`IBM al@ &<C@E$g: <1AY&B&f"8*A$ $<!*!&2Q!adNu"x." "4V"GBIZ2۷mG"&AB@4<[Q4/</<?BK*U,M/ ?<NNJ@k:`IG:ܹm*N2<0<4]Q:/</<?B/?< NNJ@kD f0B?<"NNTм/# /<NN 8LN /@! #@%`')+-/1 3@5`79;=?A C@E`GIKMOQ S@ /@! #@%`')+-/1 3@5`79;=?A C@E`GIKMOQ S@PDLIST  `ACKUP zRV ASYGO_20 RV SPERS RV PALREST10 RV TF_NOS RV HESCORE81 RV AB1 TOS OQV RAB2 TOS QV OSTA134TOS 3 I8ESKTOP INF H~EADME NOW OSTA &!.  `.. DOLLY TXT `BEDUCATE TXT `ART TXT !|)MISC TXT ! `{MUSIC TXT `HUTILITY TXT 6`m MTN_VIEWPRG!\l1 DOLLY MIX DISKS from ASCIILUM P.D.L. DOLLY 24 from BOB KELL ====================== Popi Menu.Art st. Bootblocker. Profi-writer.MORPH, SPC 3375 .TOSSED. DOLLY 14 ========= Blastram, Disk Kit, Match it, Silk mouse, Spiro, TCB Dem creator,+more. DOLLY 12 from BRIAN SHEPHERD ========= 1st. Word, Sebra, F\Copy 3, Database, Typing Tutor, Boot Info. + more. DOLLY ???? from BOB KELL ========== Disk Opus, Genisis, Esion, B17, Booter PSI, Lottery 3.1, DOLLY 18 ========= Kevin Norman 0131 5569734 DanSoft Carnforth Daniel Horne 01524-732957 21:00-00:00 Darkside Dagenham Mark Atkinson 0181-596-0845 Dog House Royston Neil Burton 01763-230043 Dream Machine Cardiff David J. Thomas 01222-689812 Druid Prestatyn Peter Carr 01745-853503 21:00-08:00 Dysfunctional Doncaster John Richardso XXXXX XXX X X XXX X XXXXX XXXXX XXX XX X X X X X X X X X X X X X X X X X XXXX X X X X X XXXXX X X X X X X X X X X X X X X X X X X X X X X X XXXXX XXX XXX XXX X X X XXXXX XXX X XX This section has a range of disks for the younger computer user,but i`ve just begun it so there`s not an awful lot in it,sorry. EDU 001 ======= IMPACT EDUCATIONAL DISK #3 This contains the following educational software: BENJAMINS ABC : A program that teaches the alphabet with sampled speech. MASTER TIME : A program which teaches the time. MAGIC SPELLER : Spelling tutorials. KID PUZZLE : An educational puzzle game. KID POTATO : A bit of fun putting together a potato face. KID NOTES : A program which teaches musical notes. EDU 002 ======= 2nd ATARI MANUAL : Ideal for the new user,an easy to follow guide to the basic functions of the ST. EDU 003 ======= FUN SCHOOL 3.; Actions,Matching,Counting etc,for under fives, EDU 004 ======= ST Typing tutor. grades 1-5 +STOS typing tutor. EDU 005 ======== FLASH CARD excellent teacher for 5-7 year olds #*~bigc ART #*~font4 #*~col1 ART 001 ======= #*~font2 #*~col1 SYNTHY ART : A brilliant art package with gradiant shades and everything else that you like in your art packages. THE AWESOME SCROLLER CREATER : An improved version of the ST SCROLLER by Chris Sharp of Supreme Software. Very good and well presented and with this version you can have music and display a picture as well as do fancy tricks with your text...All with ease and without any programming knowledge required. ART 002 ======= CRACK ART : Brilliant art package that has all the functions of a normal, commercial art package plus more. You can do special things to your pictures and there are even some games included in the package itself. If you are into art, then you MUST get this package, it really is brilliant! LAMP SHOW : A good little animation of two lamps and a ball. Entertaining. PIX PRO II TEX SHOW : Display as many NEO pictures as disk space will permit along with a scroller with this good little program that sort of creates a demo. ART 003 ======= PHOTOCROME V4 Picture manipulator for the more sophisticated formats such as GIF,IFF,TGA,RAW,etc. SPECTRUM 512 Sideshow program from Martin Cubitt. ART 004 ======= ANI ST : A once commercial animation package costing 80. Brilliant and uses a method called tweening which allows you to simply draw the first and last screen and everything between, the computer does. CAD 3D DEMO : Demo of the excellent commercial program. BLASTRAM : Ray tracing. 11 ANIMATIONS : Animations to go with ANI ST. ART 005 ======= TRIP-A-TRON : Very good pattern generator from Jeff Minter. ART 006 ======= GIGABYTE SLIDESHOW Good slideshow contained within a program.The piccies are all in colour and include motor bikes,cars,cartoons,Sly Stallone etc. ART 007 ======= THE MOSKAVITES BABYLON 5 SLIDESHOW Excellent digitised PCS pictures with viewer for fans of the series. ART 008 ======= This disk contains 22 PI1 Degas pictures on a variety of topics. Pictures are-Parrots,Kosmic 2,Kosmic 4,Drums,Dire straits,Castle, TStart,Sigourney Weaver,Space,Porsche 911,Mikes,Land,Keyboard, Indiana Jones,Great Wave,Fractal Planet,Dinos 1,Dinos 2,Destruct, Clips,Dan Aykroyd. ART 009 ======= WET DREAMS DISK 1 A selection of 4 screens high nudie babes.It definately is more art than porn,but probably should be only viewed by over 16`s.The pictures are very well drawn and clear and there are 8 on the disk. ART 010 ======= ART ST Pretty good program which includes an animation facility. VAN GOGH Also a pretty good art program which has all the usual features and is pretty well set out. GEM VIEW The popular picture viewer,supports many formats. ST CAD Computer Aided Design is what it stands for and also is what it does. LOOKER Convertor for your nice pictures. ART 011 ======= PC1 PICTURE DISK: 30 pictures in PC1 format on a whole range of subjects ART 012 ======= BEANO PICS: 20 odd pictures of Beano characters in PI3 format. TINYSTUFF: Picture convertor that supports quite a few formats. ART 013 ======= MOVIE MASTER Create stunning animations with this brill program. Comes with a 512k sequence to fiddle with. Compatible with neo and Degas picture formats. ART 014 ======= KOZMIC 4 : The latest full version of this brilliant program which allows you to create psychedelic pictures with ease. The author asks for a 10 pound registration fee. Well worth getting if you're into graphics. Even if you're not though, there's still a lot of fun to be had with this program! ART 015 ======= GARFIELD & BEANO PICS Large selection of pictures of characters from those catoons.In TNY format but comes with Picswitch 7 to allow you to convert them,handy or what ? ART 016 ======= DELUXE PAINT ;Good paint prg. COMPLETE ART ;Don't like this one .. ART 017 ======= CYBER PAINT ; This is the best one even runs perfectly from a harddrive PRISM ANT ;Excellent graphics tool?? 2 DISKS CYBER STUDIO; for use with the above. ART 018 ======= SCI-FIC. Pics. in PC1. STARTREK,DR. WHO etc. ART 019 ======== ART IMAGE MAKER. create all kinds of images with the proffessional touch ART 20 ======= 24. Degas screens in PI3 with slide show. ART 21 ======= Bowl of Soup. strange title but 17 very good picts. ART 22 ======= PINUPS : Slideshow of 15 nudes.Nothing too racey.TNY format. ART 23 ======= ECLIPSE : Shareware version of this excellent "load in a picture and do funny things to it" type program. JUMBLE UP : Effectively a jigsaw creator.Load in a picture and it is automatically coverted to a full screen jigsaw.Good fun. SYNTHY ART : Quite good art package with all of the usual functions. EASY ART PRO DEMO : Curtailed version of the full commercial package. ART 24 ======= Another disk of pictures,this time in TNY and IMG format. GHOSTBUSTERS : Slideshow of 12 TN1 pictures from the film. RAIDERS : Slideshow of 6 pictures from the film Raiders of the Lost Ark. PICTURES : Folder of mixed pictures in IMG format,19 altogether. There are also a selection of picture covertors and viewers on this disk. ART 25 ======= GIF PICCYS ( WITH VIEWER ) ASSORTED INCLUDING ASTERIX, BAMBI, DARTH VADER AND BUGS BUNNY ART 26 ======= A disk full of .NEO format clipart. Because it is all in .NEO format you can also use this clipart with most good art packages! Files are MACART28.NEO running consecutively up to file MACART51.NEO. ART 27 ======= STEPICS - requires Hyperpaint or Vidi-ST. A collection of Clipart, Vidi-ST Pictures, Hyperpaint colour fills, Mono fills in PA1 format and 100 palettes for Hyperpaint. As you may have gathered, this disk is intended for owners of Vidi ST and Hyperpaint. ART 028 ======= ZUUL MEGAFONTS An excellent collection of colour fonts in PI1 format. Well designed fonts. ART 29 ======= PD SCREENSHOTS Loads of PC1 pictures "on loan" from PD programs. ART 30 ======= TOUR OF THE SOLAR SYSTEM This disk has a large selection of pictures on it ,each dealing with all of the planets of the Solar system and their moons.There are also a few lines of text with each as an explanation of what is shown.There are also some other pictures on this disk by the same artist,good disk. ART 31 ======= WAR OF THE WORLDS This is a very interesting and novel disk.In essence it is a slideshow of pictures from the film but it is presented in an unusual way from the eyes of a cinema audience,very good. ART 32 ======= STEPPING PATTERNS v.2.1 - A very good program that lets you create excellent patterns by simply selecting a series of numbers.Really good effects are achieved and your work can be saved in PI1 format.There are also some sample patterns on the disk. ART 33 ======= BUN/PAZ DISK 3 19 more pictures in PCS from the gruesome twosome. ART 34 ======= EZ ART0 1-5 : Good drawing package,again with all the usual bits and pieces. ELECTRIC IMAGE : Now this is a good program.A little different looking but easy to master,comes with an integral printing facility. ART 35 ======= VIDI ST : Allows you to convert and add effect to your pictures VIDEOMASTER : Create your own demos with this super program. ART 36 FONTS: Over 40 fonts for use in scrollers etc. ======= Comes with accessory viewer. All font screens P?1 format. ART 36 NEOCHROME V0.5: The only official PD version of ======= this popular and easy to use art package. The one we all started on!! NEOFUN: Good little program to load your NEO pictures into and scroll them, fade them and do little tricks with them. NEOPACK: Decompress/compress Neo pictures. DOODLEART: Simple art program. SLIDENEO: Show your pictures off. SLIDESWAP: Another picture displayer. ART 37 ======= APEXFV3 Apex file viewers from Black Scorpions [Jan 26, 1995] for the ST/ Falcon including: A FULL 24 bit Falcon/ST/STe TARGA viewer that supports 16, 24, & 32 bit (un)/compressed Targas. A full 24 bit JPEG DSP viewer. 256/16 bit truecolor FLIC player for Autodesk FLI, FLC, FLH, FLT & FLX formats. A 24 bit 256 color Falcon GIF viewer that uses optical persistance to achieve 16.7 Million colors! BMPSHOW BMP SHow by Robert W Stiles. This program will display 1/2/4/8 bit color uncompressed MSDOS Windows *.BMP files on your ATARI. This is a no thrills program. It will display one file at a time, or you can have it display multiple files (slideshow) by using wildcards when you select the file to display. Includes complete Pure/Turbo C source code. ART 38 BIONIC SMURF DISK: Another 40 screens in PC2 ======= format with quite a few good cartoon screens showing a work environment. Good for making notioces for work - leaving drinks etc. Lots of other cartoon type people plus a few screens of various and Edwardian men and women. Viewer on disk. ART 39 ======== ART 40 ======== IMG, Picts ART 41 ======== GIF. Picts ART 42 ======== Master Doodle,Disneytoon,ArtPrint, Blastram,Create,Pearle. ART 43 ======= AWESOME ASCII; Draw pictures using ascii. ART 44 ======= ANIMTOOL; a first class animation or intro maker ART 45 ====== FONTS; In PI1 `````````````````````````````````` ART 46 ======= ART 47 =======- PI1 PICTS ART 48 ======= ART 49 ======= ART 50# ````````````````````````````````````` ART 51 ======== GERMS INTRO ; A good intro maker uses any txt font AcDf4a*dX$$A]R4y D-eG@AB3AboDSGkQ#c(j2Ffc 0D@`^`D@@ԆӅd_?UĆR@(f*0<ZCkxA}pa&V`Lw.LHa~v$OaləQD@؀ D(*H8x8PJf y`(eV ]USjpRfЎ-~l0L #S|8VsBq"#s$ucqO_LF.V;6,PP U &P oEA3B}Nr* !_|4zbA6@&>N~PPLrΈ@$TBBz J".n&*ǰ/tRjkb]Á  ~?~ȁq!Ap>n҃Tȍ||h(x (Р.Tr%;*>4bB AoxPP}s T E@p@o[Z'u|BJW * * ***** ***** * ***** ***** ***** ***** ***** * * * * * * * * * * * * * * * * * * *** ***** * * * * * * * * * * ****** * ***** ***** ***** * ***** ***** ***** UTILS 001 ========= PROTEXT V 4.3 : Giveaway version from ST Format of this excellent word processor. UTILS 002 ========= COPIERS : A crammed disk.Over 20 various copier programs including the ever popular F Copy 3. UTILS 003 ========= TOMS : Excellent document displayer which is also very suitable as a diskmag shell. ST ZINE 3 : Create your own diskmag easily with this easy to use program. UTILS 004 ========= SAGROTAN V4.14: The ultimate virus killer, with English docs. SAGROTAN V4.17: The ultimate virus killer,with German docs. UTILS 005 ========= ABFORMAT : Good formatter which allows extended formats. ACC FOLDER : Allow your machine to read accessories from within a folder to tidy up your root directory. AUTO 60 CATALOGUE V2.1 : A disk cataloguing shell. CONVERT DC MAX TRACKS : Tells you how many tracks your drive can read up to. Very useful. DISK SPACE EXPANDER V2.03 : Change single sided disks to double sided without losing data already on the disk. LEONARD MEGA DEPACK : Brilliant and fast depacker which works with lots of different packers. Very useful and one of the best depackers about! PIN HEAD REVENGE DOCUMENT DISPLAYER 3 : The very latest of this excellent document displayer! SILK MOUSE V2.6A : Good mouse accelerator. STD CATALOGUE : Catalogue your disks with real ease with this program. DESK ALTERATION Utils 6 ========= COPY DESK Utils 7 ========= Auto-Sort. ;Rearange prg,s,folders etc., SPIRITED ; text edit. DiscOpus ; very handy does everything from booting to viewing. BIGTEXT ; Just what it says. EVEREST ; one of the better text edit.. Utils 8 ========= TERRA DESK /KAOS DESK ; 2 replacement desk tops for the ST. Utils 9 ========= DEGAS PRINTER ;Never use it but they say it's good. Utils 10 ======== PRINT MASTER ; Very good for headings banners etc., UTILS 11 ======== AWESOME ASC11. Pictures and designs in asc11 form. UTILS 12 ======== DICTIONARY. New dictionaries for 1st Word and Protext. F.P.C.V. v2.2, file to pack convertor. GODEL. an excellent maths processor. SPC 3375. Spectrum viewer. NOTE PAD and PHONE PAD, UTILS 13 ======== GEMINI. Large desktop and accesory prg. on 2 disks. UTILS 14 ======== OMEN one of the easier Multi-Tasking prg. must Reg, UTILS 15 ========= Converters ; IMG\NEO\GIF\DEGAS etc. a good disk to have,,. UTILS 16 ========= PROXIMA.; An excellent D.T.P. pack 2 disks. UTILS 17 ========= EMULATORS; Apple.BBC.CMB64,Atari800,ZX81.etc., UTIL18 ======= RIPPERS; takes pics from most things games etc., UTIL 19 ======== JC MedMENU; 3or4 prg,menu's also Pic.Hunt .Pic.Rip. 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View Mountain View--------------------123456Overwrite File?2OverwriteCancel2That file already exists!Do you want to overwrite it?Printer Offline!1OK2The Printer Is Currently Offline!Mountain View is SHAREWARE!12You may obtain the fully operational versionby sending $10 (US Funds) to: Mountain Software 6911 NE Livingston Road Camas, Washington 98607The DEMO version will not SAVE or PRINT!Please support shareware authors!(Press any key to continue)Version 1.11September 11, 1993MOUNTAIN VIEWMTN_VIEW.PRGLocate Text FileMemory Available KbytesNo Text!Save Text FileEnter Your Search StringPress 'N' for Next MatchSpeedTopBottomBytes: -- -- Lines: - Copyright 1993, By Anthony WatsonRegistered To:Beta Tested by:Victor Bruhn, Don Schmidt, Doug NiblerSend Questions, Comments, Etc. To:GEnie: A.WATSON6 or DELPHI: MOUNTAINSOFT Mountain Software 6911 NE Livingston Road Camas, Washington 98607Entire TextBlockNo Block Set!No More Matches | Insufficient RAM|For Screen BuffersSorry[0][ *** BUG IN PROGRAM *** | |Something went wrong during|the execution of this program!][More]Error Number: [0][ *** WRITE THIS DOWN!!! *** | |[0][SEND BUG REPORT TO:| Mountain Software| 6911 NE Livingston Road | Camas, Washington 98607 | United States][Thank You]TTP*.*[0][Program must be named | | | ][OK]OLD[0][You can not upgrade | from that program!| ][OK][0][ UPDATE COMPLETE | |Please delete old version | | THANK YOU!][OK][0][Please take a few minutes |to register this program!| ][OK]SHARWAREEnter This Programs Serial Number[0][Incorrect Serial Number! | |REGISTRATION DENIED!][OK]Enter Your Full NameEnter Your Street AddressEnter Your City, State ZipEnter Your Country[0][Registration Complete! | | Thank You| for your support! ][OK][0][When new Demo Versions|are available, rename this|program with a .OLD extension.|Place the new version in|the same directory and run it.][OK]Demonstration VersionDemo 001________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX  .\ *4,  8V: tz`N">\& >> 2 2 FN 6B.N(.TD$4J`j^ ,406b@($L .<: R(6  <,,^* *~ f((@4"&Xb0 $B 8~V 8 $@& $x4 6 (VELp aA`/A8 24aD"_a5:p%a6NC큚a <r4<Aa (gA0B0Epa:Epa:Epa:Epa:xEpa:lEpa:`E.pa:TEEpa:HE\pa:A0B0pra50<wra5a<\p a26f0<wra5pra5 <r4<AagA0B0E0<A큚a7EpGaN04-fA0B0EpEa8 <r4<Aa^g&A0B0E0<A큚a6N0 <r4<Aa"gA0B0 <r4<A agFE~0<A큚a64N0 <r4<A8a,A8 00A 0B0`EC0<A큚a5N00<38a;2zx&"maK <r4<AatgA0B0E0<A큚a5N0zx "maKE:pa06g(E0<A큚a5jN0A큀0B0`Es0<A큚a5BN0Bm>tAa/tAang E p0a6XNuEPpA큚a5AaJp ~AaGBm~A00B0Ap 24A0a4`fA0a/z("maJE:pa/ZgVAxa2Axa/A0a/z("maJp a.$/A0a/z("maJ"_a,("maJ6a4 fG4-~oEmpA큚a4(A00B0Ax 24A0a3fA0a(("maJC큚a,C큚a3AxC0agp.a9C큚a,^C큚a3 <r4<AxaA0aVgEd=pa8C큎a/A큎pNa)/A큎Epa)g"A@0B0tAaAH 00A큎0g Epa-dA0aB/z("maB@/A@a*"p _a2pAa&gFzx"maBE:pa&g Ep:a- AH 24A a` EpIa,A0a/z("maA/A@a"p _a2HpPa%gFzx"maAE:pa&g EDp'a,AH 24A a$` Ekp;a,tA0aR/z("maAP/A@a:"p _a1pSa%gFzx"maA(E:pa%g Ep5a,AH 24A a` Ep5a+A0a/z("ma@/A@a"p _a1XpCa$gBzx"ma@0<12a&|g Epa+AH 24A a8` E'pa+NuAa(BmAaX("ma@HC큦a*(A큦0`2Epa*A0a/z("ma>a!0p-a$aEkp9aNuEpoA큚aN0Epaaa'C큠aA큠pYag,E!pa <a-vpra0<wraa A큠a-g`NuEpa"HA큚aC큚aBAa0L <~Aa-AP0B0AX0B00-a|AXafnAXa"pA큚a!p ag APa(`BAPa/APa("ma0/AXa"pA큚a!b"_a(("ma0raHfGAX0B0AP 24AXafha,rPD/AXar("ma0b0(HlAXaV("ma0FaaB`aAXa6("ma0&a~a"afGaNua & 24&8:BfJBg f DfpNuJEgpNu 24&8:BgnpNu<ngfDcpNufAcpNu 24&8:BgmpNu<ngfDdpNufAdpNu 24&8:JBgfDf EfpNuJEgpNuDExa*`bDEa"`ZaR11!Nua11!Nu 24&8:DE`6 24&8:DB`&a&8:DE`DEx`a` 24&8:HnghDBHngXDE~<En g6@ABDFGcGcGb8(vHDl`G8BCHC` GHD8HD쬵k&Dуd QRB BbJjDBNu DENupN֓DjdDA@ cAр[SBoJjDBNurptNuH@g0J`Ѐ[rGoJjDBNu0ftNu@[rB oH@JjDBNu $HkBk Bj*DBNupNuDBBkBjDBDNuf gp` 246jDCCe0 C/jC C@j C jr0H@{0>H@Nur{0Nu{0NutNu 246j(:<DCaf AfBfNu`a 00Nur$o, b4< J@k @[H@NuH@RBNu4<Ѐ[NuDg8k2 b4< J@k @[H@DBNuH@RBDBNu4<Ѐ[DBNu40rHGGdHGGdSWDуdi?<>0rHGGdHGGdSWDуdi2?<>0rHGGdHGGdSWDуd&2 H@kփAр[SBkփejRAd RdQRBJjDBNutNuCEdSW`?<,>CEdGeH@0r`fJCgz?<0rÐdSWЃdi?<0rÐdSWЃdid?<0ÐdSWЃd&2 H@kփAр[SBkփejRAd RdQRBJjDBNutNu?<0riP?0i?`?<`8apE:NgP<`LJg&B.C`a8aD*9Ffap-I,=|p4aHz*9Fg ENp9:` _a &nO:NMNI2bK:$<Nu[1][Error +111][Return]E8 g g>Jf`Ar Hjr-D@Hd0H@H 0H@0CNuAF"H [1][fSEfNu`HQ?< NA\Nu"_K:MNI2bO:HQ <-H*,`N,8d d3 d# d# # 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The centre-piece for the circular room is a stone pedestal, lit by the circular hole at the top of the tall, dark tower. This place has a majestic/ feel, an ambience that's faded over time as the tower fell into disrepair.00101000NNat the foot of a small hill with a tower to the west. A path leads southwestThe shingly ground at the foot of the small hillock is obviously a result of the decaying cliff face to the north. At the top of the hillock, to the west, sits a tall stone tower, silently glowering over the outcrop of rocks to the east and/ south. You can skirt round the foot of the hill to the southwest.00000110NNon a rocky outcrop. You can go southwest, a boulder blocking your way to the eastYou're standing on an outcrop of rock, next to a towering cliff face to the north. The only safe passage down the wart of magma is a path to the southwest, as though a trodden path leads to the east, it's blocked totally by a large boulder.00A00100NNin a small gullyThis small divot in the rock has obviously been blocked by the boulder for some time. Odd, glowing moss covers the floor, ending where the boulder blocks the path to the west. There's a musty tang to the air, that you realise is caused by the/ pipe that emerges from a building far above you. Thankfully, nothing's falling from the pipe right now.000000A0NNin a stone tunnel, with exits to the east and southeastYou're in a stone tunnel, with exits east and southeast.00110000NYin a stone tunnel, with an exit to the westYou're in a stone tunnel, with an exit to the west.00000010NYin a stone tunnel, with exits to the east, southeast and southYou're in a stone tunnel, with exits to the southeast and south. There's also a tunnel leading off to the east, though the light at the end of it glints off the enormous, razor-sharp spikes set in the floor. The kind of spikes that really hurt./ I wouldn't tread on them, if I were you.00S11000NYon the wall of a large tower, which leads eastIt's easy to feel disorientated when you're walking comfortably along a vertical wall. You realise where the light's coming from - the room is actually the base of a huge tower, reaching higher than you could ever hope to climb. The spikes at the/ base of the tower are clustered round a stone pedestal which, in the interests of fair gameplay, you can reach.000000S0NNat the foot of a small hillock. A path leads from the south to the northeast. There's a tower to the northYou're at the foot of a small (but climbable) hillock that rises to the north. The channel cut by the base of the mound and a rocky outcrop leads from the northeast, bending off to the south. This place would be fairly boring, save for the/ inclusion of a sodding great big stone tower that rises high into the clouds, just off to the north.11001000NNon a rocky pathway leading south to northeastYou're at the gradual but dramatic slope of an outcrop of rock to the north, the only safe path leading you northeast to the top. Alternatively, you could wimp out of the climb and head back south.01001000NNin a small cave, with an exit to the southYou have to bend down as you stand in the small cave, which was obviously someone's home at some point. Whoever was here cleared out some time ago, though they left behind a cabinet on the north wall.00001000NNin a, frankly, tacky little shackThe tiny little house barely makes an effort to stay standing around you. It's small, it's pokey, and it smells. Everything here is covered with impenetrable muck, the likes of which you've found between your toenails after that nude pot-holing/ seminar you attended in Acton.00001000NNin Heshtifohma cottageWhat, on the outside, looks like a cottage turns out to be a much more organised environment, with tables and chairs taking up the majority of the floor space. The white-washed walls alliterate at you as you begin to feel slightly stressed-out by/ the whole place.00001000NNin a stone tunnel, with exits to the northwest and southYou're in a stone tunnel, with exits to the northwest and south.00001001NYin a stone tunnel, with exits to the north and southwestYou're in a stone tunnel, with exits to the north and southwest.10000100NYin a stone tunnel, with an exit to the northwestYou're in a stone tunnel, with an exit to the northwest.00000001NYon a stone pathway that runs north to eastThe stone pathway running north to west could barely be described as a pathway. Or stone. It's merely a collection of disarranged cobbles submerged in mud, running in a line preordaned by impenetrable thicket to the south and west.10100000NNat a north, south, east, west crossroadThere's one in every game, isn't there? These things were the fodder of Level 9 and Magnetic Scrolls way back when the genre was really being defined. Forget the parser, the grammar and the feel, a crossroads is what you want, mate.10101010NNin a woodland clearing that leads west, though there's a small door in the cliff to the northYou're in a small clearing that breaks into a path to the west, surrounded by bright green forest. The majesty of looming rocks to the north is broken slightly by a small door carved into their base.10000010NNat the west end of the small, dreamy hamletYou can't help the feeling that you've hit what passes for downtown around here. The trodden dirt path to the east ends abruptly at forest, which is completely unbroken save for a dingy shack to the north.10100000NNat a turn in the path of the village, running west to southThe path leading up from the south turns here, heading west. A pretty little cottage sits to the north, though the flowers planted here dwindle on the left hand side.10001010NNin a stone tunnel, with exits to the north, northeast, east and southeastYou're in a stone tunnel, with exits to the north, northeast, east and southeast.11110000NYin a stone tunnel, with exits to the west and southeastYou're in a stone tunnel, with exits to the west and southeast.00010010NYin a stone tunnel, with an exit to the southYou're in a stone tunnel, with an exit to the south.00001000NYat the end of the ravine path that runs from the southeastYou're at an unpassable part of the sheer drop to the south - thick, unpenetrable foliage invades the path from the north, making your route impossible. Your only choice is to head back southeast.00010000NNwandering down a forest path, that runs from the north to the eastDespite the talentless descriptions, you can't help but notice just how relaxing your surroundings are. The path you're on runs from the north to the east, and the thick, healthy green foliage teams with primordial life.10100000NNat a fork in the path, which now leads west, east and southThe path forks, whichever way you look at it. It breaks off west, east and south. A signpost in the centre of the junction points down each road.00101010NNon a bridge spanning a north-south brookYou've come to a little bridge spanning an even smaller brook. The four planks of wood roped together span a small but gushing stream that dances out of the trees to the north, and continues its chase south.00C00010NNat the south end of a forest hamletTucked into the woods is a small collection of well-kept buildings, their strong oak, thatched structures blending in with the surroundings. You can feel the heat of a blacksmith at work in his workshop to the east. The path widens/ and continues north, bending east to avoid a fairly large house to the south.10101010NNin the blacksmith's workshop, that opens to the westThe heat gradually reddens your face as you walk toward the workshop. By the time you're inside, you can feel the sweat dripping off your brow, the heat of the furnace whitening metal at the hands of the blacksmith.00000010NNan unfortunate soul - remember that gravel slope hidden in the dark? Okay, so it was a mean trick to play, but you've fallen down it again. Why aren't you making a map as you go along? The whole game sits on an 8x8 grid, and you're currently on/ the fourth row, one square in from the leftOh, I really hate to do this. In the darkness, you see, you didn't notice that there wasn't a floor in the corridor to the southeast, right, and you're madly trying to scramble up screaming obscenities at the programmer. You know full well that/ you won't be able to get back the slope, and so the only viable option is to accept the cruel victimisation and let yourself slide south down the slope.00001000NYin a stone tunnel, with exits northwest, north and southYou're in a stone tunnel, with exits northwest, north and south.10001001NYin the strong currents of a rapid river. You can go south onto dry land or southeast back down the riverAt the northwest end of the river lies an enormous waterfall, guzzling you ever-closer to a torrential death on the rocks a thousand feet below. It would be lunatic to even attempt the drop. The river runs off to the southeast, but there's dry/ land to the south.000PP000NNat the ravine. You can go northwest or southeast, or east into the forestYou're looking down into a ravine to the south. You can follow its edge from the northwest to the southeast, or explore the forest to the east.00110001NNin the forest. There's a ravine to the west, or a forest path which forks north and eastYou're standing at the entrance to the forest, the ravine echoing silence to the west. Though the fauna is thick in most parts, you can see small foot-worn paths leading north and east.10100010NNat a twist in the forest path, that runs west to southYou almost lose the path you're following, as it winds wildly around stout oaks that block the straight and narrow. You eventually work out that it leads from the west to the south.00001010NNin the blacksmith's houseIt's a house. There's a blacksmith who lives in it. Soot everywhere. The sooty wooden furnishings are made of stout oak, the table taking up the largest portion of the one-room hut.10000000NNin the dynamite shedThe pokiness of the shed isn't helped by the shelves that line the walls. You spot a box on a shelf next to the door in the south wall.00001000NYinside the waterfallLooking back at the slope, you realise you've fallen further than you thought. The slope to the north is utterly unclimbable. To the south is a hole in the wall to daylight, covered by a sheet of plumetting water. You must be behind the/ waterfall. You'd better be ready to swim if you're going to jump through there.0000P000NNin a stone tunnel, with exits north and southYou're in a stone tunnel, with exits north and south.10001000NYat the river shore, with water to the north and a hill to the southThe view from the river shore is impressive, to say the least. The ravine continues to the southeast, high cliffs on both sides, with a strong, turbulent river flowing through to the waterfall northwest of here. Behind you, the little shore/ tapers off quickly and a steep hill takes over.P0001000NNin the river running north west to south eastHo-hum, you think, as you gently bob along. From either the north west or south east. Or something. Yes.000P000PNNat the southeast end of the ravine path as it turns directly eastThe ravine fails to look any less daunting at the southeast end, the pathway running northwest in parallel with the edge of the cliff. The path continues into a forest to the east.00100001NNat the forest entrance, with paths to the north, east and south east. The ravine's to the westStanding at the forest entrance, you realise this place must have been bustling at one time, as paths lead off to the north, east and southeast. To the west you can still see the ravine.10110010NNat an odd hatchThe path to the west ends abruptly at an odd hatchway in the ground.00000010NNin a small clearing with a hut to the northThe path from the southwest leads directly up to a small shed to the north. For some reason, this building has been set well away from the village that's only just visible through the thick trees to the northwest.10000100NNat the bottom of a huge waterfall, the river leading south eastYou're floating at the base of an enormous column of water pouring down the mountain directly to the north. With the weight of the water pushing you continually under, the only way out is to swim to the southeast.000P0000NNin a stone tunnel, with exits to the north and southYou're in a stone tunnel, with exits to the north and south.1000P000NYon a hill sloping down to a river to the north. There's a large tower to the southYou're standing on a steep hill leading up to a large tower to the south. You can travel around the hill, moving east or south east, as well.10111000NNat the foot of a hillock rising to the southwestThere's nothing like a good view, and this really is nothing like a good view. A large tower looms to the south west, matched only in height by the cliffs just across the river. You feel oppressed.00011111NNswimming in a river that runs northwest to southeastA river runs through it (northwest to southeast), and it's a long and boring one. So long and boring, in fact, this author can't think of anything at all interesting to say about it.000P000PNNin the riverside cave, with an exit to the southYou're shivering from the cold water in a cave hidden deep in the cliff, the only exit to the south leading you back into the cold river. There's a you-sized hole in the roof, but you can't climb.0000P000NNat a junction in the northwesterly path, as it branches east and northeastForests, too, can be a little dull at times. This much woodland in what's only a 64 location game may seem a little extravagant, but it sort of helps to fill the space. At least someone put a bench here to help break up the tedium of an afternoon/ stroll. The path runs in from the northwest and branches east and northeast, by the way.01100001NNwhere the western path ends abruptly in a small, unclimbable gully to the westIf forest paths could talk, this one would make some exclamation of surprise as it hit a small cliff rising to the west. It can't, though, so it doesn't.00A00010NNstanding on top of a high rock, contemplating a slope to the river to the north, a rickety bridge to the southeast or the climb back down to the westWhat you originally thought was a small cliff turns out to be a tall rock. To the southeast you can see a large tower (not unlike the last one), the gap spanned by a rickety bridge. The climb back down the rock to the west seems a little more/ enticing than the sheer drop into the river to the north.P0010010NNat a northwest, southwest curve in the river with a cave entrance to the northThe current running from the northwest end of the river is too strong to fight. Your only option is to follow it southwest, as it curves to avoid a large tower to the south. You see a cave entrance to the north.P0000P00NNin the southwest towerThere's obviously a point where medieval interior decoration gets so bland, people have to start innovating. This tower may be just as tall and looming as the others, but you've no way of knowing - cobwebs stretch across above your head, some /trailing right down to the pedestal set in the floor. The light from the north, northeast and eastern doors casts weird patterns across the silken ceiling.11100000NNon the small southwestern island, a large tower looming to the westThe enormous tower rocketting upwards to the sky (not literally) fails to distract you from the stunningly attractive woman, visible on the far eastern shore of the little island (I guess computer games are written for a predominantly male /audience after all).10100011NNstanding on the far eastern shore of a little island, wondering why the programmer won't let you jump into the river from hereThe river to the east and north glistens softly in what little sunlight makes its way down into the deep chasm. You long for company...00000011NNat a bend in the river, leading northwest to east. You can also see a small cave entrance to the northSwimming can be hard work, even with the strange, mystical powers of a fish. Yes. The river runs from the northwest to the east, though a small hole in the cliff face to the north speaks of respite from the consuming currents of this mighty river/ (oh flow, river, flow).P0P0000PNNswimming down a river that runs from east to westYou're swimming down a river that runs from east to west.00P000P0NNswimming down a river that runs from east to westYou're swimming down a river that runs from east to west.00P000P0NNswimming down a river that runs from northeast to westYou're swimming down a river that runs from northeast to west.0P0000P0NNin the southeast towerThe bridge to the northwest leads to a platform high up in the huge tower. Looking over the edge, you can see nothing but darkness, the dank stone walls tapering off into the void. A stone pedestal sits on your platform, it's weight testing the /wood you're standing on.00000001NNin Hairy's HQLawks! You've found Hairy's secret hideout. This game'll be a push-over if you learn to use some of the tools here. If you're not sure what something does, examine it before you use it. To the east is the system room.00100000NNin the system roomYou're in the room where all the objects that are currently being held are stored. It's also for anything that's been destroyed. Don't mess with it - you could cause serious trouble.00000010NNin the hole that was Hairy's houseThe dynamite worked all too well - you're standing in a deep hole, the dim light from the sky glinting on the metal of a large, shiny catapult.00000000NNnothingWhateffer66N0Yabsolutely00telepadIt looks exactly as a teleport should - a shiny disk with some complicated buttons. It begs to be used65Y0Ya00devIt's a programming tool. Use it to find out a few numbers if you happen to be Hairy, writing this game. If not, don't bother - it's useless65Y0Ya00mapUse the map to get a quick numeric picture to use with the telepad65Y0Ya00messageIt's a hidden message from the programmer, Hairy65Y0Ya00AmphiThe esper glistens bright green, its weird, replenishing rays giving you the leaping power of a frog. Should you particularly feel the need and you're carrying this, you can leap over high things1Y1Ythe esper00pedestalThe pedestal at the foot of the tower is a simple affair, designed to hold its Esper modestly1N0Na00PisciThe second esper, Pisci, emits a silver light, reflecting your face thousands of times like the scales of a crystal fish. This one gives you the power to swim64Y1Ythe esper00pedestalIt's a small lump of stone, with a shape carved into the top that's the exact shape the esper it was designed to hold64N0Na00boulderThe boulder is huge, and distinctly alien - you don't recognise the rock it's made of. The earth around the boulder has formed into ridges03N0Na00boulderThe other side of the boulder looks equally strange, and your suspicions about its origin are confirmed by the enormous gouge it took out of the earth on its way down04N0Na00mossIt feels wet to the touch as you run your hands across its silky surface04N0Nsome120oreA small chunk must have fallen off the boulder when it hit the ground. The surface that was attached to the boulder glows purple04Y10Nsome00pipeIt's way too high to get a proper look at4N0Na00signpostA quick inspection of the signpost reveals that there's a tower to the west, a village to the east and the ravine to the south27N0Na00clumpIt's a large clump of matted hair. Euch66Y1Ya hairy160nestHairy had been wondering what the noise was66Y1Na bird's00foliageThe big, healthy leaves drip with fresh rainwater, huge droplets hanging down off the butterfly eggs on the leathery underside26N0Nluscious180caterpillarWhoever said these things were pretty? Butterflies don't exactly fill you with awe, but these things are gross26Y1Na00lightThis game was written in a dark room - you can only program after the sun goes down. Whenever I needed to write something down or whatever, I used this...65Y0Ya00magmaThat's what it is, all right. Volcanic fluid rises from beneath the Earth's mantle and ruptures through to the surface, creating bubbly lumps of rock. You're standing on one3N0Nthe00buildingYou can see its dark form high above you, but no other features offer themselves from this distance4N0Nthe00signIt reads 'Danger - no naked flames'46N0Yan important00springNot the kind that water flows through, but a spring of the large metallic coil variety. It's aimed directly at the hole in the roof52N0Ya00holeYou can't see how far up the hole goes, though the echoes of your breath mixed with far away sounds of birds singing might give you some clue52N0Na00hatchwayIt would appear that the hatch can only be opened from the inside, the smooth edges fitting too neatly for you to get a good grip from this side. You can tell it's heavy, though45N0Na00spineIt hurts, alright. You were going to have landed on your arse, but we didn't want to encourage Nick to spend too much time thinking about arses when he should be working45N0Na00ArachniThe dark grey esper gives you the power of a spider - if you're holding it you can walk on walls for short distances57Y0Ythe esper00pedestalIt's mainly obscured by spikes, but you can still reach it57N0Na00spikesA hair floats down from the ceiling, hitting the spike end-on. With the noise of one long, sliding violin note, the spike proceeds to halve the hair8N0Na300hairIt's a hair, half its length split neatly in two. If you had some mousse, you could get into divination8Y0Na mutilated00spikesThey look pretty scary from this distance, so I don't think we should investigate much further7N0Nthe00UltimaUltima glows blue, sparks occasionally dancing across the stone's surface. You can feel its power ebbing through your soul, n'that8Y1Ythe esper00pedestalIt's a small lump of stone, with a shape carved into the top that's the perfect shape the esper it was designed to hold8N0Na00doorThese people are trusting - the door isn't even locked. Someone could just stroll on in here..19N0Na00cabinetThe badly constructed, badly painted, badly hung bathroom cabinet with tacky mirrored doors reminds you of home11N0Na360matchesWhat luck - matches! Things like this are always handy in this type of game, y'know. Thankfully, they're not safety matches11Y1Nsome00boxThe box is made of heavy wood, but apart from that it's nothing special38N0Na380dynamiteIn a feat of total ingenuity and kindness, the dynamite is self-lighting - a simple mechanism but an effective one38Y2Na stick of00shelvesThey're just shelves, running around the shed38N0Nsome00immortalityWhile you're holding this, your astral form will stay in one piece no matter what. If you drop it when you should be dead, though..65Y0Ythe power of00torchIt's an oddly sophisticated torch with an automatic dark-detecting switch66Y2Ya00wallsThey're old, dank and dark. We could throw more words around if you like, but that's all there is to it1N0Nthe00towerYou could get a better look at it if you got a bit closer..2N0Na looming00rocksThey really don't look very friendly - too spiky and jagged by half. Your mind plays images of people snagging squidgy bits while climbing them2N0Nsome narly00rocksYou try not to think too much about the squidgy bits3N0Nsome00cliffIt's a huge cliff. 'Nuff said3N0Na00towerGo on - head north. It won't byte9N0Na00rocksThe rocks don't look too scary, but you're still not going to climb them. There isn't a goat esper10N0Nsome00muckIt's just miscellaneous brown googe, defying description and, most probably, chemical analysis12N0Nsome icky00tablesThe brown, sensible tables serve as desks for the battered computers that slouch on them. They're also a tangle of wires13N0Na few00computersThe screens show crafted words and pictures intertwining in computer magazine harmony. Or something13N0Nthe00wordsThey mainly read 'Really, really wanted - art editor'. How odd13N0Nsome00picturesThey're badly pixellated, incorrectly proportioned and way too dark. That's par for the course in computer journalism13N0Nthe00wiresIf the Health & Safety came around here, they'd have a field day. Come to think of it, what must there office look like? No-one's going to hassle them13N0Na tangle of00chairsThey're just chairs. Not everything in an adventure is special, k'now13N0Na few00cobblesAs you starer at the cobbles, you begin to see a face in their pattern. You've gotta stop playing these games17N0Nsome ragged00faceIt's yours. Philosophical, huh? Sort of introspective, as well..17N0Nthe00thicketIt's a thick thicket indeed17N0Nthe00lineImagine - you've sat down to flesh out a world with beautiful detail, and some pedant even examines the lines17N0Nthe flippin'00forestThe tall, slender trees look pretty. Yes, that's it - pretty18N0Nthe00forestIt's still pretty20N0Nthe00shackIt's a right state - red paint peels off the uneven wood. A strong breeze blows and the whole thing leans alarmingly to the left20N0Nthe00flowersTo your horror, you notice that the flowers are quietly giggling to themselves, utterly disinterested in what the rest of the world's doing. Scary stuff21N0Nthe giggling00cottageIt's been scrupulously painted a bright white, in stark contrast to the reality of colour the rest of the village uses21N0Nthe00foliageIt's foliage25N0Nsome00bridgeIt's a modest little affair, but it does the job. The many footprints on its surface advertise its usefulness28N0Nthe00footprintsThe marks belong to small, insignificant feet. One huge set of prints leads into the village, but they don't feature in the other direction. If you read Agatha Christie, this could mean something28N0Nthe00brookLarge, flat stones cut a lazy channel for the tiny stream that runs across them28N0Nthe00streamThe tiny trickle of water bubbling down from the north looks crystal-clear28N0Nthe00planksThey're large and immovable, in case you had any ideas about kidnapping villages..28N0Nthe00buildingsThey could all do with a slightly closer inspection..29N0Nthe00workshopGo on in - it's open, and the blacksmith looks friendly enough29N0Nthe00furnaceIt roars heat and light into the workshop, whatever's inside it burning hot and bright30N0Nthe740coalsThey really are stupifyingly hot30Y3Nsome white hot00tableThe large, oak, sooty table is fairly fat and featureless37N0Na grimy760noteIt's covered in soot, but legible. I suggest you read it37Y1Na grimy00shedIt's a small shed, the red paint peeling lazily in the afternoon sun. The wooden door seems to be unlocked46N0Nthe dynamite00doorIt's just a door. And it's unlocked - just go through it to the north and stop faffing sbout examining things46N0Nthe damned00benchThe small, green bench reminds you of summer days back in the park. Back in the real world. The paint still looks a bit tacky..53N0Na park00paintNo - tacky as in wet. And it's all over your fingers now53N0Nthe wet00cliffIt looks almost as surprised as the path that hit it (but the path doesn't have a description)54N0Nthe surprised00pathOkay, so I lied54N0Na lying00bridgeIt's a shoddy piece of work alright - a few pieces of old scrap wood bound by fraying ropes55N0Na rickety00towerIt's huge. Go on - take a closer look55N0Na00riverIt's a long drop into the swirling torrent below, but you'd survive the fall. You'd better be able to swim, though..55N0Nthe swirling00towerThere's no way in from the river, unfortunately56N0Nthe00cobwebsThe fine, white, silken strands feel soft to the touch, reminding you of your morbid fear of spiders. Oh well - if you can't beat 'em..57Y0Nsome silky00patternsThey remind you of that time a friend discreetly slipped something into your beer. For the sake of a souvenir, you can take them with you57Y0Nthe pretty00bridgeIt doesn't look any better from this angle. Worse, in fact64N0Nthe rickety00platformIt bows in the middle, under the weight of the enormous stone pedestal it's supporting64N0Nthe wooden00woodKnotted and old, you wonder how much more strain it'll take (enough about the wood already)64N0Nthe00darknessIt's black, man. It's like; how much more black can you get? Wow - that's black64N0Nthe black00catapultThe firm base holds a taught metal rod, on the end of which a seat is hooked down. It looks ready to spring at the slightest touch67N0Na940wordsThey read: Seeya - ready to write your own yet? Most strange67N0Nsome00markerDesc65Y0Ya00Hairyhe12It's just a hairy bloke100Hi - I'm Hairy.01530Tops - cheers. Here you go.Colonit28Elks are traditionally short, but Colon's pioneering new lows in the field. The sharp suit he's wearing does little for his demeanour100You'd better find me the perfect gift ore I won't let you pass.0012Okay, so maybe it was a bit of a horrid, pedantic puzzle. My apologies. Not.Racheshe59Your eyes can't help slipping off Rache, her seductive form alone against the harsh winds of the island100I came to the safest spot in the valley as soon as I could - I just wish I'd have planned the trip - I've got firewood, but nothing to light it with.04136Great - I can light a fire, now.Jushe53Her tall, healthy figure is covered by a long, flowing robe, her eyes sparkling brightly under the dark cowl. The programmer put her here to help you out100Go find the esper Ultima - it's our only chance to save the land. Once you've got it, bring it to me and we can rid this land of such an evil curse. Alternatively, we could break it down and sell necklaces.03232Excellent - you have done well. Under Hairy's shack you'll find a means of escape - use it to get the esper into the clouds, and yourself on the way home the same way you came. Good luck, traveller.Smithhe30He looks too busy100Go away - I'm busy.0255255You'll never read it.ENDMankind has a common ground - there is a place that exists in the twilight of conciousness and sleep. A place with no name, for it has many in the languages we speak. One thing, though, is common to all man - it is the place of the power of good.This power has grown to such an extent that it has become the attention of the powers of darkness, who're descending upon the land in dark clouds of evil souls. There is only one way to defeat this power - the esper Ultima.It is your task to find Ultima and bring it into contact with the evil spirits.As your astrally speeding conciousness swoops down over the landscape, you see four towers at the northeast, southeast, southwest and northwest corners of the realm. It is your task to collect the magical esper at the top of each tower.Only Ultima is needed to defeat the evil, but the others will give your astral conciousness important powers it lacks. Use Pisci for the powers of the fish, Arachni for those of a spider, and Amphi for those of a frog.Ribbit.ANDNORTHNORTHEASTSOUTHEASTSOUTHWESTNORTHWESTNORTH-EASTSOUTH-EASTSOUTH-WESTNORTH-WESTGETSPEAKUSEEXAMINEINVINVENTORYTEKAATYour health has just dropped to Not being able physically to take this much damage, your astral form disintegrates, and you re-awaken knowing you have failed. The Valley of the Espers is doomed. Cheers.Just before they were sucked into the bowels of hell, the residents of the valley made a point of erecting a large plaque, telling future civilizations how abysmal you were at saving them. Press any key to start all over again, loser. I'm not sure I understand that.Congratulations - you've saved the valley of the espers. As you soar up into the sky, the features of the landscape fade out as quickly as they originally came into view, leaving you with nothing but distant memories of your night's adventure.You awake, feeling strangely tired, and get on with your day. I can't see one of those around here. That's not a valid location.Location:01-02 03-04 05-06 07-08 |/ / \ |\ 09 10 11 12 13 14 15 16 | | | | | |/ 17-18-19 20-21 22-23 24 | | \ \ 25 26-27-28-29-30 31 32 \ | | | |33 34-35-36 37 38 39 40 |\ \ | | | |41 42 43-44-45 46 47 48 | \ \ / |\ |49-50 51 52 53 54-55 56 |X |\ \ | X 57-58-59 60-61-62-63 64Aha - you found the secret room, then. Things like the telepad, map and locator might come in handy, so take them with you.I'll think of something more interesting to say when I finish writing the rest of the game.You jump onto the spring, letting your full weight compact the coil to its fullest extent. As it expands, you shoot up through the hole, narrowly avoiding the sides of the entrance. As the layers of rock rush past you, you begin to wonder why you bothered getting involved with this esper thing in the first place.As suddenly as the journey started, it ends with your head crunching on a metal grate, the speed of the impact flinging it open. You contine to fly upwards, slowly deccelerating, and start to fall, landing on the hatch that bounced closed. You land, incidentally, on the base of your spine, the metal grate pounding the cartilage in horrible, noisy ways.About half a second after you lit the match in the dynamite shed, the world became very loud and colourful for you. People all over the valley pointed into the air, saying 'ooh' and 'aah' to alternate bangs. You are at this present time being scattered across the valley you came to save. Nice one. The match lights, then burns away. You've got plenty more, though.It reads: Dear Mr B Smith - regarding your proposal for the demolition of my home and the installation of a large catapult in its place. Shove it. Yours, Hairy.You witness an almighty explosion, the weak dynamite reacting with the foul gasses in the shack. As the air ignites, you drop through shattering wood, the hut vanishing above you in a mess of wood.The explosion turns out to be disappointingly weak, failing to damage anything as it disintegrates the stick. Better go get some more, hadn't you?As you sit on the catapult, you hear the hook click back. Around 0.1 of a second later, you find yourself hurtling through the air toward the evil spirits that swirl around the sky.As you reach the cloud, the esper Ultima starts to glow, pushing back the dark air with strange, unseen force. The only sound you hear is the air rushing past your ears as you charge through the cloud, dispersing it almost instantly.As you reach the cloud, you realise you've forgotten one vital thing - the esper Ultima. Soon the spirits close around you, and subject you to horrific, nightmarish torture. As far as I can tell, it doesn't do anything.You aren't carrying anything.You're carrying Your health is currently at It's too dark.The torch lights up your surroundings. You can see On your utterance of the magic word, the ground begins to shake, and a rent begins to form. As it widens, a dishevelled hairy bloke steps out, and points a small device at you. Everything begins to flash. You can't go that way. You manage it, leaping with the aid of the esper Amphi. It's only just not possible. If only you could do a really big jump... Clutching the esper Pisci, you swim. You can't swim. You should have listened to Rolf Harris. Using the esper Arachni, you walk across the wall. There's no way you can avoid the spikes right now. Colon lets you pass. Colon blocks your path. You take the won't budge.Somebody was stupid enough to reach into a furnace and grab white hot coals, weren't they? Your astral avatar's health drops by 10% and the computer calls you an idiot. You idiot. Nope - sorry. I can't see one of them around. You drop the You haven't got one of those (yet?).. You find You can't examine because isn't hereI can't find one isn't anywhere to be seen.I don't know anyone by that name.You give the , who in return gives you doesn't want the isn't here.You haven't got one of those.There's no-one by that name around here to give it to.Ah - in a bit of a fix, are we? These commands should help you out. Be sure to replace words in [square brackets] with your own. To interact with any objects, just USE them.N, NE, E, SE, S, SW, W, NW Travel in that particular direction.LOOK Examine your surroundings.TAKE [object] Take an object.EXAMINE [object] Used to examine something.DROP [object] And get rid of it again.USE [object] Of course, some of them could come in handy.READ [object] Literacy is, unfortunately, a requirement.INV Gets a list of everything you're carrying.TALK TO [person] Chats with people.GIVE [object] TO [person] Does exactly that.QUIT Leave this god-forsaken place.Are you really quite sure about this? It means being dropped back to your desktop in a cold, computer-like way. Well? (Y/N) Thanks for playing. jLf>V > > j6862NVV 220(& ".>: 0l 0B4@$bv^8:2.^@D@<J J J T F&R*lT**4&&R\RtP2.   (< *~ f`((@4hL$B 8~V' It's Espers, Hairy's sample text adventure. ' ' Title sequence ' CLS SETCOLOR 0,0 SETCOLOR 3,1911 ' FOR p=1 TO 5 PRINT NEXT p p=5 title_loop: READ a$ IF a$="SLOW" p=10 GOTO title_loop ENDIF IF a$="FAST" p=5 GOTO title_loop ENDIF IF a$="BEAT" PAUSE 50 GOTO title_loop ENDIF IF a$="END" GOTO title_end ENDIF ' PRINT SPACE$((80-LEN(a$))/2); FOR l=1 TO LEN(a$) PRINT MID$(a$,l,1); IF INKEY$="" PAUSE p ENDIF NEXT l PRINT GOTO title_loop ' DATA "BEAT","BEAT" DATA "The veils of time slowly lift" DATA "To reveal a far off land" DATA "Ruled by a dark force" DATA "That must be destroyed, using" DATA "","BEAT","SLOW" DATA "THE ESPERS" DATA "","BEAT","FAST" DATA "A Spider Baby production for ST Format" DATA "Copyright 1995 Simon Forrester" DATA "BEAT","","Press any key" DATA "END" ' title_end: WHILE INKEY$="" WEND ' Print that intro CLS p$="Mankind has a common ground - there is a place that exists in the twilight of conciousness and sleep. A place with no name, for it has many in the languages we speak. One thing, though, is common to all man - it is the place of the power of good." GOSUB ww_print p$="This power has grown to such an extent that it has become the attention of the powers of darkness, who're descending upon the land in dark clouds of evil souls. There is only one way to defeat this power - the esper Ultima." GOSUB ww_print p$="It is your task to find Ultima and bring it into contact with the evil spirits." GOSUB ww_print p$="As your astrally speeding conciousness swoops down over the landscape, you see four towers at the northeast, southeast, southwest and northwest corners of the realm. It is your task to collect the magical esper at the top of each tower." GOSUB ww_print p$="Only Ultima is needed to defeat the evil, but the others will give your astral conciousness important powers it lacks. Use Pisci for the powers of the fish, Arachni for those of a spider, and Amphi for those of a frog." GOSUB ww_print p$="Ribbit." GOSUB ww_print WHILE INKEY$<>"" WEND PRINT ' Set up the data tr=65 mw=8 DIM r$(67,5) FOR r=1 TO 67 FOR p=1 TO 5 READ r$(r,p) IF RIGHT$(r$(r,p),1)="/" l=LEN(r$(r,p)) l=l-1 r$(r,p)=LEFT$(r$(r,p),l) READ a$ r$(r,p)=r$(r,p)+a$ ENDIF NEXT p NEXT r pr=34 no=0 DIM o$(256,9) obj_read: FOR l=1 TO 9 READ o$(no,l) NEXT l IF o$(no,1)<>"marker" no=no+1 GOTO obj_read ENDIF DIM w$(32) it$="" ' ' Now the people tc=0 DIM cc$(16,10) DO READ a$ IF a$="END" GOTO people_end ENDIF tc=tc+1 cc$(tc,1)=a$ FOR a=2 TO 10 READ cc$(tc,a) NEXT a LOOP people_end: plpo=100 ' ' Parser desc_loop: GOSUB look comm_loop: PRINT inc_loop: INPUT "",c$ c$=TRIM$(c$) IF c$="" GOTO inc_loop ENDIF PRINT c$=UPPER$(c$) FOR w=1 TO 16 w$(w)="" NEXT w w=1 FOR l=1 TO LEN(c$) IF MID$(c$,l,1)<>" " w$(w)=w$(w)+MID$(c$,l,1) ELSE w=w+1 ENDIF NEXT l ' ' So what about those pointless words? FOR l=1 TO w IF w$(l)="AND" OR w$(l)="THEN" OR w$(l)="THE" OR w$(l)="A" OR w$(l)="AN" OR w$(l)="TO" OR w$(l)="WALK" OR w$(l)="GO" FOR m=l TO w w$(m)=w$(m+1) NEXT m w=w-1 l=l-1 ENDIF IF w$(l)="THEN" w$(l)="AND" ENDIF IF LEFT$(w$(l),1)="," w$(l)=RIGHT$(w$(l),LEN(w$(l))-1) ENDIF IF RIGHT$(w$(l),1)="," w$(l)=LEFT$(w$(l),LEN(w$(l))-1) ENDIF NEXT l ' ' Act on those commands! FOR cw=1 TO w ol=pr oh=plpo af=0 IF w$(cw)="N" OR w$(cw)="NE" OR w$(cw)="E" OR w$(cw)="SE" OR w$(cw)="S" OR w$(cw)="SW" OR w$(cw)="W" OR w$(cw)="NW" af=1 GOSUB comm_move ENDIF IF w$(cw)="NORTH" OR w$(cw)="NORTHEAST" OR w$(cw)="EAST" OR w$(cw)="SOUTHEAST" OR w$(cw)="SOUTH" OR w$(cw)="SOUTHWEST" OR w$(cw)="WEST" OR w$(cw)="NORTHWEST" af=1 GOSUB comm_move ENDIF IF w$(cw)="NORTH-EAST" OR w$(cw)="SOUTH-EAST" OR w$(cw)="SOUTH-WEST" OR w$(cw)="NORTH-WEST" af=1 GOSUB comm_move ENDIF IF w$(cw)="LOOK" OR w$(cw)="L" af=1 r$(pr,4)="N" GOSUB look ENDIF IF w$(cw)="TAKE" OR w$(cw)="GET" OR w$(cw)="T" af=1 GOSUB comm_take ENDIF IF w$(cw)="TALK" OR w$(cw)="SPEAK" af=1 GOSUB comm_talk ENDIF IF w$(cw)="GIVE" af=1 GOSUB comm_give ENDIF IF w$(cw)="DROP" OR w$(cw)="D" af=1 GOSUB comm_drop ENDIF IF w$(cw)="USE" OR w$(cw)="READ" OR w$(cw)="U" af=1 GOSUB comm_use ENDIF IF w$(cw)="EXAMINE" OR w$(cw)="EXAM" OR w$(cw)="X" af=1 GOSUB comm_examine ENDIF IF w$(cw)="INV" OR w$(cw)="INVENTORY" af=1 GOSUB comm_inv ENDIF IF w$(cw)="HELP" af=1 GOSUB comm_help ENDIF IF w$(cw)="QUIT" af=1 GOSUB comm_quit ENDIF IF w$(cw)="TEKAAT" af=1 GOSUB comm_oedra ENDIF ' Actions over IF plpo"INV" p$="Not being able physically to take this much damage, your astral form disintegrates, and you re-awaken knowing you have failed. The Valley of the Espers is doomed. Cheers." GOSUB ww_print p$="Just before they were sucked into the bowels of hell, the residents of the valley made a point of erecting a large plaque, telling future civilizations how abysmal you were at saving them." GOSUB ww_print PRINT " Press any key to start all over again, loser." WHILE INKEY$="" WEND RUN ENDIF IF ol<>pr GOSUB look ENDIF IF af=0 PRINT " I'm not sure I understand that." ENDIF NEXT cw IF gcom=0 GOTO comm_loop ENDIF p$="Congratulations - you've saved the valley of the espers. As you soar up into the sky, the features of the landscape fade out as quickly as they originally came into view, leaving you with nothing but distant memories of your night's adventure." GOSUB ww_print p$="You awake, feeling strangely tired, and get on with your day." GOSUB ww_print infi_loop: GOTO infi_loop ' ' Use PROCEDURE comm_use cw=cw+1 uo=0 uu=0 un$=w$(cw) IF un$="IT" un$=it$ ENDIF FOR a=1 TO no IF un$=LEFT$(UPPER$(o$(a,1)),LEN(un$)) it$=un$ IF VAL(o$(a,3))=pr OR o$(a,3)="INV" uo=a ENDIF ENDIF NEXT a IF uo=0 PRINT " I can't see one of those around here." ENDIF ' Telepad IF uo=1 uu=1 cw=cw+1 a=VAL(w$(cw)) IF a<1 OR a>67 OR a<>INT(a) PRINT w$(cw);a PRINT " That's not a valid location." ELSE pr=a ENDIF ENDIF ' Dev IF uo=2 uu=1 PRINT "Location:";pr ENDIF ' Map IF uo=3 uu=1 PRINT "01-02 03-04 05-06 07-08" PRINT " |/ / \ |\ " PRINT "09 10 11 12 13 14 15 16" PRINT " | | | | | |/ " PRINT "17-18-19 20-21 22-23 24" PRINT " | | \ \ " PRINT "25 26-27-28-29-30 31 32" PRINT " \ | | | |" PRINT "33 34-35-36 37 38 39 40" PRINT " |\ \ | | | |" PRINT "41 42 43-44-45 46 47 48" PRINT " | \ \ / |\ |" PRINT "49-50 51 52 53 54-55 56" PRINT " |X |\ \ | X " PRINT "57-58-59 60-61-62-63 64" ENDIF ' Note IF uo=4 uu=1 p$="Aha - you found the secret room, then. Things like the telepad, map and locator might come in handy, so take them with you." GOSUB ww_print p$="I'll think of something more interesting to say when I finish writing the rest of the game." GOSUB ww_print ENDIF IF uo=19 uu=1 SETCOLOR 3,0 SETCOLOR 0,1911 WHILE INKEY$<>" " WEND SETCOLOR 3,1911 SETCOLOR 0,0 ENDIF IF uo=23 uu=1 p$="You jump onto the spring, letting your full weight compact the coil to its fullest extent. As it expands, you shoot up through the hole, narrowly avoiding the sides of the entrance. As the layers of rock rush past you, you begin to wonder why " p$=p$+"you bothered getting involved with this esper thing in the first place." GOSUB ww_print p$="As suddenly as the journey started, it ends with your head crunching on a metal grate, the speed of the impact flinging it open. You contine to fly upwards, slowly deccelerating, and start to fall, landing on the hatch that bounced closed. You" p$=p$+" land, incidentally, on the base of your spine, the metal grate pounding the cartilage in horrible, noisy ways." GOSUB ww_print pr=45 plpo=plpo-10 ENDIF IF uo=36 IF pr=38 uu=1 p$="About half a second after you lit the match in the dynamite shed, the world became very loud and colourful for you. People all over the valley pointed into the air, saying 'ooh' and 'aah' to alternate bangs. " p$=p$+"You are at this present time being scattered across the valley you came to save. Nice one." plpo=0 GOSUB ww_print ENDIF IF uu=0 uu=1 PRINT " The match lights, then burns away. You've got plenty more, though." ENDIF ENDIF IF uo=76 uu=1 p$="It reads: Dear Mr B Smith - regarding your proposal for the demolition of my home and the installation of a large catapult in its place. Shove it. Yours, Hairy." GOSUB ww_print ENDIF IF uo=38 uu=1 IF pr=12 p$="You witness an almighty explosion, the weak dynamite reacting with the foul gasses in the shack. As the air ignites, you drop through shattering wood, the hut vanishing above you in a mess of wood." GOSUB ww_print plpo=plpo-20 pr=67 ELSE p$="The explosion turns out to be disappointingly weak, failing to damage anything as it disintegrates the stick. Better go get some more, hadn't you?" GOSUB ww_print ENDIF o$(38,3)="38" ENDIF IF uo=93 uu=1 p$="As you sit on the catapult, you hear the hook click back. Around 0.1 of a second later, you find yourself hurtling through the air toward the evil spirits that swirl around the sky." GOSUB ww_print IF o$(32,3)="INV" p$="As you reach the cloud, the esper Ultima starts to glow, pushing back the dark air with strange, unseen force. The only sound you hear is the air rushing past your ears as you charge through the cloud, dispersing it almost instantly." GOSUB ww_print gcom=1 ELSE p$="As you reach the cloud, you realise you've forgotten one vital thing - the esper Ultima. Soon the spirits close around you, and subject you to horrific, nightmarish torture." GOSUB ww_print plpo=0 ENDIF ENDIF IF uu=0 AND uo>0 PRINT " As far as I can tell, it doesn't do anything." ENDIF RETURN ' ' Inv PROCEDURE comm_inv p$="You aren't carrying anything." ERASE op$() DIM op$(32) op=0 FOR l=1 TO no IF o$(l,3)="INV" op=op+1 op$(op)=o$(l,7)+" "+o$(l,1) ENDIF NEXT l ' If so, print them IF op>0 p$="You're carrying " FOR l=1 TO op p$=p$+op$(l) IF l=op p$=p$+"." ENDIF IF l=op-1 p$=p$+" and " ENDIF IF l"INV" p$="It's too dark." ELSE IF r$(pr,5)="Y" p$="The torch lights up your surroundings. " ENDIF IF r$(pr,4)="Y" p$=p$+"You're "+r$(pr,1)+"." ENDIF IF r$(pr,4)="N" p$=r$(pr,2) r$(pr,4)="Y" ENDIF ' Any objects? ERASE op$() DIM op$(32) op=0 FOR l=1 TO no IF VAL(o$(l,3))=pr AND o$(l,6)="Y" op=op+1 op$(op)=o$(l,7)+" "+o$(l,1) ENDIF NEXT l FOR l=1 TO tc IF VAL(cc$(l,3))=pr op=op+1 op$(op)=cc$(l,1) ENDIF NEXT l ' If so, print them IF op>0 p$=p$+" You can see " FOR l=1 TO op p$=p$+op$(l) IF l=op p$=p$+"." ENDIF IF l=op-1 p$=p$+" and " ENDIF IF l0 r1=r2 r2=0 ENDIF rc=0 IF r1>0 rc=1 IF r2>0 rc=2 ENDIF ENDIF IF rc>0 p$=p$+". You find "+o$(r1,7)+" "+o$(r1,1) o$(r1,6)="Y" o$(r1,3)=o$(od,3) IF rc>1 p$=p$+" and "+o$(r2,7)+" "+o$(r2,1) o$(r2,6)="Y" o$(r2,3)=o$(od,3) ENDIF ENDIF ENDIF ENDIF NEXT od FOR l=1 TO tc IF w$(cw)=UPPER$(cc$(l,1)) IF VAL(cc$(l,3))=pr p$=cc$(l,4) ELSE p$="You can't examine "+cc$(l,1)+" because "+cc$(l,2)+" isn't here" ENDIF df=1 ENDIF NEXT l IF df=0 p$="I can't find one" ENDIF p$=p$+"." GOSUB ww_print RETURN ' ' The talk routine PROCEDURE comm_talk tf=0 cw=cw+1 FOR l=1 TO tc IF w$(cw)=UPPER$(cc$(l,1)) tf=1 IF VAL(cc$(l,3))=pr p$=cc$(l,1)+": "+cc$(l,6) ELSE p$=cc$(l,1)+" isn't anywhere to be seen." ENDIF ENDIF NEXT l IF tf=0 p$="I don't know anyone by that name." ENDIF GOSUB ww_print RETURN ' ' The give routine PROCEDURE comm_give cw=cw+1 gog=0 FOR l=1 TO no IF w$(cw)=UPPER$(LEFT$(o$(l,1),LEN(w$(cw)))) IF o$(l,3)="INV" gog=1 cw=cw+1 FOR l2=1 TO tc IF w$(cw)=UPPER$(cc$(l2,1)) gog=2 IF VAL(cc$(l2,3))=pr IF VAL(cc$(l2,9))=l obr=VAL(cc$(l2,8)) p$="You give the "+o$(l,1)+" to "+cc$(l2,1)+", who in return gives you "+o$(obr,7)+" "+o$(obr,1)+"." GOSUB ww_print o$(l,3)="66" cc$(l2,8)=STR$(l) o$(obr,3)="INV" p$=cc$(l2,1)+": "+cc$(l2,10) ELSE p$=cc$(l2,1)+" doesn't want the "+o$(l,1)+"." ENDIF ELSE p$=cc$(l2,1)+" isn't here." ENDIF ENDIF NEXT l2 ENDIF ENDIF NEXT l IF gog=0 p$="You haven't got one of those." cw=cw+1 ENDIF IF gog=1 p$="There's no-one by that name around here to give it to." ENDIF GOSUB ww_print RETURN ' ' Help PROCEDURE comm_help p$="Ah - in a bit of a fix, are we? These commands should help you out. Be sure to replace words in [square brackets] with your own. To interact with any objects, just USE them." GOSUB ww_print PRINT PRINT "N, NE, E, SE, S, SW, W, NW Travel in that particular direction." PRINT "LOOK Examine your surroundings." PRINT PRINT "TAKE [object] Take an object." PRINT "EXAMINE [object] Used to examine something." PRINT "DROP [object] And get rid of it again." PRINT "USE [object] Of course, some of them could come in handy." PRINT "READ [object] Literacy is, unfortunately, a requirement." PRINT "INV Gets a list of everything you're carrying." PRINT PRINT "TALK TO [person] Chats with people." PRINT "GIVE [object] TO [person] Does exactly that." PRINT PRINT "QUIT Leave this god-forsaken place." RETURN ' ' The user wants to quit! PROCEDURE comm_quit p$="Are you really quite sure about this? It means being dropped back to your desktop in a cold, computer-like way." GOSUB ww_print PRINT " Well? (Y/N)" dont_quit: a$=UPPER$(INKEY$) IF a$="Y" PRINT " Thanks for playing." PAUSE 150 SETCOLOR 3,0 SETCOLOR 0,1911 END ENDIF IF a$="" GOTO dont_quit ENDIF RETURN ' ' That string breaker fing. ' (he says, making it sound dead little and crap, even though it handles ' everything ever printed to the screen) PROCEDURE ww_print p$=" "+p$ ERASE pw$() DIM pw$(512) ' ' That string breaker fing. pw=1 FOR pl=1 TO LEN(p$) IF MID$(p$,pl,1)=" " pw=pw+1 ELSE pw$(pw)=pw$(pw)+MID$(p$,pl,1) ENDIF NEXT pl FOR pl=1 TO pw IF 80-CRSCOL>LEN(pw$(pl)) PRINT pw$(pl);" "; ELSE PRINT PRINT pw$(pl);" "; ENDIF NEXT pl PRINT RETURN ' ' Room data ' ' Brief, long, exits, visited, dark ' 1 DATA "in a cold, dank tower with exits east and south" DATA "The dark, mossy, stone walls absorb the light coming through the doorways to the east and south. The centre-piece for the circular room is a stone pedestal, lit by the circular hole at the top of the tall, dark tower. This place has a majestic/" DATA " feel, an ambience that's faded over time as the tower fell into disrepair." DATA "00101000","N","N" ' 2 DATA "at the foot of a small hill with a tower to the west. A path leads southwest" DATA "The shingly ground at the foot of the small hillock is obviously a result of the decaying cliff face to the north. At the top of the hillock, to the west, sits a tall stone tower, silently glowering over the outcrop of rocks to the east and/" DATA " south. You can skirt round the foot of the hill to the southwest." DATA "00000110","N","N" ' 3 DATA "on a rocky outcrop. You can go southwest, a boulder blocking your way to the east" DATA "You're standing on an outcrop of rock, next to a towering cliff face to the north. The only safe passage down the wart of magma is a path to the southwest, as though a trodden path leads to the east, it's blocked totally by a large boulder." DATA "00A00100","N","N" ' 4 DATA "in a small gully" DATA "This small divot in the rock has obviously been blocked by the boulder for some time. Odd, glowing moss covers the floor, ending where the boulder blocks the path to the west. There's a musty tang to the air, that you realise is caused by the/" DATA " pipe that emerges from a building far above you. Thankfully, nothing's falling from the pipe right now." DATA "000000A0","N","N" ' 5 DATA "in a stone tunnel, with exits to the east and southeast" DATA "You're in a stone tunnel, with exits east and southeast." DATA "00110000","N","Y" ' 6 DATA "in a stone tunnel, with an exit to the west" DATA "You're in a stone tunnel, with an exit to the west." DATA "00000010","N","Y" ' 7 DATA "in a stone tunnel, with exits to the east, southeast and south" DATA "You're in a stone tunnel, with exits to the southeast and south. There's also a tunnel leading off to the east, though the light at the end of it glints off the enormous, razor-sharp spikes set in the floor. The kind of spikes that really hurt./" DATA " I wouldn't tread on them, if I were you." DATA "00S11000","N","Y" ' 8 DATA "on the wall of a large tower, which leads east" DATA "It's easy to feel disorientated when you're walking comfortably along a vertical wall. You realise where the light's coming from - the room is actually the base of a huge tower, reaching higher than you could ever hope to climb. The spikes at the/" DATA " base of the tower are clustered round a stone pedestal which, in the interests of fair gameplay, you can reach." DATA "000000S0","N","N" ' 9 DATA "at the foot of a small hillock. A path leads from the south to the northeast. There's a tower to the north" DATA "You're at the foot of a small (but climbable) hillock that rises to the north. The channel cut by the base of the mound and a rocky outcrop leads from the northeast, bending off to the south. This place would be fairly boring, save for the/" DATA " inclusion of a sodding great big stone tower that rises high into the clouds, just off to the north." DATA "11001000","N","N" ' 10 DATA "on a rocky pathway leading south to northeast" DATA "You're at the gradual but dramatic slope of an outcrop of rock to the north, the only safe path leading you northeast to the top. Alternatively, you could wimp out of the climb and head back south." DATA "01001000","N","N" ' 11 DATA "in a small cave, with an exit to the south" DATA "You have to bend down as you stand in the small cave, which was obviously someone's home at some point. Whoever was here cleared out some time ago, though they left behind a cabinet on the north wall." DATA "00001000","N","N" ' 12 DATA "in a, frankly, tacky little shack" DATA "The tiny little house barely makes an effort to stay standing around you. It's small, it's pokey, and it smells. Everything here is covered with impenetrable muck, the likes of which you've found between your toenails after that nude pot-holing/" DATA " seminar you attended in Acton." DATA "00001000","N","N" ' 13 DATA "in Heshtifohma cottage" DATA "What, on the outside, looks like a cottage turns out to be a much more organised environment, with tables and chairs taking up the majority of the floor space. The white-washed walls alliterate at you as you begin to feel slightly stressed-out by/" DATA " the whole place." DATA "00001000","N","N" ' 14 DATA "in a stone tunnel, with exits to the northwest and south" DATA "You're in a stone tunnel, with exits to the northwest and south." DATA "00001001","N","Y" ' 15 DATA "in a stone tunnel, with exits to the north and southwest" DATA "You're in a stone tunnel, with exits to the north and southwest." DATA "10000100","N","Y" ' 16 DATA "in a stone tunnel, with an exit to the northwest" DATA "You're in a stone tunnel, with an exit to the northwest." DATA "00000001","N","Y" ' 17 DATA "on a stone pathway that runs north to east" DATA "The stone pathway running north to west could barely be described as a pathway. Or stone. It's merely a collection of disarranged cobbles submerged in mud, running in a line preordaned by impenetrable thicket to the south and west." DATA "10100000","N","N" ' 18 DATA "at a north, south, east, west crossroad" DATA "There's one in every game, isn't there? These things were the fodder of Level 9 and Magnetic Scrolls way back when the genre was really being defined. Forget the parser, the grammar and the feel, a crossroads is what you want, mate." DATA "10101010","N","N" ' 19 DATA "in a woodland clearing that leads west, though there's a small door in the cliff to the north" DATA "You're in a small clearing that breaks into a path to the west, surrounded by bright green forest. The majesty of looming rocks to the north is broken slightly by a small door carved into their base." DATA "10000010","N","N" ' 20 DATA "at the west end of the small, dreamy hamlet" DATA "You can't help the feeling that you've hit what passes for downtown around here. The trodden dirt path to the east ends abruptly at forest, which is completely unbroken save for a dingy shack to the north." DATA "10100000","N","N" ' 21 DATA "at a turn in the path of the village, running west to south" DATA "The path leading up from the south turns here, heading west. A pretty little cottage sits to the north, though the flowers planted here dwindle on the left hand side." DATA "10001010","N","N" ' 22 DATA "in a stone tunnel, with exits to the north, northeast, east and southeast" DATA "You're in a stone tunnel, with exits to the north, northeast, east and southeast." DATA "11110000","N","Y" ' 23 DATA "in a stone tunnel, with exits to the west and southeast" DATA "You're in a stone tunnel, with exits to the west and southeast." DATA "00010010","N","Y" ' 24 DATA "in a stone tunnel, with an exit to the south" DATA "You're in a stone tunnel, with an exit to the south." DATA "00001000","N","Y" ' 25 DATA "at the end of the ravine path that runs from the southeast" DATA "You're at an unpassable part of the sheer drop to the south - thick, unpenetrable foliage invades the path from the north, making your route impossible. Your only choice is to head back southeast." DATA "00010000","N","N" ' 26 DATA "wandering down a forest path, that runs from the north to the east" DATA "Despite the talentless descriptions, you can't help but notice just how relaxing your surroundings are. The path you're on runs from the north to the east, and the thick, healthy green foliage teams with primordial life." DATA "10100000","N","N" ' 27 DATA "at a fork in the path, which now leads west, east and south" DATA "The path forks, whichever way you look at it. It breaks off west, east and south. A signpost in the centre of the junction points down each road." DATA "00101010","N","N" ' 28 DATA "on a bridge spanning a north-south brook" DATA "You've come to a little bridge spanning an even smaller brook. The four planks of wood roped together span a small but gushing stream that dances out of the trees to the north, and continues its chase south." DATA "00C00010","N","N" ' 29 DATA "at the south end of a forest hamlet" DATA "Tucked into the woods is a small collection of well-kept buildings, their strong oak, thatched structures blending in with the surroundings. You can feel the heat of a blacksmith at work in his workshop to the east. The path widens/" DATA " and continues north, bending east to avoid a fairly large house to the south." DATA "10101010","N","N" ' 30 DATA "in the blacksmith's workshop, that opens to the west" DATA "The heat gradually reddens your face as you walk toward the workshop. By the time you're inside, you can feel the sweat dripping off your brow, the heat of the furnace whitening metal at the hands of the blacksmith." DATA "00000010","N","N" ' 31 DATA "an unfortunate soul - remember that gravel slope hidden in the dark? Okay, so it was a mean trick to play, but you've fallen down it again. Why aren't you making a map as you go along? The whole game sits on an 8x8 grid, and you're currently on/" DATA " the fourth row, one square in from the left" DATA "Oh, I really hate to do this. In the darkness, you see, you didn't notice that there wasn't a floor in the corridor to the southeast, right, and you're madly trying to scramble up screaming obscenities at the programmer. You know full well that/" DATA " you won't be able to get back the slope, and so the only viable option is to accept the cruel victimisation and let yourself slide south down the slope." DATA "00001000","N","Y" ' 32 DATA "in a stone tunnel, with exits northwest, north and south" DATA "You're in a stone tunnel, with exits northwest, north and south." DATA "10001001","N","Y" ' 33 DATA "in the strong currents of a rapid river. You can go south onto dry land or southeast back down the river" DATA "At the northwest end of the river lies an enormous waterfall, guzzling you ever-closer to a torrential death on the rocks a thousand feet below. It would be lunatic to even attempt the drop. The river runs off to the southeast, but there's dry/" DATA " land to the south." DATA "000PP000","N","N" ' 34 DATA "at the ravine. You can go northwest or southeast, or east into the forest" DATA "You're looking down into a ravine to the south. You can follow its edge from the northwest to the southeast, or explore the forest to the east." DATA "00110001","N","N" ' 35 DATA "in the forest. There's a ravine to the west, or a forest path which forks north and east" DATA "You're standing at the entrance to the forest, the ravine echoing silence to the west. Though the fauna is thick in most parts, you can see small foot-worn paths leading north and east." DATA "10100010","N","N" ' 36 DATA "at a twist in the forest path, that runs west to south" DATA "You almost lose the path you're following, as it winds wildly around stout oaks that block the straight and narrow. You eventually work out that it leads from the west to the south." DATA "00001010","N","N" ' 37 DATA "in the blacksmith's house" DATA "It's a house. There's a blacksmith who lives in it. Soot everywhere. The sooty wooden furnishings are made of stout oak, the table taking up the largest portion of the one-room hut." DATA "10000000","N","N" ' 38 DATA "in the dynamite shed" DATA "The pokiness of the shed isn't helped by the shelves that line the walls. You spot a box on a shelf next to the door in the south wall." DATA "00001000","N","Y" ' 39 DATA "inside the waterfall" DATA "Looking back at the slope, you realise you've fallen further than you thought. The slope to the north is utterly unclimbable. To the south is a hole in the wall to daylight, covered by a sheet of plumetting water. You must be behind the/" DATA " waterfall. You'd better be ready to swim if you're going to jump through there." DATA "0000P000","N","N" ' 40 DATA "in a stone tunnel, with exits north and south" DATA "You're in a stone tunnel, with exits north and south." DATA "10001000","N","Y" ' 41 DATA "at the river shore, with water to the north and a hill to the south" DATA "The view from the river shore is impressive, to say the least. The ravine continues to the southeast, high cliffs on both sides, with a strong, turbulent river flowing through to the waterfall northwest of here. Behind you, the little shore/" DATA " tapers off quickly and a steep hill takes over." DATA "P0001000","N","N" ' 42 DATA "in the river running north west to south east" DATA "Ho-hum, you think, as you gently bob along. From either the north west or south east. Or something. Yes." DATA "000P000P","N","N" ' 43 DATA "at the southeast end of the ravine path as it turns directly east" DATA "The ravine fails to look any less daunting at the southeast end, the pathway running northwest in parallel with the edge of the cliff. The path continues into a forest to the east." DATA "00100001","N","N" ' 44 DATA "at the forest entrance, with paths to the north, east and south east. The ravine's to the west" DATA "Standing at the forest entrance, you realise this place must have been bustling at one time, as paths lead off to the north, east and southeast. To the west you can still see the ravine." DATA "10110010","N","N" ' 45 DATA "at an odd hatch" DATA "The path to the west ends abruptly at an odd hatchway in the ground." DATA "00000010","N","N" ' 46 DATA "in a small clearing with a hut to the north" DATA "The path from the southwest leads directly up to a small shed to the north. For some reason, this building has been set well away from the village that's only just visible through the thick trees to the northwest." DATA "10000100","N","N" ' 47 DATA "at the bottom of a huge waterfall, the river leading south east" DATA "You're floating at the base of an enormous column of water pouring down the mountain directly to the north. With the weight of the water pushing you continually under, the only way out is to swim to the southeast." DATA "000P0000","N","N" ' 48 DATA "in a stone tunnel, with exits to the north and south" DATA "You're in a stone tunnel, with exits to the north and south." DATA "1000P000","N","Y" ' 49 DATA "on a hill sloping down to a river to the north. There's a large tower to the south" DATA "You're standing on a steep hill leading up to a large tower to the south. You can travel around the hill, moving east or south east, as well." DATA "10111000","N","N" ' 50 DATA "at the foot of a hillock rising to the southwest" DATA "There's nothing like a good view, and this really is nothing like a good view. A large tower looms to the south west, matched only in height by the cliffs just across the river. You feel oppressed." DATA "00011111","N","N" ' 51 DATA "swimming in a river that runs northwest to southeast" DATA "A river runs through it (northwest to southeast), and it's a long and boring one. So long and boring, in fact, this author can't think of anything at all interesting to say about it." DATA "000P000P","N","N" ' 52 DATA "in the riverside cave, with an exit to the south" DATA "You're shivering from the cold water in a cave hidden deep in the cliff, the only exit to the south leading you back into the cold river. There's a you-sized hole in the roof, but you can't climb." DATA "0000P000","N","N" ' 53 DATA "at a junction in the northwesterly path, as it branches east and northeast" DATA "Forests, too, can be a little dull at times. This much woodland in what's only a 64 location game may seem a little extravagant, but it sort of helps to fill the space. At least someone put a bench here to help break up the tedium of an afternoon/" DATA " stroll. The path runs in from the northwest and branches east and northeast, by the way." DATA "01100001","N","N" ' 54 DATA "where the western path ends abruptly in a small, unclimbable gully to the west" DATA "If forest paths could talk, this one would make some exclamation of surprise as it hit a small cliff rising to the west. It can't, though, so it doesn't." DATA "00A00010","N","N" ' 55 DATA "standing on top of a high rock, contemplating a slope to the river to the north, a rickety bridge to the southeast or the climb back down to the west" DATA "What you originally thought was a small cliff turns out to be a tall rock. To the southeast you can see a large tower (not unlike the last one), the gap spanned by a rickety bridge. The climb back down the rock to the west seems a little more/" DATA " enticing than the sheer drop into the river to the north." DATA "P0010010","N","N" ' 56 DATA "at a northwest, southwest curve in the river with a cave entrance to the north" DATA "The current running from the northwest end of the river is too strong to fight. Your only option is to follow it southwest, as it curves to avoid a large tower to the south. You see a cave entrance to the north." DATA "P0000P00","N","N" ' 57 DATA "in the southwest tower" DATA "There's obviously a point where medieval interior decoration gets so bland, people have to start innovating. This tower may be just as tall and looming as the others, but you've no way of knowing - cobwebs stretch across above your head, some /" DATA "trailing right down to the pedestal set in the floor. The light from the north, northeast and eastern doors casts weird patterns across the silken ceiling." DATA "11100000","N","N" ' 58 DATA "on the small southwestern island, a large tower looming to the west" DATA "The enormous tower rocketting upwards to the sky (not literally) fails to distract you from the stunningly attractive woman, visible on the far eastern shore of the little island (I guess computer games are written for a predominantly male /" DATA "audience after all)." DATA "10100011","N","N" ' 59 DATA "standing on the far eastern shore of a little island, wondering why the programmer won't let you jump into the river from here" DATA "The river to the east and north glistens softly in what little sunlight makes its way down into the deep chasm. You long for company..." DATA "00000011","N","N" ' 60 DATA "at a bend in the river, leading northwest to east. You can also see a small cave entrance to the north" DATA "Swimming can be hard work, even with the strange, mystical powers of a fish. Yes. The river runs from the northwest to the east, though a small hole in the cliff face to the north speaks of respite from the consuming currents of this mighty river/" DATA " (oh flow, river, flow)." DATA "P0P0000P","N","N" ' 61 DATA "swimming down a river that runs from east to west" DATA "You're swimming down a river that runs from east to west." DATA "00P000P0","N","N" ' 62 DATA "swimming down a river that runs from east to west" DATA "You're swimming down a river that runs from east to west." DATA "00P000P0","N","N" ' 63 DATA "swimming down a river that runs from northeast to west" DATA "You're swimming down a river that runs from northeast to west." DATA "0P0000P0","N","N" ' 64 DATA "in the southeast tower" DATA "The bridge to the northwest leads to a platform high up in the huge tower. Looking over the edge, you can see nothing but darkness, the dank stone walls tapering off into the void. A stone pedestal sits on your platform, it's weight testing the /" DATA "wood you're standing on." DATA "00000001","N","N" ' 65 DATA "in Hairy's HQ" DATA "Lawks! You've found Hairy's secret hideout. This game'll be a push-over if you learn to use some of the tools here. If you're not sure what something does, examine it before you use it. To the east is the system room." DATA "00100000","N","N" ' 66 DATA "in the system room" DATA "You're in the room where all the objects that are currently being held are stored. It's also for anything that's been destroyed. Don't mess with it - you could cause serious trouble." DATA "00000010","N","N" ' 67 DATA "in the hole that was Hairy's house" DATA "The dynamite worked all too well - you're standing in a deep hole, the dim light from the sky glinting on the metal of a large, shiny catapult." DATA "00000000","N","N" ' Object descriptions DATA "nothing","Whateffer","66","N","0","Y","absolutely","0","0" ' 1 DATA "telepad","It looks exactly as a teleport should - a shiny disk with some complicated buttons. It begs to be used","65","Y","0","Y","a","0","0" DATA "dev","It's a programming tool. Use it to find out a few numbers if you happen to be Hairy, writing this game. If not, don't bother - it's useless","65","Y","0","Y","a","0","0" DATA "map","Use the map to get a quick numeric picture to use with the telepad","65","Y","0","Y","a","0","0" DATA "message","It's a hidden message from the programmer, Hairy","65","Y","0","Y","a","0","0" DATA "Amphi","The esper glistens bright green, its weird, replenishing rays giving you the leaping power of a frog. Should you particularly feel the need and you're carrying this, you can leap over high things","1","Y","1","Y","the esper","0","0" DATA "pedestal","The pedestal at the foot of the tower is a simple affair, designed to hold its Esper modestly","1","N","0","N","a","0","0" DATA "Pisci","The second esper, Pisci, emits a silver light, reflecting your face thousands of times like the scales of a crystal fish. This one gives you the power to swim","64","Y","1","Y","the esper","0","0" DATA "pedestal","It's a small lump of stone, with a shape carved into the top that's the exact shape the esper it was designed to hold","64","N","0","N","a","0","0" DATA "boulder","The boulder is huge, and distinctly alien - you don't recognise the rock it's made of. The earth around the boulder has formed into ridges","03","N","0","N","a","0","0" DATA "boulder","The other side of the boulder looks equally strange, and your suspicions about its origin are confirmed by the enormous gouge it took out of the earth on its way down","04","N","0","N","a","0","0" ' 11 DATA "moss","It feels wet to the touch as you run your hands across its silky surface","04","N","0","N","some","12","0" DATA "ore","A small chunk must have fallen off the boulder when it hit the ground. The surface that was attached to the boulder glows purple","04","Y","10","N","some","0","0" DATA "pipe","It's way too high to get a proper look at","4","N","0","N","a","0","0" DATA "signpost","A quick inspection of the signpost reveals that there's a tower to the west, a village to the east and the ravine to the south","27","N","0","N","a","0","0" DATA "clump","It's a large clump of matted hair. Euch","66","Y","1","Y","a hairy","16","0" DATA "nest","Hairy had been wondering what the noise was","66","Y","1","N","a bird's","0","0" DATA "foliage","The big, healthy leaves drip with fresh rainwater, huge droplets hanging down off the butterfly eggs on the leathery underside","26","N","0","N","luscious","18","0" DATA "caterpillar","Whoever said these things were pretty? Butterflies don't exactly fill you with awe, but these things are gross","26","Y","1","N","a","0","0" DATA "light","This game was written in a dark room - you can only program after the sun goes down. Whenever I needed to write something down or whatever, I used this...","65","Y","0","Y","a","0","0" DATA "magma","That's what it is, all right. Volcanic fluid rises from beneath the Earth's mantle and ruptures through to the surface, creating bubbly lumps of rock. You're standing on one","3","N","0","N","the","0","0" ' 21 DATA "building","You can see its dark form high above you, but no other features offer themselves from this distance","4","N","0","N","the","0","0" DATA "sign","It reads 'Danger - no naked flames'","46","N","0","Y","an important","0","0" DATA "spring","Not the kind that water flows through, but a spring of the large metallic coil variety. It's aimed directly at the hole in the roof","52","N","0","Y","a","0","0" DATA "hole","You can't see how far up the hole goes, though the echoes of your breath mixed with far away sounds of birds singing might give you some clue","52","N","0","N","a","0","0" DATA "hatchway","It would appear that the hatch can only be opened from the inside, the smooth edges fitting too neatly for you to get a good grip from this side. You can tell it's heavy, though","45","N","0","N","a","0","0" DATA "spine","It hurts, alright. You were going to have landed on your arse, but we didn't want to encourage Nick to spend too much time thinking about arses when he should be working","45","N","0","N","a","0","0" DATA "Arachni","The dark grey esper gives you the power of a spider - if you're holding it you can walk on walls for short distances","57","Y","0","Y","the esper","0","0" DATA "pedestal","It's mainly obscured by spikes, but you can still reach it","57","N","0","N","a","0","0" DATA "spikes","A hair floats down from the ceiling, hitting the spike end-on. With the noise of one long, sliding violin note, the spike proceeds to halve the hair","8","N","0","N","a","30","0" DATA "hair","It's a hair, half its length split neatly in two. If you had some mousse, you could get into divination","8","Y","0","N","a mutilated","0","0" ' 31 DATA "spikes","They look pretty scary from this distance, so I don't think we should investigate much further","7","N","0","N","the","0","0" DATA "Ultima","Ultima glows blue, sparks occasionally dancing across the stone's surface. You can feel its power ebbing through your soul, n'that","8","Y","1","Y","the esper","0","0" DATA "pedestal","It's a small lump of stone, with a shape carved into the top that's the perfect shape the esper it was designed to hold","8","N","0","N","a","0","0" DATA "door","These people are trusting - the door isn't even locked. Someone could just stroll on in here..","19","N","0","N","a","0","0" DATA "cabinet","The badly constructed, badly painted, badly hung bathroom cabinet with tacky mirrored doors reminds you of home","11","N","0","N","a","36","0" DATA "matches","What luck - matches! Things like this are always handy in this type of game, y'know. Thankfully, they're not safety matches","11","Y","1","N","some","0","0" DATA "box","The box is made of heavy wood, but apart from that it's nothing special","38","N","0","N","a","38","0" DATA "dynamite","In a feat of total ingenuity and kindness, the dynamite is self-lighting - a simple mechanism but an effective one","38","Y","2","N","a stick of","0","0" DATA "shelves","They're just shelves, running around the shed","38","N","0","N","some","0","0" DATA "immortality","While you're holding this, your astral form will stay in one piece no matter what. If you drop it when you should be dead, though..","65","Y","0","Y","the power of","0","0" ' 41 DATA "torch","It's an oddly sophisticated torch with an automatic dark-detecting switch","66","Y","2","Y","a","0","0" DATA "walls","They're old, dank and dark. We could throw more words around if you like, but that's all there is to it","1","N","0","N","the","0","0" DATA "tower","You could get a better look at it if you got a bit closer..","2","N","0","N","a looming","0","0" DATA "rocks","They really don't look very friendly - too spiky and jagged by half. Your mind plays images of people snagging squidgy bits while climbing them","2","N","0","N","some narly","0","0" DATA "rocks","You try not to think too much about the squidgy bits","3","N","0","N","some","0","0" DATA "cliff","It's a huge cliff. 'Nuff said","3","N","0","N","a","0","0" DATA "tower","Go on - head north. It won't byte","9","N","0","N","a","0","0" DATA "rocks","The rocks don't look too scary, but you're still not going to climb them. There isn't a goat esper","10","N","0","N","some","0","0" DATA "muck","It's just miscellaneous brown googe, defying description and, most probably, chemical analysis","12","N","0","N","some icky","0","0" DATA "tables","The brown, sensible tables serve as desks for the battered computers that slouch on them. They're also a tangle of wires","13","N","0","N","a few","0","0" ' 51 DATA "computers","The screens show crafted words and pictures intertwining in computer magazine harmony. Or something","13","N","0","N","the","0","0" DATA "words","They mainly read 'Really, really wanted - art editor'. How odd","13","N","0","N","some","0","0" DATA "pictures","They're badly pixellated, incorrectly proportioned and way too dark. That's par for the course in computer journalism","13","N","0","N","the","0","0" DATA "wires","If the Health & Safety came around here, they'd have a field day. Come to think of it, what must there office look like? No-one's going to hassle them","13","N","0","N","a tangle of","0","0" DATA "chairs","They're just chairs. Not everything in an adventure is special, k'now","13","N","0","N","a few","0","0" DATA "cobbles","As you starer at the cobbles, you begin to see a face in their pattern. You've gotta stop playing these games","17","N","0","N","some ragged","0","0" DATA "face","It's yours. Philosophical, huh? Sort of introspective, as well..","17","N","0","N","the","0","0" DATA "thicket","It's a thick thicket indeed","17","N","0","N","the","0","0" DATA "line","Imagine - you've sat down to flesh out a world with beautiful detail, and some pedant even examines the lines","17","N","0","N","the flippin'","0","0" DATA "forest","The tall, slender trees look pretty. Yes, that's it - pretty","18","N","0","N","the","0","0" ' 61 DATA "forest","It's still pretty","20","N","0","N","the","0","0" DATA "shack","It's a right state - red paint peels off the uneven wood. A strong breeze blows and the whole thing leans alarmingly to the left","20","N","0","N","the","0","0" DATA "flowers","To your horror, you notice that the flowers are quietly giggling to themselves, utterly disinterested in what the rest of the world's doing. Scary stuff","21","N","0","N","the giggling","0","0" DATA "cottage","It's been scrupulously painted a bright white, in stark contrast to the reality of colour the rest of the village uses","21","N","0","N","the","0","0" DATA "foliage","It's foliage","25","N","0","N","some","0","0" DATA "bridge","It's a modest little affair, but it does the job. The many footprints on its surface advertise its usefulness","28","N","0","N","the","0","0" DATA "footprints","The marks belong to small, insignificant feet. One huge set of prints leads into the village, but they don't feature in the other direction. If you read Agatha Christie, this could mean something","28","N","0","N","the","0","0" DATA "brook","Large, flat stones cut a lazy channel for the tiny stream that runs across them","28","N","0","N","the","0","0" DATA "stream","The tiny trickle of water bubbling down from the north looks crystal-clear","28","N","0","N","the","0","0" DATA "planks","They're large and immovable, in case you had any ideas about kidnapping villages..","28","N","0","N","the","0","0" ' 71 DATA "buildings","They could all do with a slightly closer inspection..","29","N","0","N","the","0","0" DATA "workshop","Go on in - it's open, and the blacksmith looks friendly enough","29","N","0","N","the","0","0" DATA "furnace","It roars heat and light into the workshop, whatever's inside it burning hot and bright","30","N","0","N","the","74","0" DATA "coals","They really are stupifyingly hot","30","Y","3","N","some white hot","0","0" DATA "table","The large, oak, sooty table is fairly fat and featureless","37","N","0","N","a grimy","76","0" DATA "note","It's covered in soot, but legible. I suggest you read it","37","Y","1","N","a grimy","0","0" DATA "shed","It's a small shed, the red paint peeling lazily in the afternoon sun. The wooden door seems to be unlocked","46","N","0","N","the dynamite","0","0" DATA "door","It's just a door. And it's unlocked - just go through it to the north and stop faffing sbout examining things","46","N","0","N","the damned","0","0" DATA "bench","The small, green bench reminds you of summer days back in the park. Back in the real world. The paint still looks a bit tacky..","53","N","0","N","a park","0","0" DATA "paint","No - tacky as in wet. And it's all over your fingers now","53","N","0","N","the wet","0","0" ' 81 DATA "cliff","It looks almost as surprised as the path that hit it (but the path doesn't have a description)","54","N","0","N","the surprised","0","0" DATA "path","Okay, so I lied","54","N","0","N","a lying","0","0" DATA "bridge","It's a shoddy piece of work alright - a few pieces of old scrap wood bound by fraying ropes","55","N","0","N","a rickety","0","0" DATA "tower","It's huge. Go on - take a closer look","55","N","0","N","a","0","0" DATA "river","It's a long drop into the swirling torrent below, but you'd survive the fall. You'd better be able to swim, though..","55","N","0","N","the swirling","0","0" DATA "tower","There's no way in from the river, unfortunately","56","N","0","N","the","0","0" DATA "cobwebs","The fine, white, silken strands feel soft to the touch, reminding you of your morbid fear of spiders. Oh well - if you can't beat 'em..","57","Y","0","N","some silky","0","0" DATA "patterns","They remind you of that time a friend discreetly slipped something into your beer. For the sake of a souvenir, you can take them with you","57","Y","0","N","the pretty","0","0" DATA "bridge","It doesn't look any better from this angle. Worse, in fact","64","N","0","N","the rickety","0","0" DATA "platform","It bows in the middle, under the weight of the enormous stone pedestal it's supporting","64","N","0","N","the wooden","0","0" ' 91 DATA "wood","Knotted and old, you wonder how much more strain it'll take (enough about the wood already)","64","N","0","N","the","0","0" DATA "darkness","It's black, man. It's like; how much more black can you get? Wow - that's black","64","N","0","N","the black","0","0" DATA "catapult","The firm base holds a taught metal rod, on the end of which a seat is hooked down. It looks ready to spring at the slightest touch","67","N","0","N","a","94","0" DATA "words","They read: Seeya - ready to write your own yet? Most strange","67","N","0","N","some","0","0" DATA "marker","Desc","65","Y","0","Y","a","0","0" ' ' Character information ' (gulp) ' 1 Hairy DATA "Hairy","he","12" DATA "It's just a hairy bloke" DATA "100","Hi - I'm Hairy.","0","15","30","Tops - cheers. Here you go." ' 2 Colon DATA "Colon","it","28" DATA "Elks are traditionally short, but Colon's pioneering new lows in the field. The sharp suit he's wearing does little for his demeanour" DATA "100","You'd better find me the perfect gift ore I won't let you pass.","0","0","12" DATA "Okay, so maybe it was a bit of a horrid, pedantic puzzle. My apologies. Not." ' 3 Caff DATA "Rache","she","59" DATA "Your eyes can't help slipping off Rache, her seductive form alone against the harsh winds of the island" DATA "100","I came to the safest spot in the valley as soon as I could - I just wish I'd have planned the trip - I've got firewood, but nothing to light it with.","0","41","36","Great - I can light a fire, now." ' 4 Seer DATA "Ju","she","53" DATA "Her tall, healthy figure is covered by a long, flowing robe, her eyes sparkling brightly under the dark cowl. The programmer put her here to help you out","100" DATA "Go find the esper Ultima - it's our only chance to save the land. Once you've got it, bring it to me and we can rid this land of such an evil curse. Alternatively, we could break it down and sell necklaces." DATA "0","32","32" DATA "Excellent - you have done well. Under Hairy's shack you'll find a means of escape - use it to get the esper into the clouds, and yourself on the way home the same way you came. Good luck, traveller." ' 5 Blacksmith DATA "Smith","he","30" DATA "He looks too busy","100" DATA "Go away - I'm busy.","0","255","255","You'll never read it." DATA "END" . RV .. 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"V@RrȎ[Q^rDZg~Afy/)Jhwh.&R9jyא 9!9)MG&zc:"Jk޺09_gTW鮩aJez``됟즐inOu,mmEQ':dQ{egf@+xd52Z}Ʀ*d:p6+/SںNg ;/o*ƯXf ŽpkҚ,QszL9ݲf;ϾFI3JZ/yqY g=5/Ylj=O!x3ٛ2Μq)ܨkPŽE6i|?yON`*rmxOs5oN`(7k`鮂|Uomz{QX5b&cǵpk8z._}o  O~o~3bK`?aH䏁aZ7 LsQ@8N.Tw*H SFs?m.ZX7KΖ,e,y3C@ %-։Ct͛~NKc.dX)sysXZns %;M\*gC&:΂ s34.Jiz@ |9LmPu&QlZTl;8H RL]X3'J[J´0i Ԡbf?}D7Sh'8iN3L)<%b!RJ'[FT}|YgZ :SfӬvuW˦^E}J ī)Jjvg?ٕlo0{O2NK&ͦ/-( 3Yflzz= F*wDms 5)>v*6õm?GVB]d)-vW^Nf7}7@; Catch Up!

Catch up!


Maybe you haven't heard of the Internet. Maybe the world of free information at the speed of light passed you by. Maybe the idea of cheap, fast electronic mail didn't enter your head. If you want to join in with thousands of other ST users from the far reaches of this septic orb, you want to be on the Net. If you want to get on to the Internet using your ST, you'll need a few things:
  • A copy of STF 65 for the wonderful Internet feature.
  • An ST, with a hard drive.
  • A modem.
  • A phone line.
  • A subscription to Demon Internet, costing £15 plus £11 monthly charge. Call Demon on 0181 349 0063 for more information and the chance to part with some cash.
  • The Internet software Demon supply. It's a file called ATARINOS.TOS, which you download to your hard drive and unpack, then run INSTALL.TOS.

Bear in mind that this is an activity that doesn't come cheap. As well as the Demon costs (which are a very fair price), you still have to survive those phone bills spent on-line. You've been warned, and we've been ST FORMAT. Good night.

Cold Logon

Cold logon


When you receive your Demon bits 'n' pieces for the first time you'll be instructed to call the Demon number without any special software running, using a simple ASCII comms package such as TeddyTerm, Fizzydizz, or any of the other comms packages you're used to. When you call, you'll be asked for your Demon address details, and given the chance to set your password, as well as pick up the final two figures of your IP address. MAKE A NOTE of those important details...

Things to remember


Make sure your NOS folder is sitting in the root directory of your hard drive, or you'll come across all sorts of silly errors.

Don't ever hang up halfway through a session. Always make sure you finish what you're doing and exit by closing your final session.

Always work from the main menu. If you load up the sections separately, you'll get into all sorts of confusions.

You can get help on anything by e-mailing internet@demon.net or, if you can't get e-mail working, by calling 0181 349 0063.


Fairly Tepid Porridge

Fairly Tepid Porridge


File Transfer Protocol, or ftp, is probably the only scary thing you'll come across when using the Internet. When you use the ftp command, you follow it with the name of a server to connect to, for example: atari.archive.umich.edu/atari/. You can now chat directly with a computer, and give it commands to carry out on its own time. These commands are:
  • dir used on its own requests a full list of the server's current contents to be sent to you. If followed by a path, it gives a directory of that specific path and, if the pathname is then followed by a file name, the directory received is saved as that file on your hard drive.
  • get requests the file with the name you state, so get wibble.prg pulls wibble.prg over the Net to your ST and saves it to your hard drive. State a second filename to rename the file before it's saved.
  • mget is an abbreviation for multiple get and enables you to state several filenames to be transferred. You can use wildcards here to take several files at once (for example, use *.prg to take every file with a .PRG suffix in that subdirectory).
  • put & mput work in the same way as the get commands but in reverse. They're for weird sickos who actually want to send files to these sites in return for the thousands of megabytes they've stolen. But really, it's a good idea to upload whatever you can in the way of information. People have taken the time to upload the software you've just scabbed, so it's only fair to do the same in return ­p; that's what keeps the Internet going.
  • verbose should be followed by a number from 0 to 3, responding to how much feedback you'd like: 0 only gives error messages, 1 asks for a quick summary every time a transfer takes place, 2 (default) gives error, summary and progress messages, and 3 makes the thing chat about what it's doing till it's blue in the face.

Queues

Join the queue, mate


Throughout the explanation of the mailer commands, you'll have come across the occasional mention of a queue file. It's really quite important that you know what's going on here.

Queue files are the files full of mail to be processed by your mail reader program and Demon. The file mqueue contains all mail to be sent by AtariNOS (or a subprogram of it) to Demon, which is an easier way of dealing with e-mail. These queue files are essentially managed by the NOS software itself (which means that you don't have to go anywhere near them).

Your e-mail system works as a series of queues. When you send mail, you add it to an outgoing queue, and when you receive it and read it you're removing it from an incoming queue. You can almost think of it as an In tray and an Out tray, with you sitting in the middle reading and writing letters (and throwing the majority of your In tray into the bin... like Jill does).


RC? I see!

RC? I see...


If you look in your base NOS folder, you should find a file called mailer.rc. If you look in the News folder (itself embedded in the spool folder), you should find a further file called snews.rc. Far from being yet more files with unhelpful extensions, these are information resources for the mail and news programs (but can you guess which is which?).

Although you entered an unfeasibly large amount of statistics and information when you edited your configuration in Part 1, you're going to have to go through the process again, this time working on the .rc files. The files themselves contain all the instruction you need ­p; just load them into a word processor (or cut-down text editor) and work on them there.


Sessions

A long, exhausting session


The easy way to understand sessions is to compare them to multitasking operating systems like MagiC or Geneva. Although you can only think about one thing at once, the ST can carry out several operations seemingly at the same time.

In a multitasking system you'd switch between applications, whereas with AtariNOS you switch between sessions, enabling you to keep different activities separate. Say you were talking to an ftp site, requesting a file. Instead of waiting for a reply before you could do anything else, you could switch to a different session and do something else while waiting for a file to be sent. With AtariNOS this extends to just about everything you'd want to do on the Net. The session system uses several simple commands, among which are session (the main switching command), abort and close.

AtariNOS Know-How Part 1

You've called Demon Internet, shelled out your dosh, got yourself an Internet account and downloaded the AtariNOS software. It's all very powerful, but how do you use it to hook up to the Net? Simon Forrester explains in words of one syllable, in the first instalment of a two-part series on using AtariNOS.


Back in issue 65 we explained in some detail how to get yourself on to the Internet, via Demon Internet (if you missed it, see the 'Catch up!' section). However, the AtariNOS software isn't the most well-documented, explanatory software in the world. So, having covered the what, where, when, which and who of the Internet, now it's time for the how...

Your software

AtariNOS is the official Atari package for Demon Internet, supporting almost every function you can access through Demon from the comfort of your ST. In fact, the only thing it doesn't fully support is the World Wide Web (although you can use the e-mail function to get hold of Web pages as ASCII text ­p; more about that in Part 2).

When you receive AtariNOS you'll almost definitely feel totally lost. The package comes in the form of several small programs, none of which is particularly easy to use. It also contains an enormous folder with over a megabyte of documentation, not all of which relates directly to you. However, if you do have a few days to spare and you don't value your eyesight then you could flick through DEMON.TXT, KA9QNOS.TXT, SUPPORT.FAQ and WELCOME.TXT. ZEN.TXT should help you out with any general Internet problems.

Using Demon software means that instead of dealing with an unfriendly scrolling on-line ASCII display, you can work within the cosy environment of your own software off-line. You can ring up the system to send mail you've already written off-line, and receive incoming mail which you can then read off-line later. By enabling you to do so much off-line AtariNOS saves you money, and you're less likely to make mistakes on-line, because everything you do is finalised before the Demon number is dialled.

Getting started

You don't need to know how to use every program supplied in the package, because they all run from one core program, which is called DEMON.PRG. Just run DEMON.PRG (double-click) and after a screen of text you're presented with a main menu. This features six options:

  • Log on to Demon (go live, on-line, directly communicating with the Demon computer).
  • Use Usenet (log on to newsgroups, which we'll explain in more detail in Part 2).
  • Fiddle with electronic mail (it's an off-line reader, again explained more in Part 2).
  • Use newsgroups (also explained in the next part).
  • Alter your own preferences.
  • Jump into the incredibly unfriendly command shell.

Alter your preferences

The first thing you need to do is alter your preferences, by hitting [E]. It's at this stage that you tell the package how to log on to Demon, including which Demon server to log on to. Make sure at this point that you have your official Demon documentation in front of you (you know, that bit of paper they sent you when you signed up), so that you can enter the following details. A lot of what you're about to read refers to my address as an example to help you, my address being hairy@stformat.demon.co.uk. You'll be setting up

  • IP address: This is that four-segment number, the final two digits of which you learnt when you performed your cold logon (see the panel just below).
  • Nodename: This is a reference to the second part of your e-mail address. For my address, this would be stformat.
  • User ID: The very first chunk of your address. In terms of my address, this is the hairy part.
  • User name: Your real name, mine being Simon Forrester.
  • Organisation: Pretty irrelevant, but mine's Future Publishing.
  • Editor: This refers to the kind of software you're using to access Demon. Best leave it alone, really.
  • Demon number: This is the nearest Demon phone number to you (they supply you with a list). We're using the Bristol number, as we're only about 20 miles away. Sit down with a map of Britain if necessary ­p; it'll certainly cut down on those phone bills, which could be vital.
  • Dial command: The command you need to send to your modem to order it to dial a number. If your modem is flagged as being Hayes-compatible then you'll need the letters 'ATDT', which is the Hayes code for dialling. If your modem uses a different command set, refer to your manual. Most will use ATDT, though.
  • Password: Like I'm about to tell you mine. This is not your chance to set your password ­p; you should already have done that on your cold logon. At this stage you need to enter the correct password for your software to log on to Demon correctly under your identity.

Log on!


Once you've set up your preferences you can log on to Demon by pressing [A]. At this point, your modem will dial the number you set up earlier, and you'll be connected to a Demon machine, ready to do that ftping (see the panel called 'Fairly tepid porridge' for some reason), domain naming, which we'll cover next month, and other on-line tasks.

From this point on, you'll be plonked into a particularly unfriendly command line mode. You can get to a full list of commands by hitting [?] followed by [Return], but there are a few commands that are really useful...

Command!


The following commands can all be used in the Demon command mode. Those that are followed by parameters (details) will be explained fully, but make sure you remember that parameters are separated by spaces, not commas.
  • abort kills a session whether it's tidy or not. It's similar to close, except that it'll kill anything currently in progress.
  • cd displays the current folder directory, unless you follow it with a new path, in which case it changes the current folder.
  • clear clears the screen.
  • close finishes a particular session ­p; an ftp session for instance.
  • delete deletes a file in the current working directory.
  • dir gives a directory in the form of a new session. You can state a different path if you wish, which obtains a directory of that folder without switching to it in the way that CD would.
  • eol following this command with either UNIX or standard defines the behaviour of carriage returns, telling them to be either a line feed or an ASCII value of 13.
  • escape displays the hexadecimal value of the character currently in use as the escape character. An escape character is needed to switch between sessions. You really don't have to worry about this one too much.
  • exit escapes and takes you back to the main menu.
  • finger followed by identification (such as hairy@stformat) sets up a new session with the server. For more information on sessions, see the panel just below.
  • ftp opens a direct conversation channel with an ftp server on a new session. Once again, see the panel on the previous page.
  • log followed by a filename logs your sessions to a file. When this is followed by the word stop the logging process will end for that particular session.
  • mkdir creates a new folder inside the current one. This command must be followed by the folder name to work.
  • more followed by a filename displays that file to the screen, pausing regularly to give you time to read everything. You can then hit the Spacebar to see the next screen, or [Q] to stop viewing.
  • rename enables you to rename files by stating the old name followed by the new name immediately after the command. Another normal filing command.
  • reset will reset a specified session if you give a number, or the current session if no number is given.
  • rmdir deletes a directory in the same way as mkdir creates one.
  • session switches to a specific session number, or displays a list of current sessions if no number is given to switch to.
  • telnet starts a Telnet session with the host specified as a parameter.
  • upload opens a specified file and reads it up the line. For example, you could save a list of commands as an ASCII file then 'upload' them, which would have the same results as typing them directly.
  • ? displays the list of available commands, including these.
Once you've understood these commands you know enough about the different commands of the Demon interface to survive most facets of the Internet. The best way to learn about them from here on is to get in there and play around. Have fun.

Other Snippets


Some other snippets from the original article, which didn't quite fit anywhere else...
  • Cold Logon - your first call with a regular comms package.
  • Sessions - how AtariNOS carries out multitasking.

This feature is © Future Publishing 1995 & 1996, and may not be distributed or reproduced in any form without permission. HTML conversion by Frank Charlton.

AtariNOS Know-How Part 2

You called Demon Internet, you shelled out your dosh, got yourself an Internet account, uploaded AtariNOS, read last month's tutorial and realised it stopped halfway through. Here, then, is the second half.


You may have subscribed to Demon Internet and learnt how to log on to your local Demon server, and communicate with it to use ftp sites, but that's not all that you can do on the Internet ­p; there are many other things to get the hang of. This month, we're going to show you how to cure all known diseases and put an end to war. After that, we'll show you how to use e-mail and newsgroups, then a short coffee break.

The e-mail species...


If you've never attempted to use e-mail before, you probably don't yet know what a completely unfriendly system it can be. It's still the insanely handy, incredibly fast and damned useful system we told you it was a month ago ­p; it can just be a problem to use.

The standard Demon interface, accessible by selecting 'Electronic Mail' from the NOS main menu (as covered in Part 1), is command driven. On jumping into it you're presented with your mail log (a list of the e-mails you've received), which you can read through message by message by hitting [Return]. This will only, incidentally, enable you to view new messages ­p; to view a previously read message you select that message specifically, using the 'P' command.

These commands are used as single letters, followed by any parameters that need to be given. The parameters are separated by spaces. Where you see a parameter in [square brackets], it's optional and can be left out, although this may change the action of the command in some circumstances. The commands are:
  • D [number] condemns the specified message to be deleted at the end of this session. If you don't give a message number, the current message gets the chop.
  • F address [number] forwards mail to a user. This enables you to send mail you've received to another user by stating the new destination address and the message number to be sent. Again, if you don't give a number the current message will be forwarded.
  • H [number] shows the message list from the specified number. If you don't give one you'll see the index immediately surrounding the current message.
  • L lists all unsent messages in the Mqueue directory.
  • M address sends a new message to a user at the specified address.
  • N mbox changes the mailbox you're currently examining by stating a new user name.
  • Number If you simply type in a number, you'll travel straight to that message and start reading from there.
  • P [number] does exactly the same thing as entering the message number without the P.
  • Q quits the electronic mail system, filing and sorting any messages you've read, deleted or dealt with in any of the other ways described in this rundown.
  • R [number] replies to a specified message, or the current message if no number is given.
  • S [file] saves out a message to a specified file. If no filename is given the message will be added to the file named mbox.txt in your NOS folder structure.
  • T address file sends mail to a user at the specified address, taking the message from the file specified.
  • U [number] unmarks a message that's been marked to be deleted. If no number is given, the previously deleted file will be unmarked.
  • W [file] performs the same task as the S command, except header information is not saved ­p; only the main text of the message is stored.
  • X exits, without updating any message statuses. This enables you to quit leaving everything as it was when you started.
  • + travels forward by one message.
  • - travels backward by one message.
  • ? gives you a list of all the available commands.

This is the news

The news editor, SNews, is the package you use to read your news. Once again, this can be selected from the main menu, but you can also run it directly from the NOS folder, which makes life much easier. The package enables you to select the newsgroup of your choice, the thread within that group and the item along that thread. To do this, use [Tab] to select the appropriate option in the menus and hit [Return] to confirm your choice. You can read the item using the various keys described on the Help screen (hit [H]).

The important parts to understand about newsgroups are the programs that support the SNews system ­p; addgroup, rmgroup, unbatch and expire. These deal with the news files and, in particular, the ng (newsgroups) file. You should leave these programs alone, they won't appreciate it if you do anything to the ng file unless you're using them. This file contains the details of every newsgroup you want to receive and sits in the same folder as snews.rc. Those programs in full are as follows:

  • Unbatch needs absolutely no other parameters. It simply searches the relevant spool folders for recently received news files to unbatch (they arrive in queues) and place in the Articles folder.
  • Expire searches for news articles over a certain age, and deletes them. You'll be prompted to specify the age of the files (in days) that you want it to delete when you run the program.
  • Addgroup enables you to add newsgroups to the ng file by giving their addresses. For instance, if you wanted to subscribe to one of the newsgroups covered in last issue's feature, you'd use Usenet: Newsgroups: comp.sys.atari.advocacy when prompted for a group.
  • Rmgroup A shortened 'remove group', I can't possibly think what this routine does! You'll have to state the full newsgroup name again, of course.

Go forth and e-mail


That's it. There is no more. This is the end of the AtariNOS tutorial. You should now know how to take part in the whole interactive on-line thang using only an ST, a Demon account and a copy of AtariNOS. Next month, Frank Charlton will explain exactly how you can go about getting all those tasty Web pages on your ST. Till then, have fun. Oh ­p; and don't forget the modem. Or your password. Or to make sure the NOS folder sits in the root directory of Drive C. Oh ho.

This feature is © Future Publishing 1995 & 1996, and may not be distributed or reproduced in any form without permission. HTML conversion by Frank Charlton.

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Priest Totals: xxxxxx calls xxxxxx:xx:xx xxxx.xx SCRAP.TXT5060701.34A:\CALLS.DTACOSTS.DTACOSTA.INFCOSTA.REGCOSTA.HLPCOSTA.MNT1000CoSTa v1.34About CoSTaCoSTa - OutputCoSTa - Pay BillCoSTa - CostsCoSTa - Edit a CallCoSTa - Purge CallsCoSTa Help System CoSTacosta.rsccostam.rsc[3][| |Resource file may |be corrupt or lost.][FATAL]NOS ICE MiNTnetConnectSTiK Date Time Duration Cost Telephone No. Origin  2D D  l     6                                   "  *  .     "^XT                                                     2               * .    2      2                "     2    *   "                &    2,  F     x "   $        F            <                      6     ,. $        (                               X $  $  "   .        $" "            :. "06*   $$     ""0         &@*                      $ 2&        2,                                F &        "   8* *,*((0    "                       $ X((6   ",                   H  22    (  4`  "$  &"       ^           ( ( J     ,       ,           D b                  &*           ("  .D                                                r2 M e~Q&tzX =9}#|!-p4"zU-MAhyE8 lj?8vu!_h?Ash=wo8,?`l߿G q\X'ro_tu='IhP#&$cf1, >a"_͞39+o=>='ǃ'V}@J_ |7g hgcz_.Wݍ)I)6rfO/)8ޓ='cdu[}͸ДI,Am6]<1I(Rd;aHB,Ly އ4RքQq 1D,.(> ֳ'I0Qf1聬^ڏ%?L z\{.~{? kWu=؞g^>اYY1PʽitHFJΣO 'FvJS:`c&`A7/ɑ! kCL$/D L/x CoSTa File Options About CoSTa--------------------123456 Quit ^Q ----------------- Extract ^E Pay Bill ^B Output ^P ----------------- Purge Calls ^U Recost ^R Costs Preferences ----------------------- Show All Calls ^A Register Paths ----------------------- Show Costs inc VAT ^V CoSTa000Version _.__9991995 BY GARY A. PRIESTRegistered To:** UNREGISTERED VERSION ** Date Time Duration Cost x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx x xxx xx/xx/xx xx:xx:xx xx:xx:xx xxxx.xxx  *FOLLOW A-Z,a-z,0-9,_ *SIGNIFICANCurrent entry: *FOLLOW A-Z,a-z,0-9,_ *SIGNIFICANCurrent entry: *FOLLOW A-Z,a-z,0-9,_ *SIGNIFICANCurrent entry: *FOLLOW A-Z,a-z,0-9,_ *SIGNIFICANCurrent entry:000000Number of calls: ______9999990000000000Total time: ______:__:__999999999900000.00Total cost: ________XXXXXXXXOutput to:PrinterClipboardAll CallsCancelOkDate Calls Time Costxx/xx/xx xxxxxx xxxx:xx:xx xxxxx.xx xx/xx/xx xxxxxx xxxx:xx:xx xxxxx.xx xx/xx/xx xxxxxx xxxx:xx:xx xxxxx.xx xx/xx/xx xxxxxx xxxx:xx:xx xxxxx.xx xx/xx/xx xxxxxx xxxx:xx:xx xxxxx.xx xx/xx/xx xxxxxx xxxx:xx:xx xxxxx.xx  *FOLLOW A-Z,a-z,0-9,_ *SIGNIFICANCurrent entry: *FOLLOW A-Z,a-z,0-9,_ *SIGNIFICANCurrent entry:000000Flag calls up to: __/__/__999999CancelOkBackup Log File:AppendOverwriteAuto Extract On Startup:Yes00Time Adjustment: __99+-Show Costs Including VAT:YesCancelOkaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaNOS: ________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaICE: ________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaMiNTnet: ________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaSTiK: ________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaConnect: ________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXCancelOkaaaaaaaaaaaaaaaaaaaaName: ____________________XXXXXXXXXXXXXXXXXXXX000000Key: ______999999CancelOk000000Purge calls up to: __/__/__999999Bills TooCancelOk000000Date: __/__/__999999Peak000000Time: __:__:__999999Offpeak000000Duration: __:__:__999999Weekend0000000Cost: ____.___999999900000000000000000000Telephone: ____________________XXXXXXXXXXXXXXXXXXXXxxxxxxxOrigin: _______XXXXXXXCancelDeleteRecostOk000000Peak Start Time: __:__:__999999000000End time: __:__:__9999990000VAT Rate: __.__%999900000Minimum Cost: __.___99999Telephone Descriptionxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxx *FOLLOW A-Z,a-z,0-9,_ *SIGNIFICANCurrent entry: *FOLLOW A-Z,a-z,0-9,_ *SIGNIFICANCurrent entry:CancelEditAddDeleteOk00000000000000000000Telephone: ____________________XXXXXXXXXXXXXXXXXXXXaaaaaaaaaaaaaaaaaaaaaaaaaDescription: _________________________XXXXXXXXXXXXXXXXXXXXXXXXX00000Peak Cost: __.___9999900000Offpeak Cost: __.___9999900000Weekend Cost: __.___99999CancelOkThis is an unregistered version of CoSTa!To get rid of this annoying message,please register!!Details can be found in the manual.Ok[3][ GEM has run out of windows!| Close any unused ones and| re-try.][ Exit ][3][ | No help text loaded! ][Sorry][1][ There is not enough memory| to perform this task.][Cancel][1][ | Printer is not responding ][Retry|Cancel][1][ | Error accessing xxxxxxxxxxxx ][Cancel][1][ | Invalid Time ][Cancel][1][ | Invalid Date ][Cancel][1][ | No unpaid calls exist ][Cancel][1][ | No costs have been setup yet ][Cancel][1][ | Invalid Key Code ][Cancel][1][ | Name must be at least 5 long ][Cancel][2][ | Really DELETE this call ][Delete|Cancel][2][ | Really UPDATE this call ][Update|Cancel][2][ | Delete paid calls FOREVER ][Purge|Cancel][2][ | Really recost ALL unpaid call][Recost|Cancel][1][ | Phone number must be entered ][Cancel][1][ | Phone number already exists ][Cancel][1][ | 100 phone numbers already | defined ][Cancel][1][ | xxxxxxxxxxxx is in use by | another process ][Cancel]j#T:h.\ #$0%UV0W0000OP0Q0000N3OQ333"; FOf oz{ &((FG(Hpq(r((31329TevwP)3y)3 ' Z)3 )3  1 d)3     $ ? F Z f m     ( 0 C c j      "  B C0 D t u0 v 0 0   0 <=0>@s3tv3#+S(ms*+,%-?@Aef$ $ , 3  = K ` b dfhj l~!+D P!Y q!. L h   +  74/ 2 Q/Q/Q,/QH/ Qd/ Q/ Q/ Q/ Q/Q /@ 3@3@@(3 @D @ ,@@`0 3 4|  -* |   *  * %   '# 1,%  *'$'@'\' x'' @, @, @@, -[ 'b%  85x # 5  5 < Xt  5 # '-  =  9@2525@25 25  9 @2 5 '' 2#  8T  '  / +p +  5' <# 6  2 A a& A & A &     K   R  Y ' `+  >94Pl 4! 2 Q/ Q/Q/Q/Q0/ QL/@h6@6 @@6 %'0/ + "' '$ . +,)H$d#%g$  t"$%'d()\)+T-.PSe&^{O#1-;'/^(G,+zۧ wlcp>ESo@=1aD?}~{9ŬIE$rW+py?AXm5˜[ {\rtf1\pc{\fonttbl{\f27\fnil Dutch 801 Roman;} {\f28\fnil Dutch 801 Italic;} {\f29\fnil Dutch 801 Bold;} {\f30\fnil Dutch 801 Bold Italic;} {\f53\fnil Swiss 721;} {\f54\fnil Swiss 721 Bold;} {\f55\fnil Swiss 721 Bold Italic;} {\f56\fnil Swiss 721 Italic;} }{\stylesheet{\sbasedon222\snext0 Normal;} {\s1\sb120\sa80\f53\b0\i0\ul0\outl0\nosupersub\fs28\expnd0 Sub Head;} {\s2\li468\fi-468\sb40\sa40\tx468\f27\b0\i0\ul0\outl0\nosupersub\fs20\expnd0 Indent;} {\s3\tx1034\tx2735\tx3415\f27\b0\i0\ul0\outl0\nosupersub\fs20\expnd0 List;} {\s4\sb40\sa40\f27\b0\i0\ul0\outl0\nosupersub\fs20\expnd0 Body;} {\s5\qc\sb400\sa200\f53\b0\i0\ul0\outl0\nosupersub\fs36\expnd0 Main Head;} {\s6\li14\tx581\tx1148\tx1715\tqr\tx7837\f27\b0\i0\ul0\outl0\nosupersub\fs20\expnd0 Contents;} {\s7\sb80\sa60\f53\b0\i0\ul0\outl0\nosupersub\fs24\expnd0 SubSub Head;} {\s8\sb80\sa60\f54\i0\ul0\outl0\nosupersub\fs20\expnd0 Minor Head;} }\paperw11904\paperh16836\margl2199\margr824\margt934\margb1674\pgnstart1 \ftntj\ftnstart1\makeback \sectd\pgndec\headery934\footery1272\cols1\colsx567\pgndec {\footer\pard\plain\tqc\tx4513\tqr\tx8904\f27\fs20 CoSTa Manual\tab\chpgn\tab December '95}\qc\f27\fs48 CoSTa Manual\par \fs24 Version 1.30\par (c)1995 Gary A. Priest\par \pard\s1\sb120\sa80\fs20\par \f53\fs28 Contents\par \pard\s6\li14\tx581\tx1148\tx1715\tqr\tx7837\f27\fs20\tab Introduction\tab\tab 2\par \tab Getting Started\tab 2\par \tab Setting Up CoSTa\tab 2\par \tab Paths\tab\tab\tab 3\par \tab Preferences\tab\tab 3\par \tab Costs\tab\tab\tab 5\par \tab Main Window\tab 6\par \tab Extracting Call Information\tab 7\par \tab Editing/Deleting a Call\tab 8\par \tab Paying Bills\tab\tab 9\par \tab Output\tab\tab 9\par \tab Recost Unpaid Calls\tab 9\par \tab Purging Old Call/Bill Details\tab 9\par \tab Registering\tab\tab 10\par \tab Disclaimer\tab\tab 10\par \tab Credits\tab\tab 10\par \par \fs36\par \pard\s5\qc\sb400\sa200\par \par \par \par \par Introduction\par \pard\fs20 CoSTa was written almost as soon as I got myself a modem and got on-line to the internet.\par I immediately realised that there was no way of knowing how much time I spend on line and hence have no idea of what my telephone bill is going to be.\par Using CoSTa this problem is solved.\par Each time you connect to the internet using the supported programs a log file is created/appended with the current start date and time, plus an awful lot of other information. This file quickly becomes very large, with no apparent use. Until now!!\par CoSTa runs over this log file and extracts all the information it requires about each call made, it then calculates the length of the call and the cost.\par Each call can easily be seen in the main window, along with a current phone bill total.\par When the phone bill arrives, you can tell CoSTa to flag all calls up to the date of the bill as paid, the current total is reset and ready for your next month's/quarter's phone calls.\par \par CoSTa currently works in conjunction with Atari NOS, MiNTnet and Connect.\par \par \pard\s1\sb120\sa80\f53\fs28 Hardware required\par \pard\f27\fs20 This program should run on all TOS based computers from an ST to a Falcon. It was developed on a Falcon and hence looks best running on this machine.\par \pard\s5\qc\sb400\sa200\fs36 Getting Started\par \pard\s1\sb120\sa80\f53\fs28 Installing CoSTa\par \pard\f27\fs20 CoSTa is installed and run like any other normal Gem Application. It does not run as an accessory.\par \par \pard\s1\sb120\sa80\f53\fs28 On-Line Help\par \pard\f27\fs20 CoSTa comes complete with it's own on-line help system. Position the mouse cursor over whichever window help is required on and press Help.\par \par \pard\s5\qc\sb400\sa200\fs36 Setting Up CoSTa\par \pard\s4\sb40\sa40\fs20 After installing CoSTa, it is necessary to set up certain information for CoSTa to function correctly.\par BEFORE performing an extract, the costs, paths and preferences must be configured in order that the program knows where to find the log files, and how much a call is going to cost.\par See the relevant sections in this manual on how to do this.\par CoSTa comes with the costs for a British Telecom local call already set up.\par \par \par \pard\s5\qc\sb400\sa200\fs36 Paths\par \pard\s4\sb40\sa40\fs20 CoSTa currently works with the log files created by NOS, MiNTnet and Connect.\par Future versions will support ICE, and hopefully STiK as well, although this cannot be guaranteed.\par \par It is important to tell CoSTa where to find the log files.\par Click on either the text or on the path beside it. Use the file selector to locate the relevant log files, that you use.\par Click on the check box beside the path to tell CoSTa that this file is to be used during extraction.\par \par The log files are normally named as follows:\par NOS\tab -\tab NOS.LOG\par MiNTnet\tab -\tab messages\par Connect\tab -\tab CONNECT.LOG\par \pard\s5\qc\sb400\sa200\fs36 Preferences\par \pard\s1\sb120\sa80\f53\fs28 Backup Log File To History\par \pard\s4\sb40\sa40\f27\fs20 After CoSTa has extracted call details from the .LOG file, this file is renamed to .HST to prevent further processing. N.B. this does not apply to MiNTnet, see below.\par This can happen in two ways (which option you choose depends on whether you feel the need to keep a history or not):\par \f29 Append\f27\par The contents of the current .LOG file are appended on to the end of any existing .HST, hence it can get very large but does contain ALL details.\par This file should be deleted/archived on a regular basis.\par \f29 Overwrite\f27\par Any existing .HST file is deleted, and the current .LOG file is renamed to .HST.\par This keeps the size of the .HST down, but of course, all details prior to the last extraction are lost.\par \par \f29 MiNTnet\par \f27 The way that MiNTnet handles it's log files means that it is not possible to backup /clear down the log file after extraction. The file is always in use by a MiNTnet process.\par The way CoSTa gets around this problem is by keeping a note of the date/time of the last call it has extracted. Then when extraction is performed again, only calls after the stored date are processed. This date/time are stored in a file called COSTA.MNT and should not be deleted.\par The MiNTnet log should be cleared down/backed up manually on a regular basis, to keep the size down.\par \pard\s1\sb120\sa80\f53\fs28 Auto Extract on Startup\par \pard\f27\fs20 If this option is set to 'Yes', then CoSTa will automatically perform an extraction whenever it is called ie. on program startup.\par This makes the process of call extraction completely transparent to the user. Simply run CoSTa and it will automatically know about all your calls.\par \pard\s1\sb120\sa80\f53\fs28\par Time Adjustment\par \pard\s4\sb40\sa40\f27\fs20 This field only applies to NOS. It does not apply to MiNTnet or Connect as they both write local times from your Atari to the log files.\par \par All times written to NOS.LOG are in Greenwich Mean Time. This obviously causes a problem if your local time zone is not GMT, as your telephone company costs calls based on your local time.\par CoSTa needs to know how to convert the GMT times into local ones.\par The Time Adjustment field can contain a number of hours between 0 and 23. The sign is set by selecting the relevant box beside it.\par Hence, if your local time zone is 1 hour ahead of GMT (British Summer Time or France, for example) set this field to 1 + .\par Now CoSTa will convert the NOS date/time into local and your call will be costed correctly.\par \par \f53\fs28 Show Costs Including VAT\par \f27\fs20 This sets the default display of costs to either include VAT or exclude it.\par This can be overriden from the menu option.\par \pard\s5\qc\sb400\sa200\fs36\par \par \par \par \par Costs\par \pard\s4\sb40\sa40\fs20 When CoSTa extracts call details, it costs the call. To achieve this it must know how much a telephone call costs. British Telecom currently have different costs for local, regional and national calls. Earlier versions of CoSTa did not support this. Until Now.\par CoSTa will cost a call by using the telephone number, thus calls to differenent costing regions are fully supported, as are calls to 0891 numbers etc.\par \par CoSTa currently costs calls in the same manner as British Telecom. ie. it calculates using the cost per minute, to the nearest second. Therefore if the call is 2minutes 30seconds, the call is NOT rounded up to 3minutes.\par Costs are held in pence and to 3 decimal places.\par \pard\s1\sb120\sa80\f53\fs28 Peak Hours\par \pard\s4\sb40\sa40\f27\fs20 Most telephone companies charge at a higher rate during 'their' peak hours. British Telecom's peak hours are 08:00:00 to 18:00:00. Other telephone companies' hours may differ. Enter the hours applicable here.\par \pard\s1\sb120\sa80\f53\fs28 VAT Rate\par \pard\s4\sb40\sa40\f27\fs20 If costs are set up as excluding VAT, then the current VAT rate should be set up here.\par It is recommended that this facility is used and all costs are keyed in excluding VAT.\par \pard\s1\sb120\sa80\f53\fs28 Minimum Cost\par \pard\s4\sb40\sa40\f27\fs20 Although British Telecom now charge by the second, the still impose a minimum cost to each call. ie. if the cost of your call is below this minimum then it is rounded up to the minimum. This is currently approximately 5 pence. Therefore every call you make will cost at least 5 pence.\par This is the minimum cost of a telephone call.\par \pard\s1\sb120\sa80\f53\fs28 List of Telephone Numbers\par \pard\s4\sb40\sa40\f27\fs20 A list of telephone numbers and associated costs can be maintained here.\par It is NOT necessary to define every number used, as CoSTa uses a default which will be used if the telephone number is not found in the list. The default supplied with CoSTa is for a local BT call exc. VAT. The default is indicated by having a telephone number of '*'.\par Other telephone numbers can be maintained, such as BBS's etc. CoSTa only uses the default it the actual telephone number cannot be found.\par Entries can be added, deleted and edited by double clicking or clicking on Edit.\par The default '*' cannot be deleted.\par \f29 MiNTnet\f27\par Extraction of MiNTnet calls will always use the default cost. This is because MiNTnet does not make the telephone number available in it's log file, so CoSTa doesn't know the number.\par \par \pard\s1\sb120\sa80\f53\fs28 Adding/Editing an Entry\par \pard\s4\sb40\sa40\f27\fs20 Each entry has the following fields:\par \pard\s1\sb120\sa80\f53\fs28 Telephone Number\par \pard\s4\sb40\sa40\f27\fs20 This should be '*' for the default costs, but can be any telephone number for specific costs.\par Blanks do not matter as CoSTa strips them out during use. Thus 01234 5678 is the same as 012345678.\par \pard\s1\sb120\sa80\f53\fs28 Description\par \f27\fs20 The description of the phone number. ie. Fred's BBS.\f53\fs28\par Peak Cost\par \pard\s4\sb40\sa40\f27\fs20 This is the cost per minute of a telephone call during the above peak hours.\par \pard\s1\sb120\sa80\f53\fs28 Offpeak Cost\par \pard\s4\sb40\sa40\f27\fs20 This is the cost per minute of a telephone call outside of the peak hours.\par \pard\s1\sb120\sa80\f53\fs28 Weekend Cost\par \pard\s4\sb40\sa40\f27\fs20 Peak/Offpeak hours normally only apply Monday to Friday. Weekend rates then apply from midnight Friday to midnight Sunday. This is the cost per minute of a telephone call at the weekend.\par \pard\s5\qc\sb400\sa200\fs36 Main Window\par \pard\s4\sb40\sa40\fs20 The main window display lists all calls known to CoSTa.\par The day, date, time, duration, cost, telephone number and origin of each call is displayed, along with a flag to indicate if the call has been paid for.\par At the bottom of the window are totals. These are the total number of calls, total length of time and the total cost in pounds.\par \pard\s1\sb120\sa80\f53\fs28 Show All Calls\f27\fs20\par \pard\s4\sb40\sa40 The display will either list all calls known to CoSTa, or will just display current unpaid calls.\par This can be changed by use of the 'Show All Calls' menu option.\par The default is to only show current unpaid calls.\par \pard\s1\sb120\sa80\f53\fs28 Show Costs Including VAT\f27\fs20\par \pard\s4\sb40\sa40 The display will show all costs with or without VAT applied. This only makes a difference if a VAT rate is defined within the COSTS window. The default is set in the Preferences window.\par \pard\s5\qc\sb400\sa200\fs36\page Extracting Calls\par \pard\s4\sb40\sa40\fs20 For CoSTa to be able to display call details, it is necessary to tell it to extract the information from the relevant log files. This should only be performed after preferences and cost details have been maintained and is achieved by selecting 'Extract' from the menu.\par \par CoSTa processes the log files, extracts call details and costs them, and stores each call in CALLS.DTA.\par The log file is then backed up in the manner chosen in Preferences.\par \pard\s1\sb120\sa80\f53\fs28 NOS Specific Problems\par \pard\s4\sb40\sa40\f27\fs20 Unfortunately NOS does not output actual 'connection made'/'connection stopped' messages and as such this causes the following problems in calculating the length of a call:\par a) CoSTa has to approximate the connection start time, by scanning the log file for a specific string that will only occur after a connection has been made. Start times may be a second or two out, but at least it does handle number busy and redials correctly.\par b) CoSTa also has to approximate the end time. It looks for the 'NOS stopped' message in the log file.\par Thus it is essential that after you have ended the connection with 'ppp sl0 lcp close', you immediately exit NOS by typing 'exit'.\par \pard\s1\sb120\sa80\f53\fs28 MiNTnet Specific Problems\par \pard\s4\sb40\sa40\f27\fs20 MiNTnet does not put the telephone number into the log file. Thus CoSTa puts blanks into it's database and uses the 'default' costs entry to cost the call.\par The log file cannot be cleared/backed up and as such CoSTa uses a date/time stamp to determine at which point in the file it should extract calls from. The log file should be manually cleared/backed up on a regular basis to keep the size down.\par \par \pard\s5\qc\sb400\sa200\par \fs36\page Editing/Deleting a Call\par \pard\s4\sb40\sa40\fs20 Occasionally it might be necessary to edit or delete details of a particular call. One reason for this is that your Atari's clock was wrong when you logged onto the internet, and hence the date or time of the call once extracted into CoSTa is wrong, which could in turn lead to the call being costed incorrectly.\par \par To edit a call, simply double click on it from the main window with the left mouse button, and the edit window will be displayed.\par \par You can amend the date, time, duration, cost, and telephone number. The only item you cannot amend is the origin of the call ie. NOS or ICE.\par \par You can also override a particular day/time to be Peak, Offpeak, or Weekend.\par This is useful because some telephone companies treat Bank Holidays as a Weekend rate. CoSTa does not know about Bank Holidays and thus would treat a Monday as a Weekday(peak or offpeak).\par To correct this, edit each call and override it to Weekend. The cost is automatically recalculated for you.\par \par \par \f53\fs28 Re-cost\f27\fs20\par If you change the date or time of the call, it could well fall into a different cost category ie. if you change the time peak to off-peak, or the date from midweek to weekend.\par You can either manually alter the cost or you can have CoSTa re-cost the call for you using the new date time, and duration.\par If you would like CoSTa to re-cost the call, it is important to click on 'Recost' BEFORE clicking on 'Ok' to update the call details.\par \f29 Note: The cost here is excluding VAT (regardless of the display setting).\f27\par \par \f53\fs28 Delete\f27\fs20\par To actually delete this call, click on 'Delete'.\par \par \pard\s5\qc\sb400\sa200\fs36\page Paying The Bill\par \pard\s4\sb40\sa40\fs20 When the telephone bill arrives, you need to flag all the calls up to the date of the bill as paid.\par In this way they will then be excluded from the current unpaid totals.\par \par Select 'Pay Bill' from the main menu and you will be presented with the 'Pay Bill' window.\par This window displays a history of all previous paid bills and their totals, as well as allowing you to pay a new bill.\par \par Enter the date of the bill, and all calls up to and including that date will be flagged as paid.\par \par The totals paid will then be added to a list of previous paid bills. This list is displayed in this window and shows date of bill, total number of calls, total time, and total cost. The list allows a history of paid bills to be examined at a glance.\par \pard\s5\qc\sb400\sa200\fs36 Output\par \pard\s4\sb40\sa40\fs20 It is possible to output a list of calls and the totals to either a printer or the clipboard.\par Either all calls can be listed or just the unpaid ones.\par \pard\s5\qc\sb400\sa200\fs36 Recost Unpaid Calls\par \pard\s4\sb40\sa40\fs20 This option processes all 'Unpaid' calls and recalculates their costs. This could be useful if you need to change cost details (or if upgrading from a previous CoSTa version that didn't support VAT).\par \pard\s5\qc\sb400\sa200\fs36 Purging Old Calls/Bills\par \pard\s4\sb40\sa40\fs20 After a while, the number of calls/bills will start to grow, and it may be a good idea to get rid of very old calls/bill details that are of no further use. This will help keep CoSTa performing at maximum speed also, because the more call details stored, the more work it has to do.\par \par Only calls that have been flagged as 'Paid' are eligible for purging. \par \par Select 'Purge Calls' from the 'File' menu, to display the 'Purge' window.\par \par A date must be entered, up to and including which all 'Paid' calls will be deleted. \par \par To delete old 'Bill' details (as shown in the Pay Bill window), it is also necessary to click on the 'Bills Too' radio button.\par Bill details will probably want to be purged much less frequently than Call details, as Bill details are a nice history log of your internet usage.\par \par \f29 It is IMPORTANT to note that once call or bill details have been Purged, they are gone for good. The only way to undo a Purge is to go back to a backup.\f27\par \pard\s5\qc\sb400\sa200\fs36 Registering\par \pard\s4\sb40\sa40\fs20 CoSTa is a Shareware product. If you use it regularly you should do the right thing and register it.\par Registration costs 6 UK Pounds and includes the following benefits:\par a) A unique key to enter into CoSTa. Future versions will have increased functionality which will be disabled unless you have the key.\par b) The latest version on disk or by e-mail if you supply an e-mail address.\par c) e-mail or snail mail support.\par \par Gary Priest\par 32 Castle Street, Inner Avenue, Southampton SO14 6HF\par gary@the-gap.demon.co.uk\par \pard\s5\qc\sb400\sa200\fs36 Disclaimer\par \pard\s4\sb40\sa40\fs20 All costings calculated by CoSTa are approximate and no guarantee to their accuracy is given.\par Any damage caused by use of this program, either directly or indirectly, is not my responsibility.\par This software is used at your own risk.\par \pard\s5\qc\sb400\sa200\fs36 Credits\par \pard\s4\sb40\sa40\fs20 Atari NOS is the work of Demon and David Nash.\par Oasis and ICE are the creation of Phil Yeadon and Dave Levi. Thanks guys for a brilliant program.\par STiK is the creation of Steve Adam.\par \par Thanks also to the following people who have helped me by testing and supplying their views and suggestions:\par Phil Yeadon, Neil Martin, Simon Husbands, Guy Harrison and Gary Wagner.\par \par }S{F >v%C\YaBD_.:0| \>A[54MA2kMR+]`PX[~Ecopxȇ61iUuBԈAv*(-͞ ʐA7c6 sϊ $7h 5;ki\^XGa2S5x~4ڈ/yxgKLȫ} Z~x CoSTa Manual Version 1.30 (c)1995 Gary A. Priest Contents Introduction 2 Getting Started 2 Setting Up CoSTa 2 Paths 3 Preferences 3 Costs 5 Main Window 6 Extracting Call Information 7 Editing/Deleting a Call 8 Paying Bills 9 Output 9 Recost Unpaid Calls 9 Purging Old Call/Bill Details 9 Registering 10 Disclaimer 10 Credits 10 Introduction ------------ CoSTa was written almost as soon as I got myself a modem and got on-line to the internet. I immediately realised that there was no way of knowing how much time I spend on line and hence have no idea of what my telephone bill is going to be. Using CoSTa this problem is solved. Each time you connect to the internet using the supported programs a log file is created/appended with the current start date and time, plus an awful lot of other information. This file quickly becomes very large, with no apparent use. Until now!! CoSTa runs over this log file and extracts all the information it requires about each call made, it then calculates the length of the call and the cost. Each call can easily be seen in the main window, along with a current phone bill total. When the phone bill arrives, you can tell CoSTa to flag all calls up to the date of the bill as paid, the current total is reset and ready for your next month's/quarter's phone calls. CoSTa currently works in conjunction with Atari NOS, MiNTnet and Connect. Hardware required ----------------- This program should run on all TOS based computers from an ST to a Falcon. It was developed on a Falcon and hence looks best running on this machine. Getting Started --------------- Installing CoSTa ---------------- CoSTa is installed and run like any other normal Gem Application. It does not run as an accessory. On-Line Help ------------ CoSTa comes complete with it's own on-line help system. Position the mouse cursor over whichever window help is required on and press Help. Setting Up CoSTa ---------------- After installing CoSTa, it is necessary to set up certain information for CoSTa to function correctly. BEFORE performing an extract, the costs, paths and preferences must be configured in order that the program knows where to find the log files, and how much a call is going to cost. See the relevant sections in this manual on how to do this. CoSTa comes with the costs for a British Telecom local call already set up. Paths ----- CoSTa currently works with the log files created by NOS, MiNTnet and Connect. Future versions will support ICE, and hopefully STiK as well, although this cannot be guaranteed. It is important to tell CoSTa where to find the log files. Click on either the text or on the path beside it. Use the file selector to locate the relevant log files, that you use. Click on the check box beside the path to tell CoSTa that this file is to be used during extraction. The log files are normally named as follows: NOS - NOS.LOG MiNTnet - messages Connect - CONNECT.LOG Preferences ----------- Backup Log File To History -------------------------- After CoSTa has extracted call details from the .LOG file, this file is renamed to .HST to prevent further processing. N.B. this does not apply to MiNTnet, see below. This can happen in two ways (which option you choose depends on whether you feel the need to keep a history or not): Append ------ The contents of the current .LOG file are appended on to the end of any existing .HST, hence it can get very large but does contain ALL details. This file should be deleted/archived on a regular basis. Overwrite --------- Any existing .HST file is deleted, and the current .LOG file is renamed to .HST. This keeps the size of the .HST down, but of course, all details prior to the last extraction are lost. MiNTnet The way that MiNTnet handles it's log files means that it is not possible to backup /clear down the log file after extraction. The file is always in use by a MiNTnet process. The way CoSTa gets around this problem is by keeping a note of the date/time of the last call it has extracted. Then when extraction is performed again, only calls after the stored date are processed. This date/time are stored in a file called COSTA.MNT and should not be deleted. The MiNTnet log should be cleared down/backed up manually on a regular basis, to keep the size down. Auto Extract on Startup ----------------------- If this option is set to 'Yes', then CoSTa will automatically perform an extraction whenever it is called ie. on program startup. This makes the process of call extraction completely transparent to the user. Simply run CoSTa and it will automatically know about all your calls. Time Adjustment --------------- This field only applies to NOS. It does not apply to MiNTnet or Connect as they both write local times from your Atari to the log files. All times written to NOS.LOG are in Greenwich Mean Time. This obviously causes a problem if your local time zone is not GMT, as your telephone company costs calls based on your local time. CoSTa needs to know how to convert the GMT times into local ones. The Time Adjustment field can contain a number of hours between 0 and 23. The sign is set by selecting the relevant box beside it. Hence, if your local time zone is 1 hour ahead of GMT (British Summer Time or France, for example) set this field to 1 + . Now CoSTa will convert the NOS date/time into local and your call will be costed correctly. Show Costs Including VAT ------------------------ This sets the default display of costs to either include VAT or exclude it. This can be overriden from the menu option. Costs ----- When CoSTa extracts call details, it costs the call. To achieve this it must know how much a telephone call costs. British Telecom currently have different costs for local, regional and national calls. Earlier versions of CoSTa did not support this. Until Now. CoSTa will cost a call by using the telephone number, thus calls to differenent costing regions are fully supported, as are calls to 0891 numbers etc. CoSTa currently costs calls in the same manner as British Telecom. ie. it calculates using the cost per minute, to the nearest second. Therefore if the call is 2minutes 30seconds, the call is NOT rounded up to 3minutes. Costs are held in pence and to 3 decimal places. Peak Hours ---------- Most telephone companies charge at a higher rate during 'their' peak hours. British Telecom's peak hours are 08:00:00 to 18:00:00. Other telephone companies' hours may differ. Enter the hours applicable here. VAT Rate -------- If costs are set up as excluding VAT, then the current VAT rate should be set up here. It is recommended that this facility is used and all costs are keyed in excluding VAT. Minimum Cost ------------ Although British Telecom now charge by the second, the still impose a minimum cost to each call. ie. if the cost of your call is below this minimum then it is rounded up to the minimum. This is currently approximately 5 pence. Therefore every call you make will cost at least 5 pence. This is the minimum cost of a telephone call. List of Telephone Numbers ------------------------- A list of telephone numbers and associated costs can be maintained here. It is NOT necessary to define every number used, as CoSTa uses a default which will be used if the telephone number is not found in the list. The default supplied with CoSTa is for a local BT call exc. VAT. The default is indicated by having a telephone number of '*'. Other telephone numbers can be maintained, such as BBS's etc. CoSTa only uses the default it the actual telephone number cannot be found. Entries can be added, deleted and edited by double clicking or clicking on Edit. The default '*' cannot be deleted. MiNTnet Extraction of MiNTnet calls will always use the default cost. This is because MiNTnet does not make the telephone number available in it's log file, so CoSTa doesn't know the number. Adding/Editing an Entry ----------------------- Each entry has the following fields: Telephone Number ---------------- This should be '*' for the default costs, but can be any telephone number for specific costs. Blanks do not matter as CoSTa strips them out during use. Thus 01234 5678 is the same as 012345678. Description ----------- The description of the phone number. ie. Fred's BBS. Peak Cost --------- This is the cost per minute of a telephone call during the above peak hours. Offpeak Cost ------------ This is the cost per minute of a telephone call outside of the peak hours. Weekend Cost ------------ Peak/Offpeak hours normally only apply Monday to Friday. Weekend rates then apply from midnight Friday to midnight Sunday. This is the cost per minute of a telephone call at the weekend. Main Window ----------- The main window display lists all calls known to CoSTa. The day, date, time, duration, cost, telephone number and origin of each call is displayed, along with a flag to indicate if the call has been paid for. At the bottom of the window are totals. These are the total number of calls, total length of time and the total cost in pounds. Show All Calls -------------- The display will either list all calls known to CoSTa, or will just display current unpaid calls. This can be changed by use of the 'Show All Calls' menu option. The default is to only show current unpaid calls. Show Costs Including VAT ------------------------ The display will show all costs with or without VAT applied. This only makes a difference if a VAT rate is defined within the COSTS window. The default is set in the Preferences window. Extracting Calls ---------------- For CoSTa to be able to display call details, it is necessary to tell it to extract the information from the relevant log files. This should only be performed after preferences and cost details have been maintained and is achieved by selecting 'Extract' from the menu. CoSTa processes the log files, extracts call details and costs them, and stores each call in CALLS.DTA. The log file is then backed up in the manner chosen in Preferences. NOS Specific Problems --------------------- Unfortunately NOS does not output actual 'connection made'/'connection stopped' messages and as such this causes the following problems in calculating the length of a call: a) CoSTa has to approximate the connection start time, by scanning the log file for a specific string that will only occur after a connection has been made. Start times may be a second or two out, but at least it does handle number busy and redials correctly. b) CoSTa also has to approximate the end time. It looks for the 'NOS stopped' message in the log file. Thus it is essential that after you have ended the connection with 'ppp sl0 lcp close', you immediately exit NOS by typing 'exit'. MiNTnet Specific Problems ------------------------- MiNTnet does not put the telephone number into the log file. Thus CoSTa puts blanks into it's database and uses the 'default' costs entry to cost the call. The log file cannot be cleared/backed up and as such CoSTa uses a date/time stamp to determine at which point in the file it should extract calls from. The log file should be manually cleared/backed up on a regular basis to keep the size down. Editing/Deleting a Call ----------------------- Occasionally it might be necessary to edit or delete details of a particular call. One reason for this is that your Atari's clock was wrong when you logged onto the internet, and hence the date or time of the call once extracted into CoSTa is wrong, which could in turn lead to the call being costed incorrectly. To edit a call, simply double click on it from the main window with the left mouse button, and the edit window will be displayed. You can amend the date, time, duration, cost, and telephone number.The only item you cannot amend is the origin of the call ie. NOS or ICE. You can also override a particular day/time to be Peak, Offpeak, or Weekend. This is useful because some telephone companies treat Bank Holidays as a Weekend rate. CoSTa does not know about Bank Holidays and thus would treat a Monday as a Weekday(peak or offpeak). To correct this, edit each call and override it to Weekend. The cost is automatically recalculated for you. Re-cost ------- If you change the date or time of the call, it could well fall into a different cost category ie. if you change the time peak to off-peak, or the date from midweek to weekend. You can either manually alter the cost or you can have CoSTa re-cost the call for you using the new date time, and duration. If you would like CoSTa to re-cost the call, it is important to click on 'Recost' BEFORE clicking on 'Ok' to update the call details. Note: The cost here is excluding VAT (regardless of the display setting). Delete ------ To actually delete this call, click on 'Delete'. Paying The Bill --------------- When the telephone bill arrives, you need to flag all the calls up to the date of the bill as paid. In this way they will then be excluded from the current unpaid totals. Select 'Pay Bill' from the main menu and you will be presented with the 'Pay Bill' window. This window displays a history of all previous paid bills and their totals, as well as allowing you to pay a new bill. Enter the date of the bill, and all calls up to and including that date will be flagged as paid. The totals paid will then be added to a list of previous paid bills. This list is displayed in this window and shows date of bill, total number of calls, total time, and total cost. The list allows a history of paid bills to be examined at a glance. Output ------ It is possible to output a list of calls and the totals to either a printer or the clipboard. Either all calls can be listed or just the unpaid ones. Recost Unpaid Calls This option processes all 'Unpaid' calls and recalculates their costs. This could be useful if you need to change cost details (or if upgrading from a previous CoSTa version that didn't support VAT). Purging Old Calls/Bills ----------------------- After a while, the number of calls/bills will start to grow, and it may be a good idea to get rid of very old calls/bill details that are of no further use. This will help keep CoSTa performing at maximum speed also, because the more call details stored, the more work it has to do. Only calls that have been flagged as 'Paid' are eligible for purging. Select 'Purge Calls' from the 'File' menu, to display the 'Purge' window. A date must be entered, up to and including which all 'Paid' calls will be deleted. To delete old 'Bill' details (as shown in the Pay Bill window), it is also necessary to click on the 'Bills Too' radio button. Bill details will probably want to be purged much less frequently than Call details, as Bill details are a nice history log of your internet usage. It is IMPORTANT to note that once call or bill details have been Purged, they are gone for good. The only way to undo a Purge is to go back to a backup. Registering ----------- CoSTa is a Shareware product. If you use it regularly you should do the right thing and register it. Registration costs 6 UK Pounds and includes the following benefits: a) A unique key to enter into CoSTa. Future versions will have increased functionality which will be disabled unless you have the key. b) The latest version on disk or by e-mail if you supply an e-mail address. c) e-mail or snail mail support. Gary Priest 32 Castle Street, Inner Avenue, Southampton SO14 6HF gary@the-gap.demon.co.uk Disclaimer ---------- All costings calculated by CoSTa are approximate and no guarantee to their accuracy is given. Any damage caused by use of this program, either directly or indirectly, is not my responsibility. This software is used at your own risk. Credits ------- Atari NOS is the work of Demon and David Nash. Oasis and ICE are the creation of Phil Yeadon and Dave Levi. Thanks guys for a brilliant program. STiK is the creation of Steve Adam. Thanks also to the following people who have helped me by testing and supplying their views and suggestions: Phil Yeadon, Neil Martin, Simon Husbands, Guy Harrison and Gary Wagner. rď鳔 5Ep@s3tv3#+S(ms*+,%-?@Aef$ $ , 3  = K ` b dfhj l~!+D P!Y q . L h   +  74/ 2 Q/Q/Q,/QH/ Qd/ Q/ Q/ Q/ Q /Q /@ 3@3@@(3 @D @ ,@@`0 3 4|  -* |   *   * %   '# 0,%  *'$'@'\' x'' @, @, @@, -['b%95x # 5  5 < Xt  5 # '- =  9@2525@25 25  9 @2 5 '' 2#  8T  ' / +p +  5' <#6  2 A a& A & A &     K    R  Y  ' `+ >94Pl 4! 2 Q/ Q/Q/Q/Q0/ QL/@h6@6 @@6%'0/+"' '$ . +,)H$d#%g$  t"$%'d()\)+T-.˫p/g')1'+#!fO}ΠĐo/%%I\i 99[ u   5ygr zuΡ# pBBXn] @-w: ALWAYS BACKUP THE EXISTING COSTA FOLDER BEFORE ANY UPGRADE!!!!! IF UPGRADING FROM 1.2x ---------------------- Save CALLS.DTA and COSTA.INF. These can be used with 1.30. COSTS.DTA now has a different format and the old one should be deleted. IF UPGRADING FROM 1.3x ---------------------- Overwrite all existing files with the new versions EXCEPT COSTS.DTA Two versions of the CoSTa manual are included: COSTA.TXT - Standard ascii text file COSTA.RTF - Rich Text Format version for loading into Papyrus etc. The RTF format produces a much better looking manual. IMPORTANT: Please read the manual BEFORE extracting any calls.  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