Q`8ader8T 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`wy{} @` @ ` / @ ` @ ` @ ` ɠ @ ` ׀ ٠  @` @`!Aa   !Aa!!#A%a')+-/1!3A5a79;=?A!CAEaGIKMOQ!SAUaWY[]_a!eagikmoq!sAuawy{}!Aa!Aa!Aa!Aa!Oaǁɡ!Aaׁ١ " B b  !"!B!!!!"!""#B"%b"'")"+"-"/#1"#3B#5b#7#9#;#?ACB$Eb$G$I$K$M$%QSB%Ub%W%Y%[%]%_&a"&cB&eb&g&i&k&&o'q"'sB'ub'w'y'{'}'("(B(b((((()")B)b)))))*"*B*b*****+"+B+b+++++,",B,b,ǂ,ɢ,,,-"-B-b-ׂ-٢---.".B.b.....B/b/////0#0C0c00 0 0 1/1C1c11111@`  @`! #@%`')+-/1 3@5`79;?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@u`wy{} @` @ ` / @ ` @ ` @ ` ɠ @ ` ׀ ٠  @` @`!Aa   !Aa!!#A%a')+-/1!3A5a79;=?A!CAEaGIKMOQ!SAUaWY[]_a!eagikmoq!sAuawy{}!Aa!Aa!Aa!Aa!Oaǁɡ!Aaׁ١ " B b  !"!B!!!!"!""#B"%b"'")"+"-"/#1"#3B#5b#7#9#;#?ACB$Eb$G$I$K$M$%QSB%Ub%W%Y%[%]%_&a"&cB&eb&g&i&k&&o'q"'sB'ub'w'y'{'}'("(B(b((((()")B)b)))))*"*B*b*****+"+B+b+++++,",B,b,ǂ,ɢ,,,-"-B-b-ׂ-٢---.".B.b.....B/b/////0#0C0c00 0 0 1/1C1c1111136  t TALESPI1SWRSILVER SWR t =SILV_SOLSWR t USIL_RULESWR t O?TALESPI2SWRTKREMLIN SWRdzCHAMPRAJSWRw$t -2CHUCK_YASWR$t ",FULLCONTSWR$t T HARPOON SWR'%t bGUNBOAT SWR%t <SHADOW_DSWR%t =A SHOCK-PWSWR%t @WIN_TACTSWRs&t B:2LOG_CODESWR&t O'CIRCEDGESWRC't R9hGFA_ART SWRvt m.ADV_DESTSWRt 1MFOOLSOLNSWRzt *DAMOCSOLSWRt DAYVIPERSWRt 6oKULTSOLNSWR#t $ ROTOR SWRdt ROTRSOLNSWRt AUTO c ARC[ Sewer Software present the complete (215K) Docs to Talespin, as usual with the large docs, broken into two smaller files for ease of use and 520ST compatability... Part 1... TALESPIN Table of Contents 1. Chapter 1: Introduction ......................................3 1.1. First Steps .............................................3 1.2. The Evolution of Talespin ...............................4 1.3. Equipment Requirements: .................................4 1.4. Making Backup Copies ....................................4 1.4.1 Disk Contents ......................................5 1.4.2 Talespin ...........................................5 1.4.3 Telltale ...........................................5 1.4.4 The Library Files ..................................6 1.4.5 The Grail Disk .....................................6 1.5. About The Author ........................................6 1.5.1 Acknowledgements ...................................7 2. Chapter 2: Getting Started ...................................11 2.1. Starting Talespin .......................................11 2.1.1 Loading 'Talespin' from the Program Disk ............11 2.1.2 Loading 'Telltale' ..................................12 2.1.3 Talespin ............................................12 2.1.4 Correcting Selection Errors .........................12 2.2. Option - Playing The Grail Adventure ....................12 2.2.1 About "The Grail" ...................................13 2.2.2 How to Start Playing ................................13 2.2.3 Saving your Place in "The Grail" ....................14 2.2.4 Finding Your Place Again ............................14 2.2.5 Erase Placemarker ...................................14 2.2.6 How to Cheat ........................................15 2.3. Doing it yourself........................................15 2.4. Control Menu ............................................16 2.4.1 Choose & Load Title .................................16 2.4.2 Create New Title ....................................16 2.4.3 Set Placemarker at this Page ........................17 2.4.4 Find Placemarker ....................................17 2.4.5 Erase Placemarker from this Disk.....................17 2.4.6 Select Drive\Folder .................................17 2.4.7 Switch to Development Mode ..........................18 2.4.8 Autorun .............................................18 2.4.9 Help ................................................18 vii 2.4.10 End Session.........................................18 3. Chapter 3: Doing It Yourself .................................21 3.1. Creating Your Own Titles.................................21 3.1.1 Where to start. .....................................21 3.1.2 Page Definition .....................................22 3.1.3 What to Draw ........................................22 3.1.4 Palette Considerations ..............................23 3.1.5 Drawing Definition ..................................23 3.1.6 Drawing Menu ........................................23 3.1.7 Drawing Functions in Detail..........................24 3.2. Drawing completed - What now? ...........................27 3.2.1 Building Up a Page ..................................28 3.2.2 BOY/GIRL ............................................28 3.2.3 Adding Text .........................................29 3.2.4 Adding Text for Options .............................30 3.2.5 Adding Options ......................................31 3.2.6 The Second Page .....................................32 3.2.7 Building Up the New Page ............................32 3.2.8 Cursor Mode .........................................33 3.2.9 The Third Page ......................................35 3.2.10 Joining Pages ......................................36 3.2.11 Testing ............................................36 3.2.12 Problems? ..........................................36 3.2.13 Adding Variables ...................................37 3.2.14 Creating a Variable ................................38 3.2.15 Adding Conditions ..................................39 3.2.16 Adding a Page Entry Option..........................40 3.2.17 Adding Options .....................................41 3.2.18 Any Problems? ......................................41 3.3. Library Files ...........................................42 3.3.1 Using The Library Files .............................44 3.3.2 Looking at the Grail disk ...........................45 3.3.3 Copying from the Library Files.......................45 4. Chapter 4: Advanced Level ....................................49 4.1. Combining Pages and Drawings ............................49 4.1.1 Statistics ..........................................49 4.1.2 Technical Details of Statistics......................50 4.1.3 'The Grail' Drawings ................................50 4.2. Use of Palettes .........................................51 4.2.1 Using Palettes ......................................52 viii 4.2.2 Examples from 'The Grail' ...........................53 4.2.3 The Forest ..........................................53 4.2.4 The Town ............................................53 4.2.5 Using Black and White ...............................54 4.3. Using Text Windows ......................................55 4.4. Using Variables and Values...............................56 4.4.1 Different Uses of Variables .........................56 4.4.2 Using Conditions ....................................58 4.4.3 Combining Conditions.................................59 4.4.4 Drawing Conditions ..................................60 4.4.5 Text Conditions .....................................61 4.5. Using Options............................................62 4.5.1 Options on Text Windows ............................63 4.5.2 Options on Drawings ................................63 4.5.3 Page Entry Options .................................63 4.5.4 Execution Order of Options..........................63 4.5.5 Sound Options ......................................64 4.5.6 Page Entry Sound Options ...........................64 4.5.7 Text Sound Options .................................64 4.5.8 Drawing Sound Options ..............................64 4.5.9 Entering Sound Options .............................65 4.5.10 Memory Limitations ................................65 4.5.11 Set Variable to Value Options .....................65 4.5.12 Page Entry ........................................66 4.5.13 On Drawings .......................................67 4.5.14 On Text Windows ...................................68 4.5.15 Go to Page Options ................................69 4.5.16 Page Entry Go to Page Options .....................69 4.5.17 Go to Page Options on Drawings.....................70 4.5.18 Go to Page Options on Text Windows ................70 4.5.19 Chain Options .....................................70 4.5.20 Page Entry Chaining Options .......................71 4.5.21 Chaining Options on Text Windows and Drawings......72 4.6. Using Sounds ............................................72 4.6.1 Sound Definition ....................................73 4.6.2 Creating Sounds .....................................73 4.6.3 Sampling ............................................74 4.6.4 Replaying ...........................................74 4.6.5 Setting Sound Options ...............................74 4.6.6 Sounds and Disk Space ...............................74 4.7. Testing .................................................75 ix 4.7.1 If It Doesn't Work ..................................75 4.7.2 Testing the Whole Adventure ........................76 4.7.3 Demo Titles.........................................77 4.7.4 Backup/Statistics ..................................77 4.7.5 Statistics .........................................77 4.7.6 Unused Blocks ......................................78 4.7.7 Deletions ..........................................78 4.7.8 Directory Entries Used .............................78 4.7.9 Current Directory Size .............................78 4.7.10 Backup ............................................79 4.7.11 How To Backup .....................................79 4.7.12 Enlarging the Directory Size ......................80 4.7.13 Completing Backup .................................80 5. Chapter 5: Writing an Adventure ..............................85 5.1. Planning an Adventure ...................................85 5.1.1 The Storyline .......................................85 5.2. The Wolf File ...........................................86 5.2.1 Planning Disk Space .................................86 5.2.2 Structuring the Game ................................87 5.2.3 Variables and Values ................................88 5.2.4 Outlining the Pages .................................89 5.3. The Scientific Method ...................................89 5.3.1 Variables ...........................................90 5.3.2 Building up the Pages ...............................90 5.4. The Artist's Method .....................................90 5.4.1 Sounds ..............................................90 5.5. Final Testing ...........................................91 5.6. Running Out of Space ....................................92 5.7. Large/Commercial Adventures .............................92 5.7.1 Demos ...............................................93 5.7.2 Quick & Aborted Title Loading .......................93 6. Chapter 6: Other Uses of Talespin ............................97 7. Chapter 7: Reference Section.................................105 7.1. Control Menu ...........................................105 7.2. The Development Mode Menu ..............................107 7.2.1 Cursor Mode ........................................115 7.3. Drawing Menu ...........................................121 x xi Chapter 1 1 2 1. Chapter 1: Introduction 1.1 First Steps Talespin is a unique product, simplifying the process of creating a graphics adventure almost beyond belief. Pictures, text and sound can be joined together to form a 'page'. Successive pages are then further connected into an interactive story, guide, or textbook, which is read simply by using the mouse to point to the scene and clicking on the drawings or text. Variables may be used to control the flow of a narrative, or record progress made through an adventure. Talespin itself is entirely mouse-driven and very user-friendly. In fact, no programming skills are required. Talespin includes its' own art package and can also import pictures. Digitized IFF sampled sounds are easy to import. Features of Talespin include: * Full detail of disk space usage. * Location of all pages referring to any particular page, drawing, sound, or variable. * Completely interactive development allowing changes to any part of a title at any time. * Copying drawings and sounds from other titles. * Chaining other titles. (This permits spreading a story or textbook across several disks.) * Demo mode (Allows a title to run on its own for demonstration purposes.) Talespin can be used for many purposes. You can create interactive adventure games for entertainment or instruction. Business uses include creating sales demonstrations, or product service manuals. 3 Talespin can be used in educational applications to teach the design and logic of computer systems in a non-technical way, or as a vehicle for the teaching of any other subject from user created storyboards. You might even use Talespin to create an expert system or an interactive magazine. You are limited only by your imagination. Talespin is ideal for applications requiring interlinked graphics and text, and can be used by people with no programming expertise. Above all else, it's fun! 1.2 The Evolution of Talespin Mark Heaton wrote Talespin to inspire his artist son, Rudy. Rudy loves drawing and adventure games, but hates programming computers. Rudy created "The Grail", the first Talespin adventure to be published, which is included (in a shortened version) as part of this package. Play "The Grail", then examine the mechanics and find out how it was put together. Try it out yourself. Modify the program to create your own unique storyline. 1.3 Equipment Requirements: Talespin works with any Amiga computer (A500, 1000 or A2000), and a color monitor or television set. To record your own sounds, you'll also need A.MA.S., available from MicroDeal. Talespin consists of one disk The Program disk, 'The Grail" disk (which contains the demonstration adventure), and of course, this Manual. 1.4 Making Backup Copies The disk is not copy-protected and you should make copies for everyday use, keeping the 'master' disk in a safe place. (If you should ever accidentally damage your work disks, you can then create a new copy.) Consult your Amiga Owners' Manual if you are unsure how to copy a disk. 4 Please note that much time and effort went into the writing of Talespin. Contrary to what you may have heard, freelance programmers do not make a fortune! Please do not share this copy with your friends. However, any games you develop using Talespin remain your property to publish or share as you please. The Telltale program, which can be used to run stories created with Talespin, has been placed in the public domain. In other words, you may give TellTale to your friends. 1.4.1 Disk Contents The Program disk contains: * The Talespin program itself * Telltale, the run-only module for Talespin * Two library files. * The Grail (Sample Adventure). 1.4.2 Talespin Talespin is a self-contained program which handles all aspects of adventure and other title creation interactively, including viewing and testing the product as development proceeds. Only sounds, if required by your application, need to be externally created (using a package such as A.M.A.S). Drawings may be imported, although Talespin includes its own drawing package. You can also create 'demonstration' titles which play automatically on loading. Your creations may also be 'locked' when complete to prevent any further changes. 1.4.3 Telltale Telltale is the 'read-only' version of Talespin and can be used to play adventures such as 'The Grail' or 'The Wolf'. You will not be able to investigate their structure, nor write your own stories with Telltale. 5 Telltale is a 'public domain' program: It may be freely distributed along with your Talespin creations. 1.4.4 The Library Files These files contain a selection of drawings and sounds that can be used in making your own titles. Game developers will probably find them more useful than business or educational users. They include: ALPHABET.TAL - with one set of numbers and two alphabets, one ornate, and one plain (which you can copy and alter to suit your needs). THEWOLF.TAL - a short story based on "Little Red Riding Hood" used as an example in Chapter 5 'Writing an Adventure', and containing drawings and sounds which may be copied for your own use. Any of the drawings or sounds from any of the titles ("The Grail", "The Wolf", "Alphabet" or "Start") may be copied for your own use. None of these titles are 'locked'. You can find full instructions on how to use any of these files in the Library files section of Chapter 3. 1.4.5 The Grail Disk This disk contains "The Grail" demonstration adventure, created by Rudyard Heaton. To play, first insert the Program disk and double click on Telltale or Talespin and follow the instructions. For further details, refer to Chapter 2. 1.5 About The Author Mark Heaton is a 40 year old computer systems designer. He taught Transcendental Meditation for some years before switching to computers, and has trained as a psychoanalyst. He is married to a language teacher and has five children, all of whom helped in the creation of Talespin. 6 1.5.1 Acknowledgements Thanks to: Rudyard (age 19) for being inspired to write "The Grail". Celayne (18) for writing the Help messages. Anselm (13) for debugging the system. Luke (8) and Jody (6) for playing with Talespin. Nicola (38) for writing the manual. Two Bit Systems for the sound replay source code. John Symes at MicroDeal for snapping it up as soon as he saw it. 7 8 Chapter 2 9 10 2. Chapter 2: Getting Started 2.1 Starting Talespin 2.1.1 Loading 'Talespin' from the Program Disk First place the Program disk in DF0: (the internal Drive) and switch on your computer. The screen will show the Workbench with a program icon called TALESPIN displayed within a window. Move the mouse pointer over this icon and quickly click the left mouse button twice. After Talespin loads the first screen will then be displayed. Figure 2-1 Talespin Title Screen 11 2.1.2 Loading 'Telltale' Insert the Program disk as described above, and double click on TELLTALE. The same instructions will appear, although you will not be able to create your own story using this system. This program is 'read-only', that is, it can only read programs created with Talespin. 2.1.3 Talespin When Talespin is loaded the first screen contains the titles and credits and a box with 'Click' on it. Position the mouse in this box and click the left mouse button. Text will appear giving you a choice of playing "The Grail" adventure or creating your own project. Make your selection by moving the cursor (i.e. mouse pointer) over either the top or the bottom half of the text window and clicking on it. Notice that each half highlights separately, giving you two options. 2.1.4 Correcting Selection Errors If you selected the Start creating your own Title text in error, wait until the next page appears. When it does, click on the 'CLICK' box and then click on the part of the text which says "OOPS! If you want to restart, CLICK here." If, however, you clicked on the "The Grail" option in error, ignore the 'Insert disk' prompt and press the right mouse button to abort and bring down the Control Menu. Cancel this menu (by clicking outside of it) and you're back where you started. 2.2 Option - Playing The Grail Adventure Select this option and you will see a message requesting you to change disks or select a different disk drive. Insert the Program disk. When "The Grail" has loaded the Title page of the adventure will appear. 12 2.2.1 About "The Grail" 'The Grail" is the first of the new mouse-driven generation of adventure games. You no longer need to type in text to see what will happen. In "The Grail", you use the mouse to click on objects and text to explore further. The story features a wizard and his henchman setting off to seek the Grail, the reputed cure of all ills, in order to rid the land of a terrible curse. It is up to you to make the right choices to help the wizard find the Grail and thus bring health and happiness to this blighted land. 2.2.2 How to Start Playing You are looking at the first page of the story with the goal of everyone's desires, "The Grail", in the middle of the picture. Start playing by clicking on different parts of the picture, objects, characters, and background to find the text windows. At the bottom of the first text window (located to the left of the Grail), you will see a scrolling arrow which highlights when you pass the cursor over it. Click on this arrow to see the rest of the text. Part of this additional text will be highlighted when the cursor passes over it: click on that part of the text to move on to the next page. If you just click outside the window it does nothing more than close the window. Now you are on your own - but watch out, there may be clues in the text! REMEMBER: * Click on different parts of the picture to see text, produce sounds, and so forth. * A scrolling arrow at the bottom (or top) of a text indicates there is more text to be seen by clicking on it. A line or two may be repeated. * Some text becomes highlighted when the cursor passes over it: click on these to make choices. * A "zz.." message means you are moving to another page. You cannot click until the cursor reappears. * Press the right mouse button outside the window to see the Control Menu: Press the left mouse button to cancel the window. 13 NOTE: If, after you have made a choice, the cursor does not disappear it means that there are further texts to be found on that page. The same object or character may have more than one text. Clicking on Help! in the Control Menu provides the above information (and more) online. 2.2.3 Saving your Place in "The Grail" You can save your place at any page in an adventure by using the See Placemarker option selected from the Control Menu (which is called by a clicking the right mouse button). Click on Set Placemarker and you will be asked for a file name for saving your current position. Type un a name and  press Return. This will set your place at this page. [If you don't type in a name and press Return, or if you click outside the window, the operation is canceled.] Note that there is not a lot of room on the disks as distributed. You may prefer to insert a previously formatted disk for this operation. You will have to re-insert the original title disk before continuing the game. Don't worry, the system will prompt you for it, if you forget. 2.2.4 Finding Your Place Again When you want to find your place again, click on Find Placemarker. A list of previously saved placemarkers will be displayed. Select the appropriate one by clicking the left mouse button while pointing to the title, and you will return to the saved place in the game. Should the selected Placemarker have been saved while viewing a different title the system will tell you and ask you to load that title first. 2.2.5 Erase Placemarker Use this option to clear any placemarkers that you no longer require, or if you need to create some more disk space. Click on the appropriate file name. 14 2.2.6 How to Cheat Provided you have loaded "The Grail" from within Talespin (as opposed to Telltale), you may switch to Development mode and, using the Turn to Page option, jump to any part of the adventure. However, as various Variables (explained later in this manual) are used, the adventure will not have been set up as would be the case if you had proceeded from page to page in the normal manner. You may get some unexpected results. [You could use the List/Set Variables option, explained later in this manual, to correct this problem, but you'd probably be better off playing the game and reading the rest of the manual first!] Alternatively, you could click on Autorun in the Control Menu and watch the game play (at random) on its own. This is sometimes useful for finding hidden areas of text! Hold the right button down to end the Autorun. [This is used to test Demonstration mode - see Chapter 4 under Backup for details]. When you want to move on from playing "The Grail", insert the Program disk into the drive, press the right mouse button to call the Control Menu. From this menu select Choose & Load Title. The title you are looking for is 'START'. This takes you back to the 'First Page' section discussed at the beginning of this chapter. 2.3 Doing it yourself This time, click on the text in the lower portion of the text window to create your own title. As soon as you have made your selection by clicking on the text, the cursor will disappear and a 'zz...' message will appear on the screen. Another page is being assembled. Soon you will see various drawings. Click on these with the left mouse button to see the corresponding text windows which tell you about the different sections of the manual. Click on the 'CLICK' box to proceed. You are now going to create a title of your own and will need to change disks. (There isn't much room left on the Program disk.) Be certain the new disk is formatted. (Refer to your Amiga Owners' manual if you aren't sure how to format a disk.) Talespin can not format a disk. Click the right mouse button (outside any open window) to call the Control Menu. On the Control Menu you will see all the possible operations in the system at this point. Move the cursor to point to Create New Title and click the left mouse button. This will take you directly into Development mode. 15 Talespin will prompt you for a file name for your title. Legal file names may contain up to eight characters. The operating system will not permit longer names. Type in your unique title and press Return. (Note that all title files end with the suffix .TAL. If you rename it to anything else the system will no longer recognize it as a Talespin title.) 2.4 Control Menu The Control Menu, which is displayed when you click on the right mouse button, is a list of the available operations at the top level of the Talespin and Telltale systems. Exactly what is available depends on what you are doing. If you haven't loaded any title or, for example, if you are playing the unlocked 'The Grail" adventure using Talespin, all the operations will be available to you. If you are playing "The Grail" using Telltale or you are playing a 'locked' Talespin adventure, you will not be offered Autorun or the opportunity of switching to Development mode. [If you switch to Development mode, a different menu will appear, called the Development Menu. For more information, turn to the Reference section of Chapter 7.] Here is a brief description of each of the operations of the Control Menu: 2.4.1 Choose & Load Title This will select and load a Title from the current drive or folder. You may have a choice of one only or of several. The title START contains the sequence of instructions you see on the screen when you first load Talespin or Telltale; note that any title called START.TAL will be automatically loaded when either Talespin or Telltale is first run. 2.4.2 Create New Title This operation is not available in Telltale. In Talespin, clicking on Create New Title will take you directly to Development mode and will ask you for a file name 16 for your own title. Type in your chosen name and press Return. [Clicking outside the window cancels the operation.] 2.4.3 Set Placemarker at this Page Placemarkers enable you to save your position at any point while playing an adventure such as "The Grail". If you click on this item you will be asked for a file name to save your current position to disk. Type in a name and press Return. This will set your place at this page. [Clicking outside the window will cancel this operation.] 2.4.4 Find Placemarker This will list all placemarkers on the current drive\folder. Clicking on the appropriate one will return you to your place in the game. You will receive a warning message should the placemarker not 'belong' to the currently loaded title, i.e. if it was saved from another title. 2.4.5 Erase Placemarker from this Disk Use this to clear out any placemarkers that you no longer require: click on the appropriate file name. 2.4.6 Select Drive\Folder This operation is only applicable if you have a second disk drive, a hard disk, or a RAM disk. You can select a different drive or folder for loading a title or finding and setting placemarkers. 2.4.7 Switch to Development Mode Once a title is loaded (provided it is not 'locked' or 'read-only'), you may go into the Development mode to investigate, make changes or browse through the Library files. You will see a different Control Menu. For details of the Development menu refer to Chapter 7, the Reference section. 17 2.4.8 Autorun This mode allows a story to be played automatically, making random selections for use as a demonstration copy or for testing. It is not available with Telltale, or if the title is 'locked'. To stop Autorun, hold the right mouse button down until the Control Menu appears. For full details see Chapter 4. 2.4.9 Help This option displays the Help messages relating to the Control Menu. These messages contain most of the information from this section. It is mainly intended to assist users of Telltale. Click outside the window to cancel. 2.4.10 End Session Click here if you wish to stop playing or writing. Click on the highlighted text "Confirm End Session" message to return to the Desktop screen. If you have clicked on End Session by mistake, just click outside the window to cancel the operation. 18 Chapter 3 19 20 3. Chapter 3: Doing It Yourself 3.1 Creating Your Own Titles. This chapter provides a detailed explanation on how to start from scratch and create a page using some simple drawings. We'll proceed with a step by step explanation of how to put a short story together. Then we'll add one or two of the more sophisticated operations. Whatever your intended final use for Talespin, this is a good way to begin. If you have not yet done so, we recommend that you spend some time playing "The Grail" adventure before proceeding. You will have a better feel for how Talespin titles operate after playing. Although it helps if you can draw, it is not essential by any means. You can create an adventure with the simplest of graphics. Those who are not budding artists can copy drawings, letters and numerals from the library files. Also included are a few sample sounds for those who do not have A.M.A.S. (available from MicroDeal) but wish to experiment with sound. You may also download picture and sound files from Genie. We are presently building a sound library for A.M.A.S. in the MichTron on RT. (See the last page in this manual for more information about Genie.) The full range of drawings from "The Grail" and the "Start" title on the Program disk are also available for use. Refer to the Library Files section below to find out how to use them. Then create your own three page story as outlined in this chapter using drawings from the library files. Chapter 5, "Writing An Adventure" deals with the theory and practice of adventure writing in greater detail. 3.1.1 Where to start. Assuming you have just entered Development mode by clicking on Create a New Title in the Control Menu and entering the new title name. You will now see the Development Menu. At the top, this menu displays the title name and the current page name. Since no page has been defined, "No Page Selected" is displayed. 21 Begin either by defining a page or by creating a drawing. Pages are the connecting units in the Talespin system. A title or adventure consists of interconnected pages, each of which may use many drawings (and sounds). Let's define a page. As with the title, you will be prompted to supply a name. Names of pages, drawings, sounds and variables may be up to 64 characters long - the system will not let you type in any more. Note that the first page of your title should be called START. The Talespin system recognizes this as the first or starting page and will display this page when you first load a title. [If no page is called START, the title starts with no page selected.] You may rename any page to START later. There's no need to do it now. The naming of subsequent pages is up to you. 3.1.2 Page Definition Click on Page Definition, which will call another menu. Then click on Create New Page, type START, and press Return. You have now created a page called START, albeit a blank one. This is shown at the top of the Development Menu. The next thing to do is to create a drawing to put on the page. 3.1.3 What to Draw So what type of drawing and what sort of page are you going to create? You might want to experiment with the drawing utilities first and not attempt to draw anything in particular until you are familiar with how the whole system works, or you might prefer to start with the first drawing of a mini story. In this exercise, we will be creating a very short story (involving drawings of a boy and girl) and use it to guide you through the various stages of creating pages, creating drawings, building pages, adding text, adding options, and finally, more sophisticated additions using variables and conditions. If you do not want to use this five minute story as the basis for this tutorial, make up your own. If drawing people is a problem for you, use pinmen or try something like a road maze where you just need lines and an object to move along them . Other ideas for your first title could be a treasure hunt, getting out of jail, or a simple fairy 22 tale. Fairy tales are in fact very useful for trying things out. You have a set story to work with, and many possible variations. 3.1.4 Palette Considerations Talespin offers a palette of 16 colors on the screen at one time. This means that all the drawings on a page must have the same palette. Don't try to change the palette for different drawings until you are more familiar with Talespin. Note also that the colors BLACK and WHITE (first and last palette entries) must always be present as they are used to display text therefore, they cannot be modified. Even imported drawings must meet this criteria. Also, the first palette entry (BLACK) is used to mean TRANSPARENT in drawings. Thus a drawing with a first-palette-entry BLACK section in the middle will, when placed on a page over the top of another drawing, allow the underlying drawing to show through. If you want a non-transparent Black you will have to use one of the other palette entries for this. (See Modify Palette below for this.) 3.1.5 Drawing Definition Point to Drawing Definition on the menu and click the left mouse button. For full details of all the items on the drawing definition menu, see the next chapter. Right now, you will probably only need to use the top three items; Create New Drawing; Modify Drawing; and Copy Drawing. If you want to copy drawings from the library files, you will need the fourth item, Copy Drawing from Another Title. (Refer to the Library Files section later un this chapter for information on this function.) Point to Create a New Drawing and click the left mouse button. You will be prompted to enter a name for your drawing. Type un a name and press Return. The drawing menu and the palette will now appear. 3.1.6 Drawing Menu The Menu lists the Talespin drawing options detailed below. To get started right away, Click on a color and then on one of the brushes (Pencil, Spray, Mini-spray, Block and Blob) in the window. The screen will go blank except for the appropriate cursor. You can draw on the screen by holding down the left mouse button and 23 Figure 3-1: Drawing Definition Menu moving the mouse. Right clicking brings back the drawing menu should you want to try another type of brush or select a different color. Made a mistake? Right click for the menu and click on UNDO. This will undo the last stroke you made. To erase, click on color Black in the palette and then on BLOCK or BLOB and rub out the offending area. When your drawing is complete, click on Save Drawing to save it. The system returns you to the Drawing Definition Menu, ready for you to create further drawings. When you want to move on, turn to Section 3.2, "Drawing completed - What Now?" 3.1.7 Drawing Functions in Detail Pencil Draws dots and lines a single pixel (dot) wide: used for detailed work and outlining shapes. Spray & Minispray These two facilities give a sprayed effect. For example, for shading in trees or a person's hair. The longer you hold down the mouse button the more the area defined by the brush gets filled in. Moving the cursor at different speeds gives different densities. 24 Line This function is for drawing straight lines. The center of the cursor is used to give the start and end points and assists in accuracy. Press the left button to indicate the start of the line, then move the mouse to where the line should end. You will see a line being drawn. Release the button when the line is the required length and angle. This 'fixes' it, or locks it into position.. For a horizontal or vertical line, make sure the line is absolutely straight before releasing the button. The Undo option will erase all of any line just created. Fill This fills an area of the screen with the currently selected color. Move the Fill cursor until the tip is inside the area to be filled and click: the Fill color will spread to all adjacent dots of the same color as that clicked on. Note that if you are filling a line drawing and there is a gap in the lines, the Fill color will 'leak' and the whole page will begin to fill with color. DON'T PANIC! Click the right mouse button to abort the Fill and then use UNDO. Select the pencil brush, look for the gap and fill it in so it is closed. Now try again. Block Use this to draw right angled shapes, squares, rectangles etc. Also use it to erase mistakes by selecting Black from the palette first. Blob Use it to draw thick outlines, to draw circles and rounded shapes, to do original lettering, or to erase small areas. Lens This is very useful for intricate work. Click on Lens On/Off to activate it. The Lens will stay on the screen until you click on Lens On/Off again to cancel it. This function is like a magnifying glass to help you identify which individual dots need changing or erasing. It magnifies the boxed area around the cursor wherever you move it. If you approach the Lens box with the cursor it will automatically jump to another part of the screen. This will permit you to adjust the pixels in the area occupied by the Lens Box. 25 Modify Palette When you click on this, a new menu appears along with the palette. Note that the palette that shows up on your screen when creating a new drawing is the same as the default palette. All 'The Wolf' drawings use this palette to make life easy: remember that all drawings present on a page have to use that page's palette. The first menu items assist with this problem in allowing the whole palette to be copied from a different drawing or page, to the current page (if any). To change a color, click on the color you wish to change and look at the bottom half of the menu. Six choices are available: More Red Less Red More Green Less Green More Blue Less Blue There are 15 different shades of each of the three primary colors Red, Green and Blue, plus a zero option of no Red, no Green, or no Blue. Click on one of the choices (e.g. More Red or Less Green) and see how the color changes. (Note that the color will change on any drawings with the selected color too). At the bottom of the menu is a reference to the 'RGB Values'. These are the values of O-F for red, green, or blue. The value FFF, or all red, all green, and all blue has a corresponding color of White. The value 000 or no red, no green, and no blue has a corresponding color of BLACK. The Current RGB value may be 64 1, which means 6 units of Red, 4 units of Green and 1 unit of Blue. This translates into a shade of brown. A value of 333 is mauve. Experiment with these values. You'll soon pick up how to get exactly the color you want effortlessly. 26 To create lighter and darker shades of any one color, first note the RGB value of that color (click on that color to see it), then click on the color you want to change and adjust it until you get the same RGB value (i.e. the 2 colors are the same). To change to a lighter shade, add 1 Red, 1 Green and 1 Blue. For a darker shade, subtract 1 Red, 1 Green and 1 Blue. In other words, increase or decrease the values of all three colors equally to get a lighter or darker shade. Changing the colors of the basic palette for a particular drawing can necessitate altering the colors on any page that uses that drawing. In some cases you will simply need to copy the palette from the drawing onto the page to rectify the situation (see under Use of Palettes in Chapter 4); otherwise some juggling will be necessary. Undo Clicking on this 'undoes' the last action performed (including clicking on Undo!). An action is here defined as whatever happened between the last press and release of the mouse button; so if you are doing a series of dots, only the last dot is removed. Save Drawing Select this option to save the drawing to disk and return to the Drawing Definition Menu, ready to create another drawing. Right dick outside of this Menu to return to the Development Menu. Quit The system asks "OK to end without saving drawing?" to confirm your intention to quit. Click outside this window if you do not wish to abandon your drawing. If you do want to quit without saving anything, click on the text (which will be highlighted). You will then return to the Drawing Definition Menu. 3.2 Drawing completed - What now? By now you have completed a drawing and want to start building up a Page. Click on the right mouse button to return to the Development Menu with a blank screen. 27 Click on 'Add Drawing to this Page'. Select your drawing, which now appears in the middle of the screen. To move the drawing, place the cursor over the drawing and holding the left mouse button down, move the drawing to the desired position. A skeleton outline of the drawing will accompany the cursor. Release the left button and wait a few seconds until the drawing has been recreated in its new position. Move it again until it is in the exact position desired. 3.2.1 Building Up a Page You now have one page with one drawing on it. Create another drawing and save it in the same way. Then bring it on to the page. You will probably need several drawings to make up a page. Maybe pictures of a person or two, or a couple of objects and some background - a hill, house, tree, street, etc., all very simple. To make things clearer in demonstrating how to build up a page, we will use a specific example. 3.2.2 BOY/GIRL The title for this story is BOY/GIRL and the first page is called START as suggested earlier. The drawings needed for this page are: BOY - front view GIRL - side view GROUND - Plain green with 2 bushes (using Spray) [You can create your own drawings or use the drawings of the BOY and the GIRl from the START.TAL title on the Program disk. You will need to copy them from there. Select Drawing Definition from the menu. Then, select Copy drawing from another title. Select the BOY and GIRL pictures to copy. Refer to Library File below for more details on copying files.] The first stage in building a page is to add the drawings. Select a drawing - maybe a background drawing to create the scene. In this case, select GROUND. Reposition the picture, if necessary. To resize a picture, select Shrink/Reverse drawing from the menu. (This will be explained in more detail later.) 28 Now add another drawing - maybe BOY. He will appear in the middle of the screen. Place the BOY at the top right hand comer of the screen. The reason for this will become apparent when it comes to building up the third page. Add the next drawing, the GIRL near the center facing the BOY as if she is calling to him. If more drawings are needed, continue adding drawings to the page. You can add the same one several times if you want to. If the colors appear incorrect, this means you have modified the palette on one or more of the drawings in some way - use Modify Page Palette to either copy the whole palette from some drawing or modify the individual palette entries. [You Figure 3-2: Adding a drawing to a page. may also choose to set a Background color other than the default Black while in Modify Page Palette.] 3.2.3 Adding Text Now let's add some text. Select ~ext Operations (under Cursor Mode). You will see that nothing happens! This is because you need to indicate which drawing is to have text added to it. Select a drawing. In this example, start with the GIRL. The text operation menu for the drawing GIRL will appear. Note that the menu tells 29 you at the top which drawing you are working with. You will want to Add Text Entry, so click on that, and type in some text. Let's start out with, "What a good looking guy! I'm going to say hello." You can think of your own comments. Type them in and press Return. (Don't forget to press Return or the dialog will not be entered. Beware: it is only too easy to click outside the window, thus canceling it, and then wonder later why the text is no longer there! Note that text is automatically 'wrapped' to fit into the window. Pressing Return means 'end of input' NOT 'new line' ! To make changes to your text, use the Delete and Backspace keys. You may use the mouse or the cursor keys to reposition the cursor within the text window. Now to give the BOY something to say. Click the left mouse button outside the window to cancel the Text operations Menu for the drawing GIRL. Now click on the BOY drawing. The Text operations Menu for the BOY will appear. Select Add Text Entry and add some text. Maybe a simple comment such as: "Wow! Isn't she gorgeous?" Don't forget to press Return. If you press the right mouse button to get back to Development Menu and select Normal (under Cursor Mode) and then click on different parts of the picture you will see the text you just entered appear when you click on the BOY and the GIRL. If you pass the cursor over these text windows, nothing particular happens. You probably know by now that some text windows, those that offer some choice, can highlight when the cursor passes over them. These windows highlight because an 'option' has been associated with them. Let's introduce some choice into our story by adding some options. 3.2.4 Adding Text for Options Text options can only be added to existing Text entries. Create additional text entries for the BOY - they will appear together but each one will have its own option assigned to it. Add two more text entries for the BOY (using Add Text as above) offering two suggestions such as: 30 "Shall I try my luck with her?" and "or shall I ignore her - she might not like me and I couldn't handle another rejection?" Note that the BOY now has a total of 3 text entries; the first one which is a sort of introduction, and the two new entries which are going to have options. 3.2.5 Adding Options Although it's not possible in this example to complete entering the options at this stage (there are as yet no other pages to turn to!), it is useful to go through the operations to see what the possibilities are. On the Text operations Menu you will see an item called Add/replace text Option. Make sure the heading at the top still says BOY (ie. you are not about to add an option to the GIRL's text) and select it. You will be asked to choose which Text entry is to have the option added to it. Move cursor over the Text entries. you will see that they are highlighted separately (hence the need for separate Text entries). Select the middle one, the BOY's first option - "Shall I try my luck with her?". You will see four types of options offered: Play Sound at Frequency: This is a little luxury, not necessary but fun! But you do need a A.M.A.S. (from MicroDeal) to record your own sounds. If you don't have A.M.A.S., you can use the sounds from the library files. See Chapter 4 under Using Options for more details. Set Variable to Value: This option adds the variety and sophistication to the stories and is explained below in the section Adding Variables. Go to Page: This is the way to interconnect the pages in a title. Chain to Title at Page: This is a way of linking one title to another, for spreading stories across more than one disk. Refer to Chapter 4 under Using Options for details of this. 31 We'll use the Go to Page option. However, since there is as yet no other page to go to - let's create some more pages. Note that as soon as you try to do so (or even to leave the current page in any other way) a message 'Discard changes made to this page? ' will appear. Click outside the text window to save your changes. Click inside the text window and the changes you have made to the page will not be saved and the page will be restored to its previous condition (which in this example would be a blank page). 3.2.6 The Second Page We are no longer starting from scratch. You can use some of the same drawings or copy the original drawings and modify them. In this example, the second page will have the same background and the same two drawings of BOY and GIRL as the first page, but will be modified to show the BOY's arm round the GIRL. This would follow the BOY's first text option, on "Shall I try my luck with her?" To do this, enter Drawing Definition from the Development Menu and click on Copy Drawing from this Title. In this case select the BOY and give the new drawing a name, e.g. 'BOY HUGGING'. A message will appear confirming that the drawing BOY has been saved as BOY HUGGING and asking if you'd like to modify it. Click on this text, which takes you into Drawing Mode and use the drawing facilities to make changes. Alter the BOY by drawing his right arm sticking out at right angles from his body, as though around an as yet imaginary girl. 3.2.7 Building Up the New Page After you have altered or created your drawings, you need to build up the new page. Click on Page Definition, then Create New Page and (after allowing the system to save your previous page by clicking outside of the 'Discard Changes...' window) type in a name for the new page. For example, FIRSTDATE. Start adding your drawings (using Add Drawing to this Page), moving the drawings around so they fit together, with the BOY HUGGING close to the GIRL so that his arm appears to go around her shoulders. If you added the GIRL to the page before you added the BOY HUGGING, his arm will appear in front of her instead of behind her. To rectify this, you will need to use Change Drawing Order, which is one of the operations listed under 'Cursor 32 Figure 3-3: FIRSTDATE Page Mode'. These are briefly detailed below. A more detailed description can be found in Chapter 4. 3.2.8 Cursor Mode Note that the entries under Cursor Mode are all used to determine what happens when you next click on a drawing (in other words, nothing happens until you do subsequently click on a drawing); they determine the effect the cursor has. Move Selected Drawing Click on the drawing to be moved, and, holding down the button, move it to the desired position and then release the button. An outline follows the mouse movement and the whole picture is recreated with the drawing in the new position once the button is released. Swap Selected Color Point the cursor at the color on a drawing you wish to change; the palette appears. Click on the color on the palette that you want to change it to. All the areas on that one drawing having the first color will now change to the second color. Should things get too confusing, you can always click on Reset to Original State 33 Replace/Remove Drawing Removing a drawing removes it from this page only. It still remains in the title file for use with other pages. [Use Delete Drawing in the Drawing Definition Menu to remove a drawing permanently.] Replacing a drawing has the advantage that the new drawing retains the associated texts and options of the previous drawing, whereas these would be lost if the first drawing were removed. Shrink/Reverse Drawing When you click on a drawing, a chart of possible reductions (measured in percentages) for height and width will be displayed. Note that height and width are independent. Move the cursor to point to the desired percentage for height and click. Do the same for the width using the same percentage (unless you want a distorted reduction). You may simply want to reverse the drawing. Make your selection, then click on Execute Selection. In the BOY\GIRL example you may want to reduce one or both of the characters to give an effect of perspective. Change Drawing Order This changes the order of the drawings, that is, which drawing is in front of which. This order is determined initially by the order in which the drawings are added to the page, later drawings appearing in front of previous ones. Click on a drawing and its current position will be indicated on a chart with the drawings at the front of the page appearing at the top of the chart. Supposing you wanted to change the order of the two drawings, the BOY HUGGING and the GIRL if the current order was: GIRL BOY HUGGING SKY GROUND Click on the BOY HUGGING, which will show the list as above, with the words Current Position appearing instead of the BOY HUGGING. To move the BOY HUGGING in front of the GIRL, click on GIRL in the list. Drawing Conditions/Options This allows for the placing of conditions (see below under 'Adding Variables') and options directly on drawings, i.e. with no text intervening. 34 Text Operations This handles all aspects of adding Texts to drawings along with conditions and options on those texts. 3.2.9 The Third Page Before adding more information to page two, FIRSTDATE, create a third page. This page will relate to the second text option on page START: "or shall I ignore her...". This time we are going to create a different page with no new or modified drawings, which makes it a lot quicker. From Page Definition, click on Copy Page. Select the page to be copied (in this case START) and give it a new name (REJECTION). Remember, our START page has the drawing BOY on the right of the screen at the top, and the drawing GIRL is near the center, facing him. Now, change the new page as follows: Click on Move Selected Drawing and then the BOY and move him from the top right of the page to the top left. Click on Shrink/Reverse Drawing and then the BOY and reduce him to 75% to show he is going away. Then click on the GIRL (you should still be in the Shrink/Reverse Drawing cursor mode) and reverse her so she is facing the other way. Then click on Move Selected Drawing and select the GIRL. Move her down to the bottom right and you have a different page, with the GIRL, still desperately trying to attract the BOY's attention, and the BOY vanishing into the middle distance, hoping she'll go away. Note that as these drawings were copied from page START, the attached text windows will have been copied too, so you need to delete them. Click on the following in sequence: 'Text operations' The GIRL 'Remove Text Entry' The next entry to remove Now do the same for the BOY. Click: Outside the window (to cancel it) On the drawing BOY (to reopen it for the BOY) On 'Remove Text Entry' On each of the text entries in turn. You can now add some new text windows if you like. 35 3.2.10 Joining Pages Now comes the final touch, connecting the pages. Click on Turn to Other Page. A message 'Discard changes made to this page' will appear. Click outside the window to save your changes. [If you click on the window, the changes you have made to the page will not be saved.] Select START and wait for this page to appear. Now it is a matter of adding the Go to Page options (which we couldn't add before) to the appropriate texts. Click on 'Text Operations' and then on the BOY. Select Add Option from the Text operations Menu. You will be asked to select the text to which the option is to be added. Click on the first text "Shall I try my luck with her?" Then select the option 'Go to Page' and, from the pages offered, select FIRSTDATE. Click outside the window to cancel adding options to this text and repeat the process for the text "or shall I ignore her..?", selecting page REJECTION to go to. Click outside the window to cancel. (Clicking the right mouse button will take you back to the Development Menu.) Congratulations! You have created your first sequence of pages. Now to test it! 3.2.11 Testing Click on Normal under Cursor Mode in the Development Menu. This will enable you to see whether what you have done works, and still stay within Development mode. Click on both characters and try the options. Notice that only the two text entries on the BOY that have options highlight. The first entry does not and neither does the GIRL's text. Select one of the options and you will be asked to confirm Go to Page REJECTION or FIRSTDATE. This is a way of testing without having to activate the options; it would be a real nuisance to have to leave the page every time you wanted to test it! If you do want to carry out t Secret of the Silver Blades - Adventurer's Journal Written By : Lazarus Long : Black Plague : Milton Bostoc Fixed By : [RYGAR] [RYGAR] - This file is the same as the trsi file, ok?!?! later! and the four different files has been joined as one!! Page 1 of The Adventurer's Journal How the Heroes Arrive... The Miners haul the chest of gems to the edge of the well. The iron-banded boxes teeter a moment on the brink then tumble over and break the glassy surface with a splash. The mayor steps forward, clad in worn armor, and raises his hands skyward, beseeching "Great Well of Knowledge, I call upon you to bring us champions to defeat the evil that infests our mine." The Sky grows dark and the ground rumbles. The air is electric with eldrich power. With a crackle of light appear several figures, laying dazed and naked upon the ground. One of the miners moves cautiously to the nearest, and shakes him, eliciting only an incoherent groan. He looks up at the mayor and asks, "You sure these folks are worth the entire treasury? They don't seem too impressive to me. Maybe you should have asked for armor and swords and stuff too?" The mayor frowns in concentration. "The ways of the well are mysterious ... it has always been reliable, but not predictable. Our wish has summoned these heroes bereft of equipment or sence. We must take them back to town and give them whatever help we can. Only then can we hope for their aid." Page 2 of the Adventurer's Journal The Dazed bodies are loaded into cards and they begin weaving their way through a maze of collapsed buildings. Suddenly streaks of fire light the overcast sky and shoot toward the well. Straggling miners rush up to the carts yelling incoherently. "Flames from the sky ... creatures attacked and encircled the well ... teleporters shut down ... Fritz is dead!" The carts bounce on more quickly util they pass through a gateway and pull up at a large house. The miners lift the still limp adventurers and take them inside. The mayor steps forward and states, "Now we wait. They must recover from the shock. We must trust that the well has provided what we need." Page 3 of the Adventurer's Journal To Play secret of the Silver blades you must have a party of adventurer characters. To build a party you must make characters of varying race and class. The characters have different attributes that will be indicated by their ability scores. The following sections will explain what you need to know to create successful adventuring parties. The Player Races -- There are six races from which you may construct your player characters (PCs). Each race has different talents and limitations. Charts and tables in the appendix at the back of the Journal summarize the abilites and class limitations for the different races. Non-human characters can also combine character classes and may also have additional special abilities. DWARVES are a cunning race of sturdy workers and craftsmen. They are expecially resistant to magic and poison. During combad, Dwarves receive bonuses when attacking man-sized giant class creatures and are adept at dodging the attacks of larger giant-class creatures. Dwarves can be fighters, thieves, and fighter-thieves. ELVES are a tall, long-lived race. They are nearly immune to sleep and charm spells and are adept at finding hidden objects. During combat, Elves receive bonuses when attacking with swords and bows. They cannot be raised from the dead. Elves can be fighters, magic-users, thieves, fighter/magic - users, fighter/thieves, magic-user/thieves, and fighter/magic-user/thieves. HALF-ELVES are hybrids with many of the virtues of both human and elves. They are resistant to sleep and charm spells and are adept at finding hidden objects. Half Elves can be fighters, magic-users, clerics, thieves, rangers, cleric/fighters, cleric/rangers, cleric/magic-users, fighter/magic- users, fighter/thieves, magic-user/thieves, cleric/fighter/magic-users, or fighter/magic-user/thives. GNOMES are shorter and slimmer than their dwarf cousins. They are especially resistant to magic. During combat, Gnomes receive bonuses when attacking man-sized giant-class creatures and are adept at dodging the attacks of larger giant-class creatures. Gnomes can be fighters, thievs, and fighter/ thieves. HALFLINGS are about half the size of a human, hence their name. They are especially resistant to magic and poison. They can be fighters, thieves, and fighter/thieves. HUMANS are the most common player-race in the Forgotten Realms. They suffer no level racial limitations or ability modifiers. Humans do have the disability of shorter lifespans than the other races. This may be a problem, especially if human characters have come from Curse of the Azure Bonds or they have been subjected to many Haste Spells. They can be fighters, magic-users, clerics, thieves, rangers, palidins, and Dual-Class Characters. Ability Scores -- Every character has six randomly generated ability scores. These scores fall within the range determined by the race and class of the character (see the range of ability scores by race table on page 47) for humans, that range is from 3(low) to 18(high). Page 4 of the Adventurer's Journal Depending on the character class, one ormore of these abilities will be a prime requisite. A prime requisite is an ability especially valuable to a given class (strength for a figher, wistem for a cleric, Intelligence for a Magic-User, Dexterity for a Thief, etc.). Characters receive bonus experience points when their prime requisite scores are at or above a certain number ( 16 in most instances ). Non-human characters may receive modifiers to the basic ability scores to reflect differences between the races. Dwarves, for instance, get a +1 constitution bonus and may have a maximum constitution of 19 instead of 18. When a character is generated with the CREATE NEW CHARACTER command, all racial modifiers are calculated automatically. ( Writer's Note -- Skipped the rest of page 4, wasn't important ) Page 5 of the Adventurer's Journal Experience Points (XP) --- Are a measure of what the character has learned on his adventurers. Characters receive XP for actions such as fighting monsters, finding treasures and successfully completing quests. See the Advancement Tables for each class XP requirments. Level --- Is a measure of a character's ability in his class. As characters gain XP, they may go up in levels. Most new characters will begin the game at 8th level except for magic-users which start at 9th level, and thieves which start at 10th level. Characters with racial level limits may start the game at their maximum level if it less than the normal starting level. When charactters have enough XP they can go to the hall and receive the training required to increase in level. Characters may only advance one level at a time. If a character has gained enough XP to go up two or more levels since the last time he has trained, he will go up one level and lose all XP in excess of one point below the next level. Once Characters have reached their maximum levels for this game, they should not train. Hit Points (HP) --- Represent the amount of damage a character can take before he goes unconscious or dies. Characters gain HP every time they increase in level. Bonuses for high constitutions are calculated automatically. When a character takes enough damage that his HP reach 0, he is unconscious. If the character's HP drop to anything from -1 to -9, he will lose 1 HP per turn from bleeding until he is bandaged or dies. A character is dead if HP drops to -10 HP or less. When you view a character, his HP on the screen will be displayed as less than 0. Page 6 of the Adventurer's Journal. Character Classes --- A character must belong to at least one character class. Non-human characters can have more than once class at the same time. Non-human characters with multiple classes have more playing options, but increase in level slower because XP is divided evenly among all classes. CLERICS have spells bestowed on them by their deity and can fight wearing armor and using crushing (no edged or pointed) weapons. Clerics must memorize their spells just as magic-users, but they do not use grimoires (Spell Books). When clerics gain a new spell level, they will automatically be able to use any of the available spells for the new level. The prime requisite for clerics is Wisdom. FIGHTERS can fight with an armor or weapons, but they cannot cast magic-user spells. Fighters can have exceptional strength and gain additional HP bonuses if they have a Constitution of 17+. The prime requisite for fighters is Strength. RANGERS can fight with any armor or weapons. Rangers can have exceptional strength and gain additional HP bonuses if they have a constitution of 17+. They do additional damage in combat when fighting giant-class creatures. At 8th level rangers may begin to cast druid spells, at 9th level they gain magic-user spells. Rangers must be of good alignment and have ability scores of at least 13 in strength and intelligecne and at least 14 in wisdom and constitution. The prime requisites for rangers are Strength, Intelligence, and Wisdom. PALIDINS can fight with any armor or weapons and cast a few clerical spells once they reach 9th level. Palidins can have exceptional strength and gain additional HP bonuses if they have a constitution of 17+. They are more resistant to spells and poison, can turn undead creatures as if they were a cleric two levels below their current level and are always surronded by the equivalent of a protection from Evil spell. A palidin may heal two HP of damage per his level once a day. A Palidin may Cure Disease once a week at 1st-5th levels, twice a week at 6th-10th and Page 7 of the Adventurer's Journal three times a week at 11th-15th level. At 9th level palidins gain the ability to cast clerical spells. A palidin will not adventuer with any evil characters. Palidins must be of lawfull good alignment and have ability scores of at least 9 in intelligince and wisdom, at least 12 in strength, and at least 17 in charisma. The prime requisites for palidins are Strength and Wisdom. MAGIC-USERS have powerful spells, but can use no armor and few weapons. They can only memorize those spells available in their magical grimoires (personal magic spell books) or use scrolls. Magic-users may add new spells to their grimoires whenever they go up in level or find scrolls with spells of levels that they scribe. The prime requisite for magic-users is Intelligence. THIEVES can fight with swords and slings and wear leather armor. In combat they do additionaly damage 'back stabbing' which is described in the combat section. Thieves also have special skills for opening locks and removing traps. High level thieves also have a chance of casting magic-user spells from scrolls. The prime requisite for thieves is Dexterity. MULTI-CLASS are non-human characters who belong to two or more classes at the same time. The character's experience points are divided among each of the classes, even after the character can no longer advance in one or more of those classes. The character's HP per level are average among the classes. The multi-class character gains all the benefits of all classes reagard to weapons and equipment. DUAL-CLASS are human characters who had one class for the first part of their life, and then changed into a new class for the remainder. Once a character changes classes, he cannot advance in his old class. Dual-class characters do not gain HP and cannot use the abilites of the old class while their new class level is less than or equal to the old class level. Once the character's level in his new class is gerater than the level in his old class, he gains HP according to his new class and may use abilites from both classes. Human dual-class magic-users may not cast magic-user spells while they are wearing armor. ALIGNMENT - is the philosophy a character lives by. Alignment can affect how NPCs and some magic items in the game react to a character. -- I skipped Page 8, didn't have anything usefull.. Went right to page 9 -- Page 9 of the Adventurer's Journal. PREPARATION TIPS -- ONce the party has been outfitted, encamp at the mayor's house and ready your weapons, armor and shields. Then ahve all spellcasters memorize spells. Finally, save the game before continuing. COMBAT -- Combat occurs often during your adventuers. Combat takes place on a tactical map. This map is a detailed 3-D view of the map terrain that they party was in when combat began. This map is overlaid with an invisible square grid. As you move characters, you will notice that everything moves on the grid from square to square. Moving diagonally often costs more movement points than moving horizontally or vertically. INITIATIVE -- Each round of combat is divided into 10 segments. Which segment a character or monster acts in depends on his initiative number. This is a randomly generated number for each character and moster. This random number is generated at the beginning of each combat round and is modified by dexterity bonuses or penalties and random factoers ( such as surprise) to arrive at the initiative number. COMPUTER CONTROL -- The computer controls the actions of monsters and NPCs. The computer also controls any PCs set to computer control with the QUICK command. You may take control of PC characters during any combat round. AC - A character or monster's difficulty to be hit is represented by his Armor Class or AC. THe lower the AC the harder it is to hit the target. AC is based on the armor a character is wearing and any dexterity bonus. Some Magic items, such as enchanted armor, will help a character's AC. THAC0 -- The character's THAC0 represents his ability to hit enemies in melee or with missle fire. THAC0 stand for TO HIT ARMOR CLASS 0. This is the number a character must 'role' equal to or greater than to do damage on at targent with an AC of 0. The lower the THAC0 the better the chance to hit the target. Page 10 - NOTE: The regeneration of a random number is often referred to as a "roll". In determining if an attack is successful, the roll is a random number from 1 to 20. An attack is successful if the random number is greater than or equal to the attackers THAC0 minus the target's AC. THAC0 may be modified by range, attacking from the rear, magic weapons, and magic spells among other things. Example: A fighter with a THAC0 of 15 attacking a monster with an AC of 3 would need to roll: (THAC0 15) - (AC 3) = 12+ But to hit a monster with an AC of -2 he would need to roll: (THAC0 15) - (AC -2) = 17+ DAMAGE When a hit is scored, the attacker does damage. Damage is the range of HP loss the attacker inflicts when he hits an opponent in combat. Damage depends on the attackers strength and weapon type. The Damage each weapon can do is summarized in the Weapon List on page 54. Some monsters take only partial or no damage from certain weapon types. Giant Slugs, for example, take no damage from blunt weapons (Maces etc..), while some of the other monsters only take damage from magical weapons. SAVING THROWS Whenever characters or monsters are poisoned, or attacked by most magic spells, such as FireBall or Lighting, the computer checks to see if they made their saving throw. A successful save means that the target had some innate immunity to the poison, or was not hit full-force by the spell. Generally, a successful save will mean that the target was unaffected or damaged that would have otherwise be taken is halved. BACK STABBING A thief will stab if he attacks a target from exactly opposite the first character to attack the target. The thief may not back stab if he has readied armor heavier than leather (Exception: Elfin Chain Mail). A back stab has a better chance of hitting and does additional damage. MISSLE ATTACKS A character may not attack an adjacet target with a missle weapon (Bow, Sling etc...). A character may attack an adjacent target with a thrown weapon (Axe, Club etc...). Bows can attack twice per turn. Thrown darts can attack three times per turn. MULTIPLE ATTACKS Fighters, Paladins, and Rangers attack more than once per combat round when they get to higher levels. The first bonus is three attacks every two rounds. Later, they attack twice each round. See the chart on page 49. All of a charcters attacks are aimed against the first target. If the first target goes down with the first attack, aim any remaining attack at another target. Page 11 - MOVEMENT - The number of squares a character can move is affected by the weight he's carrying, his strength, and the kind of armor he has readied. A character's movement range is displayed on the view screen and when moving during combat. RUNNING AWAY A character may flee from the battlefield if he can move faster than all enemies. A character may not move off the battlefield if he moves slower than any enemies. A character has a 50% chance to move off the battlefield if he can move as fast as the fastest enemy. Exception - If a monster or character can reach the edge of the combat map without any of his opponents being able to see him, he may then flee successfully even though he may be slower than his opponents. A Character that moves off the battlefield returns to the party after the fight is over. If the whole party flees it will not receive any XP for monsters killed before retreating. AFTER COMBAT If one or more characters survive on the battlefield at the end of combat, the bodies of the unconscious or dead party members stay with the party. If the entire party flees from combat, all unconscious or dead members are permanently lost. If all the party members are slain, go back to your last saved game and try again from that point. COMBAT STRATEGIES Throughout "Secret of the Silver Blades", your party engages a colorful collection of foes. At times, the party may elect to avoid a confrontation, choosing conversation or flight instead. More often, however, they must stand and fight. To succeed in combat, a skilled player deploys his party well, casts effective spells before and during combat, maneuvers his characters into advantageous position, and attacks using his most powerful characters and weapons. DEPLOYING THE PARTY When a battle begins, your party is automatically positioned based on the existing order of the characters. Characters near the top of the order will be in front lines and volunerable to attack. To change the starting deployment, change the order from the Alter Menu while encamped. Shift the heavily-armored fighters up the list and the vulnerable magic-users and thieves towards the bottom of the list. Party order my not be changed while in combat. When battle begins, your party may be placed in a bad position. If you wish to be defensive, move your characters to anchor your flanks on an obstacle such as a wall. Keep your magic-users behind the front line. Setting up behind a doorway that your enemies have to move through makes for a very strong defensive position. Characters who are seriously Injured should be moved out of the front lines if possible. Be warned, If you move away from an adjacent enemy, he will get a free attack at your back. Back players have an improved chance to hit. Page 13 - A magic-user can also scribe spells from indentified scrolls if he is of high enough level to cast them. A magic-user must cast the Read magic spell in order to indentify the spells on the scroll. A spell disappears after it has been scribed or cast. Only magic-users (And high level theives) can cast magic-user spells from scrolls. CLERICS Clerical magic requires no spell books. All clerical spells of the apropriate level are always available to a cleric or high-level Paladin, the character needed only memorize them. When a cleric finds a clerical scroll, he can use the spells directly from the scroll regardless of level. Paladins can never use clerical scrolls, even if they may cast the spell. TIPS ON MAGIC SPELLS Both Clerics and magic-users may cast spells which assist the party in combat. Preparatory spells just before a battle can protect and strenthen characters. During battle, your spells will damage your opponents and help your party. Spells should be memorized as soon as possible after they are used. This is most likely to happen after combat. Encamp, have your spell-casters memorize spells and select REST to allow them to imprint the spells for later use. NOTE: After resting, it is a good idea to save your game after every tough combat. You should have at least two seperate saved games at all times and alternate between them. This will allow you to go back to a saved game before a fatal battle. Page 14 - MAGICAL TREASURES As you travel about and encounter the monsters and puzzles that stand between you and finishing your various quests. You will also find magical items to help you on your way. Here are descriptions of some items that you may find. Not all of these items may be found in your adventure. You can find out if there is a magic item in a treasure by doing a DETECT Magic spell using the DETECT command. To find out specifically what an item is, you must take it to an armoury or finfd a shop and have it indentified. Some magic items are, in reality cursed and can do great harm. When a character readies a cursed item, a Remove Curse spell must be cast before the item can be dropped. Some magic items, such as wands or scrolls, may only be used by certain classes. Others may not work at all if certain other magic items are also in use. WANDS Wands are the traditional objects of enchantment. Wands generally will cast a set number of a given spell (10 FireBalls or 15 Magic Missles for nstance). Only experimentation or paying to have them indentified will tell what a wand does. The USE command allows a character to cast spells with a readied wand. POTIONS Potions are a common magical treasure, Potions may heal wounded characters, cause them to become hastened or invisible, or cause any number of other effects. The USE command will allow a character to drink a readied potion. SCROLLS Either clerical or from magic-users, these items may have spells that characters couldn't otherwise cast. A Magic-User may use SCRIBE to permanently transfer a scroll into his grimoire if the spell is of a level that he can memorize. Magic-Users and clerics can cast spells directly from scrolls with the USE command. High level theives may also attempt to cast Page 15 - magic-User spells from scolls. Scrolls disapear after they have been used or inscribed. ENCHANTED ARMOR AND SHIELDS Sometimes you may run across armor or shields that have been created by skilled craftsmen and then enchanted with protective spells. The power of magic of these items may vary a great deal. Enchanted armor has the great advantage of offering improved protection with less encumberance than the same type of mundane armor. To use these items merely ready them from the Items Menu. ENCHANTED WEAPONS Enchanted weapons come in many sizes, shapes and potencies. Sometimes a weapon will add between one and five or so to your THAC0 and damage. Other weapons may have other fantastic magical properties including extra bonuses against specific types of creatures. Once a magic weapon has been readied from the items menu, the character will have it for all combats. ENCHANTED ADORNMENTS racers, Necklaces, periapts, and especially rings are favorable objects for magical enchantment. These items may have any number of magical properties. Some items will help your AC, others may fire Magic Missles, or even be cursed. Once one of these items has been readied from the items menu, a character will automaticaly gain all effects. The exception to this rule is that certain magical necklaces require the USE command to work. ENCHANTED CLOTHING Wizards will sometimes cast enchantments on commonplace items of clothing such as gauntlets or clocks. A wide variety of these items are known to exist. To use these items ready them from the Items Menu. Gauntlets Of Ogre Strength When worn, these gauntlets will give a character the tremendous strength and combat bonuses of an ogre. To wear the gauntlets, ready them. CREATURES OF THE FORGOTTON REALMS The denizens of these regions are many and varied. Here is a list of monsters you may encounter in your adventures. Some of these creatures are extremely rare, and you may never cross paths with them at all. Page 16 - BASILISK Description: Crocodile-like with a curved and pointed tail and nose. Reptillian monsters whose very gaze can turn to stone any fleshy creature. COCKATRICE Description: Like A Cockatrice and with large wings. A repulsive creature that appears as part cock, part lizard. They have the power to turn flesh to stone. CROCODILE (Giant) Description: Hmm I wonder.. Looks like a crocodile. Large reptillian carnivores-much more dangerous than their smaller cousins. DISPLACER BEAST Description: Six leged Puma with two tenacles protruding from their backs. Creature resembling a six-legged Puma with two ebony tenacles growing from behind its schoulders. These beasts have the magical ability to displace their image about three feet from their actual body,making them an especially tricky oppponent. DRAGONS These are some of the most powerful and dangerous of the monsters a party can encounter. The older and larger the dragon, the more damage it can do, and the harder it is to kill. -RED DRAGON Red dragons can exhale great spouts of flame or attack with their claws and fangs. -WHITE DRAGONS Unique dragons in their preference for cold climates, these evil beasts can attack with their freezing cold breath in addition to razor sharp claws and fangs. Small in size and not as intelligent as their cousins, these dragons are still quite dangerous. DRIDER Description : Elf-Like and spider-like Part Dark-Elf, part spider monster. This horror is the subterranean counterpart of the centaur. ETTIN These foes look like giant two headed ocres. They have great strength and can wield two spiked clubs and inflict terrible damage in combat. GARGOYLE Ferocious predators of a magical nature. Gargoyles are typically found amid ruins or dwelling in underground caverns. Page 17 - GIANTS Giants vary greatly in power, intelligence and tastes. The following is a list of the types of giants you are likely to encounter. -CLOUD GIANT These members of the giant races conssider themselves to be above all others of the species, except storm giants, whom they view as equals. -FIRE GIANT Brutal and ruthless warriors, these giants resemble huge dwarves and have flaming red or orange hair and coal black skin. -FROST GIANT These giants have a reputation for crudeness and stupidity. While the reputation may be deserved, frost giants are crafty and skilled fighters. -HILL GIANT One of the smaller of the giant races, they are brutish hulks pocessing low intelligence and tremendous strength. -STORM GIANT The most noble and intelligent of the giant races. These giants are dangerous fighters when angry, and can often use magic. GOLEM Golems are magically created automatons of great power. Golems can be constructed of flesh, clay, stone, or iron. All are dangerous. GRIFFON Half-Lion, half-Eagle avian carnivores. Their favorite prey is horses and their distant kin (Hippogriffs, Pegasi, and unicorns). HELL HOUND These other-planar creatures resemble wolves, but they can breathe fire and detect invisible enemies. Page 18 - HIPPOGRIFF Magnifecent creatures with the forelimbs and head of an eagle and the body and hind legs of a horse. HYDRA Immense reptillian monsters with multiple heads. All of its head must be severed before a hydra can be slain. Hydras come in many sizes, with an increasing number of heads as they grow stronger. LICH This is perhaps the single most powerful type of undead creature. A lich is the remains of a powerful Magic-user who has kept his body animated after death through the use of foul magics. Lichs can use magic as they did while still living, and have other powers similar to greater undead creatures. LIZARD MEN These are savage reptillian humanoids. They generally attack in groups and are often accompanied by a larger, tougher Lizard King. MARGOYLE Stony monsters which are immune to normal weapons and can attack many times with their sharp claws and spikes. MASTOON Large cold climate relatitives of the elephants found in warmer regions. MEDUSA These are hideous women creatures with coiling masses of snakes for hair. They can turn a person to stone with their gaze. MEGALO-CENTIPEDE True Giants, often reaching over 5' in length. Their poisonous bite is extremely dangerous. MINOTAUR These creatures are part-man and part-bull warriors. They are highly intelligent and dangerous opponents. Page 19 - MOBAT These are huge omnivorous bats who like nothing beter than warm-blooded humanoids for dinner! NEO-OTYUGH This is a more powerful form of OTYUGH. These disgusting scavengers have several vicious attacks and a heavily armored body. OGRE Large, ugly. foul-tempered humanoids, ogres generally attack with a spiked club. OTYUGH These scavengers have long tenacles that they use to scoop trash into their cavernous mouths. PHASE SPIDER These are giant, poisonous spiders with the ability to phase in and out of dimension. They are "phases in" until they attack and are "Phased out" Afterwards. PURPLE WORM These enormous carnivores burrow through solid ground in search of small Mansized) morsels. REMORHAZ These are sometimes referred to as Polar Worms. They inhibit cold regions and are agressive predators who have been known to attack even frost giants. ----------------------------------20---------------------------------- Slug (Giant) These are huge, omnivorous mutations of the common garden pest. They attack by biting and can spit a highly corrosive acid. Snake (Giant) These large reptiles slay their prey with deadly venom. Neutralize Poison counters snake bite. Spinx An extremely rare creature that is part-lion, and has the upper torso of a woman. Rather than fight, sphinxes will often converse with adventurers. Spider (giant) These giant cousins of the small predator attack with a poisonous bite. Umber Hulk These powerful subterranean creatures can use their claws to burrow through solid stone in search of prey. Warg Large, vicious wolves. Wyvern These creatures are distant relatives of dragon's. They attack by biting and using the poisonous sting in their tail. ----------------------------------21---------------------------------- SPELLS First Level Cleric Spells BLESS improves the THAC0 of Friendly characters by 1. The bless spell does not affect characters who are adjacent to monsters when the spell is cast. This is a good spell to cast before going into combat. CURSE impairs the THAC0 of targets by 1. The target cannot be adjacent to a party character or NPC. CURE LIGHT WOUNDS heals 1-8 hitpoints of damage on a target. DETECT MAGIC indicates which equipment or treasure is magical. View a character's items or Take treasure items. Equipment or treasure preceded an '*' or a '+' is magical. PROTECTION FROM EVIL improves the AC and saving throws of the target by 2 against evil alignment attackers. PROTECTION FROM GOOD improves the AC and saving throws of the target by 2 against good alignment attackers. RESIST COLD halves the damage and improves saving throws vs. cold attacks by 3. SECOND LEVEL CLERIC SPELLS FIND TRAPS indicates the presence of traps in the character's path. HOLD PERSON may paralyze targets of character type (human, etc.). You may aim a hold person spell at up to 3 targets. RESIST FIRE halves the damage and improves saving throws vs. fire attacks by 3. SILENCE 15' RADIUS must be cast on a character or monster. That character or monster, and all adjacent to him, cannot cast spells for the duration of the spell. SLOW POISON revives a poisoned person for the duration of the spell. SPIRITUAL HAMMER creates a temporary magic hammer that is automatically Readied. It can strike at a range and does normal hammer damage. Spiritual Hammers can hit monsters than may only be struck by magic weapons. THIRD LEVEL CLERIC SPELLS BESTOW CURSE reduces the target's THAC0 and saving throws by 4. CAUSE BLINDNESS will blind one target. This can only be cured with a Cure Blindness Spell CURE BLINDNESS removes the effect of the Cause Blindness spell. CAUSE DISEASE will infect the target with a debilitating ailment that saps strength and hitpoints. CURE DISEASE removes the effects of disease caused by some monsters or caused by a Cause Disease spell. DISPEL MAGIC removes the effects of spells that do not have specific counter spells. This is a recuperation spell for any of the party that has been held, slowed or made nauseous. ----------------------------------22---------------------------------- PRAYER improves the THAC0 and saving throws of friendly characters by 1 and reduces the THAC0 and saving throw of monsters by 1. THis is a good spell to cast before going into combat. REMOVE CURSE removes the effects of a Bestow Curse spell and allows the target to unready cursed magic items. FOURTH LEVEL CLERIC SPELLS CAUSE SERIOUS WOUNDS inflicts 3-17 hitpoints of damage on a target. CURE SERIOUS WOUNDS heals 3-1 hitpoints (up to the target's normal maximum hitpoints). NEUTRALIZE POISON revives a poisoned person. POISON causes the target to save versus poison or die. PROTECTION FROM EVIL 10' RADIUS must be cast on a character or a monster. It improves the AC and saving throws of the target and all adjacent friendly characters by 2 against evil attackers. STICKS TO SNAKES causes snakes to torment the target. The snakes will make movement and spell casting impossible for the duration of the spell. FIFTH LEVEL CLERIC SPELLS CAUSE CRITICAL WOUNDS inflicts 6-27 hitpoints of damage on a target. CURE CRITICAL WOUNDS heals 6-27 hitpoints of damage on a target. DISPEL EVIL improves the target's AC by 7 versus summoned evil creatures for the duration of the spell, or until the target hits a summoned creature. SLAY LIVING is a reversal of the Raise Dead SPell, and will kill one target. If the target makes his saving throw, then he will suffer 3-17 hitpoints of damage. SIXTH LEVEL CLERIC SPELLS HARM will inflict terrible damage on any living creature leaving only 1-4 hitpoints HEAL cures all diseases, blindness, feeblemindedness, and all except 1-4 of a character's full hitpoints. FIRST LEVEL DRUID SPELLS DETECT MAGIC indicates which equipment or treasure is magical. View a character's items or take treasure items. Equipment or treasure preceded by an '*' or a '+' is magical. ENTANGLE will cause plants in the area of effect to grow and entwine around the feet of any creature in the ares. Be careful not to catch allies in the spell area. FAERIE FIRE will ring a targeted creature in magical light. This spell will outline otherwise invisible creatures, and give a +2 THAC0 bonus to any one attacking an affected creature. ----------------------------------23---------------------------------- INVISIBILITY TO ANIMALS will make the target invisible to non=magical, low or non-intelligent, animals. THis spell does not offer protection against intelligent opponents or magical creatures. SECOND LEVEL DRUID SPELLS BARKSKIN causes the target's skin to become tougher and harder to damage. The effect of this spell is a -1 bonus to the AC. This is a good spell to cast before combat. CHARM PERSON OR MAMMAL changes the target's allegiance in a combat. It affects character types (human, etc.) and other mammals. CURE LIGHT WOUNDS heals 1-8 hitpoints (up to target's normal maximum hitpoints). FIRST LEVEL MAGE SPELLS BURNING HANDS causes 1 hitpoint of fire damage per level of the caster. There is no saving throw. CHARM PERSON changes the target's allegiance in combat. It only affects character types (human, etc.). DETECT MAGIC indicates which equipment or treasure is magical. View a character's items or Take treasure items. Equipment or treasure preceded by an '*' or a '+' is magical. ENLARGE makes the target larger and stronger. The higher the caster's level, the larger and stronger the target gets. If the caster is 6th level the target becomes as strong as an Ogre. If the caster is 10's level the target becomes as strong as a Fire Giant. A target can only be under the effect of 1 enlarge spell at a time. Unwilling targets get a saving throw against this effect. The spell will stay in effect for more than 1 combat, and should be cast before combat. FRIENDS raises the caster's charisma 2-8 points. It is often cast just before an encounter MAGIC MISSILE does 2-5 hitpoints per missile with no saving throw. A mage throws 1 missile for every 2 levels (1 at levels 1-2, 3 at levels 3-4, etc.) This spell will damage any target within it's range unless the target is magic resistant or has certain magical protection. Casts instantaneously. PROTECTION FROM EVIL improves the AC and saving throws of the target by 2 against evil attackers. READ MAGIC allows a mage to ready a scroll and read it. For scrolls, this works as if they have been identified. A mage may scribe the spells form a scroll (if appropriate for his class and level) after it has been read. SHIELD negates enemy Magic Missile spells, improves the mage's saving throw, and may increase his AC. SHOCKING GRASP does electrical damage of 1-8 hitpoints, +1 hitpoint per level of the caster. SLEEP puts 1-16 target's to sleep with no saving throw. Up to sixteen 1 hit-die targets are affected. One 4 hit-die target is affect. Targets of 5 or more hit-dice are unaffected. SECOND LEVEL MAGE SPELLS DETECT INVISIBILITY allows the target to spot invisible targets. INVISIBILITY makes the target invisible. The THAC0 of melee attacks against invisible targets is reduced by 4. It is impossible to aim ranged attacks at ----------------------------------24---------------------------------- invisible targets. Invisibility is dispelled then the target attacks or casts a spell. KNOCK is used to open locks. It can be cast from the door-opening menu if the active character has a memorized knock spell. MIRROR IMAGE creates 1-4 illusionary duplicates of the mage. A duplicate disappears when it is attacked. RAY OF ENFEEBLEMENT reduces the target's strength by 25% +2% per level of the caster. STINKING CLOUD paralyzes those in it's area for 2-5 rounds. If the target saves, it is not paralyzed, but is nauseous and has its AC reduced for 2 rounds. This spell has a very short range and care should be taken to avoid including party members in the cloud. STRENGTH raises the target's strength by 1-8 points, depending upon the class of the target. THIRD LEVEL MAGE SPELLS BLINK protects the mage. The mage 'blinks out' after he acts each round. The mage may be physically attacked before he acts each round, be he may not be physically after he acts. DISPEL MAGIC removes the effects of spells that do not have specific counter spells (such as Cause Blindness or Disease). FIREBALL does 1-6 hitpoints per level of the caster to all targets within its area. If the target makes its saving throw, the damage is halved. Fireball is a slow-casting spell and the spell's power demands that you target carefully. Otherwise you may inadvertently destroy party characters. The only safe area on the screen at the time you target the spells are the squares in each corner of the screen and the squares directly above and below these corner squares. Be sure to use the center command to determine who will be in the area of effect. Warning: each time a haste spell is cast on a character, that character ages one year. HOLD PERSON may paralyze targets of character types (human, etc.) You may aim a hold person spell at up to 4 targets (exit to target fewer). INVISIBILITY, 10' RADIUS makes al targets adjacent to the caster invisible. The THAC0 of melee attacks against invisible targets is reduced by 4. It is impossible to aim ranged attacks at invisible targets. Use this spell to set up a battle line while our enemies seek you out. Characters lose invisibility if they do anything but move. Some monsters can see invisible creatures. LIGHTNING BOLT does 1-6 hitpoints per level of the caster to targets along its path. If the target makes its saving throw, the damage is halved. A lightning bolt is 4 or 8 squares long in a line away from the caster. For best results, move the spell caster to send the bolt down a row of opponents. ----------------------------------25---------------------------------- It will attack all opponents along the line within its range. Target the first creature in the row (closest to the caster). Lightning bolts will reflect off walls back toward the spell caster. This permits targets adjacent or close to a wall to be hit twice by the same bolt. Be careful the caster isn't hit by the reflected bolt. PROTECTION FROM EVIL, 10' RADIUS protects the target and all characters adjacent to the target. The spell improves the AC and saving throws of those it protects by 2 against evil attackers. PROTECTION FROM GOOD, 10' RADIUS protects the target and all characters adjacent to the target. The spell improves the AC and saving throws of those it protects by 2 against good attackers. PROTECTION FROM NORMAL MISSILES makes the target immune to non magical missiles. SLOW affects 1 target per level of caster. The spell halves the target's movement and number of melee attacks per round. Slow can be used to negate a haste spell. This spell is useful against any high-damage creature. Only affects the side opposing the spell caster. FOURTH LEVEL MAGE SPELLS CHARM MONSTER changes the target's allegiance in combat. It will work on any living creature. The spell affects 2-8 1st-level targets, 1-4 2nd-level targets, 1-2 3rd-level targets or 1 target of 4th-level or above. CONFUSION affects 2-16 targets. Each target must make a saving throw each round or stand confused, become enraged, flee in terror or go berserk. Confusion is most effective when used against a large number of enemies. DIMENSION DOOR allows the mage to teleport himself to another point on the battlefield within his line of sight and the range of the spell. Mages can use it for quick escapes. Fighter/mages use the "Door" to reach the opposition's rear area. FEAR causes all within its area to flee. FIRE SHIELD protects the mage so that any creature who hits the mage in melee does normal damage, but takes twice that damage in return. The shield may be attuned to heat attacks or cold attacks. The mage takes half damage (no damage if he makes his saving throw) and has his saving throw against the opposite form of attack improved by 2. He takes double damage from the form of attach the shield is attuned to. FUMBLE causes the target to be unable to move or attack. If the target makes his saving throw, he is affected by a slow spell. ICE STORM does 3-30 hitpoints to all targets within its area. There is no saving throw. This spell will inflict damage on opponents protected by Minor Globes of Invulnerability. MINOR GLOBE of Invulnerability protects the caster from incoming first, second, or third-level spells. The Globe is very effective when used in combination with Fire Shield. ----------------------------------26---------------------------------- REMOVE CURSE removes the effects of a Bestow Curse spell and allows the target to unready cursed magic items. FIFTH LEVEL MAGE SPELLS CLOUD KILL is similar to the Stinking Cloud spell, except that its area of effect is larger and it will kill weaker monsters. Stronger monsters may be immune to the spell. CONE OF COLD fires a withering cone shaped blast of cold. The spell's range and damage increases with the caster's level. FEEBLEMIND cause target's who fail their saving throw to drop dramatically in intelligence and wisdom and become unable to cast spells. A Heal spell must be cast on the victim to recover from the effect. HOLD MONSTER is similar to the Hold Person, except that it will affect a wider variety of creatures. SIXTH LEVEL MAGE SPELLS DEATH SPELL will kill opponents instantly and irrevocably. The spell will kill a greater number o weak opponents than strong. DISINTEGRATE will destroy one target. Some creatures, with an innate magic resistance, may avoid the effects of the spell, while most must make a saving throw to survive. FLESH TO STONE causes the target to make a saving throw or be turned into stone. GLOBE OF INVULNERABILITY will protect against 1st through 4th-level spells. STONE TO FLESH will counter the effects of such a magical creatures a cockatrice and medusae. When this spell is cast on a character, there is a possibility that the character will not survive the shock of being restored to flesh. System shock survival is based on a character's constitution SEVENTH LEVEL MAGE SPELLS DELAYED BLAST FIREBALL is a more powerful version of the third level spell and will go through a Minor Globe of Invulnerability. The fireball explosion can be delayed for some period of time if the caster wishes. The delay options will vary with different computers MASS INVISIBILITY is identical to the invisibility spell, except that it will effect several targets at once. This can be a valuable spell to cast before a known encounter. POWER WORD, STUN will cause on creature to be stunned-reeling and unable to think or act effectively. The weaker the target, the longer it will be stunned. ----------------------------------27---------------------------------- - - - - - - - - J O U R N A L E N T R I E S - - - - - - - (1) MAP TO THE DRAGON'S HOARD (SEE MAP #1) ----------------------------------28---------------------------------- (2) FANATIC SOLDIER'S TALE 'We have done it! Our noble ancestors are being freed from the ice and they fight by our side as brothers! Oh, to see the Legion again! I never thought it possible. No one can stop us now.' His voice softens to a hoarse growl. 'They say that the personal bodyguard of Eldamar has been found and fights for us.' he whispers. 'I can now die in honor, knowing that our enemies will soon be destroyed.' The fighter smiles and dies. (3) SIR DERIC'S STORY 'The Black Circle laid an ambush for our party. Nearly everyone was captured or killed. I was unconscious and left for dead. Since that time I have sought to free my companions. At least two lie ahead and I shall seek them out. In this stolen Black Circle garb I may succeed. With your help I certainly will. As honorable men, will you join me on my quest?' (4) BLACK CIRCLE MAGE AT TOP OF MINE 'We have just driven the foul beasts from the mine entrance. We will not inform the town until the mine is fully cleared. We do not wish to raise false hopes.' (5) MAYOR TALKING OF THE BLACK CIRCLE 'We've had a number of dealings with the magic brotherhood known as the Black Circle. They have aided us in the past in return for gems. It was based on their divination that we extended our lower tunnels - and uncovered the monsters. Marcus is the only member that lives in town, but he keeps to himself. The Black Circle say that they are studying ways to stop the monsters and will act only when sure of success. (6) 'One of the miners saw red robed figures outside the east wall.' (7) OLD MAN'S TALE OF THE SCROLL 'My uncle adventured along the shores of the Moonsea. He was a warrior who ventured on many a great quest. He feared nothing - nothing that is except dragons. Though he never met one, he was terrified by the possibility. This scroll was his insurance. When he died - from a knife wound gotten in a bawdy house - he passed it on to me. Seeing as how I'm unlikely to survive a dragon with this scroll I thought you might like it. ----------------------------------29---------------------------------- (8) 'I didn't drink that much. I'm sure that mouse in the corner was glowing.' (9) OLD MAN'S TALE OF THE BLACK CIRCLE 'Them Black Circlers are a hostile bunch, but don't judge 'em too hard. They was once mages serving the two brothers who ruled the old town. They used the Well's teleporters too many times and was cursed by the Well. If ya use them too often, yah will join the Circle. It serves the dark nature of the Well and they hate all others.' (10) A DYING MAN'S LAST WORDS 'Don't go near that temple in the mines! There is an illusion of goodness there, but don't be fooled. It is ruled by some unknown demon. One of its minions referred to it as the Flaming One. I never saw it. I was ambushed as soon as I encamped near the altar. Now that I have passed on my warning I can die in peace.' (11) EXULTANT BANITE PRIEST 'The Beholder Corps has returned and is housed in the dungeons. Now nothing can harm the Dreadlord. Anyone who tries the penetrate the dungeons will be vaporized within seconds. Hah, hah, han! The world will soon belong to us.' (12) OLD MAN'S TALE OF THE TEMPLE 'Twas long ago that the old town was a thrivin' place. The mine was there then too. Folks was ruled by a fellow who worshipped Tyr. He thought the miners was deservin' of Tyr's protection. Some of the folks round here say that the temple can still be found. Only those of stout heart should try though. Things buried so long tend to harbor ghosts that don't like disturbin.' (13) BLIND MAGE'S STORY 'I led a band of heroes to clear the mines. We discovered the dungeons and were nearly to the top when the Black Circle sprung an ambush. I was a local who never trusted the Circle's claims of friendship, so they were glad to capture me. Not to content to simply kill me, they prepared an elaborate wish. It traps me in this cell, blind and unable to cast spells. It also had the side effect of rendering me immortal and immune to damage. Once you free me I shall regain my own powers, but also lose these benefits. This is a fair exchange. 'I return to my tower now, but let me give you some reward. First, seek the souls trapped in the highest level. They know important information. Second take this map to where I have hidden some treasures.' (14) THE CAPTAIN'S TALE 'We were about to enter the Well. The rope was slippery with slimy blood of the dragon but nothing could stop us from our goal. The gems glittered on the bottom, luring us with untold wealth. ----------------------------------30---------------------------------- Gramakal was the first to go, of course. The thief was almost bursting with excitement as he reached down to take the gems. Poor man, his shriveled hand will never pick another pocket.' (15) MEETING THE FROST GIANT KING 'So, not content with melting away our home you carry the war directly to us. We have held these crevasses for generations. We will not surrender them to the likes of you. Look to your lives! I am prepared to die. Are you?' (16) BLACK CIRCLE COMMANDER'S PAPER We are prepared. The inner sanctum is well concealed, surrounded by the hatching pool. We hope that the old Red Dragon will not miss the hatchlings; they provide an excellent defense. Soon we must find a way to age them to a more useful size. Use the map to plan an attack on Well. We expect regular progress reports If you fail, we will act on a suggestion made by a junior member. He believes that the dragon may be amenable to a human sacrifice. The clerk from Phlan has become expendable and will be the first victim. One way or another the dragon and its Banite allies will fall; the Well must be ours. (17) OLD MAN'S TALE OF THE BROTHER WARS 'The old town was said to be a fabulous place for a time. Was ruled by brothers, one honorable and forthright, the other a studious insecure mage. One day the mage decided he would live forever. The brother thought that was blasphemy and tried to stop him. War covered the valley and the town was laid waste. The gods cursed the valley and froze it over. These new monsters are just more of the valley's curse. We can only wait and suffer 'till the gods see fit to lift the curse.' (18) STORY OF THE SILVER BLADES Derf reclines in a chair and begins, 'Three hundred years ago there were two brothers: Oswulf, a paladin, and Eldamar, a mage. Both were powerful and worshipped Tyr, god of justice. As Eldamar grew old he became obsessed with gaining immortality; serving Tyr was no longer enough. He became insane and isolated himself in the upper levels of the Castle of the Twins. There he researched the arcane magic necessary to become a lich. Oswulf discovered this, but was unable to convince his brother to abandon his madness. 'Forseeing the evil that a lich would produce, Oswulf left the Castle and searched for 12 great heroes. These he forged into the band called the Silver Blades. By the time Oswulf could return to this valley, Eldamar had completed his spells and was reborn as the lich called the Dreadlord. The Dreadlord summoned evil forces to protect him. The Silver Blades forced a pitched battle ----------------------------------31---------------------------------- among the buildings of Verdigris. The town was laid waste and many of the heroes fell. Those of us who remained forced the evil horde back to the castle gates. 'Oswulf refused to push on and slay his brother. Instead our mages and clerics cast a spell to freeze the valley permanently within a glacier. The Dreadlord's forces counterattacked while the spell was being cast and Oswulf fell protecting us. His body lies on the level above, but his spirit still guards the castle, preventing the reawakening of the Dreadlord. As the last of the Silver Blades, I chose to remain here to maintain my temple and keep watch as well. 'Now the descendants of the Dreadlord's disciples have returned. The Black Circle is succeeding in unravelling our spell. I am now bound to this temple and cannot take the battle to them. You must take up the Silver Blades' standard and end the Dreadlord's threat forever.' (19) THE AMULET OF ELDAMAR 'Know now of the Amulet of Eldamar, stolen long ago. It was taken away by a wily thief who held it but for a day. As he dreamed of wealth, he fell victim to a red dragon, kin to the one you slew to free me. The amulet now adorns the dragon's hoard, which lies in the south western corner of the city. 'The map starts at the entrance to the new town. Follow the path.' (20) 'That old man - south of the mayor's place - can sure talk yer ear off.' (21) EARLY DAYS OF THE TOWN 'This whole valley used to be filled with a glacier. About 15 years ago it melted back beyond the old mineshaft. Miners from throughout the Dragonspines flocked here and formed the new town. The Black Circle helped them open the mine. A few years later the miners began to extract the gems again. Until these monsters came the town was doing quite well. The glacier kept going back too. In a few years the entire valley will be open.' (22) DYING CLERIC OF BANE 'The Black Circle is trying to take our Well! They seek the death of the red dragon who holds it in sacred trust. I was ambushed while trying to entice the young dragon's from the Well. They dragged me here to... to...' The Banite Cleric fades into death. (23) TALK OF MYSTICAL ITEMS 'The mages keep looking for a mysterious amulet. It is connected in some way to their whole purpose for being here. They say it will reveal some key to a mysterious sanctum. Perhaps they are after a great treasure.' ----------------------------------32---------------------------------- (24) THE GUARD OF GRIMDRA HOARD 'Grimda discovered where the Well stored its gems - for they are not consumed. He dug a small tunnel and has diverted them for centuries. I am certain that the gems are what sustain him. He has never sold a single one and he was old when the twins were born.' (25) MESSAGE FROM THE WELL 'The miners' plight masks a more serious threat. Should the Black Circle succeed in its plans, the entire Realms will feel the result. The mages seek the awakening of the Dreadlord, an evil of incalculable power. He sleeps within his castle, trapped within the glacier. The Circle has reached the dungeons and are melting their way upward. The monsters trapped in the dungeons are being released and allowed to harry the miners. 'My powers are subject to laws you cannot understand. I am privy to information only at certain times and only when you sacrifice gems. Still seek me out when you have questions. My powers are at your disposal. 'My teleporters are paired. Each teleporter that rings me has a brother somewhere in the valley. Until you visit both gates, you may not use that pair. To my northwest is the gate which connects to the new town. 'My power fades. Return to me with gems when you have more questions.' (26) WARNING ABOUT THE AMULET. 'The Dreadlord seeks the Amulet of Eldamar. If he can trick someone into bringing the amulet into the dungeons beneath the castle, he will be awakened. Even worse, it acts as a monster attractant. Evil creatures throughout the region will seek out the holder. Remember to always avoid this item.' (27) RESCUED MAIDENS STORY 'The mages took me to be sacrificed to the red dragon. They wanted access to the teleportation booths and the hoard of gems. My father is an unwitting servant of the Black Circle. When he became suspicious, they kidnaped me to keep him silent. Now I'm sure they must have killed him. I must leave!' She runs away sobbing in grief. (28) OLD MAN'S TALE OF THE VORPAL BLADE 'This here blade has been carried down from my great-great grandpappy. He almost captured a throne out near Waterdeep, but tired of the campaigning. Travelled up to Myth Drannor and stood with elves against a Flight of the Dragons. They were impressed enough to let him retire there. Married an elven princess and led a settled life. Far as I know, she left with the other elves and is still alive.' ----------------------------------33---------------------------------- (29) VALA'S DESCRIPTION OF THE OLD CASTLE 'I was here as a young child. Oswulf used to hold town meetings in the great hall. The hall was huge - much larger than this - and I don't recall any alcoves. These alcoves along the side were definitely put there by the Dreadlord. I suspect that he has radically changed the entire castle. Oswulf had said that his brother had become paranoid and turned the castle into a maze of traps. We must watch where we place our feet, any stone could conceal a pit or a dart.' (30) 'So many gems down in that mine and no way to get at them. Life ain't fair.' (31) BANITE PATROL'S STORY 'The Black Circle usurped our control of the Well of Knowledge. Bane was offended and sent a red dragon in vengeance. The dragon drove out the infidels and now holds the Well in trust. There he shall remain until Bane deems it time for our return. Death to the Black Circle! Death to the enemies of Bane!' (32) MAP OF THE 4TH LEVEL (SEE MAP 2) (33) PRISONER'S TALE 'I am one of the champions who sought to free the town from its monstrous scourge. We penetrated the mines and passed through a tunnel to these dungeons. We were led by a powerful mage who was able to answer the riddles posed by that mad spirit. Near the top of the dungeon we were ambushed by the Black Circle. Many died and none escaped. our leader was taken away for some black rites. That spirit hates the living. Its laughter is driving me mad! I must escape to the open air!' (34) OLD MANS TALE OF THE FLAMING ONE 'The Flaming One is an accursed demon, destined to live as long as man walks the earth. He can possess anything of flesh. Last time he was defeated was in Myth Drannor and rumor held that he had died. If ya listen to travellers, yah can trace his movements. He is trapped in some diminutive form and seeks the power to release himself. I think he's skulking the ruins, seeking the power of the Dreadlord.' ----------------------------------34---------------------------------- (35) MAP TO LEVEL 8 TOMB (SEE MAP 3) (36) MAP PURCHASED FROM THE STORM GIANTS (SEE MAP 4) (37 MAYOR'S INTRODUCTION 'We are a small town of miners in desperate straits. Three months ago we opened a new shaft and monsters boiled forth. Perhaps this is a gateway to the Abyss. In any case, we lost many comrades as the monsters have climbed up level after level of the mine. Now they are invading the nearby ruins. Soon they will reach New Verdigris. 'To add to our problems, some thing has captured the Well of Knowledge. The Well imparts information, occasionally grants wishes and controls the teleporter in my house. If you free the Well, then you can use the teleporter to move through the ruins. 'Once the Well is protected, you must descend into the mines and stop these horrors from emerging. Others have tried, but none have returned. You must save us before we are overwhelmed.' ----------------------------------35---------------------------------- (38) MAP TO BLACK CIRCLE HQ (SEE MAP 5) (39) OLD MAN'S TALE OF THE CLOAK 'My grandpappy was a paladin out near Cormyr, in the days before King Azoun. Family's come down a bit since then, but make no nevermind. He was beloved of a noble lady. She was a warrior maiden, namesake of Azoun's daughter Nacacia. Anyway, she kept trying to attract him, tie him down and so on. In turn, he would go on longer and dangerous quests. 'Nacacia took this in stride and eventually gave him this cloak as a present, saying that this way he could be around and elsewhere at the same time. My dad was their child and passed the cloak down to me. I think that it's too useful to keep as an heirloom - and none of my kids deserve it - so put it to good use.' (40) LEDGER FROM NEW MINING VERDIGRIS MINING 2nd Tenday of Highsun New Verdigris Mining 1) 250 2) 300 3) 75 (Hill Giant Attack) 4) 350 5) 50 (Medusa Attack) 6) 100 (Wyvern Attack) 7,8,9,10) General strike, no work, 'Where were all these monsters coming from? We can't get any work done!' ----------------------------------36---------------------------------- (41) MAP TO THE FIRST KEY (SEE MAP 6) (42) THE MUDASA'S TALE 'I don't care! We have been cheated of our rightful place in the Dreadlord's hierarchy. The Black Circle must pay! They may have freed our master, but he is still weak and does not realize their plans! I shall go and tell him!' (43) LETTER FROM MARCUS TO THE BLACK CIRCLE The new band the mayor has recruited seems superior to the last group. The townsmen managed to reach the Well prior to the red dragon. They WISHED for champions to protect them. Fortunately for us, the wish worked literally and brought only people. They mayor has to clothe, feed and equip them. It was quite a sight to see these naked and angry people waking up right in the middle of a town meeting. I don't think they will pose a threat. (44) PHLAN CLERK'S TALE 'Well, I had just made my escape and was preparing to return to Phlan when I was grabbed by those vile Black Circle scum! Do they never bathe? The council back a Phlan will hear about this! 'Anyway, where was I? Oh yes, mauled by filthy beasts. They started babbling about sacrifices and a Dreadlord. Dreadlord this and Dreadlord that; al they talk about is this Dreadlord. If he's so powerful, why does he let those disgusting people serve him?' She gets a sly look in her eyes. ----------------------------------37---------------------------------- 'They dragged me here and I feigned unconsciousness - I wasn't going to make it easy for them. The scum started whispering about great treasures hidden in the crevasses. The western tunnels and a vorpal something were mentioned. Strange name for a valuable object. You wouldn't have a spare dress around? Look at mine. Dragged through mud and ice, absolutely filthy. And my hair...' She starts complaining about trivial matters. (45) MAP BETWEEN BLACK CIRCLE HQ AND WELL (SEE MAP 7) (46) LETTER FROM MULMASTER Know, oh ancient Dreadlord, that we remember our pledges - even those made over 300 years ago. As was promised, the newly reformed Beholder Corps will be sent to serve you for a period of 1313 days. We are gladdened that you have reawakened and hope that the alliance will continue with the same spirit that founded it centuries ago. In Bane's Name Imperator Dhazheal (47) MAYOR RELATES YULASH EXPERIENCES 'Not long ago I served Hillsfar as a Red Plume. I was faithful and they made me commander of the city of Yulash. We were locked in a fierce war to protect that city from the forces of Zhentil Keep. The war tired me and I began to yearn for peace. What finally decided me was the Cult of Moander. It used my city as a base to restore its dead god to life. Were it not for a band of blue tattooed adventurers the Cult might have succeeded. I left as the ZHENTRIM attacked again and wandered north. Here I found my leadership skills in need, so became mayor of this peaceful backwater. Now that peace is threatened. I hope you have the power to protect us.' ----------------------------------38---------------------------------- (48) THE GLOWING MOUSE'S SPEECH 'You thought you had defeated me in Myth Drannor and before that in my castle in Phlan. Know that I am truly immortal. When the Gauntlet of Moander destroyed the Pool of Radiance, I feigned my death and managed to possess this creature. Now that you are here I can take on of you over and be free again.' (49) MAP OF THE BLACK CIRCLE'S INNER SANCTUM (SEE MAP 8) (50) DERF MEETING VALA Vala chortles, "derf, you fuzzy old man, you look even cuter with white hair." She pinches his cheek and gives him a big hug. When she releases him, his cheeks are bright red and he sputters, "Now, stop that!" He straightens out his robe and continues, "How can you be alive? You were lost in the great battle." She smiles and explains, "I was captured by the Dread Legion and encased in a mystical cage until these adventurers released me." He responds, "Thank Tyr!" He looks her in the eyes with a soft expression and says, "The Legion has returned and is unravelling our spells. The Dreadlord's threat must be ended forever." She responds, "I still remember my vows and I will do what is necessary." With that, she falls back into rank and the old dwarf recovers some of his dignity. ----------------------------------39---------------------------------- (51) OLD MAN'S TALE OF THE GOVERNMENT HOUSE 'Once heard tell about the impressiveness of the old town. There was a great castle at the head of the valley. Then south of the mine was the old Government House. It was a large place, richly decorated, where affairs of state were conducted. Was built stoutly, so should be still standin'. Good loot no doubt, if you can stand the ghosts of clerks and bean counters.' (52) MAP TO BLIND MAN'S TREASURE (see map 9) (53) THE BLACK CIRCLES PLAN The path to the Castle of the Twins was revealed when Oswulf's Confession was rediscovered. Oswulf gave his final confession to his cleric just before the ice encased the valley. The Dread Legion of Magic persuaded the cleric to reveal the Confession. Their leaders expanded and annotated the document. Their hopes of a quick penetration of the glacier were dashed when the Legion was nearly destroyed at Ashbenford. The Confession has been lost since that time. We of the Black Circle are the descendants of the Legion. Now that we have the Confession again our plans can proceed. We have broken the glacier and it recedes slowly. The Silver Blades are gone, so no one can stop us from releasing the Dreadlord. It is only a matter of time. Still, we chafe at unnecessary delay. We have tricked the miners into opening the way into the dungeons. We are now recruiting fire-using creatures to melt a way upward. The monsters we release serve to keep away intruders. The solving of the Dreadlord's dungeon riddles has cost us many lesser mages. Illusions have sent many scouts to unwitting deaths. We are proceeding, but would do better with control of the Well of Knowledge. Its wisdom and control of the teleportation gates would aid us greatly. We also seek the Amulet of Eldamar to pass the three great doors to the Sanctum. Page 40 - Divinations show that a third item will be required to reach the Dreadlord. The sign indicate Tyr is involved with the item, but nothing is clear. The temple in the mine seems to hold nothing of value. - Journal Entry 54 - Old Mans Tale of The Well of Knowledge "The well of knowledge was the heart of the old town. It controlled the gateways that allowed travel throughout the valley. Also, it served the old town by providing its enigmatic messages. The town used it but they did not build it. It was there when the first men entered the valley and it is said that it will remain all else is gone." - Journal Entry 55 - Clerk's Story "I served the city of Phlan in the capacity of head clerk. During the reconquest of the city,I contracted out missions to the many heroes who freed the city. I had contacts with the Black Circle because of their access to the gems in the early days of the city, as they were awarded to the heroes for successful completion of their missions. After Phlan was freed, the council agreed to act as middlemen for the Circle. In return for our help they continued to replemish the city's treasury. I was sent here as a contact while the council works out the alliance between the Black Circle and The red Wizards. I have been here long enough to know that these mages are very dangerous. This scroll is a map of the Circle's Inner Sanctum. Take it! I'm getting out before the circle succeeds in its plans. Good day!" The woman storms out of the room with haughty dignity. She slams the door and her brisk steps recede down the hallway. - Journal Entry 56 - Meeting With Oswulf "My hopes of keeping my brother from the world are crumbling with this ice. If the Dreadlords evil cannot be contained than it must be destroyed. I am reassured that it is the Silver Blades who come to finish what we have started centuries ago. Please remember that it is the lich and not my misguided brother's soul that is evil. Upon your honour I charge you with freeing his soul from the lich's taint. I shall hold the gate here, but the dreadlord may escape through another exit. You must succeed ..." A tear appears in the glint spirits eye, "You must succeed ..." Page 41 - - Journal Entry 57 - Letter Found Blowing In The Wind Marcus, our plans proceed as well as can be expected. It is unfortunate that the Red Dragon has taken the Well Of Knowledge. The Red Wizards may support us if they think we can offer the well. We will keep our real target to ourselves. We are using a contact in Phlan as a middleman. In turn, he has sent a clerk to take care of communications. She has no knowledge or our real intent. We are running out of some spell components, especially bat guano and sulphur. When is the next shipment due! Maintain contact by standard means. One final note. Rumor indicates that the mayor has brought together a new force to clear the mines and the well. We are concerned. Reply with the information as soon as possible. - Journal Entry 58 - A Prisioner's Speech "THe driders have returned to this area only recently. They have been unable to enter this valley because of the ice blocking their tunnels. Suddenly the tunnels melted clear and many new monsters began to appear. The driders remember these creatures from over 300 years ago, when the valley was torn by a battle between two brothers. One of the brothers was responsible for the ice, but the driders have no idea how." - Journal Entry 59 - Tale Of The Wounded Warrior "If it weren't so terrifying it would have been comical. We were deep in the mines when our party came to the cavern. A horrid mass of unspeakable monsters were there listening to a high pitched, squeaky voice. It took us a while to spot the source of that piping. Vulgar laughing when we saw it. That was our downfall. The monsters heard and attacked. AS I crawled drom the badly wounded, I saw the creature in the back of the horde. It was a glowing mouse!" - Journal Entry 60 - Message Found By Pouch "I'm sorry but I needed to escape. This pouch is for you. Seems like old times." - Journal Entry 61 - Mayor Reveals His True Mission "Now that you have discovered the way to reach the Dreadlord, your usefulness is at an end. I still serve Hillsfar and my mission has been to recuit the DreadLord. With his power Hillsfar can take control of the Dalelands and the Moonsea. I will become governor of the northern provinces and be wealthy beyond imagining." - Journal Entry 62 - Mage's Report Our flaming creatures are clearing the ice quite quickly now. The dungeon is open to just below the castle, where the ice is much more resistent. Thankfully we have discovered s second door upward. Page 42 - This leads along a winding tunnel into a glacial crevasse. This was undoubtedly an old escape tunnel hidden by the dreadlord. We have seen no sign of adventures but disturbances have been reported in the lower levels. As a precotion, we have thawed out the purple worms. This will slow us down, but will provide needed defense." - Journal Entry 63 - Vala's Story The amazonian woman collapses as she steps down from the shattered prision. As you rush to help her, her eyes flutter open and she moans, "Who are you? Where am I?" After explaining what you know and she has revived, she growls, The Legion will pay. They have left me imprisoned for 300 years, since the great battles. They captured me and imprisoned me in that Shimmering Cage. "So the war over dreadlord continues to this day. My vows compel me to continue this battle. I am Vala of the Silver Blades and will aid you in this war." - Journal Entry 64 - Mad Edwarf's Ramblings "Build 'em an arm today, a couple of chests tommorow. Maybe slam out a few spare eyes. Wizards are queer Birds-all skin and bones and glowin' eyes. Always distractin' yah, Cacklin' and gigglin'. Iron statues, always more bits and pieces. They do strange things to 'em next door. Never can be sure with wizards. Next thing yah know the statues will be walkin'. never be too sure..." - Journal Entry 65 - Letter to Temple We gop into batle today to stop the Dreadlord. I am fearful, but Oswulf is confident. When he speaks I find my courage returns. I hope everyone at home is happy. With any luck I will be home soon. Your Loving Son, Jhaele - Journal Entry 66 - Map Retrieved From Storm Giant Leader's Pouch See Diagram in File je66.txt - Journal Entry 67 - Mad Cleric's Ramblings "Questioned the high lord Bane once, you know. Didn't think that the Dreadlord was worthy of his attentions. Questioned that. I did. You know that questions are a burden? Very burdensome for a god. Then came the Silver Blades and I questioned again. Then came the Ice and I called out to Bane. In his wisdom he kept my mind from freezing. Let me think about my qustions for 300 years, with only ice as far as the eye could see. Can't see very far as the eye through ice either. Unmoving for 300 years gives a man pause. Finally I discovered the answer and I sacrificed my mind. Sacrifice is a balm to the gods. Gods inspire the mad. Madness flows from.." - Journal Entry 68 - Map of the 8th Level Of The Dungeon NOTE: See Diagram in file je68.txt - Journal Entry 69 - Clerk's Letter My dear Sasha, I'm sorry to hear that you have concerns about the Black Circle. However, their continued good will is essential. Their Control of the Verdigris Mine gives us the gems we need at a reasonable price. As long as these shipments continue, we will not investigate them too closely. Page 44 - You may tell them that my negotiations with the Red Wizards proceed very well. Some may be on their way even now. Should this turn out as well as I hope, you can count on a position as my personal scribe. With my strongest felictations, Grangnak Ulfrim Councilor Of New Phlan - Journal Entry 70 - Peisoner's Tale "The Black Circle has collected us as payments to the driders. In return the driders will help them with some mysterious rite. One stronger prisioner was taken from among us. I believe he is to be a sacrifice. You must seek him out and save him as well." - Journal Entry 71 - Significance Of The Amulet "The Amulet Of Eldamar will reveal three keys hidden within the dungeon. The Keys open the three doors guarding the Dreadlord's Sanctum. Watch for a ghostly radiance that will indicate the presence of a key." - Journal Entry 72 - Map to Grimdra's Hoard NOTE: See Diagram in file je72.txt Page 45 - GLOSSARY OF AD&D COMPUTER GAME TERMS Ability Scores - These are numbers that describe the attributes of the characters. There are six ability scores; Strength, Intelligence, Wisdom, Dexterity, Constitution, and Charisma. Adventurer - This is a term for one of the characters you play in the game. Alignment - This is the basic philosophy of a character. See Alignment in the What are Characters? Section. Armor Class (AC) - This is the rating of how dificult a target is to damage. The lower the AC, the more dificult it is to hit. Character -This is another name for one of the persons you play in the game. A Party consists of several characters. Class - This is a characters occupation. For Example mage, fighter or cleric are classes. Combat Round - Is one turn of a battle. All characters and monsters who are able to fight will get to act at least once per combat round. Combat Segment - Is one-tenth of a Combat Round. Which combat segment a character or monster acts on in one round is determined by its dexterity and a random number. Command - A one or two-word option in a menu. activating that command allows you either to view another menu or have your characters perfom an action. Dice - In the computer AD&D game dice are random numbers. They are referred to by the highest number they can be,for example,for a d10 can be a value from 1 to 10, a d6 would be from 1 to 6. When a die number is generated it is called a "Roll". Encounter - This is what happens when a party meets a monster. You are given a menu of choices of how you want to handle the situation. Enter - The Act of giving a command to the computer. How this is done varies depending on the computer. Experience Points (XP) - Every encounter the characters have yields experience points for every character depending on how successful the encounter was for the party. A character who gains enough Xp can advance a level. Facing - In combat, a character faces a certain direction. An attack from the direction he is not facing has a greater chance of doing damage. A character will always face an opponent if he has only one opponent. Grimoire (Spell Book) - The Book a Magic mage carries his spells in. If he doesn't have a magic book, he has no spells to memorize. Hit Points (HP) - This is the measure of how healthy a character is. Damage from weapons subtracts hit points from the character's total. When he has lost all of his hit points, he is unconscious and dying. If his wounds are bound by another party member he is simply unconscious. Icon - This is the small pocture of a monster or a character seen in the initial stages of an encounter and during combat. Character icons can be altered using the Alter Command in the Camp menu. Page 46 - Initiative - This is a semi-random determination of which character in a combat acts first. The character with higher Dexterities have a better chance for a higher initiative. Level - This Describes the power of a number of different items. The Power of characters, dungeons, monsters, and spells are all described with levels. Character Level - This is a determination of how much experience a character has. The higher the level,the more experienced and important the character is. High-level spell-casters can cast high- level spells. Spell Level - Spells come in degrees of difficulty. The Higher the level of the spell, the greater the level of dificulty. Only very experienced maigic-Users and Clerics can learn High-Level Spells. Magic - The term covers spellcasting enchanted items, and any other application of the supernatural. Melee Combat - This is Hand-To-Hand combat with weapons such as bows and arrows, crossbows and quarrels, and slings and slingstones. Missle Combat - This is ranged combat with weapons such as swords, spears and fists. Moster - This term actually includes Human and other player races as well as ogres and Dragons. In general, if it isn't part of your party, it's a monster. Monsters are not necessarily hostile. That's what the Parlay Command in the encounter menu is for. Multi-Player Characters - Non-Human characters may belong to two or three classes at the same time. Such multi-Class characters split their experience among all their classes even if they have reached their racial maximum class. Party - The group of Adventurers you form to perform the missions you are given. A party can be reformed for each adventure, and even altered during the course of an adventure. Player Character (PC) - This is a member of a player race who is controlled by the player. The Characters in your adventuring party are PCs. Race - The species characters may be in the game. For Example human, elf, or dwarf are races. Saving Throw - The Chance that a character or monster will be unaffected, or only partially effected, by a spell, poison, or similar attack. As characters gain levels their saving throws are more likely to protect them from adverse effects. Spell - This is a magic incantation that can alter the nature of reality. Magic-users, clerics and high-level paladins and rangers can cast spells sfter memorizing them. If the spell is cast, it is gone from the users mind and must be re-memorized. THAC0 (To Hit Armor Class 0) - This is the number that a character must make or exceed to hit an opponent with AC0. Page 47 - APPENDICIES Range of Ability Scores By Race ------------------------------------------------------------------------ Ability Score Dwarf Elf Gnome Half-Elf Halfing Human ------------------------------------------------------------------------ Strength(Male) 8-9(99) 3-18(75) 6-18(50) 3-18(90) 6-17 3-18(100) Strength(Female) 8-17 3-16 6-15 3-17 6-14 3-18(50) Intelligence 3-18 8-18 7-18 4-18 6-18 3-18 Wisdom 3-18 3-18 3-18 3-18 3-17 3-18 Dexterity 3-17 7-19 3-18 6-18 8-18 3-18 Constitution 12-19 6-19 6-18 8-18 6-18 10-18 Charisma 3-16 8-18 3-18 3-18 3-18 3-18 ------------------------ ---------------------- Racial Ability Modifiers Min/Max Ability Scores ------------------------ ---------------------- Dwarf Constitution +1 Charisma -1 (xx)=Max. % for an 18 strength Elf Dexterity +1 Constitution -1 (fighters, Paladins, and Halfing Dexterity +1 Strength -1 rangers Only) Maximum Level Limits By Race, Class and Prime Requisite ------------------------------------------------------------------------ Class Ability Dwarf' Elf' Gnome' Half-Elf' Halfling' Human ------------------------------------------------------------------------ Cleric Any no no no 5 no 15* Fighter STR 16- 7 5 5 5 6 15* STR 17 8 6 5 7 5 15* STR 18+ 9 7 6 8 no 15* Paladin Any no no no no no 15* Ranger STR 16- no no no 6 no 15* STR 17 no no no 7 no 15* STR 18+ no no no 8 no 15* Magic-User INT 16- no 9 no 6 no 15* INT 17 no 10 no 7 no 15* INT 18+ no 11 no 8 no 15* Theif Any 18* 18* 18* 18* 18* 18* KEY ----- no = Charcter of this race cannot be of this class * = Highest level available in Secret Of The Silver Blades ' = Except For theives, most non-human characters may not advance to a high a level as the game provides for humans Page 48 - Strength Table: Ability Adjustments Dexterity Table ---------------------------------------- ---------------------------- Ability THAC0 Damage Weight Ability Reaction/ AC Score Bonus Adj't Allowance Score Missle Bonus (In Gold) Bonus ---------------------------------------- ---------------------------- 3 -3 -1 -350 3 -3 +4 4-5 -2 -1 -250 4 -2 +3 6-7 -1 none -150 5 -1 +2 8-9 normal none normal 6 0 +1 10-11 normal none normal 7 0 0 12-13 normal none +100 8 0 0 14-15 normal none +200 9 0 0 16 normal +1 +350 10 0 0 17 +1 +1 +500 11 0 0 18 +1 +2 +750 12 0 0 *18/01-50 +1 +3 +1000 13 0 0 *18/51-75 +2 +3 +1250 14 0 0 *18/76-90 +2 +4 +1500 15 0 -1 *18/91-99 +2 +5 +2000 16 +1 -2 *18/100 +3 +6 +3000 17 +2 -3 18 +3 -4 Note: * = Available to Fighter classes only (Fighter, Paladin, Ranger) Constitution Table ----------------------------------------------------- Ability Score HP Adj't Resurrection Level ----------------------------------------------------- 3 -2 40 % 4 -1 45 % 5 -1 50 % 6 -1 55 % 7 0 60 % 8 0 65 % 9 0 70 % 10 0 75 % 11 0 80 % 12 0 85 % 13 0 90 % 14 0 92 % 15 +1 94 % 16 +2 96 % 17 +2(+3)* 98 % 18 +2(+4)* 100 % Note: Bonus (*) applies only to fighters, all other classes may be given a maximum hit point bonus adjustment for constitution of +2 Page 49 - Armor And Weapons Permitted By Character Class --------------------------------------------------------------------- Class Max. Armor Shield Weapon --------------------------------------------------------------------- Cleric any any Club,Flail,Hammer,Mace,Staff,sling Fighter any any any Paladin any any any Ranger any any any Magic-User none none Dagger, Dart, staff Theif Leather none Club,Dagger,Dart,Sling,ne-Handed Sword, short-Bow. Fighter, Paladin, Ranger, Attacks Per Round Money Conversion -------------------------------- --------------------------- Class Level Attacks/Round Coin Type Gold Equ't -------------------------------- --------------------------- Fighter 1-6 1/1 Copper 300 cp = 1 gp Paladin 1-6 1/1 Silver 20 sp = 1 gp Ranger 1-7 1/1 Electrum 2 ep = 1 gp Fighter 7-12 3/2 Gold 1 gp = 1 gp Paladin 7-12 3/2 Platinum 1/5pp = 1 gp Ranger 8-14 3/2 Fighter 13+ 2/1 Paladin 13+ 2/1 Ranger 15+ 2/1 WEAPON LIST NAME Damage Man Size Damage Large Size # of Hands Class Axe 1-6 1-4 1 f Bastard Sword 2-8 2-16 2 f BattleAxe 1-8 1-8 2 f Broad Sword 2-8 2-7 1 f,th Club 1-6 1-3 1 f,cl,th Composite Long Bow 1-6 1-6 2 f Composite Short Bow 1-6 1-6 2 f Dagger 1-4 1-3 1 f,mu,th Dart 1-3 1-2 1 f,mu,th Flail 2-7 2-8 1 f,cl Halberd(Polearm) 1-10 2-12 2 f Hammer 2-5 1-4 1 f,cl Javelin 1-6 1-6 1 f Light Crossbow 1-4 1-4 2 f Long Bow 1-6 1-6 2 f Mace 2-7 1-6 1 f,cl Morning Star 2-8 2-7 1 f Scimitar 1-8 1-8 1 f,th Short Bow 1-6 1-6 2 f Short Sword 1-6 1-8 1 f,th Sling 1-4 1-4 1 f,th Spear 1-6 1-8 1 f Trident 2-7 3-12 1 f Two-Handed Sword 1-10 3-18 2  f F = Fighter Classes CL = Cleric TH = Thief MU = Magic-User ARMOR LIST Armor Type Weight AC Maximum Movement None 0 10 - Shield 50 9 - Leather 150 8 12 Squares Ring 250 7 9 Squares Scale 400 6 6 Squares Chain 300 5 9 Squares Banded 350 4 9 Squares Plate 450 3 6 Squares TABLE OF EXPERIENCE PER LEVEL The Following charts show the amount of Experience a character must earn in order to gain a level in his character class. The carts also list the number of spells that a characater can have memorized at one time. Fighters and Thieves can never memorize spells. Remember that all experience earned by a non-human, multiple-class character is divided by the number of classes the character has. The experience is divided even after the character has reached his maximum level in a particular class. A human dual-class character only earns experience in his second class. The character cannot use the abilites of his first class until his level in his second class exceeds his level in his first class. CLERICS Number of Spells Per Level Levels Experience Hit Dice 1 2 3 4 5 6 7 1 0-1500 1d8 1 2 1501-3000 2d8 2 3 3001-6000 3d8 2 1 4 6001-13000 4d8 3 2 5 13001-27000 5d8 3 3 1 6 27001-55000 6d8 3 3 2 7 55001-110000 7d8 3 3 2 1 8 110001-225000 8d8 3 3 3 2 9 225001-450000 9d8 4 4 3 2 1 10 450001-675000 9d8+2 4 4 3 3 2 11 676001-900000 9d8+4 5 4 4 3 2 1 12 900001-1125000 9d8+6 6 5 5 3 2 2 13 1125001-1350000 9d8+8 6 6 6 4 2 2 14 1350001-1575000 9d8+10 6 6 6 5 3 2 15 1575000 + 9d8+12 7 7 7 5 4 2 MAGIC-USERS 1 0-2500 1d4 1 2 2501-5000 2d4 2 3 5001-10000 3d4 2 1 4 10001-22500 4d4 3 2 5 22501-40000 5d4 4 2 1 6 40001-60000 6d4 4 2 2 7 60001-90000 7d4 4 3 2 1 8 90001-135000 8d4 4 3 3 2 9 135001-250000 9d4 4 3 3 2 1 10 250001-375000 10d4 4 4 3 2 2 11 375001-750000 11d4 4 4 4 3 3 12 750001-1125000 11d4+1 4 4 4 4 4 1 13 1125001-1500000 11d4+2 5 5 5 4 4 2 14 1500001-1875000 11d4+3 5 5 5 4 4 2 1 15 1875001 + 11d4+4 5 5 5 5 5 2 1 RANGERS Druid Spells Magic-User Spells 1 2 1 2 1 0-2250 2d8 2 2251-4500 3d8 3 45001-10000 4d8 4 10001-20000 5d8 5 20001-40000 6d8 6 40001-90000 7d8 7 90001-150000 8d8 8 150001-225000 9d8 1 9 225001-325000 10d8 1 1 10 325001-650000 11d8 2 1 11 650001-975000 11d8+2 2 2 12 975001-1300000 11d8+4 2 1 2 13 1300001-1625000 11d8+6 2 1 2 1 14 1625001-1950000 11d8+8 2 2 2 1 15 1950001 + 11d8+10 2 2 2 2 PALADINS Number of Clerical Spells 1 2 3 4 1 0-2750 1d10 2 2751-5500 2d10 3 5501-12000 3d10 4 12001-24000 4d10 5 24001-45000 5d10 6 45001-95000 6d10 7 95001-175000 7d10 8 175001-350000 8d10 9 350001-700000 9d10 1 10 700001-1050000 9d10+3 2 11 1050001-1400000 9d10+6 2 1 12 1400001-1750000 9d10+9 2 2 13 1750001-2100000 9d10+12 2 2 1 14 2100001-2450000 9d10+15 3 2 1 15 245001 + 9d10+18 3 2 1 1 THIEVES 1 0-1250 1d6 2 1251-2500 2d6 3 2501-5000 3d6  4 5001-10000 4d6 5 10001-20000 5d6 6 20001-42500 6d6 7 42501-70000 7d6 8 70001-110000 8d6 9 110001-160000 9d6 10 160001-220000 10d6 11 220001-440000 10d6+2 12 440001-660000 10d6+4 13 660001-880000 10d6+6 14 880001-1100000 10d6+8 15 1100001-1320000 10d6+10 16 1320001-1540000 10d6+12 17 1540001-1760000 10d6+14 18 1760001 + 10d6+16 FIGHTERS 1 0-2000 1d10 2 2001-4000 2d10 3 4001-8000 3d10 4 8001-18000 4d10 5 18001-35000 5d10 6 35001-70000 6d10 7 70001-125000 7d10 8 125001-250000 8d10 9 250001-500000 9d10 10 500001-750000 9d10+3 11 750001-1000000 9d10+6 12 1000001-1250000 9d10+9 13 1250001-1500000 9d10+12 14 1500001-1750000 9d10+15 15 1750001 + 9d10+18 ------------------------------------- T H E S E C R E T O F T H E S I L V E R B L A D E S C O M P L E T E W A L K T H R U & S O L V E BUGS, HINTS, AND GENERAL INFORMATION THE SECRET OF THE SILVER BLADES is semi-linear. There are certain objects that need to be found before you can proceed to the next part of the game, but most of the missions in the game can be done in any order. There is a preferred order though, since the battles get progressively tougher as you get closer to the end. The walkthru will indicate the order for those missions where the proper sequence is necessary. The game has a built-in hint book. If you feed 100 gems to the Well of Knowledge, you will get a hint and outright answers in some cases. Information that you can get from the Well is not duplicated in this walkthru except for a few cases where the Well is vague. There are two basic types of mazes in this game: _huge_ and the more normal 16x16 mazes. The map coordinates are always shown in this game, but in the huge mazes, sometimes the map coordinates are wrong. The error is usually in the "X" coordinate. Whenever possible, both the correct and incorrect values are given in this walkthru. Because of this bug, you may find the coordinates in the walkthru do not match those in your game. Be aware that some ranged spells are Touch range spells when cast from a scroll, but operate normally when cast from memory. The ones that are known to be Touch range when cast from a scroll are the Slay Living, Disintegrate, and Death spells. There are undoubtedly others. There are several new monsters of note. The worst is the iron golem. These are immune to most magic. Magic missile and fireball will actually heal them. Lightning will slow them down. The only way to fight them is to first use lightning to slow them down, then hack them to pieces. Only magic weapons +3 or better will harm the golems. The Remorhaz automatically kill your characters if they succeed in an attack. Fortunately, they have poor THAC0 values and can usually be killed before they can strike. Purple Worms also do something to your characters when they make a successful hit, but all my characters have been fortunate enough to be unaffected when hit. Umber Hulks have a gaze that is equivalent to a Confusion spell. Dispel Magic will restore your characters. NEW VERDIGRIS You start the game in the house of the Mayor of New Verdigris. Your first mission is to free the Well of Knowledge from whatever has captured it. There is a teleporter (3,0) in the Mayor's house that will take you directly to the Well maze. The first order of business is to explore the town of New Verdigris. You need to locate the important places, such as the armory, vault (the vault is a file VAULT.DAT in the save directory), training hall, magic shop, bar, and temple. Locating these places is left as a mapping exercise for the player. The exit from town is at (15,8). It leads to the ruins of old Verdigris. In addition, one of the private residences (3,9) has an old man who will give you a Scroll of Protection from Dragon's Breath. You may need it for the last Well battle. Buy mirrors for everyone. You will need them for the basilisks and medusae in this game. The Cute Yellow Canary does what you expect it to do in the mines, but it is really useless. If you follow the walkthru you will not need it. If you want to explore the mines fully, you will have to pass through the poison air pockets and take the hits anyway. THE SECRET OF THE SILVER BLADES Part 2 THE WELL The map of the Well area on page 2 of the Journal is correct. There are two errors in the map which may be corrected in your edition of the Journal. There is a north/south corridor to the northwest of the Well that is shown as being six squares long; it is actually five squares long. There is also a door that is missing in one of the western rooms. What looks like a dead end is not. The Well is shown as part of the Old Verdigris ruins. There is a 16x16 blank spot in the ruins that corresponds to the Well maze, but the Well is actually a separate maze with its own map coordinates. There are three battles that you have to fight to free the Well. Each battle is triggered as you step into each ring of the Well, and each gets progressively more difficult. Save the scroll you got from the old man until the last Well battle, and have the character with the lowest hit points use it. You face an increasing number of bigger dragons with each battle. The last one is with a really -big- dragon. You can rest any place in the Well after you have freed it. Once you free the Well, explore every square of it. With a few exceptions that are noted in the walkthru, all the teleporters connect to the Well. You have to step into the squares that are in the Well-end of each gate to activate the other end of the gates (when you eventually find them). These gates are very useful for getting back to town for training. They also come in handy for resupplying when you are clearing some mazes that are far from town. Another reason for exploring the Well area is you will find the true nature of the owner of the Magic Shop. You will find a battle between Bane clerics and the Black Circle. The best action is to duck and wait out the battle. You will have to fight the survivors, but you will also face a smaller force. Try visiting the square at (4,14). Afterwards, it should be clear the Black Circle is Evil. When you return to town, it's time to have a long talk with Marcus, the owner of the Magic Shop. Explore the Magic Shop and expect a fight in every room. You can expect random attacks by Fire Knives until you clear the Magic Shop. Once you get rid of Marcus, the prices in the Magic Shop will drop drastically. The shop will continue to operate until you have defeated the Dreadlord. Then, it closes up tight. Towards the end when you have lots of money, stock up on wands of magic missiles and +1 arrows, and store them in the town vault if you wish to continue playing. RUINS OF OLD VERDIGRIS At this point, you can start exploring and mapping the old Verdigris ruins. The maze is about 85x60 and needs to be carefully mapped. Be aware that this is one of the huge mazes where the map coordinates are not always correctly shown. There are two sub-mazes in this maze: The Well is one, and the old administration building is the other. Exiting these sub-mazes into the main ruins maze is usually when the map coordinates become incorrect. The first item you need to complete the game is an Amulet of Eldamar. Journal entry 1 is the map to the amulet. You get the Journal entry from the Well. The Well will hint as to the location of another dragon hoard. It's not required that you find this hoard, but if you want the experience points and loot it offers,it's at location 11,0. Additionally, there are two other optional fixed encounters with Bane clerics in the maze that will yield useful loot. They appear to be triggered if you step into any one of several different locations. The first square of the set you step into will trigger the encounter. Each encounter appears to have a different set of trigger locations. To trigger these encounters try leaving the Well by the northwest door and explore north. Try stepping into locations (56,29) and (59,22). Other than the amulet, there is nothing vital in the maze. It's only necessary to explore it to locate certain places you will need to go to later: the old administration building and the mine shaft. There are two mine shafts in the ruins. Only the one shown on the map in the Journal works; the other is abandoned and there only to confuse you. OLD ADMINISTRATION BUILDING (BLACK CIRCLE HEADQUARTERS) The Black Circle Headquarters is in the old administration building. There is a 16x16 blank spot in the ruins that corresponds to the building, but the building is really a separate maze. Journal entry 38 shows the location of the building. You can get the Journal entry from the Well, or you can find it yourself by exploring the ruins. Clearing the Black Circle Headquarters requires that you explore every room. The important locations in this area are the room at 10,5 and the Inner Sanctum at 14,14. Both places have teleporters back to the Well if you need to get more supplies, dispose of loot, or get training. There is a secret doorway at 8,4 that you have to look for. You will encounter the clerk from Phlan in the building. Be nice to her. If you played POOL OF RADIANCE, you will appreciate finding out that her name is Sasha. After you clear out the Black Circle Headquarters, wander over to location (54,52) of the ruins or thereabouts. You will get the first of many opportunities to rescue the clerk. Leaving the administration building back into the ruins will almost certainly cause the map coordinates to be wrong; be careful. At this point, you have done all that is needed in the ruins. You can finish mapping the ruins, or you can get on with the game. The next step is to descend into the mines. THE SECRET OF THE SILVER BLADES Part 3 THE MINES You can descend into the mines at any time, but it is better if you wait until you have finished the ruins first. The battles become tougher in the mines, and the experience points you get in the ruins are useful for gaining character levels. At first, you can only go to the Temple level. The Temple of Tyr is to the south. There is nothing else of any interest on that level. You will have to fight to get into the temple. Derf Strongarm is at 14,2. There is a teleporter back to the Well at 2,15. Explore the rooms in the west side of the Temple. There is loot and information to be found there. Once you have learned the secret of the Silver Blades and the Dreadlord from Derf, you can descend into the rest of the mines to retrieve the parts of Oswulf's staff. You need the staff before you can proceed to the next stage of the game. The mine mazes are large but simple. It is only necessary to note the coordinates of the intersections, and which directions the shafts branch off at each intersection. The Well will tell you in which direction to proceed at each level to find the staff, but if you want explicit directions, read on. All coordinates are approximate since several of the intersections are several squares in size. All directions start off from the mine shaft at (50,50). There appears to be no coordinate problems in the mines. Level 1: Go west to the intersection at (35,49). Go north to the intersection at (38,44). Go west to the intersection at (18,41). Go north. Level 1 has useful loot, so it is worthwhile to explore that level. Level 2: Go west to the intersection at (35,51). Go north to the intersection at (29,46). Go north. There is useful loot on this level, too. Level 3: Go north to the intersection at (50,39). Go east to the intersection at (69,37). Go east. This is the last level where useful loot can be found. What you find below this level is mainly gems. Gems are useful for the Well and for buying things from the Magic Shop, but there are no more useful weapons and armor. Encounters with Umbers in the mines at all levels will yield weapons, scrolls, and armor. Level 4: Go south to the intersection at (54,58). Go west to the intersection at (54,66). Go east. Level 5: Go north to the intersection at (45,44). Go west to the intersection at (23,38). Go north. Level 6: Go west and continue going west at every intersection. You will encounter giant snakes on this level; have Neutralize Poison spells ready, and make sure the cleric who has that spell is in the rear. (NOTE: It's a good idea to have a Neutralize Poison spell ready at all times in this game!) You will find Vala on this level. She is a worthwhile addition to your party. There are several situations where you will find monsters immune to magic. In those cases, what you need is lots of fighters: Vala is a good fighter. Level 7: Go south and continue going south until you reach the intersection at (56,71). The staff is to the west. There is loot to the east, and you might want to pick it up on the way back since it's fairly close. Level 8: Go south to the intersection at (50,62). Go west then, go south, and keep doing so. The malfunctioning teleporter on this level is initially the only way to the 9th level. To get to it, go north to the intersection at (52,45). Go west to the intersection at (43,43). Go west. Level 9: The teleporter on level 8 should place you in a room at (58,30). (It did the two times I played the game, but the Well hints the teleporter is random.) If you are teleported to another room, you're on your own. If you do wind up at (58,30), it's a straight shot to the mine shaft at (50,50). You will find guards just before the mine shaft. Kill them and you destroy the barrier. This enables you to use the mine shaft all the way down to Level 10, or "B" (for basement?) as it is given in the menu. There are guard stations in all directions from the mine shaft if you want to take them out. All but the ones in the south are close to the mine shaft, and it's real easy to run into them. The southern guards are found by going south, west, then south again until you find them. Level 10: This is the entrance to the castle dungeons. Go east and continue going east until you reach the intersection at (80,50). Then go south. THE SECRET OF THE SILVER BLADES Part 4 CASTLE DUNGEONS There are three mazes in the castle dungeons. There is also a Black Circle compound attached to the dungeon. Each dungeon maze has several levels. To get to the next level you will have to either answer a riddle, or fight the guards. You get experience points in either case, and answering the riddle is much easier than fighting. If you fail to answer the riddle, you are automatically teleported to the Well, who will give you the answer for 100 gems. Once you get the answer, you automatically answer the riddle the second time you approach the stairs. Any sphinxes found in the dungeon will give useful information if you talk to them or rescue them. DUNGEON MAZE 1 The important locations are: (3,6) a gate back to the Well; (8,11) another gate back to the Well; (11,0) stairs; (12,0) stairs (this one leads to the next dungeon maze); (15,7) if you go east from the stairwell, you will enter the Black Circle compound; (12,15) brass key (needed to complete the game). BLACK CIRCLE COMPOUND This mission is totally optional. You will meet Sir Deric as you enter the compound. He has just escaped from the Black Circle and is looking for his companions. Your mission (if you should accept it) is to help him rescue his companions. Sir Deric has only a mundane sword and is badly wounded. You will need a spare set of weapons and armor for him. Basically, almost every room in this maze contains battles. You do not have to fight them all if you do not wish to. Important locations are: (11,8) and (11,9) you can rest here; (14,14) the first of Sir Deric's companions is found here (he will give you an amulet that will enable you to find the other companion); (7,8) once you have the amulet, go back to this location (the amulet will show you the locations of various secret doors; the rooms in the section behind the secret doors have lots of good loot; there also several places to rest; the game will tell where you can rest); (2,8) the entrance to where Sir Deric's other companion is being held (Sir Deric leaves your party once this companion is rescued); (1,4) another secret room to loot (there is a subtle game hint that this room exists when Sir Deric leaves your party). DUNGEON MAZE 2 The important locations are: (3,9) stairs; (8,15) stairs; (7,10) stairs; (13,9) stairs to next dungeon maze; (6,3) gate back to Well (if you cleared the compound, you will probably want to return to town at this point to dispose of all your loot); (1,8) silver key (needed to complete the game). DUNGEON MAZE 3 The important locations are: (10,6) a prisoner you can rescue (he will give the location of his treasure cache); (12,6) the prisoner's cache (the password is NACACIA); (12,7) a teleporter to (1,3) (there's lots of loot and a big fight at (1,3); there is also a teleporter back to the Well at (1,3)); (12,13) blocked stairs to the castle proper (this stair will open once you reach the castle; you will have to use the roundabout way through the crevasses first to get into the castle); (2,15) exit to the crevasses; (9,13) gold key (needed to complete the game). CREVASSES The ice crevasses are huge but simple. This is also another maze where the map coordinates can be wrong if you leave the maze and come back. The required mission is to find the Frost Giants' village. The optional mission is to rescue the Phlan clerk one last time. From the dungeon's exit, go east to the intersection at (44,82). Going north gets you loot, but it is a side trip. Continue east. At intersection (51,82) continue east. If you go east at (61,62), you encounter the Phlan clerk. If you go south, you will find the Frost Giants' village. If you rescue the clerk, she will suggest you join her to find some treasure. Agree to this and follow her directions. This will eventually take you back to the Well. Afterward, you can backtrack to (61,62). On the way back, the only intersection of any interest is (14,48). Going east will yield loot. Assuming you do not want to rescue the clerk, go south. At (99,79) go east. There is a two-part battle to be fought there before you can proceed. You will eventually find the entrance to the Frost Giants' village. There is a gate back to the Well at the entrance. FROST GIANTS' VILLAGE The village uses the same map coordinates as the crevasses but is really a separate 16x16 maze. Your one and only mission is to locate the Frost Giant King and talk with him. Wandering around will only result in lots and lots of tough fights and very little loot. The big loot comes only from talking to the king. Go due east from the entrance until you reach (58,87). Go south to (58,95). Go west. Talk to the king. There will be a test of your truthfulness by way of a two-part battle with the Black Circle and fire giants. The result is a lot of loot from the king as a reward. Once you win the king's trust, you must leave the village. You can leave the village at the crevasse or castle exit. The crevasse exit might be a good choice as you have a lot of loot that has to be disposed of. You can return later and will be automatically passed through the village. From the castle exit of the village, go east to the intersection at (26,86). This may also be shown as (58,85). Go south. From here on, always go east. You will eventually reach the castle gates. If you chose to go east from (26,86), you will eventually reach a gate back to the Well. THE SECRET OF THE SILVER BLADES Part 5 CASTLE: FINAL BATTLE The are three mazes which correspond to the three levels of the castle. CASTLE LEVEL 1 The rooms generally contain nothing but big battles. There is a gate back to the Well at (6,9). There is a teleporter at (9,15) that takes you to stairs leading to the second level. All rooms are entered by waiting in the alcoves. There is a secret rotating door in each alcove. Once on the other side of the alcove, you cannot exit until you find the lever that reverses the rotating door. CASTLE LEVEL 2 For the most part, this level contains nothing but battles as well. You can rest in the secret room at (5,2). The storm giants at (6,1) will parlay and leave peacefully if you buy their map. The room at (2,2) contains loot, but you need the amulet in the room at (14,8) to get in. Around (9,4) you will run into a patrol. The loot from this battle includes the current password (STEELEYE). Also, no matter what you read, the password is always STEELEYE. If you explore the southeast section of this level, you will meet Sargatha again. If you wait, you will be attacked. If you chase her, you will be captured and will have to fight your way out of the dungeons again. Chasing is not advised. The entrance to a maze that leads to the stairs to the third level is at (4,4). The stairs are at (0,15) and behind a hidden entrance. The corridor that starts at (9,15) does -not- lead to the hidden entrance. CASTLE LEVEL 3 This is the level where the three keys you found in the dungeon are used. The Well will tell you in which order the keys have to be used. Interesting locations are: (12,11) Gate back to the Well. (14,12) Gate to (12,15). Lots of loot and a big fight. (13,9) Bash your way through this door. (14,7) Go on in; it's not that hard a fight. (11,2) You do not want to go in this door. (8,9) The password is OSWULF. (7,1) Golden boy has a girdle of giant strength, plate mail +5, shield +5, and long sword +5. They should be the last items in the loot list, but double- check by readying the items to see what they do to your characters'statistics. (3,4) Entrance to the Dreadlord's room. (1,3) Secret entrance to the Dreadlord's hiding place. This is the last battle. Have lots of lightning spells or wands of lightning ready for this battle. The room is filled with golems. There is also a gate back to the Well here. You might want to teleport to the Temple of Tyr and discover Derf Strongarm's fate before returning to town. There is a bug in the program that reincarnates Derf after your visit. Secret of the Silver Blades Rule Book Introduction. Welcome to the Official Advanced Dungeons and Dragons computer product, Secret of the Silver Blades, a Forgotten Realms Fantasy role-playing epic. This game is based on the rules and background created by TSR, Inc. and a story line created especially for this game. The people of New Verdigris have uncoverd an ancient evil that threatens to close forever the mine that is their livelihood. In desperation the miners gathered up the whole of their treasury and sacrificed it to the Well of Knowledge, beseeching the ancient artifact to send them heroes to combat the monsters -- Your Party of adventurers are those heroes. When you regain your senses after being brought to the Well of Knowledge, the Mayor of New Verdigris explains that the mining town is desperate for heroes to save it from the evil that has been unearthed. The mayor will give you several magical items and money to purchase equipment. You should distribute the items to the members of your party and then go into the town to finish outfitting your adventurers. Transfering Characters from Curse of the Azure Bonds Secret of the Silver Blades will accept characters which were created and played in Curse of the Azure Bonds, to transfer charcters use the REMOVE CHARACTER FROM PARTY command in the Party Creation Menu to take characters from their adventuring parties, then use the ADD CHARACTER TO PARTY command to put them in a Secret of the Silver Blades party. Using Menus All commands are menu based, and the concept of the active character is central to the game. Outside of combat the active character's name is highlighted on the display. During combat the active character is surrounded with a cursor at the start of his combat segment. During combat the active character is chosen automatically according to a character's initiative and random factors. Other times the active character may be selected by you before choosing commands. If a command affects the whole party, just select the command. If the command effects one character make that character active and then choose the command. Beginning to Play To begin playing the game you must load a saved game or generate characters and band them together into a party. This first menu gives you the intial options : CREATE A NEW CHARACTER ADD CHARACTER TO PARTY LOAD SAVED GAME INITIALIZE MOUSE/JOYSTICK (Some computer systems) EXIT TO DOS (Some Computer Systems) Create New Charcters - is used to build a character. Detailed information about character, races, classes and so on is available in the journal. (The Journal will be released soon! Be Patient - Lazarus). This command displays the following menus to define the character. - Pick Race - lists six races a player-character can be in the Forgotten Realms. - Pick Gender - lists the sex the character can be. Gender affects the characters maximum strength. - Pick Class - lists the class or classes the character is qualified for based on race. - Pick Alignment - lists all the possible alignments for the character based on character class. The computer randomly generates the character's ability scores. If you are not happy with the character's scores you may roll them again. Remember that you can use the MODIFY CHARACTER command on the Party Creation/Hall Menu to change the character's ability scores and hitpoints ( HP ) after the character has been generated. Name Character - provides a 15 letter space to type in the character's name. This name will be automatically saved to disk. Select Combat Icon - allows you to design the shape that will represent the character in combat. Customize this icon to represent the character's favorite weapon, armor, and colors. Different computers and graphic adapters have different capabilites, experiment to create the best icon for each character. Add Character to Party Allows you to add characters to the party from the saved game disk. A party is a group of characters composed of up to six player characters (Called PCs) and up to two non-player characters (called NPCs). A party should have a balanced mix of characters with different classes. You will also need to indicate the last game the character adventured in. Party Creation/Hall Menu Drop Character - elimnated a character from the party and erases him from the saved game disk. A dropped character may not be recovered. Modify Character - can change the characters ability scores and HP. Use Modify Character to change a character generated in Secret of the Silver Blades to match a favorite AD&D game character. A character cannot be modified once he has begun adventuring Train Character - (from Hall Menu only) increases a character's level when he has gained enough experience points (XP). Choose the character to train and if he has sufficent XP he will be able to advance one level. If a character has gained enough XP to advance more than one level, he will advance one level and then lose all XP in excess of one point below that required for advancement to the next level. See the section on Experience Points in the Journal for an example. Advancing in levels takes no game time. When magic-users advance, they may add a spell to their grimoire (spell book). See the Maximum Level Limites by Race, Class, and Prime Requisite chart in the journal for level limites. There is no charge for training characters. Human Change Class - allows human characters to become a dual class character. Dual class characters lose the advantages of their first class until they exceed that level in the new class. For more information about Dual Class characters look under character Classes in the Adventurer's Journal. View Character - displays a character. Remove Character from Party - tranfers a character from the party to the saved game disk. Save Current Game - stores the current game to the saved disk or directory. Begin Adventuring - Starts the Game!! Non - Player Characters (NPCs). During the game the party will encounter non-player characters (NPCs). They may talk to the party, attack or even offer to join the party. There are two kinds of NPCs : those who volunteer to join the party and those who will only give information or fight the party. NPCs that join the party are treated like player characters with a few differences. The computer commands the NPCs in battle. They have morale. If things are going badly for the party, NPCs may run! Items can be traded to some NPCs, but they cannot be traded from conscious NPCs to other characters. If an NPC dies however you can use the TRADE command on the items Menu to take his items. Only TWO NPCs at a time may join the party and they may take a share of all treasures found. Viewing Characters The View command displays the character summary screen. Characters have no money at the start of the adventure, although the Mayor of New Verdigris will give the party some to help outfit them. The party will accumulate wealth, in the form of gems, jewelry, and some coins as they go. The value of gems and jewelry varies, and can only be determined by having the items appraised. Coins always have the same values. Platinum coins are the most valuable while gold and copper are more common. The relative value of each kind is : 1 Platinum piece (PP) = 5 Gold pieces (GP) = 10 Electrum pieces (PP) = 100 Silver pieces (SP) = 1000 Copper pieces (CP). Encumbrance is the total weight the character is carrying. Combat movement is how many squares a character can move during a combat segment. This is based on his readied armor, strength, and totaly encumbrance. Character Status OKAY - Status means that the characters has positve HP and can move and fight normally. UNCONSCIOUS - Status means that the characters has exactly 0 HP. He cannont move or fight, but is in no danger of dying. DEAD - Status means that the character has kicked the bucket. Non-elf characters have a chance of being resurrected with a Raise Dead spell. The character's chance of being resurrected is influenced by his constitution. See the constitution chart in the journal. Stoned - Status means that the character has been turned to stone. The character can be returned to normal with a Stone to Flesh Spell, which is availble at the temple in New Verdigris. Magic Users may also get a Stone to Flesh Spell if they are of high enough level. Fled - Status means that the character fled from the previous battle. After the battle he will rejoin the party. Gone - Status means that the character has been totally destroyed. Nothing can bring the character back to life. From the View Menu several options are available to inspect the active character. Not all these commands are available at all times. Items Menu - Ready - is used to change the status of a weapon, armor, or other item. Only readied items can be used in combat. A character cannot ready more than two hand-held items at once. Arrows and crossbow quarrels are assumed to be in a quiver and can be readied at all times. Some items may take one or two hands to ready. Some items can only be readies in either camp or combat. - USE - Activates an Item. - Trade - is used to transfer an item from one character to another. Choose the character to trade to and then choose the item or items to trade. Remember that a conscious NPC will not give up an item once he has it. - Drop - Permanently removes an item from a character. Dropped items can NOT be recovered. - Halve - will divide a bundle of some items into two equal bundles. - Join - combines all similar items into one line. No more than 255 similar items can be joined on line line. Some items, such as poitions, cannot be joined. - Sell - is described under the Armoury Menu - ID - is described under the Armoury Menu - Spells - is a listing of the spells a character has memorized and can cast. HEAL - is an ability of Paladins. Paladins may heal two HP (per level) of damage a day. Select the heal command and then select the character to be healed. This command is only displayed when a paladin has a heal available. CURE - is another ability of Paladins. A Paladin may perform one Cure Disease per week at levels 1-5, two cures a week at levels 6-10, and three cures a week at levels 11-15. This option is only displayed if the paladin has a cure available. Adventuring After setting up your party and reading the background information in the Adventurer's Journal, it is time to head for adventure, fame and glory. During your adventuring the party will engage in fierce battles, find treasures, and sometimes have to stop, recuperate, and memorize spells for futre use. Adventure Menu. Move - is used to change the party's facing or to move forward. The party can turn right or left, turn around, or move forward. Normally each move forward takes one minute of game time. If the party has Search On, each move takes ten minutes. Area - Toggles between the Area and 3-D View. In many regions this command may not be available. Cast - displays the Cast menu if the active character is a Spell-Caster. See the Magic section for more infomation. Some spells have no effects in combat. View - Displays the character screen and the View Menu. Encamp - displays the Encamp menu. Search - toggles searching on and off. A party moving with Search off is a moving at a normal rate of one minute per move. With Search On the party takes 10 minutes per move because they are checking for secret doors, traps, etc. When a Party has Search On, SEARCH will be displayed on the screen to the right of the point of view windows. Because of the slow speed the chance of random encounters is also greatly increased. Look - is used to search an individual square. A LOOK command acts as if the party moved into the current square with Search on. Encamp Menu. The Encamp Menu includes options like saving the Game, Resting to heal, and memorize spells, and changing items such as game speed or party orders. REST - Allwos characters to memorize spells and to heal naturally. Characters catch their normal sleep without having to encamp. When spells are momorized, the intial rest time is established by the time necessary to memorize any spells selected from the MEMORIZE command in the Magic Menu. For every 24 hours of uninterrupted hours of rest in camp, each wounded character regains one HP. Rest can be interrupted by encounters. If possible find safe places to take LONG rests, such as the Mayor's Residence in New Verdigris or places that you are told are safe during the game. Rest Menu - includes commands Rest,Days,Hours,Minutes,Add,Subtract,and EXIT Alter Menu - included commands Order, Drop, Speed, Icon, pics, and Game Level and Exit. Fix Command in Encamp Menu - is used to heal many wounded characters with a single command. ALl characters with first level clerical spells will memorize as many cure light wounds as they can, cast them on the party, and then rememorize their previous spells automatically. FIX takes game time and may be interrupted by an encounter. Fix will not return HP to diseased characters, a Cure Disease spell must first be cast upon them. Magic To get the Magic Menu options, the active character must be able to cast spells. Spell-Casters can get a list of their memorized spells from the Cast option of the Magic Menu or from the Spells option of the View Menu. They can get a list of their spells on scrolls from the SCRIBE option in the magic menu. Civilization In The Game.......... The Mining town of new Verdigris will provide many valuable services and supplies for the adventurer. In the town you will find an armour, hall, temple, bar, and the Mayor's and Mage's Residences. The Mayor's Residence - is a good place to rest and gather information. He will inform you of anything the people of New Verdigris have learned since your last visit. Whenever the party is in town, the mayor will provide a safe place to rest and memorize spells. While staying with the mayor, the party may safely encamp to memorize spells and regain HP! The Armoury - Provides a place to buy and sell equipment using the Armoury Menu of Buy, View, Take, Pool (to pool Money), Share, appraise, and exit. The Mage's House - is where you go to purchase magic items. The options that appear are similar to those in the Armoury Menu. The Hall - is where the characters can advance levels. Here you can modify the party using the Party Creation / Hall Menu. The Temple - offers healing spells and performs other clerical services. The commands on the Temple Menu are the same as those on the Armoury Menu and the addition of the Heal Command. The Bar - is a rowdy place full of gossip, stories, and information. Buy a round of drinks and listen to the stories and pinch the Bar Maid's Butt. The Vault - will store money and equipment for you. You may also convert platinum pieces into gems. One hundred platinum pieces will usually buy you one gem. There is no charge for this service. The Old Man - in New Verdigris is a valuable source of information and clues. All you have to do is FIND him. The Well of Knowledge - is another valuable source to the players. This Powerfull magic place is where the people of New Verdigris wished for warriors (you) to combat the menace of evil. The well will also answer queries you may have about your adventure. To gain information from the well you will need to feed it with 100 Gems before gaining information (expensive huh ? ) The Location of the Well is on the map of New Verdigris Area found in the Journal. he option, click on the 'Execute the following text options' message. [If you had made any changes to the page (which in this example you have), the system will query whether you want to discard these before turning to the new page and if not, save them to disk.] 3.2.12 Problems? If something hasn't come out right, go back and check what you have just done. Maybe you forgot to press Return for one of your text entries, or selected the wrong text entry for an option.  36 1. The right texts don't appear for a particular character. Click on Text Operations for that character. Click on Edit Text Entry. If necessary, Select the text to edit and alter it, not forgetting to press Return to save the changes. [Clicking outside the window will just cancel the operation.] 2. The right texts don't highlight, or the option doesn't work as expected: Check the text entries (see above) and check that each text has been entered separately. Then check the options: Click on List Options in the Text operations Menu to verify them. If they are wrong. Click on Add option to replace the incorrect 'Go to Page' option with a new one. If you leave Development Mode now by selecting Quit Development Mode, you can see what this story looks like from a user's point of view. This is very similar, except that there is no query before executing the options. Also, once you have progressed to pages FIRSTDATE or REJECTION, there is nowhere else to go. You might want to temporarily put in Go to Page options on these two pages leading you back to page START. In this manner you can avoid having lo continually return to Development Mode to start again (using 'Turn to Other Page'). For further enhancements of this simple example would require using variables to control the flow of action. This subject is covered in the next section. 3.2.13 Adding Variables Variables offer a way to control particular text entries (and, as we shall see later, drawings). Each variable is defined along with the values that it may have. An example could be a variable called GOLD along with 2 Values HELD or NOT HELD which could be used to indicate in a story whether the hero had or had no found the gold. This could then be used to control the text windows appearing so that other characters would only ask him for the gold if he had found it. 37 In our particular BOY/GIRL example we will use a variable CONVERSATION with many values LEVEL 0, LEVEL 1, LEVEL 2, and so on to control the dialog between the characters. A variable of this kind is highly useful and can be used in almost any story or se- Figure 3-4: REJECTION Page quence of pages, to create a two way dialog. Here's a simple demonstration using the FIRSTDATE Page from our story: 3.2.14 Creating a Variable Click on Variable Definition in the Development Menu and then on Create New Variable. Type in CONVERSATION and press Return. The system will ask for any values to be given for this variable. Type in LEVEL 0 and press Return. When the same message reappears, type in LEVEL 1 and press Return, and so on up to and including LEVEL 3. Then press the right mouse button while the mouse cursor is outside the window to return to the Development Menu. You have now created a variable CONVERSATION with LEVELS 0 to 3 as the possible values for this variable. (More values can be added at any time). We are going to allow the characters to have several text windows appearing in sequence rather than altogether. 38 First, it is necessary to give the variable a particular value. This is done by using an option, Set Variable to Value. Then it is necessary to be able to use the fact that a variable has or has not a particular value to control which text windows (or drawings) appear. This is done using Conditions (which may be applied to either text windows or drawings). It will be necessary to put some text entries on page FIRSTDATE; here's a sample: GIRL: "What do you think you're doing? Let go of me!" BOY HUGGING: "Not so fast - you looked keen enough just now" GIRL: "Yes, but I thought you were someone I knew" BOY HUGGING: "Well you do now! Hey, what's happening here? Take your hand off my wallet!" We'll leave it to your imagination to complete this sequence. Each character now has two text windows and all four text windows must be put into the right order. Once you have entered the text, click on Normal to test them and you will find that the two text windows for each character appear together and that none of them highlight. At this point there are no options. 3.2.15 Adding Conditions Conditions are principally a way of testing a variable against a value in order to control some event, which, in the current example, is whether text appears or not. Their format (for both text windows and drawings) is as follows: IF Variable CONVERSATION IS Value LEVEL 0 or IF Variable CONVERSATION IS NOT Value LEVEL I To add some such conditions to our current example do this: Click on Text Operations and then on the GIRL. Next select Add Text Condition and select the text "What do you think ..." (the top one of the two). 39 You will see three condition types for the appearance of a text entry. The third variable introduces a new and interesting dimension - that of probability. (Refer to Chapter 4 for more information.) Here we need the first type of condition, so click on that. CONVERSATION is our only variable so there is little choice of variable here. Select LEVEL 0 as the value to be tested. The text "What do you think..." will appear 'IF CONVERSATION IS LEVEL 0'. There is nothing more to be done with this dialog. Click outside the window to return to the text operations menu for the GIRL. Again, Add Text Condition but select the "Yes but 1..." text and continue as before except that you will need to select value LEVEL 2 for this text [Note that value LEVEL 1 will be used to allow BOY HUGGING's reply to appear.] Now it is the BOY HUGGING's turn. So make sure that you use the Text Operations Menu for BOY HUGGING, and add conditions to each of texts 'Not so fast. .." and "Well you do now...". Test CONVERSATION against LEVEL 1 and LEVEL 3 respectively. If you return to Normal Cursor Mode and click on the drawings of BOY HUGGING and GIRL you will see absolutely nothing happening. This is because the variable CONVERSATION has none of the four possible values required for text to appear. In the lower half of the Development Menu you will see an entry called List/Set Variables. Select this and you will see that the current value of CONVERSATION is undefined, i.e. it has no value. If you click on the entry 'CONVERSATION is undefined' you can manually set its value to one of the four values defined for it. Then, if you click on one of the characters, the corresponding text will appear. As this is obviously not possible (or desirable) while playing a game, it is necessary for there to be some way of setting variables to specific values when entering a page. This is done by means of a Page Entry Option. 3.2.16 Adding a Page Entry Option These options are executed when the page is first loaded. In order to set CONVERSATION to LEVEL 0 at the start of this page, click on Page Entry Options. Select Set Variable to Value and then, in turn, click on CONVERSATION and LEVEL 0 in response to the prompts. Click the right mouse button outside the window to return to the Development Menu. To test, select Restart Page. The system will query whether you wish to execute the option. Click on Execute Page Entry Options and then click on the GIRL. Make sure the first part of the conversation appears. [If it doesn't, recheck the conditions and Page Entry option.] 40 The text doesn't highlight when the cursor passes over it. We need to add in options on the texts to allow the conversation to progress from level 0 to 1, to 2, and to 3. 3.2.17 Adding Options You need to put in an option on the GIRL's first text segment to set CONVERSATION to LEVEL 1 (which will display the BOY HUGGING's first text). Do this by clicking on Text Operations and then on the GIRL. Then click on Add Option and the first text. Select Set Variable to Value and then choose CONVERSATION as the variable and LEVEL 1 as the value when prompted. Continue in this manner setting CONVERSATION to LEVEL 3 on the GIRL's second text. Only the BOY HUGGING's first text needs an option, to set CONVERSATION to LEVEL 2 as (at the moment) nothing further happens after his last piece of repartee. WELL DONE! You've made it! Now test it using Normal. Notice that now, only one text appears initially on the GIRL and none on the BOY HUGGING. There will be no options on the BOY HUGGING's final speech. We have stopped there. Now it's your turn to forge ahead. Now test this storyline also in 'User' mode. Don't forget, this is only the start - use many other variables to make your story more interesting. 3.2.18 Any Problems? If it doesn't quite work, go back and check all the variables, conditions and options as follows: Variables Click on List/Set Variables and check that CONVERSATION is at the level it ought to be at. Click on CONVERSATION to check that the four values are indeed available. 41 Conditions and Options Check the conditions and options by clicking on Text Operations, first for one drawing and then the other. Click on List Text Conditions to see if the right text appears with the right condition. Click on List Options to check the options. If you need to change any conditions or options, go through the instructions after clicking on Remove Text Conditions or Remove Text Option and adding the correct one (not necessary in the case of Go to Page or Chain options as there can only be one of these per text). Finally check that you put in the Page Entry Option to set CONVERSATION to LEVEL 0. It should now all work. If not, think it through again. Go through all the steps mentally or writing it out on paper and it will probably become clear where you went wrong. Congratulations! You have now graduated from 'Starting from Scratch' and are ready for the 'Advanced Level' of Chapter 4, where you will find details of all the Talespin Options. 3.3 Library Files Here is how you may use the Library Files. The contents of the files (including START and THE GRAIL) are as follows: 1. ALPHABET.TAL This contains a set of numerals and one alphabet of ornate letters (as used in the START title page) and one alphabet of plain letters for you to use in titling. Using the Shrink/Reverse operation, you can reduce the letters to whichever size you want (sometimes reducing the height more than the width can be effective). Or you can copy them (see below) and embroider them to your taste. 2. THEWOLF.TAL This file contains all the drawings in 'The Wolf' adventure. The names of the drawings provide a clue as to what they are. The palette used in all 'The Wolf' drawings is the default palette so there will be no need to alter the colors unless you have modified a palette. 42 The following sounds are also on 'The Wolf' title: Sound Length LAUGH 20,688 bytes. CRY 6,966 bytes. HELLO 4,886 bytes. As sounds take up a lot of disk space, the number of sounds we could put on these files for your use was limited. 3. START.TAL The first page of this title contains the drawings TITLE SCREEN (which is specific to the Talespin title) and CLICK. The second page contains the following drawings: BOY GIRL BOY HUGGING These three drawings can be used to create the BOY/GIRL story outlined above. WOLF NASTY (Drawing copied from 'The Wolf' title.) QUESTION Icon MOUSE Icon REF Icon CLICK Icon 4. THEGRAIL.TAL This is the demonstration adventure written by Rudyard the GRAIL disk) Heaton. All these drawings are available for your use as well as the following three sounds: 43 Sound Length BEAST1 16,562 bytes MUTANT 8,950 bytes MUTANT2 8,164 bytes Note that the palettes on the drawings from 'The Grail' are different from the default palette so you may need to play with the palette and swap the colors around on any pages you create using these drawings. 3.3.1 Using The Library Files There are two aspects: browsing through the files to see what is there, and copying a drawing to your own title for use in your own stories. Looking through the Files If you want to 'look' at the files on the Program disk, first load Talespin. If you wish to look at: The 'Start' title: This will automatically be loaded and the title page will appear. Right click for the Control Menu; enter Development mode and carry on as outlined below. Thee Wolf' title: Once Talespin has been loaded, right click to bring down the Control Menu and click on Choose & Load Title. Select 'THEWOLF' and a START page will appear on the screen once the title has loaded. Note that 'The Wolf' title is a story in its own right, so you can 'look' at the drawings by playing the game from User mode; or you can 'look' at the drawings directly by clicking the right mouse button to call the Control Menu, enter Development mode and continue as outlined below. 44 The 'Alphabet' title: Right click as above for the Control Menu and click on 'Choose & Load Title'. Select 'ALPHABET' and, once loaded, the Control Menu only will appear as there is no START page. Click on Switch to Development Mode.Note that in the 'Alphabet' title, there are no pages. A shorter Development menu will appear as a result. In Development mode, click on Drawing Definition and then on Modify Drawing. Select a drawing to view; when you want to leave this drawing right click for the Drawing Menu and select Quit. When you have finished looking at the drawings in this title, right click to call the Development menu. You will need to Quit Development Mode in order to load a different title. To Play the Sounds (only present on 'The Wolf' and 'The Grail' titles): Click on Sound Definition and then on Play Sound Select your sound and you will then be asked to select a rate of replay in Kilohertz (for full details, refer lo 'Using Sounds' in Chapter 4). For now, just try them out. Click to return to the Sound menu, right click to return to the Development menu. 3.3.2 Looking at the Grail disk To sample the drawings and sounds from 'The Grail' title, follow the instructions on the first page of the START title, and the system will chain to 'The Grail' title, asking you to insert the Grail disk where necessary. Then you may ' look' at the drawings from 'The Grail' in the same way as with the titles on the Program disk. 3.3.3 Copying from the Library Files Having browsed through the Library files and established what you want to copy, follow these instructions from the Development Menu, having created (or reloaded) your own title. Insert the Program disk (if you want to copy a drawing or sound from one of the titles on this disk) or switch your disk drive if the other disk is on another drive (using Select Drive\Folder). Select the drawing or the sound definition. Select 45 Copy Drawing (or Sound) from Another Title. The system will search the current drive\folder for any titles present; select whichever you want. If you don't want any of the titles on that disk (or any of the drawings or sounds on the title), click outside the window to cancel it, insert a different disk and stan again. The system will save the drawing or sound under the same name unless there is already a drawing or sound of that name present in your title. In this case you will be asked for a new name. If you've changed disks, you will be asked to reinsert your work disk. [In the case of drawings, you are given the opportunity to immediately modify the drawing.] The drawing or sound is now available for use by your title. 46 Chapter 4 47 48 4. Chapter 4: Advanced Level This chapter provides a more detailed discussion of Talespin and its capabilities via an analysis of 'The Grail' and 'The Wolf'. For a more direct description of all the operations in the Development Menu, see Chapter 7 "Reference Section". For guidelines to the basic design of a full length adventure, refer to Chapter 5 "Writing an Adventure". 4.1 Combining Pages and Drawings To appreciate the concept of using pages and drawings, you must first understand that when a drawing is copied to a page, it means that there is a pointer to that drawing on the page. The actual drawing itself is not copied on to the page (that would take up a lot of room). Using the same drawing on many different pages is very economical on space; however if you subsequently make any modifications to a drawing, the changes will show on ALL the pages where that drawing is used. Drawings, along with sounds, variables and pages themselves, are considered to be 'global'. In other words, they can be referred to from any page throughout the title, whereas text, conditions and options are 'local' to the page on which they appear. This is reflected in the layout of the Development Menu. At the start of the Development Menu each of drawings, pages, sounds and variables has its own Definition Menu. 4.1.1 Statistics Unless you are creating a very short title, where you do not need to concern yourself with 'space saving', it is useful to understand how Talespin organizes disk space. Each Talespin title is a self-contained file which has a 'directory' pointing to all the pages, sounds and drawings which are contained in the file. Details of this space usage ate available from the Development Menu facility, Statistics. Examining this will show that variables and values do not take up any more room on the disk other than a Directory entry for each. However, by clicking on any of drawings, pages or sounds you can get details of the size, in bytes, of any individual item. Drawings and sounds take up the most space on the disk. 49 By way of illustration, look at the Statistics for 'The Grail' (you will need to load it first). The largest page is STREET3, which has many drawings and text windows on it, with 1872 bytes. Most of the drawings use much more space than that, up to 14K of memory (K stands for 'Kilobyte'). Compare the overall number of bytes: 25K for 31 pages, compared to 291K for 69 drawings and 33K for only 3 sounds. Admittedly your drawings do not have to be as detailed as those used in 'The Grail'. Simple figures use about 2K (as in the BOY/GIRL example in Chapter 3). 4.1.2 Technical Details of Statistics Some further items are shown in Statistics which may not be immediately obvious, but without which the sums would not add up. By way of explanation, note that when you modify a drawing or page, and the new version is saved to disk, a 'hole' may be left in the file (where the previous version used to be located). This is referred to as an 'unused block' and this space will be re-used by any further items being saved. In the long run, a number of small fragmented unused blocks may accumulate throughout the file. The process called 'Backup' (explained later in this chapter) clears these out. Also, when a page, drawing, sound or variable is deleted, (removed entirely from the file) some pages may still refer to the deleted item. References to these items are still kept in the Directory under the heading 'deletions' until the presence of any references to them from anywhere within the title can be checked. This is also done during Backup. 4.1.3 'The Grail' Drawings A brief analysis of some of the pages and drawings in 'The Grail' will demonstrate how you can build up many pages using only a few drawings. The pages we will use for this example are in the forest. They are ail created using one simple foreground and two simple types of tree. The foreground is drawing FIELDS3, used with some of the colors swapped to give different effects. This drawing is used three times in Page COTTAGE. The trees are drawing TREE4, a tall thin red tree used in all of the forest scenes, and drawing TREE8, a short fat green branchy tree, which is used in the routes to and from the forest. Embellishments include a smaller red version of TREE8, and a couple of bunches of leaves and a bush. 50 The variations in the different pages are all made by reducing, reversing, and it duplicating these few drawings, adding leaves and, on one occasion, the drawing SKY reduced. In this way many pages are created using only a few drawings. This also helps when it comes to sorting out the palettes. Figure 4-1: COTTAGE Page from "The Grail" 4.2 Use of Palettes Making full use of the 512 colors available on the Amiga requires a little forethought and strategy. The system is limited by 'Talespins' palette capacity of 16 colors on the screen at one time. Analyzing some of the palettes in 'The Grail' can demonstrate some of the difficulties resulting from this limitation and how to handle them. The palettes of the WIZARD and BILLOT drawings are fairly similar, except for the bottom line of the palette. The colors needed for the WIZARD are two shades of red for his cloak, three blues for his robe and two skin shades. The colors for BILLOT are similar except for the green of his trousers. Now look at the page palettes of any of the scenes outside the town, and you will see that all these colors are in the same places in the page palettes as on the drawing palettes. 51 Inside the town it is a different matter. Almost all the STREET scenes have a totally different palette, although all must still have the necessary colors for the WIZARD, even if the blues are sometimes slightly different shades. But these are not in the right position on the palette. When the drawing is added to the page, you will need to change the colors around using Swap Selected Color. Sometimes a compromise must be made. Notice on Page STREET that the Wizard's cloak is not as red as elsewhere. 4.2.1 Using Palettes The page palette is taken from the first drawing added to the page. If the palette of this first drawing is not the one you wanted, using Modify Page Palette (from the Development Menu), you can copy the whole palette from another drawing or page. Note that Copying a Palette only copies palette entries that are non-black. If you copy the palette from a drawing in which only the top eight palette entries are used and all the lower half of the palette has been set to black, then any colors present in the lower half of the palette will remain unchanged. Thus you can combine palettes from different drawings. Figure 4-2: FOREST from "The Grail" 52 4.2.2 Examples from 'The Grail' 4.2.3 The Forest Referring back to 'The Grail', the make up of the pages in the forest is designed to make maximum use of drawings and palettes. The pages consist of very few drawings, all differently arranged. The palette for all of them has been copied from the WIZARD. The colors on this palette which are not used for the WIZARD have been used in various ways on each of the pages, to create a different impression. Pages as different as COTTAGE and GATE or GUARD all use the same palette except for these five unused colors from the WIZARD's palette. 4.2.4 The Town As mentioned before, this system breaks down in the town, mainly because the principal drawings became the STREET drawings. The WIZARD and BILLOT had to take second place. This is because the STREET drawings were done before the author realized quite what he was going to use them for and therefore hadn't Figure 4-3: STREET3 from "The Grail" 53 thought to make provisions in the palette for the colors needed by WIZARD and BILLOT. So the WIZARD's colors were slotted into the few unused spaces in the palette, necessitating a fair amount of color-swapping when the characters were brought on to the page. 4.2.5 Using Black and White Note that the Black and White default colors on the palette cannot be modified (i.e. the top left and bottom right positions on the palette). This is because they are always needed for the display of text. [If you are importing pictures, you will be warned and these palette entries forced to Black and White if they are not so already.] The unchangeable black top left palette entry is also special in that it represents 'Transparent' . If you need a non-transparent black, one through which any underlying drawings will not show, you will need to set a different palette entry lo Black for this. [Note that this will then not copy (see above) so perhaps color '001' (a blue so dark as to be invisible) would be a better choice.] Figure 4-4: Text Window 54 4.3 Using Text Windows Text windows are found by clicking on drawings. They are always 'local' to a page. In other words, one page cannot refer to another page's text windows. The appearance of Text can be controlled by the use of 'conditions', and 'options', as will be explained shortly. Conditions and Options can be placed on text windows to control the action in various ways. Note that the maximum amount of text that may appear on a page is 6K (6144) characters, spread between ALL the text on that page. The various uses of text include: Narrative It is sometimes useful to have some narrative to se[ the scene at the start of an adventure. In 'The Grail' this kind of narrative is to be found on the START page by clicking on the drawing GRAIL and on the END page by clicking on one of the characters. Otherwise all the narration is in the dialog. If you wanted more narrative and less dialog, one idea might be to use a 'narrative icon', for example, a drawing of a mouth in a box, which could always be located in the corner of the screen and which would produce narrative text if selected. Comic Elements & Clues You can use comic asides on characters to add color to your story and to encourage play as to click on everything. A character may say something different next time around. This device is used in the crowd scenes in 'The Grail' and with Billot, who acts as the Wizard's sidekick. Also, minor characters are used to give clues as to how well the player is doing and what to do next. Comments such as the one the beggar makes on the page FIGHT WITH BANDIT gives hints. This text is 'unconditional' (always appears), but many other hints are controlled by 'conditions' so that they only appear when needed. Dialog with Options This is an essential part of the text operations. These text 'options' are necessary to move the action from one place to another and also to allow for two or three way dialog, where text becomes available in set sequence rather than all at once. For more details, refer to Using Options below. 55 4.4 Using Variables and Values The variables are the key to using Talespin effectively. It is the variables which let Talespin titles be more than just computerized comic strips and give them their flexibility. A Talespin 'variable' is simply a name up to 64 characters long which may have a 'value' assigned to it. A 'value' is simply another name (also up to 64 characters long). You might have a variable called STATE OF MIND which could have the values HAPPY, SAD, ANGRY or FRIGHTENED. Each value needs to be defined (in Variable Definition) as belonging to a particular variable, although more may be added in at any time. The value of a particular variable remains 'undefined' until it is given a value by using a Set Variable to Value option (see below for Options). The variable retains this value unless changed by another Set Variable to Value option. It is a sort of memory, used to indicate a particular event or state. Once created, variables are used to control the appearance of drawings and text via 'conditions' such as 'IF Variable IS Value' or 'IF Variable IS NOT Value' (see below for details of Conditions). The variable STATE OF MIND could be used to control which of a range of expressions should appear on a face. 4.4.1 Different Uses of Variables Variables may be used to create apparently different pages from one page. Taking an example from 'The Grail', the variable ENT (for entrance) allows the Pages BEGINNING and WIZ & BILL MEET GA to be used in different situations. They are used first as the initial introductory pages, setting the scene, with the variable ENT set to value NOT REACHED. Then when the Wizard and Billot reach the page GATE, ENT is set to REACHED [(on the option to return to the forest) or (if they go into the town)] on page ENTRANCE. When they return to the forest, they will re-enter the two pages BEGINNING and WIZ AND BILL MEET GA, but as the variable ENT now has a different value, they appear without the initial dialog and without GA. Both of these factors are controlled by conditions, on text and drawings respectively. This isn't perhaps the most obvious way of going about things (especially when GA no longer appears on a page called WIZ AND BILL MEET GA), but it does save on disk space. 56 Another use of variables is to create dialog using the variable CONVERSATION and values LEVEL 0, LEVEL I and so on. On the first page BEGINNING there are three text windows controlled by the variable CONVERSATION. This variable is set to LEVEL 0 on the Page Entry option (these are Options that are executed when a page is first loaded, see below under Options for details). The WIZARD's first text is conditional on CONVERSATION being set to LEVEL 0. An option on this text sets CONVERSATION to LEVEL 1. BILLOT's text is conditional on CONVERSATION being LEVEL 1, and an option here sets it to LEVEL 2, and so on. Variables may also be used to determine which text window to display in a scene. In 'The Grail', the Wizard on page STREET3 has five different text windows depending on which of various conditions have been fulfilled. Variations of the same scene may be created when a scene is revisited by using variables. For example, look at page INSIDE THE INN. If you list the variables (List/Set Variables) you will see that there is a variable INSIDE THE INN with possible values of ONE, TWO or THREE. This variable is used to vary the scene each time the Inn is visited. The first visit, when the variable INSIDE THE INN is ONE, Billot has a drinking companion who is interested in the Grail and encourages him to continue in the quest. The second time around (INSIDE THE INN is now TWO) a blind beggar appears - a sign of increased decay in the town. On the third visit, no one else is at the Inn and Billot is fading fast himself! The necessary conditions for successfully completing an adventure may be set by variables. Decide on the criteria for completing your adventure, define them as variables and give these variables at least two possible values (true or false). If all criteria according to these variables are fulfilled, then the adventure can be completed. The criteria used in 'The Grail ' are MERCY, STRENGTH and CHARITY. 'The Wolf' requires the variables CLEVER and APPEALING. Of course, you can elect anything - states of mind, skills, status, wealth, knowledge, power. Variables can be used to further the progress towards the ultimate goal. These variables are used to achieve the desired criteria. For example, the CURE is needed in 'The Grail' to be able to help the woman in the cottage and attain the status of CHARITABLE. Also, unless the variable BILLOT has the value GOTRIDOF, the MENDIANT leading the WIZARD to the cottage will not appear. You can also create variations within a page by using a variable with drawing conditions. Drawings can appear and disappear during a page. This allows many more choices on a page. (See below under Using Conditions for details.) However, note 57 that the whole page must be re-drawn each time, and the delay is similar to that experienced when moving from one page to another (the 'zz..' icon appears). Variables are also used to vary the Go to Page options. The choices the player has made up to this point (i.e. how the variables have been set), will determine where it is possible to go to next. This has to be done indirectly, using conditions to control different text or drawings which have the different Go to Page options. Complex maps may also be created by skillful use of variables. FROM, for example, is used in the forest in 'The Grail' to establish which page The Wizard has just come from. This will determine the text and options on the current page, and is a way of making the few forest pages seem like many more (il is possible to go round in circles in both directions). This is the basic methodology in creating a maze. 4.2.2 Using Conditions A condition applied to a drawing or text determines whether or not the drawing or text appears. There are three types of conditions which may be applied to drawings and text windows: if VARIABLE is VALUE The drawing or text will only appear when the variable is set at that value and not at other times. In 'The Grail', as mentioned before, the page WIZ & BILL MEET GA is first entered in the early stages of the tale before they reach the entrance to the town. After this point they will probably return to this page several times, only GA will no longer be there. This is because there is a condition on the drawing GA that it will only appear: if ENT is NOT REACHED Once the variable ENT has been set to some other value than NOT REACHED, GA will not appear again. When first putting such a condition on a page, the drawing (or text) will vanish if the variable concerned is undefined or set to a different value. A variable remains undefined until it is set manually via List/Set Variable (or a Set Variable to Value option is created and executed for that variable, see below under Options). The rule is, if a text or drawing having a condition isn't showing, check the current value of the variable. 58 if VARIABLE is not VALUE The drawing or text will always appear, except when the variable is that value. This allows them to disappear under certain circumstances. This can be illustrated using an example from 'The Wolf. On Page RRH MEETS HUNTSMAN, if you click on List Drawing Conditions, you will see that a condition for drawings HUNTSMAN TALKING and RRH STANDING is: if WOLF is not CHASED This means that these drawings will appear UNLESS the variable WOLF is set to the value CHASED.  % Probability This is very useful for varying scenes, as in the crowded street scene (STREET3) in 'The Grail'. Here, nearly all the drawings of people appear only some of the time, i.e. with a 40% - 80% probability, making it look different each time you come to this page. Probabilities can also be used to make the story more difficult to advance. For example, in 'The Grail' you can only get the cure from a cripple in the gutters; but the drawing CRIPPLE only appears with a 30% probability, so it is possible to go round the town three times before seeing him. [A hint that this might be necessary is given in one of the other scenes.] 4.2.3 Combining Conditions In many situations, it is necessary to combine conditions. For example, look at the drawing BANDITONE on Page UPSTREET in 'The Grail'. He only appears if the following conditions are met if BILLOT is GOTRIDOF AND if CURE is HELD AND with 40% probability This ensures that he only appears towards the end of the adventure, if the wizard is alone, and then only 40% of the time. These conditions are ail joined by AND. This means that ALL of the conditions must be met for the drawing lo appear. It would also have been possible to join them with an OR instead of AND, in which case ANY of the conditions being met would be sufficient to make the drawing appear. However, you may also combine OR's and AND's to produce any required logical result; but note that ANDs 'bind' tighter than ORs. So Condition A AND Condition B OR Condition C AND Condition D 59 is equivalent to (Condition A AND Condition B) OR (Condition C AND Condition D) In English: both A and B or both C and D. If what you wanted was: A and either B or C and also D, i.e. Condition A AND (Condition B OR Condition C) AND Condition D you could achieve this by doing: all of A and B and D or all of A and C and D, which is logically the same. In Talespin, this is: Condition A AND Condition B AND Condition D OR Condition A AND Condition C AND Condition D This is slightly longer, but it achieves the result without the use of parentheses. Just remember that groups of ANDs go together. For this reason, when you add additional conditions (after the first one) the system asks you where you want to insert it, as its location is very important as regards its effect on the combined logic of the conditions. 4.4.4 Drawing Conditions The sea reentered by selecting Drawing Conditions/Options and clicking on the required drawing. The menu presented allows you to enter, remove and list conditions on any specific drawing. Click directly on List Drawing Conditions in the top Development menu to see ALL drawings on a page together with any conditions. A typical example is on Page RRH MEETS HUNTSMAN in 'The Wolf'. Here is a list of all the drawing conditions for the page. 60 --- End of Part 1 --- the pencil brush, look for the gap and fill it in so it is closed. Now try again. Block Use this to draw right angled shapes, squares, rectangles etc. Also use it to erase mistakes by selecting Black from the palette first. Blob Use it to draw thick outlines, to draw circles and rounded shapes, to do original lettering, or to erase small areas. Lens This is very useful for intricate work. Click on Lens On/Off to activate it. The Lens will stay on the screen until you click on Lens On/Off again to cancel it. This function is like a magnif Part 2 of the massive Talespin docs... Another 115K! Conditions Drawings If WOLF is CHASED HUNTSMAN TALKING AND if CONVERSATION is not LEVEL 2 OR if WOLF is not CHASED If WOLF is CHASED RRH STANDING AND if CONVERSATION is not LEVEL 2 If CONVERSATION is HUNTSMAN FIGHTING LEVEL 2 AND WOLF is CHASED If WOLF is CHASED SCARED RRH AND if CONVERSATION is LEVEL 2 This page is visited twice, before and after the Huntsman goes after the Wolf in the story. Although the text windows will be different, the drawings, at least initially, will be the same. However, under certain circumstances, the drawings change during the page. The only situation in which SCARED RRH and FIGHTING HUNTSMAN appear is IF WOLF IS CHASED (the huntsman didn't kill the Wolf in the previous page) AND CONVERSATION IS LEVEL 2 (we've reached the point at which the page changes in mid conversation). Note that this same set of conditions must be responsible for making HUNTSMAN TALKING and RRH STANDING disappear; otherwise all four drawings would appear together! 4.4.5 Text Conditions Text Conditions are used to determine what text appears on a Page. They offer the same facilities as Drawing Conditions, except that with text windows the effect is less dramatic in terms of what the page looks like. The effects are only discovered by clicking on drawings. Text Conditions are entered by selecting Text Operations and clicking on the required drawing. The menu presented allows you to add, remove and list text conditions. In this example from 'The Grail', the Wizard on page STREET3 has five 61 different text windows depending on which of the various sub-goals have been achieved. The text is used to give hints to the player. Condition Gist of Text if CURE is NOT HELD Hint to go round again if CURE is HELD Neutral comment if CRIPPLE is CURED Billot might not be a suitable AND if BILLOT is PRESENT companion if BILLOT is GOTRIDOF You should head for the forest to find AND if CRIPPLE is CURED the old woman to cure. AND if COTTAGE is not DONE if CRIPPLE is CURED AND You've nearly made it! if BILLOT is GOTRIDOF AND if COTTAGE is DONE [Note that the cripple can't be cured if the cure is not held; so if you gel Text 1, you won't get any of the others. But if you have the cure and yet failed to cure the cripple, well, you just don't deserve any hints!] Logic such as this becomes easy to understand if you use meaningful variable and value names. Setting X to 1 if someone is alive, and to 2 if they are dead is a recipe for disaster when it comes to debugging (finding and removing hidden errors) as you'll forget only too soon the meaning of abstract symbols. Also, resist the temptation to have variables do things other than those implied by their name: create a new variable instead - in the long run, it'll pay off. 4.5 Using Options Options DO things, like playing sounds, setting variable values, turning to another page or chaining to a different title. They can be placed on text windows, drawings or at the entry to a page, offering different degrees of control to the player. 62 4.5.1 Options on Text Windows From the player's point of view, there is always a visible choice to click on, as any text with an option on it will highlight when the cursor passes over it. It is up to the player which way he/she goes. These options are entered by selecting Text Operations from the Development menu, clicking on the required drawing, and then on the required text belonging to that drawing. Execution is by clicking on a section of highlighted text. 4.5.2 Options on Drawings From the user's point of view, there is a choice of drawings to click on, but the choice is not clear as the consequences of each click are not known: nothing 'highlights' to show you that an option is present on a drawing. Thus an element of chance is introduced. [If however, the player has been through parts of the game several times, he/she will have some experience of what consequences belong to each click.] These options are entered by selecting Drawing Conditions/Options and clicking on the required drawing They are executed just by clicking on a drawing (in Normal cursor mode). 4.5.3 Page Entry Options There is no choice at all here, not even chance. The Page Entry options are controlled solely by the author of the story. These options are always executed when the page is loaded. These are entered via Page Entry Options, and executed in Development mode (other than by leaving and re-entering the page) by Restart Page. 4.5.4 Execution Order of Options There are four types of options: Play Sound, Set Variable, Go to Page and Chain to Title. On Page Entry options, the variables are set, the page displayed accordingly, and any sound is played before Going to another Page or Chaining to another title. This is what you would expect: you want to see the picture, then hear the sound before anything else happens. With Text and Drawing options, the page is already displayed. The first thing to happen should be the Sound, after which the page should only be re-displayed if 63 there have been any changes made to it (only if there is no Go to Page or Chain option present). 4.5.5 Sound Options Decide whether you want to have your sounds played: * Once only, as the page fades in (use Page Entry Options) * Repeated on clicking on same text (use Text Options) * Repeatable at any time (use Drawing Options) 4.5.6 Page Entry Sound Options A sound will be heard as soon as the page is displayed and before anything else happens. This is a useful way of setting up a one-time sound as the result of some action, for instance a monster appearing and a girl screaming. Other uses include creaks and other noises, exclamations, and so forth, or any Page Entry musical notes (though this could use up a lot of memory, see Memory Limitations below). 4.5.7 Text Sound Options A sound will be heard as soon as the highlighted text is clicked on, but before any changes are made to the page. The sound will be heard before any drawings appear or disappear. Use sounds on appropriate text windows - a roar from a monster, a wail from a ghost or a shriek from a girl, or maybe a cackle of laughter. As the sound options on text windows are always assigned to a particular text window, they will only repeat if that particular text window is re-selected. The sound is no played until after the text has been clicked on, so you can see the sound written in the text ("Aaaagh!" for example) and then hear it when you click on the text. 4.5.8 Drawing Sound Options A sound will be heard as soon as the drawing is selected, and every time it is re-selected, before any changes are made to the page and before any text windows are displayed. If there are several text windows on a drawing and you don't want the sound to be repeated prior to the appearance of each text window, put the sound on a Page Entry option (see above) or on the text windows themselves. You can 64 use Drawing Sound options for exclamations of surprise, fear, anger, enthusiasm, for animal, environmental or mechanical sounds to set the scene and create an atmosphere. 4.5.9 Entering Sound Options Sound Options are entered using the Add Option operation in the Page Entry Options, Text Operations and Drawing Conditions/Options menus respectively. Since the order in which sounds are played is significant (as opposed to the order in which variables are assigned values, which is irrelevant), on entering any subsequent sound options after the first one, you will be asked where to insert the new entry. You are then asked for a replay frequency for each sound. This should be the same as the sampling frequency when the sound was digitized if you wish to re-create the original sound. Alternatively, you may play it back al different frequencies to create special effects. Playing the same sound back at different frequencies in different situations is one way of economizing on disk space. See below under Using Sounds for more details. 4.5.10 Memory Limitations Note that all sounds on a page have to be present in memory before they can be heard. This limits the total sounds on any one page to around 64K bytes on a 500K computer. Any further sounds will just be ignored. [On a one meg or larger computer, all of the available memory will be used as a buffer (temporary storage area) both sounds and drawings, resulting in less time being spent accessing the disk] . 4.5.11 Set Variable to Value Options These options are essential for controlling all aspects of an adventure if it is to be more than a simple sequence of pictures. They form the instrument by which the adventure progresses. They can be executed at the entry to a page, on drawings or text windows, as can all the options. Other than being used to keep a record of the player's progress, they are also frequently used in conjunction with conditions to allow for changes during a page; either on text windows, to allow a conversation or exposition to unfold, or on drawing, to allow objects to appear or disappear. These options can be placed: 65 a.) on a text item where a choice has to be deliberately selected. b) on a drawing, when it is an unwitting selection, as nothing indicates to the player that the drawing does anything (unless the drawing is some form of icon or says CLICK in large letters!). These options are also placed at the beginning of a page, with the Page Entry options, as a means of 'initializing' a variable, either for that page alone (e.g. set CONVERSATION to LEVEL 0), or for the whole adventure (e.g. set GOLD to NOT FOUND). 4.5.12 Page Entry On loading a page, these options are executed first, setting the various variables to their specified values before evaluating any of the drawing conditions which determine which drawings to display. Some of the uses of these options are listed below. 1. Initializing Variables at the Start Or a Title. Variables, until they are 'set' (given a value), remain 'undefined' . Although you may use List/Set Variables to manually change the variable values to affect the outcome of conditions while testing, these values are not saved in any way and the variables will be found to be 'undefined' once more on re-loading the title. Therefore, Page Entry options may be used to 'initialize' the variables in a title. At the beginning of 'The Grail', thirteen out of a total of twenty variables are set on the Page Entry option of the START page (the others are se later on in Page Entry or Text options). 2. Setting 'recurring' Variables. Any recurring variables, i.e. variables used independently on different pages, such as CONVERSATION, should be set to the first level, in this case LEVEL 0, as the variable CONVERSATION might well have been left at value LEVEL 2 on the previous page. 66 Setting 'Achievement' Variables. A variable may be set indicating that a certain page has been reached. For example, in 'The Grail ', as soon as the Wizard and Billot reach the entrance to the town, the Page Entry options on Page ENTRANCE set ENT to REACHED and TOWN to VISITED. There may be several ways of arriving at a page, so it is often easier to set the variables establishing position or status on the Page Entry options of the page being branched to rather than on the Text options of the current page where the ac- tual decision was made. 4.5.13 On Drawings You can, for example, set a variable on a drawing so that the drawing (or a different one) will disappear (i.e. the page will be recreated without that drawing). Using an example from 'The Wolf', see how Red Riding Hood miraculously rises from the dead on Page WOLF KILLS RRH, if you click on her first. This is achieved as follows: Define the variable RRH DEAD with values YES and NO, and set RRH DEAD to YES. Set a condition on drawing RRH KILLED to appear: if RRH DEAD is YES Put an option on drawing RRH KILLED: set RRH DEAD to NO She will now disappear if you click on drawing RRH KILLED. You can then add text to the WOLF "Oh! Where's she gone?", putting a condition on this text 'if RRH DEAD is NO', so that this text will only occur if Red Riding Hood has vanished. So far so good - you can then recreate Red Riding Hood by adding the appropriate drawing to the Page (for example RRH STANDING) with the condition 'if RRH DEAD is NO', and can then add text to this drawing. [To make the scene look better, the drawing RRH CLOAK was also added with the same condition, so that by clicking on Red Riding Hood, the drawing of RRH RTT KILLED disappears and the page is recreated with an empty cloak in her place, and she herself reappears behind the tree.] DON'T FORGET to add in a Page Entry option to set the variable RRH DEAD to YES so that the page is set up correctly; failing which neither drawing of RRH will appear when the page is first loaded. In other scenarios where succeeding in the adventure involves finding objects, you can also make the object, a pot of gold for instance, remain hidden behind a tree, door or window, until you click on the tree, door or window. Once you have defined 67 the variables and values, set up a condition on the object to appear: if GOLD is VISIBLE Then add an option on the drawing TREE, DOOR or WINDOW: set GOLD to VISIBLE The final touch is to put in the Page Entry option: set GOLD to INVISIBLE In any of these situations, which action takes place is determined by which drawing is clicked on first. This device can double or triple the number of possibilities available and make the story more intriguing. 4.5.14 On Text Windows As with drawings this option adds variety and complexity to the story. With a choice of highlighted text windows to click on the possibilities are many. 1. Create Dialog Do this using a variable such as CONVERSATION with values LEVEL 0, LEVEL 1 and so on. Add an option to set the CONVERSATION to a level one higher on each text controlled by a CONVERSATION condition in the required order. Don't forget to put in the Page Entry option to set CONVERSATION to LEVEL 0 at the start of the page, or the dialog will never get off the ground; and put in a condition for the first text to appear only if CONVERSATION is LEVEL 0. 2. Make a Change in the Current Page You can make text appear or disappear in the same way as with Drawing options. You could, for example, set a variable to a value that will cause this to happen on a text such as 'I wonder what would happen if I pressed this?', and then something could appear or disappear. 3. Advancing the State of Play An example of this is in 'The Wolf' on Page TALK TO WOLF where the choice is to tell the truth or to lie. Both options lead on to the cottage, but one sets the variable INTELLIGENCE to value PATHETIC and the other the same variable to value CLEVER, which will make a dif- 68 ference later on when Red Riding Hood confronts the wolf in the cottage. This is executed behind the scenes so that the player is unaware of it, but influences the way the story unfolds. To give another example, this time from 'The Grail', the player may not realize (on Page UPSTREET) that making a choice to kill the Bandit will set MERCIFUL Lo NOT OBTAINED, and that this was his/her last chance to obtain the status of MERCIFUL; that is, without having to go round the town again until the Bandit reappears on page UPSTREET (there is only a 40% probability of this each time round, assuming the other conditions on drawing BANDITONE are met). These conditions are entered using the Add Option operation in the Page Entry Options, Text Operations and Drawing Conditions/Options menus respectively. First select the variable; then you are offered a choice of the values previously defined for that variable in Variable Definition. 4.5.15 Go to Page Options this moves the action from page to page and is executed after the other types of option, so that the sounds will be played and the variables set before the page is changed. For the differences, see below. 4.5.16 Page Entry Go to Page Options Go to Page option at the entry to a Page will display the page before going immediately to another page. [Otherwise you would see nothing.] In this way you can set up sequences of pages, which automatically run with or without sounds or even loop. [The only 'exit' here in User mode is obtained by holding the right mouse button down until the Control menu appears. The user may then load another title, or (if in Talespin, not Telltale) enter Development mode. If he just clicks outside the window, the system resumes looping.] You could use this facility as an introductory sequence to give an impression of the whole story, running through until a page is reached which does NOT have a Page Entry Go to Page op- 69 tion. It could also be used as a slow type of animation, illustrating different stages of a fight, stopping to make a choice of weapon or action, and then continuing. Leaving the realm of fantasy, it could also be used as stages in a demonstration, a cooking recipe, or how to service a car or a washing machine, stopping only when some choice needs to be made. 4.5.17 Go to Page Options on Drawings As drawing options are executed before text is displayed, a Go to Page option on a drawing will leave the page immediately, and any text on that drawing will no appear. If you want a Go to Page option AND text assigned to a drawing, put the Go to Page option on the text. If you have a Go to Page option on a drawing as well as a Set Variable option which changes something on the page (i.e. an appearance or disappearance) the change on the page will NOT be displayed. This is so that you can set variables just before you go to another page, to set the scene on that page, without affecting the page you're just leaving. [If you want to have a drawing appear and an immediate Go to Page option, use an extra page with the Go to Page as a Page Entry option.] 4.5.18 Go to Page Options on Text Windows This is the most frequent use of Go to Page options, used on the last of a string of conditional text windows to turn to another page once the current one is done with. Note that, as with drawings, if a variable is set on a text window which changes the appearance of a page and a Go to Page option is added on the same text, the new page will NOT be displayed before the Go to Page option is executed. The above are entered using the Add Option operation in the Page Entry Options, Text Operations and Drawing Conditions/Options menus respectively. You will be offered a choice of the pages already defined; if you haven't yet created the destination page, you will have to come back later in order to add in this option. 4.5.19 Chain Options Chain options are used to link from one disk to another in the case of large applications, i.e. extensive adventures or tutorials. Chaining can also be used as the only way 'in' to a locked title with no START page (unless you've already been there 70 and saved a placemarker). Thus a monthly adventure magazine could be produced in which all of an introductory newcomers section could be skipped by readers 'chaining' from the end of the previous issue. Chaining works by saving all the variable values in the current title, loading the destination title, turning to the required page in that title, and then restoring all the variable values for those variables which are common to both titles. Before you can enter a Chain option, you will need to define two variables: Title and Page. To each of these you should give as values a list of any title names and page names to which you could want to chain. For example, if you want to chain from title PARTONE, page END PAGE to title PARTTWO at page CONTINUE, you should create variable TITLE with value PARTTWO and variable PAGE with value CONTINUE on title PARTONE. Then when you come to enter the Chain option on Page END PAGE, you will be offered (and should select) PARTTWO and CONTINUE. When the option comes to be executed, the system will look for the requested Title on the current Drive\folder and, if present, load it without further ado. If it doesn't find it, it will ask the user to insert the requested title in the current drive OR to select a different Drive\folder on which to look. This caters, in a generalized way, to users with multiple drives, and also to users who might copy different parts of an adventure (originally issued on separate disks) onto one drive. [Users may right click to abort this procedure and call down the Control Menu - if they cancel this without loading a different title or a placemarker, the system will resume asking for the to-be-chained-to title.] 4.5.20 Page Entry Chaining Options Chaining can be used here to display a title page on title START (which will be auto-loaded as soon as Tailspin or Telltale is run) before loading the main title, which could take a little time. This method also allows you to put Telltale (which takes up just under 50K bytes) on a program disk along with a short START title and so use ALL of a second disk to hold your main title. Once entered, use Restart Page to test the chaining; you will then have lo re-load the original title to carry on. Note that the Development menu names the current Title and Page at the top to let you know where you are. For obvious reasons, the system won't let you chain to a Locked title in Development mode. 71 4.5.21 Chaining Options on Text Windows and Drawings Use a Chaining option on drawings and text windows to connect large stories in the middle of that story so that all the variables values are 'transferred' to the second title exactly as they were at the end of the first title (always providing that the same variables and values exist on the second title; failing which, they will just be ignored. Thus you don't have to bother defining the trivial, local-usage only variables in the second title. PLEASE NOTE: Once a Title has chained to another Title, you can no longer ' Go to' a Page on the first Title, without previously having re-loaded the first Title via another chain. As this loading takes a little while, frequent use should be avoided. So before setting up a Chain, make sure there is a cut off point in the title, such that once this point is passed, there will be no need to return to any previous stage (other than as a major event such as restarting a chapter or the whole adventure). Just as any text or drawing can only have one Go to Page option, and inputting another will replace the previous (you can't go to two pages at once),likewise entering a Chain option will replace any previous Chain or Go to Page option. 4.6 Using Sounds Sounds are used for effect and embellishment rather than for furthering the action. As such they can create an atmosphere and add liveliness to an adventure. Although in theory individual words could be used to build up sentences, in practice digitized sound takes up so much room as to make this impractical. Sounds are executed as an option and can be played as a Page Entry option. This means that the sound will be heard immediately whenever the Page is displayed, but will not be repeatable. A sound appropriate to the scene could be played at this point; the creaking of a door, ringing of a bell, cry of a bird or beast, or possibly the scream of a girl with a monster appearing at the beginning of the page. Sounds can also be used as Text options, in which case they are played as soon as a highlighted text is selected, before anything else happens. It will only repeat if that particular text is available again and reselected. You could use this for emotional cries of anger, fear, surprise, enthusiasm, or for the cries of talking beasts. 72 Finally sounds can be played on drawings as a Drawing option. The difference here is that they are directly repeatable. As with ail Drawing options, every time you click on a drawing with a sound option, the sound is played. Use sounds on drawings for animal noises or bells or fighting noises rather than for speech, otherwise the same sound will be played every time you want that drawing to have text If you want a one-time scream on a drawing, insert an extra page and put the scream on the Page Entry option instead of on the drawing itself. 4.6.1 Sound Definition Sounds can be added in two ways: 1. Copied from another Title, 'The Grail' or 'The Wolf' for example, or another Talespin adventure. 2. Imported from an A.M.A.S. sound file. In most cases you will have to switch disks or drives for either operation. Do so before you click on Copy Sound from another Title, or Import Sound; as soon as you do so, the system looks on the current Drive\folder for titles (.TAL files) or sounds (.SPL files). Select your sound and the system will (if necessary) ask you to re-insert your work disk. When you want to play the sound you will be asked to select a frequency. More information follows about how the sounds are sampled and about the frequency levels. 4.6.2 Creating Sounds To create sounds yourself you must have a digitizer capable of creating IFF compatible sample files. A.M.A.S. from MicroDeal is one such sound digitizer. 73 4.6.3 Sampling Sampling basically does what its name implies: it takes a sample, a 'slice', of the sound being played into the microphone at regular intervals. Providing the ' slicing ' is done often enough, playing back the level found at each slice at the same speed as that at which the sampling was done recreates the original sound. The higher the sampling rate, the better the resulting fidelity of reproduction. But here's the rub: if you double the sampling frequency, you double the amount of data that has to be stored. The A.M.A.S. range of sampling frequencies offers a choice of six between 5 Kilohertz (5000 samples per second of sound, giving a fairly coarse quality especially with any musical sounds) and 31 Khz (31000 samples per second). Talespin offers eleven levels between 5 Khz and 31 Khz to give you greater variety with each sound as regards playback. 4.6.4 Replaying a Sound Unless you created the sound yourself and took note of the frequency level it was sampled at, you will not immediately know which frequency level will sound best. Once you have copied or imported a sound to your current title (or loaded the title on which the sound exists), play it at different frequencies to see which one is suitable for your purposes. That may depend on the frequency level it was sampled at. A man's voice sampled at 10 Khz is high pitched if played back at 15 Khz, whereas a man's voice sampled at 20 Khz is in 'slow motion' at 15 Khz. 4.6.5 Setting Sound Options As mentioned before, sound options can be executed on drawings, text and at the entry to a Page. A sound can also be played several times on one option at different or the same frequencies,or different sounds can be played together. When you add a sound option, you will be asked to select the sound and a frequency. You will then be offered the opportunity to insert an additional sound, only this time you decide in which order the sounds will be played. Once you have selected the position, you then select the sound and frequency. 4.6.6 Sounds and Disk Space Please note: sounds take up a lot of disk space. Look at the statistics on 'The Grail ' or 'The Wolf' and you will see that each sound takes up at least 5K of memory, 74 ranging up to 20K. So, unless you are unconcerned with disk space, be economical un your use of sounds. The number of bytes used depends on the sampling frequency as well as the length of the sample, with higher frequency levels using more bytes, which is the cost of the better quality. This is why it is not, in practice, feasible to use the sound option to reproduce dialog in spoken form, rather than seeing the written text on the screen. 4.7 Testing Test everything you create using Normal cursor mode, and in User mode. Make sure you Restart the page you are testing to check out the Page Entry options. In Normal cursor mode while in Development mode, the system queries before executing any options, to enable you to check whether the options are correct and to avoid doing things you don't want to do, like Going to another Page. Assuming it works, Quit development mode and try it out as a user and see what it looks like without all the querying. 4.7.1 If It Doesn't Work 1. Check that all the correct variables, values, text windows, conditions and options have been defined and added to the appropriate drawings or text. Use the LIST operations for each item. If they are incorrect, alter them as below. Text Windows: Edit Text Text Conditions: Remove Text Condition and Add Text Condition Text Options: Add/Replace Text Option Drawing Conditions: Remove Drawing Condition and Add Drawing Condition Drawing Options: Add/Replace Drawing Option Page Entry Options: Add/Replace Page Entry Option 2. Check that the page has been set up correctly. If you have used LIST/SET variables to manually adjust the value of a variable when developing, make sure there is a Page Entry Option to set it to this value when the game is being played. Check 75 for values being 'left over' from previous pages rather than being initialized on the current one. Check that you Restarted the page before testing. 3. Check the logic of your variables, conditions and options. For this purpose, particularly with a long story, it is a good idea to keep track of your variables on a flow chart along with the pages. There may be a logical reason why, for example, a drawing does not appear where and when it should. It could be caused by an omission or an error with the variable setting a few pages back. 4. To this end, check the references to any particular item using Locate Item from the top development menu. Locate Item will tell you which pages contain a reference to the item you are checking. Turn to that page and List the Page Entry options, text and drawing conditions or options to locate how the item was used. 5. If you have deleted an item, there may still be a reference to that item somewhere which will cause an error when you turn to the page containing it. Use Locate Item to search for references to any deleted items. Although they are deleted, they will still be held on the directory until a Backup is made (see below) and will only be removed once Backup has checked that no references to that item remain. 6. Note that if you delete a page, drawing, etc., you can recreate another page, drawing, etc., with the same name, but the system will not allow you to Rename a page to that same name, as it is still on the directory as being a Deleted item. Normally, you can just use a different name. However, in some cases, such as the page START, the name is important.  The solution is either to use Backup (see below) or to create a new START page, rename that to something quite different and then delete it, so that the name START is now available. You can now rename your chosen page to START. 4.7.2 Testing the Whole Adventure One way of testing an adventure, to make sure that there are no pages where the story would 'hang ' or get stuck, is to let it Autorun overnight (see below for details). AUTORUN This facility is for debugging (removing hidden errors) and for testing demonstration titles, i.e. titles which can be distributed to demonstrate your adventure or system. In Autorun (selectable from the Control Menu) the system runs automatically, clicking randomly on drawings and text windows. 76 As a debugging aid, set your title to Autorun and check every hour or so to see that the system has moved on to a different part of your title. If it appears to get stuck, quit Autorun by holding down the right mouse button until the Control menu appears and then check that your variables have not arrived at such a combination of values that there is no longer any exit from the page. As Autorun selects randomly, it will eventually cover all possible alternatives, including some that will probably not have occurred to you. 4.7.3 Demo Titles Backup allows you to create a backed-up title in demo-mode, which means that on loading it will autorun automatically (and also be locked, so that no one can get into Development mode and interfere with your work). Rather than potentially give the whole of your adventure out as a demonstration, you may prefer lo produce a cut-down version, which could also have the advantage of running on one disk (whereas your full length title could be spread over several disks). Note that if your adventure occupies two or more disks (using Chaining), when the Autorun reaches the Chain option, it will ask and wait for the second disk to be inserted (or the Drive\folder to be switched) UNLESS the to-be-chained-lo title is on the same Drive\folder. 4.7.4 Backup/statistics The Backup facility is a means of 'compacting' your adventure, using the disk space in the most economical way. It reclaims no-longer-used areas of the title file and releases deleted directory entries for further use. It also allows the directory to be enlarged if necessary. To explain, look at Statistics, which gives out details of directory and disk space usage. 4.7.5 Statistics If you select Statistics, you will see displayed the number of entries in the Directory and total number of bytes used for each type of entry. The Pages, Drawings, and Sounds, all highlight if you pass the cursor over them, and when selected will display the number of bytes used in each individual page, drawing or sound. 77 Statistics also tells you the total file size (including the room taken up by the directory) and the amount of room left on the disk. 4.7.6 Unused Blocks If you have made any modifications at all in your adventure there will be unused blocks. If an original drawing (or page or sound) uses 1000 bytes and you then modify it, so that it now uses 1200 bytes, the modified drawing will now be added at the end of the file, leaving 1000 free bytes. A subsequent smaller drawing of, say, 650 bytes will be fitted into this slot, leaving a still smaller free block of 350 bytes and so on, until no more items can fit into this space. But there will, in all probability, always be a few bytes left over, where nothing can fit. Over time, the file will become more and more fragmented, with each unused block needing a directory entry to keep track of it. The number of unused blocks is noted on the Statistics screen, along with the total number of bytes used in these free blocks. 4.7.7 Deletions These items, even though deleted, are still present in the directory, whether or no there are still references to them in your story. It is only safe to remove them once the system has checked that there are no references to them left; this relatively lengthy task is performed at backup time. Any Deletions remaining after a Backup indicate that there are still references to these items on one or more pages; use Locate Item to uncover these references. 4.7.8 Directory Entries Used This refers to the total number of actual entries used in your title. In other words, Directory Entries Use is the sum of all the figures above the line, including the number of unused blocks and deletions. 4.7.9 Current Directory Size The initial directory size is 128 and uses up 4368 bytes. If there are less than 64 entries left free, you will be asked by Backup if you want to enlarge on the current size in modules of 128 up to a maximum of 1024. 78 4.7.10 Backup When you Backup a Title, the unused blocks are removed, as well as the Deletions, provided there remain no references to the deleted items anywhere in the title. Any items with references still present will remain on the directory, so it is a good idea for maximum economy to check this (using Locate Item) before doing a Backup. In this way a file size of 103433 bytes was reduced to 94160 bytes, about a 9% reduction. 4.7.11 How To Backup Select Backup from the top development menu, and three types of Backup file will be offered to you: Unlocked: This means that, as currently, development mode is available for use. Locked: This means that only User mode is available, and Development mode will not be available on the Control menu, even in Talespin. This type of file is for commercial resale. For a completely automatic run, use an auto-loading product to self-load and run your Title with the supplied Telltale program. Autorun is disabled when the file is locked (i.e. Autorun will not appear on the Control menu), to prevent a user from selecting Autorun and discovering how to play the game from the not-quite-random selections (it selects from drawings with options or text windows on, even if these are very small and might not be noticed for a long time by the user). Demo: This is specifically for public demonstrations of your ad-venture. The system is locked and will Autorun on loading. As it is locked, only Autorun is available on that Title and you cannot run it manually or go into development mode. For a completely automatic run, use an auto-loading product to self-load and run your Title. Use the supplied Telltale program, having Backed-up your Title as a Demo file. When the machine is switched on, your Title 79 will automatically load and Autorun. If anyone should stop the Autorun the only options open are to Choose Title (should there be any other Titles on that disk) or Find a Placemarker (which you can supply, as reviewers often prefer to jump from place to place in an adventure rather than having to work their way through it). 4.7.12 Enlarging the Directory Size If, on your current directory, there are 64 or less free entries left, you will be offered the possibility of increasing the directory in size by 128. The directory can be enlarged only in modules of 128, each module using an extra 4368 bytes, up to a maximum of 1024 entries. 4.7.13 Completing Backup Once you have selected the type of Backup file, you will need to name it. If you are backing it up on to the same Drive\folder, you will need to choose a different name from the current one; as long as you keep the .TAL suffix, you can rename it later. The Backup file will then be saved; it will take a little while as it will be re-writing the complete file and checking on references to any deleted items throughout the story. Once this has been completed, you may want to exit from the current Title and select the backup Title to see how much space has been saved and to use it further. Unless you wish to retain both the original file and the Backup file on your disk (probably the case with a Demo or Locked file), you will also need to delete the original file. BEWARE! always keep an un-locked version of any Demo or Locked titles; failing which you will never be able to correct any unforeseen bugs or make any changes. PLEASE NOTE that the Backup operation requires both the source and destination titles to be on-line simultaneously; disk-swapping is NOT allowed. This means that if you have a double sided disk drive, you can backup a single sided disk size adventure, having both source and destination titles on the same disk. Alternatively, if you have 1 Megabyte or more of memory, you could use 400K or so of it as a Ram-disk and Backup to or from this. However, there is not enough memory available for a RAM-disk on an unexpanded A500. If you have an A500 with one disk drive only, Backup can only be executed with adventures using up to half the available disk space; perhaps it's time to go and get a second disk drive? 80 81 82 Chapter 5 83 84 5. Chapter 5: Writing an Adventure Writing a full length adventure requires thought and planning. You can start with just one page and build on that, allowing your imagination to take over. Some writers prefer to do this and work out the sequences as they go along. Although Talespin permits this, things can get complicated later as choices affect previous scenes and variables. A lot of editing will become necessary. You may also find that you are using many more drawings and backgrounds than you need. Planning your storyline in advance is much more efficient in time and disk space. 5.1 Planning an Adventure 5.1.1 The Storyline First decide what your adventure is going to be about: the basic storyline, the participants and what the ultimate goal will be. One way of starting is to lay out the direct route from the beginning to the end of the adventure (which could, for example, be a simple classical tale such as Little Red Riding Hood) and then add in detours and sub-plots to turn a trivial story into something more interesting. With just this example in mind, and as a means of illustrating the creation of a more complex story, we have included a title file called WOLF.TAL on the Program disk, which will serve as the basis for the rest of this chapter. Should you wish to practice writing an adventure of your own using drawings that have already been created, you could copy WOLF.TAL on to your own disk renaming it to something more appropriate. (Remember to use the .TAL suffix Talespin and Telltale won't recognize a file as a Talespin title without it.) Then delete all pages and variables from WOLF.TAL, leaving just the drawings and sounds. After you've completed your own adventure, you can delete any unused sounds/drawings and then Backup the title to reclaim any unused file space. Otherwise you would have to copy each drawing separately from the WOLF title on to your own disk. Note that all the WOLF drawings use the default palette, so any additional drawings with different palettes may not be compatible. If this is the case, you may have to swap some colors around. 85 5.2 The Wolf File The WOLF title was originally the first test story created by Rudyard Heaton while Talespin was still in development. The file contains all the drawings required for a basic Red Riding Hood story with one or two variations, such as the inclusion of an extra character, Jack, who could change the course of events. Also, the possibility of a murderous huntsman is introduced with the drawings HUNTSMAN BEHEADING RRH and RRH HEADLESS. Use all these drawings to create your own version. Examples will be used from a variation of this tale in this chapter. 5.2.1 Planning Disk Space With any adventure you need to pay attention to using your disk space efficiently. Otherwise you could find that you have used up a whole disk with relatively few drawings, pages and sounds. Looking at the Statistics screen of 'The Grail' or 'The Wolf' you will see that sounds take up the most space. One approach would be to add sounds at the end of development phase at appropriate places depending on how much space you have left. Of course, this would depend on how essential sounds are to your story. Next in terms of byte-greediness come drawings. Drawings take up far more space than pages. Adding a drawing to a page uses only a few bytes compared to the thousands that the drawing itself can take up. So plan your pages carefully. Use the same drawings on many pages in different combinations. Using one large drawing as a background may sometimes be necessary, but you can often split it up into component parts (for example, separate houses in a street scene) in order to be able to use the component drawings more than once. Within a town or a house, the scenes can change drastically from one to the other, so it is not so easy to keep on using the same drawings. However in forests and other rural backgrounds, the same collection of drawings can be used in many different ways to create different looking scenes. Using the WOLF drawings, 5 different forest scenes were created, ranging from a bright green meadow with a couple of trees to a dark and mysterious forest. However, for the Cottage Outside and Inside scenes, full screen drawings were used. If the adventure is to last at all, (which 'The Wolf doesn't) it is generally necessary to make the scenes revisitable (the player is allowed to return to any page several times), using variables and conditions to create different appearances and dialog according to events that may have happened elsewhere in the story. The 86 question only becomes: to what length are you prepared to go to make a page look different on subsequent visits? On a simpler level, in 'The Wolf, pages INSIDE COTTAGE and RRH MEETS HUNTSMAN are re-used as the same places but with different variable values controlling the text and drawings, depending on whether the wolf is about to be killed, has been killed, or has been adopted as an ally. Similarly, page SETTING OUT differs according to whether Jack has been met or not. In bigger adventures you can have characters repeatedly returning to a scene as in a maze, where it is easy to move in circles, or in a town where a failure to make the best choice can result in a return to a previous stage in the adventure. Pages, however, apart from the text they contain, consist principally of 'pointers' to the drawings and sounds they use. Thus, they are economical in space usage. Although it's possible, it is generally not worth while making a page fulfill lots of different functions. The danger being that the page becomes incomprehensible and impossible to make any changes to without getting tangled up in knots of logic. Limit the number of drawings of each main character that you need. Remember that each drawing can be reversed, shrunk and palette-swapped to appear different. For crowd scenes you can use only a few characters over and over again. The WOLF drawings include 7 versions of the wolf, 6 of Red Riding Hood and 5 of the huntsman. 5.2.2 Structuring the Game Providing structure for your game consists of two parts. First the unfolding of the game in terms of the goals achieved as shown by the values of the different variables. And second, the sequences of pages, as in a comic strip. The minute-to-minute situation, to which the player must react, is determined by what is on the screen but the actual state of gameplay, that which determines winning or losing, is governed by unseen variables, controlling the overall flow of the game. The interplay between these two parts creates interest. Use too much of the former and the game will seem superficial; too much of the latter and the game will be too abstract. 87 5.2.3 Variables and Values Variables control the action and determine whether the adventurer can win the game. They can be used in two main ways: to determine a winning status, and to determine the actions leading to that status. It is a good idea to plan out the first type of variable before you start Decide which variables are going to be the criteria for success. For example, in the WOLF tale the criteria for success are intelligence and attractiveness, (i.e. Red Riding Hood had to be smart to get away from the wolf and seductive to entice the huntsman into killing him for her). The variable INTELLIGENCE was used with values CLEVER and PATHETIC, and RRH CHARM with values APPEALING and REJECTING. One tip - it is also useful with characterization variables to include a neutral value (in this case UNMEASURED and NORMAL respectively) in order to set the variable on the START Page Entry Option. If you leave them undefined at the START, and the game is played more than once (assuming you include some sort of loop back to the start from the end to save the player from having to reload the whole adventure) then the values will remain as they were at the end of the previous game. However, if you want players to be able to return to the beginning of the adventure without changing any variable values, it would be best to have some other page, perhaps a title page, called START on which the variable values could be initialized and which could perhaps do a Page Entry Goto option to your adventure-beginning page. The second type of variable which determines the text, enables pages to be revisited and controls most of the action can be planned out first You may find the need for others to be added while you are developing the story. The variable CONVERSATION or DIALOG, with values LEVEL 0 and up, is one means of controlling conversations and will be essential unless you do not intend to have any two way dialogs. Some variables will be obvious to you before you start, others may occur to you as you build up the page sequences. Variables with values MET and NOT MET or PRESENT and NOT PRESENT are useful for revisiting pages and determining whether drawings of accompanying characters appear or not; also variables with values DEAD and NOT DEAD (as with the WOLF drawings) where various endings or branchings are possible depending on who is dead! Other useful variable values can be SEEN and NOT SEEN for hidden objects, OBTAINED and NOT OBTAINED for objects or qualities necessary to win the game. In a maze, the variable FROM is useful. What happens next can be dependent on 88 which page the hero/heroine has just come from. This entails a fair amount of setting up on all the possible 'came-from' pages, though. 5.2.4 Outlining the Pages At this stage there are two ways of implementing your adventure: A. Sketching in all the Pages first, with rough drawings and skeletal text. B. Completing each Page in its entirety before moving on to the next. The first method is more professional, in the sense that it implies that you have a complete grasp of the whole story in the abstract, just as a professional programmer should have an abstract overview of the system before attempting to write any of the code in detail. This system is more likely to produce a bug free story and will be more economical and precise in its mechanics. Some professionals, however, in any creative field (including computer programming) prefer to use the second method as it is more flexible and allows for more spontaneity. This way of creating is more concrete and detailed initially. It is more immediate. You can see some results almost at once, and as such is more satisfying. But it does require a lot more editing and having to remember or take note of details that have to be added later. It is more prone to error and you will find yourself abandoning work that you spent many hours on as you find it no longer fits in! 5.3 The Scientific Method If you use the Scientific Method, a flow chart is helpful. Start with a simple chart indicating which pages will go where, and expand it late. Later, include a chart of how the variables change and where. With a maze, a diagram is essential. Otherwise even you will get lost. Assuming you have drawn up a flow chart, start by creating all the necessary pages. Obviously if you are using the WOLF file you only need to add the appropriate drawings to each page, just the character drawings and something as a background screen. If you're starting from scratch, just sketch in outlines of the characters and very basic backgrounds, enough to be able to distinguish one page from another. 89 On those pages which will have conditional drawings, put all of them on the page, so you can see clearly where to add the conditions. 5.3.1 Variables You now have all the pages in skeleton form, so you can now organize your variables. Use your flow chart to decide which variables and values will be necessary for the action. You may find it useful at this stage to draw up a second flow chart showing which variables are set to various values at different stages. 5.3.2 Building up the Pages With the complete plan at your disposal you can now build up each page in its entirety, starting with the drawing conditions. Add the text, text conditions and options for each set of conditional drawings. Then alter the necessary variable for any other conditional drawings to appear on the page, and complete the text and so forth for these. Alternatively, on pages with several drawing conditions you can add all the text, text conditions and options on all the drawings and only add the drawing conditions afterwards, so you don't have to keep changing the variables to work with a different drawing. With complicated pages, you may find it helpful to draw up a plan of the page so you don't leave anything out. That way you can see at a glance what needs to be done. Keep track of what you are doing on your variable flow chart, expanding it if necessary. Test each page and then the whole story. Finally, perfect the drawings and layout of the pages. Note that if you REPLACE a drawing, the text attached to the first drawing will reappear on the second drawing. If you don't want the same text REMOVE the first drawing and then ADD the second drawing. 5.4 The Artist's Method As mentioned before, this method is more immediate, and requires less forethought and patience. The tricky work comes later fitting all the pieces together. This is the method used in Chapter 3 describing in detail how to create a mini 3 page story. The longer the adventure, the greater the need to pre-plan, so this method is more suited to shorter adventures. 90 Start with the first page. Add the desired drawings from 'The Wolf' or create your own. Create the variables you have decided on so far, and add in the texts, conditions and options as far as you can. You will not be able to add in any Go To Page options as the pages ahead have not been created yet. Make a note of which ones to add in later. Then carry on with the next page of the story, creating any new variables or values where necessary. As you go on you may find it helpful to draw out a flowchart to show the variables and conditions that you have created so far, noting in red the items you need to add in later. It's probably easier with this method to stop after every few pages and go back to put in the Go To Page options and any new variables, values, or Set Variable options, than to wait until the end. Continue through the story, going back to previous pages as indicated on your flow chart and adding in any new items, sculpting the adventure into a form you like as you progress. Where a page 'becomes' revisitable and you add in different drawings with conditions to handle the subsequent visits, make sure that you add conditions on to the original set of drawings as well, so that they disappear to make way for the new set. Make sure that the Page Entry options are set correctly. If the page is highly complicated, it might help to make an outline of it. 5.4.1 Sounds Finally add in the sounds, either from the Library files, or make your own if you have A.M.A.S. Check your disk to make sure you have enough space. 5.5 Final Testing The best type of testing is to get a friend to play the game. Even better is to get several friends to play. Different people will react differently, and what may be obvious to one may not be so to the others. Avoid prompting them. Watching their mistakes is much more useful than having them solve the adventure quickly. Testing every possible combination of circumstances is a long process. Autorun can help (see previous chapter for details) as it plays at random, and will (at least in theory) eventually play every possible combination. Your task is then to check every so often that the game has not gotten locked in a loop (the same few pages endlessly repeating) or stuck on the same page. If the system does appear to be bogged down, go into Development mode and prove to yourself that there is an exit from the situation. It may just be so improbable a combination of choices that it would take the random selector 100 years to hit on it. For example, if on three 91 connected pages you have five texts of which only one gets you to the next page (and all the other choices return you to the first page), then it will on average take 125 purely random attempts at the whole thing to get through. 5.6 Running Out of Space It can sometimes happen that you run out of space unexpectedly in the middle of an operation - for example, you cannot copy a sound, or worse, you have made changes to a page, but cannot move on to another page or exit from the page at all without losing the changes. In such a situation, losing your last changes may be inevitable. Keep a running check on the space left on the disk you are using and the space left in the title directory. Statistics gives details of both of these. If you do find yourself without disk space, see if there are any files you can delete or copy to another disk. If this fails, you may have to consider restructuring your story to fit onto two or more disks, using Chain to go from one to the other. This is not a trivial change, as chaining is equivalent to loading a new title and takes a little while. The space gained is only partial as any drawings that you want in both parts of the adventure must be present in BOTH titles. Chaining is best employed at decisive 'breaks' in the story, from which no return to previous stages is expected. If you have run out of 'directory' space, you can expand or reclaim this by executing Backup (see previous chapter for details). Incidentally, this will also reduce the title file size if it contains any unused space. 5.7 Large/Commercial Adventures When writing an adventure for commercial purposes, plan the use of your disk space carefully. A commercial adventure will need to be sent out with TELLTALE on the disk, which takes up 50K of memory. For larger titles with two or more disks, you can either put the first part of the adventure on the first disk along with TELLTALE, and then chain to the second disk and so on. OR, you can create a START Title with a page of titles and credits on the TELLTALE disk and automatically chain to the second disk (via a Page Entry option). This will allow a START page to show on the screen while the second disk is loading. At the end of the second disk, you could always chain back to the TELL- 92 TALE disk, to a third title, to complete the adventure. (The commercial release of "The Grail" was done this way). The point to emphasize is that you need to design in your 'chain' breaks from the start. Each disk is self-contained, chaining transfers only the variables and values from one disk to the other. So, having chained, you cannot then return to a previous page without reloading the first disk. Decide on a place to break the story so that the first part is complete and cannot be returned to, or recreate any necessary previous pages on the second disk. Unless you have already added them, remember to keep enough space on each disk for any sound effects. 5.7.1 Demos To send out a demo, Backup your story in Demo mode, either full length, or as a shortened version. 5.7.2 Quick & Aborted Title Loading To abort loading a title in Tailspin (not Telltale) or simply to save time on loading, you may press the Right mouse button while the title is loading. This aborts the pre-loading of drawings and sounds and the title will finish loading much more quickly. At this point, no page will show, just a blank screen with the control menu. You can either load another title, or, if you switch to Development Mode, you can then use Turn to Page to load the page you want. This does mean, however, that on machines with more than 512K of memory, the transition from one page to the other will take a little longer as all drawings and sounds have to be loaded as each Go to Page option is executed. On smaller memory machines, where there wasn't enough memory to load many of the drawings or sounds anyway, it doesn't make that much difference. 93 94 Chapter 6 95 96 6. Chapter 6: Other Uses of Talespin As well as being a games development system, Talespin has many more uses in the fields of business, industry and education. It can be used for any application requiring inter-linked graphics and text (and sound), but its main advantage lies in the fact that Talespin can be used by non-programmers. Experts in their own field (along with a graphic artist if necessary) can design demonstrations or teaching applications without requiring a professional programmer. At the other end of the scale it is easy enough for children to use (a 7 year old has created a simple three page space story with just a little help), which opens up many opportunities in the field of education. Some possible uses for Talespin could be: Sales Example: To Illustrate the Features of a Car A demonstration such as this could be displayed in a showroom for potential customers, either Auto-running to advertise the various features, or allowing interested customers to choose the items about which they'd like to know more. It could be done in the following way: Create a drawing of the car in skeletal form, and then create further drawings of the different pans of the car, the hood, trunk, doors, wheels, and so forth. 11 is necessary to have the different drawings fitted together rather than one large drawing, so as to be able to add text to individual parts of the car. Then add appropriate text to each part with perhaps a Go to Page option to a further page for more details, or a Go to Page option could be added directly to the part drawing itself without any intervening text. 97 These further pages would consist of that particular car part in greater detail and explanatory text; for example, a view of the engine in which once again each part could either yield information or lead on to further pages. Additionally, if full sized drawings of each part were made, then the 'assembled' versions could be built from reduced instances of each of the drawings. In this way the design of a car could be unfolded on the screen, either using Demo mode (Auto-run) so that the sequence can run automatically in a showroom, or 'locked' mode requiring a user to click on highlighted texts. Training This example could be expanded further to include a teaching element. As in adventure titles, the system can ask questions and offer multiple choice answers. An answer, when clicked on, would go to another page (by adding a Go to Page option to that text), which would illustrate the answer (right or wrong), offer explanatory text, and so on. By using variables and conditions the user's progress can be charted, and he or she would only be given the possibility of advancing to a higher level, once the previous level had been satisfactorily completed. This can be assessed by having various grades of values attached to the variables used to chart this progress (for example a variable ACHIEVEMENT could have the values 1- 5 or A to E perhaps, with 5 or E signaling [he completion of this level), the values being upgraded by putting in a Set Variable to Value option when the right answer to a question has been selected. At the end of this section a condition would be added to the text with an op- tion which offers advancement, so that it only appears if the value of that variable has reached the highest grade. 98 Servicing A similarly structured title could graphically illustrate part numbers, allowing servicing personnel to quickly ar- rive at the level of detail required. Additionally, any changes can be easily made and distributed on a single re-usable floppy disk, obviating the need for expensive print runs. The sound facilities of Talespin could be useful in servicing many kinds of electronic equipment, which emit different 'beeps' to signal different states. Talespin could actually create the sound, far superior to trying to describe it in words! Talespin can also handle the language barrier, as a simple variable LANGUAGE could be used as a condition to select texts in the corresponding language. Education To Teach any Subject In schools Talespin would be an efficient and fun way of teaching children, and not just about computers! In fact Talespin could be used to design teaching applications in any subject, history, geography, maths etc. To take a simple example in mathematics, a sequence for teaching the four basic skills would consist of four pages, one for adding, one for subtracting, one for multiplying and one for dividing. On each page there would be many small drawings or icons, each one with a multi-choice question on the drawing text in ascending order of difficulty. 99 Initially, only one text would be available. The next text would only appear once the first question had been successfully answered. This could be achieved using a variable (say QUESTION) and values (LEVEL 1,2, 3 and so on) and text conditions in the same way that the variable CONVERSATION was used as an example in the earlier chapters to create two way dialogues. [i.e. by putting a text condition on the first text so that it only appears if variable QUESTION is value LEVEL 1 (having set QUESTION to LEVEL 1 as a Page Entry option), and then setting variable QUESTION to LEVEL 2 on the text with the correct answer, and so on with all the drawing texts until the final question was answered successfully).] A wrong answer could have a Go to Page option, going to an 'Adding Error' page with an ERROR icon which, when clicked on, would inform the pupil of this fact and then return him or her (via another Go to Page option) to the original ADDING page. Having completed a page of adding, a Go to Page option on the final successful answer would send the pupil to the second page called SUBTRACTING. At the same time a Set Variable to Value option could record the pupil's progress. A variable ADDING LEARNT, initially set to NOT ACHIEVED could at this point be set to ACHIEVED; additional variables for each of the four pages would be set in the same way once the pupil had completed each page. 100 A final 'score' of the pages successfully completed in a certain time could be presented in the following way: add an extra drawing on each page to indicate the time, maybe a clock, which will be clicked on when the lesson is over. Add a Go to option to this 'clock' to go to a final page which would present the 'results'. This could be done in several ways with texts (stating Adding Learned, Multiplying Learned, etc.) or drawings (symbolizing these skills, or as a bar chart), the appearance of the text or drawing being conditional on the different variables ADDING LEARNED, DIVIDING LEARNED, etc. having been set to value ACHIEVED during the lesson. The amount learnt can be broken down into smaller levels using different values (QUARTER LEARNED, HALF LEARNED, THREE QUARTERS LEARNED, etc.). To Teach Computers This is just a simple example to give you an idea of how Talespin could be useful to teach any subject, although its most obvious use is in teaching computer technology itself. In teaching computer or information technology, although not all pupils will actually learn how to program, most will learn about the technological age we live in, the part that computers play in it, and will have the opportunity to use a computer. Talespin offers a wide range of possibilities for teaching the logic and design of computers in a non-technological way which will be fun for those not interested in learning a programming language. Designing a Talespin system only involves clicking the mouse on windows and texts (the only typing necessary is to name pages, drawings, variables etc) and is easy to pick up. A beginner can make a couple of simple shape drawings and create a page fairly rapidly, producing a quick, visible result, which always aids motivation! The logic of adding texts and options is easy to understand, as are the concepts of variables and values when they are put into context. 101 Once the pupil has grasped the basic logic of a simple sequence of pages, he or she can start designing his or her own project. The student will discover through experience the logical way in which computers work (for example, it is necessary to set a conversation type of variable to LEVEL 0 at the entry to a page, (in case it had reached LEVEL 3 on a previous page), as the system won't automatically 'remember' this fact). This 'project' can expand to a highly sophisticated system, useful in his own right, as well as an easy, efficient and fun way of finding out how computers work! Conclusion These are only a few general ideas for other uses of Tailspin. This system has many other, more specialized uses, which will become apparent as its availability spreads to experts in different fields of knowledge. 102 Chapter 7 103 104 7. Chapter 7: Reference Section In this chapter the items on the Control Menu, the Development Menu, and the Drawing Menu (in that order) are listed, with a brief description, as they appear on each menu. For alphabetical location of these items, see the index. 7.1 Control Menu This is a list of all the possible operations in 'User' mode (as opposed to Development mode). If Talespin has been loaded, all the operations are available. If Telltale has been loaded, the following three operations do not appear on the Menu - Create New Title, Switch to Development Mode and Autorun. If the title is 'locked', Switch to Development Mode and Autorun are not available. Choose & Load Title This will select and load (or re-load) a Title from the current drive or folder. You may have a choice of one only or of several. Note that any title called START.TAL will be automatically loaded when either Talespin or Telltale is first run. Create New Title [not in Telltale] Requests the new title name and takes you directly to Development mode - see Chapters 3 & 4. Set Placemarker at this Page Placemarkers enable you to save your place at any point in any title, for instance, while playing an adventure such as 'The Grail'. If you click on this item you will be asked for a file name under which to save your current position to disk. Type in a name and press return. This will set your place at this page. [Clicking outside the window will cancel this operation.] 105 Find Placemarker This will list all placemarkers on the current drive\folder. Clicking on one of them will return you to the place in the game at which the placemarker was saved. You will receive a warning message should the placemarker not 'belong' to the currently loaded title. In other words, it was saved from another title. Erase Placemarker from this Disk Use this to clear out any placemarkers that you no longer require. Click on the name of the file to remove. Select Drive\Folder This operation is especially applicable if you have a second disk drive (DF1) hard disk (DH0), or a Ram disk. Here it allows you to select a different drive or folder for loading a title or finding and setting placemarkers. Switch to Development Mode Once a title is loaded, provided it is not 'locked' ('read only'), you may go into Development mode to investigate, make changes or browse through the drawings and sounds when the title is used as a Library file. You will see a different Control Menu. For details of the menu in Development mode see below. Autorun This mode allows a story to be played automatically, making random selections. It can be used either to view the 'Demo' mode or for testing. It is not available with Telltale, or if the title is 'locked'. To stop Autorun, hold the right hand button down until the Control Menu appears. For full details see Chapter 4. Help This will give you Help messages relating to the Control Menu containing most of this information. It is mainly intended to assist users of Telltale. Click outside the window to cancel. End Session Click here if you wish to stop playing or developing. Click on the highlighted Confirm End Session message to return to the Desktop screen. If you have clicked on End Session in error, just click outside the window to cancel the operation. 106 7.2 The Development Mode Menu In Development Mode, you may make changes to existing titles and expand new titles. At the top of the menu is the name of the title and the current page. Although file names are limited in length to only eight characters, all other names in Talespin may be up to 64 characters long. Drawing Definition There are several ways of defining drawings in your Title: 1. Create New Drawing and use the Talespin drawing facilities. See below under the separate section 'Drawing Menu' for details of these. 2. Modify Drawing to make changes to an existing drawing. 3. Copy Drawing from this Title. You may give it a new name and make changes to it, leaving the original drawing unchanged. This is useful for drawings that are similar. 4. Copy Drawing from Another Title (such as 'The Wolf', 'The Grail', 'Start' or 'Alphabet'). If the title is on another disk, insert that disk first before you select this operation. You will be asked to select a title and drawing in turn. When you have selected the drawing to be copied, you will be asked to replace your original disk in the drive. If the drawing is on a disk in a different drive, switch the drive using Select Drive\Folder from the Drawing Definition Menu before clicking on Copy Drawing from Another Title. You may then modify the drawing in the usual way. Note that the system will save the drawing under the same name as it had on the other title. You are only asked for a new name if the existing one is in use. 5. Import Picture - Refer to the next entry. 107 6. Import Picture. Providing you have an already created an uncompressed low-resolution file, you may import it using the 'import' operation. It works in much the same way as the 'Copy from other Title' operation, only you don't get asked for a title name. Note that the number of bytes used will be reduced considerably when it is imported into your Talespin title, as Talespin 'compacts' all drawings. This file will still however remain on the disk, so you will probably find it useful to delete it when you have ended a session and returned to the desktop. A note about Palettes: you may well find that the palettes of the drawings being copied or imported will not be compatible with the rest of the page upon which they are to be used, so you will have to adjust the colors using Swap Selected Color (see below). The first and last palette entries are always reserved in Talespin for black and white respectively. If Talespin finds that these palette entries are not as expected, it will set them to black and white respectively, and inform you of this fact, giving you the opportunity to abort the import. 7. Rename drawing. This allows you to change the name of a drawing throughout a title. Used, for example, when you created a drawing LITTLE GIRL only to find out later it was really MATURE WOMAN. Note that you cannot rename a drawing to a name that has been deleted (see next entry). 8. Delete drawing. Removes a drawing permanently from a title. However, as references to that drawing may still exist on various pages, the deleted drawing will nevertheless remain as a directory entry until the title is Backed up (see below under Backup). For this reason the system will not allow you to rename a drawing to the name of a deleted drawing (use a different name). [You may re-create a deleted drawing, and, if required, rename it to something else in order to 'liberate' the desired name.] 108 9. Select Drive\folder. Used to select a different drive or folder from the current one; in this case, for copying drawings from different places. Page Definition Pages are the basic units of Tailspin. Note that if a page called START exists on a title, then this page will be displayed immediately whenever the title is loaded. The operations possible on whole pages are: 1. Create New Page. This creates a blank page with no drawings and returns you to the Development menu ready to add in drawings etc. 2. Copy Page. This allows the duplicating of whole pages in the current title. You are asked for the new page name. Note that a copied page will retain the text conditions and operations of the original page. 3. Rename Page. This allows you to subsequently change the name of a page. Note that if you delete a page the system will not allow you to rename a page to the deleted name as it is still on the Directory (see also Backup below). You can recreate another page with the same name. With most pages, you can just use another name; but with a START page which is automatically loaded, this may not be possible. The solution is to create a new START page, rename it to something else and then delete it, so that the name START is now available. You can then rename your chosen page to START. 4. Delete Page. Completely removes a page from the title. Sound Definition This menu is used to load sounds into your title. Tailspin itself has no facilities for recording sounds since special hardware is required for this (e.g A.M.S. from MicroDeal). The operations in this menu are: 109 1. Copy Sound from Another Title (e.g. The Grail or The Wolf). If the title is on another disk, insert that disk first before you select this operation. You will be asked to select a tide and sound in turn. When you have selected the sound to be copied, you will be asked to reinsert your original disk. If the sound is on a disk in a different drive, switch the drive using Select Drive\Folder from the Sound Definition Menu before clicking on Copy Sound from Another Title. Note that the system will save the sound under the same name as it had on the other title. You are only asked for a new name if the existing one is in use. 2. Import Sound File. If you have some IFF sound sample files you can incorporate these samples into your title. If the file is on another disk, insert the new disk (or switch the drive if the disk is on another drive) before selecting Import Sound File. You will be asked to re-insert the current disk if it is necessary. Talespin will save the sound under the same name as the base name of the file, querying you only if this name is already in use. 3. Play Sound. This allows you to hear any of the sounds present on the current tide without going to the trouble of putting a Play Sound option on a page first. It asks you for the speed (in Kilohertz) at which to replay the sound. For correct reproduction, this should be the same frequency as that at which the sound was originally sampled. Other frequencies may be used to create special effects. 4. Rename Sound. This allows you to change the name of a sound throughout a title. 110 5. Delete Sound Removes a sound permanently from a title. However, as references to that sound may still exist on various pages, the deleted sound will nevertheless remain as a directory entry until the title is Backed up (see below under Backup): for this reason the system will not allow you to rename a sound to the name of a deleted sound. [You may however re-import or copy a deleted sound, and rename it to something else in order to 'liberate' the desired name.] 6. Select Drive\folder. Used to select a different drive or folder from the current one; in this case, for copying sounds from different places. Variable Definition This menu is used to define variables and their values. They are used to control whether or not drawings and text appear on a page. The possible operations on this menu are as follows: 1. Create New Variable. You will be asked for a name for the variable (up to 64 characters long) and then the system will ask you for any possible values that this variable may have. Note that in Talespin variable values are words, such as HOT and COLD, not numbers; they therefore must be explicitly defined. Click outside the window when all the values you currently require have been entered, which will return you to the Variable Definition menu. [Right clicking takes you back to the Development menu.] Note that when a variable is created, along with its possible values, the variable will remain 'undefined' (not set to any particular value) until it is explicitly set to a value using either List/set Variables or a Set Variable to Value option. 2. Rename Variable. Use this to change the name of a variable throughout the title. Note that you cannot rename a variable to a name that has been deleted (see entry below). 111 3. Delete Variable. Use this to remove a variable from the title. However, as references to that variable may still exist on various pages, the deleted variable will nevertheless remain as a directory entry until the title is Backed up (see below under Backup). For this reason, the system will not allow you to rename a variable to the name of a deleted variable. You may however recreate a deleted variable, and then rename it to something else in order to 'liberate' the desired name. 4. Add New Value. Used to add extra values to a variable, after that variable was initially created. The system will ask you to select the relevant variable and then to enter the new value. You are offered the opportunity of adding as many new values as you wish, until you click outside the window to return to the Variable Definition menu. 5. Rename Value. Use this to rename a value throughout the title. You will be asked to first select the variable to which the value belongs and then the value itself. See under 'Delete Variable' above for remarks about re-using deleted names. 6. Delete Value. This removes a value permanently from the title. See 'Delete Variable' above for remarks about re-using deleted names. Turn to Other Page This is a way of manually moving from one page to another. If you have altered anything on the first page, the system will query whether you want to discard the changes made to that page: click OUTSIDE the window to save the page with the changes; clicking ON the window throws the changes away. 112 Add Drawing to this Page Select the drawing to be added. Once the drawing has appeared on the page, you may immediately move it by passing the mouse over the drawing, holding the mouse button down and moving the mouse to where you want the drawing to go. An outline will follow the mouse and when you release the button, the drawing will be recreated in that position. [This is because the Add Drawing operation puts you straight into 'Move Selected Drawing' Cursor mode.] You may add up to 64 drawings to a page, including the same drawing several times over if you wish. Note that the palette of the first drawing added to a page is adopted by the page. Modify Page Palette There are three ways of modifying the colors on a page: 1. Copy Whole Palette from Other Page or Other Drawing. Note that any palette entries which are BLACK (color 000) on the other page or drawing will not be copied across, leaving the corresponding palette entry on the current page untouched. This allows you to combine partial palettes from different drawings onto the one page, by setting the unused parts of each drawing's palette to BLACK. 2. Make Selected Color More Red, Less Red, More Green, Less Green, More Blue, Less Blue. Select the color on the palette you wish to change and then make it less blue, more red etc one step at a time. Note that the color on the page will change at the same time as on the palette so you can immediately judge the effect. There are 15 shades of each of red, green and blue as well as a zero level for each, which, combined, form the color palette of the Amiga. These levels are shown as the 'RGB' (Red, Green, Blue) value; this helps in accurate color selection. 3. Set Background Color. This allows the background to be set to a color other than black; this color will show through any first-palette-entry BLACK (i.e. transparent) parts of any drawings on the page. Click on the desired color before selecting Set Background Color. 113 Page Entry Options These are used to set up conditions or create effects immediately when a page is loaded, using 'options'. An option is an action used to set a variable to a value, go to another page, play a sound or 'chain ' to a different title and page (for stories spread across more than one disk/title): an option can be executed on a text or drawing as well as at the entry to a page. [You may have up to a maximum of 128 options on a page.] The possible operations here are: 1. Add/Replace Page Entry Option. Used to set one or more options to be executed on entry to a page, i.e. each time that page is loaded. It 'replaces' rather than 'adds' when it doesn't make sense to have two separate options. For instance, you can't go to more than one page, or set a particular variable to more than one value. Likewise, you can only have one of Chain or Go to Page, not both; thus adding in a Chain will replace any previous Go to Page (or Chain). For Sounds, the order (if there is more than one) is all-important; the system therefore asks you where to 'insert' any additional sound: there is no replacing. 2. Remove Page Entry Option. This removes an option from the entry to a page. If you wish to replace a variable in a Set Variable to Value option with a different variable or to replace a sound on a Sound option, it is necessary to remove the previous variable or sound, and add in the new one separately.. 3. List Page Entry Options. This lists out the page entry options present on this page. 114 Restart Page Used to execute Page-Entry options without having to leave the page and come back to it; useful for testing the page. As with all options in Development mode, the system will list the options and query execution. This operation also mimics the normal loading of a page (in Development mode). It checks that all the drawings on a page that should be visible are displayed. If drawings are displayed which should not be displayed you can remove them from the page. The system also checks at this point for sufficient memory available to hold all the sounds on the page. This is necessary in order to be able to play them immediately if required. List Drawing Conditions This lists all the drawings on the page, whether currently visible or not, together with any conditions governing their appearance. If you want to alter something on a drawing that only appears under certain circumstances, this facility is useful for finding out how to make it appear (which variables to alter to which value (using List/Set Variable, see below)). A condition is a test of the kind 'If variable is/is not value' or a probability factor, used to control the appearance of a drawing, sound or text. List Drawing Options This lists all drawings on the page together with any options that will be executed if the drawing is clicked on. 7.2.1 Cursor Mode The entries under Cursor Mode are all used to determine what happens when you next click on a drawing (in other words, nothing happens until you do subsequently click on a drawing); they determine the effect that the cursor has. Normal This mode is used for testing pages. It operates in the same way as in 'user' mode (i.e. after leaving Development Mode) except that the system queries any options, enabling you to test a page without having to execute every option. 115 Move Selected Drawing Click on the drawing to be moved. Holding down the button, move it to the desired position and then release the button. An outline follows the mouse movement and the whole picture is recreated in the new position once the button is released. Swap Selected Color Use this operation to swap colors around on a drawing as necessary; perhaps to make several instances of the same drawing appear different. Point the cursor at the color on a drawing that you wish to change; then click on the color on the palette that you want to change it to. All the areas on that one drawing having the first color will now change to the second color. Should things get too confused, you can always click on 'Reset to Original State'. Click outside the window to cancel the operation. Replace/Remove Drawing Removing a drawing removes it from this page only: it still remains in the title file for use with other pages. [Use Delete Drawing in the Drawing Definition Menu to remove a drawing permanently .] Replacing a drawing has the advantage that the new drawing retains the associated texts and options of the previous drawing, whereas these would be lost if the first drawing were removed. To cancel the operation, click outside the window. Shrink/Reverse Drawing On clicking on a drawing, you will see a chart of possible reductions measured in percentages for Height and Width independently . Move the cursor over the desired percentage for height and click - do the same for the width (unless you want a distorted reduction). To make a drawing face the other way, i.e. left instead of right, select 'Reverse'. Then click on Execute Selection; clicking outside the window (as everywhere else in Talespin) cancels the operation. 116 Change Drawing Order This changes the order of the drawings, that is, which drawing is in front of which. This order is determined initially by the order in which the drawings are added to the page, later drawings appearing in front of previous ones. Click on a drawing and its current position will be indicated on a chart with the drawings at the front of the page appearing higher up the chart. Click on the drawing in front of which you wish the selected drawing to now appear; or outside the window to cancel the operation. Drawing Conditions/Options This allows for the placing of conditions and options directly on drawings, i.e. with no text intervening. A condition is a test of a variable, value, or a probability factor used to control the appearance of a drawing, sound or text [You may have up to a maximum of 128 drawing conditions on a page.] An option is an action used to set a variable to a value, go to another page, play a sound or 'chain' to a different title and page (for stories spread across more than one disk/title): an option can be executed on a text and at the entry to a page as well as on a drawing. [You may have up to a maximum of 128 options on a page.] The possible operations are as follows: 1. Add Drawing Condition. You will be asked the type of condition to add, but note that on adding any additional conditions, it is necessary to 'integrate' the new condition in with the existing ones. First you will be asked the position at which to insert the new condition, and then how to combine it logically with the one before it. ' AND ' means both conditions must be met, while 'OR' means either will suffice for the drawing to appear. Where there are many conditions, with mixed ANDs and ORs, the ANDs bind tighter, i.e. take precedence. 2. Remove Drawing Condition. This removes a condition from a drawing. To alter a condition, you need to remove it first and then add a new one (using Add Drawing Condition). 117 3. List Drawing Conditions. This lists any conditions present on this drawing. 4. Add/Replace Drawing Option. Use this to add an option to a drawing. It also can be used to replace a value on a Set Variable to Value option (for the same variable), or to replace a Go to Page or Chain option. For sounds, the order of execution is significant; for any additional sounds, the system asks you where to 'insert' the new sound. 5. Remove Drawing Option. This removes an option from a drawing. If you wish to replace a variable in a Set Variable to Value option with a different variable or to replace a sound on a Sound option, it is necessary, to remove the previous variable or sound, and add in the new one separately. 6. List Drawing Options. This lists out the options added to this drawing. Text Operations This handles all aspects of adding, editing and removing Text on drawings, along with any conditions and options on those texts. Note that the total of all text on a page may not exceed 6K (6144) characters, spread among a maximum of 64 individual text entries. A condition is a test of the kind 'If variable is/is not value' or a probability factor, used to control the appearance of a drawing, sound or text [You may have up to a maximum of 128 text conditions on a page.] The Text Operations are as follows: 1. Add Text Entry. Use this to enter new text and then press Return. A drawing may have several text entries, each created by separate uses of this operation - each one is an indivisible whole, and any options or conditions added to it, will apply to the whole of that one text entry: for individually selectable options, use separate text entries. 118 2. Edit Text Entry. Use this to edit a text entry or to check all of the text entered on a drawing without altering anything. You will be asked to select the text to edit. Note that at all times text is automatically 'wrapped', fitting as many words onto each line as possible. 3. Remove Text Entry. This removes a text entry from the drawing. You will be asked to select the text to remove. 4. Add Text Condition. You will be asked to select a text, and then the type of condition to be added. Note that on adding any additional conditions, it is necessary to 'integrate' the new condition in with the existing ones; so first you will be asked the position at which to insert the new condition, and then how to combine it logically with the one before it 'AND' means both conditions must be met, while 'OR' means either will suffice for the drawing to appear. Where there are many conditions, with mixed ANDs and Ors, the ANDs bind tighter, i.e. take precedence. 5. Remove Text Condition. This removes a condition from a text To alter a text condition, you need to remove the previous condition and then to add a new one (using Add Text Condition). 6. List Text Conditions. This lists all the text present on the selected drawing (abbreviated) along with any conditions. 7. Add/Replace Text Option. Use this to add an option to a text. It works also to replace a value on a Set Variable to Value option (for the same variable), or to replace a Go to Page or Chain option. [These types of options are replaced as any one variable can only be set to one value at a time, and only one Go to Page or Chain option can be executed at any one time. Many different sounds may be played or different variables set however.] For sounds, the order of execution is significant; for any additional sounds, the system asks you where to ' insert' the new sound. 119 8. Remove Text Option. This removes an option from a text. If you wish to replace a variable in a Set Variable to Value option or to replace a sound on a Sound option, it is necessary to remove the previous variable or sound, and add in the new one separately. 9. List Text Options. This lists out all the text present on the selected drawing (abbreviated) along with any options. List/Set Variables Used to manually change variable values (i.e. without executing an option). For example, to affect the outcome of a drawing condition, in order to render visible a previously invisible drawing. Use the List Drawing Conditions operation (above) to find out which variable values have what effect. Select the variable; and then the required value. Note that these manually set values are not in any way 'saved' by the system, and unless specific options exist explicitly setting variables to particular values, the variable values will be found to be 'undefined' next time the title is loaded. Locate Item Used to find references to any page, drawing, sound, variable or value, as well as any deleted items, throughout the title: lists pages on which item was found. Note that just because a variable, drawing, etc. has been created, it may not have been used on any page as yet; in which case it will not show up using this operation. Statistics Gives details of the file space usage of the current title, including remaining directory space, unused blocks on the file, and deletions. Also gives the sizes of individual drawings, pages and sounds (when you click on that item). 120 Backup Copies the title to a new file, clearing out unused blocks and no-longer-referred-to deletions and expanding the directory size if necessary. Also allows the new file to be 'locked' (making it 'read-only', i.e. Development mode is no longer available) or 'demo' (auto-runs on loading, for demonstrations). Both source and destination files must be on-line simultaneously. Disk-swapping is not possible. Quit Development Mode Returns you to user mode. Right-click for the main system menu. 7.3 Drawing Menu This menu is brought down by selecting Create New Drawing or Modify Drawing from the Development Menu or by clicking on the window which gives you the option of modifying a copied or imported drawing. Pencil Draws dots and lines a single pixel (dot) wide; used for detailed work and outlining shapes. Spray & Minispray These two facilities give a sprayed effect - for example, for shading in trees or a person's hair. The longer you hold down the mouse button the more the area defined by the brush gets filled in; moving the cursor at different speeds gives different densities of spray. Line This facility is for drawing straight lines. Here the center of the cursor is used to give the start and end points and assists in accuracy. Press the left button to indicate the start of the line and move the mouse to where you wish the line to end. You will see a line being drawn. Release the button when the line is the desired length and angle; this 'fixes' it. For a horizontal or vertical line, make sure the line is absolutely straight with no 'kinks' in it before releasing the button. The Undo facility will erase the whole of any line just created. 121 Fill This fills an area of the screen with the currently selected color. Move the Fill cursor until the tip is inside the area to be filled and click: the Fill color will spread to all adjacent dots of the same color as that clicked on. Note that if you are filling a line drawing and there is a gap in the line drawing, the Fill color will ' leak' and the whole page will begin to fill with color. DON'T PANIC! Right click to abort the Fill and then use UNDO. Using the pencil, look for the gap and close it; then try again. Block Use this to draw right angled shapes, squares, rectangles etc. Also use it to erase mistakes by selecting Black from the palette first. Blob Use it to draw thick outlines, to draw circles and rounded shapes, to do original lettering or to erase small areas. Lens This is very useful for intricate work. Click on Lens On/Off to activate it. The Lens will stay on the screen until you click on Lens On/Off again to cancel it. It is like a magnifying glass and helps you identify which individual dots (or pixels) need changing or erasing. It magnifies the boxed area around the cursor wherever you move it. If you approach the Lens box with the cursor (should you wish to work in that area) it will automatically jump to another part of the screen. Modify Palette There are two ways of modifying colors on a drawing: 1. Copy Whole Palette from the Current Page, Other Page or Other Drawing. Note that any palette entries which are BLACK (color 000) on the page or drawing will not be copied across, leaving the corresponding palette entry on the current drawing untouched. This allows you to combine part-palettes from different drawings, by setting the unused parts of each drawing's palette to BLACK. 122 2. Make Selected Color: More red, less red, more green, less green, more blue, less blue. Select the color on the palette you wish to change and then make it less blue, more red etc one step at a time. The color on the drawing will change at the same time as the palette so you can immediately judge the effect. There are 15 shades each of red, green and blue as well as a zero level for each, which, combined, form the color palette of the Amiga. These levels are shown as the 'RGB' (Red, Green, Blue) value; this helps in accurate color selection. Undo Clicking on this 'undoes' the last action performed (including clicking on Undo). An action is here defined as whatever happened between the last press and release of the mouse button. If you are doing a series of dots, only the last dot is removed. Save Drawing Click on this to save the drawing to disk and return to the Drawing Definition Menu, ready for you to create another drawing. Note that changing a drawing will affect ALL the pages on which it is used; but that changing the palette of the drawing will have no effect at all, as it is the palette of the page that governs the colors used for that drawing on any particular page. Quit The system queries 'OK to end without saving drawing?' if you have made any changes. Click outside this window, i.e. cancel the window, if you do NOT wish to abandon your drawing; you should then click on Save Drawing. If you do wish to quit without saving anything, click on the text and you will then be returned to the Drawing Definition Menu. 123 Index End Session 18 Erase Placemarker 17 Find Placemarker 17 Help 18 Select Drive/Folder 17 Add Drawing 113 Set Placemarker 17 Add Drawing Condition 117 Switch to Add Drawing Option 118 Development Mode 18 Add New Value 112 Copy Drawing 32 Add Page Entry 40 from another Title 107 Add Page Entry Option 114 from this Title 107 Add Text 118 Copy Page 109 Add Text Condition 39,119 Copy Palette Add Text Option 119 from Current Page 122 Adding Options 31 from other Drawing 122 Adding Text 30 from other Page 122 Autorun 15,106 Copy Sound from another Title 110 Copy Whole Palette 113 Copyright 3 B Create New Drawing 107 Create New Page 109 Create New Title 15, 21,105 Backup 77,121 Create new Variable 111 Backup Copies 4 Cursor Mode 33,115 Blob 25,122 Block 25,122 Debugging Tips 75 Delete Drawing 108 Chain 31, 63 Delete Sound 111 Chain Options 70 Delete Value 112 Change Drawing Order 34,117 Delete Variable 112 Choose and Load Title 105 Demo 79 Condition 117 Demos 77 Conditions 59 - 60 Development Menu 16 Control Menu 15 - 16,105 Development Mode Menu 107 Autorun 18 Add Drawing Choose and load title 16 Condition 117 Create new title 16 Add drawing to page 113  127 Add Text Entry 118-119 Modify Drawing 107 Add Variable 112 Modify Page Palette 113 Add/Replace Move Selected Page Entry Option 114 Drawing 116 Add/Replace Normal 115 Text Option 119 Page Definition 109 Add/Replace Page Entry Options 114 Drawing Option 118 Play Sound 110 Backup 121 Quit Development Change Drawing Mode 121 Order 117 Remove Copy Drawing 107 Drawing Condition 117 Copy Page 109 Remove Copy Sound from Drawing Option 118 another Title 110 Remove Page Copy whole palette 113 Entry Option 114 Create New Drawing 107 Remove Text Create New Page 109 Condition 119 Create New Variable 111 Remove Text Entry 119 Delete Drawing 108 Remove Text Option 120 Delete Page 109 Rename Drawing 108 Delete Sound 111 Rename Page 109 Delete Value 112 Rename Sound 110 Delete Variable 112 Rename Value 112 Drawing Rename Variable 111 Conditions/Options 117 Replace/Remove Drawing Definition 107 Drawing 116 Edit Text Entry 119 Restart Page 115 Import 107-108 Select Drive/Folder 111 Import Sound Set Background from A.M.A.S. 110 Color 113 List Drawing Shrink/Reverse Conditions 115,118 Drawing 116 List Drawing Options 115 Sound Definition 109 List Page Entry Statistics 120 Option 114 Swap Selected Color 116 List Text Conditions 119 Text Operation 118 List Text Options 120 Turn to other page 112 List/Set Text Variable Definition 111 Variables 120 Directory Size 80 Locate Item 120 Enlarging 80 Make selected color 113 Disk Contents 5 128 Drawing 22, 24 Drawing Condition Add 117-118 List 118 Remove 117 -118 Replace 118 Edit Text Entry 119 Drawing Conditions End Session 106 34, 60, 117 Equipment Requirements 4 Drawing Definition 23, 32 Erase Placemarker 14 Drawing Definition 107 -108 Erase Placemarker from Copy Drawing Disk 106 from another Title 107 Copy Drawing from this Title 107 Create New Drawing 107 Delete Drawing 108 Import Picture 107-108 Modify Drawing 107 Fill 25,122 Rename Drawing 108 Find Placemarker 14,106 Select Drive Folder 109 Drawing Menu 23,121 Blob 122 Block 122 Fill 122 Lens 122 Go to page 63 Line 121 Goto Page 31 Minispray 121 Grail, The 4 Modify Palette 122 Pencil 121 Quit 123 Save Drawing 123 Spray 121 Drawing Options 34,117 Help 106 Drawing Order 117 Drawing Sound Options 64 Import Picture 107 - 108 Import Sound File 110 129 Make Selected Color 123 Move Selected Drawing J 33, 116 Joining Pages 36 N L New Page 32 Normal 115 Lens 25, 122 Library Files 6, 42 O ALPHABET.TAL 6 THEWOLF.TAL 6 Using 44 Option 114 Line 25,121  Options 62 List Drawing Condition 118 Chain 63 List Drawing Conditions 115 Drawings 63 List Drawing Options 115, 118 Go to page 63 List Page Entry Options 114 Play Sound 63 List Text Conditions 119 Set Variable 63 List Text Options 120 Text Window 63 List/Set Variables 15 Locate Item 120 Locked 79 P M Page Building 28 Page Definition 22 Make Selected Color 113 Page Definition 109 Memory Limitations 65 Copy Page 109 Minispray 24,121 Create New Page 109 Modify Drawing 107 Delete Page 109 Modify Page Palette 52,113 Rename Page 109 Copy Whole Palette 113 Page Entry Options 63, 114 Make Selected Color 113 Add Page Entry Set Background Color 113 Option 114 Modify Palette 26 List Page Entry Copy Palette 122 Options 114 130 Remove Page Reverse Drawing 28, 34, 116 Entry Options 114 RGB 26 Replace Page Entry Option 114 Page Entry Sound Options 64 S Palette 23 Modify 122 Pencil 24 121 Save Drawing 27, 123 Placemarker 14 Select Drive/Folder 106,109,111 Play Sound 63,110 Set Background Color 113 Set Placemarker 14, 105 Q Set Variable 31, 63 Shrink Drawing 28, 34,116 Sound 72 -74 Quit 27 Options 74 Quit Development Mode 121 Play 31 Replaying 74 Sampling 74 R Sound Definition 109,111 Copy Sound from another Title 110 Remove Drawing 34,116 Delete Sound 111 Remove Drawing Import A.M.A.S. Condition 117 Sound File 110 Remove Drawing Option 118 Play Sound 110 Remove Page Rename Sound 110 Entry Option 114 Select Drive/Folder 111 Remove Text Condition 119 Sound Options 64 Remove Text Entry 119 Spray 24,121 Remove Text Option 120 Statistics 49, 77, 120 Rename Drawing 108 Swap Selected Color 33,116 Rename Page 109 Switch to Rename Sound 110 Development Mode 106 Rename Value 112 Rename Variable 111 Replace Drawing 34,116 T Replace Drawing Option 118 Replace Option 119 Replace Page Entry Option 114 Talespin 5 Restart Page 40,115 Features of, 3 131 Telltale 5,12 Delete Variable 112 Testing 36, 75 Rename Value 112 Text Conditions 61 Rename Variable 111 Text Operations 35, 118 -119 Variables 56 - 59 Add 118-119 Adding 37 Add Text Condition 119 List 120 Conditions 118 Set 120 Edit Text Entry 119 List Text Conditions 119 List Text Options 120 List Variable 120 Locate Item 120 Remove Text Condition 119 Remove Text Entry 119 Remove Text Option 120 Replace 119 Set Variables 120 Text Sound Options 64 Text windows 13, 55 Turn to Other Page 112 Turn to page 15 U Undo 24, 27,123 Unlocked 79 V Values 56 Variable Creating 38 Variable Definition 111-112 Add New Value 112 Create New Variable 111 Delete Value 112 132 ============================================================================ DOCS PROVIDED BY -+*+-THE SOUTHERN STAR-+*+- for M.A.A.D. ============================================================================cial adventure will need to be sent out with TELLTALE on the disk, which takes up 50K of memory. For larger titles with two or more disks, you can either put the first . c.. DOC_36 PRG=Mr SEWER SOFTWARE presents TOM CLANCY'S CARDINAL OF THE KREMLIN PLAYER'S GUIDE I Contents The Ultimate Challenge ....................... IV Foreword by Tom Clancy ....................... V Chapter 1 : An Overview ........................... 1 Game Scenario ................................ 1 Starting the Game ............................ 3 Copy Protection .............................. 3 Starting From Scratch ........................ 3 Strategic Control Center ..................... 4 American Side ................................ 4 Laser Research ............................... 4 Laser Testing ................................ 5 CIA Intelligence/Cardinal .................... 5 FBI Security ................................. 5 Soviet Side .................................. 6 Soviet Laser Status .......................... 6 CIA Espionage ................................ 6 Treaties/Negotiations ........................ 6 The Archer ................................... 6 Satellite Reconnaissance ..................... 7 Presidential Review .......................... 7 Game Time .................................... 7 Telegram Lines ............................... 8 Levels ....................................... 8 Chapter 2: Playing the Game ....................... 9 Keyboard Control ............................. 9 Joystick Control ............................. 9 Mouse Control ................................ 10 Special Keys ................................. 10 Help ......................................... 10 Using the Strategic Control Center ........... 11 Using Laser Research ......................... 11 Power ........................................ 12 Software ..................................... 12 Replacing Department Heads ................... 13 Reliability .................................. 13 Status ....................................... 13 I II Priority ................................ 14 Burnout ................................. 14 Effort .................................. 14 Using Laser Testing .......................... 15 Power Test .............................. 16 Software Test ........................... 16 Targeting Test .......................... 16 Using Power Testing ..................... 17 Using Software Testing .................. 18 Using Targeting Testing ................. 20 Performing Tests ........................ 21 Test Result ............................. 22 Using CIA Intelligence/Cardinal .............. 23 Danger................................... 24 Activity ................................ 24 Last Contact ............................ 24 Agent Sub-Screen ........................ 24 Using FBI Security............................ 26 Security Level .......................... 27 Project Inefficiency .................... 27 Department Head ......................... 27 Reliability ............................. 27 Set Security Details .................... 27 Using Soviet Laser Status .................... 29 Power ................................... 29 Software ................................ 30 Targeting ............................... 30 Confidence .............................. 30 Priority ................................ 30 Group Status ............................ 30 Using CIA Espionage .......................... 30 Process ................................. 31 Confidence .............................. 32 Possible Action ......................... 32 Using Treaties/Negotiations .................. 33 Using the Archer ............................. 34 Aggressively Attack ..................... 35 Engage When Opportune ................... 35 Avoid Conflict .......................... 35 Weapons and Supplies .................... 35 Map ..................................... 36 Attack Bright Star ...................... 37 Fighting in Afghanistan ................. 38 Using Satellite, Reconnaissance .............. 40 Laser Targets ........................... 40 Ground Recon ............................ 40 Targeting System ........................ 40 Tracking Network ........................ 40 USA ..................................... 41 II III USSR .................................... 41 World Map ............................... 41 Launch Satellite ........................ 41 Using Presidential Review .................... 44 Satellite Destruction ........................ 44 Department Head Rescue ............................ 46 Winning the Game .................................. 47 Saving a Game ..................................... 48 Loading a Game .................................... 48 Appendix A: Dept Head Dossiers ..........A-1 Appendix B: Glossary ...................B-1 III IV THE ULTIMATE CHALLENGE. FROM THE AUTHOR OF THE HUNT FOR RED OCTOBER AND RED STORM RISING COMES THE RIVETING STORY OF SPIES AND SCIENTISTS, NEGOTIATORS AND COVERT OPERATORS - MASTERFULLY LINKED IN THE TECHNOLOGICAL RACE TO DEVELOP A STAR WARS DEFENSE SYSTEM. BASED ON TOM CLANCY'S MULTIMILLION BEST SELLER, THE CARDINAL OF THE KREMLIN COMPUTER SIMULATION CHALLENGES YOU TO DEVELOP AMERICA'S LASER ANTI-MISSILE DEFENSES. THE CARDINAL OF THE KREMLIN OFFERS A REALISTIC GLIMPSE OF THE COMPLEXITIES AND DANGERS IN MAINTAINING AMERICA'S STRATEGIC DEFENSES. ESPIONAGE AND MISINFORMATION, KIDNAPPING OF SCIENTISTS, SATELLITE LAUNCHES AND LASER TECHNOLOGY TESTING ALL COME INTO PLAY. YOU ASSEMBLE A TEAM OF COMPUTER PROGRAMMERS, SCIENTISTS, AND ENGINEERS; RUN A SPY NETWORK; MONITOR PEACE NEGOTIATIONS; DEAL WITH THIRD WORLD REVOLUTIONARIES AND MORE. A STUNNING GRAPHIC OPENING, WITH ORIGINAL MUSIC SCORE, SETS THE STAGE FOR THE GLOBAL EVENTS ABOUT TO UNFOLD. YOU MUST MANIPULATE A MYRIAD OF INTERNATIONAL FORCES, DEVELOP AND TEST YOUR LASER SYSTEMS AND ANTICIPATE THE SOVIET'S NEXT MOVES. THE FATE OF AMERICA'S LASER ANTI-MISSILE PROJECT, CODE NAME: TEA CLIPPER, IS IN YOU HANDS. THE EXCITEMENT AND INTRIGUE OF THIS QUEST TO RULE THE STRATOSPHERE, AS TOLD IN TOM CLANCY'S SPELLBINDING NOVEL, NOW COMES TO LIFE IN THE CAPTIVATING STRATEGY COMPUTER SIMULATION, THE CARDINAL OF THE KREMLIN. IV V FOREWORD BY TOM CLANCY SINCE THE CARDINAL OF THE KREMLIN WAS RELEASED IN 1988, THE WORLD POLITICAL CLIMATE HAS BEEN TRANSFORMED. WITH THE FALL OF THE BERLIN WALL AND THE EMERGENCE OF MORE DEMOCRATIC GOVERNMENTS IN EASTERN EUROPE, CRITICS HAVE QUESTIONED WHETHER THE EVENTS AND STRATEGIC DEFENSE PROGRAMS DEPICTED IN THE BOOK ARE RELEVANT TODAY. THE ANSWER IS A DEFINITIVE YES. LET ME ASSURE YOU THAT THE SOVIETS COMMITMENT TO SPACE-DEFENSE RESEARCH HAS NEVER FALTERED. HEADLINES MAY DECLARE THE END OF THE "COLD WAR", YET THE WORK OF THE SOVIET, AND AMERICAN, INTELLIGENCE AGENCIES QUIETLY GOES ON. ESPIONAGE AND COVERT ACTIONS ARE NECES- SARY TOOLS TO CONFRONT TERRORISM AND THE ALL TOO REAL POTENTIAL OF WAR. THE DEVELOPMENT OF AMERICA'S STRATEGIC DEFENSE INITIATIVE IS OF VITAL IMPORTANCE TO OUR COUNTRY. IT WILL BE AT OUR NATIONAL PERIL SHOULD THE SDI CRITICS EVER SUCCEED IN WEAKENING SUPPORT FOR THIS PROGRAM. IN THE CURRENT MIDDLE EAST CRISIS, IT IS OUR SATELLITE INTELLIGENCE WHICH ALLOWS THE UNITED STATES TO TRACK IRAQI TROOP MOVEMENTS. THE RECENT ACTIONS OF SADDAM HUSSIEN HAVE VIVIDLY DEMONSTRATED WHY LASER ANTI-MISSILE DEFENSES AND SIMILAR TECHNOLO- GIES ARE CRUCIAL FOR THE SECURITY OF OUR NATION AND THE WORLD. COMPUTER GAMES, LIKE NOVELS, ARE ENTERTAINMENT. THEY GIVE US AN OPPORTUNITY TO VICARIOUSLY PARTICIPATE IN EVENTS BEYOND OUR DAILY LIKE. REALISM IS THE HALLMARK OF MY NOVELS AND THE BENCHMARK FOR JUDGING COMPUTER GAMES BASED ON MY BOOKS. FOR CARDINAL OF THE KREMLIN, THE CHALLENGE TO CAPSTONE WAS CREATE A GAME THAT SUCCESS- FULLY CAPTURES THE BOOK'S COMPLEXITIES, HUMAN DRAMA, AND THE INTERPLAY OF ESPIONAGE, TECHNOLOGY AND INTERNATIONAL POLITICS. IT IS A SUPERB STRATEGY COMPUTER SIMULATION. CONGRATULATIONS, CAPSTONE. WELL DONE. AUGUST, 1990 TOM CLANCY V 1 CHAPTER 1: AN OVERVIEW GAME SCENARIO NOW YOU CAN CONTROL THE OUTCOME OF THE STORY OF THE CARDINAL OF THE KREMLIN. YOU HAVE THE POWER TO MANIPULATE ALL PHASES OF THE STORY TO REACH THE DESIRED OUTCOME OF DEPLOYING THE UNITED STATES' MISSILE DEFENSE SYSTEM. THE SCENARIO BELOW SETS THE STAGE FOR YOUR DRAMATIC EFFORT: MIKHAIL FIIITOV IS A WAR HERO AND RED ARMY COLONEL. HE IS ALSO ONE OF THE CIA'S MOST VALUABLE SPIES. HIS CODENAME "CARDINAL". THE CARDINAL HAS BEEN SENDING INFORMATION ABOUT A NEW SOVIET PROJECT: "BRIGHT STAR" -- A HIGH-POWERED LASER DEFENSE SYSTEM, CAPABLE OF DESTROYING INCOMING MISSILES. THE U.S.A. IS ALSO WORKING ON A LASER PROJECT, CODENAME "TEA CLIPPER". PROJECT LEADER: MAJOR ALAN GREGORY, LEADER OF SOFTWARE DEVELOPMENT FOR TEA CLIPPER. AFGHANISTAN REMAINS A CRISIS POINT. AN AFGHAN REBEL, ARCHER, CONTACTED BY THE U.S., IS COVERTLY GIVEN WEAPONS AND SUPPLIES FOR HIS GUERRILLA ATTACKS ON SOVIET TROOPS SURVEILLANCE SATELLITES HAVE REVEALED A NEW SOVIET INSTALLA- TION IN THE MOUNTAINS JUST NORTH OF THE AFGHANISTAN BORDER. THE CARDINAL VERIFIES THIS INFORMATION. IT IS BRIGHT STAR! IT IS ALSO HEAVILY FORTIFIED AGAINST ATTACK BY CRACK RED ARMY AND KGB SOLDIERS. MEANWHILE, IN THE NEWS, THE U.S. AND SOVIET NEGOTIATING TEAMS ARE HAMMERING OUT A NEW TREATY THAT COULD MEAN PEACE ... OR WAR! FBI SECURITY ON TEA CLIPPER IS HIGHLY EFFECTIVE. EVEN SO, THE KGB IS ONE OF THE MOST CAPABLE INTERNATIONAL ESPIONAGE GROUPS. SOME THINGS BOUND TO LEAK ... 1 2 SUDDENLY, A CHANCE ENCOUNTER IN A MOSCOW SUBWAY HAS THE KGB ON THE CARDINAL'S TRAIL. THE CARDINAL MUST BE VERY CAREFUL IN HIS OPERATIONS, TO KEEP HIMSELF FROM BEING TRACKED DOWN. INTERNATIONAL TENSION MOUNTS AS THE TREATY TALKS COME TO A STANDSTILL. U.S. AND SOVIET FORCES SILENTLY PREPARE FOR A POSSIBLE THIRD WORLD WAR. THE KGB STRIKES AT THE U.S. LASER PROJECT BY KIDNAPING A TEA CLIPPER DEPARTMENT HEAD! THE PROJECT WILL SLOW MISERABLY UNLESS THE SCIENTIST CAN BE RECOVERED ALIVE. YOUR OBJECTIVES ARE ... *...AS TEA CLIPPER PROJECT LEADER, TO COMPLETE THE TEA CLIPPER PROJECT ... ... AS CIA CHAIRMAN, TO DIRECT THE ACTIVITIES OF OUR SPY NETWORK ... *...AS NSA DIRECTOR, TO CONSTRUCT A COMPLETE SPY SATELLITE NETWORK ... *...AS A U.S. NEGOTIATOR, TO SETTLE THE TERMS OF THE TREATY ... ...AS THE FBI, TO SECURE TEA CLIPPER AGAINST THE KGB ...AS THE ARCHER, TO DESTROY OR DISABLE BRIGHT STAR ...AND TO SAVE THE PLANET FROM WORLD WAR III! 2 3 STARTING THE GAME THE FIRST THING THAT WILL APPEAR WHEN YOU RUN THE PROGRAM IS A KILLER SATELLITE DRIFTING ACROSS THE OPEN SKIES AND STILL OUT AT A SMALL ENEMY SATELLITE. THE PROGRAM WILL THEN DISPLAY PLAY SOME CREDITS. NEXT, A HORIZONTAL GAUGE WILL APPEAR. THIS GAUGE WILL MOVE TO THE RIGHT AS THE PROGRAM INITIALIZES ITSELF. THIS WILL A TAKE A FEW SECONDS, BEFORE PROCEEDING TO THE INTRODUCTION SCREEN. THE INTRODUCTION WILL LAY OUT THE GAME SCENARIO, ACCOMPANIED BY IMAGES DEPICTING THE STORY. PRESS THE SPACE 1 TO SKIP PAST THIS SEQUENCE. COPY PROTECTION THE GAME WILL THEN PRESENT YOU WITH A PICTURE OF ONE OF 15 DEPARTMENT HEADS. REFER TO APPENDIX A OF THIS MANUAL TO FIND THE ID NUMBER THAT CORRESPONDS TO THIS PERSON. TYPE THE NUMBER AND PRESS THE ENTER KEY. YOU WILL BE GIVEN THREE OPPORTUNITIES TO ENTER THE CORRECT CODE, OTHERWISE YOU WILL NOT BE ALLOWED INTO THE PROGRAM. STARTING FROM SCRATCH WHEN THE GAME BEGINS, THE TEA CLIPPER AND BRIGHT STAR PROJ- ECTS ARE IN THEIR INFANCY. YOU HAVE NO SCIENTISTS, DEPARTMENT HEADS, NO SATELLITES IN ORBIT, AND NO RESEARCH HAS BEEN CONDUCTED. THINGS AREN'T ALL BAD! YOU DO HA NINE AGENTS IN PLACE THROUGHOUT THE WORLD, INCLUDING THE CARDINAL. ALSO, THE ARCHER IS IN AFGHAN- ISTAN WAITING FOR YOUR COMMANDS. HOWEVER, YOU CAN BE ASSURED THAT THE SOVIETS, CONTROLLED BY THE COMPUTER, ARE ALREADY FAST AT WORK ON BRIGHT STAR. 3 CARDINAL OF THE KREMLIN PLAYER'S GUIDE 4 STRATEGIC CONTROL CENTER THE STRATEGIC CONTROL CENTER IS THE HEART OF THE PROGRAM. FROM HERE YOU WILL BRANCH TO ALL OTHER PARTS OF THE PROGRAM. BELOW IS AN ILLUSTRATION OF THE CONTROL CENTER, FOLLOWED BY A DESCRIP- TION OF EACH SECTION. DETAILED DESCRIPTIONS OF HOW TO USE EACH SECTION FOLLOW IN CHAPTER 2 OF THIS MANUAL. $STRATEGIC CONTROL CENTER LASER RESEARCH SOVIET LASER STATUS LASER TEST CIA ESPIONAGE CIA INTELLIGENCE/CARDINAL TREATIES/NEGOTIATIONS FBI SECURITY THE ARCHER SATELLITE RECONNAISSANCE PRESIDENTIAL REVIEW TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! AMERICAN SIDE THE OPTIONS GROUPED UNDER THE AMERICAN FLAG TAKE PLACE PRI- MARILY ON AMERICAN SOIL OR WITH AMERICAN PERSONNEL. LASER RESEARCH LASER RESEARCH IS THE PAINSTAKING PROCESS OF SCIENTIFIC DISCOVERY, DELICATE MACHINING, ALL NIGHT SOFTWARE PROGRAMMING SESSIONS AND FAILURE AFTER FAILURE. 4 5 THERE WILL BE SETBACKS, BUT THE RESEARCH ON TEA CLIPPER MUST PROCEED. CHOOSE THE BEST DEPARTMENT LEADERS AND SET THE WORK PACE: TOO SLOW, AND THE SOVIETS WILL OUTSTRIP TOO FAST, AND YOUR TEAMS WILL BURNOUT. LASER TESTING WHEN THE THINK-SESSIONS ARE OVER, IT IS TIME TO PUT THE RESEARCH TO THE TEST. THERE ARE SEVERAL DIFFERENT TESTS YOU CAN APPLY TO EACH DIFFERENT PART OF YOUR TEA CLIPPER PROJECT DEPENDING ON HOW ADVANCED EACH GROUP IS, YOU MAY NEED TO CHECK WITH THE SATELLITE LAUNCH SCREENS TO BE SURE THERE ARE ENOUGH 'BIRDS' (SATELLITES) IN THE SKY FOR YOU TEST WITH. SOMETHING TO BE CAREFUL OF IS THE SOVIET FACTOR: IF YOU TEST THE SOVIETS ARE INTERESTED IN YOUR PROJECTS, THEY WILL LEARN A GREAT DEAL ABOUT YOUR PROGRESS. CIA INTELLIGENCE/CARDINAL THE CENTRAL INTELLIGENCE AGENCY IS RESPONSIBLE FOR YOUR NETWORK OF OVERSEAS INFORMANTS. THE AGENTS ON YOUR SCREEN ARE ALL PLACED IN STRATEGIC JOBS IN THE SOVIET UNION. MUST CONTROL THEM. DECIDE WHO IS TO ATTEMPT TO LEARN WHAT INFORMATION, AND WHEN. ALL THESE OPTIONS ARC IMPORTANT. IF YOU HAVE HAD TIM- ING, FOR EXAMPLE, THE SOVIETS WILL LIKELY CATCH YOUR UNDERCOVER OPERATIVE. IF THAT HAPPENS, YOU MIGHT NOT EVEN REALIZE IT, BECAUSE THE RUSSIANS COULD SEND BACK FALSE INFORMATION. FBI SECURITY THE FBI HANDLES THE SECURITY OF THE TEA CLIPPER PROJECT. ALL OF THE PEOPLE ON THE STAFF ARE MONITORED TO VARIOUS DEGREES. THE 'DEGREE' OR SEVERITY OF THE FBI SECURITY MEASURES WILL AFFECT THE PACE AT WHICH THE PROJECT PROCEEDS. MORE SO THAN MOST ORDINARY MILITARY PERSONNEL, SCIENTIFIC RESEARCHERS ARE VERY SENSITIVE TO HIGH SECURITY LEVELS. SLOWDOWNS IN WORK CAN BE CAUSED DUE TO SEVERAL REASONS: OBTRUSIVENESS REBELLION OF STAFF SECURITY SLIP-UPS 5 6 SOVIET SIDE THE OPTIONS GROUPED UNDER THE SOVIET FLAG TAKE PLACE " PRIMARILY ON SOVIET SOIL OR WITH SOVIET PERSONNEL. SOVIET LASER STATUS THIS SCREEN SHOWS INFORMATION REFLECTING HOW THE U.S. THINKS THE SOVIET BRIGHT STAR PROJECT IS COMING ALONG. THE INTELLIGENCE REPORTS FROM OUR C.I.A. MOLES ARE GIVEN TO VARIOUS DEPARTMENT HEADS FOR ANALYSIS. DEPENDING ON THE AGE OF THE REPORT AND THE EXPERIENCE OF THE DEPARTMENT HEAD, YOUR CONFIDENCE IN THE EVALUATION WILL VARY. A LOW CONFIDENCE DOESN'T MEAN THAT THE SOVIETS ARE DOING POORLY; IT MEANS THAT WE ARE NOT SURE HOW THEY ARE DOING. IF YOU'RE MISSING A DEPARTMENT HEAD, YOU WON'T GET ANY CONFIDENCE INFORMATION AT ALL. CIA ESPIONAGE THE CIA ESPIONAGE INDICATORS ARE MORE INDIRECT THAN ANY OF THE OTHER DISPLAYS. THEY SHOW HOW WE THINK THE SOVIETS THINK WE ARE DOING, AS OPPOSED TO 'HOW WE ARE DOING', OR 'HOW WE THINK THE SOVIETS ARE DOING'. THIS IS VITAL INFORMATION NEEDED FOR PLANNING YOUR SECURITY LEVEL, AS WELL AS TRYING TO ANTICIPATE ANY POSSIBLE SOVIET ACTIONS, SUCH AS A KIDNAPPING ATTEMPT. TREATIES/NEGOTIATIONS INTERNATIONAL TENSION CAN CONTRIBUTE TO THE PREMATURE ENDING OF THE GAME -- VIA THE OUTBREAK OF WORLD WAR III. WHEN TENSION LEVELS RISE, THE AMERICANS AND THE SOVIETS MUST BOTH WORK TO HAS OUT A NEW LEVEL OF DETENTE. THIS WILL PROLONG YOUR GAME FOR AWHILE. THE ARCHER THIS IS A VERY IMPORTANT RESOURCE. THE ARCHER WILL, WHEN YOU HAVE EQUIPPED AND INFORMED HIM, ATTACK THE SOVIET BRIGHT STAR INSTALLA- TION TO EITHER DESTROY OR DAMAGE AS MUCH OF IT AS POSSIBLE. GIVE ARCHER WEAPONS, BUT NOT TOO MANY,  6 7 AS HE'LL USE THEM DO DEFEND HIS HOMELAND, AFGHANISTAN, AGAINST INVADING SOVIET TROOPS. IF HE IS TOO MUCH OF A THORN IN THE SOVI- ET'S SIDE, THEY WILL SEND A TASK FORCE OUT TO ATTEMPT TO KILL HIM. IF YOU DON'T KEEP HIM HAPPY, VIA WEAPONS, SUPPLIES, AND INFORMA- TION, HE WILL ABANDON YOUR CAUSE. SATELLITE RECONNAISSANCE THE SKY ABOVE IS FILLED WITH MANY KINDS OF SATELLITES. BOTH THE U.S. AND THE SOVIETS HAVE MILITARY SATELLITES THAT CAN BE CLASSI- FIED IN ONE OF FOUR WAYS. ALSO, THE CLASSIFICATION OF 'SPACE JUNK' OR 'UNKNOWN' CAN APPLY. YOUR DIFFERENT TYPES OF SATELLITES DETER- MINE HOW WELL YOU TEST TEA CLIPPER, HOW EFFECTIVE YOUR SATELLITE TRACKING IS, YOUR LASER ATTACK EFFECTIVENESS, AS WELL AS YOUR GROUND-WATCHING SATELLITE RECONNAISSANCE. KEEP IN MIND, OF COURSE, THE SOVIETS HAVE SATELLITES TOO. THERE ARE MANY UNFRIENDLY EYES IN THE SKY. PRESIDENTIAL REVIEW EVERY SO OFTEN, YOU MUST TURN TO THE PRESIDENT OF THE U.S. FOR A PROGRESS REVIEW. WHILE HE IS NOT CONCERNED WITH THE DAY-TO-DAY OPERATIONS OF YOUR MISSION, YOU STILL ARE RESPONSIBLE TO HIM. USE HIS JUDGMENT AS A GUIDE AS TO HOW WELL YOU ARE PROGRESSING IN THE GAME. HE WILL ALSO OFFER INSIGHT INTO HOW THE SOVIETS ARE PROG- RESSING. HOWEVER, THE PRESIDENT IS A VERY BUSY PERSON. DO NOT BOTHER HIM TOO OFTEN. GAME TIME THE COUNTER ON THE LOWER LEFT-HAND PORTION OF THE SCREEN WILL KEEP YOU APPRISED OF THE ELAPSED TIME OF THE SIMULATION IN BOTH DAYS AND HOURS. YOUR GOAL IS TO DEPLOY YOUR SYSTEM IN THE LEAST AMOUNT OF TIME. THE CLOCK RUNS CONSTANTLY WHILE YOU ARE PLAYING THE GAME. THE GAME CAN RUN IN TWO SPEEDS. THE DEFAULT SPEED IS SLOW. PRESS THE F KEY TO DOUBLE THE RATE AT WHICH TIME PASSES. PRESS THE R KEY TO RETURN TO THE DEFAULT (SLOWER) RATE. 7 8 TELEGRAM LINES ON THE BOTTOM OF THE SCREEN ARE TWO TELEGRAM LINES. YOU WILL BE INFORMED OF ANY PROBLEMS, CHANGES IN STATUS, OR ANY OTHER VITAL INFORMATION, ON THESE LINES. YOU CAN ONLY SEE THE LAST TWO MESSAGES, WITH THE MOST RECENT ONE ON THE BOT- TOM. ANY TIME THAT A NEW MESSAGE APPEARS, A BEEP WILL SOUND. YOU CAN TURN THE BEEP OFF AND ON BY PRESSING THE B KEY. YOU CAN SCROLL THROUGH THE MESSAGES BY CLICKING ON THE UP/DOWN ARROW BUTTONS TO THE LEFT OF THE TELEGRAM LINES. OFTEN TIMES, SEVERAL TELEGRAMS WILL ARRIVE IN A SHORT PERIOD OF TIME. YOU MUST MONITOR THESE LINES TO KEEP YOURSELF ABREAST OF ANY DEVELOPMENTS THAT MAY REQUIRE YOUR ATTENTION. THESE LINES ARE ALWAYS VISIBLE ON ANY OF THE MENU SCREENS OF THE GAME. YOU CAN HAVE THE PROGRAM DISPLAY ONLY ONE TELEGRAM LINE. PRESS THE W KEY TO TOGGLE BETWEEN 1 AND 2 TELEGRAM LINES. LEVELS CARDINAL OF THE KREMLIN CAN BE PLAYED AT THREE DIFFERENT LEVELS: NOVICE, EASY, AND REGULAR. THE DEFAULT LEVEL IS REGULAR. TO CHANGE LEVELS,PRESS THE D KEY WITHIN THE FIRST 10 DAYS OF THE GAME. YOU WILL THEN BE ASKED TO ENTER N FOR NOVICE, E FOR EASY, OR R FOR REGULAR. THE LEVELS EFFECT AT THE SPEED AT WHICH THE AMERICANS AND SOVIETS ARE ABLE TO DEVELOP THEIR RESPECTIVE MISSILE DEFENSE SYSTEMS. ON THE NOVICE LEVEL, THE AMERICAN DEVELOPMENT IS FAIRLY RAPID, WHILE THE SOVIET DEVELOPMENT IS SLOW. ON THE REGULAR LEVEL, THE AMERI- CAN DEVELOPMENT IS MUCH SLOWER, WHILE THE SOVIET DEVELOPMENT IS FASTER. THE EASY LEVEL IS IN BETWEEN NOVICE AND REGULAR. NOTE: YOU CAN ONLY CHANGE LEVELS WITHIN THE FIRST 10 DAYS OF THE GAME TIME. 8 9 CHAPTER 2: PLAYING THE GAME KEYBOARD CONTROL IF YOU HAVE SELECTED KEYBOARD CONTROL IN THE INSTALLATION PROGRAM, USE THE CURSOR KEYS ON THE KEYBOARD TO MOVE THE POINTER AROUND THE SCREE. TO MOVE THE ARROW AROUND THE SCREEN, PRESS ANY OF THE CURSOR KEYS ON YOUR KEYBOARD TO MOVE THE CURSOR IN THAT DIRECTION. TO MOVE QUICKLY, HOLD THE KEY DOWN. THE CURSOR WILL MOVE IN THAT DIRECTION FOR AS LONG AS YOU HOLD THE KEY. THROUGHOUT THIS MANUAL, YOU ARE ASKED TO CLICK ON AN ITEM. WHEN USING THE KEYBOARD, PRESS THE 5 KEY ON YOUR NUMERIC KEYPAD. IN OTHER INSTANCES, YOU WILL BE ASKED TO RIGHT-CLICK ON AN ITEM. WHEN USING THE KEYBOARD, PRESS THE DEL KEY ON YOUR NUMERIC KEYPAD. JOYSTICK CONTROL IF YOU HAVE A JOYSTICK CONNECTED TO YOUR COMPUTER AND HAVE SE- LECTED JOYSTICK CONTROL IN THE INSTALLATION PROGRAM, YOU WILL USE THE JOYSTICK TO MOVE THE POINTER AROUND THE SCREEN. IF THE MANUAL TELLS YOU TO CLICK ON AN ITEM, PRESS THE LEFT JOYSTICK BUTTON. IF THE MANUAL TELLS YOU TO RIGHT-CLICK ON AN ITEM, PRESS THE RIGHT JOYSTICK BUTTON. 9 10 MOUSE CONTROL IF YOU HAVE A MOUSE INSTALLED ON YOUR COMPUTER AND HAVE SELECTED MOUSE CONTROL IN THE INSTALLATION PROGRAM, YOU WILL USE YOUR MOUSE TO MOVE THE POINTER AROUND THE SCREEN. IF THE MANUAL TELLS YOU TO CLICK ON AN TIME, PRESS THE LEFT MOUSE BUTTON. IF THE MANUAL TELLS YOU TO RIGHT-CLICK ON AN TIME, PRESS THE RIGHT MOUSE BUT- TON. SPECIAL KEYS BELOW IS A LIST OF KEYS USED THROUGHOUT THE PROGRAM. P-PAUSES THE GAME. PRESS ANY KEY TO RESUME PLAY. S-SAVE THE GAME. SEE SAVING THE GAME FOR DETAILS L-LOAD A GAME. SEE LOADING A GAME FOR DETAILS G-TOGGLE THE TESTING AND SATELLITE ANIMATION N-TOGGLE GAME SOUND OFF AND ON. B-TOGGLE THE TELEGRAM BEEP OFF AND ON D-SET THE LEVEL OF DIFFICULTY F-INCREASE THE SPEED OF THE GAME CLOCK R-DECREASE THE SPEED OF THE GAME CLOCK W-TOGGLE BETWEEN 1 AND 2 TELEGRAM LINES ESC-QUIT THE GAME. SEE QUITTING THE GAME FOR DETAILS CARDINAL OF THE KREMLIN EMPLOYS EVERY POINT-AND-SHOOT INTERFACE. TO SELECTION AN OPTION ON THE STRATEGIC CONTROL CENTER SCREEN, OR ANY SUB-SCREEN, SIMPLY POINT AT THE BOX(NOT THE ICON) AND CLICK. HELP ON-LINE HELP IS AVAILABLE THROUGHOUT THE GAME. HELP IS AVAILABLE FOR ANY OPTION THAT HAS AN ICON (SMALL PICTURE) NEXT TO IT. TO ACCESS THE HELP SCREEN, SIMPLY CLICK ON THE ICON. A SCREEN WILL APPEAR WITH THE INFORMATION REGARDING THAT PARTICULAR OPTION. ONCE YOU HAVE READ THE SCREEN RIGHT-CLICK TO RETURN TO THE MENU. 10 11 USING THE STRATEGIC CONTROL CENTER FROM THE STRATEGIC CONTROL CENTER SCREEN YOU CAN ACCESS ANY OF THE DIFFERENT SUB-SCREENS. TO ACCESS A SUB-SCREEN, CLICK WITHIN ONE OF THE TEN BOXES WITH AN OPTION IN IT (I.E. LASER RESEARCH). TO RETURN TO THE STRATEGIC CONTROL CENTER FROM A SUB-SCREEN, RIGHT- CLICK. HELP IS AVAILABLE FOR ALL TEN OPTIONS. ALSO, CLICK ON THE AMERICAN OR SOVIET FLAGS FOR INFORMATION REGARDING EACH SIDE. USING LASER RESEARCH WHEN YOU SELECT THE LASER RESEARCH OPTION ON THE STRATEGIC CONTROL CENTER SCREEN, THE LASER RESEARCH SUB-SCREEN WILL APPEAR. POWER DEPARTMENT EFFORT HEAD RELIABILITY PRIORITY STATUS POSITION UNFILLED SOFTWARE DEPARTMENT EFFORT HEAD RELIABILITY PRIORITY STATUS POSITION UNFILLED TARGETING DEPARTMENT EFFORT HEAD RELIABILITY PRIORITY STATUS POSITION UNFILLED DAY 8 HOUR 8 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT SIDE! FROM THIS SCREEN YOU CAN CONTROL THE OPERATION OF EACH OF THE THREE DEPARTMENTS: POWER, SOFTWARE, TARGETING. 11 12 POWER THE TEA CLIPPER IS THE MOST POWERFUL LASER EVER DESIGNED. TO MAKE IT EFFECTIVE, THE LASER BEAM INTENSITY(LASER POWER) MUST BE AS HIGH AS POSSIBLE--BUT ITS NOT AS EASY AS RUNNING ANOTHER POWER LINE TO THE ELECTRIC STATION. HIGH-POWER LASER PROBLEMS INCLUDE BLOOMING DISTORTION OF THE BEAM IN THE ATMOSPHERE) AND PUMPING EFFICIENCY (THE MORE POWER THAT IS WASTED IN HEAT, THE MORE THE RISK OF A COSTLY BREAKDOWN). SOFTWARE TEA CLIPPER HAS SEVERAL DISTINCT FUNCTIONS THAT ARE CONTROLLED BY SOFTWARE: MISSILE PROTECTION SATELLITE DESTRUCTION GROUND-BASED TARGET DESTRUCTION THE SOFTWARE PROGRAMMERS MUST CREATE CONTROL PROGRAMS TO TRACK (VIA SATELLITE) AND DESTROY INCOMING MISSILES WITHOUT DAMAGING AMERICAN EQUIPMENT. TARGETING THE PROBLEM IS TO DIRECT THE LASER BEAM OVER A DISTANCE OF TENS OF THOUSANDS OF KILOMETERS WITH AN ACCURACY OF LESS THAN A METER. TARGETING: THE TARGETING TEAM IS TRYING TO CREATE A HIGH-SPEED, SUPER ACCURATE, DYNAMIC MIRROR-TARGETING SYSTEM. THIS IS NOT AN EASY TASK. THE MIRROR MUST BE LARGE, AND ABLE TO WITHSTAND MILLIONS OF WATTS OF LASER POWER, YET BE THIN ENOUGH, AND PRECISE ENOUGH; TO MOVE VERY QUICKLY UNDER THE CONTROL OF THE SOFTWARE. HIRING DEPARTMENT HEADS THE FIRST THING THAT YOU NEED TO DO IS HIRE A PERSON TO RUN EACH OF THE THREE DEPARTMENTS. WHEN YOU FIRST GO TO THIS SCREEN, THE THREE DEPARTMENT HEAD BOXES ARE EMPTY. TO REVIEW THE AVAILABLE SCIENTISTS, CLICK ON ONE OF THE EMPTY DEPARTMENT HEAD BOXES. YOU WILL NOW SEE A DOSSIER OF ONE OF THE AVAILABLE SCIENTIST. THERE ARE FIVE CANDIDATES FOR EACH OF THE THREE POSITIONS. TO FLIP THROUGH THE CANDIDATES, 12 13 CLICK ON THE NEXT OR PREVIOUS BUTTONS. WHEN THE DOSSIER FOR THE SCIENTIST YOU WANT TO HIRE IS ON THE SCREEN, RIGHT-CLICK TO RETURN TO THE LASER RESEARCH SCREEN. YOU WILL NOTICE THAT THE SCIENTISTS LAST NAME NOW APPEARS IN THE DEPARTMENT HEAD BOX. REPEAT THE HIRING PROCESS FOR THE OTHER TWO DEPARTMENT HEADS. REPLACING DEPARTMENT HEADS IF IT BECOMES NECESSARY TO REPLACE A DEPARTMENT SIMPLY CLICK ON THE DEPARTMENT HEAD BOX (WHICH CONTAINS THE NAME OF THE SCIENTIST YOU WISH TO REPLACE), AND FOLLOW THE PROCEDURE FOR HIRING A DE- PARTMENT HEAD. WHEN YOU RIGHT-CLICK TO RETURN TO THE LASER RE- SEARCH SCREEN, YOU WILL BE ASKED TO CONFIRM THE CHANGE IN DEPART- MENT HEAD. RELIABILITY BELOW EACH DEPARTMENT HEAD BOX IS A RELIABILITY INDICATOR. THIS GRAPH WILL GIVE YOU AN INDICATION OF HOW RELIABLE THE DEPARTMENT HEAD IS AT ANY GIVEN TIME. RELIABILITY IS AFFECTED BY KNOWLEDGE, EXPERIENCE, FATIGUE, AND MANY OTHER FACTORS. IF A DEPARTMENT HEAD BECOMES INCREASINGLY UNRELIABLE, YOU MAY WANT TO MAKE A STAFFING CHANGE. STATUS THIS BOX WILL SHOW YOU THE STATUS OF THE DEPARTMENT HEAD AT ANY GIVEN TIME. THERE ARE AT LEAST FIVE DIFFERENT THINGS THAT MAY APPEAR IN THIS BOX. THE MOST COMMON ARC BELOW: OFF-DUTY - THIS IS FAIRLY OBVIOUS. THE DEPARTMENT IS IN EFFECT CLOSED. NO TESTS CAN BE SCHEDULED OR PERFORMED. LEARNING - THE DEPARTMENT HEAD IS LEARNING A NEW SKILL THAT HE/SHE NEEDS TO PERFORM HIS/HER JOB RESEARCH - THE DEPARTMENT HEAD IN CONDUCTING RESEARCH THAT RELATES TO HIS/HER DEPARTMENT. NO TESTS CAN BE SCHEDULED OR PER- FORMED. BRIEFING - THE DEPARTMENT HEAD IS BEING BROUGHT UP TO DATE ON ANY NEW DEVELOPMENTS THAT MAY RELATE TO HIS/HER DEPARTMENT. NO TESTS CAN BE SCHEDULED OR PERFORMED. 13 14 WORKING - THIS IS WHEN THE ACTION TAKES PLACE. TESTS CAN BE PERFORMED AND PROGRESS CAN BE MADE. PRIORITY YOU CAN SELECT ONE OF FOUR PRIORITIES TO ASSIGN TO EACH DEPART- MENT. THE DEFAULT PRIORITY IS VERY HIGH (THE RIGHT-HAND MOST BOX). YOU CAN CHANGE PRIORITIES BY POINTING TO ONE OF THE FOUR BOXES AND CLICKING. THE PRIORITIES ARE FROM LEFT TO RIGHT: LOW, MEDIUM, HIGH, AND VERY HIGH. THE HIGHER THE PRIORITY, THE MORE THE DEPARTMENT HEAD AND HIS/HER STAFF WILL WORK. PROGRESS CAN COME VERY QUICKLY IN HIGH OR VERY HIGH PRIORITY MODE. HOWEVER, THIS PROGRESS CAN COME A VERY HIGH PRICE. THE MORE A DEPARTMENT WORKS, THE MORE SUSCEPTIBLE THEY ARE TO ERRORS AND BURNOUT (SEE BELOW). ALSO, AN INCREASED SCHEDULE IS LIKELY TO ATTRACT THE ATTENTION OF SOVIET MOLES. IT IS RECOM- MENDED THAT HIGH AND VERY HIGH PRIORITY ONLY BE USED FOR SHORT PERIODS OF TIME. BURNOUT IF A DEPARTMENT HAS BEEN OPERATING IN HIGH OR VERY HIGH MODES FOR AN EXTENDED PERIOD OF TIME, THE LIKELIHOOD OF BURNOUT IS HIGH. IF A DEPARTMENT HEAD GOES INTO BURNOUT, YOU WILL BE NOTIFIED ON THE TELEGRAM LINES. THE WORD BURNOUT, WILL ALSO APPEAR ON THE LASER RESEARCH SCREEN BY THAT DEPARTMENT'S NAME. IT IS CRITICAL THAT YOU IMMEDIATELY LOWER THE PRIORITY OF THIS DEPARTMENT. EFFORT UNDERNEATH EACH DEPARTMENT NAME IS THE RELATED EFFORT INDICATORS. THIS GRAPH REPRESENTS HOW HARD THE DEPARTMENT HEAD AND RELATED STAFF ARE WORKING AT A GIVEN TIME. THIS WILL DEPEND ON THE DE- PARTMENT HEADS LEADERSHIP ABILITY, THE STAFF'S LEVEL OF FATIGUE, THE DEPARTMENT'S PRIORITY AND THE TIME OF DAY 14 15 USING LASER TESTING] WHEN YOU SELECT THE LASER TESTING OPTION ON THE STRATEGIC CONTROL CENTER SCREEN, THE LASER TESTING SUB-SCREEN APPEAR. LASER TESTING TEA CLIPPER POWER PRIOR TEST RESULTS TEST URGENCY NO TESTING YE SOFTWARE I PRIOR TEST RESULTS TEST URGENCY NO TESTING YET TARGETING PRIOR TEST RESULTS TEST URGENCY NO TESTING YE DAY 0 HOUR 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! THIS SCREEN GIVES YOU SOME VERY IMPORTANT INFORMATION ABOUT THE STATUS OF YOUR TESTING. FROM THIS SCREEN YOU ALSO CAN CONTROL THE TESTING OF EACH OF THE THREE DEPARTMENTS: POWER, SOFTWARE, TARGET- ING. THERE ARE TWO HORIZONTAL BAR INDICATORS FOR EACH DEPARTMENT. THE TOPMOST INDICATOR IS THE TEST URGENCY FOR THAT DEPARTMENT. THIS WILL SHOW YOU HOW NECESSARY IT IS TO PERFORM A TEST AT ANY GIVEN TIME. IF URGENCY IS HIGH AND YOU DO NOT PERFORM A TEST, DEVELOP- MENT MAY STALL THE SECOND INDICATOR IS LABELLED TEST RISK. THIS GRAPH WILL SHOW YOU THE PROBABILITY OF A TEST IN THIS DEPARTMENT BEING A FAILURE. THE LONGER THE BAR, THE MORE LIKELY A FAILURE WILL OCCUR. AS RESEARCH PROGRESSES, THE RISK OF A TEST BEING A FAILURE WILL DECREASE. 15 16 POWER TEST THE POWER OF THE LASER MUST BE TESTED -- AND IT MUST BE TESTED IN DIFFERENT WAYS: LOW-POWER TESTING, LASER BEAM, COHERENCY TESTING AND ATMOSPHERIC BLOOMING TESTING. BE SURE YOU KNOW WHEN THE SOVIET INTEREST IN YOUR IN YOUR TEST IS HIGH (SEE THE SECTION ON CIA ESPIONAGE), SO YOU DON'T INADVERTENTLY GIVE AWAY ANY DETAILS ON HOW FAR YOU HAVE PROGRESSED IN YOUR DEVELOPMENT. SEE THE SECTION ON USING POWER TESTING FORM MORE INFORMATION ON HOW TO CONDUCT TESTS. SOFTWARE TEST LASER SOFTWARE TESTING CAN USUALLY TAKE PLACE COMPLETELY IN THE REALM OF THE COMPUTER. HOWEVER, ONCE YOUR TRACKING SATELLITES ARE IN ORBIT, YOU'LL NEED TO HAVE TRIAL RUNS OF THE DEFENSE/ATTACK SOFTWARE. SEE THE SECTION ON USING SOFTWARE TESTING FOR MORE INFORMATION ON HOW TO CONDUCT TESTS. TARGETING TEST SINCE THE LASER TARGETING SYSTEMS IS SOLELY A MECHANICAL DEVICE, IT'S RELATIVELY SIMPLE TO TEST. HOWEVER, THERE ARE MAY THINGS THAT CAN GO WRONG WITH IT. SOME OF THE TESTS REQUIRE THE FULL POWER OF THE LASER TO BE USED. ONE ERROR IN AIMING THE MIRROR, AND YOU MIGHT MELT A HOLE IN THE WALL OF YOUR LABORATORY. SEE THE SECTION ON USING TARGETING TESTING FOR MORE INFORMATION ON HOW TO CONDUCT TESTS. 16 17 USING POWER TESTING TO INITIATE A POWER TEST, CLICK ON THE TEST BUTTON IN THE POWER SECTION OF THE LASER TESTING SCREEN. THE POWER TEST SUB-SCREEN WILL NOW APPEAR. POWER TEST TEST RESULTS POWER GENERATING CAPACITY NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST TEST RESULTS LASER BEAM COHERENCY NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST TEST RESULTS ATMOSPHERIC BLOOMING NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST DAY: 0 HOUR: 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! THERE ARE THREE DIFFERENT TESTS THAT CAN BE PERFORMED THE POWER TEST SUB-SCREEN: POWER GENERATING C LASER BEAM COHERENCY, ATMO- SPHERIC BLOOM; DESCRIPTION OF THE PURPOSE FOR EACH TEST IS GIVEN INSTRUCTIONS ON PERFORMING THE TESTS, SEE THE SECTION PERFORMING TESTS. POWER GENERATING CAPACITY THE POWER CAPACITY DETERMINES THE ABSOLUTE CAPACITY OF THE LASER TO DESTROY. THIS SUB-DEPARTMENT SPECIALIZES IN INCREASING THE WATTAGE THAT THE LASER IS CAPABLE OF EMITTING LASER BEAM COHERENCY A LASER GENERATES A VERY SPECIAL BEAM OF LIGHT; IT IS COHERENT. UNLIKE A LIGHT BULB, WHICH SPREADS LIGHT AROUND IN ALL DIRECTIONS, A LASER CONCENTRATES ALL ITS POWER IN A SINGLE DIRECTION. COHER- ENCY IS RELATED TO THE DEGREE OF BEAM SPREADING. A PERFECT LASER, ONE THAT WAS PERFECTLY COHERENT, WOULD ALSO 17 18 HAVE A LIGHT BEAM THAT WAS THE SAME DIAMETER AT 1000 MILES AS IT WAS WHEN IT LEFT THE LASER. A LASER WITH LOW COHERENCY WILL NOT BE VERY DANGEROUS BECAUSE THE ENERGY IS SPREAD OUT. ATMOSPHERIC BLOOMING WHEN A HIGH-ENERGY LASER BEAM IS SHOT THROUGH THE ATMOSPHERE, IT CAN IONIZE THE AIR MOLECULES, CREATING A PHENOMENA KNOWN AS "BLOOMING". IONIZED AIR IS NOT AS TRANSPARENT AS UNIONIZED AIR, AND THAT MAKES THE LASER MUST LESS EFFECTIVE AT GREAT DISTANCES BECAUSE MUST OF THE LASER POWER IS EATEN UP BY THE PLASMA. THE CURE FOR ALL OF THIS IS POWER MODULATION. A CORRECT FORMULA FOR BEAM MODULATION MUST BE DETERMINED SO THAT THE LASER CAN BE VARIED IN POWER TO MINIMIZE THE BLOOMING EFFECT. USING SOFTWARE TESTING TO INITIATE A SOFTWARE TEST, CLICK ON THE TEST BUTTON IN THE SOFTWARE SECTION OF THE LASER TESTING SCREEN. THE SOFTWARE TEST SUB-SCREEN WILL APPEAR. SOFTWARE TEST TEST RESULTS SIMULTANEITY NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST TEST RESULTS DISCRIMINATION NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST TEST RESULTS NETWORKING/COMMUNICATIONS NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST DAY: 0 HOUR: 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR!  18 19 THERE ARE THREE DIFFERENT TESTS THAT CAN BE PERFORMED FROM THE SOFTWARE TEST SUB-SCREEN: SIMULTANEITY, DISCRIMINATION, AND NET- WORK/COMMUNICATION. A DESCRIPTION OF THE PURPOSE FOR EACH TEST IS GIVEN BELOW. FOR INSTRUCTIONS ON PERFORMING THE TESTS, SEE THE SECTION ON PERFORMING TEST. SIMULTANEITY THE SOFTWARE ELEMENT OF TEA CLIPPER DOES NOT MERELY CONTROL THE LASER. IT RECEIVES INFORMATION FROM THE ORBITING TRACKING NETWORK SATELLITES, AS WELL AS GROUND BASED RADAR STATIONS. SIMULTANEITY DETERMINES THE ABILITY OF THE SOFTWARE TO TRACK, CONTROL AND UPDATE MORE THAN ONE SPACE BORNE OBJECT AT A TIME. DISCRIMINATION WHILE THE SOFTWARE MAY BE ABLE TO TRACK OBJECTS IN SPACE, IT ALSO NEEDS TO DETERMINE WHAT KIND OF OBJECT IT IS TRACKING. IT WOULD BE A PITY TO DESTROY A NATIVE SATELLITE THAT THE SOFTWARE THOUGHT WAS AN INCOMING MISSILE. THIS TEST DETERMINES HOW WELL THE SOFTWARE CAN DETERMINE WHAT IS, WHAT. NETWORKING/COMMUNICATION THE SOFTWARE MUST COMMUNICATE WITH THE MIRROR SATELLITES IN ORDER TO DIRECT THEIR AIMING. IT MUST ALSO RECEIVE INFOR- MATION FROM GROUND-BASED RADAR STATIONS, AS WELL THE TRACKING NETWORK SATELLITES. THE NETWORKING TEST CHECKS THE CAPABILITY OF THE TEA CLIP- PER SOFTWARE TO HANDLE THE LARGE FLOW OF INFORMATION AS WELL AS TO CONTROL THE AIMING OF THE SATELLITE MIRRORS SO THAT THEY CAN ACCURATELY REFLECT THE LASER BEAM AT THE INTENDED TARGET. 19 20 USING TARGETING TESTING TO INITIATE A TARGETING TEST, CLICK ON THE TEST BUTTON IN THE TARGETING SECTION OF THE LASER TESTING SCREEN. THE TARGETING TEST SUB SCREEN WILL NOW APPEAR. TARGETING TEST TEST RESULTS ACCURACY/REPEATABILITY NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST TEST RESULTS TRACKING SPEED NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST TEST RESULTS SATELLITE REFLECTION NO TESTS YET WORKING KNOWLEDGE RISK OF LEAK NEED TO TEST TEST DAY: 0 HOUR: 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! THERE ARE THREE DIFFERENT TESTS THAT CAN BE PERFORMED FROM THE TARGETING TEST SUB-SCREEN: ACCURACY/REPEATABILITY, TRACKING SPEED, AND SATELLITE REFLECTION. A DESCRIPTION OF THE PURPOSE FOR EACH TEST IS GIVEN BELOW. FOR INSTRUCTIONS ON PERFORMING THE TESTS, SEE SECTION ON PERFORMING TESTS. ACCURACY/REPEATABILITY THE LASER MIRROR DEVICE, WHICH IS ALSO COMMON TO THE MIRROR SATEL- LITES, IS A PRECISION DEVICE THAT CAN MOVE THE MIRROR WITH AN ACCURACY MEASURED IN HUNDREDTHS OF AN ARCSECOND. (AN ARCSECOND IS EQUAL TO APPROXIMATELY 1/10 OF AN INCH AT A DISTANCE OF ONE MILE). THE SERVO-MECHANISMS MUST BE PRECISE AND REPRODUCIBLE. THEY MUST MOVE THE MIRROR, BE IT GROUND OR SATELLITE BASED, WITH A VERY HIGH DEGREE OF ACCURACY. 20 21 TRACKING SPEED THE LASER MUST ALSO BE ABLE TO REACT QUICKLY, MAKING MULTIPLE SHOTS IN A SHORT SPAN OF TIME. IF THE MIRROR IS ACCURATE BUT MOVES TOO SLOWLY, THEN ONLY ONE OR TWO SHOTS WILL EVER BE FIRED. CON- VERSELY, IF THE SPEED IS GOOD, BUT ACCURACY LOW, MANY SHOTS CAN BE MADE, BUT THEY MAY MISS THE TARGET. SATELLITE REFLECTION THIS TESTS HOW WELL THE LASER BEAM IS REFLECTED BY THE SATELLITE MIRROR. SMALL IMPERFECTIONS IN THE MIRROR SHAPE (AS RECENTLY DISCOVERED IN THE HUBBLE SPACE TELESCOPE) CAN DEGRADE THE ACCURA- CY OF THE REFLECTED BEAM. IMPERFECTIONS IN THE MIRROR SURFACE CAN ALSO DEGRADE THE REFLECTIVELY OF THE MIRROR. PERFORMING TESTS AS YOU CAN SEE, ALL OF THE TEST SCREENS HAVE THE SAME BASIC LAYOUT. FOR EACH OF THE THREE TESTS AVAILABLE ON EACH SCREEN, THERE ARE THREE GRAPH INDICATORS ALONG WITH A TEST RESULTS SECTION WILL DISPLAY 'NO TESTS YET'. UNDERNEATH THE NAME OF EACH TEST (I.E. POWER GENERATING CAPACITY), IS A LONG NARROW GRAPH INDICATOR. THIS INDICATOR IS THE WORKING KNOWLEDGE INDICATOR. THIS INDICATOR WILL SHOW YOU HOW MUCH KNOWL- EDGE YOU HAVE ACQUIRED. THIS IS KNOWLEDGE THAT HAS BEEN PROVEN THROUGH TESTING. THIS IS THE MOST ACCURATE GAUGE OF HOW FAR RE- SEARCH HAS PROGRESSED. THE TWO SMALLER INDICATORS ARE RISK OF LEAK AND NEED TO TEST. RISK OF LEAK SHOWS EXACTLY THAT. THIS IS THE PROBABILITY OF THE SOVIETS RECEIVING INFORMATION REGARDING THE TEST OR ITS RESULTS. NEED TO TEST INDICATES HOW CRITICAL IT IS TO PERFORM A TEST IN ORDER FOR PROGRESS TO CONTINUE. AS EACH DEPARTMENT CONDUCTS RE- SEARCH, IT MUST PERFORM TESTS THAT WILL PROVE OUT ITS THEORIES. IF THE NEED TO TEST IS VERY HIGH AND NO TEST IS PERFORMED, PROG- RESS WILL SLOW DOWN. TO SCHEDULE ONE OF THE TESTS ON THE SCREEN POINT AT THE TEST BUTTON AND CLICK. IF ALL SYSTEMS ARE GO, A COUNTDOWN WILL APPEAR IN THE TEST RESULTS SECTION. THERE 21 22 ARE SEVERAL THINGS THAT WILL PREVENT THE SCHEDULING OF A TEST, INCLUDING: DEPARTMENT HEAD NOT AVAILABLE, ANOTHER TEST IS SCHEDULED IN THIS DEPARTMENT, EQUIPMENT IS NOT READY, AND "ANY MORE. AFTER YOU SCHEDULE A TEST, A CHECKMARK WILL APPEAR ON THE TEST BUTTON FOR THAT DEPARTMENT ON THE LASER TESTING SCREEN. NOTE: YOU MUST HIRE A DEPARTMENT HEAD FOR A DEPARTMENT BEFORE YOU CAN SCHEDULE ANY TESTING IN THAT DEPARTMENT. ONCE A COUNTDOWN IS IN PROGRESS, IT WILL CONTINUE NO MATTER WHAT SCREEN YOU ARE ON. WHEN THE TEST BEGINS, YOU WILL SEE A TEST PENDING MESSAGE ON YOUR SCREEN. SHORTLY, A SCREEN WILL COME ON TO ALLOW YOU TO WATCH THE TEST. WHILE A TEST IS BEING PERFORMED, THE CLOCK STOPS RUNNING. IF YOU HAVE TOGGLED THE GRAPHICS ANIMATION OFF WITH THE G KEY, YOU WILL ONLY GET A MESSAGE ON THE TELEGRAM LINE INFORMING YOU THAT [HE TEST WAS PERFORMED. TEST RESULTS AFTER A TEST IS COMPLETED, THE RESULTS WILL BE PUT INTO THE TEST RESULTS SECTION OF THE TESTING SUB-SCREEN. IF YOU ARE NOT ON THIS SCREEN AT THE TIME OF A TEST, YOU CAN GO TO THIS SCREEN AT ANY POINT TO REVIEW THE RESULTS. THE RESULTS WILL STAY ON THIS SCREEN UNTIL THE SAME TEST IS SCHEDULED AGAIN. THE RESULTS WILL SHOW YOU SOME VERY IMPORTANT INFORMATION. FIRST, IT WILL SHOW YOU THE TEST SUCCESS AS A PERCENTAGE. IT WILL ALSO SHOW YOU THE DAY ON WHICH THE TEST WAS PERFORMED. IN ADDITION, ONE OF FIVE FAILURE MODES WILL BE DISPLAYED. THE MODES ARE NUMBERED 0 THROUGH 4, AND THEIR DESCRIPTIONS FOLLOW: FAILURE MODE 0 - NO FAILURE FAILURE MODE 1 - DESIGN FAILURE. FAILURE MODE 2 - HUMAN ERROR FAILURE MODE 3 - AMBIENT CONDITIONS FAILURE MODE 4 - IMPROPER TESTING PROCEDURES 22 23 USING CIA INTELLIGENCE/CARDINAL CIA INTELLIGENCE AND THE CARDINAL 1 HAWK 4 TEXAS 7 OBERON DANGER DANGER DANGER ACTIVITY ACTIVITY ACTIVITY LAST CONTACT: NONE LAST CONTACT:NONE LAST CONTACT: NONE 2 SNIPER 5 GOOBER 8 TUPI F DANGER DANGER DANGER ACTIVITY ACTIVITY ACTIVITY LAST CONTACT: NONE LAST CONTACT:NONE LAST CONTACT: NONE 3 REFLECTION 6 RAZOR CARDINAL DANGER DANGER DANGER ACTIVITY ACTIVITY ACTIVITY LAST CONTACT: NONE LAST CONTACT:NONE LAST CONTACT: NONE DAY: 0 HOUR: 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! YOU CONTROL YOUR SECRET AGENTS FROM THIS SCREEN. WHEN THE GAME BEGINS, YOU HAVE NINE OPERATIVES, INCLUDING THE CARDINAL, ALL PLACED IN STRATEGIC JOBS IN THE SOVIET UNION. THESE OPERATIVES HAVE THE POTENTIAL TO BE YOUR MOST IMPORTANT ASSET. WHEN THE GAME BEGINS, NONE OF THE OPERATIVES HAVE BEEN GIVEN ANY OBJECTIVES. WHEN AN AGENT IS ASSIGNED AN OBJECTIVE, IT HAS TWO EFFECTS. FIRST, THE AMERICANS WILL GAIN KNOWLEDGE FROM THE ESPIONAGE. SECOND, THE SOVIET'S PROGRESS IN THAT DEPARTMENT WILL SLOW DOWN. THE FEWER OPERATIVES YOU HAVE ASSIGNED OBJECTIVES TO, THE QUICKER THE SOVIETS WILL PROGRESS IN THEIR RESEARCH. YOU SHOULD ASSIGN AT LEAST TWO AGENTS TO EACH OF THE SOVIET'S DEPARTMENTS (SEE THE AGENT SUB-SCREEN SECTION IN ORDER TO ASSIGN OBJECTIVES). EACH OF THE OPERATIVES HAS A BOX ON THIS SCREEN. THE BOX SHOWS THEIR NAME, DANGER LEVEL ACTIVITY LEVEL AND LAST CONTACT. 23 24 DANGER THE DANGER INDICATOR WILL SHOW YOU THE PROBABILITY OF THE AGENT BEING DISCOVERED BY THE SOVIETS. IF THE LEVEL GETS TOO HIGH, A TELEGRAM MESSAGE WILL INFORM YOU OF THE AGENTS IMMINENT DANGER. IF YOU DO NOT ACT QUICKLY AND REDUCE THE AGENT'S OBJECTIVES, THE AGENT MAY DISAPPEAR OR BE ARRESTED. (SEE THE SECTION ON AGENT SUB-SCREEN FOR INFORMATION ON CHANGING OBJECTIVES). ACTIVITY THE ACTIVITY INDICATOR GAUGES THE AGENT'S COVERT OPERATION. A SKILLED AGENT CAN MAINTAIN A HIGH DEGREE OF ACTIVITY WITHOUT SIGNIFICANTLY INCREASING HIS/HER DANGER LEVEL. LAST CONTACT THE IS THE NAME OF THE LAST CIA OPERATIVE THAT HIS AGENT HAD CONTACT WITH TO PASS INFORMATION. AGENT SUB-SCREEN EACH OF THE NINE AGENTS HAS A SUB-SCREEN. TO ACCESS THIS SCREEN, PLACE THE POINTER INSIDE THE AGENT'S BOX ON THE CIA INTELLIGENCE SCREEN, AND CLICK. THE AGENT'S SUB-SCREEN WILL NOW APPEAR. THE AGENT SUB-SCREEN PROVIDES YOU WITH A GREAT DEAL OF INFORMA- TION, AND ALSO ALLOWS YOU TO CHANGE THE AGENTS OBJECTIVES. ON THE TOP PORTION OF THE SCREEN IS A SECTION THAT GIVES THE AGENT'S LAST CONTACT, RISK OF DISCOVERY AND RELIABILITY. LAST CONTACT THIS SERVES THE SAME PURPOSE AS THE LAST CONTACT NAME ON THE CIA INTELLIGENCE SCREEN. RISK OF DISCOVERY THIS INDICATOR WILL SHOW YOU THE SAME INFORMATION AS THE DANGER INDICATOR ON THE CIA INTELLIGENCE SCREEN. RELIABILITY THIS GRAPH WILL GIVE YOU AN INDICATION OF HOW RELIABLE THIS AGENT HAS PROVED TO BE IN THE PAST, BASED ON INFORMATION SUPPLIED BY THE AGENT THAT HAS PROVEN TO BE CORRECT. 24 25 DOSSIER THE DOSSIER PORTION OF THE SCREEN PROVIDES A PHOTO OF THE AGENT ALONG WITH SEVERAL INTERESTING PIECES OF INFORMATION, INCLUDING: BACKGROUND INFORMATION, PEOPLE THAT THE AGENT HAS REGULAR CONTACT WITH, AND ANY POTENTIAL RISK FACTORS. OBJECTIVES THE MOST IMPORTANT SECTION OF THE SCREEN IS THE OBJECTIVES PORTION. THERE ARE 5 POSSIBLE OBJECTIVES: POWER SECRETS, SOFTWARE SECRETS, TARGETING SECRETS, KGB ACTIVITIES, AND BRIGHT STAR SECU- RITY. EACH AGENT CAN BE ASSIGNED ANY COMBINATION OF THESE OBJEC- TIVES. HOWEVER, THE MORE OBJECTIVES AN AGENT IS ASSIGNED, THE HIGHER THEIR ACTIVITY LEVEL, AND OF COURSE, THE HIGHER THEIR RISK OF DISCOVERY. BELOW IS A BRIEF DESCRIPTION OF EACH OF THE OBJEC- TIVES: POWER SECRETS - ANY INFORMATION REGARDING RESEARCH OR TESTING INVOLVING THE POWER DEPARTMENT OF THE BRIGHT STAR PROJECT. SOFTWARE SECRETS - ANY INFORMATION REGARDING RESEARCH OR TESTING INVOLVING THE SOFTWARE DEPARTMENT BRIGHT STAR PROJECT. TARGETING SECRETS - ANY INFORMATION REGARDING RESEARCH OR TESTING INVOLVING THE TARGETING DEPARTMENT BRIGHT STAR PROJECT. KGB ACTIVITIES - ANY INFORMATION REGARDING OPERATIONS AGAINST TEA CLIPPER. THIS INCLUDES ESPIONAGE, COUNTER-INTELLIGENCE, AND SABO- TAGE. BRIGHT STAR SECURITY - ANY INFORMATION REGARDING WHAT SECURITY MEASURES ARE IN PLACE, OR MAY BE PUT IN PLACE TO PROTECT THE BRIGHT STAR PROJECT. IT IS ADVISABLE TO ASSIGN ONLY ONE OR TWO OBJECTIVES TO ANY AGENT. THE LOSS OF AN AGENT, ESPECIALLY THE CARDINAL, CAN PROVE VERY COSTLY IF NOT FATAL, TO THE TEA CLIPPER PROJECT. WHEN YOU ARE FINISHED WITH THE AGENT SUB-SCREEN, RIGHT-CLICK TO RETURN TO THE CIA INTELLIGENCE/CARDINAL 25 26 USING FBI SECURITY WHEN YOU SELECT THE FBI SECURITY OPTION ON THE STRATEGIC CONTROL CENTER SCREEN, THE FBI SUB-SCREEN WILL APPEAR. FBI SECURITY TEA CLIPPER POWER PROJECT INEFFICIENCY DEPARTMENT HEAD SET SECURITY DETAILS RELIABILITY SOFTWARE PROJECT INEFFICIENCY DEPARTMENT SET SECURITY DETAILS HEAD TARGETING PROJECT INEFFICIENCY DEPARTMENT SET SECURITY DETAILS HEAD DAY: 0 HOUR: 00 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! THE FBI IS IN CHARGE OF THE SECURITY SURROUNDING THE TEA CLIPPER PROJECT. IT IS VERY IMPORTANT THAT NO INFORMATION IS PASSED TO THE KGB OR THAT THE SOVIETS NOT BE ABLE TO KIDNAP A SCIENTIST. THERE- FORE, THE FBI MONITORS ALL OF THE PERSONNEL IN EACH DEPARTMENT. THE FBI SECURITY SCREEN LETS YOU SET THE LEVEL OF SECURITY FOR EACH OF THE THREE DEPARTMENTS. THIS SCREEN ALSO OFFERS A GAUGE OF WHAT EFFECT THE SECURITY MEASURES ARE HAVING ON THE OPERATION OF EACH DEPARTMENT. EACH OF THE DEPARTMENTS HAS A SECTION ON THIS SCREEN. FOR EACH DEPARTMENT THERE ARE SEVERAL IMPORTANT PIECES OF INFORMATION. 26 27 SECURITY LEVEL THIS GRAPH INDICATOR, WHICH IS UNDERNEATH THE DEPARTMENT NAME, SHOWS THE LEVEL OF SECURITY CURRENTLY IMPLEMENTED FOR THIS DEPART- MENT. PROJECT INEFFICIENCY THE DRAWBACK OF A HIGH SECURITY LEVEL IS THAT IT TENDS TO SLOW DOWN PROGRESS. SECURITY MEASURES ARE OFTEN OBTRUSIVE AND CAN CAUSE RESENTMENT AMONG THE STAFF. THE PROJECT INEFFICIENCY GRAPH WILL INDICATE HOW THE SECURITY IS EFFECTING THE DEPARTMENT'S ABILITY TO PERFORM ITS PRIMARY FUNCTION. INEFFICIENCY IS ALSO RELATED TO THE NUMBER OF CIA AGENTS YOU HAVE IN THE FIELD. IF YOU HAVE SEVERAL AGENTS IN THE FIELD WITH THE OBJECTIVE THAT CORRESPONDS TO A GIVEN DEPARTMENT. THAT DEPARTMENT WILL BE MORE EFFICIENT BECAUSE THE AGENTS ARE SUPPLYING IT WITH INFORMATION. DEPARTMENT HEAD THE NAME OF THE SCIENTIST THAT IS IN CHARGE OF THIS DEPARTMENT IS ALSO SHOWN ON THIS SCREEN. RELIABILITY THIS GRAPH WILL GIVE YOU AN INDICATION OF HOW RELIABLE THE ; DEPARTMENT HEAD IS AT ANY GIVEN TIME. RELIABILITY IS EFFECTED BY KNOWLEDGE, EXPERIENCE, FATIGUE, AND MANY OTHER FACTORS. SET SECURITY DETAILS PLACE THE ARROW ON THE SET SECURITY DETAILS BOX AND CLICK TO ACCESS THE SUB-SCREEN. YOU CAN MAKE TWO SELECTIONS ON THIS SCREEN. SECURITY DETAIL LEVEL THERE ARE SEVEN LEVELS OF SECURITY, FROM MINIMAL TO OPPRESSIVE. MINIMAL SECURITY PROVIDES LITTLE PROTECTION AGAINST INFORMATION LEAKS. YOU SHOULD ONLY USE THIS LEVEL ON RARE OCCASIONS WHEN THE SOVIETS ARE SHOWING LITTLE INTEREST IN DEVELOPMENTS IN THIS DE- PARTMENT (SEE THE SECTION ON CIA ESPIONAGE). OPPRESSIVE SECURITY SHOULD ALSO ONLY BE USED ON RARE OCCASIONS. VERY LITTLE PROGRESS CAN OCCUR@R WHEN SECURITY IS THIS TIGHT. 27 28 TO SELECT A LEVEL, POINT AT ONE OF THE SEVEN BUTTONS AND CLICK. THE GRAPHICS ON THE SCREEN WILL CHANGE TO INDICATE THE NEW LEVEL. DEPARTMENT HEAD: IF CAPTURED IF THERE IS A COMPLETE BREAKDOWN IN SECURITY, IT IS POSSIBLE THAT THE SOVIETS MAY KIDNAP ONE OF YOUR SCIENTISTS. IF THIS HAPPENS, YOU HAVE THREE OPTIONS: ATTEMPT A RESCUE, RESCUE IF POSSIBLE, KILL OTHERWISE, OR DO NOTHING. YOU MUST SELECT ONE OF THESE OPTIONS, SO THAT WHEN AND IF A KIDNAPPING OCCURS, THE FBI KNOWS WHICH PROCEDURE TO FOLLOW. ATTEMPT RESCUE THE FBI WILL DISPATCH AGENTS TO TRY TO RECOVER THE AGENT. THIS RESCUE EFFORT WILL TAKE PLACE IN THE FORM OF A CAR CHASE. SEE THE SECTION LATER IN THE MANUAL ABOUT DEPARTMENT HEAD RESCUE FOR INSTRUCTIONS ON USING THE CAR CHASE. RESCUE IF POSSIBLE, KILL OTHERWISE THIS IS THE SAME AS THE ATTEMPT RESCUE OPTION, BUT IF YOU FAIL TO RECOVER THE SCIENTIST, THE FBI WILL DISPATCH AN AGENT TO ATTEMPT TO KILL THE SCIENTIST. THIS IS DONE SO THAT THE SOVIETS CAN NOT FORCE THE SCIENTIST TO REVEAL SECRET INFORMATION. DO NOTHING YOU MAY DECIDE THAT YOU WANT THE FBI TO DO NOTHING IF A DEPARTMENT HEAD IS KIDNAPPED. IF YOU CHOOSE THIS OPTION AND THE DEPARTMENT HEAD IS KIDNAPPED, YOU WILL SIMPLY BE NOTIFIED VIA TELEGRAM. YOU MUST THEN REPLACE THIS DEPARTMENT HEAD. TO SELECT AN OPTION, POINT AT THE BUTTON NEXT TO IT AND CLICK. 28 29 USING SOVIET LASER STATUS WHEN YOU SELECT THE SOVIET LASER STATUS OPTION ON THE STRATEGIC CONTROL CENTER SCREEN, THE SOVIET LASER STATUS SUB-SCREEN WILL APPEAR. SOVIET LASER STATUS BRIGHT STAR POWER CONFIDENCE PRIORITY GROUP STATUS: NONE SOFTWARE CONFIDENCE PRIORITY GROUP STATUS: NONE TARGETING CONFIDENCE PRIORITY GROUP STATUS: NONE DAY: 0 HOUR: 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! THIS IS ONE OF THE MOST IMPORTANT SCREENS IN THE GAME. FROM THIS SCREEN YOU CAN SEE HOW WELL THE SOVIETS ARE DOING IN EACH OF THE THREE DEPARTMENTS. THERE IS A LARGE GRAPH INDICATOR FOR EACH OF THE THREE DEPARTMENTS. POWER THIS INDICATES HOW WELL THE SOVIET BRIGHT STAR PROJECT IS MOVING ALONG IN THE AREA OF POWER GENERATION. THE SOVIETS ARE SOMEWHAT BETTER IN CREATING POWERFUL LASERS THAN THE AMERICANS. THEREFORE, YOU WILL HAVE TO BE CAREFUL NOT TO GET BEHIND IN YOUR POWER SYSTEM DEVELOPMENT. 29 30 SOFTWARE THIS GRAPH SHOWS HOW WELL DEVELOPED THE SOVIET BRIGHT STAR SOFT- WARE SYSTEMS ARE. WHILE THE SOVIETS ARE BETTER AT MAKING LASER POWER, THE AMERICANS HAVE BETTER SOFTWARE ENGINEERS. THIS SHOULD TELL YOU THAT, WHILE DEVELOPMENT OF THE SOFTWARE IS FASTER, AND THE EVENTUAL QUALITY IS HIGHER, YOU MUST BE CAREFUL TO INCREASE SECURITY SO THAT THE SOVIETS DON'T LEARN TOO MUCH FROM ESPIONAGE. TARGETING THIS INDICATOR;R DISPLAYS HOW ADVANCED THE SOVIET'S LASER TARGET- ING SYSTEM IS. THE SOVIETS ARE ABOUT AS CAPABLE AS THE AMERICANS IS THIS AREA, BUT YOU CAN BE SURE THAT IT TAKES LESS TIME TO STEAL THE PLANS FOR SOMETHING, THAN IT TAKES TO TRY TO BUILD IT FROM SCRATCH. CONFIDENCE THE OTHER LARGE GRAPHS ON THIS SCREEN, REFLECT THE AMERICAN CONFI- DENCE IN THEIR INTELLIGENCE INFORMATION. THE INTELLIGENCE REPORTS THAT ARE SUBMITTED BY THE AMERICAN OPERATIVES ARE GIVEN TO THE DEPARTMENT HEADS FOR ANALYSIS. THE CONFIDENCE LEVEL REFLECTS THE DEPARTMENT HEADS' FEELINGS AS TO THE ACCURACY OF THE INFORMATION RECEIVED. THE HIGHER THE CONFIDENCE LEVEL, THE MORE ACCURATE THE DEPARTMENT INDICATORS ON THE LEFT-HAND SIDE OF THE SCREEN WILL BE. PRIORITY THE SOVIETS HAVE FOUR DIFFERENT PRIORITY LEVELS, MUCH LIKE THE AMERICANS. THIS SCREEN WILL SHOW YOU WHAT PRIORITY THE SOVIETS HAVE ASSIGNED TO RESEARCH IN EACH OF THEIR DEPARTMENTS. THE PRIORITIES ARE, FROM LEFT TO RIGHT: LOW, MEDIUM, HIGH, AND VERY HIGH. GROUP STATUS THIS WILL SHOW YOU THE LAST MAJOR TASK UNDERTAKEN BY THIS PARTICU- LAR DEPARTMENT. 30 31 USING CIA ESPIONAGE WHEN YOU SELECT THE CIA INTELLIGENCE/CARDINAL OPTION ON THE STRA- TEGIC CONTROL CENTER SCREEN, THE CIA SUB-SCREEN WILL APPEAR. CIA ESPIONAGE POWER CONFIDENCE PROGRESS POSSIBLE ACTION NONE SOFTWARE CONFIDENCE PROGRESS POSSIBLE ACTION NONE TARGETING CONFIDENCE PROGRESS POSSIBLE ACTION NONE DAY: 0 HOUR: 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! THIS SCREEN WILL SHOW THE CIA'S OPINION OF WHAT THE SOVIETS THINK THE AMERICAN RESEARCH IN EACH DEPARTMENT HAS PRODUCED. THIS INFOR- MATION IS VERY IMPORTANT IN PLANNING YOUR SECURITY LEVELS. IT CAN ALSO GIVE YOU INSIGHT INTO ANY POSSIBLE SOVIET ACTIONS, SUCH AS A KIDNAPPING ATTEMPT. THE ARE SEVERAL GAUGES FOR EACH DEPARTMENT. PROGRESS BELOW EACH DEPARTMENT NAME IS A PROGRESS INDICATOR. THIS GRAPH SHOWS HOW MUCH THE SOVIETS THINK THE AMERICA HAVE ACHIEVED IN THIS DEPARTMENT. IF THIS GRAPH IS VERY HIGH THE SOVIETS THINK THAT THE AMERICANS ARE VERY CLOSE TO COMPLETING DEVELOPMENT OF THIS PHASE OF TEA CLIPPER. WHEN THE GRAPH IS HIGH YOU WILL NEED TO BE CAU- TIOUS OF ANY POSSIBLE SOVIET ACTION AGAINST THIS DEPARTMENT. 31 32 THE BOTTOM INDICATOR SHOWS HOW HARD THE SOVIETS THINK THE AMERI- CANS ARE WORKING ON THIS PHASE. IN OTHER WORDS, HOW MUCH OF THE AMERICAN RESOURCES ARE DEDICATED TO THIS DEPARTMENT. CONFIDENCE THE CONFIDENCE INDICATOR ON; THIS SCREEN REFLECTS THE CIA'S CONFI- DENCE IN THE INTELLIGENCE INFORMATION IT HAS GATHERED REGARDING THE SOVIETS PERCEPTION OF THE US DEVELOPMENT. THE HIGHER THIS LEVEL, THE MORE ACCURATE THE OTHER INDICATOR'S ON THIS SCREEN WILL BE. POSSIBLE ACTION THIS WILL SHOW YOU WHAT ACTION THE CIA IS CONSIDERING TAKING IN ORDER TO GATHER MORE INFORMATION REGARDING THE SOVIET'S PERCEPTION OF TEA CLIPPER. 32 33 USING TREATIES/NEGOTIATIONS WHEN YOU SELECT THE TREATIES/NEGOTIATIONS OPTION ON THE STRATE- GIC CONTROL CENTER SCREEN THE TREATIES/NEGOTIA- TIONS SUB-SCREEN WILL APPEAR. TREATIES / NEGOTIATIONS POLITICAL POSITIONS AMERICA MILITARY SATELLITES AMERICA MISSILE TESTING AMERICA AFGHANISTAN CRISIS AMERICA CULTURAL EXCHANGE SOVIET MILITARY SATELLITES SOVIET MISSILE TESTING SOVIET AFGHANISTAN CRISIS SOVIET CULTURAL EXCHANGE DAY: 0 HOUR: 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! THERE ARE FOUR DIFFERENT ISSUES THAT THE SOVIET AND AMERICAN NEGOTIATORS ARE WORKING ON: RESTRICTING THE EMPLOYMENT OF MILITARY SATELLITES, RESTRICTING MISSILE TESTING, RESOLVING THE AFGHANISTAN CRISIS, AND INCREASING CULTURAL EXCHANGE. THE EIGHT INDICATORS ON THE TREATIES/NEGOTIATIONS SCREEN WILL SHOW YOU THE AMERICAN" AND SOVIET POSITION ON EACH ISSUE. THE FARTHER TO THE RIGHT THE GRAPH IS, THE MORE THAT COUNTRY IS WILLING TO ACCEPT THAT ISSUE. IN GENERAL THE MORE THE AMERICANS OR SOVIETS ARE WILLING TO ACCEPT SOME OR ALL ISSUES, THE SLOWER THE DEVELOP- MENT OF THEIR RESPECTIVE MISSILE DEFENSE SYSTEMS WILL BE. YOU CAN CONTROL THE AMERICAN POSITION ON EACH ISSUE. TO PUSH HARDER FOR THE ACCEPTANCE OF AN ISSUE, POINT AT THE 33 34 RIGHT-HAND ARROW AND CLICK TO PULL BACK SUPPORT FOR AN ISSUE, POINT AT THE LEFT HAND ARROW AND CLICK. YOU WILL FIND IT ADVANTAGEOUS TO INCREASE SUPPORT OF ALL ISSUES IF THE AMERICAN DEVELOPMENT IS LAGGING BEHIND THAT OF THE SOVIETS. THIS WILL SLOW DOWN THE SOVIET'S PROGRESS, AND MAY ALLOW YOU TO MAKE UP GROUND. ALSO, WHEN BOTH COUNTRIES ARE SUPPORTING SOME OR ALL THE ISSUES, IT IS EASIER FOR THE AMERICAN OPERATIVES TO GET INFORMATION OUT OF THE SOVIET UNION. NATURALLY, IF THE AMERICANS ARE AHEAD IN THEIR DEVELOPMENT, YOU WILL WANT TO PULL BACK YOUR SUPPORT OF THESE ISSUES. YOU WILL WANT TO REFER TO THIS SCREEN OFTEN, BECAUSE THE SOVIETS ARE CONSTANTLY CHANGING THEIR POSITIONS. YOU CAN OFTEN GAUGE THE SOVIETS DEVELOPMENT STATUS BY THEIR WILLINGNESS TO GIVE IN ON ISSUES. USING THE ARCHER WHEN YOU SELECT THE ARCHER OPTION ON AT THE STRATEGIC CONTROL CENTER SCREEN, THE ARCHER SUB-SCREEN WILL APPEAR. THE ARCHER AGGRESSIVELY ATTACK ATTACK ENGAGE WHEN OPPORTUNE BRIGHT AVOID CONFLICT STAR WEAPONS LIST AVAILABLE HAS WANTS CASES OF M-16 ROUNDS 10 0 12 CLAYMORE MINES 10 0 7 LAWS ROCKETS 10 0 12 STINGER MISSILES 10 0 10 DAY: 0 HOUR: 0 TELEGRAM FROM THE PRESIDENT THE SOVIETS HAVE STARTED WORK ON BRIGHT STAR! 34 35 THE ARCHER IS POSSIBLY YOUR MOST VALUABLE RESOURCE. HE IS A REBEL WARRIOR FIGHTING THE SOVIETS THAT ARE OCCUPYING HIS HOMELAND. THE U.S. HAS BEEN AIDING THE ARCHER FOR SOMETIME, SUPPLYING HIM WITH WEAPONS, SUPPLIES, AND INFORMATION. THE ARCHER'S MOST POTENT WEAPON IS HIS ABILITY AND DESIRE TO ATTACK THE SOVIET BRIGHT STAR COMPLEX JUST NORTH OF THE SOVIET-AFGHANISTAN BORDER. THIS IS AN OPTION YOU @ ONLY UTILIZE ONCE. USE IT TOO SOON, AND THE SOVIETS CAN QUICKLY REPLICATE EQUIPMENT THAT IS DESTROYED. USE IT TOO LATE, AND THE SOVIETS WILL HAVE ALREADY DEPLOYED THEIR SYSTEM. THERE ARE THREE DIFFERENT MODES THAT THE ARCHER CAN OPERATE IN: AGGRESSIVELY ATTACK, ENGAGE WHEN OPPORTUNE AND AVOID CONFLICT. TO SELECT ONE, POINT AT THE BOX BESIDE IT AND CLICK AGGRESSIVELY ATTACK THE ARCHER AND HIS TROOPS WILL SEEK OUT SOVIET TROOPS AND CONDUCT GUERRILLA ATTACKS ON THEM. ENGAGE WHEN OPPORTUNE THE ARCHER AND HIS TROOPS WILL ONLY ENGAGE THE SOVIETS WHEN THERE IS LITTLE RISK OF DEFEAT. AVOID CONFLICT THE ARCHER AND HIS TROOPS WILL GO OUT OF THEIR WAY TO STEER CLEAR OF ANY SOVIET TROOPS. WEAPONS AND SUPPLIES THE AMERICANS SUPPLY THE ARCHER WITH ELEVEN DIFFERENT WEAPONS AND SUPPLIES: M-16 ROUNDS, CLAYMORE MINES, LAWS ROCKETS, STINGER MISSILES, FOOD, CLOTHING MEDIC SUPPLIES, INTELLIGENCE CONTACTS, LONG RANGE RADIOS, NIGHT VISION EQUIPMENT, AND BINOCULARS. WEAPONS LIST ON THE LEFT-HAND SIDE OF THE SCREEN, YOU CAN SEE FOUR SUPPLIES AT A TIME. TO MOVE THROUGH THE LIST, CLICK ON THE UPPER ARROW BUTTON OR DOWN-ARROW BUTTON. FOR EACH TYPE OF SUPPLY, THERE ARE THREE IMPORTANT NUMBERS. 35 36 AVAILABLE THIS IS HOW MANY ITEMS THE AMERICANS CAN QUICKLY AND EASILY GIVE TO THE ARCHER. HAS THIS IS HOW MANY OF THESE ITEMS THE ARCHER CURRENTLY HAS IN HIS POSSESSION. WANTS THE ARCHER IS NATURALLY AGGRESSIVE. HE WILL ASK FOR LARGE AMOUNTS OF EVERYTHING. TO CHANGE THE AMOUNT OF ANY SUPPLY THAT THE ARCHER HAS, CLICK ON THE + AND - BUTTONS. WARNING: IF THE ARCHER IS TOO AGGRESSIVE, OR HAS LARGE AMOUNTS OF WEAPONS TO USE AGAINST THE SOVIETS, HE MAY BECOME A BIG PROBLEM FOR THE SOVIETS. IF THIS HAPPENS, THE SOVIETS MAY DISPATCH TROOPS TO TRY TO KILL THE ARCHER AND HIS ARMY. HOWEVER, IF YOU DON'T GIVE THE ARCHER ENOUGH SUPPLIES, HE WILL STEAL THEM OR TRADE FOR THEM. IF HE BECOMES VERY LOW ON SUPPLIES, SOME OF HIS TROOPS MAY DESERT, AND HE WILL BE LESS EFFECTIVE IN AN ATTACK ON BRIGHT STAR. MAP CLICK ON THE SMALL MAP ON THE UPPER LEFT-HAND PORTION OF THE SCREEN TO REVEAL A LARGE MAP OF AFGHANISTAN. THIS MAP WILL SHOW YOU THE LOCATION OF THE ARCHER'S TROOPS AND THE SOVIET TROOPS IN AFGHANISTAN. THE APPROXIMATE POSITION OF THE SOVIET BRIGHT STAR COMPLEX WILL ALSO BE SHOWN. RIGHT-CLICK TO RETURN TO THE ARCHER SCREEN. ATTACK BRIGHT STAR ONCE YOU HAVE DECIDED THAT THE SOVIETS HAVE MADE TOO MANY AD- VANCES, AND ARE NEARING COMPLETION OF THE BRIGHT STAR PROJECT, YOU MAY CHOOSE TO SEND THE ARCHER ON A RAID OF THE SOVIET COMPLEX. POINT AT THE ATTACK BRIGHT STAR BOX AND CLICK. IF THE ARCHER IS NOT CLOSE ENOUGH TO BRIGHT STAR TO LAUNCH A RAID, YOU WILL BE GIVEN A MESSAGE TO THAT EFFECT. YOU MUST WAIT A LITTLE WHILE AND TRY AGAIN. NOTE: MAKE SURE THAT THE ARCHER HAS PLENTY OF SUPPLIES BEFORE YOU LAUNCH AN ATTACK ON BRIGHT STAR. 36 37 THE ATTACK ON BRIGHT STAR TAKES PLACE IN THE FORM OF AN INTERAC- TIVE ARCADE SEQUENCE. EVEN IF YOU ARE PLAYING WITH A JOYSTICK OR MOUSE, YOU WILL NEED TO USE THE KEYBOARD TO CONTROL THE ARCHER. USE THE FOLLOWING KEYS TO CONTROL THE ARCHER. SPACE BAR FIRE THE ARCHER'S GUN M - DENOTES A MINE ARROW KEYS CONTROL THE ARCHER'S MOVEMENTS WHEN THE RAID BEGINS, YOU WILL SEE THE BRIGHT STAR COMPLETELY FROM ABOVE. THE ARCHER IS THE MAGENTA (PINK) COLORED MAN ON THE OUTSIDE OF THE COMPLEX. YOU CAN MOVE THE ARCHER IN ANY DIRECTION. THE BRIGHT STAR COMPLEX IS VERY LARGE AND DOES NOT FIT ON ONE SCREEN. NEW SECTIONS OF THE COMPLEX WILL APPEAR AS THE ARCHER WALKS TO THE EDGE OF THE CURRENT SCREEN. THE ARCHER WILL NEED TO PENETRATE THE WALLS OF THE COMPLEX TO REACH THE EQUIPMENT AND SCIENTISTS. TO GET THROUGH WALLS, THE ARCHER MUST FACE THE WALL AND USE A MINE (M). USE THE ARCHER'S GUN AGAINST THE SOVIET PERSONNEL THE RED MEN ARE THE SOVIET ARMY TROOPS. THE CYAN (LIGHT BLUE) MEN ARE THE SOVIET SCIENTISTS. YOU CAN SET BACK THE BRIGHT STAR PROJECT GREATLY IF YOU ELIMINATE THE SCIENTISTS. THERE IS ALSO ONE DARK BLUE MAN (VGA AND EGA). THIS IS COLONEL BONDERENKO, THE LEADER OF THE BRIGHT STAR PROJECT. IF YOU CAN KILL HIM, YOU WILL GREATLY IMPEDE THE SOVIET PROGRESS. IF THE ARCHER CAN REACH THE INNERMOST ROOMS OF THE COMPLEX HE WILL BE ABLE TO DESTROY THE SOVIET EQUIPMENT AND COMPUTERS. THE ARCHER MUST FACE A PIECE OF EQUIPMENT AND USE A MINE (M) TO BLOW IT UP. 37 38 GAUGES THERE ARE FOUR GAUGES ON THE RIGHT-HAND SIDE OF THE SCREEN. THEY WILL INDICATE ARCHER DAMAGE, ENEMY DAMAGE, BULLETS, AND MINES. ARCHER DAMAGE THIS WILL SHOW YOU HOW MUCH DAMAGE THE ARCHER HAS SUSTAINED. IF THIS REACHES 100, THE ARCHER IS KILLED. THE ARCHER CAN BE INJURED BY GUN FIRE. ENEMY DAMAGE THIS INDICATES THE AMOUNT OF DAMAGE THAT THE ARCHER HAS INFLICTED ON BRIGHT STAR. THIS INCLUDES DAMAGE TO EQUIPMENT AND PERSONNEL. BULLETS THIS SHOWS HOW MANY BULLETS THE ARCHER HAS LEFT IN HIS GUN. MINES THIS SHOWS HOW MANY MINES THE ARCHER HAS LEFT TO USE FIGHTING IN AFGHANISTAN AT VARIOUS TIMES, THE ARCHER WILL CARRY OUT A RAID ON SOVIET TROOPS IN AFGHANISTAN. AT OTHER TIMES, SOVIET TROOPS WILL CARRY OUT A RAID ON THE ARCHER AND HIS TROOPS. IF THE ARCHER IS IN THE AGGRESSIVELY ATTACK MODE, THIS MIGHT HAPPEN QUITE OFTEN. IF EITHER OF THE ABOVE RAIDS OCCURS, YOU WILL GET A MESSAGE ON YOUR SCREEN TO PREPARE FOR BATTLE. HE RAIDS IN AFGHANISTAN TAKE PLACE IN THE FORM OF INTERACTIVE ARCADE SEQUENCES. EVEN IF YOU ARE PLAYING WITH A JOYSTICK OR MOUSE, YOU WILL NEED TO USE THE KEYBOARD TO CONTROL THE ARCHER. USE THE FOLLOWING KEYS TO CONTROL THE ARCHER. SPACE BAR -FIRE THE ARCHER'S GUN. M - PLACE A MINE. A MINE WILL BLOW UP IN 5 SECONDS, OR IF A JEEP O R TANK HITS IT. A - FIRE A SHORT RANGE MISSILE. 38 39 S - FIRE A STINGER MISSILE. THIS IS A LONG RANGE MISSILE BUT USE! UP A LARGE PORTION OF YOUR AMMUNITION. ARROW KEYS -CONTROL THE ARCHER'S MOVEMENTS. WHEN THE RAID BEGINS, YOU WILL SEE THE DESERT FROM ABOVE. THE ARCHER IS THE MAGENTA (PINK) COLORED MAN. THE ARCHER WILL NEED TO DESTROY AS MANY SOVIET TROOPS, PLANES TANKS, AND JEEPS AS POSSI- BLE. USE THE ARCHER'S GUN AGAINST THE SOVIET PERSONNEL. USE ONE OF THE MISSILES AGAINST PLANES, TANKS, AND JEEPS. THE MISSILE WILL FIRE IN WHICHEVER DIRECTION THE ARCHER IS FACING. THE ARCHER CAN WALK IN ANY DIRECTION. HE CAN WALK OFF OF THE TOP, BOTTOM, OR EITHER SIDE OF THE CURRENT SCREEN, AND A NEW SCREEN WILL APPEAR. THE RAID ONLY LASTS A SHORT PERIOD OF TIME. THEREFORE, THE ARCHER WILL NEED TO ACT QUICKLY TO INFLICT AS MUCH DAMAGE AS POSSIBLE ON THE SOVIETS. GAUGES THERE ARE FOUR GAUGES ON THE RIGHT-HAND SIDE OF THE SCREEN. THEY WILL INDICATE ARCHER DAMAGE, ENEMY DAMAGE, BULLETS, AND AMMO. ARCHER DAMAGE THIS WILL SHOW YOU HOW MUCH DAMAGE THE ARCHER HAS SUSTAINED. IF THIS REACHES 100, THE ARCHER MUST RETREAT WITH HIS TROOPS. THE ARCHER CAN BE INJURED BY GUN OR ROCKET FIRE. ENEMY DAMAGE THIS INDICATES THE AMOUNT OF DAMAGE THAT THE ARCHER HAS SUSTAINED. IF THIS REACHES 100, THE ARCHER MUST RETREAT WITH HIS TROOPS. THE ARCHER CAN BE INJURED BY GUN OR ROCKET FIRE. ENEMY DAMAGE THIS INDICATES THE AMOUNT OF DAMAGE THAT THE ARCHER HAS INFLICTED ON THE SOVIET TROOPS. THIS INCLUDES DAMAGE TO VEHICLES AND PERSON- NEL. BULLETS THIS SHOWS HOW MANY BULLETS THE ARCHER HAS LEFT IN HIS GUN. AMMO THIS SHOWS HOW MANY MINES AND MISSILES THE ARCHER HAS LEFT TO USE. REMEMBER, LONG RANGE MISSILES USE A LARGE PERCENTAGE OF THIS EACH TIME ONE IS USED. 39 40 USING SATELLITE RECONNAISSANCE WHEN YOU SELECT THE SATELLITE RECONNAISSANCE OPTION ON THE STRATE- GIC CONTROL CENTER SCREEN, THE SATELLITE RECONNAISSANCE SUB-SCREEN WILL APPEAR. BOTH THE AMERICANS AND THE SOVIETS HAVE THE ABILITY TO LAUNCH FOUR DIFFERENT TYPES OF SATELLITES: LASER TARGETS, GROUND RECON, TAR- GETING SYSTEM, AND TRACKING NETWORK. LASER TARGETS A LASER TARGET IS BASICALLY SOMETHING TO SHOOT AT. DURING YOUR INITIAL TEA CLIPPER TESTS, YOU WILL BE AIMING AT TARGETS ON THE GROUND, IN YOUR TEST LAB. LATER ON, YOU WILL NEED SOMETHING UP IN THE SKY TO SHOOT AT. THE LASER TARGET CAN HELP TEST THE FINE-AIM OF YOUR LASER SYSTEM. YOU DON'T SHOOT IT WITH A LOT OF POWER, OF COURSE... AT LEAST, NOT INTENTIONALLY. GROUND RECON WHEN YOU HEAR ABOUT SATELLITE PHOTOS, THESE ARE THE SATELLITES THAT TAKE THEM. THESE SATELLITES ARE HIGHLY SPECIALIZED, EXPENSIVE AND DELICATE. WITH PLENTY OF THEM IN THE SKY, YOU'LL BE ABLE TO FIND THE EXACT LOCATION OF THE BRIGHT STAR COMPLEX AS WELL AS TRACK ARCHER AND THE SOVIET INVADERS IN AFGHANISTAN. TARGETING SYSTEM THE TARGETING SYSTEM SATELLITES DIRECT THE FULL-POWER LASER BEAM TO ITS TARGET. BY REFLECTING OFF ONE OR MORE TARGETING SATEL- LITES, THE LASER CAN REACH TARGETS ON THE GROUND, AT SEA, THE AIR, OR EVEN IN SPACE. THIS TYPE OF SATELLITE CONTAINS A VERY HIGH-REFLECTIVITY MIRROR AND AN INCREDIBLY ACCURATE GYRO-POSITIONER. TRACKING NETWORK THIS IS THE 'EARLY WARNING NETWORK.' THESE SATELLITES BLANKET THE SKY WITH SENSITIVE DETECTORS TO REPORT ON SATELLITE OR MISSILE LAUNCHES. THESE WON'T BE VERY IMPORTANT TO 40 41 YOU DURING THE EARLY PHASES OF TEA CLIPPER, BUT AS YOUR LASER NEARS COMPLETION, THESE WILL FORM A VITAL PART OF YOUR COMPLETE LASER DEFENSE SYSTEM. USA FOR EACH TYPE OF SATELLITE, THERE IS A NUMBER INDICATING THE NUMBER OF SATELLITES THAT THE AMERICANS HAVE IN ORBIT OF THIS TYPE. IN ADDITION TO THE FOUR TYPES OF SATELLITES DISCUSSED ABOVE, THERE ARE SATELLITES THAT ARE CLASSIFIED AS SPACE JUNK. AFTER A SATELLITE HAS USED UP ITS POWER, IT CAN NO LONGER BE USED. WHEN IT BECOMES COMPLETELY INOPERABLE, IT IS RE-CLASSIFIED AS SPACE JUNK. USSR FOR EACH TYPE OF SATELLITE,THERE IS A NUMBER INDICATING THE NUMBER OF SATELLITES THAT THE SOVIETS HAVE IN ORBIT OF THIS TYPE. IN ADDITION TO THE FOUR TYPES OF SATELLITES DISCUSSED ABOVE, THERE ARE SATELLITES THAT THE AMERICANS CANNOT IDENTIFY. THESE ARE LISTED AS UNKNOWN. WORLD MAP THE MAP ON THIS SCREEN WILL SHOW YOU THE ORBITS OF ALL OF THE AMERICAN AND SOVIET SATELLITES. SOVIET SATELLITES ARE SHOWN AS X'S WITH A RED CENTER, THE AMERICAN SATELLITES ARE ROUND WITH A WHITE CENTER. CLICK ON THIS MAP TO REVEAL A FULL SCREEN VERSION. CLICK ON THE BACK BUTTON, OR RIGHT-CLICK TO RETURN TO SATELLITE RECON SCREEN. LAUNCH SATELLITE THE AMERICANS LAUNCH THEIR SATELLITES ABOARD ONE OF THE SPACE SHUTTLES. TO PREPARE FOR A LAUNCH, POINT AT LAUNCH PREP BUTTON BELOW WHICHEVER TYPE OF SATELLITE YOU WANT TO LAUNCH, AND CLICK. THE LAUNCH SUB-SCREEN WILL APPEAR. IF A LAUNCH IS SCHEDULED, A CHECKMARK WILL APPEAR ON THE CORRESPONDING LAUNCH PREP BUTTON. 41 42 ON THE LOWER LEFT-HAND PORTION OF THE SCREEN ARE SEVERAL IMPORTANT PIECES OF INFORMATION. LAUNCH WINDOW THIS WILL SHOW YOU THE TIME FRAME THAT THE SHUTTLE MUST BE LAUNCHED IN. THE LENGTH OF THE COUNTDOWN WILL BE RELATED TO THIS WINDOW. THE SMALLER THE WINDOW, THE SOONER THE SHUTTLE CAN BE LAUNCHED. HOWEVER, IF THE WINDOW BECOMES TOO SMALL, THE COUNTDOWN WILL HAVE TO WAIT UNTIL THE NEXT WINDOW. TECHNOLOGY LEVEL AS RESEARCH AND TIME PROGRESS, THE TECHNOLOGY USED ON AMERICAN SATELLITES WILL INCREASE. THIS NUMBER WILL SHOW THE CURRENT LEVEL OF TECHNOLOGY. WHEN THIS LEVEL INCREASES, OTHER SATELLITES ALREADY IN ORBIT BECOME OUTDATED. OUTDATED SATELLITES ARE STILL USABLE, BUT DO NOT UTILIZE THE LATEST TECHNOLOGY. SATELLITES TO GO THIS WILL SHOW YOU HOW MANY MORE SATELLITES OF THIS TYPE YOU CAN LAUNCH BEFORE THE ORBIT IS FULL. THE MOST EFFECTIVE SDI ,SYSTEM WOULD HAVE A FULL ORBIT OF EACH TYPE OF SATELLITE. HOWEVER, IT IS POSSIBLE TO COMPLETE TEA CLIPPER WITHOUT COMPLETELY FILLING ALL ORBITS. SINCE THE ORBIT IS FULL, YOU CAN ONLY REPLACE OUTDATED SATELLITES WITH NEW ONES. AVAILABLE FOR LAUNCH SATELLITES MUST BE BUILT, SO YOU DO NOT ALWAYS HAVE SATELLITES AVAILABLE. THIS NUMBER WILL INDICATE HOW MANY SATELLITES ARE COMPLETE AND READY TO BE LAUNCHED. IF NONE ARE CURRENTLY AVAILABLE, YOU WILL NEED TO WAIT UNTIL ONE BECOMES AVAILABLE. TIME UNTIL LAUNCH IF A LAUNCH HAS BEEN SCHEDULED, THIS WILL SHOW YOU THE COUNTDOWN IN HOURS. WHEN THE COUNTDOWN IS ABOUT TO EXPIRE, A BOX WILL APPEAR ON THE SCREEN AND COUNT OFF THE FINAL SECONDS. YOU WILL THEN SEE THE SATELLITE DEPLOYED. IF YOU HAVE THE GRAPHICS ANIMA- TION TOGGLED OFF, YOU WILL ONLY BE NOTIFIED OF THE LAUNCH ON THE TELEGRAM LINES. 42 43 ACROSS THE TOP RIGHT-HAND SIDE OF EACH OF THE LAUNCH SCREENS ARE YOUR FOUR OPTIONS FOR LAUNCHING SATELLITES. TO SELECT ONE, POINT AT THE APPROPRIATE BOX AND CLICK FILL GAP IN ORBIT THIS WILL SCHEDULE THE LAUNCH OF A SATELLITE TO FILL A GAP NOT OCCUPIED BY ANOTHER SATELLITE OF THIS TYPE. ALL OF YOUR INITIAL LAUNCHES WILL BE OF THIS TYPE, AS YOU ESTABLISH A NETWORK OF SATELLITES. ABORT LAUNCH THIS WILL CANCEL A LAUNCH IF A COUNTDOWN IS IN PROGRESS. POSTPONE LAUNCH THIS WILL HOLD THE COUNTDOWN AT ITS CURRENT PLACE UNTIL YOU CLICK ON THIS BUTTON AGAIN TO RESUME THE COUNTDOWN. REPLACE OLD AFTER SATELLITES HAVE BEEN IN ORBIT FOR SOME TIME, THEY BECOME OUTDATED. USE THIS OPTION TO SCHEDULE THE LAUNCH OF A SATELLITE TO REPLACE ONE OF THIS TYPE THAT HAS BECOME TECHNOLOGICALLY OBSO- LETE. RISK OF LAUNCH DETECTION BY SOVIETS THIS INDICATOR WILL SHOW YOU THE PROBABILITY OF THE SOVIETS DETECTING THE LAUNCH OF A MILITARY SATELLITE. IF THE RISK IS VERY HIGH, YOU MAY WANT TO POSTPONE THE LAUNCH. ORBIT ON THE LOWER RIGHT-HAND PORTION OF THE SCREEN IS THE ORBIT TRACKING MAP. THIS MAP WILL SHOW YOU THE ORBIT OF ALL OF YOUR SATELLITES OF THIS TYPE. SATELLITES THAT ARE STILL ACTIVE ARE SHOWN IN BLUE, WHILE OUTDATED SATELLITES ARE SHOWN IN RED (WHITE ON CGA). 43 44 USING PRESIDENTIAL REVIEW WHEN YOU SELECT THE PRESIDENTIAL REVIEW OPTION ON THE STRATEGIC CONTROL CENTER SCREEN, THE PRESIDENTIAL REVIEW SUB-SCREEN WILL APPEAR. IT IS IMPORTANT TO CONSULT WITH THE PRESIDENT ON A REGULAR BASIS. HE WILL GIVE YOU VALUABLE INSIGHT INTO WHERE THE AMERICANS TEA CLIPPER PROJECT STANDS IN RELATION THE SOVIET SYSTEM. ALSO, THE PRESIDENT WILL BE THE FIRST ONE TO KNOW WHEN YOUR SDI SYSTEM IS COMPLETE. HE WILL ALSO BE THE FIRST PERSON TO INFORM YOU IF THE SOVIETS HAVE COMPLETELY DEPLOYED THE BRIGHT STAR SYSTEM. SATELLITE DESTRUCTION THIS IS WHERE ALL OF THE RESEARCH AND LAB TESTING COMES TO LIFE. THE SATELLITE DESTRUCTION SEQUENCE WILL LET YOU TRACK AND FIRE UPON ONE OF YOUR LASER TARGET SATELLITES. IF YOU ARE SUCCESSFUL IN DESTROYING A SATELLITE, PROGRESS IN ALL OF YOUR DEPARTMENTS WILL MOVE FORWARD. YOU CAN NOT INITIATE THE SATELLITE DESTRUCTION SEQUENCE UNTIL YOU HAVE PERFORMED AT LEAST ONE TEST. TO INITIATE THE SATELLITE DE- STRUCTION SEQUENCE, PRESS THE K KEY. A SATELLITE TRACKING MAP WILL APPEAR. ALL OF YOUR LASER TARGET SATELLITES WILL BE SHOWN AS THEY MOVE THROUGH THEIR ORBITS. IN THE MIDDLE OF THE SCREEN WILL BE A CROSSHAIR. YOUR GOAL IS TO LOCK-ON TO ONE OF THE LASER TARGET SATELLITES AND F@RE FOUR SHOTS FROM YOUR LASER TO DESTROY THE SATELLITE. ONCE COMPLETED, YOU CAN INITIATE THIS SEQUENCE AGAIN UNTIL YOU HAVE PERFORMED AT LEAST ONE MORE TEST. THE DIFFICULTY OF THIS TASK DEPENDS ON HOW ADVANCED THE RESEARCH IN ALL OF @OUR DEPARTMENTS IS. USE THE UP, DOWN, LEFT, AND RIGHT ARROW KEYS TO MOVE THE CROSSHAIR OVER ONE OF THE SATELLITES. IT IS BEST TO ANTICIPATE THE PATH OF A SATELLITE AND INTERCEPT IT AS IT MOVES PAST. THE SPEED AT WHICH THE CROSSHAIR MOVES IS DEPENDENT UPON THE STATUS OF YOUR TARGETING DEVELOPMENT. THE MORE ADVANCED YOUR TARGETING, THE FASTER THE CROSSHAIR WILL MOVE. IF YOUR TAR- GETING RESEARCH IS STILL IN ITS EARLY PHASES, YOU MAY NOT EVEN BE ABLE TO LOCK- 44 45 ON TO A SATELLITE. ABOVE THE LOCK-ON INDICATOR IS A GAUGE THAT SHOWS YOU HOW MUCH TIME YOU HAVE TO LOCK-ON TO THE SATELLITE. THE GAUGE STARTS ALL OF THE WAY UP AND YOU MAY LOCK-ON BEFORE IT GOES ALL OF THE WAY DOWN. THE AMOUNT TIME THAT YOU HAVE TO LOCK-ON DEPENDS ON HOW ADVANCE YOUR TRACKING IS. IF THE CROSSHAIR PASSES DIRECTLY OVER THE CENTER OF A SATELLITE THE LOCK-ON INDICATOR WILL LIGHT. YOUR TRACKING COMPUTERS WILL ONLY BE ABLE TO MAINTAIN LOCK-ON FOR A FEW SECONDS. YOUR TRACKING IS DEVELOPED WELL ENOUGH, YOU MAY BE ABLE REMAIN LOCKED-ON LONG ENOUGH TO FIRE FOUR SHOTS. ONCE YOU HAVE ACHIEVED LOCK-ON, YOU MUST PRESS THE SPACE BAR TO FIRE THE LASER. JUST ABOVE THE FIRE INDICATOR IS A SMALL GRAPH. THIS GRAPH INDICATES WHEN THE LASER CHARGED-UP FOR ANOTHER SHOT. AFTER YOU FIRE A SHOT, YOU MUST WAIT FOR THIS GAUGE TO MOVE ALL THE WAY TO THE RIGHT BEFORE, YOU CAN FIRE ANOTHER SHOT. FOUR SHOTS ARE REQUIRED TO DESTROY THE SATELLITE. THE FIRE LIGHT WILL FLASH EACH TIME YOU PRESS THE SPACE BAR. IF YOU MANAGE TO GET OFF FOUR SHOTS BEFORE YOU LOSE LOCK-ON, THE DESTROYED INDICATOR WILL LIGHT UP. BECAUSE DESTROYING A SATELLITE REQUIRES ALL THREE OF YOUR DEPARTMENTS TO WORK TOGETHER, IT IS NECESSARY THAT EACH DEPARTMENT HAS DEVELOPED ENOUGH TECHNOLOGY TO ACCOMPLISH THE SATELLITE DE- STRUCTION. IF YOUR POWER PRODUCTION IS LOW, THE LASER WILL NOT BE ABLE TO FIRE FOUR CONSECUTIVE SHOTS. IF YOUR SOFTWARE IS NOT FAR ENOUGH ADVANCED, THE COMPUTERS MAY NOT BE ABLE TO TRACK THE SATEL- LITE CORRECTLY. IF TARGETING DEVELOPMENT IS LOW, YOU WILL NOT BE ABLE TO LOCK UNTO A SATELLITE. LABORATORY RESEARCH CAN ONLY ADVANCE DEVELOPMENT TO A CERTAIN POINT. THE SATELLITE DESTRUCTION SEQUENCE APPLIES ALL OF YOUR LABORATORY FINDINGS TO THE REAL WORLD. IT WILL GIVE YOU AN ACCU- RATE GAUGE OF JUST HOW ADVANCED YOUR STRATEGIC DEFENSE SYSTEM HAS BECOME. YOU CAN ATTEMPT TO DESTROY A SATELLITE AS MANY TIMES AND AS OFTEN AS YOU WISH. HOWEVER, YOU MUST PERFORM AT LEAST ONE TEST BETWEEN EACH SATELLITE DESTRUCTION SEQUENCE. 45 46 DEPARTMENT HEAD RESCUE IF ONE OF YOUR DEPARTMENT HEADS IS KIDNAPPED BY THE KGB, AND YOU HAVE SET THE RESCUE IF POSSIBLE OPTION IN FBI SECURITY, YOU WILL SEE A NOTICE ON YOUR SCREEN TELLING YOU TO PREPARE FOR THE CHASE. SEVERAL MINUTES MAY PASS AFTER THE KIDNAPPING BEFORE THE CHASE BEGINS. THE SOVIETS HAVE YOUR SCIENTIST IN A VAN, AND ARE RACING ALONG THE HIGHWAY TO THEIR SECRET COMMAND CENTER. YOU MUST PURSUE THEM IN YOUR CAR AND RAM THE VAN FROM THE SIDE SO THAT IT MUST STOP. IF YOU ARE SUCCESSFUL IN STOPPING THE KIDNAPPERS, THE SCIENTIST WILL RETURN TO WORK IMMEDIATELY. IF YOU ARE UNSUCCESSFUL IN YOUR RESCUE EFFORT, YOU WILL NEED TO HIRE A NEW DEPARTMENT HEAD TO REPLACE HIM/HER. YOU WILL SEE THE CHASE FROM ABOVE. THE KIDNAPPERS ARE IN THE GRAY VAN (LIGHT BLUE ON TANDY AND EGA, WHITE ON CGA), AND YOU ARE IN THE BLUE CAR (MAGENTA ON CGA) AT THE BOTTOM OF THE SCREEN. YOU MUST SPEED UP, AVOIDING THE OTHER CARS, AND REPEATEDLY BUMP INTO THE KIDNAPER'S VAN TO DISABLE IT. USE THE FOLLOWING KEYS TO CON- TROL YOUR CAR: LEFT-ARROW - MOVE TO THE LEFT. RIGHT-ARROW - MOVE TO THE RIGHT. UP-ARROW - MOVE UP SLIGHTLY. DOWN-ARROW - MOVE BACK SLIGHTLY. 1, 2, 3 - CONTROL YOUR SPEED. USE THE KEYS ON THE TOP ROW OF THE KEYBOARD. THERE ARE FOUR GAUGES ON THE RIGHT-HAND SIDE OF THE SCREEN. FUEL KEEP AN EYE ON THIS. IF YOU DRIVE TOO FAST YOU WILL BURN A LARGE AMOUNT OF FUEL. RPM SHOW YOU HOW HARD YOUR ENGINE IS WORKING. THIS IS A GOOD GAUGE OF HOW MUCH FUEL YOU ARE USING. 46 47 DAMAGE THIS WILL SHOW YOU HOW MUCH DAMAGE YOUR CAR HAS SUSTAINED. IF IT REACHES 100, YOU MUST STOP, AND THE KIDNAPERS WILL GET AWAY. ENEMY DAMAGE THIS WILL SHOW YOU HOW MUCH DAMAGE YOU HAVE INFLICTED ON THE KIDNAPERS VAN. YOU MUST GET THIS VALUE TO 100 TO FORCE THEM TO STOP. WINNING THE GAME IF YOU HAVE OUTPACED THE SOVIETS IN DEPLOYING YOUR MISSILE DEFENSE SYSTEM, YOU WILL WIN THE GAME. IN ORDER TO COMPLETE DEVELOPMENT, YOU MUST HAVE COMPLETED SUCCESSFUL TESTS IN ALL YOUR DEPARTMENTS, AND DEPLOYED A SIGNIFICANT NUMBER OF EACH TYPE OF SATELLITE. YOUR WORKING KNOWLEDGE GAUGES FOR EACH DEPARTMENT WILL SHOW YOU HOW CLOSE YOU ARE GETTING. AT THE SAME TIME, YOU MUST HAVE PREVENTED THE SOVIETS FROM ADVANCING BRIGHT STAR TO THE POINT OF COMPLETION. THE PRESIDENT WILL BE THE FIRST PERSON TO KNOW THAT THE U.S. SYSTEM HAS BEEN COMPLETED. THEREFORE, YOU WILL NOT BE INFORMED THAT YOU HAVE WON, UNTIL YOU CHECK THE PRESIDENTIAL REVIEW SCREEN. YOU WILL BE ASKED TO ENTER YOUR NAME ON THE HIGH SCORE SCREEN, IF YOU HAVE ONE OF THE TEN FASTEST DEVELOPMENT TIMES. 47 48 SAVING THE GAME WHILE ON ANY MENU SCREEN, PRESS THE S KEY TO SAVE THE GAME. '" "" THERE ARE THREE SAVE POSITIONS, ALLOWING YOU TO SAVE THREE DIFFER- ENT GAMES IN PROGRESS. AFTER YOU PRESS THE S KEY, YOU WILL BE ASKED TO CHOOSE A SAVE POSITION. PRESS 1, 2, OR 3. THE CURRENT GAME WILL BE SAVED AT THAT EXACT POINT. YOU CAN THEN USE LOAD GAME AT A LATER TIME TO RESUME THE GAME WHERE YOU SAVED IT. IF YOU ARE GOING TO QUIT THE GAME, AND WANT TO RESUME PLAYING THE SAME GAME LATER, MAKE SURE YOU SAVE BEFORE PRESSING ESC TO QUIT. LOADING A GAME WHILE ON ANY MENU SCREEN, PRESS THE L KEY TO LOAD A PREVIOUSLY SAVED GAME. YOU WILL BE ASKED TO CHOOSE A SAVE POSITION TO LOAD FROM. ENTER THE DESIRED NUMBER AND THE GAME WILL BE LOADED, AND RESUME FROM THE POINT AT WHICH IT WAS SAVED. BASED ON THE BOOK CARDINAL OF THE KREMLIN BY TOM CLANCY. 1988 JACK RYAN ENTERPRISES, LTD. ALL RIGHTS RESERVED. SOFTWARE 1990 BY INTRACORP, INC. ALL RIGHTS RESERVED. CAPSTONE IS A TRADEMARK OF INTRACORP, INC CARDINAL OF THE KREMLIN PLAYER'S GUIDE BY DAVID R TURNER. 1990 INTRACORP, INC. 48 49 APPENDIX A DEPARTMENT HEAD DOSSIERS THIS SECTION CONTAINS DOSSIERS ON THE FIFTEEN PEOPLE AVAILABLE TO FILL THE THREE DEPARTMENT HEAD POSITIONS: POWER SYSTEMS, SOFTWARE DEVELOPMENT, AND TARGETING/MIRROR. THESE DOSSIERS ARE AVAILABLE IN THE PROGRAM FOR YOU TO REFERENCE AT ANY TIME. THE DOSSIERS LIST: NAME, DEPARTMENT, QUALIFICATIONS, EDUCATION, ID NUMBER, AND ANY OTHER PERTINENT INFORMATION. YOU MUST ALSO REFER TO THIS SECTION WHENEVER YOU LOAD THE PROGRAM. AS EXPLAINED IN CHAPTER 1, YOU WILL BE ASKED TO IDENTIFY ONE OF THESE SCIENTISTS. FIND THE CORRESPONDING PICTURE IN THIS SECTION AND ENTER THE DEPARTMENT HEAD'S ID NUMBER. A-1 A-2 ARIEN KIERKGAARAD DEPARTMENT: POWER SYSTEMS QUALIFICATIONS: DESIGNS VERY POWERFUL EFFICIENT LASERS. EDUCATION: C.I.T. OTHER: NORWEGIAN IMPORT, NOW NATURALIZED ID # 13 MILTON THALES DEPARTMENT: POWER SYSTEMS QUALIFICATIONS: PIONEER IN LASER RESEARCH EDUCATION: M.I.T. OTHER: WIDOWER ID # 14 A-2 A-3 NEWTON MENINGES DEPARTMENT: POWER SYSTEMS QUALIFICATIONS: EXPERT WITH LASER PUMPING SYSTEMS EDUCATION: MIT PHD OTHER: MARRIED 2 CHILDREN, NATIVE BOSTONIAN ID # 9 ALEXANDER THEIBOLD DEPARTMENT: POWER SYSTEMS QUALIFICATIONS: DESIGNED RAIL GUN, EXPERT AT POWER FEEDS EDUCATION: YALE, MIT OTHER: NATIVE OF OHIO, MARRIED ID # 10 A-3 A-4 WERNER KLAUS DEPARTMENT: POWER SYSTEMS QUALIFICATIONS: HIGH ENERGY PHYSICS SYSTEM DESIGNER EDUCATION: HARVARD, PHD OTHER: PARENTS WERE IMMIGRANTS NO FAMILY TIES ID # 6 STAN KAMAZOTZ DEPARTMENT: SOFTWARE DEV QUALIFICATIONS: NETWORKING SYSTEMS DESIGNER EDUCATION: UCLA OTHER: UNATTACHED ID # 3 A-4 A-5 MAJOR ALAN GREGORY DEPARTMENT: SOFTWARE DEV. QUALIFICATIONS: INTUITIVE GRASP OF SYSTEMS EDUCATION: MIT OTHER: INTEREST IN BEA TAUSSIG ID # 4 HELENA TROY DEPARTMENT: SOFTWARE DEV QUALIFICATIONS: EXTENSIVE ARTIFICIAL INTELLIGENCE EXPERIENCE EDUCATION: UNIV. OF ATHENS OTHER: UNMARRIED, AMATEUR RADIO HOBBYIST ID # 8 A-5 A-6 WALTER GILBERT DEPARTMENT: SOFTWARE DEV. QUALIFICATIONS: DATA TRANSFER SPECIALIST EDUCATION: US AIR FORCE OTHER: PUBLISHED NOVELIST, PEN NAME: MICHAEL DONOVAN ID # 7 WILL GREEN DEPARTMENT: SOFTWARE DEV QUALIFICATIONS: SYSTEMS COMPILERS AND USER INTERFACES EDUCATION: FLORIDA INT'L UNIV. OTHER: ONCE NOMINATED FOR ALBERT EINSTEIN AWARD ID # 15 A-6 A-7 RAY SZENIG DEPARTMENT: TARGETING/MIRROR QUALIFICATIONS: REFLECTOLOGY SPECIALIST EDUCATION: UNIV. OF HELSINKI OTHER: DIVORCED 3 TIMES ID # 12 MOLLY ADAMS DEPARTMENT: TARGETING/MIRROR QUALIFICATIONS: SPECIAL SUBSTANCE ENGINEER EDUCATION: UNIV. OF N. CAROLINA OTHER: LARGE VIDEO GAME HOBBY ID # 2 A-7 A-8 DR. BEA TAUSSIG DEPARTMENT: TARGETING/MIRROR QUALIFICATIONS: LARGE SYSTEMS DESIGN SPECIALIST EDUCATION: MIT OTHER: A LONG HISTORY OF INNOVATIVE BREAKTHROUGHS ID # 1 WINSTON ZEDEMORE DEPARTMENT: TARGETING/MIRROR QUALIFICATIONS: SERVO MECHANISM SPECIALIST EDUCATION: GEORGIA TECH OTHER: SOLAR ENERGY BUFF, MANY PATENTS PENDING ID # 11 A-8 A-9 KATHY FRESCO DEPARTMENT: TARGETING/MIRROR QUALIFICATIONS: THEORETICAL LIGHT AND PARTICLE PHYSICS GENIUS EDUCATION: CALIF. INSTITUTE OF TECH OTHER: ART LOVER ID # 5 A-9 APPENDIX B GLOSSARY BLOOMING: DISTORTION OF A LASER BEAM IN AN ATMOSPHERE CAUSED BY THE IONIZATION OF AIR MOLECULES. BRIGHT STAR: THE CODENAME FOR THE SOVIET STRATEGIC LASER DEFENSE SYSTEM. DISCRIMINATION: DETERMINING THE IDENTITY OF A SPACE-BORNE OB- JECT. GROUND RECONNAISSANCE SATELLITE: A SATELLITE THAT PERFORMS HIGH- ALTITUDE ESPIONAGE BY SENDING PICTURES AND DATA. LASER BEAM COHERENCY: THE DEGREE OF SPREADING THAT A BEAM HAS AS IT GETS FARTHER FROM THE SOURCE. LASER TARGET SATELLITE: A SATELLITE THAT IS USED AS A TARGET FOR LASER TESTING. LAUNCH WINDOW: TIME PERIOD IN WHICH THE LAUNCH OF THE SPACE SHUT- TLE CAN SAFELY TAKE PLACE. MOLE: A INTELLIGENCE OFFICER FOR AN UNFRIENDLY COUNTRY THAT HAS BEEN PLACED IN A JOB IN A FRIENDLY COUNTRY FOR THE PURPOSE OF GATHERING INFORMATION. POWER GENERATING CAPACITY: THE ABSOLUTE MEASURE OF A LASER'S POWER TO DESTROY. PUMPING EFFICIENCY: A MEASURE OF HOW LITTLE OF A LASER'S POWER IS WASTED IN GENERATING HEAT. REPEATABILITY: ABILITY OF A MIRROR TO ACHIEVE THE SAME TARGETING ANGLE OVER AND OVER. SIMULTANEITY: THE ABILITY OF SOFTWARE TO TRACK MULTIPLE SPACE-BORNE OBJECTS, WHILE HANDLING MIRROR MOVEMENTS AND VECTOR UPDATES. B-1 B-2 SPACE JUNK: AN OBJECT IN ORBIT THAT IS NO LONGER USABLE. TARGETING SYSTEM SATELLITE: A SATELLITE USED TO REFLECT AND AIM A LASER BEAM AT A TARGET. TEA CLIPPER: THE CODENAME FOR THE AMERICAN STRATEGIC LASER DE- FENSE SYSTEM. TECHNOLOGY LEVEL: NUMERIC VALUE SHOWING THE CURRENTLY AVAILABLE SATELLITE TECHNOLOGY. TRACKING NETWORK SATELLITE: A SATELLITE USED TO IDENTIFY AND TRACK MISSILES. TRACKING SPEED: THE RATE AT WHICH A MIRROR CAN MAINTAIN AIM ON A MOVING TARGET. WORKING KNOWLEDGE: KNOWLEDGE THAT HAS BEEN PROVEN THROUGH TEST- ING. B-2 APPENDIX B: GLOSSARY A HIGH-ENERGY LASER BEAM IS SHOT THROUGH THE ATMOSPHERE, IT CAN IONIZE THE AIR MOLECULES, CREATING A PHENOMENA KNOWN AS "BLOOMING". IONIZED AIR IS NOT AS TRANSPARENT AS UNIONIZED AIR, AND THAT MAKES THE LASER MUST LESS EFFECTIVE AT GREAT DISTANCES BEC`r.`Pack-Fire by Axe/DelightIKr-MFa&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`#34SO\/;`ῌXw *Ѭ&M@6 Np#B#R+2DaEGjU9 eHXP4VZVLkdڃo ABS( j E0M? ʊRn™[ͲoٺU_/+ /> [HFK T5 !@ [2ej8Ķs`s NZ""~}b$J #ȠOH KR8 "l ,Vt< # \]BR=P3#Zv/VQ)?2/2 CZ>NAXJZ7` ! 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They brought law to the people and graced its cities with marvellous buildings like the Red Fort of Agra and the Taj Mahal. But by 1800 their empire is collapsing, riven by feuds and rebellions, and India has reverted to a host of warring states. The Thugs have taken bloody advantage of this chaos. They are evil fanatics who murder thousands of people as sacrifices to the goddess Kali. By ruthless terroism, they are rapidly winning power over the whole of India. No single state can fight the Thugs, who are quickly increasing in numbers and power. So it is vital that a strong leader emerges to unite India against them, before they can plunge the land into a bloodbath. You are one of six rival leaders, each fighting to unite India: * Viceroy of the British East India Company, * Company of the French East India Company, * Emperor of the remnant of the Mogul Empire, * Maharajah of the Maruthras, * Maharajah Singh of the warlike Sikhs, * Chief of the Gurkhas (If more then one person is playing, you each pick a leader). The rivals each have their own advantages and disadvantages. You should probably try winning as the Viceroy first, and leave the Gurkhas until last; they have great problems expanding their fledgling state in the mountains. Whoever wins must both defeat his rivals and smash the Thugs. It will not be easy! PLAYING THE GAME CONTROL METHODS This manual describes how to play "Champion of the Raj" entirely with a joystick, but there are three alternatives: * Joystick: push it in the appropriate direction and press "fire" to act. * Mouse: on menus and maps, use it as you normally would; elsewhere, move the mouse slightly in the same direction as described for the joystick and press the left button for "fire". * Numeric Keypad: this is used like a joystick; press keys to move (8=up, 9=up right, 6=right, 3=down right, 2=down, 1=down left, 4=left, 7=up left). To "fire" press 5, enter or the space bar. You normally use the joystick/mouse/keypad to move a hand around the screen. Most of the game is controlled by icons (little pictures for eg. Yes, No, Talk, Fight, etc..) and you move the hand so that its finger-tip is on the icon you want, and press fire to select it. (This is also called "clicking on" the icon). Only icons which make sense are shown; eg. you will not get the chance to attack if you have no troops available. Champions of the Raj also includes six arcade games, with different types of Indian action. Instructions for these are displayed on the screen the first time you encounter them. The following special functions, controlled from the keyboard work on most screens: * The + and - keys adjust game speed. * The M key switches the music on/off. * The P key pauses the game; press R to resume or C to continue. * The S key toggles sound effects on/off. * ^C cancels the game and quits to the operating system. CHOICE SCREEN The game starts at a banquet, where the six rivals to govern India have met before going their separate ways. Select + and - to adjust the number of players (1-6 people can play). Next, point at a sitting ruler and press fire to make him stand, or do the same to a standing ruler to make him sit. The standing rulers are the ones you have chosen to play. There can never be more rulers standing then the number of players chosen, so any excess sit automatically. When you are happily with the ruler(s) standing, select "play" to start the game. A window opens for each ruler, so you can enter the name of the person playing him (click above or below each letter to adjust it, then click on OK to continue). And then the game starts... HEADQUARTERS SCREEN You have a headquarters appropriate for your rank and nationally, and run your empire from here. It includes a map of India, a book (or scroll) on the table in front of it, icons on the wall and a bell to end your turn. MAP The map shows about 20 Indian states and 4 port cities (which are controlled separately from the surrounding states). Independent states have no flags or plane blue flags while others have the national flags of there current emperor. Capital states have crowns on top of their flag poles. When you click on any Indian state on the map, its flag flutters, its details appear on the book and appropriate icons appear on the wall. Clicking on the champion, sitting on one side of the headquarters, is the same as clicking on your own capital state. Click on the bar above the map to roll it up or down (revealing move icons on the wall behind). BOOK OR SCROLL The book shows details (icons and numbers) of the current Indian state... * State - Name * Army - Size * Defensive - Weaponry * Gold * Attacking - Weaponry * Industry * Minimum - Defenders * Treasury * Law and Order Click on any of these nine pieces of information to find out more. For Example, click on... * State Name for details of religion and current status. * Attacking - Weaponry icon for what percentage number the icon means. * Gold icon for precisely how much tax the emperor will get next turn. If the state is part of an empire, the Army - size, Income and Treasury information are for the empire as a whole. If the state is your own capital, clicking on the book lets you invest for the future. For example, click on... * Army Size for the chance to hire more troops, or * Industry for the chance to invest in industry (your tax income is proportional to the population, industry and law of your empire, so investment is worth considering). RUNNING YOUR EMPIRE ECONOMY Your tax income depends on the population you rule, and the level of your empires industry and law. You pay one gold for each of your troops each turn, but troops who you use to capture another state last turn are "living off the land" and cost nothing. If you have a big army, its cheaper to use it! New troops cost twice this much to hire. You may decide to use the Book to invest money in your economy (industry and law) to increase your future taxes, or in weaponless, (so your troops fight better). Costs depend on the population of your empire, so it sometimes pays to keep small. When adding a state to your empire, it is better to capture states with good economies, as they will benefit the average figures of your empire. Unfortunately, the best places tend to be other peoples capitals. STATUS Alternatively, you can invest in a high status and select the Durbah (or parade) icon to invite your fellow rulers to a festival. The more elephants you hire (click on the up icons) the better. The idea is to impress people, so they are more likely to join your empire peacefully in the future. Select talk to negotiate with another prince. If your status is good enough, and if there are no religious obstacles, the prince will probably invite you to a sporting occasion. And if you prove your prowess at his chosen sports (Elephant Racing or Tiger Hunting), he will ally his state into your empire. ATTACKING Click on a state next to one of yours, and the Attack icon will usually appear. You can attack providing that you have not already been defeated this turn, and still have some troops available (victorious troops from previous battles stay where they are, living off the land, and can't be used again until next turn). Select the attack icon, then click on up and down icons to adjust your troops, and finally on OK. As a general rule, attacking troops need at least 2:1 odds to do well. If the defender is also a player, let them adjust their defending troops in the same way. (You also get to do this, if you are the defender and eg. the computer is attacking you). If the battle is likely to be a walk-over, the computer handles everything without bothering you. When you capture the capital of an empire, you must capture the rulers palace in order to gain full control. (see later for the game). Succeed, and all the vassal states of the empire are captured with its capital. Fail, and you only get the capital. ARCADE GAMES Your decisoins in the "random" events in the game often lead to arcade game sequences. The guru appears whenever the game loads, initially to give you instructions and subsequently with wise advice. TIGER HUNT Even today, tigers kill dozons of Indian people each year. At the time of the Raj, much of India was plagued by rogue tigers. These man-eaters must be shot, to save hundreds of lives and what greater proof of your skill and courage can there be then to kill an animal which is willing and able to kill you and others? Steer the cross-hairs to aim and press fire to shoot. The recoil kicks the gun sideways, but you have a second barrel still to fire. Miss twice and you are in trouble, because reloading takes several seconds. ELEPHANT RACING Climb atop your elephant and you are ready for off. This is a vertically scrolling game, where two elephants race south along a wide earth track between grandstands of spectators. And the first elephant to get a nose past the winning post wins. Push the joystick left and right to steer, up to slow amd down to speed your elephant. Or press fire and move the joystick to whip in the corresponding direction. Watch out for dirty tatics from your opponent, and don't go to fast for the ground underfoot. CAPTURING THE PALACE You have captured the capital state of an empire, but your troops are still dealing with the remenatnts of the defeated armies (those who have not already run away). Then news reached you that the former rulers are preparing to leave thier palace and lead the vassal states of the empire against you. Unless you can reach the palace soon, you will find that you have captured the capital but lost your empire. You must make your way up the screen and enter the palace gates. Push the joystick in any of the eight directions to move, and push fire to shoot. Avoid the enemy bullets, and don't shoot women. BATTLE IN THE THUG TEMPLE You rule all India and your armies, freed from the need to battle your rivals, are driving back the Thugs on all fronts. But the fight is far from won. The Thug priests are plotting a coup against your govermant tonight, and they could yet seize power unless you stop them. There is no time to gather your troops. The only chance is for a lone attacker to creep into the Thug temple, seize Kali's jewel which symbolizes their power, and escape safely with it. The Thugs obey whoever controls this artifact, so you will have broken their power forever. Find the statue of Kali, grab the jewel she guards (just walk up to it) and escape from the palace alive. Push the joystick in any of the eight directions to move, and push fire to shoot. Avoid the Thugs and their knives. SWORD FIGHTS I suspect that more Indian royalty have lost their lives to assassins then all the other causes of death put together. There are plenty of people who would like you to die suddenly and mysteriously. In the sword fight game, you need not control indivdual blows. Even if you were to do nothing but watch, your champion and his Thug opponent would attack and parry each others blows roughly alternatively. Control is by moveing a highlight across a 3*3 grid... Left to right movement controls wether your hero tried to attack stand or retreat. In turn these effect the probality of parrys working (retreating is safest, but a hero can only retreat so far). Up down movement selects high, middle or low blows. Each opponent is move vunerable to one attack type then others, and your aim is to learn his weaknesses and exploit them. Press fire to replace the next blow (or parry) which the computer has picked for you by the blow that you prefer. Keep a watch on the wounds you have suffered. It is better to retreat a little and live, then to attack valiently and die or your injuries. Typed by Flux/Crystal 04/06/91 Title: Chuck Yeager's Advanced Flight Simulator Quick Reference Chuck Yeager's Advanced Flight Simulator Docs Typed Up By: The Spiker Gaining More Disk Space ------- ---- ---- ----- If you need more disk space on your backup copy, DEL Dup.exe, Install.bat, and Afscklst.txt from the root directory. Controlling AFS Planes ----------- --- ------ You control AFS planes in one of four ways: 1) using a joystick; 2) using the numeric keypad, 3) using the mouse or 4) using the Maxx computer interface peripheral. Read the following sections for umportant information regarding joysticks and Maxx. See "Aircraft and Simulator Controls" for all of AFS' keypad controls. Tandy Joystick Ports: if you own a: Tandy 1000, plug your joystick into the 'right' port; Tandy 1000SX, plug your joystick into the 'left' port; Tandy 1000EX, plug your joystick into the 'rear' port. Recalibrating Joysticks: if your joystick loses synchronization with the elevators, ailerons, and rudder, center the joystick and hit J to recalibrate. Using the Maxx Computer Interface Peripheral: AFS is compatible with the Maxx control stick, which simulates an airplane's control yoke. Set the Maxx throttle slider all the way off(down), and start AFS. When AFS is running, select Joystick from the Sys menu. If you accidentaly start AFS with the Maxx throttle in the ON position, center the wheel, slide throttle off(down), and press J to "calibrate joystick." Menus ----- Press the Up or Down cursor key and press Enter to select a command from the Main menu. Selecting a Main meny commands opens a menu containing the titles of several pull-down menus. If you choose Intro Flight, Test Flight, or Airplane Racing from the Main meny, you begin flying immediately. Press the Esc key or the Spacebar tp see the menu bar in one of those cases. Select a pull-down menu using the Right or Left cursor key, and press Enter to pull it down. Press the Right or Left cursor key to open a different pull-down menu. Press Esc to close the menu or the menu bar. Each pull-down menu contains commands, usually with first command selected. Press the Up or Down cursor key to select a command, and press Enter to activate it and return to flying. Active commands are red. Inactive commands are white. Unavailable commands are blue. Select the Main Menu command from the Option menu to return to the main menu. Many menus also contain blank space that you can fill in with your own flight lessons or formation flight maneuvers (see manual). Configuring AFS For Your Computer ----------- --- --- ---- -------- AFS attempts to configure itself for your computer each time you start the program. However, if you have a color graphics adapter, AFS can't tell whether you have an RGB or composite color monitor. AFS defaults to RGB, so change the default setting in order to see colors on a composite color monitor. You can also change other configuration items to match your own preferences. To change the system settings: choose Intro Flight from the main menu and press Esc until the menu bar appears across the top of the screen; select Sys in the menu bar and press Enter. The SYStem configuration menu appears, listing various configuration options (See "Sys Menu" below); use the cursor keys to select an option you want, then press Enter. AFS closes the menu bar and returns you to flying; to make another menu change, press Esc or the Spacebar to open the menu bar. Sys Menu --- ---- RGB: sets the colors and character style for an RGB color monitor. Composite: sets the colors and character style for a composite color monitor. New Palette: changes the screen to a color scheme appropriate for an EGA card. Composite 2: changes the screen to a color scheme appropriate for the Tandy PCs. Sound: turns on sound effects. No Sound: turns off sound effects. Joystick: chooses the joystick of Maxx for operating ailerons, elevators, and rudder. Mouse: chooses the mouse (Microsoft type) for operating the ailerons, elevators, and rudder. This option is only available if you have installed a mouse driver (see your mouse documentation for information on use and installation). Slow Mouse: chooses an older (white with green buttons) Microsoft-type mouse for operating the ailerons, elevators, and rudder. This option is only available if you have installed a mouse driver (see your mouse documentation for information on use and installation). Keyboard: chooses the arrow keys on the keyboard for oprating the ailerons, elevators, and rudder. Center Image: shifts the entire displayed image to the right a bit, compensating for an off-center image. Save Setup: saves the current airplane and palette/display settings so they will be in effect the next time you start AFS. The Flight Recorder and Buying the Farm --- ------ -------- --- ------ --- ---- The flight recorder may be damaged if you buy the farm while it is running. So you may get unpredictable results if you try to replace an auger job. Removing Recordings from Menus -------- ---------- ---- ----- When you record maneuvers in Formation Flight, or lessons in Flight Instruction, your recordings are added to the AFS menus. These menu items reside in the AFS directory on disk a the file names you assign during the recording session. For instance, if you record a maneuver called "Figure8," AFS creates files in the AFS directory, but all you see is the command "Figure8" in the Maneuver menu. To remove the "Figure8" command from the Maneuver menu, choose Return to DOS from the Main menu, and at the DOS prompt type: DEL \AFS\FIGURE8.*. This command deletes all of the "Figure8" files, and when you start AFS, the command is deleted from the Maneuver menu. This procedure also works for the recordings you make in Basic, Advanced, and Aerobatic Flight instruction. Simply use the name you assign to the recording in the same manner: DEL \AFS\MYSTUNT.* (replace MYSTUNT with your own recording name). Using the Clear Race Command ----- --- ----- ---- ------- The Clear Race command in Airplane Racing removes your race opponents permanently -- even if you quit and restart the program. Each time you successfully complete the course, AFS adds a new opponent until you reach the maximum number of opponents for your computer's memory configuration. If you want to reinstate all of the race opponents without running the course a number of times, you must reinstall AFS on your backup disk. Printing the Test Flight Checklist -------- --- ---- ------ --------- There is a duplicate of the test flight checklist (Appendix B of the manual) on your AFS master disk. The checklist is stored on disk as a text file called AFSCKLST.TXT. If you have a printer, use the DOS print command to print as many checklists as you need (see your DOS user's manual for more information on printing text files). Using a TV as a Composite Monitor ----- - -- -- - --------- ------- Use your VCR to turn your color TV into a composite monitor. Plus the composite Video Out signal from your computer's graphics adapter into the Video In jack of your VCR. Switch your VCR to Camera mode so it recognizes the video signal, and you have a composite color monitor. You may need to asjust your TV in order to match the colors onscreen with those described in the manual. If the display runs off the left edge of the screen, choose Center Image from the Sys menu to shift the image right. Enhancing AFS Performance --------- --- ----------- You can greatly enhance AFS' performance by using the CONFIG.SYS file on your DOS system disk to increase the number of file buffers available. (See your DOS user's manual for information on modifying the CONFIG.SYS file.) Add the following line to CONFIG.SYS: BUFFERS = 24. Also, without a CONFIG.SYS file, you can race against only two opponents. To race against five opponents, add this line: FILES = 8. The changes you make to CONFIG.SYS take effect only after you reboot the computer. Aircraft and Simulator Controls -------- --- --------- -------- Aircraft Controls ------------------------------------------------------------------------------ Input Device Throttle Systems Stick ------------------------------------------------------------------------------ Keyboard + Increase B Brakes (Keypad) - Decrease *F Flaps 8,2 Elevators Up/Down F2 Full *G Landing gear 4,6 Ailerons Left/Right F4 Increase 1 Notch R Radio 7,9 Up & Left/Right F6 Increase 1/2 Notch 1,3 Down & Left/Right F8 Decrease 2 Notches 5 Center Stick F10 Cut < or 0 Rudder Left > or Decimal Rudder Right ------------------------------------------------------------------------------ Mouse Same as Above Same as Above Mouse Control Stick Right Button Right Rudder Left Button Left Rudder Both Buttons Center Rudder ------------------------------------------------------------------------------ Joystick Same as Above Same as Above Stick Control Stick Button 0 Right Rudder Button 1 Left Rudder Both Buttons Center Rudder ------------------------------------------------------------------------------ Maxx Slide Control Same as Above (below wheel) Wheel Left/Right Ailerons Left/Right Wheel Fwd/Back Elevators Up/Down ------------------------------------------------------------------------------ Simulator Controls ------------------------------------------------------------------------------ View Menus Functions ------------------------------------------------------------------------------ A-Left/Front View Return-Select Highlighted Command J-Calibrate Joystick C-Chase Plane/Front View Esc-Open/Close/Cancel menu O-Fly/Observe D-Right/Front View 2,4,6,8-Change Menu or Highlight (Instruction Only) S-Satellite/Front View Spacebar-Open Menu Bar From Flight P-Pause X-Rear/Front View F1-Go to Demo Flight Ctrl-Break--Quit AFS Z-Tower/Front View F3-Go to Test Flight (Return to DOS) F5-Go to Formation Flying Return-Cancel maneuver F7-Go to Airplane Racing or lesson recording F9-Go to Flight Instruction (press at filename prompt) * Inoperative on Some Airplanes Typed by Flux/Crystal FULL CONTACT DOCS THE STORY... As a boy you were happy, your world was peaceful and life was good. Then the Triad came, a ruthless gang who brought chaos. You escape the slaughter but witness the scene as your family one by one, are put to the sword. You swear to one day avenge them. Found wandering through the country, you are taken in by a kindly order of monks. They teach the ways of old, the ways of the land and the ways of the wise. They teach you the real art of self-defence, you are told never to make full contact but you wish you could. All that stands before you is the might of the Triad gang, each elite member proving increasingly difficult, each armed with deadly skills or weapons and each one giving no mercy. But as time passes you find it increasingly difficult to live with the terrible truth, slowly and surely you realise that the time has come to avenge your family, the time has come to bring about justice and the time has come to make Full Contact. GAME OPTIONS... As well as a single player arcade mode where you take on the Triad members, Full Contact offers the chance to spar with a friend or compete with up to 15 friends in a tournament. These options are selected by going to the options screen on the main menu. OPTIONS SCREEN... From here you can select game mode (one player, two player or tournament) and change the initials of competing players. In the case of tournament mode, click on the number of competing players by using the joystick. To change initials simply click on the initials you wish to change and use left/right and fire on the joystick to alter the characters. PLAYING THE GAME... Just click on start game to commence play. If playing with a friend you will need to unplug the mouse and insert another joystick into game port 1. ESC quits to the main menu whilst in the game. Full Contact features a demo/attracts mode if left alone. CONTROLLING YOUR FIGHTER...JOYSTICK CONTROLS: Without button pressed.. B A C A. Jump Up B. Jump Left C. Jump Right D. Walk Left D O E E. Walk Right G. Crouch Down . G . With button pressed.. B A C A. Head Kick B. Body Blow C. Knee Blow D. Body Kick D O E E. Head Punch F. Roundhouse G. Leg Kick H. Roundhouse F G H There are two bonus levels that appear in the single player game when you beat certain opponents. Instructions to these are given prior to playing them in the form of a scrolling message. All that remains are our good luck wishes (you will certainly need them) and Team 17 hope that you enjoy this. Typed by Flux/Crystal Finished on 13 June 1991 at 14:19:46 SEWER PRESENTS T H E H A R P O O N S C E N A R I O E D I T O R Typed In By The Ringthane I Your Role In Scenario Editor Section A * The Computer Opponent In Scenario Editor,your primary role is that of the "brains" behind the computer opponent.You supply the mission objectives and long term strategic planning that the computer opponent is to carry out.You can rely on the computerto carry out attacks (including air strikes from base) against all newly detected units. The only exception is bases,which are stationary, known targets.It is your responsibility to configure attacks aganist the computer opponent's bases in Scenario Editor yourself. Hint: to set up potential strikes aganist surface and submarine unit, you may want to station a long-distance air patrol in the vicinity of the target gruop.This will reduce prosecution time if the lauching base is substantially far away from the target. (Most mainland Soviet bases fall into this category.) Just be careful to station this patrol where it won't be easily detected! Section B * Playing Both Sides In Scenario Editor, it will be necessary for you to give orders for both the Blue and the Red sides.These orders will be carried out by the computer opponent when playing aganist a user,and most orders will be ignored when the user is playing that side, forcing him to supply his own. All that will remain for the user are the group and units, and their initial movement orders, including starting points,paths,initial speeds, and formation patrols. Section C * The Difference Between a BattleSet and a Scenario Before editing your own scenarios, it is important to understand the difference between a BattleSet and a scenario. A BattleSet constists of the maps,data, pictures, and even songs that represent the area and nations involved in a related set of naval conflicts. These naval conflits are referred to as scena- rios, and they draw upon the data contained in the BattleSet. This BattleSet data is kept in a highly compressed format; uncompressed, it requires roughly 2-3 megabytes of disk space. A scenario, on the other hand, is very small, seldom exceeding 10KB of disk space. Hence, in Scenario Editor, tou will be "editing" the way the BattleSet data will be used, rather than the data itself. We realize that many of you would like to modify the actual platforms in the database, and this featur may be included in future releases. But for now, enjoy the challenge of putting together scenarios, using one of the most sophsticated and comprehensive naval databases available to the public: Larry Bond's widley acclaimed Harpoon database. II. Meun Items Section A * Game Menu Change Battlesets--- Allow you to edit scenarios for a different BattleSet Adialog will come up verifying that you are finished editing the current scena- rio.If you have made any changes to your current scenarios, you will be given a chance to save it. Unless you choose "Cancel" from the dialog, the next scre- en you will see is the familiar "BattleSet Selection" screen, where you may choose to laod any of the battlesets you have purchased. Selecting "OK" at this point brings you back to the Scenario Editor main screen eith an empty scenario. New Scenario-- Allows you to restart with an empty scenario. As with Change BattleSet, you will first be presented with a verification dialog - this is your one chance to cancel. (Again, you will be able to save any changes you have made to your current scenario.) Edit User Scenario-- Allows you to edit previously saved scenarios. After verifying that you wish to quit your current scenarios, the "Edit User Scenario" screen will appear. At the top of the screen, you will see the path of your current directory, followed by a box labeled "Edit:". Under this box appears a scroll box listing all of the subdirectories and scenario files in your current directory. You may use the ""Change Directory" button to view one of these directories. (NOTE: the special directory ".." indecates the parent directory of your current working directory.) You may view the contents of an- other disk drive by selecting the "Change Drive" button. This will bring up a scroll box containing your currently active disk drives, listed by drive letter and volume label. Floppy drives will not be listed unless they have a diskette properly inserted with the drive door closed. Selecting a drive will show you its cntents in the scroll box. By using the "Change Directory"/ "Change Drive" Buttons together, you will be able to edit scenarios from any directory on any drive that your machine has access to. When you have selected a scenario, its name will appear in the "Edit:" box. Selecting the "Edit" button will return you to the Scenario Editor main screen with the selected scenario loaded and ready to edit. Edit BattleSet Scenario--Allows you to load scenarios from your current Battle- Set. After verifying that you wish to quit your current scenario, a screen will app- ear that similar to the Harpoon "Scenario Selectin" screen, The top scroll box allows you to select a scenario, and the bottom scroll box displays the orders for that scenario. Since editing a scenario involves creating units and orders for BOTH sides, the "xxxx Orders" button allows you to display the orders for either side. Ths "BattleSets" button will allow you to load scenarios from another BattleSet. This is functionally equivalent to using the Change BattleSet command from Game Menu. (Note: this does not allow you to transfer scenarios from one BattleSet to another.) Selecting "OK" will load a copy of the selected scenario for edit- ing. When you save changes to this scenario, it will be saved as a 'user scenario', and you will have to use 'Edit user Scenario' to load it in the future. When editing a battleset scenario, you will not actually be modifying the batlleset itself. These battleset scenarios are provided as a starting point, and as examples of completed scenarios. Save Scenario - Allows you to save current scenario. This command will bring up a screen very similar to 'save game' in Harpoon. As with 'edit user scenario', you will be able to 'navigate' your available disk drives using the 'change dir' and 'change drive' commands. Selecting a scenario from the scroll box or entering a new name with the 'save file as' command will make the name appear in the 'Save: ' box, and will activate the 'save' button. Selecting the 'save' button will save your current scenario and return you to the editor main screen. If you attempt to save over an existing scenario, a dialog box will appear to confirm this action. Enter Game Time Limit - Allows you to enter time limit for the current scenario. A dialog will appear in the lower right corner of the screen, allowing you to input the number of days and hours to be allowed for this scenario. If a time has already been entered, the dialog will come up with this time: otherwise it will come up all zeros. Selecting OK will cause the 'TO Go' time in the upper right corner of the main screen to be reset with the time you have entered. Enter Victory Conditions-allows you to edit Victory conditions for both sides. This coomand will bring up a window in the lower half of the screen containing a scroll box and four buttons, ADD EDIT DELETE OK. If no victory conditions have been entered for this scenario, the scroll box will be empty and the edit and delete buttons will be disabled. Selecting the ADD button will bring up a dialog box. This dialog will allow you to set the parameters for a single victory condition. These parameters are as follows: The first line of the victory conditions dialog allows you to choose whether you want this victory condition to be minimum or total. Minimum victory is the conditon that a player must meet to minimally complete a mission. After a player has met minimum victory conditions, he can either quit the game or go for "total victory". Total victory is the complete defeat of the enemy, beyond merely carring out orders. Note that one side'svictory conditions may not be exclusive of the other side's victory conditions. Thus in a typical scenario, both sides can meet their victory conditions, minimum and total. In this case, the side reaching victory first is declared the winner. The next line asks you which side this victory conditions is for. The third line lets you choose whether this victory condition must be meet for victory (ANDed: a necessary condition), or whether meeting this victory conditon will independently result in victory (ORed: a sufficent condition). This choice will determine how a victory condition will interact with others. For example, the minimum victory condition for the NATO side might be: sink 3 Soviet ships AND sink 2 Soviet subs. Both of these conditions must be met in order for victory. These groupings apply to the victory conditions of the same level (minimum or total) and side (Blue or Red). In other words, all of the blue minimum conditons are grouped, etc. It is not a good idea to mix AND"s and OR's in the same grouping, for reasons explained in the "Hints For Enter- ing Victory Conditions" section. The next option determines the level of categorization for the victory con- dition, from "Type", the broadest level, to "Class", the most narrow level. These levels will be used to determine what kinds of units will be included in the victory condition. Type- the victory condition will apply to "all" of one type of unit: all carriers, all ships, all subs, etc. Broad type- allows a more refined choice such as "all large carriers", "all medium combat ships","all primary bases." Subtype- allows categorization by subtypes of units. For carriers, shios, and subs, it is the naval designation, such as "CV", "DDG", "FF", "SSN", etc. For planes and helos, the breakdown is by "Fighter", "ASW", "Bomber", etc. For bases, the categories are "Base","port", and "airfirld". Class- the most narrow category. For everything but bases, this denotes a particular class (such as Nimitz class carrier, O.H. perry class frigate, F-15 class aircraft, etc.). For bases, it means a particular base (such as Keflavik, Iceland, or London, UK). After you have chosen the categorization level of the victory condition, you must select which type of unit will be included in the category (Carrier,ship, sub,ect), before you can choose the actual category. If you have selected the "Type" level of categorization, you are finished with this step. If you have chosen one of the other levels, however, the second button at the bottom of the dialog will activate to let you choose the actual category.If your level of categorization is "Broad type", a scroll box will appear listing the pre- defined broad-type categories for that type of unit. If your level of categ- orization for that type of unit (for bases it will be a dialog). And finally, if you choose "Class" as you level of categorization, a scroll box listing available classes for that unit type will appear. (NOTE; in the above scroll boxes, carriers and ships will share categories, as will helos and planes.) Once you have chosen your category, you will be given the opportunity to select whether the condition is to be a "friendley on-station" condtion or an "enemy damage/kill" condition. You do this by checking the "On-station" checkbox on or off(default). If you do not choose on-station, you will proceed to the dam- age/kill text boxes. The damaged and killed boxes work as follows: to translate "kill 3 enemy ships or damage 5 enemy ships at 60%", you would enter "60" in the "Percent Damage" box, "5" in the "Number Killed" box zereod. (NOTE: When Harpoon checks victory conditions,"killed" ships also satisfy the "damaged" victory condition). If you select the on- station type victory condition, the "Percent/Number Damaged" boxes will be dis- abled,the "Number KIlled" box will change to "Number On Station", and the "Time On Station" box and the "Enter Rect" button will be activated. "Number On Station" refers to the number of friendly units that must be on- station area. The "Enter Rect" button brongs up a dialog that allows you to define the on-station area as two opposite points in a rectangle on the Group Map (you will be able to scroll and zoom the map). Once you have completed all of the above steps, selecting "OK" wil return you to the Victory Conditions Edit window, where you will be albe to add more conditions or edit or delete already existing conditions. The "Edit" button brings uo the sanme dialog as before, with the selections filled in. The "Delete" button deletes the currently selected victory conditions (after a confirmation dialog). "OK" quits from the victory conditions edit window. Please refer to "Victory Conditions Walk-THrough" section of this manual for more information and examples. Section B * Groups Menu Create New Group - allows you to create surface and sub groups. First a dialog will appear, asking you to select the groups side. Next, you will be asked to position the group on the map. Next, a screen will appear that will allow you to edit the groups units. You will be able to add surface and sub units to the group, and add planes and helicopters to the carrier and ship units that can carry them. To add a surface unit, select 'ship' from the 'unit type'scroll box. The 'class' scroll box will list the carrier and ship classes available for the group's chosen side. Select one of these classes and press the "Add Unit" button. You will then be asked to select a name from the list of available ships commissioned for this class in the BattleSet's area of the world. As you choose a name, it will be removed from the list to prevent duplicating an already existing unit. After you have choosen the unit's name, you will be asked for it's probability of inclusion in the scenario(the default is 100). Once you select"OK", the new will appear in the "Group's Unit List" scroll box. Submarine units are entered in the same way, except that you must first choose "sub" from the "Unit Type" scroll box. To add a plane to a surface unit, first select the unit in the 'Groups Unit List' Scroll box. Next select 'aircraft' from the 'Unit Type' scroll box, and the list of planes and helicopters able to be carried by the selected unit will appear in the 'Class' scroll box on the lower right. Select the aircraft you wish to add to the unit and press the 'Add Plane' button. You will be asked to enter the number of aircraft to add. The max allowable aircraft will appear in the text box. Iff you add more than the maximum, you will get the maximum. If you enter zero no planes will be added. Once you have selected the number of planes, you will be asked for the probability of their inclusion in the scenario. Creative use of this procedure will enable you to automatically vary the strength of each sides air assets each time a user plays a scenario. Some units will have their helicopters added automatically. These aircraft will be displayed for informational purposes, but you will not be able to delete them or give them orders, including formation patrols. Harpoon handles these aircraft automatically for the enemy, to spare the scenario creator the tremendous overhead of dealing with them. You may delete units or user-added planes by selecting them in the 'unit' scroll box and hitting 'delete'. You may get platform display reports on units or plands in the group by selecting them in the 'Groups Unit List' scroll and then selecting the 'display' button. Exiting the platform display will return you to the 'edit group' screen. Selecting the 'display' button when the 'unit type' or 'class' scrolls are active will bring up platform display for the currently selected class in the class scroll. You may also edit the group's formation by selecting the "Formation Editor" button. Formation Editor doffers slightly from the one in Harpoon, and will be explained in the "Orders Menu" description. Finally selecting "Exit" will prompt you for the group's probability of inclusion and will return you to the Scenario Editor main screen. Create New Base- Allows you to create a new base group. As with "Create New Group", the first thing you'll be prompted for is the base's sids. Next,a window containing a scroll box and two buttons will appear in the lower half of the screen. The scroll box will list that side's available bases. As you select a base from the scroll box, the map will scroll to show you the base's postion on the group map. Selectin "OK" will choose the selected base and take you to the "Edit Group" screen (see "Create New Group".) You will notice that, this time, the Group's unit list" scroll will not be empty, but will contain the base as the first unit in the list. You may not, however, delete the base or display it. You may only add aircraft to "airfield" type bases, or ships and subs to "port" type bases. You may add either to "base" type bases.(NOTE: it is not recommended that you add ships and subs to base groups, since the computer opponent will not make use of these assets.) Everything else works the same way as the "New Group" command, except that you will not be asked for the base's probability of inclusion-they are more or less "fixtures" in the scenario. Change Gropu Postion- THis command allows you to repositon a group or base using the "Postion Group" dialog as described in "Create New Group". You will have the capability bases because we recognize that some of their postions are not optimal. This will also allow you little more straegic flexability. Edit Group/Base- Allows you to edit and display a group's unit list. Brings up the "Edit Gruop" screen as described in "Create New Base", with the units that have already been added listed in the "Gruop's Unit LIst" scroll. Delete Gruop/Base- Allows you to delete a group that has already been created. After selecting "Yes" to a confirmation dialog, the group, all of its units, and its orders will be flushed from the scenario.(CAUTION; There is no "un- delete" command; this change will be permanent.) Section C * Orders Menu This menu contains the orders from Harpoon. Please refer to you Harpoon manual for the basic operatins of these menu items. What follows is a summary of the difference between the Scenario Editor Orders Menu and the Harpoon Orders Menu. Attack "Attack" works similarly to Harpoon, except for two major differences. First, you will only be able to order attacks against base targets, since the computer opponent automatically handles all other attacks. Second, you will be asked for weapons allocation, since this also is handled by the computer opponent. Set Speed- No Difference Enter Group Course There have been several changes/improvements to this order(also referred to as Path Editor), including the ability to "Cancel" changes made to the original path, as well the ability to "Revert" to the original path without exiting from Path Editor. Other additional features include: the ability to edit attack and launch aircraft orders, the ability to enter alternate paths (see the Orders2 Menu), and the ability to access commands from the Setting Menu, such as grid lines and game icons. Formation Editor There are a few subtle but important differences between the Scenario Editor version of FOrmation Editor, and that of Harpoon in Harpoon, you use FOrmation Editor to order ships, and subs to move to a new location within the group, and to set air patrols. When you exit Formation Editor, the ships and subs start moving from their current locations to their new locations, and the aircraft begin lauching for their patrols. In Scenario Editor, when you exit the Formation Editor, the ships will be located where you placed them- "magically" translocated to their new position within the group. This will be unit's relative starting location when your scenario is played. Air patrols in Formation Editor will not be immediatley launched, as they are in Harpoon. Instead, the scenario will "remember" to launch the patrols at game startup. Another item you may have noticed are the asterisks that appear next to some of the units in the scroll box. This indicates that the unit has not yet been placed in the formation circle. As soon as you place the units, the asterisk will disappear. Ready Aircraft Use the "Ready Aircraft" command to initialize the la\oadouts for the aircraft you have added to the scenario. The aircraft will be "readied" immediatley, and will have this loadout at scenario startup when Harpoon is run.(CAUTION; changing loadouts for aircraft whose patrols or strikes have already been assigned will cancel these orders.) Launch Aircraft Works identically to Harpoon, with a few minor changes. When you select "OK" to accept your launch orders, you will be asked for a time delta; this will allow you to delay lauching until a given amount of time has passed. In this way, you can coordinate the computer opponent's air strikes as you would if you were playing Harpoon. Also, as with formation air patrols, your orders will not be carried ouy by Scenario Editor itself, but will be "remembered" in your scenario to be executed during Harpoon play. Join Group Use "Join Group"in Scenario Editor to transfer all of the units from one group into another. These units will have to be repositioned in their new group using Formation Editor. Split Group Use "Split Group" in Scenario Editor to split units off from a group to form one group into another.These units will have to be repositioned in their new group using Formation Editor. Sensors- Works identically to Harpoon. Edit Staff Note- Works identically to Harpoon. Section D * Orders Menu ENter Alternate Path- This command allows you to enter forks in the group's path.This command can only be accessed through Path Editor (Enter Group Course). To enter an alternate path from Path Editor, use the "Prev" and "next" buttons to positon the leg marker on the path point at which you want the "fork" to originate. If you do not have a mouse, use the "Add Order" button or the Escape Key to access the "Enter Alternate Path" command under the Orders2 Menu. If you do have a mouse, simply access the menu as you would from the main screen. When you have selected the "Enter Alternate Path" command, the group's path will be redrawn without the path points that come after the marked point. Once this is done, you may edit the group's "new" course as before, with one exception: you will not be able to edit points that came before the fork's originating point. When you select "OK" to the alternate path, you will be asked for the fork's probability (ie. the percent chance that the group will take this fork). The group's course will then be restored to its state before you began entering the alternate path. If you look in the "Orders" box to the left, the words "Alternate Path" will appear, designating the fork you just entered. You may then edit or dlete this "order" like any other. If you choose to edit your alternate path, the group's course will be redrawn to show the alternate path you have already entered. When you have finished editing, selecting "OK" will save your changes and allow you to reassign the fork's probability. And, once again, you will return to editing the group course at the point where you left. (NOTE:You may have more than one alternate path order at any one path point and you may also add an alternate path to an alternate path.) Enter Variable Start Points- This command allows you to enter alternate start- ing points for a group. Upon selecting this command, you will be presented with a half screen window containing a scroll box and buttons. Above the scroll box will be a box labeled "Default Starting Point:", followed by a percentage. This refers to probability that the group will start where it is located on the map. As you enter variable starting points, this percentage will decrease accordingly. To enter a variable starting point, select the "Add" button. A dialog will ap- pear that is very similar to the one used to position the group originally. If you do not have a mouse, use the arrow keys to position the cross-hairs at the desired point and press the Enter Key to accept. If you do have a mouse,simply click in the Group Map until starting point's placement(the starting point will appear as a "dimmed" square), and select "OK" to accept. Another dialog will follow, asking for the probability that the group will start at this point. If you enter a value grater than the default percentage, then your starting points percentage will be the default percentage minus one. If you enter zero or less for the probability, the probablity will be reset to one. In this way, the system prevents you from entering starting points that will never occur, or from your cumulative percentage be other than 100%. You may edit a starting point by selecting it in the scroll box (a square will be drawn around it on the Group Map), and selecting the "Edit" button. The edit procedure is the same as the add procedure. You may also delete starting points using the "Delete" button (a confirmation dialog will appear). Finally, selecting the "OK" button will let you exit from the "Edit Variable Start Points" interface. Grant Nuclear Release- Allows you to set a time for each side to be granted nuclear release. (NOTE: If you do not grant nuclear release for a side, it will not be given in your scenario unless the player overrides the system and grant himself nuclear release.) First you must choose the side to be granted nuclear release. Next you will need to provide the time point in the scenario at which you would like nuclear release to occur (the "time delta"). You may also enter a variation on this time (this translates to "time plus or minus varation %"). If you enter 100%, nuclear release will occur any time from game setup to twice the "time delta" you entered. You may only enter one nuclear release order per side. If you select the "Grant Nuclear Release" command for a side that has already been given this order, you willl merely be editing the existing order. The orders will be shown one side at a time. To edit the other side's orders, select the "Change Side" button. If orders appear in the scroll box, you may "edit" or "delete" them. If you choose "Edit", the appropriate interface for entering that order will appear, with the formation you have already supplied filled in for you. When you exit that interface, you will be returned to the "Edit Orders" interface. As usual, you may delete the currently selected order by selecting the "Delete" button and selecting "Yes" to the confirmation dialog that follows. Section E * Setting Menu All of the Setting menu commands work the same as in Harpoon, Except the "Set Land Color" is now its own menu item. Section F * Misc Menu Analyze Scenario- This command allows you to check your scenario in four key areas: 1) How much memory the scenario will take when run from Harpoon. 2) The relative strengths of the two opposing sides. 3) Whether any group's movement orders will cause any of its run aground. 4) Whether your scenario has all of the components of a complete Harpoon scenario. When you select the "Analyze Scenario" command, a full screen window will come up containing a large scroll box and eight buttons. The four buttons on the left will be used to access the analysis features mentioned above. Estimate Memory This feature will evaluate the relative postures of both sides, both offensive and defensive. Tip to save memory- it does not cost to include two ships of the same class as it does to include two ships from two different classes. Check Group Movement This feature checks each unit in evey group against that group's movement orders, including paths, alternate paths, and variable starting points. If any units are aground at any of these points, you will be notified. Check Completeness This will check to make sure that your scenario contains every element of a complete scenario. These elements include: at least one group per side, at least one unit per group, and at least one total and one minimum victory condition per side. It will also give warnings about other missing but optional elements, such as uclear release, varialbe starting points, alternate paths, planes on carriers, etc. Do Complete Analysis Thiscommand is equivalent to selecting all of the above buttons at once. This allows bypass pressing each button if yu want the complete analysis. Save to File This command allows you to save the contents of the scroll box to a text file called ANALYSIS.TXT. Save to Print This command allows you to print the contents of the scroll Rename Unit- Allows you to rename ships,subs, or carrier units, using the same scroll box that is used to name these units originally.(NOTE: YOu select a unit in the Unit Window for this item to be activated.) Calc Range and Bearing- Same as Harpoon. III Additional Help Section A * Victory Conditions Walk-Through If you have not already done so, you may want to review the section entitled "Enter VIctory Conditons". Select "Enter VIctory Conditions" from the "Game" menu. A window will appear in the lower half of the screen containing a scroll box and four buttons. If no victory conditions have been entered, the scroll box will be empty. Select the "Add" button, using either the "A" key or your mouse. A large dialog will appear in the center of your screen, titled "Victory Conditions". Example #1- "For the Blue Side to achive minimum victory, it must destroy at least five enemy ships." Select the following dialog items: "Minimum Victory","Blue Side","ANDed","Type" Once you selected "type", the six type choices will be activated. Choose "Ships", move down to the "Numbered Killed" text-edit box, and enter "5". Now select "OK". Example #2- "For the RedSide to achieve minimum victory, it is sufficient fot it to get three of its subs on-station south of Iceland for a minimum of two hours." Select the following dialog items: "minimum Victory","Red Side","ORed","Type","Subs","On station" The "Number KIlled" edit box will change to the "Number On Station", and the "Time On Station" box will be activated. Enter"3" for the "Number On Station" and "2" in the "hours" box next to "Time On Station". Once this is dine, select the "enter Rect" button to enter the area that is be considered "on station." A new dialog will appear, prompting you to enter two opposite corners of your onstation area rectangle. If you do not have a mouse, use ypur arrow keys to move the cross hairs to a point near the bottom of Iceland(the map will automatically scroll the cross- hairs near the edge); if you do have a mouse, use the map scrolling buttons to positiom the map so that Southern Iceland is showing on the group map. We are about to draw a rectangle representing the waters south of Iceland. If you have a mouse, simply click on two points that will represent the onstation area; otherwise, you must move the cross-hairs to the desired points and press "Enter". If you are not satisfied with the selected on-station area, you may select "Start Over" to repeat this process. Once you select "OK", you will return to the "Victory Conditions" dialog. You are now finished entering this victory condition, so select "OK" to accept it. Example #3- "In order to achive minimum victory, it is necessary for the Blue Side to destroy ten(10) ASW aircraft." Select the following dialog items: "Minimum Victory","Blue Side","ANDed","Subtype" After you select "Subtype", you will be able to select a type. You must select a type so the dialog wil know which subtypes to display. Select "Aircrft", then select the "Subtype" button at the bottom of the dialog. A scroll box will appear, listing the available subtypes for all aircraft. Choose "ASW" and press "OK". The words "Subtype:ASW" will appear beneath the "Type" categories in the Victory Conditions Dialog. You will notice that the "Percentage Damage" and "Number Damaged" boxes will be dimmed. This is due to the fact that the aircraft cannot be damaged in Harpoon, only "killed". Enter "10" in the "Number KIlled" box and select "OK". If you combined thiss victory condition with the first Blue minimum condition, it translate to "In order to achieve minimum victory, the Blue SIde must de- stroy at least five enemy ships and 10 enemy ASW aircraft." Section B * HInts for Entering Victory Conditions 1) Do not try to mix AND and OR victory conditions for the same level(ie. same side and same victory level:total or minimum). ANDed always precedence, which neans that your Ored victiry conditions will be ignored unitl ANDed victory conditions are all met. Remember:"ANDed" means a necessary conditon, whereas"ORed" means a sufficient conditio. It is contradicatory to use them together. 2) Always make your on-station area rectangles larger than you think you'll need. Experience has proven that making them snall means that the victory cond- itions will not be met. Also, remember that if you create an on-station cond- ition for a side, you must use the Path Editor to direct the necessary groups to the on-station area, otherwise, the computer opponent will have no way of achieving this victory condition. 3) Get creative with your victory conditions. You will find that they can be very flexible- you just have to think about it a little. 4) For more examples of victory conditions, refer to the victory conditions entered for the BattleSet scenarios. THE KEY COMMANDS TO -ACCOLADES- [GUNBOAT] HI GUYS..HERE`S SOME /ALL THE KEYBOARD COMMANDS I FOUND WHILE CHECKING OUT THIS GAME..HOPE THEY ARE OF USE TO YOU.... F1.........ALL GUNBOAT SWITCHES OFF/ONN F2.........LEFT/RIGHT GUNS ON/OFF F3.........SPOTLIGHT ON/OFF F4.........REVERSE GUNBOAT F5.........BRANCH LEFT (TURN GUNBOAT LEFT) F6.........BRANCH RIGHT(TURN GUNBOAT RIGHT) F7.........SLOW SPEED DOWN F8.........INCREASE SPEED F9.........IDENTIFY TARGET/S F10........CEASE FIRE TAB........ABORT MISSION >..........MISSION DETAILS <..........CHASE BOAT VIEW (AND MISSION CREDITS) ?..........STATUS(IE CAPTAIN..MIDSHIP MAN ECT) D..........DETAIL LEVEL V..........BOW GUN Z/X/C......PRACTISE SHOOTING M..........MAP ESC........PAUSE ------------------------------------------------------------------------------ S H A D O W D A N C E R TYPED IN BY N.O.M.A.D AND SCROTE OF CRYSTAL THOSE OF YOU WHO HAVE MASTERED THE MARTIAL ART OF THE NINJA,JUMP AND FIGHT YOUR WAY TO VICTORY. Joe Mushashi is a Master Ninja whose hands and feet are lethal weapons. In the city centre a group of terrorists are commiting every imaginable atrocity known to man,including the planting of time bombs throughout the metropolis.With his Shurikens (Ninja Stars) Shinobi Sabre and canine companion he will be virtually unstoppable.He courageously sets out to gather up all the explosives placed by the evil gang and annihilate the sindicate manipulates them. LOADING INSTRUCTIONS -------------------- Insert disk and turn on computer.The game will load and run automatically. GAMEPLAY -------- Each of the sub levels in the game has had several explosive devices planted by the terrorists,and your task is to defuse and remove all of them in each area before moving on to the next. This task is made more difficult as each bomb has a timer attached thus creating a time limit for the completion of each level.Send your faithful ninja dog to attack the enemy and then whilst they are distracted you can move in for the kill. Use ninja magic to eliminate all enemies in sight but use sparingly,as even a skilled ninja such as yourself has limited powers. The controls are as follows.... JOYSTICK CONTROLS ----------------- JUMP UP JUMP LEFT  JUMP RIGHT \ | / \ | / \ | / \ | / \ | / \|/ LEFT ------------------ RIGHT /|\ / | \ / | \ / | \ / | \ / | \ CROUCH AND JUMP CROUCH AND WALK LEFT WALK WALK RIGHT AMIGA ------ Using a joystick , you ninja in the following ways.... Joystick movement in addition to diagram: Fire just before moving up Super-Jump up Fire just before moving down Super-Jump down Hold the joystick down and press fire . Send dog to attack enemy keypress: Space ativate ninja magic P to pause F1 toggle music/Sfx DOCS TYPED IN ON 23 MAY 91 AT 7 OCLOCK NOMAD AND SCROTE <<<<<<< CRAZY HORSE / LEPROSY proudly present: >>>>>>> <<< >>> <<< B L O C K S H O C K - P A S S W O R D S >>> <<< ============================================== >>> <<< >>> <<< LEVEL: PASSWORT LEVEL: PASSWORT >>> <<< ------ -------- ------ -------- >>> <<< 001 -------- 061 RUHETAG >>> <<< 006 NAGELLACK 066 VENTILATOR >>> <<< 011 BLUMENTOPF 071 WASSERSKI >>> <<< 016 LAGERHAUS 076 ZUGLUFT >>> <<< 021 REGENBOGEN 081 HOCHHAUS >>> <<< 026 AUGENARZT 086 UNIVERSUM >>> <<< 031 BARKEEPER 091 JAHRESZEIT >>> <<< 036 KUGELLAGER 096 PUTZFRAU >>> <<< 041 BLUTGRUPPE 101 TASCHENUHR >>> <<< 046 ERDBEBEN 106 NACHTTISCH >>> <<< 051 PROFESSOR 111 FLUGZEUG >>> <<< 056 STIERKAMPF 116 SEGELBOOT >>> <<< >>> <<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>> KICK OFF - WINNING TACTICS ^^^^^^^^^^^^^^^^^^^^^^^^^^ TYPED IN BY N.O.M.A.D & -= ZIPPY =- (YOU LUCKY LOT!!!) INTRODUCTION ------------ Winning Tactics is a collection of tactics for PLAYER MANAGER, KICK OFF 2 and FINAL WHISTLE. Tactics is a very important part of the game play of the KICK OFF based programmes. If you have so far ignored this aspect and just enjoyed playing the game you have not realized the full potential of the game. A game player using the correct tactics for the occasion will enable you too exploit the weak spots in the opposition defence or effectively counter the opposition attack. There are ten double tactics that can be loaded into the FINAL WHISTLE disc only. There are also ten single tactics which can be loaded into KICK OFF 2 or PLAYER MANAGER. Note: Trying to load double tactics into PLAYER MANAGER or KICK OFF 2 may crash the programme. LOADING ------- SINGLE GAME ----------- Load your main KICK OFF program , select OPTIONS from the menu. Then select SELECT TACTICS from the OPTION MENU, select the team for which you wish to load the tactics, and press the fire button. The SELECT TACTICS screen will now be displayed or a requestor asking you too insert the WINNING TACTICS disc. Select the tactics from the directory and press the fire button. Select o.k and press fire button. You will now be returned too the SELECT TACTICS screen. The new tacics will appear in the load tactics box. Highlight the tacics you wish to replace and press the fire button. The tactic will now be replaced with the new tactic which you can be used during the game. LEAGUE OR CUP ------------- The table will be displayed. Highlight the team for which you wish to change the tactics, press F5 to display the SELECT TACTICS screen. Follow the SINGLE GAME instrucions from here. INTERNATIONAL FRIENDLY ---------------------- The tactics for INTERNATIONAL FRIENDLY are loaded into the league first. Loaf the tactics as for the LEAGUE OR CUP above and use the QUIT option in the LEAGUE table. PLAYER MANAGER -------------- Select COACH on the main menu. Select TACTICAL TRAINING on the COACH screen. Insert WINNING TACTICS disc in DF0: Select RETRAIN on TACTICAL TRAINING screen. Directory of the WINNING TACTICS disc will be displayed. Select any tactics from SINGLE TACTICS list. Note: If DOUBLE TACTICS is selected the game will crash. W I N N I N G T A C T I C S ^^^^^^^^^^^^^^^^^^^^^^^^^^^^ DOUBLE TACTICS -------------- 1. LONGBALL 6. MIDFIELD 2. PRESSURE 7. SPREAD 3. SWINGERS 8. COUNTER 4. SMOTHER 9. OFFSIDE 5. DESPERADO 10. OVERLAP LONGBALL -------- STYLE Attacking SHAPE 4-2-4 DESCRIPTION Longball is aimed at providing a good service to the front two players 9 & 10. It employs two wingers no`s 7 & 11, these wingers are not placed to wide so that they can easily back up the front men. In defence no`s 5 & 6 hang back just behind the 2 full backs no`s 2 & 3. These full backs are positioned quite wide out so that they can serve the wingers as well as cut out the opposing wingers. PRESSURE -------- STYLE DEFENSIVE SHAPE 5-4-1 DESCRIPTION Pressure is aimed at putting the opponent under pressure when they have the ball. It employs a sweeper at no 4. Two full backs at no`s 2 & 3 and also two centre backs at no`s 5 & 6. When the opposition has possession, everybody except you striker is back behind the ball. Once possession has been gained, no 9 will race up to join the lone striker, no 10. No`s 7 & 11 will then move out to take up wing positions. SWINGERS -------- STYLE ATTACKING SHAPE 3-2-5 DESCRIPTION Swingers revolves around the theory that the more service is provided to the front men. More goals they are likely to score. There are three strikers at no`s 8,9, & 10, supported by no`s 7 & 11 acting as wingers. No`s 2 & 3 also take up very wide positions. Most defensive opereations will revolve around your sweeper no 5. At times he will be under great pressure so a cool head is needed. The two mid fielders no`s 4 & 6 are positioned half way between the defence and the front line and then can therefore easily move between them. If played well this can be a very exciting and effective tactic. SMOTHER -------- STYLE DEFENSIVE SHAPE 5-4-1 DESCRIPTION aimed at smothering any attack mounted by the oppostion. This tactic should prove very hard to break down indeed. A sweeper is employed at no 5 with no`s 4 & 6 being full backs and no`s 2 & 3 being centre backs. The midfield is positioned deep, just in front of this defensive line, making it very difficult to breach. The lone striker is at no 10 and he will have the thankless task of taking on the opposition single handed, but you woundnt play this tactic if you wanted to score anyway. DESPERADO --------- STYLE ATTACKING SHAPE 3-1-6 DESCRIPTION To be used in desperate situations only. It leaves you woefully exposed at the back with two very wide wingers, two out and out strikers and two more attackers set just behind and to the side of these, its always going to cause even the most well organised defence a problem or two. MIDFIELD ---------- STYLE NEUTRAL/DEFENSIVE SHAPE 4-5-1 DESCRIPTION This tactic is adopted when the offside option is being used. Without offside option, your defense will be next to useless as it relies heavily on the offside trap. Once agian there is just one lone striker at no 10. Numbers 4 & 8 , & 9 make up the heart of the midfield, with no`s 7 & 11 as left and right midfielders. There arent too many attacking options available with these tactics. Long mazy runs from deep in the midfield are the key to these tactics for scoring goals. SPREAD ------- STYLE NEUTRAL/ATTACKING SHAPE 4-3-3 DESCRIPTION Aimed at those of you who think they can really pass the ball. All your players are positioned all over the pitch, there is no bunching at all. You can really spread the play from side to side and it proves to be, if played well, a nightmare to defend against. The back four play quite flat so you can even have a quite effective offside trap at times. With players 3,4 and 11 acting wide out on the left, and numbers 2,8 and 7 out on the right there is a lot of scope for attacking down the wings. COUNTER ------- STYLE NEUTRAL/DEFENSIVE SHAPE 5-2-3 DESCRIPTION These tactics change from defence to attack quickly. If the opposition is in possession, these tactics will get as many of your players back behind the ball as quick as possible, but when possession is gained no`s 11 & 7 will run out wide to become wingers, and no 10 will race forward, closely followed by no`s 8 & 9 from midfield. At all times a basic 5 man defence will be in opperation with no 4 as sweeper. OFFSIDE ------- STYLE NEUTRAL/ATTACKING SHAPE 4-2-4 DESCRIPTION This is another formation that relies heavily on the offside rule, so if offside is not selected then don`t use this tactic. Basically it`s the standard 4-2-4 formation with a very strict back 4 who will try to stay on the halfway line, but if advanced upon will retreat back to the edge of the penalty area and no further. No`s 9 & 10 are pushed forward so that they may benefit from the long ball, but also they have wingers at no`s 7 & 11 who play quite wide and should be able to give a good service. OVERLAP ------- STYLE ATTACKING SHAPE 5-3-2 TO 3-5-2 DESCRIPTION This tactic changes from being 5-3-2 in defensive mode to 3-5-2 in attacking mode. This is achieved by pushing the two fullbacks no`s 2 & 3 up past the wingers no`s 7 & 11, giving even greater width to an impressive looking formation. No`s 9 & 10 play as out and out strikers and no 8 as a roving midfielder. The sweeper system is used again, and no`s 5 & 6 being the centrebacks and no 4 the sweeper. If played well this tactic can be devastating and also very exciting to watch. S I N G L E T A C T I C S ^^^^^^^^^^^^^^^^^^^^^^^^^^^ (FOR KICK OFF 2 & PLAYER MANAGER) 1. FORT KNOX 6. DYNAMIC 2. GASP 7. STRIKE 3. SHUFFLE 8. SWEEPER 4. WIDEBOY 9. THRILLER 5. BREAK 10. COMPACT FORT KNOX --------- STYLE DEFENSIVE SHAPE 7-2-1 SUMMARY This tactic is aimed at denying the opposition any time on the ball anywere near the goal. No 10 plays as the lone striker with no`s 8 & 9 in midfield. The defense spreads out from the sweeper at no 5 with no`s 4 & 6 playing as centrebacks, no`s 2 & 3 outside these and no`s 7 & 11 outside these as fullbacks. GASP ---- STYLE ATTACKING SHAPE 3-2-5 SUMMARY This tactic is for use in extreme emergencies only as it leaves your defence wide-open and prone to attack. No 5 plays as a sweeper with no`s 2 & 3 as fullbacks. The midfield consists of no`s 4 & 6, no`s 7 & 11 adopt very wide positions with no 8 playing just in behind the two front men no`s 9 & 10. SHUFFLE ------- STYLE NEUTRAL/ATTACKING SHAPE 5-2-3 SUMMARY This tactic is a little strange in that throughout the time this tactic is employed the fullback no 2 and the winger no 7 and also the fullback no 3 & the winger no 11 (thats what it says here !!!?????!!! N & Z) continually swap positions. This can lead to some very effective overlapping by the fullbacks. A sweeper system is once again employed with no 5 assuming this role. No`s 4 &6 are the centre backs with no`s 8 & 9 in midfield and number 10 as the striker. WIDEBOY -------- STYLE NEUTRAL/ATTACKING SHAPE 4-2-4 SUMMARY This tactic is for those of you who like using wingers or maybe those of you who dislike playing against wingers as no`s 2 & 3 play as very wide fullbacks, effectively snuffing out the opponents wide men. No`s 5 & 6 are centrebacks with no`s 4 & 8 in midfield. No`s 7 & 11 act as the wingers with numbers 9 & 10 being the strikers. BREAK ------ STYLE NEUTRAL SHAPE 4-3-3 TO 4-2-4 SUMMARY This tactic has been mainly designed for use in PLAYER MANAGER but also works well in KICK OFF 2 . It employs two centrebacks numbers 5 & 6 and two fullbacks numbers 2 & 3. The midfield comprises of numbers 4 ,8 and sometimes 9 who also does his fair share of attacking duties. Two wingers are used at numbers 7 & 11 , but these are not overly wide and the striker is at number 10. this is a very well balanced tactic. DYNAMIC --------- STYLE ATTACKING SHAPE 4-2-4 SUMMARY This another tactic designed with PLAYER MANAGER very much in mind, but also as with BREAK it works well in KICK OFF. Dynamic is a more attacking variation of BREAK with the number 9 moving upto play as the second striker. again this is a well balanced tactic, that should be able to defend as well as it attacks. STRIKER ------- STYLE ATTACKING SHAPE 3-2-5 SUMMARY This is yet again another tactic that has been designed for use in PLAYER MANAGER as a very attackin option. Number 5 is a sweeper and numbers 2 & 3 act as fullbacks. Numbers 4 6 and 8 run the midfield and numbers 7 and 11 play out very wide on the wings.Numbers 9 and 10 play as strikers. This tactic has been tryed and tested by STEVE SCREECH in his PLAYER MANAGER side SWEEPER ------- STYLE DEFENSIVE SHAPE 5-3-2 SUMMARY This is a new sweeper formation which should also snuff out the opposition wing play as well as there forwards. Numbers 2 & 3 play out very wide as fullbacks and numbers 4 & 6 play as centrebacks next to number 5 - the sweeper. Numbers 7,8 and 11 are in the midfield with numbers 9 & 10 up front. THRILLER -------- STYLE ATTACKING SHAPE 5-2-3 SUMMARY This tactic is a very attacking sweeper formation. It works particulary well if you employ "LONG BALL" method of playing KICK OFF 2. Both fullbacks numbers 2 & 3 and wingers 7 & 11 play out very wide are difficult to defend against. Numbers 8 & 9 play as midfielders with number 10 as the striker and number 5 as the sweeper. COMPACT ------- STYLE NEUTRAL/DEFENSIVE SHAPE 4-4-2 SUMMARY This tactic is aimed at packing the midfield and stopping the opposition playing. Numbers 4,7,8, and 11 take on the midfield duties with numbers 2,3,5 and 6 playing very flat across the back. Numbers 9 & 10 play up front and will have to work hard to break down the opposition, but you should not play this formation if you are losing. OK YOU LUCKY PEOPLE THE DOCS WERE TYPED WITHIN AN HOUR OF THE RELEASE SO YOU CAN PLAY THE GAME! DOCS TYPED BY -= ZIPPY=- & N.O.M.A.D L E V E L - C O D E S F O R L O G I C A L 01 WELCOME 11 DONT PANIC 21 BE HONEST 31 BLUE VELVET 02 THE OTHER SIDE 12 COLORMANIA 22 BLUE N VIOLET 32 PARADISE I 03 QUADRI QUADRA 13 REFRESHMENT 23 THREE PATH 33 CLASSIC ART 04 STONE ROAD 14 FULL MOON 24 DANGEROUS 34 VENI VIDI VICI 05 NICE COLORS 15 RUNNING BALLS 25 THE WANDERER 35 WE LIKE IT 06 MORE COLORS 16 GREEN RIVER 26 SECRET CHAMBER 36 FOREVER HERE 07 REAL FUN 17 TWO ISLANDS 27 FALCONS FLIGHT 37 WONDERLAND 08 PINK AND PINK 18 MORE ISLANDS 28 BLUE ANGEL 38 THE SNARE 09 GREEN PATH 19 TIMES CHANGE 29 FAR THUNDER 39 CURE IT 10 BAD DIRECTION 20 OTHER THINGS 30 A SIMPLE ONE 40 SUN IS SHINING 41 A RAINBOW 51 LOGISTIC 61 WILD AT HEART 71 WALK IN CREAM 42 ARROW ROAD 52 TURNING COLORS 62 THE DARK AGE 72 TOUCH HER 43 TURNING WHEELS 53 PARAMOUNT 63 DIMLIGHTS 73 SHADOWLAND 44 ACCELERATION 54 THE LADDER 64 THE FIFTIES 74 JACK IN BAG 45 THE PRESDENT 55 BACK N RED 65 PICTURE OF HER 75 VITAMIN C 46 HE IS MISSING 56 TREASURE ROOM 66 GORDIAN KNOT 76 STUNT BALL 47 PICKNICK TIME 57 DONT WANT THAT 67 HIGH SPEED 77 MIRRORLAND 48 WHO IS CALLING 58 THE FREE FALL 68 ALEXANDRIA 78 ACE QUEST 49 ANCIENT ART 59 CORRADO BEACH 69 RUNNING TEAR 79 BOA BOA BOA 50 SHE IS GONE 60 MORE POPCORN 70 HER RAINBOW 80 DA DA DA 81 HAUNTED HOUSE 91 SHE COMPARES and the Password for the Editor is: 82 THE SECRETS 92 BIG MOUNTAINS 83 SMILING JOKE 93 TOMOTTOW THE FINAL CUT 84 CHILDREN GO 94 TELEPORTER JAM 85 IT IS ATLANTIS 95 LEVER SUNLIGHT 86 ON THE ROAD 96 NEW EXODUS 87 BLUE IS FIRST 97 THE PEACEPIPE 88 WOLFS MOON 98 FINAL SURPRISE 89 WILD CHINA 99 WHITE MIAMI 90 ITS LOGICAL T Y P E D B Y R A G M A N / S E N S I C S Circuit's Edge Awesome Walk Thru. CIRCUIT'S EDGE Part 1 INTRODUCTION CIRCUIT'S EDGE is a graphic adventure whose story is set (roughly) in 2702 A.D., in a city called Budayeen, somewhere in the Islamic world. You are Marid Audran, a private detective. Budayeen is a seedy place full of unsavory characters, and you're not exactly pure as new-driven snow either. Drug use, sex, and drinking are favorite pastimes, and some inhabitants are really into inserting chips in themselves to acquire various skills and personalities. (Players of NEUROMANCER may detect some similarities here.) And you, being a carefree, try-anything-once kind of guy, are into everything! This game is in real time -- that is, the game clock keeps ticking away even if you're just staring at the screen. Be sure to pause the game when you have to leave for a short time. Certain game elements are sensitive to game time and must be accomplished without breaks. These will be so indicated in the walkthru. Saving the game is only allowed when you are in your own apartment; there is only one save-game slot. When you are on a time-limited task, don't waste time by returning to your apartment to save the game. All commands for the game are chosen from menu bars at the top of the screen. Although this type of interface is common to a variety of games, there are some unusual features unique to this game. These features will be pointed out at the appropriate spots in the walkthru. You need the street map (north is at the top of the page) and the business directory in the manual to travel. There is a small map window in the lower right corner of the screen showing your immediate surroundings, to help you orient yourself while traveling. Movement is done by using the arrow keys or by clicking either on the main screen or on the small map window (I prefered using the arrow keys). In the walkthru, commands that you select from the menus are in capital letters. From time to time, you will need to TALK to someone ABOUT certain things. These are noted in capital letters and quotation marks. While in the game, punks randomly ambush you on city streets. Early in this walkthru, we'll equip you with the KUNG-FU MASTER chip; this should make you almost invincible to these punks. After each fight, get all the money and a stiletto or switchblade (if you don't already have one); leave other things behind. If you find your life meter bar has fallen to less than half, go to the Medical Clinic, and TALK to the NURSE to BUY NUCLEAR HEALING. Because of their random natures, fights and healing are not included in the walkthru. YOUR APARTMENT Read the description to find out what a dump you live in! Select GAME and TURN BRIEF MODE ON: Now the game will only give you a description of an area when you first enter it. This helps save a lot of time and unnecessary scrolling. Select ACTION, then CHIP-IN your BIO-SCANNER. Let's take a look at your vital signs. Good, you're in fine health. Better leave that chip in all the time so we can monitor your health continuously. Hang around here and wait till.... Hey, your belt phone is ringing! TALK. It's your friend Saird. He wants you to go to Cafe De La Fee Blanche to pick up a package from Fuad. (Remember his new commcode.) EXIT. To help you get your bearings, you're outside the Five Pillars Apartments on North 12th Street, facing west. Turn left and go to the large intersection. Turn left and go east three blocks. Turn left again and go down North 9th Street. The cafe is on your left. From now on, follow the map in your manual to travel. TALK to GARGOTIER ABOUT "FUAD." Hm, that rascal probably went to Chiriga's. EXIT and go there. TALK to FUAD ABOUT "PACKAGE." Now, type INVENTORY. USE BELT PHONE. Dial Saird's new commcode: 131AEP69. He wants you to meet him at Frenchy's Nightclub. EXIT and go there. TALK to SAIRD. INVENTORY. GIVE Saird the COLOGNE PACKAGE. (Note: The GIVE option is only available when you take an object from INVENTORY while TALKing to someone.) Saird is ecstatic over the cologne. He gives you a new chip to play with. ACTION. CHIP-IN CHRONO-2000. Ah, now you can tell time. INVENTORY. DROP your WRIST WATCH (you don't need that old watch anymore). Hang around here and absorb the atmosphere. Hey, there goes your phone again! TALK. Someone wants you to go to Bougainvillea Apartments to pick up a note book. EXIT and go there. After you get a description of the lobby, another LOOK will take you to Carter's room. Someone knocks you over the head and everything turns to black. When you wake up, you learn that Carter has been murdered. Note the writing on the wall. ACTION. GET the HOLODISK or the ANSWERING MACHINE. Now, you get arrested by the police. Luckily, your influential uncle Friedlander Bey (nicknamed Papa) talks Sgt. Hajjar into releasing you. Papa is waiting to see you in his home. EXIT and go to the east corner of South 1st and The Streets. There is a bank machine here. INVENTORY. USE your BANK DISK. Type in your bankcode (found in the manual) and withdraw all your money (628 Kiams). INVENTORY. DROP your BANK DISK and go to Laila's Mod Shop. TALK to LAILA. BUY KUNG-FU MASTER chip. ACTION. CHIP-IN KUNG-FU MASTER. Now you're ready for any punks that may show up. EXIT and go to Friedlander Bey's home. To get here, exit Budayeen by going through the East Gate at the eastern end of The Street. TALK to BILL (the taxi driver) and tell him: I WANT TO GO TO FRIEDLANDER BEY. EXIT and TALK to PAPA. He tells you he wants you to find the murderer of Kenji Carter and recover the notebook. Great; now you have a purpose in life! EXIT and go to the Police Station. TALK to BILL to take you to the Police Station. TALK to SGT. HAJJAR ABOUT "KENJI." If he ignores you, keep trying until he responds. He gives you the answering chip from Kenji's answering machine. TALK to him ABOUT "MORGUE." He gives you a morgue pass so you can look at Kenji's effects. ACTION. Notice that there is a new option only available here: "U." To get to the Morgue, TALK to BILL to take you to BUDAYEEN. When you exit the taxi, you will find yourself just inside East Gate facing west. Go to the morgue and TALK to the ATTENDANT. Select INVENTORY and SHOW him the MORGUE PASS. ACTION. SEE EFFECTS. ACTION. GET ITEMS: HOLODISK and LEATHER WALLET. INVENTORY. LOOK AT WALLET. There is a tag from Mustafa's Pawn Shop. EXIT and go there. What's going on? The Pawn Shop is out of business. May be you can find out something at The Leather Goddesses. Go there and TALK to MADAME ABOUT "MUSTAFA." So the merchandise has been bought out by another merchant. EXIT and go to Friendly's Pawn Shop. TALK to FRIENDLY. INVENTORY. SHOW him MUSTAFA'S TAG. INVENTORY. GIVE him 20 KIAMS. He gives you half a brass ring. INVENTORY. LOOK AT HALF A BRASS RING. Notice the inscription on the ring. While you are here, BUY an ANSWERING MACHINE from him. EXIT. INVENTORY. DROP MUSTAFA'S TAG. USE the ANSWERING MACHINE. To understand the full message, you will need Laila's language chip and more Kiams to buy it. Maybe Papa can help with the Kiams. INVENTORY. USE BELT PHONE. Dial Papa's commcode which is listed in the manual. Well, hope he gets the message. Now, return to Laila's Mod Shop, and TALK to LAILA about "ORIENTAL." Now, TALK to LAILA about "JAPANESE." You learn she sold the language chip to a jewelry dealer. Go to the Jewels of Morocco and TALK to JEWELER about "JAPANESE." It looks like you will need to solve the burglary of the star sapphire to get the language chip. Better go find out something more about the serpent tattoos. EXIT. Papa got your message! He sent his two body guards to deliver 600 Kiams to you. Go to Franco's Tattoo Parlor and TALK to FRANCO about "SERPENT." You learn there are two suspects: Marco and Manny. Marco works in one of the shops and sold him a holoviewer. (Manny works for sharks?) It's been a long night. Return to your apartment and SLEEP until around 6:00 p.m. You may save the game here if you like. CIRCUIT'S EDGE Part 2 BACK ON THE STREETS It's around 6:00 p.m., and you just woke up. You're feeling a little hungry, too. So EXIT, and go to the Cafe Solace. TALK to OLD IBRAHIM and BUY any meal from him until you are grossly full. Now you are ready to continue tracking down the burglary suspects. EXIT. Let's see, Manny works for sharks...Loan Sharks! Go to AAA Secured Loans and TALK to GUIDO about "MANNY." He gives you a matchbook. INVENTORY. LOOK AT MATCHBOOK. The initials are "S.P." Could it stand for The Silver Palm Nightclub? Yes! INVENTORY. DROP MATCHBOOK. EXIT and go to The Silver Palm. TALK to HEIDI about "MANNY." Hm, a subtle clue: He has unnaturally blue eyes. EXIT and go to The Eyes Of Texas. TALK to SHOPKEEPER about "MANNY." Manny might have been involved in a card-counting scheme. Oh, I know just the place! EXIT and go to The Gambling Den. (Note: It's on South 4th Street, not 5th.) TALK to KARIM about "MANNY." He tells you Manny shacks up with some dancer who has red hair and green eyes. Gee, this guy sure gets around. Go to the Red Light Lounge and TALK to FANYA about "MANNY." Finally! This guy lives at the Ad Dur House. (Note: To find Fanya, I traveled to all the different bars and nightclubs, talked to all the dancers, and read all their descriptions, in case you are wondering.) EXIT and go to The Ad Dur House (at the end of South 9th Street). After reading the lobby's description, LOOK takes you to just outside Manny's room, but it's locked. TALK to LANDLORD. INVENTORY. GIVE him 100 Kiams to get him to open the door. LOOK. ACTION. GET CRUMPLED NOTE. INVENTORY. LOOK AT CRUMPLED NOTE. Manny is supposed to meet someone named Tamara at the warehouse on South 1st Street. INVENTORY. DROP CRUMPLED NOTE. EXIT. (If you have a stiletto or switchblade from a punk, skip this part and go directly to the warehouse.) CRAZY ABDUL'S TALK TO ABDUL, BUY a switchblade, EXIT, then go to the Warehouse on South 1st Street. LOOK. INVENTORY. USE STILETTO or SWITCHBLADE to cut the rope that's tied around the crate. So, Manny has been murdered, too. At least you found the second half of the brass ring in his mouth; this wasn't a totally wasted trip. INVENTORY. LOOK AT the second HALF OF BRASS RING. Note the inscription. Putting both inscriptions together, you get: "Shimaal Mosque, 1 AM." Sounds like a rendezvous. INVENTORY. DROP both HALVES OF BRASS RING, EXIT, and go to the Shimaal Mosque. It can only be reached by taxi. To be safe, you should be in Bill's Taxi no later than 12:40 a.m. Follow the sequence below, but keep an eye on the time. Skip over to Shimaal Mosque, if necessary, then resume the sequence afterwards. ELECTRONIQUES Well, Manny is a dead end (pun intended). So, we will try to follow up on Marco, the other suspect. He sold holosystems; therefore, the electronic shop is a logical place to visit. TALK to SAMPSON about "MARCO." All you get is his full name: Marco Herrera. Maybe the police computer can help if you can just get to use it. EXIT and go to Shoukri's Adult Video Holos. You still have the holodisk to contend with, but you haven't found a machine on which to view it. Answer YES when asked if you want to check out the latest adult holographic film disk. Answer YES again to slide in the holodisk you obtained from the morgue. There's a girl on that holodisk who might just be Kenji's daughter; she hinted that she was going to have cosmetic surgery. EXIT and go to Franco's Tattoo Parlor. TALK to STREET DEALER. BUY POLICE BADGE. This may just fool those cops into letting you use their computer. (Note: The Street Dealer only appears in Franco's shop after 10:00 p.m.) A hint that he has a badge to sell is mentioned in a conversation you overhear in either Chiriga's or The Silver Palm. Unfortunately, this conversation seems to appear in random clubs. EXIT and return to Laila's Mod Shop. Now that you are rolling in Kiams, let's stock up in chips. TALK to LAILA and BUY the following chips: RAD HACKER, ALPINE JACK, SUPER SPY, and PHANTOM. EXIT and get back in the taxi. TALK to BILL to take you to POLICE STATION. EXIT. ACTION. USE COMPUTER. The badge worked! Let's see what it has on "KENJI CARTER." So, he did have a daughter named Tamara. Things are clearer now. Next, look up "TAMARA CARTER" to get an address: The Red Dune Apartment. Okay, now we will try "MARCO HERRERA." Not much luck here, but he does have a brother, Alejandro Herrera: Try that one. Suddenly, a cop notices you're an impostor and kicks you out! But at least you noticed the commcode for remote access to the computer: Maybe a remote link-up is possible. EXIT and go back to the Shimaal Mosque. All you have to do here is wait till 1:00 a.m. Someone sneaks out from the shadows and gives you the code to the police computer. EXIT, TALK to BILL to take you back to BUDAYEEN, then return to Electroniques. TALK to SAMPSON to BUY DATA LINK TERMINAL. EXIT and go to Friendly's Pawn Shop. TALK to FRIENDLY to BUY UPLINK CABLES. ACTION. CHIP-OUT KUNG-FU MASTER. CHIP-IN RAD HACKER. INVENTORY. USE DATA LINK TERMINAL. Dial the remote commcode for the police computer: 054AJR86. Enter the logon code: "GRAVITY." Now, let's try "ALEJANDRO HERRERA" again. Bingo! He lives in The Medinah Apartments. Push the RETURN or ENTER key to disconnect from the police computer. ACTION. CHIP-OUT RAD HACKER. CHIP-IN KUNG-FU MASTER. EXIT and go to The Medinah Apartments. After the description of the lobby, LOOK will take you to just outside the Herreras' room, but it's locked. ACTION. CHIP-OUT KUNG-FU MASTER. CHIP-IN SUPER SPY. INVENTORY. Select CHIP RACK. USE the CHIP SKILL of SUPER SPY. The lock was no match for Super Spy: You are in! Read the description: Marco is dead, too. LOOK again until you find the bullet and the star sapphire. ACTION. GET BULLET. GET STAR SAPPHIRE. CHIP-OUT SUPER SPY. CHIP-IN KUNG-FU MASTER. EXIT and go back to the Jewels of Morocco Jewelry Shop. TALK to JEWELER. INVENTORY. GIVE him STAR SAPPHIRE. He is grateful and gives you 300 Kiams as well as the Japan-easy chip. ACTION. CHIP-IN JAPAN-EASY. INVENTORY. USE ANSWERING MACHINE. You finally get to understand the whole message. Tamara, Kenji's daughter, has the notebook; unless you are good, she will turn up as another victim. INVENTORY. DROP ANSWERING MACHINE and ANSWERING CHIP. EXIT and go to the Medical Clinic. You are here to follow up on the lead that Tamara may have had cosmetic surgery. TALK to NURSE about "TAMARA." She needs to see Tamara's picture, but you do not have a portable holoviewer to play your disk for her. EXIT and go home. You have had another long night. Time to get some rest. Save the game, and SLEEP. Darn that belt phone: It's ringing again. TALK. Why would Mahmoud call you at 6:00 a.m. and ask you to come to Hassan right away? Get up and go to Hassan's Tourist Paradise. TALK to Mahmoud about "HASSAN." Hassan has been kidnaped! INVENTORY. LOOK AT RANSOM NOTE. You only have till 12:00 a.m. tomorrow night to find him. Did you notice the floral scent on the note? Let's get cracking. EXIT and go to The Scarlet Orchid. TALK to SHOPKEEPER. INVENTORY. SHOW RANSOM NOTE. The scent is made from tiger orchid and is probably a woman's perfume made only by Heavenly Fragrances. EXIT and go there. TALK to SHOPKEEPER. INVENTORY. SHOW RANSOM NOTE. A very odd woman orders this perfume from time to time. You are told to get some tiger orchid for the shopkeeper to make a new batch. Well, may be you can buy some from The Scarlet Orchid. Go back there and TALK to SHOPKEEPER about "TIGER." You find out that you may be able to steal some at The Ad Dur Docks. EXIT and go there. You get here by riding in Bill's taxi. LOOK. You will need help to climb up to that second story window. ACTION. CHIP-OUT JAPAN EASY. CHIP-IN ALPINE JACK. INVENTORY. CHIP-RACK. USE CHIP SKILL of ALPINE JACK. Okay, you are outside the window. You need to bypass the security system to get inside. ACTION. CHIP-OUT KUNG-FU MASTER. CHIP-IN PHANTOM. INVENTORY. CHIP RACK. USE CHIP SKILL of PHANTOM. You get in and pick up two packages: the tiger orchid and a Cuban cigar box. ACTION. CHIP-OUT PHANTOM. CHIP-IN KUNG-FU MASTER. EXIT. TALK to BILL to take you back to BUDAYEEN. EXIT and return to Heavenly Fragrances. TALK to SHOPKEEPER. INVENTORY. GIVE TIGER ORCHID. It's done. All you can do now is wait for the shopkeeper to call you when the odd woman shows up at the shop. EXIT and go back home. SLEEP. The belt phone interrupts your sleep again. It's a call from Heavenly Fragrances. The odd woman has picked up her cologne and there is a phone number on the bill: 774TFF60. INVENTORY. USE BELT PHONE. Dial the commcode: 774TFF60. That phone belongs to Mohammad's Glass. Well, you better get some rest before you continue your investigation; you need it. SLEEP until 6:00 p.m. Save the game if you want to. CIRCUIT'S EDGE Part 3 BACK TO THE CHASE You are awake and feeling hungry, and you have to save Hassan real soon. EXIT and go to Cafe Solace. TALK to OLD IBRAHIM. BUY a meal from him until you are grossly full. EXIT and go to Mohammad's Glass. TALK to MOHAMMAD about "ODD WOMAN." She ordered a crystal ball and it's ready to be delivered to her. TALK. INVENTORY. GIVE Mohammad 150 KIAMS to get the crystal ball. He tells you the odd woman is Madame Mimi in the Tarot Den. EXIT and go there. TALK to MADAME MIMI. INVENTORY. GIVE her the CRYSTAL BALL. She pays you back the kiams you spent for it. TALK about "COLOGNE." The nervous Madame tells you that you have to come very close to death to find what you are looking for. I know just the place. EXIT and go to the Cemetery. You get here by exiting the West Gate at the west end of The Street. It is mentioned only once at the very bottom of page 10 in your manual. LOOK. You see the man who jumped you in Kenji's apartment! You have to fight him here. Hit him three times, and he runs away, but he drops his radio direction finder. It is broken but it is set for frequency 6229. EXIT and go back to Electroniques. TALK to SAMPSON. BUY RADIO DIRECTION FINDER. BUY WIRES, too; they will come in handy later. EXIT, INVENTORY, and USE RADIO DIRECTION FINDER. You see a red arrow at the top of the screen. The red arrow points at compass directions (north is at the top). Use the arrow to home in on the warehouse between North 14th and North 15th Streets; then go there. You can't get in; set off a small explosion to blow the door. Now what? Well, there's still that Cuban cigar box that we have not dealt with. INVENTORY. DROP. RADIO DIRECTION FINDER, and go to the Smoke Shop. TALK to SHOPKEEPER. INVENTORY. SHOW CIGAR PACKAGE. Whoa! The box really contains explosives. He also tells you about a terrorist who has been in the news lately. EXIT and go to Maq'-allah's News. TALK to MAQ'-ALLAH about "TERRORIST." LOOK. The newspaper says this terrorist, Luigi, was recently gunned down and killed by police. I wonder if his body is still in the morgue? EXIT and go there. ACTION. GET MORGUE PASS that you dropped the first time you were here. TALK to ATTENDANT about "TERRORIST." ACTION. GET DEMOLITIONIST chip. INVENTORY. DROP MORGUE PASS. ACTION. CHIP-OUT KUNG-FU MASTER. CHIP-IN DEMOLITIONIST. INVENTORY. CHIP RACK. USE CHIP SKILL of DEMOLITIONIST. You realize you need to buy a detonator; Crazy Abdul must have one to sell. ACTION. CHIP-OUT DEMOLITIONIST. CHIP-IN KUNG-FU MASTER. EXIT and go to Crazy Abdul's. (Note: If necessary, stop by the Medical Clinic now to buy Nuclear Healing.) TALK to CRAZY ABDUL about DETONATOR. INVENTORY. GIVE him 100 KIAMS. EXIT and go to Friendly's Pawn Shop. TALK to FRIENDLY. BUY COUNTDOWN TIMER. EXIT and return to outside the warehouse. ACTION. CHIP-OUT KUNG-FU MASTER. CHIP-IN DEMOLITIONIST. INVENTORY. USE EXPLOSIVES. Boom! The door is blown open. ACTION. CHIP-OUT DEMOLITIONIST. CHIP-IN KUNG-FU MASTER. Go inside the warehouse. You have to fight Alejandro Herrera to the death, but with the Kung-fu Master chip, this should be easy. His last confession tells you that he did kidnap Hassan and that he has a big boss behind him. LOOK. Hassan is freed by you. EXIT and go to Hassan's Tourist Paradise. TALK to MAHMOUD. He is very grateful to you and gives you a static pistol and a holodisk viewer! EXIT and go to the Medical Clinic. TALK to NURSE. INVENTORY. USE HOLOVIEWER. The nurse sees the picture of Tamara and recognizes her, but she will not give you any more clues unless you give her a pair of emerald earrings. (Does this game ever end?) EXIT, return to Jewels of Morocco, and TALK to JEWELER about "EMERALD." He sold the last pair to a street dealer in one of the clubs. It figures. Go back to Chiriga's and TALK to STREET DEALER about "EMERALD." This is the guy that bought the earrings from the jeweler, but he will not cooperate. TALK to him again. INVENTORY. GIVE him 50 KIAMS to learn he sold it to some blond dancer. Well, by sheer trial and error, the blond dancer is Kandy. When you TALK to KANDY about "EMERALD," she will tell you that Lily has it. When you TALK to LILY about "EMERALD," she will tell you to get her something green with which to replace it, and call you a "pet." Unfortunately, these dancers move from place to place and often disappear altogether only to return the following night. I suggest you try Chiriga's, The Red Light Lounge, Frenchy's Nightclub, and Big Al's Old Chicago. If you can't find her/them, try again the following night starting at 7:00 p.m. Meanwhile, back at Chiriga's.... After talking to the Street Dealer and/or Kandy/Lily, EXIT. As you exit, a hooker will come up to you and ask for your commcode. She says she has something special for you. Say YES to give her your commcode. The hooker will call shortly afterwards, probably while you are still searching for Kandy/Lily. You deduce that she lives in 247 Salah Ad-Din Apartments. I said "deduce" because the call was cut short very abruptly. Go to the Salah Ad-Din Apartments, and after the description of the lobby, LOOK will take you to the hooker's room. You are not surprised to see another murder, are you? LOOK again to discover the Samurai tattoo on her body. EXIT and go to Franco's Tattoo Parlor. TALK to FRANCO about "SAMURAI." He gives you some information obviously linking Kenji to the hooker, but it serves no other purpose in the game. EXIT. We now pick up the story after you have talked to Lily. She wants something green in exchange for the emerald earrings and she calls you a pet. Now what can that be? HOUSE OF SNAKES TALK to SHOPKEEPER. BUY GREEN SNAKE. EXIT and get back to Lily, wherever you last found her. TALK to LILY. INVENTORY. GIVE her GREEN SNAKE. She faints at the sight of the snake and that makes it easy for you to grab the earrings and run! EXIT and go back to the Medical Clinic. TALK to NURSE. INVENTORY. GIVE her EMERALD EARRINGS. Finally, the nurse tells you that Tamara has changed completely, and is now Arissa. You have probably run into her a few times in the clubs. Arissa is frequently in Chiriga's, but you may have to search in the other clubs too. When you find her, TALK to ARISSA, and you learn a lot about the murder cases. Arissa promises to call you after she retrieves the notebook from her apartment. Shortly afterward, Arissa calls and tells you to go to 1744, the Gray House. After the description of the lobby, LOOK will take you to Tamara/Arissa's room. Well, at least she has not been murdered like the others...yet. You learn she has been taken to the warehouse on South 1st Street by Abu Salah. Wait a minute: You've seen his name. He is the owner of Abu Salah's Rug Shop. Better get over to the warehouse fast! ENDGAME LOOK. Here it is at last: the final confrontation. You have to fight Abu Salah to the death. Again, with Kung-fu Master chipped in, that's not much of a challenge. ACTION. GET NOTEBOOK. Wait, Abu is not quite dead yet. He starts the torturing machine. Tamara will die soon if you cannot stop it. What and where is this black key that Tamara is talking about? From now on, you have 60 minutes of game time to get the black key and bring it back to save Tamara. The black key is in Abu Salah's Rug shop. Enter the shop, and LOOK will get you the key. Bring it back to the warehouse. INVENTORY. USE BLACK KEY. Tamara is saved. EXIT. Just one last thing to do now. Have Bill take you to Friedlander Bey. TALK to PAPA. That's it; another long drawn-out murder case solved. Just sit back and watch the ending. Some additional info not included in the walkthru: 1. You can also SHOW the RANSOM NOTE to SAIRD to elicit some interesting responses. Use the belt phone to call him to find out where he is. You can only reach him after 6 or 7 in the evening. 2. The clue you get by typing "Tamara Carter" into the police computer -- that she lives in the Red Dunes Apartments -- leads to nowhere. By talking to other landlords, you will find that the Red Dunes Apartments has been renamed The Saharah's Apartments. Going there does not lead you to Tamara. Talking to the landlord there yields no further clues either. 3. Try typing in Friedlander Bey and your own name (Marid Audran) into the police computer for some interesting reading. Typing in the terrorist's name does not accomplish anything, which is odd, since he was killed by the police during a shootout. 4. You can play blackjack or baccarat in The Gambling Den. It is very hard to win and gambling has no bearing on the outcome of the game. 5. The writing on the wall "MCDIX" turns out to be a number in Roman numerals. That seems to be such a tantalizing clue all throughout the game, but you don't even need to guess it. Buying and chipping-in the Julius Caesar chip tells you the true nature of "MCDIX." It serves no purpose in finishing the game. 6. To successfully set off the explosion, you need the explosives (naturally!), wires, countdown timer, and detonator. You must also chip-in the demolitionist chip. Another awesome walk-thru brought to you by THE AWESOME DUDE! GFA Artist Typed by Silver ray INTRODUCTION GFA Artist offers all the graphics and animation possibilities one could ever want! This program combines features from many other graphics and drawing packages. You can draw a picture, create complex forms of animation, and save your created animation in a film file( a run-only version that can be used without GFA Artist program). The program is written in GFA basic, yet combined with machine language where necessary for speed and for whiz tricks! Special Features The Function Selection Box: The Function Selection Box integrates low and medium resolution into one screen that is combined with multiple palettes. you have the advantage of using the 80-character mode(medium resolution) for function selection together with the low resolution mode for art work. this makes the use of pull down menus redundant. Colours: GFA Artist works with 2 different modes: LOW RES: The normal low resolution mode. LOW RES STATIC: This mode allows the display of up to 1021 colours at the same time on the low res work screen! These 1021 colours are divided into 68 palettes for the one screen. It is an ideal tool for making pictures with colour transitions for a rainbow effect. This mode can only display pictures - the other animation techniques described in the rest of this manual cannot be used. Screen Formats: GFA Artist is automatically compatible with all standard screen formats(Degas, Colourstar, Neochrome) - no selection is necessary! It is also compatible with Neo-colour Cycling. It can automatically convert a certain screen from one to another. Sprites: A sprite is a group of pixels that together form a part of the picture. They are drawn or created with the functions of the F2 Box. The size of the sprites created with GFA Artist is only limited by the size of the screen! The Control or Input Device: The mouse is used wherever possible instead of the keyboard. Requirements An Atari ST with minimum 1 MB of RAM,TOS in ROM,and a colour monitor is necessary to operate GFA Artist. If the program is run on a 2,3 or 4 MB ST, it will utilize all of the available memory for more space to create sprites,frames,etc. GETTING STARTED The main program on the System disk is GFAARTIST.PRG. If you ran another program before GFA ARTIST, reset your computer in case the other program reserved the memory(GFA ARTIST could then only use the memory not reserved by the other program). Start the program in medium resolution. The message Press Any Key To Continue will appear on the screen. Insert the data disk and press a key, and the program will automatically load and start the demo film(press the ESCAPE key or a mouse button to stop it at any time). If you don't want to see the demo, press a key without inserting the second disk.When the program starts without loading an auto-exec demo, the F2 Function Selection Box will appear on the screen. In GFA Artist, there are 2 main boxes that contain all of the functions that can be executed with the program. The F2 Function Selection Box is used to create the sprite, the F1 Selection Box is then used to make the film from these sprites(press F1 or F2 to move between the boxes. A film created with GFA Artist consists of a series of frames , and within each frame, one or more sprites, at one or more layers. By creating frames with the same sprites that move to different positions from frame to frame,the most complex forms of animation can be created with minimum effort. All of the necessary disk input-output operations can also be executed with the F1 and F2 Boxes. Move between the different functions of the Selection Box by holding down the left mouse button while moving the mouse. Select a function by clicking the right mouse button when the desired function is highlighted with the contrasting colour. The F1 or F2 Box can be moved horizontally across the screen by first holding down the left mouse button, then pressing the right mouse button, and moving the mouse up or down while keeping the two buttons depressed - the box will follow the mouse movements. The way to select a portion of your picture for animation effect is the same for all functions. Once a function is selected, two cross lines will appear on the screen. The point where the two lines intersect will mark any corner of the picture excision you desire. Click the left mouse button to define the corner. You can now define the other coordinates of the picture area with the mouse. When the dimensions are satisfactory, click the left mouse button a second time. To exit the GFA Artist program, it is necessary to reset your computer. GFA Artist changes so many system parameters due to the mixed resolution mode that a Quit option would be useless. THE F2 FUNCTION SELECTION BOX GENERAL: The F2 Function Selection Box contains the features necessary to create the sprites that will be used in the film. NOTE: To stop any animation effect created with a function of the F2 Box, press any key or mouse button. UNDO: When you have executed a function of the F2 Box that does not create a set of sprites, you can undo the result of your last command by pressing the UNDO key. Pressing the UNDO key a second time will recreate the effect of the work just cleared with the previous Undo. SINGLE SPRITES: After you have made a single sprite you can paint your picture with it by moving the mouse with the left mouse button pressed down. This feature will also place the sprite on different coordinates in the picture. OUT OF MEMORY ALERT: GFA Artist gives you about 280K(with two work screens defined) to create sprites. If you have more that 1 MB of RAM , add 90 percent of your extra RAM size to this number. When you reach the upper limit of the reserved space, the following warning will appear: SYSTEM REQUEST:FREE MEMORY IS TOO LOW! PLEASE SAVE YOUR WORK BEFORE PROCEEDING. THE LAST FUNCTION MAY HAVE FAILED. If this warning appears while you are creating a set of sprites, the set of sprites mat not be complete. Remove this warning by pressing any key, but unless some sprites are deleted to obtain extra free memory, the warning will return every few minutes. To avoid an Out of Memory alert when creating sprites, regularly check the number of bytes that are free with the ?? function in the F2 Box or the Info Function in the F1 Box. Fill Patterns: For all functions where a fill pattern is used, you can choose a standard GEM fill pattern or you can define your own custom fill pattern. The latter can be a pattern defined with the built-in pattern editor or with a selected part of a picture. To select a standard fill pattern, highlight the symbol for the filled object you want. When you press HELP key you will get a box with the first series of fill patterns. To view the second series, click on the arrow in the bottom right hand corner. When you click on a certain pattern, it will become the new fill pattern for all of the fill functions. To change the fill colour, click on the colour field and the RGB palette panel will appear. The fill colour is different from the colour selected for drawing. To define your own fill pattern, select the Custom Fill field, which will place you in the Fill Pattern Editor. The big raster (16x16) on the left is the magnified version of your fill pattern. Make a selection from the 16 colours of the current palette at the bottom of your screen by clicking on the desired colour. In this way, your fill pattern can consist of 16 different colours. To create your own fill pattern, click on the little squares in the raster that you wish to change to the selected colour. You can also cut out a part of the current picture by clicking on the Get field and then defining it as the current fill pattern. Other Features Of The Fill Pattern Editor: Clear the Current Fill Pattern: This clears the field. Move the Current Fill Pattern: This moves the pattern to the left right,up or down. If you are defining your own fill pattern, and you click, for example, on the left field, then the points of your fill pattern that are on the left side will disappear and reappear on the right hand side. If a part of the picture is used as a fill pattern, then the whole picture will scroll with the raster acting as a magnifying glass. HFlip and VFlip: These will flip your picture horizontally or vertically. To save your current fill pattern, select the Save function under the F1 Box and then select the GFF format. You can also select the Save option by clicking on the Input-output function under F2(disk symbol). Load a previously saved fill pattern with the Load/GFF option. Functions: Pencil: This function is used for free-hand drawing in a selected colour. Press the left mouse button while moving the mouse to draw. To change the current drawing colour, press the HELP key when the Pencil function is highlighted but BEFORE the function is actually selected by clicking the right mouse button. A second box will appear that displays the 16 colours of the current palette. The current drawing colour is the colour at the bottom of the box. Select a different colour by clicking on it with the mouse cursor; notice that the bottom colour changes also. When you have made your selection, click the right mouse button to exit it again to select the function. Eraser: This will erase part of the work. Select the form of your eraser by clicking the left mouse button. Determine what will be erased by moving the eraser with the mouse and click the left mouse button to delete what is inside of it. Click the right mouse button when ready to exit. Fonts: This function allows you to enter text in your picture. The text will be in the font loaded with the Load option. To enter text, select the function and enter your text on the keyboard. Click the left mouse button to place it or the right mouse button to undo it. You can change the parameters of the current font by pressing the HELP Key when the Font function is highlighted but not yet selected. A second box will appear that allows you to alter the size and angle of the current font. When clicking on the appropriate field(s), the changes will appear in the box: UP ARROW KEY: the letters will increase in height DOWN ARROW KEY: the letters will decrease in height LEFT ARROW KEY: the letters will narrow RIGHT ARROW KEY: the letters will widen + SIGN: the italic effect will increase - SIGN: the italic effect will decrease. If you are not satisfied with the changes you made, you can restore the default dimensions and angle by pressing the UNDO Key while still in the HELP Function. Normal Zoom: This will cause a magnification or diminution effect on a portion of your picture, depending on the source and object dimensions given. First, select the part of the picture you want to zoom and then define the limits of the area that will be affected by the Zoom operation. After the selections are made, the Zoom operation will take place. Polygon: The polygon function allows you to create a construction of interconnected lines. Click the left mouse button to select the starting and ending points of the first line. After this, you only have to select one point of the next line, because its starting point is the same as the ending point of the previous line. When you have completed the polygon, click the right mouse button to exit. If you want to change the line colour of the polygon, press the HELP Key when the function is highlighted but not yet selected. If you do not close the polygon it will be closed automatically. Filled Polygon: This function is identical to the Polygon function except that it fills the polygon with a standard GEM fill pattern or your own custom fill pattern. Combined Flip: This flip function is a combination of the Horizontal and Vertical Flip. Select the part of the picture you want to flip. It will first be mirrored horizontally as if seen through the opposite side of the photograph negative. Then the mirrored picture is turned upside down for the final effect. Horizontal Flip: The Horizontal Flip function mirrors the selected section of the screen. Vertical Flip: The Vertical Flip function turns the selected part of the picture upside down. Ellipse: To make an ellipse, first click the left mouse button to define the centre and then select the shape by moving the mouse. When satisfactory, click the left mouse button again. Click the right mouse button to exit. When you want to select the line colour of the ellipse, press the HELP Key before selecting the function. Filled Ellipse: This function is identical to the Ellipse function except that it fills the ellipse with a standard GEM filled pattern or your own custom fill pattern. Rectangle: To make a rectangle, first define the place of one corner of the rectangle by clicking the left mouse button, and then define the other dimensions of the rectangle by moving the mouse. When satisfactory, click the left mouse button a second time. Filled Rectangle: This function is identical to the Rectangle function except that it fills the rectangle with a standard GEM fill pattern or your own custom fill pattern. Circle: To make a circle, first click the left mouse button to determine the centre of your circle, then move the mouse until the circle has the desired shape and click the left mouse button a second time. Filled Circle: This function is identical to the Circle function, except that it fills the circle with a standard GEM fill pattern or your own custom fill pattern. NEO-Chrome Colour Cycle Switch: This function will produce a permanent colour change caused by a constantly changing colour palette. It is activated by selecting it the first time and deactivated by selecting it the second time. It is only effective if selected before the cycle colours and cycle speed with the Neo-colour Cycle function of GFA Artist, or when a picture created earlier with the NEO-Chrome program. This function is switched off when the 1000 colours mode is on. Animated Zoom Based on Squared/Rectangles: This operates like the Zoom function, but you must also select the number of sprites and the beginning and the end of the area to be affected. Select the function by clicking the right mouse button. Now decide in how many different steps you want your zoom to be animated(the number of sprites). Register this number by pressing the left mouse button with the mouse positioned on the + of - until you reach the desired number and then click the right mouse button. You can exit this function by pressing the UNDO Key. Once the number is set, select the area to be affected. Define the start and end area coordinates of the Animated Zoom with the mouse. The program will execute its work on the screen. Click the right mouse button to stop execution. Lasso Function: With this function you can precisely copy a part from your picture. Define the area by clicking on the left mouse button every time you change the direction of the mouse(like creating a polygon) and then click the right mouse button. Click on the left mouse button to place it in a new position or the right mouse button to exit. Globe Effect: This function transforms an area into a rounded shape. You must define the area you wish to transform and then define the shape of the circle (or ellipse) by moving the mouse. Click on the left mouse button to start the transformation effect. When the new sprite is created, click the left mouse to place it or the right mouse button to exit. Animated Zoom Based on Circles/Ellipses: This function operates in the same way as the Animated Zoom Based on Squares and Rectangles (see above) except that it is based on circles and ellipses. Vertical Roll Function: This rotates the picture vertically around an axis. After selecting the number of sprites and the part of the picture to be affected, define the place of the axis. When suitable, click the left mouse button and the sprites will be created. Exit by clicking the right mouse button. Horizontal Roll Function: This works in the same way as the Vertical Roll Function except the picture rotates around a horizontal axis. Arc Function: This will create any arc you define. You must define the start and end angle of your arc before using this function. When this function is selected for the first time (or if the start angle of your arc is the same as the end angle) a second box will appear for you to define both angles of the arc, or highlight the Arc function and press the HELP Key to change the existing parameters. When the angles are defined,click on the OK field with the left mouse button. Click the right mouse button to select the function and create the arc inside your picture. When the shape of the arc is satisfactory, click on the left mouse button. Horizontal Parallelogram Function: Select part of the screen, and then select the shape of your parallelogram with the left mouse button, and then click the left mouse button again to begin the function. Vertical Parallelogram Function: This function operates in the same way as the Horizontal Parallelogram, except for its vertical effect. Rotate: This will rotate a part of the picture to a different angle. Select the section of the screen with the left mouse button. Define the angle over which the selected part will be rotated by moving the mouse. When OK, click the left mouse button to continue. Animated Rotate: This rotates the picture from a start angle to an end angle divided among the number of sprites selected. First, select the number of sprites with the left mouse button, then define the part of the picture you want to rotate. Click the right mouse button when correct. After this, define the start and end angle of the rotation effect. For example, if you want a complete rotation, define the starting angle as 0 and the ending angle as 359 (the coordinates are shown in the upper right corner). You can also change the angle values by moving the mouse and clicking the left mouse button when the values are suitable. Click the right mouse button to exit. Animated Horizontal 3-D Effect: This creates a horizontal 3-D perspective on a selected part of the picture. Select the number of sprites with the left mouse button, define the area to be transformed, and then define start and end of the 3-D effect. Experiment to become familiar with this function. Click the right mouse button to exit. Animated Vertical 3-D Effect: This function is identical to the Horizontal 3-D effect, except that it creates a vertical perspective. Vertical Drum: The Vertical Drum function lets you create a vertical drum that is sized and oriented to your specifications. After selecting part of your screen, determine the shape of the drum. You have several possibilities. Change the width of the drum by moving the mouse horizontally to the right to widen it, and to the left to narrow it. Moving the mouse vertically tilts your drum vertically an upward movement tilts the drum upward and a downward movement tilts it downward (this is helpful when you want to see more of the inner part of the drum, either from the upper of bottom viewpoint,respectively). Moving the mouse while pressing the left mouse button changes the height of the drum. An upward movement will increase the height, a downward movement will decrease it. When the drum has the dimensions you want, click the right mouse button. A vertical bar will appear in the drum that goes from left to the right, which allows you to select the starting point of the picture on the drum surface by horizontally moving the mouse. When the bar is in place, click a mouse button and the drum will be created. Click the left mouse button to place it in the picture or the right mouse button to exit. Horizontal Drum: This function is similar to the Vertical Drum except the drum is widened by moving the the mouse upwards and narrowed by moving it downwards. Animated Vertical Drum: This function creates a animation effect that consists of a series of horizontal drums. By choosing the parameters, you can create a wide range of different effects and you can use a combination of effects. For example, you can obtain the effect of a drum rotating around its axis and at the same time zoom it in or out. First, specify how many sprites will be between the start and end drums you are going to create by clicking the lift mouse button on the + or - sign in the box that appears. Those sprites are necessary steps for the transition between your start and end drum. A little experimentation is necessary steps for the transition between the start and end drum. A little experimentation is necessary, but general, values from 4 to 15 are good. Next, create a start drum and the end drum in the same way that you created a drum with the Vertical Drum function. As an additional aid, the shape of the start drum is shown in red in the background. After you have completed the end drum, select which part of the drum that is filled with vertical lines between these two bars is the part that will rotate. To change this, press the left mouse button(you can repeat this several times.). If everything is satisfactory, click the right mouse button and the program will make the transformation from the start drum to the end in the number of steps(sprites) specified. Animated Horizontal Drum: This function works in the same way as the Animated Vertical Drum function except that the start and end drums are horizontal drums. Source Screen Indicator: SRC The SRC Screen Indicator gives you the number of actual work screen, You can cycle through the screens in memory by clicking the right mouse button. You can define the number of work screens that can be loaded together in memory with the F2 function Info. This screen is the source screen for all of the animation/sprite functions. You can define the work screen in which your picture will be loaded by clicking on the appropriate number in the File Selector Box. To copy one of the four work screens to another, highlight the SRC function and press BACKSPACE. The work screen displayed on the screen will be copied to the work screen with the DST (destination) screen with the appropriate function. DST Screen Indicator: The DST Screen Indicator allows you to define which work screen will contain your work. When you move sprites from a SRC screen to a different DST screen the palette of the SRC screen will be copied of the palette of the DST screen. Foe example, if you want to use a zoomed in or out part of your picture as an input for another function(ie rotate), you can load the original picture to SRC 1. Before you select the Zoom function you change the value of DST to 2. Now select the Zoom function and make your picture excision the size you want it. After zooming, you can place the result of your zoom SRC 2 by clicking the left mouse button. Now change the value of the Source Indicator to 2 and then select the rotate function, which will from now no take its input from Work Screen Number 2(the Destination Screen acts here as a kind of intermediate scratch path). Fill: This fills you picture with a standard GEM fill pattern of a custom defined fill pattern. You can select a different fill pattern or fill colour by pressing the HELP Key when the fill Function is highlighted but not yet selected. Transform Effect: The Transform Effect creates a user-defined transformation effect on either the whole picture of part of the picture. After selecting the function, use the the left mouse button to define the part of the picture to be transformed. Then define the form the picture will be transformed into (like with the Ploygon function, a new line begins each time you click the mouse button). When you have completed the form, click on the right mouse button and the transformation will take place. To place the created sprite in your picture click the left mouse button, or click the right mouse button to exit. RGB Palette Function: The palette function allows you to compose the colour palette you will use in your picture. After you select this function a panel will appear. The 16 colours you see on the left side of this box form the current palette. The colour on the bottom is the current colour for many other functions eg Pencil,Brush,Line,etc. You can change any of the 16 colours in this box or select a colour out of the 512 colours of your ST. When you click on the 512 field, a screen with 256 colours on it will appear. You can cycle through all 512 colours by pressing the right mouse button while moving the mouse up or down. When you move the mouse cursor onto one of the colours and click a mouse button, that colour will appear in the upper right hand corner. Move the mouse cursor into the colour bow in the upper right corner and click the left mouse button to set the colour, or click the right mouse button if you wish to exit without selection. If you select a colour, it will appear in place of the previous colour in the RGB panel. 1000-Colour Mode: You must select this function before you can make any 1000-Colour transitions. It acts as a toggle switch. When the 1000-Colours switch is on, you can select transition zones(see next function) and create 1000-Colours cycling,but when you set this switch off, you will see your normal picture again, without any of the special effects. When you want to see the previous effect, simply select the 1000-Colours function again. A 1000-Colours screen must be saved with the Input-Output function in the F2 Function Selection Box.In the F1 Box, the 1000 Colour mode is switched off and the screen would be saved as normal(not 1000-Colours). Transition Effect: This changes a part of your picture into a certain colour (maximum 8 new colours, independent from the current palette). Inside one screen you can define more that 1000 colours(512 different ones) in this way. Before you can use this function, you must switch the 1000- colours mode on. To define the colour to be transformed into a new set of colours, click on the desired colour in the RGB panel that Appears after selecting the function. Click the right mouse button. Define the starting and ending colours. These two colours will be divided into as many steps as possible( with a maximum of 8 colours at a time) to form the Transition effect. First click on the start field, then select the starting colour by clicking at an existing colour in the current palette or moving the sliders to define a new colour(this will not change the normal palette settings). Then click on the end field and define the ending colour. To make the maximum number of colour transitions possible, define a starting colour with, for example, the R slider at 0 and the ending colour with the R slider at 7. In this way you will have 8 different colours in this transition area(for example,specify yellow as the starting colour and green as the ending colour). It is impossible to use Colour 0(the colour in the upper left corner of the RGB box) as a transition colour, because this colour is the background colour of your picture. Click the right mouse button after defining the starting and ending colours. The last step is to define the portion of your picture where the colour Transition effect will operate. Click the left mouse button two times, the first with the horizontal bar and the end of the transition area. If you want as many colour transition as possible on a small area of your picture, make the transition area as small as possible. You can reuse the last parameters you defined by simply clicking the right mouse button instead of selecting the same colours again. This is convenient when you want to divide a certain colour into different transition areas with the same colour transitions. This function is ideal for creating a multi-coloured background. The 1000-Colour mode will temporarily be switch off each time the programs creates sprites for animation effect. To change a colour in the picture while the 1000-Colour mode is on(without creating a Transition effect), you must also use the Transition function. First, select the colour you wish to change then specify the starting and ending colour of the Transition effect by specifying the new colour two times. When you have specified the new transition area, the new colour will replace the old one. When you use the RGB function, The changes will only occur on the normal palette, and not on the 1000-Colour palettes. If you save a picture with the 1000-Colours mode on, all the colour transitions you made will be saved with your picture, and they will be loaded with the picture. If you made any 1000-Colour cycling effects,these effects will also be saved with the picture. To clear the transition zone and/or cycling zones defined in the current picture, press the HELP Key when the Transition function is highlighted but not yet selected. A second box will appear that lets you choose between clearing the cycling zones or the current transition zones(palettes). The upper 4 lines of the picture cannot be used as a transition zone. If you want to use the upper part of your picture as a transition zone, for the best effect remove the upper 4 lines by pressing the ESCAPE Key when defining the transition Zone(with the 2 Horizontal bars) Input-Output Functions: If you want to perform any of the standard Input-Output function you must select the Diskette symbol. A second panel will ask you weather you want to load or save. Depending on your choice, the next panel will appear for you to select the sort of file you wish to load or save. This can be: ART: Picture SPR: Sprite file GFT: Font File(load only possible) FLM: Film File GFF: Fill Pattern file ROI: Combination of SPR,FLM file,and ART file(if Work Screen Number 1 is used as a background screen). This allows you to save or load all the information necessary to execute a certain film in one file> This file is executable by ROI (the Run Only Interpreter program on the Data diskette). Status Box: This box gives you information about sprites used,frames used groups used used, free memory and memory used. GEM Bit-Blit Switch: This function activates the GEM Bit Blit routine, instead of the custom Bit Blit routine normally used in GFA Artist. In some cases it may be necessary for certain functions to operate at the highest possible speed. In these cases, switch the GEM Bit Blit mode on. However, the faster speed has a disadvantage: the colour 0(border and background colour) will no longer be transparent. The reason the custom-made routine is a little bit slower is because it has more capabilities and therefore much more work to perform. So, in general, we advise not to activate the GEM routine. You normally don't need the extra speed and you will miss the effect of the transparency of colour 0. Vertical bend: This creates a Bend effect on a part of your picture. When this function is highlighted and the HELP Key is pressed, you can define the form of the Bend effect: User Defined: You draw the shape the picture will bend to. 1/2 Sinus,1 Sinus or 2 Sinus: This will define the amplitude of the curve that the picture will be bent to. When you have defined the parameter you want, Click the right mouse button and select the function(default is Used Defined). Now, depending on the selected parameter, draw the bend form (User Defined) or select the amplitude of the bend sinus by moving the mouse up to increase or down to decrease. When OK, click the right mouse button. If you selected the User-Defined option, you can undo the form you already made by positioning the mouse cursor above the highest horizontal line and clicking the left mouse button. Horizontal Bend: This operates like the Vertical Bend function, but creates a Horizontal Bend effect on the selected part of the picture. Rectangle with Rounded Corners: To draw a rectangle with rounded corners, first define one corner of the rectangle by clicking the left mouse button and then defining the other dimensions of the rectangle, click the left mouse button again. Filled Rectangle with Rounded Corners: To define the fill pattern and fill colour, press HELP when the function is highlighted but not selected. Magnify Draw Function: This function will zoom a certain part of your picture for precision drawing. Select the desired area with the mouse. Move the mouse into the upper part of your screen for the regular- sized view of your picture and into the lower half of your screen for the magnified version of the partition. To select a certain colour, press HELP when the function is highlighted. Select a colour from the 16 current colours by clicking on the desired colour. You can now draw with it by keeping the left mouse button pressed down while moving the mouse. If you wish to move to another part of your picture, click the right mouse button. To change the magnification factor to 8 from the default value of 4, move the mouse cursor to the small rectangle on the right side of your screen(while in draw mode) and click the left mouse button. Clear: This clears the current work screen. BET YOU DID NOT KNOW THAT?????????? SILVER. Configuration Function: This function allows you to determine the actions GFA Artist will take when starting up. You can define the following configuration parameters by clicking in the box next to the name of the parameter, entering the name of the file on your keyboard, and pressing ENTER: Screens: 1: SCREEN1.ART, 2: SCREEN2.PI1 You cannot change the number of screens without rebooting the program. If you specify more filenames that the maximum number (4), all of the extra will be ignored. Run-Only: This allows you to load a file that combines a sprite,film and a picture file without separately loading those files. If you want the loaded film to start automatically, add the ~ symbol after the name of the file. For example: Run Only: Cartoon.roi~ Sprites: The sprites parameters selects the name of the sprite file to be loaded on startup of GFA-ARTIST. For example: Sprites: SPRITES1.SPR Film: If you want a film file to be loaded at start-up, specify the name of the file after this parameter.For example: Film: MOVIE.FLM~ The ~ option (Auto Execute) only works if you have defined an .SPR file as well. Font: After this Parameter, give the name of the font to be loaded at start-up of GFA ARTIST. Foe example: Font: GOTHIC.GFF Sync 50 Hz. 60 Hz: GFA ARTIST starts in the 50 Hz mode. If you are using a television, leave it in 50 Hz. If you are using a monitor, click on the 60 Hz in the INF screen to get less flickering in your screen. Save your INF file and when the program is booted it will automatically switch to 60 Hz. Screens 1|2|3|4: This selects the number of work screens you will be able to use. Click on the desired number, but remember every screen uses 32K of memory!. Save: After you have defined all the parameters to your specifications, click on the Save Field. Restart the program to check whether all of the selections are correctly executed. If you save the configuration file, you must save it on the disk together with the GFAARTIST program. Screen Dump: This function dumps your work on the current screen into your printer. Neo-Colour Cycling: This function will cycle some or all of the colours of the current palette. After selecting this function, define the starting and ending colours for the cycling effect. First, click on the Start field. You can now select the starting cycle colour. Select the ending colour in the same way. After selecting the colours that you wish to cycle, define the cycle speed by clicking on the minus and plus signs in the upper right hand corner. 0 is no cycling and 20 if for slowest cycle speed. click on the right mouse button to exit. 1000-Colour Cycling: This selects the area(s) of the picture where the Cycle effect will take place and the speed at which the colours will cycle. Press the HELP Key when this function is highlighted to set the parameters of the cycle function. Selecting the function toggles the Cycle effect on. There are 9 different cycles zones inside your picture that may be selected in the following way: Press the HELP Key. When the second box appears, click on the number of the zone you wish to define and click on the Set field. A horizontal bar will appear across your picture; the bar will move up or down with the mouse movements. Move the bar to the position where the Cycle effect will Start, and click the left mouse button. Place the bar at the position where the cycle effect will end and press the left mouse button again. You have defined the cycle zone with the number of specified in the previous step. The direction of the cycling is determined by the position of the starting bar and the ending bar; if you place the bottom bar first and then the upper bar, the cycling direction will be from bottom to top, if you place the upper bar first then the direction will be from top to bottom. When operating in the Set mode, you can see the normal palette colours or the colours defined with the Transition function by pressing the HELP Key. When a cycle zone is defined, the best effect is obtained when that cycle zone corresponds with a colour transition zone that has been defined earlier with the Transition function. For example, for part of the background to cycle from yellow to red, define the transition zone and the colours to cycle with the Transition function, and define the cycle zone that is exactly the same as the selected in the Transition function with the cycle function. Define the cycle speed next by clicking on the +or - sign in the cycle panel with the left mouse button. To see the effect you created, click on the View field. If you want to clear a certain area, select the appropriate number and click on the Clear field. If all settings are satisfactory, click the right mouse button to exit the Help Panel. Experiment with the 1000-Colour Cycle function and the Transition function to obtain the best results with backgrounds or other transitions and cycle effects. THE F1 FUNCTION SELECTION BOX. General: This box is used to create a film that consists of a number of frames made up of a number of sprites or groups of sprites. In each frame, you can place sprites on different layers. To make a short film, you must first create a number of sprites. With the F2 box, you can create sets of sprites that form a specific animation effect(eg a rotating drum). It is also possible to select a single sprite to use in your film with the F1 Box by using Sprite/Extra/Get Function. The Seven Main Divisions of the F1 box: 1. Sequence The sequence functions a series of operations(Copy,Move or Swap) on a certain sequence of frames. FUNCTIONS Define: First, select the series of frames to be defined as a frame sequence. Select the starting and ending frame of your sequence by clicking on the Start field, when the start frame is displayed and then clicking on the End Field when the end frame is displayed. To cycle through the frames in the current film, use the following keys: DOWN ARROW KEY: Next Frame UP ARROW KEY: Previous Frame LEFT ARROW KEY: First Frame RIGHT ARROW KEY: Last Frame CLR HOME KEY: Current Frame Number +5 INSERT KEY: Current Frame Number -5 SHIFT + HOME KEY: Current Frame Number +10 SHIFT + INSERT KEY: Current Frame Number -10 CONTROL + HOME KEY: Current Frame Number +100 CONTROL + INSERT KEY: Current Frame Number -100 After selecting the sequence you want, click the right mouse button to exit. If you have created a certain movement effect and you wish to reverse that movement, the sequence function is an ideal tool: first define the sequence with the start frame number equal to the end frame number of movement you wish to reverse and the end frame number equal to the start frame number of the movement. When you do a show sequence, you will see the reverse effect of the normal movement. For example if the movement is a ball that moves from top to the bottom of the screen, then after defining your sequence as described above, copy the defined sequence after the last frame of the normal movement. In this way you can create the effect of a ball bouncing back to the top of the screen. Kill: To kill the current selected sequence, click on the Kill field and all the sequence frames will be killed. Copy: To copy your frame sequence to a certain place inside your film, select the frame number where the current sequence is to be inserted. To change the current frame number, use the same keys as for the Define option. All the frames defined in the sequence will be inserted at the current frame number when the Copy Field is selected. Move: The move function inserts the frames defined as a sequence into a selected place in the film. It differs from the Copy command by deleting instead of duplicating the original frames. To select the frame number insertion, repeat the procedure for the Copy command. Swap: The swap function switches the number of frames in the current sequence with an equal number of other frames. The switch starts at the current frame number. To select the current frame number see the Copy command. Show: The show function lets you view the currently defined sequence. Press the HELP Key when the frames are shown and the frame numbers will appear on your screen. Regulate the speed of your film with the Film/Speed function. 2. Backgrounds General: The program supports multiple backgrounds; you can have up to 4 (if 4 work screens were defined). In the main program you can define a screen to be used as a background by using the Background/Define function. When using the Film Merger, the program will ask for an .ART file to load. It will inform you of the screen you must select (for example, it will say: Load .ART File 2 for you to load the .ART file for background [work] screen 2). The Run Only Interpreter is compatible with multiple backgrounds. When you save a file in ROI format, all of the screens used as background will be saves. The Background function defines Work Screen Number 1 as a background for selected frames in the film. The Info function under the Background heading will give the same information as the F2/Info function. Functions: Define: This will create or erase a background in the film. Select the area where this will take place. Select the starting frame by clicking on the Start field when the desired frame is displayed on the screen, and the ending frame by clicking on the End field when the desired frame is displayed. Define whether it will clear a background (click on erase) or place a background in the part of the film just defined (click on Place). When you select the Place option the picture currently in Work Screen Number 1 (SRC 1) will become the background screen between the starting and ending frames previously specified. Cycle through the frames in memory in the following way: DOWN ARROW KEY: Next Frame UP ARROW KEY: Previous Frame LEFT ARROW KEY: First Frame RIGHT ARROW KEY: Last Frame CLR HOME KEY: Current Frame Number +5 INSERT KEY: Current Frame Number -5 SHIFT + HOME KEY: Current Frame Number +10 SHIFT + INSERT KEY: Current Frame Number -10 CONTROL + HOME KEY: Current Frame Number +100 CONTROL + INSERT KEY: Current Frame Number -100 SRC: This is used to select which screen will be used as a background. Change screens by clicking on the SRC Indicator. This is equivalent to using the SRC function in F2. SRC is also the input screen for the Sprite/Extra/Get function. 3. Group General: The Group functions define the relation between a series of sprites. This series of sprites (a group) is considered as one sprite. It is easier to make animation with sprites that form on figure. Use groups whenever possible because they use less memory than individual sprites when used in frames, and when you move a group over a number of frames it's much easier and faster that moving all of the individual sprites of that particular group over the same number of frames. Functions: Define: The Group/Define option offers the same possibilities as with the Sprite/Define function (replace the word sprite by the word group when you read the explanation of the Sprite/Define function). The Group?define function lets you make animation with groups instead of sprites. To use the HELP Key function see the description of the Sprite/Define function. Move: Move the contents of a certain group to another group with the move function. First, select the number of the group to be moved by clicking on the Get field when the proper group is on the screen. Then select the group number where the group will be moved to by clicking on the Move field when the appropriate group is displayed. The original group will be deleted from its old position and inserted in its new place. You can cycle through the groups in memory in the following ways: DOWN ARROW KEY: Next Group UP ARROW KEY: Previous Group LEFT ARROW KEY: First Group RIGHT ARROW KEY: Last Group CLR HOME KEY: Current Group Number +5 INSERT KEY: Current Group Number -5 SHIFT + HOME KEY: Current Group Number +10 SHIFT + INSERT KEY: Current Group Number -10 CONTROL + HOME KEY: Current Group Number +100 CONTROL + INSERT KEY: Current Group Number -100 Edit: With Group/Edit you can: Move a Certain Sprite in a Selected Group: Select the group you wish to modify with the same keys as for the Group/Move function. When the proper group is displayed, click on the Move field. Then position the hand above the sprite to wish to move with the mouse. Click the left mouse button to remove the sprite and click it a second time to place the sprite in its new position. To cancel the operation, click the right mouse button. Kill a certain Sprite in a Selected Group: First, select the group that will be modified with the same keys as for the Group/Move function, and then click in the Kill Field. Position the hand above the sprite by moving the mouse. Click the left mouse button to delete it, or click the right mouse button to cancel. Kill a Whole Group: To delete a certain group in memory, select the Group/Kill function; select the group to be killed (cycle through the groups in memory in the same way as for the Group/Move function), then click on the Group/Kill field to remove the group from memory. Note: When you delete a certain sprite or group all of its occurrences in the current film will be deleted. Copy: It is convenient to copy a group when you wish to make changes to it. Select the group you wish to copy and click on the Copy field. Then select the destination group number and click on the Copy field. It will be copied to the group with the number selected. Foe example, to create a little boy that walks across the screen you could define all his limbs as separate sprites, but it is easier to define the boy as one group that consists of a number of sprites. Copy the group a number of times, and then make changes from group to group to create the different positions of his legs necessary to simulate walking. The actual motion is created with the Group/Define Function. Create: The Create function creates new groups and adds sprites to existing groups. Select the function and define the sprite you wish to add (it will be the first sprite of a new group or added to an existing group) by clicking on the Get field When the proper sprite is displayed. Cycle through the existing sprites with the following keys: DOWN ARROW KEY: Next Sprite UP ARROW KEY: Previous Sprite LEFT ARROW KEY: First Sprite RIGHT ARROW KEY: Last Sprite CLR HOME KEY: Current Sprite Number +5 INSERT KEY: Current Sprite Number -5 SHIFT + HOME KEY: Current Sprite Number +10 SHIFT + INSERT KEY: Current Sprite Number -10 CONTROL + HOME KEY: Current Sprite Number +100 CONTROL + INSERT KEY: Current Sprite Number -100 After clicking on the Get Field, select the group the sprite will be added to. Cycle through the existing groups with the same keys used to cycle through the sprites, to add the current sprite, move it to the desired place with the mouse and click the left mouse button. If you don't want to place it, click the right mouse button. New: To kill all groups currently defined, click on the New function. 4 Sprite General: This contains the tools necessary to make a film with existing sprites, to kill all sprites in memory, or to create a single sprite. Functions: Define: This function is the major construction tool to make a film sequence with GFA Artist. When you made an animation effect with a function of the F2 Box you created a certain number of sprites. You can create a film with these sprites with the Define function. For example, if part of a picture was zoomed from very small to the size of half the screen with the Animated zoom function and 10 sprites (steps) were specified, then the Define function is used to specify what will be done with those sprites. you can combine the Zoom effect with any other animation effect (combine it with other sprites at different layers or move it over the screen from one coordinate to another, over a specified number of frames, etc.). There are several levels to this function. The sprites to be used in the frames of the film sequence are selected in the first level. The film sequence is defined at the next level. Select the starting sprite of the set by clicking the left mouse button on the Start field, and the ending by clicking on the Ending field.When you select the starting sprite and that sprite is part of an existing set of sprites, the current sprite number will change to the ending sprite number of that set. This is for your convenience, because in most cases that will be the ending sprite you want to define. You can always check the current starting and ending values by looking at the two counters on the right side of the sprite number. Cycle through the different sprite sets with the TAB Key. Each time you press this key you will see the first sprite from the next set. The little vertical rectangle in the middle of the screen will change from red to green and vice versa to indicate when you reach a different sprite set. The SHIFT Key in combination with the TAB Key will cycle backwards through the sprite sets. There are other ways to explore all the sprites that are currently in memory: DOWN ARROW KEY: Next Sprite UP ARROW KEY: Previous Sprite LEFT ARROW KEY: First Sprite RIGHT ARROW KEY: Last Sprite CLR HOME KEY: Current Sprite Number +5 INSERT KEY: Current Sprite Number -5 SHIFT + HOME KEY: Current Sprite Number +10 SHIFT + INSERT KEY: Current Sprite Number -10 CONTROL + HOME KEY: Current Sprite Number +100 CONTROL + INSERT KEY: Current Sprite Number -100 The current sprite number is in the upper left hand corner of the Medium Resolution display and Selection panel. The dimensions of the current sprite in pixels are displayed below the sprite number. The right side of the panel displays the level of the current function (it should now read Define/Get Sprites). At any time, you may correct a selection already made by clicking again on the Start or End field. The starting or ending value will then change to the newly selected sprite number. To exit the current level and go back to the F1 Box, click the right mouse button. After defining the sprite series, move to the next level of this function by clicking on the Get Frames field. Notice the Get Frames field is now changed to the Create field. In this level you define where you want to place the selected sprites and over how many frames the animation will take place. First define the starting frame the animation will begin in by clicking on the appropriate field. Notice that the information on the left side of the panel changes and that the colour changes from blue to dark red. Instead of the sprite number, the current frame number is displayed, and the current layer number beneath it. You will also get the starting sprite on your screen. Move the sprite around my moving the mouse, place it by clicking the left mouse button. Then define the ending frame in the same manner. To view the whole frame so you can place the current sprite in the upper part of the picture, remove the Selection panel by pressing the ESCAPE Key. Pressing this key a second time will cause the panel to reappear. Use the arrow keys to cycle through the existing frames in memory in the same way as in the first level: DOWN ARROW KEY: Next Frame UP ARROW KEY: Previous Frame LEFT ARROW KEY: First Frame RIGHT ARROW KEY: Last Frame CLR HOME KEY: Current Frame Number +5 INSERT KEY: Current Frame Number -5 SHIFT + HOME KEY: Current Frame Number +10 SHIFT + INSERT KEY: Current Frame Number -10 CONTROL + HOME KEY: Current Frame Number +100 CONTROL + INSERT KEY: Current Frame Number -100 Change the layer number by using the + and - keys. The default layer number is 10. To place a sprite at a deeper level (behind the existing sprites) add the number of levels with the + Key. To bring your sprite in front of the already existing ones, lower the number of levels with the - Key. After placing the sprite where you want it (its position on the screen, the frame number, and the layer number are all satisfactory), click on the End field (or Start field if you define the ending frame first) to place the last sprite of the series you selected. Place the ending sprite by clicking the left mouse button, and select the number of frames you want between the starting and ending sprite of this series. After you have defined the second sprite you still can correct your selection by clicking on the Start or End field again. The other sprite will remain and you can reposition the sprite in the frame you want. Once the sprites are placed in the correct frame, place, and layer, then integrate the animation into the current film by clicking on the Create field. Once placed, the position and dimension of the starting and ending sprites will be continually represented by a full line frame. Help Key: The HELP Key has two functions: Pressing the HELP Key the first time will mark all the sprites currently on your screen with a dashed line. The dashes around the starting and ending sprites will be shorter. When you cycle through the frames, the dashed frames will remain to help you position the new sprite among the position of the others. Pressing the HELP Key a second time will cause a raster to appear on your screen that will assist you in accurately placing the sprites. Every time you press the HELP Key the distance between the lines will double (for 4 levels). Pressing the UNDO Key at any time will remove all HELP information. New: The New function deletes all sprites currently in memory. Extra: Kill: This deletes single sprites. To select the sprite you wish to kill, use the following keys: DOWN ARROW KEY: Next Sprite UP ARROW KEY: Previous Sprite LEFT ARROW KEY: First Sprite RIGHT ARROW KEY: Last Sprite Click on the Kill field when the current sprite number is the one you wish to delete, or click the right mouse button to exit without killing a sprite. The killed sprite will be deleted in all the groups and places where it was used throughout the whole film. Get: This function defines a single sprite from your current (SRC) work screen. With the SRC Indicator, under the Background function, you can change the SRC number to the number of the work screen that contains you sprite by clicking on it. Select the size of the sprite by moving the mouse and clicking the left mouse button to add it as a single sprite to another sprite set currently in memory. Kill Set: Kill Set deletes not only the sprite currently displayed on your screen, but all the other sprites that belong to that set as well. 5. Frames General: A frame inside GFA Artist is like a snapshot out of a film. When you create a film with GFA Artist you must define over how many frames your sprite will move. The program will now create the necessary intermediate steps (frames) between the starting and ending position of the sprites. In this way, you create a film that is nothing more that a collection of frames that contain one or more sprites on different layers. The term layer stands for the depth level in the picture. Every frame may consist of a number of layers(levels). Foe example, in a picture of a house with trees in front of it the house is in layer 3, the trees are in layer 1, and to place an object between the house and the trees, the animation must be created in layer 2. Functions: New: The New function deletes all the frames currently in memory. Edit: The Edit function can kill or move a sprite or group inside a certain frame and move a sprite or group to a different layer in a selected frame. Layer: This will move a selected sprite or group in a selected frame to a different layer. Select the frame you wish to modify by clicking on the Layer field when the frame you wish to modify is displayed. You can cycle through the frames currently in memory with the following keys: DOWN ARROW KEY: Next Frame UP ARROW KEY: Previous Frame LEFT ARROW KEY: First Frame RIGHT ARROW KEY: Last Frame CLR HOME KEY: Current Frame Number +5 INSERT KEY: Current Frame Number -5 SHIFT + HOME KEY: Current Frame Number +10 SHIFT + INSERT KEY: Current Frame Number -10 CONTROL + HOME KEY: Current Frame Number +100 CONTROL + INSERT KEY: Current Frame Number -100 Position the hand above the sprite or group you wish to modify by moving the mouse and the click the left mouse button. You can now define the new layer number of the selected sprite or group. Change the layer number by using the UP and DOWN ARROW Keys. Remember that the higher the layer number is, the deeper the sprite will be placed. To place a sprite in front of everything, assign it to layer number 1. Click the left mouse button a second time to place the sprite in its new layer; click the right mouse button to exit without changing the layer. Note: The number of layers is limited to 256. Kill: This will delete a sprite or group from the frame currently displayed on the screen. Click on the Kill field when the frame you wish to kill is displayed on the screen.Cycle through the frames in memory with the same keys as the Layer function. Position the hand above the sprite or group you wish to delete by using the mouse, and then click the left mouse button to kill it. Click the right mouse button to exit. Move: This moves a sprite or group inside the frame currently displayed on the screen. Cycle through the frames in memory in the same way as for the Layer function. When you have found the right frame, click on the Move field and a hand will appear. Click on the sprite or group you wish to move, and then move the hand to the new position in that frame with the mouse. Click the left mouse button to place the sprite or group, or the right mouse button to exit without changes. Extra: Kill: The Extra Kill function will delete a frame from the film currently in memory. Click on the Kill field to delete the frame currently displayed. Cycle through the frames in memory by using the following keys: DOWN ARROW KEY: Next Frame UP ARROW KEY: Previous Frame LEFT ARROW KEY: First Frame RIGHT ARROW KEY: Last Frame CLR HOME KEY: Current Frame Number +5 INSERT KEY: Current Frame Number -5 SHIFT + HOME KEY: Current Frame Number +10 SHIFT + INSERT KEY: Current Frame Number -10 CONTROL + HOME KEY: Current Frame Number +100 CONTROL + INSERT KEY: Current Frame Number -100 Move: The Extra/Move function moves a frame from one location to another within the film. Find the frame you wish to move by cycling through the frames currently in memory with the same keys as for the Frames/Extra/Kill function and select it by clicking on the Get field. Then cycle to the new position for the selected frame and click on the Move field to insert it. Copy: This function works like the Frame/Extra/Move function but duplicates the frame instead of moving it. 6.Film General: This contains the functions necessary for the execution of the film. Functions: Show: This will show the film currently in memory. The film will repeat until you press the ESCAPE Key. If the HELP Key is pressed while the film is running, a white with the number of the actual frame that is being displayed will appear at the the top of the screen. Speed: This will adjust the speed of a certain film or frame sequence. The higher the number is set, the slower the animation will be. The slowing down effect is selective - it will only slow down those sprites that are fast, so the sprites that are already at a relatively low speed will not be slowed down as much as the faster sprite movements. New: This deletes all sprites, groups, frames(the film) currently in memory. 7. Files General: GFA Artist uses a Custom File Selector Box to give you greater flexibility in loaded and saving files. In addition to the capabilities of the GEM File Selector Box, the Custom File Selector Box has several special features: You can select between 4 possible connected dived by clicking on the symbol A/B/C or D respectively. You can selectively display the Files/Screens by clicking on the appropriate symbol. Foe example, clicking on .PI caused all the files on the selected disk with extension .PI3 to be displayed. You can define in which work screen you want your picture to be loaded or from which screen number you want to save a picture by clicking on 1/2/3 or 4. Only the available screen numbers are displayed. Functions: Load: THIS FUNCTION SELECTS THE TYPE OF FILE YOU WANT TO LOAD. THIS CAN BE: ART: This loads a picture that is in a standard ST format which includes DEGAS [NOT COMPRESSED], NEOCHROME, ART DIRECTOR OR COLOURSTAR format). SPR: SPR(ite) loads a file that contains a number of sprites previously saved with the Files/Save?SPR option. GFT: This loads the selected font. FLM: F(i)LM loads the information necessary to add the animation effect to a series of sprites. This information is saved with the Files/Save/FLM option. GFF: This loads the selected fill pattern ROI: Combination of SPR,FLM file,and ART file(if Work Screen Number 1 is used as a background screen). This allows you to save or load all the information necessary to execute a certain film in one file. This file is executable by ROI (the Run Only Interpreter program on the Data diskette). Save: This function selects the type of file to be saved. It can be: Art: This saves the current work screen in a Neo,Colourstar or the default GFA Artist format. Spr: SPR(ite) saves all the sprites currently in memory. FLM: F(i)LM saves all the information GFA needs to produce the animation effect you created on the sprites currently in memory. GFF: This saves the custom fill pattern currently in memory. ROI: When you make a film, you can save everything you need to execute that film in one .ROI file. You then have two options: load the .ROI file with the LOad/ROI function to execute or make changes to your film, or save the loaded .ROI file as separate.FLM and .SPR files. Extra: Kill: This deletes one or more files on the disk. Free: This shows the number of free bytes on the disk. APPENDIX A Making a Simple Film With GFA Artist. Follow these procedures to produce a film that shows the loaded picture transformed into a rounded shape that moves across the screen while being zoomed. Getting Started: start the program by clicking on GFAARTIST.PRG. The F2 Function Selection VBox will appear on your screen. If the program starts with a demo film that runs automatically, press ESCAPE or a mouse button to stop it. If there is no picture on your screen you must load one or create one as a source for the sprites you wish to create. Move the highlighter square inside your F2 Box over the disk symbol for the Input-Output function by holding down the mouse button while moving the mouse. Once the disk symbol is highlighted, click the right mouse button to activate the function. Point the finger of the hand cursor on the Load field and click the left mouse button. Select Art option in the second box in the same way. The File Selector Box will appear on your screen. Click on the name of the picture to be loaded in the same way you do in the GEM File Selector Box After loading the picture, the File Selector Box will disappear and the picture will now appear on your screen. Creating the Sprites Necessary for the Film: Move the highlighter square in the F2 Box over the ?? symbol and click the right mouse button to select it. Determine the number of sprites you wish to make. Select 10 sprites by clicking on the + symbol until the number 10 is displayed, then click the right mouse button. Now define the part of the picture you wish to use for your sprites. To use the whole picture, simply move the cursor to the upper left hand corner of your picture and click the left mouse button and then move the mouse in such a way that the whole picture is contained in the rectangle created with the mouse. Click the left mouse button to confirm your choice. Now define the starting and ending shape of the animation effect you wish to create. First, move the mouse to create a circle with the diameter of 1 centimetre, then click the left mouse button. The word End will appear in the upper left corner of the screen as a reminder that you must still create the shape of the ending sprite. Move the mouse to create a circle with a diameter of 15 centimetres. Now click the left mouse button and a set of 10 sprites will be created with the shapes between the starting and ending shape selected. After creating the sprites, the system will show them as an animation effect. Stop an animation effect on your screen at any time by clicking a mouse button or pressing a key. Creating the Actual Film: The sprites you just created will remain in memory and will serve as input for the film. Press the F1 Function Key to access the Function Selection Box, which contains all the tool necessary to create and edit a film. Select the Define function under the Sprite heading. This is done in the same way as for the F2 Box: highlight the function by pressing the left mouse button down while moving the mouse to the desired function; select the highlighted function by clicking the right mouse button. In the first level of the Define function you select the sprites that will be used in your film. Click the mouse cursor on the Start field. The sprite number on the left will change to the highest sprite number (10) of the sprite set just created with the F2 Box. Click on the End field and the end number will change to this value. Now click on the Get Frames Field to move to the second level of the Define function. In this level you define the number of frames(picture) to be used for the movement of your sprites and the starting and ending ending coordinates of this movement. Click on the Start field. The starting sprite of the animation created earlier now appears on the screen. The sprite will follow the mouse movements. Move the sprite to the upper left corner of the screen and click the left mouse button to place it. You have just defined the coordinates of your sprite in the first frame of your film. Click on the End field and define the end coordinates and end frame number in the same way. Before you position the ending sprite, you must define the number of frames in your film. Press the DOWN ARROW Key until the number 10 is displayed at the right side of the frame counter in the upper left corner of the screen. Then bring the ending sprite to the bottom right corner of the screen by moving the mouse. Click the left mouse button to position it. To actually register what you have defined, Click the mouse cursor on the Create field. The program will then return the first level of the Define function. To exit the function click the right mouse button. Your first film is ready to be shown!. To play the film you created, select the Show function under the Film header. Notice the film is running too fast. To slow this movement, return to the F1 Box by pressing the ESCAPE Key or a mouse button and select the Speed function. Click on the + sign until the number 4 is displayed and then click the right mouse button. Select Show again and you will see the difference in speed. Saving Your Work: Select the File/Save function in the F1 Box or the Input- Output/Save function in the F2 Box and click on the ROI field. The sprite you created will be saved together with the defined film information. When the File Selector Box appears on the screen, give the name under which the file will be saved, Then press RETURN or click on OK. To load your film later, select the Load function instead of the Save function and click on the file name that you wish to load in the same way as with the GEM File Selector Box. APPENDIX B GFA-ARTIST PICTURE FORMATS The file format used when you save a screen with the .ART extension is briefly described here. 1000-Colours OFF: This format is similar to the format used in Colourstar. The file has a length of 32032 bytes and is built as follows: OFFSET: FUNCTION: 0 - 31 Palette 32 - 32031 Screen 1000-Colours ON: This format is not easy because the 1000-Colours Mode is Complex: OFFSET: FUNCTION: 0 - 1 Always 4 (Number of Planes) 2 - 3 Unused (Reserved) 4 - 32003 Screen 32004 - 32035 Normal palette used when 1000-colour mode is OFF. 32036 - 34243 2208 bytes of palettes, this is 69 times 32 bytes. These are the 69 palettes used by the 1000-colour Mode. 34244 - 34247 This Long Value is the Cycle Flag: 0 No Cycling 1 Cycling ON 34248 - 34251 (Long) The Cycle Speed: from 0 to 20. 34252 - 34287 (9xLong) Start Palette numbers of the 9 cycling zones you can define. 34288 - 34323 (9xLong) End Palette numbers of the 9 cycling zones you can define. 34324 - 34359 (9xLong) Direction of the 9 cycling zones: 0 No cycling 1 From Start to End Palette. 2 From End to Start Palette. A 1000-Colours screen is always 34360 bytes long. APPENDIX C THE GFA ARTIST RUN ONLY INTERPRETER The Run Only Interpreter (ROI) is a stand alone program that is capable of showing films made with GFA Artist, without needing the actual program. The ROI is free from copyright, so you can give a film or demo you created to someone who doesn't own GFA Artist. The GFARTROI.PRG needs the GFARTROI.SYS file (both are on the Data Disk) so be sure to copy the both to the same disk, or the Program will not run. The ROI has several advantages over the Actual GFA Artist program: 1. You don't need a ST with 1 MB of RAM. If you didn't made your sprite file too long you can load it on a "small" 521K ST. 2. The number of frames is usually determined by the memory of your ST: 2000 frames = 1MB RAM 4000 frames = 2MB RAM 8000 frames = 4MB RAM But with the ROI it is possible to run a film with a maximum of 20,000 frames!!. However, this possibility depends on the length and complexity of your film, the length of your sprite file, and the use of a background(32K). The procedure for making such a long film is explained in Appendix D. The ROI is simple to use: Start the ROI program by double clicking on the file GFARTROI.PRG in the GEM desktop. A file selector will appear. Choose a file with the extension .ROI, either created by GFA Artist or the GFA Artist Film Merger. After loading the file, the program will begin to show the film you made. The only way to stop the program is to press CONTROL+C, this is so you can show the demo without people stopping the display. APPENDIX D THE GFA ARTIST FILM MERGER The GFA Artist Film Merger is a program that lets you merge several film files that have a sprite file in common with a .ROI file into one larger file with the extension .ROM(Run Only Multiple). You can't read a .ROM file with GFA Artist because of its more limited capabilities. Use the ROM format to merge film files with a different number of groups. The only limit is memory; there is no limit to the number of groups; the limit to the number of frames is 20,000. The Film Merger optimizes the .ROM file to create faster films. The GFA Artist Film Merger is easy to use: Start the program by double-clicking on FLMERGER.PRG in any resolution. A file selector will appear. click on a file with the extension .SPR. The first file you load MUST be an .SPR file that contains the sprites used in all of your film files to be merged. After loading the .SPR file, a new file selector will appear. Type in the name of the .ROM file. The program will save and merge all selected films,sprites and backgrounds into one .ROM file. END ADVANCED DESTROYER SIMULATOR ----------------------------------------------------------------------------- Full docs typed by Lawz. ----------------------------------------------------------------------------- A.D.S. is the first naval simulator using new techniques of animation in filled 3D. The game portrays the main naval engagements of World War II during which the Destroyers of the Royal Navy played a major part. The different missions you will have to carry out will take place in: 1 - The Mediterranean; from the English base at Malta, located in a zone occupied by the enemy (Italians to the north, Germans to the south). 2 - The English Channel; from the English bases, you will help evacuate Allied forces gathered in Dunkirk. 3 - The North Sea; your mission is to sink the enemy vessels which are hiding in the Norwegian Fjords. You will be in overall control - you will have to manoeuvre to perfection to avoid being sunk, take control of attacking the enemy and defending against them when the situation calls for it. There are 18 available missions preset with a date/time and a precise target; and there are DELTA missions, in which you are the one to choose your target in an environment and date which differs each time. The admiralty and Admiral Walkirie are always on your side to report any ship spotted by the R.A.F. You can alter the level of realism of the simulation, so younger players can have as much fun. But we advise older players not to change the preset parameters so they can get more from the simulation. DESTROYER Category : H.M.S. Onslaught + Launched : 1939 |' | -{]- Type : DD 231 \---------------/ Displacement : 2200 Tons, 3200 Tons loaded \ o o o o o o / Length : 110m ------------ Breadth : 12m Draught : 4.80m Propulsion : 2 Propellers, Gear Turbines 60,000 HP Speed : 35 Knots Armament : 3 Turrets each with 2 120mm cannons 2 Torbedo Tubes, with 4 tubes each. The DD-231 was one of the first Torpedo-Tube Destroyers of World War II, and 176 ships were built to the same pattern. Easy to recognise by the shape of it's funnel, it participated in battles in the North Sea, in the English Channel and in the Mediterranean. __________________________________________________________________________ THE COMMAND POST From this view you should be able to see the wide open spaces of the ocean. From left to right on the control panel the features are as follows... ------------------------------------------------------------------------ I I I I I I I ^ The blue seas ^ I ^ The blue seas ^ I I I I I I I I I I ------------------------------------------------------------------------- Radar fuel & speed compass depth gauge (Green circle) (white circles) [-S---E-] === =-= Transmitter =-= (Big Speaker) =-= RADAR & SONAR =-= O indicators O =-= THE RADIO The radio allows you to receive information from: The admiralty (H.Q.) located in Malta for the Mediterranean and by the Thames for the English Channel and the North Sea. The engine room, about possible damage. The look-out man, to get information about ships spotted THE BINOCULARS Doubles your range of vision. DAMAGE Your destroyer can suffer damage during a battle. This damage can affect:- RADAR - you will no longer be able to spot ships on the radar screen. SONAR - you will no longer be able to spot submarines on the sonar screen. PUMPS - you lose the ability to pump water out of the ship; could lead to the destruction of the ship if a leak occurs at the same time. CANNONS - one or more turrets are no longer operational. Be careful, if the cannons overheat, the turret will explode. RADIO - radio messages become broken and garbled. TORPEDO TUBES - one or more tubes are no longer operational. You'll have to wait until you dock at base to have them repaired. RUDDER - you lose all steering. Most of the time the crew members can repair this type of damage. ENGINE - the ship is without power; a sitting duck until repairs are carried out. NB: All repairs are carried out automatically by the crew members, you do not have to intervene. CANNON FIRE Your destroyer is equipped with 3 turrets, two forward, one aft. Each turret has two 120mm cannons. These turrets can rotate 270 degrees and fire 2 shells simultaneously. 300 shells are in stock. In every turret there is a temperature indicator - do not overheat the cannons or they will explode. TORPEDO FIRE Your destroyer is also equipped with 2 torpedo stations (4 tubes each), one on the port side and one on the starboard side. The tubes can rotate 90 degrees, and each time they fire, 4 torpedoes are launched. 80 torpedoes are in stock. Torpedoes have an impact far more powerful than the cannon shells. One or two torpedoes in the right spot can destroy a ship when otherwise 10 or 20 shells would be required for the same result. _________________________________________________________________________ ATTACK STRATEGY The tactics you should use to attack an enemy vessel depend on the category of the ship. For example, a FREIGHTER is somewhat easier to sink than a CRUISER, for the simple reason that it cannot shoot back, and therefore you can attack it with much more directness, getting closer and sailing slower. To sink an enemy vessel you must bear in mind differences like speed: 15-20 Knots for a freighter or a tanker 30-35 Knots for a destroyer 32-37 Knots for a cruiser You can carry out a frontal attack on an unarmed Freighter or Tanker and sink it with some successful cannon fire. With a Destroyer or a Cruiser it's better to start by launching a torpedo either to port or starboard and by keeping a course parallel with the enemy ship at a similar speed. Keep your distance - the enemy have guns too and are not afraid to use them, and the closer you get, the more accurate they are. Two or three torpedos may be enough to sink a Destroyer whereas you may need four or five to sink a Cruiser. A torpedo launched at the right spot can break the rudder of a ship, or even stop it. Then you can sink it with cannon fire. To rapidly sink an enemy ship you should maintain non-stop firing to keep the enemy crew from repairing any damage you may have caused. But in any case, observe one rule if you want to hit the enemy during your attacks - try to avoid being spotted. To locate a submarine, use the sonar. It is easiest to hit it with a torpedo when it surfaces to renew its oxygen levels. ___________________________________________________________________________ CONTROL GUIDE At all times: joystick in port #1 or Cursor keys and Space. Left/right for steering. Up/Down for speed. Fire (space) to fire weapons. F1 Command Post F2 Binoculars F3 or C Cannons Keys 1, 2 and 3 (main keyboard) to change the turret. Numeric pad 4 and 6 to train the turrets. Numeric pad 2 and 8 to elevate/depress the cannons. Space bar or joystick Fire to fire cannons. F4 or T Torpedo tubes (port side) 2 (main keyboard) for starboard side Numeric pad 4 and 6 to train the tubes. F5 or D Damage and ammunition/fuel indicators (lit bright red means that station is damaged) F6 Map Z or F7 to zoom in the map. Cursor keys or joystick to move the map. Space bar in zoom mode centres the map on your ship. Esc to exit the map display. F8 Accelerated time Only available in map mode and when more than 1 mile from the coast and any other ships. F10 or P Pause R Selects Radar S Selects Sonar _________________________________________________________________________ Enemy Shipping Characteristics. ------------------------------------- Type Description Specifications ------------------------------------------------------------------------- Tanker Looks like a tanker Max speed :N/A Long flat forward decks. Cruise speed :18 Knots Armament :N/A Freighter Very similar to Tanker but Max speed :N/A Bridge is set nearer to Cruise speed :18 Knots the mid-ships then flat deck Armament :N/A Cruiser Has 2 funnels and 4 gun Max speed :N/A turrets. Cruise speed :32 Knots Armament :8 cannons of 200mm each. Protection :armoured deck & hull,resis- tant to shell impact. German Torpedo Single funnel,has guns set to Max speed :38 Knots Boat rear of vessel. Cruise speed :28 Knots Armament :4 cannons 150 mm each, & 80 torp. tubes on deck. British Destroyer Single funnel, set mid-ships Max speed :34 Knots 3 gun turrets, 2 to front and Cruise speed :27 Knots 1 to the rear of vessel. Armament :6 Cannons of 120mm each. Italian Destroyer single funnel, with bridge in Max speed :35 Knots front, 3 gun turrets, 2 to Cruise speed :28 Knots rear, 1 to front. Armament :6 cannons 120mm each. German Destroyer Twin funnels set midships, Max speed :35 Knots 2 gun turrets both on the Cruise speed :28 Knots rear of ship, bridge at front. Armament :6 cannons of 150mm each. Submarine Well look for a conning Max speed(subm) :8 Knots tower in the water that just Max speed(surf) :17 Knots could be it. Armament :4 Torpedos. _________________________________________________________________________ THE MISSIONS Mediterranean missions 1: Training mission. This mission is an easy introduction into the battle. At 6:30 am, you leave the base of LA VALETTE on Malta (E3). Your mission is to destroy a freighter cruising off LINOSA ISLAND (D3). You must then return to your base before 8:00 am. 2: You sail from the base of LA VALETTE on Malta (E3). Your mission is to intercept and destroy a convoy of enemy ships spotted at 9:15 am by the R.A.F. to the south of PANTELLERIA ISLANDS (C3) on its way to the enemy base of TRIPOLI. This convoy consists of of 2 freighters and 1 tanker. It has an approximate speed of 10 Knots. Once your mission is over, you must return to your base. 3: You sail from the base of LA VALETTE on Malta. Your mission is to sink an Italian cruiser already heavily damaged by the R.A.F., off SYRACUSE (F3). The last report from the Admiralty states that the vessel was at cruising speed on its way to the italian base of TARANTO. You must intercept it before enemy destroyers arrive to escort it. 4: You are cruising off TUNIS. A reconnaissance aircraft reports 2 Italian cruisers spotted close by PANTELLERIA ISLAND (C3). Alerted to the threat, the cruisers are now sailing in the direction of CAP BON to escape the R.A.F. Your mission is to launch a surprise attack upon them and then to immediately head for MALTA. 5: You sail from the base of LA VALETTE in MALTA (E3). Your mission is to protect a supply convoy coming from GIBRALTAR and now cruising off TUNIS (B3). You must rendezvous with it and destroy any enemy ships heading in its direction. Watch out, the R.A.F. have spotted an enemy destroyer in the sector (C3). DELTA MISSION A surveillance mission. You sail from your base, fully laden with fuel and munitions. You must patrol in the area demarcated by the map. You may stop in Allied ports to repair and resupply. The Admiralty counts on you to inflict heavy losses on the enemy, but make sure that you have identified your target before firing. English Channel missions 1: You are patrolling south of DOVER. Your mission is to identify 2 vessels which our coastal Radar stations have spotted to the North of DUNKIRK (G2). Then head back to your base in the THAMES estuary. Be careful, they are probably enemy vessels, in which case, your mission is to sink them. 2: MONDAY, MAY 27th 1940: You sail from your base in the THAMES estuary. Your mission is to protect the evacuation of the Allied forces gathered in DUNKIRK (G2). You must protect the transport ships sailing between DUNKIRK and the THAMES from the attacks of German destroyers. As soon as you are short of fuel or munitions you must dock at DUNKIRK. 3: You are cruising off PORTSMOUTH (E3) Your mission is to attack an enemy convoy of freighters and tankers which the R.A.F. has spotted close by CHERBOURG (D4) sailing EAST. You must inflict heavy losses on the enemy before heading back to PORTSMOUTH. 4: You sail from the base of PORTSMOUTH (E3). An enemy submarine has been seen off CHERBOURG (D4). Your mission is to find it with the sonar and to shadow it until it surfaces, and then you're to sink it. 5: JUNE 4th, 1940. DUNKIRK (G2) is surrounded by the enemy. Fortunately the evacuation of allied troops is almost complete. Your mission is to protect the last two ships transporting Allied troops about to leave DUNKIRK. DELTA MISSION: A surveillance mission. You sail from your base, fully laden with fuel and munitions. You must patrol in the area demarcated by the map. You may stop in Allied ports to repair and resupply. The Admiralty counts on you to inflict heavy losses on the enemy, but make sure that you have identified your target before firing. North Sea missions 1: You are cruising west of STAVANGER (E4); the radio informs you that a light enemy cruiser damaged by our artillery has taken refuge in the fjords close to SAUDA (E3) to repair. You must spot it and, if possible, attack. Be careful, enemy destroyers are probably coming in as reinforcements. 2: You are sailing off NORWAY. You must patrol along the shores, up to BERGEN (D1) to spot and destroy enemy ships which are hiding in the FJORDS zone (E2). 3: You sail from EGERSUND (E5) in NORWAY. You are the only allied ship in the sector with an offensive capability. Your mission is to run the blockade set up by the German destroyers at the fjords' exit. You must sink every enemy ship, to allow our supply convoy to sail in safety. If you are badly damaged, you can head to EGERSUND to be repaired. 4: The enemy is in possession of heavy water, used in the construction of atomic bombs. A freighter transporting the containers and 5 warships escorting it have been spotted south of BERGEN (D1). Your mission is to attack the convoy and to sink the freighter, at all costs. 5: The Luftwaffe have badly damaged your ship. You took refuge in the FJORDS (E2) to repair. The radio informs you that enemy ships are heading for you at full speed. You have no alternative, you must confront them and then sail back to the base at BERGEN (D1). DELTA MISSION: A surveillance mission. You sail from your base, fully laden with fuel and munitions. You must patrol in the area demarcated by the map. You may stop in Allied ports to repair and resupply. The Admiralty counts on you to inflict heavy losses on the enemy, but make sure that you have identified your target before firing. ___________________________________________________________________________ Some Advice From Admiral Walkirie: Sailing within sight of land: Reduce your speed to half and carefully watch your depth gauge. In these areas of the map, the bottom depth varies a lot and you might run aground. Reducing speed when sailing into port: To promptly reduce speed you must reverse the engines. Go from 1/2 or full forward speed to FLANK in reverse speed, then when the ship speed is at it's lowest go to the stop position. Flank speed: This is attained with full engine power. You can stay at flank speed for only a few minutes. When the engine room crew detect the engines overheating, power is reduced to FULL position. For security reasons, it is better to use the FLANK position during an emergency withdrawal. Rudder damage: If your rudder is damaged, reduce speed to minimum, to allow the crew to repair it. Sudden change of course: Reduce your speed (1/2 position) and change your course. Any type of manouevering is more easily carried out at low speed. Attack from enemy aircraft: When you are sent on a mission close to an enemy base, the Axis forces may launch STUKAS to sink you. These divebombers are extremely accurate, and very dangerous to Allied forces without air cover. Cannons are the only weapons you have to defend yourself with. Solution to The Fool's Errand, typed in by Robin D. in New Zealand. This program consists of a series of cleverly thought out puzzles, intertwined into a bizarre story. You take on the role of a fool who must solve these puzzles to reveal the identity of the fourteen missing treasures. The game consists of three distinct parts. The first part involves systematically solving some 79 puzzles to reveal the entire story describing the fool's journey. Each puzzle you solve will give you an extra piece of the map of your journey. If you check the About Fool's Errand screen, it will tell you how many pieces of the map are still missing and how many puzzle you have still to solve. Secondly you must use the story to construct the map by moving the pieces into their respective positions. Finally you must use the story and the map to discover the names of the fourteen treasures. Then you will have completed the game. PART 1: The story starts off with the fool talking to the sun and learning about his mission. This puzzle actually involves solving the map, so you will leave this until later. Note that some of the map is already given, and clicking on the pieces will reveal them. It is best to solve the puzzles as they appear, because they are ordered, and this will help in the later stages of the game. Start with one of the puzzles already visible, solve it and do the next one which is presented to you, until you get a story which has no puzzle. This represents one of the pieces of the map given at the start and the conclusion of that segment. Now start with another segment. The solutions will be presented in the relevant segments. THE WHEEL OF FORTUNE: This is a strange card game. Note that the other puzzles visible represent all of the cards used in this game. Both you and the old man get two cards and three more are dealt to the middle. Both players can see one of the opponents cards. Both players select one of the cards to complete a hand of three cards. You choose first. Try to get to or three cards which fall into the same group (see below) to win the hand. A triplet of anything beats a pair. A pair beats a high single. In case of two equal pairs the high card wins. Each winning hand is worth points. First to 700 wins. If the old man appears to be about to win a lot of points for a good hand, it may be better to yield. The groups are (highest to lowest): High (Sun, Magician, Fool) Dark (Death, High Priestess, Devil) Astral (Sun, World, Moon, Star) Council (Heirophant, Justice, Judgement, Temperance) Royal (Heirophant, Emperor, Empress, Hermit) Mortal (Strength, Hanged Man, Hermit, Chariot) Lucky (Fortune Wheel, Tower, Chariot, Lovers) Low (Tower, Chariot, Lovers, Fool) The cards are ordered (highest to lowest): Sun, Death, Magician, High Priestess, Heirophant, Devil, World, Moon, Star, Justice, Judgement, Strength, Emperor, Empress, Hanged Man, Hermit, Fortune Wheel, Temperance, Tower, Chariot, Lovers, Fool. THE ARCHWAY: This is a maze with secret doors. Some of the dead-end passages have secret exits and some of the pathways have hidden doors. Trial and error should allow most people to solve this. Basically, head upwards, then across the top, then down to bottom, and across and up to the finish. THE PYRAMIDS: No puzzle. End of first group. Note the letter H in the text of THE PYRAMIDS because it is used when finding the hidden treasures and the advice given in THE ARCHWAY, 'AND IT IS SAID THAT BETWEEN THE FOUR (KINGS), ONE OF THE LAND'S LOST TREASURES WILL BE RESTORED'. THE WORLD: A find-a-word puzzle. Countries to find are: Portugal, Spain, Turkey, Rumania, England, Iceland, Ireland, Czechoslavakia, Finland, Yugoslavia, Netherlands, Germany, Italy, Norway, France, Russia, Scotland, Sweden, Poland, Greece, Albania, Switzerland, Austria. THE MAZE OF HEDGES: A frustrating maze puzzle, where most of the map is hidden and winds appear which teleport you to other parts of the maze. Usually this impairs your progress, but occasionally it is helpful and necessary. Generally work your way up the left hand side of the maze, across the top (weaving up & down) and down to the exit. THE MAZE OF THORNS: No puzzle. End of Second Group. Once the map is completed correctly, there will be a maze to complete to find one of the fourteen treasures. Note the word YES from the text of THE WORLD, as it is used when determining the names of the fourteen treasures. STRENGTH: A jigsaw puzzle. Use the edges to help you and carefully check the eyes to make certain that they are correct. There is a subtle difference between them, both top and bottom (check the eyebrows). Once the top and bottom parts are done, the centre involves swapping the remaining pieces around until it is complete. The tree is on the left, then there is a fence, then a man with a pole, the fool with his knapsack behind him and the 'E' is on the right. THE PAGE OF WANDS: Type in the phrase 'To the East'. THE KNIGHT OF WANDS: Correct the letters, substituting others to get the proper phrase. The letters shown are incorrect, but represent the correct letters. Therefore, any letters which are repeated represent the same letter. Look for common words like 'I', 'a', 'the and 'and' to get you started, then build on the other words which have those letters in them. The completed phrase is 'WELL HE BEGAN, I MET A PAGE IN MY TRAVELS AND HE WAS SEEKING THE PYRAMIDS'. THE QUEEN OF WANDS: Rearrange the letters to form the following 6 words. S I N A C E D E W THE WAND: No puzzle. End of Third Group. Note the letters E, X, CLAC and S. They are written in red in the text and are needed to solve for the fourteen treasures. TEMPERANCE: Solve the word puzzles by rearranging the given letters. Clues are given at the bottom of the screen. The words are: p a p e R l E a t h e r w o o D t u r q U o i s e s i l v e R b r o N z e Special words spelt are RED URN. THE CANOPY: A find-a-word puzzle. Vegetables to be found are: Cauliflower, Squash, Eggplant, Cabbage, Tomato, Celery, Parsnip, Rhubarb, Lettuce, Lentil, Scallion, Potato, Beans, Artichoke, Cucumber, Onion, Turnip, Carrot, Radish, Asparagus, Broccoli, Parsley, Leek. THE FIGHTING BOYS: By pressing the keys in the right order a sentence will be revealed. To solve this puzzle determine what each button does, and write it down. Then work out the correct order. The order is: 3, 5, 1, 4, 2. This reveals: NEW GNU. THE STONE WALL: Choose one of the letters given above each space and type it into the space provided to make a phrase relating to the picture given. The phrase is: RAT IVY. THE WATCHTOWER: No puzzle. End of the fourth group. Read the text and note the word SIP and the word groups: RED URN, BAD YAM, NEW GNU, RAT IVY. THE HANGED MAN: A jigsaw puzzle. The top section will show, from left to right: Castle, Tree, Rider, Sun, KD. The middle section will show: The knapsack, two men running, a fish. The bottom section will show the shadows of those in the middle. THE PAGE OF CUPS: Another word rearrangement puzzle. The solution is (as shown on the screen once all are completed): s a r d i N e t r O u t g o l d f i S h H a l i b u t m I n n o w P e r c h Phrase: NO SHIP. Use this for the next puzzle. THE KNIGHT OF CUPS: The letters used in the sentence are incorrect. Replace the incorrect letters with the correct ones. Note that all letters which are the same represent the same letter. Type in the correct letters to reveal the sentence: 'ALAS I DO, HE SIGHED. YOUR KNIGHT SAYS THAT NO SHIP HAS LANDED UPON YOUR SHORE.' THE QUEEN OF CUPS: Rearrange the letters to form the words: T W O O I L E N D THE CUP: No puzzle. End of the fifth group. Read the text and note the letters TOP, KD, YNAL, T. THE HEIROPHANT: Spell the numbers: Three and Fourteen, Two and Twelve, One and Nineteen, Five and Seventeen, Six and Thirteen. THE CLOUD: Jigsaw puzzle. Top line: FIFTEEN and maniac. Middle line: Fool and knapsack, man with scarf, pattern of seven cups, 2 above three above two. Bottom line: TWO and TWENTY. THE VISION: Put the blocks together to form the three words: FOURTEEN EIGHT FIFTEEN THE ENCHANTMENT: Type in the numbers in the correct sequence to reveal the phrase. Check what each button does and then work out the correct order: 1 4 6 7 5 2 3 reveals Sixteen-Sixteen. THE ABANDONED CUPS: No puzzle. End of sixth group. Read the text and remember the phrase in pink: 'FOUR OTHERS HAVE COME BEFORE YOU.' Also remember the numbers: Six, Thirteen, Fifteen, Two, Twenty, Fourteen, Eight, Fifteen, Sixteen, Sixteen, Fifteen, Twenty Four and Two. THE MOON: Press on some of the letters to reveal parts of a picture. Only some of the keys reveal correct pieces, so you must determine which keys to press and which to leave. (Capital letters represent letters which have been pressed, as do the 1's in the next line): m u C H t O A c C O m P L I S H. 0 0 1 1 0 1 1 0 1 1 0 1 1 1 1 1. Special letters AIH. THE BLACKSMITH: Rearrange the letters to solve the word puzzle, using the clues provided. happy : merry show remorse: sorry color : brown royal hat : crown swift : quick feather : quill content: bliss astray : amiss frown : scowl sound : growl value : worth direction : north haunters: ghoul and ghost ache : throb number : three cold : chill motionless : still Special letters ROI. THE CATHEDRAL: Jigsaw. Top line: MYR in the centre. Middle: Fool and knapsack, two men looking right, man on ladder with hammer. Bottom: Dark blue strip. THE CHAPEL: type in the three missing letters on the screen, in the correct order. FIE. THE HUMBUG: Follow the blue path, keeping the pointer on the orange path. If the pointer moves off it, the orange line will retreat. Replace the pointer to catch it. The orange line will automatically take the correct path, but you might not. Be careful of small curves which you might not notice because the orange line is quite unforgiving in certain places. Go slow. Now you have the Second Key of Thoth. To complete this puzzle, click on the medium sized orange square flashing at the lower left of the screen. It will beep, and move to the upper right. Click on it in its four positions. Memorise the positions, because you need them to defeat the High Prietess. Approximate positions: 2 4 1 3 THE MERCHANT: No puzzle. End of seventh group. Remember the words AIH, ROI, MYR and FIE and the phrase 'I NEED THE WORDS OF THE FOUR WHO PRECEDE ME.'. Also remember the positions of the four orange squares, because it is used to defeat the High Priestess. THE EMPEROR: Find-a-word. Find the following birds: Whippoorwill, Woodpecker, Goose, Crow, Parakeet, Nuthatch, Crane, Buzzard, Heron, Meadowlark, Nightingale, Hawk, Bobolink, Sparrow, Robin, Swallow, Bluejay, Canary, Cardinal, Eagle, Thrush, Dove, Finch, Vulture, Wren, Duck. THE FARMER: Construct the sentence: I AM HERE AT THE QUEENS REQUEST THE KNIGHT OF PENTACLES: No puzzle. End of the eighth group. Note the letters WIF DOVE from THE EMPEROR and the jumbled words TEHWA, ERCI and NCRO from the text of THE KNIGHT OF THE PENTACLES, which spell WHEAT, RICE and CORN respectively. THE EMPRESS: Rearrange the letters to spell 12 four-lettered words. w e e P m i s S Y o u r T w i g h a i R i d e A A r e a R o o t w o r M I r o n l a r D S o u p Special words: STAR PYRAMIDS. THE CHILDREN: The correct sequence is: 2 5 4 6 1 3, 'WE ARE THE LAST OF THOSE WHO CARE'. THE COUPLE: Type in the first letter of each word to reveal: LEAP FOR JOY. THE DANCERS: Construct: THE RAINBOW OF HOPE THE FAMILY: Find the following colours: Purple, Maroon, Violet, Scarlet, Azure, Ochre, Aquamarine, Chartreuse, Crimson, Hazel, Black, Indigo, Pink, Orange, Amber, Vermillion, Turquoise, Beige, Brown, Green, White, Lavender, Gray, Magenta, Yellow, Blue. THE NOT-A-MERCHANT: No puzzle. End of ninth group. Note the letters 'VILE SHADOW, FIVE CIRCLE' from THE EMPRESS and the words and phrases 'THE WORD OF A STAR, THE WORD OF THE PYRAMIDS, ERR, CARE, WORK OF THE DEVIL AND DESPAIR, LEAP, JOY, WISH, THE FOOD OF FERTILE SEEDS, NINE, I AM THE LAST', as they are used in determining the nature of some of the fourteen treasures. THE STAR: Construct the words: MYSTICAL CHANT. THE STREAM: No puzzle. End of the tenth group. Note the mystical chant: 'NZSLTZMB HGZUU'. JUSTICE: You must click on the correct circles, in the correct order, to end up with circles in each of the 25 squares. The following diagram shows which squares to click on and the order in which to do it (1 for first, 6 for sixth). Note that some squares may be used more than once. All the squares showing the same numbers can be clicked in any order. If you wish to restart, press the centre square to clear the board. +-------+-------+-------+-------+-------+ | | | | | | | | 3 | 4 | 3 & 5 | | | | | | | | +-------+-------+-------+-------+-------+ | | | | | | | 3 & 5 | | 2 | | 3 | | | | | | | +-------+-------+-------+-------+-------+ | | | | | | | 4 | 2 | 1 | 2 | 4 & 6 | | | | | | | +-------+-------+-------+-------+-------+ | | | | | | | 3 | | 2 | | 3 & 5 | | | | | | | +-------+-------+-------+-------+-------+ | | | | | | | | 3 & 5 | 4 | 3 | | | | | | | | +-------+-------+-------+-------+-------+ You have now earned the Third Key of Thoth. To complete the second part of the puzzle you must click on the far left of the screen and move to the far right. A line of colour should move across with the pointer until it covers the screen. Then click on the right and move to left. Next click on the top and move to bottom. Finally click on the bottom and move to the top. Remember this part of the puzzle, as you will need to repeat it to defeat the High Priestess. THE PAGE OF SWORDS: No puzzle. End of the eleventh group. Remember the second part of the previous puzzle, because it is used when you defeat the High Priestess. Also note the phrases: 'TO LIFT THE CURSE, THE EMPEROR MUST SIMPLY TAKE WHAT IS HIS FROM WHAT IS HERS.' and 'EIGHT GIANT LETTERS HAVE JUST APPEARED ACROSS THE FACE OF THE LAND.' THE CHARIOT: Construct the words: PENTACLES CUPS SWORDS WANDS THE KINGS OF SWORDS, OF PENTACLES, OF CUPS AND OF WANDS: No puzzle. End of the twelfth group. Note the letters HA, N, Z, T and U from the text. THE HERMIT: Memorise the path and follow it. Try counting the squares and remembering specific points along its part to make it easier. Once you complete it in parts you must do the entire thing in one go. Now you have the Final Key of Thoth. Next must draw the shape of a key by copying it in the same way as before. Remember that it is symmetrical, so that once you are halfway, it is easy to make the second half. You must memorise the shape of this key because you will need to reproduce it to defeat the High Priestess. If you need to practise, then you can redo this part of the puzzle by selecting the hermit at any time. THE STRAIGHT PATH: No puzzle. End of the thirteenth group. Remember the shape and position of the key, as you need it to defeat the High Priestess. If you need to remind yourself of the puzzle for the second, the third or the last key of Thoth, then you can repeat it by reselecting the puzzle. You will only have to do the final part of each puzzle. Note the Hermit's advice: 'A STRAIGHT LINE CAN BE THE MOST DIFFICULT PUZZLE OF ALL. LOCATE A 'J' AND PROCEED FROM THERE. JUDGEMENT: Another puzzle requiring you to select the correct combination of keys to produce a picture showing three letters. You must choose which of the keys must be pressed and which must not be to produce the solution. The capital letters below (and the 1's on the following line) represent those keys which have to be pressed. G A z e i N T O T H E s a n D S 1 1 0 0 0 1 1 1 1 1 1 0 0 0 1 1 Special letters: EZC THE CHANT: Replace the incorrect letters with the correct ones to reveal the phrase: 'A GIANT WHEEL STOOD NEAR THE PYRAMIDS AND I SAW THREE MYSTICAL WORDS, ONE ATOP THE OTHER.' THE DREAM: Press the buttons in the correct order to reveal a sentence. The order is: 6, 2, 7, 4, 3, 1, 8, 5. The sentence is: 'HE SANG THIS HAUNTING SONG.' THE NIGHTMARE: No puzzle. End of the fourteenth group. Note the phrases 'HEED THE ADVICE OF THE HERMIT', 'A GIANT WHEEL STOOD NEAR THE PYRAMIDS AND I SAW THREE MYSTICAL WORDS, ONE ATOP THE OTHER', 'I SAW A MAN CARRYING 10 STAFFS, HE SANG THIS HAUNTING SONG AGAIN AND AGAIN', the word 'EZC' and the directions '4 TO THE NORTH, 7 TO THE WEST, 3 TO THE NORTH, 8 TO THE WEST, 6 TO THE SOUTH, 5 TO THE EAST, 9 TO THE NORTH' as they are needed to solve for the fourteen missing treasures. THE TOWER: Jigsaw puzzle. Basic description of the final picture: TOP: (far right) Moon. MIDDLE: Swords on guys back, Fool and knapsack. BOTTOM: Sword, Shadow, (letters) RW. THE THIEF: Move the pointer across the sky to reveal the phrase: 'I TAKE NO CREDIT FOR THIS.' THE MADNESS: No puzzle. End of the fifteenth group. Note the letters QM and RW and the advice 'SEARCH THE LAND FOR FOUR MYSTIC SPELLS.' THE DEVIL: Replace the incorrect letters with the correct ones to reveal the phrase: 'TO SECURE THAT WHICH CANNOT BE GOTTEN YOU MUST INVOKE THE POINTS OF A COMPASS AND CONVINCE IT TO COME TO YOU.' THE PLAIN OF BONES: No puzzle. End of the sixteenth group. Remember the above phrase as this piece of advice is the solution to one of the puzzles you have to solve and the word DEAD from the text. DEATH: This puzzle is not as difficult as it seems. Read the instructions, and holding the button down, move the pointer to the bottom of the screen and over the white square. Now release the button and the puzzle is solved. THE KNIGHT OF SWORDS: Change the letters to reveal the phrase: 'I BRING A MESSAGE FROM YOUR KNIGHT. HE TELLS OF AN ATTACK BY EIGHT MAGICAL WANDS.' THE QUEEN OF SWORDS: Rearrange the letters to spell the words: R A W O W E B E E THE SWORD: No puzzle. End of the seventeenth group. Note the letters ZA, EKE and E. THE MAGICIAN: Jigsaw puzzle. Brief description of the picture is: TOP: Yacht, Yacht, Sun, RW (letters upside down). MIDDLE: Large Yacht, Shadow of RW, Fool and knapsack. BOTTOM: Horse, Man with beard holding reins. Look at the shoreline to assist you when putting the puzzle together. THE THREE SHIPS: Follow the advice given in THE DEVIL and invoke the points of the compass, instead of chasing the question mark around. Press the 'N', 'S', 'W' and 'E' keys to bring the question mark to the pointer. You now have the First Key of Thoth. THE JUGGLER: Reveal the phrase: 'I AM AFRAID I AM NOT THE MESSENGER YOU EXPECT, BUT I WAS TOLD TO WARN YOU THAT TWO SHIPS APPROACH FROM THE SOUTH.' THE QUEEN OF PENTACLES: Rearrange the letters to spell the words: A R M T O O E B B THE PENTACLE: Construct the words: THE FOUR SAGES The puzzle is symmetrical, with the two colours in one half each. THE PAGE OF PENTACLES: No puzzle. End of the eighteenth group. Note the letters RW, TRSC and B and the phrases 'I AM THE FIRST OF SIX. NEXT YOU MUST SEEK HE WHO CHASES A FISH.' and 'AND ONCE I HAVE CONSULTED WITH THE FOUR SAGES THAT AWAIT ME, I SHALL BE HALFWAY THERE.' THE HIGH PRIESTESS: Click on the numbers, counting down from 99 to 1, and if you have all of the Keys of Thoth, you will defeat the High Priestess. Note that the movement of the numbers speeds up as there are less of them on the screen. Clicking on the mouse button repeatedly may slow them down, but it will also make the screen messy. Now you must redo parts of the puzzles from when you got the Keys of Thoth. Firstly you must locate the four squares. Click on the space where the first one was and you will hear a bell. You will see seven squares on the screen temporarily, but some of these are there to bluff you. Click on the correct four in the right sequence to continue. Next click on the left of the screen and drag right, click right and drag left, click at the top and drag down, click down and drag up. Finally redraw the key and click once and once again. The screen briefly shown is part of the final section of the game. THE SENTRY: Compare the two words shown and type in the extra letter in each pair into the spaces provided to spell: DO NOT TRY TO STOP US. THE BOAT: A long puzzle of letter rearrangements. Rearrange the first few sets to spell the words: WRECK and EMPTY, DITCH and FIGHT, ROAST and UTTER. Then use the clues to spell: Toss - THROW, Ruse - TRICK Card - TAROT, Attack - SIEGE Sharp - KNIFE, Coarse - ROUGH Intersect - CROSS, Pursue - CHASE Fret - WORRY, Surrender - YIELD Parasite - LEECH, Body Area - TORSO, Chalk Board - SLATE Crevice - CRACK, Rude/Stupid - CRASS Incorrect - WRONG, Avarice - GREED, Disorder - CHAOS Shove - NUDGE, Metal Links - CHAIN Fresh - CRISP, Doorway - ENTRY, Small Change - PENNY Explanation - ALIBI, Get Up - ARISE Odor - AROMA, Shun - AVOID Unit of Weight - OUNCE, Expanse - RANGE Arrange - ALIGN, Moron - IDIOT Let me be! She croaked. DESPAIR DESPAIR: Press the correct keys to reveal PUS: t E n G L O W i N G S W O r D S 0 1 0 1 1 1 1 0 1 1 1 1 1 0 1 1 THE DEAD WARRIOR: No puzzle. End of the nineteenth group. Note the phrases 'THE SACRED INSCRIPTION FROM THE EVIL DARK TOWER', 'THE LETTERS FROM THE BANNER OF DEATH', 'THE BLOOD OF A MAN KILLED BY TEN', 'THE WEAPON OF AN OUTNUMBERED WARRIOR' and the words PUS and GRIEF. THE LOVERS: A find-a-word puzzle. Find the words 'High Priestess, Hanged Man, Empress, Devil, World, Star, Emperor, Fool, Strength, Chariot, Sun, Lovers, Justice, Heirophant, Wheel of Fortune, Judgement, Death, Hermit, Temperance, Tower, Moon, Magician.' THE SINGER: Press the correct keys to reveal BOW: A r e y o u R E y E s b L i N D 1 0 0 0 0 0 1 1 0 1 0 0 1 0 1 1 THE WARRIOR: No Puzzle. End of the twentieth and final group. Note the letters EG, LI, OC and BOW from the text. THE SUN/MAP: To finish the map, you must carefully read through the story and pick out the clues which will help you to construct the map. Each story is represented by once square on the map. The last piece represents the Book of Thoth. Firstly put together the pieces which obviously go together, such as the villages, the maze, and the two ocean segments. Another feature to notice is that the numbers on the right (top and bottom) of some squares must match up with letters on the left of the adjacent square. Finally, the are gray lines on the edges on some squares. These join up, but not in one continuous line. However, they will help you determine the final form of the map. Many of the clues are obvious, but many are subtle and an seemingly obvious clue may be a red herring (eg. the RED URN is actually black on the map.) There is a picture of the map included to help you complete it. THE FOURTEEN TREASURES: By pushing Shift and moving the pointer you can determine the names of the various squares. Firstly read THE MAGICIAN part of the story. Next look at the Book of Thoth. THE BOOK OF THOTH: There are fourteen lines with spaces for the names of the fourteen treasures. You must determine the names and type them into this book. There is a clue given on each line to help you place the names correctly. The solutions will be given in the same order. THE KINGS ARE CONFUSED: The name has twelve letters and two words each of six letters. Refer to the twelfth group and the text of THE MAGICIAN. The letters from the stories of the kings are: KING OF SWORDS - N KING OF PENTACLES - Z KING OF CUPS - T KING OF WANDS - U Also referring to THE CHARIOT puzzle reveals the name of: PENTACLE - B CUP - T SWORD - E WAND - S Finally referring to the King's squares on the map reveals the letters: O, E, A and R. Confused refers to the jumbled order of the letters. Rearrange the letters to spell the Treasure: BRONZE STATUE. WITHIN THE KINGDOM OF THE PENTACLES: Looking at the map, the Kingdom of Pentacles encompasses the two squares representing THE PAGE OF PENTACLES and THE MERCHANT. Refer to the text of each (or groups seven and eighteen) to read the phrases: 'Once I have consulted with the four sages that await me, I shall be halfway there.' and 'I need the words of the four who precede me.' The next four sages after the Page of Pentacles are: THE WORLD - y e S STRENGTH - e r A TEMPERANCE - S i P THE HANGED MAN - T o P The four who precede the Merchant are: THE BLACKSMITH - A i H THE CATHEDRAL - R o I THE CHAPEL - m y R THE HUMBUG - f i E Typing the words in in the above order reveals the treasure: STAR SAPPHIRE. THE QUEENS ARE CONFUSED: The text of the four queens reveal the words: QUEEN OF WANDS - CLAC QUEEN OF CUPS - YNAL QUEEN OF SWORDS - EKE QUEEN OF PENTACLES - TRSC Rearranging the letters reveals the treasure: CRYSTAL NECKLACE. WITHIN THE KINGDOM OF THE WANDS: This puzzle consist of four groups of words, each group containing two three lettered words. Refer to group four to see that the words are: THE CANOPY - RED URN THE FIGHTING BOYS - BAD YAM THE STONE WALL - NEW GNU THE WATCHTOWER - RAT IVY Placing the words into their respective groups, one atop the other: R e d R a t U r n I v y B a d N e w Y a m G n u. Treasure: RUBY RING. THE PATH OF SIX IS DISGUISED: Refer to group eighteen. The text of THE THREE SHIPS says 'I AM THE FIRST OF SIX'. 'YOU MUST NOW SEEK HE WHO CHASES A FISH'. You also get the letters RW. You will need to skim through the text. I am the first of six. THE THREE SHIPS - RW Seek he who chases fish. THE PAGE OF CUPS - KD Seek she who holds two swords. THE CHANT - EZC Seek the family who departs by boat. THE BOAT - YH Seek the broken wheel (see map) THE CHARIOT - HA A thief who steals seven (swords) THE THIEF - RW It is the last of its kind. Disguised implies that the name has been encoded. THE MADNESS advises you to SEARCH THE LAND FOR FOUR MYSTIC SPELLS. These are in the form of the four sets of double gray lines on the map. If you use the upper set of horizontal lines, RWKDEZCYHHARW becomes: ONYX MEDALLION. THE MYSTIC CHANT IS DISGUISED: Refer to group ten (THE STREAM). The mystic chant is encoded as: NZSLTZMB HGZUU. Type this into the bottom set of horizontal lines (without the space) and it will reveal: MAHOGANY STAFF. THE KNIGHTS AND PAGES ARE CONFUSED: Refer to the map. Use the shift key and move the pointer around to determine which are the squares of the knights and the pages. Each of these squares has a letter on it. THE PAGE OF SWORDS - G, THE PAGE OF PENTACLES - U THE KNIGHT OF SWORDS - O, THE KNIGHT OF PENTACLES - L THE PAGE OF CUPS - D, THE PAGE OF WANDS - S THE KNIGHT OF CUPS - T, THE KNIGHT OF WANDS - D Rearranging the letters reveals the treasure: GOLD DUST. THE MAZE OF THORNS IS DISGUISED: Go to the maze section of the map. Go down all of the possible paths until there are eleven letters showing and you have found the whispering wind and the ogre. The letters are: E - elf - sacred stone. L - leprechaun - luck. P - pixie - manners. G - genie - magic lamp. S - spirit - rare herb. N - wood nymph - skin of a tree. B - banshee - dagger. W - witch - last ingredient. V - vampire. D - dwarf - 3 pearls. T - troll - 5 brass coins. Once all the letters are showing you can go and see the: Whispering wind - coin, four leaf clover. Now go to the: Leprechaun - pearl, ginger root. Now go to the: Witch - abandoned knife. now go and see the: Banshee - brass lamp. Now go and see the: Genie - copper key. Now go and open the: Copper Door - Mystical Spell of Prowess. Now go and throw the: Ogre over the wall - brass coin, quartz crystal, pearl. Go to the: Elf - silver cross. Now go and kill the: Vampire - sprig of parsley. Go to the: Spirit - pearl. Go to the: Dwarf - brass coin, silver key. Open the: Silver door - Mystical Spell of Silence. Silence the: Noisy sprite (by exit) - brass coin, yellow daisy. Visit the: Pixie - hickory bark. Go to the: Wood nymph - brass coin. Go to the: Troll - Gold key. Open the: Gold door - Mystical Spell of Disruption. Go to the: Fire Demon. You must get above him by going to the square to the left of where he patrols and going up and across, behind the wall from him. Now exit to reveal: X L P F Y V X E N P A Z G Z J. type this into the left vertical set of double lines to see: DIAMOND BRACELET. THE HEIROPHANT IS DISGUISED AND CONFUSED: Refer to group six. The numbers represent the encoded letters. By looking at the map, the equivalent letters can be determined. THE CLOUD - 6, 13. THE VISION - 15, 2, 20. THE ENCHANTMENT - 14, 8, 15. THE ABANDONED CUPS - 16, 16. THE HEIROPHANT - 15, 24, 2. 6 = A, 13 = D, 15 = E, 2 = R, 20 = O, 14 = W, 8 = F, 16 = L, 24 = M. The letters are A, D, E, R, O, W, F, E, L, L, E, M, R. Rearrange to spell: EMERALD FLOWER. IF JUSTICE BE DONE: Refer to the text of JUSTICE. It advises that 'TO LIFT THE CURSE, THE EMPEROR MUST SIMPLY TAKE WHAT IS HIS FROM WHAT IS HERS. Refer to THE EMPEROR: WIF DOVE Refer to THE EMPRESS: VILE SHADOW, FIVE CIRCLE. Subtract the letters in the Emperor from those in the Empress to leave: L, S, H, A, I, V, E, C, I, R, C, L & E. Rearrange to spell: SILVER CHALICE. WITHIN THE KINGDOM OF THE SWORDS: The puzzle has four blocks, which have 2 x 2 letter words, 2 x 3 letter words, 3 x 2 letter words and 3 x 3 letter words. Refer to the forteenth and nineteenth groups. The four squares in the Kingdom of the Swords are: THE HIGH PRIESTESS: The sacred inscription from the evil dark TOWER and the letters from the banner of DEATH. THE SENTRY: The blood of a man killed by ten (THE DEAD WARRIOR) and the weapon of the outnumbered WARRIOR. THE DREAM: A giant wheel stood near the pyramids and I saw three mystical words, one atop the other (The picture of the Wheel of Fortune on the map). THE NIGHTMARE: I saw a man carrying ten wooden staffs. He sang this Haunting song again and again (THE SINGER). a) THE TOWER - QM, DEATH - ZA. b) THE DEAD WARRIOR - PUS, THE WARRIOR - BOW. c) The Fortune Wheel on the Map - ONO, ROR, DND. d) THE SINGER (Haunting song) - EG, LI, OC. Enter into the puzzle: q M p u S z A b o W e G o n O l I r o R o C d n D to spell: MAGIC SWORD. FOLLOW THE STRAIGHT PATH: A find-a-word puzzle. However the letters of the treasure have been jumbled. Refer to the fourteenth group. JUDGEMENT: 'Heed the advice of THE HERMIT' and the directions '4 TO THE NORTH, 7 TO THE WEST, 3 TO THE NORTH, 8 TO THE WEST, 6 TO THE SOUTH, 5 TO THE EAST, 9 TO THE NORTH'. THE HERMIT: 'A straight path can be the most difficult puzzle of them all. Locate a 'J' and proceed from there. Look at the puzzle, find the J at the bottom right of the screen, 2 rows from the bottom and 4 columns from the right, and follow the directions to get the letters: J, A, D, E, I, D, O, L, which spells: JADE IDOL. WITHIN THE KINGDOM OF THE CUPS: Twelve words are needed. Refer to the ninth group. The FIVE squares in the Kingdom of the Cups are: THE CHILDREN: The word of a STAR (ie. ERR).  The word of the pyramids. (THE PYRAMIDS, THE PAGE OF WANDS, THE KNIGHT OF WANDS all have one letter each, which are H, E, X, spelling HEX). THE COUPLE: CARE. The work of THE DEVIL (DEAD) and DESPAIR (GRIEF). THE DANCERS: LEAP. JOY. THE FAMILY: WISH. The Food of Fertile Seeds (THE KNIGHT OF PENTACLES has the seeds you desire, but they have gotten jumbled in his pouch. tehwa [WHEAT], erci [RICE], ncro [CORN]). THE NOT-A-MERCHANT: NINE. I am the last. Type the letters into the puzzle in the correct order (trial and error) as shown: J o y g r i E f W h e a t r i c E L e a p h E x d e a D C a r e e R r c O r n W i s h n i N e spelling: JEWELED CROWN. EIGHT IN THE LAND ARE DISGUISED: Refer to the eleventh group. THE PAGE OF SWORDS - 'EIGHT GIANT LETTERS HAVE JUST APPEARED ACROSS THE FACE OF THE LAND'. Check the map and as you follow the path from beginning to end , write down the eight large, yellow letters: D, R, B, U, F, V, Y, U. Type the letters into the right vertical double lines on the map to decipher the letters and spell: AMETHYST. Finally: Type the names of the fourteen treasures into the Book of Thoth in the correct order to reveal the gift granted to the fool for his troubles. b r o n z e s T a t u e s t a r s a p p H i r e c r y s t a l n E c k l a c e r u b y r i n G o n y x m e d a l l I o n m a h o g a n y s t a F f g o l d d u s T d i a m O n d b r a c e l e t e m e r a l d F l o W e r s i l v e r c h a l I c e m a g i c S w o r d j a d e i D o l j e w e l e d c r O w n a M e t h y s t THE GIFT OF WISDOM. You have completed the game. Enjoy the final animated sequence. DAMOCLES SOLUTION typed by ELITE of THE SYNDECUT Thanks to Mr.D.Lane from Mansfield. ERIS 1. Get the spaceship as instructed and then fly to Loc-ref 12:14 and get the computer. 2. Fly to Loc-ref 15:03 and buy the pressure suit. 3. Fly to Snow Island, land at Loc-ref 3:00 and get the cupboard, it contains a Nova Trigger. 4. Fly to Bare Island, land at Loc-ref 6:02 and enter the transporter that is on the ground floor. Keep entering until you get to Loc-ref 7:01, UP City on Gaea. Find the sideboard, it has a Nova Trigger inside, Return the way you came. METIS 5. Fly to Metis and land at Loc-ref 5:06 and get the washbasin. To get in , walk to the table that is facing you on entry. The wall behind the table will move (it's really a door disguised as a wall!), in the room is the washbasin and, once again, it has a Nova Trigger in it. GAEA 6. Fly to Chaldea Metropolis on Gaea and land at Loc-ref 6:06. Get the gold from the basement. Next, fly to Loc-ref 5:08 and sell the gold. Fly to Loc-ref 5:06 and get the Hi-Fi system, it has a Nova Trigger in it. 7. Fly to Loc-ref 9:02 on UR and get the Nova bomb, it is in the basement behind the lift. DAMOCLES 8. Fly to the comet Damocles and land on it. Leave the Nova bomb on the comet and retreat to a safe distance. Switch on the Nova Triggers one by one. The comet will explode and you'll receive your reward. DAY OF THE VIPER Started on 24/2/91 by Elite of SSS Finished on 24/3/91. DAY OF THE VIPER What's a GAR? July 4, 2307. First a quick history lesson. Not too long ago - about 300 years to be exact - someone at The Rore Corporation gave in to coffee-induced delusions and proposed an idea: Let's create a biotechnotic race. Something with the mind of a computer, the body of an assault vehicle, and the intuitive processes of a human being. It would be perfect for belt mining, wouldn't it? Or piloting a starship. After a few decades of R & D, and billions in government subsidies, Rore finally came up with a prototype unit, GAR-1 (Genectic Android Race). GAR was incredible. He was a powerhouse. He performed dangerous and/or complex functions with frightening efficiency - and, for the first time in the history of biotechnology, with a masterful intuitive grace as well. In GAR, researchers had truly reduced the interface between man and machine to about the length of a cellular dendrite. Unfortunately, GAR had these "headaches." Neurosynthetic melding, it seems, serves up some unpleasant side effects. For example: Excruciating neural pain. Back to the Future. Well, to make a long story short, GAR went whackoid - who wouldn't? - and has been rampaging maniacally through the defenses of the Sun League Defense Force (SLDF) for three centuries now. It is diffi- cult to overstate the unwholesome nature of his feelings toward living organisms. Indeed, to call GAR "vengeful" would be like calling Atilla the Hun "naughty." You know, it wouldn't be so bad if he wasn't smarter than everybody on Earth put together, and hadn't spawned an unstoppable robotic army whose sole purpose is to strip the biology from every biosphere in the galaxy. Take away all that and we'd be in pretty good shape. DAY OF THE VIPER Let's Get to The Point. Which is this: We're in deep moon sauce. GAR's brilliant bio-technoid mind has come up with innovation after military innovation. His shield and laz gun technology has been a generation ahead of SLDF issue for a hundred years. Of course, we've had good success lately. SLDF military research has made some remarkable advances - and there are rumours of breakthrough weapon & shield developments unfolding even as we speak. Ion cannons. Krellian power spheres. You know, things like that. However, recent intelligence reports indicate unusual activity in GAR bases out in the Rim Worlds - the icy, lifeless planets on the edge of the galaxy. His swarming mechanoid minions seem to be mobilizing for a daring Napoleonic thrust into the intimate inner ionosphere of the Sun League central systems. (Say that last sentence five times, really fast.) We have reason to believe that... Here's where you come in Suddenly, from deep space, your attack frigate - the "SLDF Defiance" - receives a distress signal. After recovering from the shock of your computer's message, you blast into hyper-drive. You hover cautiosly in the outer rim of the Targan system. Immediatly, your sensors tell you the entire star system is crawling with elite units of GAR's bloodless BioScan Corps. OK, maybe they look like household appliances. But they have an attitude problem. With cold, efficient fury, Bio-Scanners seek out biological life. Then they toast it into little pieces of black oblivion. Rumour has it they will relentlessly hunt down even the tiniest fibrillating bits of unicellular biomass. GAR, you see, sweats the details. You decide it's kind of cozy, way out here on the rim of this star system. The Problem If you pass your test, a terrifying message - Priority One Alert, from High Command - will appear on your screen. Read it and weep. Then fire up your Viper V. (If you're impatient, press the left mouse button once to bypass the message.) What's a Viper? As one of the original members of The Nexus Project, you have been waiting for this moment. A Viper unit is a powerful attack android. But unlike GAR, a Viper is controlled from a remote location by a highly-trained human operator - in this case, you. In combining the Viper android with the Nexus 2000 Synergy Console - the remote link which directs the unit - The Rore Corporation has come remark- ably close to matching GAR's systemic configuration without actually fusing living cells to component technology. Unfortunately, the cost of each Viper/Nexus unit is so prohibitive that Sun League has only a handful. All of them, except yours, are drydocked. There are indications that SLDF defense contractors have been overcharging us. I know you may find this shocking. Here's what we're getting at: No other androids are available. Only you can save the Sun League. What's the Mission? Simple. Regain control of the SLDF Base Complex. Five buildings, five floors apiece. The only obstacle is a hoard of the most dogged storm troopers this side of the Dog Star. And, yeah, GAR. The honcho himself. Look, it's not impossible. Just reactivate the Security Defense Computer. Of course, GAR destroyed the central program. He's not stupid. But he doesn't know that the program was downloaded onto 25 hidden floppy disks as well. Direct your Viper to recover all the disks, load them into your Viper's built-in hard-drive, then upload the data back into the Command Post Main Computer. Once the security system is reactivated, all intruders and ships will be eliminated. Here's how you do it: 1 Recover the Floppies. There are 25 floppy disks, one hidden in each of the 25 sub-floors of the SLDF Complex. There are five buildings, each with five sub-floors. Each sub-floor can have as many as 50 rooms. 2 Find the Disk Controller Chip. This little silicon etching enables you to load floppy data onto your hard disk. 3 Find the Computer Interface Chip. This lets your Viper unit communicate with the Main Computer. 4 Find the Main Computer Room. It's there, somewhere. Upload the data and find a way to restart (boot) the system. 5 Kill lots of the Enemy. As you progress, enemy troops get nastier. Destroy as many as possible. How to Control the Viper Screen Viper is completely mouse-controlled: No codes, no keyboard commands. So in this doc, when we say "point" to something, we don't mean with your finger. We mean this: Move the mouse until the on-screen mouse pointer is directly over the indicated object. To IDENTIFY anything in the game, simply point to the object or area with the mouse pointer and click the right mouse button once. A short descrip- tion of the object will appear on the Message Display. To ACTIVATE SCREEN FUNCTIONS, point to the appropriate on-screen buttons or gauge and click the left mouse button. To ACTIVATE OBJECTS, point to them and double-click the left mouse button. The Message Display will tell you what happened To MOVE OBJECTS: First, click the left mouse button once on the object (such as an Energy Crystal) to be moved. A green box will highlight the object. Move the mouse pointer to the desired spot (such as one of the Holding Boxes), then click the left mouse button again. The object will move to this new location. If that area is already occupied by another object, the two items will be "swapped". To ACTIVATE ROOMS in the SLDF Complex, put the pointer on the back wall of the room and click the left mouse button. To FIRE YOUR WEAPON click on the Weapon Button, then move the pointer into the Right Monitor area where it will automatically become a cross-hair, ready to shoot. Click on the Weapon Button again to return the crosshair to its benign pointer-like state. How to Control Your Viper Mechanoid You've got a lot of things to monitor on your Viper module, but a few turns around the SLDF hallways and you'll be moving like a pro. You'd better if you want to survive the lower floors. Message Display Watch this. This is how your Viper mechanoid communicates with you. Right Monitor Your synergistic eyes. Lets you see everything that your Viper unit sees through a special 3-D Camera. However, you cannot see un- lit areas without a visual aid. Holding Boxes Ten of these; they serve as compartments for storing disks, energy crystals, and other objects you find. Plotter Button Turns your Plotter Display on and off. Click it with the left mouse button. (The Plotter Indicator light is green when On, black when Off.) Plotter Display Maps out each floor as you progress. You cannot detect intruders on your plotter. If your Plotter Chip has been damaged, you cannot activate the plotter. Unlike shields and firing weapons, the plotter does not drain your energy while in use. Plotter Legend BLACK Hallways, passageways, rooms, unplotted areas BLUE Walls RED Traps GREEN Objects FLASHING WHITE Viper (your position) COLOURED BARS Security doors (Horizontal & Vertical) Current Building (1 thru 5) Current Floor (1 thru 5) Floor Coordinates Shows your position (X and Y coordinates) on the current floor in relation to the upper left corner of the plotter - i.e., upper left corner: X = 0, Y = 0. Coordinates will help you find previously- explored locations and previously-found objects of importance. Coordinates are automatically recorded when you access your Recorder. Short Range Sensor The danger gauge that indicates enemy presence: GREEN for safe conditions, YELLOW for approaching danger, and RED for immediate danger. On the Amiga Games Machine, the four-sided gauge will also light up on the side from where the danger is coming. Heading Indicator Trusty direction finder. Your computer screen is North at the top, South at the bottom, West on the left, and East on the right. The indicator, however, tells you in which direction Viper is headed. So in order to travel up your screen, for example, make sure that the compass reads North, then click on the Move Forward Button (Up arrow) with the left mouse button. Scanner Button Gives you one scan cycle - a portion of the entire floor area that surrounds Viper will be scanned, with results displayed on your plotter screen (if active). It will burn up some energy, too. Movement Buttons These move your Viper android. For continuous movement, hold down the arrows. Weapon Button Turns your particle beam weapon system or Laz Gun on and off. (Weapon Indicator Light = green for On, black for Off.) When on, the mouse hand changes to a Crosshair on the right monitor. Aim the crosshair at the target, then press the left mouse button to fire the weapon that is currently installed. Always shoot for your opponent's "Hot Spot." What's a Hot Spot? It's that one spot on a foe's person that will cause the most damage when you hit it. The farther away from that spot, the less damage you will cause and the more energy you will waste. Unfortunately, the only way to find their Hot Spot is trial and error - the closer you come with a shot, the larger the explosion. If you're not close, the shot will do no damage. To install a new weapon, point to the new weapon and double-click the left mouse button. But remember: Firing weapons consume power. Shield Button Turns your shield recharge on and off. (Shield Indicator Light = green for On, black for Off.) To install a new shield, double- click the left mouse button on the desired shield. Activated shields consume power because they are constantly recharging. And when turned off, they'll retain their energy level until hit. Energy Level Gauge Tells you how much energy is left in your storage tanks. If it hits 0%, Viper will shut down. You lose energy by fighting, operating weapons and shields, and running into things you shouldn't. You even lose power just standing around, so it's a good idea to pause the game when you're not actively hunting Gar. To replenish energy, gobble up all the energy crystals you can find. Damage Level Gauge Shows you how much damage your Viper has sustained. If damage level hits 100%, Viper is destroyed. For repairs, hunt for repair pods. Battered Unit Damage (B.U.D.) Light Registers how much damage an enemy under attack is taking on. The more hits you make, the faster the indicator will change from green (good as new) to yellow (50% damage: hurting cowboy) to red (75% damage: dead meat). Weapon Temperature Gauge Your Laz Gun Temperature Gauge. The gun will malfunction if it gets too hot. Shield Strength Gauge If this hits 0, your mechanoid can be damaged by laser hits. Pause Button Freezes the game at any moment. (Pause Indicator Light will register red for Paused, green for Running.) When the game is paused, the screen will turn red. Circuit Board The main control panel of your Viper. It contains 13 precious microchips, each can be damaged and must be replaced as needed. To access the circuit, click on the Circuit Button with the left mouse button. (The Circuit Indicator Light is green when On, black when Off.) To install Chips and Components, point to the desired object and double- click the left mouse button. The object will appear on the circuit board in the correct socket. (You do not need the board displayed in order to install circuits.) Socket# Function 1 Gyroscopic stabilizer 2 Teleport neutralizer 3 Proximity mine neutralizer 4 De-plotter neutralizer 5 Proton mine deflector 6 Communicator 7 Computer interface 8 Disruptor neutralizer 9 Shield element 10 Plotter element 11 Disk controller circuit 12 Weapon element 13 Scanner module Disk Menu Button Click on this with the left mouse button (Disk Menu Indicator Light = green for On, black for Off) and four options appear in the left monitor area. * LOAD Click with the left mouse button to load a previously-saved game. * SAVE Click with the left mouse button to save the battle you're currently waging. Only on game can be saved at a time; a second save will override the first. * QUIT Click with the left mouse button to return to the operating system. When asked if you want to quit without saving the current game, click on YES or NO. * RECORDER ICON Click with the left mouse button to open and close your Recorder Hard Drive Gauge Each of these five bars corresponds to one of the 5 sectors of your hard disk, each holding 5 floppy disks worth of information. Floppy Disk Drive Lets you load floppy disks onto your Viper's hard disk. To load a disk, double-click left mouse button on desired disk. The light on the drive will go on to indicate loading. Know Thine Enemy Know him. He is deadly and ubiquitous. Many different types of GAR-goyles roam the halls of the SLDF Complex looking for your Viper. When their sensors detect your guy, the ones that move, move fast. In his quest for the ultimate warrior, Gar has made many different models. Each with different speed, attack logic, armour, and strength. Some are designed for recon work, others for communications, and then there are the warrior units - the elite of Gar's forces. It is extremely important to gain weapons and shield upgrades. The more, the better. Traps to Avoid Many traps were placed by the enemy after their successful asasault in order to prevent a counter attack by SLDF forces. All will cause either disorientation, power loss, damage to Viper unit (including your circuit board), or all of the above. If you're fast and lucky, you might be able to avoid detonation. Be on the lookout for the following:- Teleport Traps slow your progress by teleporting you to a different place on your current floor. Gyroscope Traps disorient you by rotating your Viper mechanoid in a dizzying manner, then throwing you in a random direction. Where it stops, nobody knows. Some are nasty enough to inflict damage. Proximity Mines emit a powerful energy disruption beam that will cause a diminution of power. Energy Disruptor Mines emit an even more destructive force than Force Fields. They want to bring your man down. De-Plotter Traps discharge static energy bursts that can scramble your plotter module (map view), disabling your plotter display until you replace the module. Proton Mines damage your Viper, might damage one chip on your circuit board, and cause power loss. By far the most destructive of all traps. Avoid religiously. How to Search the SLDF Base Complex You know the layout: Five underground security buildings, five floors per building, up to 50 rooms per floor. To move from floor to floor, seek out a Turbolifter. To move from building to building, find a Shuttle. Each building has progressively higher-level SECURITY LOCKS. To enter locked areas, you need special, color-coded Access Cards. Different colored Access Cards unlock certain colored doors. As you can see from the chart below, higher-level cards will unlock all lower-level doors. Card Colour Colour of Rooms Accessed BLUE Blue GREEN Green and Blue YELLOW Yellow, Green and Blue RED Red, Yellow, Green, Blue WHITE All Here's the type you'll encounter: Communication Rooms Feature video displays that will scroll important messages for you - provided you have the Communication Module installed in your circuit board. Click the left mouse button on the room to activate the communicator. There's a different message on each floor. Read them as many times as you like. Power Rooms Here you can restore full power to your mechanoid - if you have an Energy Syphon. No limit to the number of times you can suck energy from the Main Reactors. Click left mouse button to activate generators. Repair Rooms Just the place to repair Viper hull damage. You need a Repair Room Activator, however. Click left mouse button to activate the repair generator. No limit to number of repairs - but you can't fix a circuit board here. Security Rooms Great spots if you happen to have a Security Room Activator. Click the room with the left mouse button and reactivate the Anti-Intruder System on your current floor. Then watch your worries (and any remaining intruders) melt away. Shuttle Rooms The place to catch the shuttle to another of the five adjacent buildings. To use the shuttle, click the left mouse button on the room and select Yes. Storage Rooms - like a candy store - are great places to find all sorts of goodies to help you complete your mission. One small problem, though: all the storage rooms are equipped with force fields. You will need to locate the combination to each storage room and enter it onto a Security Lock - which is a keypad beside the door. A close-up of the keypad will appear when you click on it with the left mouse button. But no combination, no entry. The rooms also allow you to free up space on-board your Viper. Unload items into any of the six Storage Cubicles by clicking on the source object - a green box will highlight it - then clicking on the destination cubicle. Terminal Rooms Provide refuge for the hidden floppy disks. TurboLift Rooms Fancy elevators that take you to any floor, up or down. Once inside, click the left mouse button on the number of the desired floor. Vacant Rooms Perform no function. However, valuable objects can often be found inside. Computer Room Your ultimate destination. If you make it there... if you have all 25 Floppy Disks loaded into your hard drive... if you have the Computer Interface Chip installed in your circuit board... then click the left mouse button on the room to activate the computer. The Data automatically transfers. But you still need to figure out how to start up the defense computer. Vital Objects The SLDF Base was a research and development center for weapon and shield technology. Therefore, you shouldn't be suprised if you discover prototypes of the universe's most useful, and destructive, tools. Here is a partial list of objects that can be found in the SLDF Base Complex. The rest you have to find on your own. Combination Needed to deactivate supply room force fields. (One time use.) Double-click the left mouse button to enter it into your Recorder. Communication Module Circuit needed to activate Communication Rooms. (Must be installed. Damageable.) Circuit Etcher and Circuit Etcher Fuel When given etcher fuel (one time use), this etching device (also one time use) creates a valuable component that can be installed in your circuit board. Circuit Repair Module Repairs all damaged modules on your circuit board. (One time use.) Damage Repair Pod Repairs damage done to Viper mechanoid. Will not repair circuits. (One time use.) Pod Amount of Damage Repaired BLUE A little GREEN A little more YELLOW Quite a bit RED Now you're talking WHITE Wow! Data Disk One of the 25 floppy disks that contain parts of the Security Defense Program. One disk on every floor of the Complex. Located in Terminal Rooms. When found, load each disk onto Viper unit hard drive. All 25 needed to reactivate Main Computer. Disk Quantity and Location BLUE 5 in Building 1 GREEN 5 in Building 2 YELLOW 5 in Building 3 RED 5 in Building 4 WHITE 5 in Building 5 De-Plotter Neutralizer Circuit Lets Viper pass over a De-Plotter Trap without damage. (Damageable. One time use.) Deflector Shield Deflects some or all of destructive power of any particle beam weapon or trap. (Must be installed. Uses energy.) Shields with higher power levels deflect more damage and use less energy. There have been unconfirmed rumors of a Super Shield. Shield Power Level BLUE 1 GREEN 2 YELLOW 3 RED 4 WHITE 5 Disk Controller Unit You need this to load Data Disks into your hard drive. (Damageable. Must be installed.) Disruptor Pistol You begin with the standard Sun League disruptor pistol. Various prototypes exist. Emits destructive particle beam that will damage or destroy intruder. Different color pistols correspond to varying levels of destruction, one being the weakest. (Must be installed. Uses energy with each shot.) Pistol Destruction Level BLUE 1 GREEN 2 YELLOW 3 RED 4 WHITE 5 Energy Crystal Replenishes energy to your Viper. (One time use.) Crystal Tank Volume BLUE A little bit. GREEN A little more. YELLOW Quite a bit. RED Now you're talking. WHITE Wow! Disruptor Neutralizer Neutralizes disruptor beam emitted by Disruptor Mines. (Damageable. Must be installed.) Energy Siphon When in a Power Room, this device lets you replenish your Viper's energy supply from Main Generators. (Reusable.) Energy Storage Device Stores enough energy to replenish 50% of your Viper's total capacity. While filling, it drains power from your reserves. When used, it empties contents back into Viper energy tank with a slight energy loss. Must have at least 51% power on board in order to fill this device. (Reusable.) Proximity Mine Neutralizer Circuit Deflects destructive energy emitted by Proximity Mines. (Damageable. Must be installed.) Gyroscopic Stabilizer Circuit Lets you pass over a Gyroscope Trap without damage or disorientation. (Damageable. Must be installed.) Locked Box Storage device that contains useful objects. Must have a special key to open. (One time use.) Maps Maps out entire floor on Plotter Screen, revealing all of its objects, traps, and passages. (One time use.) Storage Box No visible locking mechanism... but easily opened, if you're smart enough to figure out how. (One time use.) Photon Emitter Light source that uses Viper power to let you "see" in darkened areas. (Reusable. Uses energy.) Plotter Module Circuit that lets you update your plotter map. (Damageable. Must be installed.) Proton Mine Deflector Circuit Lets your Viper pass through a Proton Mine without damage. (Damageable. Must be installed.) Repair Room Activator Activates equipment when Viper is in Repair Room to fix mechanoid hull damage. Won't repair damaged circuits. (Reusable.) Universal Repair Kit A very useful object. Repairs all damaged chips. Repairs all other damage sustained by Viper unit. And replenishes power level to full. (One time use and it requires one other object to use.) Scanner Module This circuit allows your Scanner to function. (Damageable. Must be installed.) Security Room Activator Reactivates Security System on current floor, eliminating all intruders from that floor. Must be in Security Room to use. (One time use.) Shield Element Circuit that lets Viper channel power to the Deflector Shield. (Damageable. Must be installed.) Teleport Neutralizer Circuit Lets you pass through a Teleport Trap without being teleported. (Damageable. Must be installed.) Toxic Waste A by-product of enemy robots. Useful? Harmful? We don't know. It's everywhere, though. Teleport Device When activated, leaves a transport beacon at your location. Lets you return to this place at any time by using the activator. Beacon remains active for life of game, but because beacons interfere with each other, only one can be on a floor at any one time. (One time use, and due to powerful interferences, teleportation cannot occur into or out of rooms.) Teleport Device Activator Created when a Transport Beacon is activated. This object transports Viper to an active Beacon location on the current floor. Weapon Element Lets Viper mechanoid channel energy to particle beam weapons. (Damageable. Must be installed.) How to Save a Game Click the left mouse button on the Disk Menu Button and when the four options appear, click on Save. To load a saved game, click the left mouse button on the Disk Menu Button, and when the four options appear, click on Load. Only one game can be saved at a time; a second save will overwrite the first. By the way, every new game - including the position of rooms, enemy robots, objects, etc - will be completely different from the previous one. KULT solution typed by ELITE of THE SYNDECUT Go to the noose, and use the solar eyes to light the room. Grab hold of the left-hand rope then push the lever on the platform. Now press the eye which is revealed through the lever, and pass through the trap door into the pink passage. When you come to the junction, take the left passage, and go straight on until you come to the cavern and meet Norma- Jean and Ash. When challenged, select the accept option and tell them the truth. When the talking stops, do a zone scan and lift the slab. Then take the flask, and go down the left passage. Go down through the trap door to the refectory, then find the room called Placating the Powers and attack the first priest. Now use the psi-shift to get to the sacrificial lade from the second one, and again to get the mask. You will now discover that it is your partner, Sci-fi, and that she is under a hypnotic influence. Use a brainwarp to clear her mind, and then give her the flask to drink. She will now be cured. Next, inspect the altar and push the lever to open it. Make your way back to the refectory and, using the sticky fingers, go through the trap door and back into the cavern. Take the right passage and then the second exit on the right. Go through the trap door to the noose, use the solar eyes again and then go to the Master's Orbit. Entering the Master's eye room, throw something at him to kill him, then search him and take the whistle. When blown, the whistle will reveal a hidden cavity in the room. Look inside, then take the egg. Now go back to the ring via the return passage (all the doors to the puzzle rooms will be closed so you can't go back through the noose!). Enter the passage that leads towards the concourse, but take the left exit (if you enter the concourse, you will be killed). Take the next left pass- age to the barred room, pull the bolt and pass through. After Delios enters the water, use sticky fingers and go through the tunnel in the roof. Go up the tube, and back to the altar room (that's why you must open the altar on the first visit!). Now go to the Threshold of Truth, kill the priestess and then place the egg in the mouth of the gargoyle. This lifts the bars. Inspect the Lectery and then use the psi- shift to get the statuette. Go to Saura's Repose and put it in the niche basket beside the other statue. When the tunnel opens up, put the monkey inside, then go to 'in the presence of god'. Examine the starry wall which will open up and let you into the final location. After a couple of moves, Zorq and one of his henchmen will appear. Use your extreme violence option to kill him, and when Harssk reaches the top he will release Sci-fi. To concentrate on opening the door, throw any blade at him and you will have completed Kult! Rotor doc typed by ELITE. SCENARIO In the near future the welfare state is a thing of the past with unemployment running low and luxury lifestyles thin on the ground. For the majority of young adults there are two options: work under slave like conditions in the hostile enviroment of the antarctic mineral mines or sign a government contract and enlist with the elite ROTO-RAIDERS attack force where fame and fortune abound for those who survive. The prime concern of the ROTO-RAIDERS is to maintain an infiltration force of ROTORs, or flying battle tanks, behind enemy lines. These craft have to destroy the primary defence systems, steal energy for later use in the ROTOR's energy transformer, discover ammunition and fuel dumps and transfer these to home base and lastly collect sun simulator crystals to provide power for the home journey. As a trainee, you must first prove your ability to manoeuvre the ROTOR in both friendly and hostile enviroments using a flight simulator. Once you have been awarded sufficient "prestige units" you will be sent on a mission to an enemy fortress in one of the four corners of the world: BIOS in the north, KARIO in the south, NAPAIJ in the east and STYRENE in the west. Each fortress is divided into sectors of increasing complexity and difficulty. As you work your way up the ranks, more and more challenging mission classes are available through the security password system on your pocket computer informer. Your ultimate goal is, naturally, to become a ROTOR ace by completing all the "CLASS 6" missions upon which you will be awarded the government's highest seal of approval: the "ROTOR ELITE" medal as a life- long pension. THE POCKET COMPUTER INFORMER On entry to the training academy you are presented with a pocket computer informer which provides a two-way communications link allowing you to select a mission and your performance to be monitored and rated. The informer provides on-screen prompting with the controls selected by moving the joystick up or down, or by pressing the up or down cursor keys, and is activated by pressing the FIRE button, or SPACE key. A control can only be activated if it turns blue upon selection. Initially you will only be able to select training in the manoeuvring simulator as a password to the next level is awarded only upon receipt of sufficient prestige units. To enter a password change a letter by moving the joystick up or down, or by pressing the left and right cursor keys, and select by pressing FIRE or SPACE. MISSION PROFILE Each mission will be to one sector of a fortress in one of the four terrains, BIOS, STYRENE, NAPAIJ, or KAIRO, and will consist of an enclosed area in which your ship can manoeuvre with a number of closed containers and antagonists. As much information as is known about the sector will be displayed by your informer, and your mission-should you decide to accept it-is to return as many mines as possible and destroy as many antagonists as you can. You will also be able to refuel and upgrade your ROTOR by using the energy pearls to power the transformer. You will also need to collect sufficient sun simulator crystals in order to leave the fortress. To collect an item you must open the container by shooting it a sufficient number of times and then manoeuvring the ship close enough to the container and using the tractor beam to collect the contents. It is then advisable to shoot the container as you will increase your prestige units by doing so. Once you have collected all the energy crystals you can leave the fortress by matching your ship coordinates with the exit coordinates, both of which are shown on the on-screen computer. THE FLIGHT SIMULATOR Before you are allowed to fly on a mission you must prove your skill in handling the ROTOR in the flight simulator. the manoeuvre simulator allows you to get the feel of the ship and to practice opening a container and collecting its contents. The combat simulator allows you to practice in a hostile enviroment. In both cases the procedure is the same as for a real mission, i.e. you must collect sufficient sun-simulator crystals and then head for the exit coordinates. THE ON-SCREEN COMPUTER The on-screen computer provides information during the mission. On the AMIGA it can be switched on or off by rapidly moving the joystick right and left or pressing the appropriate key. The bottom set of coordinates show the ship's position while the top set show the exit position after sufficient sun-simulator crystals have been collected. A radar scanner shows the surrounding layout. The dots above the scanner indicate the number of lives left. The three indicators show the time left until a mine explodes, the time left until a laser beam resumes and the number of crystals needed to get the exit coordinates. THE TRANSFORMER Each ROTOR is equipped with a transformer which can convert the raw energy bounds in pearls into enhanced operational features. There are four types of pearl providing varying amounts of energy. If any pearls are collected the available enhancement will be displayed on the icon bar and on the text display. If too many pearls are collected the transformer will overflow and restart from the beginning. To activate the transformer hold down FIRE or SPACE. If an icon turns red it means the feature cannot be selected and is skipped when the icon bar advances. The trans- former setting will be lost when you lose a ship but any enhancements already carried out will remain with the new ship. SCORING Your score takes the form of a "prestige unit" (PU) account which you can credit in one of two ways. Firstly during each mission you can score directly by destroying antagonists or collecting mines, however this score will only be transferred to your PU account upon completion of the mission or by using the "DROP CARGO" feature of the transformer. If you lose your ship during the mission then your score will be lost too. Secondly upon completion if a mission you will be awarded a PU bonus if over 95% of the sector was destroyed. KEYS LEFT HAND KEYS RIGHT HAND KEYS ROTATE LEFT = < X ROTATE RIGHT = > C THRUST = C < PICKUP = X > SHIELD = Z ? COMPUTER = ? Z FIRE = SPACE SPACE ACTIVATE TRANSFORMER = HOLD SPACE HOLD SPACE ABORT GAME = ESC PAUSE GAME = P SELECT SOUND EFFECTS = 1 SELECT MUSIC (AMIGA) = 2 SELECT SILENCE = 3 SELECT LEFT HAND KEYS = 4 SELECT RIGHT HAND KEYS = 5 HINTS AND TIPS 1) Keep an eye on the fuel and hull armour status. 2) Shooting mindlessly will use a lot of fuel. 3) Open as many containers as possible before collecting there contents. 4) Never pick up more cargo than you can handle. 5) Remember a heavy ship uses fuel faster. 6) Increase ROTATION and THRUST early on to increase manoeuvrability. 7) Select DROP CARGO from time to time to save score and position. 8) Don't fly into the exit coordinates accidentally. 9) Remember there is often more than one way to go. 10) Try not to shoot energy pearls accidentally especially with side lasers. 11) Try not to use a STORM BOMB if there are a lot of containers around. 12) The POWER SHIELD uses a lot of fuel so only use it in emergencies. ROY OF THE ROVERS solution typed by ELITE of THE SYNDECUT You begin at Armstrong Gardens, so go down into the bowling green, then right along the bowling green, down into Petre Street, and then right into the estate agents. Take the hat you find there, then press F3 to get 'special', and click on 'go home'. You automatically go to Roy's house, so collect the membership card and leave, going right and then down, bringing you to Scott gardens. Go right until the end of the road, and go down into Station Road. Keep going left, then go down into London Road. Continue along it, and go into the Hypermarket you eventually reach. Go right, and then down the second aisle, and then go left until you see a security guard and a yellow door. Walk past both of these, and then go down. Go right until a man stops you with a knife, and pass him by using the membership card. You should now reach a room housing a box of fuses. Face the box, and press F3, 'special' should come up, showing a list of functions. The fuses to pull are numbers 1,2 and 3, as these turn off the lights, the freezers and the security lock. However, the fuses are random, and if you switch off the lights or freezers, you will get slung out. If this happens, just go back into the hypermarket and try again. When you have found the security lock's fuse, pull it and go left and down. One of your team mates will be standing outside the yellow door. Just run into him to rescue him. Once again, you start at your Mum's house. Leave, and you will be in Rose Avenue, so go right and then up, and you will be in Letsbe Avenue, (ha, ha). Walk all the way down it until you can't go any further, and go up into Daley Avenue. Carry on walking down the road until you see the King's Head pub. Go in, and you will see a man standing at the edge of the screen. Go up to him, and press F1. Click onto chat and read the message. Leave the pub and go left, and you will find yourself at the entrance to a building site. Put on the hard hat and go in. Go left, then up, and drop the hard hat. Go right, until you can't go any further, then go down and right. You will find another guard with a walkway in front of him, go down this, go right to end of the screen. Then go up to find yourself in the site office, and go up and use the phone - this moves the guard away from the lift entrance. Go right and collect the rusty key you find hanging on the wall. Go left out of the office, and keep going left. Then go up, right and then up again. Face the lift and use the rusty key, you can now go up in the lift. Walk left until the man with the knife stops you, but simply show him your membership card to get past him. Now run into the player to free him. Suprise, surprise, Roy is once again placed at his Mum's! Go out and go left four screens, then go up into Rochester Row, then right and up into Petre Street. Go right, and then up twice, then go left into Arm- strong Gardens. Now go up into Station Road, left until the end of the road, and from Park Lane, go right twice. You will now be in front of a row of houses, one of which is yours. Take your wallet and leave, going left and then up into High Green. Now go left and up into Mary Street, and then up into Far Gate, before going left and up again to Terrace Avenue. You should now see the Farmer's Arms pub, where the shifty guy in the King's Head agreed to meet you. Go over and talk to him, and he will ask you for some money. Use your wallet to pay him, and he will disappear, leaving behind a security pass. Take the pass and leave the pub. Go down into Far Gate and then retrace your steps back to Park Lane (right and then down three times). When you are in Park Lane Gardens, continue down Scott Gardens until the end of the road, and then go down into John Street. Go left for two screens, and then go up and you should be in Hanging Gate. Go left until you come across the entrance to the distribution place. A guard will stop you, so flash your security pass and walk past him. Keep going right, and another guard will stop you, show this one the membership card and go up then right. Collect the crowbar that is on the floor, and go left where another guard will stop you. Once again, the membership card gets you past, so go past him and down, then go right until you meet yet another guard. Once again, use your member- ship card, and go up. You will now see three crates, one is empty, one contains a snake, and the other a player. Open the crates until you find a player, but if you get bitten by the snake, you simply retrace your steps from outside the distribution centre. When you are put back at your mum's, drop the crowbar and the pass, then leave. Go six screens to the left and then up into Rochester Row. Go right and then up, bringing you into Petre Street, then go left until you reach the fast food centre. Go in it, and then up. Go right until a guard stops you, so show him the membership card, then go down after you have walked past him. Collect the key on the table and go back up. Walk left two screens and show your membership card to the guard who tries to stop you. Face the door and use the key to free the last of your team. Finally if you get in the football section, just keep kicking the ball back to your goalie. This way he keeps saving it and running up and down the penalty area, throwing it to you so you can kick it back!