`8 sbp Nu@`  @`! O%`')+-/1 O5`79;=A C@E`GIKMO/S@U`WY[]_a c@e`gikmoq s@u`wy{} @` @ ` @ ` @ ` @ ` ǀ @ ` ׀ ٠  @` @`!Aa   !Aa!!#A%a')+-/1!3A5a79;=?A!CAEaGKMOQ!SUaW[]_a!cAeagikmoq!sAuawy{}Aa!Aa!Aa!Aa!Aaǁɡ!Aaׁ١!Aa!Aa# / B b  !"!B!!!!!"!""O"%b"'""+"-"/#1"#3B#5b#7#9#;##?$A"$CB$Eb$G$I$K$M$O%Q"%SB%Ub%W%Y%[%]%_&a"&cB&eb&g&i&k&m&o'q"'sB'ub'w'y'{'("(B(b((((()")B)b)))))*"*B*b*****+B+b+++++,",B,@`  @`! O%`')+-/1 O5`79;=A C@E`GIKMO/S@U`WY[]_a c@e`gikmoq s@u`wy{} @` @ ` @ ` @ ` @ ` ǀ @ ` ׀ ٠  @` @`!Aa   !Aa!!#A%a')+-/1!3A5a79;=?A!CAEaGKMOQ!SUaW[]_a!cAeagikmoq!sAuawy{}Aa!Aa!Aa!Aa!Aaǁɡ!Aaׁ١!Aa!Aa# / B b  !"!B!!!!!"!""O"%b"'""+"-"/#1"#3B#5b#7#9#;##?$A"$CB$Eb$G$I$K$M$O%Q"%SB%Ub%W%Y%[%]%_&a"&cB&eb&g&i&k&m&o'q"'sB'ub'w'y'{'("(B(b((((()")B)b)))))*"*B*b*****+B+b+++++,",B,DOC_DISK012BEYZORK SWRBZORKMANSWR NBZORKMAPSWRhCHAMP SWR#-DISCHACKSWR*<EUROCONFSWR0 FOFT SWR3.GODS SWR?GHILLSFARSWRQrZJACK_NICSWRh}MOONMISTSWRPPIRATES1SWRPIRATES2SWRPIRATES3SWRRET_EDENSWRI$)RODEOGAMSWRTSHERLOCKSWR YJSPELLBRKSWRlTSTATIONFSWR#STOS_1A SWR }STOS_1B SWRVSTOS_2 SWR/GSTOS_COMSWR$tTHAI_BOXSWR'TREASURESWR) ULTIMA1 SWR,WPULTIMA2 SWR/@2WITNESS SWR2#WORMPARASWR5)7NAUTO J}NEWADV SWROSEWER SOFTWARE Present BEYOND ZORK. Please note that a solution for the game can be found on an earlier DOC DISC. S.P I N S K I P P presents THE LORE AND LEGENDS OF QUENDOR ( A Bestiary Guide for Beyond Zork ) Within these pages is recorded certain knowledge regarding the flora, fauna, and locales of the kingdom. Although this wisdom has well stood the test of time, I would not wish to see it lost forever in the uncertain mists of the future. There fore to our ancestors, I have writ into permanence the lore and legends of Quendor. -MNG Grue The grue is a sinister, lurking presence in the dark places of the earth. Its favorite diet is adventurers, but its insatiable appetite is tempered by its fear of light. No grue has ever been seen by the light of day; few have survived its fearsome jaws to tell the tale. Discipline Crab Discipline crabs are small, moral crustaceans found in cellars, fallout shelters and other subterranean lairs. These brooding curmudgeons are deeply offended by the slightest intrusion; if cornered, they employ their razor-edged pincers with righteous efficiency. Eldritch Vapor Eldritch vapors dwell in cemeteries, moors and other locales where fog will hide their ever-shifting forms. Gleeful and mischievous, they enjoy snatching away the possessions of those foolish enough to wander into their realm. Visitors without possessions are themselves snatched away. Dornbeast Smart adventurers run the other way when they hear "Hurumph," the battle cry of the deadly dornbeast. Its 69 sensitive eyes can paralyze an unwary explorer with a single glare. Capture victims are plastered with round, sticky secretions that never come off. Monkey Grinder Avoid this nightmare at any cost! Spawn of a carnival necromancer, the monkey grinder can blast minds to jelly with its powerful Sense Organ. Deceptively eloquent in both manner and speech, these loathsome creatures actually possess little intelligence, and suffer an illiteracy rate of 103%. Implementor The Implementors are a race of minor deities who dwell on the Ethereal Plane of Atrii. Their ample free time is spent on costly luncheons where gossip and sweet nectars flow freely. Implementors do not discourage rumors that the world was created by them as a plaything. Giant Corbie Corbies are carrion birds with sharp eyesight and sharper beaks. Their color vision is so well developed, they can spot a yellow grotche in a hayfield from 200 bloits away. Corbies prefer the taste of the dead, rotting flesh, but have been known to feast on live, running adventurers. Christmas Tree Monster Vast herds of these luminous vegetables roam freely amid the glacial valleys of the south. Residents fear the autumn migrations, in which the trees cheerfully trample everything in their path. Christmas tree monsters are repelled by caterpillars, but nobody can explain why. Minx Irresistibly cuddly, the minx shares all the most ingratiating characteristics of kittens, koala bears and piglets. Minxes are highly prized for their ability to find and root out chocolate truffles from the ground, and will eagerly devour them if given the opportunity. Unicorn Most unicorns have fled to the Plane of TransInfinite Splendor, where they enjoy a carefree existence free from the cruelty of man. The unhappy few left behind are eagerly sought by zoos and private collectors. It is good luck to kiss a unicorn's horn; but woe to any fool who harms one. Froon Legends of this magical kingdom date back before the reign of Entharion the Wise (0-41 GUE). Said to lie somewhere beyond the clouds, Froon was the setting for a series of beloved children's books by L. Frank Fzort, and later became a successful movie musical starring Judy Garlic. Hungus Part sheep, part hippopotamus, the hungus builds its nest in jungle swamps and other hot, squishy places. Normally docile and eager to avoid conflict or activity of any kind, the hungus is fiercely clannish, and will instantly charge at anything that dares to threaten its kin. Spenseweed The healing virtues of this common roadside plant are well documented. although it is safe to eat, spenseweed is most effective when applied directly to wounds as a salve. Avoid the cheap commercial preparations, which may contain artificial coloring and preservatives. Chocolate Truffle Chocolate truffles grow only between the roots of oak trees. Dark brown when fresh, they decompose rapidly once exposed to air. Truffles were a favorite of Lord Dimwit Flathead the Excessive (770-789 GUE), who ordered the excavation of entire forests to indulge his bottomless appetite. Moss of Mareilon First classified in 843 GUE by Thwack of Mareilon, this soft, pale fungus thrives in underground tunnels and public toilets. When squeezed, the moss releases an invisible cloud of spores which improves the dexterity of laboratory rat-ants. Its effect on other species is uncertain. Compass Rose The stem of this rare annual always droops in the direction of the prevailing wind. Rumors that the compass rose can actually control wind are hotly denied by the Guild of Meteorologists, who harvested the species to the brink of extinction in the Rose Riots of 811 GUE. Morgia Root It is a rare enchanter who does not carry morgia root to gnaw on during a long journey. The mint-flavored juice improved stamina, slakes thirst and conceals bad breath. In domestic applications, morgia root is often baked into pies, and makes an excellent platypus stuffing. Cruel Puppet Few creatures are more despised than the cruel puppet. It attacks by twisting itself into unflattering caricatures of its opponent, accompanied by jeers, rude noises and shocking accusations. Staunch monarchs have been reduced to tears by these merciless shapeshifters. Dust Bunny Dust bunnies burrow in obscure corners and under furniture,and defend their territory by multiplying. They can clog a passageway in seconds, filling the air with dark, suffocating particles. Static electricity and lemon-scented sprays are their only natural enemies. Pheebor Ruins of this ancient city are still visible at the confluence of rivers Phee and Bor. The reason for its downfall (circa 400 BE) is unclear, but minstrels sing of a feud between Pheebor and its sister city Borphee over the naming of what is now called the Borphee River. Red Herring These common fish patrol the dark recesses of freshwater pools and streams. But a handful of granola brings them racing to the surface, a fact known by every rural schoolboy. The old adage about red herrings being "good brain food" has no scientific basis. Lucksucker Lucksucker feed on good fortune. Part physical entity, part mental phenomenon, the sucker's appearance is based on the laws of probability, and may change without warning. Good luck charms provide only a temporary shield against attack. The best strategy is to run! Ur-Grue Ur-grues are thought to be the shades of fallen Implementors. Skilled in black sorcery, the ur-grue can envelope itself in a personal zone of darkness which neither lamp nor flame can penetrate. Sunlight is the only thing it fears. It is unwise to even speak of this utterly evil entity. The Coconut of Quendor Though reluctant to dismiss the Coconut outright, most historians regard its historical existence as dubious at best. Orkan of Thriff has suggested that if all the "Shards of The One True Coconut" and "Vials of The Blessed Milk" were gathered in one place, they would form a stack nine bloits high. The BEYOND ZORK instruction manual. Note that 2 further DOCs per- taining to this game are on this disc, one of which is a map (as described in this text). Edited by S. Possum for SEWER SOFTWARE. ------------------------ --- B E Y O N D Z O R K ! --- ------------------------ --=== INSTRUCTION MANUAL ===-- presented by Inskipp Section I: About Beyond Zork Preface to the Story Dark times have fallen upon the Southlands of Quendor. All the enchanters have disappeared without a trace. Monsters roam the countryside. The taverns are filled with disturbing rumors and unsavory characters. A simple peasant like yourself knows better than to get involved in the affairs of wizards. But everyone you meet seems intent of testing your abilities to the utmost. You find yourself drawn into a web of fantasy and magic, solving puzzles, seeking treasure, avoiding traps, and fighting monsters. Your strength and power grow with every encounter, until the most fabulous treasure of all -- the fabled Coconut of Quendor -- lies within your grasp. If only you can survive long enough to claim it! Unlike other Infocom stories in which your character is set from the start, Beyond Zork lets you create your own character with six attributes: endurance, strength, dexterity, intelligence, compassion, and luck. Some situations in the story require dexterity, some require strength, some require intelligence, and so on; some situations require a combination of these attributes. You can choose your attributes yourself, or you can use a character already set up by the computer. You must fight monsters and solve puzzles to succeed in your quest. Since your success will often depend on our attributes, mindful players will try to improve their attributes as they venture onward. The story is presented in a new and flexible way. A map in the upper-right portion of your screen shows the immediate area and the directions you can move. You can use the on-screen map and your mouse to move to adjacent rooms if you have a Apple IIgs or Macintosh, an Amiga, an Atari ST, or an IBM-PC with a Microsoft compatible mouse. (If your computer has a numeric keypad, you can use it to move around as well.) Experienced Infocom players may recognize references to other Infocom games. However, there are many new commands in Beyond Zork, and character development adds a new degree of challenge. All players should read the rest of Section 1 before plunging into the story. The On-Screen Map The on-screen map shows only a small part of the entire geography, so it's a good idea to draw a separate map as you play. (Or use the handy-dandy companion map supplied by your truly -mt) Notes about the on-screen map: - A question mark on the map indicates a dark room (a room in which you need a light source to see). - Room exits are displayed on the map only if you've seen them. - A room with a UP exit shows an up arrow on the map - A room with DOWN exit shows a down arrow on the map. - A room with an UP exit and a DOWN exit shows both an up arrow and a down arrow. - You can click on the up or down arrows to move UP or DOWN (if you have the mouse option with certain computers). Function Keys As described elsewhere in this manual, many commands have abbreviation: you can type N instead of NORTH, for instance, or I instead of INVENTORY. With function keys you can use a single keystroke as an abbreviation for whatever you choose. you can use a function key to abbreviate a long work that you don't like to type (like HIPPOPOTAMUS), or to abbreviate a commonly used command (like RESTORE), or even to abbreviate a whole sentence (like ATTACK THE MONSTER WITH SMALL THERMONUCLEAR DEVICE). You start the story with the function keys already set to commonly used commands. To see what the function keys are set to, or to change the settings of the function keys, type DEFINE at the prompt ">" and press the RETURN (or ENTER) key. Then use your up or down arrow keys to highlight the setting(s) you want to change. The vertical bar or exclamation point is used as an abbreviation for the return or enter key; so changing LOOK to LOOK! means you want the command executed whenever you press that function key. Note: Only one RETURN can be include in each function key definition. Anything typed after the first RETURN will be discarded. You can restore all the original settings of the function keys by highlighting the RESTORE DEFAULTS command and pressing the RETURN key. To leave the DEFINE screen, highlight the EXIT command and press the RETURN key. Special Commands There are a number of command which have special meanings. Many of these command appear in all Infocom games, but those that are starred "*" below are new to Beyond Zork. You can use all special commands over and over as needed. Some count as a turn, others do not. Type the command after the prompt ">" and press RETURN. AGAIN Beyond Zork will respond as if you had repeated your previous command. For instance, typing HIT THE MONSTER WITH THE TOASTER OVEN then typing AGAIN would be like hitting the monster twice in a row. You can abbreviate AGAIN with G. BRIEF If you are playing in "normal" mode instead of "enhance" mode (see MODE below), or if you are printing a transcript as you play (see SCRIPT below), this command tells Beyond Zork to print the full description of a location *only* the first time you enter it. On subsequent visits, Beyond Zork will print only the name of the location and the objects present. This is how Beyond Zork will normally act, unless you tell it otherwise using the VERBOSE or SUPERBRIEF commands. The SUPERBRIEF commands tells Beyond Zork to print only the name of a place you have entered, even if you have never been there before. In this mode, Beyond Zork will not even print which object are present. Of course, you can always get a description of your location and the items there by typing LOOK. In SUPERBRIEF mode the blank line between turns will be eliminated. This mode is meant for players who are already very familiar with the geography. The VERBOSE command tells Beyond zork that you want a complete description of each location, and the objects in it, every time you enter a location, even if you've been there before. COLOR * If you are playing Beyond Zork on a color monitor, you can type COLOR to change the colors on your screen. This command works only on computers which support a color display. DEFINE * This command allows you to change the setting of the function keys. For example, if pressing function key 2 is like typing INVENTORY, you can change this to DROP ALL, or DROP ALL followed by RETURN, or anything else, by using the DEFINE command. See "Function Keys" previously covered in this manual. DIAGNOSE Beyond Zork will give you a medical report of your physical condition. INVENTORY Beyond Zork will lest what your are carrying. Occasionally an inventory list will be too long to fit in the upper window. When this happens, the word "{more}" will appear in the corner of the window, and the UP and DOWN arrow keys can be used to scroll the window. You can abbreviate INVENTORY with I. LOOK This tells Beyond Zork to describe your location in full detail. Occasionally a room description will be too long to fit in the upper window. When this happens, the word "{more}" will appear in the corner of the window, and the UP and DOWN arrow keys can be used to scroll the window. You can abbreviate LOOK to L. MODE * If you find the maps and other screen features of Beyond Zork undesirable, you can use the MODE command. This will make the screen look "standard," like every other Infocom game. The status line will list your name, attributes, location, and available exits. Typing MODE a second time will cause the "enhanced" screen features to return. MONITOR * Your character's endurance attribute is especially important. Therefore, whenever something affects your endurance (being wounded during combat, for example), your endurance level is automatically displayed on the screen. If for some reason you do not wish to monitor your endurance, use the MONITOR command to turn this feature off. Typing MONITOR a second time turns the endurance display feature back on. NAME * In Beyond Zork, you have the power to name weapons and living things. For instance, you can NAME THE DOG "ROVER" or NAME THE SWORD "EXCALIBUR" or NAME THE HIPPOPOTAMUS "FRED". Beyond Zork will then use the name in its descriptions, and you can use the name as a synonym for the object. This feature is particularly convenient when an unnamed object is long or hard to spell. NOTIFY * Normally in Beyond Zork, the game will notify you whenever any of your attributes change (for example, when your luck goes up or when your dexterity goes down) or when any attribute returns to normal (such as when you build your endurance back after being wounded in battle). You an turn off this notification feature by using the NOTIFY command. Typing NOTIFY a second time turns the feature back on. OOPS If you accidentally mistype a word, such that Beyond Zork doesn't understand the word, you can correct yourself on the next line by typing OOPS and the correct word. Suppose, for example, you typed TAKE THE CLUB FROM THE GIANT and were told "You can't use that word 'giant' in this story." You cold type OOPS GIANT rather than retyping the entire sentence PRIORITY * As you play Beyond Zork, most information is displayed in a box at the top half of your screen. For instance, when you enter a new room,the room's description will appear in the box; when you then type INVENTORY, your inventory will appear in the box; on some machines, when you type STATUS (see below), your attributes will appear in the box. If you want to specify what kind of information will appear in the box, you can use the PRIORITY command. For example, if you want the box to show your inventory at all times, type INVENTORY (and press the RETURN and then type PRIORITY; thereafter the box will always show your inventory, updating it when you pick up new items or drop or lose others. (Room descriptions will thereafter appear in the bottom half of the screen.) Similarly, if you want the box to show room descriptions at all times, type LOOK (and press the RETURN key) You can turn this feature off by typing PRIORITY OFF. QUIT This lets your stop. If you want to save your position before quitting, follow the instructions in the "Saving the Story" section. You can abbreviate QUIT with Q. REFRESH * This command clears your screen and redraws the display. RESTART This stops the story and starts over from the beginning. RESTORE This restores a position made using the SAVE command. See "Saving the STory" section for more details. SAVE This puts a snapshot of your current position on your storage disk. You can return to a saved position in the future using the RESTORE command. You cannot SAVE during combat. SCORE This command displays your attributes, telling you your strength, luck, endurance, compassion, dexterity, intelligence, and armor class. This command is synonymous with STATUS. SCRIPT This command tells your printer to begin making a transcript of the story as you venture onwards. A transcript may aid your memory but is not necessary. It will work on certain computers. SETTINGS * This command allows you to view and change many of the setting dealing with screen display and output. Use the up and down arrow keys to select a setting, and use the left and right arrow keys to change a setting. You can restore all the default setting by highlighting RESTORE DEFAULT and pressing the RETURN key. STATUS * This command displays your attributes, telling you your strength, luck, endurance, compassion, dexterity, intelligence, and armor class. This command is synonymous with SCORE. SUPERBRIEF See BRIEF above. UNDO * You can use this command to back up one move. Suppose, for example, that you found a package but didn't know what was in it. You might type OPEN THE PACKAGE and be told "The package explodes as you open it, damaging your weapons and destroying all your other possessions." You could then type UNDO and you would back up one move. You weapons and other possessions would be intact, and you could try giving the package to an enemy, or leaving it alone, or something else. The UNDO command does not work during combat (when you're fighting a monster, for instance). Note that the UNDO command works only on certain computers with enough memory. UNSCRIPT This commands your printer to stop making a transcript. VERBOSE See BRIEF above. VERSION Beyond Zork responds by showing you the released number and the serial number of your copy of the story. Please include this information if you ever report a bug in the story. WAIT This will cause time in the story to pass. Normally, between turns, nothing happens in the story. You could leave your computer, take a nap, and return to the story to find that nothing has changed. You can use WAIT to make time pass in the story without doing anything. For example, you can wait for a specific time, or wait for an event to happen, etc. You can abbreviate WAIT to Z. ZOOM * As long as you are playing Beyond Zork in enhanced mode rather than in standard mode, a partial map of the game will automatically appear on your screen. By using the ZOOM command, you can see more rooms on your screen, but in less detail (e.g., UP and DOWN exits will not be shown); typing ZOOM a second time returns the map size to normal. Hints for Better Playing 1) If you are creating your own character, remember that all of the attributes are important. Don't be tempted to put all your eggs in one basket (by giving yourself lots of endurance, for instance, but very little luck or dexterity); otherwise you may not be able to solve a puzzle or defeat certain monsters. The attributes of the default characters are all sufficient to complete the story. 2) There are two way to buy things in a store. You can simply trade items in your inventory for merchandise you want, or you can offer valuables to the shopkeeper and establish a personal line of credit. If you're not sure what an item is worth, ask the shopkeeper. 3) Weapons are more effective if you WIELD them first. You can SET ASIDE or UNWIELD a weapon when you're done with it. 4) Certain magic items (such as wands and scrolls) can only be used a few times before they lose their potency. Conserve your magic! 5) It's a good idea to bring any items you find to a specialist for identification. This will alert you to any special properties they may possess. 6) Don't be surprised if parts of the geography seem to change from time to time, or if treasures appear in different guises and locations. Not two games of Beyond Zork are exactly alike. Section II: About Infocom's Interactive Fiction Saving the Story Saving and restoring: It will probably take you many days to complete the game. Using the SAVE feature, you can continue the story at a later time without having to start over from the beginning, just as you can place a bookmark in a book you are reading. SAVE puts a snapshot of your place in the story onto another disk. You should also save your place before trying something dangerous or tricky. That way, even if you get lost or killed in the story, you can return to your saved position. You cannot save during combat (while fighting a monster, for instance). To save your place in the story, type SAVE at the prompt ">", and then press the RETURN key. Then follow the instructions for saving and restoring that the computer asks. Some computers require a blank disk, that has already been formatted, for saves. Using a disk with data on it may result in the loss of that data, depending on your computer. Beyond Zork offers from 3 to 7 different SAVEd positions, depending on the type of computer. You can restore a saved position any time you want. To do so, type RESTORE at the ">" prompt. Then follow instructions that the computer asks. You can then continue the story from the point where you used the SAVE command. Quitting and Restarting: If you want to start over from the beginning, type RESTART and press the RETURN key. If you want to stop the game entirely, type QUIT and press the RETURN key. Communicating with Infocom's Interactive Fiction If your computer has a numeric keypad you can use it to move around, rather than typing in the directions (N,E,S,W etc.). ------- ---------- !7!8!9! !NW!N !NE! ------- ---------- !4!5!6! becomes !W !UD!E ! ------- ---------- !1!2!3! !SW!S !SE! ------- ---------- The 5 key is for both UP and DOWN. If you are in a location which has both an UP and DOWN exit, the 5 key will act as if you typed WALK AROUND. You can include several sentences on one input line if you separate them by the word THEN or by a period. (Note that each sentence will still count as a turn.) You don't need a period at the end of the input line. For example, you could type all of the following at once, before pressing the RETURN: >READ THE SIGN. GO NORTH THEN TAKE THE CROWBAR AND MALLET The words IT and ALL can be very useful. For example: >TAKE THE APPLE. POLISH IT. PUT IT IN THE BOX. >CLOSE THE HEAVY METAL DOOR. LOCK IT. >TAKE THE SHOE. EMPTY IT. PUT IT ON. The word IT refers to either the last direct object you mentioned or the last object the story mentioned. If there is any confusion, the story will ask you to be more specific. There are three kinds of questions that Beyond Zork understands: WHO IS, WHERE IS, and WHAT IS. For example: >WHO IS HOWARD? >WHERE IS THE MAP? >WHAT IS PLUTONIUM? You will meet other people and creatures in Beyond Zork. You can talk to some of these beings by typing their name, then a comma, then whatever you want to say to them. Hear are some examples: >LOIS, HELLO >SHOPKEEPER, WHAT IS MY CREDIT? >OLD MAN, TELL ME ABOUT THE PLATYPUS >WILLY, PUT ON THE GLOVE THEN THROW THE BALL Most people in the story don't care for idle chatter. Your deeds will speak louder than you words. Beyond Zork recognizes over 1500 words, nearly all that you are likely to use in your commands. However, Beyond Zork uses many words in its descriptions that it will not recognize in your commands. For example, you might read, "The full moon is bright and clear, and the trees cast eerie shadows." If Beyond Zork doesn't recognize the words MOON or SHADOWS in your input, you can assume they are not important to your completion of the story, except to provide you with a more vivid description of where you are or what is going on. B E Y O N D Z O R K -- Southland Of Quendor -- by Inskipp ------------------------------------------------------------------------------- { @ @ @@@} { @ @ @@ @@@@} { ruins @ @ @ @ @ @@@@} { {} @ @ @ {} @@@@} { @ } .{} { . @ @ {} {} @@@@@@} { @ @ bridge..: { { . @ {} {} @@@@@@@@} { @ @ * @ @ {} {} {} @@@@@@@@} { @ @ @* @ @ @ {} {} @@@@@@@@} { * @ @ @ @ @ : @@@@@@@} { .* ............. @ : village @@@@@@@@} { : : @ @ : @@@@@@@@} { : forest : .. @ @ @ : @@@@@@@@} { % % % : % % % % % . @ @ * @@@@@@@@} { % % % % : % % % % % :...... @* bridge @@@@@@@@} { % % % % % : % % % % % % :... * @ @@@@@@@@} { % % % % % : % % % % % % :...: @ @@@@@@@} { % % % % % %: % % % % % % forest :..... @ @ @@@@@@@@@} { % % % % % : % % % % % % % :... @@@@@@@@@@@@} { : :.. @@@@@@@@@@} { {} : {} {} :. @@@@@@@@@} { {} {} : {} {} light :. @@@@@@@} { {} {} {} : {} {} {} house . ..: @@@@@@} { {} {} : {} {} {} : @@@@@@@@@@@} { : village :@@@@@@@@@@@@} { : : @@@@@@@@@@@} { : :@@@@@{Sea}@@} { ...........:.........{} : @@@@@@{of}@@} { : : : @@@{Quendor}} { : : : @@@@@@@@@@@@} { :. {} @@@@@@@@@@@} { :............... {} {} @@@@@@@@@@} { : village {} @@@@@@@@} { % % % % % % % % % % : {} {} @@@@@@@@@} { % % % % % % % % % % % : {} @@@@@@@@@@@} { % % % % % % % % % % % : : @@@@@@@@@@@@} { jungle % % % % % % % % % % % % : : @@@@@@@@@@@@} { % % % % % % % % % % % % : : @@@@@@@@@@@@} { @%@% % %@% %@% % % % % % % : : @@@@@@@@@@} { @ % % @ @ % @ % @ @ % @ % % : {} @@@@@@@@@} { @ % % % % % % % % %@% %@% % :..... {} village @@@@@@@@} {}{}{}{} % @ % % :.. {} {} {} @@@@@@@@} {} {} jungle % %@%@% %@% {} @@@@@@@@@@@@} {} {} % @ % @ @ @@@@@ @@@@@@@@@@@@@@@} {}{}{}{} @@@@@@@@@@@@@@@@@@@@@@@@@@@@} {: castle @@@@@@@@@@@@@@@@@@@@@@@@@@@} {:... {} @@@@@@@@@@@@@@@@@@@@@@@@@@} { :............ {} @@@@@@@@@@@@@@@@@@@@@@} { {} {} @@@@@@@@@@@@@@@@@@} { {} {} {} @@@@@@@@@@@@@@@@@} { @@@@@@@@@@@@@@@} { village @@@@@@@@@@@@@} { @@@@@@@@@@} ------------------------------------------------------------------------------- Key: @ = water {} - village/castle/ruins % - vegitation : & . - footpaths This map was created before I got a chance to really get into the game, so it is not very complete. Please modify and reupload as you see fit. Haven't seen this on the ST yet...(these are AMIGA DOCs), but I should imagine it'll be converted - maybe it already has...don't ask me, I live in bloody Australia! S. Possum NOTE: I didn't type the whole instructions of the game because the manual also contains a lot of useless text about history of boxing and the boxing rules. So I restricted on those chapters which might be interesting for playing the game. T H E C H A M P ------------------- from Linel-Software/Switzerland Instructions -------------- 1. Menu Options: ---------------- ONE PLAYER - Press Fire Button to choose between one or two players. TRAINING ON - Press Fire Button to train before each fight in the GYM and the ARENA. SHOW HI-SCORES - Press the Fire Button to show the Hi-Scores and press it again to return to the Main Menu. SHOW WORLD RANK - Press Fire Button to show the World Ranking. This shows how many fights a boxer has had (maximum 60), how many won by K.O. and how many won in total. MAKE DATA DISK - Press Fire Button and then move joystick to choose the boxer you want to put onto the datadisk. Now insert a datadisk in DF0: (It does not have to be formatted) and press the Fire Button. RESET WORLD RANK - With this option the World Ranking List will become the same as it was when you first bought (??) the game. WARNING! All your trained boxers will be deleted. SPARRING - You have ne round in which to practice all the moves. The hits do not count during this round. START GAME - Press the fire button and you will enter a new menu. In the first line you can choose a name from the World Rank List if there is already one. You will then start from the registered Rank position. On the text line you have the option to enter a new name to start your way to the ultimate title in boxing. With "NAME FROM DATADISK" you can choose a name from the data disk. In the next menu you can choose "CONTINUE" to select your opponent or "INSERT NAME" to insert a name into the World Rank List from a data disk. 2. The Game - The Sport Simulation: ----------------------------------- To make this game one of the most realistic sport simulations, we have also included MORALE and CONDITION as factors which you have to watch. These factors will be influenced during the training and the fight. If the condition and the morale sink, then your punching power also will suffer and you won't recover as quickly as normal between rounds. MORALE - Your morale rises if you manage to land successful combinations of punches but it suffers if your opponent hits you too often. Your morale also rises if you win a fight. CONDITION - The condition can be increased or decreased with the training or when you win or lose a fight. TRAINING - When a manager has spotted your boxer, he takes him to the gym where you train him. If you train your boxer well, you may have the chance to enter the World Ranking. a) SKIPPING - You have to skip as often as possible. Move the joystick up to jump, but coordinate the jumps with the rope's movement. They have to be in time or.... well, see what happens ! b) SANDSACK - Here you have to practice to punching combinations. Just do the same punches as shown by the trainer. The light on the wall will show you whether the punches are correct (blue) or incorrect (red). c) PUNCHBAG - Now you have to coordinate your moves and concentrate very hard not to miss any punches. Try to hit the bag as many times as possible in the time given by moving the joystick left and right in time with the boxer's arms. WORLD RANKING - You can only enter the World Ranking when your fighter has been successful during several fights. Once you have placed him in the list, you can LOAD him every time you start the game and continue with his career. You can only qualify your fighter in one player mode, with the training mode on. 3. Joystick controls: --------------------- a) Controls without Fire Button pressed: 0= no movement 1= no movement 2 2= dancing 1 3 3= change positions 4 0 5 4= go to the left 6 8 5= go to the right 7 6= defend your stomach 7= defend your chest 8= defend your head b) Controls with Fire Button pressed: 0= no movement 1= straight left 2 2= clinch 1 3 3= straight right 4 0 5 4= punch to stomach left 6 8 5= punch to stomach right 7 6= hook left 7= "killer" punch 8= hook right c) Joystick directions while clinching: 1 0= no movement 1= punching 2 0 2= defend 3= release 3 An interesting little article that gives a few tips on custom formatting and the like. It relates to the use of The Gnome Services' Analyser utility...but there are plenty of ST utilities that can do the sort of things discussed here. Sewer Possum. This section has nothing to do with "yer actual software piracy", but might prove interesting for the budding hacker..... If by now you've used the Analyser on a few Games disks, because they seem to be the ones with the most aggro for honest hackers, I bet you're puzzled at some of what you've seen. Well, without giving away any secrets, no specific disks, etc, let's just talk a bit about what we could do to PROTECT a disk from those nasty pirates............. or even someone who's bought a disk and can't use it without always shoving the original in drive B - probably the largest cause of hacking to date. The first thing to do is to format a disk with more than 9 sectors per track, this is assuming a 512 byte sector of course - simple and probably old hat by now, but it catches out GEM. In a similar vein, the good old ST uses 80 tracks - 0 to 79 - so if we format a disk with 81, then poor old GEM can't copy it. Bit naughty that one - you are assuming everyones' drive will reach the 81st track....... Before we get a bit deeper, here's one that you can easily do yourself... go and hide a file on the disk. How ? Well, have a look at the Hacking.doc for a few more hints, but by changing the file attribute you can make it invisible to the desktop. Of course this means you can't load it by clicking on it with the mouse - have to see it first, don't you ? BUT, you can still load it from within another of your programmes........ go on, have a go ! We can be a bit more devious - the WD1772, which is the chip controlling your Atari drives, will write sectors of 128,256,512 & 1024 bytes long - but GEM can't cope with 1024 byte sectors. In fact it normally doesn't use anything but 512 byte sectors. So we can upset the operating system quite well by writing out some 1024 byte sectors, or even the 256 byte sectors if we want to. Or we can be really devious and write a track which has a mixture or 256, 512 & 1024 byte sectors on it - which will confuse the simple copiers....... While we're talking about sectors, we don't have to start off with a sector ID number of 1 you know. No reason why our track shouldn't start off with sector 10, then go to 11,12,13,etc.... Really beggars up your operating system if you try to copy it as well...... Another thing to bear in mind is that if sector ID numbers are out of sequence, it is likely that the operating system won't find them - neither will most Disk monitors based on the orthodox operating system. What do I mean ? Well, if you had a sequence of 1,2,3,5,6,7 then GEM would stop at sector 3 - because it would expect to find a sector 4 and if it couldn't find one, than it terminates the command with an error. So you could hide something quite handy in sectors 5,6 & 7. Along with the actual sector ID number, we could put a different track number in the Sector ID field. Why ? Well, under GEM the track & sector number are tested before a sector is loaded. If the track number is different from the track register logged by the WD1772, then we have another error, don't we folks ? And guess what happens - it doesn't load ! A real nasty one is to send out sector or track numbers above 240, or anything with $F0 as a hex number. Now this is sneaky because bytes above $F0 are treated as control bytes by the WD1772 and it means a custom format routine to duplicate this. What else can we do ? Well, we can write out sector IDs without actually putting a sector there, can't we ? Yes, of course we can. Then when you try to copy the disk you write out a sector where one doesn't really exist on the original - now that would be silly. In fact you could arrange the dummy ID field so that if you tried to write to it, the data area you created actually wrote over a VALID sector ID field, and hence the rest of the track was corrupted...... Up to now, we have assumed that we are actually going to format a track with sectors. Don't have to you know. We can quite easily NOT format a track in the middle of a disk, and then after the programme has loaded, check the track to see if it has been formatted. Got to stop those nasty hackers somehow. In fact, we don't even have to send out sectors in order to read information from a disk - we could just send out a few sync bytes and then a data mark. Ok, the data stands a fair chance of being corrupted but you can generally get the first 5 or 6 bytes reliably - enough for a registration mark. Well, now most of these methods are becoming a bit old hat nowadays, but they do keep cropping up....... CODES to CONFLICT EUROPE. 1st password - MIDNIGHT 2nd password - PROWESS Conflict Europe Codes: CRUISE -------- Nato Name Pact Name Target PAPER BAG TIN TACKS 16 Airfields FIRE CRACKER WHEATSHEAF 16 Airfields GROUNDED AUTUMN MIST 16 Airfields PLAGUE WHIPLASH 8 road/rail areas FAMINE FOG BANK 8 supply cities BRAINWASH NIGHTMARE 8 HQ sites BATTLEFIELD ------------- Nato Name Pact Name Target SHARP STICK MAY THE FIRST 1 Unit SWITCHBLADE BEAR PAW 1 Unit DIRTY HARRY SMOG BIRD 1 Unit KNUCKLE DUSTER RED STAR 1 Unit HIGH LIGHT SHARK BITE 1 Unit HEADBUTT THUNDER CLOUD 1 Unit SHORT RANGE ------------- Nato Name Pact Name Target LITTLE JOE STAR BURST 1 Unit/City WHITE SPOT BROKEN GLASS 1 Unit/City JULY 14 HELLFIRE 1 Unit/City FIRE WALL IRON CURTAIN 4 Units BLISTER STEEL BOX 4 Supply Areas GAROTTE SPEARHEAD 8 SR Missile Sites GUILLOTINE WARHAMMER 1 Command HQ IRON FIST STEAM ROLLER 8 Units INTERMEDIATE -------------- Nato Name Pact Name Target VAMPIRE ROAD BLOCK 8 Road/Rail Areas CORVUS BROKEN WING 16 Airfields AQUILA SNOWDRIFT 16 Airfields LEECH BROADSWORD 8 Supply Areas WRAITH SMOKE SCREEN 8 Supply Areas CHARM WHITE TIGER 8 INF. Sites KEYSTONE SWAN FLIGHT 8 Cruise Sites STRATEGIC ----------- Nato Name Pact Name Target KARMA SKY ROCKET 1 Unit MITIGATION MOTHBALL 1 Unit FUMBLE WINTER FIRESTORM 4000+ Areas Codes compiled by Stryper/LADS (03/09/89) Thanx to Psycho/Mirage for original documents On an earlier DOC DISC we had a few basic instructions for this ELITE clone, these more extensive docs should help all you budding FOFT'ers. FEDERATION OF FREE TRADERS. ~~~~~~~~~~~~~~~~~~~~~~~~~~~ THE PLAYERS GUIDE. ~~~~~~~~~~~~~~~~~~ TYPED FROM THE MAGAZINE 'THE ONE' BY THE EARL/ECLIPSE ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ LET'S GO! --------- First things first: the objective is to score in excess of 9,000 points and thus reach the highest rank possible, progressing from humble Cadet through Commander to Admiral. Shooting hostiles scores points. However there are over 32 different types of craft to be found, all of differing degrees of intelligence and aggression. Don't antagonise - just fight to survive. The best way to earn points is to embark on and complete one of the 15 different missions. The higher your rank,the tougher the mission, and the tougher the mission, the greater the reward. Before you can buy anything, you need money. You start with a mere 150 credits, so proficient trading is the order of the day. Use the money to improve your ship, and the better your ship, the better your chance of rising through the ranks. Bear in mind: there's a one per cent handling charge on all purchases of equipment, so don't look too surprised when you get stung for more than you thought. MISSIONS IMPOSSIBLE ------------------- Press f8 to access the on-board computer, and at the prompt type 'NET'. Once in the net, press 'T' and when the message "Enter user to transmit to" appears, enter 'FOFT' [CR]. Federation Hq will now give you details of your mission. Note ALL the details and keep them to hand. The numbers will be of use when you access the navigation computer to plot your course. Now press 'Q' to leave galnet followed by 'QUIT' to leave EDI and get back to your view-screen. A brief explanation of the first eight missions.... 1) Take a message to a specified system for 50 creds. 2) Proceed to a specified system and contact HQ for further instructions for 10 creds. 3) Patrol a specified system and destroy any hostiles, but do not engage any unidentified ships for 100 creds. 4) Escort a convoy to a specified system then report back for 100 creds. 5) Rendezvous with a convoy at a specified system then escort it to another specified system for 100 creds. 6) Search for a lost ship in a specified system and recover any survivors for 100 creds. 7) Investigate strange losses in a specified system then report back for 150 creds. 8) Destroy a defective satellite in a specified system for 100 creds. The other seven missions will have to make a secret for the time being.... SETTING A COURSE ---------------- The galactic map has some keys to please.... The joystick is used to spin the galaxy. HELP - Galaxy map Zoom in. DEL - Galaxy map Zoom out. CURSOR KEYS - Move crosshair. RETURN - Lock course. D - Decode planet statistics. S - Short range scan. SPACE - Exit. Press f6 to activate the navigation computer and view the spiral galaxy. A highlighted route is displayed if there is a mission to perform. Press D for a schematic view of the system you are about to visit. Usefull information is shown to the left of this display, So make use of this if you intend to trade with the locals upon arrival. Press the space bar to return to your view screen. The joystick is used to rotate the map and adjust your position. To lock onto a course press RETURN. If you cant lock onto a course,its due to the distance between you and your target. Either you dont have enough fuel, or your engines aren't capable of such a big jump. Trade on the Net to earn enough money for fuel or to buy bigger engines. If money is a real problem cut your journey into smaller stages. The cursor keys move the white crosshair on the galaxy display. Once locked on course press SPACE to look out of your cockpit,open the hangar doors by pressing BACKSPACE if docked and finally H to enter hyperspace. (tip: Dont aim at a planet when hyperspacing..You tend to DIE!) PAY ATTENTION... ---------------- ...To all planetary information as it's essential to trading, for example... o A planet with a high government or law level is not the best place to sell weapons. o Planets with high populations will always need food - especially those of a small diameter. o Mining communities are your best bet for cheap ores and minerals. o Planets with little or no atmosphere are unlikely to support humanoid lifeforms - other than the military who are always interested in spare organs. o High populations would suggest races of robots. (who obviously dont need food). o Little or no water on a planet means that chances are there's a healthy market for agricultural goods as the natives cant grow food. o Buy hi-tech equipment from hi-tech planets and sell them to lo-tech planets. RADAR ROMPS ----------- The coloured stalks on the radar show what is at the location in question. The following should help you distinguish the good from the bad. WHITE - Space station,or convoy member. GREY - Satellite or unknown. RED - Hostile. BLUE - Unknown. TELEPHONE NUMBERS ----------------- When aimed at a spaceship (friendly) a number appears to the left of the screen. Note this down,access the net and transmit,at the prompt to who, type this number for a chat,and black market trading with others. THE DILITHIUM CRYSTALS CANNAE TAKE IT CAPTAIN! ---------------------------------------------- Damage control is the place to be when things are going wrong. Remember, repairs take time, and time is money. You can always buy some more efficient droids (finances permitting),but at the end of the day effective droid management is of the essence (i.e. dont put too many droids on one job). Better still avoid getting damaged in the first place. The Keys? here you are then... f7 - Activate the damage control screen. RETURN - Activate the selector. + - Add free droid to the highlighted system. - - Remove droid from the highlighted system. CRSR UP/DN - Move highlight. SPACE - Exit. READY EDI --------- Stay in the space station for protection and access galnet (press f8 to activate EDI,the ships computer,and type NET (RETURN) at the ready prompt ). At the welcome prompt type HELP (RETURN) and enter your name when asked. The reply to the 'NEW GAME' prompt is irrelevant if you have just loaded a game. However, if you are mid-game a 'YES' response terminates your game in favour of a new one. Once you have been given your ID number, the net's yours to explore and exploit. Available commands are then listed by pressing the H key. The option to download only works if you know the name of the file you wish to download. This information is only found out by playing the game. NOT SO FREE TRADING ------------------- When conversing with other traders, dont call them names. Its a good idea to mention trading in some form "Do you want to TRADE/BUY/SELL" is a good question to ask. BLACK MARKET ------------ Black market items to look out for include: Class 4 missiles,Towels,Mega-blasters (huge planet busting ghetto blasters), Digital watches,SIMPLE manuals (and you need them) and mega-gin (plus other assorted intoxicating substances). Note: Whatever you do DO NOT buy GPP ROBOTS,No-one will buy these from you, and you are stuck with them! --THE EARL-- FAST BUCKS ---------- To make money quickly buy,then sell almost immediately. Look for something fairly cheap and then buy it in bulk so that the market has no other supply except you, Wait for a few seconds for the price to rise and then sell,sell SELL (for a reasonable price). But remember theres a 1% handling charge,so your profit may not be as large as intended. DOCKING ------- The quickest way to dock is this: zoom in or out on the radar until you see a white line. Fly towards it at full speed. When you are in range a light on the panel will flash,indicating you should activate the docking computer. PLANET ------ The fastest way to land on a planet is to dock with a space station then launch immediately. Pull back (down) on the stick and line up with the planet. The space station will allow you to time skip when you leave it. Why do you need to land? for trading prices or because a mission demands it. LANDING ------- Practice makes perfect so try this when you first begin the game: press Backspace to leave the space station, use the ALT key to reduce your speed (shown to the right of your heads up display) from 020 to 000. you are now stationary (a negative number means you are in reverse). At the bottom left of the screen is your attitude adviser. The arrow heads show the position of the nearest docking station or planet. There should be only one arrow head pointing down. Push forward (up) on the joystick to tilt the crafts nose down. Shortly you should be facing the planet. The attitude adviser becomes a diamond when you are on course. increase your speed to 010 then hold down the J key to time skip - unless enemy craft are present,in which case you should enter navigation computer, lock on course to the intended planet and then return to the main view and engage the hyperspace engines. watch the attitude adviser in case you drift off course. The screen should turn red with the heat as you enter the atmosphere. Use that attitude adviser to line up with the runway and when you are over it, point the nose down into a shallow drive. If everything is safe,the on-board systems will take over and land the ship for you. It takes time to reach a runway. Should you miss it,your best bet is to pull back and leave the atmosphere before attempting re-entry. You can either fly high and safe or low and dangerously. Keep level at roughly the height shown,then when the need to shoot something arises,tap forward (up) to briefly dip the nose and move the cursor to the floor and fire. Now pull up - PULL UP! GENERAL TIPS: COMBAT -------------------- Install a third weapons system as soon as finances permit. Use missiles whenever possible. Drones are usefull. When in direct combat shoot your way through your weapons system. If all else fails RUN FOR IT. TIME SKIP --------- The time skip function is tied to speed at which you travel. Flying at 0 and using the time skip wont get you anywhere. Travel at full speed for maximum effect. Also bear in mind that space stations actually stop time skipping. COMPLETE KEY GUIDE ------------------ F1 - Communications mode. 1 - Arm escape pod. F2 - Arm primary weapons system. 2 - Disengage escape pod. F3 - Arm secondary weapons system. CTRL - Accelerate. F4 - Arm tertiary weapons system. ALT - Decelerate. F5 - Audible threat warnings on/off. D - Engage docking computer. F6 - Navigation computer. H - Hyperspace. F7 - Damage control. K - Kill tune play SFX. F8 - Ships computer. L - Load game. F9 - Radar zoom in. M - Play current tune. F10 - Radar zoom out. P - Pause. S - Save game. J - Timeskip. BKSPACE - Launch. HELP - Music select THIS GUIDE WAS TYPED BY THE EARL OF ECLIPSE.........ENJOY ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Typed for SEWER SOFTWARE by MEDUSA (USA)....who keeps us posted as to what's happening Stateside! SLEEPING GODS LIE Waking, I rose from my pallet and gazed at my room through the mist created by early-morning eyes. Some leafalets had been pushed through the door and were now lying untidly on the floor. The smaller of the two was a crude pamphlet proclaiming the writers intention to take on the power of the Archmage despite the latter being backed by the full force of the imperial court in Morav. I smiled bitterly: such bravado never seemed to achieve any thing, except for the disappearance of the author.Presumably the pamphlet had been delivered earlier in the night in an attempt to avoid capture. The other item was, surprisingly enough, an advertisement. It seemed encredible to me that in this time of plague and oppression the sycophants of Morav still managed to produce and deliver such trash. Not that they would get much custom around here: more than half the occupants of the city had been dragged off by the agents of the Archmage to face and unknown but doubtless terrible fate. Suddenly, I heard the crash of something heavy falling against the door. Fearing the agents of the Archmage, I reached for my back door key, intending to slip away and hopefully avoid capture- but the key was missing. I waited, sweat cool against my brow, and braced myself for a last- ditch stand I already knew to be hopeless. Silence, Cautiously approaching the door I could hear the sound of tortured breathing. I opened the door a crack, and saw to my amazement a Kobbold, one of the old creatures whose dealings with humankind had been a fundamental link in the trade routes of Tessera before they all mysteriously disappeared. This one was in a bad way, bruised and bloody- the crash had been the sound of his body hitting the door as he fell. He looked up with pained eyes, and tried to speak. "Hold on", I said. "I'll get something to help you." "N-no",he whispered. "just listen. we kobbolds - we have been attempting to wake the Sleeper,N'Gnir, but its difficult. We needed a device from this kingdom. Four of us were sent to get it....but the demons....all dead". His head dropped. "Hold on", I said. "You're not finished yet. I have some herbs...." "No time. Just take....device....to Sleeper. Go." He pressed a small object into my hand. "Wait!", I cried. "Where is the Sleeper? Where do I go?" A barely audible hiss escaped his lips. I pressed my ear close. "Hermit...." He was dead. I looked at the object in my hand. It seemed to be nothing more than a curiously-wrought iron bangle, marginally too small for my wrist, inlaid with intricate lines of jade. I considered his request. Unauthorised travel had been illegal ever since the Archmage had declared a state of emergency in the name of the Emperor, and I had no proof that the Kobbolds story was true. It seemed so unreal that a dying Kobbold fleeing imperial demons should turn up outside my door. But if it was true - to wake the Sleeper ! I had to try. PLAYING SLEEPING GODS LIE Playing Sleeping Gods Lie, is very simple: everything may be accomplished by movement and the firing of weaponry. If you walk over an item which may be carried, you will automatically pick it up ( see the notes on weaponry and clothing). Often characters will attempt to talk to you :pay close attention to what they have to say, as it will often be useful. To travel between land scapes in Tessera you should approach likely exits at the edge of your current playing area, though it will sometimes be necessary to fight characters and creatures guarding these exits. Otherwise you will progress by defeating assailants,conserving your strength and using your wits. SCREEN LAYOUT 1.Viewing Area : This shows what you actually see in front of you, and so it is the single most important part of the screen. As you reach the edge of the playing area, the screen colours lighten. 2.Compass: This shows the direction you are facing. 3.Clock: One Tessera hour corresponds roughly five minutes of our time. The day is divided into twelve hours, starting at dawn. There are nine hours of day, and three of night. Below the clock the Tesseran date is displayed. The year is divided in 17 months of 17 days, with each month named after one of the old Gods. 4.Pie Chart of Stamina: This is an indication of your physical well-being; it can be increased by sleep, rest or food and decreased by strenuous effort, arduous conditions (such as extremes of temperature) or wounds from battle. The colour of the pie will redden as your condition deteriorates. 5.Pie Chart of Magical Presence: This becomes more powerful the more magical devices you collect. Your presence will be more obvious to the creatures such as demons who can detect magic. ------------6------------- 6.Weapon: At the start of the game you will only have your bare hands, but as you progress and find weaponry the most powerful weapon that you are carrying will be displayed. If you wish to select another weapon that you have picked up then press the F2 key until it is graphically displayed. 7.Clothing: Your figure will display all of those items of clothing which you acquire on your travels. If any two items of clothing cannot be worn together (for instance a hat and a helmet) the first will be dropped. 8.Text Window: The top line displays: i. The weapon which you are currently using and its status:loading,reloading or empty. The reload time of some weapons is longer than others. If you run out of ammunition for a weapon, but still have ammunition which you can throw, the display will inform you that you are using your bare hands. ii. The ammunition currently being used. The most powerful ammunition available for your weaponry is automatically selected. iii. Your experience rating, or game score. The lower area of text displays your ammunition and an inventory of all of the objects you pick up (except weaponry and clothing). When you pick up an interesting object, or if anyone wishes to say something to you, it will display a message for you to read for a few seconds. CONTROLS Atari ST and Amiga ------------8--------------- You can move within Sleeping Gods Lie by using your Mouse, Joystick (in port 1) or Keyboard. The view of the playing area is a first person view from the players eyes. You may freely move about the landscape by moving the on-screen cursor up or down to move forwards or backwards respectively; and left or right to rotate left or right respectively (note that the cursor is self-centering for left-right movement). The cursor also displays the aiming direction for your weapon. To fire, simply press the fire button. You should find this method of control very easy to master. THE KEYBOARD CONTROLS ARE AS FOLLOWS: ARROW UP Move forwards ARROW DOWN Move backwards ARROW LEFT Rotate left ARROW RIGHT Rotate right SPACE BAR Fire HELP Options Menu ESCAPE Toggle game pause In dialogue boxes: RETURN: To accept the option UNDO (ST) To reject the option DELETE (Amiga/Ibm) To reject the option OPTIONS SCREEN To access the options screen, press the Help key on your Atari ST and Amiga, or the Escape key on your PC compatible. The options screen allows you to load and save your game position and to quit or return to the game. You may save your game position at any time, and we recommend that you do so at regular intervals if you are making progress. In load or save game mode, you may select desired directories, drives and file names by moving the pointer to highlight your selection and clicking on the relevant area of the screen. In the case of entering directory and file names, you can type in the information and enter it by pressing return. --------------9---------------- USEFUL KEY PRESSES F1 SLEEP F2/ALT CHANGE WEAPON F3 SPEED UP F4 SLOW DOWN F5 50Hz F6 60Hz F8 LOAD F9 SAVE F10 QUIT SHIFT F10 QUICK EXIT SLEEP: You may choose this option at any stage in the game. Time progresses much more quickly in sleep mode, and your stamina will recover. The rest of Tessera does not sleep, however, and you will be woken if you are attacked by any assailant. CHANGE WEAPON: This option allows you to select the different weapons you may have collected. SPEED UP : With this option, you will move at twice your normal speed. However, since time passes more quickly, all of the other characters move faster as well. In this mode the hands of the clock turn red. SLOW DOWN: This option returns you to normal speed. 50hZ/60HZ: These options allow you to change the moniter scanning speed, allowing the picture size to be changed. LOAD:This option brings up the LOAD options menu. SAVE:This option brings up the SAVE options menu. QUIT:This option allows you to quit from the game. QUICK EXIT:This option allows you to quickly exit the game. -----------10---------- KINGDOMS OF TESSERA The world of Tessera is composed of eight separate Kingdoms, with each Kingdom comprising up to six external landscapes. Try to make a map, as you will often have to return to a previous landscape to solve a problem. Your major task will be to work out how to get from landscape to landscape and from Kingdom to Kingdom in your search for the sleeper. Once you travel to a new Kingdom, you will not be allowed to return to a previous one. For those of you who are mathematically minded, the Kingdoms map like a four- demensional hypercubek or Tesseract. But fear not, because a Ph.D in mathematics is not prerequisite to succeeding in the game. If you cannot wait to find what you may encounter, here follows a brief description of Tessera. CAILA and TAIRA The quiet green Duchy of Caila remained long untouched by the changes imposed by the Archmage, but now, even here, the population has been depleted. The main population centre was the great city of Thurin, one of the few outside the Urban City of Morav, and this is still the players home. Taira is an altogether wilder place, and always less populous. Its major claim to fame is the Magic Tree, whose magical powers are renowned. SYLVAR Once a thickly forested zone, Sylvar has been much thinned by over-enthusiastic deforestation, with the result that many of the trees are heavily prejudiced against human civilization. This is the home of the fierce Sylvar dwarves, who may be found on the surface, but prefer to inhabit their subterranean caverns. Deep in the woods lies the Fountain, source of all arboreal intelligence. DELANDA The lakelands of Delanda used to be home to a thriving community of fishermen and sea farmers. The passivity of the waters made it ideal territory for ferrymen, some of whom still ply their trade-although it has become a dispiriting task-mostly transporting agents of the Archmage from place to place. -------------11------------ THE MISTY MOUNTAINS OF SIMALA The mist-enshrouded Simala Hills form the home of some of Tessera's wildest creatures, yet in olden days proved popular for winter holidays for the wealthy neighboring Morav. Now, the snow demons hold solitary sway, save for the occasional sighting of the wierd sisters,who seem to regard the area as a home-from home. THE URBAN CAPITAL of MORAV The city of Morav, the capital of Tessera, is home to the imperial Family and nearly a quarter of the entire human population. However, doors remain locked, and the inter-city areas have become barren from neglect. All exits from the level have(supposedly) been closed except for the one in the Palace, which is so heavily guarded that only a magician could possibly hope to get into it without permission. THE DESERTS of SUNDERABAD Sunderabad had been reduced to desert long before the current Archmage ever assumed command, through natural climatic problems and over-explotation of natural resources. Nonetheless, it is home of the Priests of Pha, chief of whom is the Archmage himself. Many have sought peace of mind by joining the sect, whose mysterious Pyramids dot the landscape hiding strange and arcane secrets. THE CATACOMBS OF ESTAMANE In certain ways, almost the opposite of Sunderabad, Estamane (known colloquially to the Moravese as "Hel") is a cold place of mists and ice. It is rumoured to be the abode of the dead, and certainly there seems to be a large body of evidence supporting this view. Few wander outside the catacombs onto the surface,possibly because of the rumour that the Three Fates live somewhere in Estamane, stirring the vast, black cauldron in which they brew up the lives of men and women. THE CORATINIAN STATE Much like a cross between Caila and Delanda in their heyday, the Coratinian States are now in a mess. The need for the Waking is the disaster here, and by a cruel fate this is where the Sleeper lies. The response of a Nature pushed beyond breaking point has been the main reason for the Kobbold's failure to perform their task-and the reason for your quest. Strange, warped creatures roam an even more warped landscape. Who knows where your quest will end ? -------------12------------ WEAPONS For the techinically minded player, and the curious, we provide a list of weaponry, ammunition, armour and accessories that you will find during the course of the game. May God's strength be with you ! The weapons are ballistic in nature, and more powerful ones should become available as the game progresses. You carry simultaneously all weapons which you have picked up, and although the most powerful is automatically displayed, you may select the weapon of your choice (see Useful Key Presses). Name Speed Range Damage Reload Renewal _____________________________________________________________________________ Bare Hands 30 30 5 5 No Sling 33 30 15 10 No Staff Sling 35 70 17 10 No Blowgun 38 80 10 10 NO Light Crossbow 45 160 25 20 No Shortbow 40 100 20 10 No Heavy Crossbow 60 200 50 30 No Longbow 50 240 30 10 No Rod of Flame oo 180 50 5 100 Fireball Wand 55 200 60 10 70 Lightning Spear oo 250 90 20 150 Dragon Spear 75 250 100 5 120 Ring of oo 400 150 10 1000 Annihilation SPEED is the speed of the projectile (m s-1). RANGE and DAMAGE are relative, RELOAD is the time it takes to reload after firing, and RENEWAL is the time it takes magical items to recharge after they have expended the stored number of shots. -------------13------------- AMMUNITION and ACCESSORIES Pebbles Lead Shot Pellets Throwing Stars Darts Poison Darts Bolts Flame Bolts Arrows Flame Arrows Armband of Strength Throw Accuracy Gauntlet Belt of Lung Capacity Pouch of Renewal Quiver of Renewal Amulet of Channeling The damage incurred by a particular weapon will be incremented by the power of the ammunition available. ARMOUR and ACCESSORIES Travel Cloak Leather Tunic Chain Shirt Metal Plate Helmet Dragonskin Adamantine Armour Greaves Sheild Robe of Camouflage Gloves Hat Glasses of Ultimate Cool Necklace Circlet of Concentration Amulet of Protection Boots of Speed Bracelets Sandals of Water Walking -------------14----------- GAME PLAY HINTS As you play Sleeping Gods Lie, you will find that various strategies will serve you well in your quest. Here we provide you with just a few hints which might be helpful to start you off. (a) When you kill assailants, they will often drop weapons and ammunition which you can use. You will find that this will help your mission. (b) The mouse and the Joystick work simultaneously with the keyboard controls, and you will find that rotating with the keyboard leaves you to concentrate on shooting when you are in a tight spot. (c) Try to get your retaliation in first-there is normally time to hit assailanat before he or she hits you. Remember, however not everyone is an enemy ! (d) Keep a close eye on your compass, and make a map. Note that a Tesseract has a curious way of mapping. (e) Look out for natural signs of gateways-not just gates-to help you to move between landscapes. (f) Save the game when you have made some progress-it will make life much easier if you are killed !. (g) Search each area carefully for usefull objects, those with keen sight will be rewarded. (h) Look for natural food to sustain your stamina. --------------15------------- This is a great game for all you D&D/role players. I've plays well on the AMIGA and there's no reason to suppose it won't be any different on the ST. (Badly) edited by me, Sewer Possum...thanks go to ACU for supplying this file. HILLSFAR Introduction to Hillsfar After weeks of hard campaigning, your supplies and rations are all but exhausted. Your party set up camp just outside of Hillsfar. You had thought to make a quick stop at the city to gather supplies, maybe drop into your guild to see what things are like. You had no idea what you were getting into as you stepped through the gates... No weapons allowed inside the gates! Magic? Only his Excellency the First Lord's magic is allowed in Hillsfar. Also his Excellency does not allowed training up levels within Hillsfar. The dreaded Red Plumes see all and tolerate no threat to the enforced law and order of the region! Welcome to Hillsfar! A FORGOTTEN REALMS game adventure, and part of TSR's latest ADVANCED DUNGEONS & DRAGONS gaming system. Hillsfar promises adventure and intrigue that will challenge any potential hero. There are several different quests to complete for each of the four character classes. Hillsfar was the most open city on the Moonsea until the council was overthrown. The merchant-mage Maalthiir, self proclaimed First Lord of Hillsfar, now rules the region with an iron fist. Shrewd, ruthless, and independent, he hasn't made many allies, and Hillsfar struggles to hold its own against the surrounding power lords who eye the wealthy port city with greed interest. Law and order are maintained by the dreaded Red Plumes, Maalthiir's mercenary guard, who stalks the city night and day, watching all. Ah! But a city under tight control is a city of opportunity to any worthwhile adventurer. With no weapons and little magic, your wits and agility are your best chance to overcome the puzzles and mysteries surrounding Hillsfar. Your welfare will depend on how well you can figure out mazes, pick a lock, ride a horse (and not get thrown), squeeze information from the pub, and overcome the countless obstacles yet to be unearthed. Despite the recent revolution, Hillsfar remains the Jewel of Moonsea. Wealth and adventure await you in the city pubs, the guilds for each class, the cemetary, the archery range, the sewers, the haunted mansion, the magicuser's tower. Maalthiir's castle, and most of all, the Arena. If you're lucky, you'll only be roughed up for crossing a Plume. If not, you'll be thrown into the Arena, fighting for your life and for Maalthiir's amusement. With staves and poles, you must rely on ingenuity and quick reflexes to get you out of this mess. Have you the right tools to pick that complicated lock? Think you can hold your own in the Arena? Glancing up at the scowling Red Plumes guarding the gate, you certainly hope so. No one ever said that adventuring was easy, and stepping through gates to enter Hillsfar, you begin to realize why. Starting Play :Load a character to ride to Hillsfar >>Loading a already created character :Create a Hillsfar character >>Create a new character :Save your current Hillsfar character >>Saving game :Remove a Hillsfar character >>Delete a unwanted character :Transfer a character >>Transfer a char from Pools of Radiance :Make a Hillsfar save game disk >>Making a Hillsfar save game disk CREATING A CHARACTER You must create a character to seek adventure and accomplish quests in Hillsfar. Characters are differentiated by their race, ability scores, and class. 1. Selecting your character's race Dwarf:: This is a cunning race of sturdy workers and craftsmen. They can be fighters and thieves at the same time. Elf:: As tall as humans but slimmer, they can be fighters, magic-users, thieves, fighter/magic-users, fighter/thieves, magic-users/thieves, and fighter/magic-user/thieves. Elves also have a better chance of finding hidden objects. Gnome:: Members of this race are shorter and slimmer than their cousins the dwarves. They can be fighters, thieves, or fighter/thieves. Half-Elf: These hybrids have many of the virtues of both humans and elves. Like elves, they can be more than one class at once. Halfing:: These folk are about half the size of a human, hence their name. They have little ability with magic, but are resistant to its influences. They can be fighters, magic-users, clerics, and thieves. Humans::: This is the most common player race in the Forgotten Realms. They have unlimited progression as fighters, magic-users, clerics, and thieves. 2. Selecting your character's gender You will have to select whether your character will be male or female. As the race selection, highlight your choice and press the space bar or fire button when ready. 3. Selecting you character's class A description of the classes is listed below. Cleric:: The cleric is a holy crusader whop fights for the causes of his religion. Due to religious restrictions, he cannot use a cutting weapon that draws blood. such as a sword or an arrow, but can use any form of armor and use crushing weapons, such as a mace. Fighter: The fighter can use any form of armor or weapon including magic ones, but most other magical items, and all magical spells, are beyond him. Magic-User:: The magic-user is potentially the most powerful character class, but he starts out weak. Initially, he has very few Hit Points. In addition, he cannot memorize many spells, and must carefully husband his spells until he gains more through advancement in level. Magic-Users cannot use any form of armor or any weapon other than a dagger, dart of staff. However, there are magic items only magic-users can use. Thief:: The thief uses trickery and misdirection-instead of brute force-to win his objective. This is only the profession in which demihumans may climb as far as any human. Indeed, halfings and elves are especially adept in this craft. To be a proficient thief a character must have high dexterity. Thieves must stick to leather-based armor and have restricted lists of weapons. Multiple Classes:: Non human races can sometimes be a combination of classes. When a character is more than one class, his Hit Points per level are averaged among the classes involved. However, his experience is split between the two classes even when he can not advance further in one of them. He gains all the benefits of both classes in regard to weapons and equipment. 4. Choosing an alignment Alignment is the philosophy a character lives by. While the actions of a character are under your control, the character's alignment can affect how NPCs in the game view him. The computer will provide all the possible alignments for you to choose from. 5. Your charcater's ability scores Ability scores are base on a range from 3 (low) to 19 (high). You have the option of re-rolling your chracetr's scores or keeping them. Keep re-rolling your character until you have the ability scores you desire. A description of the ability scores follows: Strength (Str). This is the measure of how much a character can carry and how much damage he can do in a fight. Strength is a fighter's most important attribute. Intelligence (Int). This is the measure of how much a character can ultimately memorize. Intelligence is a magic-user's most important attribute. Wisdom (Wis). This is the measure of a character's ability to understand the ways of the world and interact with it. Wisdom is a cleric's most important attribute. Dexterity (Dex). This is the measure of the manual dexterity and agility of the character. Dexterity is a thief's most important attribute. Constitution (Con). This is the measure of the overall health of a character. It has a major effect on how many hit points a character receives. Charisma (Cha). This is the measure of how well the character interacts with other characters. It is sometimes a factor when a character has an encounter with a Non-Player Character, usually called an NPC. 6. Selecting a Name This is the last step in creating your character. Your character's name may have up to 15 letters in it. After choosing the name, you will be asked whether you wish to save your character. Two additional character attributes which will appear in the summary screen are explained below: Hit Points (hp). This attribute is derived from a character's constitution, his level, and his character class (see below). Every time a character is hit he loses Hit Points. A character with many Hit Points can survive longer than one with few Hit Points. When a character reaches 0 Hit Points he is dead. Experience Points (EX). As a character adventures and accumulates treasure, he gains Experience Points. The more experience points, the more proficient the character is in his class. RIDING A HORSE -------------- From camp you will be given a horse to ride to Hillsfar and other points of interest outside the city. A map of the outskirts of the city is used for selection of your destination. You may hightlight the possible routes to travel by pressing the arrow keys. Press the space bar to ride on the path you selected. From certain points, like the camp, your selection may be limited toonly one path. Occasionally, a question mark will appear where you horse is. When this happens you will have the option of attempting to ride on a forgotten trail. If you wish to try an unmarked trail, press the space bar when the question mark appears. It has been said that some of these trails lead to fame, fortune, and danger. The horse and rider are controlled by using the keypad or a joystick. Moving the joystick or arrow keys right to speed up and left to slow down. Moving the joystick up or hitting the up arrow key commands the horse to jump, and down on the joystick or arrow keys will cause the rider to duck flying birds or arrows. If you find a Rod of Blasting, you may use it to destroy obstacles on the riding path. To use the Rod of Blasting, press the fire button on the joystick or press the space bar. All Rods have a specified number of charges and when used up, they will disappear. Beware! The footpaths and roads are treacherous indeed! You will have to jump and duck obstacles along these paths lest you be thrown from your horse. Some of the objects you will have to avoid includes bales of hay, ditches and holes, puddles, fences, bushes, and tree stumps. Every time you misjudge an obstacle, you will run the risk of losing your horse. Although certain horses are more loyal than othersm any horse will abandon its owner when pushed to its limit. If this happens, a list of options will appear: Walk on ahead: This option may let yoy walk to the destination you selected. Look for a horse: Search for a horse. If you find one, you will continue onward. Wait for passerby: Wait for someone to pass by who will take you to the trading post. Start walking back: This option returns you to your starting location. Keep in mind that whenever your steed gallops away, you will be in danger of being robbed or worse. ------------------------- |ADVENTURING IN HILLSFAR| ------------------------- Once you have successfully reached Hillsfar, you will find yourself in the upper tight-hand corner of the city, represented by a flashing arrow. This is where the stables are and where you must go in order to leave the city. On the left side of the screen, you will see a 3-D view of buildings in front of you. To turn, use the left and right arrow keys. To move forward use the up arrow. To turn around 180 degrees, use the down arrow. Move the joystick in the same directions to move forwardm right, left and to turn 180 degrees. On the lower left side of the screen you will see the status of your character and what he is carrying. Always watch your character's Hit Points. If you run out of these, your character will die. Also displayed are the number of knock rings and healing potions in your possession. Depending on your character's class, you will want to find a pub or guild .Take time and become acquainted with the city. You will notice that the message window will move between two positions on the screen. When you are in the northern part of the city, the message window will be on the bottom half of the screen. When you are in the southern part of the city, the message window will be one the top half of the screen. Many times in the game you will be given clues and quests. In some areas of the city you may need to look for items, clues or people. To examine an area closely press the space or fire button. Additional Commands: ------------------- R - Recall the last clue given. S - Toggle the sound on or off. P - Use a healing potion <-- or ESC - Pause the game. ---------------------- |TANNA'S TARGET RANGE| ---------------------- For practice or for gold you can set your sights at Tanna's Target Range. For a small fee, Tanna will allow you to compete against other marksmen for fame and gold. Upon entering the range, you will see a list of scores and the amount of the purse you will receive if you exceed them. You will be told the entrance fee and asked if you wish to participate. If you want to participate, you will be asked if you want to practice first. The only differences between practice and competition is that you are not charged for practice, and you cannot collect any awards or have your score added to the list. Once you have made your choice, you will be asked to choose the weapon you wish to rent. You may rent a sling, daggers, darts, or a bow and some arrows. Sling - the only weapon that is usable by a cleric. Dagger - the heaviest weapon available. Darts - faster and lighter than daggers. Arrow - the fastest weapon. Wand - for mages only. Once you have selected a weapon. it will be time to show what you're made of. The targets will vary in value depending on their difficulty. The joystick or keypad controls the motion of the cross hairs. Use the space bar or button to fire. You will notice as you aim your weapon that seems to drift. The higher the dexterity you have, the less drift there will be. Keep your eye on the windmill. It will tell you how fast the wind is blowing. To make an accurate shot, you must adjust for windage. The lighter the weapon is, the more it will be affected by the wind. Be accurate! You have only ten shots to beat the scores on the list. Once you have fired your last shot of ammunition, you will be given your rating and awarded any prizes you may have won. Don't be discouraged if you don't do well in the first few rounds; even William Tell had to practice. ----------- |THE ARENA| ----------- In the course of your travels in Hillsfar, you will sooner or later end up at the arena. In the arena you may fight for wealth, fame, honor, or perhaps pay for a crime you've committed. While the arena is generally favored by fighters, anyone is allowed to compete. Most arena battles are fought until one of the fighters is knocked senseless. When fighting as a result of serious crimes, death becomes a distinct possibility. IBM Keypad: block special block left block right 7 8 9 ^ | attack left 4<--- 5 --->6 attack right 1 2 3 special attack Joystick: _ up | | special block __| |___ left;block left /o |_| /| right:block right /_______/ / with button:attack left |_______|/ with button:attack right down special attack Each opponent you meet in the arena will have his own fighting style. To defeat your opponent study his fighting style. Exploit his weaknesses; beware of his strengths. When you fight in the arena, you will be armed with a staff. The first person to knock his opponent unconcious is the victor. LOCK PICKING Whether you are a thief or not, there will come a time when someone has locked up something you want. If you're not a thief, you may resort to bashing down a door, or smashing a treasure chest. But if you are a thief , or you have hired an NPC thief and you have a set of picks, other options may be open to you. When come upon a locked door or chest with yor trusty set of picks in hand, you will be asked if you want to pick the lock. If you do, the lock picking screen will be displayed. Locks must be picked one tumbler at a time, from left to right. To pick the lock, use the arrow keys or the joystick to select the pick which matches the tumbler. Use the fire button or the space bar to flip the pick over if necessary. Hit the return key to try it on the tumbler. If you choose the wrong pick or the wrong end of the pick, you might break it. Sometimes you may not have all the picks necessary to open a lock. When this happens, press the 'E' key before trying any picks and you will leave the lock. It is possible that a tumbler may be jammed. You will have to stick the pick in more than once to force a jammed tumbler down. Note: There is a greater chance of breaking a pick when trying to force a jammed tumbler. Keep in mind that while broken picks are displayed, they cannot be used until you have them fixed. Some locks are tougher than other locks and some locks are trapped. Putting the wrong pick into a trap is almost certain to set it off. If you're successful put the correct pick into the lock, the tumbler will fall, giving you access to the next one. When you pick the last tumbler, the chest or door will open. You will only have a short amount of time in which to pick a lock. Should you fail to pick the lock within the time limit, any traps it has are almost certain to go off. Once you become familiar with your picks, you should have no trouble opening any lock as long as you have theright picks. If you have trouble picking a lock, you may used the "F" key to attempt to force the lock or the "Z" key to use a knock ring (if you have one). OPENING DOORS AND CHESTS If you're not a thief and don't have a thief NPC with you, or if you don't have a set of lock picks, you can still open the lcoks. When you find a lock door or chest, you will be asked if you want to open it. If you do, you will be provided with the list of options below. Some of the options may not be available. Options: LEAVE! DO NOT TRY THIS LOCK: This option will only be available until you attempt some other form of opening the lock. USE PHYSICAL STRENGTH TO FORCE IT: Attempt to use brute force to open the lock. Be careful, if the lock is trapped you may set it off. PICK THE LOCK WITH A SMALL OVBJECT: By using this option, you will be attempting to pick the lock with a small stick or a straight piece of metal. Be careful, if the lock is trapped you may set it off. USING A KNOCK RING: If you have a knock ring, you may use it to attempt to open a lock. Knock rings are available to all character classes within Hillsfar. Knock rings will open one lock per ring because a knock ring is consumed by the energy required to unlock the lock. USE THE CHIME OF OPENING: This is a magical item that can be used to force all of the tumblers down. Of course, you have to find the chime of opening first... You will only have a short period of time to open the lock and when the time runs out, you are returned to where you came from. --------------------- |BUILDINGS AND MAZES| --------------------- As part of the adventuring in Hillsfar, you will have many opportunities to enter the buildings in the city, as well as sewers, hedge mazes and other labryinths. It is important that you investigate many of these thoroughly. Valuable items, information, and gold can be found in these places. Be warned, many of these places are protected by guardians or the Red Plume Guards themselves. In many cases, you will only have a limited amount of time to collect whatever you can. In most cases you will want to collect as much as you can and then find the exit, which appears as a stairway leading down, before the guards find you. Everytime a guard or guardian touches you, the total time remaining, which is displayed at the top of the screen, will decrease. Once there is no time remaining, the first guard who touches you will capture you. If this happens, you will lose all the items you have collected, and possibly be sentenced to a fight to the death in the arena. If you are caught within the castle, you will always wind up in the arena. Moving through the maze is accomplished by using the arrow keys or the joystick. Move as quickly as you can and be wary of traps. ################################# Hours special buildings are open: ################################# Building Hours _____________________________________________ 1) Arena........................8 am - 11 pm 2) Archery......................8 am - 3 pm 3) Bank.........................8 am - 3 pm 4) Book Store...................8 am - 3 pm 5) Castle.......................Never Open 6) Cemetary.....................12 am - 7 am 7) Temple of Tempus.............Always open 8) Stables......................Always open 9) Fighter's Guild..............Always open 10) Haunted Mansion.............Never open 11) Healer shops................8 am - 3 pm 12) Jail........................Never open 13) Mages' Guild................Always open 14) Mages' shops................8 am - 3 pm 15) Mages' Tower................8 am - 3 pm 16) Pubs........................5 pm - 7 am 17) Sewers......................Always open 18) Rogue's Guild...............Always open Note: The guilds are always open to their class, and always closed to all other classes. Hints: To get into the jail, pick the first few tumblers with picks and force the last tumber open by pressing 'F'. Always try to hire a rogue if you can. They help you in your ventures of picking locks. ____________________________________________________________________________ Ace 5/29/89 Thanks to ACU for the following DOCs... Jack Nicklaus Golf Complete Documentation Select Skins or Stroke Play 1. Use the mouse to point the pointer at the box beside the number of players you want to play. Notice that you can choose in either the Skins or Stroke Play formats. (Player description will follow). 2. Click the mouse button. Skins A game made popular in recent years by a special tournament that has pitted head-to-head: Jack Nicklaus, Gary Player, Arnold Palmer, Lee Trevino, and Fuzzy Zoeller. The rules are similar to Match Play -- you have to win a hole outright (no ties) -- but the betting system completely changed the objective. Instead of the most holes, you try to win the most money. A dollar amount is assigned to each hole. Typically, the first six holes are worth one amount, the next six are worth twice that much, and the last six are triple the original prize. The best ball (lowest score on the hole) takes the prize. If the hole is halved (two or more players tie for best ball) the money for the hole carries over to the next one. The means the money -- and the tension -- can add up fast. In one memorable Skins games, Gary Player had to roll in a 4-foot birdie to walk away with $170,000. Stroke Play In stroke play, most great players consider the golf course to be their opposition much more than their fellow competitors. That's because the goal is not to win holes (Match Play), or take the big money holes (Skins), but to shoot the lowest score over 18 holes. As Jack puts it: "Stroke play is an 18-hole game, but you can play it only one shot at a time." Select You Players You make five decisions about each player you choose for you much. For each decision: o Point the mouse at the box beside you decision and click the mouse button. o As you complete each player, point to the box OK to go to next player, and click the mouse button. o After your final selection, point and click on the Done box to go to the next section. Select Your Players (continued) 1. Player 1 Male Female o The average male player hits clubs longer than the average female player -- but, of course, anyone can make extraordinary shots. 2. Computer player Yes No o Choose from nine different computer players -- five men and four women -- with varied skills. (Check the next section for complete descriptions) o Point and click on the left and right arrow keys which appear next to the Name Window to cycle through the players' names. o Choose a name, point to the next OK to go to the next player, click on the mouse button, and the player's skill level, tee position, and gender are automatically set. 3. Name o To create a new player, type the desired name (up to eight letters) and press Enter 4. Skill o Beginner : Wind conditions don't affect your shots as much, and your slices and hooks are less extreme. On each shot, your club is automatically selected for you. o Expert : Wind really comes into play, and hooks and slices are most extreme. In addition, you must select your club for each shot. 5. Tee : Pro Farthest from the hole Men's Far away, but not as far Ladies' Closet to the hole Note: Some holes are designed with less than three tees, in which case some players share a tee. Who Are These Computer Players? Jack N The Golden Bear himself. Naturally, the Player of the Century plays at the expert level and hits from the pro tees. Hits shots are carefully planned, well executed and he hits the ball further than the posted distance for each club. Nicklaus is one of those rare golfers who almost always does exactly what he set out to do. Nancy D Though enthusiastic, Nancy's just beginning. She often suffers a wicked slice on her drivers. And long putts give her lots of trouble. Lars X Calls himself Mr. X and likes to think of himself as an expert -- which is why he drives from the pro tees. has a tendency to hook drives and pull putts to the left. Babs R A true competitor, Babs considers herself an expert. She usually hits the ball straight -- with an occasional slice. When it comes to putting, she's overly cautious, and frequently leaves her putts short. Art M Art's a weekend golfer who could use a little practice. His shots tend to be short but straight. And his putts to be long and off-line. Natasha Natasha's a big hitter. She drives from the men's tees, and has played at the expert level for years. If she doesn't slice, her tee shots are beautiful. But she often lags her putts. Eddie C He's no Jack Nicklaus, but this guy's Good. So good, in fact, he makes a living suckering players into a "friendly" game of skins. Naturally he plays at the expert level and drives from the pro tees. Sally C Though she's been playing for years, Sally is still a beginner. She just can't seem to get the swing of it. She hits from the ladies' tees. Her drives could go either way -- hook or slice. And she leaves he putts short. Curly O Curly just took up golfing this year and loves it. Problem is, he doesn't really play that well. He shoots from the men's tees, and plays at the beginner's level. His slices could end up just about anywhere. So could his putts. Select Prizes for Your Skins Game You can choose to play Championship Skins -- a $36,000 match with single hole prizes of $100, $2000, and $3000 for each set of 6 holes -- or change the entire prize structure. 1. To play the existing game, point to the box beside Championship Skins and click the mouse button. 2. To alter the total wager, point the the box beside Change Total Prize, then click the mouse button. o Type in the new total beside the $ symbol (not to exceed $9,999,999), and press the Enter key. New wagers are automatically assigned for each hole. 3. To alter the prize for any hole, point to the box beside Change Hole Prized, then click the mouse button. o Point to the hole you want to change, and click the mouse button. o Type in the desired prize amount from the keyboard and press Enter, the computer automatically recalculates the prize total for the entire course. 4. Point and click on the Done box to continue to the next screen. Pick A Game Option -- Practice or Play Choose one of the following activities by entering its number. 1. Play a round o 18 holes: 9 out and 9 in 2. Practice a hole o Enter the number of the hole (1-18) you want to practice, and press Enter. o After you hole out, you automatically view the Scorecard and Statistics Sheet fro that hole. o Continue to press the mouse button to return to the Practice or Play menu. 3. Driving range o Hit as many balls as you want with any club (except the putter) o Keep your eye on the wind indicator; it may change after each shot (see Wind). o Press Q to quit the driving range and return to the Practice or Play menu. 4. Practice green o Hone your stroke. Get the feel of lining up your putts, playing the break, and controlling the speed (see Putting). Press Q to return to the Practice or Play Menu. Note: Computer players don't go to the driving range or practice green -- they fell they're good enough already. 5. Quit o Answer the prompts (yea or no) to return to the Course Selection screen or to exit the game. Gameplay -- Tee to Green Overhead Views of Each Hole An overhead view of each hole appears before you tee off. It gives you basic data -- course name, hole number, par, distance, from each tee -- as well as a detailed look at the layout. 1. Study the hole. Jack excels at this; so can you. o Par attention to the pin placement. It's random which changes the length and character of the hole every time you play it o Analyze the potential hazards -- doglegs, trees, water, traps, out of bounds, cart paths -- then identify the optimum target areas for your shots. o Jack puts it this way: "There is an ideal route for playing every golf hole ever built, and the more precisely you can identify it, the greater your chances for success' 2. Click the mouse button when you're prepared to tee off. 3. Press the Letter O anytime during the hole to return to this Overhead view. A Tip From Jack... The Overhead View can help you be a smarter Skins player because it shows you the relative locations of every ball that's played. Use it to compare your next shot to what your opponents must face. The information will tell you whether to play safe, or go for it. "A definite time to be conservative in a Skins game is when your opponent, hitting first, finds serious trouble such as out-of-bounds," says Jack. "Swallow your pride and play it cozy. Conversely, if you're in trouble and he's obviously in A-1 shape, there's little to be lost by gambling." Choose Your Clubs 1. Beginner o A club is automatically selected for you on each shot from tee to green. It appears in the Club Selection box at the bottom right of your screen, along with the posted maximum distance for that club. o The computer calculated your yardage from the pin, then selects the club whose posted maximum distance (see the Club Distance chart on the back cover) is closet to that yardage. o Be careful: The computer only takes distance into consideration -- not wind, trees, rough or other conditions which can affect club selection. o You can override the computer's choice by pointing and clicking on the Up and Down arrows beside the selected club. Stop when the club of your choice appears: Eight irons (2-9) Two fairway woods (3-4) One pitching wedge (P-Wedge) One sand wedge (S-Wedge) One Driver You Don't Have To Use A Mouse You can also use the keyboard to control aiming and swinging, but for sake of brevity we omit those instructions throughout. Use the left and right arrow keys to aim the shot, the Up and Down arrow keys to make your club selection, and the space bar to replace the clicking of the mouse. 2. Expert o You must select your own clubs for each shot; the Club Selection box defaults to the last club you used until you select another stick o The computer automatically defaults to the sand wedge in the sand, the Putter on the green, and the Driver on the tee; but it won't default to the Driver off the tee. o Base your decision on the yardage to the pin -- as shown on the bottom center of the screen -- and other playing conditions such as wind, hazards and rough. o Check the Club Selection chart on the back cover to see the maximum distance each club can be hit without overswinging (no yardage appears in the Club Selection box) o If you don't select a club, the computer selects either the last club you used (except the Driver), or the sand wedge or putter if you're in the sand or on the green. A tip from Jack... Club selection is wide open in this game except for three exceptions: Your driver can only be hit from the tee, your putter can only be hit from the green, and the sand wedge can only be hit from a sand trap. But before you select any club, prepare for your shot mentally. "Before every shot, look hard at what confronts you and then decide on a club, and target, "Jack says. "identify the specific risks -- Out-of-bounds, water, bunker, heavy rough, wind, ground slope, pin placement -- and weigh them against your capabilities." Aiming Your Shots Atop the Play screen, a small flagstick always indicates where the pin is located in relation to your position. (This is especially helpful on blind shots where hills or trees obstruct your view of the real flag.) 1. Point and click on the arrow keys beside Aim Shot to adjust the "Aiming Ball" to the left and right of the small flag. (or, you can point to the Aiming Ball, click and hold the mouse button, and "drag" the ball to your desired location.) 2. Place the Aiming Ball directly over the flag if you want to aim your shot directly at the pin. 3. Place the ball to the left or right of the flag to compensate for wind conditions, obstructing hazards, hooks and slices, and for the break on putts. Changing Your Perspective If you don't like the direction you're aiming toward -- say a tree blocks your shot -- you can change it: 1. Point and clock on the arrow keys beside Aim Shot to slide the Aiming Ball past either of the two vertical pegs that bookend the top of the screen. (Or, you can point to the Aiming Ball, clock and hold the mouse button, and "Drag" the ball past the pegs.) 2. Slide it past the left peg: The screen automatically redraws and you now see what you would see if you had physically shifted your vision to the left. 3. Slide it past the right peg: It causes the same shift of perspective, but to the right. 4. If you want, you can continue to scroll right or left and see a 360 degree view of the hole from where you're standing. A tip from Jack... This feature can be used anytime, but it's especially helpful between the tee and green where you're deciding whether to gamble or not gamble. It's often better to shirt trouble than to always aim for the pin on your approach shots. It's usually higher handicappers who don't play away from obvious dangers -- bunkers, trees, waters, etc. "Unless you are forced by the competitive situation to gamble, " Jack says. "I lean toward playing safe and moving on. It's paid off for me -- especially on the tough coursed used in major championships." Swinging The movement of the Power Bar on the left of the screen corresponds directly with your players' swing on screen. To control the swing, you control the Power Bar. And to control the Power Bar, you use the mouse. Every shot required three clicks of the mouse button to execute. (the mouse pointer must be inside the golf course portion of the screen to make it work.) The timing of the clicks determines how hard and how straight you can hit the ball. 1. Click the mouse button once to begin your backswing. 2. Click the mouse button a second time to control the distance of your shot (and start your downswing.) 3. Click the mouse button a final time to strike the ball -- and control how far left or right of straight you want to hit it. "Swinging" the Power Bar The middle section of the Power Bar -- let's call it the Swing Zone -- is divided into ten segments, each of which represents 10% of your club's potential distance (as determined by the Club Distance chart, and as shown in the Club Selection Box.) Thus, the bottom line of the Swing Zone represents 0% or 0 distance; the top line represents 100%, or the maximum distance for each club as set by the computer; and the Half Line represents 50% or half that maximum distance. A Sample Shot: You're sanding on the tee of a 300-yard hole, so you take your driver and you want to hit it full. If you're a man, a full driver, means 250 yards in this game. You decide to hit it dead straight because that's the way the hole goes, and there's no offending wind of hazards. 1. Click the mouse button to start your backswing; a color rises like mercury from the bottom of the Swing Zone towards the 100% line. 2. Watch the rise carefully. Try to click the mouse button the moment it reaches the 100% line. o A Triangular arrow to the left of the Power Bar indicates exactly where you make your click. o After the click, the color descends, just like your backswing. 3. To Keep your shot straight on target (the flagstick), make yours third click on the '0' line. o Another arrow appears to mark your click. 4. If each click is right on the button, your ball sails 250 years straight down the fairway, and you're left with a 50-yard approach shot to the green. o The computer automatically tells you how far you hit your last shot. Controlling Your Distance Of course, you don't hit every club full if you want to stay in bounds. Let's continue the sample hole to see how to control the distance of your shots. You're 50 yards from the pin, so you select your pitching wedge (P-Wedge) because the chart says the pitching wedge can whack it 100 yards if you hit it full. But you don't want to hit it full; you want to hit half a wedge 50 yards: 1. Click the mouse button to start your swing. o Notice that the color rises much more slowly with a wedge than it does with any other club. o The smaller the club, the slower the rise -- because the most humans smaller clubs (like the high irons) are easier to hit than big ones (Drivers and fairways woods) 2. Click the mouse button the moment the rising color reaches the Half Line -- that's 50% of the wedge's full distance (100 yards) or 50 yards. o Remember that each line in the Swing Zone represents 10 percent of any club's posted maximum distance 3. As the color descends, make your final click right on the bottom line of the Swing Zone to hit the ball straightaway. The ball should loop gently 50 yards into the air than nestle onto the green -- inches from the cup. Overswinging and Underswinging What happens if you don't make your second, or distance, click directly on the 100% line of the Swing Zone? 1. If you make the second click late -- inside the Power Swing Zone -- you overswing. o That means your shot can carry longer than the posted maximum distance of your club o It also means that if you misjudge your third, or accuracy, click, the resulting hook or slice is randomly exaggerated. 2. If you're early on the second click -- beneath the 100% line of the Swing Zone -- you underswing. o That means the distance of your shot will be some percentage less than the full posted distance of your club o How much less depends on how early you make your click -- the earlier the click, the shorter your hit A Tip From Jack... Overswinging and underswinging are not necessarily bad. It depends on the situation. You have to underswing on some shots -- for example, when you have a 6-foot putt and you're holding a putter with an 80-foot range. And accuracy isn't sacrificed by underswinging, just distance. Overswinging's another story. It can really hurt you if you're not careful. Its takes a prefect third click to avoid a major slice or hook in serious trouble. Says Jack: "You'll hit the ball straighter and more solidly when you don't mentally pressure yourself to produce absolute perfection and "press" every club for its maximum distance. Take one more club than you think you need for every approach shot and swing normally." On the other hand, a big hit sometimes, offers the better golfer a find opportunity to gain a competitive edge. "A prefect example is the 15th at Augusta Nationals," says Jack. "Almost everyone cuts loose here because the reward can be a shot at the green with an iron for a two-putt birdie." Hooking and Slicing If there's no wind and if you make your third, or accuracy, click right on the bottom line of the Swing Zone, the ball should fly straight. But just as you can't hit every club full, it's unlikely that you can hit every shot straight. And sometimes you don't want to hit it straight. 1. How to hit a hook, so that it "draws" the ball to the left (for a right-handed golfer): o After your second, or distance, click, the color descends toward the bottom line of the Swing Zone. o Click the mouse button before the color reaches the bottom line -- in other words, swing early -- and your shot hooks to the left. o How far it hooks depends upon how early you swing (the earlier the swing, the bigger the hook), and how hard you swing (if you overswing into the Power Swing Zone, the hook is randomly exaggerated) 2. How to hit a slice that "fades" the ball to the right (for a right-handed golfer): o After your second, or distance, click, the color descends toward the bottom line of the Swing Zone. o Click the mouse button after the color reaches the bottom line -- in other words, swing late -- and your shot slices to the right. o How far it slices depends upon how late you swing (the later the swing, the bigger the slice), and how hard you swing (if you overswing into the Power Swing Zone, the slice is randomly exaggerated) A Tip From Jack... The "ability" to hook and slice can destroy a hole or an entire round, but with a little strategy, technique and practice they can give you a major advantage over your opponent. "Let's say I'm playing a 5-iron shot to a green 80 feet wide with the pin centrally located," says Jack. "if I aim at the pin and attempt to hit straight, I have only 40 feet of green to work with if I hook or slice the shot." "But by aiming, says 20 feet to the left or right of the pin and trying to face or draw the ball in toward it, I give myself a much greater margin for error. Now I can "miss" the shot by 40 feet and still keep the ball within 20 feet of the hole." "That is the tactical reason good golfers rarely try to hit the ball dead straight. The technical reason is that a straight shot is much harder to keep repeating than a fade or draw." Hazards and Course Conditions Your swing isn't the only variable you have to consider (or overcome) when you're trying to hit the ball straight. Wind Technically not a hazard itself, wind can certainly help you find the legitimate ones in a hurry. The amount and direction of the wind that affects each shot is registered on a circular Wind Gauge at the lower left of your screen. Wind Direction o Imagine that you are standing in the center of the circle, facing straight ahead at the flagstick o The line inside the circle is the wind o Now imagine there's an arrow on that line aiming away from you -- that's the direction the wind is blowing. Wind Speed o A bar gauge labeled WIND -- below the direction circle -- tells you how hard the wind is blowing. o The indicator is a red bar which slides from left to right on the gauge: 0 mph on the left, 10 mph in the center, 20 mph on the right. A Tip From Jack... "You need intelligence and patience to play well in wind," Jack says, "but most of all you need to strong sense of realism and sure emotional control. Par climbs for all golfers along with wind force." Tailwinds A following wind makes it harder to stop the ball in the fairway or on the green, so club yourself accordingly. Jack: "I take one or two clubs less than the distance would normally require and hit hard. Don't ever "baby" a shot when you want height -- give it a good, solid whack." Headwinds Obviously, you need a compensate for a strong headwind by swinging harder or using more club. "Your goal any time you're firing dead into a strong wind," says Jack, "should be a low, boring flight. To minimize soaring you must minimize backspin, and you'll do that most effectively by playing the ball from right to left, rather than straight or from left to right." Crosswinds Jack: "You have two options whenever the wind is fully or partially across the line of a shot. One is to hook or slice against the direction of the wind, thus "holding" the ball more or less straight. The other option is simply to aim as much off the direct lines as you think the wind will move the ball and play your normal shot, allowing the ball to be blown back to the target." Rough Use more club or more power to hit out of the longer, thicker grass that borders the manicured fairways. Sand Traps Like the rough, you need more power or more club to get distance from a fairway bunker. Water and Out-of-Bounds Hitting into the water costs you a one-stroke penalty, and the computer gives you the option of hitting the ball again from the same location or dropping the ball near the water (but no closer to the hole). Cart Path It depends on the situation whether or not a cart path is hazardous or not. The ball bounces higher and farther off of it, which may be desirable on a trouble-free drive. But on some shots, the carom can carry you right Out-of-Bounds. Putting You can only hit the putter on greens, and you use the same technique to aim and stroke a putt as you use to hit any club. Aiming and Stroking 1. Imagine an invisible straight lines that connects your ball, the hole, and the Aiming Ball at the top of the screen. 2. Point and click on the Right and Left arrows beside Aim Shot to move the Aiming Ball onto the end of that imaginary line. (or, point to the Aiming Ball, click and hold the mouse button and "Drag" the ball there.) 3. Use the three-click procedure on the Power Bar to control the distance and direction of your stroke. o Remember that the maximum distance on your putter is 80 feet, thus every segment on the Power Bar represents 8 feet. Reading the Break Unfortunately, many greens aren't flat, so your putter won't always go straight. To find out how much a putt is going to break right or left, or if you're putting uphill or downhill, check the Break Indicator. It's in the same location as the Wind Gauge and operates, in a similar way. Right, Left, Uphill, Downhill? 1. Imagine that the line in the circle has an arrow on it pointing outwards -- that's the direction that the putt will break (right or left) if you're aiming directly at the hole. o If there's no line, there's no break. 2. If the arrow points due south as on a compass, that means that the putt is uphill and has no break. o Uphill putts are slow' make a firm stroke. 3. If the arrow points due north, the putt is straight downhill. o Downhill putts are fast; ease up on the mallet. 4. If the line points, say, northeast, that means you putt is uphill and it breaks to the right. Compensate for both factors. How much does it break? o A bar gauge labeled BREAK -- below the direction circle -- tells you the intensity of a putt's break. o The Indicator is a red bar which slides from left to right on the gauge: If at the far left (no color), the break is virtually non-existent; if at the far right, you have a major break. A Tip From Jack... "The amount any putt breaks depends on its speed," says Jack. "The harder you hit it, less the break will alter its course. This is good to remember, especially on short putts when you're under pressure. The greater the pressure you're under, the better off you are playing boldly rather than cutely on "must" short putts." The Scorecard, Statistics, Best Round Board The Scorecard and Statistics screens appear consecutively after each hole. To view, the Scorecard in the middle of a round, press C. For the Statistics Screen, press S. The Scorecard changes for each format: Stroke Play Scorecard o Shows the hole score and aggregate score for each player, as well as the par for each hole, each nine, and the course. Skins Game Scorecard o Indicates the winner of each hole, how much money is won on each hole, and the total money earned for each player. Statistics Screen (the same for both formats) o Longest drive (in years) and the yardage of your last drive. o Closet ball to the pin (in feet, if you hit the green in regulation) o # of Fairways hit (only on Par 4 or 5 tee shots) o # of Greens hit (only on Par 3 tee shots) o Putts taken o Birdies and Eagles made Best Round Sheet o At the end of each round, your final score is compared to the score of anyone who has ever played your disk. o It records the seven best rounds of all times of each course. (Make sure that your disks are "write enabled" which means that if you're using a 3.50" disk the sliding tab in the corner is closed.) o To view it from the game screen, Press B. Strategy o Be as accurate as you can on your second, or distance, clock on the Power Bar. If you go past your target, your shoot will be long. o Keep your eyes on the Power Bar (but watch other players when they're hitting -- the graphics are great!) o Use an iron, not a wood, when hitting from the sand or rough. o If you're shooting from heavy rough, take two more clubs than you normally use. o When in doubt, or you need a know your key commands, Press "H" for HELP! o It's not easy, but you can beat the computer Jack Nicklaus. One advantage you have over him is that you can hit the ball longer than he does (that's all we're going to tell you). o Putting: Remember that the break indicator only tells you the direction of the break when you aim directly at the hole. If you hit the ball too far, or to the right or left, the slope of the green -- and hence the break -- will change. Club Selection Chart Distance Club Men's Ladies' Driver 250 yards 225 yards 3 Wood 235 yards 211 yards 4 Wood 220 yards 198 yards 2 Iron 207 yards 186 yards 3 Iron 195 yards 175 yards 4 Iron 185 yards 166 yards 5 Iron 173 yards 155 yards 6 Iron 155 yards 139 yards 7 Iron 143 yards 128 yards 8 Iron 130 yards 117 yards 9 Iron 112 yards 100 yards P P-Wedge 100 yards 090 yards S S-Wedge 080 yards 072 yards Putter 080 feet 080 feet Note: These distances are calculated under near-prefect conditions. No wind, rough, slopes or hills. When you choose your clubs, be sure to compensate for all environmental factors. MOONMIST (Infocom) (Note: This is four adventures in one......the one you play depends upon the colour you select at the start. However, if you choose OTHER than Red, Green, Yellow or Blue then the program will select one of the colours in this selection! Furthermore, if you are going somewhere and you are stopped by one of the characters, simply repeat the command!). GREEN Version. EXAMINE GATE PRESS EYE (THE NAME YOU SELECT) YES GREEN YES S YES YES ASK TAMARA ABOUT GHOST S ASK JACK ABOUT GHOST WAIT ASK HYDE ABOUT GHOST ASK VIVIEN ABOUT GHOST WAIT NO YES ASK IRIS ABOUT GHOST E OPEN LUGGAGE GET DINNER OUTFIT PUT LUGGAGE IN WARDROBE ASK BOLITHO ABOUT GHOST YES WAIT YES YES YES PUT TWEED IN WARDROBE DROP ALL N TAKE BATH S GET ALL FROM WING CHAIR WEAR DINNER OUTFIT GO TO NEW GREAT HALL EXAMINE FLOOR YES GET LENS GO TO KITCHEN GET LANTERN GO TO LIBRARY SEARCH ROOM YES GET NOTEBOOK GO TO DINING ROOM. READ NOTEBOOK WAIT EXAMINE BUST WAIT WAIT WAIT LOOK UNDER PUNCHBOWL READ CLUE JACK, GIVE ME THE SECOND CLUE READ IT GO TO GAME ROOM EXAMINE RHINO EXAMINE EYE GET THIRD CLUE READ IT GO TO MY ROOM EXAMINE WALL MIRROR PRESS SWITCH LIGHT LANTERN E N N W S GET FOURTH CLUE READ IT N E E S W DROP LANTERN GO TO OFFICE EXAMINE INKWELL GET MOONMIST DROP ALL CLUES GO TO GALLERY NE W EXAMINE KIT GET BOX E W EXAMINE KIT GET COSTUME E W EXAMINE KIT GET BLOWGUN E EXAMINE MOONMIST EXAMINE BLOWGUN EXAMINE COSTUME EXAMINE BOX COMPARE FIRST LENS AND SECOND LENS W SCORE WAIT ARREST WENDISH YES. BLUE version. EXAMINE GATE PRESS EYE (THE NAME YOU SELECT) YES BLUE YES S YES YES ASK TAMARA ABOUT GHOST S ASK JACK ABOUT GHOST WAIT ASK HYDE ABOUT GHOST ASK VIVIEN ABOUT GHOST WAIT NO YES ASK IRIS ABOUT GHOST E OPEN LUGGAGE GET DINNER OUTFIT PUT LUGGAGE IN WARDROBE ASK BOLITHO ABOUT GHOST YES WAIT YES YES YES PUT TWEED IN WARDROBE DROP ALL N TAKE BATH S GET ALL FROM WING CHAIR WEAR DINNER OUTFIT GO TO NEW GREAT HALL EXAMINE FLOOR YES GET LENS GO TO KITCHEN GET LANTERN GO TO DINING ROOM WAIT TILL LIMMEL SPEAKS. EXAMINE BUST WAIT WAIT WAIT LOOK UNDER PUNCHBOWL READ CLUE JACK, GIVE ME THE SECOND CLUE READ IT GO TO BASEMENT GET BOTTLE EXAMINE BOTTLE GO TO SITTING ROOM EXAMINE PIANO GET MUSIC EXAMINE MUSIC N E EXAMINE SUIT OF ARMOUR OPEN HELMET GET THIRD CLUE READ IT GO TO FIGHTING DECK DROP ALL CLUES DROP BOTTLE DROP MUSIC EXAMINE BELL GET SKULL GO TO VIVIENS ROOM EXAMINE BOX GET PLASTIC BOX E W EXAMINE WOODEN BOX GET DIARY E W EXAMINE WOODEN BOX GET COSTUME E W EXAMINE WOODEN BOX GET BLOWGUN E EXAMINE SKULL EXAMINE BLOWGUN EXAMINE COSTUME EXAMINE BOX COMPARE FIRST LENS AND SECOND LENS READ DIARY W SCORE WAIT ARREST VIVIEN YES. YELLOW version. EXAMINE GATE PRESS EYE (THE NAME YOU SELECT) YES YELLOW YES S YES YES ASK TAMARA ABOUT GHOST S ASK JACK ABOUT GHOST WAIT ASK HYDE ABOUT GHOST ASK VIVIEN ABOUT GHOST WAIT NO YES ASK IRIS ABOUT GHOST E OPEN LUGGAGE GET DINNER OUTFIT PUT LUGGAGE IN WARDROBE ASK BOLITHO ABOUT GHOST YES YES YES YES PUT TWEED IN WARDROBE DROP ALL N TAKE BATH S GET ALL FROM WING CHAIR WEAR DINNER OUTFIT GO TO NEW GREAT HALL E EXAMINE CARPET YES GET JEWEL W GO TO KITCHEN GET LANTERN UP E EXAMINE JEWEL WAIT YES YES YES YES YES YES WAIT EXAMINE BUST. WAIT WAIT WAIT LOOK UNDER PUNCHBOWL READ CLUE JACK, GIVE ME THE SECOND CLUE READ IT LIGHT LANTERN GO TO FIGHTING DECK EXAMINE BELL GET THIRD CLUE READ IT GO TO DUNGEON ENTER MAIDEN (!?!!) EXAMINE COFFIN GET FOURTH CLUE READ IT ENTER MAIDEN E EXAMINE WALL GET BRICKS ENTER HOLE EXAMINE SKELETON GET NECKLACE DROP ALL CLUES ENTER BASEMENT GO TO MY ROOM EXAMINE WALL MIRROR PRESS SWITCH E N GET ALL EXAMINE COSTUME EXAMINE BLOWGUN EXAMINE NECKLACE S W GO TO TAMARAS ROOM EXAMINE CASE GET EARRING NW E EXAMINE EARRING INSERT JEWEL IN EARRING SE LOOK UNDER BED READ JOURNAL LOOK UNDER BED READ RECEIPT SCORE ARREST TAMARA YES. RED version. EXAMINE GATE PRESS EYE (THE NAME YOU SELECT) YES RED YES S YES YES ASK TAMARA ABOUT GHOST S ASK JACK ABOUT GHOST WAIT ASK HYDE ABOUT GHOST ASK VIVIEN ABOUT GHOST WAIT NO YES ASK IRIS ABOUT GHOST E OPEN LUGGAGE GET DINNER OUTFIT PUT LUGGAGE IN WARDROBE ASK BOLITHO ABOUT GHOST YES YES YES YES PUT TWEED IN WARDROBE DROP ALL N TAKE BATH S GET ALL FROM WING CHAIR WEAR DINNER OUTFIT GO TO NEW GREAT HALL E EXAMINE CARPET YES GET JEWEL W GO TO KITCHEN GET LANTERN UP E EXAMINE JEWEL WAIT YES YES YES YES YES YES WAIT EXAMINE BUST. WAIT WAIT WAIT LOOK UNDER PUNCHBOWL READ CLUE VIVIEN, GIVE ME THE SECOND CLUE READ IT LIGHT LANTERN GO TO CHAPEL EXAMINE WINDOW GET THIRD CLUE READ IT GO TO COURTYARD E E EXAMINE GARDEN GET FOURTH CLUE READ IT W W S SEARCH ROOM YES DROP ALL CLUES GET CANE GO TO JACK'S ROOM EXAMINE COMMODE GET NECKLACE E EXAMINE CANE REMOVE PAINT INSERT JEWEL IN NECKLACE EXAMINE CLUB LOOK THROUGH JACK'S KEYHOLE EXAMINE CREST REMOVE CREST PLAY RECORDER GO TO MY ROOM EXAMINE WALL MIRROR PRESS SWITCH E S W DOWN W WAIT (several times.....be patient!!) EXAMINE GHOST TALK TO GHOST PUSH LEVER SCORE N ARREST JACK YES. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Bloody huge Docs these..about 190k in total - split into 3 roughly equal parts for ease of display. Our heartfelt thanks go to ARTIS, helping to spread the SEWER philosophy through North America, for the supply of this document! Sewer Possum. ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ ^~^ ^~^ ^~^ ^~^ ^~^ P I R A T E S ! ^~^ ^~^ ^~^ ^~^ ^~^ ^~^ Complete Documentation ^~^ ^~^ Courtesy ^~^ ^~^ of: ^~^ ^~^ ^~^ ^~^ The Dirtbag ^~^ ^~^ ^~^ ^~^ ^~^ ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ PIRATES! Being a complete and comprehensive account of the Great Age of Buccaneering in the West Indies between the years 1560 and 1700. INTRODUCTION ~~~~~~~~~~~~ It was an era of new kings and empires, of new tests of strength and power. It was a day when a man could rise from humble beginnings and be knighted for brave and daring service to the Crown. Now you can be such a man in PIRATES!, a game of hot-blooded swashbuckling across the Spanish Main. You are transported to the Caribbean as it was in the heyday of smugglers, privateers, buccaneers and pirates. All the skills real men needed for survival and success are present, in real-time action! In PIRATES! you navigate the wide Caribbean by guess, compass, and occasional sun sights with your astrolabe. In peace or battle, your sailing skill can spell the difference between a profitable journey and a watery grave. And if it comes to battle, you must do what real buccaneer Captains did - lead your men from the front, sword in hand, until you meet and defeat the enemy commander. This is a new type of game, an action simulation. Your game activities are based on how men actually did them, such as sailing ships and dueling with swords. The Caribbean is a canvas of grand adventure, from the treasure-laden ambushes of Sir Francis Drake to the piratical plunderings of the notorious Henry Morgan (whose name still graces a brand of Jamaican rum). Like these men, you can discuss politics with provincial governors, sneak into towns for clandestine smuggling arrangements with local merchants, cross swords with vicious noblemen of all nationalities, rescue helpless waifs from vile slave plantations, even find a beautiful wife! When you accumulate sufficient treasure, land, honors, and satisfaction, you can take a pleasant retirement appropriate to your gains. PIRATES! brings alive the grand scope of a venturesome and bygone age. As in every MicroProse simulation, extensive research into the details of places and people, ships and battles brings you unparalleled realism. PIRATES! goes beyond simple fantasy and touches the reality of an exciting page in history. If you prefer to learn PIRATES! while playing, consult your "Captain's Broadsheet". If you like to understand the concepts before you begin playing, turn to "In the Beginning" and read all of Book I. BOOK I Instructions to Captains :::::::::::::::::::::::: IN THE BEGINNING... ~~~~~~~~~~~~~~~~~~~ The stars of new Kings and Emperors are rising in Europe. New opportunities abound for the ambitious man. There are reputations to be made, fortunes to be won, beautiful women to wed, and with royal favor you may even gain a patent of nobility. "Duke of the Realm" has a fine sound to it, does it not? These are days when glorious careers can come from a humble start. To begin your adventure, load the game (see your "Captain's Broadsheet" for specific instructions, including troubleshooting instructions if you have trouble loading). To make a choice, move the pointer on the screen (using your joystick, mouse, or keyboard cursor keys, as appropriate) to highlight the option you prefer. To select the highlighted option, press the joystick trigger. You need not wait for the "Press to Continue" message. A WORD ABOUT YOUR GOALS - From a humble start, you are seeking to make your fortune in the West Indies so that you can retire to a life of wealth, ease, and high status. The quality of your retirement is a sum of your personal fortune, your rank, your lands, your reputation, the wife you marry (if any), and whatever especially pleasing events befall you during the course of your adventures. After any voyage, when you return to port and divide up the plunder, you can then retire. If your health permits, you can leave retirement and take up adventuring again, should you wish to try for more. As you learn the game make a few "trial retirements" to understand this. See "Your Career on the High Seas" for more information about your retirement and future happiness. You can save a retired character in a "Hall of Fame". You must have a properly formatted save-game disk for this. Use the save-game routine (available at any port under check information) to format a disk. See your "Captain's Broadsheet" for more information on saving games. INITIAL OPPORTUNITIES - A new player should select START A NEW CAREER. Start a New Career begins a complete adventure, from your first arrival in the New World to your well-earned retirement. This is the "standard" game, and can continue for quite some time. Continue a Saved Game allows you to resume any game in progress. Do not insert the save-game disk until instructed on screen. See the "Captain's Broadsheet" for how to create and use a 'saved game' disk. Command a Famous Expedition is a "short game" where you command just one expedition. These expeditions are usually large, but end whenever you divide the plunder. Famous expeditions are not for a novice - doing as well as the historical model can be a very challenging task. FAMOUS EXPEDITIONS - Battle of San Juan de Ulua The Silver Train Ambush (John Hawkins, 1569) (Francis Drake, 1573) The Treasure Fleet The Sack of Maracaibo (Piet Heym, 1628) (L'Ollonais, 1666) The King's Pirate The Last Expedition (Henry Morgan, 1671) (Baron de Pointis, 1697) A new player should try a career rather than a famous expedition. Each expedition is a short, self-contained adventure that ends when you divide up the loot. In reality these expeditions were commanded by an experienced, skillful leader. To do well, you also should be an experienced leader. John Hawkins, 1569: This is a fairly difficult situation. You have a large, powerful squadron, but are in a totally Spanish Caribbean. The only friendly ports are tiny anchorages. In reality, Hawkins tried to be a peaceful trader (sometimes at gunpoint - a most peculiar combination), and failed. See Famous Expeditions for additional background information. Francis Drake, 1573: This is a very difficult situation. Like Hawkins, you are faced with a completely Spanish Caribbean, but now you have a small force. In reality, after a few false starts, Drake's boldness and bravery made him successful. See Famous Expeditions for additional background information. Piet Heyn, 1628: This is a fairly easy situation. You have a balanced task force, and are admirably positioned to intercept Spanish treasure galleons off the Havana or in the Florida Channel. Equalling Heyn's feat of ambushing the entire Treasure Fleet will take a combination of good luck and persistence at the right place and time. See Famous Expeditions for additional background information. L'Ollonais, 1666: This is a fairly easy situation. You have many potentially friendly bases and militarily weak Spaniards. However, duplicating L'Ollonais' achievement of conquering and plundering the entire Maracaibo region may prove taxing. See Famous Expeditions for additional background information. Henry Morgan, 1671: This is a very easy situation. You have overwhelming forces, various friendly bases, and an enemy already weakened by earlier raids. Morgan captured Puerto Bello and sacked Panama. With any luck, so can you. See Famous Expeditions for additional background information. Baron de Pointis, 1697: This is another very easy situation. You have powerful forces, while the Spanish are at their lowest militarily. Duplicating de Pointis' capture and sack of Cartagena isn't too difficult. See Famous Expeditions for additional background information. SELECTING AN HISTORICAL TIME PERIOD - The Silver Empire (1560) Merchants and Smugglers (1600) The New Colonists (1620) War for Profit (1640) The Buccaneer Heroes (1660) Pirates' Sunset (1680) A new player should answer No, Thanks. This automatically gives you the most advantageous era for piracy: The Buccaneer Heroes (1660). The Caribbean and the Spanish Main were a changing environment as military and economic power waxed and waned, new colonies appeared and old cities declined. The region gradually changed from total Spanish dominion in the 1560s, to a wild frontier for European colonization, and eventually to a cosmopolitan nexus in a new global economy. The Silver Empire (1560): In this era the Spanish Empire is at its peak. all the colonies (with one lonesome exception) are Spanish, all the major ports and trade are controlled by Spain. However, Spain's gains have been so great other Europeans are attracted to steal and plunder whatever Spain cannot protect. Because of Spains great power, this is an extremely challenging era, and should not be attempted by novices. See THE SILVER EMPIRE (1560 - 1600) for more information. Merchants & Smugglers (1600): This era is very similar to The Silver Empire, but Spain is slightly weaker. A few abortive non-Spanish colonial ventures have begun, but the Caribbean remains essentially Spanish. Another change is the predominance of the Dutch smuggling trade. Like the 1560s, this era should not be attempted by novices. See MERCHANTS & SMUGGLERS (1600 - 1620) for more information. The New Colonists (1620): This era sees the first successful colonies founded by the enemies of Spain, while Spanish power continues to decline. With these colonies prospects for piracy and privateering are improved. Life is fairly challenging for would-be pirates and privateers. See THE NEW COLONISTS (1620 - 1640) for more information. War for Profit (1640): This era is the heyday for small, independent buccaneers. The Spanish military and economy are at their nadir, while new European colonies are blooming throughout the Antillies. This period is a golden age (literally!) for the independent and resourceful man. It is an enjoyable era for players of al skill levels. See WAR FOR PROFIT (1640 - 1660) for more information. The Buccaneer Heroes (1660): These decades are the peak of swashbuckling adventure in the Caribbean. Spanish wealth is reappearing, but Imperial military power remains a joke. European colonies and ports abound, fortune-hunting sailors crowd the taverns, searching for lucky Captains. This classic age makes piracy a pleasure for players of every skill level. See THE BUCCANEER HEROES (1660 - 1680) for more information. Pirates' Sunset (1680): This era is the last for Caribbean pirate adventuring. European nations now take seriously events in the Caribbean. Navy warships are on patrol, Letters of Marque are harder to find, governors are less tolerant. Enjoy this era while you can, for it is the end of an age. This period is somewhat tough for novices but interesting and challenging for all others. See PIRATES' SUNSET (1680 - 1700) for more information. SELECTING A NATIONALITY - English Buccaneer French Buccaneer Dutch Adventurer Spanish Renegade A new player should select English Buccaneer. Specific roles available vary from period to period (no Dutch role is available in 1560). The role you choose determines where you start, what ship(s) you have, the size of your crew, your initial wealth and reputation, etc. Your initial nationality does not require you to support that nation (many of France's admirals in the Caribbean during the 1680s were Dutch buccaneers!). Your acts speak for you: if you deeds please a nation, a governor may reward you. If you anger a nation, a governor can order his harbor forts to fire on you! English is often a useful nationality. This nation supports privateers into the 16th Century, and just as generously supported private colonization ventures in the next Century. French is the second classic Nationality for pirates. Although this nation provides less support to its sons overseas, it also gives them more independence and more freedom of action. Furthermore, the growing 17th Century French colonies on Western Hispaniola and Tortuga are ideal pirate bass. Dutch is an exciting and different nationality. Except in the 1620s, the Dutch sailed as traders to the Caribbean, not as warriors. Of course, once in the Caribbean, more than a few supplemented their trading with more violent and profitable pursuits. As a rule, Dutch traders tried to stay on the good side of the French and English, although this was not always possible. Spanish is the most challenging nationality. As a Spanish renegade you start in a weak position, although in 1680 you can play the interesting role of Costa Guarda - the Spanish Caribbean coast guard who often acted liked pirates themselves! In either event, Spanish origin is a pleasant change and refreshing challenge. Your Name - Type in any name you wish, but you are limited to nine characters. Press the 'Return' key to finish your entry. DIFFICULTY LEVEL - Apprentice Journeyman Adventurer Swashbuckler A new player should choose Apprentice. This gives you the easiest and most helpful environment for learning. Apprentice gives the player maximum "aid" from expert subordinate officers on board the ship. This makes play easier, but whenever the party's loot is divided, all these experts take rather large shares, leaving little for you. Journeyman is moderately easy. The player's subordinates are less expert (although still quite good), but your share of the loot is larger. Adventurer is moderately difficult. Your subordinates are mediocre, but your share of the loot is very good. Swashbuckler is extremely difficult. Your subordinates are 'drunken gutter swine' of precious little value. Of course, your share of the loot is the largest possible. SPECIAL ABILITIES - Skill at Fencing Skill at Navigation Skill at Gunnery Wit and Charm Skill at Medicine New players may select what they please. Apprentice difficulty level insures that all activities are fairly easy. Skill at Fencing gives you well-trained reflexes that make enemy actions and reactions seem sluggish by comparison. Skill at Navigation make travel on the high seas faster and easier. Skill at Gunnery aids you during naval battles, making your broadsides more likely to land on-target. Wit and Charm is useful when dealing with governors and others of high station. Skill at Medicine helps you preserve your good health longer, and to suffer less from injuries. As a result, your career can last longer. YOUR STARTING TALE: TREASURE FLEETS & SILVER TRAINS - As your early life unfolds, you are asked for a crucial piece of information: when the Spanish Treasure Fleet or Silver Train arrives at a particular city. The itinerary varies from year to year. The itineraries appear in chronological order later in this document. Be sure you have the correct year, and don't mistake the Treasure Fleet for the Silver Train, or vice versa. If you answer the question correctly, then events will unfold to your advantage. If you answer incorrectly, you are warned about an unpromising start. Heed the advice and start over, otherwise you'll find your situation most bleak. Spain & Peru: At times the Treasure Fleet is not in the Caribbean, but in Seville, Spain, preparing for another journey. similarly, at times the Silver Train is not in the Caribbean, but in Peru, loading silver and gold there. In both cases it is inaccessible to you. You'll have to wait until it reappears in the Caribbean area. HISTORICAL FOOTNOTES - From the 1530s onward, Spanish ships suffered from privateers and outright piracy, not only in the West Indies, but also in the Atlantic. Spain's solution adopted informally in the 1560s, was to "convoy" ships together in one powerful fleet. Each year the fleet ("flota") sailed from Seville in Spain, carrying passengers, troops, and European trade goods to the Spanish colonies of the new world. However, its principal purpose was returning silver from the mines in New Spain (Mexico) and Potosi (Peru) to the Spanish government in Europe. This vast wealth made the returning fleet a tempting target. Privateer and pirate ships frequently followed it, hoping to pick off stragglers. This was a dangerous business, since a well-handled war galleon could (and sometimes did) turn the tables and capture a pirate! Similarly, the mule train roads along the coast of Terra Firma (South America) moved silver and other goods toward the major ports of Cartagena, Nombre de Dios, and Puerto Bello. These trains carried produce and specie destined to be loaded aboard the treasure fleet. (1560) THE TREASURE FLEET THE SILVER TRAIN ------------------ ---------------- Cumana - Early October Cumana - Early April Puerto Cabello - Late October Borburata - Late April Maricaibo - Early November Puerto Cabello - Early May Rio de la Hacha - Late November Coro - Late May Nombre de Dios - Early December Gibraltar - Early June Cartagena - Late December Maracaibo - Late June Campeche - Late January Rio de la Hacha - Early July Vera Cruz - Early February Santa Marta - Late July Havana - Early March Cartagena - Early August Santiago - Late March Panama - Late August Florida Channel - Late April Nombre de Dios - Early October (1600) Cumana - Early October St. Thome - Early April Caracas - Late October Cumana - Late April Maracaibo - Early November Caracas - Early May Rio de la Hacha - Late November Pureto Cabello - Late May Santa Marta - Early December Coro - Early June Puerto Bello - Late December Gibraltar - Late June Cartagena - Early January Maracaibo - Early July Campeche - Early February Rio de la Hacha - Late July Vera Cruz - Late February Santa Marta - Early August Havana - Late March Cartagena - Late August Florida Channel - Late April Panama - Early September Puerto Bello - Late October (1620) Caracas - Early September St. Thome - Early March Maracaibo - Late September Cumana - Late March Rio de la Hacha - Early October Caracas - Early April Santa Marta - Late October Puerto Cabello - Late April Puerto Bello - Early November Gibraltar - Early May Cartagena - Early December Maracaibo - Late May Campeche - Early January Rio de la Hacha - Early June Vera Cruz - Late January Santa Marta - Late June Havana - Late February Cartagena - Early July Florida Channel - Late March Panama - Late July Puerto Bello - Early September (1640) Caracas - Early October Cumana -Early April Maracaibo - Late October Caracas - Late April Rio de la Hacha - Early November Gibraltar - Early May Santa Marta - Late November Maracaibo - Late May Puerto Bello - Early December Rio de la Hacha - Early June Cartagena - Early January Santa Marta - Early July Campeche - Early February Cartagena - Late July Vera Cruz - Late February Panama - Late August Havana - Late March Puerto Bello - Early October Florida Channel - Late April (1660) Caracas - Early September Cumana - Early March Maracaibo - late September Caracas - Late March Rio de la Hacha - Early October Gibraltar - Early April Santa Marta - Late October Maracaibo - Late April Puerto Bello - Early November Rio de la Hacha - Early May Cartagena - Early December Santa Marta - Early June Campeche - Early January Cartagena - Late June Vera Cruz - Late January Panama - Late July Havana - Late February Puerto Bello - Early September Florida Channel - Late March (1680) Caracas - Early October Cumana - Early April Rio de la Hacha - Late October Caracas - Late April Santa Marta - Early November Maracaibo - Late May Puerto Bello - Late November Rio de la Hacha - Late June Cartagena - Late December Santa Marta - Early July Campeche - Late January Cartagena - Late July Vera Cruz - Early February Panama - Late August Havana - Early March Puerto Bello - Early October Florida Channel - Late April FENCING & SWORDPLAY ~~~~~~~~~~~~~~~~~~~ Early Modern Europe was a willful and violent age. You discouraged thieves, righted injustice, protected your family, and maintained your honor with a sword. Whether challenged to a duel, or fighting your way through a tavern brawl, skill with cold steel was simple survival. BASICS OF CONTROL - The descriptions here assume you are using a joystick (stick). If not, see the "Captains Broadsheet" for your equivalent controls. You are on the right side of the battle scene, your opponent is on the left. To Attack, push the stick left, toward the enemy. Push high for a high attack, horizontal for a mid-level attack, low for a low attack. Hold the trigger before and during the attack for a slower but more powerful slashing attack. To Parry, do not push left or right. Just push up to parry high attacks, leave centered to parry mid-level attacks, and push down to parry low attacks. To Retreat, push the stick right, away from the enemy. You parry while retreating, and like normal parries, these can be high, mid-level, or low, depending on stick position. To Pause, press the pause key. To resume fencing, press it again. Attack High Parry High Parry High (slash w/trigger) and retreat \ | / \ | / Attack mid-level \ | / Parry mid-level (slash w/trigger) ------ Parry ------ and retreat / mid-level \ / | \ / | \ / | \ Attack Low Parry Low Parry low (slash w/trigger) and retreat CHOOSING YOUR WEAPON - Three types of swords are available: rapier, cutlass and longsword. For all three weapons, a slash is twice as effective as a normal attack, should it hit. Of course, slashes take longer to execute. Your opponent also has different weapons. The color of your opponent's shirt indicates the weapon he carries. The rapier is a long, thin, flexible weapon with a sharp point. It can be maneuvered easily and thrust into a target with accuracy. It has a longer reach than any other weapon, but its strikes do the least damage (that is, you must hit more often to defeat the enemy). The cutlass is a short, heavy, curved cleaver with a mean edge but short reach. Cutlass hits can be devastating (twice as damaging as a rapier) making it a popular weapon among untutored fighters. The longsword is a classic weapon of medium length (longer than a cutlass, shorter than a rapier). Its attacks do more than a rapier, but less than a cutlass. THE PRINCIPLES OF FENCING - Combinations: Like all active men of your time, you are a trained swordsman. Attacking and defensive movements, including wrist, arm, body, and footwork are as automatic as throwing or kicking a ball. Put together, these motions form "combinations" that allow you to attack, parry, or retreat in various ways. Each combination takes one to two seconds to execute. In battle, victory depends on selecting the best combination. If you recognize an attacking combination fast enough, you can block it with a defensive combination, or counterattack with a combination that exploits his attack. A "hit" occurs whenever an attack connects. You'll see a flash and a hint of blood when you hit. Each hit weakens your enemy and demoralizes his followers. Retreat from battle is easy. Just select retreat combinations until you move off the screen. This ends the battle. Of course, you lose whatever you were fighting over and your reputation suffers. On the other hand, when facing a skillful enemy, retreat is often better than defeat! Panic & Surrender occurs whenever a leader in "panic" is hit. It also occurs in large battles when a leader's forcer are reduced to just one man, and then he is hit. Striking a man who surrendered is an unchivalrous deed that may inspire him to rise and fight on. Novices are advised to select a cutlass and just keep attacking, high, low, and middle, relying on the large damage done with each hit. However, if you'd like to defend yourself with some parry combinations, a weapon with more reach, such as a longsword or rapier, is recommended. COMBINATIONS - Each combination is different swordfighting maneuver in combat. As a fencer, you select a combination and your body automatically makes the appropriate moves. All attacking combinations include forward-moving footwork. Therefore, to advance against your opponent, select an attacking combination. Similarly, all retreating combinations cause you to back away from your opponent. Slashing High takes the longest period of time to execute, but has an extra- long reach. If it hits, this combination does twice the damage of a normal attack. Slashing Mid-Level is a faster slash, but slower than normal attacks and parries. If it hits, this combination does double the damage of a normal attack. Slashing Low is the fastest slash, but has a slightly shorter reach. If it hits, this combination does twice as much damage as a normal attack. Attacking High is a moderately fast attack that exploits the point rather than the edge of a weapon. It has a longer reach than mid-level or low attacks and slashes. If it hits, this combination does half as much damage as a slash. Attacking Mid-Level is the second-fastest attack. It also emphasizes the point, rather than the edge. Therefore, if it hits this combination only does half as much damage as a slash. Attacking Low is the fastest attack, but has a slightly shorter reach than normal. Like high and mid-level attacks, it uses the point. Therefore, if it hits this combination only does half as much damage as a slash. Parrying High counters any high combination, attack or slash. As high attacks are slower developing than mid-level or low, defensive fighters rarely stand "on guard" in a high parry. Parrying Mid-Level counters any mid-level combination, attack or slash. This is a classic "on guard" position to which many swordsmen return. A fencer can move from this position to any other position very quickly. Parrying Low counters any low combination, attack or slash. Experienced swordsmen periodically stand "on guard" in a low parry, since low attacks can develop very quickly. High Parry & Retreat combines the standard high parry with backpedal foot movements that move you away from your opponent. Mid-Level Parry & Retreat combines the standard mid-level parry with backpedal foot movements that move you away from your opponent. Low Parry & Retreat combines the standard low parry with backpedal foot movements that move you away from your opponent. LEADERSHIP IN BATTLE - Only a few of your battles are man-to-man duels. Most of the time you are leading your stalwart crew against the enemy. As you duel the enemy leader, your crewmen are also fighting. Morale: Your hits against the enemy leader, and his against you, change the morale of each side in battle. Morale levels run from WILD! (the best) downward through STRONG, FIRM, ANGRY, SHAKEN and finally PANIC. Number of Men: As you fight, a battle rages around you. The rate each side suffers casualties depends on their strength and their morale. If morale is fairly equal, a force with superior numbers will inflict more casualties. However, an inferior force that has high morale can avoid casualties and inflict serious losses on a larger force with very low morale. Therefore, morale can be more important than numerical comparisons. Retreat & Surrender: You can lead your men into a retreat from battle by retreating yourself. Surrender occurs when you inflict sufficient hits on an enemy leader in "panic" or when you've reduced the enemy to just one remaining man and then hit the leader (regardless of morale). Of course, the same could happen to you. THE MEMOIRS OF CAPT'N SYDNEY - Many a buccaneer captain is nothin' but a big bully. Unschooled in fencing, he'd carry a sharp cutlass and swing away, knowing that a spine-splittin slash do'd more than a half dozen rapier thrusts. I hear Blackbeard himself, who always used a cutlass, was run through several score times by a rapier before he fell. He'd not lasted so long with a cutlass in his gizzard, mate! Well, I'm no fencing master, but I had some schoolin' in the art of cold steel. I'd use a cutlass to terrify poor, inept merchant Captains, slashin 'em up and chopin' 'em down quick as a slipped anchor. 'Gainst most opponents I preferred me longsword. Toledo steel it was, with a fine balance and nice edge. In a serious fight I'd not slash much, since it slowed me down and exposed me too long. Now I know rapiers are all the rage now, and their extra reach is right handy. But it takes too bless'd long to do in the opposition with an overgrown pin! Now if'n I 'twas leadin' my men 'gainst greater numbers, me tactics did change. I remember bein' boarded by a war galleon commanded by an Admiral or Count or somethin'. Long fancy name, he had. sure to be a good fencer, I thought, and he was. But outnumbered as we were, I had ta' strike quick like, get the battle goin' our way, or me mates would've been slaughtered up right quick. So I's grabbed a cutlass and charged that Don, howlin' like a demon. I shrugged off a couple rapier pricks and got right in eye-to-eye, slashin' at 'is legs. That took some stuffin' out of him right quick! With them papists all shaken and panicy like, it didna' take long to polish 'em off. HISTORICAL FOOTNOTES - The Common Man as Warrior: In this turbulent time there were more clergymen than sheriffs! A man protected his own property and person against thieves and banditry, since the kingdom often could not. It was the rare man who went without some weapon. Noblemen settled disputes "quietly" in duels, rather than through open warfare (a medieval practice the Crown frowned upon). Commoners used staves, clubs, crude spears, large knives and such. Where available, the heavy cutlass was an ideal weapon for a stout but untutored fighter. The Colonial Frontier: Life in the colonies was even more unruly than the homeland. This was This was especially true of the English and French colonies, largely populated with convicts, fortune hunters, deadbeats, religious fanatics, and other people the homeland was happy to see off. Furthermore, in the colonies the landholder might be absent or nonexistent. In Europe every square inch of land was part of some nobleman's demise, and he or his family usually lived just up the road, ready to enforce ancient feudal custom and law. Firearms existed in this era, but were still newfangled weapons of slow speed and dubious reliability. Throughout the 1500s firearms were fired with a slow-burning match. Reloading was a long, laborious process that required two minutes or more, complicated by the need to handle loose gunpowder while you held a lighted match! The flintlock and trigger (invented in 1615 in France) was used by hunters, sportsmen, and probably buccaneers by 1630. However, it was not reliable enough for military use until 1670. In battle you might carry a loaded pistol or three, but you relied upon your sword, not your guns. Note that the musketeers of Dumas' Three Musketeers (based on events in the 1620s) generally used their swords, despite being members of the most elite firearms unit in the entire French army! TRAVELLING THE CARIBBEAN ~~~~~~~~~~~~~~~~~~~~~~~~ The Caribbean is a wide, warm, and pleasant sea. Idyllic tropical islands and lush jungled shores contain in its steady currents. Stretching over three thousand miles, the water is a broad highway between mainland ports, island towns and hidden anchorages. INFORMATION - Continue Travels Party Status Personal Status Ship's Log Maps Cities Take Sun Sight Search Save Game You can see information about your situation by selecting CHECK INFORMATION while in town, or by pressing the joystick trigger, mouse button, or return key (depending on your computer) while travelling around the Caribbean. Continue Travels returns you to your previous activity. Party Status shows what your group owns and the attitude of your men (happy, pleased, unhappy, or angry). Beware of mutiny if the men remain angry too long. Expect defections if you run out of food. Personal Status shows your standing with each nation, and personal details about your age, health, wealth and reputation. If your health is poor, you will be forced to retire soon. Ship's Log recaps your activities and travels, with notes about special information you found. If you're confused about recent events, consult your log. Maps is a file of all your map fragments to buried treasures and other hidden locations. Initially you have none. You'll find that all maps have the objective (buried treasure, hidden plantation, etc.) in the center. Unfortunately, it's a secret map, so parts may be missing. Once you follow a map to the spot where you think the object is to be found, you must spend time SEARCHING for the object (see SEARCH option, below). Cities provide all available information about the various towns and cities in the Caribbean. Just point to a name and press the joystick trigger, mouse button or return key (as appropriate) to see more information. If an important event (such as a pirate attack or a new governor) radically changes information about a town you'll find "no information available" until you either visit the town or purchase new information from a traveller in a tavern. Take a Sun Sight allows you to spend the day plotting your position with the astrolabe. An explanation of this technique is found later on in this document. Search means you'll spend a day searching for treasure or other hidden things at your present location. If you're in the right spot, and have the appropriate map fragment, you'll find what's there. Without a map fragment you always find nothing. This option is not available if you are at sea or in a town. Save Game allows you to save the game in progress. This option is available only if you are in a town. GETTING AROUND TOWN - Visit the Governor Visit a Tavern Trade with a Merchant Divide up the Plunder Check Information Leave Town Visit the Governor: A visit to the governor's mansion may be useful. He can tell you with whom his nation wars and allies. He may make special offers or awards. With luck and sufficient prestige, you may meet his daughter. However, the governor does not spend much time entertaining coarse sea dogs like you. Once you have visited the governor of a town, don't expect to gain admittance again soon. Visit a Tavern: Taverns are a place where you can recruit additional men for your crew, hear the news, purchase detailed information from travellers, and perhaps meet new and interesting people. You can visit a tavern again and again, drowning your sorrows in drink while time passes. however, you'll notice that new crewmen aren't interested in signing up with an old sot. Trade with a Merchant: This option is explained in more detail below. Divide up the Plunder: As Captain, you get a fixed percentage of the party's wealth (the percentage varies with difficulty level). The remainder is divided among the crew. Furthermore, not only is the plunder divided, but also the ships, stores, goods and cannon on them. The crew always disperses with their newfound wealth, leaving you with just your flagship and its share of the provisions and armament. After refitting your ship (which takes a few months) you'll have to rebuild your band from scratch. Check Information: This shows information about you, your party, and the current situation (see the preceding subsection for details). Leave Town: Your party departs from the town, ready to either set sail or march away overland, as you prefer. TRADING WITH MERCHANTS - The merchants in a town can buy and sell food, European goods, and the current export crop (hides, tobacco, or sugar, depending on the era). They can repair or buy ships and cannon, but almost never have any for sale. To buy or sell any item, move the pointer up or down to select the line with the proper item. Then move the pointer left to move items onto your ship (the appropriate amount of gold is automatically given to the merchant). Move the pointer right to sell items to th merchant (the appropriate amount of gold id automatically moved from the merchant to you). When items are bought and sold, the amount of space left in your hold is also adjusted automatically. In addition, if you have more than one ship, you can sell the extras. If you have any damaged ships, you can pay for their repair. I If you s;l too many ships, you may start trading with negative space in your hold (more cargo than room). In this case you must sell at least enough items to bring the space up to zero. TRAVEL BY SEA - When travelling your party moves over the land and seas of the Caribbean. See your "Captain's Broadsheet" for a detailed description of the controls. Set Sail: If you ship is on the coastline and your party of men is touching it, you can set sail. Use the Set Sail control to select one of the eight possible directions to set sail. Sailing: Once you have set sail,, controls change. You will remain on course if you do not change the controls. In addition, you can turn right (starboard) or turn left (port) as you desire, like a real ship. Speed: The speed of a ship depends on how the wind blows against it. Travelling directly into the wind is always slowest. Travelling with wind coming diagonally from the rear is generally the fastest. Each type of ship has a different "point of sailing" (the wind position at which the ship develops maximum speed). What with shifting winds and periodic storms, sailing requires more than a little judgement and skill. If you have a fleet of many ships, the entire fleet travels at the speed of the single largest ship. Pause: To pause your travels (to deal with the minor details of life outside the Spanish Main) press the Pause key. To resume, press it again. Weather: The clouds travelling overhead indicate the direction of the wind, which varies significantly. Clouds are storm fronts that provide strong, fast wind if you are near, but may trap our ship if you sail too close. Shoals & Reefs: You can see where the sea breaks across shallow reefs and shoals. If you pass over these, one of your ships could lose its bottom. Pinnaces and sloops have a very shallow draft, allowing them to sail across the hazards without risk. Anchoring: You can only anchor in shallow, coastal water. Do this by sailing directly up to the coast. The ship automatically stops and your crew disembarks. If you anchor at a town, you have special choices (see Arriving at a Town, below). Getting Information: Press the Get Information key to temporarily pause your travels and get information (see INFORMATION, earlier in this document). Minimum Crew: It takes at least eight (8) men to sail a ship. If you have fewer than eight men per ship, your men will abandon one. OVERLAND TRAVEL - When your party is on land, you can move in eight directions. See your "Captain's Broadsheet" for details on controls. Of course, the land is mostly trackless jungle, swamps and mountains, making overland movement very slow. When moving on land your party can carry only as much as you can fit into your ships. ARRIVING AT A TOWN - Sail into Harbor Attack Town Sneak into Town Leave Town Sail into Harbor means that your ships sail peacefully up to the quays. This option is available only if you arrive at the town by sea. If the town is guarded by a fort, the fort may open fire on your ships if that nation is hostile. If the nation is wary, the fort generally will not fire unless the governor personally dislikes you. March into Town means that your entire party walks into town openly and peacefully. This option is available only if you arrive by overland travel. Attack Town has different effects, depending on whether you arrive by land or by sea. If by land, you will attack the town overland. If the town has a fort with a large enough (and brave enough!) garrison, they may sally out and meet you outside in a land battle outside of town (see PIKE & SHOT, later in this document). Other times the troops may sit in the fortress or town, forcing you to lead your men against them in close-quarters hand to hand combat (see FENCING & SWORDPLAY). If by Sea, you flagship will have to fight a naval battle against the fort (see BROADSIDES, later in this document for details). Your goal is to sail your ship to the shore near the fort, so you men can land and storm the seaward side of the fortress (see FENCING & SWORDPLAY). Naturally, this is rather dangerous, what with the fort's guns firing at you! Sneak into Town means that you hide your ships in a nearby cove and creep into the back streets at night with a few trusted men. If you are afraid of fire from the forts, this is an excellent way to get inside and do some quiet business. However, if your reputation is large, you may be recognized and attacked. If that happens, you must fight your way out of town, or be captured and imprisoned. When you sneak into town, the need to keep your identity secret prevents you from recruiting men in a tavern. In addition, the party's loot is left behind in the ship, preventing you from dividing the plunder. Leave Town returns you to travelling about the Caribbean. TAKE A SUN SIGHT & FIND YOUR POSITION - "Shooting the sun" with an astrolabe is a technique for finding your latitude. A latitude scale appears on the side of your map of the Caribbean for easy reference. Controlling the Astrolabe: See the "Captain's Broadsheet" for information on how to control the Astrolabe. It can be moved left or right, and it's platform can be moved up or down. Using the Astrolabe: your goal is to move the astrolabe beneath the sun and raise the platform so it just touches the bottom of the sun. To get an accurate reading, you must do this at noon (when the sun reaches its highest point). Many Captains take multiple sunsights during a day, to insure they get a good noon sighting. Note that cloudy weather makes sun sightings difficult. Dead Reckoning Longitude: Longitude (east-west position) can be found only through dead reckoning. If you're an apprentice captian, your expert sailing master provides a dead- reckoning estimate. Otherwise, you must make your own guess, based on how fast you've been travelling east or west. THE MEMOIRS OF CAPT'N SYDNEY - On me first voyage, sailing as a 'prentice, al seemd easy. I'd just order the course and we'd sail there. If'n I was uncertain about our position, we'd take a sun sight, d'ye see, and the sailing master'd reckon out Longitude nice as you please. But come time to divide the plunder, and I found my officers were getting three pieces o' eight to my one. No profit in that, thinks I, and go 'venturing next time with fewer officers. Well, it took me a bit o' times to learn better those chores that'd come so easy before. But 'twas all worth it, the time I sailed from Port Royale to Curacao, sou' by sou'east, and made a dead perfect landfall! But bi'god a long tack to windward, to the Caribbees say, 'twas always a tiresome bit. After we'd got Providence isle back from the Dons,...oh, Santa Catalina they call it now?...anyway, that harbor made a nice place to divide the loot and sell off those slow prizes. I'd just hold onto me handy sloop. A quick refit we'd be off upwind to Barbados, see, with not one square-rigger to slow us down! And I got right sneaky about getting what I wanted at ports. As any sailor knows, any ol' anchorage'd do for repairs; but to move plundered sugar and goods, my favorite device 'twas sailing to some big, wealth port, then sneak in to talk trade with the merchants. Spaniards weren't much for this in the rich towns, but narry an Englishman, Frenchman, or Dutchman lived who'd not do business wi' honest Capt'n Sydney! Let 'em sense a profit, and they'd be at yer rail and hand what the gov'ner thought! And mate, I remember those times I'd visit the gov'ner hi'self. Got the true lowdown on war and allies and the like, sometimes even a dinner, or a nice rank if'n he liked me. Aye, and his ugly daughter, all religious like...she'd all be fawnin' on me, happy to tell every little secret in her blessed little heart. Well, I'd a more sense than marryin' the dear, let me tell ye! Ah, well, then I got famous, and had ta' stop al this sneakin' bout. I was too well known. If the gov'ner took a dislike ta' me face, one step into town and guards'd be swarming. Price of success, mate, took half the pleasure out of life. GEOGRAPHICAL FOOTNOTES - Weather Patterns: The Caribbean is a warm ocean. The water surrounding the islands stays a constant 77 degrees F. This steady sea temperature maintains a pleasant climate on the surrounding land, although weather and elevation cause notable variations. The most extended period of bad weather occurs in the summer and fall, from June to November, with hurricanes not uncommon in the later part of this season. In all seasons, the prevailing winds are trade winds coming from the east. Of course, local, temporary variations are not uncommon. Channels & Passages: The classic sailing pattern in the Caribbean was to enter through the Caribbee Islands (Lesser Antilles), put into ports along the Spanish Main (the coastline of Terra Firma), swing northward into the Yucatan Channel northward to catch the North Atlantic prevailing westerlies back to Europe. Along this route the Florida Channel was the point of maximum danger. Unwary captains could be driven upon the Florida coast, or tack too far upwind and become lost in the treacherous Bahama shoals. BROADSIDES: THE TACTICS OF SEA BATTLE ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ENCOUNTERS AT SEA - Sail Ho! Your first sighting of an enemy ship is its sails and masts coming over the horizon. Continuing your voyage is a nearly foolproof way to evade any encounter. Investigating the sail means you automatically close on the other ship. Ship in View: If you investigated the sail, you'll now see the whole ship. If you sail away now, you may evade contact, but maybe not. Instead you can continue investigating, which closes the range further, allowing you to determine the ship's nationality. See Her Colors: After the other ship hoists its colors, you can try to sail away peacefully, come alongside and talk over the latest news, or attack her. If the ship is a pirate or pirate-hunter, it may recognize you and attack, regardless of your choice. Select Your Flagship: if a battle occurs and you have more than one ship, you can select which will be your flagship. The ship you select fights the battle. In the example ========================================== to the left, you have four ships in "We have 44 men and 10 cannon ready for | your fleet: a merchantman, two battle. Winds are light. Which ship will | sloops (one damaged), and a you command?" | pinnace. Any one of these can be Merchantman | your flagship. Consider your choice Sloop | carefully, since the type of ship Sloop (damgd) | you're sailing can be important in Pinnace | battle. ========================================== The number of men and guns available for battle is a theoretical figure. If your flagship is small, you'll find the number of men and guns limited by the capacity of the ship. See "A GAZETTEER OF SHIPS" for information about each type of ship. Furthermore, it takes four (4) or your crewmen to man each gun. If your crew is too small, you may have fewer than the maximum number of cannon available. The ship you select remains your flagship until the next battle. BATTLE AT SEA - When an encounter leads to battle, the scene changes to a ship-against-ship duel. The color of a ship's hull matches the color of it's name below. See the "Captain's Broadsheet" for specific control information. Sailing: Maneuvering in battle is similar to travel by sea. You can turn right, turn left, or remain on course. Change Sails: You can either Set Full Sails for maximum speed in battle, or Reduce to Battle Sails for lower speeds with much less risk of rigging damage. You begin battle with battle sails set. Fire Broadside: Push the Fire Broadside key to shoot. Your gun captains automatically fire the side of the ship nearest the enemy. Remember, your guns are mounted along the left and right sides of the ship. Therefore, to aim your guns, you must turn the ship so its side faces the enemy. After a broadside is fired the gun crews reload as fast as possible. Reloading speed depends on morale of your crew. A happy crew loads faster than an unhappy one. Enemy reloading speed depends on the quality of their crew (warships, pirate-hunters, and pirates have better quality crews than peaceful merchantmen and cargo fluyts). Reloading is temporarily halted if you change your sails - the gun crews are needed to aloft to handle the sails. The effect of gunfire varies with the number of guns firing, and the size of ship hit. For example, an broadside from a 20-gun ship into a galleon may have little effect while the same into a pinnace might leave her a flaming wreck. Pause: Press the Pause key to halt the action, and again to resume it. Escape From Battle: To escape from a naval battle, sail away from the enemy. Once the distance between ships is large enough, the battle ends automatically. In addition, in a long action, nightfall may end the fight. If you escape from battle and the enemy ship is undamaged, you may lose a ship to enemy pursuit. This is only a danger if you have two or more ships. Grapple & Board: If you sail your ship alongside or into the enemy, the ships automatically grapple for a boarding battle. You must lead your men into the fight. See FENCING & SWORDPLAY, for more information. PRIZES & PLUNDER - Prizes: When you win a battle at sea, you can either take the enemy ship for your own (send a prize crew), or you can just take its cargo, while burning and sinking the ship itself. After the battle you'll get a report about the enemy ship's armament and capacity, as well as the empty space remaining in the holds of your fleet. In general, taking a ship prize is useful, since you can sell the ship as well as its cargo at a friendly port. This disadvantages are that a slow- sailing prize will slow down your entire fleet (Spanish galleons and badly damaged ships are especially slow sailers). Furthermore each prize requires eight (8) men to handle it. This means eight fewer men available for battle on your flagship. For example, if you capture a 100-ton merchantman and you only have 80 tons of space available in your fleet now, and the merchantman is full of cargo, you won't have enough space for everything. On the other hand, it's unlikely the merchantman will be completely full, and she may slow down your fleet considerable. If speed is important to you, perhaps you should sink her. Plunder: Regardless of whether you take the ship prize or sink her, you must decide what you wish to plunder and call your won, and what you wish to leave behind (throw overboard). You'll automatically take all the gold from the ship. Compared to its value, gold weighs virtually nothing, and therefore doesn't affect your cargo capacity. Transferring goods to your ship, or throwing things overboard, works just like trading with merchants. To transfer items to your ship, move the pointer up or down until it is on the correct line, then flick it to the left to move things to your ship, or to the right to leave things behind. AMPHIBIOUS ASSAULTS ON TOWNS - If you sail into a town and select Attack Town, you begin an amphibious assault on that town. In an assault, your flagship must sail up to the fort guarding the town, touching land as close to the fort as possible. If you land too far away, the men will refuse to march and the assault ends in failure. If you land close enough, the men jump ashore and storm into the fort, leading to a fight on he battlements (see FENCING & SWORDPLAY). The number of men participating in the assault is limited to the number that can fit on your flagship. As in normal sea battles, you can retreat (end the battle) by sailing away. Part 2 of Pirates DOCs. THE MEMOIRS OF CAPT'N SYDNEY - Me best battle was gettin' revenge on Caracas for the beatin' their fort gave me flagship. We went ashore a bit east and marched along the coast. Some Spaniard, gov'ner or some such, rallied their troops and marched to stop us. Well, we split into two groups. The quartermaster and all our best musket-men took cover in the edge of a woods, overlookin' a marsh. Then me with a smaller bunch danced around in a field just beyond the marsh, howlin' and carryin' on. Thinkin' us weak and stupid, the Spaniards charged toward us. Their cavalry hit the marsh first and blam! They was droppin' like acorns in a storm. In a minuted we'd 'em decimated and panicking back to town. Then we danced and yelled some more and their infantry came up. The Dons stopped in the marsh and returned fire, brave like, but we had the cover, and when me mates came up, we had more muskets too. They tried to close to hand-to-hand, but it 'twas slow goin' in the marsh, and they was droppin' fast. Well, we keep tradin' lead with those Spaniards 'till they tired of it and started home. Withe a yell we poured out of the trees in hot pursuit. 'Twas a long chase, but we overran 'em in the town just below their fort, cuttin 'em up somethin' fierce. Stormin' the for was child's play then, as they'd hardly a man left for the garrison! I don' pretend to be a great general. Me and my mates don' know a refused flank from a countermarch. But those Don's fall for ambush like bears to honey. Worked like a charm every time. "Cept the time one of our parties lured them out into the wilderness while the other sneaked to town and stormed the fort whilest they were away! But that, matey, I did right rarely. I always preferred to bury them papists outside the walls, rather than face them hand to hand within their fort. After all, fort stormin' 'twas a right chancy business; belike 'cause the men insisted that I take my place at the head of the stormin' party! HISTORICAL FOOTNOTES - Pike & Shot Warfare: Land warfare in the 16th and 17th Century saw the supremacy of infantry restored after the long reign of the mounted knight. In Europe the Spanish Tericio was the great military system of the 16th Century, as formidable in its day as the Roman legions. The Tercio was a solid block of pikemen, 16 or more ranks deep. It developed an awesome power charging forward, as well as nearly invincible bristling defense against cavalry. Men with firearms (arquebuses and the heavier muskets) formed loose groups at the corners, giving supported fire and softening the enemy for the pikemen's punch. Bayonets did not exist and a firearm took over two minutes to reload. Therefore, when close action threatened, the musketeers retired behind the pikemen. Spanish Tercios were built f well-drilled, professional soldiers, ready to instantly perform the complex drill evolutions that maneuvered the cumbersome blocks of pike and their supporting musketeers. This military system was widely copied in Europe throughout the 16th and 17th Centuries. As firearms improved, the proportion of musketeers gradually increased. In the West Indies the slightly faster-firing flintlock musket was popular among privateers and buccaneers decades before regular troops were issued the weapon. The buccaneers had uncommon accuracy and skill with their weapons because they relied on them for hunting ashore. Buccaneer firepower was among the most accurate on earth at the time. Furthermore a risk-all, gain-all attitude made buccaneers ferocious opponents in melee. No wonder many Spaniards ran from the crack-shooting, cutlass-wielding berserkers of Tortuga and Port Royale. The great weakness of the buccaneers was cavalry. Their firepower was insufficient to stop an organized, disciplined cavalry attack. However, Spanish cavalry in America was an undisciplined militia force of local notables more interested in preserving their wealth than killing pirates. Even in the defense of Panama, where the Spanish had 100 to 200 horsemen, the mounted arm was timid and indecisive, with many desertions before and during the battle. Drakes Assault on Cartagena, 1586: One late winter afternoon, Francis Drake in his 30-gun galleon flagship Elizabeth Bonaventure led a fleet of ships to Cartagena, fresh from the plundering of Santo Domingo. His ships anchored in the roadstead, outside of the range of the forts. That night, while the Spanish prepared for a naval attack into the harbor, Drake disembarked over 1,000 men onto the harbor large outer peninsula and marched over the sandpit connecting this to the city proper. There his men cut through a fence of poisoned barbs, waded out to sea to avoid the gunfire from Spanish ships anchored in the harbor, and finally charged the 750 defending Spaniards. The hand-to-hand melee swirled back into the city, where the Spanish finally broke and surrendered (or ran). Victorious, Drake's men plundered it all. Eventually the Spanish governor raised 110,000 ducats (a vast fortune) as ransom for Drake's departure. Drake agreed, as he and his supporters preferred money to ownership of a plundered city. The Defense of Panama, 1671: When Don Juan Perez de Guzman, President of Panama, organized the city's defense against Henry Morgan's buccaneers, his "army" consisted of two companies of Spanish regular infantry (each about 100 men), plus militia companies of Spaniards, mullattoes, free blacks, mestizos, and zamboos (various Spanish-African-Indian racial mixtures) which may have totalled 800 or more. The pure-blooded Spanish militia was largely mounted, carrying pistols and swords, theoretically capable of a battle-winning charge over the open ground north of the city. The remainder served as infantry, many with no weapon better than a crude pike (12' or longer pointed pole). None of these had sufficient military drill to move in the dense, formidable blocks of pikemen that won battles in Europe. Indeed, few had sufficient discipline to withstand more than one or two volleys of musket fire. Curiously, in battle the native Spaniards were the first to flee (many of them departed before the battle started) while the free Blacks were among the most stalwart defenders of the city. BOOK II LIFE IN THE WEST INDIES ::::::::::::::::::::::: YOUR CAREER ON THE HIGH SEAS ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A MERRY CREW "ON ACCOUNT" - Buccaneers and pirates are unique: they were a democratic group, governed by voting, in an age of absolute kings and imperious aristocrats. Among pirates, spoils are divided fairly and equally. The Captain gets extra shares, but only because he takes larger risks. His crew is said to sail "on account" when they are paid by shares of the loot, instead of by wages. At the Start: Each voyage means a new start for the Captain and crew. you will have one ship, recently cleaned and outfitted, some initial funds from your financial backers (about 10% of the last voyages' profit), and a core of loyal crewmen. Recruiting Crewmen is done in taverns, and sometimes from captured ships. If you sneak into town you cannot recruit in taverns (recruiting is a very public activity). Recruiting from captured ships is easiest if the capture is a pirate, or a ship with a very large crew. 'On Account': Your crew is not paid wages. Instead, at the end of the voyage, the party's profits are split. Each man will get his fair share. Until the division of ;plunder, the Quartermaster is keeping an 'account' for each man from which are deducted expenses for his clothing, penalties for crimes and misdemeanors, gambling losses, etc. The term 'sailing on account' refers to this complex process of bookkeeping. This approach is also sometimes known as "No Purchase, No Pay"! As Captain, be careful to distinguish between the entire party's wealth (displayed in Party Status) and your personal wealth (displayed in Personal Status). Certainly your crew knows the difference! During the course of a voyage, the party's wealth is the combined profit of the voyage. It is the property of all and strongly affects crew morale (see below). At the end of the voyage, when you divide up the loot, each man gets his fair share. Only then do you get your share, which appears in your Personal Status money. Morale: The attitude of the crew varies from HAPPY (the best) to PLEASED, UNHAPPY, and ANGRY (the worst). The more money the party has, the happier they are. The crew attaches little importance to captured ships, goods, and other items. Their eyes are on gold! In addition, the crew is impatient. As the months pass, they want to disband and spend their loot, or (if you don't have much loot) they start thinking about joining some other Captain. The only way to keep them happy is to keep collecting more and more gold. It's difficult to keep the crew pleased for more than a year, and almost impossible to keep them pleased for two years or longer. When the crew is unhappy or angry, they will start deserting whenever you visit port. If they are angry too long, they mutiny. This means you must fight to remain Captain. Note that it is easier to keep a small crew happy than a large crew. This is because with a small crew, each man's share is larger, making him a happier fellow! Also note that converting plundered cargo to gold helps keep morale high, especially if you sell at a town with high prices. Dividing the Plunder: When the cruise ends and you Divide up the Plunder, don't be surprised when the men disperse to enjoy their wealth. Also remember that everything is split fairly, including the ships, cannons and, cargo. As Captain, you retain only your flagship. Therefore, it's advisable to sell everything except your flagship before dividing the plunder. A fixed percentage of the party's gains go to the officers. Each officer's share is worth a bit over 2%. Therefore an apprentice Captain with two shares gains 5%, a journeyman with four gains 10%, an adventurer with six gains 15%, and a swashbuckler with eight gains 20%. Note that the size of the crew has no effect on the Captain's share. This is to discourage Captains from leading their crews into massacres! In addition, a flat 10% is returned to the patrons and sponsors of the voyage as their profit. Generally, the Captain's financiers will make this money available again as capital for the next voyage. Shares to the crew are an equal distribution of everything remaining. The size of each crewman's share affects the Captain's reputation. If the shares are large, the Captain's prestige is enhanced. If the shares are small, the Captain's reputation suffers, making it harder for him to recruit new crewmen. GAINS & GOALS - An Age of New Beginnings: This is an era of privilege. A man of high rank or title lives under different laws than the commoners. More importantly, this is an age of social mobility. Old families with the wrong religious beliefs, incorrect political views or insufficient wealth disappear from the national scene. Even the royal houses change frequently. England's royal family was the House of Tudor to 1603, the House of Stuart to 1649, the Cromwellian Commonwealth to 1660, the House of Stuart again to 1688, and then the House of Orange! Onto this stage of turmoil and change, a single man of energy and boldness can grasp power and prestige for generations to come. A common seafarer from an undistinguished family, such as Francis Drake, could gain titles of nobility, rank, honors, and immense prestige. What to Seek? Planning for a happy retirement means seeking as much of everything as possible. Personal wealth is always valuable. Land is also useful - among the nobility, for example, land is considered the measure of a man. As a rule, the more you accomplish at a rink, the more land you receive when you are promoted to the next higher rank. In addition your reputation, your family (including a wife, if any), and your health all contribute to your future happiness. When to Retire? Roving the seas is an enjoyable and exciting life, but a wise man keeps an eye toward retirement. Eventually wounds from battle and the taxing demands of sea voyages affect your health. If your health is poor, helpful friends will advise retirement. Heed their advice - if you ignore them life becomes more and more difficult, until one day you are unable to recruit a new crew for another voyage. In general, your career is limited to five to ten years of active endeavor. However, waiting until you're at death's door is not a good way to start a happy retirement! THE MEMOIRS OF CAPT'N SYDNEY - Me voyages were always a fine balance between the men's temper and their strength. It took time t' build up a fleet of three or four ships and a sturdy band of a few hundreds. By the time all'd be assembled, they'd be right and hungry for plunder. I had'a please 'em quick with some fine, large stoke. Like plunderin' a city or three. If'n I didn't, they'd get so surly as t' be unreliable in battle and desertin' at every port. Eventually, ye must either accomplish some grand design, as I did at Campeche, or just put in, divide the swag, and hope the next cruise be better. Me biggest disappointment always was settling accounts after a cruise. I'll grant it 'twas all done democratic and fair-like, but 'tis none the less frustratin' to be already thinkin' pon the next expedition, and here me fine fleet scatters! Reputation was my most treasured possession. A few successful cruises gave me much in others' estimations. Havin' the good word about helped raise new crews, even if the last voyage 'twas a bit thin on the pickin's. Of course, maintainin' a big reputation required ever bigger exploits. In the fact, that a' why I retired. I just couldn't top me own adventures! Still, a large reputation was a godsend in later life, let'in' me escape mortification more than once. HISTORICAL FOOTNOTES - A Captain's Qualifications: Among buccaneers the Captain was elected by the crew, not appointed by government or owners (as is common on military or commercial vessels). He was the man the crew agreed was best for the job. I If the crew decided the Captain was inept, they would replace him with another of their number. Often the new candidate dueled the old for the Captaincy. In the crew's mind, the Captain's most important skill was leading them in battle. For this they wanted bravery and ferocity more than they wanted tactical genius. However, the best Captains, such as Henry Morgan, had both. Outside of battle, when dealing with governors and other officials, the Captain acted as 'front man' to represent the group. Although pirates professed disdain for the privilege and status of the aristocracy, often their Captains were former military men, merchants or aristocrats with a 'lordly manner'. Finally a Captain needed a good reputation, with numerous past successes to his credit. It was his name that brought new recruits aboard. This experience was doubly valuable since most of the really good plans for profitable expeditions were conceived by veteran Captain. Henry Morgan was a Welsh adventurer. Although his origins are uncertain, he probably came to the Antilles in 1655 as part of the invasion force that captured Jamaica. He advanced both as a militia officer (on land) and a privateering leader (at sea). In 1667 he was commissioned as Admiral of Privateers by the English governor at Port Royale. In the next few years he plundered numerous ships and cities, including Puerto Bello. Then, in 1671, he took Panama, the richest city in the New World. Patrons who benefited financially from his Panama expedition included Sir Thomas Modyford (Governor of Jamaica), George Monck (the Duke of Albemarle, Modyford's aging but influential patron at Court), and James Stewart (Lord High Admiral, the Duke of York, and incidentally, the brother of Charles II, King of England since his restoration in 1660). Despite the Treaty of Madrid (in 1670) where England pledged to stop attacks on Spain, none of these notables refused their share of the expedition's reward! Morgan was officially "arrested" (probably to mollify the Spanish ambassador) but not confined. He travelled in aristocratic circles, was toasted everywhere, and consulted on West Indian policy by the King's advisors. In 1674 King Charles II knighted him Sir Henry Morgan. He was appointed Lieutenant Governor of Jamaica, where he lived a pleasant life amid his large plantations. COLONIAL LIFE ~~~~~~~~~~~~~ THE GOVERNOR - Towns with a population greater than six hundred citizens have a governor. His residence is the seat of government, and the center of news and intrigue for the colony. A governor's attitude toward you begins with the "official" attitude of his nation toward your activities. However, any particular favors you have done for him are remembered, as well as any especially nasty things you have done to his city (such as plundering it!) You can curry favor with a governor by capturing pirates in waters near his port and then returning that pirate to him. Conversely, a governor is dismayed if you capture his nation's ships near his town, and is especially unhappy if you've plundered his town. When a governor is hostile to you, he will order any harbor forts to fire upon your vessels as they sail in. In general, if the governor's nation is hostile toward you the forts usually fire. If the nation is wary, the governor's personal attitude and the size of your force are deciding factors. The nation may not be wary, but the governor may still remember past transgressions toward his area. Therefore, consider your actions carefully, especially in the vicinity of rich non-Spanish ports. Ranks & Titles: The governor of a town is responsible for protecting and guarding it from attack. But all too often, he has no money, no naval forces, and pitifully few land troops. So, he commissions loyal subjects to aid him, giving them military ranks and authority. Naturally, a governor favors men who have proved their bravery and worth by fighting then enemy, while ignoring those who have done nothing for his cause. The military ranks a governor bestows are, from lowest to highest: ENSIGN of Privateers, a junior officer or aide CAPTAIN of Privateers, commanding a ship MAJOR of a Colonial Militia, commanding a company COLONEL of a Colonial Militia, commanding a regiment ADMIRAL of Privateers, commanding a fleet After military ranks, a governor might use his influence at Court to promote patents of nobility for valued associates. Naturally, you must perform large and significant services to gain such bounty. From lowest to highest, these title are: BARON, a minor title, but a knighthood none the less COUNT, a title of some prestige and power MARQUIS, a title of significant prestige and power DUKE, a title of great prestige and power EUROPEAN POLITICS - Whenever you attack a nation's ships or towns, that nation becomes ill- disposed toward you. A few attacks may make it wary, while many attacks make it hostile. Naturally, don't expect advancement from a governor of a wary or hostile nation. However, if your target is at war, the target's wartime opponent will applaud your actions and those governors may reward you. For example, if England and Spain are at war, attacks on the Spanish will make the Spanish wary or hostile, but make the English very happy. If nations are allied, attacks on a nation are remembered and disliked by its ally. For example, England is allied with Holland but at war with Spain. If you attack English towns or ships the Spanish governor will be delighted and the English angry. In addition, England's ally Holland will also be angry. This is because the Dutch are concerned about attacks on their ally. However, if you attack Spanish towns and ships, the English governor will be delighted, but the Dutch won't care: The Dutch are still at peace with Spain, and thus unwilling to reward military activities against her. Although declarations of war, peace and alliance are public knowledge, ends of alliances are not. Of course, when former allies declare war, it's a safe assumption that the alliance is over! Otherwise, to learn the "inside news" about a nation's politics, visit one of its governors. Even if you sneak into town, the governor's mansion remains the best source of news. PIRATE AMNESTY - When a nation offers a pirate amnesty, it is willing to forget its former hostility toward pirates. Each governor of that nation is empowered to offer former pirates a pardon for their activities, although sometimes the pardon can be expensive. When seeking an amnesty, be careful about sailing into harbor. Although the nation may offer an amnesty, a local governor may still distrust you enough to open fire. This is especially likely if your force is large, or you have made attacks in the vicinity. If you sneak into town you usually have a better chance of getting to the governor and convincing him to provide the amnesty his nation promises. THE TAVERN - The first time you visit a tavern openly your reputation will precede you. Men often approach you, hoping to join your crew. Subsequent visits while in port will not yield additional recruits. Men are attracted to heroes, not drunks! You can purchase information from travellers who have recently visited another town. They will know the state of the town's population, economy, and defenses. If you are looking for somebody believed to be at that town, they usually remember if he's been seen there recently. Finally, the tavern is a center for public news of all sorts, and a home for old pirates and other rumormongers. LOCAL MERCHANTS - The lifeblood of any colonial town is trade. The strength of the local merchant community is proportional to the town's economic strength and population. A strong merchant community has many goods for sale, and plenty of money to buy yours. It also has higher prices. Small, poor towns have the lowest prices, but their merchants are poor also, with tiny warehouses. Economic experts find the 16th and 17th Century Caribbean a most peculiar place, especially on the Spanish Main. Complex and restrictive trade laws, combined with peculiar and unnatural population patterns, produce unexpected situations. Most importantly, individual towns often have special markets and needs, causing especially high or low prices for certain items. All these effects are transitory, but while some patterns only last days or weeks, others can last for years. Merchants are usually happy to trade with privateers, pirates and smugglers. After all, a profit is a profit! Merchants in Spanish towns are an exception. SPANISH TRADE RESTRICTIONS - Towns and cities on the Spanish Main have four levels of economic vitality. This affects the affairs of their merchants. In Spanish towns it is illegal to trade with anyone other than Spanish merchants who sailed from Seville and are properly accredited by the Spanish government. However, local governors and merchants often ignore this tiresome legality, especially if the economy is suffering. As a result, traders in towns may ignore what the national government says and instead develop their own opinions, based on your deeds in that area. Struggling towns are in economic difficulties. They will trade with almost anyone, regardless of laws, excepting only pirates whose reputation in that area is extremely evil. Of course, prices and quantities of goods are usually quite low. Surviving towns have either small or depressed economies. The Spanish usually trade with foreigners whose local reputation is fairly decent. Prices and quantities of goods are modest. Prosperous towns have large, strong economies. Prosperous Spanish towns only trade with Captains of high repute. Prices are fairly high and goods are available in reasonable quantities. Wealthy towns are at the peak of the economic spectrum. These Spanish towns almost always follow the letter of the lay. Prices are high and goods are plentiful. THE RISE & FALL OF COLONIES - All other things being equal, colonies slowly prosper and grow, gaining economic strength, which attracts population, who in turn hoard wealth, which obliges the government to install troops and forts to protect this wealth. Traders and smugglers help this economic growth with their buying, selling and carriage of goods. But pirates, buccaneers and privateers taking ships from waters near the colony will hurt its economic growth. Indian attacks will deplete the soldiers guarding the town, but leave the population and economy unaffected. Pirate raids on a town take whatever gold the pirates can find. The raid also damages the economy. Malaria and other diseases reduce both the troop garrison and the number of citizens. This tends to slow down or even stop economic growth. Gold mines cause a one-time upswing in the economy and add large quantities of disposable gold. The gold mine is usually just a short-lived alluvial wash in a nearby stream or river, but it invariably generates a "gold rush" mentality boom town. THE MEMOIRS OF CAPT'N SYDNEY God's truth, I started honestly enough, carryin' good European manufacture to the Indies. But the big, rich towns with nice prices were all Spanish, and those thieven' Dons just wouldn't let me into market. I found a few smaller towns that'd do business, privately, but me profits suffered. But at the next city some papist blueblood, blind 'im, recognized me for English and I rotted for six months in a foul dungeon, tortured by their damnable Inquisition, 'til me crew rescued me. Betwixt times, the filthy Dons had taken my ship and cargo, every last ounce of it. So I had to make my own justice. We took a handy pinnace a' lyin' in the harbor, mounted a few guns, and taught those Spaniards a lesson! I've a Dutch friend who maintain the best route to fortune is friendly trade. He buys low, transports it, and sells high. He keeps his crew low and pays 'em off regularly, bankin' his profits. 'E even claims the towns benefit from his trade 'n' such. Well, I tell ye, I'd not sail the Main with twenty men and four cannon, no siree! But then, I trust to steel 'n' gunpowder, not to accounts ledgers. Anyway, I've never forgotten that Spanish dungeon, and made 'em pay dearly for it. I'd keep abreast of the news, matey. A couple Indian attacks or plagues and they'd be ripe for the pluckin'. Attackin' 'em after a pirate raid wasn't so smart. They'd be cleaned out, but the garrison'd be reinforced and smartin' for action. The King, God bless 'em, is right obligen' in havin' convenient wars. Me Letters of Marque are all proper and legal, but I've a 'known fellows who'd get some clerk for forge up any ol' thing. One dunderhead had a Letter a' Marque alright - a Letter t' kill sheep! Didn't stop him none from goin' after the Spanish a'course. Most of me victories left me wi' more plunder in food, tobacco, sugar and goods than it did shin' gold. I 'member one cruise where I chanced upon Trinidad, lookin' to sell a bit a' loot. Had a right nice fleet, then. We landed up the coast and marched into town. Some insolent Spaniard said something that got me back up. Well, quick as a wink we had the garrison locked in its own dungeon and the citizens cowering behind their doors. We were enjoying ourselves in the mansion of the gov'nor, who'd disappeared right sudden. Then a delegation of the leading citizens visited us. They begged us to rein-in our men. I confess some were gettin' a' tad enthused in their plunderin'. We thought on it. One of the leading merchants was part English, so we said that if they flew the Cross of Saint George, pledged themselves to the English Crown, and appointed that part-English merchant their governor, we'd settle down and respect their property, legal as you please. Shortly after that I took a wound in a battle off Margarita, curse it, and was laid up for a while. I never did find out how long Trinidad remained "English". Pe'haps not so long. But I ne'er heard of me friends having trouble there again. I'd like to emphasize, though, that we had a powerful lot of men, and the populace 'twas right small. With us fewer, or them more, it'd a' never happened. HISTORICAL FOOTNOTES - No Peace Beyond the Line: In 1493 and 1494 the only two European powers exploring the world (Spain and Portugal) agreed to a "fair" division of responsibility along a north-south line 270 leagues west of the cape Verde Islands. In the Treaty of Tordesillas, Portugal gained authority over the eastern Atlantic, the African coast, and what became the African route to India. Spain gained authority of the western Atlantic and the entire New World except the tip of the Brazilian coast. Supported by a Papall Bull, Spain claimed this gave her sole possession and control over the Americas. Unfortunately for Spain, the English, Dutch and French governments never recognized the legality of this line. The result was that English, French and Dutch traders and colonists constantly "invaded" Spanish regions where their presence was illegal by Spanish law. However, Spain never installed sufficient military strength in the region to consistently enforce her laws. So, even when European nations were at peace, the constant smuggling and colonization could cause small battles at any time. Worse, each time European nations went to war, an orgy of privateering and piracy exploded across the West Indies. Privateers: In the 16th and 17th Centuries royal governments were desperately short on funds (useful taxation techniques, such as universal income tax, had not been invented). Building warships, much less maintaining and crewing them, was so expensive that even powerful battleships doubled as cargo carriers in peacetime. What few did exist were needed in home waters. Colonial governors got little or no military forces. Most colonies relied on a local militia for their defense. Not until the 1680s did a nation base a regular squadron of warships in the Caribbean for use year-round. Because nations had little or no fleet, in wartime the crown 'commissioned' private ships to become its navy. These "freelance" warriors were not paid wages. Instead, they kept a large percentage of whatever they captured. The official authorization for this was the "Letter of Marque". Ships operating with a Letter of Marque were "privateers". The English fleet that defeated the Spanish invasion Armada (in 1588) was almost completely composed of privateers. In an age of poverty and limited wealth, privateering was one of the few ways to make a quick fortune. Those men who sailed with Francis Drake on his 1572-73 privateering voyage to Nombre de Dios (where he captured the Silver Train) returned rich for life. A crewman's share from the capture of just one merchantman was often more than a sailor's yearly wage in peacetime. A privateer Captain known for skill and success had little trouble recruiting. Beyond the benefits to the crew, privateering was big business. Wealthy merchants and noblemen put up the money for a voyage, and earned a percentage of the "take" in return. The gains were also split with the crown (the "price" of a Letter of Marque). The sale of prizes and captured goods was a godsend to merchants, who resold it for a profit. This created a prosperous colonial economy. In the 1660s and 1670s the prime industry of Jamaica was neither sugar nor tobacco, but piracy! The Buccaneers: These men were a special breed who appeared in the West Indies during the 1630s and 1640s, and remained a feature there throughout the century. Most buccaneers were fugitives from English and French colonial ventures. Many colonists came to the Americas expecting to find a paradise full of easy wealth. Instead they were indentured servants on harsh tobacco and sugar plantations. Some were violent criminals sentenced to "transportation to the colonies". Whatever their origin, they left the tiny colonies to live free and easy among the islands. Buccaneers learned two vital skills to survive outside of an organized colony. The first was seaman ship. They were experts at building small canoes or pinnaces, and quite skilled at sailing them from island to island. The second was marksmanship. Their livelihood was hinting wild animals and cattle. In fact, the name "buccaneer" is derived from their method of curing meat over an open fire. In didn't take long before buccaneers combined their skills of seamanship and marksmanship, taking to the seas in search of treasure and wealth. The Spanish colonies, militarily weak and economically failing, were easy targets for buccaneer attacks. The old tradition of "No Peach Beyond The Line" lent quasi-legality to their activities, while their use of non-spanish ports as trading bases helped the new colonies grow. It wasn't difficult for a British, French or Dutch governor to condone buccaneering on the principle that the best defense against Spanish aggression was a good offense, especially an offense by troops who provided their own pay, and profit to the colony as well! The buccaneers had a free-wheeling, democratic spirit. They were hard- living, violent men, ideally suited to the hard and violent life on a new frontier. The End of Piracy: By the 1690s and 1700s nations offered privateering commissions less and less often. National navies were larger now. The financial advantages of peaceful trade were recognized as more valuable than the occasional profits from a privateer's plunder. Buccaneers and old privateers, with legal and quasi-legal avenues closed, continued anyway. they turned truly pirate and roamed the seven seas, looking for rich ships with weak defenses. But it was increasingly difficult to find men willing to finance new ventures, while naval warships gradually chased down and destroyed the existing pirates. By the 1700s pirates were disappearing from the Caribbean, by the 1710s the North American and West African coasts were too hot for them, and by the 1720s even distant Madagascar and the Indian Ocean were closing. An age of adventure on the high seas was over. A GAZETTEER OF SHIPS CIRCA 1690 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Among the myriad types, sizes and rigs of ships sailing the Caribbean, nine basic approaches to shipbuilding can be discerned. Although each ship was individually designed and build, shipwrights learned by copying one another, producing ships of remarkable similarity. These general types are summarized below. However, expect to meet the exception more often than the rule! DEFINITIONS - Burden, in tons, refers to available cargo space, after deduction for food, water, crewmen, and other common materials and stores. This should not be confused with tonnage that describes the entire weight-carrying capacity of the ship when completely unloaded. Speeds are given in leagues (about 2.5 miles) travelled during a watch (about four hours). The first value is best speed in light wind, the second is best speed in strong wind. Best Point of Sailing refers to the wind direction in which the ship makes its best speed. Each type of ship has a different point of sailing. Beam Reach | Broad Beam Reach | Close-Hauled Beam Reach \ | / \ | / Broad Reach \ | / Close-Hauled \ \ | / / \ \ | / / \ \ | / / Running Broad \ \ | / / Close-Hauled Reach \ \ | / / into the Eye \ \ \ | / / / \ \ \ | / / / \ \ \ | / / / Running \ \ \ | / / / Into the eye Before the Wind \ \|/ / of the Wind +------------------------- + -------------------------+ / /|\ \ / / / | \ \ \ / / / | \ \ \ / / / | \ \ \ / / / | \ \ \ Running Broad / / | \ \ Close-Hauled Reach / / | \ \ into the Eye / / | \ \ / / | \ \ / / | \ \ Broad Reach / | \ Close-Hauled / | \ / | \ Broad Beam | Close-Hauled Reach | Beam Reach | Beam Reach * SPANISH GALLEON * 7-15 Leagues..........Best Speed Broad Reach...........Best Point of Sailing 36 Guns...............Maximum Number of Heavy Cannon 20-24 Guns............Typical Number of Heavy Cannon 288 Men...............Maximum Personnel 275 Men...............Typical Crew and Passengers 160 Tons..............Cargo Space Galleons are the largest sailing vessels on the Spanish Main. Originally they were created because one large ship was cheaper to build than two smaller ones. However, large ships were much less maneuverable, which increased the chance of shipwreck, not to mention hindering them in battle. Galleons are slow to turn, and are especially poor sailers close-hauled. Tacking into the wind is very difficult with this type of ship. Still, the enormous carrying capacity and powerful armament makes the galleon a formidable opponent in battle. * SPANISH WAR GALLEON * 7-15 Leagues..........Best Speed Broad Reach or........Best Point of Sailing Running Reach 32 Guns...............Maximum Number of Heavy Cannon 28-32 Guns............Typical Number of Heavy Cannon 256 Men...............Maximum Personnel 250 Men...............Typical Crew and Passengers 140 Tons..............Cargo Space War Galleons are similar to mercantile types. They have less cargo capacity, but more guns and crewmen. The most important difference is that war galleons are crewed by soldiers and commanded by noble officers, making them brave and formidable opponents in battle. Due to their better crew, war galleons are slightly faster than merchant Galleons on a running broad reach, but otherwise just as ponderous and unmaneuverable as their more peaceful cousins. Only the most powerful warships can expect to engage a war galleon and succeed. The preferred Spanish tactic with these ships was to run alongside the opponent, fire one broadside at point-blank range, then board for hand-to-hand combat. * FAST GALLEON * 9-12 Leagues..........Best Speed Broad Reach or........Best Point of Sailing Running Reach 28 Guns...............Maximum Number of Heavy Cannon 24 Guns...............Typical Number of Heavy Cannon 224 Men...............Maximum Personnel 215 Men...............Typical Crew and Passengers 120 Tons..............Cargo Space The northern European powers refined the basic Galleon Design, revising the sail plan for more flexibility, then reducing the upperworks and hull shape for better seakeeping. The resulting ship was smaller than a Spanish galleon, but faster in light winds and considerable more maneuverable. However, it suffers the universal disadvantage of all galleons - poor speed when close-hauled. Still, its superior maneuverability and seakeeping showed when the English fast galleons and smaller craft defeated a Spanish fleet of conventional galleons in 1588. * FRIGATE * 9-12 Leagues..........Best Speed Broad Reach or........Best Point of Sailing Running Reach 28 Guns...............Maximum Number of Heavy Cannon 26-28 Guns............Typical Number of Heavy Cannon 224 Men...............Maximum Personnel 190 Men...............Typical Crew 120 Tons..............Cargo Space Square-rigged frigates are fast sailers, fairly handy to maneuver, and faster than most square-rigged ships when close-hauled. A frigate is extraordinary useful for patrols and independent cruises. Almost all frigates are built for the Crown as naval warships. With their well-drilled and professional crews, frigates are dangerous opponents at any time. Most pirates and buccaneers disappear over the horizon whenever a frigate appears. * MERCHANTMAN * 9-12 Leagues..........Best Speed Broad Reach...........Best Point of Sailing 24 Guns...............Maximum Number of Heavy Cannon 6-12 Guns.............Typical Number of Heavy Cannon 198 Men...............Maximum Personnel 20-45 Men.............Typical Crew and Passengers 100 Tons..............Cargo Space Square-rigged merchantmen are a trader's dream. They have large cargo capacity, space for numerous guns for use in dangerous waters, and plenty of room for crew and passengers. Furthermore, where appropriate they can be sailed with a smallish crew to save money. Most merchantmen are peaceful traders, disinclined to fight. They tend to have large cargos and sometimes a bit of wealth. Privateers and pirates always look forward to capturing a "juicy" merchantman. However, some merchantmen have been converted to pirate ships, with stronger armament and a ferocious crew of cutthroats. These ships are extremely dangerous. * CARGO FLUYT * 9-12 Leagues..........Best Speed Running Reach.........Best Point of Sailing 20 Guns...............Maximum Number of Heavy Cannon 4-12 Guns.............Typical Number of Heavy Cannon 160 Men...............Maximum Personnel 12-24 Men.............Typical Crew and Passengers 80 Tons...............Cargo Space Fluyts were invented by the Dutch around 1600, then widely copied throughout northern Europe. Essentially a smaller but much more economical merchantman, it can be sailed with a tiny crew (12 to 15 men is not uncommon). A fluyt has large cargo spaces, but a draft so shallow it can enter rivers, coves and small harbors unsuitable to large craft. It's sailing qualities are equivalent to a merchantman, although the best point of sailing is slightly different. The smallest of the square-rigged ships, fluyts make poor warships. Almost always they are manned by peaceful traders who often surrender after a broadside or two. They are unpopular as pirate ships. * BARQUE * 9-12 Leagues..........Best Speed Broad Beam Reach......Best Point of Sailing 16 Guns...............Maximum Number of Heavy Cannon 4-6 Guns..............Typical Number of Heavy Cannon 128 Men...............Maximum Personnel 12-36 Men.............Typical Crew and Passengers 60 Tons...............Cargo Space The largest for-and-aft rigged ships, barques are a traditional design similar to many Mediterranean merchant and war craft. Many barques are built in the Caribbean, rather than in Europe. Barques are good sailers for quiet seas, but all too easily come to grief in a rough ocean crossing. This means that few Barques return from the Caribbean to Europe, as the North Atlantic west-to-east route is often stormy. Barques are the slowest close-hauled sailers among fore-and-aft rigs, and the least maneuverable. However, the advantages of the rig are so great that Barques still surpass all square-rigged ships in both departments. Furthermore, barques carry oars, allowing them to row straight into the eye of the wind. Due to its large size and good handling, a pirate barque can be a formidable adversary. * SLOOP * 9-10 Leagues..........Best Speed Broad Reach or........Best Point of Sailing Broad Beam Reach 12 Guns...............Maximum Number of Heavy Cannon 4-6 Guns..............Typical Number of Heavy Cannon 96 Men................Maximum Personnel 8-12 Men..............Typical Crew and Passengers 40 Tons...............Cargo Space Another Dutch design that gradually appeared during the 1630s and 1640s, the sloop (or jact, or schooner) became very popular in the Caribbean. It is extremely fast and exceptionally maneuverable - better than almost any other ship in light winds. Close-Hauled it sails very fast, and under oars it can move directly into the wind. Most importantly, sloops have a shallow draft, allowing them to sail over shoals with no risk. The main weakness of a sloop is that in strong winds it is considerable slower than a large square-rigged ship. Thenonly advantage is its maneuverability and its superior speed close-hauled or into the wind. Despite its modest size and cargo capacity, a sloop's maneuverability is so great that many buccaneers prefer it to larger, more powerful craft. Indeed, in recent years the English Royal Navy has built a number of sloops for its own use as pirate-catchers. * PINNACE * 9-10 Leagues..........Best Speed Broad Beam Reach......Best Point of Sailing or a Beam Reach 8 Guns................Maximum Number of Heavy Cannon 2-4 Guns..............Typical Number of Heavy Cannon 64 Men................Maximum Personnel 8-12 Men..............Typical Crew and Passengers 20 Tons...............Cargo Space Until the advent of the sloop, pinnaces were the primary small craft of the Caribbean. Like a sloop, a pinnace is very fast, very maneuverable, and with a draft that permits sailing in shoal waters. Sailing upwind (close-hauled) it is even faster than a sloop, and much faster when rowing into the wind. However, a pinnace is also much smaller than a sloop, with minuscule capacity for cargo and guns. Still, many a pirate raid was conducted in tiny pinnaces crammed with fighting men. Drake himself abandoned his merchantmen in favor of pinnaces when raiding on the Spanish Main. BOOK III THE GOLDEN ANTILLES ::::::::::::::::::: FAMOUS EXPEDITIONS ~~~~~~~~~~~~~~~~~~ JOHN HAWKINS AND THE BATTLE OF SAN JUAN DE ULUA (1569) - Your Forces: One Slow Galleon: Jesus of Lubeck One Merchantman: Minion Four Pinnaces: William and John, Swallow, Angel, Judith 308 men. Political Situation: Spain is at war with France and England. Your Prospects: You have a formidable squadron, but the flagship is a cumbersome, unmaneuverable galleon of the Spanish type. As you approach the Spanish Main, your big decision must be: peaceful trade, or warlike raids? Peaceful trade means you can use the smaller Spanish ports to reprovision and perhaps even recruit additional crew. However, it also means that the rich larger ports are closed to you. Unfortunately, the profits from peaceful trade are modest, especially so given your large crew and the slowness of your flagship. Warlike raids offer a better prospect for immediate gain, but your fleet isn't strong enough to attack the truly great cities such as Santiago, Santo Domingo, or Panama. For repairs you can use the privateer anchorages at the tip of Florida and in the Bahamas. These places have few provisions, but captured Spanish ships could provide those. Your biggest problem will be selling captured goods and replacing crewmen lost in battle. Historical Chronicle: Inheritor at age 21 of an English shipping firm, John Hawkins voyaged twice to the West Indies (in 1562 and 1564), selling European goods and African slaves to smaller Spanish towns. In 1567 he organized his third and largest expedition (this one) around the galleon Jesus of Lubeck. On the Main, Hawkins found the Spanish increasingly unwilling to trade with him. The Spanish home government was aware of Hawkins' voyage, and was putting pressure on the colonials to obey the letter of the law. Hawkins resorted to forcing open the marketplace at gunpoint in a few ports, and was chased out of others by gunfire from forts. Disappointed by the Main, Hawkins set sail for Havana, but a storm blew his ships far into the Gulf of Campeche. The only harbor where he could repair his ships was San Juan de Ulua, the island anchorage for Vera Cruz. Unfortunately for Hawkins, the day after he arrived the Spanish treasure fleet appeared, armed to the teeth with war galleons and troops. After a few days of organizing, the Spanish attacked Hawkins in harbor, destroying most of his ships and scattering the rest. These sad remnants, without food or water, struggled home to England. Hawkins got home on the Minion with only fifteen men left in his crew. After this voyage, Hawkins became a staunch enemy of Spain, serving England as treasure and controller of the Navy, an admiral on the Victory against the Spanish Armada, leader of raids against Spanish South America, and finally as Member of Parliament. He died in 1595 at age 63. FRANCIS DRAKE AND THE SILVER TRAIN AMBUSH (1573) - Your Forces: One Merchantman: Pasha One Pinnace: Swan 73 men. Political Situation: Spain is at war with England. Your Prospects: Only a man with foolhardy bravery would dare attack the Spanish Main at the peak of its might and power with a paltry 73 men on board two small ships. Making any profit from this venture will be most difficult. A cautious man would adopt a trading strategy, calling at smaller Spanish ports and building both his wealth and his crew before beginning to raid and plunder. Only someone as bold as Drake himself would immediately begin raiding and plundering, trusting to luck and good fortune. This is an extremely difficult expedition for a fighter. You must rely on your superb and charismatic leadership to overwhelm enemies in hand-to-hand combat before they wipe out your tiny forces. Exploit and maintain the high morale of your small band. Always seek to meet the enemy leaders sword to sword and defeat them quickly. Needless to say, skill in fencing is advised. Historical Chronicle: Drake arrived on the Main in June, 1572 with two small ships. Within five days he raided Nombre de Dios, carrying off a huge pile of silver from the governor's house before a musket ball wound overcame him. Next he captured a ship off Cartagena (the city itself was too strong to attack). By September he was back in the Gulf of Darien, taking Spanish ships to replenish his provisions and trying to ambush the Silver Train between Panama and Nombre de Dios. But that the winter he failed: the Spanish were alert to his threat. Drake returned to his distant and secret base at the Isle of the Pines (at the southwest end of Cuba) and reorganized. He gathered up reinforcements from friendly French privateers and Cimaroon rebels. (Cimaroons were African slaves who escaped the Spanish). In March 1573 he returned to Darien and finally ambushed the Silver Train at Nombre de Dios, taking a fortune in gold. He had to leave behind another fortune in silver because it was too heavy to carry! Drake sailed swiftly for England and arrived at Plymouth on Sunday, August 9, 1573. A mere thirty Englishmen returned with him, but each survivor was rich for life. In 1577-80 Drake raided the Pacific coast of Spain's American empire, then returned via Asia, circumnavigating the globe. With Hawkins he was an admiral of the fleet that defeated the Spanish Armada (1588), but died of disease in 1596 (at age 56) after an attack on San Juan, where some Spanish treasure galleons had sought shelter. PIET HEYN AND THE TREASURE FLEET (1628) - Your Forces: Four Fast Galleons: Vergulde Valk, Hollandia, Dolfijn, Haarlem Two Sloops: Tijger, Postpaard 700 men. Political Situation: Holland is at war with Spain and allied with England. France and England are also at war with Spain. Your Prospects: You command a powerful if cumbersome squadron, vanguard of the great Dutch privateering fleet. The Spanish Treasure Fleet is an excellent goal. However, it's late in the season. You must start hunting immediately off Havana or in the Florida Channel. You'll undoubtedly find a variety of smaller ships, but if you're lucky and persistent, you may find the treasure galleons. If you miss the treasure fleet, don't be shy about raiding a Spanish port or two. Your forces are not especially maneuverable, buy they are quite powerful. This is a situation where a good plan, patient execution, and more than a little luck are the keys to success. Historical Chronicle: Piet Heyn was already a famous Captian when he sailed under Admiral Willekens and led the 1624 attack that captured the Spanish colony of Sao Salvador (Bahia) on the Brazilian coast. Although the conquest only lasted one year, the Dutch gained invaluable expertise in producing fine sugar from sugar cane, knowledge they spread around the Caribbean in the succeeding decade. By 1626 Sao Salvador was producing for Spain again, so Heyn raided it again! In 1628 Heyn sailed for the West Indies with a powerful warfleet of nine large warships and five jachts (sloops). He cruised along the Main, then swung up to th north coast of Cuba. Off Havana he finally sighted the Spanish treasure fleet of forty to fifty sail. He quickly captured nine small stragglers while the rest escaped in all directions, two running aground in the process. Four royal treasure galleons fled in Matanzas Bay on the Cuban coast. Heyn pursued them ran his ships onto the shoals alongside the Spanish, traded broadsides and boarded. The battered and demoralized Spanish either surrendered or fled ashore, leaving 46 tons of silver in Dutch hands. This loss ruined the Spanish economy and gave the Dutch government much-needed funds at a critical point in the Thirty Years War. There was great rejoicing in Amsterdam when a fast jacht sailed into that port carrying the news of Heyn's fabulous victory. L'OLLONAIS AND THE SACK OF MARACAIBO (1666) - Your Forces: One Sloop Five Pinnaces 400 men. Political Situation: France is at war with England and Spain, and allied to Holland. In addition, England and Holland are at war. Your Prospects: Your force is strong in men but weak in naval power. Therefore, like L'Ollonais, your best prospects are in attacks on ports rather than captures at sea. All but the strongest Spanish cities are within your grasp. Beware the fragile morale of your men. These Tortuga buccaneers are impatient for riches. They will not tolerate long, fruitless cruises. But still, a target must be selected with car. One disappointment an mutiny is not far off. This expedition is challenging but not extraordinarily difficult. However, you must exercise good judgement at the start, and then execute the plan quickly and confidently. HISTORICAL CHRONICLE: Arriving in the Indies as an indentured servant to the planter in French Hispaniola, Jean-David Nau came fro the Les Sables d'Ollone in Brittany. When his indenture was up in 1660 he immediately went to Tortuga; within a few years he was commanding his own buccaneer voyages. Nicknamed L'Ollonais ("the man from d'Ollone"), he was one of the most ferocious and inhuman pirates who ever lived. In 1666 the terror and prestige of his name was enough to collect a fleet of small boats, crowded with men, bound for Maracaibo. he surprised the forts and took the city by storm. Despite a bloody plundering that lasted a fortnight, the town yielded only modest amounts of gold and silver. His next stop was Gibraltar. The Spanish there mustered a powerful militia, but after a difficult fight in marshy ground, L'Ollonais' buccaneers prevailed again. The town was thoroughly sacked, inhabitants tortured and killed, and ruins left in the Frenchman's wake. Six months after departing, L'Ollonais arrived at Tortuga with enough plunder to return to France a wealthy man. But he had expected riches beyond imagination. So L'Ollonais mounted a new expedition to the coast of Nicaragua and Honduras. Despite escalating barbarity and cruelty, he found so little that his companion ships sailed away,leaving his tiny band forlorn and hungry. L'Ollonais and his men went inland, raiding Indian villages for food. This final bit of nastiness was his undoing. Jean-David Nau's muttering and mutinous crew deserted him when vengeful Indians ambushed the party. Grievously wounded by poison arrows, he was clubbed to death. HENRY MORGAN, THE KING'S PIRATE (1671) - Your Forces: One Frigate: Satisfaction Two Merchantmen: Lilly, Dolphin One Barque: Mayflower Two Sloops: Fortune, William One Pinnace: Prosperous 600 men. Political Situation: England and France are both at war with Spain. Your Prospects: You have a formidable force for either land or sea fighting. You could seek additional recruits and food, or you can immediately venture against almost any place in the Indies with good prospects of success. Your greatest immediate difficulties are procuring enough food to keep your men fed, and enough plunder to keep up morale. This is an expedition that appears easy initially, but can become rather challenging. Historical Chronicle: Henry Morgan was a successful privateer and buccaneer leader. He had sacked Puerto Principe, plundered Gran Granada on the far side of Nicaragua, overwhelmed the fortifications of Puerto Bello, and followed in L'Ollonais' footsteps at Maracaibo and Gibraltar, although both places yielded little wealth and plenty of hot fighting with aroused Spanish defenders. On August 24, 1670, Morgan sailed as Admiral of Privateers under the auspices of Governor Modyford of Jamaica. He rendezvoused with French buccaneers from Tortuga and western Hispaniola, swelling his forces to 2,000 men or more, making him strong enough for any venture. His goal was Panama, richest city of the Spanish overseas empire. Sailing upriver and then marching overland, he arrived outside the city in January, 1671. Here the governor of the province, Don Juan Perez de Guzman, had collected his troops and militia. On the plains outside the city the two forces fought a pitched battle. The Spanish lost. The city was taken, plundered, and ultimately burned to the ground. However, the loot was disappointing. Many of the richest Spaniards had fled with their families and wealth, rather than staying around to defend it. The sack of Panama was Morgan's crowning achievement. He wisely retired while still ahead. Although Modyford lost his governorship and was imprisoned because of the affair, Morgan received a knighthood. He retired on Jamaica an honored and wealthy man. He died of too much drink in 1688, at age 53. BARON DE PONTIS AND THE LAST EXPEDITION (1697) - Your Forces: Five Frigates One Sloop 1200 men Political Situation: France is at war with England and Spain. Your Prospects: Your force is the most powerful ever on the Spanish Main. You are free to select the target of your choice and strike. The real question is, how much treasure can you carry off? This expedition is a pleasant romp, suitable for commanders who enjoy the 'sure thing'. To obtain a suitable challenge at all, select Swashbuckler difficulty level. After all, in the real expedition both de Pontis and du Casse were wounded in battle! Historical Chronicle: In March 1697 Baron de Pontis was in Saint Domingue (the French colonies of Western Hispaniola) with thirteen warships of the royal French navy under his command. Louis XIV's France was simultaneously at war with England and Spain, and running short of men, ships and money. The Baron's goal: Cartagena. His purpose? To strike a crippling blow at Spain as well as securing a large treasure to support the French war effort. Jean Baptiste du Casse, the French colonial governor since 1691, was ordered to support de Pointis. He collected hundred of local buccaneers and privateers under the command of Jean Bernard Louis Desjeans, who had sailed with the French privateering fleets of the 1680s. The French expedition arrived off Cartagena in April and began reducing the Spanish defenses. Outlying forts were seized, often with the buccaneers in the vanguard, while the fleet moved up behind in support. Isolated and demoralized, the Spanish fell back on the city. The French deployed and opened fire with powerful 24-pounder and 36-pounder siege mortars, demolishing the city's fortifications. On May 6, 1697, governor Don Diego de los Rios y Quesada surrendered Cartagena. Baron de Pointis carried off all the available wealth, paying the buccaneers at the same rate as his own men (which was a pittance compared to a privateer-style division of plunder). Worried about a powerful English squadron known to be hunting him, de Pontis sailed for home with a treasur worth 20 million Livres in his hold. The buccaneers, upset and angry with their tiny share, returned to the still prostrate city. There they sacked, pillaged, raped and tortured until the residents coughed up another 5 million Livres worth of plunder. Meanwhile de Pointis was intercepted by Neville's English fleet south of Jamaica, but the French outmaneuvered the English at night and escaped. The sack of Cartagena in 1697 was the last great expedition involving buccaneers. It wouldn't have occured without de Pointis' powerful and well- equipped invasion force. Nations were now fielding regular army and navy units in the Caribbean. The pirate's freedom of the seas was at an end. ANOTHER AGE ~~~~~~~~~~~ Around 1500, when Spain discovered the Caribbean basin, Europe was just emerging from the Middle Ages. Most people were peasants, farmers scratching out a bare living form the soil, ruled by a small but powerful class of aristocratic landlords. Some people lived in the towns and cities founded in the Middle Ages, but townspeople remained a small percentage of the population. Their trade and industry only made a marginal impact on the lives of the vast majority. A rare few made their living "on the road" as peddlers, beggars, sailors and thieves. To the majority they were a source of tales, or warnings for children ("Be nice or Black Bart the highway man will eat you for dinner!") The period from 1550 to 1650 is sometimes termed "the Iron Century" because ordinary people's lives became so harsh. Europe's population had been growing rapidly since the early 1400s. Around 1500 the number of people began to exceed the amount of available farmland. Trade and manufacture had developed sufficiently so some peasants with little or no land could do part-time weaving (the source of much clothe in Europe), or move to towns and cities to seek employment in business centered there. These enterprises could absorb only some of the surplus population. So, some young men found employment in mercenary armies that served competing causes in the growing Catholic-Protestant conflict. Unfortunately this employment did more damage than good, for armies then were not as polite as today. Soldiers lived off the land, ruining the farms and livelihoods of the peasants. This destroyed the economic substructure upon which all depended. The intense religious hatreds added an extra measure of ferocity to the struggles, international or civil, causing devastation and death wherever war occurred. As the 16th Century came to an end, overpopulation, war, and the growing taxes brought unprecedented poverty to most areas of Europe. Villages were torn between the lucky few who had enough land to support their families, and the insecure majority whose survival depended on a fortunate growing season and sufficient extra work. Swarms of paupers huddled in slum quarters of towns, while beggars and brigands infested the countryside. Vagabonds, the rootless poor, became an unmanageable problem, straining Europe's charitable institutions and swamping its courts. Brigands were beggars who stole instead of asking. They often fared better as a result. They were just one group of many criminal elements who found in lawlessness an escape from grinding poverty. In towns they practiced burglary and larceny; in the countryside they worked as highwaymen and thieves; and at sea they operated as pirates. Thieves worked alone or in small bands, brigands in moderates sized bands, while pirates operated in larger groups because they needed to crew a sizable ship. Sometimes pirates even worked in fleets of several ships. The Mediterranean had long known pirates, who went so far as to organize mini-kingdoms on the Barbary coast of North Africa. The New World opened new opportunities for piracy. But whether they operated as thieves, brigands, or pirates, all these men struggled to survive in a harsh and unfeeling world by preying on others. They redistributed wealth from those who had it but could not protect it, to those who didn't have it but had the power to seize it. A brigand or pirate might begin his career in order to survive, but he often continued it to prosper. In a society torn by religious hatred and war, with governments still weak and uncertain, success bred success and power respected power. A brigand band could join an army as a group of mercenaries. A pirate might well drift in and out of service of a government. Governments found it expedient to use pirates against their enemies, while pirates found it profitable to ply their trade with a royal seal of approval, a privateer's Letter of Marque. Perversely, a pirate might find himself fighting alongside a Count or an Earl, championing the cause of a king about whose goals and needs he knew little and cared less. However, notable service could bring notable rewards: wealth, land, legitimacy, and perhaps a title of nobility! A man who began as a poverty-stricken nobody might rise to rub elbows with the old aristocratic families who had led the realm for generations. The mounting cycles of war and poverty climaxed in 1618 with the outbreak of the Thirty Years War. What began as a religious strive in Germany became a constitutional struggle as the Habsburgs tried to consolidate their hold on that land. Holland, Denmark, Sweden, and ultimately France intervened to help the German Protestants frustrate this plan. The international melee turned vast areas of Germany into wasteland. Entrepreneurs stepped in where kings and emperors were weak. They created huge mercenary armies that swarmed across the countryside like a plague of locusts. This was the heyday of the mercenary and the freebooter, as soldiers and captains sold their services to the highest bidder and switched sides when the time seemed ripe. But even the greatest of the mercenaries was defeated in battle by a well- organized national army (that of King Gustavus Adolphus of Sweden), recruited through national conscription and supported by national taxes. The French also used a national army fashioned after the Swedish, and the English Civil War, which raged separately on that tormented isle, was won by Cromwell's "New Model Army" formed on the same principles. As the 17th Century approached its midpoint, the age of the mercenary and pirate was waning in Europe. Within a few decades this new national power and organization would extend into the Caribbean, driving out the buccaneers and pirates. The rise of national governments brought new taxes, oppressive new central administrations, and government bureaucrats whos powers rivaled that of the old nobility. A series of revolutions in Spain, Portugal, Italy, and France, and near-revolutionary constitutional conflicts elsewhere showed how the lower classes and local nobles resisted the new order. But the powerful national governments emerged victorious. No longer would the state tolerate independent agents using the techniques of war. Armies were firmly under royal control, disciplined and supplied from depots. Navies were directed to put down piracy as well as to fight with other countries. The France of Louis XIV, the Sun King, epitomized this new order. Meanwhile, the colonies around the Caribbean were no longer serving as silver mines for the Spanish Empire. Instead, the new English and French colonies, the "Sugar Island", formed the cornerstone of a triangular trade network involving Europe and Africa. This was the most important of many economic developments that helped Europe sustain its growing population in the later part of the 17 and 18th Centuries. Conditions were still hard for many, but prosperity grew as the economy found new forms and new energies. This wealth was little endangered by pirates, for long before it reached its peak the naval vessels and royal courts of the various European kingdoms had all but eliminated piracy from the high seas. The age of the freebooter was gone. The age of the bureaucrat had begun. - Edward Bever, PhD (History) Pirates Doc....part 3. Edited for DOC 12 by Sewer Possum. THE SILVER EMPIRE ~~~~~~~~~~~~~~~~~ INTRODUCTION - The Spanish Empire reaches its peak in this era, both in Europe and in the New World. The empire is built on mountains of silver bullion from New Spain (Mexico) and Peru. This bullion finances Spain's imperial glory, but also encourages misguided economic policies that will soon ruin the country. The secondary export from the Indies is hides of uncured leather. Spanish colonial grandees prefer ranching large herds to managing farms and plantations. Ranches are equivalent to the property noblemen own in old Spain. Holland, a province of this far-flung empire, begins its revolt against Spanish rule into the 1560s. England, ruled by Elizabeth I (1558-1603) develops an anti-Spanish policy as well. France had been and will remain consistently anti-Spanish, surrounded as it is by Habsburg territory (the Habsburg family controlled the Austria and Spanish thrones, whose territory included a considerably amount of Italy as well). Spain in this era is the only European nation with large, populous colonies in the New World. With the exception of one abortive venture at St. Augustine, the other European powers have nothing more than temporary anchorages and tent towns, casual bases for privateering and smuggling that appear and disappear with the season. CITIES & TRADE - Spanish Colonies: Cartagena, Panama, Santiago, and Santo Domingo are the great and powerful cities of the Spanish Main. All except Panama have impressive fortifications, and all have large military garrisons. Prices for everything are high here; European goods are in especially high demand but Spanish trade laws are firmly enforced. San Juan (on Puerto Rico) is very nearly as large as the major cities. Havana is a growing port that during this era becomes one of the new, great cities of the region. The increasingly frequent stops by the treasure fleet boost Havana's economy. Vera Cruz and Nombre de Dios are unhealthy cities that are only populous and wealthy when the annual fleet is in. At that time vast wealth fro Peru (to Panama) and New Spain (to Vera Cruz) is being loaded onto the ships. Larger, politically important cities with a craving for European goods include Campeche, Cumana and Maracaibo. The towns in economic difficulties, and therefore more likely to trade with foreigners, include all ports on underdeveloped Jamaica and Hispaniola (except the capital Santo Domingo), and the lesser ports of the Main, such as Santa Marta, Gibraltar, Coro, Puerto Cabello and Margarita, although the last is rich only from its declining pearl fisheries. The inland capitals of Villa Hermosa and Gran Granada are still economically weak. Both were in the front lines of Spanish conquest just a few years previously. Trinidad is tiny, but already beginning its unique role as a transshipment point between Atlantic carriers and local Caribbean trade, an activity illegal by Spanish law, but nonetheless profitable. Smugglers find a ready supply of cheap European trade goods, and good market for selling hides. Other Colonies: The only non-Spanish colony is the new French one at St Augustine (in Florida). A few additional French and English privateering bases exist in the Florida Keys and bahamas. These have an erratic population and uncertain wealth. No agriculture exists, so food supplies are uncertain. The only official colonial governor of either nation exists at St. Augustine. Unless other colonies grow or change colors, be sure to remain friendly with the French here. All non-Spanish promotions, titles, and land must come from him. PROSPECTS FOR SUCCESS - A successful career in this period requires exceptional skill and guile. All the major ports are Spanish controlled, forcing one to either trade with them (as Hawkins tried), or to capture them by assault (Drake's method). Trading eventually improves the economic status of the towns, making them more likely to obey Spanish laws and shut you out! Conquest is difficult, especially against well-populated cities, and often is undone by a Spanish counterattack. Furthermore, once you initiate warlike actions and the Spanish become hostile, you must wait for a "Pirate Amnesty" before attempting a trading strategy once more. You must husband your crew carefully. AVoid dividing up the plunder for as long as possible. Recruiting new crewmen can be extremely difficult. The English Seahawk: With solid backing from your monarch, you have a powerful and flexible force. This is fortunate, since you'll need to find quick profits to enlarge your tiny coffers. The French Corsair: Your small, fore-and-aft rigged craft is no match for a well-armed war galleon. If you encounter men of good reputation or high rank, discretion is definitely the better part of valor. Even if you survive the encounter, your crew may be so depleted that recruiting replacements may take months. The Spanish Renegade: You start in a regrettably weak position, and must take risks at almost every turn to improve your fortunes. This is not the life for the fainthearted! MERCHANTS & SMUGGLERS 1600-1620 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ INTRODUCTION - After the 1590s the Spanish Empire begins a slow slide into decay and chaos, both militarily and economically. Misguided economic policies combined with a shortsighted aristocracy, redoubled by a powerful and restrictive church, will doom Spain for centuries to come. In the Americas, expensive fortifications and garrisons ahve increased, but silver shipments and Spanish-owned merchant ships are fewer. Most astoundingly, the empire in America is literally an empty one. Diseases brought by Europeans to the New World have inflicted a century of horrifying plagues. The Caribbean basin has been depopulated. In New Spain (Mexico) the Indian population plunges from 25 million in 1500 (before the conquest) to less than 2 million in 1600. Food supplies are short for lack of farmers, and mine output falls for lack of workers. Spaniards in New Spain totaling more than 100,000 by 1600. Worse, virtually no Spaniards are productive members of society - they expect to live a grandiose live, with slaves and Indian peons serving them. The same pattern repeats throughout the Caribbean and along the Spanish Main. Conversely, England and France are growing, vital nations. In this era both have new kings who seek peaceful relations with Spain. Although this reduces the opportunity for privateering and piracy, neither monarch discourages colonization. The reputation of riches, pleasant climate, and emptiness of the Americas all beckon. A miscellaneous assortment of Frenchmen and Englishmen start new colonial ventures. The Netherlands, after decades of rebellion against Spain, are virtually victorious. More amazing, Holland is an economic miracle. Out of war, peaceful and profitable enterprises spring. With new ship designs (the Fluyt), joint- stock companies, and the twelve years truce, Dutch commercial interests are exploding world-wide. However, at this time the big Dutch companies are mainly interested in Indonesia and Asia, leaving the West Indies to smaller operators. CITIES & TRADE - Spanish Colonies: The cities of Cartagena, Havana, Panama, Santo Domingo and Santiago are the capital cities of the West Indies. Each is populous, rich, well fortified, heavily garrisoned and intolerant of foreigners. Here tobacco and European goods command premium prices. Puerto Bello has replaced Nombre de Dios as Panama's Caribbean port for the Silver Train and Treasure Fleet. Vera Cruz continues to serve the vast inland areas of New Spain. Both cities are still unhealthy, which limits their growth and economic success. The majority of the Spanish Main and inland Central America is now economically viable. The smaller towns of the Main frequently grow tobacco and welcome smugglers. The hinterlands of Hispaniola are another area where tobacco smugglers are welcome. Trinidad is in its heyday as a wide-open smuggler's port. Local Caribbean smugglers can sell their tobacco for decent prices, then buy European goods from Atlantic traders in reasonable quantities. The Spanish governor, without harbor forts and served by a laughably small garrison, can do little but take lucrative bribes and look the other way. English Colonies: Early colonies exist on St. Lucia and Grenada, although both are at considerable risk from the cannibalistic Caribe indians. Both need regular imports of food. No large tobacco plantations or organized defense exist yet. French Colonies: No French colonies exist, but old privateering anchorages with small "tent camp" towns can be found in the Bahamas. Here there is no local agriculture. Food costs are dear, precious little is available to supply a ship. Dutch Colonies: Although Dutch fluyts are common traders in these waters, no Dutch ports ("factories") exist. This is because the monied interests in the Netherlands are busy financing colonial ventures in the East Indies (notably Indonesia). The Dutch spend most of their time trading in smuggled goods with the smaller Spanish colonies. Trinidad is their unofficial home port in the New World. PROSPECTS FOR SUCCESS - Difficulties in this era are similar to the 1560 period. Furthermore, Europe is tending toward peach, dimming the prospect for privateering profits. With the dearth of friendly ports and peach in the offing, you should seriously consider searching for friendly Spanish ports and smuggling goods between them and Trinidad, with occasional trips to the new English colonies or the old French privateering anchorages to the north. The English Explorer: The situation and strategies for this era are not unlike those of the previous decades. Do you settle into a life of peaceful trade and smuggling, or do you seek out a war and go on privateering expeditions? Your large crew suggests privateering, but the capacious merchantman with its sluggish sailing qualities and weak armament makes trading attractive too. The French Adventurer: Your ship and crew are will suited to privateering. However, the lack of strong, friendly ports is a serious handicap when recruiting men or selling captured goods. Conquering a few Spanish ports and installing friendly administrations should be a high priority. The Dutch Trader: Your ship is admirably suited to mercantile endeavor, but sluggish and underarmed for battle. While trading keep the crew under twenty (but not below eight, as that's the minimum to operate a ship). Pay them off and recruit new ones periodically to keep morale high. Use Trinidad as a base and experiment at various Spanish cities. Discover which governors are tolerant, and which will open fire. Privateering against the Spanish is tricky business - and you will lose trading privileges until Spain offers an Amnesty. The Spanish Renegade: The renegade's life, never easy, is quite difficult in this era. Only the most courageous should undertake this course. THE NEW COLONISTS 1620-1640 ~~~~~~~~~~~~~~~~~~~~~~~~~~~ INTRODUCTION - Europe is ablaze with a new and bloody war between Protestant and Catholic (the Thirty Years War). The decay of Spain's American empire continues. Towns and cities are financially weaker, with fewer troops than ever. The economy and culture is stagnant. Spanish ranches, plantations and mines are increasingly dependent on slave labor imported from Africa. Holland is now the world's leader in mercantile shipping. Dutch companies finally turn their attention to the West Indies. The renewed war with Spain offers many opportunities for the large join-stock companies to finance military expeditions against the Spanish. The old English and French privateering anchorages swarm with Dutch warships. In England a new round of colonial ventures is fueled by declining economic opportunity and growing intolerance for radical Protestants (such as the Puritans). After the demise of St Lucia and Grenada colonies, and the near death of Virgina, new and stronger colonies are being founded. These colonies will persevere. France, in the grip of Cardinal Richelieu, is slipping once more into civil war between the Protestant Huguenots and the Catholic government. Throughout the 1620s French Huguenots flee France and found colonies in the New World. Then, in the 1630s, France enters the cataclysm in Germany: The Thirty Years War. CITIES & TRADE - Spanish Colonies: The cities of Cartagena, Havana, and Panama remain the capital cities of the West Indies. Santiago and Santo Domingo, the old capitals, have declined to a secondary position, though each is still rich by American standards. Many cities on the Main are economically viable, but few are prosperous. Tobacco is a cheap export crop at some towns. The more backward towns in the hinterlands of Jamaica and Hispaniola are primarily victualing and watering ports. Trinidad remains a popular smuggling port where European goods are plentiful and fairly cheap, having come across on trans-Atlantic traders, while good prices are paid for tobacco. However, this port is being overshadowed by the new English colonies to the north. English Colonies: Barbados, the first successful English colony in the West Indies, is growing fast. Increasingly, English ships use it as their home port in the Caribbean. As at Trinidad, merchants serving the trans-Atlantic trade will pay good prices for tobacco. The colony on Nevis is newer and smaller. The new venture on Providence island off the Mosquito Coast, deep in the heart of the Spanish Empire, is the premier base for privateers and pirates raiding the Main. French Colonies: On the shared island of St Christophe (St. Kitts to the English), the French have the upper hand. This colony is largely Catholic, while the unofficial but growing presence in northeast Hispaniola is largely Protestant. These enterprising Huguenots have already claimed Tortuga off the coast, as well as establishing Petit Goave. Dutch Colonies: Fully fledged Dutch colonies are sparse. Along with the traditional Bahaman and Floridin privateering anchorages, the Dutch have begun a "factory" (trading town) on an island positioned right in the center of the Spanish Main: Curacao. PROSPECTS FOR SUCCESS - The new colonial ports are a godsend to privateers, who now have legal employ thanks to renewed warfare in Europe. Pinnaces and Baraques with piratical intent are everywhere in the Caribbean. Spanish strength continues to wane, especially at sea. A well outfitted force can even attempt to capture the Treasure Fleet on the high seas. Still, one must watch political developments closely. Spain is quite capable of mounting periodic counterattacks to wipe out intrusive colonies or troublesome privateer bases. The English Adventurer: Don't be shy about privateering against the Spanish. After building your reputation, fortune, and fleet you can venture ashore and try your hand at plundering the smaller towns and cities. Opportunities about for a man of boldness. The French Huguenot: Your Barque is a handy vessel for the Caribbean, and well suited to privateering against Catholic Spain and its hated Inquisition. Tortuga and Petit Goave are ideal bases, deep in Spanish territory and only a short sail from the Florida Channel and its yearly treasure fleet. The Dutch Privateer: you have a very powerful force, but there is a lack of Dutch bases. Therefore, cultivate friendship with the French and English (regardless of your government's opinion, if possible). Can you duplicate Piet Heyn' feat of 1628 and capture the Spanish treasure fleet? The Spanish Renegade: As in 1560 and 1600, the life of a renegade is unenviable, but conditions are somewhat improved. The non-Spanish colonies are few, so it's wise to remain friendly with England, France and Holland. WAR FOR PROFIT 1640-1660 ~~~~~~~~~~~~~~~~~~~~~~~~ INTRODUCTION - In Holland, Germany and France the last great religious war of Europe (the Thirty Years War), begun in 1618, is degenerating into famine, plague and starvation across a landscape of ruins. England, having avoided European disasters, is on the brink of its own ruinous civil war that will result in a short but brutal military dictatorship by Oliver Cromwell and his Protestant armies. Of all the European nations, Spain is the worst position. Economic and political conditions in he homeland are so bad that provinces are revolting against a bankrupt and ineffective government. Disasters in Europe breed new opportunities in the West Indies. Spain colonies are at their military and economic nadir. Freebooters and privateers, experienced from the European conflicts, can pillage and plunder the helpless Spanish with ease, and with precious little interference from European governments. Non-Spanish colonies are growing everywhere, fueled by boatloads of refugees. While some settle into the plantation economy, others take to the buccaneering life. Meanwhile, the crafty Dutch are making a fortune by carrying the trade goods among these new colonies. Peaceful trading may not be as profitable as privateering, but it's a safer business. CITIES & TRADE - Spanish Colonies: The richest Spanish cities remain the great capitals of the region: Panama, Cartagena, Havana, and Santiago. These continue to have wealthy economies and high prices. San Juan and Santo Domingo are prospering, but remain populated by old, aristocratic families with expensive tastes. Both cities are will fortified and garrisoned. All other Spanish cities are barely prospering, if that. Towns in the hinterlands are on eh verge of disappearing under the tidal wave of immigration from England, France and Holland. English Colonies: Barbados is the unofficial capital of the English West Indies. It is a traders dream. European goods are freely available, sugar sells for premium prices, and the local merchants are wealthy and well-stocked. The colonies on St. Kitts and Nevis are economically strong and well populated while Antigua, Montserrat, Bermuda, and Eleuthera are newer, smaller colonies with little population, low prices, and tiny warehouses. French Colonies: Guadeloupe and Martinique are the major colonies in the Caribbee Islands (Lesser Antilles). However, all eyes are drawn to that well fortified haven of privateers, buccaneers and outright pirates: Tortuga. Already this name inspires terror. Mainland Hispaniola French colonies are developing slowly at Petit Goave. French privateers still use anchorages in the Florida Keys to plunder Spaniards in the Florida Channel, as well to descend upon the north coast of Cuba. Dutch Colonies: Curacao is the Dutch equivalent of Barbados. This large, rich, well-defended free port offers good prices for sugar and sells quantities of European goods in return. A second international free port is developing at St Eustatius, while sleepy St. Martin is a placid place for sugar planters and other peaceful fellows. PROSPECTS FOR SUCCESS - Opportunities abound and success awaits. Spain is almost always at war with somebody, and not uncommonly with everybody! Since Spanish military power is a joke, the opportunities for privateering and outright plunder are legion. After a rich cruise against the hapless Spanish, no voyage is complete without a wild party at Tortuga, Barbados, or Curacao. The English Adventure: As a privateer, everything is in your favor. A plethora of friendly English colonies are ready and willing to buy your plundered goods, while the taverns are brimming with sailors seeking a berth with a successful Captain. Smiling governors will shake your hand and bestow land and honor for your efforts. Isn't life grand? The French Privateer: Privateering is a growth industry with great profits for the French, as with the English. Tortuga is the ideal base for such activities, sitting between Santo Domingo, the great cities of Cuba, and the rich fleets passing outbound through the Florida Channel. Down a pleasant beam reach to the south lies the heartland of the Spanish Main and the usually friendly port of Curcao. The Dutch Trader: Tired of war, many Dutchmen prefer the peaceful role of trading. The new and growing French and English colonies offer many opportunities to a savvy merchant. Trade routes between the large, rich colonies and the new, small ones yield easy profits. One can also trade with the poorer Spanish cities, who have cheap sugar and food that sells for premier prices on Curaca or Barbados. Of course, the lure of privateering for the English or French remains strong! The Spanish Renegade: This is one of the two eras (the other is 1660) where the life of a renegade can be fairly pleasant. Raiding the Spanish is a rewarding occupation, war or no war. THE BUCCANEER HEROES 1660-1680 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ INTRODUCTION - The military decline of the Spanish Empire continues when senile King Phillip IV is succeeded by the lax and inept regency for Charles (Carlos) II, who in 1665 becomes King at age four. Although Spanish America is left without military protection, bureaucratic interference in its economic affairs diminishes also. This, combined with renewed output form the silver mines, starts an upswing in the Spanish-American economy. England, France and Holland are now strong colonial powers. Jealous of Holland's commercial success, England begins economic war against Holland with the Navigation Act (1651) and the Staple Act (1663), legislating trade limits that would ruin the free-trade Dutch merchants. This causes three shooting wars within twenty years. Meanwhile, Louis XIV has finally taken control of France with the death of Cardinal Mazarin in 1661. The "Sun King's" aggressive foreign policy sparks almost constant warfare with England, Holland, and Spain as frequent opponents. In short, Europe is a dogfight of international intrigue and warfare, with enemies and allies changing as frequently as partners in a court dance. In the Caribbean, governors face new threats from all directions. St. Eustatius changes hands ten times between 1664 and 1674. The home governments provide virtually no military forces, so the governors ask buccaneers, privateers and pirates to guard their colony and carry the fight to the enemy. These sensible, profit-oriented warriors are often difficult to control. CITIES AND TRADE - Spanish Colonies: Panama, Havana, and Cartagena endure as the three greatest Spanish cities, rich, well fortified, and well garrisoned. Still sizeable but of declining importance are Santiago, Santo Domingo, and San Juan. The remaining Spanish towns are beginning to prosper again, but are so weak militarily that all are prey to buccaneers and pirates. English Colonies: Barbados remains the great English colony, with St. Kitts close behind. Captured from Spain in 1655, Jamaica is the home of Port Royale, the new English buccaneer haven in the midst of the Spanish empire, only a short voyage downwind from the French colonies on Hispaniola. French Colonies: In the Caribbee Islands (Lesser Antilles) Guadeloupe and Martinique are the main bastions of French power, while around western Hispaniola Tortuga, Port- de-Paix, Petit Goave, and Leogane are buccaneering stongholds amid the growing wealth of French sugar plantations. Dutch Colonies: Curacao remains the premier Dutch colony and one of the greatest free ports in the world. St. Eustatius almost surpasses it, but conquest and reconquest by numerous expeditions has damaged its economy. PROSPECTS FOR SUCCESS - This era is sometimes called the "Golden Age of Buccaneering". There's plenty of warfare to legalize your actions, and a plethora of rich Spanish and non-Spanish ports to either raid or use as bases, as you prefer. Because of her military weakness, Spain's ships and towns are the popular target for buccaneers and pirates of all nationalities. The English Buccaneer: Port Royale makes an excellent base of operations, while Barbados is still the best place to dispose of large amounts of loot at a very good price. The main disadvantage of Port Royale is that recruiting a good crew often requires side-trips to the French buccaneer towns on Hispaniola, while a base in the Caribbees give you access to many English ports for quick, easy recruiting. The French Buccaneer: Privateer or pirate, it is wise to leave one or two nations alone, so you have potential trading partners in case an unexpected peace breaks out. You'll find recruiting especially easy in the vicinity of Hispaniola, with four separate French buccaneer ports within a short sail. The Dutch Adventurer: Dutchmen of this period weren't shy about offering their services to other nations, and were always looking for the main chance - a venture with profit, be it peaceful or warlike. Don't ignore the excellent prospects for peaceful trade. Above all, remember that Barbados and Curaca are two richest ports in non-Spanish America, good fore either trading or selling a looted cargo. The Spanish Renegade: Although a renegade's life is never easy, this era is a bright spot on a dark sea of danger. Privateering or piracy against Spain is, of course, the recommended course. PIRATES' SUNSET 1680-1700 ~~~~~~~~~~~~~~~~~~~~~~~~~ INTRODUCTION - Europe is as full as ever of tumult and warfare, rapidly shifting alliances and strange political bedfellows. But the depredations of the buccaneers in the Americas have taught politicians and military men a lesson. Warriors who fight for profit can ruin the local economy. Meanwhile, nations have bigger and more powerful fleets and armies, big enough so troops can be spared for important colonies in the West Indies. All this spells the doom of privateering and the buccaneers. Spain may be ruled by a deformed idiot (the unhappy product of excessive intermarriage by the Habsburgs), but despite this the pirates disappear, chased from the seas by an English naval squadron based in Port Royale. Letters of Marque are harder and harder ot get. Buccaneers of all nationalities flock to the French flag in 1684 when it offers Letters of Marque again. Economically, this is an era of rising wealth and trade for all nations in the Caribbean. Although some piracy remain, the road to the future is one of peaceful trade and smuggling. CITIES & TRADE - Spanish Colonies: Havana, Panama, Cartagena, and Santiago are still important cities, despite the raids and misfortunes of the last century. Caracas has risen to prominence as the main harbor serving inland Terra Firma (South America), while Santo Domingo and San Juan have slipped to a second rank, isolated among the growing French and English island wealth. English Colonies: Port Royale, Barbados, and St. Kitts are the great English ports, with the other English Caribbees sound and healthy trading posts. The Bahamas are the new colonial frontier. Nassau, for example, is a wide-open pirate haven. A small English colony has even sprung up at Belize in Honduras! French Colonies: The French colonial empire has not changed its shape greatly in two decades. Guadeloupe and Martinique remain the twin economic capitals, now equal to the largest English ports. Tortuga is declining but the Hispaniolan towns of Port-d-Paix, Petit Goave, and Leogane are all thriving. Dutch Colonies: As with France, the shape of the Dutch dominions also is constant: Curacao is the great free port, St. Eustatius is recovering from wartime disasters and trying to live on trade with the recalcitrant English nearby. St. Martin, the northerly satellite, continues to expand quietly its plantation economy. PROSPECTS FOR SUCCESS - Prospects in this era appear as good as the 1660s and 1670s. However pirate- hunting warships appear more frequently, while the non-Spanish ports are larger and better fortified. Indeed, the fairly equal distribution of strong and weak ports throughout the Caribbean means the prospects for trading are the best in fifty years. If you do pursue a bellicose path, take advantage of pirate amnesties when offered, so you are prepared for a sudden outbreak of peace. The English Pirate: Well, mate ye always wanted a life of piracy. Try it on for size now! Novices are encouraged to try a voyage or two in the 1660s first, to get the feel of privateering, before embarking on a career of high seas crime. Beware the navy pirate hunters! The French Buccaneer: Privateering commissions are legally available still. Take advantage of them to raid the Spainish. Of course, it pays to beware of the Costa Guarda pirate hunters. The Dutch Adventurer: As a peace-loving free-trade Dutchman, you should think long on the advantages of trading and smuggling. Dutch ports are few, and although England and France have laws prohibiting trade with you, in reality the laws are ignored. Even the Spanish can be coaxed into trading more often than not. Of course, some of your compatriots made their reputation by sailing as privateers for France. In fact, two admirals of the French privateers in 1685 are Dutchmen! The Spanish Costa Guarda: Now that the English and French colonies are as rich as the Spanish, it's only appropriate that they taste some of their own medicine! The only difficulty is evading those French, English and Dutch warships that so inconveniently clutter up the seascape. _______________________________________________________________________________ APPENDICES :::::::::: _______________________________________________________________________________ GEOGRAPHICAL INDEX ~~~~~~~~~~~~~~~~~~ The Latitudes and Longitudes given in this index are consistent with the B&H map, included in this package. While quite good for the era, the measurements on this map are very inexact by modern standards. All founding dates are approximate. Antigua: 21 degrees N, 62 degrees W. Colonized in the 1640s, this island is a small pleasant backwater with a classic plantation economy. In the 18th Century it will become one of the two great navel base for the British Royal Navy in the Caribbean. Barbados: 18 degrees N, 59 degrees W. The first major English colony in the Caribbean (in the 1620s), Barbados is the economic capital of the Caribbee Islands (Lesser Antilles) throughout the middle and later parts of the 17th Century. Caribbean traders will find European goods numerous and the selling price of tobacco and sugar quite good. Belize: 21 degrees N, 88 degrees W. This small but hardy settlement of logwood cutters appears in the 1680's in a region conceded to be Spanish, but as yet uncolonized. Its stubborn presence will cause diplomatic problems for decades to come. Bermuda: 30 degrees N, 65 degrees W. Settled in the 1640s, Bermuda built its early economy on shipwrecks, thanks to the many treacherous reefs that surround the tiny island. Borburata: 16 degrees N, 67 degrees W. This modes city on the Spanish Main is noteworthy only in the late 16th Century. Thereafter it is sublimated in the growing power and importance of Caracas. Campeche: 23 degrees N, 90 degrees W. A well-established "old" Spanish city with aristocratic tastes, Campeche is an important port serving the inland provinces of southern New Spain and Yucatan. European goods fetch good prices here. Caracas: 16 degrees N, 66 degrees W. This city rises to prominence at the end of the 16th Century. It is the main port for inland farms and plantations, and home of many important Spanish families, who have expensive tastes in European goods. Cartagena: 16 degrees N, 75 degrees W. This is the largest port city of the Spanish Main, and after the 1590s a supposedly impregnable fortress. Here the treasure fleet winters before its return voyage via Havana and the Florida Channel. It has a powerful garrison of troops and a thriving economy with little need for illegal trade and smuggling. Coro: 17 degrees N, 70 degrees W. This small city on the east side of the Gulf of Venezuela thrives in the 16th Century, but after the 1600s it is overshadowed by the new ports to the east. During its brief heyday Coro is a good source of hides and tobacco. Cumana: 16 degrees N, 64 degrees W. The main port city of New Andalusia, it forms the eastern anchor of the Spanish Main, the last major harbor and fortress. It is a good market for European goods. This does not prevent it from indulging in smuggling and other nefarious pursuits from time to time. Curacao: 17 degrees N, 69 degrees W. First used in the 1620s, this island becomes a great free port under Dutch control. Spanish produce smuggled from everywhere along the Main are bought here by Dutch merchants, who happily exchange them for European products that can be profitable smuggled to the Spanish. Eleuthera: 26 degrees N, 76 degrees W. At first just an anchorage for privateers, Eleuthera becomes and English colony eventually. In the 17th Century it really never grows, remaining a backwater haven for pirates, privateers, and the other riff-raff who hide among the Bahamas. Florida Channel: 26 degrees N, 80 degrees W. The powerful Gulf Stream current has cut this channel along the southeast coast of Florida, forming a safe path past the Bahama shoals. Each year in the spring or summer the Spanish treasure fleet passes up this channel from Havana, bound for the North Atlantic Westerlies and the trip home. Florida Keys: 26 degrees N, 81 degrees W. Among this chain of tiny islands and reefs are transitory anchorages for privateers of varying nationalities. No permanent colonies are found here - it is too close to powerful Spanish Havana. Gibraltar: 15 degrees N, 71 degrees W. This city is a modest-size port for the inland farms and plantations of Caracos province. The horrifying rape and pillage of the city by L'Ollonais and again by Morgan destroyed its economic vitality, making it a nonentity by the 1680s. Gran Granada: 17 degrees N, 86 degrees W. Situated on the shores of Lake Nicaragua, this is the largest and wealthiest city of the Honduran provinces. Grand Bahama: 28 degrees N, 79 degrees W. This island in the northern Bahamas is used periodically as a privateering anchorage. It does not become an English colony until the very end of the era. Grenada: 17 degrees N, 61 degrees W. A group of English colonists attempt settlement here in the 1600s, but fail and the colony disappears by the 1620s. Guadeloupe: 20 degrees N, 61 degrees W. Colonized by the French, Guadeloupe becomes economically viable in the 1640s. Along with Martinique it is the cornerstone of French power in the eastern Caribbean. In the 1660s its fortress and garrison are increased as part of France's new interest in overseas colonization. Havana: 25 degrees N, 82 degrees W. One of the old cities of Cuba, during the middle 16the Century it grew rapidly because th Treasure Fleet used its harbor for a last provisioning before the dangerous journey back to Spain. Havana is a rich town where all mercantile activity is done strictly according to law. Prices are extremely high. Isabella: 23 degrees N, 71 degrees W. This tiny port town was initially established by Columbus himself, but fades in and out of existence as disease takes its toll. At the start of the 17th Century it is officially abandoned by the Spanish Government, its residents forced to resettle around Santo Domingo. La Vega: 22 degrees N, 71 degrees W. This smuggler's haven of the early and middle 17th Century serves the inland ranches and farms of northern Hispaniola. Prices are low and the law nonexistent, save the law you make with the point of your sword. Leogane: 22 degrees N, 73 degrees W. One of the new French buccaneer ports of the 1660s, Leogane serves the unofficial but rapidly growing French presence in western Hispaniola. Maracaibo: 16 degrees N, 72 degrees W. This is the chief port on the Gulf of Venezuela and guardian of the Maracaibo Lagoon (also known as Lake Maracaibo). As such it has more than its share of aristocratic families, with expensive tastes in European fashion. Margarita: 17 degrees N, 63 degrees W. In the early 16th Century this island was one of the richest pearl fisheries in the world. Unfortunately, the pearl beads are now fished out. Margarita is a shadow of its former wealth, withe ports abandoned and many families moving to bigger and richer mainland cities, such as Cumana an Caracas. Martinique: 19 degrees N, 61 degrees W. Colonized by the French, Martinique becomes economically viable in the 1640s. With Guadeloupe it is the cornerstone of French power in the eastern Caribbean. In the 1660s its fortress and garrison are increased as part of France's new interest in overseas colonization. Montserrat: 21 degrees N, 62 degrees W. This English colony, founded around 1640, remains one of small plantations and gentleman farming, a pleasant port of call with no especially important characteristics save low prices. Nassau: 26 degrees N, 77 degrees W. Since the mid 16th Century this Bahaman island has been a pirate anchorage. An English colony, officially begun in the 1680s, soon degenerates into a loud, squalid pirate haven full of verminous and evil men. The port is named "New Providence", to distinguish it from Providence Island ("Old Providence"). Nevis: 21 degrees N, 63 degrees W. This pleasant island, separated from St. Kitts by a narrow channel, was populated by the English at about the same time - the 1620s. While St. Kitts becomes a port of some importance, Nevis remains more agricultural, with pleasant plantations rolling across sun-drenched mountainsides. Nombre Dios: 15 degrees N, 79 degrees W. This town is the Caribbean port for Panama and Peru throughout the 16th Century. However, it is sited in an unhealthy swamp, is almost impossible to fortify, and is plundered mercilessly by English sea hawks. At the end of the 16th Century it is abandoned and a new port (Puerto Bello) established nearby. Panama: 15 degrees N, 80 degrees W. This large city links the wealth Spanish realms of Peru with the Caribbean. All trade with Peru is by ship on the Pacific coast, with Panama the terminus. Panama is linked to a Caribbean port (Nombre de Dios in the 16th Century, Puerto Bello in the 17th) by a mule train over the mountains of the Darien Isthmus. Petit Goave: 22 degrees N, 73 degrees W. Among the many small and informal French Huguenot settlements on the Western Hispaniola, this is the first (in the 1620s) to gain repute as an important port. but as the 17th Century continues, planters and plantation lords push out the rude buccaneers, gradually civilizing the raw colonial frontier. Port-de-Paix: 23 degrees N, 73 degrees W. This later French Huguenot settlement becomes a significant port in the 1660s, and by the 1680s is the informal capital of the French colonies in the Western Hispaniola Port Royale: 21 degrees N, 77 degrees W. In a natural harbor on southeast Jamaica lies a curving spit and sandbar. By 1660, just five years after the English conquest of Jamaica, the spit is covered by Port Royale, a booming, rollicking, buccaneer town. Its reputation was so evil that when an earthquake destroyed it at the end of the Century, colonials and Europeans alike considered it an act of divine justice. Pruerto Cabello: 16 degree N, 68 degrees W. This secondary port along the Spanish Main is a city of note through the 1620s. Ultimately, however, Caracas takes most of its business, while the new Dutch free port at Curacao destroys the rest. Puerto Principe: 24 degrees N, 78 degrees W. This was one of the first cities on Cuba. It represents the strengths of Spanish America: a wealthy city surrounded by ranches and a cattle economy. Providence: 18 degrees N, 82 degrees W. Also known as "Old Providence", it is first settled by an English colonial venture in 1620. The tiny island quickly becomes a base for privateers and pirates operating deep in the Spanish Main. The island is such a danger to Spain that a major expedition is mounted in 1640 to recapture it. This is successful, and to this day the island remains knowns by what the Spanish renamed it: Santa Catalina. Puerto Bello: 15 degrees N, 80 degrees W. By 1600 this city replaces abandoned Nombre de Dios as the Caribbean port for Panama and the Viceroyalty of Peru. Each year, when the Treasure Fleet arrives to pick up the Peruvian silver, Puerto Bello becomes a rich boom town. Weeks later, when the fleet departs for Cartagena, it lapses into malarial somnolence once more. Rio de la Hacha: 17 degrees N, 73 degrees W. This is one of the two major ports for the Colombian highlands (Santa Marta is the other). It does a thriving trade in export goods: first hides, then tobacco. San Juan: 22 degrees N, 66 degrees W. This is the great port city of Puerto Rico, and one of the most powerfully fortified of all cities in Spanish America. San Juan was settled early and remains a bastion of old Spanish aristocracy. Prices for all goods except food are high, and most times Spanish law is vigorously enforced. Ultimately it becomes a base for Costa Guarda raids on the Caribees. Santa Catalina: 18 degree N, 82 degrees W. When Spaniards take Providence Island from the English in the 1640s, they rename it Santa Catalina. Although the island is valueless to Spain, a garrison is maintained to prevent it from falling into English hands once more. Santo Domingo: 22 degrees N, 70 degrees W. This is the great capital city of Hispaniola, one of the largest and oldest in the entire American Empire of Spain. In the 17th Century its power and importance are fading, but the Spanish aristocrats and ranchers remain vigorous enough to defeat an English invasion in 1655 (disappointed, the English invade and conquer Jamaica instead). Santa Marta: 17 degrees N, 74 degrees W. Along with Rio de la Hacha, this is the other principal port serving the Colombian highlands. Large farmsteads nearby mean this city has low food prices, as well as reasonably priced hides and tobacco. Santiago: 23 degrees N, 76 degrees W. This is the original capital city of Cuba, and remains a large, strong city until very late in the era. Like all the great Spanish cities, prices are high while Spanish trade law is vigorously enforced. Santigo de la Vega: 21 degrees N, 77 degrees W. This is the main Spanish town on Jamaica before the English conquest. Spanish Jamaica was a tiny backwater, of little economic or military importance. St. Augustine: 30 degrees N, 81 degrees W. Originally a French colony in 1560, Spain attacks and captures it, massacring the Frenchmen and establishing their own fortress and garrison to discourage other Europeans. St. Augustine is of such small importance that nobody bothers to dispute Spain's ownership. St. Christophe: 21 degrees N, 63 degrees W. First colonized in the 1620s by a combination of Frenchmen and Englishmen, the Frenchmen are ascendant on the island in the early days. Later the English predominate and their spelling of the name is commonly used: St. Kitts. St. Eustatius: 21 degrees N, 63 degrees W. Settled in the 1640s by the Dutch, this island becomes one of the great free trade ports in the heyday of Dutch mercantilism. Unfortunately, its poor defenses and powerful English and French neighbors make it one of the most fought-over islands. The political and military turmoil badly damage the economy. St. Kitts: 21 degrees N, 63 degrees W. By the 1640s the English gain the upper hand on St. Christophe. When the English are predominant, this English name for the island is commonly used. The island develops a significant port that does a thriving trade with all nationalities. St. Lucia: 19 degrees N, 61 degrees W. English colonists settled here in preference to South America in the 1600s, but were quickly wiped out by their own ineptitude and the ferocious Carib Indians. St. Martin: 22 degrees N, 63 degrees W. This island is colonized by the Dutch in the 1640s. It remains a quiet, peaceful plantation isle for the remainder of the 17th Century. St. Thome: 15 degrees N, 61 degrees W. This tiny town, deep inland along the Orinoco River, acquires a small Spanish garrison about 1600. This is in response to Sir Walter Raleigh's abortive expeditions up-river. Tortuga: 23 degrees N, 73 degrees W. First settled by French buccaneers and Huguenots in the 1620s, it is built up and fortified into a great pirate base of the 1640s and '60s. Despite Spanish attacks, it survives as long as the buccaneers and pirates remained strong, but disappears as their power wanes. Trinidad: 16 degrees N, 61 degrees W. Theoretically a Spanish colony, this island never has a large population, nor much of a Spanish government and garrison. Its heyday as a smuggler's paradise is in the first years of the 1600s. Vera Cruz and San Juan de Ulua Harbor: 23 degrees N, 96 degrees W. This city with its island anchorage is the main port for the great inland Viceroyalty of New Spain (also known as Mexico). Once a year, when the treasure fleet arrives, this otherwise unhealthy city becomes a rich boom town. Villa Hermosa: 22 degrees N, 93 degrees W. This inland city is the capital of Tobasco province, a southerly but nontheless rich region of New Spain. Yaguana: 22 degrees N, 72 degrees W. In the 16th Century this town is a small port serving the Spanish west coast of Hispaniola. It is officially abandoned and its population deported at the end of the century as a punishment for excessive smuggling. =============================================================================== * CAPTAIN'S BROADSHEET * =============================================================================== A QUICK START - For your first game, the following "Quick Start" is recommended. Starting Options: Begin your first game with the following selections (starting selections are described in detail early in this document). 1. Welcome: Start a New Career. 2. Special Historical Period?: No. 3. What nationality are you?: English 4. Type Your Name (No more than 9 characters) and press 'Return'. You are an: Apprentice. Special Ability: Skill at Fencing. IMPORTANT - TREASURE FLEET OR SILVER TRAIN: You must know when the Treasure Fleet or Silver Train arrives. Refer to the chart listed at the end of Pirates.Dox.1A LEARN BY DOING - Some Players prefer to learn by experimentation. To do so, just read the notes below and refer to the Controls summary in this broadsheet. If you are confused, refer to the indicated sections of the manual for more details. Pause: The space bar pauses the action. This is handy while learning. Your First Duel: The joystick controls your fencing tactics. You see these tactics acted out on screen. You don not control each specific wrist, arm, body, and leg motion. In Port: Explore the port and the options available before leaving for your first cruise. However, do not divide up the plunder yet. Cruising the Seas: Push your joystick in the direction you wish to set sail. Once sailing, leave the stick centered to remain on course, pull it left or right to turn in that direction (just like the rudder of a real ship). For information while sailing, press the trigger. If you're lost, one of the information options is a "sun sight" with your astrolabe. Fighting Ships: If you encounter and fight an enemy ship, read the section that describes your options. If you pull alongside, a boarding battle with swordfighting may occur. Finishing Your Voyage: Return to port, sell your gains to the merchant, visit the governor for any rewards, then Divide The Plunder. After that, select retirement. This ends the game and shows your score. Don't worry! You can come out of retirement again (health permitting). SAVING GAMES & HALL OF FAME - You need an extra, blank disk to save PIRATES! during play. You cannot save any information on the game disk. Saving the Game: To save the game, enter any town and Check Information. The option list includes Save Game. Select this option and follow the instructions. PIRATES! save-game disks use a special format. You must use the format option offered in Save Game, a normally formatted disk will not suffice. Note that formatting a disk prepares it for saving games, but does not actually save anything. The Hall of Fame: Having a formatted disk is necessary to record your final score on the Hall of Fame. The same disk can hold both your saved games and the Hall of Fame. ------------------------------------------------------------------------------- * THE ART OF COMMAND * ------------------------------------------------------------------------------- Menus ----- Joystick........................Move pointer (changes highlighted option) Trigger on Joystick.............Select highlighted option. Space Bar.......................Stop music. Trading & Moving Goods ---------------------- Joystick up-down.................Selects item to be traded or moved. Flick Joystick Left..............Buy or take item for your party. Flick Joystick Right.............Sell or abandon items held by your party. Trigger on Joystick..............Exit. Fencing & Swordplay ------------------- Joystick Left.....................Fast attack high, mid-level or low Joystick Left & Trigger Down......Slashing attack high, mid-level or low Joystick in Center................Parry (blocks attacks) high, middle or low Joystick Right....................Retreat and parry high, mid-level or low Space Bar.........................Pause and resume Note: Joystick height (upward, horizontal, or downward) controls height of attack or parry (high, mid-level or low). For example, the joystick left and upward is a fast attack high, while the joystick left and downward is a fast attack low. Marching Overland ----------------- Joystick (any direction)..........Party marches in that direction. Joystick Trigger..................Get information. Space Bar.........................Pause and resume. Sailing the Caribbean --------------------- Flick Joystick (any direction)....Set sail (joystick controls direction) Joystick left.....................Turn left (port) while sailing. Joystick right....................Turn right (starboard) while sailing. Joystick Trigger..................Get information Space Bar.........................Pause and resume. Note: You can anchor safely anywhere on the coast and disembark automatically. However, any travel over shoals (reefs) may be fatal. Sea Battles ----------- Joystick Left.....................Turn left (port) Joystick Right....................Turn right (starboard) Joystick Up.......................Full sails (raises all sails for max speed) Joystick Down.....................Battle sails (reduces risk of gunfire damage) Joystick Trigger..................Fire cannon broadside Space Bar.........................Pause and resume Land Battles ------------ Joystick Trigger..................Change highlighted group Joystick..........................Move the highlighted group only Joystick & Trigger Down...........Move all groups simultaneously (Automatic When Stationary).......Group fires (Automatic When Stationary).......Group fights hand-to-hand with enemy Space Bar.........................Pause and resume Taking a Sun-Sight with the Astrolabe ------------------------------------- Joystick left-right................Move Astrolabe under sun Joystick up-down...................Raise-lower astrolabe platform Joystick Trigger...................Exit Space Bar..........................Pause and resume ------------------------------------------------------------------------------- * THE POWER OF OBSERVATION * ------------------------------------------------------------------------------- National Colors --------------- Red.................................England Green...............................Netherlands (Holland) Dark Blue...........................France Cyan (Light Blue)...................Spain Fencing & Swordplay ------------------- The color of the shirt indicates who and what is fighting. White Shirt.........................You, with whatever weapon you selected Yellow Shirt........................Enemy with a cutlass Purple Shirt........................Enemy with a longsword Green Shirt.........................Enemy with a rapier Sea Battles ----------- You can distinguish friendly from hostile ships by color. Black Hull, White Sails.............Your Ship Brown Hull, Yellow Sails............Enemy Ship Land Battles ------------ You can distinguish one group from another by color. Black...............................Your highlighted (selected) group Gray................................Your other group(s) Red.................................Enemy Group =============================================================================== * * =============================================================================== NOTES & MEMORANDA ~~~~~~~~~~~~~~~~~ PIRATES! began as a glimmer in an historian's eye. Here at MicroProse we knew that the buccaneering era in the Caribbean would make a fabulous game. However, to do the era justice, we had to invent a new type of action/adventure simulation. Superficially, PIRATES! appears to be an arcade-style game. The sailing, ship battles, and swordfights all run in real-time where your actions and reactions must be quick, decisive, and correct. But upon closer examination, each aspect of the game is based around the actual principles of that activity. Sailing controls work like a real ship's rudder, and sailing speeds depend on the ship's hull, rigging, and the strength of the wind. When playing at "Swashbuckler" reality level, there is no game assistance for sailing into the wind (as there is at lower levels). The difficulties of tacking into the wind and the importance of catching each wind change is quite evident. You'll also see the grave flaws in the galleon ship design (bigger is not always better). Try sailing a galleon from Vera Cruz to Havana, and then up the Florida Channel to St. Augustine. You'll soon see why so many Spanish Captains came to grief in those waters! Similarly, swordfighting is deceptive. You do not control motions per se, but instead select "combinations" for attack and defense. This approach to fencing is based on the sports of Eppe, Foil and Saber - modern equivalents to duelling. If you're familiar with those, you'll soon see the similarities between those modern competitions and what happens in PIRATES! Fighters close for a quick flurry, then spring apart again. Strange as it may seem to us in the 20th Century, the buccaneers really did insist that their Captain fight at the forefront. They didn't want a leader who'd stand back and give orders, they wanted somebody who'd risk his neck alongside them! Surviving commentary show that personal leadership and duels between commanders were not infrequent in boarding and storming battles. The game does simplify the options and possibilities inherent in West Indian colonial life, in order to streamline game-play. Even so, colonial port society actually centered around three main elements: recreation (the "taverns"), trading (the "merchant"), and politics (the "governor"). Recent excavations and mappings of Port Royale (destroyed by earthquake in 1692) demonstrate the truth of this. We must confess to adding a few minor elements of romance and adventure. After all, no voyage would be complete without buried treasure maps, evil Spaniards, and beautiful women! Actually, even the governor's daughter represents a feature of the period: inside political information. In real life, as in the game, confidential information gained through personal connections can be an invaluable aid. To some our choice of period may seem strange. The most famous pirates, such as Edward Teach (Blackbeard) were in the 1700s through 1720s. However, those men were psychotic remnants of a great age, criminals who wouldn't give up. They were killed in battle or hung for evils no European nation condoned. There was no political intrigue or golden future to their lives, just a bullet or a short rope. We found them unattractive and uninteresting compared to the famous sea hawks and buccaneers that preceded them. PIRATES! was a fascinating and challenging game to create. We're confident you'll find it enjoyable. We also hope you'll find it an enlightening window to life in another age. - Sid Meier & Arnold Hendrick April, 1987 Edited for DOC DISC 12 by Sewer Possum...... R E T U R N T O E D E N (Level 9) (Later released as Part 2 of the 'Silicon Dreams Trilogy') (From the start, in the Control Room of the crashed Stratoglider) E - TAKE COMPASS - TAKE GEIGER COUNTER - TAKE RADSUIT - WEAR RADSUIT - W - OUT - E - DIG - (you find a passage) - DOWN - DOWN - DOWN - E - S - (you will now feel sleepy) - SLEEP - (you fall asleep whilst a blast passes harmlessly above you......had you stayed above ground, you would have been fried!) - N - E - UP - E - TAKE SPADE - W - DIG - (a passage to the surface is revealed) - UP - (the geiger counter now sounds a warning) - YES - (you wait and are now on the surface, or what's left of it!) - DROP RADSUIT - E - E - E. (From now on, whenever you hear a droning sound - "HIDE" - it is a helicopter gunship looking for you!) E - S - (the parrot will rob you of one item - usually your geiger counter - around this location) - DROP GEIGER COUNTER - (if the parrot has already stolen this then don't worry as you'll get it back soon!) - TAKE BEAN - EAT BEAN - (you are now capable of carrying more) - SE - TAKE PEA - (wait until a brick-coloured bird appears) - THROW PEA - (the bird will eat it and drop something) - LOOK - (a brick egg is now here plus a See-Bee with a telescope) - TAKE TELESCOPE - LOOK THROUGH TELESCOPE - (you survey the city's defences) - TAKE BRICK - PLANT BRICK - (it grows into a small houseplant!) - DROP TELESCOPE - (the See-Bee buzzes off with it). IN - TAKE FISH FUNGUS - OUT - W - TAKE STONE FRUIT - N - TAKE SEED - EXAMINE SEED - (it is honeycombed with 'air' pockets!) - N - E - E - TAKE STEM - EXAMINE STEM - (gives a clue as to it's use) - W - W - N - TAKE TUBERS - EXAMINE TUBERS - (paddle-shaped!) - N - (you now meet the Leviathan) - GIVE FISH FUNGUS TO LEVIATHAN - (it swims away) - N - (you are now paddling in your 'boat') - N - TAKE PILL - (this pill cures radiation sickness so as soon as you are told "you are feeling feverish".........) - EAT PILL - N- E - W - S - (here is the parrot's nest with your stolen items) - TAKE (whatever he's nicked!) - S - TAKE FOXGLOVES - EXAMINE FOXGLOVES - (finger-shaped petals!) - W - S - (paddling the boat again) - S - TAKE LOG - EXAMINE LOG - DROP GEIGER COUNTER - (if you still have it!) - S - W - TAKE WISHBONE - EXAMINE WISHBONE - (a useful catapult frame) - E - N - N - SQUEEZE LOG - (the wet bulb grows into a shoot) - TAKE SHOOT - EXAMINE SHOOT - DOWN - (using your new para-shoot!) - DROP SHOOT - S - E - E - TAKE VINE - DIG - (you unearth some roots) - TAKE ROOTS - SCORE. (Should now be 300/1000 and you are a 7th Class Ensign). W - S - S - (you see a branch that is almost within reach) - THROW VINE - (it catches the branch) - UP - N - TAKE BUG - EXAMINE BUG - (could confuse a sonar?) - NE - S - S - DROP COMPASS - DROP TRADCLADS - WEAR FOXGLOVES - TAKE COLD LEAF - (the foxgloves protect you) - EXAMINE COLD LEAF - TAKE TWIGS - EXAMINE TWIGS - N - N - SW - S - DOWN - N - N - N - (there's a quicksand here blocking progress East) - THROW COLD LEAF - (the quicksand freezes) - E - TAKE CLOAK - EXAMINE CLOAK - WEAR CLOAK - W - S - S - S - UP - W - N - W - (you are now on the South Platform of a wierd lift mechanism, supported by a vine over a pulley) - DROP GLOVES - DROP TWIGS - DROP TUBERS - E - E - NE - S - S - TAKE TRADCLADS - TAKE COMPASS - N - N - SW - W - W - DROP TRADCLADS - DROP COMPASS - DROP BUG - E - N - DROP ALL - DROP CLOAK - W - (you are now on the North Platform and the 'balance' between the two platforms is now correct, so.....) - PULL LEVER - (the platform moves) - E - S - S - TAKE BLUE BERRY - EXAMINE BLUE BERRY - N - GLUE BRANCH - (the fragile branch is now safe to walk on with ONE item only!) - DROP BLUE BERRY - E - TAKE STALK - W - DROP STALK - E - TAKE CHERRY - W - TAKE STALK - TAKE BLUE BERRY - N - W - PULL LEVER - (the platform moves again) - E - TAKE STONE FRUIT - TAKE WISHBONE - TAKE CLOAK - WEAR CLOAK - TAKE SEED - TAKE SPADE - TAKE ROOTS - S - W - DROP BLUE BERRY - TAKE TWIGS - TAKE BUG - E - S - E - DOWN - N - W - SCORE. (Should now be 400/1000 and you are a Mechanic). S - (you can now see an Ant Army) - PLAY STALK - (the ants follow you) - N - E - E - E - E - (you see a fence) - E - (the ants break down the fence and the bug 'hums' to confuse the sensors) - W - W - DROP STALK - TAKE RUBBER BAND - ATTACH RUBBER TO WISHBONE - TAKE STALK - (you make a catapult - check your inventory to ensure that this is so!) - E - E - SHOOT CATAPULT - (you destroy all the mines by firing the 'cherry bomb') - E - S - S - WAIT - (until the autoscythe arrives) - IN - (you are now riding on the autoscythe) - WAIT - WAIT - WAIT - (you arrive at the East end of the beach) - OUT - WAIT - (until the weeder arrives) - WAIT - (once more for the weeder to unload!) - IN - (you are now riding on the weeder) - WAIT - WAIT - WAIT - OUT - N - (an alarm sounds as you go down underwater, using the seed as an air supply) - E - E - E - E - E - E - (you should now be at a tunnel under the city wall) - TAKE CREDIT CARD - EXAMINE CREDIT CARD - (400 credits at the moment) - DROP CATAPULT - DROP SEED - DROP TWIGS - DROP STALK - UP - E. (You will now meet Graunch who will ask you a set of riddles in random order. The answers are: legs belong to "MAN", the genie is a "COMPUTER", rich man wants "NOTHING", cold-blooded things are "TREES", the blind God is "LOVE", you all know "GOSSIP", healer is "TIME", the unfelt thing is "LIFE" and pet is "FIRE". Study the questions and answer them thus: "SAY(correct answer from list)", then "EXAMINE CREDIT CARD" and you will find that you now have 1300 credits!!). W - S - S - (if and when you see any 'Hell's Angels', throw the bug) - S - S - (you now meet the Big Robot) - GIVE CREDIT CARD - S - (charming, isn't he?!) - E - W - PULL PLUG - (that's fixed him!) - E - UP - UP - TAKE FLASK - DOWN - DOWN - DOWN - W - TAKE CUTTERS - E - S - W - PUSH PILLARS - (the ceiling collapses, cutting the power cables) - E - SW - SE - THROW FLASK - (the Bodyguard is destroyed and the Godfather gives you back your credit card) - TAKE CREDIT CARD - NE - NW - E - E - DOWN - CUT GRATING - UP - E - (you now meet the Busker) - GIVE CREDIT CARD - (he opens the hatch for you and returns your credit card) - UP - DROP ROOTS - DROP CUTTERS - DROP CLOAK - DROP STONE FRUIT. (You must now search or listen in all the locations in this vicinity for the elevator addresses of: (1) Cop Shop; (2) DIY; (3) Estate Agents; (4) Travel Agents; (5) Bank - they are DIFFERENT for each game!). S - E - N - SEARCH - (make a note of the number for the Cop Shop) - S - S - LISTEN - (the Bank number) - W - SEARCH - (the Estate Agents number) - W - W - N - W - SEARCH - (the DIY number) - S - IN - (the Chef asks a question) - YES - INSERT CARD - (a Koala pops out!) - TAKE KOALA - OUT - N - E - DROP KOALA - (it pulls a note from under the statue) - TAKE NOTE - READ NOTE - (the Travel Agents number) - N - W - WAIT - (until the Riverboat arrives) - IN - (you are now taken across to the Casino) - SAY RED - SAY BLACK - SAY RED - SAY BLACK - SAY RED - SAY BLACK - EXAMINE CREDIT CARD - (pretty good, huh?!) - WAIT - (until the Riverboat returns) - IN - (you're taken back again) - S - E - S - S - IN - (you get the address of the Charity Shop but you can ignore this one) - TAKE POWDER - EXAMINE POWDER - OUT - TEAR PACKET - TAKE TICKET - EXAMINE TICKET - N - E - E - S - S - (your ticket is taken) - WAIT - (until the train arrives) - S - WAIT - (while the train travels) - N - N - N - (to outside an Elevator). PUSH BUTTON - (the elevator door slides open) - N - (visit the Cop Shop first......remember the numbers) - PRESS * - PRESS * - PRESS * - S - S - TAKE IDENTITY DOCUMENT - N - PUSH BUTTON - N - (then the Bank) - PRESS * - PRESS * - PRESS * - S - S - (you get a loan from the Manager) - EXAMINE CREDIT CARD - PUSH BUTTON - N - (now the DIY) - PRESS * - PRESS * - PRESS * - S - S - TAKE SCREWFINGER - N - PUSH BUTTON - N - (next, the Estate Agents) - PRESS * - PRESS * - PRESS * - S - S - (you buy a house and are given an address) - PUSH BUTTON - N - (now the Travel Agents) - PRESS * - PRESS * - PRESS * - S - S - (you get a travel pass) - TAKE TRAVEL PASS - EXAMINE TRAVEL PASS - PUSH BUTTON - N - (now it's back to the Station Platform.......remember the number on the ticket barrier?!) - PRESS 0 - PRESS 0 - PRESS 0 - S - S - S. WAIT - (until a train arrives) - S - PULL CORD - (the brakes are jammed on and you're fined 50 creds!) - N - DOWN - E - UP - N - N - N - (you are now invited to vote) - E - YES - W - N - W - N - E - N - N - (you are now made Mayor) - DOWN - TAKE VISOR - WEAR VISOR - LOOK 4 - BLINK - UP - SCORE. (Should now be 800/1000 and you are a Starship Captain). S - S - S - S - E - S - S - S - S - WAIT - (until a train arrives) - S - WAIT - (until the train arrives at another station) - N - N - N - N - N - N - (you are now in the Spacebus) - DOWN - TAKE RADCOM - UP - WAIT - (until the Spacebus stops again) - OUT - (you are now arrested by robots and locked in a Habiviron) - KICK MUSHMAT - (it dispenses an empty plate) - TAKE PLATE - E - OPEN DOOR - E - DROP PLATE - (it blocks the drain and you are floating in the shower!) - OPEN GRILL - (using the screwfinger, you are now in the air duct) - DOWN - W - W - N - OPEN DOOR - E - (you are now inside a cupboard and the pursuing robots run straight past!!) - TAKE HELMET - WEAR HELMET - TAKE LEOTARD - WEAR LEOTARD - OPEN DOOR - W - S - E - OPEN DOOR - S - OPEN DOOR - S - IN - (you are now astride a Starbike) - PULL STARTER - (the Starbike carries you to Snowball 9) - UP - UP - W - S - W. FINAL MESSAGE The crew arrest you and quickly release you again! The game is over! At your subsequent trial, you are acclaimed as a mega-hero and confirmed as Mayor of all Eden by popular demand. Congratulations! You score 1000 out of 1000 and are a Megastar Adventurer! * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * SEWER SOFTWARE Presents - B U F F A L O B I L L S R O D E O G A M E S ~~~~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ STEER WRESTLING ~~~~~ ~~~~~~~~~ The idea to chase the steer and when you are close enough jump on it and take hold of it's horns. Use all your strength and leverage to overbalance it and get it on the floor. Use the joystick to control your horse's movement. As in calf roping get as close as you can and then leap and grab hold of it's horns by pressing the fire button. Overbalance the steer by waggling the joystick left and right until it falls to the ground. Again this event is timed. TRICK SHOOTING ~~~~~ ~~~~~~~~ You'll have to be quick on the draw to become the fastest gun around. Shoot the targets as they pop up but don't shoot young ladies or inocent people in the back or the Sheriff or you'll lose points and a lot more besides if they send out a posse! If you you use the mouse reload by pressing the right hand mouse button. With the joystick option reloading is automatic. To go to part 2 press the right mouse button. Part 2 of Trick Shooting is shooting bottles thrown into the air, show off your marksmanship and shoot the bottles before they hit the ground. BRONCO RIDING ~~~~~~ ~~~~~~ Pit your stamina and balance against a mean, bucking bronco and hold on until the dust settles. To remain seated on the horse push the joystick in the opposite direction of the high- lighted arrows on the direction icon. Don't allow the arrow to reach the end otherwise you'll be in for a fail. Watch your score increase the longer you stay on. STAGECOACH RESCUE ~~~~~~~~~~ ~~~~~~ The scene is set, the indian has ambushed the last Stage and the occupants are in dead trouble. The joystick controlls the actoion, wiggle the joystick left and right. To make the horse run towards the stage move the joystick up and down to avoid the lug- gage. Once you are alongside the coach press the fire button to climb aboard. Fight the indian by pushing diagonally up to punch towards the head and diagonally down to punch towards the stom- ach. Pushing left and right moves you towards and away from the indian. Pushing left and pressing the fire button blocks the indian's punches. You'r mis- sion is timed, therefore speed is of the essence. CALF ROPING ~~~~ ~~~~~~ The crowd is cheering, the sun is shining, the atmosphere is electric. The gate is opened and the calf is away. Follow the calf using your skill and judgement., slip the lasso over the calf's head and bring it to a halt in the quickest time. Use the joystick to move you forwards, back- wards, up and down. When you are close enough to the calf press fire to throw the lasso and pull back on the joystick to halt it. Typed By: PRINCE OF DARKNESS Yeh, another one that you can play wiv yer PC-Ditto, so what if doesn,t run R E A L F A S T . . . , who needs all that speed for a text adventure? Thanks ALF and MEZZO.........................................S.P S H E R L O C K H O L M E S (The Riddle Of The Crown Jewels) (Infocom) (As played on Atari St with PC Ditto Utility) You start outside Holmes' house in response to a call from Mrs Hudson. You are wearing a coat, hat, and have a whistle and black bag. The pocket of your coat contains a #1 note. The bag contains two bottles; a blue one (digitalis leaf for Tachycardia and other accelerated arrhythmias) and a brown one (belladonna for Brachycardia and other decelerated arrhythmias). Remove hat and examine it to see a stethoscope inside. Get it (+1) Knock on the door. Mrs Hudson answers it and says Mr Holmes hasn't eaten or slept for 3 days. A visitor has called on important government business and is waiting in the parlour. She won't let you enter the parlour till you've seen Holmes. Go to Holmes' room. he is sitting on the sofa holding a phial of colourless liquid and has his hand on a hypo in a morocco case. [Note that if you shoot the phial, Holmes licks the drops of liquid from his fingers. If you do this several times, you shoot him! He won't let you take the phial or hypo] Get tobacco from slipper (+1), get pipe (+1), get newspaper (+1). "Read newspaper to Holmes"; he glances at it and his eye falls on the article about the Tower of London being closed. (+5). He calls for a tray of food and sits and looks at you. Mrs Hudson shows the visitor in. He has come from the Tower (as Holmes guesses). The Crown Jewels have been stolen Thursday night. All that was left was a verse. The visitor gives Holmes a piece of paper to look at. Holmes glances at it and gives it to you. "Read paper". Mortality, behold a fear! What a change of flesh is here. Think how many royal bones Sleep within this heap of stones. Here they lie, had realms and lands, who now want strength to stir their hands. For two score years, I reigned alone, A Virgin Queen on England's throne. My navy caused Armarda's shame And with me died the Tudor name. The apple sorely tempted Eve, And Tell another tried to cleave But when one fell, it showed to me The mighty pull of gravity. My father, it was said, would die Beneath the Holy City's sky. Jerusalem his body claimed And it's after him I'm named. Oh Stately holmes of England In Baker Street abide. For even you must surely fail To save your country's pride. "Ask Holmes about paper"; he says the references are very obvious. The visitor says the calamity can only be hidden till 9am on Monday. If the regalia aren't back at Buckingham Palace by then, all is lost. Holmes gets his hat and coat from the bedroom and says he'll wait outside. Go into the bedroom. The ampoule is of etherium which is highly volatile and must not be opened in the presence of fire. Get lamp (+3), get magnifying glass (+1). Go to parlour and get matchbook (+1). Outside, Holmes says we must follow the trail but there will probably be traps. So if you lead the way, he will be thrown off the scent. After a few moves, he tells you to keep the ampoule well hidden. "Light lantern" so you can see where you're going once outside. Go to Westminster Abbey and wait till it opens. Go inside and get the pacquet (+1) and crayon (+1). Inside the pacquet are sheets of coloured paper (brown, green, blue, yellow, orange, white). Having read the verse at the start, you know you must make 3 brass rubbings. These are of Newton, Queen Elizabeth 1 and Henry V. Go to each of these three tombs and at each, get a piece of paper from the pacquet (any colour), "put paper on tomb, rub paper with crayon, get paper". If you "touch inscription" on each of these tombs, it feels sticky. The others feel normal. Go to the British Museum and into the manuscript room. The librarian keeps talking and distracts you from whatever you try to do. "Ask librarian to be quiet"; he apologises and leaves the room. "Get old book, examine it"; Secret Writing and Invisible Inks. "Open old book"; it falls open at the introduction," read it"; Invisible writing has a long and honourable history. It is used primarily when it is felt that a code or cypher may be too easily broken. Most invisible inks are somewhat sticky to the touch and virtually all of them become visible when exposed to moderate heat. Go back to the abbey to the Evangelist chapel. As you enter you are told that you wonder what makes this room seem different from the others. "Examine room"; you see lots of candles and realise the room is warm. "Warm (colour) paper with candles"; in each case, something appears on the back of it. "Read back of (colour) paper" to read each one. The one from Newton's tomb reads: London Bridge is falling down. All that's under it will drown. With it falls Victoria's reign, Britannia ne'er to rule again. When a number you require, And you're banking all thereon, Subtract the conquest from the fire, Half a league, half a league, half a league on. The one from Elizabeth's tomb reads: Hickory Dickory Dock, Your enemy is the clock, When it strikes nine, The victory is mine, Hickory, dickory dock. Here comes a candle to light you to bed, Here comes a chopper to chop off your head. The one from Henry's tomb reads: Twinkle, twinkle, Son of Mars, Fought at sea, midst masts and spars. Now above the world so high Looking down with watchful eye. Twinkle, twinkle, Son of Mars, England's hero, Prince of Mars. Pussy cat, pussy cat, where have you been? I've been to the tower to look at the queen. Pussy cat, pussy cat, what did you there? I left something for you, go back if you dare. Holmes says Moriarty is responsible. We must solve the clues to see what he has in mind for us. Go to Covent Garden; a girl has collapsed. "Wear stethoscope, use it on girl"; he heartbeat is very fast. "Open blue bottle", you see an orange pill and some cotton balls. "Give orange pill to girl"; she recovers and puts a carnation in your buttonhole before she leaves (+5) Go to Bird Cage Walk. When you are offered a telescope to buy, "haggle with vendor". He says you can have it for 19/6. "Haggle with vendor"; he says 19/-. "Buy telescope, He gives you a shilling change (+1) Go to Trafalgar Square and "examine Nelson through telescope"; you see a ruby in his blind eye. Go to the pet shop and "ask Sherman for pigeon" (+1). "Ask Sherman about pigeon"; he says it's very clever. Just show it what you want, tell him to get it and it will. But it only seems to like red things. Go to Trafalgar Square. "Show ruby to pigeon"; it looks interested. "Pigeon, get ruby"; it quivers with excitement. "Drop pigeon"; it flies up, gets the ruby and circles. Go back to the shop. "Ask Sherman for pigeon"; he says it's too young to fly again today but it came back with a ruby and gives it to you (+5). "Examine ruby"; it has a scratch on it. "Examine scratch"; it looks like tiny writing. "Examine scratch through glass"; it says wear a carnation. (Note: if you don't show the pigeon the ruby, it circles, flies back to the shop and Sherman gives you a piece of red glass it picked up but he won't let you take it again) Holmes says it isn't part of the crown Jewels but was stolen from the Agra Treasure in India many years ago. We are in great danger. He gives you a signet ring and says if anything happens to him, take it to Mycroft at the Diogenes Club. He'll tell you what to do (+1) This happens when you collect the first gem. Go to Clock Tower. You can see a sapphire on the clapper of the bell. "Put balls in ears". When the clapper swings towards you, "get sapphire", it swings away again so do it again. You get the sapphire (+5). Examine sapphire"; there's a scratch on it. "Examine scratch"; it looks like writing. "Examine scratch through glass"; you see 2.00am. Go to Scotland Yard. If you "search (Bligh's) boat" in the Black Museum, you find an oar (+1). Go to the boat at Embankment. It only has one oar. To use it, you must "get into boat, lift anchor, launch boat". If you row with one oar, you go in circles. If you "wait", you drift downstream but can land at Traitors' Gate. But the portcullis is lowered and you can't get in. You can also go under London Bridge though you can't land, just "drop anchor". If you "examine bridge", you see a clump of moss lodged among the supports. "Examine moss"; it's a different colour from the other lichens around. If you try to get it, it's too high and if you hit it with the oar, it falls into the water, an opal drops out and vanishes from view. Wait till high tide (about 8.38pm on saturday) and "get moss"; it crumbles and you are left holding an opal. "Examine opal"; has a scratch on it. "Examine scratch with magnifying glass"; you see the words password: swordfish. "Raise anchor, row west" twice till you're back at embankment. When you arrive, the man whose boat it is turns up grumbling and takes the boat somewhere safe!! Note, this password isn't the one for the Tower. Go to Madame Tussauds. If you try to enter with "n", the guard says you may enter but you may not take a light in with you so you must drop the lamp and matchbook. But you need a light inside. To do it, "put tobacco in pipe, open matchbook, get match, light it, light tobacco with match, drop match". You can now use the light of the pipe for a limited time inside. Drop lamp, north (+1) Inside, Holmes notices some ash. "Ask Holmes about ash"; he says to note the texture, it's the ash of a trichinopoly cigar made from the dark tobacco that only grows in the Madras area of India. Our mastermind has an Indian accomplice who does his dirty work for him. There are several statues. "Examine statues" to see King John, Sir Francis Drake, Sir Walter Raleigh and William the Conqueror. Examine John; he is signing the Magna Carta at Runnymede in June 1215. Examine Drake; finishing his game of bowls. Examine William: kneeling on the sands at Pevensey Beach when he landed before the battle of Hastings in 1066. Examine Walter; he's putting his cloak over a puddle for Elizabeth to cross. Search and look behind each statue. You find nothing. The sign says Chamber of Horrors and you can only go in if you have a light. Inside are some more statues. "Examine statues"; they are of Guy Fawkes, Charles 1 and Thomas a Becket. "Examine Guy"; he's carrying a torch as he is waiting for the signal to light the gunpowder. "Get torch". "Examine Charles", ignore the axe you see. "Examine Thomas", the knights are entering with swords drawn. The tobacco isn't hot enough to light the torch and the guard takes the torch and axe from you if you try to leave. So "light clue paper with tobacco, light torch with clue paper". Back at the statue of Charles, if you try to "remove head", it wobbles slightly. Holmes says his head wasn't screwed on right even when he was alive. "Unscrew head from statue"; you take it. "Melt head with torch"; it melts into a puddle of wax on the floor. You see a gem in it. It's an emerald. Get it. "Examine emerald"; has a scratch on it, "examine scratch with magnifying glass"; you see 20/6/87. Go to the Bank. The guard is jangling some keys in his pocket while he watches some urchins play. One looks familiar. "Examine urchin"; it's Wiggins. if you ask him to do something, he says it's a shilling. He won't move from that location. "Give shilling to Wiggins"; he says what do you want him to do. "Wiggins, get keys." He distracts the guard and gives you something. he says he hopes it's ok but it's all he could get (+1). It's a key. "Examine key"; it says master on it. If you try to go north, the guard stops you and says not to think about trying to bribe him. "Give ruby to guard"; he takes it and says another would be nice. "Give sapphire to guard"; he says it isn't worth the risk for just two gems. "Give emerald to guard"; he says, one more and you're in. "Give opal to guard"; he says you can go in. Inside, you see a vault door which is locked. "Examine door", there's a dial on it. "Wear stethoscope, listen to dial" then "turn dial right" twice till you hear a click, "turn dial left" till it clicks, "turn dial right" twice, it clicks and opens. Go into the vault. It is full of safety deposit boxes. "Find box 600"; (from the verse, 1666 minus 1066 or from the Charge of the light Brigade poem) it's right in front of you. "Unlock box with key"; you see a topaz inside. "Get topaz, examine it, examine scratch with magnifying glass"; it says Bar of Gold. As you leave, Holmes is kidnapped. Wiggins comes up to you and says he will do anything to help get him back and follows you from now on. Go to the Diogenes Club. Inside, the butler asks if he can help. "Ask for Mycroft Holmes"; he leaves, returns and says Mycroft Holmes asked for the token you have to prove you are who you claim to be. Give it to him and he will take it to him. "Give ring to butler"; he leaves and Mycroft Holmes turns up. He says to solve the mystery, go to the Tower and use the password, Parr. Go to Tower of London: A sign outside says it is closed. The yeoman won't let you pass unless you tell him the password. "Yeoman, Parr"; he lets you in (+3). Go to the Jewel Room, "examine weapon"; a mace. Get it (+1). Go to Bowyer Tower and "examine keg"; brimming over with malmsey and leaking through the bung. You can't get the bung as it's too tight. "Hit bung with mace"; it flies across the room, the malmsey leaks out on the floor. "Examine keg"; there's a garnet at the bottom. You can't get it as your shoulders are too broad and your arms too short. "Wiggins, get garnet"; he does so and gives it to you (+5). "Examine garnet", has a scratch on it. "Examine scratch with magnifying glass"; it says give me to Akbar. The Yeoman won't let you leave the way you came in so you must leave through Traitors Gate. If you "look through gate"; you see the rowing boat the other side. But if you try to pull the chain, it doesn't budge as you aren't heavy enough to raise it. Go to the armour and "wear armour", go back and "pull chain"; the gate raises and stays up (1). "Get paddle" (+1) The oars have gone from the boat so "paddle west" several times to get back to embankment. The man takes his boat again and vanishes down the river as he has no means of propelling it! Go to the Bar of Gold. Outside, "remove hat, put ampoule in hat, wear hat"; this is because everything will be taken from you inside but you want to retain the ampoule and your hat won't be touched. Wiggins won't enter the Bar of Gold. He waits outside. Wait till 2am Monday. In the Bar of Gold, "proprietor, swordfish"; he goes into a back room and returns with an Indian in a turban. He glances at your head, says his name is Akbar and asks how he may help. "Give garnet to Akbar"; he takes and examines it and asks you to give everything you have to him. Then he blindfolds you, leads you down some corridors to Moriarty's Lair. He locks the door, puts the key on Moriarty's desk and puts most of what you were carrying on the floor (+5) Holmes is there, tied to a chair. The Crown Jewels are on the desk. He says that Moriarty and he were talking about why he led us on this chase and if you ask him, he will be pleased to fill you in as well. "Ask Moriarty about the jewels"; he says he stole them at the request of a foreign government to wish to bring down the british Empire. "Remove hat"; Akbar averts his gaze at this sacrilegious act, you see the ampoule inside. "Hold breath"; Holmes sees you do this and does the same, this is so you don't get overcome too. "Get ampoule"; Moriarty shouts at Akbar that he should have taken that from you. Akbar comes towards you. "Break ampoule"; everyone but Holmes collapses. "Untie holmes, tie Moriarty and Akbar"; then you breathe and collapse. Note you only have 2 moves and if you don't tie up both of them, you will fail in your task. When you come round, it is 8.30am. Akbar and Moriarty and awake and struggling to get free. "Get key, get whistle, get jewels" (+10). "Unlock door, open door, N" you are now on London Bridge. "Blow whistle" twice so the hansom cab comes and not the growler cab (who never takes you to the right place). "Enter cab"; the cabbie says where to? "Buckingham Palace"; he takes you there quickly. Outside, you see a Palace Guard. "Show jewels to guard"; he takes them, you are shown in by the Prime Minister to be congratulated by the Queen (+1)! (Note:- I found at one stage that even though I didn't have the topaz any more, I still had its scratch. When I entered the lair, the scratch was dropped on the floor and then any redescription of the scene eg on restoring caused the game to crash. Without the scratch, this didn't happen so I concluded the scratch was causing the problem.) Scoring. Get stethoscope +1 Get tobacco +1 Get pipe +1 Get newspaper +1 Read newspaper to Holmes +5.............9/100 Get lamp +3 Get magnifying glass +1 Get matchbook +1...............................14/100 Get pacquet +1 Get crayon +1 Read first bit of invisible writing +5.........21/100 Help girl in Covent Garden +5..................26/100 Buy telescope for 19/- +1 Ask Sherman for pigeon +1 Get ruby +5....................................33/100 Get ring from Holmes +1........................34/100 Get sapphire in clock tower +5.................39/100 Find oar in Bligh's boat +1 Get opal +5....................................45/100 Enter Madame Tussauds with pipe lit +1 Light torch from clue paper +4 Get emerald +5.................................55/100 Wiggins gives master key to you +1 Give last gem to guard +3 Open vault door +3 Get topaz +5...................................67/100 Get password from Mycroft +1...................68/100 Enter Tower using password +3 Get mace +1 Get garnet +5 Pull chain wearing armour +1 Get paddle +1..................................79/100 Give garnet to Akbar +5 Get jewels +10 Blow whistle twice +5 Show jewels to guard and finish +1.............100/100! * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * How many of these bloody INFOCOM games are there? All I seem to do all day is look at INFOCOM Docs...Nice solution here though. thanks to MEZZO cos I think he sent it. S P E L L B R E A K E R (Infocom) Notes. (1) It's a good idea to learn all spells more than once since they don't always work! (2) Whenever a spell is mentioned in this solution, you must cast it until it works - this is not a problem with the 'Blorple' spell or when you have the "Magic Cube". (3) It is essential to keep track of where each cube takes you, which you do by writing on them with the Burin. (4) The Zipper is used for storage......if you're told that you're carrying too much to pick up another item, then place a few things inside the zipper. (5) Unless you are in imminent danger, sleep almost anywhere EXCEPT the Bazaar! (6) SAVE GAME VERY OFTEN!!! THE SOLUTION You start in the Council Chamber carrying a Spell Book, Burin and a Knife. The Spell Book contains some spells as follows: LESOCH............Gust of wind YOMIN.............Mind probe REZROV............Open locked or enchanted objects FROTZ.............Cause something to give off light GNUSTO............Write spell into your Spell Book MALYON............Animate an inanimate object JINDAK............Detect magic After a couple of moves the BLORPLE spell will automatically be added to the Spell Book. It is used to explore an object's mystic connections. You start by having permanently committed to memory the GNUSTO, REZROV and FROTZ spells. All others will need to be learned and re-learned as they are required. Also remember that you will not be able to keep as many in your head at one time if you are tired. If you are tired you will need to SLEEP. This refreshes you but also makes you forget any temporary spells. When you awake you will need to re-learn whatever spells you think you are about to need. DO NOT GO TO SLEEP UNLESS YOU HAVE THE SPELL BOOK! From the Council Chamber go SOUTH to the Guild Hall and TAKE the BREAD and the FISH, then go SOUTH again into Belwit Square. If there is a lot of smoke around, either LESOCH the smoke - which, like all other spells may only work at random - or simply WAIT until it clears. You will then discover a WHITE CUBE. TAKE the CUBE and to identify it - do the same with ALL other cubes you find - WRITE "EARTH" ON CUBE. You will only be able to write on the cubes if you are holding the Burin. This is a good way of being able to identify the cubes later when you may be carrying quite a few at one time and will need to select a particular one in a hurry. By now the BLORPLE SPELL will have appeared in your Spell Book. LEARN BLORPLE then BLORPLE "EARTH" CUBE - you may need the inverted commas here always! You will now be transported to the Packed Earth Room. FROTZ the KNIFE to get a source of light. Go EAST to the Hall Of Stone. TAKE and then OPEN ZIPPER. REACH INSIDE ZIPPER to discover a SCROLL. TAKE SCROLL then EXAMINE IT. This is the GIRGOL SCROLL. It cannot be GNUSTO'd and therefore can be used ONLY ONCE! Be careful where you use it. BLORPLE "EARTH" CUBE - remember you will need to constantly re-learn these spells - to return to the Packed Earth Room. Go DOWN twice. Don't worry about falling, you will soon be rescued. WAIT until you are in the Roc's Nest then TAKE the CASKLY SCROLL. BLORPLE "EARTH" CUBE to get back to the Packed Earth Room. Don't worry about the cube in the Roc's Nest at this time. Go SOUTH to the Cliff Middle. TAKE the THROCK SCROLL and go UP. Go UP a couple of more times until you are told on screen that you'd better do something quickly or die, then CAST GIRGOL. This time-stopping spell will halt the avalanche. Now go UP again until you reach the Top of the Mountain. TAKE the GOLD COIN and go INTO the Hut. ASK the Old Man about the cube/hut/whatever, but then to get the CUBE you must CASKLY THE HUT. This repairs the Hut so that the Old Man no longer needs the CUBE and you can now TAKE it. Mark this one with the Burin "SOFT". BLORPLE "EARTH" CUBE again to go back to the Packed Earth Room. Leave the Packed Earth Room - NOT DOWN!! - WEST (for instance) - then BLORPLE "SOFT" CUBE. From the Soft Room go SOUTH and TAKE the SHEARS. PULL WEED - twice - to get it and then it is time to get back to the Packed Earth Room by the usual method. Go WEST again then NORTH. You should now be in the Ogre's Cave. PLANT THE WEED and then THROCK THE WEED to make it grow. The Ogre has hay fever and will now be sneezing so much that you can go DOWN past him without any trouble. TAKE the GOLD BOX and OPEN it to reveal another CUBE. Mark this one "WATER". The SCROLL is the ESPNIS and should be GNUSTO'd at once as should ALL scrolls you find. Back now to the Packed Earth Room. Go EAST (for instance) and get the "EARTH" CUBE again. Learn the BLORPLE Spell a couple of times and FROTZ the ZIPPER. Put everything but the "WATER" CUBE, the "EARTH" CUBE and the piece of BREAD into the ZIPPER then CLOSE the ZIPPER. BLORPLE THE "WATER" CUBE. You will now be in the Water Room. Go SOUTH and you should be in some water. The ZIPPER is waterproof and will keep things such as your Spell Book safe as long as the ZIPPER is CLOSED. You will now be confronted by a GROUPER which is hungry. You will also see a BOTTLE and the "WATER" cube which you will have dropped and which you will need again. Unless you are careful the GROUPER will swallow one of the things you are going to need, so quickly DROP THE BREAD! The GROUPER will go after this enabling you to GET BOTTLE THEN GET "WATER" CUBE. Now back to the Packed Earth Room yet again! The BOTTLE contains a damp SCROLL. Once you have re-opened the ZIPPER and taken the Spell Book, you can GNUSTO the new SCROLL (LISKON). Now go EAST and then NORTH. You need to have memorised the LISKON, MALYON and ESPNIS spells here. When you find the SERPENT, LISKON SERPENT. This shrinks it and you can go NORTH past it. Go NORTH again to the Room of the Idol. There is a CUBE in it's mouth. The mouth is not open enough to let you take the CUBE. The only answer is to bring the idol to life with MALYON THE IDOL. WAIT until you are told that it is definately looking for you then ESPNIS THE IDOL. This makes it fall asleep. If all goes well it will yawn and then fall over asleep and then turn back to basalt with it's mouth wide open! If not, you may have to do the spell-casting again. Once you succeed you can TAKE and mark the "AIR" CUBE. BLORPLE THE "AIR" CUBE then go NORTH. TAKE the TINSOT SCROLL and BLORPLE THE "AIR" CUBE again. GNUSTO TINSOT then go WEST to the Bazaar. Go EAST into the Shop where there are TWO CARPETS for sale. Eventually you want the BLUE one. ASK the Merchant about the carpets. HAGGLE! When he asks for 800 Zorkmids, offer 100. When he asks for 700, offer 200, etc. When he asks for 500 Zorkmids and holds out his hand, GIVE him the GOLD COIN. He will then give you a carpet. Check your INVENTORY before you leave the Shop. If you have the RED CARPET, ASK MERCHANT FOR BLUE CARPET. He will apologise and exchange it! Once you have left the Shop it will be too late! Now you can leave. LOOK UNDER THE CARPET and READ the LABEL you find there. This magic flying carpet can now be used if and when required. You now need to learn the LISKON spell and the BLORPLE spell a couple of times. Now go to the Packed Earth Room again and then go EAST to the Hall Of Stone. DROP ALL here EXCEPT for the "WATER" CUBE and FROTZ SELF to get a source of light. BLORPLE "WATER" CUBE and go UP when you get to the Water Room. You are now in the Oubliette. LISKON SELF to make yourself small enough to be able to ENTER OUTFLOW PIPE. Go WEST and TAKE the CUBE you find. Go WEST again and then UP into the Ruins Room. NORTH back to the Hall Of Stone. Take your belongings again and EXTINGUISH SELF to stop glowing. WRITE "CHANGE" on the new CUBE. Now you need to learn the TINSOT spell THREE TIMES and then BLORPLE at least ONCE. Put the perishables, such as the Spell Book, back into the Zipper and CLOSE it. BLORPLE "WATER" CUBE then go UP into the Oubliette again. Above you, but out of reach, is a Trap Door. REZROV the TRAPDOOR to open it. TINSOT THE WATER to freeze the outflow pipe. TINSOT THE WATER again since once was not enough to fully freeze the pipe. When the chamber is full you will still be a little short of thr Trap Door. TINSOT THE WATER a third time to create an ice floe. CLIMB ONTO ICE and you will then be able to go UP through the Trap Door. TAKE and MARK the "BONE" CUBE and then go EAST and NORTH to the Dungeon Cell. REZROV THE CABINET and get the MOLDY BOOK. If you CASKLY THE MOLDY BOOK it will become somewhat repaired. READ IT and you will find the SNAVIG spell. Get it GNUSTO'd right away. Now go SOUTH then EAST then UP to the Top of the Guard Tower. Drop the CARPET and SIT ON CARPET. A small speck in the distance will turn out to be Mother Roc approaching. Once you are on the CARPET, go UP and then carpet should fly. If not, you couldn't have READ the LABEL! Once airborne go WEST until you are above the Roc's Nest then go DOWN. DON'T GET LOST!! Now, quickly, get off the carpet, take the CUBE, SIT ON THE CARPET and then go UP. You have very little time to do this. Iff the EGG cracks and you are confronted by the Baby Roc, you are going to DIE!! Once in the air, go EAST until you are over the Guard Tower and go DOWN, GET OFF THE CARPET. TAKE CARPET then go DOWN into the Tower to escape the Mother Roc. Now is a good time to MARK the latest CUBE "STRING". See, aren't there a lot of cubes?! Good thing we decided to use the Burin to mark them, eh?!! Learn the SNAVIG spell once and the BLORPLE a couple of times and put everything but the "WATER" and "EARTH" cubes into the Zipper. CLOSE the ZIPPER and BLORPLE "WATER" CUBE. This time go SOUTH from the Water Room and firstly TAKE THE CUBE which drops from your hand. Then SNAVIG THE GROUPER. You will now turn into a Grouper. Go DOWN to the Grouper's Nest. WAIT a couple of times until you regain your own form then TAKE ALL. Go UP and BLORPLE THE "EARTH" CUBE once more. You know where you are now. OPEN THE ZIPPER, TAKE THE BURIN and WRITE "LIGHT" on the new CUBE. Leave the Packed Earth Room and BLORPLE THE "CHANGE" CUBE. This is the Changing Room. Go NORTH and TAKE THE COMPASS you find there. BLORPLE THE "CHANGE" CUBE again. The COMPASS is needed in the next section but may require 'charging'. To do this go WEST and PUT COMPASS IN CARVING that you see in the North Wall. A hole now opens in this Wall. Go NORTH but don't forget to take the compass first. If you do forget you will have to BLORPLE THE "CHANGE" CUBE again to get out. In the area you have noe entered there are RUNES on the wall. Some are lead and some silver. Apart from the North Wall, if you TOUCH THE ROSE TO THE (Direction) WALL, if that wall has silver runes on it, then another hole will appear through which you can go. SEARCH through this area until you are in a room with an ALABASTER PLUG in the WEST wall. When you find this room, IGNORE the GOLD RUNE. REZROV the PLUG and go WEST. TAKE THE CUBE you will find and WRITE "NOPLACE" on it, although it will only show "NOPLAC" as the program only uses the first SIX letters of inputs! BLORPLE THE "LIGHT" CUBE to put yourself into the Light Room. Go WEST to the Volcano Base. WAIT until the LAVA FRAGMENT lands near you then TINSOT THE FRAGMENT. Now it is cool enough to take. BLORPLE THE "NOPLAC" CUBE. From the Noplace Room go SOUTH onto the Plain. You will see TWO ROCKS. One near and one further away. Try to CLIMB onto the nearer rock. No? It wants feeding! GIVE LAVA FRAGMENT TO ROCK. Now you can climb onto the rock. The idea here is to trap the other rock in the way that a checkmate is made in chess. Map the Plain to find an oddity. One corner (Northwest) is different! Using the command: ROCK, WEST or ROCK, SOUTH, etc., make the Green-Eyed Rock carry you about the Plain. Once you go through the odd Northwest diagonal you will be able to close in on the Brown-Eyed Rock. When the two rocks are near each other, the Brown-Eyed Rock will become mesmerised. You can now CLIMB ONTO THE BROWN-EYED ROCK and TAKE the CUBE. MARK it "DARK" and then BLORPLE THE "DARK" CUBE. Learn the SNAVIG spell and go DOWN to the Dark Cave from the Dark Room. Make sure that you are NOT a Light Source, but ensure that something else is such a source, e.g., the Zipper. Drop everything here and go DOWN to the Grue Cave. SNAVIG A GRUE and go DOWN to the Light Pool. CLIMB THE PILLAR and take the CUBE from the TOP. CLIMB DOWN PILLAR and return UP and UP again to the Dark Cave. Take all and WRITE "FIRE" on the CUBE. When you return to your own self again, BLORPLE THE "FIRE" CUBE. You need to increase your magical ability to get much further. To do this you need to choose a CUBE. For instance, the "EARTH" CUBE. Put this chosen cube into the GOLD BOX. The BOX changes slightly. TAKE THE CUBE OUT AGAIN. Go NORTH from the Fire Room where you should be now, and THROW THE GOLD BOX onto the Outcropping that you can see. Now BLORPLE (the name of the cube that you put in and then out of the box). From the location you are now in you will be able to go through the exit that was magically blocked earlier. For example, from the Packed Earth Room you can now go NORTH. This will put you beside the GOLD BOX! TAKE THE BOX AND THE CUBE and re-BLORPLE yourself away. WRITE "MAGIC" on this CUBE. BLORPLE "STRING" CUBE. From the String Room go SOUTH to the Enchanter's Retreat. Here you will meet good old Belboz again. Ask him about various things to show you need help and he will ask you a question. The answer is IN THE CARDS THAT CAME WITH THE ORIGINAL GAME PACKAGING! Answer correctly and he will give you a WROUGHT IRON KEY. Now BLORPLE "NOPLAC" CUBE again. Learn the JINDAK spell THREE TIMES and the BLORPLE ONCE. Go EAST to the Inner Vault and REZROV the DOOR. Go NORTH. You now hava a major problem to solve and only three spells may be cast before the Guards are alerted and come to drag you away!! Also NO SAVE POSITIONS ARE POSSIBLE IN HERE!!! The problem MUST be solved in ONE GO!! You will see two piles of cubes marked 'x1' to 'x10'. If the piles are JINDAK'd they will GLOW. There is only ONE REAL CUBE and that will make its pile glow BRIGHTER than the other. To find the REAL CUBE carefully follow these instructions: Put all your bits and pieces in the Zipper to make moving the cubes around a bit easier. 1. Take x1, x2, x7, x8 cubes from the piles. JINDAK. If the piles glow evenly then go to step 2. If the glow is uneven then make a note which is the brighter one and go to step 5. 2. Take x3, x4. Put x1, x2 on the first pile. JINDAK. If the piles glow evenly then go to step 3. If they are uneven then go to step 4. 3. Take x1. Put x7 on the first pile. JINDAK. If the piles are even then BLORPLE x8, if uneven then take x7 and BLORPLE IT. Now go to step 9. 4. Take x1. Put x7 on the first pile. JINDAK. If the piles are even then BLORPLE x1. If the piles are uneven then take x7. BLORPLE IT. Now go to step 9. 5. Put x1, x2, x7 on the second pile. Get x9, x10, x11, x12. Put x9 on the first pile. Get x6. Put x6 on the second pile. JINDAK. If the piles are even then go to step 6. If uneven in the same way as in step 1, then go to step 7. If the piles are uneven in the opposite way then go to step 8. 6. Take all the cubes off each pile, in turn and drop them all. Take and put x10 on the first pile, then take and put all on the second pile. JINDAK. If the piles are even get x12 and then BLORPLE IT. If the piles are uneven as in step 1, then get x11 and BLORPLE IT. If the piles are uneven in the opposite way, then get x10 then BLORPLE IT. Go to step 9. 7. Take and drop all the cubes from both piles. Take cubes x3, x4. Put x3 on the first pile and x4 on the second pile. JINDAK. If the piles are even take x5 and BLORPLE IT. If the piles are uneven as in step 1 then take x3 and BLORPLE IT. If the piles are uneven in the opposite way then get x4 and BLORPLE IT. Go to step 9. 8. Take and drop all the cubes from both piles. Take x6, x1. Put x6 on the first pile and x1 on the second pile. JINDAK. If the piles are even get x9 and BLORPLE IT. If the piles are uneven then get x6 and BLORPLE IT. Go to step 9. 9. If you are now in the Nondescript Room, you've done something wrong. If you are in the Sand Room then CONGRATULATIONS!! The areas up and down from the Sand Room are actually places in the past. Places you have been to before. UP goes to the Ruins where you found the Zipper, and DOWN goes to the Dungeon Cell where you found the MOLDY BOOK in the cupboard. Of course things look different because you are now quite some time in your own past. The problems in these two areas must be solved correctly and fully or you will be unable to leave here alive! The basic idea is to leave things in such a way that they will be just as you found them earlier in the game when time has passed by. Going DOWN first. UNLOCK the CABINET with the IRON KEY you got from Belboz. If the key explodes and kills you, then you must have answered Belboz's questions incorrectly! (ALL the answers are in the set of cards that come with the original Infocom game!) OPEN the CABINET to discover a VELLUM SCROLL which is blank. Now make sure that you have the BLORPLE SPELL memorised a couple of times because you are about to lose your Spell Book. Put the Spell Book in the cabinet. Obviously this will later become the MOLDY book you found! CLOSE and then LOCK the CABINET. Remember.....it was LOCKED when you found it! TAKE the KEY with you. Remember what the Cell Door was like? O.K. then......REZROV the DOOR and then, before the Guards arrive, BLORPLE THE "SAND" CUBE. Now go UP to the Ruins Room. This is where you will later find the Zipper. At the moment there is just a SACK here. Right! TAKE and OPEN the SACK. It contains a FLIMSY SCROLL.....seem familiar? EXAMINE IT. It has the GIRGOL SPELL on it which, as you know, you could only use ONCE........But!....if you had a BLANK scroll on which to COPY the GIRGOL SPELL?!! WRITE GIRGOL ON VELLUM SCROLL (with the Burin). Now EMPTY THE ZIPPER INTO THE SACK. PUT THE FLIMSY SCROLL IN THE ZIPPER and then CLOSE ZIPPER. DROP the ZIPPER. This is how you found the room originally wasn't it?! All that was here was a Zipper containing a Flimsy Scroll! TAKE the SACK and BLORPLE THE "MAGIC" CUBE. From the Magic Room go EAST to the Castle where you will be confronted by your shadowy enemy at last! If left to his own pace, the figure will eventually freeze you to enable him to have enough time to complete certain deeds. However, since he is now aware of your increased magical abilities, he does not realise that after a few moves you will shake off the spell. Unfortunately, if you let him freeze you when HE wants to, there is not enough time to shake off the spell. You need to annoy the figure enough so that he will notice and freeze you much sooner. As soon as you can see the figure try ATTACK FIGURE. He will freeze you. Now just WAIT for a while. If you do anything else, you will be noticed and re-frozen. Do nothing but WAIT until the freeze spell wears off. Keep WAITing until the figure IGNORES YOU!! Now, as long as you remembered to bring the VELLUM SCROLL with the copy of the GIRGOL SPELL on it with you, you will be able to defeat him. WAIT until the figure is just about to leap into the Hypercube he has built and then CAST GIRGOL. Time will stop and you have a couple of moves in which to win or lose! Remove the "MAGIC" CUBE from the Hypercube and replace it with the SMOKED FISH. The Hypercube is being built to rearrange the Universe in the manner that the shadowy figure wants. It is based on the item in the centre of the Hypercube. The figure wants MAGIC hence the "MAGIC" cube is in the middle. If you remove the "MAGIC" cube then do not put anything else in there, then the new Universe will be built around nothing! (DESTROYED!!!). If you put any magical item there the figure will get what he wants. So by using a NON-MAGICAL item, such as the SMOKED FISH, a totally new Universe will be created. As time starts again, the figure will enter the Hypercube and you will have WON THE GAME!!!! You should now have scored 600/600 and achieved the class of SCIENTIST!! * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Another INFOCOM adventure solved - courtesy of the ONE, the ONLY DOCS CREW in the entire ST realm....SEWER SOFTWARE (Yehhh!) - cash and non-perishable gifts to the usual P.O Box please! S T A T I O N F A L L (Infocom) Note: You will get hungry (Eat 'goo' or 'nectar'; drop kit when food is depleted), and sleepy (get on bed in any Barracks and 'WAIT'), and may be attacked by Plato (SAY 'FLOYD, HELP' 4 times) at random times. Also, you must leave the room if a Welder approaches. It is necessary to make an accurate map of your travels as, if there are no physical directions between the end of a section - in this solution - and the beginning of the next section, then you must make your way via your map to the point where the solution continues. This is necessary when any of the actions, mentioned in the preceding paragraph, occur. THE SOLUTION ON THE DUFFY. E - N - PUT ROBOT FORM IN SLOT - TYPE 3 - S - E - OPEN HATCH - ENTER TRUCK - CLOSE HATCH - SIT IN PILOT SEAT - PUT SPACECRAFT FORM IN SLOT - READ CHRONOGRAPH - (Find this number on the Assignment Form in your game packaging to discover the correct co-ordinate) - TYPE (NUMBER) - WAIT - (until you land at the Docking Bay) - GET UP - GET KIT - OPEN KIT - GET THERMOS - OPEN THERMOS - DRINK SOUP - OPEN HATCH - OUT - E. LEVEL 5 & PRINTING PLANT. DROP KIT - (return for it when you get hungry) - SE - SE - E - GET TAPE - W - PUT TAPE IN READER - TURN READER ON - PUSH BUTTON - (ten times) - TURN READER OFF - E - LOOK UNDER BED - GET STAMP - W - NW - NW - DOWN - DOWN - (Printing Plant) - OPEN CAN - GET CRUMPLED FORM - DROP ASSIGNMENT FORM - NW - GET DRILL - REMOVE BIT - DROP BIT - SE - GET NANOFILM. LAUNDRY ROOM. OPEN PRESSER - PUT CRUMPLED FORM IN PRESSER - CLOSE PRESSER - TURN PRESSER ON - TURN PRESSER OFF - OPEN PRESSER - GET FORM - E - N - READ SIGN - (note number) - S - SW - GET PUCE - E - DOWN - W - GET LILAC - E - UP - UP - SE. LIBRARY. PUT MAUVE IN READER - TURN READER ON - REMOVE MAUVE - DROP MAUVE - PUT PUCE IN READER - REMOVE PUCE - DROP PUCE - PUT LILAC IN READER - TURN READER OFF - W - N - GET DETONATOR - OPEN DETONATOR - REMOVE HYPERDIODE - DROP HYPERDIODE. LEVEL 5 & EAST CONNECTOR'S IRIS HATCH. DROP DETONATOR - STAMP FORM - DROP STAMP - SE - S - [SAVE GAME] - W - [RESTORE if Floyd doesn't follow you into the room; try telling him to follow you!] - FLOYD, GET MEDIUM BIT - GET BIT - E - PUT BIT IN DRILL - E - N - N - NE - (East Connector) - PUT FORM IN SLOT. BROADWAY. E - GET HEADLAMP - WEAR HEADLAMP - W - S - S - READ SHEET - DROP SHEET - SE - PUT CARD IN SLOT - TURN MACHINE ON - TYPE SEVEN - GET CARD - NW - SW - SW - SE - SW - GET CAN - READ CAN. PET STORE & THE BALLOON CREATURE. READ SIGN - OPEN CAGE - SPRAY CAN - NE - SPRAY CAN - W - SPRAY CAN - W - SPRAY CAN - W - SPRAY CAN - SW - SPRAY CAN - NW - SPRAY CAN - UP - SPRAY CAN - UP - SPRAY CAN - (the Balloon Creature should follow you into the Chapel). CHAPEL. OPEN PULPIT - THROW SWITCH - SPRAY CAN - GET LEASH - GET STAR - DROP LEASH - E - DOWN - DOWN - GET KIT AND DETONATOR - SE - SE - E - OPEN STAR - GET HYPERDIODE - DROP STAR - PUT HYPERDIODE IN DETONATOR - CLOSE DETONATOR - W - NW - NW - DOWN - SE - (End of Corridor) - PUT CARD IN READER - N - GET GUN - (Level 5) - SE - SE - E - DRILL SAFE - DROP DRILL. LOAN SHARK, THE OSTRICH & THE PX MACHINE. SHOOT LOCK WITH GUN - GET COIN - N - NE - UP - NW - (Pet Store) - EXAMINE CEILING - OPEN PANEL - GET NIP - SE - SW - SW - SE - SE - NW - (Doc Schuster's) - NE - UP - N - N - W - W - W - NW - NE - (PX) - PUT COIN IN MACHINE - TYPE 6 - PUT NIP IN HOLE - GET TIMER. MAYOR'S OFFICE. OPEN TEXTBOOK - READ PAPER - DROP PAPER - DOWN - NE - NE - N - N - SE - (Barber Shop) - BREAK MIRROR - GET FOIL - NW - S - (Grocery) - DROP ALL BUT THERMOS. CASINO, FLOPHOUSE & THE ALIEN SHIP. TURN WHEEL - UP - OPEN LOCKER - GET SUIT - DOWN - W - NW - (Grocery Store) - DROP SUIT - (Go to Docking Bay No.1) - ENTER SHIP - TASTE DOTS - (compare with the message on the paper in Mayor's Office) - EXIT SHIP. JUNKYARD & IN SPACE. GET BOOTS - WEAR BOOTS - W - NE - UP - N - GET SUIT - WEAR IT - S - DOWN - (Warehouse) - OPEN INNER DOOR - DOWN - (Airlock) - CLOSE INNER DOOR - OPEN OUTER DOOR - DOWN - TURN LAMP ON - GET CYLINDER - PUT CYLINDER IN THERMOS - CLOSE THERMOS - UP - CLOSE OUTER DOOR - TURN LAMP OFF - OPEN INNER DOOR - REMOVE BOOTS - DROP BOOTS - REMOVE SUIT - DROP SUIT - (Go to Grocery) - GET GUN, DETONATOR, TIMER AND FOIL. COMMANDER'S QUARTERS. ATTACH TIMER TO DETONATOR - OPEN THERMOS - GET EXPLOSIVE - ATTACH DETONATOR TO EXPLOSIVE - PUT EXPLOSIVE IN HOLE - DROP DETONATOR AND TIMER - SET TIMER TO TEN - W - E - (after the explosion!) - GET KEY - W - NW - NW - N - N - GET JAMMER - SET JAMMER TO SEVEN ONE ZERO - E - N - N - UP - GET BOARD - INSERT BOARD IN JAMMER. DOME. UNLOCK BIN WITH KEY - OPEN BIN - GET GUN, FOIL AND JAMMER - REMOVE GRATING - ENTER AIR SHAFT - DOWN - (until you reach the bottom) - JUMP ON GRATING - TURN JAMMER ON - TURN JAMMER OFF - UP - SHOOT FLOYD WITH GUN - PUT FOIL ON PYRAMID. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * STOS....The DOCs. Edited by SEWER POSSUM. Thanks to Wacky Jackys' hubby for sending these to us here at SEWER H.Q. 1 THE EDITOR COMMANDS THE CONTROL KEYS FUNCTION KEY ASSIGNMENT: key(3)="BOOM'": note that the ' character is used to denote RETURN. [HELP] displays the edit program(n) dialogue box. This box contains three separate sections. The top section contains a list of the programs currently in memory. STOS Basic allows four programs to reside in memory simultan- eously. The current program is highlighted using a horizontal bar.> This bar can be moved up and down using the arrow keys, The program highlighted then becomes the current program for editing. The second part of the HELP menu displays a list of the accessories installed in the system. These accessories can be executed directly from the HELP menu by pressing one of the function keys. The last part of the HELP menu displays the amount of memory available for the storage of STOS Basic programs. [CONTROL+C] Terminates a running program and returns control to the STOS editor [HOME] Returns cursor to home position [CLR] Clears the current screen and returns the cursor to the home position. [UNDO] Pressing this key twice redraws the screen and reinitialises the editor, or used to view a line from which an error has occurred and forced the program to stop. [THE ARROW KEYS] Move the cursor one character position up,down,left or right. [RETURN] Enters a line at the current cursor position. Double clicking the mouse has the same effect. [DELETE] Deletes the character under the cursor. [SHIFT+DELETE] Deletes the line under the cursor. [BACKSPACE] Deletes the character to the left of the cursor then moves the cursor one space left. [ESC] Enter multi mode display. See section on multiple programs for more information. [SPACEBAR] Suspends a listing. Press spacebar again to resume. CUSTOMISING THE EDITOR The STOS Basic package comes complete with a special configuration program which enables you to customise the system to your own individual requirements. The program can be found on the STOS basic language disc and is called "CONFIG.BAS". It can be loaded and executed by the line: run "CONFIG.BAS". You can select any one of the various alternatives by simply moving the mouse over the appropriate item, and clicking on the left mouse button. If for example you wished STOS basic to enter medium resolution instead of low resolution on loading, you would place the pointer over the MEDIUM option and press the left mouse key. This button would now be highlighted and the low option deselected. You can also use this dialogue to select the colours of the text (pen) and the background (paper). When finished making changes to this menu, click on NEXT PAGE. This second menu allows the function key commands to be changed and a selection of accessories to be loaded up at boot- up. This menu also allows any changes you have been made to be saved to disc. These changes will now be effective every time you boot-up STOS. LOADING/SAVING BASIC PROGRAMS There are two possible ways you can load a basic program into STOS basic. Firstly you can use the normal LOAD option like so: load "CONFIG,BAS" This command works fine if you know the name of the program you wish to load, but often this is not the case. In these circumstances you can use the FLOAD instruction to choose a file using the file selector. FLOAD path$ path$ is a string containing the search path. (see DIR): example: fload "*.bas" :choose a basic file to load (Press F4) When you type in the above line you will be presented with a GEM type file select dialogue box. Saving a program can also be done in the above two ways merely replacing the commands load and fload with the commands save and fsave. RUNNING A PROGRAM RUN Execute the current STOS basic program: RUN no. Execute the current STOS basic program from line number no. RUN file$ Load and run the program stored in file$ CONT Restart a program exited by STOP or [control+c]. To restart a program it must not have been changed between STOP and CONT. ENTERING A STOS BASIC PROGRAM AUTO The AUTO command automatically prints out a new line number every time you press [RETURN]. To exit this mode press [RETURN] on a line containing no entry. AUTO start Start line numbering from start AUTO start,inc Start line numbering from start and increment in steps of inc. If a program is already present typing in AUTO will present you with the line number after the last number already present in the program. RENUM Renumber all or part of a program. There are four ways of using RENUM. RENUM Starts by setting the first line of the program to 10 and renumbers each succeeding line in units of 10. RENUM number Sets the first line number to number and renumbers all succeeding lines in increments of 10. RENUM number,inc Starts at line number and increments each successive line by inc. RENUM number,inc,start-end Renumbers lines from start to end beginning with line number and incrementing each succeeding line by inc. Note that STOS basic will not allow RENUM to overwrite any existing parts of the current program. LIST lists the entire program. LIST first- Lists all the lines in the program starting from the line first. LIST -last Lists the lines from the start of the program to the line last. LIST first-last Lists the lines from first to last. SEARCH Searches for a string in a basic program SEARCH S$ Will find the position of S$ in the program. To find the next occurrence of S$ simply type in SEARCH on it's own. SEARCH A$,start-end Will find A$ between the lines start and end. CHANGE Change all occurrences of a string in a program. CHANGE "AX15B" TO "COUNT" Will change all occurrences of AX15B in a program to COUNT. CHANGE "AX15B" TO "COUNT",start-end As above except only the occurrences between lines start to end will be changed. DELETE Delete some or all lines of a program DELETE line Deletes the line number line. DELETE first-last Delete all lines between first and last. If the lines first and last do not exist then the command is ignored. MERGE Merge a file into the current program. MERGE file$ The MERGE command combines a program stored in the file file$ with the current program. Existing lines will be overwritten by any new lines with the same number. This instruction can be used to merge a set of subroutines into one complete program. DEBUGGING A PROGRAM FOLLOW Track through a STOS basic program. There are five possible formats for the FOLLOW command. FOLLOW if the FOLLOW statement is used on it's own, the program will halt after every instruction and list the current line. The next line in the program can be stepped through by pressing any key. FOLLOW first-last This version of the instruction only FOLLOWs the program when the lines between first and last are being executed. FOLLOW variable list This takes a list of variables separated by commas and prints them out after every instruction has been executed. As before you can step through the program by pressing any key. FOLLOW variable list,first-last Identical to the instruction above, but the variables are only FOLLOWed when the lines between first and last are being executed. FOLLOW off Turns off the action of the FOLLOW command. MULTIPLE PROGRAMS STOS basic allows you to have up to four programs in memory at any one time. These may be completely independent of each other. If you suddenly decide to change the configuration of the editor, for instance, you could easily load the CONFIG.BAS program into a separate segment of the ST's memory without interfering with your current program. To load a program into a separate memory area press [HELP],use the cursor keys to highlight a vacant program slot, press [HELP] again to return to the editor and load in the CONFIG.BAS program. Run this program, enter any alterations you want to make to the file, save it and exit the program. Press [HELP] again and using the arrow keys highlight your original program and press [HELP] again. You will now return to the editor with your original program ready for further editing or running. The CONFIG.BAS program could be accessed again using the [HELP] key at any time. MULTI Displays a number of programs simultaneously. MULTI [2][3][4] Splits the editor window in two,three or four sections. Top section = program 1:bottom section = program 2:bottom left section = program 2:bottom right section = program 3: FULL Expands the current window to the full screen. ( does not affect the status of any of the other programs ) SPLITTING PROGRAMS IN THE EDITOR You can also use the MULTI command to split a single program into a number of separate sections. This can be done using the HELP menu. Position the program cursor over program 1 and press the left and right arrow keys. As you can see, the text cursor is moved between four different boxes on the program line. Move the cursor to the first box and type in 1000 followed by [RETURN]. This sets the end point of the first part of the program to line 1000. If you now exit back to the editor and type MULTI 2, the program will be split into two windows. You can choose between these two windows using the mouse pointer. To see how this works, position the mouse in the top window and click on the left mouse button. The cursor in this window will immediately start flashing, and the window will be activated. Typing list in the first window will list all the lines of the program until line 1000. If you repeat this process in the second window, you will generate a listing of lines 1000 onwards. Each box on the program line represents a different section of the listing. You can therefore use this technique to split a program into four separate parts. It is important to note that this has no effect on any existing segments, and you can page through each of the programs stored in memory using the HELP menu as usual. All four of these programs can be split in exactly the same way without interfering with each other. GRAB Copy all or part of a program segment into the current program. The GRAB command allows you to combine a number of subroutines stored in separate program segments into one complete program. This enables you to test each subroutine in your program independently. The syntax of the GRAB command is GRAB n where n represents the program number that is to be copied into the current program. n ranges from 1 to 4.n cannot be the number of the current program ! GRAB n,first-last Only copies the lines between first and last into the current program. SYSTEM COMMANDS SYSTEM Immediately returns to GEM without saving the current programs. RESET Simply reinitialises the editor and redraws the current screen. DEFAULT Redraws any currently defined windows on the screen, and resets the STOS basic editor. Unlike RESET, DEFAULT can be used in either direct or interpreted mode. This allows it to be utilised at the end of a basic program to jump back to the editor. The effect of this instruction can also be achieved from the editor by pressing the [UNDO] key twice. Do not confuse this with the DEFAULT function. NEW This command deletes the current program from the ST's memory. It has no effect on any other programs stored in different segments. UNNEW Attempts to recover from a NEW command. It will only work if entered immediately after NEW. CLEAR This instruction erases all variables and all the memory banks defined by the current program. It also repositions the READ pointer to the first DATA statement in the program. FREE Returns the number of bytes free for use by the current basic program. The use of this command also initiates the garbage collection routines in the STOS interpreter. This garbage collection also occurs automatically from time to time during a program run, and if it is vital to the program not to be interrupted at some point, the function can be forced to occur when it will do the least harm by inserting the command FREE at some point in the program. ENGLISH/FRANCAIS Selects the language for all subsequent dialogue. FREQUENCY Changes the scan rate from 50Hz to 60Hz UPPER Normally, any instructions you type into a STOS basic program are listed in lower case, and any variables in upper case. The UPPER directive reverses this format to instructions in upper case and variables in lower case. LOWER reverts the listing back to the default case. NAMING CONVENTIONS FOR VARIABLES The names of STOS basic variables need to conform with a number of rules. Firstly, a variable name must not exceed 31 characters in length each variable name must begin with a letter, also the names must not contain any of the following Basic keywords: TO, STEP, THEN, ELSE, XOR, OR, AND, GOTO, GOSUB, MOD, AS EXAMPLES OF LEGAL NAMES.......A, RUNE$, IPOKE, TEST, ZZ99, C5# SOME ILLEGAL NAMES............CAST, 5C, SORT, BAND$, MODERN$, TOAD TYPES OF VARIABLES INTEGERS This is the default variable type. Each integer is stored in four bytes and can range in value from -2147483648 to +2147483648. REAL NUMBERS These are suffixed with a # character and can range from - 1.797692+308 to +1.797693+307 accurate to a precision of 16 digits. STRINGS These are suffixed with a $ character and can range from 0 to 65500 characters in length. They are not terminated with a chr$(0). ARRAYS Any of the previous variable types can be incorporated into an array created with the DIM instruction. DIM Is used to set up a table of variables. The number of dimensions is unlimited but each dimension is limited to 65535 elements. Each element in the array always defaults to a value of 0 until it has been assigned a value by the programmer. CONSTANTS As a default, all numeric constants are treated as integers. Any floating point assignments to an integer variable are automatically converted to a whole number before use. In addition to the usual decimal notation, you can also use either binary or haxadecimal expressions.BINARY numbers are preceded with a % character, and hexadecimal numbers with a $ character. To force the program to use a constant as a floating point number the constant should contain the decimal point: 10. and not just 10 which would be treated as an integer. Mixed integer/floating point arithmetic always results in a floating point answer. ARITHMETIC OPERATIONS The following arithmetic operations can be used in a numeric expression. They are listed in ascending order of priority. ^ Power / and * Divide and Multiply MOD Modulo operator ( produces the remainder of a division ) + and - Plus and Minus AND Logical AND OR Logical OR XOR logical XOR In addition to these normal operators STOS allows a variable to be INCremented or DECremented by 1:eg. INC A adds one to the variable A. STRING OPERATIONS ADDING STRINGS: A$="STOS"+" BASIC" results in A$ being "STOS BASIC" SUBTRACTING STRINGS: A$="STOS BASIC"-"S" results in A$ being "TO BAIC" : ALL occurrences of "S" being removed from the string. PRINT " A STRING OF CHARACTERS"-" " results in ASTRINGOFCHARACTERS COMMON STRING FUNCTIONS LEFT$ There are two versions of this command LEFT$(A$,4)="STOS" and A$=LEFT$("012345",3). RIGHT$ There are two versions of this command as above, with RIGHT being substituted for LEFT in the above examples. MID$ A$=MID$(v$,s,n) returns A$ from position s with the number of characters n from v$ MID$(v$,s,n)=A$ sets n characters in v$ starting from s in the string A$.if a value of n is not included then the characters are replaced up to the end of A$. INSTR Search for occurrences of a string within another string. INSTR(d$,s$) This searches for the first occurrence of s$ in d$. If the string is found, then the position of this string is returned otherwise a value of 0 is returned. INSTR(d$,s$,p) This version of INSTR finds the first occurrence of s$ in d$ starting from character number p. ARRAY OPERATIONS SORT A$(0) The SORT instruction sorts all the elements in an array into ascending order. The array can be composed of integers, strings or floating point numbers. The a$(0) indicates the starting point of the table to be sorted and must always be the first item in the array. MATCH (t(0),s) The match function searches through a SORTed table and returns the item number in which the value s was found. If a match is not found, a negative value is returned, the absolute value of this number contains the index of the first item which was greater than s. Providing the array is only of one dimension, it can be of type integer,string or real.The array should always be SORTed before MATCHing. MEMORY BANKS STOS basic includes a number of powerful facilities for the manipulation of sprites, screens and music. The data for these functions needs to be stored along with the basic program. STOS basic uses a special set of 15 sections of memory for this purpose called Banks. Each bank is referred to by a unique number ranging from 1-15. Many of these banks can be used for all types of data, but some are dedicated solely to one sort of information such as sprite definitions. Every program stored in the ST's memory has its own separate set of banks. There are two different forms of memory bank: permanent and temporary. Permanent banks only need to be defined once, and are subsequently saved along with your program automatically. Temporary banks however, are much more volatile and are reinitialised every time a program is run. Furthermore, unlike permanent banks, temporary banks are erased from memory by the CLEAR command. TYPES OF MEMORY BANKS Class Stores Restrictions Type Sprites Sprite definitions Only bank 1 (1) Permanent Icons Icon definitions Only bank 2 (1) Permanent Music Music Only bank 3 (1) Permanent 3D Future 3D extension Only bank 4 (4) Permanent Set holds new character sets Banks 1-15 Permanent Screen Stores a complete screen Banks 1-15 Temporary Datascreen Stores a screen Banks 1-15 Permanent Work Temporary workspace Banks 1-15 Temporary Data Permanent workspace Banks 1-15 Permanent Menu Menu lines Bank 15 (2) Temporary Program Machine code program Banks 1-15 (3) Varies Footnotes; (1) Bank is not really general purpose. It is allocated automatically by the appropriate accessory, or when a bank of this type is loaded. (2) Reserved automatically by Menu commands. Usable by programs which don't use menus. (3) Reserved as either work or data. Renamed when program loaded into bank. See LOAD. (4) Reserved for future expansion LISTBANK lists the numbers of the banks currently reserved by a program, along with their location and size. HEXA ON/OFF As a default these values are printed out in hexadecimal notation. You can change the format to decimal by typing HEXAOFF. RESERVE RESERVE AS SCREEN bank Reserves a temporary bank of memory for a screen. This bank is always 32K long. RESERVE AS DATASCREEN bank Reserves a permanent bank 32K long for use as a screen. The screen is saved along with your program. RESERVE AS SET bank,length Reserves a permanent bank length bytes long for use as a character set. RESERVE AS WORK bank,length Reserves a temporary bank for use as a work space length bytes long. RESERVE AS DATA bank,length Reserves a permanent bank length bytes long for use as a workspace. Note that bank may be any number from 1 to 15, but since the system normally reserves banks 1 to 4, it's wise to leave these banks alone. COPYING BANKS BCOPY source TO dest Copy the contents of bank source to bank dest. source and dest can range from 1-15. BGRAB prgno(,b] BGRAB copies one or more banks stored at program progno into the current program. Program numbers between 1-4 denote one of the four programs that can reside in memory at any one time. Numbers from 5-15 represent an accessory. If the optional b is not included, then all the banks attached to the program progno are copied into the current program, and any other banks of memory linked to this program are erased. Otherwise, the bank number specifies one bank which is to be transferred into the current program, all other banks then remain unchanged. DELETING BANKS ERASE b delete bank b. Any memory used by bank b is now freed for use by the program. BANK PARAMETER FUNCTIONS B=START(b) This function returns the start address of bank b. B=START(prgno,b) This function returns the start address of bank b of program number prgno:b can range from 1 to 15 and prgno from 1 to 16. B=LENGTH(b) This function returns the length of bank b. B=LENGTH(prg,b) This function returns the length of bank b of program prg. SAVING AND LOADING SAVE Here is a summary of the various data types that can be saved with the SAVE command along with their extensions: Type of information Extension Comments Basic programs .BAS Normal basic program Accessories .ACB Load using ACCLOAD Images .PI1, PI2 or PI3 Degas format screen shot .NEO Neochrome format. Only in Low res. Memory banks .MBK One memory bank .MBS All current banks Basic variables .VAR All currently defined variables Listings .ASC in Ascii format RUN-ONLY programs .PRG Executable directly from GEM Desktop If none of these extensions are used then STOS adds .BAS to the filename automatically, and saves the current Basic program on to the disc. BSAVE file$,start to end Saves a memory block named file$ from start to end ;eg. BSAVE "\STOS\8X8.CRO", START(5) TO START(5)+LENGTH(5) RUN ONLY PROGRAMS save "filename.prg" This option saves a version of your program in a special format which allows it to be loaded and executed directly from Gem Desktop. In order to use this function, you should first prepare a disc using the STOSCOPY.ACB accessory. This makes a copy of the entire \STOS\ directory on the disc. This disc can now be used to hold your run-only program. NEVER SAVE A RUN-ONLY PROGRAM ON THE ORIGINAL SYSTEM DISC ! When you save one of these programs, two files with the same name are created on the disc. One file has the extension .BAS and is stored in the \STOS\ folder. The second has a .PRG extension and lies outside the folder. It is this file which can be executed directly from the Gem Desktop. When a run- only program terminates or an error occurs, it immediately returns to Gem. Notes: (1) Any attempt to execute the STOS Basic editor from a run-only program will crash the ST completely. (2) The files PIC.PI1 and PIC.PI3 in the STOS folder contain low and high resolution pictures which will be displayed automatically during loading. If you like, you can omit these files from the disc to save space or alternatively replace them with your own pictures. (3) The default colours used by your program will be the standard ones used by Gem Desktop, and not the normal STOS basic colours. (4) Any of your own programs installed as RUN ONLY may be freely distributed or sold providing you acknowledge that they were written in STOS basic and use the protect accessory when giving the disc to anyone who has not bought a copy of STOS basic. (5) If you place the RUN ONLY program in the \AUTO\ folder it will load and run automatically, whenever the disc is booted up. (6) For more information see Appendix B. LOAD Load all or part of a STOS basic program. All the various forms of saving a program are complemented with LOAD, with the following additional notes: LOAD "filename" assumes .BAS and will load as if LOAD "filename.bas" was used. LOAD "Filename.MBK"[,b] This loads a single datafile into memory bank b. If the optional b is omitted then the bank is loaded into the bank from which it was saved. Note that this operation deletes any previous contents of a bank when executed.Furthermore, the LOAD instruction automatically reserves a bank of the appropriate type if it has not already been defined. BLOAD Load binary information into a specified address or memory bank. BLOAD file$,addr The file file$ will be loaded into the address addr.: BLOAD file$,bank The file file$ is loaded into memory bank bank. The start address of the bank being used can be found using the start command, eg. bkaddr=start(bank) will return the start address of bank. MACHINE-CODE PROGRAMS LOAD "filename.prg",b This instruction allows you to load a machine-code program into a memory bank number b. Any program you wish to use in this manner should be stored in TOS relocatable format, and must be placed in a file ending with the ".PRG" extension. DO NOT TRY TO USE GEM-BASED PROGRAMS FOR THIS PURPOSE ! You should also avoid accessing any of the memory management functions from Gemdos. All other functions may be used, providing you take care. You can call one of these functions using the CALL instruction like so: CAll START(bank). Note that when you copy a bank containing a program into another bank, this is automatically relocated for you. THE ACCESSORIES The STOS basic accessories are special programs which lie dormant in the ST's memory until you call them up using the [HELP] key. ACCLOAD Load an accessory. Before you can use one of these accessories you must first load it into memory using the ACCLOAD command :-ACCLOAD "name.ACB" Loads the accessory from the file name into memory. Any normal Basic programs you have entered will be unaffected. You can use this function to load all the accessories on a disc by typing in accload "*" ACCNEW Remove ALL the currently installed accessories from memory. CALLING AN ACCESSORY: A list of all the currently available accessories can be found by pressing the [HELP] key at any time.Press the function key associated with the accessory you require. This can only be done whilst the HELP menu is active. THE SPRITE DEFINER: This accessory is stored in the file SPRITES.ACB and provides a quick and convenient method of creating or editing lists of sprites. A full explanation of this program can be found in chapter 4. THE CHARACTER DEFINER: The character definer in FONTS.ACB is used to create one of 13 user-defined character sets. These sets can be accessed within a STOS basic window, or can directly replace the existing character set. See chapter 8 for more details. THE ICON DEFINER: Icons are special 16X16 characters which can be displayed in maps, or incorporated into menus. The ICON definer in ICONS.ACB allows you to create up to 255 of these objects. THE MUSIC CREATION UTILITY: MUSIC.ACB holds a powerful and effective tool for composing music or sound effects that can be used within any STOS basic program. Any music created with the utility can operate independently of the rest of the program,see chapter 5. COMPACT: The screen compacter is a simple way of compressing a screen into a small space. Typical compaction ratios vary from 30% to 75%. The COMPACT.ACB accessory provides an effective method of performing these compressions, and saving the results to disc. These files can then be expanded with the UNPACK instruction. See chapter 7. SCAN: Opens a window in the centre of the screen and prompts you for a keypress, then displays the Scancode and Ascii code of this key. ASCII: Displays an Ascii table on the screen. Note that the row and column numbers are in hexadecimal. Convert to decimal using $. MOUSE: As you move the mouse pointer around the screen, the current X and Y coordinates are displayed in the mouse window. To exit from this accessory click once on either of the mouse buttons. TYPE: Prints an Ascii file on the disc to either the screen or the printer. STOSCOPY: This accessory copies the \STOS\ folder along with its contents on to a new disc. Since this function requires you to put the system disc into the current drive, it's a good idea to set the write protect tab on your copy of the system disc before executing STOSCOPY. Full instructions are included along with this program. DUMP: This accessory allows you to edit the contents of any part of the ST's memory. Each byte of memory is displayed in both Ascii and hexadecimal formats. To edit a memory location move the cursor over the appropriate point and input your new data. When you have finished, press [RETURN] to enter the changes into memory. These changes can be reversed by pressing [UNDO]. CONTROLS..........ARROW KEYS..........Move the cursor around the screen. INSERT..............Displays the last page of data. HOME................Displays the next page of data. ENTER...............Enters any changes into memory. UNDO................Reverses the changes. STOS - Part 2. Edited for DOC 12 by Sewer Possum CREATING AN ACCESSORY The only major difference between a STOS basic accessory and a normal program is in its ability to be called up using the HELP menu. In fact, these accessories are really just a specialised form of the multiple programs I mentioned earlier. It's often useful for an accessory to be able to tell whether it is executing as an accessory or directly as a basic program. This can be done with the ACCNB function. ACCNB Get accessory number. Returns a value of 0 if a program is not installed as an accessory, and a number between 4 and 15 if it is. This number represents the program number of the accessory. To save a program as an accessory, simply append the .ACB file descripter. 2 SPRITE COMMANDS SCREEN BREAKDOWN 1 THE SYSTEM MENU: The system menu contains nine Icons which control the main features of the designer. Typical options available from this section are load/save, change size, and a clever facility to allow you to design an animation sequence. These commands can be accessed directly from the screen by moving the mouse pointer over the appropriate icon and pressing the left button. 2 THE DRAWING AREA: This is the area of the screen in which your sprite will be drawn. Points can be plotted at the current cursor position by pressing either the left or the right mouse buttons. As a default the right key is set to the background, and the left key to the colour white. You can change these colours whenever you like using a special colour window. 3 THE SCROLL ZONE: The scroll zone allows you to see the relative size of your sprite, and scroll it in all four directions. This scrolling can be activated at any time by clicking on one of four different icons which border the zone. 4 THE COLOUR WINDOW: This is divided up into two sets of 16 colours. One set of these colours is for the left mouse button, and the other is for the right. To select a new colour for the mouse, you simply move the mouse pointer over the new colour and press the left button. Your current choice will now be highlighted on the screen. 5 THE TOOLS SECTION: The tools area contains 18 different drawing icons. These include facilities to create circles, ellipses and bars as easily as a single point. There's also an extremely useful undo feature which immediately reverses the effects of your last command. You can choose one of these functions by simply clicking on the appropriate icon. The shape of the mouse pointer will now be changed accordingly to indicate the option you have selected. Most functions require you to first set the dimensions of an object before it can be drawn on the screen. You normally specify the size of an item by keeping the left button pressed while moving the mouse. When you release the button, the object can be moved about with the mouse. You can now draw as many copies of the design on the screen as you wish by pressing the left button at any point in the drawing area. Incidentally, if you want to draw another object you can immediately reset the size back to zero with the right mouse button. 6 THE SELECTION WINDOW: The selection window is used to display all the sprites which are currently held in the ST's memory. Several of the system options use this window to allow you to choose one of a number of images which are currently held in the ST's memory. You can scroll through these sprites using the following Icons single arrow smoothly moves the list back or forward one place. double arrow quickly moves the sprites back or forward treble arrow left moves to the first sprite in the list. treble arrow right moves to the last sprite in the list. CREATING AN ANIMATION SEQUENCE In order to to create your animation sequence, you first need to select the number of frames to be animated. This can be done by simply clicking on the appropriate sprite in the selection window with the left mouse button. Your sprite will now be added to the current progression, and the string associated with it will be displayed on the screen. As a default the animation takes place at the centre of the drawing area. You can however move this display anywhere else you like on the screen using the mouse. CONTROLLING THE ANIMATION The effect of the animation is controlled from a special dialogue box positioned to the immediate right of the selection window. At the top of the box is a line comprising of four arrows and a number. The number in the centre indicates the delay in 50th's of a second between the last image in the sequence and the next one you select. You can change this number up or down by clicking on the inner arrows. You can also highlight any single animation string using the mouse cursor. The speed setting of this string will now be altered whenever you press the inner arrows, allowing you total control over the speed of each individual animation step. The second set of arrows on the control panel change the speed of the animation as a whole. They do this by adding or subtracting one unit of time from all the animation strings you have defined. It is important to note that this option retains any differences between each of the separate stages. CHANGING THE DIRECTION The second line of the dialogue box lets you change the direction of the animation, and also provides you with the ability to step through your animation a single frame at a time. There are three different options available from this section. FORWARD ANIMATION: Executes the animation string from left to right. REVERSE ANIMATION: Executes the animation string from right to left. STEP BY STEP ANIMATION: When this is set to ON, clicking on the mouse (if pointer outside control panel) executes a single animation step. DISPLAYING A BACKGROUND SCREEN The final set of options enable you to load a screen in either Degas or Neo format into the background. This can now be displayed along with your animation using the background Icon. WARNING These screens overwrite any pictures you have loaded with the GRAB IMAGE option. GRABBING SPRITES FROM THE DISC This command enables you to grab sprites directly from a file in either Degas or Neo format. There are seven possible options: 1) Return to main menu 2) Grab image....displays the current picture on the ST's screen. In order to grab a sprite from this picture you always need to follow the steps outlined below: 1) Define the size of your sprite by enclosing it in a rectangle. As you move the mouse with the left button held down, the dimensions of the rectangle will expand and contract. When you release the button the dimensions of the sprite are set to the current size. 2) Move the box over the part of the image you wish to grab. 3) Grab the contents of this box into the sprite bank by pressing the left button. 3) When this toggle is ON the grab can only start on word boundaries. This helps when grabbing sprites that are snapped onto a boundary. 4) If this option is ON the grabbed sprite will be transferred directly into the store. 5) Reads a NEO file off the disc. If the GET PALETTE option is ON then the pictures palette is also loaded. 6) As for 5, but with a DEGAS file. 7) Loads the current palette of colours with the settings used by the new picture. GRABBING A SPRITE FROM A PROGRAM This enables you to grab a sprite out of a program stored in a disc file. Unlike GRAB IMAGE, this file doesn't have to be in any particular screen format at all. It can in fact, be anything from your favourite commercial game to a sprite file generated by a different editor. This command has two options: 1) GRAB IMAGE Select this to grab a sprite from a file already loaded. 2) SELECT AND GRAB This erases the current screen and loads part of the file into the ST's memory.The contents of this file is now displayed in the form of a screen image.AT the bottom of the screen lies the main control panel. As you can see, two numbers are displayed directly underneath the name of your file. P: This number indicates your position in the file. The designer loads the file in 16k chunks so there is no real limit to the size of the file you can inspect with this function. W: Denotes the current screen width, and can vary from 1 to 20> The width can easily be changed by clicking on the icons situated just beneath the W. On the right of the screen lies two sets of direction arrows which enable you to scroll through the file in search of some useful images. Once you've found something interesting, you can save the entire screen using the SAVE NEO or SAVE DEGAS options in the menu box. You can also grab any individual sprite from this image. First press the right button to remove the control panel. Now select the sprite with the left button in the same way as with the grab image command. THE FILE MENU This is the menu which is used to save and load your sprites to the disc. These sprites are always stored in memory bank 1. See RESERVE This menu has the following seven options: 1) USE PALETTE When this option is ON all files saved will have the current colour palette saved with them. Files loaded into the editor will change the current palette. 2) LOAD A SPRITE FILE This loads a set of sprites from the disc. These are placed in bank 1 and replace any other sprites previously in this bank. 3) MERGE A SPRITE FILE This command merges a sprite bank held on disc to one which is stored in memory. WARNING LOW RES ONLY ! 4) SAVE Saves the current contents of sprite bank 1 to the disc. WARNING Any sprites you wish to save must first be placed in the sprite bank with the PUT SPRITE option before this function is called - otherwise your data will be LOST. 5) SAVE AS Save your sprites under a new name. 6) QUIT Leaves the sprite designer, losing any sprites you have defined. 7) QUIT & GRAB This option only makes sense if the designer has been executed as an accessory. Quit & Grab then leaves the definer and copies the sprites you have defined straight into the current program. CHANGING THE HOT SPOT Each sprite is manipulated on the screen using a special point called the hot spot. This can be changed to anywhere inside the sprite using the hot spot menu. To see the current setting, move the mouse into the drawing area. The hot spot will now flash continually on the screen. In order to make life easier for you, a number of commonly-used settings have been assigned to the icons:UPPER LEFT:UPPER MIDDLE:UPPER RIGHT:BOTTOM LEFT:BOTTOM MIDDLE:BOTTOM RIGHT:CENTRE: Click on the icon which represents the hot spot you want. CHANGING THE PALETTE This can be achieved with the RGB option which allows you to specify one of 512 shades of the 16 available colours. CHANGING THE SIZE OF THE SPRITE Set X and Y menu: Stos basic allows you to use sprites ranging from 16X2 to 64X64 pixels in size. As a default the size is set to 32X32 but this can be changed at any time from the set X and Y menu. Note that the width can only be altered in 16 pixel steps and that the HOT SPOT will be set to the top left Squeeze sprite: If you press on this selection the sprite in the edit window will be moved to the top left corner. This frees the surrounding space and allows you to shrink the sprite, thus achieving the smallest size possible. PLACING A SPRITE INTO THE BANK After you have created a sprite you must place it into the sprite bank. This can be done using the store sprite menu which supports five options: ERASE BANK: very dangerous. This deletes an entire bank. DELETE SPRITE: Deletes the sprite from the selection window.PERMANENT INSERT SPRITE: Inserts the sprite at the current slot by shifting all the other sprites one place to the right. PUT SPRITE: This copies the sprite you are currently editing into the sprite displayed in the centre of the selection window. In order to avoid overwriting your existing sprites, you should position the first empty slot at the middle of the window before use. WARNING erases destination sprite. GET SPRITE: Edits the sprite you have chosen with the selection window. Some shortcuts: When editing a sprite you can place it into the store by pressing the down arrow key twice. This is the same as using the put sprite menu option. To get a sprite from the store just press the up arrow key twice. For real speed you can put the sprite in the editor and then get the next sprite from the store just by pressing the right arrow key. If you press the left arrow key then the edit sprite will be stored and the previous sprite will be loaded into the drawing area. THE MULTIPLE MODE SPRITE DEFINER This can be found in the file SPRITE2.ACB on the accessory disc. On startup the screen is split into six separate windows as follows: THE INFORMATION LINE: This is placed at the top of the screen and displays the colour of the current pen or the size of the sprite. THE RGB WINDOW: Used to select a colour for drawing operations. THE SCROLL WINDOW: This is utilised by the scroll option to scroll the sprite in all four directions. THE PATTERN WINDOW: Holds a copy of the current fill pattern. THE SPRITE DISPLAY: This displays a full sized copy of the edited sprite. THE DRAWING WINDOW: Draw your sprite here. The left mouse button plots a point and the right button deletes a point. Here is a breakdown of the menu options available from this program: STOS SPRITES Displays title screen. QUIT Exits from the accessory, losing all current sprites. QUIT&GRAB Exits from the accessory, transfers sprites to current program FILE LOAD SPRITE BANK Loads a file of sprites into bank 1 for editing. SAVE SPRITE BANK Saves all the sprites defined into a new file on disc SAVE AS As above but with a new filename. BANK GRAB FROM PROGRAM Grabs any sprites from current program. SPRITE PUT SPRITE Puts the current sprite into a particular slot and replaces any of the original contents. INSERT SPRITE Inserts the currently edited sprite into bank 1 without overwriting existing images. GET SPRITE Gets a sprite out of the memory bank to be edited. ERASE SPRITE Erases on of the sprites from the bank. Select the sprite used by these functions by clicking on it with the mouse. MOVE SPRITE This allows you to assign one of the sprites to the mouse and see how it looks when you move it around. CINEMA To choose the sprites for an animation sequence simply click on the appropriate images in the drawing area. Click the left mouse button anywhere outside the window to start animation. Control the speed of animation with the + & - keys. PREVIOUS CINEMA Restarts the last animation sequence you defined from the point you left off. GET FROM Grab a sprite from a screen stored on the disc in Degas or Neo format. After you have chosen a file with the file selector, you are then presented with a list of the currently defined sprites in the bank. Select the one you wish to load using the left mouse button. Note that the dimensions of this sprite determine the final size of the image which will be grabbed. The new screen is now displayed and you can grab the image which is underneath the mouse cursor by clicking the left button. After you have finished you can return to the editor by clicking the right button. FIX MASK This allows you to select the mask colour used as the transparent index. FIX HOT SPOT Click the mouse on the point wanted as the hot spot. FIX X & Y SIZE Change the size of the sprite using the scroll arrows. TOOLS ERASE Erases the currently edited sprite. Does not affect any sprites stored in the bank. MIRROR Reverses the sprite from left to right. FLIP Reverses the sprite from top to bottom. SCROLL Scrolls the sprite. PAINT Whenever you click the mouse in an enclosed area it will be filled with the current colour. Click on DRAW to revert the editor back to normal. PALETTE Click on the colour required for subsequent drawing. THE SPRITE COMMAND SPRITE n,x,y,p Displays the sprite number n on the screen at coordinates x,y n can range from 1 to 15. It is this number which identifies the sprite. x and y, unlike normal screen coordinates can take negative values. The x coordinate can range from -640 to 1280, and the y coordinate from -400 to 800. p specifies which of the images in bank 1 is to be used for a particular sprite. The only limit to the number of images is the amount of memory. MOVING A SPRITE MOVE X n,m$ This defines a list of horizontal movements which will be performed by sprite n. m$ contains a sequence of commands which determine the speed and direction of the sprite as follows: SPEED Stipulates the delay in 50ths of a second between each sprite movement. 1 (very fast) to 32767 (incredibly slow) STEP Specifies how many pixels the sprite will move in each operation. If the step is +ve the sprite will move right and a -ve value will move it left. COUNT Designates the number of steps which will be completes in a single movement. Values range from 0 to 32767. If you use a COUNT of 0 the motion will repeat indefinitely. These three elements are placed in the movement string using the following format: (speed,step,count): Syntax MOVE X 1,"(SPEED,STEP,COUNT)" To move the sprite use the command MOVE ON To combine a number of individual movements use the following format: MOVE X 1"(SPEED,STEP,COUNT)(SPEED,STEP,COUNT)" Some extra directives are L and E used as follows: MOVE X 1"(SPEED,STEP,COUNT)L" :Will cause the sprite to jump back to the start of the list and rerun the whole sequence again. MOVE X 1"(SPEED,STEP,COUNT)E100" :Will stop the sprite when it reaches a point on the screen, in this case at an x coordinate of EXACTLY 100. MOVE Y n,m$ This command complements the move x one described above and is used in exactly the same way, except that +ve displacements now result in the sprite moving down the screen and -ve ones result in an upward movement. MOVE ON/OFF[n] Switches a sprite movement on or off, n refers to the sprite number, if it is omitted then all sprite movement sequences will be affected. MOVE FREEZE[n] This command temporarily suspends a numbered sprites movement, if n is omitted the all sprites will be frozen. Resume movement with MOVE ON. =MOVEON(n) Returns a non 0 number if sprite n is currently moving else 0. =X SPRITE(n) Returns the x coordinate of sprite n. =Y SPRITE(n) Returns the y coordinate of sprite n. LIMIT SPRITE x,y to x2,y2 When a sprite moves outside this area, it will disappear from the screen. All x coordinates are rounded to a multiple of 16 In order to return the sprites to normal use LIMIT SPRITE with no parameters. ANIMATION ANIM n,a$ n refers to the number of the sprite to animate and a$ to a list of animation commands to be carried out and is split into two separate component enclosed between brackets as follows: IMAGE This is the image number of the sprite to be displayed during each step of the animation. DELAY Specifies the amount of time the image will be held on the screen before the next image is displayed in 50ths of a second.70ths on a mono system Typical example: anim 1,"(1,10)(2,10)" would display image 1 for 10/50 or 1/5 of a second, and then flick to image 2. As with the MOVE instruction there is also an L directive to display a sequence continually:anim 1"(1,10)(2,10)L". ANIM ON/OFF[n] Start or stop a series of animations of sprite n. If n is omitted then all animation sequences will be affected. ANIM FREEZE[n] Temporarily freeze the animation of sprite n. If n is omitted then all animation sequences will be frozen.Restart with ANIM ON. CONTROLLING THE SPRITE USING THE MOUSE CHANGE MOUSE m This allows complete redesign of the mouse pointer. Three forms are already present m=1>arrow:m=2>pointing hand:m=3>clock: If a value greater than 3 then this is assumed to refer to an image stored in the sprite bank. The number of the image used is determined by subtracting 3 from m. So image number 1 would be selected by a value for m of 4. The default definitions for the mouse stored on the disc can be changed using the following procedure: Define 3 sets of sprites, for EACH resolution. If you only want to affect one resolution, it's best to modify the sprites in SPRDEMO.MBK, as this already contains a bank of sprites in the correct format. Load these sprites into bank 1 using either LOAD or QUIT & GRAB options from the sprite definer accessory. Place a copy of the STOS basic system disc into the drive.DO NOT USE THE ORIGINAL SYSTEM DISC FOR THIS PURPOSE ! now type: bsave "\stos\mouse.spr",start(1) to start(1)+length(1) Whenever you subsequently load STOS basic from this disc, the new mouse pointers will be automatically utilized by the system. =X MOUSE Get the x coordinate of the mouse pointer. =Y MOUSE Get the y coordinate of the mouse pointer. =MOUSE KEY Returns the state of the mouse buttons as follows: 0 No buttons pressed 1 Left button pressed 2 Right button pressed 3 Both buttons pressed LIMIT MOUSE x,y to x2,y2 Restricts the mouse movement to the area defined and causes the pointer to go to the middle of the defined area. HIDE Removes the mouse pointer from the screen. It is still active and all the other mouse functions can still be used, ie.a=x mouse. To redisplay the mouse, the command SHOW is used. One important point to note is that the system keeps a count of how many HIDEs and SHOWs have been used and only displays or removes the mouse if they are even when the function is called. To get around this and ensure that the mouse is always hidden or revealed on demand the alternative commands HIDE ON and SHOW ON can be used as these functions will always result in action being taken, irrespective of the count. READING THE JOYSTICK =JOY Read the right joystick. The five LSB's of the returned value indicate the status of the joystick as follows, a 1 signifies a positive: bit number significance 0 joystick moved up 1 joystick moved down 2 joystick moved left 3 joystick moved right 4 fire button pressed =JLEFT Test joysticks left movement bit. true=-1 false=0 =JRIGHT Test joysticks right movement bit. true=-1 false=0 =JUP Test joysticks up movement bit. true=-1 false=0 =JDOWN Test joysticks down movement bit. true=-1 false=0 =FIRE Test if fire button pressed. true=-1 DETECTING COLLISIONS WITH A SPRITE t=COLLIDE(n,w,h) This provides an easy way of detecting whether two or more sprites have collided on the screen. n refers to the sprite you wish to check and can range from 0 to 15. w and h determine the sensitivity of the test and refer to a rectangular area around the hot spot of the sprite. Whenever another sprite enters this box, a collision will be detected. t is a number in binary format which holds a list of sprites which have collided with sprite n. Each bit in this number represents the status of the equivalent sprite. You can test for these bits using the btst function. DETECTING COLLISIONS WITH RECTANGULAR BLOCKS SET ZONE z,x,y to x2,y2 Defines 1 of 128 rectangular zones which can then be tested using the ZONE command for the presence of either the mouse or a sprite. z specifies a number from 1-128 which represents the zone to be created, the x & y coordinates refer to the top left corner of the rectangle and x2 & y2 refer to the bottom right of the rectangle. t=ZONE(n) This searches for the sprite n in the list of the zones defined using SET ZONE. n can range from 0 to 15, with the mouse being indicated by sprite number 0. After the function has been called, t will hold either the number of the zone where the sprite was detected or 0. Note that ZONE only returns the FIRST zone in which the sprite was found. If two or more zones overlap, it is not possible to determine any other zones the sprite is also in RESET ZONE[z] This command erases any of the zones created with SET ZONE, if the optional z is included, then only this zone will be affected. DETECTING COLLISIONS WITH AN IRREGULAR SHAPE c=DETECT(n) This function returns the pixel colour under sprite n's hot spot EXCEEDING THE 15 SPRITE LIMIT PUT SPRITE n Simply places a copy of sprite n at it's current position on the screen. Note that the sprite you have copied is completely unaffected by this instruction. GET SPRITE x,y,i[,mask] This enables you to grab any images off the screen and turn them into sprites. The x and y refer to the start of the rectangular area to be captured. i denotes the number of the image to be loaded, and MUST refer to an image which already exists in the sprite bank. The size of the new image is taken from the original dimensions specified when using the sprite editor. Also note that the HOT SPOT of the sprite is set to the point x,y.WARNING this command only works if the rectangle you are trying to grab is completely inside the borders of the screen. The optional mask specifies which colour in the new sprite is to be treated as transparent. If this mask is omitted, it will be set to 0. In MONO systems the mask has a different action. All monochrome sprites are given a special border on the screen. The thickness of this outline is usually set to a width of 1 pixel, but you can increase it by including a higher value as part of the mask. SPRITE PRIORITY PRIORITY ON/OFF The priority determines how sprites are displayed when they overlap on the screen. Sprites with a higher priority always appear to have been placed in front of sprites with a lower one. Normally the priority of the sprites is assumed to be in REVERSE order to the sprite numbers. There is however a different priority system which can be activated with the PRIORITY ON command. This gives the highest priority to the sprites with the largest y coordinate. The coordinates of the HOT SPOT are used to determine the sprites current y position on the screen. PRIORITY OFF returns the priority system to normal. THE BACKGROUND Whenever a sprite is moved across the screen, it obscures some sections of the graphics and reveals others. In order to prevent corruption of this data, Stos has a default condition which automatically backs up the screen in another area of memory, it is this back up area which is used to redraw parts of the screen vacated by a sprite. You can change this state of affairs by switching this backup mode off. AUTOBACK ON/OFF Use of this command speeds up graphics commands substantially when OFF is selected. MISCELLANEOUS SPRITE COMMANDS UPDATE Usually any sprites drawn on the screen are automatically redisplayed whenever they are animated or moved. This feature can be temporarily halted which results in the sprites appearing not to move. This is not the case as the sprite positions are still being changed but nor displayed. The command has three variations. UPDATE OFF Turns off the automatic updating of sprites. UPDATE Redraws any sprites which have changed at their new positions. This command can occasionally be substituted for the normal WAIT VBL after a PUT SPRITE instruction as it is much faster. UPDATE ON Returns sprite updating to normal. REDRAW Redraws all sprites at their current location irrespective of movement OFF Turns off all sprite movements and animations and removes them from the screen. As a default it is assigned to function key f10. FREEZE Temporarily halts the actions of all the sprite commands and stops any music which is currently being played. UNFREEZE Restarts sprite movement and music halted with the FREEZE command. 3 MUSIC AND SOUND VOICES AND TONES PLAY [voice,]pitch,duration Plays a pure note.pitch sets the tone ranging from 0(low) to 96(high). Each one of these pitches is associated with one of the notes(A,B,C,D,E,F,G). If you select a pitch of 0, no note will be produced, and PLAY will simply wait for a time specified by duration. duration holds the length of time the note is to be played in 50ths of a second. A duration of 0 indicates that the sound will not be generated. The optional voice designates which of the three voices the note is to be played on and can range from 1-3. If it is not specified then the note will be played on all three voices at once. OCTAVE 0 1 2 3 4 5 6 7 NOTE PITCH C 1 13 25 37 49 61 73 85 C# 2 14 26 38 50 62 74 86 D 3 15 27 39 51 63 75 87 D# 4 16 28 40 52 64 76 88 E 5 17 29 41 53 65 77 89 F 6 18 30 42 54 66 78 90 F# 7 19 31 43 55 67 79 91 G 8 20 32 44 56 68 80 92 G# 9 21 33 45 57 69 81 93 A 10 22 34 46 58 70 82 94 A# 11 23 35 47 59 71 83 95 B 12 24 36 48 60 72 84 96 VOLUME [v,]intensity : v indicates the sound channel to be used and as with play if it is not specified then all three voices are affected and set to the volume intensity which can range from 0(silent) to 15(very loud). There is also a special setting of 16 for the envelope generator. See ENVEL command. CLICK ON/OFF When producing a sound, a keyboard entry will cause a click which will switch the sound off. To prevent this happening us CLICK OFF. To reinstate the normal keyboard click status use CLICK ON. Note that the keyboard clicks do not affect music created with the MUSIC statement. THE MUSIC COMMAND MUSIC n Play tune number n from bank 3 and can range from 1 to the number of tunes installed in the bank, up to a maximum of 32. MUSIC OFF Turns off a tune currently being played. MUSIC FREEZE Temporarily turns a tune off. MUSIC ON Restart a tune. If the tune was turned off using MUSIC FREEZE then the tune will continue from the point it stopped at, if it was stopped with the MUSIC OFF command it will restart from the beginning of the tune. TEMPO s Allows you to vary the tempo of a tune played with the MUSIC command where s refers to the new speed and can range from 1(slow) to 100(fast). TRANSPOSE df Alters the pitch of a piece of music by adding the value of df to each note before playing it. df can range from -90 to +90. Negative numbers lower the tone and positive numbers increase it. a df of 1 corresponds to a single semi-tone. p=PVOICE(v) Returns the current position in a tune. v refers to the voice to be tested and p is set to a number representing the address of the note being played and not to the note itself. If the function returns a value of 0 then voice v is not currently producing a note. VOICE ON/OFF[v] Lets you turn off/on 1 or more voices of a tune played by the MUSIC command.v can range from 1-3 and if omitted results in all three voices being affected. THE MUSIC DEFINER Included on the disc is a powerful music composing accessory found under the file name MUSIC.ACB. When loaded up and run the screen consists of three windows which correspond to the three voices. Each of these windows can hold a separate component of the music. You can move between the windows using the mouse or the left/right cursor keys. The graphical representation of the composed music is only there as a convenient aid for those who can read music and all entries to the music being composed are input through the three voice windows in the following manner. Musical notes are entered in the appropriate window by typing them in directly from the keyboard. The notes are split into three distinct parts. The first section consists of the name of the note, and can be 1 of the following: C, C#, D, D#, E, F, F#, G, G#, A, A#, B listed in order of ascending pitch. The second part of the note is the octave, which can range from 0(low) to 7(high). Finally each tone has a duration specified in units of a single note, This is set by the instructions below. duration of note meaning WN Whole note HN Half note QN Quarter note EN Eighth note SN Sixteenth note TN Thirtysecondth note You can also add an additional half note to each of these durations except the SN, by using the " . " character. Each of these sections are combined into a single string such as F #3 TN. You enter these notes and press [RETURN]. You can also use the function keys to move the cursor as follows: f2 Displays the next page of music f1 Displays the previous page f3 Jumps to the start of the music f4 Jumps to the end THE MUSIC INSTRUCTIONS In addition to simple notes, the MUSIC DEFINER also supports a range of other instructions which can be executed at any point in your music. Here is a list of the various options. VOLUME v Sets the volume of the current voice to v and can vary from 0 (silent) to 15 (loud). If this instruction is not used, a default volume of 15 is set. ENVEL e Allows a selection to be made from a number of different waveforms to be used for MUSIC. As a default eight of these envelopes are already defined, these definitions can be altered using the built in envelope generator. Each piece of music MUST contain one of these instructions at the beginning or the tune will not be played. TREMOLO t Adds a pleasant waver to the tune. t is the number of the tremolo to be used, and as with envelope, eight of these are already defined and can be modified with the tremolo definer utility. STOP TREMOLO Deactivates the current tremolo if one is being used. NOISE n Generates a hiss of pitch n at the same time as the notes are being played by the current voice. The frequency of this sound ranges between 0 and 31. See the STOS basic NOISE command for more information. STOP NOISE Turns off a noise created with NOISE. NOISE ONLY Plays each note as a noise rather than a pure tone. MUSIC If the voice has been defined as noise only, this command returns the voice back to a normal pure tone. REPEAT n,p Repeats a section of music starting from the instruction number p to the end of the current voice. n refers to the number of times the music will be repeated. If a value of 0 is used the music will repeat indefinitely and should be used before the music to be repeated. If it is placed inside a loop the music will never end, as the repeat will be reinitialised every time through the loop. NTREMOLO t Uses the noise generator rather than a pure tone to create tremolo t. NTREMOLO OFF Turns the ntremolo function off. ENVELOPES AND TREMOLOS The envelope and tremolo editors are effectively one and the same. They can be accessed at any time using the FIX ENVELOPE or FIX TREMOLO options from the tools menu. Since the two routines are otherwise identical, we'll concentrate on the ENVELOPE editor. The top of the screen contains a graphical representation of the current envelope. Below this are three windows. You can move between these using the cursor keys. The nature of the envelope is determined by up to eight different phases. These phases are specified using the information you have entered into the windows. The SPEED window sets the speed of the phase and range from 1(slow) to 100(fast). This number indicates the delay between each step of the waveform. A speed of 100 signifies that the steps will be performed every 50th of a second. In addition you can also input the commands LOOP or END. END simply terminates the envelope at the current point. LOOP repeats the entire envelope, which now overlays a continuous rhythm on any music you subsequently play. The STEP window inputs the change in the volume to be produced in each stage. Positive numbers increase the volume, while negative numbers decrease it. Finally there is the NUMBER setting which determines the number of times each phase will be executed.This can range from 0 to 255. At the start of the session you are presented with waveform number 1, you can move to the next envelope by pressing f2 and to the previous one with f1. THE PULL DOWN MENUS STOS Acknowledgements QUIT Exit to STOS basic editor QUIT & GRAB Exit to STOS basic and load the current music into bank 3 BANK LOAD MUSIC BANK Load a memory bank containing a sample of music from the disc. Note that this command does not affect the music currently being edited. This allows you to merge two sections of music together. SAVE MUSIC BANK Save the music on to the disc. The name of the file must end with the extension .MBK GRAB Grab some music from the current STOS basic program. ERASE MUSIC BANK Deletes any music currently stored by the definer. MUSIC NEW MUSIC Deletes the music currently being edited, and asks for the name of the new tune you wish to create. Does NOT affect bank 3. RENAME MUSIC Changes the name of the current piece of music. PUT MUSIC Copies the currently edited tune into one of the 32 different slots in bank 3. Bank 3 is used by STOS basic to hold your music and is limited to a maximum of 32k. Since the definer only saves the data which has been previously installed in the bank, you must always remember to use the PUT instruction prior to saving your music to disc.OTHERWISE THE TUNE WILL BE LOST ! GET MUSIC This option loads a sequence of music stored in bank 3 into the music editor. If you change this music, don't forget to place it into the memory bank with PUT, otherwise all your amendments will be lost. Get Music automatically appends any envelopes or tremolos used by your composition into the existing set. You are, however, restricted to a maximum of 25 envelopes and tremolos. ERASE MUSIC Allows you to delete one of the sections of music from the bank. PLAY MUSIC Enables you to play a piece of music you have stored in the memory bank. If you wish to play the music you are currently editing, you need to load it into the bank first using PUT MUSIC. PUT AND PLAY Permits you to put the current music into bank 3 and then play it using just one operation. PRINT MUSIC Outputs a listing of the music you are editing to a printer. All three voices are printed out. BLOCK START BLOCK Sets the start of a block at the current cursor position All text below this line is subsequently displayed in inverse. END BLOCK Sets the end of the block. The section of the music making up this block is inverted. This block can now be manipulated with COPY BLOCK and TRANSPOSE BLOCK. CANCEL BLOCK Aborts current block and redisplays the section of music in normal type. COPY BLOCK Places a copy of the currently defined block at the cursor position. This feature can be used to copy music from one voice to another. ERASE BLOCK Erases the part of the music selected using the START and END BLOCK commands. TRANSPOSE BLOCK Allows you to add or subtract a specific number of semitones from the music in the current block. The editor expects you to input a number from -90 to +90. As with TRANSPOSE from basic, negative values lower the pitch and positive values increase it. TOOLS FIX ENVELOPE Enter ENVELOPE editor. FIX TREMOLO Edit tremolos. ERASE ENV/TRM Delete all envelopes and tremolos from memory. PREDEFINED SOUND EFFECTS BOOM Generates a noise sounding like an explosion. SHOOT Create a noise like a gun firing. BELL Simple bell sound DEFINING YOUR OWN EFFECTS NOISE v,p Produces a sound like rushing wind. The frequency of the noise is set by the pitch p where p is a number from 1(high) to 31(low). v specifies the voice which the noise is to be played on. If it is not included, noise is output by all three voices simultaneously. Note that any noise generated with this command can be played continually while a program is running - just like the MUSIC command. ENVEL type,speed Activates one of the ST's 16 envelopes. type specifies the envelope to be used and can take any value from 1 to 15. speed ranges from 1(fast) to 66535(slow) and determines the length of the sound. Before you can use this feature, you must first set the volume to 16 with VOLUME. 4 GRAPHICS FUNCTIONS CLS Clears the whole screen at high speed INK Selects the colour of the pen. Note that colour 2 flashes COLOUR index,$RGB Assign a colour to an index. Index is the number of the colour to be changed. c=COLOUR(index) index is the colour number whose shade you want returned in c PALETTE list Installs a whole new palette from list. This list can contain anything up to the number of colours available in the current graphics mode with each colour value separated by a comma. DRAWING PLOT x,y[,c] Plots a point at x,y in the colour c.If c is not given then the current value of INK will be used. c=POINT(x,y) Returns the colour of the point x,y DRAW There are two versions of the DRAW command: DRAW x,y TO x2,y2 Draws a line between x,y and x2,y2. DRAW TO x3,y3 Draws a line from the last line drawn to x3,y3. The above line drawing commands only draw using a solid line style. BOX x,y TO x2,y2 Draws a hollow box on the screen. RBOX As for Box except that the corners of the box are rounded. POLYLINE x,y TO x2,y2 TO xn,yn.... Multiple line drawing. line type can be set using SET LINE. ARC x,y,r,s,e Draws an arc whose centre is at x,y with a radius of r. The arc should start at the angle s and end at the angle e. Angles are measured in units of 1/10 of a degree, and can therefore range from 0 to 3600. A start angle of 0 would position the start at three o'clock and increasing this would rotate the start position in an anti-clockwise position. EARC x,y,r1,r2,s,e as ARC except the radius is split into two components, r1 is the horizontal part and r2 the vertical part. LINE TYPES SET LINE mask,thickness,start,end mask is the 16 bit bitmap for the line and bits with a 1 are represented on the screen in the ink colour,bits with a zero are set to the background colour thickness can range from 1 (thin) to 40 (thick) start,end refer to the end styles to be used.0=square:1=arrow:2=round. FILLED SHAPES PAINT x,y Contour fill allows you to fill any hollow areas on the ST's screen with a solid colour or a fill pattern using the SET PAINT command. BAR x,y TO x2,y2 Draws a filled bar using the current ink colour. RBAR As BAR, but with rounded corners. POLYGON As for POLYLINE except that the shape is filled with the current INK and the pattern with SET PAINT. CIRCLE x,y,r Draws a filled circle at x,y with a radius of r. It also uses the current INK and SET PAINT. PIE x,y,r,s,e Draws a segment of a filled circle at x,y with a radius, r, starting at s and ending at e. Also uses the current INK with the SET PAINT. ELLIPSE x,y,r1,r2 The ellipse function draws a filled ellipse in much the same way as CIRCLE draws a filled circle with r1 and r2 as it radii. EPIE This function corresponds directly to the EARC instruction and draws a solid elliptical pie chart. FILL TYPES There are 36 different fill styles. These patterns are grouped into four distinct types: Solid,Dotted,Lined and user defined. SET PAINT type,pattern,border type can range from 0 to 4 =0 Surface is not filled at all. =1 Surface is filled with current INK colour.(solid) =2 Surface is filled with one of 24 dotted patterns. =3 Surface is filled with one of 12 line patterns. =4 Surface is filled with a user defined pattern (See SET PATTERN) The fill pattern is specified using a number, which can range from 1 and 24 or 1 and 12 depending on whether DOTTED or LINED type has been selected. In neither of these fill patterns has been chosen pattern should be set to 1. border has just two possible values: 0 and 1. A border of 1 is used to indicate that the filled surface should be enclosed in a line of the current INK colour. SET PATTERN address Patterns can be stored either in a memory bank, a string or an array of integers and the variable address should be set up to point to the address of the data for the pattern.eg PATTERN VARPTR(P$). Each pattern is 16X16 points in size and takes up 16 two byte words of memory for each colour plane.A sprite can be used as a fill pattern in the following way: LOAD "PATTERN.MBK" Then all you need to do is work out the address of this data for use by SET PATTERN. The sprites should be 16X16 bits in size. SPECIAL EFFECTS FLASH index,"colour,delay)(colour,delay)(colour,delay)..." index is the number of the colour which is to be animated. delay is set in units of a 50th of a second colour is stored in the standard RGB format. A maximum of 16 changes are allowed in one FLASH instruction. FLASH OFF turns off all flash instructions. SHIFT delay[,start] Allows you to produce startling effects by rotating the entire palette of 512 colours into the 16 colour indices using interrupts. If a starting value is not included in the instruction, then the rotation will begin from colour number 1 delay is the delay between each rotation in 50th's of a second. start enables you to change only the colours with indices greater than an initial value. THE WRITING MODES The format of the writing mode command is GR WRITING mode where mode can take the values from 1 to 4. mode=1 Replacement mode:This is the default mode. Any existing graphics on the screen will be completely replaced by anything you draw over them. mode=2 Transparent mode:This mode only sets the parts of the drawing which need to be set to a specific colour. This means that any points in the new drawing which have a colour of 0, are assumed to be transparent and are therefore omitted. mode=3 Xor mode:xor combines your new graphics on the screen with those already on the screen, using the logical xor operation. mode=4 Inverse transparent mode:This mode only plots the points of the new picture with a colour of 0. All other point of the new picture are ignored. POLYMARKERS A polymarker is a list of objects such as crosses,diamonds and squares that can be plotted as easily as a single point. POLYMARK x,y;x2,y2;x3,y3;...... x,y etc. are a list of coordinates used to print markers on the screen. Note that all polymarkers are drawn in the current INK colour. The marker type is assumed to be a " . " by default, and can be changed using SET MARK. SET MARK type,size This allows you to choose the marker used by POLYMARK from a selection of six different marker types. Each polymarker can be drawn in eight sizes, ranging in 11 point increments from 6 to 83 pixels wide. Here is a table which illustrates the various possibilities: type marker used 1 Point " . " Note this marker is only available in one size. 2 Plus sign " + " 3 Star " * " 4 Square 5 Diagonal cross 6 Diamond MULTI-MODE GRAPHICS MODE n n can be 0 (low resolution) or 1 (medium resolution). This command will generate an error if it is used whilst a MONO monitor is being used. DIVX and DIVY These two system variables enable programs to be written that will work correctly in any of the three resolutions. All you have to do is assume the x and y sizes of the screen are 640 and 400 as in high resolution and then divide all x coordinates by DIVX and all y coordinates by DIVY. CLIP x,y TO x2,y2 The clip instruction will restrict all graphical output to the rectangle specified by x,y and x2,y2. Any graphic output that would appear outside this area is not drawn, only the parts of a function which appear inside the defined rectangle will appear. CLIP OFF turns the above clipping action off. 5 THE SCREEN MULTIPLE SCREENS Stos basic holds two screens in memory at one time. The first is called the Physical screen, and is the screen which is actually displayed on the monitor. There is however, also a separate Background screen which is used by the sprite commands. Normally the only difference between the two screens are the sprites, which are only drawn on the physical screen. Stos basic uses this background to redraw any areas of the screen which are revealed underneath the sprites when they are moved. BACK This variable holds the location of the background screen. PHYSIC Is a reserved variable which contains the location of the screen currently being displayed. If a different address is loaded into this variable, the screen will be immediately redrawn using the screen stored at the new address. See example on following page. example 10 reserve as screen 5 20 physic=5 30 cls The above example reserves a memory bank as a screen and then assigns the address of this bank to the physical screen. Notice how you are able to use the number of the bank instead of an address. When you run this program, the new screen will be cleared. If you new press the [UNDO] key twice, The screen address will be returned to normal and the original picture will be restored. The screen address must always be a multiple of 256, the reserve command takes this into account when allocating memory for a screen. LOGIC The Logical screen is the screen which is operated on by any of the text or graphics instructions. Normally this will be the same as the physical screen, but occasionally it's useful to hold an image while it is being drawn. This allows you to draw one picture while displaying another, and then instantly switch between them using a special SCREEN SWAP command. SCREEN SWAP Swaps the addresses of the physical and logical screens, thus enabling instant picture switching. DEFAULT BACK Returns initial value of back DEFAULT PHYSIC Returns initial value of physic DEFAULT LOGIC Returns initial value of logic To return a screen to it's original address the following simple instruction will do: physic=default physic RESERVING A SCREEN RESERVE AS SCREEN n Reserves bank number n as a screen of 32768 bytes. Note that this is only a temporary allocation and will be reinitialised every time the program is run. RESERVE AS DATASCREEN n Identical to the above command except that the memory is allocated permanently and will be saved along with the program. LOADING A SCREEN LOAD "IMAGE.NEO[PI?]",scrn Will load an image into address or bank scrn. GET PALETTE(n) Loads the colour settings of a screen stored in bank n, and display them to the present screen. CLS In addition to the normal CLS instruction there is also an expanded version which enables you to erase sections of a screen stored anywhere in the ST's memory. These are the three possible formats of the statement: CLS scr Clears the screen at scr CLS scr,col Fills the screen at scr with colour col CLS scr,col,x,y to x2,y2 Replaces the rectangle at scr with a block of colour col using the x,y and x2,y2 coordinates. scr refers either to an address of a screen or the number of a memory bank. ZOOM scr1,x,y,x2,y2 TO [scr2,]x3,y3,x4,y4 Magnifies any rectangular section of the screen stored at scr1. scr1 and scr2 can be either an address or the number of a memory bank. scr2 is optional and if it is not specified then the screen will be enlarged onto the background held in BACK, and then copied into the current screen. This avoids any problems with the mouse or sprites, and also displays the object in one smooth operation. REDUCE scr1 TO [scr2,]x,y,x2,y2 Compresses the entire screen stored at scr1 into the box specified by x,y,x2,y2. scr1 and scr2 refer to either a screen address or the number of a memory bank. As with ZOOM, if the optional destination screen is omitted, the drawing is first compressed onto the background and then moved into the physical screen, appearing smoothly in one operation. SCREEN COPY scr1 TO scr2 Copies scr1 to scr2 A more powerful version of this command is also available and is used as follows: SCREEN COPY scr1,x,y,x2,y2 TO scr2,x3,y3 Which copies the section of scr1 to the position on scr2 defined by x3,y3. As usual scr1 and scr2 can refer to a memory bank or an address. The x coordinates are automatically rounded down to the nearest multiple of 16. Also the values taken by these numbers can be negative as well as positive. See the table on the top of the next page. graphics mode X range Y range low -320 to 320 -200 to 200 medium -640 to 640 -200 to 200 high -640 to 640 -400 to 400 Any points in the destination outside the normal screen are simply not copied on the screen. THE SCREEN AS A STRING SCREEN$ There are two forms of this command: s$=SCREEN$(scrn,x,y to x2,y2) The SCREEN$ function loads the area of screen defined with x,y and x2,y2 into a string. As usual scrn can refer to a memory bank or an address and as with SCREENCOPY the x coordinates are automatically rounded down to the nearest multiple of 16. SCREEN$(scrn,x,y)=a$ This instruction copies a screen area from the string a$ to the screen scrn, starting at the coordinates x,y. As usual scrn can refer to a screen address or a bank number and that x coordinates are rounded down to the nearest multiple of 16. WARNING This command only works with strings that were defined using the other SCREEN$ function. SCROLLING THE SCREEN DEF SCROLL n,x,y to x2,y2,dx,dy Allows you to define up to 16 different scrolling zones. Each of these is associated with a specific scrolling operation determined by the variables dx and dy. n denotes the number of the zone and can range from 1-16.x,y to x2,y2 refer to the area to be scrolled. dx denotes the number of pixels the zone will be shifted horizontally, a positive value results in a scroll to the right and a negative value results in a scroll to the left. Similarly dy denotes the vertical scrolling, a positive value results in the screen scrolling down and a negative value in the screen scrolling up. SCROLL n The SCROLL command scrolls the screen in accordance with the values previously specified with the DEF SCROLL instruction. n is the scroll zone. SCREEN SYNCHRONISATION WAIT VBL The WAIT VBL instruction halts the ST until the next vertical blank is performed. It is commonly used after a PUT SPRITE or SCREEN SWAP instruction and results in flicker free and smoother graphics. SYNCHRO Stos basic performs all sprite movements every 50th of a second. This generally works fine, but occasionally it leads to a synchronisation problem. There are three forms of this instruction: SYNCHRO OFF Turns off the normal sprite interrupt which moves the sprites. SYNCHRO Executes all the sprite movements exactly once. SYNCHRO ON Reverts the sprite movements to normal. COMPACTING THE SCREEN STOS basic comes complete with a useful accessory which allows you to compact any screen files stored in either Neo or Degas format into just a fraction of their normal size. You can load the program from the accessory disc using the line : accnew:accload "compact.acb" To compact the whole screen use the PACK WHOLE SCREEN option from the picture menu. The file can be saved as a raw binary file or, more usefully as a memory bank, the reason for this being that it can then be imported directly into a Stos basic program. In order to compact only part of the screen follow these instructions: 1 Click on a mouse button to display the whole screen. 2 Click the left mouse button on the top left corner of the rectangle,press the right button and hold it down whilst moving the mouse right and down, release the button when you are happy with the size of the rectangle. At this point the whole rectangle can be moved by pressing the left button again and holding it while positioning the rectangle. 3 As soon as you are happy with the position of the rectangle, press the spacebar to compress the picture. You can now save this picture on the disc using the disc menu. UNPACK bnk,scr The UNPACK command restores a compacted screen stored in bank number bnk into the screen scr. As usual scr can refer to either a bank defined as a SCREEN or DATASCREEN, or as a screen address. PACK Function to pack a screen l=PACK scr,bnk The reverse of the UNPACK command scr refers to a memory bank or an address, bnk refers to a bank which is to be used as a destination. After the PACK function has been used l is loaded with the length of the compacted screen. SPECIAL SCREEN EFFECTS APPEAR x[,y] Enables you to produce fades between a picture stored in address x or in bank x, and the current screen. The y value is optional and refers to the type of fade to be used and can range from 1 to 79. fades between 1- 72 always result in a COMPLETE image being copied from x to the screen. Fades from 73-79 leave the final screen display slightly different from the original in bank x. FADE Blend one or more colours to new colour values. This function has three formats: FADE speed FADE all colours to black at the speed speed FADE speed TO sbank FADE the present colours to those of the specified screen, The current colours are blended into the palette of the screen stored in sbank FADE speed,col1,col2 FADE separate colours to a new value You may have to use the wait command after a FADE instruction to allow the full fade to take place. The time that will be taken and the value that should be used for wait can be calculated using: wait value=fade speed*7. Another way to use the FADE command results in colours fading up to a colour and is done in the following way: fade 3,,$777,$700 Notice that there are two commas after the speed parameter, this tells STOS that you don't wish to change the value of colour 0 and this can be applied to any colour in the palette. PATTERN SETTING SET PATTERN a$ You can set up a user defined fill pattern with this command. a$ must contain the fill definition which must be a 16 X 16 block. The two versions of SET PATTERN will not work in high resolution and take the following format: a$=screen$(physic,1,1 to 16,16):set pattern a$ This is in addition to the other SET PATTERN format. KEY ON/OFF Set or clear the function key window. KEY ON Turns on the function key window. KEY OFF Turns it off, you can still use the function keys as usual. STOS MANUAL....continued versions of SET PATTERN will not work in high resolution and take the following format: a$=screen$(physic,1,1 to 16,16):set pattern a$ This is in addition to the other SET PATTERN format. KEY ON/OFF Set or clear the function key window. KEY ON Turns on the function key window. KEY OFF Turns it off, you can still use the function keys as usual. 6 TEXT AND WINDOWS TEXT ATTRIBUTES PEN n This command sets the current pen colour to n and is used for textual output not graphics and has a default value of 1 when Stos is booted up. PAPER n Designates the background colour to be used during textual output. INVERSE ON/OFF Swaps the text and background colours defined with PEN & PAPER SHADE ON/OFF Highlights any new text by lightening its colour with a mask. UNDER ON/OFF Causes new text to be underlined as it is being printed. WRITING e The writing command has three possible modes when e = 1 Replacement mode (default) 2 OR mode (characters merged on screen with a logical or) 3 XOR mode (characters combined with background using XOR) CURSOR FUNCTIONS LOCATE x,y Used to position the cursor before textual output. x & y can have the following possible values: mode x range y range 0 0-39 0-24 1 0-79 0-24 2 0-79 0-24 CONVERSION FUNCTIONS t=XTEXT(x) Converts a graphic coordinate x to the text x coordinate t. t=YTEXT(y) Converts a graphic coordinate y to the text y coordinate t. If the screen coordinate lies outside the window then a negative value is returned by the above two functions. g=XGRAPHIC(x) The XGRAPHIC function takes a text coordinate ranging from 0 to the width of the current window and converts it to absolute screen coordinates g=YGRAPHIC(y) This function is Y coordinate version for the above function. SQUARE w,h,b Draws a rectangle w characters wide and h characters high at the cursor position. b represents the border type to be used and can be any of the 16 possible border types. See BORDER for more details. w & h can range from 3 to the size of the current window. After this instruction has been executed, the cursor is placed at the top left corner of the box. HOME Moves the cursor to the top left corner of the current window. CDOWN Pushes the cursor down one line. CUP Pushes the cursor up one line. CLEFT Pushes the cursor one place to the left. CRIGHT Pushes the cursor one place to the right. XCURS Returns the x coordinate of the text cursor (in text format) YCURS As above but for the y coordinate. SET CURS top,base This instruction can be used to change the size of the cursor top & base can range from 1 to 8 in low & medium resolution. CURS ON/OFF Will stop the flashing of all screen objects drawn with colour 2. TEXT INPUT OUTPUT CENTRE a$:Prints a$ centred on the screen on the line occupied by the cursor. TAB(n) Moves the cursor n places to the right. SCRN(x,y) Returns the Ascii character at position x,y in the current window. WINDOWS The WINDOPEN instruction enables a window to be created on the screen, there are three possible formats to this statement with b & s optional: WINDOPEN n,x,y,w,h[,b][,s] n is the number of the window to be opened and ranges from 1-13 x,y are the text coordinates to the top left corner of the new window. w,h specify the size in characters of the window (minimum size is 3 X 3). b chooses one of the 16 available border styles. See BORDER s indicates which character set is to be used and can range from 1 to 16 depending on the sets currently installed. The default sets for 1 to 3 are: set size notes 1 8X8 default set for low resolution 2 8X8 default set for medium resolution 3 8X16 default size for high resolution You can use all of these sets in any resolution. Note that the coordinates x,y and the window size w,h use the new character sizes. The font definition accessory can be used to define character sets and are given numbers from 4- 16. See the section on character sets for more details. TITLE a$ This command is used to input a title on the current window. If the string is shorter than the width of the window it is centred. This title will now be displayed on the window until it is deleted by using the BORDER command with no parameter. BORDER(n) This instruction allows a choice to be made from 16 possible border types. The value of n can range from 1 to 16. These borders are made up from the Ascii characters 192 to 255 and can be readily changed using the FONTS.ACB accessory. WINDOW n Sets the current window to the window number n, it then redraws the window along with any contents. This instruction is slower than QWINDOW. QWINDOW n This function is the same as above except that it does not redraw the window. WINDON Variable containing the number of the currently active window. WINDMOVE x,y Moves the current window and it's contents to a new part of the screen specified by the text coordinates x,y. These coordinates are based on the character size of the window which is to be made. WINDEL n Delete window number n and erase it from the screen. If this was the current window then the window with the next lower number becomes the current window, which will be redrawn. CLW Erases the contents of the current window. SCROLL ON/OFF Turns scrolling of the on and off. When off the cursor goes to the top of the screen when it reaches the bottom of the screen instead of the screen scrolling up. SCROLL UP Scrolls the current window above the cursor up one line. SCROLL DOWN Scrolls the area below the cursor down one line. CHARACTER SETS Each STOS basic window can have its own character set. These can be edited using the character definer FONTS.ACB When this is executed the screen consists of a drop down menu, along with two windows. The leftmost window is used to edit a character, and the rightmost window is used to select a character for editing. To select a character for editing move the mouse pointer onto it and click the left button. The character will now appear in the editing window. To set a pixel click on the left mouse button and to clear one click on the right button. When you are happy with the character, move the mouse pointer to the character select window and click the right mouse button over the character you wish to replace. You now have two options, save the entire set to disc using the .MBK extension or using the quit and grab option. This places the set you have defined into bank 5 and then exits back to STOS basic. The system menu allows you to select one of four possible sizes for your characters. Unfortunately, not all of these options are available in all three graphics modes. Look at the following table: size modes allowed 8X8 all 8X16 high and medium 16X8 high resolution only 16X16 high resolution only Before you can call a user defined character set, you first need to reserve some space and load this set into memory. This is done automatically by the quit & grab option from the font definer. If it is intended to install a number of sets, its easiest to save them to disc, and then incorporate them into a program by hand. SAVING SPACE RESERVE AS SET n,len Reserves bank n of memory len bytes long for a character set. This set can now be loaded with a line like: load "font1.mbk",n :Note that the bank defined using this command is permanent and will be automatically included with your current program when it is saved to disc. Supposing, for example, you reserve some space for three character sets like so: reserve as set 6,4000 reserve as set 8,4000 reserve as set 5,4000 These sets would be accessed using the numbers :4 for bank 6, 5 for bank 8, 6 for bank 5. The size of these banks has been set to 4000 bytes. CHARLEN(n) This function returns the length of a character set specified by n where n can range from 4 to 16 (1 to 3 reserved for the default sets). CHARCOPY s TO b Copies character set s to bank b. Values of 1 to 3 correspond to the system sets, and numbers 4 to 16 denote user defined sets. example: reserve as set 5,charlen(1):charcopy 1 to 5 USING A CHARACTER SET FROM A WINDOW 1 Find the size of the new set using DIR"*.MBK". Round this up to the nearest 1000 bytes just to be on the safe side. 2 Reserve some space for the set using RESERVE AS SET. 3 Load your file into this bank with a line like LOAD "FILENAME.MBK",n where n is the number of the bank you are using to hold the set. 4 Repeat phases 1 to 3 for each set. 5 Open a window using WINDOPEN. Set the character set number value to 3 plus the number of your set. Note you can avoid stages 1 to 3 when installing a single character set by choosing the Quit & Grab option from the font definer. CHANGING THE DEFAULT SETS In order to change the default character sets, you need to follow the following procedure: 1 Create your new set using the FONTS.ACB accessory. 2 Load your set into bank 5 of the current program using the Quit & Grab option. 3 Place a copy of the system disc into the drive, and type one of the three lines below, depending on the resolution you normally use. low resolution bsave"\STOS\8X8.CR0",start(5) to start(5)+length(5) med resolution bsave"\STOS\8X8,CR1",start(5) to start(5)+length(5) high resolution bsave"\STOS\8X16.CR2",start(5) to start(5)+length(5) Note that STOS basic can also load up to six supplementary sets as well. These should have th extensions .CR4 to .CR9, and can be accessed using the character set numbers 4 to 9 respectively. Note that the size of these sets is determined when you created them. This means you can readily use them in all three graphic modes. ICONS ICON$(n) In order to output an icon to the screen print a chr$(27) character followed by chr$(n), Where n is the number of the icon to be printed. This string can be generated directly using the ICON$ function ie print ICON$(n). THE ICON DEFINER This is very similar to the font definer. On startup you are presented with a menu and two windows. The bottom window is used to select an icon to edit. As with the font definer, select an icon with the left mouse button. From this point on the procedure is exactly the same as with the font definer. When you are finished editing the set they can be saved to disc or loaded into bank 2 with the Quit & Grab option. 7 MENU COMMANDS CREATING A MENU Before you can incorporate a menu into a program, you first need to define the menu titles which will be displayed on the screen. This is done as follows: MENU$(x)=title$[,paper,pen] Title$ contains the title of the menu, and paper and pen are the colours of each heading and background. The value of x denotes the number of the menu. These menus are numbered from 1 to 10 starting from the left hand corner of the screen. MENU$(x,y)=OPTION$[,paper,pen] The variables x,y in this instruction refer to the title number, and the option number of the menu line. The string OPTION$ represents the menu text. You can however use any string you like. MENU ON [,border][,mode] border can range from 1 to 16 mode is either 1 for a drop down menu or 2 for a pull down menu. MENU OFF Switches off the entire menu and clears the menu from memory. MENU FREEZE Temporarily freezes the menu action. Switch back on with MENU ON. MENU$(title,option)OFF Disables one of the list of menu items under title. MENU$(title,option)ON Reverses the above instruction. STOS stores all your menus in bank 15. This bank should therefore only be reserved when these menus are not required in your program. MAKING A SELECTION MNBAR Holds a number denoting the menu title you have chosen. MNSELECT Contains the number of the specific option you have highlighted. ON MENU GOTO line1[,line2]...This procedure causes program flow to jump to a line chosen by the menu title on the screen when a selection is made. Unlike MNBAR it is driven by interrupts. This allows the program to execute another task while the menus are being tested. To use the ON MENU command, after defining the menu an instruction ON MENU ON should be used, the ON MENU function will not work without this instruction. The function can be switched of with the ON MENU OFF command which stops the interrupt from checking the state of the menu. ICONS ICONS can be used instead of text in the menus. eg.MENU$(1)=ICON$(2) Loads the title number with icon 2. MENU$(2,1)=ICON$(3) associates icon 3 with option 1 of title 2. TROUBLESHOOTING problem:The menu flickers and dies every time you try to call it with the mouse. solution:You have ordered a menu out of sequence. Check the menu definitions. problem:The menu doesn't appear in your program. solution:You may have forgotten to use the MENU ON command. problem:ON MENU doesn't work solution:Check whether there is an ON MENU ON statement. Also make sure the program isn't attempting to perform input or output to the screen while ON MENU is active. 8 OTHER COMMANDS CONTROL STRUCTURES GOTO [line number][expression] expression can be any allowable STOS basic expression involving variables or constants. GOSUB [line][expression] As for GOTO except the program returns to the command after GOSUB when execution of the GOSUB is completed. RETURN The statement used to return from a GOSUB. POP This removes the RETURN address generated by a GOSUB and allows you to leave a subroutine without having to execute the final RETURN statement. FOR...NEXT For/Next loops are terminated when the loop counter exceeds the loop control variable. Up to ten For/Next loops can be nested but it must be remembered that each FOR requires its own NEXT statement, a line like NEXT a,b,c for example is not acceptable. WHILE...WEND eg. WHILE condition:list of statements:WEND The test is made at the start of the loop and the condition must be true here or the list of statements will not be executed. REPEAT...UNTIL As for WHILE WEND except that the test is made at the end of the loop thus ensuring that the list of instructions will be executed at least once.eg REPEAT:list of statements:UNTIL a=0 STOP Halts execution of a program and returns control to the editor. Note that unlike the END command a program halted in this way can be restarted with the CONT command,assuming the program has not been altered between stop and cont. END As for STOP except the program cannot be restarted with CONT. IF...THEN [ELSE] The command is restricted to a single line. ON...GOTO Jump to a line depending on a variable. The variable must always be an integer. ON...GOSUB Jump to a subroutine: as for ON GOTO. ON ERROR GOTO line Trap an error within a STOS basic program. line refers to the location of the new error correction routine. It can take the normal form of a line number or an expression. It should be remembered that the expression will only be evaluated once and cannot therefore be used to refer to more than one routine. ON ERROR GOTO OFF cancels the above statement. RESUME This instruction is used from within an error trap created by On Error Goto. The action of RESUME is to jump back to the part of the program which caused the problem, after the error has been corrected by your routine. You should NEVER attempt to use GOTO in this context.RESUME has three possible formats: Resume Jump back to the statement which caused the error and try again. Resume NEXT Jump to the statement following the one which generated the error Resume LINE Jump to LINE number. ERRN Contains the number of the last error. ERRL Contains the location ( line number ) of the last error. ERROR Quits the current program and returns to the editor. A useful way of using this function is as follows. ERROR ERRN : returns to the editor and prints the error condition. BREAK ON/OFF enables or disables the [control+c] key combination. THE KEYBOARD KEY(x)=a$ Function to assign a string a$ to a function key x. a$ is the string that will be returned whenever function key x is pressed. Note [ ' ] denotes a carriage return. k$=INKEY$ Where k$ is the string variable that will be used to hold the key which has been pressed. If a key is pressed k$ will contain the Ascii code of the key, otherwise k$ will be set to an empty string "". Cursor keys and function keys require the use of the SCANCODE function. Not echoed to the screen. SCANCODE If INKEY$ detects that a key has been pressed which does not return an Ascii code it returns a character 0, in this instance the value of the key pressed will be returned with the function SCANCODE. CLEAR KEY Clears the keyboard buWelcome to the STOS Manual, split into 3 parts for your delectation. We're very happy to present this manual...it completes our coverage of the STOS language. On earlier DOC Discs you'll find STOS Maestro and Compiler DOCs. As we've said before these DOCs are provided in the hope that you'll get an opportunity to read about an ST product such as STOS - maybe even learn something the retailers couldn't be bothered to tell you - and that you'll be suitably impressed enough to go out and BUY IT! Our thanks go to everyone who has contributed DOCs before and to those who plan to do so in the future. Sewer Possum STOS COMMAND SUMMARY. acb accload accnb accnew accordance anim animations anti asc ascii autoback bas bcopy bgrab bitmap bkaddr bload bsave cdown charcopy charlen chr cls clw compacted compacter compacting compaction complemented compressions cont cr cright datascreen deactivates def definer degas descripter dir directive directives doesn earc eg envel epie gemdos gosub goto gr haxadecimal hz ie instr irrespective isn jdown jleft joystick joysticks jright jup keypress leftmost len listbank mbk mbs med mnbar mnselect mod modulo mono moveon neo ntremolo physic pi pic pixel pixels polygon polyline polymark polymarker polymarkers predefined prg pvoice qwindow rbar rbox redraw redrawn redraws reinitialised relocatable relocated rgb rightmost scancode scr screencopy scrn semi spacebar spr sprdemo sprite sprites stos stoscopy suffixed synchro textual th ths tos tremolos troubleshooting unfreeze var varptr vbl ve waveform waveforms wend windel windmove windon windopen workspace xcurs xgraphic xor xtext ycurs ygraphic ytext Edited by Sewer Possum for the DOC DISC Series. Documentation for Thai Boxing: Thai Boxing combines the lightning-fast movement of karate with the brute strength of boxing. In this sport there is only one aim, to inflict as much punishment as possible in the shortest amount of time. The face of your boxer will show the punishment he receives at the hands of his opponent. The cuts, bruises, and the bloody nose as the knock-out punch lands are all shown in excruciating detail. There are six levels of play and each level gets progressively more difficult. You can only get to the next level by reducing your opponent's stamina to zero. If you defeat your opponent before the counter reaches zero, bonus points will be added to your score. Each level consists of three rounds, each lasting one minute. Stamina is displayed by the two colored bars at the top of the screen, one for each player. Each kick or punch landed causes a reduction of stamina. It is a good idea to move back if you are under a sustained attack, in order to recoup some of your lost stamina. However, be careful that your opponent does not use this opportunity to deliver a deadly flying kick. JOYSTICK CONTROL-Commodore version: For player 1 the following actions listed are from the top of the joystick going clockwise. For player 2, the listed actions proceed counterclockwise from the top: Fire button OFF Fire button ON Move forward High kick Jump Flying kick Backward Protect face Crouch Sweep kick Forward Protect body Forward Low kick Forward Low punch Forward High punch Edited for DOC DISC 12 by S.P. Thanks to MEZZO and MERLIN. Thanks to Joe fer this excellent mono monitor...makes DOC compiling a lot easier! T R E A S U R E I S L A N D (Windham Classics version) ASK BILLY - S - GET TANKARD - GET RUM - W - OPEN DOOR - NO - LISTEN TO BILLY - GET METAL - S - UP - GET NEWSPAPER - KICK DOOR - OIL LOCK - UNLOCK CHEST - OPEN CHEST - GET GOLD AND WATCH AND OILCLOTH AND TOBACCO - OPEN WINDOW AND CLIMB TREE - S - S - SW - S - SE - E - GIVE OILCLOTH - UP - TELL SQUIRE ABOUT OILCLOTH - GIVE NEWSPAPER - N - N - WAIT - WAIT - WAIT - WAIT - ASK SILVER ABOUT LEG - ASK SILVER ABOUT PEW - WAIT - ASK SILVER ABOUT PAPER - ASK SILVER ABOUT BILLY - WAIT - S - W - AFT - DOWN - AFT - PORT - OPEN CHEST - GET SPYGLASS - STARBOARD - FORE - STARBOARD - PORT - AFT - AFT - SING - PORT - UP - AFT - CLIMB BARREL. LISTEN CREW - WAIT - FORE - GRAB MAST - TIE ROPE TO WHEEL - OPEN CHEST AND WEAR CLOTHES - PORT - FORE - TELL CAPTAIN ABOUT RUM - TELL CAPTAIN ABOUT SILVER - TELL SQUIRE ABOUT SILVER - AFT - AFT - AFT - FORE - READ PAPER - FORE - READ CHARTS - GET CHARTS - AFT - AFT - AFT - OPEN CABINET - GET FOOD AND KNIFE - DOWN - MOVE CASKS - EXAMINE KEG - UP - FORE - FORE - UP - FORE - TELL CAPTAIN ABOUT KEG - AFT - DOWN - STARBOARD - TELL DOCTOR ABOUT RUM - PORT - KICK DOOR - UP - USE SPYGLASS - ENTER BOAT - GET SHELL - N - GET COIN - SIT DOWN - TALK TO SILVER - EAT - NO - GET BOTTLE - NE - NE - N - TELL DOCTOR ABOUT SILVER - ASK CAPTAIN ABOUT SHIP - N - EXAMINE BED - EXAMINE FLOOR - PULL RING - DOWN. S - S - BLOW SHELL - GIVE SOME FOOD - ASK GUN ABOUT SILVER - ASK GUN ABOUT BOAT - ASK GUN ABOUT SHIP - N - FEED TOUCAN - S - SE - EXAMINE LEDGE - EXAMINE BOAT - EXAMINE PLANT - TAKE RESIN - PUT RESIN IN HOLE - LAUNCH BOAT - GRAB LINE - CLIMB ROPE - EXAMINE STAINS - AFT - TALK TO MAN - YES - FORE - CUT LINE WITH KNIFE - AFT - ASK HANDS ABOUT TREASURE - AFT - EXAMINE BARREL - TAKE PISTOL - FORE - SHOOT HANDS WITH PISTOL - EXAMINE BARREL - TAKE BARREL - W - W - S - BREAK STALACTITES - BLOW SHELL - TALK TO BEN - S - S - BLOW SHELL - SW - TALK TO SILVER - ASK SILVER ABOUT PIRATES - ASK SILVER ABOUT DOCTOR - EXAMINE SILVER - EXAMINE SPOT - ASK SILVER ABOUT SPOT - TALK TO DOCTOR - TAKE FOOD - TAKE BRANDY - EXAMINE MAP. W - SW - EXAMINE SKELETON - SOUTH - ASK SILVER ABOUT VOICE - EXAMINE TREE - S - EXAMINE MAP - E - N - EXAMINE METAL - TAKE CUTLASS - N - W - N - TELL DOCTOR ABOUT PIRATES - S - UNTIE SILVER - CUT ROPE WITH CUTLASS - BLOW SHELL - FOLLOW BEN - TAKE TREASURE - EXIT CAVE - TALK TO CAPTAIN - LEAVE SILVER. THE END!!!! On other DOC DISCS we've covered ULTIMA III and IV extensively. Here's the now rather ancient ULTIMA I play guide. S.P ULTIMA I STRATEGY Strategy suggestions for playing "Ultima I" are presented in this file, which is divided into five sections: I) The Beginning, II) The Dungeons, III) Space Travel, IV) Saving the Princess, and V) Battling Mondain. Descriptions of the terrain of the four continents of Ultima are provided in the next file, entitled "Layout." I. THE BEGINNING Once you create your character, and endow him or her with race, type, and attributes, you are ready to begin your adventure. Each race and type of character has its own advantages and disadvantages. Obviously, a fighter is vicious in battles, wizards or clerics throw potent spells, and thieves are good at thievery. Experiment with different characters. Your first step, upon finding yourself in the middle of a grassy plain, is to ready your armour (leather) and a weapon (dagger). Thus prepared, you may then begin to explore the world of Ultima. You will encounter a number of strange creatures during your travels. On land, you will find Orcs, Evil Trents, Hoods, Knights, Bears, Wandering Warlocks, Necromancers, Hidden Archers, Thieves, Dark Knights, and Evil Rangers. In the ocean, there are Giant Squid, Ness Creatures, Dragon Turtles, and Giant Octopi. It is likely that you'll be killed quickly. If so, you will be reincarnated. (If you're reincarnated in the middle of water, keep trying to move or attack. These actions will use up your food and hit points, and you'll be reincarnated again -- hopefully on land the next time.) However, your resurrected self is lacking in food, gold, and weapons. Take heart! Although the process of building up your points and possessions seems slow, if you persevere you will "ultimately" be victorious. The following strategy hints should be helpful: 1) It is often advisable to avoid combat. Try to run away from an enemy until you can build up your hit points. 2) Buy and steal as much armour as possible. If you are killed, you will retain your armor, vehicles, and spells, but you will lose your weapons. 3) To increase your gold supply, you can sell some of your armour. 4) As soon as possible, descend into a dungeon. By entering a dungeon and killing a number of creatures, you will gain hit points, experience points, and gold (and food, if you're killed in a dungeon). You can do this again and again, building up your character. 5) Always buy a drink from Varg the tavern keeper in a pub. He may give you some helpful clues. 6) As you gain experience points, you will find that more advanced weapons and transportation become available in the cities. Items such as pistols, blasters, and phazors are invaluable in battles (in fact, sea creatures will be "out of weapon range" until you get a hold of, at least, a set of bow and arrows). By a strange quirk in the game, you may be able to steal technologically advanced weapons or armor even before they're available for purchase! Use of a vehicle will conserve your food supply during your travels. Seagoing vessels and air cars allow you to visit islands and cross oceans. Once you've obtained a frigate or an air car, you can use its cannons or lasers to fire on enemies. A space shuttle will be required for space travel. 7) When you enter a castle, be sure to transact with the King. If you have sufficient gold, he will sell you hit points. If you offer service, he will send you on a quest for which you will be handsomely rewarded. 8) Save the game frequently. You never know when 7 Hidden Archers or 4 Ness Creatures might attack and kill you. 9) Beware of Wenches, Jesters, and Bards. They like to steal your possessions. II.THE DUNGEONS Dungeon experience is vital in order to increase your hit points. It can also be fatal. If your character is a novice, it's best to explore only the 1st or 2nd level of a dungeon. Then you can retrace your steps, climb out of the dungeon alive, and repeat the process. As you become stronger, you can descend deeper into a dungeon. There you will do battle with increasingly powerful creatures, but you may also gain hundreds of hit points and gold pieces. You will encounter the following enemies in any dungeon: Levels 1 and 2: Thieves, Rangers, Skeletons, Bats, Giant Rats Levels 3 and 4: Giant Spiders, Cyclopes, Orcs, Gelatinous Cubes, Vipers Levels 5 and 6: Ettins, Minotaurs, Mimics, Carrion Creepers, Lizard Men Levels 7 and 8: Wraiths, Wandering Eyes, Liches, Tanglers, Gremlins Levels 9 and 10: Daemons, Balrons, Mind Whippers, Zorns, Invisible Seekers Even if you have accumulated many thousands of hit points, some of the more powerful creatures can easily destroy you. You will have to discover, through trial and error, which weapons or spells you should use against them. (Note: Only a wizard can use the Blink, Create, Destroy, and Kill spells.) The following strategy hints should help you in surviving dungeon travel: 1) Use the Inform and Search command frequently. This will disclose traps which you can then avoid (rope and spikes will save you from falling through a hidden trap, but you lose them). 2) Use the Destroy spell to dissolve force fields. 3) Use the Blink spell to escape to another place on that level (useful when monsters are attacking from all sides or when you're surrounded by force fields and have no Destroy spells). 4) Map each level so you don't get lost. Or, purchase plenty of Ladder Up and Ladder Down spells to allow you to move easily between levels. 5) Remember: You cannot save the game from within a dungeon. Also, you cannot put on any new armour if it has been destroyed (by a Gelatinous Cube, for example). 6) You may wish to use an Unlock spell to open chests, and an Open spell to open coffins. You will find additional gold in these containers. 7) If you are on a quest (to kill a Balron, Liche, Cube, or Creeper), do not dally on other levels. Go straight down to the level where the creature you are seeking lives (using Ladder Down spells), kill it, then get out of the dungeon quickly (using Ladder Up spells). It is very easy to be overwhelmed by enemies on the lower levels, and you could be killed. Gremlins may steal all your food; Invisible Seekers may annihilate you before you can locate them; Mind Whippers may destroy your intelligence with their mental attacks. III. SPACE TRAVEL You have been exploring the four continents of Ultima, crossing plains and oceans, and increasing your attributes and possessions. Suddenly, you find advanced weapons, armour, and vehicles in the cities. Purchase a space shuttle as soon as you have enough gold. The shuttle will carry you out into space where you will strive to destroy 20 enemy vessels. If you do this, you will be designated a "Space Ace". You will want to be a Space Ace before rescuing the princess. If you destroy the enemy spacecraft, and return alive to Ultima, you will have gained thousands of experience points and will be ready to save the Princess. Space movement can be tricky, and the following strategy hints should help: 1) The first view you will see is your shuttle, motionless in space. Nearby is a Base, a Star, and Ultima. You can use your shuttle for continued travel, or you can dock at the base and purchase a different vehicle (500 gold pieces each time you exchange ships). The smaller vehicle has limited fuel, but a lot of shield power. The larger vehicle has plenty of fuel, but negligible shielding. Take the smaller ship since you won't want to go very far from base. 2) Docking with the base in order to exchange ships takes a little practice. If you do not dock exactly at the entry point in the base, you will destroy your shields and be disintegrated. Try this method: One forward thrust until you are near the base; one retro to stop your vehicle; one left turn or right turn to position your ship in the direction you want to go; one forward thrust to get it moving again; one retro to stop it; etc. In this way, you can slowly and carefully position your shuttle so that you can make a precision docking. Exchange ships. 3) Once you have a new ship, you must do a sector scan. This is accomplished by the Inform and Search command. Note: You will always be in the centre of the sector scan. When you start out in space, you will be where the "B" is in the middle of the sector scan. The blank lines indicate empty space, the stars indicate stars, and the carets indicate enemy spaceships. 4) Since you don't want to get too far from your starting point, and you don't want to get lost and run out of fuel, always check the sector scan to make sure you know where you are. If the scan shows enemy ships to the left, turn your ship to the left. If the scan shows enemy ships below you, turn your ship downward. Apply thrust, then go into View change. Now you're in open space. Hit the Hyperspace key. At this point, you will be in a sector containing enemy ships. 5) Once you've destroyed the enemy ships (usually three), go into View change mode again. Stop your ship with one retro. If you went left originally, you'll want to return right. If you went down originally, you must turn your ship upward, and so on. Turn your ship to the appropriate direction, and apply thrust. Change the view again, hit hyperspace again, change the view again. You should be near your origination point, by a base. You can exchange ships again, or return to Ultima. This process can be repeated many times until you become a Space Ace. THE GAME. IV. SAVING THE PRINCESS In each castle, there is a Princess imprisoned. You will see her pacing in her cell in the lower right of the castle. The key to her cell may or may not be in the possession of the Jester (hopping around near the King). You must kill the Jester in order to get the key. Keep trying until you get the correct key that will unlock the Princess' cell. The following strategy tips should assist you in freeing the Princess: 1) You'll notice that the Jester sometimes comes near you as you enter the King's throneroom. Try to get him to stay near the entrance. Then you can kill him, and run (quickly!) down and over to the Princess' cell. Hit "U" to unlock the door. The Princess will follow you out of the cell if the correct key has been used. If you have not obtained the correct key, and the one you have does not unlock the door, follow the instructions below anyway in order to try to escape with your life. 2) The moment you kill the Jester, the guards will be upon you. They are virtually impossible to kill, so your best course is to outrun them. First of all, try to position the Princess between yourself and the guards. This will take a little practice, but eventually you should learn how to line the guards up behind you as you run for the castle exit. 3) Move quickly, being careful not to run into walls, trees, or ponds. One false move, and you'll be trapped between guards. In the far left room, try exiting to the north of the pond, and out left. It's tricky, but possible. As you leave the castle, the Princess will reward you handsomely and will tell you where to find the Time Machine. V. BATTLING MONDAIN Once you rescue the Princess and locate the Time Machine, you are ready to do battle with the evil wizard Mondain. Board the craft and launch. Although you are now an expert fighter (you've done away with Balrons and Liches, right?), Mondain will nevertheless engage you in the battle of your life. The following tactics should help you destroy the Evil Gem, kill Mondain, save the universe and, not incidentally, win the game: 1) You must first destroy the Evil Gem. Immediately approach the gem and hit "G" to get it. This action will destroy the gem. It will also drain away most of your hit points. 2) If you do not destroy the gem immediately, you will not be able to permanently kill Mondain. The Evil Gem that he created makes him immortal, so you must destroy the gem before turning to Mondain. 3) Now, begin to attack Mondain. Kill spells will not work against him; they only make him stronger. Just keep firing away until he weakens. Persist in your attack even though he unleashes an onslaught against you. 4) If your character is a wizard, you can use the Create spell to place a force field in front of you, however, it's best to continuing attacking Mondain. Hopefully, he will be weakening. You can tell that this is happening because he changes into a bird and ceases attacking you. Continue firing until you receive the message that Mondain is dead and that you're victorious. LAYOUT The game of "Ultima I" involves travel on land and sea and through space and time. This file is to help you map a dangerous world. The planet consists of four continents separated by oceans. These continents contain many cities, castles, dungeons, and landmarks which the traveler must explore. Once the adventurer has purchased a seagoing craft or an air car, he or she may traverse the oceans with ease. When sufficient gold and experience points are accumulated, a space shuttle may be obtained for extraterrestrial journeys. I.CONTINENT ONE (1) Overview Continent One contains two castles (Lost King and Lord British); eight cities (Yew, Fawn, Britain, Montor, Grey, Paws, Moon, and Tune); nine dungeons (Perinia, Lost Caverns, Mondain's Gate to Hell, Unholy Hole, Mines of Mt. Drash (1 and 2), Death's Awakening, Montor, and Doubt); and two landmarks (Pillars of Protection and Tower of Knowledge). (2) Quests Quest for King of the Castle of the Lost King: The King will ask you to destroy a Gelatinous Cube. To do so, you must climb down to level 3 or 4 of any dungeon and kill a Gelatinous Cube. Having done so, return to the King who will give you a red gem. He will also tell you that you will need four gems to launch the Time Machine. Quest for the King of the Castle of Lord British: His Majesty will send you to find the Tower of Knowledge. The landmark is located on an island to the northeast of the continent. You will receive additional strength from the King when you complete your quest and return to him. (3) Landmarks Pillars of Protection: This landmark is located on an island to the northwest of the continent. Enter the landmark, and your agility will be increased. Tower of Knowledge: The Tower of Knowledge is on an island to the northeast of the continent. Your intelligence will be increased when you enter this landmark. (4) Bartenders' Clues Pubs: In the cities, there are pubs. Be sure to transact with Varg the tavern keep, since he may give you clues such as: "Destroy the Evil Gem," or "Best watch out for the wench." II.CONTINENT TWO (1) Overview This continent is located across the ocean to the east of Continent One. Continent Two contains two castles (Rondorlin and Barataria); eight cities (Snake, Owen, Gerry, Arnold, Linda, Helen, John, and Wolf); eight dungeons (Scorpion Hole, The Labyrinth, Where Hercules Died, Advari's Hole, The Savage Place, Horror of the Harpies, Gorgon's Hole, and Dead Warrior's Fight); and two landmarks (Pillars of the Argonauts and Pillar of Ozymandias). (2) Quests Quest for the King of Rondorlin: The King orders you to kill a Carrion Creeper. This dread creature may be found on the 5th or 6th level of any dungeon. When you accomplish your task and return to the King, he will give you a green gem and tell you that you must use the Time Machine. Quest for the King of Barataria: This quest involves locating the Pillar of Ozymandias (on an island to the southwest of the continent). The King will grant you increased strength upon completion of the quest. (3) Landmarks Pillars of the Argonauts: The pillars are located on an island to the west of the continent. You are rewarded with various weapons whenever you visit this landmark. Pillar of Ozymandias: Increased wisdom is your reward for entering the pillar (southwest of the continent). 4) Bartenders' Clues Pubs: If you buy a drink from a tavern keep, he may give you a hint such as, "Best you should know about space travel, and that you must destroy at least 20 enemy vessels to become an Ace!" or "The Princess will reward you if you save her, and will give an additional gift to a player of 8th level or higher." III. CONTINENT THREE (1) Overview Continent Three is located across the ocean to the east of Continent Two. This land mass contains two castles (Black Dragon and Olympus); eight cities (Poor, Ponder, Clear Lagoon, Gauntlet, Nassau, Wealth, Imagination, and Stout); nine dungeons (The End, The Metal Twister, The Long Death, Viper's Pit (1 and 2), Guild of Death, Troll's Hole, Tramp of Doom, and Slow Death); and two landmarks (Sign Post and Southern Sign Post). (2) Quests Quest for the King of Black Dragon's Castle: The King orders you to kill a Liche (which may be found on the 7th or 8th level of any dungeon). If you complete this quest, His Majesty will give you a blue gem and tell you that the Princess helps the Space Ace. Quest for the King of the Castle of Olympus: On this quest, you must find the Sign Post. It is located on an island to the northwest of the continent. The King will reward you with additional strength for completing this task. (3) Landmarks Sign Post: This landmark is located on an island to the northwest of the continent. Upon entering the Sign Post, you will receive additional stamina. Southern Sign Post: Additional charisma is your reward for finding this landmark. It is located on an island to the southwest of the continent. (4) Bartenders' Clues Pubs: The tavern keep may let you in on the following information: "One thousand years ago, Mondain the Wizard created an Evil Gem which makes him immortal. You must traverse the lands until you find a Time Machine. Go back in time to destroy the Evil Gem and save the universe." Or, the bartender may tell you that "Most, if not all, of the lakes and ponds have magical powers." IV. CONTINENT FOUR (1) Overview Traveling east across the ocean from Continent Three, you will arrive at Continent Four. This land mass contains two castles (Shamino's Castle and White Dragon's Castle); eight cities (Lost Friends, Dextron, Turtle, Wheeler, Bulldozer, Gorlab, Brother, and Magic); nine dungeons (Skull Smasher, Doom, Dead Cat's Life (1 and 2), Dead Man's Walk, Hole to Hades, Spine Breaker, The Morbid Adventure, and Free Death Hole); and two landmarks (Grave of the Lost Soul and the Eastern Sign Post). If you wish to revisit Continent One, simply continue east across the ocean from Continent Four. (2) Quests Quest for the King of Shamino Castle: You must descend to the 9th or 10th level of any dungeon and kill a Balron. After you do this, return to the King. He will give you a white gem and allow you to take nine items from the holds of his castle. Quest for the King of White Dragon's Castle: You must find the Grave of the Lost Soul (which is on an island to the northwest of the continent). His Majesty will reward you with added strength when you return to him. (3) Landmarks Grave of the Lost Soul: Upon reaching this landmark, enter it. You will receive additional stamina. Eastern Sign Post: This landmark merely has a sign saying, "Go east to go east." (4) Bartenders' Clues Pubs: Varg may tell you to "Have a strong one, bub," or "Go back in time." Or, he may simply say that this is a great game (as indeed it is!). * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Here's the ULTIMA II playing guide, thanks to MEZZO and A.L.F for sending it in.....S.P ULTIMA II STRATEGY Ultima II (The Revenge of the Enchantress) is Lord British's exciting sequel to Ultima I. In Ultima II, you are challenged to discover the secret of Minax, the evil apprentice of Mondain whom you defeated in Ultima I. Once again, you must create a player character who will roam land, sea, air, and even outer space, battling strange creatures and increasing your character's attributes and possessions. However, in Ultima II, you must also unlock the mysteries of the Time Doors. The strategy tips presented in this file should assist you in your difficult quest. I.CREATING A CHARACTER By allocating 90 points among 6 attributes and choosing race, profession, and sex, you may create a player character who is initially powerful or weak. For example, relatively high strength is the key to being able to wear certain armour; high agility will allow your character to wield certain weapons and steal more easily. I had good luck with my Elf Thief ("Bugsy") who was able to steal plenty of food, weapons, and armour. However, the Dwarf Wizard ("Hirsutus") I created endured a long, slow battle to merely stay alive. Experiment with different combinations to find out which is more successful and enjoyable for you. A note about spellcasters: Clerics and Wizards may purchase spells in Villages. However, spells are both very expensive and relatively useless. Spells can only be cast within Dungeons and Towers and, unfortunately, you can easily win the game without ever entering either of those places. II.BEGINNING THE QUEST You start out with 400 hit points, 400 foods, and 400 gold. This may seem like plenty, but it isn't. Your food disappears quickly as you explore, your hit points diminish rapidly when you are attacked by creatures, and your gold pieces must be exchanged for supplies and equipment. However, you can always attempt to steal, and you can purchase additional hit points by transacting with a King. Your first task is to obtain a weapon and armour. From where you are when you boot the game diskette, walk west and south into Towne Linda (it looks like a cloverleaf). You will find both an armoury and a weapons vendor there. After leaving Towne Linda, travel south until you reach Le Jester Village (it looks like 5 small circles). Villages are the only places where you can obtain additional food. Now you're ready to do some serious adventuring. But, before you begin your campaign in earnest, be sure to save the game. It's very easy to get killed, and you will want to be able to return to the status quo ante. A word of advice: This game has an annoying "feature" involving the save game function. First of all, unlike Ultima I, Ultima II has no provision for two disk drives, so be prepared for frequent disk swaps. Secondly, if your character enters a Town, Village, Castle, Dungeon, or Tower (i.e., there has been interaction with the player diskette), and you are then gravely injured or, perhaps, have spent money on an item you are not allowed to use, and you then leave that location (i.e., another disk interaction), you will not be able to turn off your machine and reboot to find your earlier (healthier!) save game position. The solution to this problem is this: When you realize that your character has lost a lot of hit points while within one of those locations, turn off your machine then and there. Since no writing to the diskette is involved, you can then reboot and recover your earlier position. [My first player character lost 2,000 hit points in one Town before I learned this little trick.] III.THE INHABITANTS In order to gain experience points, valuable items, and gold, you must slay many creatures. The universe of Ultima II is populated by Orcs, Devils, Daemons, Thieves, Fighters, Clerics, Wizards, Balrons, Sea Serpents, Guards, Merchants, Jesters, Seers, Oracles, Kings, Queens, and, finally, Minax. Some you must simply kill; others you must not kill but must transact with. Transact with everyone you find in Towns, Villages, and Castles. Clues to solving the game will be revealed to you (occasionally, however, you have to offer gold to purchase a particularly valuable hint or item). In one Town, you will discover that offering gold results in significant increases to your character's attributes. As I mentioned earlier, you can obtain more hit points by transacting with a King (he pockets some of your gold as payment for this service). Be aware, however, that after 99 your attributes will roll over to 0! (Rollover occurs as well when any of your possessions total more than 99 and when your hit points, experience points, food, or gold climb above 9999). Don't be too greedy! IV.ITEMS Utilize the "Z" (status) command frequently, especially after you have slain a creature. You will notice that there are certain items in your inventory which were not there before the battle. You will learn what each of these items is for (e.g., magical boots save you from a paralysis spell and tools allow you to escape from traps in Towers or Dungeons), and will discover which creatures are more likely to possess something you need. There are a total of 20 objects for you to find, including: Torches, Keys, Tools, Quick Swords, Wands, Staffs, Boots, Cloaks, Helms, Gems, Ankhs, Red Gems, Skull Keys, Green Gems, Brass Buttons, Blue Tassles, Strange Coins, Green Idols, Tri- Lithiums, and Rings. Once you've obtained a particularly precious item (such as blue tassles which you'll need to board a frigate or strange coins which allow you to stop time), be sure to save the game state. Thieves just love to steal from you, and you may want to recover your earlier position. You will encounter an individual who claims to own "one of everything." Offer him gold and find out! V.TRANSPORTATION You may buy a horse in a Town in order to conserve food as you travel by land. However, frigates and planes are needed to traverse the oceans. You will need a rocketship to enter space. Frigates may be boarded (as they pass by you on a coastline) if you already possess a set of blue tassles. However, planes and rockets must be stolen. Planes are available in only one Town; you'll need brass buttons and skull keys in order to fly a plane. Once you have a plane, you can "walk" it through a Time Door (Time Doors are discussed in the next file entitled "Ultima II -- Layout"). Rockets are found only in one Town and you'll need a number of items in order to blast off (if you need extra Tri-Lithiums, you can find hordes of the stuff on the highest level of a Tower or the lowest level of a Dungeon). Once in space, explore and transact until you discover the mysterious Planet X and the kindly Father Antos. A note about spaceflight: Landing is the trickiest part of this task; be extremely careful that you land on the grass, otherwise you'll be killed. VI.DEFEATING MINAX Ah, yes, the dread enchantress! She rules time and the universe, ever so confidently, from her chambers within her Castle on Legends. Do not attempt to destroy her until you have spent many, many hours developing your character's abilities and have obtained weapons, armour, and valuable items. One item in particular, a ring, must be in your possession if you wish to pass unscathed through Minax's force fields. She is unwilling to die easily and leads you on a not-so-merry chase from chamber to chamber while her minions attempt to kill you. You can deal with her lackeys by stopping time, but only if you have sufficient quantities of strange coins. Persist in your attack; she will ultimately succumb and she and all her works will be destroyed! ULTIMA II: THE LAYOUT The cloth map and the pamphlet that come with the game are very helpful. Study both and make your own notes as you continue your quest. The map shows the world as it appears in the A.D. time period with symbols representing the 20 Time Doors that exist. The Time Doors take you from one time period to another, and there are five such periods: B.C. (1423 B.C.); A.D. (1990 A.D.); Pangea (9 million B.C.); Aftermath (2112 A.D.); and Legends (no time). Once you obtain a magical helm, you will be able to "V"iew your exact location (note, however, that your helm disappears when you "V"). The following is an outline of the various time periods and the locations of their Time Doors. I.1423 B.C. This is where you begin your adventure. You will find yourself in Eurasia with connecting passages by land to North America, Africa, and South America. Locations you'll visit include Towne Linda in Italy, Le Jester Village in Africa, a Tower in South America, a Dungeon in Greenland, Lord British's Castle in England, and a Signpost in Australia (islands may be reached once you board a frigate). There are 4 Time Doors: 1) The NW Time Door in Europe takes you to England in 1990 A.D.; 2) The North Central Time Door in Europe takes you to the eastern peninsula in 9 million B.C.; 3) The NE Time Door in North America takes you to Legends; and 4) The SE Time Door in South America takes you to the north of North America in 2112 A.D. II.1990 A.D. Here you will visit Lord British's Castle and Port Bonifice in England, New San Antonio in North America, a Tower in Africa, a Dungeon in Greenland, and a Signpost in Australia. There are 4 Time Doors: 1) The Time Door in South America takes you to North America in 2112 A.D.; 2) The Time Door by the Signpost in Australia takes you to the eastern part of the continent in 9 million B.C.; 3) The Time Door near Lord British's Castle in England takes you to Europe in 1423 B.C.; and 4) The Time Door by the Dungeon in Greenland takes you to the east of the continent in 9 million B.C. III.9 MILLION B.C. In this ancient time, the continents as we know them have not yet separated. This land mass appears to be one great island. You will visit Baradin's Town, a Dungeon, and a Signpost. There are 4 Time Doors: 1) The NE Time Door by the Dungeon takes you to Legends; 2) The eastern Time Door takes you to Europe in 1423 B.C.; 3) The southern Time Door near the Signpost takes you to England in 1990 A.D.; and 4) The north central Time Door (north of Baradin's Town) takes you to North America in 1990 A.D. IV.2112 A.D. This is the world of the Aftermath, a time of high technology and destruction. Nothing remains in North America, South America or Africa, but there is a Town (Pirate's Harbour) in northern Europe, a Dungeon in Greenland, and a Signpost in Australia. You will need to bring an airplane through the Time Doors in order to fly from North America to Eurasia (where you will find a rocketship). There are 4 Time Doors: 1) In North America, the NW Time Door takes you to South America in 1990 A.D.; 2) The SE Time Door in North America takes you to Legends; 3) In Eurasia, the southern Time Door takes you to the east of the continent in 9 million B.C.; and 4) In eastern Eurasia, the Time Door takes you to Europe in 1423 B.C. V.LEGENDS You will visit Legends often in an attempt to break through Minax's armies and into her sanctum. Her Castle in located in the center of the continent; besides numerous creatures, there is only a Signpost on Legends. There are 4 Time Doors in a row south of the Signpost. Starting from the west: 1) This Time Door takes you to the northeast of the continent in 9 million B.C.; 2) This one takes you to Europe in 1423 B.C.; 3) This one takes you to England in 1990 A.D.; and 4) The eastern Time Door takes you to North America in 2112 A.D. [Note: Dates and Time Door locations may differ in various versions of Ultima II.] VI.SPACE Use your galactic map to plot the coordinates for space travel. You will know you have reached the planet you are seeking when you find Towne Basko and Castle Barataria. Be prepared to fight; the inhabitants are belligerent and the thieves tend to steal from you. Remember also to take extreme care in landing your rocket; instant death results from one careless move. There are no Time Doors in space. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Thank God for INFOCOM adventures...they help fill the ol' DOC DISCS up! Thanks to MEZZO for sending this... WITNESS (Infocom) This walkthru will help you to finish "Witness." This game is a much simpler one than "Deadline," so I hope you won't be disappointed when you see how easy it is to solve this mystery. Okay, you start South of the house, where you just picked up a matchbook. . Go North twice to the front door and ring the bell. Phong will let you in. Then just try to go East, and Phong will lead you to the Living Room, where Monica and Mr. Linder are. Now, wait , and Linder will eventually take you to his office. Sit down in the wooden chair, and Linder will hand you a note. Read it, as it will help waste some time. Now, just do anything to make time pass. Show the matchbook to Linder for an interesting reaction, if you like. In any case, you just have to keep waiting. Eventually, Monica will come in briefly to announce she's going to the movies. This is not what you're waiting for, however! So, keep on waiting, and finally, the murder will occur. Linder will be shot while you sit there, and you can't stop it from happening. Read the description carefully at the moment the shot is fired. There's something odd about it. In fact, the whole thing is a setup. The first thing to do is stand up, then push the button. Instead of ringing to summon the butler, it causes a strange click to be heard from the clock. At this point, Phong will enter the room. Tell him you want the keys, and he'll hand them over to you. Now, examine the clock. Keyhole seems a little strange, doesn't it? The doorbell rings while you're doing this, so as Phong goes to answer the door, examine the keyhole. I'll bet you're getting some ideas already! However, you'll need to have the powder analyzed, and Duffy hasn't arrived yet, so wait around until he does. Then get the powder analzyed . While that's being done, examine the window . The green wire seems suspicious, so get it for future reference. Now, go West into the Hallway, then North twice, and open the Butler's door. Go West into the room, and read the mystery book . A gun receipt is used as a bookmark. The purchaser's name is obviously phoney, but hang on to the receipt anyway. Okay, from the Butler's Room, go East twice to Monica's room, then unlock and open the back door. Go East into the Backyard, then South twice to the office path. Aha, a muddy gun! No fingerprints, alas, but you might want to take it along with you, just in case. Now, go West into the Side Yard. Hmm, more footprints here, but they aren't quite the same as the ones on the office path. In fact, it looks like someone was standing here for awhile. Wonder who it might have been? . Anyway, go West again to the driveway, then North and East into the Garage. Unlock and open both the garage door and the workshop door, then go East into the Workshop. The place looks like an electrician's paradise, and there isn't much you can do here; but, there are spools of wire hanging around. Could it be...? Examine spool, and you have established a link of sorts between this place and the study. The green wire is obviously from this room. Now, all you need is the person who put it there. You now stand there waiting for Monica. Just keep waiting; she'll arrive . When she does get there, she'll fiddle briefly with the junction box before noticing you. Now, wait until she leaves, then follow her. You *must* use directions here, just saying "Follow Monica" won't work. Follow her all the way to her room, and wait for her to come back out of the bathroom. When she returns, ask her about Mr. Linder. Her response will establish the motive. Now, wait some more, and she will eventually leave the room. Follow her again, this time to the office. As soon as you get in there, handcuff her. Somewhere along the way, Sgt. Duffy will have left with the body, so you can't arrest her until he comes back. In the meantime, you have to find some very important evidence. So, first search Monica for the key. When you get it, unlock the clock and open it. She's already removed the gun, but you can search her for that, also. Now, just wait until Duffy returns, and arrest her for the murder. And that should be about it. By the way, if you try leaving her and waiting in the office , you'll find that, however hard you try, you won't be able to handcuff her . So, you'll just have to wait and follow her. As I said in the beginning, it's a pretty simple game. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Worm in Paradise Solution. Edited for DOC DISC 12 by Sewer Possum. T H E W O R M I N P A R A D I S E (Level 9) (Later released as Part 3 of the 'Silicon Dreams Trilogy') Before describing a 'solution' to this adventure, it must be accepted that there not a move-by-move answer to your problems from start to finish! Only the very early part of the adventure is constant, as far as a solution is concerned. This is due to two main features: (1)THE EDEN TRANSPORT SYSTEM - which throws up different address locations on each load of the game. (2)THE FUZBOTS OF ENOCH - who could crop up anywhere at any time. These being, obviously, in addition to any normal problems you may generate by the wrong action. Other notable features are: (3)The Enoch TIME system - be sure to be home before curfew is imposed, and do not attempt to start a job too late in the day or the Workplace Droid will reject you! (4)Never be in debt - you cannot afford the fine AND complete the game, so keep an eye on your Creds by 'EXAMINE TATTOO'. THE EDEN TRANSPORT SYSTEM: Refer to your maps for clarification! This consists of three 'ETS' Roundabouts, all accessible from the Northmost roundabout. They are uniquely colour-coded by the FIRST COLOUR mentioned on a grid location, as follows: RED........the ETS 'EAST' BROWN......the ETS 'NORTH' BLACK......the ETS 'WEST' When entering an ETS type 'JUMP' to reach the centre and 'SAY EXIT' to leave (then SOUTH). There are SIX important addresses on the ETS which you must visit, BUT they may differ on each loading of the game! 1.YOUR HABIHOME 2.THE SOCIALIST'S HABIHOME 3.THE JOB CENTRE 4.THE TRAVEL AGENTS 5.THE FLORISTS 6.THE HARDWARE WAREHOUSE The first one (Your Habihome) is easy to find and you don't really need to remember this address - just type 'SAY HOME' in open areas, other than exits from roundabouts leading to an ETS, and you are deposited one move North of your Habihome (SOUTH to enter). On leaving your Habihome, type 'SAY EXIT' then 'SOUTH' and you're placed somewhere on the Northmost Roundabout, depending on your 'home' address. The second one (Socialist's Habihome) is found by examining a brooch (see Solution). The remaining four are given out on television advertisements (see Solution). The different addresses found so far may not provide for EVERY possible address but most codes are mentioned. They are as follows: A.SOCIALIST'S HABIHOME CODE: RED/YELLOW/BROWN/BLUE/GREY/VIOLET/BROWN EAST ETS: Route from centre is:- SE-SW-SE-S-SE-SW-SW-S-SW -SW-SW-W-W-S- then SOUTH. CODE: BLACK/GREEN/BROWN/ORANGE/WHITE/BLACK/ORANGE WEST ETS: Route from centre is:- SW-S-SE-SW-SE-S-SW-SE-SW -SW-SE-E-E-E-SW- then SOUTH. B.THE JOBCENTRE CODE: BROWN/GREY/GREEN/VIOLET/GREY/YELLOW/RED NORTH ETS: Route from centre is:- S-SW-SE-SW-SW-SE-S-S-S -S-SW-S- then SOUTH. CODE: RED/WHITE/GREEN/VIOLET/BROWN/BLUE/BROWN EAST ETS: Route from centre is:- S-S-SW-SE-SW-SE-SE-SE-SW -S-SE-E-E-SE- then SOUTH. CODE: RED/VIOLET/GREEN/BROWN/BLACK/VIOLET/BROWN EAST ETS: Route from centre is:- S-SW-SW-SW-SE-S-SE-SW-SW -SW-SE-E-E-E-SW- then SOUTH. C.THE TRAVEL AGENTS CODE: RED/VIOLET/YELLOW/ORANGE/BLUE/GREY/VIOLET EAST ETS: Route from centre is:- S-SW-SW-SW-S-S-SW-SE-SE -SW-SW-SE- then SOUTH. CODE: BLACK/YELLOW/YELLOW/BLUE/BROWN/BLACK/BLACK WEST ETS: Route from centre is:- SE-S-SW-SW-SW-S-S-S-SW -SE-SE-E-E-W-S- then SOUTH. CODE: BROWN/BROWN/YELLOW/GREY/YELLOW/GREEN/GREY NORTH ETS: Route from centre is:- S-SE-S-SW-SW-SW-S-SW-S -SW-SE-E-E-E-S- then SOUTH. D.THE FLORISTS CODE: RED/BLUE/RED/BLUE/BROWN/BLUE/GREY EAST ETS: Route from centre is:- SW-SE-S-SW-S-S-S-SE-SW -SW-SE-E-E-SE- then SOUTH. CODE: BLACK/BLACK/RED/YELLOW/GREEN/GREY/BROWN WEST ETS: Route from centre is:- S-S-S-SE-SE-SW-SE-SW-S -SE-SE-E-E-E-SW- then SOUTH. CODE: RED/GREY/RED/BLACK/ORANGE/WHITE/BLACK EAST ETS: Route from centre is:- S-SW-S-S-S-SW-S-SW-S-SW -SW-W-W-E-S- then SOUTH. E.HARDWARE WAREHOUSE CODE: BROWN/BLUE/ORANGE/ORANGE/RED/WHITE/BLACK NORTH ETS: Route from centre is:- SW-SE-S-SW-SE-S-SE-S-S -SW-SE-SE- then SOUTH. CODE: RED/BLUE/ORANGE/BLACK/ORANGE/RED/ORANGE EAST ETS: Route from centre is:- SW-SE-S-SW-SE-SW-S-S-SW-S -SE-E-E-W-SE- then SOUTH. (Note:- Do not 'type ahead' too far in advance as the parser becomes confused! If, however, you become 'lost', just type 'JUMP' and start working through the appropriate sequence of directions again.) The final note before commencing the game is regarding the clock. It is a decimal clock (0-10).....5 is Midday and 10 is Midnight. 'Curfew' is 10-3. Each 'hour' consists of 100 'minutes' - 'WAIT' command uses 10 minutes, any other single input uses 1 minute. It is wise to tackle the adventure in 'day stages' but don't waste any 'days' because after about a week the Fuzbots get fed up of you wandering about and fine you for being a parasite of the state, irrespective of your work record!! THE SOLUTION The early part of the game is constant. You start 'in a dream' in a Garden in Paradise. TAKE BENCH - E - S - DROP BENCH - ON BENCH - EXAMINE TREE - TAKE APPLE - BITE APPLE - W - W - W - N - KICK BEHEMOTH - N - W - WAIT - N - W - W - WAIT - W - EXAMINE BEHEMOTH - TAKE SCALE - W - N - N - N - N - (Awake from 'Paradise Dream' wearing a visor) - (You are in a Dream Alcove in the Beautiful Octagonal Room). DAYS 1&2. (Don't worry about the odd fine of 9 Creds) DROP VISOR - BREAK COLLAR - WEAR COLLAR - (this action prevents the Police from gaining any extra information about you - as long as you keep WEARING it they won't notice it's broken!) - S - NW - WEAR VISOR - SE - W - W - S - S - S - S - S - W - S - S - E - E - S - IN - SE - (SELL your spare organs to raise the necessary Creds?) - YES - E - (you stay overnight and are returned to the Foyer next morning) - OUT - N - W - W - S - E - E - E - E - E - E - N - TAKE MEDALLION - S - W - BUY FLAG - (cost is 9 Creds) - YES - S - W - W - W - W - IN - BUY BOX - (cost again is 9 Creds) - YES - OUT - N - E - EXAMINE MEMORIAL - WAIT - (until a potential Socialist arrives and is subsequently arrested) - LOOK - TAKE WALLET - SAY HOME - S - E - EXAMINE WALLET - EXAMINE BROOCH - (make a note of the colour code - it's the Socialist's address on the ETS) - DROP WALLET - DROP FLAG - DROP BOX - DROP MEDALLION. YOUR HABIHOME The poster is really a television screen. SAY ON to operate it, or SAY OFF to close it down. In the Bodymaint is a nozzle - SAY ON for a refreshing shower but remove your tradclads or other clothing first! The shower will remind you of this!! If you don't shower REGULARLY the Droids may refuse to serve you. The crack in the wall is your bed slot. SAY BED and it will swing down. LIE ON BED to use it. If you SAY BED while you're still on it you are swung down to the Undercity below your Habihome, but wait until you're sure that you know how to get out again before you try this! When your tattoo buzzes and announces 'Curfew in 1 hour', type SLEEP while on the bed and make a note of your 'dream'.....it may prove useful! REMOVE TRADCLADS - N - SAY ON - (have a shower) - WEAR TRADCLADS - S - EXAMINE POSTER - SAY ON - EXAMINE TATTOO - (note the time and the amount of Creds you have) - (continue to EXAMINE POSTER or even EXAMINE TV until you have got the addresses of the JOBCENTRE, TRAVEL AGENTS, FLORISTS and HARDWARE WAREHOUSE.......it may take quite a while but they all appear eventually!) - SAY BED - LIE ON BED - (when curfew is announced.......) - SLEEP. DAY 3. (Refer to maps and ETS notes for directions) Go to the Florist's Shop, buy the wreath, leave the ETS and make your way to the Memorial in the Theme Park. DROP the wreath at the Memorial. Go to the Jobcentre and take a job as a Clerk. If you're offered a YTS/YOP job, SAY NO and she'll offer you a job as a Clerk, eventually - if she doesn't you'll have to return the next day......maybe you haven't showered! Take the card to the Workplace and go DOWN. After your days work you're escorted out again. SAY HOME and go SOUTH into your Habihome. Go to bed and SLEEP after curfew is announced. DAY 4. Visit the Jobcentre again and get a job as a Labourer (turn down YTS/YOP and the Clerks job), take the card and proceed to the Workplace. This time upon entering you're taken to a Workshop. Go WEST and you are in the Waldroid Control Cocoon. You now assume the role of the Waldroid in the Workshop. Go EAST and make your way to the Hardware Warehouse. (The Waldroid behaves exactly as if it was you moving about, i.e., JUMP, SAY EXIT, etc). Buy the valve. You obtain it for nothing on the council rates; if you had tried to buy it as yourself it would have cost you 1000 Creds! Return to the Workshop - the Waldroid controls die and you return to your normal role. EXAMINE the WALDROID on the way out and TAKE VALVE. Go home, drop the valve, WAIT until curfew is announced then SLEEP. DAY 5. Have a shower and proceed to the Pet Shop in the Pleasure Dome (9 Creds to go NORTH through the turnstile). There is a Dagget here that was 800 Creds on Day 1 but is now only 500 Creds. BUY DAGGET. THE DAGGET This is a robot dog.....EXAMINE it to reveal that it is a kind of plastic labrador! It operates on batteries through a Batpak (spelling is important - the program doesn't respond to Batpack!!). There is no need to carry the Dagget for as long as he is fitted with the Batpak he'll follow you around and you don't risk getting fined for possessing him then! To immobilise the Dagget, or stop him from following you, REMOVE BATPAK and then drop it . The Dagget winds down after a few moves. Ignore the majority of his crazy antics....they appear purely for show! Go to the Museum and REMOVE BATPAK. You now have to steal a Helmet and Leotard from the exhibition without anyone seeing you do it or leaving with the stolen items. Also there is a security screen covering them. The exception to the latter rule is when the Tourist Guide comes in and shows the exhibits to some tourists. WAIT until the tourists leave, then TAKE HELMET AND LEOTARD (you only have ONE move before the screen comes down again!). PUT HELMET IN DAGGET - REMOVE TRADCLADS - WEAR LEOTARD - WEAR TRADCLADS.......no-one is any wiser as to your misdeeds now. Don't forget to TAKE DAGGET and then go back to your Habihome. REMOVE HELMET - DROP HELMET - REMOVE TRADCLADS - REMOVE LEOTARD - DROP LEOTARD - WEAR TRADCLADS - PUT BATPAK IN DAGGET. Take the brooch from the wallet and go to the Socialist's Habihome. The Dagget will find an Invitation for you. Return home with the Invitation. Remove the Batpak from the Dagget and DROP BATPAK. Examine the Invitation and note the time of the meeting (usually at '6'). Drop the brooch, take the medallion and valve, together with the invitation. WAIT until the Dagget grinds to a halt then go to the Bison's Temple at the far North of the Pleasure Dome Corridor. Time is important here, as you're only allowed a couple of minutes leeway from the time stated. WAIT or go SOUTH then NORTH until ONE MINUTE BEFORE the appointed time of the meeting.......remembering that a 'move' is ONE minute, WAIT is TEN minutes. (EXAMINE TATTOO regularly). At the appointed time, enter the Temple and WAIT until the Bison leader comes out to meet you. Joining fee is 100 Creds. After becoming a Bison go WEST to the Temple Bar and BUY the Bottle of Wine, then go home. Drop the medallion, valve and bottle and leave the Dagget for now. Take the wallet and brooch, together with your invitation, and hand them in to the Police, at the Police Station, in the order:- GIVE INVITATION - GIVE BROOCH - GIVE WALLET. They tell you something you already know and you receive a small reward - EXAMINE TATTOO. Return home, have a shower and SLEEP when curfew is announced. DAY 6. TAKE BATPAK - PUT BATPAK IN DAGGET. (You need him for the next task). Have a shower again and proceed to the Jobcentre yet again. Turn down everything and as the Droid shakes our hand it realises that you are now a Bison and offers you a job as a Managing Director. Go to the Workplace with the Dagget. This time, upon entry, you're shown to a Fabulous Office entrance. Go NORTH and you're up to your neck in carpet - but the Dagget keeps it at bay so as not to impede your progress. Go WEST to your desk in the Boardroom. After your day's work you're escorted out - with not a little increase in Creds. (EXAMINE TATTOO!). Make your way to the Travel Agent's and buy a ticket. You couldn't have bought it before because it only sells to Bisons, but make sure you've had a shower that day! Go home, WAIT until curfew is announced then SLEEP.......you're going need all your wits for the last day!! DAY 7. This is the final day and it is essential that you 'SAVE' game up to this point as a lot of things could still happen - even on the last move!! Don't worry about the time or Creds, you'll soon have plenty of both, providing you're in the right place with the right equipment. Deactivate the Dagget (REMOVE BATPAK - WAIT) and after your morning shower proceed to the Hardware Warehouse and buy the Vidcam, (cost is 300 Creds). Return home, get the ticket, ensure that you are still carrying the Vidcam, then SAY BED - LIE ON BED - SAY BED. You are taken down to the Undercity. Refer to the map and proceed SOUTH to the Disgusting Junction. Go WEST and TAKE SIGN then DROP the sign at the Disgusting Junction. It tells the Droids where the rubbish and junk should be deposited......they always leave it by this sign! Go back to the Cluttered Stained Room (WEST) and you'll notice a Junk Heap. The cleaning Droids will eventually move this to wherever you have placed the sign - but you must be very patient! When the junk heap is all moved from this location an exit South through a grill is revealed. A more useful exit, that was there all the time but not mentioned in the location description, is North past the Waterfall to a ledge behind! Move NORTH ONCE ONLY from behind the waterfall and you will see a Flying Saucer. The wiggly roots before you are part of an alarm/gas system so stay put! SQUEEZE VIDCAM to record the scene then proceed SOUTH - SOUTH - EAST to the Disgusting Junction. If the junk heap has not appeared here yet then have a walk around (or WAIT) awhile. When the junk heap materialises CLIMB HEAP then UP, and you pass through the manhole - one way - to the Workplace Roundabout Exit of the Southmost Roundabout. Proceed to the Police Station and GIVE VIDCAM. Go to the Riverboat Platform in the Theme Park and then NORTH to cross the river to the Island of the Mighty. (This is ONE-WAY once only!). Follow the map to the South of the Fabulous Foyer where you see a Reception Droid. On arrival you are escorted by elevator to the Top Floor and subsequently interviewed about the 'aliens' on television. The 3rd Kimberley rewards you (1000 Creds) and makes you a Party Member. You are then taken back home. FINAL SEQUENCE OF EVENTS REMOVE TRADCLADS - (but still carry them!) - TAKE LEOTARD - WEAR LEOTARD - TAKE HELMET - TAKE BOTTLE - TAKE MEDALLION - TAKE VALVE - (these latter 2 items to trigger the alarm) - TAKE BOX - PUT BATPAK IN DAGGET - (Now is his finest hour!) - TAKE DAGGET - (he won't necessarily follow you on this one) - SAY BED - LIE ON BED - SAY BED. Drop the Dagget and proceed to the Disgusting Junction. Take the sign and go EAST to the location described as 'Between Dry Pillars' and festooned in red tape. Drop the sign here, then proceed: WEST - WEST - NORTH - WEAR HELMET - THROW MEDALLION NORTH - the alarm sounds and gas flows in....a Technician from the Saucer will look out, see no-one and proclaim 'False Alarm'. THROW VALVE NORTH......the Technician records another false alarm and orders the system to be shut down until Maintenance check it over.......BUT this is NOT immediate so WAIT at least FOUR TIMES until an occupant of the Saucer has looked out another TWICE! Now go NORTH - NORTH for a bit of a surprise! (This is where you say goodbye to your old friend......wipes tears of emotion away and cancels the Kennomeat!). TAKE COSTUME then EAST to the East/West Corridor (see Map). Remove and drop the helmet and leotard here then WEAR TRADCLADS. Go to the Red Tape location and WAIT until the Junk Heap materialises. When it does CLIMB HEAP then UP. This time, however, the manhole is rusted up somewhat, so REMOVE CORK......the cork pops out of the bottle and wine sprays over everything, lubricating the manhole cover. IMPORTANT NOTE: TAKE CORK....you'll need this right at the end!! UP and you are in the Quad, South of the Pyramid of Power. Proceed NORTH to the Fabulous Foyer then NORTHEAST - NORTH - EXAMINE BUTTONS - (they are all different colours but WHITE is the one for you!) - PUSH WHITE BUTTON - (the Elevator goes only so far towards your required destination, so......) - PUSH WHITE BUTTON again, and you're on the Top Floor. Proceed SOUTH then EAST past the Pyramid Droid and you are confronted by a mirror. PUSH MIRROR and it revolves depositing you at the base of a Spiral Staircase. Go UP - THROW BOX NORTH - it lands below the partition and causes a malfunction. Continue NORTH then NORTH again. Now fire extinguisher foam starts to pour in from an orifice!......your final command is to PUT CORK IN ORIFICE!!!!!! FINAL MESSAGE "You block the orifice and stop the foam. You threaten to tell the truth about fake aliens and wave the costume as proof. Eventually a deal is struck. You give back the alien costume and, in return, are adopted into the Party Leadership. Congratulations! You have won!" "You score 1000 out of 1000 and are a Grandmaster Adventurer". * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ffer of all keypresses. INPUT$(n) Function to read n characters from the keyboard without echo. FKEY Reads the function keys directly and returns a value of 1-10 [f-key], 11-20 [shift+fkey]. Quicker than inkey$+scancode. WAIT KEY Pauses a program until any key is pressed. KEYSPEED repeatspeed,delay Repeatspeed is the delay in 50ths of a second between each repeated character. Delay is the time in 50ths of a second between pressing a key, and the start of the repeat sequence. PUT KEY Puts a string into the keyboard buffer. [RETURN] can be included in this string using the [ ' ] character. INPUT/OUTPUT INPUT ["prompt";]variable list If the optional prompt is excluded then the prompt will be a " ? " character. The variable list can be any list of variable types, each separated by a comma. For multiple inputs, a comma should be used to separate the inputs, a carriage return indicates termination. LINE INPUT As for INPUT except that the multiple list of variables are separated by pressing [return] instead of inserting a comma. PRINT or ? The ? character can be used at any time to replace the PRINT statement, although it will be expanded to PRINT in program listings. USING Takes a special format string. Any normal alphanumeric characters in this format string will be simply printed out, but if you include one of the characters ~ # + - . ; ^ then one of several useful formatting operations will be performed. ~ Any occurrences of the ~ are replaced by a character from the following string eg. print using "this is a ~~~~~ demonstration";"small" The string small will be used to fill in the ~ characters. # Specifies the number of digits to be printed out from a numeric variable. If this number is greater than the size of the variable then excess # characters will be replaced by spaces. + Adds a plus sign to a positive number and a minus sign to a negative number - includes a sign if number is negative. positive numbers preceded by a space . Places a decimal point in a number, and centres it. ; Centres a number but doesn't output a decimal point. ^ Outputs a number in exponential form. DISC ACCESS sequential files A sequential file must be appended with .seq and must be loaded in its entirety to be used or modified. To access a sequential file the following three steps must be performed in this order: 1 Open the file using OPEN IN or OPEN OUT 2 Access the file with INPUT # or PRINT # 3 Close the file with CLOSE. Note that if you forget to do this, any changes to the file will be lost. DISC ACCESS random files Unlike sequential files a random file can be used and altered one entry at a time. Unlike sequential files which can be of any length, a random access file has to have each field length defined before records can be created: field #1,15 as SURNAME$,15 as NAME$,10 as CODE$,10 as TEL$ would set up a record with four fields, two of which can have a maximum of 15 characters and two of which can have a maximum of 10 characters. To assign a record to a field use the following format: SURNAME$="Smith" The records can be written to disc using the PUT command:PUT #1,10 Loads data into record 10 of the file opened on channel 1. Similarly you can read a record using the GET instruction. FILE HANDLING COMMANDS OPEN IN #channel,file$ Opens a file for reading only.channel denotes a number from 1 to 10 to specify which is used by the instructions INPUT#,LINE INPUT# and INPUT$(#channel,count) to specify which file is to be read. OPEN OUT #channel,file$[,attribute] Is used to open a sequential file for writing using PRINT #. If this file already exist on the disc it will be erased. Channel is a number between 1 and 10 by which the file will be referred to in all subsequent operations. File$ can be any string holding the name of the new file to be opened. The optional attribute allows you to specify the type of file to be used. See DIR FIRST$ for more details. OPEN # Open a channel to a random file or device. There are four forms of this command; OPEN #channel,"R",file$ ( opens a random access file ) OPEN #channel,"MIDI" ( opens a channel to the MIDI interface ) OPEN #channel,"AUX" ( opens a channel to the RS232 port ) OPEN #channel,"PRT" ( opens a channel to the parallel printer port ) CLOSE # This function closes the file associated with a channel. PRINT # Print a list of variables to a file or device specified by channel. INPUT # Reads information from a sequential file or device, if the data to be read is longer than 500 bytes then the INPUT$ function should be used instead. LINE INPUT # Input a list of variables not separated by a comma. There are two possible variations of this command: LINE INPUT #channel,variable list or LINE INPUT #channel,seperator$,variable list: This function is identical to input #. but it allows you to use another character instead of a comma to separate the individual items of data on the disc. If no separator$ character is included, then [return] is assumed. INPUT$(#channel,count) This reads count characters from the device or file connected to the channel. EOF (#channel) If the end of a file has been reached at the current read position then this function returns a result of true, otherwise false. LOF (#channel) Returns the length of an open file POF (#channel) Changes the current reading or writing position of an open file eg. POF(#1)=1000 sets the file pointer to 1000 characters past the start. FIELD #channel,length1 AS field1$,length2 AS field2$...... Field allows you to define a record which will be used for a random access file created using the OPEN #channel,"R" command. This record can consist of up to 16 alphanumeric fields and be up to 65535 bytes in length. PUT #channel,R Moves a record from the ST's memory into record number R of a random access file. Before use, the contents of the new record should first be placed in the field strings defined by FIELD. Although you can write existing records in any order you like, you are not allowed to scatter records on the disc totally at random. This means that if you have just created a file, you can't type in something like: put #1,1:put #1,5: In this case there are no records in the file with numbers between 1 and 5. GET #channel,R Get reads record number R stored in a random access file opened using OPEN. It then loads this record into the field strings created by field. These strings can now be manipulated in the normal way. PORT (#channel) The PORT function tests to see if an input device connected to a channel is waiting for you to INPUT some information from it. If the channel is ready to output some information the the function will return -1 (true) else it will return 0 (false). THE PRINTER LLIST Functions the same as LIST. LPRINT As PRINT LDIR Lists the current directory to the printer. LISTBANK Prints a list of the current banks to the printer. HARDCOPY Same as [alt+help]. WINDCOPY Prints out the text in the current window. DIRECTORIES DIR [path$][/w] Lists all the files on the current disc. If the optional path$ is specified, only the files which satisfy a certain set of conditions will be displayed. This path$ can contain any one of the following six parts: Ths name of a drive terminated by a [ : ]. The name of a folder to be listed(enclosed between [ \ ] characters. A string of characters which will be matched in every filename A [ * ] Denoting that any string will do. A [ ? ] Which automatically matches with any single character in filename. A [ . ] Which separates a filename from an extension. If the optional /W is added then the files will be listed across the page. DIR$ Set or return the current directory used for all disc accesses. DIR FIRST$(path$,flag) This function returns a string containing the name and parameters of the first file on the disc which satisfies the conditions in the pathname path$. The flag contains a number of binary bits which indicate the type of files to be searched for. The format of the flag is: Bit 0 Normal read/write files Bit 1 Read only files Bit 2 Hidden files Bit 3 Hidden system files Bit 4 Volume labels (The name of the disc) Bit 5 Folders Bit 6 Files which have been written to and closed If you aren't sure which type of files you want to list, you can find all the files on the disc by setting the flag to -1. If no file exists on the disc matching your specifications, the DIR FIRST$ will return a null string. Otherwise it will hold the following 45 character parameter block: characters usage 0-12 filename 13-21 length of file 22-32 date file saved 33-41 time file saved 42-45 file type DIR NEXT$ Returns the next file found using the path specified in DIR FIRST$ and results in the same data block being returned if a match is found. Can only be used after DIR FIRST$. As before, no string found returns a null string, indicating that there are no more files in the current path. PREVIOUS Moves the current path up one directory. DRIVE Returns or Sets the current drive number 0=A & 1=B. DRIVE$ Returns or sets the current drive letter "A" or "B" DRVMAP Holds a binary number denoting the drives currently connected. Each bit represents the status of one of the drives. If the bit at a particular position is set (1) then the appropriate drive is connected to the computer. eg: Bit 0 = Drive A Bit 1 = Drive B Bit 2 = Drive C Note that DRVMAP always returns a minimum of two drives even if only one drive is connected. DFREE Holds the amount of free space remaining on the disc. MKDIR folder$ Create a folder on the disc with the name folder$. RMDIR folder$ Deletes an empty folder from the disc. KILL file$ This function deletes a file from the disc. If file$ contains the characters [ * ] or [ ? ] a series of files will be erased.PERMANENTLY ! RENAME old$ TO new$ If a file already exists with the name new$ an error will be generated. TRIGONOMETRIC FUNCTIONS DEG(a) Converts angles expressed in radians to degrees. RAD(a) Converts angles expressed in degrees to radians. SIN(angle) Calculates the sine of a angle. Always returns a floating point number, so if you wish to assign the returned value to a variable, this must always be of the double precision type. COS(angle) Returns the cosine of an angle. All angles are measured in radians. TAN(angle) Returns the tangent of the angle. ACOS(number) Takes a number between -1 and +1 and returns the angle in radians ASIN(number) As for ACOS ATAN(number) Generates the arctan of number. HSIN(angle) Returns the hyperbolic sine of angle. HCOS(angle) Returns the hyperbolic cosine of angle. HTAN(angle) returns the hyperbolic tangent of angle. PI Returns the constant . MATHEMATICAL FUNCTIONS LOG(Y#) Returns the logarithm in base 10 (log 10) of y# as a double precision number. LN(y#) Calculates the natural or Naperian logarithm of y#. EXP(y#) Returns the exponential of y# as a double precision number. SQR(y) Returns the square root of y. ABS(y) Returns the absolute value of y, ignoring the sign of the number. INT(y#) Returns the integer value of y. SGN(y) Returns the sign of a number as follows. y=-1 Number is negative y=0 Number=0 y=1 Number is positive MAX(x,y) Returns the largest of the two expressions. x and y Can be numbers or strings of characters as long as both are not mixed in one instruction. MIN(x,y) As for MAX but returns the smallest value. SWAP(x,y) Swaps the data between two variables of the same type. DEF FN name[(variable list)]=expression. name is the name of the function you wish to define. variable can be any list of variables separated by commas. These variables are local to the function. Any variables you use in the function will be automatically substituted for the appropriate local variables whenever necessary. Also note that variables of different types can be mixed. FN name[(variable list)] Used to call a function defined with DEF FN. RND(y) Returns a number between 0 and y inclusive. If y<0 then the last number generated will be returned again. LET Assign a value to a variable. FIX(n) This fixes the precision of any real numbers which are to be printed on the screen. There are three possibilities: If 0 < n < 16 Then n denotes the number of figures output after the point. if n > 16 the printout will be proportional and trailing zeros will be removed in n < 0 Then all floating point numbers will be output in exponential form, and the absolute value of n will determine the number of digits after the decimal point. UPPER$(n$) Converts the string in n$ to upper case. LOWER$(n$) Converts the string in n$ to lower case. FLIP$(n$) Reverses the order of the characters in n$. SPACE$(n) Creates a string of n spaces. STRING$(a$,n) Creates a string of n characters using the first character of the string a$. CHR$(n) Creates a string containing the character with the Ascii code n. ASC(a$) Returns the Ascii code of the first character in the string a$. LEN(a$) Returns the length of the string a$. VAL(x$) Returns the value of a number stored in x$. If x$ does not contain a number then the VAL will be zero. STR$(n) Convert a number n to a string of characters. TIME$ Holds a string containing the current time. Can be set using the format "HH:MM:SS". DATE$ Holds a string containing the current date. Can be set using the following format: "DD/MM/YYYY". FILESELECT$ This feature enables you to call up a dialogue box to select a file on a disc. The syntax of the function is: f$=FILE SELECT$(path$[,title$[,border]]) path$ can be any string containing the search pattern which will be used to display the possible files. title$ Is a string containing the title of the dialogue box. border Is a number from 1 to 16 denoting the border style which is to be used After completion of the dialogue, FILE SELECT$ returns either the name of the file or an empty string if the QUIT option was chosen. MACHINE LEVEL INSTRUCTIONS HEX$(n) Converts a number to a string of characters in hexadecimal notation. HEX$(n,x) As above, but only uses the first n digits. n can range from 1-8. BIN$(x) Generates a string of binary digits equivalent to the number x. As with HEX$, you can choose whether to generate all the digits or any number of digits between 1 and 31.BIN$(x,y). ROL x,y Rotates a number y left by x places. The bit going off the left appears on the right. The default word length is longword. To force a shorter word the size can be specified as follows: ROL.W and ROL.B. Note that this function expects the number to be shifted to be a simple variable and not an expression. ROR x,y As for ROL but the number is rotated to the right. BTST(x,y) Tests the bit at position x in the variable y. Returns a true for a bit that is set and a false for a bit that's clear. As for ROL and ROR the number to be tested must be a simple variable. BSET(x,y) Sets the bit at position y to 1 in the variable x. x must be a simple variable. BCHG(x,y) Inverts the bit at position y in the variable x. BCLR(x,y) As for BSET except the bit is cleared. PEEK(address) Returns the value of the byte at address. POKE address,x Sets the value at address to the value x. DEEK(address) Two byte version of PEEK. address must be even. DOKE address,x Two byte version of POKE. address must be even. LEEK(address) Four byte version of PEEK. address must be even. LOKE(address,x) Four byte version of POKE. address must be even VARPTR(variable) Returns the address of variable as follows: Integers Returns the location of the value of the variable. Real numbers Returns the location of two long words which contain the value of the variable in the IEEE double precision format. Strings Points to the first character of the string. COPY start,finish TO destination Moves a block of memory from start to finish to location starting at destination. All these addresses must be even. FILL start TO finish,longword Fills the memory block start to finish with the value contained in longword. Addresses must be even. It is possible to use the number of memory BANK as start or finish. HUNT(start TO end,a$) Searches through the memory for a string a$ in the block start to finish. On completion of the search either 0 or the location of a$ will be returned. WAIT x Suspends a Basic program for x 50ths of a second. Any functions which use interrupts, such as MOVE and MUSIC will continue to work, with the sole exception of ON MENU GOTO. TIMER A reserved variable incremented once every 50th of a second. NOT(x) This function inverts every bit of variable x. MISCELLANEOUS INSTRUCTIONS REM All text on a line entered after this statement will be ignored. DATA variable list The variable list can be any mixture of variable types and expressions which must be separated by a comma. READ list of variables Standard Read function. RESTORE line line can be a line number or an expression which will be regarded as evaluating to a line number. If this is not the case and the line number does not exist then an error will be generated. TRUE This function returns a value of -1 which is used by all the conditional operations such as IF...THEN and REPEAT...UNTIL to denote TRUE. FALSE Whenever a test is made such as X>10, a value is produced. If the condition is true then this number is -1, otherwise it is 0. The FALSE function therefore corresponds to a value of 0. APPENDIX A ERROR MESSAGES No. ERROR NAME 32 ADDRESS ERROR An odd or invalid address has been accessed using the peek and poke commands. 58 ANIMATION DECLARATION ERROR The ANIM string command has not been properly set. 28 ARRAY ALREADY DIMENSIONED Array re-dimensioned at the error line. 55 BAD DATE Attempt to set date with illegal values for the DATE$ function. 1 BAD FILE FORMAT A file to be loaded cannot be recognised because it is not of the correct format. 53 BAD FILENAME A filename has been used in an input/output procedure which is not legal. An example of this would be LOAD"". 43 BAD SCREEN ADDRESS The address must be on a 256 byte boundary. 54 BAD TIME An attempt has been made to set the time with an illegal value. 80 BANK 15 ALREADY RESERVED This bank is already reserved and must be erased before it can be re-allocated for another purpose. 81 BANK 15 IS RESERVED FOR MENUS You cannot use this bank at the moment as it has been reserved for use with menus in the current program. 17 BREAK You have pressed [control+c] 31 BUS ERROR An internal error has occurred, possibly due to incorrect addressing using the peek and poke commands. 7 CAN'T CONTINUE A line has been altered, clearing all the variables to 0. 11 CAN'T RENUM Renumbering the program would result in a conflict of line numbers. 73 CHARACTER SET NOT DEFINED You have tried to access a character set which does not exist. 78 CHARACTER SET NOT FOUND As above. 15 DIRECT COMMAND USED A command which is only available in direct mode has been used within a program. 52 DISC ERROR Unknown disc error. Make sure drive is connected properly and that the command was legal. 51 DISC FULL 50 DISC IS WRITE PROTECTED Remove write protection. 46 DIVISION BY ZERO A number has been divided by zero. 83 DRIVE NOT CONNECTED Check leads and power connections. 49 DRIVE NOT READY 64 END OF FILE The end of a file on a disc has been reached. 84 EXTENSION NOT PRESENT This occurs when you try to run a program which incorporates a new STOS basic command without loading the relevant extension first. 66 FIELD TOO LONG The size of a record created with FIELD has exceeded 65535 bytes or else more than 16 FIELDs have been used. 63 FILE ALREADY CLOSED attempt to close a file already closed. 62 FILE ALREADY OPEN attempt to open a file already opened. 48 FILE NOT FOUND File not on the current disc. 59 FILE NOT OPEN You must OPEN a file before attempting a read or write. 60 FILE TYPE MISMATCH A file command has been used which does not correspond with the correct filing system. The error would occur when you try and use the GET and PUT statements on a sequential file. APPENDIX A ERROR MESSAGES No. ERROR NAME 67 FLASH DECLARATION ERROR The FLASH command has been called incorrectly. 9 FOLLOW TOO LONG STOS has been told to trace too many parameters. 22 FOR WITHOUT NEXT A FOR command does not have it's mandatory NEXT instruction listed later in the program. 14 ILLEGAL DIRECT MODE A command input in direct mode is not recognised. No. ERROR NAME 13 ILLEGAL FUNCTION CALL Attempt to use a function with an illegal parameter. 82 ILLEGAL INSTRUCTION When STOS is running a machine code program this error will occur if it finds that the code is invalid. 47 ILLEGAL NEGATIVE OPERAND Some functions cannot process negative numbers. 40 ILLEGAL USER-FUNCTION CALL List of parameters does not match those defined 16 IN/OUT ERROR An error has occurred during an i/o function. 61 INPUT STRING TOO LONG An incoming string is too long for a dimensioned variable. Or an attempt has been made to INPUT # a line longer than 500. 65 INPUT STRING TOO LONG As above. 6 LINE TOO LONG A line must not be longer than 700 characters. 41 MEMORY BANK ALREADY RESERVED Attempt has been made to reserve a memory bank already in use. 42 MEMORY BANK NOT DEFINED AS SCREEN A command has accessed a memory bank which must be reserved as screen and thus cannot find the information required 44 MEMORY BANK NOT RESERVED A memory bank has been accessed that is not reserved for any use. 79 MENU NOT DEFINED The MENU ON command has been called but no menu has been set up. 57 MOVEMENT DECLARATION ERROR The MOVE instruction has been set up incorrectly 75 MUSIC NOT DEFINED There isn't a tune in memory. 23 NEXT WITHOUT FOR 33 NO DATA ON THIS LINE RESTORE points to a line that contains no DATA. 34 NO MORE DATA Attempt to READ past the end of DATA available. 74 NO MORE TEXT BUFFER SPACE If you open 10 windows the size of a full screen in mode 1 or 2 then the space reserved for the data in each window gets used up and causes this error. 18 NON DECLARED ARRAY An array has been referenced that has not been defined. 0 NOT DONE A procedure has been attempted and aborted. 2 OUT OF MEMORY Take out excess accessories etc. to free more memory. 8 OUT OF MEMORY As above. 21 OVERFLOW ERROR A calculation has exceeded the size of a variable. 37 POP WITHOUT GOSUB The pop instruction cannot be used outside a subroutine. 10 PRINTER NOT READY The printer is not on line. 26 REPEAT WITHOUT UNTIL 45 RESOLUTION NOT ALLOWED This occurs on Hi-Res monitors when the MODE command is used or on colour monitors when you try to enter high resolution. 38 RESUME WITHOUT ERROR A RESUME command can only be executed after an error. 36 RETURN WITHOUT GOSUB 86 SCROLLING NOT DEFINED See DEF SCROLL. 5 SEARCH FAILED No trace can be found of a string searched for with the SEARCH command in the current program. APPENDIX A ERROR MESSAGES No. ERROR NAME 56 SPRITE ERROR Parameters have been set for a SPRITE command which do not fall within the required limits. 87 STRING IS NOT A SCREEN BLOCK A string has been used in the SCREEN$ command which has not been designed as a sprite block string. 30 STRING TOO LONG A string has exceeded 65000 characters. 85 SUBSCRIPT OUT OF RANGE A subscript greater than the defined maximum has been accessed. 12 SYNTAX ERROR The grammar of a line is not correct. 77 SYSTEM CHARACTER SET CALLED You have attempted to replace the system character set with a custom character set. 76 SYSTEM WINDOW CALLED The system windows have been used in one of the No. ERROR NAME WINDOW commands. These windows are 0,14 and 15. 4 THIS LINE ALREADY EXISTS The AUTO function reports an error when it comes across a line which is already in the program. 3 THIS LINE DOES NOT EXIST This error occurs when an attempt is made to delete a non existant line number. 35 TOO MANY GOSUBS STOS cannot store any more return addresses. 19 TYPE MISMATCH An illegal value has been assigned to a variable. 29 UNDEFINED LINE NUMBER This error will happen when an attempt is made to transfer program flow to a line number that does not exist. 27 UNTIL WITHOUT REPEAT 39 USER FUNCTION NOT DEFINED Set up function using DEF FN. 25 WEND WITHOUT WHILE 24 WHILE WITHOUT WEND 69 WINDOW ALREADY OPENED Attempt to OPEN an open window. 70 WINDOW NOT OPENED You have referenced a window that does not exist. 68 WINDOW PARAMETER OUT OF RANGE One of the windows parameters is not valid and it must be set to a legal value. 72 WINDOW TOO LARGE A window cannot be opened because it is too big. 71 WINDOW TOO SMALL The minimum window size is 3X3 characters. APPENDIX B CREATING A RUNTIME DISC The following procedure will allow you to create a disc from which you can boot any STOS basic program without having to load STOS basic first. 1 Format a disc and load up STOS basic. 2 Load the accessory STOSCOPY.ACB with the command accload "STOSCOPY.ACB". Press the [help] key and select the STOSCOPY accessory with the appropriate function key. This accessory will now copy the required files from your STOS basic master disc onto the newly formatted disc. 3 Now load in your basic program.TYPE save "myprog.prg". The name myprog can be any eight character string but the extension must be .prg .STOS will now ask you to insert a disc containing the STOS folder, into drive A. This, of course , is the disc which has the system files copied onto it by STOSCOPY. 4 STOS saves out your program in a special format so that it now becomes a proper .PRG file, executable from GEM. 5 If you want your file to autoboot, copy the file into an AUTO folder. COMMERCIAL STOS PROGRAMS When a runtime file has been generated, it still requires protecting if it is to be released commercially. On the STOS basic disc is a file called PROTECT.BAS. This is used to save out a special version of the basic which does not include the editor commands. The three main rules for STOS programs which are to be released commercially are: 1 You must protect all programs using the PROTECT.BAS program. 2 The program must state that it was written in STOS basic. 3 The program must be entirely all your own work. There are no Royalties payable to Mandarin Software. ADDING A TITLE SCREEN A runtime package searches for a picture file called pic.pi1 or pic.pi3 when it boots up. If it finds the required file it will be spun on the screen in the same fashion as the STOS basic loading screen. RUNNING OTHER FILES Once the runtime copy of your program has loaded, it can run any other basic program with the command run "demo.bas" . The file demo.bas will then be loaded into memory and run. This feature only applies to runtime packages that are not protected with PROTECT.BAS which have the editor stripped from them. APPENDIX D USING ASSEMBLY LANGUAGE CALL address Allows a machine code program at address, which can also refer to a memory bank number, to be executed. CALLING A MACHINE CODE PROGRAM 1 Reserve some memory for the routine using RESERVE AS DATA. 2 load the program using the line: load"filename.prg",address[bank] 3 Pass any input parameters using the pseudo variables AREG(0-6) and DREG(0-7) 4 Call the program using a line like: CALL address[bank] Your assembly language program may subsequently change any 68000 registers with the sole exception of A7, and must terminate with an RTS instruction. It must NEVER call the Gemdos traps SET BLOCK, MALLOC, MFREE, KEEP PROCESS or any other memory management function. MACHINE CODE CONTROL INSTRUCTIONS AREG(r) An array of six pseudo variables used to hold a copy of the 68000's address registers. r may range from 0-6 and indicates the number of the address register which is stored in the variable. DREG(r) An array of seven pseudo variables used to hold a copy of the 68000's data registers. r may range from 0-7 and indicates the number of the data register which is stored in the variable. Whenever the CALL or TRAP functions are called, the above variables are copied into the appropriate registers, and on return to basic, the current values of the registers are transferred into the variables. TRAP n[,parameters] Allows a call to be made to one of the TRAP functions. n refers to the TRAP number and may range from 0 to 15. n=0,1,13,14 (The Gemdos functions) n=3,5,6,7 (The Stos functions) The optional parameters specify the data which is to be placed on the 68000's stack before the TRAP function is executed. As a default these are assumed to be of size WORD. You can set the size directly from the TRAP function using a statement such as W,expression or L,expression. expression can be any list of WORDS or LONG WORDS which need to be loaded onto the stack when the function is called. If a string variable is included in the expression then the address of the string, and not the string, will be placed on the stack. A chr$(0) will be automatically added in this case to convert it to the correct format. STOS ASSEMBLY LANGUAGE INTERFACE TRAP 4 The function number is placed in register D0 and any other data in registers D1 and A0. After the routine has executed, these registers return the results, if any, of the call. All other registers are unchanged. Here is a list of the TRAP 4 routines: $00 SCONIN Get a character from the keyboard output parameters:Bottom byte of D0.W holds Ascii code of key, top byte contains SCANCODE $01 SCONIN WITH As above with echo to the screen. ECHO output parameters: As SCONIN. $02 SCONOUT Prints a character on to the screen. input parameters:D1=Ascii code of character to be printed. $03 READLINE Reads a string from the keyboard. input parameters:D1=Maximum number of characters to be input A0=Address of buffer to hold string. output parameters:A0=Pointer to buffer. $04 SPRT prints out a character to the printer. input parameters:D1=Ascii code of character. output parameters:D0=0 if an error occurred. $05 SPRINT LINE prints a line of text to the screen, accepts standard escape codes. input parameters:A0=Address of string to be printed. The string must be terminated by a zero. $06 SPRINT VID As SPRINT LINE but escape codes are not translated. input parameters:as SPRINT LINE $07 BINHEX Converts a binary number to a hexadecimal string. input parameters:D1=Number to be converted. output parameters:A0=Address of hexadecimal string. $08 HEXBIN Converts a hexadecimal string to a binary number. input parameters:A0=Address of string to be converted. output parameters:D0=Binary result. $09 BINDEC Converts a binary number to a decimal string. input parameters:D1=Number to be converted. output parameters:A0=Address of decimal string. $0A DECBIN Converts a decimal string to a binary number. input parameters:A0=Address of decimal string. output parameters:D0=Binary result. $0B UPPER Converts a string of characters to upper case. input parameters:A0=Address of string. output parameters:A0=Address of upper case string. $0C EXIST Searches the current drive to see if filename is on the disc input parameters:A0=Address of filename(terminated with a 0) output parameters:D0=length of file or -1 if file not found. $0F CLS Clears the ST's screen. $10 LOCATE Moves the cursor to the desired position on the screen. input parameters:Top half of D1=X coordinate Bottom half=Y. $11 BREAK Prints out the contents of D0-D7 and A0-A6 in hexadecimal. Note D0 is printed out as D0*4 by this function. STOS ASSEMBLY LANGUAGE INTERFACE $12 READ Reads a file from the disc. input parameters:A0=pointer to a parameter block. Parameter block=pointer to input buffer filename. output parameters:D0=-1 if the file does not exist. $13 WRITE Writes a file to the disc. input parameters:D1=number of bytes to be written. A0=pointer to parameter block = pointer to input buffer filename. output parameters:D0=-1 if the file does not exist. $14 CHDRIVE Change the current drive. input parameters:D1=drive number(0-3). $15 CHDIR Change the current directory. input parameters:A0=pointer to string containing pathname. $16 MKDIR Install a new subdirectory on the disc. input parameters:A0=pointer to string containing the new directory name. $17 RMDIR Delete a subdirectory. input parameters:A0=pointer to string containing the name of the directory to be replaced. $18 KILL Erases a file or a group of files from the disc. input parameters:A0=pointer to string containing the name or the pathname of the file(s) to be erased. $19 ASCII Dumps a buffer containing Ascii text to the printer. Only bytes between $20 and $7f are printed out. Any other characters are replaced with a [ . ] character. input parameters:D1=Number of bytes to be printed. A0=Address of print buffer. $1A FLOPR Reads one or more sectors from the disc. input parameters:D1=Read parameters. Lowest word contains the starting sector, the next byte holds the number of sectors to be read, and the top byte is set to the drive number(0,1,2) A0=Data buffer. $1B FLOPW Writes one or more sectors to the disc. Identical to FLOPR except the function number is $1B. $1C MUL32 Multiply two 32 bit numbers. input parameters:A0=Address of a buffer area containing 1 long word for the result, and 2 long words holding the 2 numbers to be multiplied. output parameters:D0=result of the calculation. STOS ASSEMBLY LANGUAGE INTERFACE $1D DIV32 32 by 32 bit division. input parameters:A0=pointer to a buffer of 5 long words. Longword 1=0 Longword 2=dividend Longword 3=divisor Longword 4=0 Longword 5=0 output parameters:D0=0 if error occurred,non 0 if no error D1=Result A0=pointer to 2 long words containing the quotient and the remainder of the division. $1E DIV64 Performs a 64/32 bit division input parameters:A0=pointer to a buffer of 5 long words. Longword 1=bottom half of dividend. Longword 2=top half of dividend. Longword 3=divisor. Longwords 4 & 5=0 output parameters:D0 & D1 as DIV32. A0=pointer to 2 long words containing the quotient and 1 holding the remainder. $FFFF SET USER Install a user defined function. input parameters:D0=$FFFF A0=Address of the start of the new routine. $1F USER Calls the user function defined by SET USER. output parameters:UP to you. APPENDIX E THE STOS BASIC TRAPS Stos basic was written in a very modular way. Each separate group of basic functions was implemented using a special set of 68000 TRAPs, placed on the STOS system disc. The TRAPs can be found in the files: WINDOWS.BIN (TRAP 3) SPRITES.BIN (TRAP 5) FLOAT.BIN (TRAP 6) MUSIC.BIN (TRAP 7) These files are installed by STOS basic into memory whenever it is loaded. The advantage of this approach is to allow the machine code programmer unprecedented access to the heart of the STOS basic system. You can call up most of the more interesting features of the package such as sprites or music directly from assembly language. Note that it is advisable NOT to call up these functions from machine code whilst they are being used from basic. THE WINDOW FUNCTIONS (TRAP 3) The function number is stored in register D7 and any additional data is loaded into D0-D1 and A0. If the function returns any results, these will be passed to your program in either A0 or D0. WARNING ! Some of these functions automatically redraw all the sprites on the screen. You can avoid this by using the UPDATE OFF command from basic before executing machine code. Her is a list of the various functions. no. name action parameters 0 CHROUT print a character in D0=output character current window 1 PRINT STRING prints a string of A0=pointer to string,string characters in window is terminated by 0 2 LOCATE move text cursor D0=X coordinate (text) D1=Y coordinate. See LOCATE 3 SET PAPER set paper colour D0=colour index of paper 4 SET PEN set text colour D0=colour number of pen 5 TEST SCREEN find character at cursor Returns with character in D0 6 INIT WINDOW initialize a window 7 STOP INTER stop window interrupts DO NOT CALL ! 8 WINDON activate window D0=window number 9 DEL WINDOW delete window D0=window number 10 INIT MODE initialise a screen in a new resolution 11 GET BUFFER get address of keyboard buffer D0=length: A0=address 12 WINDCOPY print current window on printer 13 GET CURRENT get current window no. returned in D0 14 FIX CURSOR change size of cursor D0=top:D1=bottom:D2=0 15 START INTER start window interrupts DO NOT USE ! 16 QWINDOW activate window quickly D0=window number 17 GET CURSOR get position of text cursor D0 top byte=X coordinate D0 bottom byte=Y coordinate 18 CENTRE prints centred text string A0=address of string to be on the screen printed 19 SET BACK change address of sprite A0=address of new background background THE WINDOW FUNCTIONS (TRAP 3) no. name action parameters 20 AUTO INS opens a space in the line D0=character to be output and places a character in it 21 JOIN joins current line with the following line 22 SMALL CURSOR displays a small cursor 23 TALL CURSOR displays a thick cursor 24 MOVE WINDOW move a window to a new D0=window number position D1=X coord, D2=Y coord(text) 26 SET ICON ADR set address of icons A0=address of icon bank 28 GET CHARSET get address of character D0=set number set returns address in D0 29 SET CHARSET set new address of a D0=set number character set A0=address of new set 30 BORDER change current window border D0=new border(0-16) 31 TITLE add a title to the A0=address of a string for current window title (terminated with a 0) 32 AUTOBACK ON identical to Basic version 33 AUTOBACK OFF identical to Basic version 35 XGRAPHIC convert X coordinate D0=text coordinate from text to graphic returns coordinate in D0 36 YGRAPHIC as for XGRAPHIC but for Y coordinate 37 XTEXT converts X coordinate D0=graphic coordinate from graphic to text returns text coordinate in D0 38 YTEXT as for XTEXT but for Y coordinate 39 SQUARE draws a square at the D0=border (0-16) current cursor position D1=width (minimum 3) D2=height (minimum 3) THE SPRITE FUNCTIONS (TRAP 5) These take the function number in register D0, and read the various parameters in the other registers. Note that only registers D0-D1 and A0 are modified by this TRAP. Here is a list of the fuctions: no name action parameters 1 INIT MODE initialise the sprite generator to a new resolution 2 CHANGE BANK change the address of the A0=address of new sprite bank sprite bank 3 CHANGE LIMITS change limits of the display D1=X coord of leftmost limit area used by the sprites D2=X coord of right limit (called by LIMIT SPRITE) D3=Y coord of top limit D4=Y coord of bottom limit 4 SYNCHRO turns on/off synchronisation D1=1 for SYNCHRO ON of sprites and background D1=0 for SYNCHRO OFF 5 PRIORITY switch between normal and D1=1 for PRIORITY ON Y coordinate priority D1=0 for PRIORITY OFF 6 POS SPRITE get position of sprite D1=sprite number returns:- X coord in D0:Y coord in D1 7 SPRITES ON/OFF redraw or remove ALL D2=1 for redraw sprites on screen D2=0 for erase THE SPRITE FUNCTIONS (TRAP 5) no name action parameters 8 SPRITE ON/OFF redraw or remove ONE sprite D2=1 redraw:d2=0 erase on screen D1=sprite number 9 SPRITE draws a sprite D1=sprite number D2=X coordinate of sprite D3=Y coordinate of sprite D4=image number of sprite 10 MOVES ON/OFF starts or stops ALL sprite D2=0 for stop :D2=2 for start movements D2=1 for freeze 11 MOVE ON/OFF starts or stops ONE sprite D2 as for MOVES ON/OFF movement D1=sprite number 12 MOVE INIT defines a sprite movement A0=address of sprite movement equivalent to MOVE X and string terminated by a zero MOVE Y (in same format as basic) D1=sprite number D2=0 for MOVE X:D2=1 MOVE Y 13 ANIMS ON/OFF same as function 10 but for animations 14 ANIM ON/OFF same as function 11 but for animations 15 INIT ANIM define an animation sequence A0=address of animation string terminated by a zero (in same format as basic) D1=sprite number 16 UPDATE redraw any sprites which have changed since last update 17 SHOW show mouse D1=0 SHOW ON :D1=1 SHOW 18 HIDE hide mouse D1=0 HIDE ON :D1=1 HIDE 19 CHANGE MOUSE changes mouse image D1=number of new image 20 MOUSE get mouse coordinates returnsD0=X coord:D1=Y coord 21 MOUSEKEY get mouse button returns returns status in D0 22 SCREEN TO BACK copies physical screen to sprite background 23 BACK TO SCREEN copies sprite background to physical screen 24 DRAW MOUSE redraw mouse on screen 25 SET ZONE set test zone D1=number of zone D2=leftmost limit in X D3=rightmost limit in X D4=top limit in Y D5=bottom limit in Y 26 ZONE test zone D1=sprite to be tested returns 0/zone number in D0 27 CHANGE BACK change sprite background address A0=new address 28 STOP MOUSE stop the mouse moving on the screen 29 DRAW SPRITES redraws all the sprites on the screen 30 START INTER start sprite interrupts DO NOT USE ! 31 STOP INTER stop sprite interrupts DO NOT USE ! 32 LIMIT LOUSE limit mouse to an area on D1=X coord of left corner the screen D2=Y coord of left corner D3=X coord of right corner D4=Y coord of right corner THE SPRITE FUNCTIONS (TRAP 5) no name action parameters 33 SCREEN COPY as STOS basic A0=address of source screen A1=address of dest screen D1/D2=(X,Y) of rectangle to be copied D3/D4=(X,Y) of destination D5/D6=(W,H)of zone to copy 34 ICON put sprite D1=X coord of sprite D2=Y coord of sprite D3=number of icon address of sprite data 35 PUT SPRITE puts sprite in background D1=number of sprite screen providing it's already displayed 36 INIT ZONE initialise test zones 37 GET SPRITE equivalent to the basic D1=X coord of new sprite instruction D2=Y coordinate D3=pointer to sprite to copy D4=mask 38 REDUCE reduces a screen A0=address of source screen A1=address of destination D1=X coord of reduced screen D2=Y coord of reduced screen D3=width of reduced screen D4=height of reduced screen 39 INIT FLASH initialise colour flashes 40 FLASH set up a flash sequence D1=number of colour flash A0=flash string terminated by a 0 (see FLASH from basic) 42 ZOOM enlarges a section of screen A0=address of source screen A1=address of destination D1=X coord of top left corner D2=Y coord of top left corner D3=width of the section D4=length of the section D5/D6=coordinates of dest A2/A3=size in X and Y of dest 43 APPEAR fades between two screens A0=address of source screen A1=address of dest screen D1=type of fade (1-80) 44 MOVE MOUSE changes the coordinates of D1=new X coordinate the mouse D2=new Y coordinate 45 MOVEON checks whether sprite is D1=number of sprite Returns:- in motion D1=0 stationary:D1=1 moving 46 SHIFT shifts the palette of colours D1=speed in 50ths of a second D2=colour the rotation to be started at 47 REDRAW identical to the basic function FLOATING POINT EXTENSION LIBRARY This gives the programmer access to a wide variety of floating point operations and uses numbers in the IEEE 64-bit format between 10-307 to 10+308 These routines corrupt registers D0-D4 and A0-A1. As before, the function number is loaded into D0 before calling the appropriate routine. The first parameter should always be placed in registers D1-D2 (with D1 containing the bottom half of the number, and D2 holding the top half). If a second parameter is required, this should be put into registers D3-D4 using the same format. You can now execute the function using the TRAP 6 instruction no name description $00 ADFL Adds two floating point numbers together first no in D1-D2 $01 SBFL Subtract one floating point number from another as for ADFL $02 MLFL Multiply two floating point numbers $03 DVFL Divide two floating point numbers $04 SINFL Takes the SIN of the number in D1-D2 and places it in D0-D1 $05 COSFL Takes the COS of the number in D1-D2 and places it in D0-D1 $06 TANFL Takes the TAN of the number in D1-D2 and places it in D0-D1 $07 EXPFL Takes the EXP of the number in D1-D2 and places it in D0-D1 $08 LOGFL Takes the LN of the number in D1-D2 and places it in D0-D1 $09 LOG10FL Takes the LOG of the number in D1-D2 and places it in D0-D1 $0A SQRFL Takes a number in D1-D2 and returns the SQR of it in D0-d1 $0B ATOFL Takes an Ascii string pointed to by A0 and converts it to a number in F.P. format in D0-D1. $0C FLTOA Takes a number in D1-D2 and converts it to an Ascii string. input params. D1-D2=the floating point number to be converted. D3=a digit representing the number of digits after the decimal point in Ascii. A0=the pointer to a buffer for the string. output params The length of the Ascii string (not including the final 0) A0=a pointer to the string of Ascii characters terminated by a zero. $0D FLTOIN Convert a FP number in D1-D2 into an integer in D0. $0E INTOFL Convert an integer in D1 into a FP number in D0-D1. $0F EQFL Compares the two numbers in D1-D2 and D3-D4. If they are equal then D0 contains a 1, else it contains a 0. $10 NEFL Compares the two numbers in D1-D2 and D3-D4. If they are not equal then D0 contains a 1, else it contains a 0. $11 GTFL Compare two numbers and return a 1 in D0 if the first is greater than the second. $12 GEFL Test if greater than or equal. $13 LTFL Test if less than. $14 LEFL Test if less than or equal. $15 ASINFL Calculate ARC SIN of number in D1-D2 and return in D0-D1 $16 ACOSFL Calculate the ARC COS $17 ATANFL Calculate the ARC TAN $18 SINHFL Calculate the hyperbolic SIN $19 COSHFL Calculate the hyperbolic COS $1A TANHFL Calculate the hyperbolic TAN $1B INTFL Get the integer part of D1-D2 and place result in D0-D1. $1C POWFL Calculate X^Y where X is in D1-D2 and Y is in D3-D4. As usual the result is returned in D0-D1. THE MUSIC GENERATOR Like the sprite definer, there is also a special music generator which functions completely independently of the rest of STOS basic. This can be called from any of your machine code programs by using a TRAP 7 instruction. To access these routines, place the function number in D0. Note that only registers D0 and A0 are modified by these commands. THE MUSIC TRAPS (TRAP 7) no name action parameters 0 INIT SOUND resets the sound generator and kills music. 1 START MUSIC starts playing some music A0=address of music 2 STOP VOICE stops the music played on D1=number of voice a single voice 3 RESTART VOICE resumes playing a single D1=number of voice voice stopped by STOP VOICE 4 FREEZE freezes some music 5 UNFREEZE resumes some music frozen with FREEZE 6 CHANGE TEMPO change speed of music D1=new speed (0-100) 7 START INTER start music interrupts DO NOT USE ! 8 STOP INTER stop music interrupts DO NOT USE ! 9 TRANSPOSE change pitch of music by a D1=number of semi tones number of semi tones 10 GET VOICE get position of tune in a D1=number of voice voice D0 returns position in tune PSG(r)=x r is the register number to be modified with the data x. The value of r can range between 0 and 13 (for the 14 psg registers). As soon as an array element is changed it is automatically loaded into the appropriate register. USE CAREFULLY!! IT CAN CRASH THE COMPUTER OR CORRUPT DISCS!! register function 0 bits 0-7 set the pitch in units of single step for voice 1. 1 bits 0-3 set the size of each frequency step. 2 fine control for voice 2. Format as for register 0. 3 coarse control for voice 2. Format as for register 1. 4 controls pitch of voice 3. Format as register 0 5 coarse control of the pitch of voice 3. 6 bits 0-4 control the pitch of the noise generator. The higher the value the lower the tone. 7 bit control register for sound chip. 0 play pure note on voice 1. 1 for on, 0 for off 1 voice 2 tone on/off 2 voice 3 tone on/off 3 play noise on voice 1. 1 for on, 0 for off 4 voice 2 noise on/off 5 voice 3 noise on/off 8 bits 0-3 control volume of voice 1. If bit 4 is set then the envelope generator is being used, and the volume bits are ignored. Since this corresponds to a volume of 16, this explains why you need to set VOLUME to 16 before you can use the ENVEL command. 9 as register 8, but for voice 2. 10 as register 8, but for voice 3. 11 bits 0-8 provide fine control of the length of the envelope 12 provides coarse control of the length of the envelope. 13 bits 0-3 choose which of the 16 envelope types to be used. APPENDIX F STRUCTURE OF THE SPRITE BANK All of the STOS basic sprites are stored in memory bank 1. It begins with a block of general information about the sprites. This designates the number of the sprites in each resolution and their position in memory relative to the start of bank 1. offset from start meaning of sprite bank 0 Sprite identification code $19861987 4 4-byte offset to address of sprite parameter block in low resolution. 8 4-byte offset to address of sprite parameter block in medium resolution. 12 4-byte offset to address of sprite parameter block in high resolution 16 number of sprites in low resolution. 18 number of sprites in medium resolution. 20 number of sprites in high resolution. After this section comes a list of special SPRITE PARAMETER BLOCKS. These hold specific information about each individual sprite and are 8 bytes in length. TYPICAL SPRITE PARAMETER BLOCK offset from start sprite 1 parameter block of sprite bank 22 4-byte offset to sprite 1 data 26 width of sprite 1 (in units of 16) 27 height of sprite 1 28 X coordinate of hot spot 29 Y coordinate of hot spot 30 sprite 2 parameter block.... Finally comes the data which makes up the actual design of the sprites. Here is a diagram which illustrates its structure. The Sprite Data Block Data For Mask (one bit plane) Sprite Data (organised in bit planes) STRUCTURE OF THE ICON BANK All STOS basic icons are stored in bank number 2 using the following format: offset from start meaning of bank 2 0 $28091960 This is the icon bank ID number 4 Number of icons in the bank. 6 Start of data for icon 1. This is 84 bytes long, and uses the same format as the LINEA sprites. 92 Start of data for icon 2 166 Start of data for icon 3 STRUCTURE OF THE MUSIC BANK STOS basic places all its music data in bank number 3. Here are the full details of how this information is stored: offset from start meaning of music bank 0 $13490157 This is the music bank ID number. 4 Offset from the start of the bank to music number 1. Set to zero if no music with this number. 8 Offset to music number 2 124 Offset to music number 32 (maximum of 32 pieces) 128 Length of this memory bank 132 Name of music 1 (8 letters) 140 name of music 2 (8 letters) 380 Name of music 32 388 Start of music 1 388+length music 1 Start of music 2 etc. INSIDE THE MUSIC DEFINITIONS Each piece of music starts off with its own individual header block. This contains the definitions of all the envelopes and tremolos you have used, along with information about the position of the various voices which make up the music. MUSIC HEADER byte number contents 0 $19631969 Music data ID code. 6 Offset to music in voice 1 8 Offset to music in voice 2 10 Offset to music in voice 3 12 Definition of first tremolo/envelope (36 bytes long) 48 Definition of second tremolo/envelope Start of voice 1 THE MUSIC COMMANDS Each note is stored as a two byte word ranging from 0-32767. The lower half of the word contains the pitch of the note (0-96). See PLAY for more details. The upper byte holds the length of the note in 50ths of a second. The Music commands are held in either two or four bytes. In order to distinguish them from normal notes, the highest bit of these commands is set to 1. Here is a list of the various commands and the numbers used to represent them in the music: number size command meaning $8000 2 bytes END Signifies the end of music for this voice. $A000 2 bytes MUSIC Uses pure tones for music. $A100 2 bytes NOISE ONLY Uses noise for music. $A200 2 bytes STOP NOISE Turns off noise. $A3xx 2 bytes NOISE xx Plays noise with pitch xx $A400 2 bytes STOP NTREMOLO Stop mixing tremolo with noise. $A500 2 bytes STOP ENVEL Stop using the current envelope. $A600 2 bytes STOP TREMOLO Stop using current tremolo. $A7xx 2 bytes VOLUME xx Set volume of sound to xx THE MUSIC COMMANDS number size command meaning $C000 4 bytes NTREMOLO Mix tremolo with noise. Bytes 2-3 hold offset to tremolo definition. $C100 4 bytes ENVEL xx Use ENVEL xx. Bytes 2-3 hold offset to envelope definition $C200 4 bytes TREMOLO xx Use TREMOLO xx. Bytes 2-3 hold offset to tremolo definition. $C3nn 4 bytes REPEAT nn,note Repeat music starting from note, nn times. Note held in bytes 2-3. SCREEN BANKS The format of the screen banks is very straight forward indeed. The first 32000 bytes of this memory hold the actual screen data, and the next 16 words from number 32000 to 32032 contain a copy of the colour settings for this screen. Note that the bytes from 32032 onwards are free, and can be used for your own purposes. . L}.. 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H H Z Z l ~.. + x {u n Y  !<(&($!$$##!!<550/50-2454240=00LJ+5<;50w9w7755w>+--/766N00Zہ2$&#$5-+5)())&ӁHCDAC?TOPMOK r {ur *$!#!$#($&$(&Nqʆhp`aaB+E 9z8h.BHNQFP:D>! b@$@?@> J@g:?ea g:gN0SG"zz}BkB+|D Z z n "  B t YFzG91XD`pB:/= :r^E.N|;.+g gBB6, tC:s g<:9.2#?+D"%(+-/135Hhv@)H oo5;;I RRxEEddѐ Ќ($ъ f a00 )’00/2ԑ/20/(-+/-+&74749427;927$;  +܆ۇ  Gܲfj@ C^zU7P$C*EA:8E'JR,dNuA"p&p.-AB(ڝ.Bvkgax` ff Sf4gdg2 %$g f@k$`fy$~j f)l@,A55`'&&GBݕ)|(yX(N9>,.*8FTbp~ @c2 cB)08 F`A2pJ* Z >"("+1*c#*:RTj{     8 : Nu0GG@`;FXk   1<k  (xF   h C "    # (6    "  FN2H( 6  $=! 8s*6 && "V> Here follows the hidden file for Sewer Doc Disk Number 12. It cannot be accessed from the main menu, and is simply provided as a bonus for those ass-holes of you who like to pull everything apart. However, it will be featured on a future disk as a 'normal file', accessable from the main menu, so you're not really gaining anything and should stop pulling our disks apart. NEW ADVENTURE Part One Welcome to the wonderful world of Adventure! The game called "NEWADV" is the latest expansion of the ever-popular "Woods-Crowther" Adventure game. The object of the game is to collect treasures and leave them safely in the building...in the correct place and state. This file will walk you through the game. It's a long process; be prepared to spend a fair amount of time on it. You start out outside of the well-house. This is the building where you leave your treasures. But first, a cautionary note: There is a pack rat who wanders around outside the cave. In order to protect yourself, you must hide any articles you're going to need in the cave. So I'll be telling you to pick up some things that you won't use until later. Enter the building and get the lamp and the matchbox. Go into the storeroom and get the keys, food, and bottle. The other articles are not necessary. The yellow pill is to heal you if the rat bites you, but he only does that if you attack him, and you aren't going to do that. Go out and go south until you get to the grate. Unlock it, and drop articles so that you can pick up the cloth bag and drop it just inside the grate. Then go back out and get your things, and re-enter the cave. Proceed west, picking up the cage and the black rod on your way. Go one step past the bird and drop the rod. Then go back and get the bird, and return west and get the rod (the bird is afraid of it, so you had to hide it). Go down the steps and west to the fissure. Wave the rod and a bridge will appear. Go back to the Hall of Mists, and down to the Hall of the Mountain King. At some point, a dwarf will come along and throw an axe at you. Retain this axe and throw it to kill any other dwarves that appear. There are five dwarves, so if you count and you've killed five, you can discard the axe. Also, sometime the pirate will pop out and steal all your treasures. When this happens, you can either go get them immediately or finish what you're doing first (if he didn't take anything you needed to do so). Once he does so, his chest appears at the end of the maze west of the Hall of Mists. All of the things he stole from you are in it, and you will need the keys to open it. Sometimes there will be so much that you can't lift it. Then you have to make multiple trips (a pain). To reach his chest, go to the "west end of the Hall of Mists" and take the following directions: South, east, south, south, south, north, east, north, east, northwest. Take the chest, if you can. If it's too full, unlock it with the keys and take as much as you can out of it. Then go southeast and north and down the pit. You will find yourself in the bird chamber. You can then go to wherever you want to store the things with one caution. Do not try to go down the steps to the Hall of Mists if you are carrying the gold nugget. It's too heavy and you'll fall and kill yourself. Okay, back to the cave. You're in the Hall of the Mountain King confronting the snake. Open the cage, and drop the bird and the cage. The bird will chase the snake away. Take the soiled paper out of the cage; it's valuable later. Then go northeast to the Throne Room. You may have to keep trying the NE command. Once in the Throne Room, go east and get the crown and return to the Hall of the Mountain King. Go to the South Side Chamber, drop the crown, get the jewelry, then "wear crown," and return to the Hall. Go north to the "Y2 room." This is the center from which your explorations of the cave take place. It is a magic room because if you use the word PLUGH in it, you will be transported to the building (PLUGH in the building brings you to Y2). Drop everything but the lamp, axe (if you have it), and rod. Go back to the Hall of the MK, picking up the lyre on your way. Go west (get the coins) to the "east end of the long hall". Go south to a crack that widens to the south. If you get a dead-end crack, go north and south until you get the right one. Continue south to the cloak room. NEW ADVENTURE Part Two In the cloakroom, you will find the dreaded Wumpus. The only way to get the velvet cloak is to yank it (YANK CLOAK) out from under the rocks. Unfortunately, this not only wakes the Wumpus, it also blocks the entrance to the room. The only solution is to run like heck; but run the right way. Follow these directions: Northwest, north, down, and east three times to the east side of the fissure in the Hall of Mists. Don't waste any steps on the way, and don't stop, the Wumpus is right behind you. When you reach the *east* side of the fissure, wave the rod. The bridge will vanish and the Wumpus will die in the fall. Wave the rod again to rebuild the bridge, because it's handy. Then you can discard the rod. Now, recross the bridge and pick up the silver horn you passed. Then go back east to the Hall of Mists, and go South to the Nugget of Gold room and get the nugget. Return to the Hall of Mists, and say Y2 to get yourself back to that room. Drop all your treasures. Take the lamp, axe, horn, and bottle, and wear the crown. Go to the Arched Hall (S,D,W,D,N,UP) and blow the horn. Return to the Complex Junction and drop the horn. Proceed west to the west end of the Twopit Room. Go down the west pit, open the bottle and water the plant. It will grow, but not enough to reach the hole above your head. So you need more water. The closest is at the Reservoir (UP,W,UP,N,N). Fill your bottle, return to the pit, and water the plant again. It now has grown enough. Go to the east pit and fill your bottle with oil. Then return to the west pit and climb the beanstalk. Go West to the Giant Room and get the eggs. Then go north to the rusty door. Oil it, and proceed North to the waterfall. Jump down the waterfall and you'll arrive at Sword Point. Be certain you are wearing, not just carrying, the crown and yank the sword from the anvil. Go east to the slide and down to the Misty Cavern. Go to the Alcove (west) and drop everything so you can squeeze east through the tight tunnel. Fetch the emerald and go back and get all the other things. A word about the weights of things. For some reason you can always wear something, but you may not be able to "take" it. So if you can't pick everything up, drop the crown, pick up whatever else, and then WEAR CROWN. Go NW and south to the Oriental Room and get the vase. NEVER drop the vase unless you're in the same room as the pillow (you'll find it). Go SE and you're back in the Swiss Cheese Room. Go to the Complex Junction and drop the crown, eggs, emerald, and bottle. Go to the Arched Hall and go north and west from there to the Crypt. Climb down, pick up the candle and go south and west to the Gothic Chapel. Take the grail. Return to the cathedral, and take the hidden south passage to the natural bridge. Wear the shoes. Now go to the east side of the Cathedral. Wave the sword to chop down the brambles and then immmediately put the rose in the vase (else it will wilt). Carry everything back to Y2 and leave it. Do *not* drop the vase until you have the pillow, keep carrying it. Go West back to Bedquilt and up until you get to a north/south passage. You may have to try several times, the Bedquilt is very confusing. Once you get to the passage, proceed north to the window, and pick up the can. Go back to Bedquilt, and go to the Swiss Cheese Room. Go east to the soft room and get the pillow. Take everything back to Y2 and leave it there (drop the pillow before the vase). Then take the lamp, axe, can, lyre, and cloak and say PLUGH to return to the building. Turn your lamp off. NEW ADVENTURE Part Three Exit the building and go west to the forest. Take the mushrooms. Go north to the salt marsh and take the pole. Go South and west to the beach and take the box, and north and up to Ocean Vista and take the flowers. Then go down and into Thunder Hole, and walk East. Play the lyre to put the dog to sleep, and go east to the tiny door (you have to jump the river). Here you play Alice in Wonderland. Eat the mushrooms and you will grow. Now you can reach the ledge where the key to the tiny door is. Take it, and then eat the tiny cakes on the ledge. You will shrink back to normal. Now, if you've played this before, you've probably run into an obnoxious little man who kicks you on the knee and yells PHUCE at you. Use this word to shrink yourself down to the size of the door. Open it and discard the key. Enter, and use PHUCE again to grow to your normal size. Take the boat, and put the pole, lyre, and can in it. You have to have the pole to propel the boat, but it can just lie in the bottom. Go south to the gravel beach. Leave the boat, turn on the lamp, and go east to the Apiary. Feed the flowers to the bees, and take the honeycomb back and put it in the boat. Turn off the lamp. Now go north and east to the east side of Blue Grotto. Put the trident in the boat and, still in the boat, go north again. Open the can, put the green stone in it and close the can. If you don't close it, you will get radiation sickness and die. Leave the boat, turn on the lamp, and go up to Fairy Grotto. Wear the cloak, then go East to the Hall of Ice and get the diamonds. Return to the Fairy Grotto, and turn your lamp off. Go south to the Crystal Palace (you can't get in with your light on). Take the opal and go east to the yellow path. There is a hidden passage to the north. Go up it (lamp back on) and get the cask. Then go back through the Crystal Palace and SW and down to your boat. Put everything in the boat except the lamp and the axe. Go south to the east side of the grotto, and leave the boat. Ascend to the bat cave and get the shovel. Proceed east, then up over the Tongue of Rock, then East again, picking up the broom, sapphire, and card. Then SE at the Elbow you reach the Rotunda. Enter the phone booth. If the gnome beats you to it, just keep leaving the room (going east then west is easiest) until you can get in. Kick the phone and take the slugs. Then go to the Conservatory (east) and get the flute. Open the piano and take the lev4~1&~ ogj`q '᭤L#?=\Plag5tŝDmXh  [ ̸Y ey00Aӆ 71<-$h3T0f(HHHHHHHHHHHHHHHH F1n M.̮Dl-- -l M- M dL-E LM M. -̄ ̮O. - N - -̄ / - .J-l M. nm, -̄ N .Md m̥ -l l.md -́L N .n -̄ .n the Winery. Fill the cask with wine, return to the boat, and return to the west side of the Blue Grotto. Take everything out of the boat except the pole. You should be able to carry it all, but make two trips if you must. Say PHUCE, go out the door, and say PHUCE again. Now go to Ocean Vista and play the flute. The pack rat will appear and will throw himself off the cliff to his own destruction. Now you don't have to worry about him stealing your things. Go to the beach and drop the shovel. From here you can just say "B" to get back to the building. Drop everything, then return to the beach and use the shovel to dig three times. Discard the shovel, and take the conch shell back to the building (your hands were probably too full before). Leave everything in the building except the wooden box. Go back to the grate where you hid the cloth bag and get it. Then go north until you enter the swamp. Go east from there and you'll find some bubbling wet sand. Open the bag, pour the powder (it's cement) and the quicksand will become concrete. Drop the bag, and go north to the ravine. Be certain you're carrying nothing but the wooden box and go down into the ravine. Drop the box and place the marble statue in it. Then climb back up and go east to the cliff. Climb the vines and get the rope. Go down, part the vines, and go through the defile and NW at the bend and get the shamrock. Then go back through the defile. From here, also, the letter "B" will get you to the building. Since the rat is dead, you can now move all the things you've hidden in the cave to the building. Then get the tools you're going to need for the next sections of the game. These are the lamp, axe, candle, keys, eggs, shamrock, ring, rope, honey, card, trident, broom, slugs, and flute. Get all these things to Y2. Now take the lamp, axe, broom, slugs, and trident. Go to the dusty room and sweep it to find the combination to the safe. Discard the broom. Go to the Shell Room and open the clam (you needed the trident). Chase the pearl down and get it. Then return to the Hall of the Mountain King. NEW ADVENTURE Part Four From the Hall of the Mountain King, go SW until you get to the secret canyon. You may have to try several times. Continue west to the dragon room. Kill the dragon (when it asks if you want to do it with your bare hands, say yes). Then take the rug and return east to the Hall of the Mountain King. Go west, west, and south to the west end of the long hall. Now you're going to enter the maze and get fresh batteries in case you need them later. From this point, go south, south, east, and south to the vending machine. Put the slugs in the machine and take the batteries. Then go north, southwest, west, and down to the long hall again. Return to Y2 and leave your treasures. Take the lamp, axe, honey, keys and eggs. Go to the Oriental Room and then east to the low room. Go NE to the sloping corridor and up to the Troll Bridge. Throw the eggs to the troll and then cross the bridge. From there, go NE, East, NE, and East into the Chamber of Boulders. Take the spice, then go West, South, SE, South and East into the Barren Room. In the Barren Room, feed the honey to the bear (FEED BEAR HONEY), and unlock the chain. Take the chain and the bear and return to the troll bridge. When you try to cross, the troll will stop you. Drop the bear and he will chase the troll away. Leave the bear; he's too heavy to cross the bridge. Go back to the Twopit Room, and climb back up to the Giant Room. Say FEE, FIE, FOE, FOO and the eggs will appear. Take them and go back to Y2. PUT SPICE ON FOOD, then drop everything. Take the lamp, axe, food, flute, card, rope, and candle. Wear the ring and the shamrock. Go to the east portal of the Gothic Cathedral. Go northeast and north from there to the Elephant's Burial ground. The tusk is too heavy now, you'll have to come back for it. Go on North to the boulder. Now, eat the spiced food and you will be strong enough to move the rock. Then go on to the bottom of the well. Drop the rope and take the handle. Then play the flute three times and climb the rope out of the well. Turn your lamp off. Go west to the Central Court, put the handle in the winch, and turn the winch. Drop your treasures. Go north to the big door, and put the card in the slot. Go north into Lord's Keep. Go west to the Aviary and get the bird. Return to the Great Hall, then go north and northeast and north to the Kitchen. Open the cabinet, and put the candle on the dumbwaiter. Leave it. Go to the room off the east hall and get the knapsack. Then go back to the Central Court and drop the things. Return to the stairway and go northwest this time. Find the colored door. Again, if you have played the game in the past, the leprechaun has zapped you back to the grassy knoll (where he kicked you before) with the word FNORD. This word also appears in the instructions for the game (the computer tells you its language is Fnordish). This is the clue to the colored door. Push the tiles in order so that the first letter of their color spells out FNORD. Be very careful not to make any mistakes or typos. (The order is Fuschia, Nacre, Orange, Red, Dun). Enter the vault and take the shield. Return to the Central Court, picking up the tapestry. Make however many trips you need. Drop all the treasures. Now you're ready to take on Ralph the giant centipede. Go south across the drawbridge, west to the cliff and part the vines. Enter the recess and take the fleece. Immediately go out, east, and north. You have no time to spare. When you're there, turn the winch and raise the drawbridge. Ralph will be disgusted and return to his lair. Turn the winch again and lower the bridge so you can use it. Take as many of the things as you can (you can wear the knapsack, shamrock, and ring), and go south, through the defile, and say "B" to return to the building. Drop everything, and go back and get anything you couldn't carry. Fill your bottle with water and pour it over the black bird. It will be changed to a valuable jeweled statue (the Maltese Falcon as a matter of fact). Take the flute, axe, and lamp, and return to Sham Rock. Climb it, take the pipe, open the pouch, and put the tobacco in the pipe. Then go to the Elephant's Burial Ground and get the tusk. Return to the building via the castle (play the flute and climb the rope) so you can save your lamp. Take the pipe with the tobacco in it and the matchbox and go to the concrete pavement. The swamp is tricky, so follow these directions: Go west and northwest. Here, stop and light the match and then the tobacco (you're smoking the pipe). Go northwest again and say "Yes" when it asks if you want to go on. The tobacco fumes will drive away the mosquitoes, and you will find yourself at the rat's lair. Take the mystic amulet and anything else he might have stolen from you (the leather sack and poster are not useful). Then go east, south, and east twice to get out of the marsh. Say "B" to return to the building. The pirate *must* show up and take your things at least once, or his treasure chest doesn't appear. So if he hasn't by this time, take the lamp and the amulet (and the axe, of course) to the cave and rub the amulet. One turn later, he'll pop out and steal it. See above to find the pirate's chest. NEW ADVENTURE Part Five You have arrived at the last big puzzle of the game. In the building, take the knapsack, matchbox, "official" letter, and the lamp. Go out of the building and east to the helicopter. Board it. When the orcs see your letter, they'll let you in. Push the button twice and you'll be at the mine. Exit the chopper and go east into the mine and into the engineer's room. You can push the green button to turn the lights on and save your lamp. At any rate, push the red button to start the pumps. Go out and into the engineer's room three times (you're pacing). Read the gauge to be sure it's zero, and push the yellow button to stop the pumps. Go back out to the helicopter and push the button twice again. Exit to the west court of the castle. Go to the kitchen, light a match, and light the candle. Pull the chain on the dumbwaiter. Go back to the chopper immediately and push the button *once*. 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