device primarily intended for use by Infiltrator (IF) marines. If it is successfully operated next to a computer or terminal, it will dump all of the floor plans for the current level from the opponent's computer system. When a crack unit is selected and successfully operated, it will reveal all of the wall and interior squares on the current marine's level and integrate this data with any landscape which has already been revealed by movement, et cetera. If the current marine is not next to a terminal or computer, the crack unit will not reveal any new information and it will show only the information which has been gathered thus far. Detector - The detector is a special device primarily intended for use by Scout (SC) marines which creates a radar scan of the surrounding terrain. If operated by a Scout, the detector will also reveal any enemy marines within range and display them as flashing green squares. When a crack unit is selected and successfully operated, it reveals a 17 by 17 area of the current level, centered around the current marine. It will also integrate this data with any landscape which has already been revealed by movement. If the scan is not successful, it will show only the information which has been gathered thus far. Shield - A shield will absorb any incoming firearms, vibrosword, or psionic attacks, friend or foe. A shield does not protect against grenades, rockets or demo charges. In order to protect a marine, the shield must be in a square between the marine and the enemy firing at him. If a marine is in the same square as a shield, the shield will not protect him. Every time a shield is hit, there is a 10% chance it will be destroyed. This object does not need to be used because it activates automatically when dropped. Grav Belt - A marine using the grav belt will float above the ground, ignoring terrain costs and movement restrictions. The only terrain types a belt will not move through are closed doors, solid rock, and walls. Every time a grav belt is used, there is a 10% chance that the marine will crash at the end of his turn. When a grav belt is selected, it remains active until the marine runs out of movement points, you click the use icon again, select a different marine, or click the Next button. Once a grav belt is on, you mat not take or drop objects, use shafts, open doors, use objects, fire the gun, or use psionic power until the belt has been switched off. If the marine ends his turn over either a black or a water square, he will be killed and removed from the game. Data Pack - Data packs are used for storing information. A data pack cannot be used. Prisoner - Prisoners are captured personnel from your own government. A prisoner cannot be used. TERRAIN INTERIOR TERRAIN Walls - The walls come in 4 types: heavy, medium, thin, and storage. Demo charges will destroy any type of wall; grenades will destroy only thin and storage type walls. Gunfire will not penetrate walls at all. Marines cannot pass through or fly above wall squares using a grav belt. Doors - Marines cannot move through closed doors. Glass doors require 3 mp to open, steel doors require 5 mp, and power doors require 10 mp to open Marines cannot fly above door squares using a grav belt. EXTERIOR TERRAIN Water - Marines cannot pass through water squares, although they can fly over them if they are using a grav belt. If a marine using a grav belt ends his turn over a water square, he will be killed and removed from the game. Solid Rock - Marines cannot fly over or through solid rock squares. SPECIAL TERRAIN Shafts - Shafts require 5 mp to enter, and another 5 mp to use. The Entry Square - In order for your marines to enter the combat zone, this square must not be blocked. The Exit Square - If the current marine is on this square at the end of his turn, he will be removed from the combat zone and will no longer be allowed to fight. Stun Fields - When a marine passes through a stun field, there is a chance that he will be stunned and unable to move. This chance is inversely proportional to the marine's vitality. For example, if a marine with a vitality of 78% passes through a stun field, there is a 22% chance that he will be stunned. Empty (Black) Squares - Marines cannot pass through these squares, although they can fly over them if they are using a grav belt. If a marine using a grav belt ends his turn over a black square, he will be killed and removed from the game. TERRAIN TABLE Type MP's to Enter Special Comments... ----------------------------------------------------------------------- Walls (All Types No Move Cannot be flown over. Half Dirt/Half Empty No Move Cannot be flown over with grav belt. Half Blank/Half Empty No Move Cannot be flown over. Blank No Move Can be flown over with grav belt. Solid Rock No Move Cannot be flown over. Empty Interior 2 Dirt 2 Grass 2 Light Vegetation 4 Heavy Vegetation 6 Rocky Dirt 4 Interior Rubble 4 Stun Field 8 Water No Move Can be flown over with grav belt. Stepping Stones 4 Grating 3 Dropshaft 5 Liftshaft 5 Closed Doors No Move Cannot be flown over. Open Doors 4 Computer 5 Terminals 5 Bed 5 Bureau 6 Table 5 Small Chairs 4 Worker 6 Entry Square 3 Exit Square 3 Machines No Move Can be flown over with grav belt. Half Water/Half Dirt 4 Half Water/Half Empty 4 Command Chairs 4 SCENARIO BUILDER Breach includes a scenario builder that allows you to create your own scenarios or modify existing ones. To start the scenario builder, double click the "SCENARIO" icon. FILE MENU New - opens the mapping window and creates a new Breach scenario file. Open - opens an existing scenario file and displays it in the mapping window. The Open function will automatically display all available Breach scenario files. Close - closes the current mapping window and disposes of the scenario file. If the scenario file has been modified, the computer will ask you if you wish to save the scenario file before closing it. clicking the "go- away" box on the upper left corner of the mapping window does the same thing as selecting Close. Save - saves the scenario file currently in progress. If the current file is untitled, it acts in the same fashion as Save As. Save As - saves the current scenario file. Quit - exits Scenario Builder. EDIT MENU Whole View - generates a compressed view of the entire current map level. Click the mouse to return to the normal mapping mode. If the click occurs on the whole view map, the window will jump to the equivalent position in the normal mapping mode. This serves as a shortcut for moving about the map. Thread Object - jumps sequentially through the list of objects which have been placed on the map. When it jumps to the next object on the list, it moves the map so that the object is in the center of the screen. Thread Opponent - jumps sequentially through the list of opponents which have been placed on the map. When it jumps to the next opponent on the list, it moves the map so that the opponent is in the center of the screen. Fill Level - fills the current level with the currently selected terrain type. Fill Level will not overwrite objects or opponents. Copy Level - copies the contents of the current level to another level, excluding objects and opponents. Briefing - is the area where you enter information for the player about the scenario you have created. This might be part of a story, or just some technical information. On the Atari ST version, use the Arrow keys, Return, and the Backspace key to edit your entry (the Delete key is not supported). Set Victory - sets the victory conditions for the scenario. Rescue Prisoners means the player must take all of the prisoners in the scenario to win. Capture Data Packs works the same way. Exit Combat Zone means all of the marines who are still living must go through the exit square. Kill % Opponents requires the player to kill at least the percentage of opponents entered in the box to win. The scenario time limit must be set for every scenario. The other victory conditions must be met before the amount of time entered in the box expires. Time is in an hours/minutes/seconds format. The victory conditions can be used in combination. This means that if you select kill 20% and rescue prisoners, you must kill at least 20% of the opponents and rescue all of the prisoners to win. New Marine - generates a marine for the player's squad. Name the character and select the character's specialty using the radio-type buttons. The different specialties generate different basic characteristics. A squad can have up to 19 marines. Modify Marine - is used to change the basic characteristics of the scenario marines. A list box will appear with the names of all the marines currently in the squad. Select a marine by clicking on his name. Delete will remove a marine from the squad. The Change button jumps to another screen, where a marine's attributes can be modified. New Leader - is used to generate a Squad Leader. This character is independent of any scenario. (You can generate a Squad Leader without opening the map window.) After you have named the Squad Leader, Create Leader saves the Squad Leader file, after asking for a file name. The attributes of the Squad Leader may not be modified directly: they only increase through actual combat experience. Examine Leader - shows a Squad Leader's current statistics. After you select a Squad Leader file name, his statistics are displayed. LEVEL MENU Use the Level menu to select the level of the scenario map being shown in the mapping window. There are 5 levels in all. PALETTE MENU The Palette menu controls the parts & terrain palette. The blank squares found on the objects and opponents palettes will only erase objects and opponents, not the underlying terrain. If a part will not appear where you have clicked, then it cannot be placed on that type of terrain. A scenario can have up to 30 objects and 40 opponents. OTHER FUNCTIONS click any terrain square on the palette to select it. Clicking on the map window will place that square on the map. Holding a Shift key and clicking on an enemy character will display the Modify Opponent dialog window. Use this to change opponent attributes. Holding the Shift key and clicking on an object allows you to write a short message which will appear whenever the player picks up that particular object. This can be used to hide clues within the game. SCENARIO DESIGN NOTES Avoid Featurism A scenario could have 5 levels, 20 marines in the squad, 40 opponents, and 30 objects. Resist the temptation! Scenarios are generally more successful if they are quick to start and play. Having to move 20 marines through a maze for 40 Player phases is NOT fun. Supermen Not Wanted Here Imagine a squad of 20 marines, each with the maximum of everything against a band of normal enemies. Boring! Winning all the time is not the point of the game. Try and create scenarios in which the player must logically deploy his forces. Good scenarios should be a test of the player's decision-making ability, not the random number generator. Liftshafts, dropshafts, and Levels The map in Breach uses up to 5 levels. These levels are organized like the floors of a building, with Level 1 being the bottom level and Level 5 being the top level. A liftshaft always moves a marine from a lower level to the next higher one. Thus, using a liftshaft on Level 3 would move the marine to the corresponding square on Level 4. A liftshaft on Level 5 will not work. A  dropshaft always moves a marine from a higher level down to the next lower one. Thus, using a dropshaft on Level 3 would move the marine to the corresponding square on Level 2. A dropshaft on Level 1 will not work. The corresponding square above a liftshaft must be clear in order for it to work. The corresponding square below a dropshaft must be clear in order for it to work. THE SCENARIOS Included with your game are many scenarios that you can play and modify. 5 of these scenarios are outlined and rated below. BREEDER by Haywood Nichols & Bill Leslie Difficulty Rating: Easy Synopsis: Wipe out an alien installation where man-eating beasts are being developed and rescue the Federated World citizens who are bing used as test subjects. Strategy: Keep an eye on the mission status. Avoid spreading your forces to areas where they are not needed. TOWERS by Bill Leslie Difficulty Rating: Medium Synopsis: Recover an important datapack from the top of a heavily-defended building. Strategy: since you are not provided with very many troops, you must discover an alternate route to the top of the UDP building. ODYSSEUS by Haywood Nichols Difficulty Rating: Hard Synopsis: Capture a United Democratic Planets warship by eliminating 90% of its crew and recovering any datapacks or prisoners that might be on board. Strategy: Conserve your supplies for later in the scenario and distribute them evenly among your squad. DEPOT by Haywood Nichols Difficulty Rating: Very Hard Synopsis: Destroy a well-established UDP supply depot. Strategy: Depot takes place on a very large map. remember to use the crack unit as soon as possible. Dividing your forces into 2 squads is a good idea. ISLAND by Bill Leslie Difficulty Rating: STAR Level Synopsis: A single man mission to rescue Admiral Bresheliah from the depths of a UDP installation. Strategy: Speed is of the essence - try not to over-burden yourself. The recovery ship is due east of the emergency exit grid square. Don't even bother if your squad leader isn't a STAR team member. j}j"]nr&~ww%v(zt? Lg\%2s@ȵ !η<:(22݄3T̹*ZNֽ "#``4 45f @r [CBuR(obaF9dipF/@<í`bƘF9ZqaεF皜ML@70[Pq{ ik<baFƘ9ƘS-.Dp':ЌXbJ1bJ1bJ1bJ1;QX1Ybĕ8ZVHiV;RP;ZVX`ҴjhJҨJp+J;Sx;[[ iVV(0;V;\8[ N{٘L<N;TY9E%NC9,V&|Pht''$V >%z. s&Z,.~?V/2]ˎS0ShcL-69`*,R 0HpHU3 /r<_XڙC"&PW7v/\…Pgob*DbAD*bA*DAb*DABIH2VVa(Zi08ZVHPiVX`hpiZVxUV#D k6LL<"#C$"#E=G ܚգ%ο aEPKkgLPnJt`Mu  !(i`0ݧ$$]B #wŋ hv #- FŐ02Hc#HH(04"8HHHPX`4#hpx4#H3XҰNu[El no01m6p `:$ +I]0Ns X+pB&I&s^{ƞP$Hl6IA Rt0FDIXhpaI5Ib `5kI4TˈUT|&V%l%&k%&iRj$ ɤݦp44迼X 4#(ۼr ,mt-+L[FE ѽ(oE08loFHPѽX`hѽpxѽ{.Q(ߖ ~u+45"HBCH%)E4n5:66 2Wu3ߵ>`bRQʥ2;~J/VLʨBFTT4jAcΐ.A%$SK h"l[R 7%X9 "Պ!"CQvLɮ Fo?\K/bHP\">J]J.p*<.l#_qJ|F=T[|P3C̊"Ac9B?L!DfЎv"J>,JjsEowI@d`S@&$KVhP4As#a&=F:$ b0BrB g ` P(4{mlݪd"QPU`6mM,{B8+"/u Nߥ]\tw6Y `I p'Xo4+DhKp݌}~3_JªT `p26P}}{\GaAPUβL'fp4~DAO0hKpIuPs GbH[_L@sH$,0{N|lH|@EЋNuH:<L ;,_5`#fNZ3B3Mof x!`REfid`!Hު|p-sdX$QE"_O U`J# &#Q2MKLՖiPPL{ޠH[@H>fQFrlۦNuàm.,A9' w58pTkBB9'90BXQƃ{`fF^1#8F B:HHHXJ6jp 7""f9XmHPtK ԭ+M t JҷLU4ZVZj i".V0jV1~+J2;@<䴭AN=gJL)W?R=+JJBBҶ :C2+JD*Rb$+Wx"FT&jNJo"gҭj| 9 s<j3j 6q5+*BVB,a3pB.@B5nJh{h{ !/NSдB6nρ17P&$')9{G'9/w{ qrN\2+|BBGEYI"gLYn Ԇw$>h#Ib3Fn &a_8oFXQQ l!Zh O[?eލ ݲq PY "pV0m=K=[8,ޭvW!g=ѻ8H#`?5V˵ȱH ˕LGsP,x0~]2־)98IM&88l8(4 E,/~ ,SU ~ `n-pXd $[*zrHjILV~0%:9 LS"MDd8J0.(xI+iIB(0,k.0ivWh zt m*+8:<>H/EF TG*d &օֆևL,_'L6G:GT03ū|]|/TS`KB1G ZeF4S8A%.#:8Mz!t1Rp$P!7SXD01pJE\(C*L'&jK `+-`:W3 f',T"Z*V@Z3 af OvxXFg\xtvf`Xg+#`a2 ݁ĒU~pX(0,eKB ;k(U(TBTL`$ь$(U@R"H_E;9gRT|J]P [ v Ug U̢TPUBAKZ mUX#;N)/L&e@tq|LB!;:8:0D#]|TX-<n[#Y\מ٭ݰn}HEL !1/?za)Ue#·dM~F1t !f< N`V#&?a{A8nB;JeN+Jҷne~b ؃Z<VSGU/uvdZo:RG?j:[n&?1 4NS: rv0K + D@qbE$ 9X F G0G+U\0FV0EP0DJ-t=K4/z6,Kޭ"0R)? aat`lH >g{PQ|/_0F@#L`,0PF@@#1`\0@ F# 0I`& @#PFl`0a!25Nu"mo !M NM NN!YC$""$$&&((**,,..>22NM|4466NN88::NN<<>>NNB!BDDFFHHJJLLNNPPRRTTVVXXZZ\\^^`bbddffh$jjllnnpprrttvvxxzz||~~n:)6脄:):):):):):):):):):):):)#hQ0@6)Ct?AB"RQya& )g8P gR`챮`#[H#Cd8p"QCԀ|m NJAj Aa$.& XI9c$+ ̤9yZ`9&fN NM͟ J / \??<ΙNAX Qbf2 0|aNuo+Ս8.ByyRa02/09/90O` eb@<(&R?,Hel-R'sHМ{ĈFuؒQof!:v1l $%IY7Ee!&Aͫ2#JH5*8`~TMj0WRec-h|0eFBVFkLocd}{Aa#=Cba AԞ4' IF *a 'Uondкs[d.'A'Ab/-w,HXRVNr7KAp j Y"No.ng!q0SewSoftw(FOCYed' V3.01CoH'ma9Keysk HH~P1FDSt)4b2D#EZGmYȣ,|g3Q1iu`&~ŐF4ple$0K1F ShiF5-F10(U1-6RekectivelyJ Up/Down\>PaFC᤭dLeft/Righk,)"Display) /_BBNńt<%d File\@TB Top-F BDpBEMmM`9(kBlockGa0GHéGotodߵLinI"iDS6BasDeDdħSpecifie߁d$9NM2!.WNYnt܄l/PJmSearchForPvis*XcrKcxICPhangTexA}Ugrnd6uColoursMkZ5gle/x)usicOn/OfAlrnate/Q<.k_ExitBackToainMenu:8%@0r1{J.J' UJD6,0`w'q :?Ntd'G:?֑2t =+& <] JG&Aq ٤&x^n'`& 3^v: 4؝@,\x"~V 9NE@)c [: x :d r` A؀H&p`;r:'s`N9' jl@XuDMl(/stN44 / p\F & "P^FAY5#Wc6 . f=PN26'`NX/F 6 AtF8D ;'pñfrp'NgC'y DN''fC!.ib$ n1/P <-Q'`M5`MP 8Yv2AlxXN ܮi r.&:xrH H 8$q#:\N 8솤`Y<6! :Hv83rp'(@ @^M L_:4 stnvM#Ikp/N'`/@ 0M\)y9@Gf&XG8 ֙9 %@'pYtADuu:XN 8GD6IsрM@vxHv p2s8㱼Y1 N '6 BJ6MXaDV `a:P7b#Ga[bZ8^d ـ"<&5 20ք0YsBPOxf|?) >-! Kl!$9tp|A|8l, *!NɲtGd:?'NtpL Q/ D] JI*Aq ٬&^ng`& 5bv: 4؟@,\x"~V A9NE@9c ]: x :d r` ؀X&ސ`;r:'`N9'' T@&ǎ! '7BL4 . p]J &`"p^F$jN+gd3`Z13qWA0N''^ ¹DŽ:r!y89GGaؓ8' TmMXλsG'5+!@^7Cxn@8lL jM_ñ `` pVpI?hu0'9Ō@M( ?`"@^=^')  M5%'Ȭ QC ƀB8B@Β l@NѠNAv:l Ɍ&$Nt8' (&]2uN;7G@TH.9@P. ,&8`tG##h8p <.:$Nn0 ǐрM@nɇT q~b\b;-xN,@cdl Q  qkCqc -FX;ga; 2,9GQ`Iu6aa B M =.)s2ؠ5,CGQ(aÖNG Ē $a$IiLMЁ$@FQ 2G ׋Ntd'G:?tN&c&@] J( qH٨A &G`& ^n` v4 ؞:4@x",\ ~9VE@Nc1: \ xr`:d؀ P&`;:r`'9'N j@&T7BL 'JBN5'=k^(d ¤.vB6f sM,x0' q8 pr*xFN()J '0 Q :tp#s8p*:8@&$uBq8: p,M tqxnMlfF@p$ $~lbH|1,Ntd'G:?tNcM/L @] J( qH٨A &G`& ^n` v4 ؞:4@x",\ ~9VE@Nc1: \ xr`:d؀ P&`;P:r`'9'N @&T!7BL 'LBN5'=k^(d °.vB63f sM,x0' q8 pr*xN()J '0 Q :tp#s8p*:8@&$uq8: q,P tqx|EFi`iFg]uׅ9gg` 01  Cr1S.d"ܱX,^(zR08Kޭ/HPX`hޭ/zpx#PoK#7 Ԑ#XӤɘ;EBb" s4[s#=S9*v#ȑK2aȪtpBBRD7(-R408#HHP4X`h#HpxH4BhY#HQȪNu 6mlkjigeca_][XUROLIEA=R5:741.+'$! 0LB?;" !$'+.147:<>O BDEFGHGFEDB><9630.,*)('()*,.0369=AEILORUX[]_acegijklmn?opq...j/Unuzrv^ z`}떬 u]`^Zbu|L".A0|̵j8&c'Ѐ]1/*P<Λ2h4_^ph[[G~NYjnVZr;դvz3N锒ZN喢V^Zm); fbNuF\$GBU@B4 ! !PT@a@axWWkcaI2$.@L|#,ձ`j=0ފyZa05D6/PpāaPACEY,9Oz:-%âEA gV @#b^ĀAX$H {dLOfOC 3KEvMB.*NTk$BRw.#Yx* $.PIC!RQ 5*NEC T~ !C@KFSN'Trf AN]HYWA6$d'tXIRONGHaI?%GOMAZNOWY'E,%ZDHY(kBEs.1AUGHT^" &RCILEx SLYHANIZ3QISCUMvTIMETOWRAPk. 6|ZPpVzEH/L8_,SB 9 ۄ oWAupV9YyjfL3͇g.a NH q> jǐ  A$ OƆ '_Vy~ `c|q("`=ߟ8Qސ?acpepk/Lc0X6f6p8 (ŹyaHfN6IElyynm …(9Ȣc JmsT6T!,K? 6NGG $T h NAf:25`] ۠ >4A~w;1 nQ wP\C]k<PN; OϱbvZ] ܣG˳ Հ\8(NR NAc.շV3( K;Y2,GLrAC`W~HK[s `lY u,_I؎>g(A]0a5v/ E߇PeFvkOSmԉ.ô#x,3"n}"8=0܊; "`ձcv *vtX;[$PlP}I`AcV\*vt g_sǬ I4f]LEt Fӥl ՛KЕ J?2:.q,[Vc4iv9ɚ#.HFtl%.B Qx|r4i? *!̔ VvE4~7aPJxgt(4*m4zk5K]a}(FT*CkX(Fd_Th`R {5 ݙXp<F!n$Їj"]ht(5 IǁFf>bf]c*6!vz |dcv#YMVWf3KA`sZdz;EL !g`$Pl c`UbL](P.S &NB374C, ?:wU$ҏh*5 :w"LNR>wxIEU F3K#"Tg#[dя+ *zVp,dM܌3ʾxݱXpӊ+7xq.:,V%(FBE\0/®FL7BVW GڡU*d$JԎ` ?gK!Pv ][V?d>U8|ޡU2 !a% nJ[ Avkg@W w l&sd̜@!vu 0q0Y$ bP{w8 Hd6*b X0YZ„ݐÇ<C?Ww S{W`xo/>38&?#N6V74A4JSDXJW1k?)tB)] /]s`Vv㇎Żǝ(&!$(5]B$,h!"<?}XE\$E#3W{k[EaKB gGi"ogL+GBAog""+@Wq*:+(L'q*)㇃"o|&u!ёTYq*X,] كR\F]Bc@(v5?gbUW+@U(Ue&v;áЫ (Pӳt\uCP XL) Mo](R0EWHHHF#Bf;*A7 v,?bi6Î P7tA#P dD0Ã&jW]q<.b;<ЌEx${<+S}:tD C&CHx;p<' V2  z, h, N XD?I'Dڝcx}jj Zn\w:R8?o$n,疒x?U2B":Ys$0] a(t^ LD ,R vf@ &*x+ :m `'O@496<36Bat9vA p I4~uo4<#c7Nq.! }Dy d {?t܏ on:zu <Ó̀ }7 As|u6-x rJyX  a p]B"yAa9vtJsx7^ ]8| 6˰7`Axs0x9 DAZH\X7@m `'On {޼'ݼ+ [ڀ7.N ݁\uh/@axx xs';q&`@ ]67`A1ܙ  x k% rv ؔ6:UQx1 q75n]; rW/ ] 1 O P0o:zvBT&o7; ӄ 8u6˰3H7`A>pm^ތ}'t Ӏ :ݿt99v7X<%s{6Q\&7oAA Ġ˰ ۵}87`A_6~* &g}| tH0ne8 DAuTvՙlz5ѹFUx=<Mp wpx&8؀:A ^CơDP N΀`7OxCo\tir{ ؘ6Hqw}jL76z5#*y x+nAx Alk[8vU:yyoiBoFfފ$(J? <&nx?(o :r`9QH9a]7f?l;_wލݵ&~|&~7O%`Co*!ϸGGS HIgz3*7M13:oE:x^>xwVޏ@]r P=" $ 65x3_vg~ړ?w c&o=ιςPFopaBoCnN;a{|M 3V?oGX&NN?.&Mpr*rP?? ߄ XmGVދ /&~W7xxK}{>x}wAby?a'G 7A䵽CM>&{|7ʏ_扽xx:}s@UЛяTrXi>tiNȇxF݀Qx{ {}7&|Ǘm~]!{e\ Ur{hc> C!nv@tvm!տy~6e gPX;(ЛѪ?MǺ[h?w]`!6<;ս&S|ѷdϯüuϻf *&=vD KOtsC$ 7uuq?cKF߇`x(?ʹ: 7UTu\|㿜Ф+!0qy ?{_< n{mCo0&cgwb(x=WwyR`s fwPA,?D#J Ͽ.c_qc=uoc1%c >~y mɟ_~%Bayr>Ű<Z%z{xQ}% ~asy$LL W^`9dQ !D}`l+bP&QI!`܈PB^BA8*Mv~U&^BJh8 Mhaop-!" s%T y )2B 5D?GJSDk@NWJ(q $"U@yҊ!0_NP 0uI&#+4y ᤅ3 q a8JA?TLzm`O$xj (:6 KYhu0J$"''3ni`2$dGFac{H.^“Z5|:0Dac'䖗>c|:$Da0!ƒ~Aȉ C5!BupTćl^ _è SlKK>* ! @ (1yAavU CPC.p{̗$BaHaT"p1 b!U d I 8VN  J4Xa'd]3Dԓ ,U(9"p L: F82 AaHaIA ! Bt o g Ȁ( 3N"զy(='4@1xdW`b]@^7S +{`c\~D+>"Ye A`Io?% 0|eH1W SKȽX_&`ߺRI#,  a>xlB~a9a,,<KB^imԬ9 0oӀkK,8+i>؃î 8txcj!<ڨ @-mH E`#B9" ExY;yչ\BQ~ q1$B{҂vj%,B.Dࢮ c^s*/S RB-hV.,$uE.AVc(N+Z @J +? x>A D.(^@?|4+Z @tJBrya0´L[ m*h8]´F EQ RPߡ'pu/n˜|@ `Iu?~d oc 5!:a '0xt _pRB7d8v?/G@A\ PcV/@Z*PP3, !,f]hV!/.ÉJG P BR!J@0oؖY]=Sq *,AMqPBQg|+ vy&$Zм,dP&O;(+UZ1ë a )@Qa%|* }abYej `Ps$F+UFUhl@Kn!0ZDj8$hF+t" F¯<[a(@dՅP!6 +v - <G $F+y&|Baa$ aP%tX G14L+8 .>m'* !jп"K/;3+? a}| Mx8`Au%3˪/aa +Psi Lx+1P]VhCI$H^%5(NAvp&"u" y 2Дijxa; ԧԓ ,U(90Lj(x]^)'@!'/tK BȀ oao VX0Y0^0*A>Ѡ͙X.A\] d;[ĺ&n$  K,, z5r1pY]X%Ȗ<xӀo㬉% 0|eH1S)a"pa+ 9ˀb T*wY `߳ F+[P`bXV`e Y[IPh $þEոAD)<ڨ @-mH E`#B9" ExY;yչ\BQ~bD"]()G\"Q%f ^s?̔>R/S- B,$hVE..ȉuVANc(@+JZ + x>?DA @.?|4(^ @+JZrtaBÊ´[L]  T ]h8F Q RߡEpPu'n˜|@/I u`?~d uB,ԇWt9  ,pS1e<B(`v?7d/8G@~A}G ~*8:U,fYfB'X $I a@uyq)D(TeZD2~oJ%eOCP .‡4 .Obth*`*;*V xȵC$eZWȡO; ',:^Aþ(j %|*a 01" XJ&%\󯪴*LHInU6u3 % @}|%@Q}].a Xgbڂ0IБZ^%Q|(A)%6Ba3!F$V y|&0$דVUv;@<*W E(/$ & z.i}BiРQUz^?Y!Wh %MB"OB*<.ȁ|P%) @$/ "_ __O5<`)1`S #dAFZFFFQmEFF[FF[QmEFdTF Gqf|FFii_f2_bt rN%[FP~}XTBW~E% h~Q%1sY!Lv*4c- SUu<þe SJ `@ TD8^@MH IjQF ONI,'᛿Q ?% MXPVMPݱ~f;`IvKEGIBfA,2YA .Pt aj0|āۆVIG>IQh\'s"m6A.GU>|x0cB_vNV.HD봎wLȝN5riy/B7g+_IZF]tRY88S 1NJtg~J?א[)NpuTVWE)]LGYi9yG!OqIZ]` [PЄlP'ڿ3yECR"0~SASMAEPRlDA Jń&}ݔGOo MBwFwlrN%t ˨-ԁOaXpFc,I4.@&BJ @7MXp@mlUNpQFhSXN#*w`gEXvo+Al]$B P;gtwKtq@ p7'!GH%b!|9z]uU~kиGȁIzMo(uJPulAZ&-Ц%7PQHRPЌ@ w; )ME& JJh'~ ?10)<.0SO#` !)]C0*2/i~qڅba8Rw`)9bBJ]V'+_0DKjE +!_B+`[^''rf%[Trj sMO`I2re+ze"uN@5gNOZj2}`LAdfʫvE?IubW{nvk7{D8'a^ˢ'P ̢'Rv9 )Ma~>5 NJ D<\#]q8w'vxeGAjݷ,C%WV&i~(THJQlLV@ !R.S} *;]Pwm~ o;B=!b|N2 M%Bb AU9, * <~# xMwGԆj/2vaHNdZMPj XH,OFI9,@2Wil,{Z PA>yA;YtN6ġ邳xNpGB<-X6,F qXwH|df @F#[iWUMl2PP ]VuNs +Ţ* S5NQFOGE~# ~)NaP j ߸A.7bJYW):RBԚQ(t/,*q~AՎfȢAB' Ŏ`^t?f7BU݆g8 ~H0(RNICOP׀k )~v2@'.+C BCASU#2u?Sw,$Tl!-aӲN۲L|?SL,X&᪶wJ6va_?k(MyAIְmSZMeo ر~$tF](-/9X,\҄b A BDX YlÌaI:Qv#'%$CM,KUv[u-`P/^G'BSIGvyi%,LYȌh}FuI\8PoBBr'gݾ{w2AsబB/)FF3`#YKOqy0~AbprR )ohJA'DT #'<G kawALSOZo? 9szdoX.a;J H];P@,z`(H1 \":m;P}hF:*3ib]C24:-azQAQuBSJ~SXFRGR_>uALe?< VO'ҝ[jMPVJ@'#jZFReL; MMvu6놣EFIwŜ_j M3[pSm~tLlMEX%3a.,nLRӑ\,/IZ~Z.A(ì-iYLEcWsRnNGn0xEf|qAoD%Ӷ*?SdQsOhGWY_'ꐿUTLղppIWYY[BLAo? N# sc vOK%@nA@p'k'/~B Nƽmiv& f'UCڿY(:Ym.Q4FV&]Eaø|~98G "VB1qG#(R߈ HiM^WNONvM꨿Qq]Q4f~ ŏIFIRoEWN/+(e@& N/EL't IٝDQR.o&5F7-qD(ФZyZGNTjFd%](F V@rNa[J3'Ev]:/p-,YB(.x0Wg^|Jj G*kIFaİ`sFR8 HPT- s;WAṾKK,x) @UKGd9HCЌ&HROÚ{|wtN]b.Avu|ﵐQAB9Ӄw/s OP#+<<LـBY(|K*NC*z`8%O ~_O. *K7WFQtLJO=E>^7jTƧOՅ:ыy= ARxPNGRUxMFU{FDK$vMۑ'F/ ZCYjŷXwWT$L`6+"N VwCHA*֓E=sCV;ota\#CMOVsln eZxN EP:]2kF3NݗaWB,GASޙV*RzF`AL,AW)Y`H)]WK Ƞ+iXE!)RUJOUCyWxh"SSHm2՘k°h;PTY:jAfcXIR2XݻXDbUDi% Of "[T'WPITC2^UWwCE'W,x EFCxrIV((DKP7ON- RH?ڥ=9~ewLI(S!.!b/ABEG℠aIUY.AN)5DM\HrAdKK(+Z[)ՀJF;KOF8ENt FI0uFE FP.$G5ISIXiGD\f5cLi ӐI2!*A2$I(PHIr8@V +HOT7SIC⤮VWJUMPWt!šF *M2Kt^ TUrBH$,LMNLT}UG`RaCSP0NPGZHRL9P#EZqJM)aG.:U.KMUNm n&aN`"4㼛D.S֑[:M hF]HP&™JnrPAUHSzWOPf%SOCIFNEX ֜J;WSvIHoީTURC`HD`\OB"GsT.O.I.PU0FAp3IiG!"2vLOQDCBOYMUhFpPETl&PA102MIXLICTSgB$%DNIqCtFR˙iAEVԭpRIPLYLHT/T!NORm[GIc,IDVIGOJ-YErsCIENCE,\RAL[PUCLUBݫvZODACjak.6YTӅF/x `r컝q0@+pK'gOGA.>/vf@I?D`]Hmv R`E:T;,H *#!5 P<-f_!Dލ |cҫ=aX av ܅݆ :D. N; ave=@dvE:H]6Ձ[a4 =yRS- Fut}Ov)ҥbqJu2Q*#}$|7"DX"PQ NW:0 =uSb%+J-X!zIR)ңI.T.Lg|v5Nt*eSeB ΊI<&& Ol7Qy~{E8.ADdzGN3?>΃(! pNS?" /Q:l]&~~~~ I$|>x9@K,;+ZqײV: ոIb%$VFaiiF`NPiFRTVFXZ\Fi^`bidfhjiFlnpiFrtvFxz|Fi~o`ö!a#a al~ IS a]9,bX?RPORATW`#SIS WYEI3Z21 QAKBEB%NBzʽUgYBPPTAVlFIZOCENFj7D!*G /NO#ADN/#dBE*pAMELOpxAREFIxpCTICNQUm "'IMPJ4DIUMCODEU;]KITCjK|Zd&R1MkppRACKPRO2NRkJMISIb-NS)UGHTtUTRUZw(TONT DOC"PLAY*-PUFY'0IDGH1RINGMEDUSASTEAL:BOMBSW|DSOFKADASH{kTHEENFORCERoƻWILOW0PځwgVE4veTf^efUD3"act(0SC |.0'e% ]gb<y݅m$–Y?m& bP(? U%¶' wid·c4㗐$𼆏** Mm#8r M6BO?vV1Q"L@N';w~,;8Ȯq JJ#ǚtHGKBRd6%P!JB'.F",* p\Bf+ D*ȕ`(p``C ˅"(zZ ` D4C40n֠7 END 7]S 3x%yQvƩ Y!+nd q/CG 7N_H`m|Y gX @J L!'O*7D 9h\CV CtN`M_ w@3 cފ(__?/HS P+F=]2T~lo 4R3GBWg"1Bxx/Q CB 1?VsRT (F蕻"&? Fz:mQjg*Ţ뜎~IZؿ Y2 'j@r|$U Xv!? v Aj]B' ñEְL.jA P\໰}^CāX9 Ͱv%*PN`øD5``A(HiwYrF-ށB3D$pFIHRRz{ ?zbCf\AI 7a9?!)EDTm4wjX9(P O??<"؇aЂ $䈅Y'2g$E? n*=3谤8Ƀa³E` *)f* i]hE.! 5E"דFB0(́ Gj+h?tj\ݟ1EhMx#u0ϡF; 0nzؾvm61ZXax"=B݁pLEDy㲘uUC.1`hj <+r~{iW89D .= 3 \_?Ugm4F}6~^0oǁmHkavW ևATl)Vvh"ޔ(8Nw@P4Kp5IQkw5a.3|>;6ER2aA,@~g?B8y`b|B.`EPLK#0K&qK;d@]Ó'+@;t(G \(Xh^yBD;9~?~/AU& (R ,W S~Qk7a ˆEH:'Ȃ MR waY"9& &CEk"!4-pD(IX&E@P?Tl/?qNo/nYKEo/ (P_C4Ea\+D5_?&'&"2,.H^?X1 I Ea &5;z%@a$"MsBX/̃ ׁ"uQw &. V9$] 9F3;r>g Dm'y`W9'ktQwfhr9as@Yhg˜Hx]k]ig(eFrWq>@Zt%!Iո-c aїHMt |kX&. D;@ͰX" :,|߄uæBTl@./[B,E䇎, D?+ٱ؋cĔLMhn6w#@&Wvk$;Ejx4B\~ā9M$ց3Ȑq ȐKr ע V5FmP@S>k om^j*.]+˨=E#U^D%ޅ@ \H8' L+F _0; &dQ/oBR"0 o 0aX)%C&(/v(89Eݨ0Y :%XD&GeOd wg߄BQf7(o." %A = VhBL8E$wvu}<"s# 9E>XCܢﻳ!cNJgnQ-R am\"o5ݘ@hn\035p tBQ07Pc"c_o"N ɏvH"0>"w_` -`,/03~VPr&ٛtgr/"dݛN7wa?.34? fhTh27/N6e#ML2.SdzafbF߭f4n"# sS>0_w6dDz,,7P=Ǚ栎⮿l%P}m"LoFpSM-Ov ¦ dnf:BnB u ,4$wgu^3|He%FNS ˭CU kXno(b," !C/ "R%ߝ \94 qZ ,Tg"3 bY6> z5OC9 ]`@O6 A,I [BVvkekf\=E؉8N㐸 SXG g,/㷬y r!s )"DLպ'}>P "jT! ;21z0BX#Ve~Q7KG~t 2M€'-c zA {%rFaD "PB0`|too!ȧ`X]GXY&>$KN;˨ z`k@, \FKHe$3 2o)8J?)\LPV$ )B+q[ _/X5A WYBUf_}W 0 aP+ @yŨPw";ӠihGs ?XJh@D"L^!(#(ì !L$> aL Y÷r8$h?]4L7 o&Oaϣ~.@K"1vQ\&,{C8cws u\>wDqu@ އ!\b}l%SToAl wc?>r&}8tQ R"ˀ7W!*(Bf"an07wN[`!1Ar;/ @Xnܐ oᲜ*WM E"/*Dj-Qh$#$T>d&f*I::f@| 0H,~?>z%ӷ\')@SԈE* B~|Σ4QH~U3NfK)D*G~#[x S VEeZ"`j,v9s@.;VoT\|1Bmb <|"?n nbTB!X DBb q&hnڃ%:B)Z`Xg/HH2 V}H@H"`Ŀ4`$VŸN/}4kGm0\Q8ei@&@\+ӯd"^BPta 1 29 j0>-("!g+$ą~!%4MQ76@"*o'xlB"  "66,t 00?^JM>KUIX7 nJ*7& v `a)x8[MXwj(|U 4%r? T+_y ل؀n5jn wv<: Xʨl@S0vp=>3M ^;K20 ۱8(_¨|MvV ̀%nܘ:> _/4N m=]! Ai~[Xm(1F|Llr.']\?`]?? A_拲 ND7m<na?w a#N6WPa5lZr@ 4o - E̝"%lxr`C t*X _C#!|B1ZoFP]-p/8q @ ᴁt0 3I&AhA@$F"J._=>X|&j]rA4` :a?3JUk![ Cl *f A:*y\*ujaqpҨ!~ ! 4/4j+?Vw5y| h]F+]t!U*Dי=Z`Dp:bٙh!A>p}oύG]t9DgrEttQ}] z;ˆ73 = ??WW LD;_:SE TNʌg0Ĩ// ^^Ft//^/&"ao/0JI-]'j; I/'/g Šݴ7jp1f@ϳ# b|@Z"$!,a$v{"I e1 DN҈dPR Y"*C7f2 ̋H։WI6b Ā  ̪T YU?;Ȋo ^M&_C r@9V:dH)?Z< <rڽ@W}[/?ESQ; "aN|翂Tp Q0C #c$=0!5-J )lHB焖;TH3`6{P J 0 !`d".}1B$`0|!$ "s}!`X P|yH%$p b 0h[U }H%%pMA{^JnS4~- F1o~z`yn`#2Joc$$r>1Q-V3/>Sf11y#8Vn1 s{zc[_lsʏ5J9MA(Zܧ|J%}jc3ۘP}>L`oɌ6>0ϔs8~id2N;Џcm/~>l w爼cC)94 ci{O g>_~cgrGug#'{GCr Nj<Ď/?|yA"p "=ϙ:A&w"AXhV&e:߃||HQD"pc?\L%3$H<$Kto kr󋲊ƍ8pc~ggg>Z*F DIzQuQֶ!ݤշ"HդbH!ܿfmErպEDW^tTmi4ԒiCڿ$Z-m[ sON;+DrDBbVB["$KUrwUE.aS+o ӡW.'g#I&"IO!hH&E{j :"A,hA%^ %jT$wB$T8fLjܚnZXէ ;#Lrn` 0c"}X h Yehن f^3R,d#ybP,'1,YBi#krL H Z>|8+WL[b$52ly)7"P-M'!n]n^|̫[S`zo($ъ#wBPsTP,4à$ sGs=3?hp1"lR pijD8hÃbSd BQ_͘nǨ0J:3U8Fs8bџM/P5mjbQA *]IxgAXa'HAdGe$E$x'$#3YiI`Ļ286w{H[$=ɍHp䐧a!<)E8"D(<0j0xG4S6  E ((9 )vPuƱ9NqQ.7ܧr{#Qcw)C pw)5^c՝ys QVWz:8s٭0Q^r GpmPG8Ls4}qmo9xvbŝ\z&q=hfX3&+,\z;T޻7 , ,sg: P ,A<P.2S]f;dCkxPҥִRKY) ~@w5"Ŭh @u &PRmAu_e QA*0g>2-YAax4@fBm, >CGGV?[ ƟGmZ9]:tcLH5ű7,j-f.](cHSJR%fS2j1*\n2:HHp$_fj*hvX𴰴ς `",f S[f;Brb@&zB6sXyn($+,tfAѽefH#"zb2XdQ!c>җmRk$kZi6D$z4mf*{,E&gB.$Q6VRA;$۩"Nu~!7rgVy^*'%Q6*:JXf(+pȡ1`+m￬ ItV&!%uɊ 7 |g &n<:I"z0ZC)!I1GTo_c26|pz X< <*|$YYL-Q`zjcjifd(UF&W(kBA2;NP&$ Nu([A1 "'X`i#`TQ,c`#R>S^ kgQ{I1,CПN1[6"&f3`.<|6f"&'h!/vj DO:2 `VC&r!g!F?uC kJgS`\mkز2`XJjf&eԓfdS`ҩegba @.ԁ!.HBB#/R$(%jrNu/S C eЫg&n 0"M&*靌 n{1 ae wT.DYDf4IO(wB0E1'DbY1` H.F^=AxXd"GLQK}Fd CDE$ %KR\]_6 C M / gaw GG,p0S#yYYYˣlll}Y8,lll©,,,,{eQ,,,,>׬Ԋ(Ƚ(~wQ4pj^YUKG;W8/,Q~^4*'#U]Wrt\_qrCOSOxy̤$|mb@> dčTFMXc5lZdnxEEQ_Ed(tDzt 8$Z$ePkNFH栞同v"cF&T csM,BKSjq66FD~6ڔGjZ`tsA P'PX3a2)"%䬓I3MN L | CJ 0 00 0 ,   69 1Qt&664Uvì /Tbm8oa{'aAV9KHg"- pP/} ={OHEp۵^ID$ @" DI3a.Wa_~e; ; 21ߑ-ٲ((.)ٵ@,0zr  $cDt,Q 4ۘP L 2+!AH 9)|B! h1 F , "BDrm@5:Q4rx40K0@_zJ&np 6@1JbBbFBB+"A )./+ rm:A @ֲ  FFI$ iJB7̒.C59,D8VN*@` * \fn$1FV4 LrdDX |"% 3s 3s L5@DP5P5H#S$K4Za!AU؈PUv]`XaVPf)3 uBbDI U\*UfZ q!$F#Q$e v Aa }GH4_=)Т"1D#0@F\$˘j! BHT; B`$ 9"$$\Hhp$KF0.z0 aF ZMU3P-4͖ L$WI_!?Z`h^&nL 0:L@HT 6g6f./0$5)JPk$l$Q*"uOQDT X &i`lFIF&PUv W|>A x]<`,]F܀_>4yWU/'θ0O\<{9ne˟s]Ct:0DA x8|rKsro8|2 =/sa0x8cr00,.]4DBfi8xsr:ϝ 9=u(HYp:VY| pn '2o xrCPaT9,:]gNqT F㝗 ԁ:OLy`[} uᆁyqu jT+xH.YM렺7'$ 1q!:`qP@w^B'{#fH'<>;/%9:N>ޣxÎgu6 3x q g\(09G:8/Ω1_s\ @3<:n^ܮp(3<\gԡ\ fiۉk@K1`<-hYx^YE! xn F:oCx~<6;ameX.@ u<$ `lܰg< <,4#aѺ{VLz^8U!;?Ǫp "DLVs"»' àGb9'= kaUTA*]XFB<4ONj(4O>z@(lj{@s @*? GbNF8%L=Nzs҈y80ax|# Oq@}'9?#  @c?# ǜ/1!\GK􄄽00@ %@_ X`,7B)~7{Fg9x/..Auxtx6-yxhKg%ON.NnR~q xl?o?|<rN&?s8 q< ,WR%ƛaa ~bia(ow#*da|ii`f(q3qP ˀRnH.\|qC B-$N!qP @?nBfrC2Fܐv M'\e CdfD"gpCN2r*DD-D%[rC:2VEP l+Eڌ-Znn:nf[8g ooo8 ̍#7z>sio^npt1@twFtw uumg6dgx9zb1a/̌@:c̨83̌0:3`AnbsqAc_l#Zwfl0Fyfnݥ>hZܾ]>jwR8*wx?m[j]*fHܥ?:uq`?:/Ue@&@V<R9@v^vjqwwF@杗AR1CzZ>lVnLr\#)n6bb2;b3w"/4upCblu_uuC#:·u;9& ̔Nl3=c|X2xJe39\K=y;/`cawl8$4 b*%Hg30eXAnp34tΥvDu_+sk x'Ly_vxf*zroesend;x  :||f 9Lv@PDIxP