`8 s,p Nu@`  O`! #@%`')+-/1 3@o79=?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@u`wy{  @o @ ` @, @ ` / @ @ ` ǀ ɠ @ ` ׀ ٠  @` @`!Oa   !Aa!!O%')-/1!O5a79;=?A!CAEaGIMO/SAUaWY[]_a!cAeaikmoq!sAuawy{}!Aa!Aa!Aa@q*!Aaǁɡ!Aq"ׁ١!AaA " B o  !"!B!b!!!!!"!#B"%b"")"+"-"/#1"#3B#5b#7#9#;#=#?$ACB$Eb$G$I$K$M$O%Q"%SB%Ub%W%Y%[%]%_&a"&cB&eb&g&i&k&m&o'q"'sB'ub'w'y'{'}'("(B(b((((()")B)b)))))*"*B*b*****+"+B+b+++++,",b,@`  O`! #@%`')+-/1 3@o79=?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@u`wy{  @o @ ` @, @ ` / @ @ ` ǀ ɠ @ ` ׀ ٠  @` @`!Oa   !Aa!!O%')-/1!O5a79;=?A!CAEaGIMO/SAUaWY[]_a!cAeaikmoq!sAuawy{}!Aa!Aa!Aa@q*!Aaǁɡ!Aq"ׁ١!AaA " B o  !"!B!b!!!!!"!#B"%b"")"+"-"/#1"#3B#5b#7#9#;#=#?$ACB$Eb$G$I$K$M$O%Q"%SB%Ub%W%Y%[%]%_&a"&cB&eb&g&i&k&m&o'q"'sB'ub'w'y'{'}'("(B(b((((()")B)b)))))*"*B*b*****+"+B+b+++++,",b,DOC_DISK007ARCTIC SWRf@AWARD SWRhBAAL SWRm5COSMIC SWRo;CTUTOR SWR @DEMONW SWRw~[FASTBRK SWRyWHINTS SWR' }d!MANHUNT SWRf@MILLENIMSWRPHASER SWRQSIMCITY SWRZBUTCHILLSWRHCGOLF SWRm\COSMICB SWR  ELITEHLPSWR# FRIGHTN SWR&GOLDRUSHSWR+IMPMISS2SWR35\KENNEDY SWRKDKINGCHICSWRQUMANUAL2 SWRg&AUTO .COMPILERSWRRRABBIT SWRlSLIPSTRMSWR SPACEQSTSWR59STARBALLSWR TECHNCOPSWR DTVSPORTSSWR!?WANTED SWR$ ZYNAPS SWR'"MAESTRO SWRB^OC_7 PRGuySTARTGEMSWR  TARTGEMBAKSTARTGEMBAK ARCTIC FOX ********** Docs brought to you by Sewer Software in Sewer Doc Disk Number 7. Edited and corrected by Sewer Rat on the 15th August,1989 BACKGROUND: Although the alien task force has been active in Antarctica since about 2005, we became aware of its existence only recently, when a member of the doomed Hagerty Expedition managed to escape the alien force field with information about the activities taking place within its boundaries. Most significantly, it seems the aliens have been very productive in the relatively short time they have occupied the area,and have succeeded in building a number of oxygen converters in an attempt to replace the earth's atmosphere with one more suited to their physiological makeup. The atmosphere surrounding their native planet, STV-7X, is made up of equal parts of ammonia, methane, and chlorine gas, and is obviously hostile to human existence. It is also volatile, and so long as any traces of oxygen remain in the atmosphere,will cause atmospheric disturbances of a spectacular nature, mainly in the form of intense electrical storms. At our present stage of technology, we have no weapons capable of penetrating the alien force field directly, although indirect methods may be available. One possible approach is to temporarily weaken one side of the force field by causing a magnetic disturbance on the other. Preliminary tests show that this method may cause sufficient disruption of the force field to allow entry of a single combat vehicle into occupied territory. The obvious choice for the combat vehicle is the new supertank from General Polemics, the Slye-Hicks MX-100, Codename: ARCTIC FOX. Arcticfox is the most advanced terrain vehicle of its kind. Specially designed for polar combat, it features full missile-launching capability as well as standard shelling and mine-placement functions. In addition, Arcticfox can "dig in" into snow, allowing it to escape detection from all but the most sophisticated radar equipment. Finally Arcticfox's four-speed automatic transmission provides low-end torque as well as a top speed in excess of 100 kilometers per hour. Combat plan involves infiltration into alien territory at 0900 hours. This coincides with the enemy's greatest energy usage, and is thus considered optimal for attempting to penetrate the force field. Once inside enemy territory, all radio communication with HQ will be terminated to reduce the possibility of detection. The Acrticfox operator is therefore advised to become familiar with combat strategy as outlined in this manual, as no further information will be available from HQ once penetration has been achieved. SKILL-LEVELS: In addition to the two advanced levels (Beginner and Tournament), Arcticfox includes two preliminary (pre-game) levels to let you preview the enemy resources and develop proficiency in controlling your equipment. Although you can start playing at the advanced levels right away, you will get more out of the game if you spend a little time at the preliminary levels learning about the enemy and about Arcticfox. Preliminary Levels 1. Enemy-Preview : When you select this mode, the enemy's resources parade before you, appropriately labeled, so you can see what you will be up against. While doing this, you may want to refer to the descriptions on pages 8 and 9 of this manual. 2. Training Level : At this level you can roam around the terrain and shoot the enemy to your heart's content, but you cannot complete the game (which requires blowing up or otherwise disabling the Main Fort). At training level, your armor is tougher, and you have a large supply of ammunition, while the enemy is weaker (i.e., has weaker armor) and is less intelligent. In addition, when you start playing at this level, you don't start at the same map location as you do in the advanced levels, but at a different location. Advanced Levels 1. Beginner : Start at this level if you are still learning the basics. At this level you have an ample supply of mines and missiles, and your armor is tougher. In addition, there are fewer enemy resources to contend with, and the enemy is weaker than it is at the Tournament level. 2. Tournament : This level is for the true aficionado. At Tournament level the enemy is very intellegent and has use of a tracking device which provides a constant readout of your location. In addition , all advanced hazards (such as slide, friction and acceleration physics) are in full force, making it more difficult to maneuver. Your starting position in Tournament level varies among eight preselected locations. Upon selecting Tournament level, you are given the opportunity to select the starting location and enemy configuration from the available choices. INSTRUMENTS : Warning Light : The warning light indicates whether or not the Arcticfox has been spotted by the enemy. A green light means that Arcticfox has not been spotted; a yellow light indicates that Arcticfox has been spotted by the enemy locally, i.e., only by the enemy in the local sector. A red light means that Arcticfox's location is known by the enemy throughout the entire area. When this happens, the Communications Fort will mobilize search patrols and strike forces. However, because the Arcticfox's location during Condition Red in relayed through the Communications Fort, destruction of the Fort will effectively counteract transfer of that information. Radar/Aft View : The Arcticfox's Radar View is a bird's eye view of the surrounding area with the Arcticfox in the center of the screen. The radar will not reveal the enemy hiding behind terrain objects. The Aft View is provided by a camera attached to the rear of the Arcticfox. The radar view always keeps north at the top of the screen, regardless of the direction the Arcticfox is facing, making it easy to coordinate direction with the compass (see below). Pressing the Radar/Aft key when the missile is active toggles between the view from the missile and the radar view, on the small viewport. Oxygen : Shows the percentage of oxygen remaining in the atmosphere. The rate of conversion can be slowed down by destroying the enemy's Air Converters. Compass : Shows the Arcticfox's heading using standard compass orientation. Mines : Indicates the number of mines remaining. Guided Missiles : Indicates the number of guided missiles remaining. Position : Shows the Arcticfox's current position in degrees and minutes for both longitude and latitude. Clock : No prize for guessing this one. However, you should be aware that the clock always starts at 0900 hours each time you start the game. Speedometer : Indicates Arcticfox's speed in kilometers per hour. The needle points to the right of center when the Arcticfox is moving forward, and to the left of center when the Arcticfox is moving backward. The needle is centered when Arcticfox is stationary. Gunsight : The four converging diagonal lines in the main viewport meet to become crosshairs as soon as an enemy vehicle is within range. Note that during the reload cycle (See Controlling Arcticfox below) the square brackets in the sight disappear until Arcticfox's cannon is ready to fire again. Damage Indicator : The Damage Indicator is green when Arcticfox is undamaged, and slowly turns yellow and finally red as Arcticfox sustains damage. CONTROLLING ARCTICFOX To fire the Arcticfox's cannon, press your joystick button. Note that Arcticfox needs to reload between shots. Although reloading is automatic, it may take up to five seconds. In addition, you can access the following functions through the keyboard, using either of two sets of keys. Right-handed players may prefer to use the set of keys on the left hand side of the keyboard, while left-handed players may wish to use the keys on the right-handed side, thereby reserving the preferred hand for joystick control. The following summarizes these extra functions. Guided Missile : Firing a missile changes the view out of the small viewport to the camera on the missile. Once you have fired a missile, you can use the joystick to guide it. This means that the missile viewport can act like a mini flight simulator, so that you can use if for reconnaissance if you wish. When you find a suitable target, press the same key a second time to lock the missile onto the target and return you to Arcticfox's viewport. Missiles have a range of one radar screen beyond the current location, in all eight directions. (Use the "S" key) Mine : This function causes a mine to drop out of the back of the Arcticfox. These mines are live, so it's not a good idea to run over them. In addition, mines will self-detonate after a certain period of time. (Use the "E" key) Aft View : This function lets you toggle between the overhead radar and the aft view. The control panel button lights up when in aft view mode. For more information, see Instruments, above. (Use the "W" key) Cannon Inclination : By accessing this function you can use the joystick to control your cannon's inclination and its sights in the viewport. Pressing the button a second time turns this function off. When you are using the joystick to control cannon inclination, it is not available to control Arcticfox's forward or reverse movement. So while you are manipulating the cannon, the Arcticfox will continue moving forward or backward in accordance with your last joystick command. You can still control the Arcticfox's heading, however, by moving the joystick right or left. (Use the "Q" key) Relative Reverse : This function is used in conjunction with the Cannon Inclination and works only in that mode. Accessing this function causes the Arcticfox to reverse direction, so that if it is moving forward when the button is pressed, it will change to reverse, and vice versa. In addition, pressing the button when Arcticfox is stationary will cause it to move forward. (Use the "A" key) Dig In : This function buries the Arcticfox when it is in snow, but has no effect at other times. When the Arcticfox is buried, there is no view from the viewport, although radar still functions. You can dig out by pressing the same key a second time. Note that you can still fire missiles when you are dug in. (Use the "D" key) THE ARCTIC TERRAIN : Your theater of operations is made up of geological formations and conditions that can work either for or against you, depending on your strategic ability. This means you not only have to outfox the enemy, but you also have to be aware of your geological surroundings to avoid problems with the terrain. At the very least, you should be ware of the following features: Ridges : The Arcticfox can drive up and over this type of terrain to obtain strategic viewpoints and hide from the enemy. Best of all, ridges are fun to drive over. On the negative side, however, because ridges provide better views of the surrounding area, the enemy tends to install strategic gun and radar emplacements there. Crevices : Driving into crevices is not recommended, since it spells death for the Arcticfox and the end of the game. Mud Flats : The Arcticfox behaves unpredictably on mud flats. In particular, the rear of the tank has a tendency to slide, making steering and stopping less accurate than it is on snow or ice. You should be especially careful around crevices when driving on a mud flat. Snow Fields : The Arcticfox is slowed down by snow (by a factor of about 50%), but so is the enemy. Rocks : Watch out for the enemy hiding behind rocks. On the other hand, you can use rocks to hide from the enemy. Mountains : You can use the larger mountains as landmarks to give you a better sense of where you are. Force Field : The enemy force field is impossible to drive through. The force field appears as a red line on the ground and on the radar screen. Weather : Watch for lightning and blizzards. As more of the oxygen is converted, the sky becomes darker and lightning more prevalent. Blizzards can cause a whiteout, resulting in partial loss of visibility for both you and the enemy. Nevertheless, radar will still function properly. Note, however, that radar will not function in a lightning storm. Fog looks similar to a blizzard except that there are no snowfields and it dissipates more quickly. ENEMY RESOURCES : Heavy Tank : Slow moving, heavy armor, heavy shells. This tank is more likely to be defendant strategic areas rather than patrolling. Its heavy shells will do extensive damage on a direct his, so you will need to exercise your tactical skills in its presence. You will know when a heavy tank is shooting at you by the presence of large shells. Light Tank : Medium speed, light armor, light shells. The Light Tank is usually implemented in patrols as protection for the Recon Tank or in ground strike forces. Recon Sled : Medium speed, light armor, does not shoot. The Recon Sled has long range spotting capability and is usually found in patrols. Fighter : High speed, light armor, light shells. The Fighter is very dangerous because of its speed. It is usually found in strike forces or accompanying Recon Flyers for protection. Recon Flyer : High speed, light armor, does not shoot. The Recon Flyer is usually found in long range recon patrols. Rocket Launcher : Stationary, heavy armor, shoots guided missiles which can do massive damage on a direct hit. Guided missiles do not need to make a direct hit to do damage, so you should approach a Rocket Launcher with extreme caution. If you spot a Rocket Launcher, it is best to approach it from the rear, since it only has a forward field of vision of 140 degrees. Radar Station : Stationary, heavy armor, does not shoot. Radar stations have very long range spotting capability. In addition, Radar Stations, are able to cloak other enemy resources from detection by Arcticfox's radar, and to jam missile-tracking systems. Floating Mines : Stationary until the Arcticfox is spotted, light armor, does not shoot. Floating mines are strategically placed to guard stationary objects or passages. Once a Floating Mine spots you, it will continue to track you slowly. Air Converter : As the name implies, Air Converters do nothing but convert oxygen into an alien atmosphere that supports the enemy. Destroying these installations slows down the conversion of oxygen, thereby extending the amount of time you have to destroy the Main Fort. Communications Fort : The Communications Fort handles all radio communication between enemy patrols and strike forces. By destroying the Communications Fort you can disable the enemy's ability to call in strike forces against you. Main Fort : Destruction of the Main Fort will effectively destroy the enemy, and is the goal of the game. Needless to say, the Main Fort is strategically placed and heavily guarded (by Heavy Tanks, Fighters, Floating Mines, etc.), so its destruction will require strategy and tactics of the highest order. Destruction of the Main Fort requires two direct hits with missiles or ten direct hits with cannon shells. STRATEGY AND TACTICS : 1. It is inadvisable to stand in one spot during battle. Keep moving if you can. One way of doing this is to use Relative Reverse, which causes Arcticfox to follow its last command. 2. Dropping mines is one of the most effective ways of dealing the ground units. 3. Destroying the Communications Fort will make it impossible for Recon Sleds and Recon Flyers to reveal your position. This will make it easier for you to approach the Main Fort when the time comes. 4. Destroying the enemy's oxygen converters will reduce the rate of oxygen conversion, giving you more time to succeed in your mission. 5. Following the force field protects one side of the Arcticfox. 6. Make sure you reserve at least two guided missiles and/or ten cannon shells for the last stand against the Main Fort. ********************************************************************* These DOCS were ported from Amiga to ST by SEWER POSSUM and were extensively edited by SEWER RAT for DOC DISK 7. AWARD MAKER...list of Award types Program Instructions Award maker Sports listing Transferred & edited for DOC 7 by Sewer Possum. Award Types ============= 1. Geography Award w/world map 2. Blank w/world map 3. Writing Award w/scroll, quill and ink bottle 4. Blank w/ scroll, quill and ink bottle 5. Spelling award w/spelling bee 6. Blank w/ spelling bee 7. History award w/history center 8. Blank w/ history center 9. Science award w/test tubes 10. Blank w/ test tubes 11. Reading award w/ books on desk 12. Blank w/ books on desk 13. Certificate maker 14. Certificate of drama participation 15. Writing award 16. Spelling award 17. Geography award 18. Reading award 19. Math award 20. History award 21. Perfect attendance award style #1 22. Perfect attendance award style #2 23. Punctuality award style #1 24. Punctuality award style #2 25. Student of the week award style #1 26. Student of the month award style #1 27. Student of the term award style #1 28. Student of the quarter style #1 29. Student of the semester style #1 30. Student of the year style #1 31. Student of the week style #2 32. Student of the month style #2 33. Student of the term style #2 34. Student of the quarter style #2 35. Student of the semester style #2 36. Student of the year style #2 37. Honor student 38. Honors award 39. Honor roll style #1 40. Honor roll style #2 41. Diploma style #1 42. Diploma style #2 43. Diploma style #3 44. Diploma style #4 45. Diploma style #5 46. Certificate of promotion 47. Dance award 48. Photography award 49. Official best friend style #1 50. Official best friend style #2 51. Congratulations style #1 52. Congratulations style #2 53. Adoption papers 54. Parental express 55. Anniversary award 56. Top boy award 57. Queen for a day award 58. King for a day award 59. League champs award 60. MVP award 61. Good sportsmanship award 62. Most improved award 63. School record award 64. Personal best award 65. First place award 66. Second place award 67. Third place award 68. Soccer award w/soccer ball 69. Blank award w/ soccer ball 70. League champs w/ soccer ball 71. MVP w/ soccer ball 72. Good sportsmanship award w/ soccer ball 73. Most improved award w/ soccer ball 74. School record award w/ soccer ball 75. Tennis award w/ net and rackets 76. Blank w/ net and rackets 77. League champs w/ net and rackets 78. Good sportsmanship w/ net and rackets 79. Most improved award w/ net and rackets 80. School record award w/ net and rackets 81. Volleyball award w/net and volleyball 82. Blank award w/ net and volleyball 83. League champs w/ net and volleyball 84. MVP w/ net and volleyball 85. Good sportsmanship award w/ net and volleyball 86. Most improved award w/ net and volleyball 87. School record award w/ net and volleyball 88. Baseball award w/ baseball 89. Blank w/ baseball 90. League champs award w/ baseball 91. MVP w/ baseball 92. Good sportsmanship award w/ baseball 93. Most improved award w/ baseball 94. School record award w/ baseball 95. Football award w/ football 96. Blank award w/ football 97. League champs award w/ football 98. MVP w/ football 99. Good sportsmanship award w/ football 100. Most improved award w/ football 101. School record award w/ football 102. Basketball award w/ basketball 103. Blank award w/ basketball 104. League champs award w/ basketball 105. MVP w/ basketball 106. Good sportsmanship award w/ basketball 107. Most improved award w/ basketball 108. School record award w/ basketball 109. Hockey award w/ hockey equipment 110. Blank award w/ hockey equipment 111. League champs w/ hockey equipment 112. MVP w/ hockey equipment 113. Good sportsmanship award w/ hockey equipment 114. Most improved award w/ hockey equipment 115. School record award w/ hockey equipment 116. Track and field award w/ javelin thrower 117. Blank award w/ javelin thrower 118. League champs award w/ javelin thrower 119. MVP w/ javelin thrower 120. Good sportsmanship award w/ javelin thrower 121. Most improved award w/ javelin thrower 122. School record award w/ javelin thrower 123. Personal best award w/ javelin thrower 124. First place w/ javelin thrower 125. Second place w/ javelin thrower 126. Third place w/ javelin thrower 127. Cross country w/ runner 128. Blank award w/ runner 129. League champs w/ runner 130. MVP w/ runner 131. Good sportsmanship award w/ runner 132. Most improved award w/ runner 133. School record award w/ runner 134. Personal best award w/ runner 135. First place w/ runner 136. Second place w/ runner 137. Third place w/ runner 138. Skiing award w/ skier 139. Blank award w/ skier 140. First place w/ skier 141. Second place w/ skier 142. Third place w/ skier 143. Skiing award w/ skier style #2 144. Blank award w/ skier style #2 145. First place w/ skier style #2 146. Second place w/ skier style #2 147. Third place w/ skier style #2 148. Triathalon award w/ events depicted 149. Blank award w/ triathalon depicted 150. Good sportsmanship w/ triathalon depicted 151. Personal best w/ triathalon depicted 152. First place w/ triathalon depicted 153. Second place w/ triathalon depicted 154. Third place w/ triathalon depicted 155. Running award w/ runner 156. Blank award w/ runner 157. Good sportsmanship award w/ runner 158. Personal best w/ runner 159. First place w/ runner 160. Second place w/ runner 161. Third place w/ runner 162. Biking award w/ rider 163. Blank award w/ rider 164. Good sporetsmanship award w/ rider 165. Personal best award w/ rider 166. First place w/ rider 167. Second place w/ rider 168. Third place w/ rider 169. Swimming award w/ swimmer 170. Blank award w/ swimmer 171. League champs award w/ swimmer 172. MVP w/ swimmer 173. Good sportsmanship award w/ swimmer 174. Most improved award w/ swimmer 175. School record award w/ swimmer 176. Personal best award w/ swimmer 177. First place w/ swimmer 178. Second place w/ swimmer 179. Third place w/ swimmer 180. Bowling award w/ pins 181. Blank award w/ pins 182. League champs w/ pins 183. Most improved award w/ pins 184. First place w/ pins 185. Second place w/ pins 186. Third place w/ pins 187. Golf award w/ clubs 188. Blank award w/ clubs 189. League champs w/ clubs 190. Most valuable award w/ clubs 191. Good sportsmanship award w/ clubs 192. Most improved award w/ clubs 193. School record award w/ clubs 194. Personal best award w/ clubs 195. First place w/ clubs 196. Second place w/ clubs 197. Third place w/ clubs 198. Fishing award w/ tackle 199. Blank award w/ fishing tackle 200. First place w/ fishing tackle 201. Second place w/ fishing tackle 202. Third place w/ fishing tackle 203. Diving award w/ diver 204. Blank award w/ diver 205. Most improved award w/ diver 206. Coach's award 207. Managers award 208. Hunting award 209. Divot King 210. Bright smile award 211. Fashionably late award 212. Murphys law for cars 213. T.G.I.f. award 214. Morning glory award 215. Cought between a rock and a hard place 216. Party animal award 217. Photography award 218. Teamwork award 219. Hardest worker award 220. Good humor award 221. Citation for parking like a beached whale 222. Sales award 223. Employee of the week style #1 224. Employee of the month style #1 225. Employee of the quarter style #1 226. Employee of the year style #1 227. Employee of the week style #2 228. Employee of the month style #2 229. Employee of the quarter style #2 230. Employee of the year style #2 231. Employee of the week style #3 232. Employee of the month style #3 233. Employee of the quarter style #3 234. Employee of the year style #3 235. Award for excellance 236. Attendance award 237. Outstanding performance award 238. Efficiency award 239. Certificate style #1 240. Certificate style #2 241. Citizenship award 242. License 243. Thank You 244. Merit award 245. Invitation 246. Congratulations 247. First Place 248. Second place 249. Third place 250. Honorable mention 251. Award for first place 252. Award for second place 253. Award for third place 254. Award for honorable mention 255. First place 256. Second place 257. Third place 258. Honorable mention 259. First place 260. Second place 261. Third place 262. Honorable mention 263. Award style #1 264. Award style #2 265. Gift certificate 266. Award style #3 267. Award for 268. Coupon 269-282 are different styles of blank award forms. Please feel free to add to this list. The more information dispersed on Award maker, the better the awards will be. Quasimoto....... AWARD MAKER PLUS INTRODUCTION ~~~~~~~~~~~~ Award Maker Plus is a software tool that lets you easily print awards, certificates, licenses, coupons...or other documents of your own conception. The program will print literally hundreds of pre-designed Award Styles, allowing you to enter text, select the border style and color. Event the beginning computer user can easily create an Award Maker Plus document in just minutes! With the ability to create sharp looking awards quickly and easily you will be able to recognize and encourage people with more than just words. You can give them an award they will keep! Whether you produce awards, certificates, licenses, titles, or coupons, you will find Award Maker Plus documents to be valuable in honoring all the special people - sutdents, coworkers, volunteers, employees, family members, friends and others - in your life! ELEMENTS OF AN AWARD STYLE ~~~~~~~~~~~~~~~~~~~~~~~~~~ The different styles of awards and documents are listed by award number in the Award Style Catalog. Each Award Style may contain some or all of the basic elements shown here. !!========================!! !! !! !! DANCE !! !! AWARD --------!!---TITLE !! !! !! xxxxxxxxxxxx !! !! xxxxxxxx !! !! xxxx ---------!!----GRAPHIC !! !! !! Jennifer Price -----!!---NAME !! is hereby recognized !! !! for her completion of--!!-----TEXT !! training and study for !! !! the third level of etc !! !! !! !! ___________ ---------!!----SIGNATURE !! xxxxxxxx !! !! December 11, 1989 ----!!-----DATE !!========================!!---BORDER BEFORE YOU START ~~~~~~~~~~~~~~~~ The Award Maker Plus program disk enclosed is NOT copy-protected. We recommend that you make a back-up copy of the disk or purchase a back-up disk from Baudville. Use the back-up disk order card enclosed in the product package. Baudville, Inc. authorizes you to make one back-up copy of Award Maker Plus for your personal use. Award Maker Plus is parotected by copyright laws. It is illegal to make copies for other persons or for use on more than one computer. For information regarding the copyright, warranty or customer service, consult the registration benefits card included with this product. Future Award Library Disks If you buy supplemental Award Library disks you can also install them on your hard disk by copying all the files into the AMP drawer on your hard disk. You may also load the new Award Styles directly from your floppy disk drives. Just put the Library Disk in any available drive before you enter the Award Style Number. GETTING STARTED ~~~~~~~~~~~~~~~ Open the AMP drawer and then select and open (or double-click on) the AwardMaker+ tool icon. The program will start by displaying the title screen. The version number is shown in the lower right corner. Click on the title sceen to continue and the Award Checklist will appear in the program window. Press the right mouse button to access the menu items. MAKING AN AWARD ~~~~~~~~~~~~~~~ The Award Checklist Each item in the Award Checklist has a corresponding requester where you make many selections or enter text that will appear in the Award. When a requester shows a list of options, select the desired option to highlight it and then click the OK gadget or press (RETURN). When you are prompted to enter text, type the text, and then press (RETURN). A check mark will appear next to each Checklist item as it is completed, and the requester for the next incomplete item will automatically open. You can go back and make changes by selecting any item in the Award Checklist. Any open requester will be closed just as if you clicked OK. Each Checklist item is described below. Items marked with * are optional or may be omitted depending on the particular Award Style you choose. Style Number When you first start the program, it will automatically open the Style Number requester. At this point all other checklist items will be dimmed (they are not yet available for selecting). Select the Award you want to print from the Award Style Catalog and eneter the style number when this requester appears. At this time you should insert the Award Library disk for that award number in any drive and then press (Return) or select the OK gadget. Note that awards 1-286 are all on the original Award Maker Plus disk, no disk swapping is necessary, just press (Return) or select the OK gadget. If the Award Library disk for the Award Style number you selected is not in any drive, then the program will prompt you for the disk. The request will specify a disk name, such as: Disk-C. Insert the requested disk and press (Return). Select the CANCEL gadget if you typed a wrong award number. After the style is loaded the elements which are part of that Award will be shown in regular, non-dimmed type on the Checklist. Not every Award Style uses every element, so some items will remain dimmed (for example #286 does not have a Signature or Date element). Title Font* For most award styles the Title is preset, and will be printed as shown in the Award Style Catalog. This requester appears only if you can edit the preset Title or if the style allows you to enter a Title. Select the font style you want from the list and click OK or press (Return). The NEW FONT gadget is used to select fonts from supplements to Award Maker Plus. Title* Depending on the Award Style, you may edit the preset Title or enter up to 3 lines. Many styles have preset Titles which you cannot edit, so you will not see this requester. Type in the Title and press (Return) to move to the next line. When the Title is the way you want it click OK or press (Return) on the last line to exit the requester. You may leave any or all Title lines blank. Name and Text Font The font style used in the Name and Text areas of the award can be different from the Title font (although the award will often look better if they are the same). Select the font style you want from the list and click OK. The Name and Text Font is also used to print the Date element. The NEW FONT gadget is used to select fonts from supplements to Award Maker Plus. Name* The text you enter in this requester will be printed on its own line and in larger sized type. This will emphasize the award recipient's name. This Name line can be placed anywhere in the body of the text (see enter Text). Because the Name is printer larger than the Text, it requires the space of two lines in the Text block. If you need more room for Text, you can gain two more lines by leaving this screen blank. Then you can put the award recipient's name within the body of the Text where it will appear in normal size. Note: When you wish to print using a Name List, you must select the Name List gadget in this requester. Text Type in the message you want to appear in the Text area of the award. When the Text is the way you want it click OK or press 9Return) on the last line to exit the requester. Any Text line can be left blank if desired. If you have entered a name line, the Name will appear at the top of the screen. The Name can be moved anywhere in the text by clicking on the NAME UP or NAME DOWN gadgets. Signature* Most Award Styles include 1 or 2 signature lines when you can sign a name. The text you enter in this step will appear in small print beneath the signature line. The signature font is always the same. If you do not enter any text, then the signature line will nto be printed. If you want the line to be printed, but do not want any text under it, then type a (Space) and press (Return). Date* This is the text that will appear in the Date element of the award. You can leave the Date blank or enter any text that will fit. The Date is printed in the same font as the Name and Text. Select Border Style This requester will show you the border designs available. Select the border style you want from the list and click OK or press (Return). The NEW BORDER gadget is used to select borders from supplements to Award Maker Plus. Print Award When all items in the Award Checklist are complete you can print your award. The Print Award... requester will open automatically when all items are completed. The current printer driver configured will be shown at the top of the requester. Verify that this matches your printer. If you want to preview the finished award before printing, click Print Preview in the print requester. Click the Close Gadget at the upper left of the Print Preview to continue. You will need to carefully align the paper in the printer for the award to be centered properly on the page. The page perforation should be directly under the print head. Selecting Align Paper from the print requester will print an alignment mark. The paper is aligned correctly when the alignment mark prints right over the page perforation. Once the printer is ready and turned ON, click the Print Award gadget in the print requester window. When the Award is completed, you should check it for typing errors and misspellings, and examine how your font and border selections affect the overall appearance. To make any changes simply click an item in the Award Checklist. To change the Award layout without deleting the text, select Style Number and enter a new style number. Then check each element to see how the text fits. THE MENUS ~~~~~~~~~ The menus are used to access special features of Award Maker Plus. Hold down the right mouse button to view and select the menus. The File Menu ~~~~~~~~~~~~~ New Award Deletes all previous selections and text and starts a new award. Load Award Load a previously saved award from the disk. Save Award Saves all text, font, and border selections for the current award you have prepared. You will be prompted to type a filename to save the file. Quit Quits to the Workbench. The Name List Menu ~~~~~~~~~~~~~~~~~~ Use Name List When this is marked with a check, the Print Award command will print an award using the Name List, instead of printing just one using the Name you entered. Load Load a previously saved Name List from the disk. Save Saves a Name List to the disk. You will be prompted to type a filename to save the file. Create/Edit Opens the Name List editing window. Clear Erases the Name List currently in memory. ENTERING AND EDITING TEXT ~~~~~~~~~~~~~~~~~~~~~~~~~ When you hare asked to enter text, just type the text and press (Return). You can use the mouse to relocate the cursor. If you start typing in the middle of a line, you will insert into the existing text. Titles, Names, Text, Date and Signature lines are automatically centered when the award is printed. Extra spaces typed at the beginning or end of a line will be deleted by the program. Word-wrap is used when entering text in multiple-line requesters. When you type past the end of line, the word will drop down to the next line. Special Keys The following special keys are used while entering or editing text: (Return) Moves the cursor down to the next line. If you are at the last line or in a non-text entry requester, it is the same as OK, you will advance to the next checklist item. (Backspace) Deletes the character to the left of the cursor. (Delete) Deletes the character to the right of the cursor. Arror Keys Moves the cursor one character or line. (Shift) and Arrow Keys Moves the cursor to beginning or end of a line. A NOTE ON FONT SELECTION ~~~~~~~~~~~~~~~~~~~~~~~~ Award Maker Plus fonts are proportional and vary in width greatly from one to another. (The relative sizes of fonts are shown in the Award Style Catalog.) If you select a wide font (such as Old English) you cannot type as many characters per line as when selecting a narrower font (Modern). If you change the Title or Name/Text font selection after entering text, some lines of text may have a few characters clipped off the end. This occurs only if the new font is wider than the last one. Carefully examine all award text if you change the font style after entering text. USING A NAME LIST ~~~~~~~~~~~~~~~~~ You can print several copies of an Award with a different Name on each Award by making a Name List. If you plan to use this feature, you will probably want to have a data disk to save your Name Lists. Format a disk from Workbench before you start. Creating, editing, saving and loading Name Lists To create a Name List select Create/Edit from the Name List menu. Then just begin typing names, pressing [Return] at the end of each one. You may enter up to 50 names in one Name List. When your list is complete close the Name List requester. If you want to save the Name List select Save from the Name List menu. You will be prompted to type a filename to save the file. To load a previously created Name List select Load from the Name List menu. Printing with a Name List To print awards using a Name List, create an Award following the steps outlined above. Also be certain to select the Use Name List gadget in the Name requester or the Use Name List command in the Name List menu. Then select Print Award and a requester with the current name list will appear. You will have the option of using all the names in the list or only some of the names. If you want to print an award for every name in the list, just close the Name List requester. To print only some names in the list, click on the names you don't want to print. Names shown in dimmed type will not be printed. When you are done close the requester and printing will begin. TROUBLESHOOTING ~~~~~~~~~~~~~~~ If a system requester appears indicating a memory problem, then return to Workbench, close all windows, and try again. If a memory problem persists, then shut down all other tools and Award Maker Plus and then restart Award Maker Plus. If a system requester appears indicating a printer problem then check to see that the printer is turned on, on-line, and all cables are properly connected. Some printers require the top to be in place before they will print. If the printout looks correct except it skips lines, try resetting the automatic linefeed switch on your printer. Always turn the computer and printer OFF before making hardware adjustments. If you have a color capable printer, but the Award did not print a color border, then verify that you have a color other than Black selected in the Border Color requester, and that you have a color ribbon in the printer. HELPFUL TIPS AND ADDITIONAL NOTES ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Before You Start: It is always a good idea to keep a couple of blank data disks handy before you use any program. Initialize them from the Workbench before you start. Select your printer in the Preferences before opening the program, to avoid possible memory shortages. During Printing: If you notice an error (spelling, wrong style number, etc.) during printing, then select the CANCEL gadget to halt the printout. This will save time and wear on the printer and ribbon. Border Colors: If you have a color printer, color borders add a professional touch to the finished award. The appearance of colors will vary with the type of paper used, so it is a good idea to experiment. One way to do this without wasting paper is to set up an award. Then print only the top border strip, selecting the CANCEL gadget to stop the printout. Go back to the Border Color requester, select a different color, and repeat the process. The way in which your printer reproduces color is affected by the setting of the COLOR CORRECT items for the Printer driver within the Graphics 2 screen in the Workbench Preferences. You may wish to experiment with these settings and observe the variation in the border colors. Color Borders with Black & White Printers: If you have a black & white printer you can still produce Award Maker Plus documents with color borders by taking a few extra steps. All you need is a ribbon of the color you want the border to be. By running one page through your printer twice, you can print just the color border the first time and only the text the second time. First put the color ribbon in the printer, select Award Style #272, do not enter any text in any requester, select print Award and only the border will be printed. Second turn off your printer, change your ribbon to black (for the text), roll the paper back to the page top, enter the Award Style number you want to create, enter Title, Name..etc., select NO BORDER in the Border Style requester and then print Award. HOW TO USE THE AWARD STYLE CATALOG ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The different styles of awards and documents are listed by number in this catalog. There are a wide variety of styles and formats available including awards for school, family, office, or any occasion that warrants a special award. You simply find the award style you want to print and enter the number when the program asks for an award number. Many of the award styles have preset titles. Your award will probably look better if you choose a text font that matches the award title. Some of the awards shown in the catalog have more than one style number to allow for alternate titles. For example, award style number 31 is titled "Student of the Week". Award styles 32 through 36 are identical formats with different titles; "Student of the Month, Student of the Term", etc. Other award styles may include blank lines for you to enter your own titles. The blank title areas are shown as thing lines with "title1, title2", or "title3" printed to show you where the title will appear. If you want to use a press-on seal with your award, select a style that has an open space at the lower right corner. You can also enter short (or blank) text lines at the bottom of the award to provide space for the seal. Award Maker Text Fonts These are samples of the font styles you can choose for your award text: Old English Script Italic Book Serif Modern Award Maker Borders Trefoil Legal Gothic Trellis Laurel There are several styles of intricately designed borders available to give your award the professional touch. Official Labyrinth Certificate Jacks Frame ======================================================================= AWARD MAKER PLUS SPORTS How to use the Sports Award Library The Award Maker Plus Sports Library contains hundreds of new award styles along with new fonts and borders to use with your Award Maker Plus program. The different award styles are listed by number in this catalog. You simply find the award style you want to print and enter the number when the program asks for an award number. Most of the awards shown on the catalog have more than one style number to allow for alternate titles. For example, award style number 1033 is titled Basketball Award. Award styles 1034 through 1040 are identical with different titles; Most Improved Award, Personal Best Award, etc. Many of the awards have an optional style that allows you to type your own title. All of the Medallion awards (800-975) have two title lines that can be edited to say anything you want. The 3.5" Sports Award Library Disk contains all fonts, borders, and awards on one disk labeled DISK C. The 5.25" Sports Award Library Disks are organized as follows: DISK C (side 1) - Fonts and Borders DISK C (side 2) - Awards 800-994 DISK D (side 1) - Awards 1024-1204 DISK D (side 2) - Awards 1280-1479 Award Maker Text Fonts To use these fonts in your award, insert DISK C (side 1) in the drive when the "select Title Font" or "select Name/Text Font" screen appears. Then choose the "select Font from new disk" option to load the new fonts. Casual Old West Pen Script TypeWriter Sports Award Library Borders To use these borders in your award, insert DISK C (side 1) in the drive when the "select Border Style" screen appears. Then choose the "select Border from new disk" option to load the new borders. Ribbon All-Stars Olympic Sneakers Rope Lattice Stars/Stripes Art Deco Interlace Twist Awards Medallions 800 - Archery Award 809 - Baseball Award 818 - Basketball Award 827 - Bicycling Award 834 - Bowling Award 841 - Boxing Award 848 - Field Hockey 857 - Fit America 864 - Football Award 873 - Golf Award 880 - Gymnastics 887 - Hockey Award 896 - Karate Award 903 - Racquetball Award 910 - Running Award 917 - Sailing Award 924 - Softball Award 933 - Swimming Award 942 - Tennis Award 951 - Track Award 960 - Triathlon 967 - Volleyball Fine Art 1024 - Baseball Award (Men's) 1025 - Softball Award (Men's) 1033 - Basketball Award (Men's) 1042 - Women's Basketball (Women's/blk) 1051 - Women's Basketball (Women's/wht) 1059 - Bicycling Award 1067 - Bowling Award (Men's) 1075 - Boxing Award 1083 - Cheerleader Award 1090 - Marathon Award 1091 - Cross Country 1100 - Men's Discus 1109 - Women's Discus 1118 - Men's Diving 1127 - Women's Diving 1135 - Football Award 1144 - Men's Golf 1153 - Women's Golf 1162 - Men's Gymnastics 1171 - Women's Gymnastics 1180 - Men's High Jump 1189 - Women's High Jump 1197 - Hockey Award 1281 - Men's Hurdles 1290 - Women's Hurdles 1299 - Men's Karate 1308 - Women's Karate 1316 - Lacrosse Award 1324 - Pole Vault Award 1333 - Men's Relay 1342 - Women's Relay 1350 - Running Award (Men's/wht) 1358 - Running Award (Men's/blk) 1366 - Running Award (Women's/wht) 1374 - Running Award (Women's/blk) 1383 - Men's Skiing 1392 - Women's Skiing 1410 - Men's Soccer 1419 - Women's Soccer 1428 - Women's Softball 1437 - Men's Swimming 1446 - Women's Swimming 1455 - Men's Tennis 1464 - Women's Tennis 1472 - Wrestling Award 1401 - Cross Country (Skiing) Cartoon Awards 977 - Basketball Award (boy/blk) 979 - Basketball Award (boy/wht) 981 - Basketball Award (girl/blk) 983 - Basketball Award (girl/wht) 984 - Chin-up Champ (boy) 985 - Chin-up Champ (girl) 986 - Fastest Runner 987 - Health Fitness Award 988 - Healthy Heart 989 - Long Jump (Cricket) 990 - Push-ups Award (Turtle) 991 - Sit-ups Champ (Worm) 992 - Swimming Award (Fish) 993 - Volleyball Champ (boy) 994 - Volleyball Champ (girl) -------------------------------------------------------------------------- Award Maker Plus Sports Award Library docs brought to you by The Southern Star for M.A.A.D. Award Maker Plus docs brought to you by The Southern Star for M.A.A.D. BAAL DOCS typed for SEWER SOFTWARE by Glen MISSION INSTRUCTIONS You are in charge of the time warriors and here are your top secret mission instructions.You must guide and control each time warrior in his quest.Although it is impossible to say what horrors you will encounter when you enter BAAL's lair,his enormous power coupled with his huge army of monstrous beasts make him an extremely dangerous enemy.We pray you can do it,we know you can.Many lives will be lost in the numerous bloody battles ahead but BAAL must be defeated.If not we run the risk of being ruled by a power crazy demon at best,at worst the earth as we know it is doomed.Our fate is in your hands.(GOOD GOD! WHO WROTE THIS SHIT?) BASIC PLAYING INSTRUCTIONS. The joystick is used to control the warriors as follows: Without fire button pressed: j/s center - Warrior is still and in firing position where appropriate up/down - Warrior up or down ladders where appropriate left/right - Warrior turn/move left or right where appopriate. With fire button pressed j/s centre - Warrior fires lasers in direction faced where appopriate (including off the ladders) up - Warrior jumps straight up where appropriate down - Same as j/s centre left/right - Warrior stops and fires or transports where appropriate j/s diagonal - Warrior somersaults forward in direction he is facing. (It says 'where appropriate',because depending on your situation you won't be able to carry out some actions,for instance,you can't somersault off a ladder). KEYBOARD ACTIONS The keyboard is also used for some actions; F1 - set screen sync to 50hz F2 - set screen sync to 60hz 1 - select laser mode 1 2 - select laser mode 2* 3 - select laser mode 3* % - select laser mode 4* C - toggle area co-ordinate display on/off P - pause game(any key to resume) R - refuel laser(see note below) S - Save current game position(see note below) L - load previously saved game(see note below) Esc - (with fire button pressed)-abort current game * can only be used when corresponding cartridge has been collected. Numbers refer ones on main keyboard,not numeric keypad. REFUEL LASER: To refuel the lasers you have to first find one of the few refueling points and move up to it from the right hand side only,until you are in very close proximity to it(but not touching).If for some reason you cannot refuel,the info console will tell you.For instance if you have blown the refueling point up,you won't be able to refuel! It could be though,that you aren't close enough so move closer;or you could be too close(touching)in which case move back slightly and try again.To stop refueling just move your warrior away. SAVE GAME: Follow the instructions for refueling but instead of pressing R,press S for save.This is a limited save game facility and as such is only available in the underground cave world. LOAD GAME: To load in a presaved game,you may do so by pressing L.You will be asked to verify this type Y to go ahead or N to abort.This option is also available in the underground cave world. TRANSPORTING: There are three seperate domains to Baal,2 large,1 small.Once all war machine pieces have been collected (they flash yellow),you need to find the transporter,enter it and press the fire button.you will then be transported to the next domain.If you do not have all the war machine pieces in that particular domain,you will not be able to transport(you will require 10 components to travel from domain 1 to domain 2 and a further 8 from there to the final part of your mission.Each time a component is collected it turns off one of the flashing L.E.Ds at the bottom of the screen).Once you are successfully transported,your squadron will be granted an extra warrior.If you have 6 or more warriors,only 5 will be displayed in the active warriors box,but don't worry,they are still there. THE LASER: Your laser has 4 weapon modes(you need the cartridges for 3 of them). The first is very weak and objects will need many hits before being destroyed,some more than others.Some objects can't be destroyed at all where as others need the more powerful weapon modes(4 is the most powerful).When you are low on energy(electrolite),the laserbolt will flash when it is fired. ENERGY SHIELDS/SCANNERS: You are equipped with a personal energy shield that will protect you from alien missiles only,for a limited number of hits.It can be topped up at any refueling point.The scanner is equipped an early warning system a flashing red arrow in the top corners of the screen tell you of an approaching alien. NOTE: An extra warrior will be designated to your squadron for every 5,000 personal status points you achieve. END OF GAME: Once the game is over, and you have a high personal status, you will be requested to identify yourself. To do so just type in your name using the main keyboard. The numeric pad is used if you want to include special characters in your name. COSMIC PIRATE Quick-Docs Typed By: Knight Watchman 5/6/89 Brought to you by Sewer Software Edited by Sewer Rat 15/8/89 INTRO This doc file is basically everything that I've been able to figure out by playing the game Cosmic Pirate. This is not typed from the original docs. You are a fururistic pirate (YEA!) trying to make some money by rampaging and capturing other space vehicles. STARTING OUT Ok, slap that disk into drive 0. The disk must have the write protect off. Its a good idea to make a copy of the game and update the copy every time you successfully complete a mission. Turn on the Amiga/ST and watch the great intro... Now, highlight (use the "F" keys) the "Pirate" you want to use, or start your own man by hitting F1 (continue). Use the "RESTART" function to get rid of the person you highlight and start him over. BUILD YOUR CREDENTIALS Now you see the main menu. Take a look at your "Pirate Status". You have no credits and are a nobody! Well, to remedy this you must play the "Simulators". Hit the "F-Key" that selects the simulators. Play all the simulators that are free. This will increase your shooting accuracy and Pirate Status. REMEMBER: This is only a simulator! The real game has excellent graphics, not this vector-stuff. The Simulators that cost money are not needed, you will do all those on your mission. "Disasteroids" is a really cool 3-d asteroids game that you can play after you get enough money to waste on it. THE MISSIONS Ok, after you have gotten used to the way the game plays with the simulators, its time to choose a mission. Hit the F-key that selects "SELECT MISSION". Now you see the Missions menu. The missions are rated. Any mission starting with "A" is easy and doesn't pay much. "G" is the hardest and pays the most. Highlight a "A" mission and "SELECT" it. Now you are ready to play. EXIT that menu. You are now ready to LAUNCH. WHAT TO DO ON THE MISSION First, Launch. Then here's what you have to do: 1. Shoot everything that moves. 2. Collect the "Coins" that appear after you shoot an enemy. The coins can be shot, so try not to. You need to collect the coins to use as money. After you have earned 1000 points (as shown at the top of the screen marked "SCORE") you can enter the "Warp Machine". Follow the little "X" that is on the screen to find the warp machine. Now enter the warp. 3. After you enter the warp machine, you will see a graph. You are the flashing skull. You can only move one space. The fish symbol represents the "Space Truck"- thats where you want to get to. You must capture the space truck (to complete the mission and get your money!). The round circle represents a Planet. You can go to this planet but its not necessary. The other skull represents other pirates. I don't know what you're supposed to do with them, so leave them alone. Oh yeah, on the blue squares, the toll you need for the warp machine is 1,000 points. The Purple squares you need 3,000. And other colors are other values (sometimes). Move to a space that will take you closer to the Space Truck. 4. After you move to another coordinate you have to shoot and collect coins again, enter the next warp, and eventually get to the space truck. THE SPACE TRUCK When you enter the co-ordinate on the graph with the space truck in it, the "X" pointer turns into a fish. Follow this fish to the Space Truck and shoot the shit out of it. When you have done enough damage to it, it will surrender and you may dock it. (the screen will say "DOCK NOW" in big letters). Just go to the truck. Now you must fight your way back. (its easy) Just fire at anything that comes at you. Before you know it you will have completed the mission and you will have money. THE PLANET You can go to the planet symbol. There you must fly around and find a big round spacecraft. Shoot the shit out of this and you will get somewhere around 80,000 points to use in the mission the same way you use the coins (and later keep). WHAT TO DO WITH MONEY BACK AT THE BASE Sorry, you can't buy wares with it. But you can upgrade your ship (With the "REFIT SHIP" feature). You can buy better Shields, Weapons, and Drives. As you gain more and more money, you will add better equipment to your ship. The more somehthing costs, the better it is. QUITTING THE GAME Quit the game before you turn off the computer or some of your accomplishments may be lost! Continue later and go on harder missions and become a wealthy pirate. By the way, I strongly suggest using a Auto-fire joystick with this game. Otherwise your thumb may disintigrate. IF anyone gets a copy of other docs to this game, I'd love a copy of it. Programming in C _ A Tutorial Brian W. Kernighan Bell Laboratories, Murray Hill, N. J. Brought to you by Sewer Software 1. Introduction. C is a computer language available on the GCOS and UNIX operating systems at Murray Hill and (in preliminary form) on OS/360 at Holmdel. C lets you write your programs clearly and simply _ it has decent control flow facilities so your code can be read straight down the page, without labels or GOTO's; it lets you write code that is compact without being too cryptic; it encourages modularity and good program organization; and it provides good data-structuring facilities. This memorandum is a tutorial to make learning C as painless as possible. The first part concentrates on the central features of C; the second part discusses those parts of the language which are useful (usually for getting more efficient and smaller code) but which are not necessary for the new user. This is "not" a reference manual. Details and special cases will be skipped ruthlessly, and no attempt will be made to cover every language feature. The order of presentation is hopefully pedagogical instead of logical. Users who would like the full story should consult the 'C Reference Manual' by D. M. Ritchie [1], which should be read for details anyway. Runtime support is described in [2] and [3]; you will have to read one of these to learn how to com- pile and run a C program. We will assume that you are familiar with the mysteries of creating files, text editing, and the like in the operat- ing system you run on, and that you have programmed in some language before. 2. A Simple C Program main( ) { printf("hello, world"); } A C program consists of one or more functions, which are similar to the functions and subroutines of a Fortran program or the procedures of PL/I, and perhaps some external data definitions. main is such a function, and in fact all C programs must have a main. Execution of the program begins at the first statement of main. main will usually invoke other functions to perform its job, some coming from the same program, and others from libraries. One method of communicating data between functions is by arguments. The parentheses following the function name surround the argument list; here main is a function of no arguments, indicated by ( ). The {} enclose the statements of the function. Individual statements end with a semicolon but are otherwise free-format. printf is a library function which will format and print output on the terminal (unless some other destination is specified). In this case it prints hello, world A function is invoked by naming it, followed by a list of arguments in parentheses. There is no CALL statement as in Fortran or PL/I. 3. A Working C Program; Variables; Types and Type Declarations Here's a bigger program that adds three integers and prints their sum. main( ) { int a, b, c, sum; a = 1; b = 2; c = 3; sum = a + b + c; printf("sum is %d", sum); } Arithmetic and the assignment statements are much the same as in Fortran (except for the semicolons) or PL/I. The format of C programs is quite free. We can put several statements on a line if we want, or we can split a statement among several lines if it seems desirable. The split may be between any of the operators or variables, but NOT in the middle of a name or operator. As a matter of style, spaces, tabs, and newlines should be used freely to enhance reada- bility. C has four fundamental types of variables: int integer (PDP-11: 16 bits; H6070: 36 bits; IBM360: 32 bits) char one byte character (PDP-11, IBM360: 8 bits; H6070: 9 bits) float single-precision floating point double double-precision floating point There are also arrays and structures of these basic types, pointers to them and functions that return them, all of which we will meet shortly. All variables in a C program must be declared, although this can sometimes be done implicitly by context. Declara- tions must precede executable statements. The declaration int a, b, c, sum; declares a, b, c, and sum to be integers. Variable names have one to eight characters, chosen from A-Z, a-z, 0-9, and _, and start with a non-digit. Stylistically, it's much better to use only a single case and give functions and external variables names that are unique in the first six characters. (Function and external variable names are used by various assemblers, some of which are limited in the size and case of identifiers they can handle.) Furthermore, keywords and library functions may only be recognized in one case. 4. Constants We have already seen decimal integer constants in the previous example _ 1, 2, and 3. Since C is often used for system programming and bit-manipulation, octal numbers are an important part of the language. In C, any number that begins with 0 (zero!) is an octal integer (and hence can't have any 8's or 9's in it). Thus 0777 is an octal constant, with decimal value 511. A ``character'' is one byte (an inherently machine- dependent concept). Most often this is expressed as a character constant, which is one character enclosed in single quotes. However, it may be any quantity that fits in a byte, as in flags below: char quest, newline, flags; quest = '?'; newline = '\n'; flags = 077; The sequence `\n' is C notation for ``newline charac- ter'', which, when printed, skips the terminal to the begin- ning of the next line. Notice that `\n' represents only a single character. There are several other ``escapes'' like `\n' for representing hard-to-get or invisible characters, such as `\t' for tab, `\b' for backspace, `\0' for end of file, and `\\' for the backslash itself. float and double constants are discussed in section 26. 5. Simple I/O _ getchar, putchar, printf main( ) { char c; c = getchar( ); putchar(c); } getchar and putchar are the basic I/O library functions in C. getchar fetches one character from the standard input (usually the terminal) each time it is called, and returns that character as the value of the function. When it reaches the end of whatever file it is reading, thereafter it returns the character represented by `\0' (ascii NUL, which has value zero). We will see how to use this very shortly. putchar puts one character out on the standard output (usually the terminal) each time it is called. So the pro- gram above reads one character and writes it back out. By itself, this isn't very interesting, but observe that if we put a loop around this, and add a test for end of file, we have a complete program for copying one file to another. printf is a more complicated function for producing formatted output. We will talk about only the simplest use of it. Basically, printf uses its first argument as format- ting information, and any successive arguments as variables to be output. Thus printf ("hello, world\n"); is the simplest use _ the string ``hello, world\n'' is printed out. No formatting information, no variables, so the string is dumped out verbatim. The newline is necessary to put this out on a line by itself. (The construction "hello, world\n" is really an array of chars. More about this shortly.) More complicated, if sum is 6, printf ("sum is %d\n", sum); prints sum is 6 Within the first argument of printf, the characters ``%d'' signify that the next argument in the argument list is to be printed as a base 10 number. Other useful formatting commands are ``%c'' to print out a single character, ``%s'' to print out an entire string, and ``%o'' to print a number as octal instead of decimal (no leading zero). For example, n = 511; printf ("What is the value of %d in octal?", n); printf (" %s! %d decimal is %o octal\n", "Right", n, n); prints What is the value of 511 in octal? Right! 511 decimal is 777 octal Notice that there is no newline at the end of the first out- put line. Successive calls to printf (and/or putchar, for that matter) simply put out characters. No newlines are printed unless you ask for them. Similarly, on input, char- acters are read one at a time as you ask for them. Each line is generally terminated by a newline (\n), but there is otherwise no concept of record. 6. If; relational operators; compound statements The basic conditional-testing statement in C is the if statement: c = getchar( ); if( c == '?' ) printf("why did you type a question mark?\n"); The simplest form of if is if (expression) statement The condition to be tested is any expression enclosed in parentheses. It is followed by a statement. The expres- sion is evaluated, and if its value is non-zero, the state- ment is executed. There's an optional else clause, to be described soon. The character sequence `==' is one of the relational operators in C; here is the complete set: == equal to (.EQ. to Fortraners) != not equal to > greater than < less than >= greater than or equal to <= less than or equal to The value of ``expression relation expression'' is 1 if the relation is true, and 0 if false. Don't forget that the equality test is `=='; a single `=' causes an assignment, not a test, and invariably leads to disaster. Tests can be combined with the operators `&&' (AND), `||' (OR), and `!' (NOT). For example, we can test whether a character is blank or tab or newline with if( c==' ' || c=='\t' || c=='\n' ) ... C guarantees that `&&' and `||' are evaluated left to right _ we shall soon see cases where this matters. One of the nice things about C is that the statement part of an if can be made arbitrarily complicated by enclos- ing a set of statements in {}. As a simple example, suppose we want to ensure that a is bigger than b, as part of a sort routine. The interchange of a and b takes three statements in C, grouped together by {}: if (a < b) { t = a; a = b; b = t; } As a general rule in C, anywhere you can use a simple statement, you can use any compound statement, which is just a number of simple or compound ones enclosed in {}. There is no semicolon after the } of a compound statement, but there _i_s a semicolon after the last non-compound statement inside the {}. The ability to replace single statements by complex ones at will is one feature that makes C much more pleasant to use than Fortran. Logic (like the exchange in the previ- ous example) which would require several GOTO's and labels in Fortran can and should be done in C without any, using compound statements. 7. While Statement; Assignment within an Expression; Null Statement The basic looping mechanism in C is the while state- ment. Here's a program that copies its input to its output a character at a time. Remember that `\0' marks the end of file. main( ) { char c; while( (c=getchar( )) != '\0' ) putchar(c); } The while statement is a loop, whose general form is while (expression) statement Its meaning is (a) evaluate the expression (b) if its value is true (i.e., not zero) do the statement, and go back to (a) Because the expression is tested before the statement is executed, the statement part can be executed zero times, which is often desirable. As in the if statement, the expression and the statement can both be arbitrarily compli- cated, although we haven't seen that yet. Our example gets the character, assigns it to c, and then tests if it's a `\0''. If it is not a `\0', the statement part of the while is executed, printing the character. The while then repeats. When the input character is finally a `\0', the while terminates, and so does main. Notice that we used an assignment statement c = getchar( ) within an expression. This is a handy notational shortcut which often produces clearer code. (In fact it is often the only way to write the code cleanly. As an exercise, re- write the file-copy without using an assignment inside an expression.) It works because an assignment statement has a value, just as any other expression does. Its value is the value of the right hand side. This also implies that we can use multiple assignments like x = y = z = 0; Evaluation goes from right to left. By the way, the extra parentheses in the assignment statement within the conditional were really necessary: if we had said c = getchar( ) != '\0' c would be set to 0 or 1 depending on whether the character fetched was an end of file or not. This is because in the absence of parentheses the assignment operator `=' is evaluated after the relational operator `!='. When in doubt, or even if not, parenthesize. Since putchar(c) returns c as its function value, we could also copy the input to the output by nesting the calls to getchar and putchar: main( ) { while( putchar(getchar( )) != '\0' ) ; } What statement is being repeated? None, or technically, the null statement, because all the work is really done within the test part of the while. This version is slightly dif- ferent from the previous one, because the final `\0' is copied to the output before we decide to stop. 8. Arithmetic The arithmetic operators are the usual `+', `-', `*', and `/' (truncating integer division if the operands are both int), and the remainder or mod operator `%': x = a%b; sets x to the remainder after a is divided by b (i.e., a mod b). The results are machine dependent unless a and b are both positive. In arithmetic, char variables can usually be treated like int variables. Arithmetic on characters is quite legal, and often makes sense: c = c + 'A' - 'a'; converts a single lower case ascii character stored in c to upper case, making use of the fact that corresponding ascii letters are a fixed distance apart. The rule governing this arithmetic is that all chars are converted to int before the arithmetic is done. Beware that conversion may involve sign-extension _ if the leftmost bit of a character is 1, the resulting integer might be negative. (This doesn't hap- pen with genuine characters on any current machine.) So to convert a file into lower case: main( ) { char c; while( (c=getchar( )) != '\0' ) if( 'A'<=c && c<='Z' ) putchar(c+'a'-'A'); else putchar(c); } Characters have different sizes on different machines. Further, this code won't work on an IBM machine, because the letters in the ebcdic alphabet are not contiguous. 9. Else Clause; Conditional Expressions We just used an else after an if. The most general form of if is if (expression) statement1 else statement2 the else part is optional, but often useful. The canonical example sets x to the minimum of a and b: if (a < b) x = a; else x = b; Observe that there's a semicolon after x=a. C provides an alternate form of conditional which is often more concise. It is called the ``conditional expres- sion'' because it is a conditional which actually has a value and can be used anywhere an expression can. The value of a127 or <0) into one pile. Since this is presumably an isolated part of the program, good practice dictates making it a separate function. Here is one way: main( ) { int hist[129]; /* 128 legal chars + 1 illegal group */ ... count(hist, 128); /* count the letters into hist */ printf( ... ); /* comments look like this; use them */ ... /* anywhere blanks, tabs or newlines could appear */ } count(buf, size) int size, buf[ ]; { int i, c; for( i=0; i<=size; i++ ) buf[i] = 0; /* set buf to zero */ while( (c=getchar( )) != '\0' ) { /* read til eof */ if( c > size || c < 0 ) c = size; /* fix illegal input */ buf[c]++; } return; } We have already seen many examples of calling a function, so let us concentrate on how to define one. Since count has two arguments, we need to declare them, as shown, giving their types, and in the case of buf, the fact that it is an array. The declarations of arguments go between the argu- ment list and the opening `{'. There is no need to specify the size of the array buf, for it is defined outside of count. The return statement simply says to go back to the cal- ling routine. In fact, we could have omitted it, since a return is implied at the end of a function. What if we wanted count to return a value, say the number of characters read? The return statement allows for this too: int i, c, nchar; nchar = 0; ... while( (c=getchar( )) != '\0' ) { if( c > size || c < 0 ) c = size; buf[c]++; nchar++; } return(nchar); Any expression can appear within the parentheses. Here is a function to compute the minimum of two integers: min(a, b) int a, b; { return( a < b ? a : b ); } To copy a character array, we could write the function strcopy(s1, s2) /* copies s1 to s2 */ char s1[ ], s2[ ]; { int i; for( i = 0; (s2[i] = s1[i]) != '\0'; i++ ); } As is often the case, all the work is done by the assignment statement embedded in the test part of the for. Again, the declarations of the arguments s1 and s2 omit the sizes, because they don't matter to strcopy. (In the section on pointers, we will see a more efficient way to do a string copy.) There is a subtlety in function usage which can trap the unsuspecting Fortran programmer. Simple variables (not arrays) are passed in C by ``call by value'', which means that the called function is given a copy of its arguments, and doesn't know their addresses. This makes it impossible to change the value of one of the actual input arguments. There are two ways out of this dilemma. One is to make special arrangements to pass to the function the address of a variable instead of its value. The other is to make the variable a global or external variable, which is known to each function by its name. We will discuss both possibili- ties in the next few sections. 15. Local and External Variables If we say f( ) { int x; ... } g( ) { int x; ... } each x is LOCAL to its own routine _ the x in f is unrelated to the x in g. (Local variables are also called ``automatic''.) Furthermore each local variable in a routine appears only when the function is called, and _d_i_s_a_p_p_e_a_r_s when the function is exited. Local variables have no memory from one call to the next and must be explicitly initialized upon each entry. (There is a static storage class for mak- ing local variables with memory; we won't discuss it.) As opposed to local variables, external variables are defined external to all functions, and are (potentially) available to all functions. External storage always remains in existence. To make variables external we have to define them external to all functions, and, wherever we want to use them, make a declaration. main( ) { extern int nchar, hist[ ]; ... count( ); ... } count( ) { extern int nchar, hist[ ]; int i, c; ... } int hist[129]; /* space for histogram */ int nchar; /* character count */ Roughly speaking, any function that wishes to access an external variable must contain an extern declaration for it. The declaration is the same as others, except for the added keyword extern. Furthermore, there must somewhere be a definition of the external variables external to all func- tions. External variables can be initialized; they are set to zero if not explicitly initialized. In its simplest form, initialization is done by putting the value (which must be a constant) after the definition: int nchar 0; char flag 'f'; etc. This is discussed further in a later section. This ends our discussion of what might be called the central core of C. You now have enough to write quite sub- stantial C programs, and it would probably be a good idea if you paused long enough to do so. The rest of this tutorial will describe some more ornate constructions, useful but not essential. 16. Pointers A pointer in C is the address of something. It is a rare case indeed when we care what the specific address itself is, but pointers are a quite common way to get at the contents of something. The unary operator `&' is used to produce the address of an object, if it has one. Thus int a, b; b = &a; puts the address of a into b. We can't do much with it except print it or pass it to some other routine, because we haven't given b the right kind of declaration. But if we declare that b is indeed a pointer to an integer, we're in good shape: int a, *b, c; b = &a; c = *b; b contains the address of a and `c = *b' means to use the value in b as an address, i.e., as a pointer. The effect is that we get back the contents of a, albeit rather indirectly. (It's always the case that `*&x' is the same as x if x has an address.) The most frequent use of pointers in C is for walking efficiently along arrays. In fact, in the implementation of an array, the array name represents the address of the zeroth element of the array, so you can't use it on the left side of an expression. (You can't change the address of something by assigning to it.) If we say char *y; char x[100]; y is of type pointer to character (although it doesn't yet point anywhere). We can make y point to an element of x by either of y = &x[0]; y = x; Since x is the address of x[0] this is legal and consistent. Now `*y' gives x[0]. More importantly, *(y+1) gives x[1] *(y+i) gives x[i] and the sequence y = &x[0]; y++; leaves y pointing at x[1]. Let's use pointers in a function length that computes how long a character array is. Remember that by convention all character arrays are terminated with a `\0'. (And if they aren't, this program will blow up inevitably.) The old way: length(s) char s[ ]; { int n; for( n=0; s[n] != '\0'; ) n++; return(n); } Rewriting with pointers gives length(s) char *s; { int n; for( n=0; *s != '\0'; s++ ) n++; return(n); } You can now see why we have to say what kind of thing s points to _ if we're to increment it with s++ we have to increment it by the right amount. The pointer version is more efficient (this is almost always true) but even more compact is for( n=0; *s++ != '\0'; n++ ); The `*s' returns a character; the `++' increments the pointer so we'll get the next character next time around. As you can see, as we make things more efficient, we also make them less clear. But `*s++' is an idiom so common that you have to know it. Going a step further, here's our function strcopy that copies a character array s to another t. strcopy(s,t) char *s, *t; { while(*t++ = *s++); } We have omitted the test against `\0', because `\0' is identically zero; you will often see the code this way. (You MUST have a space after the `=': see section 25.) For arguments to a function, and there only, the declarations char s[ ]; char *s; are equivalent _ a pointer to a type, or an array of unspecified size of that type, are the same thing. If this all seems mysterious, copy these forms until they become second nature. You don't often need anything more complicated. 17. Function Arguments Look back at the function strcopy in the previous sec- tion. We passed it two string names as arguments, then pro- ceeded to clobber both of them by incrementation. So how come we don't lose the original strings in the function that called strcopy? As we said before, C is a ``call by value'' language: when you make a function call like f(x), the VALUE of x is passed, not its address. So there's no way to ALTER x from inside f. If x is an array (char x[10]) this isn't a prob- lem, because x IS an address anyway, and you're not trying to change it, just what it addresses. This is why strcopy works as it does. And it's convenient not to have to worry about making temporary copies of the input arguments. But what if x is a scalar and you do want to change it? In that case, you have to pass the ADDRESS of x to f, and then use it as a pointer. Thus for example, to interchange two integers, we must write flip(x, y) int *x, *y; { int temp; temp = *x; *x = *y; *y = temp; } and to call flip, we have to pass the addresses of the vari- ables: flip (&a, &b); 18. Multiple Levels of Pointers; Program Arguments When a C program is called, the arguments on the com- mand line are made available to the main program as an argu- ment count argc and an array of character strings argv con- taining the arguments. Manipulating these arguments is one of the most common uses of multiple levels of pointers (``pointer to pointer to ...''). By convention, argc is greater than zero; the first argument (in argv[0]) is the command name itself. Here is a program that simply echoes its arguments. main(argc, argv) int argc; char **argv; { int i; for( i=1; i < argc; i++ ) } Step by step: main is called with two arguments, the argu- ment count and the array of arguments. argv is a pointer to an array, whose individual elements are pointers to arrays of characters. The zeroth argument is the name of the com- mand itself, so we start to print with the first argument, until we've printed them all. Each argv[i] is a character array, so we use a `%s' in the printf. You will sometimes see the declaration of argv written as char *argv[ ]; which is equivalent. But we can't use char argv[ ][ ], because both dimensions are variable and there would be no way to figure out how big the array is. Here's a bigger example using argc and argv. A common convention in C programs is that if the first argument is `-', it indicates a flag of some sort. For example, suppose we want a program to be callable as prog -abc arg1 arg2 ... where the `-' argument is optional; if it is present, it may be followed by any combination of a, b, and c. main(argc, argv) int argc; char **argv; { ... aflag = bflag = cflag = 0; if( argc > 1 && argv[1][0] == '-' ) { for( i=1; (c=argv[1][i]) != '\0'; i++ ) if( c=='a' ) aflag++; else if( c=='b' ) bflag++; else if( c=='c' ) cflag++; else printf("%c?\n", c); --argc; ++argv; } ... There are several things worth noticing about this code. First, there is a real need for the left-to-right evaluation that && provides; we don't want to look at argv[1] unless we know it's there. Second, the statements --argc; ++argv; let us march along the argument list by one position, so we can skip over the flag argument as if it had never existed _ the rest of the program is independent of whether or not there was a flag argument. This only works because argv is a pointer which can be incremented. 19. The Switch Statement; Break; Continue The switch statement can be used to replace the multi- way test we used in the last example. When the tests are like this: if( c == 'a' ) ... else if( c == 'b' ) ... else if( c == 'c' ) ... else ... testing a value against a series of constants, the switch statement is often clearer and usually gives better code. Use it like this: switch( c ) { case 'a': aflag++; break; case 'b': bflag++; break; case 'c': cflag++; break; default: printf("%c?\n", c); break; } The case statements label the various actions we want; default gets done if none of the other cases are satisfied. (A default is optional; if it isn't there, and none of the cases match, you just fall out the bottom.) The break statement in this example is new. It is there because the cases are just labels, and after you do one of them, you fall through to the next unless you take some explicit action to escape. This is a mixed blessing. On the positive side, you can have multiple cases on a sin- gle statement; we might want to allow both upper and lower case 'a': case 'A': ... case 'b': case 'B': ... etc. But what if we just want to get out after doing case `a' ? We could get out of a case of the switch with a label and a goto, but this is really ugly. The break statement lets us exit without either goto or label. switch( c ) { case 'a': aflag++; break; case 'b': bflag++; break; ... } /* the break statements get us here directly */ The break statement also works in for and while statements _ it causes an immediate exit from the loop. The continue statement works _o_n_l_y inside for's and while's; it causes the next iteration of the loop to be started. This means it goes to the increment part of the for and the test part of the while. We could have used a continue in our example to get on with the next iteration of the for, but it seems clearer to use break instead. 20. Structures The main use of structures is to lump together collec- tions of disparate variable types, so they can conveniently be treated as a unit. For example, if we were writing a compiler or assembler, we might need for each identifier information like its name (a character array), its source line number (an integer), some type information (a charac- ter, perhaps), and probably a usage count (another integer). char id[10]; int line; char type; int usage; We can make a structure out of this quite easily. We first tell C what the structure will look like, that is, what kinds of things it contains; after that we can actually reserve storage for it, either in the same statement or separately. The simplest thing is to define it and allocate storage all at once: struct { char id[10]; int line; char type; int usage; } sym; This defines sym to be a structure with the specified shape; id, line, type and usage are members of the struc- ture. The way we refer to any particular member of the structure is structure-name . member as in sym.type = 077; if( sym.usage == 0 ) ... while( sym.id[j++] ) ... etc. Although the names of structure members never stand alone, they still have to be unique _ there can't be another id or usage in some other structure. So far we haven't gained much. The advantages of structures start to come when we have arrays of structures, or when we want to pass complicated data layouts between functions. Suppose we wanted to make a symbol table for up to 100 identifiers. We could extend our definitions like char id[100][10]; int line[100]; char type[100]; int usage[100]; but a structure lets us rearrange this spread-out informa- tion so all the data about a single identifer is collected into one lump: struct { char id[10]; int line; char type; int usage; } sym[100]; This makes sym an array of structures; each array element has the specified shape. Now we can refer to members as sym[i].usage++; /* increment usage of i-th identifier */ for( j=0; sym[i].id[j++] != '\0'; ) ... etc. Thus to print a list of all identifiers that haven't been used, together with their line number, for( i=0; i= 0 ) sym[index].usage++; /* already there ... */ else install(newname, newline, newtype); ... } lookup(s) char *s; { int i; extern struct { char id[10]; int line; char type; int usage; } sym[ ]; for( i=0; i 0 ) return(i); return(-1); } compar(s1,s2) /* return 1 if s1==s2, 0 otherwise */ char *s1, *s2; { while( *s1++ == *s2 ) if( *s2++ == '\0' ) return(1); return(0); } The declaration of the structure in lookup isn't needed if the external definition precedes its use in the same source file, as we shall see in a moment. Now what if we want to use pointers? struct symtag { char id[10]; int line; char type; int usage; } sym[100], *psym; psym = &sym[0]; /* or p = sym; */ This makes psym a pointer to our kind of structure (the sym- bol table), then initializes it to point to the first ele- ment of sym. Notice that we added something after the word struct: a ``tag'' called symtag. This puts a name on our structure definition so we can refer to it later without repeating the definition. It's not necessary but useful. In fact we could have said struct symtag { ... structure definition }; which wouldn't have assigned any storage at all, and then said struct symtag sym[100]; struct symtag *psym; which would define the array and the pointer. This could be condensed further, to struct symtag sym[100], *psym; The way we actually refer to an member of a structure by a pointer is like this: ptr -> structure-member The symbol `->' means we're pointing at a member of a C Tutorial - 27 - structure; `->' is only used in that context. ptr is a pointer to the (base of) a structure that contains the structure member. The expression ptr->structure-member refers to the indicated member of the pointed-to structure. Thus we have constructions like: psym->type = 1; psym->id[0] = 'a'; and so on. For more complicated pointer expressions, it's wise to use parentheses to make it clear who goes with what. For example, struct { int x, *y; } *p; p->x++ increments x ++p->x so does this! (++p)->x increments p before getting x *p->y++ uses y as a pointer, then increments it *(p->y)++ so does this *(p++)->y uses y as a pointer, then increments p The way to remember these is that ->, . (dot), ( ) and [ ] bind very tightly. An expression involving one of these is treated as a unit. p->x, a[i], y.x and f(b) are names exactly as abc is. If p is a pointer to a structure, any arithmetic on p takes into account the acutal size of the structure. For instance, p++ increments p by the correct amount to get the next element of the array of structures. But don't assume that the size of a structure is the sum of the sizes of its members _ because of alignments of different sized objects, there may be ``holes'' in a structure. Enough theory. Here is the lookup example, this time with pointers. struct symtag { char id[10]; int line; char type; int usage; } sym[100]; main( ) { struct symtag *lookup( ); struct symtag *psym; ... if( (psym = lookup(newname)) ) /* non-zero pointer */ psym -> usage++; /* means already there */ else install(newname, newline, newtype); C Tutorial - 28 - ... } struct symtag *lookup(s) char *s; { struct symtag *p; for( p=sym; p < &sym[nsym]; p++ ) if( compar(s, p->id) > 0) return(p); return(0); } The function compar doesn't change: `p->id' refers to a string. In main we test the pointer returned by lookup against zero, relying on the fact that a pointer is by definition never zero when it really points at something. The other pointer manipulations are trivial. The only complexity is the set of lines like struct symtag *lookup( ); This brings us to an area that we will treat only hurriedly _ the question of function types. So far, all of our func- tions have returned integers (or characters, which are much the same). What do we do when the function returns some- thing else, like a pointer to a structure? The rule is that any function that doesn't return an int has to say expli- citly what it does return. The type information goes before the function name (which can make the name hard to see). Examples: char f(a) int a; { ... } int *g( ) { ... } struct symtag *lookup(s) char *s; { ... } The function f returns a character, g returns a pointer to an integer, and lookup returns a pointer to a structure that looks like symtag. And if we're going to use one of these functions, we have to make a declaration where we use it, as we did in main above. Notice th parallelism between the declarations struct symtag *lookup( ); struct symtag *psym; C Tutorial - 29 - In effect, this says that lookup( ) and psym are both used the same way _ as a pointer to a strcture _ even though one is a variable and the other is a function. 21. Initialization of Variables An external variable may be initialized at compile time by following its name with an initializing value when it is defined. The initializing value has to be something whose value is known at compile time, like a constant. int x 0; /* "0" could be any constant */ int a 'a'; char flag 0177; int *p &y[1]; /* p now points to y[1] */ An external array can be initialized by following its name with a list of initializations enclosed in braces: int x[4] {0,1,2,3}; /* makes x[i] = i */ int y[ ] {0,1,2,3}; /* makes y big enough for 4 values */ char *msg "syntax error\n"; /* braces unnecessary here */ char *keyword[ ]{ "if", "else", "for", "while", "break", "continue", 0 }; This last one is very useful _ it makes keyword an array of pointers to character strings, with a zero at the end so we can identify the last element easily. A simple lookup rou- tine could scan this until it either finds a match or encounters a zero keyword pointer: lookup(str) /* search for str in keyword[ ] */ char *str; { int i,j,r; for( i=0; keyword[i] != 0; i++) { for( j=0; (r=keyword[i][j]) == str[j] && r != '\0'; j++ ); if( r == str[j] ) return(i); } return(-1); } Sorry _ neither local variables nor structures can be initialized. 22. Scope Rules: Who Knows About What A complete C program need not be compiled all at once; the source text of the program may be kept in several files, and previously compiled routines may be loaded from libraries. How do we arrange that data gets passed from one routine to another? We have already seen how to use func- tion arguments and values, so let us talk about external data. Warning: the words declaration and definition are used precisely in this section; don't treat them as the same thing. A major shortcut exists for making extern declarations. If the definition of a variable appears BEFORE its use in some function, no extern declaration is needed within the function. Thus, if a file contains f1( ) { ... } int foo; f2( ) { ... foo = 1; ... } f3( ) { ... if ( foo ) ... } no declaration of foo is needed in either f2 or or f3, because the external definition of foo appears before them. But if f1 wants to use foo, it has to contain the declara- tion f1( ) { extern int foo; ... } This is true also of any function that exists on another file _ if it wants foo it has to use an extern declaration for it. (If somewhere there is an extern declaration for something, there must also eventually be an external definition of it, or you'll get an ``undefined sym- bol'' message.) There are some hidden pitfalls in external declarations and definitions if you use multiple source files. To avoid them, first, define and initialize each external variable only once in the entire set of files: int foo 0; You can get away with multiple external definitions on UNIX, but not on GCOS, so don't ask for trouble. Multiple ini- tializations are illegal everywhere. Second, at the begin- ning of any file that contains functions needing a variable whose definition is in some other file, put in an extern declaration, outside of any function: extern int foo; f1( ) { ... } etc. The #include compiler control line, to be discussed shortly, lets you make a single copy of the external declarations for a program and then stick them into each of the source files making up the program. 23. #define, #include C provides a very limited macro facility. You can say #define name something and thereafter anywhere ``name'' appears as a token, ``some- thing'' will be substituted. This is particularly useful in parametering the sizes of arrays: #define ARRAYSIZE 100 int arr[ARRAYSIZE]; ... while( i++ < ARRAYSIZE )... (now we can alter the entire program by changing only the define) or in setting up mysterious constants: #define SET 01 #define INTERRUPT 02 /* interrupt bit */ #define ENABLED 04 ... if( x & (SET | INTERRUPT | ENABLED) ) ... Now we have meaningful words instead of mysterious con- stants. (The mysterious operators `&' (AND) and `|' (OR) will be covered in the next section.) It's an excellent practice to write programs without any literal constants except in #define statements. There are several warnings about #define. First, there's no semicolon at the end of a #define; all the text from the name to the end of the line (except for comments) is taken to be the ``something''. When it's put into the text, blanks are placed around it. Good style typically makes the name in the #define upper case _ this makes param- eters more visible. Definitions affect things only after they occur, and only within the file in which they occur. Defines can't be nested. Last, if there is a #define in a file, then the first character of the file MUST be a `#', to signal the preprocessor that definitions exist. The other control word known to C is #include. To include one file in your source at compilation time, say #include "filename" This is useful for putting a lot of heavily used data defin- itions and #define statements at the beginning of a file to be compiled. As with #define, the first line of a file con- taining a #include has to begin with a `#'. And #include can't be nested _ an included file can't contain another #include. 24. Bit Operators C has several operators for logical bit-operations. For example, x = x & 0177; forms the bit-wise AND of x and 0177, effectively retaining only the last seven bits of x. Other operators are | inclusive OR ^ (circumflex) exclusive OR ~ (tilde) 1's complement ! logical NOT << left shift (as in x<<2) >> right shift (arithmetic on PDP-11; logical on H6070, IBM360) 25. Assignment Operators An unusual feature of C is that the normal binary operators like `+', `-', etc. can be combined with the assignment operator `=' to form new assignment operators. For example, x =- 10; uses the assignment operator `=-' to decrement x by 10, and x =& 0177 forms the AND of x and 0177. This convention is a useful notational shortcut, particularly if x is a complicated expression. The classic example is summing an array: for( sum=i=0; i . Pick N Roll <== Reverse Cut || \/ 3. Move the joystick in the direction of the arrow beside the play you want; that play is now set. Release the fire button. (If you don't want to call a play, don't move the joystick, just release the button.) 4. Your players continue to run the selected pattern until you shoot, call another play, or lose possession. (Page 8) O Calling Defensive Plays 1. When the offensive team calls a play, play stops, and a Defensive Play box also appears. It reads CALL DEFENSIVE PLAY. 2. After the offensive team calls its play, you can press the fire button. Keep it down. Now your Defensive Play box lists the five defensive formations available to you. Fast Break /\ || Man-2-Man (T) ==> Man-2-Man (L) . Trap <== Dbl Team || \/ 3. Move the joystick in the direction of the arrow beside the defense you want; that play is now set. Release the fire button and the defense is set. O Rebounding 1. Move your player - offensive or defensive - to the hoop as quickly as you can after a shot. 2. As the shot comes off the rim, press the fire button and keep it down to make your player jump for the ball. O Playing Defense 1. To steal, guard the dribbler closely. If he faces you with the ball, touch him and you strip away the ball safely. But be careful: You could foul him if he's not facing you. 2. To intercept passes, position your man between the passer and his target. O Personal Fouls 1. Two kinds of Personal Fouls are called in this game: Charging (when your ball handler runs over a defender) and Foul (when you hack a dribbler or shooter). 2. Each man is permitted six personals before he's forced to ride the pines. (Page 9) O Fouling Out 1. Guard closely, but cautiously - after a player's sixth personal foul, he's gone. To the locker room. Shower city. 2. When a player fouls out, the second man in his position automatically takes his place. O Violations 1. Violations are infractions of the rules, instead of a player's body. Thus they result in Turnovers (the other team gets the ball), instead of Personal Fouls. Violations include: 24 Second Rule - From the moment you gain possession of the ball, you have just 24 seconds to shoot the ball, or the other team gets it. If you shoot and miss, but grab the rebound, the 24 second clock (located at the bottom of the game screen) resets, and you have another 24 seconds to shoot. Half Court Violation - When you inbound the ball beneath the basket you're defending, you have just 10 seconds to dribble or pass the ball over the center line into your half of the court. The ten- second count begins the moment your player receives the inbound pass. Certain violations or turnovers don't exist in Fast Break. You can't dribble or pass the ball out of bounds; you can't dribble or pass the ball back across the center line once you've crossed it (Over and Back); and you can't double dribble. O Substitutions 1. Change players as often as you'd like, but only during a timeout (no matter who calls it) and between quarters (when the game automatically stops). 2. From the Players screen, move the joystick up or down to highlight the player (or players) you want to remove; then press the fire button to replace him. O Timeouts 1. You get three per half, six for the game. 2. You can only call time after an opponent's Field Goal, when you have the ball out of bounds. 3. Press the space bar to call a timeout: the Timeout screen appears. 4. Press the fire button, the Players screen appears, and you are automatically assessed for the timeout. (Page 10) STRATEGY O Study your team's strength and weaknesses before picking a lineup. O You have a much better chance to win if you choose the "right" combination of players and skills. O Use slower players to imbound the ball so that you can pass it in to the faster ones. O If you have a fast break, go for it. But you'll find that your team's shooting percentages tends to go up when you call set plays. O Confuse the defense. Call a set play, then drive the lane for a slam dunk. O Don't exhaust your favorite players by overplaying them. Substitute judiciously, or they'll be tired at the end of the game when you need them most. O Practice. Use the Practice Mode to work on your fundamentals, to find out how effective different players are in different situations, and to experiment with the Playmaker plays to see which create the best openings for good shots. O Offense: follow your shot. Defense: crash the boards. O Study well the offensive diagrams, and think strategy. Fast Break can handle as much basketball strategy as you know or want to learn. To get you thinking like Pat Riley here's an example of player strategy for the Reverse Cut Play: 1. Your best ball handler - usually a guard - has the ball up top. 2. When the other two players make their cuts, pass it to the best three-point shooter (usually the forward) for the shot, not the center who can't hit the side of a barn door. (Consult PLAYBOOK.IFF picture to view diagram) O "Keep cool, but care." Sage advice from McClintock Sphere, legendary street-ball player and jazz saxophonist. straight to the village where the entrance to the tunnels is hidden in one of the huts. From here on the cheat no longer works, the game runs as normal and you can die but it certainly gets you further along the track. ARKANOID- Press the Spacebar (Pause) then type 'DSIMAGIC' press Space again and catch the Pill falling from the centre of the screen. Once you have done this you can call up extra paddles, laser turret, etc, by typing the appropriate letter on the keyboard. 'F' will take you to the final screen and the confrontation with 'DOH' (He's the dude that trapped you at the beginning of the game). BARBARIAN- Type '04-08-59' (that's the author's birthday) to make Hegor immortal. You will have to retype it every time the disk drive accesses, and your background should be grey instead of black. The only problem with this one is that you can't complete the game 'cause you can't kill the bad guy. You can see all the screens right to the bottom though. MENACE- This one's a bit tricky - type 'XR31TURBONUTTERBASTARD' while the game is in progress. try doing that without getting killed off! You should now have a large supply of shields, cannon and lasers. They will run out eventually so you have to type it in again. THE EMPIRE STRIKES BACK- Here's a goody! Ever wonder how they got the picture of Luke and Darth Vader on the screen shots in the advertisement. Here's how: Hold down the HELP key and type 'XIFARGROTKEV' on the title screen (That's VEKTORGRAFIX backwards). You are now invulnerable. Hit 'L', 'D', and 'C' for some extra surprises. STREET FIGHTER- Here is another one I haven't tried. It's more strategy than a cheat; All of your opponents but the last, named Sagat in Thailand can be dispatched by kicking them in the ankle. The technique for Sagat is 'Watch for fireballs and his long reach. Jump high, kick and retreat. Repeat this process until he falls.' WIZBALL- Pause the game (spacebar) and type 'RAINBOW' resume the game and press space again. now hit 'C' to fill the pot with the current colour. GIANA SISTERS- Pressing all the keys that make up the word 'ARMIN' during the game will allow you to skip levels. STARGLIDER II- Select F (for fixed sights) then slow down to a dead stop and pause the game (using the backspace key). Type 'Were on a Mission from God' (with the spaces and case also not important) and press '1' on the keyboard. If the shield and energy levels drop to zero the cheat mode has been activated. Press 'k' to get all the weapons (including the neutron bomb!), and when you run out just press 'k' again. BARBARIAN- If you're fighting an enemy or being threatened by obstacles, use the pick-up icon - attackers will either pass you by or turn around and attack you again. S.D.I.- When you're in the Russian space station, pick one man and keep firing at him 10 to 15 times. No other men will appear and you can keep doing it until you get the girl. THUNDERBLADE- When on the title screen type in CRASH, causing the screen to flash quickly, indicating that the cheat mode is now active. Press UNDO (if you are using an ST) or DEL (if you are using an Amiga) whilst playing to advance to the next level. AFTERBURNER- During play, hit BACKSPACE to pause the game and type in AGES (Sega backwards), causing the game to restart. Now when you play again, use the < and > keys to change levels. EXOLON- Type 'ad astra' (in lower case) while on the high score table to gain infinite lives. STAR RAY- Type in AL YANKOVIC to activate the cheat mode. Now hit F5 for infinite lives or F6 to complete an attack wave. JOAN OF ARC- At the start of the game select 'Start A Campaign' from the main menu, then select 'Displacement' from the second menu to enable movement of the army into another province. Moving into Orleanais sees the 'Battle in Open Country' arcade game begin (see hints below). On defeating the enemy, select 'Offensive' from the 'Start A Campaign' menu, and choose Orleans. The 'Entry Into Town' and 'Taking of the Wall' arcade sections begin (see hints below). Orleans must be taken before Joan can move to Rheims to crown the king. After the fall of Orleans, move into the Province of Champagne. Move the army north and attack each Province in turn, taking all towns and fortresses before moving on. Once the northernmost Province has been taken, move southwards repeating the process. Use hostages to make money to pay the army. Select 'Liberation' from the 'Diplomacy' menu, deal with Henry VI exclusively, use Tremoille and Regnault of Chartres as ambassadors and use the following list as a guide to the amount of ransom to demand. DUKE OF BEDFORD .............. #4,000,000 DUKE OF WARWICK .............. #2,000,00 MANHUNTER NEW YORK. Typed for Sewer Software by Glen August 27 2004 6am I am a manhunter.It has been two long tedious years since the invasion.They came suddenly,like a thief in the night....it was all over by dawns fist light.I have no idea how the rest of the world is doing.Outside communication has been suffocated. All of us are required to wear the desinated uniform,brown robes,and we must keep our faces hidden as much as possible.Above all else,we are not allowed to speak to each other,To do so would mean certain death. Most have given up,for fear of the aliens with their powerful technology and deadly robots. 5.45 pm New York has been devastated.The invasion has taken its toll on the city damaging many structures.Living conditions have steadily eroded. Vandalism has skyrocketed,and there is no longer any maintinence of the city or its streets.Most businesses have shut down,only a handful of small shops remain.The largest buildings in town have been boarded up or taken over by the Orbs.There are restrictions to traveling through the city,and most humans are not allowed out of their confined desinated areas. August 28 2004 5.15pm The Orbs have been working furiously since their arrival.It is like they are on a special mission of some sort.I have noticed significant changes in the atmosphere since their arrival.Strange,rotting odors permeate the air and an increasingly red tint has overtaken the skyline.The behavior of fellow humans has grown increasingly peculiar.It's all a mystery to me. August 30 2004 8.30am There are fewer people on the streets.All of my freinds have disappeared vanished into thin air.I have looked for them where I could...I mean its not as if they had anywhere to go. 11.15pm There are rumors floating the streets of a secret society.Humans who have banded together to drive the Orbs from New York.I have heard they thrive underground,where the tracking disks cannot read there signal. The tracking disks were surgically implanted in the backs of our necks. It is now common knowledge that the Orbs have had trouble with disks. Apparently the disks can only transmit the location but not the identity of the user as expected.Thus the need for Manhunters. August 31 2004 10.31pm A select number of humans were selected by the Orbs to become Manhunters I have no idea how the selection was made or how I was chosen.Tomorrow is my first day on the job,an dI have no clue as to my destiny.All they have told me is to read the "Manhunters Field Guide" which they say will answer all my questions. (page 2) CONGRATULATIONS, on being selected for the esteemed position of Manhunter. This guide will introduce you to all the information you will find necessary to become an effective,loyal follower of the Orb Alliance. Manhunter is the highest position a human can hold under the Alliance,so be grateful. Each day you will be given an assignment by your sectors supervising Orb. The assignment will involve tracking down humans who,in some way,have wronged the Alliance.You will be given a 24 hour period to discover and report the humans identity so that he can be corrected. You have been issued one Manhunter Assignment Device(MAD).MAD is your link to the alliance computer.With MAD you can access the tracking records associated with your current assignment as well as the Human Database Service.As Manhunter,you are allowed to travel to locations pertinent to your current assignment.DO NOT STRAY OR LOITER! Always conduct yourself in a manner suitable to your position.Treat your fellow Earthlings with the indifference they deserve. (page 3) MANHUNTER ASSIGNMENT DEVICE (MAD) MAD is a small,portable apparatus linked by radio transmission to the Alliance computer.MAD has two functions:Info & Tracking. INFO:This function provides access to limited information on all humans currently residing in the planet Earth city of New York.After pressing the INFO button,type in the full name of the human.The human database service will then provide your MAD with information(address,ID number,etc)of the selected human.After receiving information,you may select REPEAT to try another name or EXIT to leave the program.If you accidentally type in the wrong name,you can try again,or type BYE to exit. NOTE:The Orb Alliance has authorized Manhunters to visit any address furnished by the info system. (page 4) As a Manhunter you are required to record all pertinent data that you discover during your investigation.Luckily,INFO provides a means to enter this data through its autoscan feature.Whenever important information is picked up by a Manhunter (important documents,notes,etc) Autoscan examines the data and stores important information into memory for future access.To observe this data press INFO from your MAD and type NOTES in place of a name. TRACKER All human movement is recorded in the humans tracking records database of the Alliance computer.Due to the low priority placed on these records,tracking information on each human is only available from shortly before the time of the alleged criminal activity to a time period not extending beyond the end of that day.Due to unforseen difficulties with human tracking disks,the targeted humans identity is not recorded.Also,tracking of a target is cut off if the human should venture under earth soil.However,this practice is strictly forbidden and should not hamper your investigations. One function of MAD is to tap into the appropriate human tracking records for your current assignment.When MAD first accesses tracking, it will determine and then "tag" the most appropriate human target signal. A playback will then begin of that targets movements throughout the city.During playback,MAD will also display any other human targets that come in close contact with the tagged human target.You may (page 5) tag any of these human subjects that you feel may be beneficial to your investigation.To tag the new target,simply place the marker over the desired subject and press enter.The yellow rotating target should change to the subject you have chosen.You may replay tracking records as often as you find necessary.Manhunters are authorized by the Orb Alliance to visit any location that a tagged target visits. NOTE:Experienced Manhunters have found that the most efficient way to use the tracker is to watch it until it terminates transmission. Proceed to replay the transmission closing MAD after the target leaves each location.Travel to the location shown and investigate. (page 6) SIGNAL TRACKER This is recntly installed featuer that allows the recording of various signals entering and leaving the Alliance central Computer. The Alliance central computer contains a signal analyzer which resides in its I/O buffer.Once playback begins,the analyzer begins,the analyzer determines if the tagged signal contains restricted information.ANY TAGGED SIGNAL CONTAINING RESTRICTED MATERIAL MUST BE INVESTIGATED.However,since the analyzer is in an experimental stage,a certain amount of manual control is necessary.A signal must first be tagged by the manhunter before it can be analyzed.To tag a signal place the marker over the signal you wish to be tagged and press enter.The signal will change color when tagged.After a signal has been tagged it is automatically fed into the analyzer.If the analyzed signal contains restricted information,the signal can then be traced back to its source by your MAD tracking device.After the traced signal leads you to a suspect,you will follow normal Mnahunter procedure to complete your investigation. (page 7) MANHUNTER OVERVIEW.. A Sierra 3-D animated adventure,simply stated is an interactive movie where you become the main character,in this game the main character is a Manhunter,an agent of the future who spies on fellow humans for an alien empire. Each adventure has a main goal,and yours in Manhunter is to track down humans for the Orb Alliance,learn the whereabouts of the human underground,and ultimately discover the true purpose behind the alien invasion.You will need to move stealthfully and wisely as time is quickly vanishing for America and its citizens. TIPS.. 1.How to move around:Basic instructions on how to interact with this game are included in this manual and the reference cards enclosed. For those of you who are not sure what to do,there is a WALK THRU included at hte end of this manual. 2.Keep your face covered and your lips tight:Due to the dangerous nature of this game you will want to save the game often.Follow the instructions on your Manhunter quick reference card to save game. after you have made important progress in the game SAVE GAME,whenever you encounter a potentially dangerous situation.If you do encounter danger,or fail to complete all the required tasks to get past a given obstacle,you can follow the instructions on your reference card to RESTORE GAME to the place you were at when you last saved your game. Intelligent use of this function has spared many a Manhunter from having his position terminated permanently. F1...HELP F2...SOUND ON/OFF F3...TRAVEL F5...SAVE F7...RESTORE F9...RESTART ESC..MENU ON/OFF ALT Z...QUIT CTL J...JOYSTICK/MOUSE C...MAD (page 8) NOTE:Manhunter New York employs a convenient feature that automatically gives you a second chance after you have encountered the most grisly of situations(namely a gruesome death).This feature allows you to face the most unexpected of conclusions without requiring you to replay the entire game. 3.Keepyour eyes open:Look at and examine everything you can.Watch closely those around you.Pay close attention to detail.There are many clues,both visual and symbolic,which will help you succeed in your quest. 4.Team up against the enemy:This Orb-infested metropolis can be one mean place for a Manhunter to live.You may find it helpful to play Manhunter with a friend.Different humans come up with different ways to interpret clues,and besides,it makes life a lot more fun. 5.Got your back against the wall:If you've tried every trick of the trade and still can't get anywhere,don't panic.Even expert Manhunters have been known to get blown to shreds.It's part of the job. (page 9) MANHUNTER WALK-THRU. Manhunter is a unique sierra 3-D animated adventure,using an object orientated interface.the following walk-thru is provided to facilitate your understanding and enjoyment of this new interface.The contents of the walk-thru includes helpful suggestions that experienced adventurers may not wish to see.Continue reading only if you are having difficulty playing Manhunter. (page 10) The title screen opens showing the invasion of New York city.Press Enter or spacebar to bypass the title screen. Your adventure begins two years after the alien invasion.It is your first day on the job.You are rudely awakened by the sector's supervising Orb,who gives you instructions for your first days assignment. "ATTENTION MANHUNTER!THERE WAS AN EXPLOSION AT BELLEVUE HOSPITAL!INVESTIGATE." Press Enter when you are ready to proceed.(note:in most situations the spacebar will perform the same function as Enter) Your character gets out of bed and turns on the lights.He takes his Manhunter assignment device (MAD) and turns it on.The computer reads "ALERT".press Enter. the computer responds "TRACKER HAS LOCKED ON TARGET.LOCATION:BELLEVUE HOSPITAL" Press Enter. The yellow target is the person you are currently tracking.Remember to always watch where the target goes and what they do.When the computer is finished tracking,you will receive a message.The computer reads, "TARGET SIGNAL LOST,TRACKING TERMINATED" Press Enter. Select tracker again.After the target leaves the hospital,you will zoom out to see the target as it travels on the city map.Press C to close the computer. You are now viewing the travel map.Locations you are authorized to invbestigate are indicated by a blinking square.Your current location is indicated by an X.The blue/red circle is your marker. Trace the path of your target to investigate the location he has visited. To go to Bellevue hospital,move the marker down until it hits the bottom of the screen.The screen will flip to reveal the next portion of (page 11) the map.You will see Bellevue hospital blinking.Position the marker over the hospital blinker.Press Enter to travel there. You are now standing in front of Bellevue hospital.Move your marker around the screen to reveal various messages.Position the marker near the bottom of the right wall and it will change into an arrow.Press Enter. You are now standing where the target bombed the wall of the hospital. Press Enter to go inside. Position the marker over the toe of the corpse and press Enter.take note of the victims name (Reno Davis).You may want to press Enter to back out of this view. Next,position the marker over the corpses face and press Enter.Watch this scene until the baby Orbs attack your face. NOTE:You can avoid death by pressing Enter to back out of this view just before the Orbs eat your face. After you die a message will be displayed.Press Enter to return to the game.You are now outside the hospital again.Press the TAB key to display your inventory.Select MAD,Select INFO.Type Reno Davis.Press Enter. Select Exit. Select Tracker.You may watch the target at the hospital again or press S to skip ahead to watch your targets movements after departing the hospital. Watch the target travel through the city.The tracker will zoom into Trinity church.after the target leaves the church,press C to close the computer. Press F3 to travel. (page 12) Move the marker down to the location of Trinity church.Press Enter to travel to the church. Position the marker over the front door of the church.Press Enter. Position the marker over the area where the target went.(the candles on the left side of the room).The marker will change to a magnifying glass. Press Enter. Position the marker over the matches and the marker changes into a hand. Press Enter to light the candle. NOTE:Later in the game you will receive a clue on what you should do at this location. Select MAD from your inventory,You will receive a message that your signal is too weak.Maybe you should go outside to use it.Press Enter to continue.Press Enter to back out of the scene.Press Enter again to leave the church. Select MAD from your inventory.Select Tracker. Watch the church scene again or press S to skip. The tracker proceeds to a bar in north Brooklyn.Watch where the target goes once he has entered the bar.When the target leaves,Press C to close the computer.Press F3 to travel. Find north Brooklyn and travel to the bar. Position the marker over the door and press Enter. (page 13) Position the marker over the video game at the left side of the room and press Enter to play the game.You will be interrupted by an unfreindly group of bar patrons.Watch this scene until it is your turn to throw the knives at the bartender.The object is to land A knife between each of his fingers (four total) without missing.Press Enter yo throw a knife. Throw a knife outside of the hand area.You will be thrown outside.Go back inside and position the marker over the knife table.Press Enter this time,throw a knife and hit a finger. After you die,press Enter to try again.Aim carefully and you will soon be successful. After winning the contest,watch carefully the signal tath the bartender gives you.This will prove useful later. Now that you have proved your skills to the thugs,you will be able to play the video game undisturbed. Press Enter to play the video game.Read the instructions. To move the character through the video game,use the arrow keys.(left, right,up & down). Now you are on your own.Good luck on your adventure. P.S. Be suer to watch for clues as you play Manhunter.Many objects in the game have symbolic significance,and may be useful for more than one purpose.Keep an eye out for strange or unusual things that may occur in the game. ************************************************ Millinieum 2.2 ************************************************ Since whomever cracked this game decided NOT to make any docs for it, here's my try (I completed it without any help): I. Background Time: It is the year 2200 Place: The last outpost of the United States Space Force (expeditionary) After a brief but fruitful race to space, America succeded in establishing a colony on the Moon 10 years ago and the Russians on Mars. All was fine until Boris Yeltzen, the Soviet Premire, woke up cranky after an all night drinking binge. He reached for the button to call his valet, but mistakenly pushed the button that called for a preemptive strike on the U.S. . On the moon, preperations were underway for an intersteller mission to colonize other solarsystems. Since a true intersteller drive had not been perfected yet, cryo-sleep was the only way to go. A test of the model colony was to be done using all the equipment developed for the mission. For the test, the test crew was put into cryo-sleep for a year to test the system for waking the crew. On Mars, the ruskies had moved STAR city from Earth to continue the 1000 year plan of a communist solar system. II. Purpose When the systems awoke the colonists, they found the Earth below a volcanic ruin and thier base deserted. Mission: to perpetuate a free populance of humans and one day to re- colonize Earth. Enemies: The remains of the U.S.S.R. who control Mars and it's moons and are watching your base via spy craft. III. Your Moonbase: Left hand icon on title bar. Consists of sections: To go to each section, put the arrow over it's dome and click. Hangar: Central section where all extra planatary missions start. (all functions here are self explanatory point and click) Resources: Mining..where you gather ore from the surface (requires power!) Energy: Power supplied to the base. ( you start out on battery power, put the arrow over the equipment you want to put online..the number that is... and click) Life Support: Will tell you the current population and number of domes you have. Also show a pic of the racial type in the dome (watch this on your colonies) Defense: Duhhh.. three things to watch here... Center screen: Incoming hostiles right bottom Orbital lasers (box) left bottom Fighters (box) When you hear an alert, go to defense as fast as you can!!! Use either fighters or lasers to save damage to your base. Production: Grease-R-Us Click on the screen above the chair to produce items you've researched. Reasearch: R&D product research and development. To start research, put the pointer over the TITLE of a folder and click.Then select a project from that folder (after a project is completed, plans appear and the project name turns green). Use the Day Advance to speed the time along. IV. Misc. To win you must repopulate the Earth somehow..the answers are in the solar system somewhere. ************************************************************************ CHEAT SECTION READ NO FURTHER IF YOU WANT TO DO THIS BY YOURSELF It's much more gratifying if you figure it out. ************************************************************************ Quick start- go to power and turn on the Mark I. Turn on mining. Cycle through 20 days. (advance day) Turn off mining. Reaserch Mark II SolaGen Cycle days until research is complete. Produce a Mark II Go to Power and put the Mark II online. Turn mining on Reasearch Mark III-X Reasearch fighter reasearch Grazer Build all above Build at least 6 grazers Send grazers to the asteroids. To have more crew, build nodules to colonize, build S.O.U.S ***************************************************************** Millenium 2.2 DOCS brought to you by the munificent and magnanimous people at Sewer Software. It was edited by Sewer Rat on the 15th August, 1989. Soon we will reach the zenith of the mountain of docs to edit !!! Following are the docs to PHASAR HOME ACCOUNTS (we think!!) They were ported from Amiga to ST by Possum and edited extensively by Sewer Rat on the 15th August, 1989 ===================================================================== GENERAL PHASAR CONVENTIONS Welcome to PHASAR. Listed below are general conventions used throughout. F1 - Just as you pressed F1 to get this help message (I did?), strike the F1 key anytime you need help. Most help messages will be in the form of pop-up menus. Right-hand mouse button will also get you help. F2 - This will bring up a one-line calculator at the bottom of the screen. Esc - Use this key to end whatever function you are currently performing. There are some places where it makes no sense to stop (e.g. in the middle of entering a transaction) and the program will request that you finish before exiting. Function key F10 is completely equivalent to Esc. Tab - This key will generally cause the program to back up to the previous prompt. Caps - You may use upper or lower case characters anywhere; when the program is comparing text, the case of the characters EDIT MODES : There are three edit modes used by the program. 1) Text presented in normal video with the first letter blinking. Strike to accept the text as it is (this is used when the program makes a guess about what your answer will be). 2) Character-edit mode is shown by reverse video text with one letter blinking. Move the cursor (blinking letter) to any position in the text and type over inserting and deleting letters is permitted. You can move from the first mode to this mode by striking the right cursor key. 3) An entire word or string of words is presented in reverse video with no letters blinking. You'll see this when editing transactions etc. To enter character-edit mode (number 2 above) strike the key. If you accidentally begin to edit an item striking the key will restore it to its original value. VALIDATE REGISTER FILE: Should you ever have a power glitch, this function will help PHASAR get its bearings and straighten out any mistakes or oversights in computing category or account summaries. All transactions are "replayed" and new category sums are computed. New account balances and unconfirmed transactions summaries are generated. You will also be presented with a summary showing the number of transactions and comments used each month. REMEMBER to ask for HELP ( or or right mouse button) when in doubt. ENTERING TRANSACTIONS ENTERING NEW TRANSACTIONS: This function is used to enter individual transactions in a manner very similar to recording checks in your checkbook register. A list of accounts with the associated current balance and most recently entered transaction will be displayed on the top of the screen. Follow the prompts near the lower left-hand corner of the screen. Whenever you are prompted to enter an account or a category, the program will accept the number of the item or the first one or more characters of the name. Striking F1 at the prompts gives you a menu of options. To execute a transfer of funds from one account to another, enter the name of the debited account for 'Which Account' and type the number or name of the credited account for 'Payee'. To record a deposit, type the word 'DEPOSIT' (or the first few letters of "deposit") in answer to the 'Payee' prompt. To record a deposit from multiple sources or if a single debit should be divided into more than one expense category, type either the word 'SPLIT' or 'MULTI' in answer to the 'Category' prompt. When you are finished entering the parts of the transaction, type in response to the 'Category' prompt and you will be returned to the normal mode. In general, you will not want to enter negative numbers for the amount of the transaction. The program assumes you are entering an expense if the payee is not "deposit" and knows to subtract the amount entered. However, to record a refund or credit, enter it as a transaction (expense vs. income) with a negative amount. To enter a comment associated with a transaction, type in the comment in response to the 'Comment' prompt, or to repeat the previous comment, type a single quote. The word "YES" will be displayed in the comment column to indicate that it has been recorded. To leave the comment blank strike in response to the comment prompt. As soon as you enter an amount for a transaction and strike , the balance displayed at the top of the screen will be updated. USE STANDARD TRANSACTIONS: This module allows you to enter groups of transactions which occur repeatedly. (For example: first-of-the-month bills, paychecks with all of the associated deductions.) You will be asked for a default date to attach to all of the transactions. This date as well as other information associated with the transactions can be edited by moving the reverse-video cell around the screen and typing in the correct information. When you have finished editing the transactions, strike . EDIT STANDARD TRANACTIONS: You may define up to seventeen 'pages' of these transactions with each 'page' containing up to 20 transactions. Select a page number for the group of transactions which you wish to define. If you choose a page which is already defined, you are given the opportunity to re-define that page or to request another page number. You will then be asked for a one-line title for the new page. At this point you will enter transactions very much like you would do if you were entering single transactions, except you will not be prompted for the date or a comment. Just follow the prompts. VIEW/EDIT TRANSACTIONS: This sub menu allows you to change any of the information contained in a transaction entered earlier, or to view transactions defined by a set of limits which you specify (e.g. date range, which categories etc.). The first step in editing transactions is to call up the right ones. You'll need to decide which accounts, which income and/or expense categories, which payee's, and which period to view or edit. Categories and accounts can be set to "all" or "none" as well as to specific ones. Payee can be "all" but "none" wouldn't make sense. The maximum number of transactions that can be called up at one time is 1000. When the setup is right you have the option of sending the output to the printer or the screen. Once that choice is made, and the "To Printer" option is set (yes or no), move the reverse video cursor to the "Do the Search" line and hit any key. Any transaction displayed on the screen can be edited. Simply move the reverse-video cell around the screen and type over any incorrect information. The summaries and account balances will automatically be updated. There are a few edits which you cannot do - for example change a transfer into something else - to protect the integrity of the data and summaries. If necessary, you may delete any transaction (and if desired, re-enter it in another format). To delete a transaction place the cursor in any column of the transaction to be deleted and strike the KEY. CONFIRM WITH STATEMENT: This sub menu helps you to reconcile each of your accounts with the monthly statement. You'll enter the account name and verify that the last confirmed balance and date agree with the beginning balance and date of the current statement. You should resolve any differences before continuing. Then you'll enter the ending balance and date from the statement - this becomes the target for the balancing act to follow. Finally, you'll be asked for a character string to be used to mark the transactions which you are about to confirm. The program will look for all the unconfirmed transactions for the account that you specified. They will then be listed, twenty at a time, on the screen. You may change (as needed) any part of any of the transactions. To confirm a transaction, simply put the cursor in the confirm column and hit . This will give you the default string you defined earlier. Or, you may also type in any one-to-six character string. Type a space and it to unconfirm a transaction. Just below the list of transactions there is a line which tells you the statement confirmed balance and the confirmed balance which you have achieved by confirming transactions (this is not the same as the final, unconfirmed balance) and the difference between the two. Go through all of the pages using the and keys until you have matched and marked as many transactions as you can, then strike . If the confirmed balance which you have achieved matches the statement balance, GREAT. If they don't PHASAR will help you find the discrepancy and correct it. If you discovered transactions on your statement which you forgot to enter you will be allowed to enter them now. (After returning from entering missing transactions you will need to confirm them as you did with the others). The number and total amount of confirmed debits and credits can be compared to those on your statement to help you find discrepancies (don't forget about the built-in calculator). In general, you will not want to enter negative numbers for the amount of the transaction. The program assumes you are entering an expense if the payee is not "deposit" and knows to subtract the amount entered. However, to record a refund or credit, enter it as a transaction (expense vs. income) with a negative amount. To enter a comment associated with a transaction, type in the comment in response to the 'Comment' prompt, or to repeat the previous comment, type a single quote. The word "YES" will be displayed in the comment column to indicate that it has been recorded. To leave the comment blank strike in response to the comment prompt. As soon as you enter an amount for a transaction and strike , the balance displayed at the top of the screen will be updated. SUMMARY REPORTS ACCOUNT SUMMARIES (VIEW OR PRINT): You may either print (onto the printer) or display (onto the screen) this report. There is one line for each account, with the account name listed about one-third of the way across the page. To the left of the account name, is the last confirmed balance and the associated date. Just to the right of the account name is a summary of the total amount, and number of (in parentheses) unconfirmed debits and credits. To the right of this are two columns which give the date of the oldest and most recent unconfirmed transactions for the account. The current balance (based on the last confirmed balance and the unconfirmed debits and credits) is presented in the right-most column. CATEGORY SUMMARIES (VIEW MONTHLY OR PRINT FULL): You may view a detailed monthly display of all categories (expense and income) or you can print the summary showing all categories for all months on a single page. SORT OR UNSORT THE CATEGORIES: Use this function to put expense and income categories in order. Specify whether you want the budget or actual categories sorted and if you want a particular month or the entire year ("total") sorted. Now you will be able to view the categories in the other functions of this submenu in order. They will stay in this order until you reorder them according to a different month, choose the "Unsort" function, or leave this module to return to the main menu. NET WORTH STATEMENTS (VIEW OR PRINT): PHASAR allows you to list assets and liabilities and generate a net worth from them. The net worth can be viewed on the screen or a nicely formatted net worth statement can be printed out. Most of the line used to list an asset or liability is for descriptive information (which the computer ignores in its calculations). The column titled "amount or account" can contain either a fixed amount or the name of an account which you have defined to PHASAR. If you use an account name when you compute net worth the current balance in that account will be substituted. An account with a negative balance (e.g. a charge card) should generally be listed as a liability. There are 40 lines for assets and 40 lines for liabilities. FINANCIAL ANALYSIS EDIT BUDGET: Use this function to establish budgeted amounts for each of the categories which you have defined. Budgeted amounts will be used for approximating the tax calculations and also for the display of the "plot trend vs. budget" graph. The budget-editing screen shows you the actual amount spent or received during each month to help you establish realistic budget amounts. The sum of all budgeted expenses and incomes is displayed on the right side of the screen to help you see the overall picture. PLOT TREND vs. BUDGET: This will give you a graphical view of the month-to-month trend of expenses or incomes and also a comparison of actual amounts and budget amounts. When prompted for the category to plot, striking the key will list all of the categories you have defined and also some "composite categories" such as total income, net cash flow or step-through- categories. Stepping through categories allows you to step through the categories one at a time starting at the category of your choice. To go back- wards through the categories use the key. End the stepping by striking the or key. You may combine the data of several (up to twenty) categories by entering the category names or numbers separated by "," or "+" (for the sum) or "-" (for the difference) or ":" (for a sequence). LOAN or SAVINGS ANALYSIS: You can define and store up to eight loans and savings accounts and recall them at any time to check the current balance or determine the interest paid (or earned) this year. Also by defining similar loans side-by-side you can compare different interest rates or loan terms. To define a loan you will need to enter the: 1) original principal 2) original date 3) life of the loan 4) annual interest rate 5) payment period. PHASAR will calculate the payment due at each payment period and the amount of interest paid over the life of the loan and during the current year (handy for estimating taxes). The savings analysis is similar except instead of specifying the term of the account you will specify the payment amount. NOTE: The numbers calculated by the program are approximate, the actual payment amounts and interest paid or earned may be different because of different compounding periods or computer round-off errors. SET UP This module is used to set up and modify the structure of the accounts and categories in PHASAR's register file. It is also used to perform various maintenance functions. SETUP ACCOUNTS: This function allows you to define new accounts, delete old accounts, edit and renumber accounts, and change the total number of accounts. To specify a new account you will need to give it a name (10 or fewer characters), the latest confirmed balance, and the date of that balance. You will then need to enter all unconfirmed transactions so that the program can compute the current balance. To re-arrange accounts type the desired number of an account over its current number. This will cause the two accounts to switch positions. Blank slots can be opened or deleted by using the and keys, allowing you to group accounts into meaningful groups. SETUP INCOME/EXPENSE CATEGORIES: These functions work just like the SETUP ACCOUNTS function. SET UP CHECK PRINTING: PHASAR has the ability to print checks in a format which you specify. The format may be different for each of the accounts. You establish the location of each of the items (e.g. payee, numeric amount, lexical amount, date) by specifying a line and column for the beginning of the item's print field. Requesting a "test pattern" will print out a grid which will help you determine where each item needs to be printed. Any item with a row and column location of 0 (zero) will not be printed. If the row and column location for the payee are both 0 (zero), no checks are printed for that account. NEW YEAR CARRY OVER: This function sets up a new data disk at the beginning of a new year. All of the unconfirmed transactions from the previous year are carried over to make the first reconciliation of the new year as smooth as possible. MAKE A COPY OF THE OLD YEAR DATA DISK AND USE THAT COPY. DO NOT USE THE ORIGINAL. Otherwise you will lose all of the records for the old year. CREATE NEW REGISTER FILE: This function establishes a skeleton structure for the PHASAR register file. You will then define accounts and categories as appropriate to your needs. USING THIS FUNCTION WILL DESTROY ANY TRANSACTIONS ON THE DISK. LIST MANAGEMENT NAMES/ADDRESSES AND TELEPHONE LIST (VIEW/EDIT OR PRINT): The name-and- address register allows for a name, three telephone numbers and four lines of address or other information per item. PHASAR allows you to call up any name you have entered by typing the first two or more characters of the name. If it cannot find a match, PHASAR will give you the nearest misses. You can page up and down through the register. Also you can print two types of lists from the names and addresses. The phone list is a printout of just names and associated phone numbers. The complete name-and-address printout includes the address. SPECIAL OCCASIONS (VIEW/EDIT OR PRINT): PHASAR keeps track of up to 250 special occasions. These events are displayed by choosing the "Special Occasions" function and entering an initial date for the display. To enter a date and occasion for annual events strike the key. A prompt will appear. You can page up or down to view preceding or subsequent events. To edit the list type in a new date (beginning with the month) for the event or move the cursor to the right to the event description to change that. Striking will allow you to remove the event from your register. You may request that a list of upcoming occasions be displayed auto- matically whenever you run PHASAR. To do this use the "Set User Preferences" function in the "Setup" module. TAX CALCULATION The tax calculation/projection features of PHASAR are contained in the program called PHTAX. PHASAR can compute a tax liability using the information contained in the category sums. Since there is the ability to establish budget amounts for each category for each month, PHASAR can use the budgeted category sums for the months where actual data is not yet available to do a mid-year tax projection. For the program to know which incomes and expenses affect taxes, you must keep categories which contain taxable items separate from non-taxable items. In general, any tax schedule or form or table can be easily entered. PHASAR will then plug actual (or budget) numbers in by income or expense category to arrive at a projected or actual tax liability. PHASAR also allows you to modify or create tax tables to customize the program for your use or to update it as the tax rates change. After defining a new form or making changes to the calculations contained in a pre-defined form it is recommended that you "Validate" the tax file. This will guarantee that there are no loose ends in any of the inter-cell references. If you want to do tax calculations using different scenarios you can make a copy of the PHASAR.TAX data file with a different name. Modify this new copy to calculate your tax liability another way and compare the outcome with the original approach to find the most favorable. You may also define several scenarios in the same tax file for more direct comparison. The disadvantage to having one large file is that is will take longer to read it in and to re- calculate new results when you change something. If you do want to define several different scenarios in one file the "Clone Tax Form" function will come in handy. A word of CAUTION is probably appropriate here. The program does not have any ability to judge whether the tax setup you specify is reasonable. You need to use plenty of "common sense" and care to set up a realistic tax calculation. ********************************************************************* Well, that sums up yet another DOC and I'm sure as hell glad, 'cause I'm sick of editing this originally fucked up file. ********************************************************************** SIM CITY VERSION 1.0 FULL DOCUMENTATION SCANNED BY PONYBOY REMEMBER ONE OF THE FASTEST AMIGA BOARDS IN THE WORLD TOGETHER WITH THE RADDEST CODE SUB EVER SPREADPOINT HQ (714) 626-8365 Greets And Hellos At The End Of The Manual ********************************************************************** *Note: The documentation was originally for the Macintosh, but after checking thro it, it appears little or almost no changes has been made for the AMIGA version. Since I can't type as fast and as accurate as the guys at Southern Star, this entire text was scanned. **************************************************************************** ******************************************************************* ** Since they flogged it from the Macintosh version, we at Sewer ** ** Software have flogged it from the Amiga version. We presume ** ** both versions are identical, but if not - who gives a fuck ?? ** ** Sewer Rat !! ** ******************************************************************* Enter SimCity and take control. Become the undisputed ruler of a sophisticated real-time City Simulation. Take control of San Francisco 1906, just before the great quake or Tokyo 1957, just before a monster attack. Show your pioneering spirit. Start with virgin territory and create a living, growing city. The quality of life in your city depends on you. Zone land, balance budgets, install utilities,manipulate economic markets,control crime, traffic and pollution, and overcome natural disasters. Your city is populated by Sims-simulated citizens. Like their human counterparts, They build houses, condos, churches, stores and factories. And, also like humans, they complain about things like taxes, mayors, taxes, city planners, and taxes. They let you know if they need more housing, better transportation, an airport or a sports stadium. If they get too unhappy, they move out; you collect excess taxes, the city deteriorates. A WALK THROUGH YOUR CITY Boot your Macintosh, then insert your SimCity disk and double-click the SimCity icon. After a few seconds, a screen with the options to start a new city, load a city, or select a scenario appears. Click START NEW CITY. A map of undeveloped land will be generated and displayed. You will be given a choice: GENERATE A NEW TERRAIN or USE THIS MAP. Click USE THIS MAP You are now given a choice of GAME PLAY LEVEL. Click EASY, then click OK. You will now be asked to name your city. Go ahead and name it, or accept the default name SOMEWHERE. Click the OK box. You are now in the MAPS WINDOW, looking down on an overall view of your entire terrain, approximately 10 miles by 10 miles in area. The icons along the left side of the MAPS WINDOW can be used to display different demographic views of your city. We'll play with them later. The small flashing box located somewhere on the map indicates the portion of your terrain that will be visible in your EDIT WINDOW, your main work area. Click and drag the box around the map, choosing the area you wish to work on, then double- click in the box to go the EDIT WINDOW. NOTE:The BUDGET Window will pop up once a year in city time. When it does, just click the GO WITH THESE FIGURES box at the bottom. You are now in the EDIT WINDOW, looking at a close-up view of the area box in the MAPS WINDOW. Note the icons on the left. They work just like icons in various draw and paint programs on the market. You can use the scroll boxes along the right side and bottom of the window to the window quickly around the terrain. To scroll over the terrain, use the arrows on each end of the scroll bars or the joystick box in the upper right-hand corner EDIT WINDOW. If you have cursor keys, they can be used to scroll. The EDIT Window may be resized by clicking and dragging the bottom right corner or by using the zoom box to the left of the joystick box. The EDIT WINDOW may be moved around on the screen by clicking and dragging the title bar across the top of the window. Your available land is made of three types of territory. The light areas are clear the grey areas are forests and shrubs, and the dark areas are water. You can build on clear land. You can clear forest and extend coastlines with your bulldozer can run roads, rails and power lines across water. To clear the terrain, click the bulldozer icon in the upper-left corner of the EDIT WINDOW. The "pointer~ is a small square, outlining the area will be bulldozed every time you click the mouse. Move your bulldozer pointer over some forest land and click. The forest section under your pointer is now clear land. Now, hold the button down and move slowly across the forest. Clear a large a land to prepare for building. Click the house icon, then mouse back to your terrain. Your pointer is now a large square outline. This outline indicates how much clear space you will need to create a residential zone. Clicking the mouse button in clear terrain "zones" the land. The "R" in the center of the zone indicates that it is a residential zone. The flashing lightening symbol indicates that the zone has no power. Place a few more residential zones adjacent to the first one. Now decide where to position a power plant in your city. Point to the power plant icon and hold down the mouse button. A small menu will appear, giving you the option of choosing a coal or nuclear plant. For now, choose the coal power plant. Then place it in some open space near your residential zones. If your power plant is not directly adjacent to a zone, you will have to run a power line from your power plant to the residential zone. To do this, click the power line icon. Using your mouse pointer and button, lay power lines from your power plant to your residential zones. Adjacent power line sections will automatically connect themselves to one another. Roadways and transit lines connect in the same manner. In a moment, the flashing symbols will disappear,indicating that your zones have been powered. Any zones that are adjacent to a powered zone do not need separate power lines run to them. Soon you will see small houses start to appear. The Sims have started to move in. When you zone land, you designate where building is allowed. It is the Sims who actually build. Now that you have a few residential zones, youre ready for commercial and industrial areas. Select the commercial icon and place a few commer- cial zones near your residential ones. Then select the industrial icon and map out some industrial zones. Connect all necessary power lines. Note that when you select different icons, the icon description and its associated cost will be displayed in the lower left-hand corner of the EDIT WINDOW. The message bar across the top of the EDIT WINDOW displays your total funds available. If you do not have enough money in your treasury to pay for a certain function, that icon will be ghosted" on your screen and is unavailable for use. Now click the road icon and add roads from your residential housing to the commercial and industrial areas to allow the Sims to commute to work. Once you have roads, traffic will be generated. Now select the BUDGET Window from the Window MENU. This is where you set the level of funding for your fire police and transportation depart- ments. Click the up or down arrows to change the funding level. You can also adjust the current property tax rate. If you have no police or fire departments they don't need funds. Click the GO WITH THESE FIGURES box when you are done. Now select MAPS from the WINDOWS MENU. By clicking on the icons along the left you can see different demographic views of your city. You will need this information to build and adjust conditions in your city. For example you can pinpoint the areas with the highest crime to determine locations for new police stations. Additional information can be gained through the GRAPHS selection from the WINDOWS MENU. Unlike the maps which only show the current state of your city, the graphs give you a record of the past so you can gauge trends and cycles. This is all the basic information you need to run SimCity but we suggest reading on. The User Reference explains in detail how to use each program function. Inside SimCity explains he inner workings of the simulator and gives some hints and tips for using it. There is also an essay on The History of Cities and City Planning and a Bibliography for serious City Planners. USER REFERENCE ~~~~~~~~~~~~~~ MENU BAR SimCity Menus follow the standard Amiga/Macintosh interface. FILE MENU LOAD SCENARIO provides you with a menu of available scenarios. Click a city to load it. START NEW CITY generates a new, empty terrain. You will he given the option to accept it or generate another terrain. LOAD CITY lets you load a previously saved city. SAVE CITY saves any scenario or city-in-progress for later use. Once you have loaded a scenario, It can be saved and re-loaded, like any city, without the impending disaster PRINT CITY prints your city in either of two sizes; all on one page or on a three-page by two-page poster. Requires an ImageWriter printer. Laser Printer is not supported. QUIT ends SimCity OPTIONS MENU A checkmark to the left of an item indicates that the option is active. AUTO-BULLDOZER allows you to place zones, roadways, etc., directly on top of trees and shoreline without manually bulldozing first. You will be charged the same as for manual bulldozing. AUTO-BUDGET keeps your budget at the same percentage settings without asking for approval every year. AUTO-GOTO automatically transports you to the scene of a disaster or major event. SOUND ON toggles the various city sounds on and off. Defaults to the "on" position. The simulation runs slightly faster with the sound off. Make sure that the volume is up on the control panel. GAME SPEED MENU FAST sets city time to maximum speed. MEDIUM is the default setting, about three times slower than FAST. SLOW sets the speed about seven times slower than FAST. PAUSE stops time. Zoning and building are possible in paused time. DISASTERS MENU FIRE starts a fire somewhere within the city limits FLOOD causes a flood to occur near the water. AIRCRASH causes a plane to crash.If there are no planes in the air, one will be generated TORNADO causes a tornado to appear within the city limits. EARTHQUAKE causes a MAJOR earthquake. MONSTER ATTACK sets a monster loose in your city. WINDOWS MENU MAPS brings the MAPS Window up on the screen. GRAPHS brings up the GRAPHS WINDOW. BUDGET brings up he BUDGET WINDOW. EDIT brings up the EDIT WINDOW. EVALUATION brings up the EVALUATION WINDOW. EDIT WINDOW GADGETS TITLE BAR displays city name. Clicking and dragging the Title Bar allows you lo relocate the EDIT WINDOW. MESSAGE BOX displays treasury information, current date, and messages. Status messages tell you about events - if a disaster occurs, the message box will indicate the nature of he disaster, and supply a GOTO button to take you to the scene. Help messages are about the Sims' needs and wants, such as more housing. DEMAND INDICATORS in the lower left-hand corner of the EDIT WINDOW give a constant reading of the residents' need for residential, commercial and industrial zoning. Above the center line indicates a positive demand. Below the line is negative demand. CLOSE BOX closes he EDIT WINDOW. GROW BOX resizes The window. JOYSTICK BOX moves you around your city. The city scrolls in the direction you point as long as you are holding the mouse button down. SCROLL ARROWS scroll your city horizontally and vertically. SCROLL BOXES quickly move you to distant portions of your city. ZOOM BOX sizes the window to cover the entire screen. SELECTED ITEM & COST BOX displays active item and related cost. EDIT WINDOW KEYBOARD COMMANDS (Some key commands are not available on older keyboards.) Q - (Query) - Hold down the 'Q' key while clicking on parts of your city to bring up a status box identifying the spot (zone, road, terrain, etc.), and giving information on Population Density, Land Value, Crime Rate, Pollution and Growth. Z and X - Cycle active icons in opposite directions. B, R, T and P are shortcut keys. No matter which icon is selected, if you Push and hold down the "B" key, you will be in active Bulldozer mode. Release the "B" key to return control to the selected icon. The "R" key activates Road-building mode in the same way. The "T" key activates Transit line building, and the "P" key puts you in Power line mode. CURSOR KEYS scroll the terrain around under the EDIT WINDOW. EDIT WINDOW ICONS Active icons are highlighted. Ghosted icons are unavailable due to lack of funds. Clicking on a ghosted icon shows the item's cost. BULLDOZER clears trees and shrubbery,creates landfill along the water, levels developed, existing zones and clears rubble caused by disasters. Bulldozing the center of a zone demolishes the entire zone. The Auto- Bulldozer option only works on natural terrain, not developed land. It costs $1 to bulldoze a section of land. ROADWAYS connect developed ares. Intersections and turns are automatic- ally created. Lay continuous roads by clicking and dragging your pointer. Be careful - if you accidentally lay a road in the wrong place you will have to pay for bulldozing and rebuilding. Roads may not be placed over trees, shrubbery, or zoned areas. They can cross over power lines and transit lines only at right angles. Laying roads across water creates a bridge. Bridges can only be built in a straight line - no curves, turns or intersections. Shorelines must be bulldozed prior to building a bridge (unless the auto-bulldoze feature is on). Roadways are maintained by the transit budget, and wear out if there is a lack of funding. It costs $10 to lay one section of road and $50 to lay one section of bridge. POWER LINES carry power from power plants to zoned land and between zones. All developed land needs power to function. Power lines cannot cross trees, shrubbery, or zoned land. Power is conducted through adjacent zones. Unpowered zones display the flashing power symbol. There is a delay between the line you power up a zone and when the flashing light disappears. The delay grows longer as the city grows larger. Junctions and corners are automatically created. Lay continuous power lines by clicking and dragging your pointer. Power lines across a river must be horizontal or vertical - no turns, curves or intersections. Power lines consume some power due to transmission inefficiencies. It costs $5 to lay one piece of power line on land, $25 on water. TRANSIT LINES create a railway system for intra-city mass transit. Place tracks in heavily trafficked areas to help alleviate congestion. Intersections and turns are created automatically. Lay continuous transit lines by clicking and dragging your pointer. Tracks laid under rivers will appear as dashed lines. These underwater tunnels must be vertical or horizontal - no turns curves or intersections. Transit lines are maintained by transportation department funds. The level of funding affects the efficiency of the system. It costs $20 per section of track on land $100 per section under water. PARKS can be placed on clear land. Parks forests and water raise the land value of surrounding zones. Parks can be bulldozed as fire breaks or reserve space for later mass transit expansion. It costs $10 to lay one segment of park. RESIDENTIAL ZONES are where the Sims build houses apartments and community facilities such as schools and churches. Residential zones develop into one of four values: slums, lower middle class, upper middle class, and upper class. They can range in population density from single-family homes to high-rise apartments and condominiums. Factors influencing residential value and growth are crime rate, pollution, traffic density, population density, surrounding terrain, roadway access, parks and utilities. It costs $100 to zone one plot of land as residential. COMMERCIAL ZONES are used for many things, including retail stores, office buildings, parking garages, and gas stations. There are four values for commercial property and five levels of growth from the small general store to tall skyscrapers. Factors influencing the value and growth of commercial areas include internal markets, pollution, traffic density, residential access, labor supply, airports, crime rates, transit access, and utilities. It costs $100 to zone one plot of land as commercial. INDUSTRIAL ZONES are for heavy manufacturing and industrial services. There are four levels of industrial growth from small pumping stations and warehouses to large factories. Factors influencing he growth of industrial areas are external markets, seaports, transit access, residen- tial access, labor supply,and utilities. It costs $100 to zone one plot of land as industrial. POLICE DEPARTMENTS lower the crime rate in the surrounding area. This in turn raises property values. Place these in high-density crime areas as defined by your Crime Rate map. He efficiency of a station depends on the level of police department funding. It costs $500 to build a police station. FIRE DEPARTMENTS make surrounding areas less susceptible lo fires. When fires do occur, they are put out sooner and do less damage if a station is near. The effectiveness of fire containment depends on the level of fire department funding. It costs $500 to build a fire station. STADIUMS encourage residential growth. The message window will indicate when the city wants a stadium. You may build a stadium in your city prior to this request without negative effect. Stadiums indirectly generate a lot of revenue, but create a lot of traffic. Properly maintaining a stad- ium requires a good road and transit network. It costs $3000 to build a stadium. POWER PLANTS can be coal or nuclear, chosen from a sub-menu provided when you click and hold on the icon. He nuclear plant is more powerful but carries a slight risk of meltdown. The coal plant is less expensive, but less powerful and it pollutes. Connecting too many zones to a Power Plant causes brownouts. You will get a message saying "You need to build another power plant. Coal power plants cost $3000 to build, and supply enough electricity for about 50 zones. Nuclear power plants cost $5000 and supply electricity for about 150 zones. SEAPORTS increase the potential for industrial growth. They have little effect in a small city, but contribute a lot to industrialisation in a large city. Seaports should be placed on a shoreline. The shoreline must be bulldozed prior to zoning a seaport. Once the port is operational, you may see ships in the water. It costs $5000 to zone land for use as a seaport. AIRPORTS increase the growth potential of your commercial markets. Once a city starts getting large, commercial growth will level off without an airport. Airports are large and expensive and should not be built unless your city can afford one. Position airports to keep flight paths over water whenever possible lessening the impact of air disasters. Once you build an airport you will see airplanes flying above your city to and from the airport. There is also a traffic helicopter which alerts you to heavy traffic jams. It costs $10,000 to zone land for use as an airport. BUDGET WINDOW When your first taxes are collected in a new city, and each year after, the BUDGET WINDOW will appear (unless you select the Auto-Budget function). You will be asked to set the funding levels for the fire, police, and transportation departments, and to set the property tax rate. You can raise and lower budget levels by clicking on the little arrows that correspond to each category. A percentage indicator will display the level of funding that will be maintained if you turn on the Auto- Budget function. You may adjust your tax rate by clicking on the arrows next to the tax rate indicator. Click on GO WITH THESE FIGURES to exit the BUDGET WINDOW. The level of budgeting requested by each department is based on the number of fire departments, police stations, and the amount of roadways and transit lines in your city. These figures increase as your city grows - it costs money to maintain your city infrastructure. WAITING... An hourglass icon is displayed at the top left of the budget window. It indicates the time remaining to enter the budget information. When the hourglass empties, the budget that is set is accepted. If you need more time, click in the budget window to reset the hourglass. MAPS WINDOW The MAPS WINDOW gives you various overviews of your city. The portion of your city currently visible in the EDIT Window is represented by a flashing box on your map. You can click and drag this box to the area you wish to edit. Double-click in the flashing box to go to the EDIT WINDOW. You cannot resize the MAPS WINDOW but you can move it on your screen by clicking and dragging the drag bar at the top of the window. Clicking on the close box in the upper left-hand corner of the window closes the window. By clicking on the icons along the left side of the MAPS Window you can view the following maps and cartograms. The CITY MAPS icon brings up a sub-menu allowing you to choose between views of developed sections of your city. You may individually display the residential commercial or industrial areas or all three. POWER GRID shows you the network of the power lines in grey and powered zones as black dots. TRANSPORTATION is a road map of your city displaying all roads and rail lines in black. Use this view to examine your city's access to specific areas and to plan future expansion of the network. The POPULATION MAPS icon brings up a sub-menu offering two views. The Population Density view uses degrees of shading to show the average number of people occupying an area each day. The Rate of Growth shows the most recent growth (positive or negative) of your city and where it is occurring. TRAFFIC DENSITY shows the amount of traffic on your roads. Spot traffic problems and determine where new roadways and transit lines are needed. The POLLUTION map shows levels of pollution throughout your city. Pollution is generated by industry and traffic. The CRIME RATE map shows the level and location of crime in your city. Crime is calculated from population density land value and proximity of police stations. The LAND VALUE map shows the relative value of land within the city limits. Land values are used to establish the amount of revenue generated in taxes. The CITY SERVICES icon brings up a sub-menu offering views of police or fire services. The service map displays the effective radius of each of your stations based on their location, power and funding levels. GRAPHS WINDOW The GRAPHS WINDOW gives you time-based graphs of various city data. You cannot resize the GRAPHS WINDOW, but you can move it on your screen by clicking and dragging the drag bar at the top of the window. Use the close box in the upper left-hand corner of the window to exit. Clicking on The icons on the left side of the GRAPHS WINDOW will toggle each graph on and off. You may have any combination of graphs displayed at any time. Each graph is displayed as a different line pattern. Data may be displayed on 1O-year or 120-year graphs. The RESIDENTIAL POPULATION graph shows the total population in residential zones. The COMMERCIAL POPULATION graph shows the level of development in commercial zones. The INDUSTRIAL POPULATION graph shows the level of development in industrial zones. The CRIME RATE chart shows the overall crime rate of the entire city. The CASH FLOW graph shows your city's cash flow: money collected in taxes last year minus money it took to maintain your city. Note: Cash flow has little to do with your current funds, or how much you spend in building (except that city expansion will increase both taxes collected and maintenance costs). The line in the center of the Cash Flow graph represents a cash flow of zero. Do not build more infrastructure (roads, rail, police departments, fire stations) than you can support with tax revenues. The POLLUTION graph shows the overall pollution reading of the entire city. EVALUATION WINDOW The EVALUATION WINDOW gives you a performance rating. You can access it through the WINDOWS MENU. You can click and drag the title bar of the window to relocate it on the screen. Click on the close box in the upper-left corner to close the window. PUBLIC OPINION data is presented in poll form, rating your overall job as mayor and listing what the public regards as the city's most pressing problems. You are advised to keep your residents happy or they might migrate away, and you will be Left with a "ghost town." Some example problem-solving strategies are: Crime-Build more police departments, or try to raise land values. Housing - Provide more residential zones. Unemployment - Build more industrial and commercial zones. Traffic - Possibly add more roads or mass transit. STATISTICS on population, net migration, and assessed value are displayed, along with the city game level and an overall city score. This data is calculated once a year at budget time. Population shows how many people Live in your city now; net migration shows how much the population changed over the last year. Assessed value represents the net worth of all city-owned property. CATEGORY - Your city will be assigned to one of six categories - Village, Town, City, Capital, Metropolis, and Megalopolis - based on its size. The overall city score is a composite index of many factors (including crime, pollution, employment, environment, housing), calculated once a year based on a scale of 0 to 1000. A higher score indicates a more efficient and successful city. DISASTERS Disasters will randomly occur as you play SimCity. At higher game levels the disasters will happen more often. Most disasters can be activated from the DISASTERS MENU. FIRES can start anywhere in he city. Fire spreads fairly rapidly through forests and buildings, somewhat slower over roadways and transit lines. Fire will not cross water or clear terrain. The effectiveness of the fire department (which can be viewed in the MAPS WINDOW) is based on how close it is to the fire, and its funding levels. Fires inside this effective radius will be extinguished automatically. If you have no operational fire departments in the area you can try to control the fire yourself. Since fire will not spread across clear terrain, you can build firebreaks with the bulldozer. Just surround the fire with clear areas and it will stop spreading and eventually burn itself out. Note: You cannot directly bulldoze a fire. FLOODS occur near he water. They gradually spread and destroy buildings and utilities. After a while the flood waters recede, Leaving behind cleared terrain. AIR CRASHES can happen anywhere in the city if an airport is operational. This happens whenever aircraft collide with things, such as a tornadoes or another aircraft. When a crash occurs, a fire will start, unless the crash is on water. A good strategy is to locate the airport away from the central city to minimise the fire damage. TORNADOES can occur anywhere on the map at any time. Very fast and unpredictable, they can appear and disappear at a moment's notice. Tornadoes destroy everything in their path, and can cause planes, helicopters, trains, and ships to crash. EARTHQUAKES are the most devastating disaster. This is a MAJOR earthquake between 8.0 and 9.0 on the Richter Scale. It will destroy buildings and start fires. The initial damage will vary with the severity of the earthquake, and the eventual fire damage depends on your fire control efforts. When an earthquake occurs, you will see the edit window shake for a while. When it stops, you will have to take charge and control the scattered fires. Use the bulldozer to contain he largest fires first and work your way down to the smaller ones. MONSTER ATTACKS are provoked by high Levels of pollution. A monster destroys everything in its path, starts fires, and causes planes, helicopters, trains, and ships to crash. MELTDOWNS are only possible if you are using a nuclear power plant. If a meltdown occurs your nuclear plant will explode into flames. The surrounding area will be unusable for the remainder of the simulation due to radioactive contamination. Meltdowns are not available on the DISASTERS MENU. SHIPWRECKS can occur once you have an operating seaport. They can cause fires where the ship crashes into a shore or bridge. Shipwrecks are not available on the DISASTERS MENU. SCENARIOS He scenarios provide both real and hypothetical problems for you to deal with in seven famous cities (and one not-so-famous). They present various levels of difficulty. Some problems are in the form of disasters which will occur some time after you start. Other problems are more long-term such as crime. Your task is to deal with the problem at hand as well as possible under the circumstances. After a certain amount of time the city residents will rate your performance in a special election. If you do very well you may be given the key to he city. However if you do poorly they might just run you out of town. To avoid the disaster which is tied to a scenario save it to disk and reload the city from the saved file. DULLSVILLE, USA 1900 - BOREDOM Things haven t changed much around here in the last hundred years or so and the residents are beginning to get bored. They think Dullsville could be the next great city with the right leader. It is your job to attract new growth and development turning Dullsville into a Metropolis by the 21st century. (Easy) SAN FRANCISCO, CA 1906 - 8.0 EARTHQUAKE Damage from the earthquake was minor compared to that of the ensuing fires, which took days to control. 1500 people died. Controlling the fires should be your initial concern here. Afterwards clearing the remaining rubble will allow the city to start rebuilding. (Very difficult) HAMBURG, GERMANY 1944 - FIRE Allied fire-bombing of German cities in WWIV caused tremendous devastation and loss of life. People living in the inner cities were at greatest risk. You must control the fire storms during the bombing and then rebuild the city after the war.(Very difficult). BERN, SWITZERLAND 1965 - TRAFFIC The roads here are becoming more congested with automobile traffic every day, and the residents are upset. They demand that you do something about it. Some have suggested a mass transit system as the answer, but this may require major rezoning in the downtown area. (Easy) TOKYO, JAPAN 1957 - MONSTER ATTACK A large reptilian creature rose from Tokyo Bay and rampaged through the city, destroying much of the industry along the bay. (Moderately difficult) DETROIT, MI 1972 - CRIME By 1970, competition from overseas and other economic factors pushed the once "automobile capital of he world" into recession. Plummeting land values and unemployment increased crime in he inner-city to chronic levels. You have just been elected after promising to reduce the crime and rebuild the industrial base of the city. (Moderately difficult) BOSTON, MA 2010 - NUCLEAR MELTDOWN A major meltdown is about to occur at one of the new downtown nuclear reactors. He area in the vicinity of he reactor will be severely contaminated by radiation, forcing you to restructure the city around it. (Very difficult) RIO de JANEIRO, BRAZIL 2047 - FLOOD In the mid 21 st century, the greenhouse effect raised global temp- eratures 6F. Polar ice-caps melted and raised sea Levels worldwide. Coastal areas were devastated by flood and erosion. Unfortunately, some of the largest cities in the world are located on the coasts. (Moderately difficult) GAME PLAY LEVEL When you first start a new city you must pick a difficulty Level. Once a city is started you cannot change the game level; it remains at your initial setting for the life of the city. The game level setting is displayed in he evaluation window. This Level - Easy, Medium, or Hard - adjusts the simulation to your current abilities by altering several factors. A harder setting will increase the chance of disasters, make residents more intolerant of taxation, cause maintenance costs to grow, etc. KEYBOARD REFERENCE CHART GENERAL KEYBOARD COMMANDS COMMAND A - Activates Auto-Bulldoze option COMMAND B - Brings up BUDGET WINDOW COMMAND E- Brings up EDIT WINDOW COMMAND G - Brings up GRAPHS WINDOW COMMAND L - Loads a City COMMAND M - Brings up MAPS WINDOW COMMAND N - Starts a New City COMMAND Q - Quits SimCity COMMAND S - Saves a City COMMAND 0 - Stops City Time COMMAND 1 - Sets City Time to Slow Speed COMMAND 2 - Sets City Time to Medium Speed COMMAND 3 - Sets City Time to High Speed SPECIAL EDIT WINDOW KEYBOARD COMMANDS d Z - Cycle through and activate icon functions Q - ( Query) - Point to a zone or object in the EDIT WINDOW, hold down "Q" while clicking the mouse to bring up information about the zone or object. B activates the Bulldozer while depressed, overriding active icon. R activates Road laying while depressed, overriding active icon. T activates Transit line laying while depressed, overriding active icon. P activates Power line laying while depressed, overriding active icon. CURSOR KEYS scroll the terrain under the EDIT WINDOW. INSIDE SimCity HOW THE SIMULATOR WORKS AND STRATEGIES FOR USING IT Many factors influence the chance of your city's prospering or floundering: both internal factors (the structure and efficiency of your city) and external factors (the regional economy, disasters, etc.). ZONES Your city is divided into three primary zones: residential, commercial and industrial. These zones symbolise the three basic pillars upon which a city is based: population, industry, and commerce. All three are necessary for your city to grow and thrive. RESIDENTIAL ZONES are where the Sims live. Here they build houses, apartments and community facilities such as churches and schools. Sims are the workforce for your city's commercial and industrial zones. INDUSTRIAL ZONES are used to site warehouses, factories, and other unsightly and polluting structures which have a negative impact on surrounding zones. One of the major goals of planning is to separate these nuisances from he areas where people live. In this simulation, industrial zones represent the "basic" production of your city. Things produced here are sold outside the city to an "external market," bringing money into the city for future growth. COMMERCIAL ZONES represent the retail stores and services in your city, including gas stations, grocery stores, banks, and offices. Commercial areas are mainly dedicated to producing goods and services needed within your city. This is called non-basic production or production for the "internal market". POPULATION-RESIDENTIAL The major factors controlling residential population are birth-rate, availability of jobs and housing, unemployment,and quality of life within the city. Birth-rate as used here is actually a combination of the birth-rate (+) and the deathrate (-). Within SimCity there is always a positive birth-rate. Availability of jobs (the employment rate) is a ratio of the current commercial and industrial populations to the total residential population. As a rule of thumb, the number of commercial and industrial zones together should roughly equal the number of residential zones. If there are more jobs in your city than residents, new settlers will be attracted. If the job market declines during a local recession, your people will migrate away in search of jobs. Housing for your residents is built in the residential zones. These zones must be powered and connected to the places of employment with a road and/or rail network. The structures built in residential zones are influenced by land value and population density. Quality of life is a measure of relative attractiveness assigned to different zone locations. It is affected by negative factors such as pollution and crime, and positive factors such as parks and accessibility. EXTERNAL MARKET - INDUSTRIAL There are thousands of variables that influence your city. All these variables can be influenced by your actions with the exception of one. He external market (the economic conditions that exist outside of your city) is controlled by the simulation-there is nothing you can do to change it. In many ways, this external market is the original source of all city growth. Towns frequently begin as production centers (steel towns, refineries, etc.) that service a demand in the surrounding region. As time passes,the external market grows to reflect the regional growth going on around your city. The industry in your city will attempt to grow as the external market grows. For this to happen there must be room for expansion (more industrial zones) and an adequate labor supply (more residential zones). INTERNAL MARKET-COMMERCIAL He internal market is completely influenced by the conditions within your city. Internal production, created in the commercial zones, represents all the things which are purchased and consumed within the city. Food stores, gas stations, retail stores, financial services, medical care, etc. - all depend on a nearby population to service. Within SimCity, the size of the internal market determines the rate at which commercial zones will prosper. Commercial zones need enough zoned land to build on and an existent, sufficient workforce to employ. The structures built in commercial zones are mainly influenced by land value and population density. Commercial zones grow and develop to serve the expanding internal market. Commercial growth will usually be slow at first, when the population is small and needs very little. As your city grows, commercial growth will accelerate and the internal market will become a much larger consumer of your total city production. This accelerating effect, when the external/ industrial production is overtaken by the accelerating internal/commercial sector, can turn a sleepy little town of 50,000 into a thriving capital of 200,000 in a few short years. TAX RATE The tax rate you set controls the amount of income generated by your city. As taxes are collected each year (city time), The BUDGET WINDOW will appear, giving you the fiscal details of your city and a chance to adjust rates. The simulation determines the amount of revenue collected by assessing each zone an amount based on its land value, current level of development and the current tax rate. The tax rate has a global effect on your city's growth rate. If you set it low (O - 4%), growth will be brisk but the city income will be low. If you set it high (10 - 20%), you will collect a lot in the short run but in the long run tax income will decrease along with The population. You must keep tax income high enough to meet city maintenance costs and invest in new development, but low enough not to scare off residents and businesses. A high tax rate is one way lo control city growth, should you want to experiment with "growth control measures. BUDGETING City budgeting effects the way your city grows. City infrastructure cost is represented by three departments: police, fire, and transportation. You may set the funding Levels separately for each. All three departments will request a certain level of funding each year. You may supply all or part of the requested funds, in the attempt to balance safety needs and budgetary concerns. POLICE DEPARTMENTS Police stations lower the crime rate within a territory. He effective radius of your police station is related to the amount of funding allocated to he police department. There is a positive correlation between the value of land and proximity to a police station. Police Stations cost $100 per year to fund. FIRE DEPARTMENTS Fire departments prevent and extinguish fires. The Level of funding deter- mines the effective radius of a fire department. Fire departments put out fires within this radius much sooner than outside it, and decrease the chance that they will start in the first place. Fire Departments cost $100 per year to fund. TRANSPORTATION DEPARTMENT When you build roads and rail systems you are charged for construction and yearly maintenance. The larger your transportation network, the more it will cost for upkeep. If you decide not to or are unable to pay this maintenance cost, roads will slowly deteriorate and become unusable. The maintenance cost for each piece is: Road - $1, Bridge - $4, Rail - $4, Rail tunnel -$10. POWER Electrical power makes modern cities possible. Efficient and reliable power transmission to all zones is he goal of good "power management." Periodically in the simulation he entire power grid of your city is checked for links to power. If a zone is connected (by other zones or power lines) to a power plant, he zone is considered powered (unless the power plant is overloaded). Zones must be powered for development to occur. Many things (such as fires, floods monsters and bulldozers) can knock down power lines and cause blackouts in parts of your city. Development will stop in unpowered zones, and if power is not quickly restored, the zone will decline back to its original state of emptiness. Redundant power connections can make your power grid more reliable, but running more line adds construction costs and transmission line loss. TRANSPORTATION - TRAFFIC One of the most most important elements of city structure is the transportation network. It moves Sims and goods throughout your city. Roads typically occupy as much as 25% - 40% of the land in urban areas. Traffic along these roads indicates which sections of your road system are used the most. Traffic levels are simulated by a process known as "Trip Generation." Over time, each populated zone in the city will generate a number of trips, depending on the population. Each generated trip starts at the origin zone, travels down the road/rail network, and if a proper dest- ination is reached, ends at the destination zone - otherwise, the trip fails. Trip failure indicates inaccessibility of a zone and limits its growth . The majority of generated trips represent people commuting to and from work. Additional traffic is generated by residents traveling to shopping, recreation, etc. Each road has a limited capacity for traffic. When this capacity is exceeded traffic jams will form. Traffic jams drastically lower the capacity of a road, compounding the problem and frustrating drivers. Traffic conditions fluctuate quickly, responding to things such as open bridges, sporting events and port activity. Avoid traffic problems by providing several routes for the traffic to take, and building rail systems when you can afford to. The traffic helicopter will spot traffic bottlenecks and report them. POLLUTION Pollution levels are tracked in all areas of your city. This is a general nuisance level which includes air and water pollution, noise pollution, toxic wastes, etc. Pollution has a negative impact on the growth of residential areas. The primary cause of pollution is industrial- ized zones. The level of pollution created by an industrial zone increases with its level of growth. Traffic is another cause of pollution. As your city gets large you may notice periodic smog generated from automotive commutes. Fires, Seaports, Airports, and Coal Power Plants also pollute. There are limited means of combating the pollution Level. Lowering traffic density, limiting industrial development, and separating the pollution from the residential areas will help. CRIME Crime rates are influenced by population density, local law enforcement and land values. As population density increases in an area, the number of crimes committed increases. Crime will also increase in areas of low land value. The most effective way to deal with high crime rates is to introduce a police station into the area. Based on its level of funding, the police station will reduce the rate of crime in its sphere of influence. A long-term approach to lowering crime is to raise the land value of the area. One way to do this is to demolish and rezone (urban renewal) . LAND VALUE Land value is one of the most fundamental aspects of urban structure. The land value of an area affects how that area is used. In this simulation the land value of an area is based on terrain, accessibility, crime, pollution, and distance to downtown. The farther the residents have to go to work, the lower the land value where they live, due in part to transportation costs. The value of commercial zones depends greatly on accessibility by the populace. Land value is also affected by surrounding terrain. If land is closer to water, trees or parks, its value will rise. Creative placement of zones within the terrain, with little bulldozing, can make good use of this natural advantage Land value and crime rate have a feedback effect on each other. Lower land values cause crime rates to rise. Higher crime rates cause land values to drop, and can cause transition areas near your central city to rapidly decline in value. ********************************** THATS ALL FOR THE DOCS -- HAVE FUN ********************************** These DOCS were edited and corrected extensively by Sewer Rat. Please note that these docs were well and truly fucked when I got 'em, and I have done my best at correcting any errors. I apologise most humbly and sincerely to all you 'ST users' for any errors which managed to get through, but even I am human !! Sewer Software presents good DOCs for a shitty game.... Butcher Hill Docs ----------------- Scenario -------- Section One - The River Travel along the river in your inflatable dinghy to one of the three jetties. Your progress will be hampered by natural obstacles such as twists in the river, boulders and reeds. You must also avoid floating mines and a barrage of gunfire from the enemy aircraft. Fortunately, allied planes are occasionally able to drop first-aid, ammunition and bonus packs. You must steer through the fast flowing river to collect bonuses. Section Two - The Jungle Leaving your dinghy behind you venture into the jungle with only your compass and the knowledge that the enemy village is to the North East. As you make your way through the dense vegetation, you come across clearings where the enemy forces have set up supply depots. These depots are guarded by enemy forces. You must eliminate them. Under the threat of being overwhelmed, you can retreat into the jungle (to do this pull back on the joystick). With the enemy forces now aware of your presence in the area. Beware of sudden reprisals. Should an enemy sniper jump out in front of you, aim your gunsight and shoot. Watch out for land mines! Section Three - The Village --------------------------- You have battled your way along the river and through the dense jungle to the enemy village which is in the shadow of Butcher Hill. Use your machine gun and grenades to eliminate the enemy soldiers who will be running towards you. Beware of the soldier who will be hiding out in buildings. Shoot at the windows to eliminate them. Alternatively throw one of your grenades to destroy the building. The game is complete once all of the buildings in the village have been destroyed......only then are you the conqueror of Butcher Hill. Game Play Instructions ---------------------- The River --------- To move your inflatable dinghy push the joystick foward, and left and right to steer. Use the Fire button to shoot mines. While the fire button is held down your gun sight is visible. Keep the Fire button pressed and move the joystick to aim. You can land at one of three jetties. If you land at the first jetty you will not have collected all of the equipment vital to the mission. The Jungle ---------- To move forward push the joystick foward. Pull back to about face. Push left to turn anti-clockwise by 90 Degrees or right to turn clockwise by 90 degrees. While moving forward the diagonals on the joystick allow you to swerve. If you have collected the compass in the river section your current direction will be displayed on the right of the control panel. To shoot hold the fire button down and use the joystick to aim. When you encounter the enemy soldiers you cannot move until they have been dealt with. You will come across several clearings. Some clearings are occupied by the enemy. Shooting all of the enemy soldiers gives you extra bonuses of ammunition and stamina. Pressing the Space Bar will exit you out of any clearing. On Amiga -------- As time passes, night will fall. Progress at night is very dangerous. If you have collected the image intensifier, by pressing the alt key you will be able to see clearly. The Village ----------- You are allocated at a time period in which to complete this section. Your mission is to destroy the enemy camp at the base of Butcher Hill by blowing up the building with the grenades. The number of grenades you have depends on how many you have collected earlier in the game. Enemy soldiers will try to escape to bring back reinforcements. Try to shoot them before they reach the front of the screen (should they reach the front, you will receive a time penalty). Push the joystick forward to throw a grenade. If you hold the Fire button down whilst pushing forward or pulling back on the joystick you can adjust the range of your gun. Pull hack on the joystick to start this section, also pull back to restart if you lose a life. THE END ENJOY THE GAME -------------- Typed by The Ninja.... Transferred from AMIGA by Sewer Possum *** CHAMPIONSHIP GOLF DOCS *** by Nemesis The Rush-in Method ------------------ for single player With the Pebble Beach scorecard displayed on your screen, follow these steps to start a one-player game. you might also want to refer to the list of function keys f1 through f8 on the inside back cover of this book (yeah right) the inside back cover of this book: f1 full-screen perspective f2 split screen-overhead view on left, perspective on right f3 overhead view of entire hole f4 close-up overhead view f5 birds-eye view perspective f6 ground-level perspective f7 rotate line of sight to right (clockwise) f8 rotate line of sight to left (counterclockwise) 1.Type you three initials and press RETURN. the first hole will be highlighted on the scorecard. 2.Press RETURN again. You'll go directly to the tee on Number 1, with two views of the hole on a split screen. In the overhead view on the left-hand side, your position is represented as a small square and your ball as a dot. On the right-hand side is your ground-level perspective view of the hole, looking directly over your ball in the foreground. 3.Because the first hole is a dogleg-right, your perspective and your aime (always initially directed at the flagstick) will be into the trees. Press f8 seven times to rotate your view and aim to the left, up the fairway. press f2 to draw your new perspective. 4.Press RETURN. You'll go to the SELECT STROKE screen where FULL will be highlighted 5.Press RETURN to select the full stroke. You'll go the the club selection screen, where the 1-wood (driver) will be highlighted. 6.Press RETURN to select the 1-wood. You'll go to the stance and club alignment screen. 7. Press RETURN to select a square stance and standard club alignment. You'll go to the swing animation screen. 8.Press f10 to swing. Follow your ball on either side of the split-screen When your ball comes to rest, you'll go to your perspective and aim again directed at the flagstick. If you want to adjust your aim, repeat step 3, using f8 to rotate your view to the left or f7 it to rotate to the right. Then repeat steps 4 through 8, pressing RETURN to accept the stroke, club, and stance and club alignment recommended by championship golf. The ScoreCard ------------- After displaying the title and credit screens, championship golf takes you to the pebble beach scorcard. Notice the numbers for each of the 18 holes and the yardages for each from the back (BAC), middle (MID), and forward (FOR) tees. Also shown are the par (PAR) for each hole and the handicap rating (HCP), which ranks the hole according to difficulty. ex. the 14th hole is rated the most difficult During play the chmpgolf scorecard keeps running totals for the front none (on the OUT line), the back nine (on the IN line), and all 18 holes (TOT), updating and displaying the totals each time all registered players finish playing a hole. REGISTERING TO PLAY you can play a round alone or in a goup-up to foursome. to reg. type three initials for each player onto the scorecard when it appears. when all players have signed in, press RETURN. SELECTING A HOLE to start play on a different hole, use the uparrow and downarrow keys to highlight the one you want to play. rem: if you start at any hole other than the first, your score will not be eligible for recording as a course record ow score. you can go directly to the tee, but you may first want to go to the main menu to select tee and pin placements, a bag of clubs for each player, and other options. You must also go to the main menu in order to get to the driving range. to do so, press ESC. otherwise RETURN to go to the course. The Main Menu ------------- the main menu allows you to select tee and pin placements, your bag of clubs, and other play options, and to go to the pebble beach driving range. To go to the main menu from the scorecard, the course, or the driving range, press ESC. press ESC again if you want to return to the place you came from. SELECTING OPTIONS to select an option from the main menu, use the uparrow and downarrow keys to scroll through the list the desired option, then press RETURN chmpgolf does not allow you to change your pin, tee, or club selections while you're on the driving range or playing a hole on the course. If you want tochange these selections after coming from the course or the driving range, you must first scroll to START NEW ROUND and press RETURN and then, from the scorecard, press ESC to re-enter main menu PLANNING YOUR GAME adjusting difficulty course: use the right and left arrow keys to highlight the player's initials on th escorecard, then press ESC to go to the main menu. Each player may select the forward, middle, or back tees and preliminary-round or final-round pin placements. SELECTING TEE AND PIN PLACEMENTS. unless you choose otherwise, you'll shoot from the middle tees to the preliminary-round pin placements. to make another selection, use the up down keys to screoll throught the menu until TEE is highlighted, then press RETURN to cycle to your tee preference. Next, scroll down to PIN and repeat the procedure. CHOOSING YOUR BAG OF CLUBS chmpgolf automatically equips each player with 14 clubs if you prefer a different selection, scroll to PICK BAG OF CLUBS and press RETURN. you'll be presented with a menu of clubs. you can substitute the 2-, 4-, or 6-wood or the 1-iron for another club in your bag. you'll required to carry a putter and sand wedge. to select a club, you can use the up/down keys to scroll thrught the list on the left side of the screen until the desired club is highlighted, then press the spacebar to put the club in your bag. you need 14 clubs! to select tees, pin placements and clubs for the next player, press RETURN to return to the scorecard; use the left/right keys to highlight the nest players initials; press ESC again to return to the main menu; and repeat the procedure described above. OTHER MAIN MENU OPTIONS to select any of these highlight the one youy want using the up/down keys and press RETURN LEAVE GAME removes the player whose initials were highlighted on the scorecard or who was about to hit when you came to the main menu. the other registered players may continue to play. after selection this option, you'll return to the scorecard or the cours, whechever you came from to the main menu DISPLAY LOW SCORES lets you see the four lowest course record scores recorded on your chmpgolf disk DRIVING RANGE allows you to practice your full swing, chipping, and putting strokes, sand shots, and shots from the rough. if you leave a game to go to the driving range, you must start a new round or a new game to resume play on the course. STARTING A NEW GAME returns you to the scorecard, where you may register to play (enter initials for a group of players) You may then select tee and pin placements and a gab of clubs for each players, highlight a hole where you want to begin play, and go to the course. START NEW ROUND also returns you to the scorecard to strat fresh from the first hole, but with the same player, tee and pin placements, and clubs as on the previous round. SAVE GAME ON DISK records the current state of the game in progress on the chmpgolf program disk. this option is useful is you want to halt play in the middle of a round and pick up where you left off at a later time. GET GAME FROM DISK retrieves a saved game from the disk, so you can resume theround where you left off. SOUND is a switch for toggling sound On The Course ------------- To begin exploring the course from the main menu, press ESC to return to the scorecard, if necessary. Then use the up/down keys to highlight a hole you'd like to explore-number 12 is a good place to learn how to control your views and perspectives. press RETURN to go to the hole you've selected. SHOTMAKING shotmaking in chmpgolf has all the elements of real golf, including aiming, club selection, clubface alignment and stance, and timing the components of your swing. For each element chmpgolf recommends a standard choice for every player; these choices are highlighted on the shotmaking screens, However, you can control your aim, club selection, stance, and swing in any way you like. AIMING YOUR SHOT whether you're on the driving range or the golf course, you'll want to be sure of your aim before hitting your shot. In taking aim, you'll rely on the ground-level or bird's-eye perspective (f6 or f5). In any perspective view, you'll notice the small line, or tick, at the top center of the view and your ball at the botoom center. the initial line of flight of your shot will be in the direction of the tick. On the golf course, champgolf sets up the initial line of flight directly at the flagstick. Only on rare occasions, however, will the ball fly or roll in a perfectly straight line throughout its flight. As in real golf, factors such as the wind direction and speed, the path of the clubhead, and the angle of the clubface at impact will affect the flight of the ball; on the greens, the slope of the terrain will cause your putts to break. So you'll often need to adjust your aim before hitting the ball, especially in a heavy crosswind, on severely slopping greens, and when you're trying to "bend" a shot around trees. You also need to adjust your aim from the tee on dolgleg holes, because the initial aim may be into the trees (number 1 is a good example). To adjust your aim, use f7 to rotate the tick to the right, f8 to rotate it to the left. On a split screen, the square in the overhead view moves in tandem with the tick. After moving the tick, you can press f1, f2, f5, or f6 to redraw the perspective along your new line of sight. If you move the tick entirely off the perspective view, the view will go blank, prompting you to redraw. You may rotate more before doing so. After taking aim, press RETURN to go to the first shotmaking screen. If you've pressed any of the arrow keys to move from your ball, pressing RETURN at this point will take you back to your ball rather than to the first shotmaking screen, and you'll have to re-adjust your aim using f7 and f8. STROKE AND CLUB SELECTION on the first shotmaking screen, you select the type of stroke you want to use and choose a club. but if you first change your mind about your aim and want to go back to the perspective screen with the ball and tick, press ESC. In selecting a stroke, you have three choices: FULL involves body turn, arm speed, and wrist action (max. power) CHIP a half swing, with a shorter backswing and follow-through, but it also involves body turn, arm speed, and wrist action (less distance) PUTT involves arms and wrists only chmpgolf always highlights a recommended strok, based on the lie of your ball and its distance from the cup. to select the stroke highlighted on the screen, simply press RETURN. Or press F, C, or P. On amiga, use the left/right keys to highlight the type of stroke you want, then press RETURN. after pressing RETURN to confirm your stroke selection, you must select a club in selecting a club, you have your choice of any club in your bag, except if you've chosen the putting stroke, when you may use a putter only. again, chmpgolf recommends a club, which you may accept by pressing RETURN. to select a different club, you can scroll through the list. press RETURN to confirm your selection. to tee up the ball or remove it from the tee on the driving range or at the start of a hole, press T. after highlighting your club selection and deciding whether you want the ball teed up or not, press RETURN. You'll go to the second shotmaking screen. should you change your mind about your stroke or club selection, press ESC to return to the SELECT STROKE screen. ADDRESSING THE BALL: STANCE AND CLUBFACE ALIGNMENT if you've chosen a full or chip stroke, champgolf gives you a chance to adjust the alignmnet of your stance and clubface. no such re-alignment is possible for the putting stroke. for each shot, champgolf initially sets up a squeare stance and clubface, aimed straight in the direction you've chosen. the clubface alignment is shown in the TOP VIEW of portion of the screen, and the alighment of yur feet is illustrated in the lower left portoin of the screen. note the alignment of the feet relative to the line of flight runing through the ball in the very bottom left portion of the screen. you may wish to open or close you stance in order to slice (fade) your shot to the right or to hook (draw) it to the left. use the up/down keys to adjust the position of your front foot. notice how the large arrow adjusts to represent the change in the swing path of your club. you can also open or close your clubface to put spin on the ball so that your shot will curve to the right (slice) or left (hook). press RETURN when you're satisfied with your stance and clubface alignment. you'll proceed to the swing animation screen. if you change your mind before starting the seing and want to go back and modify your shot alignment, press ESC. you'll return to the stance and clubface alignment screen if you're using a full or chip stroke or, if you're putting, to the split-screen overhead and perspective views, so you can re-orient yourself. SWING AWAY the third and last screen in the shotmaking series is where you actually swing the club. for easy, consisten, average shotmaking, you can simply press f10 to swing the club and hit the ball. by practicing the techniques described below, however, you can learn to control your swing and play a better game. when you're ready to swing, you can press any key to start the action. but if you don't press any more keys, you'll swing very slowly, and the ball won't go very far. there are three ways to hit the ball farther: you can swing your arms faster, add wrist action to your swing, and drive your swing with your body. you can work with each of these elements alone or use any combination of the three. pressing the C key will add a surge of wrist action to your swing. pressing the B key will add a surge of body drive, and pressing the V key will add both elements at once. pressing any other standard key in the lower two rows of the keyboard will add arm speed to your swing; the keys in the third row (Q-]) will add extra arm speed. adding arm speed is the easiest way to add distance to your shots. for each time you press andy key except C, B, or V, you'll add arm speed to the swing. the keys in the row betw Q and ] will add extra arm speed. the more often you press the keys, the faster your arms will swing. while increasing your arm speed will enable you to hit the ball farther you won't be able to achieve much distance by swinging only with your arms. you must add wrist and body action to your swing for maximum power. timing the required keystrokes is tricky, but with practice you'll improve. to add wrist action, you must both cock your wrists on the backswing and also release them on the downswing, just before impact, press C both to cock your wrists during the backswing and to uncock them during the downswing. after you press any key to start your backswing, press C up to three times on the backswing and the same number of times on the downswing. just as in real golf, you can add distance by breaking your wrists at just the right moment during your swing. try to break themin the power zone during your downswing. by breaking them too early, you'll lose distance; if you break them too late you may top your shot. remember, woods take a little longer than irons to repond to wrist action. for more yardage, you can add arm spedd just after you break your wrists on the downswing, you'll need to add body action to your swing. to add body action, start your swing with any key, then press the B key up to three times on the packswing and the same number of times on the downswing. driving with your body can give your shots more distance than arm speed and wrist action combined. as with wrist action, the proper timing of your boady action is critical. try to uncoil your body as the club passes through the power zone during the downswing. keep in mind that the body responds more slowly than the wrists. once again, to add ven more distance, you should finish off your downswing with more arm speed by rapidly tapping any key other than C, B, and V. remember, the third row of letters on the keyboard (Q-]) add the most arm speed. to combine wrist and body action, use the V key. it fives you simultaneous wrist and body action on both your backswing and downswing. used with added arm speed late in the downswing, combined wrist and body action will deliver the greatest power and distance. press the V key up to three times during the backswing and again during the downswing, but try to focus your keypresses in the power zone during your downseing. if you uncoil your body and break your wrists too early in the downswing, you'll lose power before impact; if too late, you'll probably top or miss the ball. timing your swing is very important for distance and accuracy. the faster your swing, the more critical the timing of breaking your wrists and uncoiling your body if you want a straiaght shot. whether you use th C, B, or V key, try to consolidate your keystrokes in the power zone during your downswing, then add as much additional arm speed as you can as you swing throught the ball. a fast backsing does not improve distanc. and once again, balance your C, B, or V keystrokes between the backswing and the downswing. there's little advantage in pressing these keys more than three times each way. to asses your swing, watch the right side of the swing screen; there you'll see the results of your timing as the clubhead meets the ball. the TOP VIEW and SIDE VIEW images freeze briefly at impact, so you can assess your timing n terms of the ideal swing path, clubface direction, and angle of attack. the large arrow in the TOP VIEW shows your projected swing path at impact, and the block shows the projected left-right angle of the clubhead. the large arrow in the SIDE VIEW shows the projected path of your clubhead at impact, and the line shows the projected loft angle of the clubface as it meets the ball. as you'll see, if you don't bring your swing into line in time your club will probably push the ball from inside the target line to the outside, making the ball fly off to the right of your target. if you rotate back too late, you may contact the ball to late in your swing. in this case you'll probably top the ball, if you hit it at all. hitting the ball with your wrists still cocked will decrease the clubface's loft angle at impact, and its likely that you'll top the ball or miss it altogether. the chipping stroke has all the elements of the full swing, but it hits the ball a shorter distance, because the backswing and follow- through are only half as long. chiping is an important stroke-saver around the green. it's a good idea to spend time developing your chipping skills on the driving range, where you can learn how far you can chip the ball with the various clubs using your arms, wrists, and body and combinations of the three. the putting stroke can be made with the arms or wrists alone or in combination. press and key to start the stroke. THE DRIVING RANGE in champgolf shotmaking is every bit as complex and challenging as in real golf, so its a good idea to invest some time developing your swing technique. and as in real golf, the ideal place to learn how to swing the club and hit the ball is the driving range. to go to the driving range, press ESC, if necessaty, to go to the main menu, use the down arrow key to highlight DRIVING RANGE, and press RETURN. when two or more players are on the driving range, they take turns shooting. after each shot, the YDS bos in the overhead view shows how far the ball traveled, and the game pauses. press any key to continue. viewing and movement are the same as on the golf course, except that you cannot walk forward or backward on the driving range. quick lateral movement (using left/right keys with the SHIFT key) will enable you to choose any type of terrain for pracice. also, when you move around the driving range, your ball moves with you. so pressing RETURN will not return you to your starting point as it does on the course; instead, it takes you to the SELECT STROKE screen. practice options include all the shots you'll use on the golf course: the practice putting green, with flagstick, allows you only a single putt, so you cannot putt out, but you can learn how to make putts of various lengths, from various angles. on the teeing ground, your ball is automatically teed up for you. you may remove it from the tee by pressing T. on the practice fairway, your ball lies deep in the long grass. you can practice hitting out of two types of bunkers. the larger (left-hand) bunker represents a fairway bunker, where the ball sits up on the sand. the smaller (right-hand) bunker is a greenside bunker, where the ball is half-buried in the sand. after your first shot on the driving range, when your turn comes again champgolf will return you to the shotmaking screen with the same aim, stroke, and club that you selected for your last shot. to change your aim, stroke, or club, or to move elsewhere on the driving range, press any key to return to the shotmaking screen, then press ESC as many times as necessary to go back to the desired screen. if you hit a ball out of bounds on the driving range, champgolf places the ball in bounds at the point where it went out and tells you how far it traveled before going out of bounds. to leave the driving range, press ESC after your ball stops rolling; you'll return to the main menu. ------------------------- END ---------------------------- Cosmic Bouncer -------------------- The Story Dear Users!! We are in the year XR-76AX intergalactic star-time. Caused by a regretable computer-mistake of a calculating machine by the company Atori, a gigantic substance-life-beam of the Gekkotron type was shot into space from the planet Grumpf. This beam hit an accumulation thread-shaped macromolecular carbon compound(more accurately, a tennis ball by the company Adidotz, which was lost during the last space championships in the star-system Colgar). After a series of genetechnological miracles, the impossible happens: The tennis ball comes to life! A programmer from the company Eurolone succeeded in years of work, influenced by many gurus, to develop a programm which makes it possible to transfer a live-telecast from every place in space to your computer. The most up-to-date version of this programm you are holding in your hands. Your task is to preserve the life of the ball and bring it back to earth ALIVE, so that more research can be done. It will be made more difficult through the hostile minded spacefleet Haino, which will try to prevent the safe return of the ball. To survive you have to bounce the ball onto the appearing platforms and make sure that it does not "lose the ground unter it's feet" The Platforms About these platforms we know the following: - platforms with a question mark can be either friendly or hostile - with a certain platform the ball can make especially big bounces. - platforms with a skull should be avoided because they have negative characteristics - there are supposed to be virus-like platforms which infect the ball when touched. If this happens you should bounce as fast as possible to a field which says "AID" Most platforms become deactivated after touching them the first time, e. x, the big-bounce platforms become normal platforms after jumping onto them. There is the rumour that invisible platforms exists which teleport the ball to the next section on it's way to earth Hints The sections are marked with "START" and "GOAL". In one section there can be several GOALS. Every second level is a bonus level. You cannot lose any balls there but your score can be improved. Pressing the ESC key allows you to return to the main screen. Pressing SPACE bar while playing will freeze the game untill the fire button is pressed. Three times per game you have the ability to create a platform under the ball by pressing the fire button so that the ball doesn't fall into oblivion. If you do not succeed in completing this job, you will be pounished with forced computer work on the Atori 66551100020 for a least 1000000000000000 cycle time If you have any questions, please contact your local space agency Some tips to help you out 'til ELITE II is released........... A FEW HINTS & TIPS FOR -- ELITE -- To start with, think offensive! If you start going soft, you're out! This is the golden rule of Elite, you've got to struggle to survive. The biggest profit lies in trading narcotics from a rich industrial world to a poor agrucial. The profit is also big when trading in medicals and computers from the rich industrial worlds to the poor agrucial. Gold, platonium, minerals, liqures and sometimes furs is profitable to trade from poor agrucial worlds to rich industrial. The fastest route to assets is to travel to a planet which has a Feudal guvorment. This is the most law-less kind of all guvorments (where Corporate State is the safest) and here you can, and will meet many pirates. Shoot 'em and collect the cargo cannisters they leave behind (this requires fuel scoops, of course). Warning! You ought to be equipped with a better laser than the standard puls-type, 'cos there will in most cases be too many pirates attacking at the same time thus resulting in a catastrophe if you're equipped with a lonley puls-laser. NEVER buy retro-rockets. They cost CR 8000 and is almost useless, since all they do is to thrust you backwards a couple of times. Nice to use to escape from your enemies for a short period of time, but it isn't worth the dough. If you want to escape, use the escape-capsule. Your cargo is gone, but you'r getting a new space ship, identical to the one you dropped out from. To speed up the game considerately, buy a docking computer, switch the docking computer to the 'fast' mode under options (+)and the second you press 'C' (when the 'S' sign has appeared in the lower right corner of the radar) you will be in the automatic docking sequence, instead of using most of the game time just approching space-stations. During combat:stop the speed of your craft as soon as the enemies appear. This gives you more time to shoot at them before they return the confetti. If their number is overwhelming gain top speed and fly away from them while using the rear laser to shoot 'em down. The last tactic is preferable if you meet a Thargoid and you've got only a pulse laser. These hints were written by THE FLASH TEAM. We hope they can help you completeing the difficult task ahead of you! Edited for ST use by Sewer Possum for DOC DISC 7........ Fright Night complete docs by: MERKWooD/MAAD You moved into this neighborhood because it was quiet and peaceful. Just what you needed since you sleep during the day. Now your neighbors have gotten together and are planning a little surprise for you. All this trouble just because of an unfortunate misunderstanding. After all, it's not as though the people whose blood you took are actually dead, they are serving as new recruits in the Legions of the Undead, trans- formed into vampires like you. Your neighbors are not only planning to drive you out of the neighborhood, but to end your exsistence completely, and all because of your need for fresh blood. You'd think a neighborhood like this would allow a vampire to enjoy the peace of the undead! Now these nesfarious do-gooders have invaded the sanctity of your own home, searching for your resting place. Each is intent on driving a stake through your heart. Well, there is one good thing. You don't have to wander far from home to satisfy your urgent lust for fresh blood. Simply avoid the crosses, garlic, holy water, and other obstacles, and feast on new victims in the privacy of your own home. Just beware of powerful vampire hunters with strong faith. They can certainly ruin your night! Extra Memory If you have memory expansion installed, extra graphics will automatically be loaded. (Dunno about the ST version though....S.Possum) Control Control your character by moving the joystick. Defensive actions, such as ducking or jumping, are controlled by pressing the fire button and moving the joystick in the appropriate direction. Playing The Game In a twist of fate, you play the role of an anti-hero, Gerry Dandridge, a modern day vampire, struggling to stay undead. The action takes place inside your house, which has become infested with do-gooders intent on making your eternal life miserable. Put quite simply, they don't want you in their neighborhood. Each game starts at sunset on Monday. Your energy level is high, and you are ready to go. Time is represented by the moon at the left of the status display. As time passes, the full moon gradually fades. Your image, located at the right side of the status display indicates your current state of being. As your need to replenish with a fresh supply of blood grows greater, your image will begin to deteriorate. When all that appears is a skull, your after-life has ended. Quite fortunately, a fresh supply of blood is available. The pests that invest your home are an excellent source of nourishment. Besides, they intend to do you harm, unless you eliminate them first. Unfortunately, your neighbors are not thrilled with the idea of becoming a thirst quencher for a vampire. They are prepared to defend themselves, and will attempt to ward you off by any means possible, including resorting to such tricks as throwing crosses, garlic, holy water, and other items known to cause pain to vampires. These items all will have a detrimental effect if they hit you. How much effect depends on the level of faith of your attacker. Be ready to dodge! Watch the center symbol on the status line, the pentagram, for an indication of the relative faith level of the person you encounter. Darker colors indi- cate little faith in the weapons they bear. Bright colors could mean big trouble for you. After disposing of all victims each night you may return to your coffin for a good days sleep. You must make certain you've disposed of any remaining vampire hunters, otherwise they could stumble onto your resting place, and interrupt your repose with a well placed stake. Don't waste time! You must eliminate the vampire hunters and return to your coffin by sunrise. After all, Vampires cannot abide the light of day. Each night becomes increasingly difficult to survive as more of your neighbors are alerted to your presence. Even ghosts of your past victims will strive to make your undead exsistence even more intolerable. Should your vitality be drained, your exsistence as one of the undead will end, and you'll be banished from the realms of the netherworld forever. In other words, the game is over. Mybe you'll have better luck in another life. Sewer Software presents Gold Rush solution.... Gold Rush Solve Written By: Maligzar & Maniac _______________________________________________________________________________ Well if you are having any trouble with Gold Rush this should help you out. we have also included the Docs to this game incase you have use for them. -Maligzar Now the story. You start out in Brooklyn. The first thing you do is type "Sell house". After typing this you must immediatly go and enter your house. Once you get in your house you must look at the photo album and get the pictures from it. Then you must go over to the desk and close it. Get the bank statement and look at the bank statement. You will recieve points for this. After this leave your house, go to the park and get a flower. Be sure not to walk on the grass because this will cost you points. The proceed to the Guzzebo(close enough)and look in the cracks. You will then discover a gold coin. Be sure to get this item for it is necessary to obtain it to win. Then go back to your house and wait untill you see a man holding some green money. Talk to him and he will give you money for your house. After getting the money go to the post office and ring the bell. When the mailman comes ask for mail. Then get the letter and open it. Read the postmark and get the stamp. Then read the letter. After doin this proceed to the bank and withdraw your money. THe account number is written on the bank statement. Go then and go to the stagecoach ticket office. Buy a ticket there. This will take you there BY WAGON!!!(Not by Boat)After you buy the ticket go to the graveyard. Proceed to the second grave and look at your parents graves and drop the flowers there. Then go to your bosses office. Go upstairs and look at the clippings. Then go down stairs and quit your job. Then go to the livery shop and talk to the man in there. Be sure not to get kicked by the horse fo this will cost you your life. Then show that man your ticket and get on the wagon. And your on your way to Cali!!! -Maligzar Ok the stage coach will bring you to a ferry, and the ferry will take you to New York from this place you will go to Mississippi Valley. Here you go and talk to a group of men and one of these men he will ask for money be sure to give him all of your money.. He will also send you to get good animals to pull the wagons. From here go right and talk to a man who is sitting by a tree reading a book he will give you the book(Bible). From here you go left then down. Talk to the man there and ask to buy mature oxen. Then go back to your camp and talk to captain again and he will give you another assignment. The assugnment is to find out when to take off or leave. Go right from here then go up adn look at the grass it will give you a report on how the season grass is looking. Once it says it is drying out go talk to your captain and you will leave from there. Once you are on your way to California you will travel for a while through a few states it wil give you general info about them. Once you get somewhere near California you will be stopped at a hill. You will be shown outside your wagon. You will have to quickly tie the chains. Then you must untie the oxen. They will go down the hill then return back up. You are now on your way again and wont be stopped until you hit a desert. Here you must look in barrel and drink the water from it. Then you must look inside the wagon and eat the meat. Be sure to go right from here and catch your men. You will soon be at Fort Sutter... -Maniac Once you reach Fort Sutter you must eneter it. Not the Mule Corral. Once in here you must find the supplie shop. You must buy a shovel. Then you will be able to dig for the gold. But don't leave sutters for yet...you must first go to the blacksmith's shop and talk to him. He will ask you a few quetions The Answers are: Yes Yes Last name:Wilson First name:Jerrod Brothers name:Jake Now the blacksmith will give you a branding iron. This will be needed later in the game. From here exit the Fort and goto the Amerincan river to the right. Keep heding along the river and dig on the land. This takes a very long time so don't get discouraged. You must head several screens to the right in order to find the gold. After discovering gold about 40 times you will hit a sudden dry spell. THis mean that there is no more gold to mine. So go back to Sutters Fort and buy a Lantern and a Pan. The pan is just for extra points. Then go to THE MULE SHOP!!! not THE MULE CORRAL!! and buy a mule. After buying the mule go to the Blacksmith's shop. Heat your Iron and brand the mule. Then go to the semetary. Read all the graves untill you find Marshall Wilson's grave. Here there will be a seperate screen that shows you his grave. you will be able to type here. Type Use letter and move it arround untill it says Hey stop there. Then follow its directions. From here take your mule to the corral. Drop him off here. Then you get another mule. Look at its brand if it looks the same as yours then keep him. This mule will be a trusty spirited mule. Take the mule with you to the Town around 23 screens to the right. Read your bible Psalm 23. Go tho Green Pastures hotel and rent room 11. The man will give you a message to give to the man in room 11. Go to room 11 knock on the door and give the message to the man. He will leave the room. You will enter, Go to the fireplace and turn the wheel. Enter the fireplace you will appear on the other side in a room. Go to the window unlock it and open it. Go to the table and read the letter. Get the magnet and the sting which is on the floor. The bird will soon fly in and give the photo to the bird. He will fly away you will here a slam. The bird will reappear you get the aerogram and read it. Before you enter the fireplace again wait for another slam. Once you here this you will be safe. Leave the room and go back to Fort Sutter. Once you getc 2 East of Fort Sutter you must type follow mule. He will lead you to Jake's Cabin. Eneter Jakes Cabin. Get the matches and move the rug, then manuever your way through the bushes and then enter the Jon. Enter the hole in the Jon. YES I AM SERIOUS!!. Ok you will then go down and find yourself in a pile of shit. Light your Match and light your lantern. Then head to the left untill you come to a door. Tie the string to the Magnet and put the magnet in the hole. Lower magnet. Raise magnet and unlock door. Eneter the room to the other side. From here go down and then go to your left. You will have to go down again. Down there you will find a pick. use the pick a place in the room and you will stike gold..twice. From here head back to the main ladder. Go up past the ledge that you came from and you will notice a passage leading to your left. Go to it and keep on going untill you get to another ladder goining down. You will then come across another ladder going down. You must manuever down this ladder. Be careful. Here you must go left again and you will find Jake. He will tell you a story and then you must use your pick in the highlighted area. You will strike it several times. Keep digging untill a hole appears. Digg untill it gets even bigger and then you enter the hole with your brother. Hey let the game do the REST Congradulations...you have solved Gold Rush. -Maligzar Hey I hope you had as much fun playing the game as we did. Maligzar & Maniac _______________________________________________________________________________ 24k of DOCs here for a rather large arcade strategy game...S.Possum IMPOSSIBLE MISSION II COBRA BLUE CLASSIFICATION ULTRA DISTRIBUTION Field Operations Assets, (Need to Know basis only) Field Operations Control, Langley Electronic Intelligence Operations, Ft. Meade Joint Chiefs of Staff, Pentagon Commmander, Strategic Air Command, Omaha (EYES ONLY) Commander, Submarines Pacific, Honolulu (EYES ONLY) Commander, Submarines Atlantic, Norfolk (EYES ONLY) ----------------------------------------------------------------------- ----------------------------------------------------------------------- 1. OVERVIEW: Cobra Blue is a top secret surveillance and counter- terrorist operation directed against Professor Elvin Atombender by Field Operations Agent Bravo 29. Elvin, a known psychotic genius, is one of the world's leading experts on robotics, computers, and codes. Elvin is believed to have collected a personal fortune by raiding the computer systems of several of the World's leading financial institutions and transferring funds to his personal bank accounts. Elvin lives at the top of an immense eight-tower complex construscted with his personal funds in northwest Los Angeles near the UCLA campus. Elvin's complex is believed to be staffed entirely by robots built to his design. He receives no visitors and, so far, his complex has proven to be nearly impossible to enter by agents of this and other police and intelligence agencies. 2. COBRA BLUE PHASE I: Elvin's tower complex is under constant watch. All activity between his complex and other computers around the world are constantly monitored. Random attempts to break into the tower complex were made by our field agents to gather information about the complex's structure and contents. Intelligence reports indicate that Elvin has spent the past four years trying to electronically break into military computer installations around the world, and he may be close to succeeding. In addition, it is believed that Elvin is becoming increasingly mentally unstable. He has been monitored muttering threats about destroying himself and the world. If he is detected to begin carrying out these threats, field agents will be alerted to implement Phase II through a Flash Alpha One message from Field Operations Control, Langley. 3. COBRA BLUE PHASE II: Field agents assigned to Cobra Blue Phase II will immediately penetrate Elvin's complex, arrest Elvin if possible or kill him if he resists, and neutralize his computer system. THIS MUST BE DONE WITHIN 8 HOURS. Elvin is believed to live and work in the control center of his complex located in the penthouse of the central tower. He is guarded by highly sophisticated security systems which include mobile robots of several types, locking passageways between towers and musical sequences. The field agent assigned to penetrate this complex will be assisted by a personal pocket computer which he will be able to use only in the complex's hallways. This computer will track the operative's location, help him determine if he has completed the proper combiniation for access to another tower, and help him to link together the musical sequences needed to enter Elvin's central tower. 08/04/88 0122 ZULU COPY 01 OF 01 CLASSIFICATION ULTRA CODE GROUP THETA PRIORITY FLASH ALPHA ONE TO: FIELD AGENT BRAVO 29 FROM: FIELD OPERATIONS CONTROL, LANGLEY RE: COBRA BLUE COBRA BLUE ALERT BREAK IMPERATIVE REPEAT IMPERATIVE ELVIN BE NEUTRALIZED WITHIN 8 HOURS ELSE LAUNCH CODES WILL BE BROKEN AND MISSILES LAUNCHED BREAK CONSULT COBRA BLUE PHASE II OPERATIONS ORDER FOR FURTHER DETAILS RE ELVIN AND TOWER COMPLEX BREAK EXECUTE COBRA BLUE PHASE II IMMEDIATELY BREAK GOOD LUCK AND GO GET HIM BREAK END LANGLEY PAGE ONE OF ONE DESTROY AFTER READING 08/04/88 0123 ZULU OBJECTIVE To succeed at IMPOSSIBLE MLISION II and to prevent the world from being destroyed, you as the Agency's Field Agent must reach several objectives. First, you must assemble the three-digit security comnbination for each tower. At the same time avoid and fend off Elvin's robots, using his own security system to help you. Second, you must locate and open Elvin's safes, and recover the musical sequences locked inside. There are six unique pieces of music and two duplicate pieces. Third, you must tie together these musical sequences into a full melody that will open the express elevator doors to Elvin's central tower control room. Finally, you must find the correct computer terminal in Elvin's control room that will disarm the missile lauch codes before they destroy you and the world. You score points by entering towers, exploring rooms, finding passcode numbers, and reaching the central control room. The sooner you reach the control room, the more points you earn. STARTING PLAY While the game is loading, you will see an outside view of Elvin's tower stronghold on the screen. When loading is completed, you will see your agent inside an elevator in a random tower of the stronghold. The display on the bottom of the screen is your pocket computer. CONTROLS In the elevators: Push the joystick FORWARD or BACK to go up or down. Push the joystick RIGHT or LEFT to enter a corridor. In the corridors: Push the joystick LEFT or RIGHT to move along a corridor. Running off the edge of the screen will take you into a room or another section of corridor. In the rooms: Push the joystick LEFT or RIGHT to move in either direction. If you press the FIRE BUTTON, your agent will do a forward flip useful for leaping over robots, jumping up to higher levels, and somersaulting over gaps in the floor and over low walls. Pulling the joystick BACK will put your agent in a crouching position. He needs to be in this position to lay a time-bomb or mine. On lifting and sliding platforms: If you are standing on a striped lifting platform (you can see the vertical track in the wall), push the joystick FORWARD or BACK to go up or down. If you are standing on a striped sliding platform (you can see the horizoneal track in the wall) push the joystick FORWARD or BACK followed by LEFT or RIGHT to move the platform. GAME PLAY As you explore Elvin's tower complex, you can check your location and the rooms you have explored with your pocket computer. The pocket computer's display appears at the bottom of your screen anytime your agent is in a corridor or elevator. A map of the current tower and connections to two neighboring towers shows in the center of the display. A dot of light shows your location in the tower. Any room you have entered appears in black. An overhead view of the tower complex appears to the left of the map display on the pocket computer. It too, has a light showing your location as well as a lighted display of your current tower number. SEARCHING FOR CODES Search as many objects in each room as possible. These objects range from automobiles in Elvin's garage tower to athletic equipment and lockers in his gymnasium tower. Don't overlook house plants and pictures on the wall either. Search each object by standing directly in front of it and pushing the joystick FORWARD. The word "Searching" will appear in a box near your agent's shoulder. You will also see a horizontal time line indicating how long the search will take. You must continue to hold the joystick FORWARD until the time line disappears. If your search is interrupted for any reason (usually a robot bearing down on you), you can go back to the object and resume searching where you left off. Each object disappears after it is searched. One of four things will appear above your agent's shoulder when he's finished searching an object: * The word "Nothing", indicating you've drawn a blank. * A passcode number. * A security terminal command icon. * An extension of time. USING SECURITY TERMINALS You can use the security terminal commands you have collected at any security terminal in Elivin's complex. These terminals are usually located near the entrance inside each room. They look like television sets with darkened screens facing toward you. To use a security terminal, move directly in front of it and push the joystick FORWARD. The security terminal screen will fill your display. Security terminal command icons and the number you have available appear on the screen. These include: Lift Platform symbol--resets vertical and horizontal lift platforms. Platform symbol--moves the floor segments left or right. Electric plug--temporarily deactivates robots. Light bulb--turns on lights in darkened room (can be used in any room within a tower to light other rooms in the tower). Time bomb--arms time bomb that can be placed by agent to blow up a safe (pull BACK on the joystick and press the FIRE BUTTON to place the bomb). The bomb explodes a few seconds after it is placed allowing the agent to go back to the safe and search for pieces of music. Mine--arms mine that can be placed by agent. Mine explodes whenever anyone including field agent makes contact with it. It blows a large hole in the floor that the agent can only cross with a leaping somersault. Push the joystick LEFT or RIGHT to move among the command icons and press the FIRE BUTTON to select whichever one you want to use. POCKET COMPUTER Your pocket computer is an amazing device that not only locates you in Elvin's complex, it also helps you assemble the passcode that lets you move from tower to tower. With its built-in tape recorder, you put together the musical sequence you need to get into Elvin's central tower. Your computer also shows you how much time you have left before Elvin destroys the world. To activate these last two functions, you must stand in a corridor or elevator and press the FIRE BUTTON. NOTE: You can't use the pocket computer in any of the rooms. Pressing the FIRE BUTTON in a room will make you do a somersault. When you activate the functions, a hand appears near three buttons at the bottom right of the screen. The right button has three numbers on its surface. The center button has the drawing of a tape cassette deck. The left button has the word "OFF" written on it. Above these buttons you will see three sets of up and down arrow buttons. You can move the hand with the joystick. To select a button, move the hand on top of it and press the FIRE BUTTON. When you select the number button, the tower complex map disappears and three windows appear in its place. This is where the three-digit passcode to enter the neighboring towers is assembled. The numbers are in three different colors and each color appears in its own window. Move the hand to the up and down arrow keys and select one with the FIRE BUTTON. Numbers you have found in the tower appear in the windows to the left. There may be duplicates. When you find a correct number, the "Found" indicator below the windows will light up. When all three numbers for the passcode are found, the "Complete" indicator below the windows will light up. You can now move through the security access doors into a tower next door. When you have collected one or more musical sequences from Elvin's safes, you can play them on your pocket computer. Move the hand over the cassette button and press the FIRE BUTTON. A tape cassette deck complete with standard play, fast forward and rewind controls appears in the center of your pocket computer. Rewind, then press play, and any musical sequences you have collected will play. Listen to them carefully because there may be duplicates. A digital tape counter helps you keep track of where you begin a musical sequence. Use this readout to help you record a new sequence over a duplicate piece of music. When you collect and play six non-duplicate musical sequences linked together on your tape recoreder as a song, you can enter the express elevator to Elvin's control room. You must record a musical sequence before you leave a tower because you can't return to a tower once you've left it. If you forget to record the music in each tower's safe, you can't win the game. However, you might get really lucky and still win the game if the music you forgot in a tower's safe is a duplicate. ELVIN'S EXPRESS ELEVATOR You can find doors to Elvin's express elevator between the inter-tower security doors in either the underground passageways or the aerial hallways. Stop in front of the express elevator and push your joystick FORWARD. You will enter the elevator and reappear in Elvin's control room. ELVIN'S CONTROL ROOM This is an extremely complex room filed with robots. It has security terminals so you can use your collected security commands to help you. Notice the three terminals in the center of the room. One of these can be used to deactivate the missile launch control codes and save the world. The other two will kill you. Select a terminal, stand in front of it, and push your joystick FORWARD. If you are lucky, you will deactivate the control codes and confront Elvin. SCORING A scoreboard will appear if you successfully end the game, if you die too many times while you are in Elvin's control room, or if time runs out. You earn points for entering each room, collecting objects and numbers, entering each tower, and for completing the mission. APPENDIX A ELVIN'S TOWER COMPLEX Elvin's tower complex is located in the Sawtelle District of Los Angeles on the grounds of the former Veteran's Administration Hospital five miles west of UCLA. Elvin purchased the grounds five years ago from the U.S. Government during an attempt by the government to balance the federal budget. He has constructed a nine-tower complex consisting of eight towers surrounding a core tower. Each tower includes from four to six rooms, and each has a special function. These functions include parking for Elvin's vast fleet of motor vehicles, living quarters (Elvin reportedly never sleeps in the same room two nights in a row and likes a lot of space), food service including automated kitchens (Elvin considers himself a gourmet although his tastes run toward M&Ms and Fruit Loops), sports and exercise areas, warehousing, executive office suites, and of course massive computer systems. There are believed to be up to 64 different rooms in the eight surrounding towers. The core tower includes the heart of Elvin's computer system and his control center located in the tower's penthouse. There is a flat roof area outside the penthouse where an operative could arrange for an emergency helicopter pickup. High speed elevators run up the sides of each tower except the core tower. They open on to hallways leading to the towers' rooms. Each tower is linked to its two neighboring towers with both underground passageways and aerial hallways connecting at the upper levels. Security doors prevent access between towers unless you have the proper passcode. The central tower's control room is reached with a high speed express elevator. Doors to this elevator are located in both the underground tunnels and the aerial hallways between towers midway between the inter-tower security doors. (See Page 7 for details on how to gain access to the central tower express elevators.) The penthouse control room is the only room in the central tower accessible to outsiders. The balance of the structure is packed with Elvin's mainframe computer system. Three computer terminals are located in the center of the penthouse control room. One of these controls Elvin's main code-cracking computer where he will attempt to access the world's missile launch control codes and annihilate the planet. This terminal must be reached and deactivated by you to prevent missile launches. The other two are dummies hotwired to 2,200 volts. Any agent touching these dummies will be killed instantly. Intelligence reports have NOT, repeat NOT been able to determine which terminal is real and which are the deadly dummies. Good luck! APPENDIX B ROBOTS Elvin's robots are a major component of his security system. There are six different types you will find roaming the rooms in his stronghold. They include: 1. The basic security sentrybot. These are the most common and the most deadly if you get close. Sentrybots may be found in any room. They are each approximately 1.5 meters high and are armed with a high voltage plasma gun. The sentrybots use infrared photocell sensors to detect human body heat even in darkened rooms anywhere to the robot's front. Sound and motion sensors also enable the robot to home in on a human whether the robot can "see" the target with his infrared sensors or not. A sentrybot will fire its plasma gun anytime it detects a human within six feet. Sentrybots never miss at that short range and humans always die from the weapon's massive electrical discharge. Fortunately, a human has one major advantage over any robot--mobility. Sentrybots are propelled by linear induction magnetic transport systems embedded in the floors and platforms of each room. Sentrybots, therefore, usually cannot leave their assigned floors or platforms. They also generally move more slowly than a man and can be dodged with a well-timed somersault. 2. Minebots. These are small robots encountered in rooms in any Tower. They crawl around rooms and lay mines at random. The mines are visible and easily avoided. Unlike the mines a player can lay, they have no effect on the floor. 3. Pestbots. These are relatively harmless but annoying small robots that may be encountered in any tower. They constantly ride the lift platforms and mess up a player's lift platform strategy. They are not dangerous. 4. Squatbot. May be encountered in any tower. Squatbots are small robots that squat on the floor like a turtle. With good timing, an agent can step on a squatbot and use it as a stepping stone to leap higher in the air. However, every few seconds, the squatbot is activated and will rise up. (If the agent isn't careful, he may be smashed against a ceiling. 5. Bashbot. This is the second most common robot type and is found in all towers. Shaped like a miniature bulldozer, the bashbot detects a human intruder and instead of zapping him with an electrical charge, it attempts to shove the intruder off the edge of the nearest platform or into a nearby wall. Sometimes when a bashbot is encountered near a door into a room, the bashbot will shove the human intruder back into the adjacent hallway. 6. Suicidebot. These may be found in any tower. A suicidebot senses when a man is near and leaps to its death trying to take the man with him. APPENDIX C ELVIN'S PSYCHIATRIC PROFILE Subject: Elvin Atombender Sex: Male Age: 62 Height: 5'4" Weight: 120 lbs. Hair: No Eyes: Watery blue, wears wire rim glasses Distinguishing Traits: Elvin has developed into a high tech hermit who hates people and animals and can only relate to M&Ms and Fruit Loops, anchovy pizzas, Diet Pepsi, and computers. Childhood background: Elvin was a Momma's boy. His mother loved him and believed he could do no wrong. He was a skinny, sickly little kid who loathed sports but loved mathematics. He seldom caused any problems and spent most of his time at home gaping into his computer screen. He occasionally caused trouble with his modem, such as the time he broke into the school district's mainframe and raised his P.E. grade to an "A", and the time he broke into the phone company's billing computer and chartged his parents with a five-hour call to Afghanistan (because his mother mistakenly served him Diet Coke instead of Diet Pepsi during a midnight pizza feed). His parents, however, were tolerant. They were sure he would eventually grow out of messing with other people's computers. They were wrong. Elvin had only just begun. Turning Point: Elvin survived high school despite encounters with numberous bullies. He entered the computer science school of a prestigious West Coast university and immediately immersed himself in the computer lab where he began building Elvin, Jr., a self-teaching, self-replicating artificial intelligence program. Junior was his child and his passion. He spent so much time in the computer lab that he barely earned his undergraduate degree. Only when he realized that he had to go on to graduate school if he were to keep working on Junior, did he reluctantly spend time on elective courses such as The Economics of Broccoli Farming and Intermediate Urdu. One night, after nearly eight years in the university's computer lab, Elvin had almost finished building Junior. He only had ten more lines of code to write, and only two more bugs to shake out of the program, and his child would come to life to dominate the university's entire computer system. Then the lights literally went out as the power failed. Elvin's computer crashed, and his program vaporized into nothing. Elvin had made one fatal mistake--he never backed up his programs, saying that floppy disks were for winps. All he had left was some hard copy. Elvin's mind snapped. He vowed he would complete his doctorate, someday rebuild his program on a grander scale than ever, and take over the computers of the world. Then he would have his revenge, especially against the electric utility companies. The world would repay him for his lost child. Like many people with a grand obsession, Elvin was able to bide his time. He received his doctorate, became a distinguished professor and a renowned expert in computers and robotics, and then disappeared. He has now resurfaced after five years of living in his fortress-like tower complex built with funds plundered from the international financial computer network. He is believed to be extremely paranoid and dangerous and may be on the verge of becoming the world's first large scale comoputer terrorist. He should be approached with extreme caution. KEYBOARD COMMAND CARD Read the Impossible Mission II instruction manual for general game play instructions. Read this command card for keyboard controls and variations from the manual for the Atari ST version of the game. Joystick: up, down, left, right, fire button. Keyboard: up--arrow up or I down--arrow down or K right--arrow right or L left--arrow left or J spacebar or clr home (fire button) Keypad: up--8 down--5 or 2 right--6 left--4 enter (fire button) Additional Keys: *Press 1 on the keypad to move a sliding platform left. Press 3 on the keypad to move it right. *Press ESC to pause. Press any other key to resume play. *Press ALTERNATE S to save game. *Press F10 to start a new game. *Press ALTERNATE F10 for suicide (from inside a room only.) *Press ALTERNATE Q to return to desktop. Sewer Software...THE ST Doc Crew present DOCS FOR KENNEDY'S APPROACH A. VISUAL DISPLAY 1. CONTROL AREA MAP:The largest section of the simulation display is the Control Area Map. The Control Area Map is designed to provide you with the state of the art representation of a REAL Air Traffic Controller. 1)THE DOT GRID: A grid of dots one mile apart. The bright dots denote normal air traffic lanes. 2)AIR TRAFFIC FEATURES: Entrance and exit fixes are labelled, as are airports. On the approach side of each airport is a VOR tower. Incoming planes hold around this until they are cleared to land. 3)THE PLANES: There are 3 types of planes. Light jets, jet airliners, and supersonic Concorde. Light planes are smaller than jet airliners, and the Concorde is recognized by its drop-nose and delta wings. The direction a plane is pointing indicates its direction of travel. Below the plane are the bars indicating current altitude in thousands of feet, and to the right is the planes id letter. 4)TERRAIN FEATURES: Also on the map are mountains, storms and restricted zones. Planes must maintain an altitude of at least four thousand feet over the mountains, and they should avoid storms and restricted zones althogether. 2. THE COMMAND LINE: Just above the Control Area Map is the Command line. Here, messages are displayed as they are radioed between you and the aircraft in your area. When you use the joystick to direct traffic you will see your commands written out and then see the response. 3. FLIGHT PLANS: In the upper right-hand section of the screen are the flight plans for the active aircraft in your area. The uppermost letter in each comumn is a plane's ID letter. Below the ID letter is the first letter of the origin and the first letter of the destination fix or airport for that plane. Below these is the altiturde in thousands of feet. Aircraft that are waiting to take off have a "*" in the altitude field. 4. THE CLOCK: In the upper left-handed corner of the screen is the time of day clock. Your shift ends on teh hour. The passage of time in the simulation is measured in real-time. Time can be accelerated by holding down the space bar. 5. ALARM AREA: Between the clock and the Command Line is the alarm area. Dangerous situations are reported here. These include incorrect exit altitudes and fixes, conflicts, and crashes. B.AIRCRAFT COMMUNICATIONS 1.ESTABLISHING COMMUNICATIONS: You can establish contact with a plane in two ways, by typing the ID letter, or by moving the joystick to move the cursor over the plane, and then five the joystick a short push.(less than 1 second). 2.ISSUING COMMANDS: To tell the pilot what direction to fly, move the joystick left or right until the arrow points in that direction. To specify the altitude, move the stick up or down. PLEASE NOTE, EACH BAR INDICATES 1000 FEET OF ALTITUDE, AND THE ACTUAL POSITION OF THE PLANE IS REPRESENTED NOT BY THE ICON, BUT BY THE BOTTOM BAR! C.AIR TRAFFIC CONTROL 1.LANDING: Aircraft destined for and airport must be landed by heading down the runway and giving it clearance for landing. (Altitude 0). Aircraft at altitude 0 can no longer be given turn commands. 2.HOLDING: Since only one aircraft can use a runway at a time, it may be necessary to put other planes into a holding pattern. A hold is continuous full turn around a VOR tower at a particular altitude in either a clockwise or counter clockwise direction. 3.EXITING THE CONTROL AREA: An aircraft that does not land in your area must leave via the exit fix. All aircraft must exit at an altitude of four thousand feet. D.AIRCRAFT CHARACTERISTICS 1.SPEED: The various types of aircraft travel at different speeds. Light planes move two miles(2 grid dots) every minute, jets move 4 miles every minute, and the Concorde moves 8 miles a minute. 2.ALTITUDE CHANGES: All of the planes have a climb/descent rate of one thousand feet per mile. 3.TURNS: All three types of planes have a turning radius of 1.5 miles. This gives a 45 degree per grid dot. E.INFLIGHT RESTRICTIONS 1.AIRCRAFT SEPARATION: The first and foremost of these requirments you must maintain is a one thousand foot separation in altitude between aircraft flying within 3 miles of each other. Failure to meet the aircraft separtion will result in a conflict condition and a possible mid-air crash. 2.FUEL: Planes carry a limited amount of fuel and will run out if delayed excessively. F.CONTROLLER EVALUATION When your shift ends, you will be given onr months salary based on your current GS rating and bonus pay based on your performance.. $100 is paid for each flight completion, $200 is paid for each successful emergency landing, and $100 is subtracted for each minute of flight delay. If you commit a major error, then the game will end. A major error include 1)crashes, 2)bad exits, 3)lettin a plane with an emergency leave your area, 4)conflict time greater than 1 minute, or 5)flight delay time greater than 45 minutes. Enjoy the game! Docs typed by, Mr.Dos Sysop of The Vault These DOCs are edited for ST use after transfer from the AMIGA. Certain portions that refer specifically to AMIGA use have been omitted. S.Possum The King of Chicago GETTING STARTED Insert the King "Reel 1" disk into your main drive. If you have a second drive (recommended) insert King "Reel 2." After a few seconds, the title screen will appear and the theme music will begin. When the fly pointer appears, you may start the game. Press and hold the right mouse button, and move your pointer to the word PROJECTOR at the top of the screen. Pull the pointer down to high light the words "START THE MOVIE" and release the button. You may pause the game by pulling down the menu and selecting the word "INTERMISSION." When you are ready to resume play, select "END INTERMISSION." Quit the program by selecting "QUIT," then click on the word "YEP" when the game asks, "GIVE UP?" If you change your mind you may resume play by clicking on the word "NOPE." To end the game and start a new one, pull down the menu and select "END THE MOVIE." When the game asks, "ARE YOU READY TO CHICKEN OUT?" select "YEP" to end the game or "NOPE" to continue. PLAYING THE GAME As you move the mouse you'll notice a small fly buzzing around. When Pinky can't decide what to do next, move the fly to one of his "thought balloons" and push the left mouse button. Choose quickly or he will make up his own mind. And remember, every decision you make will affect the characters in that episode! NOTE:the dialogue will "FAST FORWARD" if you hold down the mouse button. Sometines Pinky will think about drawing his gun. When the gun appears, move the mouse to aim and press the button if you decide to fire. DON'T MOVE THE MOUSE TOO QUICKLY and be sure to stay on your toes, you never know what the other characters will do. THE DESKTOP At regular intervals (approximately once a month) Pinky returns to his office. When the desktop appears you may "click on" the following items: Lola: Allows you to visit with Lola. ledger: The ledger lets you review money matters. map: Click on the map to discuss territory grabbing strategies with Ben. keys: Exit the screen by clicking on the keys. NOTE: The ledger will open to a statement of your current finances. Click on the small plus or minus sign to adjust monthly payments and salaries. To adjust your monthly INCOME you'll have to leave notes in the ledger for Ben. If you want to squeeze more cash out of your speakeasies, click on the word "SAME" until it says "MORE." To exit the ledger, click on the green desktop to the right. Players with only 512K of memory will notice that the game speeds up considerably when you upgrade to 1 meg or more. And with extra memory most of the images can stay in RAM rather than being read from disk. If you own a hard drive, or have at least 1 meg of expansion memory, please read the king.doc file on disk 2. (External memory can be used in lieu of a second disk drive.) QUESTIONS AND ANSWERS How long should a typical game last? That depends on how you play. There are over a BILLION different ways to play the King of Chicago! But a typical winning game will last about an hour. I need help with the drive-by bombings... Successful demolition requires a steady hand and careful timing. As the car drives by the front of the building, press the left mouse button to lob the bomb. The longer you hold your finger on the button the higher the bomb travels. Your aim is based entirely on when you throw the bomb, and not on the position of your cursor. How important are the decisions I make in the game? Some of your decisions will cause branches in the game while others affect the personalities of the characters involved in that particular scene. For the example, making a caustic remark to Lola will boost Pinky's toughness but decreases Lolas happiness. (And if she gets too unhappy - well, watch out! Conversely, the boys are more likely to mutiny with a weak leader; it's a very delicate balance.) Do I ever want my monthly income to be less? Yes. Your income producing ventures can only yield so much. If you push them too hard they might become unproductive. Also, the more effort you put into one area the less energy and resources you'll have for another. How many ways are there to win the game? There are at least three completely different ways to win The King of Chicago. So keep playing! If the sun's on fire how come there isn't any smoke? What? Does the game play differently with extra memory? Yes. In addition to playing a lot faster, there are a few extra scenes for those players with memory expansion. (A spinning newspaper and an intermission screen, for example.) Why did my losses go down when I adjusted the salaries? Losses are based on the monthly ncome minus the salaries you are about to pay out. Whenever you open the ledger, think of it as payday! Are both reels copy protected? No. Only reel 1 is protected. We encourage you to make a backup of reel 2, and play with it. Why does the game require 2 disk drives with 512K? Because the game is so non-linear. It was a struggle just to keep the game on 2 disks, and believe it or not, there isn't enough room left in the machine to put up a message asking the user to insert another disk! Besides that, the game would be nonplayable on a one drive system because of a constant need for disk swaps. Why did I lose men after a shootout with Santucci? Whenever you get into a gun battle with the Southside gang you risk losing a few men. Every time you allow them to get a shot off, you lose a valuable gang member. If there are no more men left in the gang, the next shot will kill Pinky. Is there a secret to blowing away the Old Man in his car? Yes. Will the game play by itself? Yes. Unless you pull down the intermission option the game will take off by itself, (until you do something) making random decisions along the way. So if you pause too long at the desktop, you may find that the conputer takes you off to see Lola, or it might even open the ledger. So keep on your toes and keep moving! Why do I keep getting attacked as I head off on a raid? When Pinky leaves in his car he runs the risk of being followed and attacked by one of Santucci's hoodlum pals. Your odds of being ambushed increase immediately following a successful rain, so it's sometimes helpful to lay low for a turn or two. What happens if I pull my gun on someone but don't shoot? There's only one way to find out. The best part about The King of Chicago is that it's full of surprises. So turn down the lights, pop up some popcorn, grab a soda and enjoy! REAL GANGSTERS Let's go back in time to 12:01 a.m. on January 17, 1920. A nation victorious in war and steeped in idealism embarked on what must be one of history's dumbest effort ever to outlaw sin. It was popularly called the Volstead Act, after a well-intentioned Congressman of the day, and its purpose was to prohibit the manufacture, importation, sale and consumption of booze. The King of Chicago back in 1920 was Big Jim Colosimo, a crafty old rascal who owned the cops, the courts, the politicians, and a one-stop shopping center of vice called Colisimo's Cafe on South Wabash Avenue. Despite excited talk of Prohibition opportunities, Big Jim was happy the way things were. He'd fallen madly in love with a 19 year old aspiring opera singer named Dale, who could think of worse fates than wealth. For her, he left his frumpy wife, started polishing his speech and his manners, and eventually brought in his punk nephew from New York, Johnny Torrio, to tend shop while he devoted all his efforts to sex and self-improvement. Fine, except that Torrio was a man of youth, energy and vision who recognized the wonderful opportunities presented by National Prohibition. That Big Jim couldn't care less presented a problem, but not one lacking a solution. Torrio brought in his own right-hand man, Alphonse Capone, another Brooklyn transplant, who had been policikng the Colosimo chain of brothels and otherwise making himself useful. For months the two tried to reason with the old man, but he remained adamantly opposed to any added responsibilities that might cut into his love life. Too bad. On the night of March 20, 1920, an unidentified gunman in the vestibule of Colosimo's nightclub fired a pistol shot that sent the King up to that big pleasure palace in the sky. THE KING IS DEAD! LONG LIVE THE KING! The NEW King that is, Johnny Torrio, ably assisted by brothel bouncer Al, whose paycheck began a meteoric rise from a measly $75 to $2,000 a week by 1922. Torrio was not alone, of course, in recognizing the bountiful rewards that could be reaped from the illegl sale of alchohol. All over the city, street gangs and "social clubs" were discovering that the very fact of being organized permitted a certain amount of profitable mischief--everything from terrorizing unsympathetic voters on behalf of crooked aldermen to shaking down shopkeepers. What better base on which to build a criminal business enterprise? At first, the demand for illegal booze so outstripped the supply that the various gangs were able to operate in their respective territories without stepping on one another's toes. But the farsighted Torrio knew this couldn't last and (such was his authority as the reigning King of Chicago) he convened a summit meeting that formally carved up Chicago into independent fiefdoms. He and Capone kept the near South Side; the classy North Side went to ward-politician and erstwhile florist Dion O'Banion. A number of smaller gangs subordinated their ethnic rivalries to respect each other's turfs and even cooperated, one handling, say, the alchohol distillng (in which immigrant Sicilian families specialized, whether they wanted to or not) and another the beer-running, with trade agreements between them. On November 10, 1924, Torrio sent three men to O'Banion's flower shop, ostensibly to buy a floral tribute to a fallen comrade. One took the Irishman's hand in a clasp of friendship (preventing him from reaching a gun) and the other two blasted him six times in what became known as the infamous "handshake murder." Assuming control of the North Siders was one irate and vengeful Hymie Weiss whose gunmen, two months later, pumped several bullets into Torrio but failed to kill him. It was enough, however, that Johnny got religion. He took his money and abdicated to New York, leaving the throne to Al Capone. By the middle of 1925 the fighting had become routine. This was the beginning of the "Battle of Chicago," and in searching for ways to increase their offensive capabilities gang tacticians discovered the Thompson submachine gun. It was a weapon that would alter beer-war combat the way football was revolutionized by the forward pass. There was also a bonus feature: While Chicago and other cities were clamping down on the sale of concealable weapons--namely handguns--the Thompson did not legally fit that definition. And since machine guns before that time were large contraptions of no interest to criminals, no one had thought to prohibit them. Thus, you might not be able to buy a pistol without a lot of trouble and red tape, but you could walk into a well-stocked sporting goods store, plunk down $175 and walk out with a Thompson submachine gun. The Saltis-McErlane gang introduced the Thompson to modern criminal warfare but proved embarassingly inept with it. Capone, meanwhile, had acquired some of his own and quickly demonstrated that he had the touch. Unfortunately for Capone, submachine guns aren't too specific and one of his victims turned out to be William McSwiggin, a well-known assistant state's attorney newspapers called "the hanging prosecutor". Why McSwiggen was consorting with bootleggers was never to be explained, but the resulting uproar forced the police to raid Capone's new headquarters at Cicero's Hawthorne Hotel where they seized ledgers that would one day contribute to his undoing. Tommyguns and Chicago gangsters were just about synonymous and the gun had acquired such nicknames as the "Chicago Piano" and the "Chicago Typewriter". Even when called just plain "chopper" it was still considered a Chicago gangster weapon, and if there was any doublt on that point, it vanished on February 14, 1929. St. Valentines Day! If Capone had performed some artful machine-gunnings in the past, the project he had in mind now would be a mural by comparison. It was a sting, of sorts. A truckload of Old Log Cabin whiskey, supposedly hijacked from Capone, was sold to the North Side at an irresistible price and a second truckload was to be delivered to a booze depot called the S.M.C. Cartage Company at 2122 North Clark Street. About 10:30 on that fateful Thursday morning two men dressed in Chicago cop uniforms, followed by two in overcoats, walked into the building and hosed down the seven North Siders inside with a pair of Thompsons. Then they walked back out to a waiting car, of the type used by Chicago police, and drove off. Chicago was mortified. The police, who had yet to solve a gangland murder, went into fits of futile investigation. Even citizens who had come to view the back-and-forth warfare between Capone and the North Siders like an underworld series were wondering if mass murder wasn't a bit much. The publisher of the "Chicago Daily News" personally led a mission to the White House in Washington to demand federal intervention. As these problems mounted, and with the North Siders apoplectic for revenge, Capone decided the safest place to be was a jail cell in a distant city and deliberately got himself arrested in Philadelphia on a gun-carrying charge. Then the real disaster struck. On Octover 24, 1931, Capone suffered the everlasting humiliation of being convicted for a non-violent crime....failure to pay his taxes. In shame, he was sentenced to 11 years and shipped off to the Federal Penitentiary in Atlanta, then transferred to Alcatraz just to make the Government look good. The City of Broad Shoulders was left in desperate need of a stylish, charismatic, and resolute man of Mr. Capone's...ah...caliber. There's no denying that Scarface Al Capone is a tough act to follow. But here's your chance to give it a try... THE SCENARIO The King of Chicaog is an interactive movie that takes you back in time, allowing you tore-write history. The story begins with the fall of Chicago Kingpin, Al Capone, who has just left for an eleven year Alcatraz vacation package, leaving his Southside gane in the grip of devious and dangerous Tony Santucci. You star in the role of PINKY CALLAHAN, a rising mug in the opposing Northside organization. Pinky's tired of the bloody civil war. He wants to force those Southside S.O.B.s out of business and gain total control of the Windy City. Pinky wants to be THE KING OF CHICAGO...and he'll stop at nothing to get it! Unfortunately, Pinky is two heads down on the shaky Northside totem pole. First, he'll have to get rid of the OLD MAN, a crusty old hood who led the gang to defeat during the Capone wars. BEN is the Old Man's chief advisor and stands next in line to fill the vacancy, but Pinky figures he'll step aside...with a little persuasion. THE MOVIE The action begins in 1931 and ends in 1934, the year leaders of organize crime held a meeting in New York City to form the national Syndicate. Murder Inc. was established to centralize violence and keep it out of the hands of individual gangs. Chicago was considered too barbaric to be admitted as a voting member of the Syndicate. Here's your chance to re-write history. You have three years to establish such a commanding position in Chicago that gang wars are a thing of the past. If you succeed, an invitation to join the syndicate will be forwarded from New York. The full weight of organized crime will secure your position as the reigning KING OF CHICAGO! THE KING OF CHICAGO is primarily a contest of strategy, both on a territorial and a social level. The personality of your character, and the characters you interact with, will change slightly EVERY time you make a decision. Playing it cool with Lola, for example, will raise your toughness. Threats will become more effective. Gang loyalty will usually go up. But Lola's happiness will plummet, and that may leave her open to the advances of your archrival Tony Santucci. Your image will be tarnished. The gang may lose respect. Remember, you have no friends. and even your allies can turn on you like mad dogs. Learn to use the tools of your trade: violence, threats, bribery, influence, leadership, betrayal, and above all savvy-the knowledge of when to use each tool to its best effect. Money can buy loyalty, sometimes. But once you open the well you'd better make sure there's a steady flow. Where do you stand with the other gang members? Is Ben with you or against you? You'd better find out. THE PLAYERS You play the part of PINKY CALLAHAN. Pinky is smart, good looking, very ambitious...a high roller. He hates the name "Pinky". Begins some contests with a reputation for toughness. Sometimes he is a wimp. He's mixed up with a fiery little hellcat names Lola. Not the kind of girl you want to take home to mother. Loves his Monna but she can't accept the life her boy has chosen to lead. Has a soft spot for his childhood friend, Tom Malone, who is now a cop. Pinky will lie, kill, and double-cross to get to the top. Plans to take control of Chicago by 1934. Figures he'll join the Syndicate to secure his empire. BEN Crafty, devious. More intelligent than ambitious. Has been with the Northside for years. CAN be a good advisor if he's treated well. Treat him badly and he can arrange to have your throat cut. Doesn't really like violence and is a coward in action. LOOKS tough though, and won't hesitate to make threats. OLD MAN Never much of a leader. Capone ground him into the dirt like an old cigar butt. He's weak and cautious from a career of watching the Southside gang roll over his Northside. Too old to take advantage of the termporary turmoil created by Capone's departure. Sometimes he can be talked into retirement. Sometimes he'll fight your attempted coup like the plague. Considers Ben his rightful heir. LOLA Bitchy, flashy...typical gangster moll. Wants to be a singer. Has big ambitions for Pinky but she fights with him constantly. Claims he doesn't spend enough time with her...or money ON her. Can be dangerous if mistreated. On the other hand, if Pinky lays down for her the gang may decide to elect a leader with more backbone. Aney they vote with their bullets. BULL A thickheaded thug with a heart of, if not solid gold, at least PLATED gold. He's loyal to whoever is in power. Loves following orders but doesn't enjoy killing. Apologizes to anyone he has to bump off. TOM MALONE A Boy Scout with a badge. Rests his cap on a golden halo. Grew up with Pinky but won't bend the law for him. Likes to think of himself as a human vacuum cleaner, sucking up the dirt of humanity. PEEPERS One of the Northside boys. Likes to complain. May have to be watched. He likees to hang around with Bull and may have some influence on him. Sometimes he will back the Old Man at the beginning of the game. Sometimes he won't. TONY SANTUCCI Tony is Capone's heir. He's devious. Despicable. And one mean S.O.B. He isn't as generous as Capone, nor is he as good at PR. Tries to centralize power in his own hands and this leaves openings for expanding the Northside turf. He's tricky in business dealings but this can be used against him. GUIDO Tony's sidekick. Nervous, trigger-happy, a clod. He's the Southside YES man. Unfortunately, it's about the only word in his vocabulary. COULD play a major role in Tony's fall from power. JAKE A mystery man. Plays many different roles. Sometimes he's a hired gun. Sometimes he only has a minor part. No political ties to North or South. SUPPORTING CAST MOMMA Weepy and moralistic. She loves her son but hates his career. She appears in vignettes trying to get Pinky to leave the gang. Considers Tom Malone a shining example of rectitude. Pinky tries to bluff her about his crookedness but she sees through it. ALDERMAN BURKE Corrupt Westside ward boss. Helps keep the Northside boys out of jail unless they were arrested by Southside cops. Could be a valuable property at election time. ANDY, THE KID Bright, ambitious 13-year old from a poor family. He idolizes Pinky and likes to hang around at headquarters. Tom Malone may ask Pinky to turn the kid away from crime. THE KING OF CHICAGO docs brought to you by The Southern Star..... Here's the second part of the rewritten ST manual. Part 1 can be found on SEWER DOC DISC 6. This section deals with the keyboard, mouse care, file copying, TOS, disc structure, copying etc. Chapter Two: The Keyboard Tips and tricks regarding the keyboard: ESCAPE: A clever trick, when working on the DESKTOP: You have a window open, showing one disk DIRECTORY (the contents). You switch disks. Do you then click on DRIVE B? No! Just press ESC (Escape), on the upper left corner of your keyboard. The computer will then READ the new disk. What it actually does is UPDATEs the directory, checking again what's on the disk, but since you've switched disks, it READS the new disk and puts that in the window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . This works with RAM disks as well; click on the RAM disk window so that it is on top, and then punch ESC. (Ram disks will be explained below). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ESCape (ESC) is a handy button. When changing directory lines, disk labels, whatever, punch ESC, and it clears the whole thing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . If you change disks while in an application, such as 1st Word, ESC can help. Load 1st Word (start the prg by double clicking). Now, you want to change disks. Insert new disk. Punch the CURSOR UP ARROW, this puts the cursor on the disk directory line. Now punch ESC. that clears the whole thing. Now hit ENTER. The new disk is read as a default in A drive. If you have 1st Word in D Drive as a RAMdisk, then instead of backspacing and typing some silly nonsense like ( A:*.* ), just punch Up arrow (elevator to top floor) ESCape out the window and ENTER in the ground floor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . You can also write the A:/folder/*.PRG or whatever onto a keymacro program and then produce the whole line with one keystroke (thanks to HS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Typing an underline ( _ ) in the top directory line will bomb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . You don't have to start up a program just to look at a text file. You can open a file directly on your desktop and look at the first part of it (just double click and choose SHOW TO SCREEN from the dialogue box. Pressing ENTER scrolls one line at a time, pressing SPACE bar scrolls a whole screen. Instead of pressing ENTER and scrolling all the way to the end, press Q (quit). You're out again. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Some versions of TOS (there are dozens of versions of TOS, for no real reason) have a curious ability; press CAPS LOCK and then ALTERNATE: the Danish or German alphabets then revert to English font and produce square brackets and slashes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . You are not stuck with Swedish keys (or whatever is on your keyboard). When you press the "B" key, you don't send a "B" to the computer; you send a long string of codes. This string can easily be changed (edited). You can easily re-program or re- define your keyboard. This requires no expert knowledge; fools can do it (most computer stores fall in that category). Use KEYEDIT.PRG, a public domain program; you get a picture of your keyboard on screen, simply use the mouse to move the keys around or add new keys (for example, get rid of Swedish, and add German or Danish). You can easily make several keyboards, for different languages. You can also place keys in places which are more convenient. The marks ( ' ) and ( " ) should be together, and next to the shift key. The same for ? and ! (and as well), these should be on one key. Add the Danish and to the keyboard. Delete the ridiculous sign. You can also use these keys in the directory; instead of writing 1/2_AARHUS.DOC, you can just write _RHUS.DOC. You actually have not one, but five keyboards. You must think of several modes: the keys act differently depending on the board's mode. You change modes by pressing the SHIFT, CAPS LOCK, ALTERNATE, or CONTROL keys. The first mode is the normal "qwerty" board, the small letters. The second mode is SHIFT: small letters become large, and numbers remain the same. The third, fourth, and fifth mode is CAPS LOCK, ALTERNATE and CONTROL; press these and then you have different keyboards. The standard keyboard setup, what you get from the factory, has the same thing on both SHIFT, CONTROL, and ALTERNATE. A keyboard editing program allows you to put different keys in the various modes; you can place on the numerical keypad, which is rarely used in the higher modes, all sorts of alphabets, such as German, French, and Spanish. The numbers at the top 1234567890 can also hold different symbols. Paste stickers on your keys so that you can see the different things. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . You will notice after a while that the letters on the keys began to disappear. Touching the keyboard after a year will just rub off the keys. Clear plastic is sold in sheets or rolls which can be cut to fit the tops of your keys. This protects especially the non-american keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Instead of pointing and clicking the OK box in the dialogue box, hit RETURN or ENTER. Both of these keys usually have the same function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Get in the practise of holding the mouse in your palm, clicking not with the tip of your finger, but with the middle of the finger. Not so tiring. And keep the mouse near the keyboard, so that you can hit ENTER with your thumb. This machine was not designed by a southpaw. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . You can always print the screen by pressing ALTERNATE + HELP. Or almost always. Often the printing can be stopped by pressing Control + Q (quit) (or perhaps X, W, or Z as well). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Control + S will often work on your keyboard with some PRGs. This SAVES data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . When renaming disk drives, or renaming file names, there is no need to backspace one letter and type in the new: just type it. If the cursor is at the end of the line, it will automatically delete and replace the word. Try this now by clicking OPEN FILE, and just pressing K, the .DOC will change to .DOK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The cursor can be moved with ALTERNATE + ARROW keys; press ALTERNATE + INSERT for a mouse click. The only time I've found this useful is when you have to click the mouse a lot (in a game, for example). Park the mouse over the box, and hold down the Alternate and Insert keys. Also this helps when reading long files (like this one). Park the mouse over the vertical bar on the right side of the screen, hold down ALTERNATE, and press INSERT as you read along. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Careful, though, too fast and this sometimes 'freezes' the computer, nothing works anymore. Panic. Try punching ENTER, or wait a bit. Waving a gun sometimes works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The right mouse button works on the desktop. When you have several windows open, point at an inactive window, hold down the right button, and point and click with the left button. The right button lets you work in non-active windows. Nice, but useless. It's so easy to click up a window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F1 and F10 often have a function in a program. Programmers have many traditional codes, such as pressing "CONTROL (Ctl) + ?"; this sometimes produces a few lines of HELP or other information. When in doubt, punch buttons. Try every key on the keyboard, in combinations. You can't hurt the computer by pressing buttons. However, shooting the computer may damage it. Gunshots are not covered by warranties except in Texas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Something difficult to describe, but rather handy, is an F-KEY guide. If your different programs use different commands on the F-Keys, this little device helps you keep track of them. Take about fifteen or twenty sheets of paper. Bind them together with one of those plastic ring binders: go to any paper supply store; they have a hole punching machine which makes a row of rectangle holes on the side of the paper, into which a plastic ring strip holds the sheets together (it is difficult to describe, but you will know it when you see them)(Use the smallest size, that is, the thinnest ones). Now use a paper cutter so that there is only a strip of paper 1.3cm wide (as if you bound a book which is only 1.3cm wide, but normal length. Still following this? Good. Put the thing above your F-keys. Trim to lenght. It sits there in the groove. Make a different page for each program that uses commands on the F-keys (also a handy place to keep notes about other commands) Just flip the pages back and forth for each program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I put a little red sticker on the F6, Delete Line, key. Then it's just a matter of reaching up and punching it; I don't need to look so carefully. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Many programs can be aborted by pressing Q,W, X, Z, or CONTROL + Q, CONTROL + Q, CONTROL + X, CONTROL +Z, ESCAPE, or F10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . In Germany, you can buy an AT keyboard which plugs into the ST. The AT keyboard is the best. High quality keys. It comes as a small separate keyboard (similar to PC's) and has a 2 meter telephone coil cable. Your ST is simply pushed back into the corner. Simply unplug the ST keyboard (a flat cable which is very obviouse when you open your machine) and plug in the AT keyboard. AT keyboards cost about 60 pounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Be careful with the keys. ST's are made of cheap plastic. The keys break off very easily. There's a lot of users with missing keys. I broke my Backspace key by dropping a dictionary onto it (small wonder!) Rubber cement doesn't work; it just gets loose after a while. It stayed loose for a long time, until a friend suggested model airplane glue; it's made for plastic (the guy at the store asked if it was for toy airplanes or toy soldiers. I said "for my toy computer"). It worked great. Solid connection. Be VERY careful not to glue the key to the sleeve; you'll freeze the whole thing. Use a toothpick to apply the glue. End of Chapter Two: The ST Keyboard. ====================== * * ====================== Chapter Three: The Mouse There's only one thing to say about the mouse. When waiting for a command to be carried out (waiting while opening a program, waiting while a text is being reformatted, etc), don't wiggle the mouse around impatiently. You send information to the computer when the mouse moves; the computer slows down what it is doing and begans to pay attention to your mouse movements. In other words, if you play around with the pot, it just takes longer to boil water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Your mouse should roll smoothly. If it doesn't (it feels like rolling on rubber), then you must clean it. In the back of your Owner's Manual is a short description of how to clean your mouse. It is not enough. You need to go further. Open the mouse, as the manual tells you. Use a cotton swab (the little sticks with cotton on the end) which has been moistened (not dripping) in alcohol and wipe the three rollers, turning them too. This softens up the dirt. Take a clean, small, sharp knife (or whatever) and gently scrape the dirt from the rollers, turning them as you go along. (As my chemistry professor used to say: CRAP = Chemical Residue in Apparatus). Don't scratch the rollers. Don't try and see how high the little ball will bounce. Put the mouse back together. New mice cost at least 50$. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Some mice will go "walkies," as one British puts it. As you work on the keyboard, for no reason, the mouse arrow will fly across the screen. Notice that it only goes either straight up and down, or horizontally. There was quite a debate in ST WORLD last year about this; there are several different theories on the reason for this. There are also several different cures; many of which involve fooling around with the hardware. Try pushing the mouse plug tighter into the computer. It doesn't seem to be much of a problem; if it's not broke, don't fix it. Mine does it quite often; other people are rather amazed when it goes flying off by itself. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The right mouse button works on the desktop. When you have several windows open, point at an inactive window, hold down the right button, and point and click with the left button. The right button lets you work in non-active windows. Nice, but useless. It's so easy to click up a window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Oh, right, nearly forgot. Mousepads are all the rage. They really are better as a surface. Don't spend money buying an "offical" pad at a computer store; go to a scuba divers store (underwater sports) and buy some Neoprene, the stuff that wetsuits are made of. That's what mouse pads are anyway (who ever came up with that?). There are two kinds of neoprene: wetsuits and drysuits (A wet suit lets water in, but insulates. A drysuit keeps water out completely.) Use drysuit material. (If you use wetsuit, then it won't "hold" to your table top. Use some double sided tape to hold it down.) The stuff is expensive by the square meter (around 40 / square meter of certain thicknesses)(it is measured in cubic centimeters), but you only need a 20X20 cm piece (mine is .40 cm thick). If you use the SPEEDMOUSE.ACC, then you only need 16x16 cm. Don't hope for a free scrap piece of material; none of it is thrown away. They use the little pieces for making fingers for the gloves. End of Chapter Three: The Mouse. ====================== * * ====================== Chapter Four: About Disks, Disk Drivers, TOS, Formatting, File Storage, and Copying. Regretably, much of the information regarding disk formats in previous versions of the manual was wrong. This was due to misconceptions about format procedures. These misconceptions are widespread; many of the formatting programs available are poorly written: you risk loss of data by using them. I thank Olafur Bragason of our UG for explaining much of the following to me. It is very difficult to talk "just about the format," as if we could ignore TOS. TOS, ("The Operating System"), is called on other machines the DOS, the Disk Operating System. You notice this mostly as the File Selection Window. TOS keeps track of what directories have been moving in and out of the drive. When you read a new disk, by updating the directory window, TOS reads the directory and the FAT into memory. That stays there until you read a new disk. The old directory is erased from memory and a new directory is read in. TOS is therefore an interaction between the memory, the directory window, the FAT, the drive, the drive head, the disk, the format on the disk, and the directory on the disk. Complicated? You bet. It is difficult to talk only about one of these. To start, let's look at formats. The disk stores data. That data must be placed on the disk in a fashion so that the drive can put it there and quickly find it again. The format is a structure which helps the drive head know where the head is on the disk. As a Macintosh text puts it, the disk is like a parking area: white lines have to be drawn so that the cars can go into spaces. By drawing the lines correctly, more can fit into that total area. How a disk is formatted (structured) is up to the person who writes a formatting program, within the physical limits of the drive mechanism. ASSUMING THE STANDARD FORMAT: HOW YOUR DRIVE WORKS Your disk is divided into concentric rings, called TRACKS. These rings, or TRACKS, are divided into SECTORS. Assuming the standard ST format, track #0 is on the outside. Track #79 is near the center. The first few tracks and sectors are used for storing information about the disk and files. There are eighty tracks (0,1,2,3...78,79 = 80). On each TRACK (or ring) are 9 SECTORs. These are numbered 1,2,3,4,5,6,7,8, and 9. Every sector can therefore be identified: for example, Track 54, sector 4. On a single sided disk, the data is stored as following: Track 0, Sector 1 = Boot Sector Track 0, Sectors 1-6 = FAT 1 Track 0, Sector 7 to Track 1, Sector 2 = FAT 2 Track 1, Sector 3 to Track 1 Sector 9 = Directory Track 2 to Track 79, Sector 9, = Files. The File Allocation Table (FAT) keeps a list of where your file gets scattered all over the disk. For safety, TOS keeps a backup copy on disk; this is FAT 2. If you want to fool around with the FAT, then here are the values for FAT entries. The FAT has one entry for every data cluster on the disk. If the entry for cluster n is m, then four things are possible. m = 0 (zero), then the cluster is not in use. m = FF1-FF7 means that the cluster is damaged and should not be used. m = k where 0SAVE< ON THAT DISK. IF YOU DO SAVE, THEN PART OR ALL OF YOUR LOST FILE CAN BE OVERWRITTEN AND THUS CAN REALLY BE LOST. NOT EVEN THE BGS CAN GET THIS BACK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The following piece of information is intended to be read only by users who know what they are doing. After about 12 months and 5 minutes after you buy your ST, that is, five minutes after your garantee dies, your ST will die as well. This has happened to quite a few users: you are working happily along, and you ask for a directory (open a window from desktop, load a new file, etc...) and there is nothing there. Your disk is blank. You tearfully try another disk. Blank as well. All of your disks are blank. You go down to the store; they grin (!) when you tell them what has happened. The salesman says "Well, we maybe can fix it. It will take two days" (after which his grin becomes even wider.) (!!) You come back after two weeks of no ST'ing. Your ST works now. You shake the salesman's hand and gladly pay the 60 to 100 dollar repair bill (two hours of expert technical work on the machine). You walk away, waving: his grin is triumphant. (!!!) Why doeth the heathen rage? That turkey in the store has just plundered you for 12 seconds of work. Most likely he took it home and fixed it himself. If this happens to you: blank desktop, no files in any disk, O bytes used, etc, then 0) Read Point 11. Twice. Read everything once, and then once again. 1) Unplug everything. Otherwise your mother will find Kentucky Fried Chicken sitting in front of your ST. 2) Place your ST on a large, firm, flat surface. Flip your ST over. Take out all the little screws. Keep them separate; if you put the long (back) screws in the front, they will go through the cover and stick out. 3) Remove case. 4) More screws. Take out. Lift off keyboard. Be careful not to twist or break off the keyboard wires. 5) Atari does not want you in here. Undo the little metal twists and remove metal plate gently. ST's are put together by 15 year old girls in Thailand. They have nimble fingers. Ask your neighbor's daughter to get the back ones. 6) Now, you can see the chips. The insides of the machine. Using the first three fingers of your five fingered right hand, gently press all the large chips squarely down. This does the trick. What happened was that the chips eventually get loose: the girl who built your ST had The Furs (Forever Now) on her walkman. 7) Start putting everything back together again. The cat put the screws under the sofa. See point 2. 8) Plug it up again. Insert a disk, and start computer. 9) Your files are back from Limbo. Place 60$ in an envelope and send to me (address at end of text). 10) If this doesn't work, try again. If it still doesn't work, you have real problems. 11) ANY MODIFICATION, CHANGE, OPENING, JUST PEEKING INSIDE, FOOLING AROUND, THE CAT DID IT, OR WHATEVER WILL CANCEL YOUR WARRANTY. THE STORE LOVES TO CANCEL YOUR WARRANTY FOR ANY REASON. DO THIS AT YOUR OWN RISK. IT IS NOT MY FAULT, AND I TAKE NO RESPONSIBILITY, IF YOU RUIN YOUR ST OR BLOW OUT THE ELECTRICITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Then, there is the last trick. When the going gets tough, get rough. If you are getting 0 bytes used, either as a blank screen, or getting more bombs than the Ayatollah, then: 1) Find a large, flat, solid surface. 2) Unplug everything. 3) Pick up your ST evenly about 4 inches, or 10 centimeters into the air. 4) Drop it. 5) Other users prefer to slam it down, firmly and solidly. 6) This has the effect of jarring the connections. I have seen this done several times, and it works. If you are too gentle with the machine, ask your wife to slam it down. They usually do this happily. Be prepared to grab it away from her after the fifth swing. 7) Believe it or not, this is usually the first thing a repairman does with your machine. Just like a whorehouse. Slam, bam, thankyou madame. 50$. You got screwed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . If you want data and material on the disk to really disappear, only a new disk FORMATTING will garantee that. Otherwise, the local cop's 12 year old kid will happily tell in court how he got your files out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PC users provide endlessly amusing stories. The White House uses IBM PC's. That's right. Ronald Reagan, Edwin Meese III, and Oliver North all have PC's. They are all connected in one big network in Washington. When Reagan told Ollie North (who worked at the National Secruity Council, Tlf (202) 456-4974) to do the silly things he did (sell weapons to the Iranian Revolutionary Guards (the guys who kidnap and kill the foreigners in Beirut) in order to pay for Contra terrorists (who were partying in Panama, and occasionally selling General Noriega's cocaind in the US by flying it on the CIA's Southern Air Transport airplanes (to call the CIA, dial (703) 351-7676) and US Air Force airplanes and landing at Florida's Homestead US Air Force base)(one of the cocaine agents got caught in New Orleans with 40 kilos; Edwin Meese III, Attorney General of the United States, the top cop, and Reagan's failed appointment to the Supreme Court, released him. And returned the suitcase to him, saying the man was on important business). (Was there to be a White House party that weekend?) (Meese III is currently in a new scandal; something about 1 billion dollars, Irak, and bribes to the entire Israeli goverment not to bomb a pipeline. Nothing is clear: they are all lying over this one.) Ollie did all of his work on his PC. No problem. Move money around in Swiss banks, send off sailing orders for Danish ships, order C-5A loads of Sidewinder missles: just punch the keys. When "the shit hit the fan" (to quote George Bush, Vice President of the United States, Head of the National Security Council, Ollie's boss, and candidate for President), Ollie just ran home and punched "DELETE FILES." Clever Ollie! The Congress wasted no time with his lie under sworn testimony ("No such files.") and simply asked for the backups. Imagine Ollie's stupid look when he said "Backups? What backups?" Too late: the White House didn't even know that there were backups automati- cally being made of all their little deals. (Ollie and Nofzinger both "lied like hell" to Congress during the Irangate hearings. Congress is pretty easy going, but they don't like liars. Nofzinger got 3 years in a Federal prison for that. Ollie's trial is coming up.) What is Nancy Reagan doing today? Just call up her social secretary and find out! Nancy's day is given on Tlf. (202) 456- 6269. Ronnie's bedtime schedual can be heard on Tlf (202) 456- 2343. To send your fan letters, write to: The White House, 1600 Pennslyvania Avenue NW, Washington DC, 20500 USA. Or just call them up at (202) 456-1414. But I doubt you can order a shipment of cocaine there. Try the CIA number instead. Just say that it's Noriega and where the hell's the check. Dial 009 and then 1 for international calls to the US. One of the best map databases in the world is maintained by the CIA: the WORLD DATA BANK II. It works with ALC (Cartographic Automatic Mapping Program). You may use these free. Contact the CIA Cartographic Office at (703) 487-4650. Remember, they are there to help you. The telephone number for the National Security Agency is secret. The work and purpose of the NSA is secret. The budget is secret. The number of persons who work there is secret. The organization is so secret that for a long time, the name itself was secret. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VERIFY ON and VERIFY OFF: Don't use these programs. VERIFY OFF will help the drive read faster by not double checking each sector/track. This saves about 50% time. This should however be done only with material which you READ only (such as games). Eventually, you will notice errors: small bits and pieces will be missing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A FILE COMPRESSOR can reduce the KB space of your file. For example, some work by substituting long identical strings for single symbols, saving up to 50 or even 80% on text files. This saves space on disks, especiallly with backup disks. This is also useful for transferring large amounts of data over a modem (it saves telephone time). We use ARC.TTP (ARChiver) as the standard on the BBS. Use this program together with ARCSHEL2.PRG. Both, with manuals and explanations, are available as PD. The same thing works as a PICTURE COMPRESSOR. Your picures take up 32KB, only ten per disk. A compressor lets you put up to thirty pictures on a disk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COPY PROGRAMS There's a great story about an IBM user who was having problems with his programs; the distributor asked the user to send in copies of the faulty PRG so they could check it. And the user sent in two copies. Nice photocopies, front and back, of the disk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Why copy? You need backups. Disks are not "stable." They can lose data easily. Laying them on top of the TV, dropping them, static electricity, pouring coffee into them, some tourist opening the safety and touching the disk, losing them, or having them stolen. If you lose a disk or data on a disk, then a backup will save you time. Practically every user at one point or another will lose a file or disk. I've lost 74KB files and even entire disks, for no clear reason. If you can't afford to lose it, make a backup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The ST makes copies pretty well; this is how you made your backup copy. Basically, you duplicate your source disk to your target or destination disk. If you have a single drive, as most of us do, then you've noticed that it takes four disk changes to copy one file. If you're copying 57 files in 17 folders, take up knitting instead. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . There are other ways of copying which make it easier. You can either use a COPY PRG or you can use a RAMdisk. There are two ways to copy: the first is actually a FILE TRANSFER. You find the active files on the directory file and then copy them onto the new disk. The second kind is called SECTOR COPYING (also called bit copying): you copy sector by sector, regardless of content. Yea, for it is written in the Book of the Lord, Blessed are those who maketh their Backups (Romans, IV.15). (see especially the the Marriage of Heaven and Hell, 1790-1793, by William Blake.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Protected" means that information has been written into the PRG or the disk has been formatted in a special way which makes it difficult to COPY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . It is simple to copy several non-protected files (file transfer). A RAMdisk works best here; transfer the files into a RAMdisk, insert new formatted disk, and transfer the files from that RAMdisk to the target disk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . To copy whole disks, use a sector copy program (for example, FCOPY2). The program reads your entire disk into memory, and then throws it out again onto your new disk, formatting as it goes along. This is quicker. FCOPY2 is very fast (18 seconds for formatting/copying). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . As noted above, you must be certain that whatever program you use, the serial number is set correctly: each newly formatted disk must have its own serial number. If the formatting program doesn't do this, then you will notice that when you try to open a folder, often the drive will run, the screen will blink, and your folder doesn't open at all. Of course, sometimes you need a formatting/copying program to not change the serial number: if your commercial program has a protection system based on serial numbers, then a new copy will create a new serial number, which the program will then reject. By using a faulty copy/formatting program, the serial number will be copied as well. The program will then check serial numbers, find that it is the same, and thus allow the copy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . To make a backup of a copy protected program (This information is only for those who want to make a backup disk). Commercial copy programs often sell specially because of their ability to copy a protected program. There are also public domain programs which can copy protected programs. Curiously, some powerful copy programs will copy some programs, but not others. It has to do with the different kinds of copy protection methods. But as soon as someone comes up with a new method, two weeks later there's someone selling a copy program which guarantees to copy it. Just collect all the copy programs you can find, and try them one after the other on difficult programs. Some will work. There are different levels of protection; low level means that the program will copy quickly, usually within one or two minutes. Medium level will take more time, Top level copying will take very long; sometimes up to fifteen minutes. Copy programs may offer the ability to specify the various protection levels and to format the destination disk in various ways. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Software piracy is beginning to have an effect. American software houses are dropping development of ST software; there is too much piracy (of course, they were never seriously into the market. And it is easy to drop a machine which has such a small share of the American market). It will take time to see if this happens in Europe. Americans mostly play games on the ST. Europeans use the machine more seriously. Signum is nearly unknown in the US. SUPERBASE was developed in the UK; it has sold 130,000 copies, earning 10 million pounds, despite it being unprotected, because it needs a manual. If you use the program for work, then pay for it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Service and support for registered owners is however non- existent. I have registered copies of my work programs; I haven't gotten anything out of that. Support has been lousy. We rarely hear from companies, and then only to get advertising. I haven't yet gotten offers of updates or whatever else. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dealer's choice: The quickest, most versatile, and easiest to use is FCOPY_2.PRG (a PD program): user friendly surface, allows multiple copies, disk scanning (for formatting errors), sector control, verification, and directory listings. It creates Stan- dard, Fat and Extended formats, plus various exotic formats. It is very fast. It also creates fast formats (the new disks will run faster). It correctly creates a unique serial number for each disk. I use FCOPY_2 for all my PD work. Never a problem. Other copy programs: SUPERCOPY.PRG is powerful. Requires 1MB. It's PD. Other users recommend PROCOPY V.1.32UK. ST.COPY.30 (not PD) and BITTE_EIN_BIT is recommended by many users as well. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . It doesn't hurt anything if you put disks in or out of the drive while the drive's red light is on. Many users do this. Just shove one in while the red light is on. If you accidentally delete a file, then you can instantly pop the disk out of the drive; this may save your file. It takes a brief second for the head to start deleting. Of course, this hysterical leaping at your drive will not impress the surf foxes in Malibu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About cheap disks. There are two kinds of disks. Good ones and lousy ones. All disks are double sided. That's the way they are made. They are then tested. If they are good on both sides, then it is sold as a double sided disk. If it is good on only one side, then that side becomes the top side and it is sold as a single sided disk. You can easily use double sided disks in a single sided drive; your single sided drive, having a disk head on only one side, simply can't use the other side (the bottom side, or "B" side). You can also used disks sold as singled sided in a double sided drive. Use a format checking program and see if it works. If yes, then it is okay. The disk manufacturer sets a very high standard for the disk: often we can use it anyway. It is better sense to buy double sided disks; you will one day have a double sided drive and your disks will be okay for use. There is a very small price difference. There are branded and unbranded disks. There are lots of rumors about this. The general story is that the Koreans began making cheap disks. The Japanese let every one know that good disks had serial numbers stamped on the back. The Koreans began putting serial numbers on all disks: the same number. The Japanese, who consider the Koreans the same way Israeli think of the Palesti- nians, began flooding the market with high quality disks as unlabled disks at below production costs in order to destroy the Koreans. This is probably true; I have seen large shipments marked from Maxell which contained unlabled disks. There are plenty of cheap disks. Be careful. Some are cheap in quality; you can only format perhaps 60 percent of them. Have a written garantee from a dealer you can trust that he will exchange the bad disks. We have had spoken agreements which were forgotten the week later. If you are lucky and find a safe supply of unbranded disks, then you can use them. We get unbranded disks from Maxell for our UG; of several thousand disks, none have had problems. Amiga drives are much more sensitive than ours. If a disk runs on an Amiga, then it is very good. We buy disks which are Amiga quality for our ST's. Which brand is good is a matter of discussion. Americans find Sony to be the best and BASF to be lousy. Germans put down SKC disks. Many of these criticisms were made last year: as you can well think, it is never clear if loss of data is because of the disk or because of a formatting error or bad program. (Consider especially the entire Serial Number debate above. I know quite a few programmers who still believe that all disks have the same serial number). Use FCOPY2; it scans and checks each disk for bad sectors / format errors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . If you've noticed, when there's not a disk in the drive, it takes a long time for the silly drive to figure that out. The drive checks three times to make sure that the disk is missing before it tells you. Someone should write a quick simple program which shortens this "triple checking." . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . READ ONLY: From the SHOW INFO menu. READ ONLY is pretty useful. To change a file so that it can only be read, that is, so that it can't accidentally be changed or deleted, first save it. Then close the file and exit 1st Word. Open the disk and ask for the file. Use the pull-down menu for FILES and ask for SHOW INFO (FREMVIS INFO). The window will ask whether the file should be READ ONLY or READ/WRITE. By marking READ ONLY, the file will be protected against accidental deleting, changes or further editing. To remove this protection, simply repeat procedure and mark READ/WRITE. This is a simple but effective method of protection for programs on your work disks. Change your favorite programs to READ ONLY and sleep better. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DISK ICONS: To change the names of your disk drive icons (see also DESKTOP.INF section above). Click once on the icon (so that it is black) and then ask for INSTALL DRIVE in menu. Press ESC (Escape) (upper left hand of your keyboard) and type in the new name, using either capital or small letters. Click INSTALL. The icon now has a new name. Place these where ever you like on the DESKTOP. Insert your boot disk; click on SAVE DESKTOP (GEM DESKTOP) and the changes will be saved to your boot disk. Now you'll have your own icons every time. Your desktop can support up to 26 or so disk icons, which is rather pointless, as you can only use a maximum of 2 real disk drives. Of course, 24 disk icons will certainly impress those Malibu girls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harddisks: there is little to say about harddisks; the high prices of harddisks for the ST has meant that not many users have them. Harddisks are just about standard for any serious use of a computer. There is no reason for buying an Atari harddisk over a Supra. Both are just as good. The old Atari 204 should be avoided; many of them have problems. The new 205's work very well. The 205 set up program will easily configure the 204 so that it (the 204) can autoboot. Please read the section regarding the 40 folder limit. You will need to have a program allowing at least 100 folders. If you buy a used harddisk, check the drive carefully. Get a written agreement which allows you to return the harddisk in case of problems. Several members have had harddisks which crash or delete material. You will still need disks. You need to make backups. The worst thing about harddisks is the fan. It makes a hell of a lot of noise. This is fine if it is in an office, where there is background noise. But in a home, the high whining noise of the fan is nearly unbearable. The harddisk which is on the BBS is running 24 hours a day, to the great dissatifaction of the home. The harddisk which I have used is bothersome; I switch on the drive to load, and then immediately switch it off again. To save, flip it on, save, and then off again. It starts up in just under 13 seconds. If you can get harddisks without fans, such as IBMs, then it is better, even if it is not as convenient. The Atari Harddisk is tough. I heard of a person who transported his harddisk in a small rucksack. I have put my on the back of my bycycle. Some time ago, while resanding the floors, the shelf on which it was sitting collasped and the harddisk fell one meter onto a hardwood floor, landing squarely on its side. No damage to files. The Atari harddisks have a cable which is only 30 cm long (or something like that: it is very short). You are forced to have it just behind your computer. The fan is not far away. Occasionally move all harddisk files over to another drive, delete the drive, and recopy. This noticebly improves access time. It is possible to build harddisks using a cheap IBM drive and a controller. Several persons have done this. Soon, someone will began to build and sell such harddisks: the price will be around 3000 Kr for 30 MB. A 10MB harddisk is possible for under 2000 Kr. The ST can manage up to 64MB of material. When this becomes a reality, contact the UG for further information. Another possibility is 10MB disk drives. These use 5.25 disks which look like our 3.5 inch disks: each holds 10MB and has the same access time as a harddisk. Simply insert and remove. The disks could give you a large storage capacity in relation to money. Again, you can save money by buying in West Germany. An Atari 205 harddisk, which costs 6,500 Kr in Denmark (and is unavailable), costs 4,000 Kr in West Germany and they have all the harddisks you can carry. Simply pay MOMS (VAT, or Danish taxes) at the border, which means that the whole thing costs around 4,700 Kr. A bus will take you to Germany and back to Aarhus for 35 Kr; do your shopping there, buy a couple of bottles of wine and celebrate on the trip back. You can pay in Kroner at most cities near the border. Call and reserve a harddisk before you go. The 5 gigabyte (5000 megabyte) compact disk drives is a spectacu- lar piece of nonsense. A single disk which can hold 30,000 to 45,000 programs is possible. The copyright fees alone on such a disk would a fortune; if we consider that each program would cost 10 dollars, then the disk will cost a bit under half a million dollars. This could be an idea for PD collections, which are free; the IBM PC PD CD costs 200 dollars and has 45,000 programs. But PD collections are obselete within 3 to 4 months. Commercial programs are updated every few months. And CD's are read-only: you can't change the data. Therefore you can't save program preferences, setups, etc etc. End of Chapter Four: Disks, Drives, TOS. ====================== * * ====================== . 2.. 2DOC_7 PRG uyOC_7 PRGK8o`A aBgHz?<=NAPJ@jHz&?< NA\?<NAT`K:Hz/<@??<?NA JkrAB(??<>NAXB?< NA\Ot#,*|:<JgXQHy?< NA\`(E**E$/?< NA\OABg/?<1NABgNAp,gNAp PB y,CZ"C:#, h h$h C>"A "gNu#FNu o Pf# , zCfHy?<NA\?<'Hz?<NNAPJ@fjKB@|ߐ<A??<NAXRI:<?JgQ:<? $\gQRBHy?<;NA\ o PPgTgf zlN4XOF8NA  g "gHz` 3.3NuSTARTGEM.SWROops! No vertical blank interrupt vectors left! Error! - Can't work with this TOS-version. Error! - Can't find STARTGEM.SWR in root directory of boot disk. Press any key to exit. EOPA(b\`y*o"mEv$"mEx$Ed$B?< NA\ML,?<NNTCX"$@?<NNTAL2<<g2<gNqQC4|9<f|%Hz?< Nq\a&3@/:?< NA\*z&z k -"zJgёBJAg<f``&z+k +k+k  -"- Ҁ+A -Ҁ+A :tм$@*@$<HC2Q"zD(I$:<R(z6&L,z6$z6:6N&&Q"o&iBm2<<g2<gNqQ LBBBBBBB"A$B&C(D*E,FNE4@ z"z$`G&G&* faxexNk"s>x @J @JDF R H@" Bc!brH@@"H>͉q`Kp~``CB 4PpE $/a/9gTx0p X"e 0rAЀ11  >& @W*ȫz4l@4@$fm 4S:!Z ?9<=4!?*& T_!0m=CrC@ p1RH, "7d%``TEd(|A4 menu. In order for the compiler to work, the files contained in the COMPILER folder should always be available from the current drive. This reduces the amount of memory used by the compiler to a mere 25k, and allows you to compile acceptably large STOS Basic programs on a 520 ST. The optimum strategy for using this package varies depending on your precise system configuration. Here is a full explanation of how the package can be set up for use with most common ST systems. USING THE COMPILER ON A 512K ST WITH ONE FLOPPY DRIVE If you are intending to compile large programs on an unexpanded machine, it's wise to keep a copy of the COMPILER folder on every disc you will be using for your programs. This will allow you to compile large programs directly onto the disc, without the risk of running out of memory. A special program called COMCOPY is supplied for this purpose, which automatically copies the appropriate files onto your discs. Insert the compiler disc into drive A and type: ACCLOAD "COMCOPY" Press HELP and select COMCOPY with the appropriate function key. Now press G to load the entire contents of the folder into the ST's memory. You will then be prompted for a blank disc, which should be placed into drive A, and the compiler files will be copied onto your new disc. Depending on the format of your drive, you will be left with either 200k or 480k on each disc. This should prove more than adequate for all but the largest STOS programs. Despite this, it's still possible that you will occasionally run out of memory. See the troubleshooting section at the end of this chapter if you have any problems. Incidentally, the STOS compiler does NOT allow you to swap discs during the compilation process. So don't try to compile a program from drive A to drive B if you are limited to a single drive. USING THE COMPILER ON A 512K ST WITH TWO FLOPPY DRIVES When you use the compiler, place a disc containing the COMPILER folder into drive A, and your program disc in drive B. This will provide you with plenty of disc space to compile even the largest STOS programs. USING THE COMPILER WITH A RAMDISC (1040ST OR HIGHER) You can increase the speed of the STOS Basic compiler significantly by copying the contents of the COMPILER folder onto a ramdisc. We have therefore included a special STOS compatible ramdisc along with the compiler. This can be created using the STOSRAM.ACB accessory from the disc. 1 Load STOSRAM from the compiler disc with the line: ACCNEW: ACCLOAD "stosram.acb" Enter the accessory by pressing and then 2 Choose the size of your ramdisc by pressing the S key and entering the number of kilobytes you require. Note that the minimum space required to hold the entire contents of the compiler folder is 150k, and this is why the default setting is 150k. 3 You must now set the full path name of the folder which will be loaded from the disc during initialisation. This can be done with the C option. We have set the default to A:\COMPILER but you can set it to any other name you require. 4 Finally, insert a disc containing both STOS Basic, and the COMPILER folder into drive A. Now hit G to add a ramdisc to the existing AUTO folder. This ramdisc will subsequently be created whenever STOS Basic is loaded. On start-up the entire contents of the compiler folder will be automatically copied to the new ramdisc. The speed increase to be gained from using the compiler in this way is literally staggering. Typical compilation speeds are an amazing 10k per second. This means that the BULLET program from the STOS GAME disc can be compiled in well under 15 seconds! For further details of the STOSRAM accessory see chapter 5. For users with a single density drive it's important to realise that the STOS language disc and the COMPILER folder won't both fit on a 320k disc. To solve this, copy the STOS language disc first and remove one of the picture files from the STOS folder. If you're using a colour monitor then remove the PIC.PI3 file otherwise remove the PIC.PI1 picture. This will ensure that enough space is available for copying the COMPILER folder. USING THE COMPILER WITH A HARD DISC The default path name for the COMPILER folder is normally set from the first line of the compiler accessory. This can be changed to any directory you wish by editing the accessory like so: load "COMPILER.ACB" 10 COMPATH$ = "D:\STOS\UTILITY": REM example path name SAVE "COMPILER.ACB" You can now copy over the COMPILER folder into the required directory of your hard disc. Note that if the COMPTEST string is empty (default), the accessory uses the following strategy to find the COMPILER folder. 1 The current directory is searched 2 The accessory checks the root directory of the present drive. 3 The root directories of any available drives from C upward are examined. THE COMPILER ACCESSORY If you found the installation procedure rather cumbersome, you will be delighted to hear that the compilation process is simplicity itself. You begin by booting up STOS Basic using the new configuration file. This will automatically load the COMPILER accessory into the ST's memory during initialisation. Alternatively you can also load the accessory directly from the compiler disc using the line: ACCLOAD "COMPILER" You can now enter the compiler accessory from the menu in the normal way, The control panel will then be displayed on your screen. The main features of the compiler are controlled through a set of five "buttons". These can be activated by simply moving the mouse pointer over the appropriate area and clicking once on the left mouse key. | SOURCE |  The SOURCE button is used to determine whether a program is to be compiled either from memory or the current disc. Clicking on the box underneath toggles between the two possibilities: MEMORY---This informs the compiler that you wish to compile the program you are currently editing. Any of the four program segments may be compiled independently without affecting the contents of the others. Compiling from memory is VERY fast, but it does consume a large amount of memory. DISC---Some programs are simply too large to be compiled directly from memory. In these circumstances it's convenient to compile a program from a file on the disc. Obviously this is slower than the memory option, but most STOS programs can still easily be compiled within a matter of minutes. Before using this feature, remember to ensure that the COMPILER folder is accessible from the current drive. Also note that the DISC option will be selected automatically whenever memory is running short. |DEST|  The DEST button selects the eventual destination of the compiled program. Programs may be compiled either to memory or directly into a file on the disc. MEMORY---This option compiles the program into memory. Note that the memory used by this feature is completely separate from your original program. So you can subsequently save the compiled program onto the disc without erasing your current STOS Basic program. DISC---If you choose the DISC as the destination, the code will be compiled straight into a file without taking any valuable memory. Since It's much slower than the MEMORY directive, it's only really suitable for compiling particularly large STOS Basic programs. |COMPILE|  The compilation process is started when you click on the COMPILE button with the mouse. As your program is compiled, a horizontal bar grows across the screen. When this completes its journey, the compilation has been successfully concluded. But if an error is detected, the compiler will terminate and you will be returned to the STOS Basic editor. Occasionally, errors will be generated from supposedly bug- free programs like Zoltar. The reason for these errors is that the interpreter is only capable of detecting an error in the line which is currently being run. So if an error exists in a section of code which is rarely executed, it can easily be missed. Since the compiler tests the whole program, rather than just the current line, it is able to discover all the syntax errors in your program at once. |QUIT|  Exits from the compiler accessory and returns you to the editor. |DISC|  This button allows you to chose whether the compiled program is to be run either from STOS Basic, or directly from the Gem Desktop. BASIC This is the default, and generates a compiled program which can only be run within the STOS Basic system. Files produced with this option have the extension ".CMP" Gem The GEM directive allows you to create a program which can be run independently of the STOS Basic system. These programs have the extension ".PRG", and can only be executed from the Gem Desktop. Furthermore, since the consist entirely of machine code, they cannot be listed or amended from STOS Basic. Programs in this format can be sold or distributed in any way you like. Depending on the facilities used, the Gem run version of a file will be between 40 and 80k larger than the equivalent STOS run program. options Whenever they compiler is loaded, a number of configuration settings are read from a special OPTIONS.INF file in the compiler folder. These settings provide you with the ability to fine tune the eventual program to your particular needs. They can be changed at any time by simply clicking on the OPTIONS button from the compiler menu which displays the following options:- COMPILER tests This option is used to set the frequency of certain internal checks. Although the coordinates of a STOS sprite are updated using interrupts, the sprites on the screen are only moved prior to the execution of a Basic instruction. While this is happening, STOS also checks for CONTROL+C, and tests whether the pull-down menus have been accessed by the user. COMPILER TEST OFF: This completely removes the tests from the compiled code. The result is that the compiled program ignores CONTROL+C, refuses to open your menus, and does not automatically update your sprites when they are moved. Set against this, however, is the fact that the final code will be around 10% faster. COMPILER TEST NORMAL: A check is performed before every branch such as GOTO,NEXT,REPEAT,WEND,ELSE and THEN. Tests are also carried out prior to slow instructions such as PRINT and INPUT. This setting is used as the default. COMPILER TEST ALWAYS: Adds a test before every STOS Basic instruction, leading to particularly smooth sprite movements. As you would expect, programs compiled in this way are slightly slower than with NORMAL or OFF settings. Note that these settings can also be changed directly from within your STOS Basic programs. See chapter 5 for further details. GEM-RUN OPTIONS These options allow you to tailor the default environment of a compiled program which is to be run from the Desktop. They have no effect on any programs compiled for use within STOS Basic. RESOLUTION MODE: This directive allows you to select between low or medium resolution when your program is executed from the Desktop using a colour monitor. To change the resolution simply click on the appropriate icon. Note that if your program is subsequently run on a monochrome monitor, this option is completely ignored. BLACK AND WHITE ENVIRONMENT: Chooses between normal or inverse graphics when a Gem-run program is executed on a monochrome monitor. NORMAL Uses white text on a black background. INVERSE Produces a "paper white" display. DEFAULT PALETTE: This allows you to assign the colours which will be initially used for your graphics. The first icons select one of the 16 possible colours to be set (4 in medium resolution). I ++ I CLICK ON THIS BOX TO INCREMENT THE COLOUR BY ONE  I COLOUR I I 0 I  I -- I CLICK HERE TO DECREMENT THE COLOUR BY ONE  The rightmost icon buttons set the exact hue of this colour. :: CLICK ON A "+" TO ADD ONE TO THE RED,GREEN OR BLUE : + + + : COMPONENT TO THE COLOUR RESPECTIVELY. :: : R G B : : 0 0 0 : :: : : For speed you can quickly step through the values by pressing the right mousebutton, but for subtle single steps use the left button. This applies for any other option that uses the "+" and "-" icons. FUNCTION KEYS: The window used for the STOS function key assignments will normally be drawn on the screen during the initialisation process. This adds a slightly unprofessional feel to your finished program. You can avoid this effect using the following directive from the compiler menu. ON The function key window is automatically drawn at the top of the screen during initialisation. OFF The function key window is omitted. CURSOR: Activates or deactivates the text cursor when the program is initialised. This setting can be changed at any time from within your compiled program using the CURS ON/OFF commands. MOUSE: The MOUSE option allows you to decide whether the mouse will be turned on or off as a default. As you might expect, you can reactivate the mouse within your program using the STOS Basic SHOW instruction. LANGUAGE: Toggles the language used for any system messages between English AND FRENCH. MAIN MENU: Returns you to the main compiler menu. NEXT PAGE: Displays the next page of options.(See below) LOAD OPTIONS: Loads an existing set of options from an OPTIONS.INF file from the disc. SAVE OPTIONS: Saves the current options to an OPTIONS.INF in the compiler directory. LOADED CHARACTER SETS: The compiled program normally includes all three of the STOS character sets. But if you only intend to run your program in a single resolution, the character sets used by the remaining modes will waste valuable memory. The STOS compiler therefore lets you select precisely which character sets are to be loaded. WARNING! ANY ATTEMPT TO RUN YOUR PROGRAM IN THE WRONG RESOLUTION AFTER THIS OPTION HAS BEEN SET WILL CRASH THE ST COMPLETELY. LOADED MOUSE POINTERS: As with the character sets, you can use this option to omit the data used by the mouse pointers in the resolutions your program will not be using. But be careful, as improper use of this command ca crash the ST! WINDOW BUFFER SIZE: The windowing system used by STOS Basic, normally keeps a copy of the entire contents of all the windows which your program has defined. If your program doesn't use windows, then this memory will be completely wasted. The default setting is 32k. This can be altered in 1k steps by clicking on the "++" and "--" boxes. You can calculate the memory needed by your windows using the following simple rules: Each character position takes up two bytes in medium/high resolution and four bytes in low resolution. In low resolution the main STOS screen holds 1000 characters, so the memory taken by this screen is 1000*4 or 4000 bytes. If you change this setting, don't forget about the function key window, and the file selector! These use about 8k of memory. SPRITE BUFFER SIZE: Before a STOS sprite is copied to the screen, it is first drawn into a separate memory buffer. If you are really pressed for space and you are only using the smallest sprites, you can reduce this buffer to around 1k. WARNING! This option is extremely dangerous. DO NOT use it unless you know precisely what you are doing, or the ST will almost certainly crash! 3 : COMPILER TUTORIAL I'll now go through the process of using the compiler in a little more detail. You start off by loading the compiler accessory into memory with a line like: ACCLOAD "COMPILER.ACB" Now enter the following STOS program into your computer: 10 TIMER=0:FOR I=1 TO 100000:NEXT I 20 PRINT "LOOP TOOK "; TIMER / 50!; " SECONDS" This program will take approximately seven seconds to run using interpreted STOS Basic. Insert a disc containing the compiler folder in drive A, and enter the accessory menu with the key. The compiler can now be accessed by selecting the COMPILER accessory. Move the pointer over the COMPILE button and click on the mouse. The disc will now whir for a few seconds as the required compiler libraries are accessed from the disc. As the program is translated, the progress of the compiler is represented by a horizontal bar. When this reaches the edge of the screen, the compilation process has been successfully completed. You will now be presented with the option to grab your finished program into one of the available program segments. Position the mouse pointer over the first free segment and click on the left button. Note that selecting SAVE from this menu displays a standard STOS file selector which can be used to save your compiled program straight to the disc. The compiler will now GRAB the compiled program into the free program area selected. Compiled programs are executed using the familiar RUN command from STOS Basic, so just type RUN This performs in around three seconds which is over twice the speed of the interpreted version. Incidentally, since the program has been converted into machine code, any attempt to generate a listing will produce the response: ****************************** * COMPILED PROGRAM * * Don't change line 65535! * ****************************** Line 65535 contains a special instruction which executes the compiled program stored in the ST's memory. Removing this line will effectively destroy your compiled program. It's theoretically possible to incorporate separate lines of interpreted Basic into the compiled program. This practice is NOT however, recommended. Note that compiled programs can also be accessed using the normal LOAD and SAVE instructions, if you wanted to save you current program, you could therefore type something like: SAVE "LOOP.CMP" One unique feature of the STOS compiler, is that you can keep your interpreted program in memory while you are debugging the compiled version. Whenever a bug is detected, you can then effortlessly flick back to the Basic code, and make the appropriate changes. This code can be subsequently re-compiled in a matter of seconds, without having to leave the STOS Basic environment at all. The previous example was relatively trivial. I'll now show you how a full-sized game can be compiled with this system. Place the STOS games disc into drive A and type: DIR: REM UPDATE CURRENT DISC DIRECTORY DIR$ = "\BULLET": REM ENTER BULLET DIRECTORY load "BULLET.BAS": REM LOAD BULLET Now insert a copy of the compiler disc into drive A. If you're using an unexpanded 520 ST, this disc should have been created previously using the COMCOPY program I mentioned earlier. First call the COMPILER accessory from the menu in the normal way. When the main screen appears, click on the button immediately below DEST. This will force the compiled program to be generated directly onto the disc, and may be omitted if you are using a 1040 ST. Now choose the COMPILE option and click once on the left mouse button, you will then be presented with a standard STOS file selector which prompts you for the name of your compiled program, Enter a name like "BULLET.CMP". After a few minutes, t Here's the Roger Rabbit DOCs....edited for ST use by SEWER POSSUM Summer 1947 GAG FACTORY CATALOG Order by telephone KLondike 512 "Have you ever found yourself at the business end of a cream pie, wishing you had a seltzer bottle? Well, wish no longer!" Dear Friends, Welcome to Marvin's Gag Factory - the world's largest supplier of tricks and shticks to the cartoon industry. Over the past twenty years we have earned the reputation of providing the finest quality merchandise at rock-bottom prices. We are proud to present the latest edition of our mail order catalog to you, John Q. Public. With nearly twice as many items as last year, this catalog is THE source for all you gag needs. Shopping by catalog is easy. Just flip through the pages to find hundreds of items, from whoopee cushions to sixteen-ton weights. Once you've found that perfect gag, just dial KLondike 512. Two to three seconds later your package will arrive via special messenger. Now there's no excuse for not getting back at those you love. Our goal is to provide you with the most ridiculous gags at the least ridiculous prices. Sincerely, Mr. Smith Sales Manager ------------------------------------------------------------------------------- THAT-A-WAY SIGN Your baffled buddies won't get the point when you bewitch them with this bewildering sign. This single signpost features pointers labeled North Pole, South Pole, He went that-a-way, Wrong Way, Right Way, and Azusa. A must for anyone on the lam. Was: $3.16 Now: $1.40 ------------------------------------------------------------------------------- BACKWARDS PILLS !toir hgual a era sllip esehT .evirra of smees eh nehw evael dna sdrawkcab etirw, sdrawkcab klat, sdrawkcab klaw mitciv yuoy ekam ot deetnarauG .stelba suoived eseht fo elpuoc a swollaws eh retfa gniog ro gnimoc s'eh rehtehw wonk t'now mitciv ruoY Original price: 19c ------------------------------------------------------------------------------- SIXTEEN-TON WEIGHT Being pursued by a bunch of pistol-packing weasels? Simply reach out, pull the lever, and send this sixteen-ton weight dropping on their heads! Works every time! Choice of effects: drive victim into the ground, shatter victim into a thousand pieces, or turn victim into a manhole cover. Lever, rope, pulley and victim not included. A steal at: $19.99 ------------------------------------------------------------------------------- YOW! THUD SPLAT! Transform your pop-gun into Big Bertha! Add a hearty SPLAT! to punctuate a well aimed pie throw! You name the gag, we've got the sound effect. Each effect comes in its own leakproof, corked bottle to ensure that your sounds will ring true, on cue. Slapstick (Thud! Whap! YOW!! etc.). Waterworks (Gurgle, Slosh, SPLASH! etc). Contraption (Whirrrr, Buzzz, Ta-pocketa, etc.). Explosion (Bang! KAPOW!! Phhhhhht, etc.). Your choice: 49c Order all four and get free Bronx cheer: $1.29 ------------------------------------------------------------------------------- EARTHQUAKE PILLS "It's not my fault!" you shout as your buddy shakes, rattles, and rolls thanks to one of our famous earthquake pills. Made from the shiverberry plant grown in San Andreas, California, these pills are guaranteed to shake things up. Bottle of 50 pills, only: 29c ------------------------------------------------------------------------------- STAY-PUT GLUE You'll be stuck on our super-strength glue. Just coat the bottom of you favorite foe's feet with this stuff and then give him a big, wet kiss. When he tries to give chase, he'll fall flat on his face with his feet firmly cemented to the ground. Even Toons of incredible strength cannot escape its adhesive effects. Great for getting out of sticky situations! Half-gallon carton: 69c ------------------------------------------------------------------------------- SQUIRTING FLOWER When your friends take time to smell the flowers, you'll howl with laughter as a perfectly aimed jet of water squirts them in the face! Works hundreds of times - always funny! Available in carnation, orchid, and rose. Your choice: 19c Order all three: 39c ------------------------------------------------------------------------------- PLUTONIUM POGO-STICK Spring into action with this potentially perilous, plutonium-powered pogo stick. Our miraculous mechanical marvel can launch you up to 20,000 feet! Hang on to our E-Z Grip handlebars as you ricochet into the stratoshpere. Not for use indoors or in tunnels. Priced to go: $1.00 ------------------------------------------------------------------------------- SUPER VACUUM Clean up your act with this Suck-O-Lux vacuum cleaner! Flip the switch and watch this industrial-strength model suck up everything in sight. Toons, rugs, fixtures, furniture all disappear neatly into the vacuum bag for easy disposal. The perfect appliance for bringing indoor chase scenes to a BIG FINISH. Blowout price: $5.00 ------------------------------------------------------------------------------- VANISHING CREAM Your friends will be able to see right through you when you use our miraculous vanishing cream. Perfect for sneaking up on obnoxious opponents or hiding from pesky pursuers. Effects last until your next bath. Buy now before our inventory disappears. 7-oz. jar only: 20c ------------------------------------------------------------------------------ WHOOPEE CUSHION A classic that's always comical!! When folks sit down - listen for the phhhhhhhhhhht! Watch as they turn red with embarrassment and then blame the dog! This one's a real gasser! Clearance price: 55c ------------------------------------------------------------------------------- HOT GUM Spice up a party with this super hot gum. Offer a stick to some unsuspecting Joe, and try to keep your sides from splitting as you laugh at the flames belching from his mouth. He'll stick his tongue under a faucet, he'll run, he'll jump. Always a great way to impress girls. On sale: 1c per pack ------------------------------------------------------------------------------- ELEVATOR SHOES Rise to the occasion with these "E-go-boost" elevator shoes. Just press the illuminated button on the heel, listen for the ding, and up, up, and away! Makes puny runts into towering behemoths. Always good for a lift. 2-floor model: $2.50 4-floor model: $3.50 ------------------------------------------------------------------------------- BOX-O-MATIC MALLET This deceptively devious gag really packs a punch! Appears to be a standard-issue anti-mouse mallet. But press the trigger and a spring-loaded boxing glove shoots out. Telescoping arm reaches legths of up to fifty feet. A big hit at parties! On sale for 73-1/2c ------------------------------------------------------------------------------- EXPLODING CIGAR Want to burst the balloon of your foe after one of his momentary victories? Shove one of these babies into his puss, light the end, and pump his hand in hearty congratulations. Now step back and see who really gets the last laugh! A few puffs and BOOB!!! - your foe's face is covered with soot! A perfect capper to turn his happy ending into yours! Special purchase: 89c per box ------------------------------------------------------------------------------- FOOTPRINTS Slap a few of these handy footprints onto the ground, jump behind the bushes, and watch the fun as your foe walks in circles or off the nearest cliff! (Free dance instruction booklet included.) Box of one gross: 3c ------------------------------------------------------------------------------- GIANT SLINGSHOT Have a fling with this industrial-grade slingshot. Gives you the gain on even the fastest varmints. Solid oak construction and 100% Indian rubber make it simple to launch anything from gliders to small elephants. Original price: $18.00 Sale price: $2.22 ------------------------------------------------------------------------------- HANDBUZZER Shake up your pals with this clever little device. Fits in the palm of your hand so you can give everyone a buzz. Try to keep your sides from splitting as you watch the reaction. Shocks'em every time. Guaranteed to make agreat first impression! Still our biggest seller!! Noisemaker model: 33c 5,000 volt model: 43c ------------------------------------------------------------------------------- ITCHING POWDER Know someone who gives you the hives? Give him the seven year itch! Just drop a pinch of this high-potency itching powder into his boxer shorts! Then stand back and laugh as you watch him frantically scratch the rash! Effects harmlessly vanish after six months. 99-pinch vial: 7c ------------------------------------------------------------------------------- MIGHT-E-SMELL LIMBURGER CHEESE This special recipe of Limburger cheese has been created with an emphasis on odor, not taste. Guaranteed to make skunks pack up and leave. This extra-stinky, extra sticky cheese is the most potent, pungent product we haveever peddled. Aged over 90 years. P.U.! Please, get it out of here! 12-oz. wheel LIQUIDATION PRICE: We pay you 19c ------------------------------------------------------------------------------- PORTABLE HOLES Just the thing for a quick getaway! This versatile hole allows you to reach through walls and drop through floors. Its roomy interior can store the entire contents of your attic! Simply slap one down and slip yourself through. Completely portable, you can carry it anywhere or fold it up for future use. 12-inch-diameter model, closeout: 9c 36-inch-diameter model, closeout: 15c 72-inch-diameter model, closeout: 23c ------------------------------------------------------------------------------- ALUM Our extra-potent alum formula is guaranteed to make a Toon or a real person pucker until the cows come home - works better than lemons! Our alum is great for making people shut their trap. Also prevents whistling, whooping, hollering, and belching. Take some home and use it on the children. Can be baked into cookies, too. Closeout: 9c per 1-quart carton ------------------------------------------------------------------------------- MAGIC LAMPS Ever dream of Genie? Now you can own one! Just rub this quality brass oil lamp three times and POOF!, an obedient genie appears, eager to do your bidding! A must for anyone in a pickle. These lamps were purchased from a friend of a friend. He gave us his word that these lamps were top quality. Paper bag full of assorted watches included free with purchase. Sold "AS IS." No returns. 1-wish model: 1 million samoulians 3-wish model: 2 million samoulians ------------------------------------------------------------------------------- SELTZER BOTTLE Make a splash at your next party! This super-charged seltzer bottle uses our exclusive patented ingredient and shoots up to 250 feet! Blast your Toon across the room! Soak some sucker at a shindig! Bottle can be recharged again and again. Liquidation Price: 19c Recharge: (allow 3 days) 7c ------------------------------------------------------------------------------- SHRINKING POTION Shrink your appetite - or the nearest Toon - with this magical elixer. Developed by a Monrovian headhunter, this potion is a blend of the smallest herbs, roots, and spices in the world. One gulp will make a Toon shrink to 1/10th normal size. Two gulps and you'll need a microscope to see him. 3-oz. bottle: 3c 9-oz. bottle: 4c ------------------------------------------------------------------------------- BEAR TRAP Works on giraffes, kangaroos, rabbits, squirrels, flies, elephants, horses, llamas, cats, mothers-in-law, cows, skunks, hyenas, turkeys, little brothers, camels, snails, toads, moles, buffaloes, zebras, dragons, bats, monkeys, spiders, squids, caterpillars, manta rays, dinosaurs, buzzards, oysters, peacocks, wombats, lions, tigers, and bears, oh my! Comes complete with 2-foot chain and anchor spike. Closeout: 99c ------------------------------------------------------------------------------- ROCKET ROLLERSKATES Get ready for high-speed high jinks with these super-fast skates! Powered by nitroglycerine, these skates travel faster than a speeding bullet! Great for catching up to locomotives or breaking the sound barrier. Now only: $1.19 ------------------------------------------------------------------------------- X-RAY GLASSES These high-quality lenses are made from the finest Visulonium available. The sturdy yet fashionable frames are made from crushproof turtle shell. See through clothing (wow!), walls, even vault doors. Handy "depth" adjustment knob makes for easy see-through viewing. Can also be used as sunglasses. Closeout price: 45c ------------------------------------------------------------------------------- CURVE BALL Throw your Toons A curve! No ballpark prankster can do without this wandering wonder! Handmade by angry Australians. The curve mechanism inside is guaranteed for life. Only: 76c ------------------------------------------------------------------------------ GIANT MAGNET Get the magnetic personality you've always wanted! Our iron magnets are guaranteed to be the strongest in the world. They can attract any metal object from over 8 miles away. So versatile they can be used to remove fillings, or even pull flying saucers out of the sky. Painted "rustproof red" for year-round use. A steal at: $4.29 ------------------------------------------------------------------------------- PROPELLER BEANIE Your friends will think you've flipped your lid when you tell 'em you're going out for a stroll - 5000 feet up! One twist of the prop and you're flying like a hummingbird! Great for buzzing sidewalks during rush hour or sneaking up on window- washers! Propeller is good for 10,000 revolutions, after which its pancake city. Priced to move: $1.14 Please specify hat size when ordering. ------------------------------------------------------------------------ PERMA-SLIP BANANA PEELS These tasty bananas have been specially treated with Perma-Slip peel coating. Just eat the banana, toss the peel, and watch your friends slip and slide! It will remain slippery for days, guaranteed. Now only: 3c a bunch ------------------------------------------------------------------------------- FINE PRINT Weasel out of any deal with this inovative idea direct from the famous law offices of Dewey, Cheadem, and How. Available on gummed paper, fine print can easily be added to any contract - no mater how old. The print is so small that it can only be read with a microscope. Double-talk mumbo-jumbo specially written by Judge Doom. 1 box of gummed sheets, 100 count. Minuscule price: 79c ------------------------------------------------------------------------------- MAN-EATING PLANT Fertilize these feisty ferns with noisy neighbors or unwelcome relatives. Dionadea muscipula giganticus, grown only in the deepest jungles of Cucamonga, towers up to 23 feet high. Given a chance, it will messily devour a full-grown man in less than a minute. Also produces delightfully scented flowers in the spring. Availab;e in handy "Quik-Gro" seed packs, or fully grown in sturdy terra-cotta pots. Seeds grow to full size in just hours. Pack of seeds: 6c Plant: $2.49 (shipped by rail) ------------------------------------------------------------------------------- GLASSES WITH SPRINGY EYEBALLS Get a look at these peepers. We don't know why, but our glasses always get a laugh - even out of the most sullen sourpusses. Great for office parties and visits with people you just don't see eye-to-eye with. Truely the epitome of dangling eyewear, models come with blue, hazel, or bloodshot eyes. On sale: 33c ------------------------------------------------------------------------------- MAGIC CARPET Hand-embroidered in Baghdad, this rug is so decorative you'll want two - one to fly, and one for your living room! Operated with simple incantations, this carpet flies like a dream. Includes instructions printed on parchment scroll. Guaranteed for 12,000 miles or 12 washings, whichever comes first. 6 x 9 feet: $9.00 12 x 12 feet: $12.00 ------------------------------------------------------------------------------- CREAM PIES These pies have the perfect combination of taste and throwability. Can be hurled up to 50 yards, or even farther when launched with our giant slingshot. unlike the competitions pies, these have an exclusive face-seeking feature. Several delicious flavors available. Bargain price: $2.50 per baker's dozen Banana Cream Lemon Cream Coconut Cream Succotash Cream ------------------------------------------------------------------------------- GUN WITH A "BANG" Get trigger-happy! Realistic looking revolver will scare them silly - until they see the flag pop out. Shoot, folks, it's a blast! Blowout price: 20c ------------------------------------------------------------------------------- WHO FRAMED ROGER RABBIT ENTERTAINMENT SOFTWARE THE SETTING Welcome to Hollywood-1947- a busy, bustling, colorful place fo dazzle, drama, and dreams; a place where you can go straigt to the top-or at least across town on a network of electric streetcars called the "Red Cars" for a nickel you can ride to the end of the line, where two bits buys a ham on ray at the Terminal Bar and Grill. Cartoons are in their heyday, and our "Toon" hero, Roger Rabbit, is a true superstar! But hes status as a Saturday matinee idol hasn't gone to his head. He's just a nice, ordinary, well-rounded guy. That's right! Like all his comic cronies, Roger is real, three-dimensional-just like you or me. He goes to work every day at Maroon Cartoon Studios and comes home every night to the animated suburb of Toontown. Then trouble hits Roger like a ton of bricks! He's frame for murdering Marvin, the Gag King. When Marvin's will also disappearrs, it's clear that someone is up to sone not-so-funny business...especially since Marvin, who owned Toontown, had promised to leave the place to the Toons. THE GOAL Things look bad for Roger. He's on the lam, with that sinister Toon-hater, Judge Doom, after him. Doom wants to "administer justice"-in the form of a nasty chemical concoction called "The Dip" that dissolves Toons on contact. Roger has to move fast to stay out of Doom's clutches! (It's not that he minds an occasional bath, its just that he'd rather not be washed up so early in his career!) Help him stay ahead of Doom in a race to find Marvin's will - and prevent Toontown from being dipped off the face of the earth! PART 1: BENNY THE CAB Benny is a freewheeling, streetwise, and (usually) "wreckless" Brooklyn cab with the gift of gab. Able to hop buildings and rise above it all on his accordian suspension, Benny's great in a jam (but watch out for bridges!). You're at the controls as Roger and Benny race Judge Doom through the streets of Hollywood. You can beat him, if you watch out for the weasels in their Toon Patrol wagons, puddles of that deadly Dip, and collisions with the Red Cars. (Try landing on top of a Red Car and see what happens!) Touch the Rubber Gloves to temporarily protect Benny from puddles of Dip; the Wheels to get a burst of superspeed; and the Diamonds to remove a bucket of Dip from your tally. Keep your eyes open for other helpful items, too! Start your engines - and get going! PART 2: THE INK and PAINT CLUB Whew! With your help, Roger and Benny have arrived at the Ink and Paint Club, the only place in the world where humans can enjoy live performances by Toon stars like Roger's gorgeous wife, Jessica. Marvin's will is somewhere in the piles of nightclub receipts, napkins, and checks. Since it was written in disappearing ink, you must grab all the papers in the club to make sure Roger gets his mitts on the will before the music stops. You control Roger on his mad race around the tables collecting papers as fast as the penguin waiters replace them. Avoid the gorilla and don't ever, ever, ever let Roger take a drink. PART 3: THE GAG FACTORY At last! You've reached the place where all those famous cartoon gags are made. Unfortunately, the weasels are waiting to jump you! But don't give up - just grab the gags you find and use them to temporarily disable the weasel you meet in the factory. Since weasels are Toons, your only hope of permanently destroying them is by making them laugh themselves to death. Do anything funny - the more gags, the merrier - and the faster, the better for you! If you survive the weasels, it's not over! Judge Doom is waiting for you, ready for the moment of truth! Lose and it's all over for you, Roger, and Toontown. Defeat Doom and you save Toontown from total destruction and Hollywood from a future of strip malls, exaust fumes, diamond lanes, and gridlock! MAP of LOS ANGELES On the map, you can see Marvin's Gag Factory, the Ink an Paint Club, and Toontown. A glance will tell you how close you are to the Gag factory, and how you're doing in your race against Judge Doom. BUCKETS of DIP A bucket of Dip will be added to the tally when Benny collides with something, when Roger is bounced from the Ink and Paint Club, or when the weasels use a gag on Roger. Once five buckets are accumulated, the game is over. ------------------------------------------------------------------------------- TROUBLESHOOTING GUIDE Should you encounter difficulties with the program, please verify the following. PROGRAM DOES NOT LOAD PROPERLY: 1. Are you following the player instructions correctly? Have you typed the file name exactly as it appears? 2. Is the disk seated properly in the disk drive, with the label side up? 3. Does your computer meet all the system requirements (DOS, RAM memory, graphics cards, monitor, and/or peripherals). 4. Is each component of your computer system (computer, monitor, disk drives) switched on? 5. Are all the power cables and connections properly plugged in? THE PROGRAM DOES NOT OPERATE AS DESCRIBED: 1. Have you read the player instructions carefully? 2. Is your joystick centered and plugged into the proper port? 3. Are you pushing the correct buttons and keys? COLORS DO NOT APPEAR AS EXPECTED: 1. Have you set the appropriate graphics card/monitor setting? 2. Are your monitor's contrast, color, and tint controls properly adjusted? NO SOUND IN PROGRAM: 1. Have yuo checked the cable connections and/or the volume control? ------------------------------------------------------------------------------- Player Instructions TOONING IN TO WHO FRAMED ROGER RABBIT You will need a minimum of 512K RAM and a joystick to play this game. GETTING STARTED 1. Turn off your AMIGA. Turn on your ST. Bung a disc in the little hole in the side. 2. Insert Disk 1 in your internal drive . If you have an external drive, insert Disk 2 in the external drive. MAP The map screen will show your progress in the race against Judge Doom. BENNY THE CAB * Maneuver Benny with the joystick controls shown on the other side of this card. * Use Benny's accordian suspension system to rise above the cars and the Toon Patrol wagon. * Be careful to avoid the puddles of Dip on the road. * Benny can jump up and drive on top of buildings. * Completet the round as quickly as possible. The faster you finish, the more of a lead you will have on Judge Doom in the race to the Gag Factory. THE INK AND PAINT CLUB * Maneuver Roger Rabbit with the joystick controls shown on the other side of this card. * Roger runs in circles around each table. Use the joystick to make him switch tables. * Press the fire button to make Roger grab an object. * Pick up all the papers before the music stops in order to complete the round successfully. THE GAG FACTORY * Maneuver Roger with the joystick controls shown on the other side of this card. * Pick up gags and use them to slow down the weasels. Some gags will backfire - you must learn how to use them by trial and error. NOTES 1. If you have extra RAM or a hard disk, read the file on Disk 2 called READ.ME. 2. Press the "P" key to pause. Press it again to continue play. 3. For more information concerning the game, refer to the Gag Catalog. ------------------------------------------------------------------------------- JOYSTCK CONTROLS BENNY THE CAB UP = Change Lanes DOWN = Change Lanes LEFT = Slower RIGHT = Faster FIRE BUTTON = Raise Suspension Tap the FIRE BUTTON and push the JOYSTICK UP to JUMP ON TOP OF BUILDINGS. Tap the FIRE BUTTON and push the JOYSTICK DOWN to JUMP OFF BUILDINGS. INK AND PAINT CLUB UP = Change tables. DOWN = Change tables. LEFT = Change tables. RIGHT = Change tables. FIRE BUTTON = Grab objects. GAG FACTORY UP = Grab a gag. DOWN = Drop a gag. LEFT = Move Left. RIGHT = Move right. FIRE BUTTON = Use a gag or jump (if not holding a gag). Sewer Software presents..... Slip Stream complete docs by MERKWooD/MAAD As you sit strapped firmly into the seat of your Emerald Fighter, the darkness of the nothership's launch bay hovers around you. Above you, projected onto the glass ceiling of your cockpit, gleams a long range scan of the stream, from which you try to memorize the pattern of the ground defenses. You know deep down however, that only by instinct will you survive. The launch countdown starts on the monitor in front of you, T minus 60,... T minus 59... Calmly, you go through the system startup checks. System computer funtioning...Check. Long range scanner functioning...Check. Turbo thrust functioning...Check. Tracto beam powered up...Check. T minus 5...4... 3...2...1 Suddenly you find yourself crushed into the back of your seat by the G-Force of your fighter pulling away from the mothership. Many thoughts shoot through your head, but only one remains... "I must destroy the Crystal, I must destroy the Crystal, I must..." The Game The 9 streams of the Slip Stream have been overtaken by an alien race who have populated them with various defense crafts. Thes craft are powered by a crystal at the end of each stream. It is your mission to fly through each stream, destroying the power crystal at the end to deactivate the defense craft, and liberate the 9 streams of the Slip Stream. You will be dropped into each stream by your mothership. Destroy as much of the landscape and as many of the defense craft as possible, but, above all you must destroy the power crystal at the end of each stream. Failure to do so means you waste one of your three chances to complete the mission. As you work through the missions, you will find many different types of ground installations including; Pyramids, Sqyramids, Tunnels, Walls that need to be blasted through, stalactites and stalagmites, and you may even find yourself flying underground! REMEMBER, you can only fly within the stream...not outside it! Controls Use a joystick in port 2 to maneuver your fighter. In 2 player mode each player takes turns using the same joystick. From the title screen, press the FIRE button to bring up the options screen. These options are available: F1 - Selects one or two player game. F2 - Selects calm or stormy weather conditions. F3 - Selects sound effects on or off. F4 - Selects random or normal missions. Normal missions require winning each stream in sequence. Random missions lets you attempt the missions in random order. ESC- Quits a game in progress. P - Pauses the game. Press "P" again or move the joystick to unpause. FB - (Fire Button) Starts the game. NOTE: Each time you crash, your next fighter will be launched from the mothership. To skip the mothership launch sequence just press the fire button Scoring You score points by destroying enemy craft and the ground installations. Player 1's score is displayed at the top left of the screen during play and player 2's score is at the top right. The number of fighters remaining for each player is shown top center. Points Small Pyramids 10 points Tall Pyramids 50 points Sqyramids 100 points Spaceships 200-500 points Power Crystal 1000 points High-Score Table If your score is high enough you will get to enter your name in the High- score table. To do this move the joystick Up or Down to alter the current letter in your name, and Left or Right to move to a different letter. When finished press the fire button. Space Quest Walkthrough...edited for DOC DISC 7 by Sewer Possum. SPACE QUEST Part 1 ARCADA TO CRASHDOWN Well now you're in for it. Your latest siesta in the Arcada's janitorial closet has been rudely interrupted by a Sarien invasion. Alarm bells are sounding, emergency lights are flashing and the blasted bodies of your shipmates are lying all over the place. How are you going to avoid joining them and survive this adventure? First of all, if we're going to get you out of this in one piece, we need to establish a few conventions. In SPACE QUEST, as in all of Sierra's animated adventures, you move from location to location and manipulate objects by moving your on-screen character with either a joystick or the cursor control keys on your keyboard. For SPACE QUEST, I strongly recommend using a joystick. There are a couple of arcade sequences in the game, at least one of which is made much easier by using a joystick. To move from location to location you move your character offscreen in the desired direction. For purposes of this walkthru, "north" means to move your character offscreen toward the top or back of the screen, "south" means to move toward the bottom or foreground, "east" means to move offscreen to the right, and "west" means to move to the left. Okay, how are you going to avoid the Sarien troops that seem to be everywhere and shoot first and ask questions later? Well, whenever you hear footsteps, find somewhere to hide -- pronto! Elevators work very well for this purpose. And take advantage of the improved save and restore features of this game; they can make death a very temporary condition. Now the coast seems to be clear for the moment and you're standing in the corridor in front of the janitor's closet. Go west through the door into the Data Archive. A quick look around reveals a wall full of data cartridges and a computer console. Examining the computer console shows that it consists of a screen, a keyboard, a cartridge slot, and a cartridge retrieval unit. The screen is asking you to type in the title of a cartridge, but you can't punch up the catalogue because you lack the proper security clearance. Just as you're beginning to despair over this situation, a man that you recognize as a lab scientist stumbles into the room and collapses on the floor. He's obviously fatally wounded, but you try to help him as best you can. His strength fading fast, the scientist tells you that the Sariens are after the Star Generator and that you'd better get out fast if you want to save yourself. With his dying breath, he looks at the wall full of data cartridges and utters "astral body." There's no time for mourning now. Taking the hint, you walk over to the keyboard and type in "astral body." Sure enough the retrieval unit climbs the shelves and returns with a cartridge. Take the cartridge from the unit, but don't try to read it here! Any attempt to read the cartridge at this location will bring the game to a very abrupt end. Better hold on to the cartridge until you can find a safer terminal. It's time to move on, so go west into the corridor and west again to the far wall of the hallway. Here is yet another fallen shipmate. Well, maybe the poor guy has something useful that he won't be needing anymore. Indeed he does, for a quick search of his body uncovers a keycard; just the thing for opening doors to secured areas of the ship. Pocket the keycard and go east and take the elevator down one level. Walk north through the blasted-out door into the Star Generator lab. Here your worst fears are realized. The Star Generator is gone! The Sariens have already removed it from the ship. What's more, a look at the computer screen at the north end of the room shows that the automatic detonators have been set, and there's just minutes to go until the Arcada blows itself up. No wonder that dying scientist told you to get out fast! There's no time to lose, so exit the room to the south, go east and take the elevator down to the lower level of the Arcada. Walk east into the central control area of the ship. A look through the window reveals the empty docking bay. Just beneath the window is a control panel with two buttons on it. Press the button marked "open bay door" and watch the docking bay doors slide open. Now walk east to the elevator at the far end of this level. Hmm, this elevator doesn't open automatically like all the others on the Arcada. Aha! There's a security panel next to the elevator with a slot for a keycard. Now the elevator opens obediently. So ride it down to the flight prep room on the lowest level of the ship. The first thing you notice in the flight prep room is a closet with a button for each of its two doors. Push both buttons and take the gadget from the closet on the left and the flight suit from the closet on the right. A quick look at the gadget reveals that it's a dialect translator. Might come in handy later. Now, however, we need to find a way out of here. It looks like there's a control panel in the front of the room, so walk around the barrier and have a look at it. Thankfully, there's a button on the panel marked "airlock." Press it and the door on the west side of the room slides open. Exit the room through the open airlock and walk out into the docking bay. You notice that the bay is empty and that there's a large hole in the middle of the floor. However, there is also a control console standing next to the airlock. Amid all the unfamiliar controls on the console is a button marked "platform." Press the button and an escape pod rises from the hole in the floor! Walk around the pod to the open door on its left side and get in. You're almost out of here! Once seated in the pod, the first thing to do is close the door. Now take a look around the pod. You see seat belts and a dark console. Buckle up the seat belt then have a look at the console. Push the button marked "power" and the console springs to life. The screen tells you to pull the throttle to initiate the launch sequence. So give it a tug and you're off! Whew! You've made it safely off the Arcada, but now your pod is drifting helplessly in space. What to do? (For a laugh you can press the button marked "don't touch;" just make sure you save the game first!) Look at the panel again. There's a button there labeled "autonav." Try pushing it. That did it! The pod's navigation system is locked onto the planet Kerona, and the automatic landing sequence has started. There's nothing to do now but sit back and enjoy the ride. Congratulations! You've crash-landed on a desolate, desert planet. Aren't you glad? SPACE QUEST 1 Data Cartridge and Escaping the Arcada 2 Spider, Beam, Orat, Alien 3 Slot Machine, Ship, Droid, Sector Information 4 Empty Room, Disguise, Star Generator, Endgame SPACE QUEST Part 2 SPIDER DROIDS, ORATS AND THE UNDERGROUND EMPIRE Okay, so here you are sitting in a wrecked escape pod in the middle of a burning desert. Well, at least you're still in one piece. And a look around the pod reveals that a survival kit has broken loose from somewhere. That could sure come in handy, so take the kit and have a look inside. You find a handy-dandy jack-knife and a can of dehydrated (?) water. Dehydrated water is a strange concept, to say the least, so take a close look at the can. The label says that you cawhget a drink of water any time you need it by simply putting the nozzle in your mouth and drinking. It also says that the can is highly pressurized and that puncturing it can have catastrophic consequences. Those sound like two pieces of information to remember. Now you're as ready as you'll ever be to leave the pod, so go ahead and get out. Before you leave the area, however, walk around to the front of the pod and have a look at it. You never know when you'll need a piece of reflective glass, so take it. If you try going in any other direction, you'll soon discover that the only directions that you can go without getting eaten or flattened by a meteor are east and southeast. So go southeast to the area described as the "southwest edge of a mesa." Exit the screen at the southeast corner. Take a look around and note the natural land bridge to the north. Again, exit the screen at the southeast corner. Notice the ramp on the west side of the screen. Walk up it and follow it until you exit the screen to the north. Then follow the trail around to the west. About now the spider droid will appear. Don't worry, this is one nasty you can dispatch with a bang! Walk across the bridge to the large boulder. Position yourself behind the boulder and type in "push boulder" without hitting or . This is a good place to save the game! Wait until the spider droid is directly under the boulder (it's the spot exactly between the two green patches on the ground). Now hit or . Kaboom! Wasn't that fun? (Read on for an alternate way to kill the spider droid, but for less points.) Let's see what else this mesa has to offer. Exit the screen to the west and follow the trail around several screens until you arrive at the broken arch at the mesa's far eastern edge. What's this all about? Well step between the two columns of the arch and...Whoa! Talk about the first step being a doozie! Nothing to do now but ride this elevator straight to the bottom. Once you arrive at the bottom of the shaft and recover your stomach, step off the platform and look around. That rock might prove useful, so take it. Follow the cavern to the west. That grate looks and smells dangerous. Better edge around the back of it. Aieee! It's a good thing you didn't step on top of that grate! Looks like you've come to the end of the trail, doesn't it? But if you take a careful look around, you'll notice that the rock will just cover the hole on top of that steam vent. So put the rock there and shades of "open sesame!" Exit the screen to the northwest. The pool room is pretty, but there's not much you can do in here, so walk around the rocks and again exit the screen to the northwest. Hey! Those light beams could just make you go all to pieces! So hold that piece of reflective glass in the beams and put the heat on them. Now walk up the ramp and exit the screen to the east. Save the game! Those aren't water drops dripping from the ceiling; they're deadly corrosive acid. One false step here and you're fried. Time your walk between the drops carefully and exit the screen to the east. Now take a look at the gadget that you took from the closet back on the Arcada. Notice that it's a dialect translator and that there's a dial on it. Turn the dial until the gadget glows and exit the screen to the east. And you thought the Wizard of Oz was tough on Dorothy! If you've already had the misfortune to stumble into Orat, you know that stealing the Wicked Witch's broomstick was child's play compared to collecting a piece of this baby's hide. I mean he looks like Tyrannosaurus Rex with teeth to match, and he seems to enjoy playing basketball with human beings taking the part of the ball. But a piece of Orat's hide is just what this Alien is telling you that you'll have to bring him if you want his help in getting off this dustbin of a planet. Yours is not to reason, so once you're transported back to the surface, follow the mesa trail back across the bridge and down the ramp. Exit the screen to the north. Orat's cave is in the cliff face the computer screen at the north end of the room shows that the automatic detonators have been set, and there's just minutes to go until the Arcada blows itself up. No wonder that dying scientist told you to get out fast! There's no time to lose, so exit the room to the south, go east and take the elevator down to the lower level of the Arcada. Walk east into the central control area of the ship. A look through the window reveals the empty docking bay. Just beneath the window is a control panel with two buttons on it. Press the button marked "open bay door" and watch the docking bay doors slide open. Now walk east to the elevator at the far end of this level. Hmm, this elevator doesn't open automatically like all the others on the Arcada. Aha! There's a security panel next to the elevator with a slot for a keycard. Now the elevator opens obediently. So ride it down to the flight prep room on the lowest level of the ship. The first thing you notice in the flight prep room is a closet with a button for each of its two doors. Push both buttons and take the gadget from the closet on the left and the flight suit from the closet on the right. A quick look at the gadget reveals that it's a dialect translator. Might come in handy later. Now, however, we need to find a way out of here. It looks like there's a control panel in the front of the room, so walk around the barrier and have a look at it. Thankfully, there's a button on the panel marked "airlock." Press it and the door on the west side of the room slides open. Exit the room through the open airlock and walk out into the docking bay. You notice that the bay is empty and that there's a large hole in the middle of the floor. However, there is also a control console standing next to the airlock. Amid all the unfamiliar controls on the console is a button marked "platform." Press the button and an escape pod rises from the hole in the floor! Walk around the pod to the open door on its left side and get in. You're almost out of here! Once seated in the pod, the first thing to do is close the door. Now take a look around the pod. You see seat belts and a dark console. Buckle up the seat belt then have a look at the console. Push the button marked "power" and the console springs to life. The screen tells you to pull the throttle to initiate the launch sequence. So give it a tug and you're off! Whew! You've made it safely off the Arcada, but now your pod is drifting helplessly in space. What to do? (For a laugh you can press the button marked "don't touch;" just make sure you save the game first!) Look at the panel again. There's a button there labeled "autonav." Try pushing it. That did it! The pod's navigation system is locked onto the planet Kerona, and the automatic landing sequence has started. There's nothing to do now but sit back and enjoy the ride. Starball -------------- The Origins of Starball In the year 2164 the planet Utalis is invaded by the arrogant and much-dreaded Jitter-Bobs. The inhabitants have become humiliated slaves to these wicked but fun-loving creatures. The Jitter-Bobs, however, have offered you the chance to win back the freedom of the Utalians - this chance is called STARBALL! The Jitter-Bobs are renowned as being the best STARBALL players in the whole Universe - and there can only be one winner in this competition! Will you be able to save the Utalians......? Highscore The highest scores may be saved on disk. The you can see the 10 best STARBALL players on the display. Match On/Off When the Match Off mode is chosen you can play alone against the computer or against another person. In the Match On mode you can play STARBALL with up to 8 players in a tournament. Player Here you can enter the names of the players. If you are playing with less than 8 players, after all names have been entered you should press RETURN. The computer will automatically enter cpu for a computer-controlled player. Start The game begins..... The course of the game The blue Bumper-Jet on the left side is controlled through port #1 and the red Bumper-JET on the right side is controlled through Port #2. The Bumper-Jets can be moved upwards and downwards. With these movements, and with help from the space Cosmos-Capsule, you should try to score as many points as possible! In the universe between the two Bumper-Jets, various Para-Space-Floaters appear. When the Cosmos-Capsule touches one of these, the last-touched Bumper-Jet receives points. The Stro-Bars behind the Bumper-Jets can also be destroyed, and they are worth 10 points each. If the Cosmos-Capsule goes though a hole in the Astro-Bars, the opponents has scored a "Galactic Goal" and receives 1000 points. To reach the further levels, you must score at least 2000 points in the present level. After eliminating a Para-Space-Floater a bonus symbol will appear. This can also be touched with the Cosmos-Capsule. On the bonus symbol there is a letter which represents the following words: F Fast S Slow B Blink M Mirror H Half D Double Should a bonus symbol be touched, the appropriate word will be displayed in one of the four display-tables that are constantly xhanging from red to blue.If a table with text in is touched by the Cosmos-Capsule, the Bumper -Jet that has the same colour as the table when it is touched will become faster, slower, double etc., according to the text. The four bubbles above and below the playing field only affect the path of the Cosmos-Capsule. The playing time for one level is 1 minute. If, when in the Match Off mode, none of the players have scored 2000 points, the game is over. If one player scores more in the first level than his opponent, the losing one is exchanged for another. In the Match On mode, you only play one level in which you must beat your opponent. If both players score the same number of points, the level is repeated. Sewer Software present TECHNO COP manual. Edited by Sewer Possum. TECHNO COP Game Manual ------------ CONTENTS Throttle That Thing! ................................ 1 Getting Started ..................................... 2 Leading Instructions ............................. 2 Other Game Controls .............................. 4 Joystick and Keyboard Moves ...................... 6 Rev It Up! .......................................... 6 VMAX Console ..................................... 7 Driving the VMAX ................................. 8 On the Road ...................................... 9 VMAX Weaponry .................................... 9 Crime in Progress! ............................... 10 Tracking and Terminating Thugs ...................... 10 Wrist Command Console ............................ 10 Technocop Self-Defense ........................... 12 Fatal Interactions .................................. 13 Other Dangers .................................... 14 Survival Strategies ................................. 14 Performance Assessment .............................. 15 Scoring ............................................. 16 THROTTLE THAT THUG! You're a cop, but not the kind that buttons up big and blue with a soft walk and a big stick. It's years in the future and you're a Technocop, a member of the Enforcers -- the most elite crime-fighting force in the world. Your task is to capture or eradicate a ruthless mob of creeps, hit men, and criminals called DOA -- that's short for Death On Arrival. To clobber DOA thugs, you're equipped with the best crime-stopping weaponry that 21st century technology has to offer; a high-powered criminal radar locator that any DOA punk would just die to get hold of, an .88 magnum pistol to stop 'em cold, and a net gun to bag 'em-up. And check out your car! Not just any souped up cruiser's good enough for a Technocop. You're about to take the wheel of the Enforcers' newest, high- speed pursuit-and-destroy vehicle: the VMAX Twin-Turbo Interceptor. Handcrafted in Italy, the VMAX can rev to speeds over 150 mph and packs a powerful, side-mounted can, among other surprises. Belted into your VMAX, you'll speed down tread-wrenching highways, keeping your eye on the crime computer in your control panel for up-to- the-second info on crimes in progress and mug shots of perps. Race to a series of 11 tenement buildings to search out unscrupulous DOA kingpins. The radar in your computer wrist console helps you pick your way through dilapidated hallways to home in on the big thug chiefs. While scouting out the buildings, you'll have to deal with roving DOA hit men who will stop at nothing to protect their bosses. These goons come after you with every illegal weapon in the book, so be ready. You're tough enough to withstand four fatal hits, but when you lose your fifth life, you're out of the game. Remember the golden rule of crimefighting: Eliminate all thugs before they eliminate you. Ready to ride? Good. But be careful -- once you rev up the VMAX, you need to keep your wits about you to search out and subdue these DOA slimeballs. Otherwise, it's sayonara, Technocop... -1- GETTING STARTED Loading Instructions To load Technocop, find the information for your system in this section and follow the steps. And for all systems, use the Epyx 500XJ joystick for precise, instant control. The 500XJ is the only joystick that actually fits your hand and puts the fire button right at your trigger finger. || Note: Do not write-protect your disk. -2- Commodore-Amiga 1. Set up your system and plug a joystick in. 2. Insert the Technocop disk into the drive and turn on your system. The program loads and the title screen appears. 3. Press the fire button to start the game. -3- OTHER GAME CONTROLS Turn sound on/off. Press A. Pause a game. Press P. Press it again to resume play. Save a game. Press D during the driving sequence and select the Save option. Resume a saved game. Press D during the driving sequence and select the option to load a saved game. Start a new game. At the title screen, press the fire button. End a session. Turn off your system. -4- JOYSTICK MOVES Technocop works with joystick commands for all versions. Joystick \ | / -- -- / | \ Fire Button || Note: If you are using a two button joystick, use the top fire button. REV IT UP! Although the VMAX drives like a dream, you may need some pointers on your first time out. After all, this ain't no Sunday cruise. -6- VMAX CONSOLE Tachometer Shows current rpm's as you drive. Speedometer Feel those G-forces at top speeds of over 150 mph! Score Status Shows total points accumulated. Gear Indicator Indicates which of five automatic-shift gears you are in. After a crash, you automatically shift back to first gear. Crime Computer Shows the time you have left to get to the crime scene and gives background information on criminals. The message also tells you whether to eliminate the criminal or bring him back alive. Percent Operative Indicator Indicates the level of damage your VMAX has sustained so far. If the indicator reaches 0, your VMAX is damaged beyond repair and the game is over. -7- DRIVING THE VMAX Joystick Accelerate. Push handle up. Hold handle up to continue accelerating. Slow down. Pull handle down. Hold handle down to continue slowing down. Steer left. Move handle left. Steer right. Move handle right. Fire weapon. Press fire button. Accelerate and Push handle to upper left or upper right. steer left or right. Slow down and Pull handle to lower left or lower right. steer left or right. -8- ON THE ROAD Keep just two things in mind as you tear down the highway: you're in a race against time, and everyone else on the road is your enemy. Here's some tips: o DOA vehicles will sneak up from all directions to ram or block you. Use your cannon to blast them to bits, or if you're an ace driver, slam them off the road. Both techniques gain you points. (See Scoring.) o After several missions, be on the lookout for a DOA highway superpunk, who jumps from a truck, plasters himself to the top of the VMAX, and tries to bash in the engine. Loosen his grisp with a few good swerves. o Stay in control! Sudden curves in the road may send you spinning into trees and road signs. Crashes damage your VMAX and slow you down, decreasing your chances of getting to the crime scene on time. VMAX WEAPONRY You start with a side-mounted machine gun on your VMAX, and upgrade your weaponry as you complete the driving portion of your missions on time. On- screen messages notify you when you're awarded weapons improvements. The following arsenal awaits your eventual command: Machine Gun Use this to blast anything on the road out of your way. Turbo Charger Gives you a burst of power for faster acceleration. Hydraulic Wheel Rams Use these powerful wheel rams to bash and bump DOA drivers off the road. Rapid Fire Cannon Blast away even the stubbornest of road thugs with this cannon's armor-piercing rockets. Nuclear Bombs Clear the road! Use the nukes to simultaneously annihilate all other vehicles. Press spacebar to fire. Amiga version has five bombs per mission.) -9- CRIME IN PROGRESS Follow these steps to race to the crime scene: 1. While you're on the road, scan the messages from your crime computer to see the time remaining to reach the scene of the crime. 2. A beeping sound alerts you to a message on your crime computer indicating the police code and location of the crime in progress. Subsequent messages show you a mug shot of the criminal and direct you to either capture or eliminate him. 3. The crime computer tells you when you fail to make it to the scene of the crime within the alloted amount of time. If this happens, you forfeit your chance for a promotion or a VMAX weapons upgrade. But you can still pursue the criminal. Proceed to the crime scene. 4. When you reach the crime scene, your VMAX automatically pulls off the road and you step out of the car. TRACKING AND TERMINATING THUGS Once out of your VMAX, walk right to head for the building and start pursuing the criminal. Rely on your wrist command console for instructions for blowing away DOA thugs, recovering stolen goods, and capturing or wiping out criminals. Check your console to keep track of the criminal's position as you move around the building and the amount of time remaining to carry out your mission. WRIST COMMAND CONSOLE The illustration on the next page shows the wrist command console. -10- Crime Computer Gives vital statistics on the criminal, plus a mug shot. Life Counter Brightly-lit buttons indicate how many of your five lives you have left to live. Health Indicator Shows how DOA attacks affect you. The bar retreats from right to left as you weaken. Radar Points you toward the criminal's location in the building, relative to your position. After you capture or terminate the criminal, it guides you to the exit. Move in the direction of the lighted indicator bar. Crime Clock Displays the time you have left to complete a mission. Strength Indicator Shows energy expenditure during strength intensive moves. Each time you jump, the needle drops, then floats to the right to indicate your recovery. Score Status Indicates your current score. (See Scoring.) Gun/Net Indicator Shows whether you're set to blast the criminal with your .88 magnum or capture him alive with your net gun. Press Spacebar to toggle between the two. You have an unlimited number of nets per mission. -11- TECHNOCOP SELF-DEFENSE Joystick Shoot gun or net. Press fire button. Walk to the left. Move handle left. Walk to the right. Move handle right. Jump left. Push handle to upper left. Jump right. Push handle to upper right. Crouch. Push handle down. Crouch left. Push handle to lower left. Crouch right. Push handle to lower right. Stand up. Push handle up. Enter elevator. Stand in front of elevator, push handle up. -12- Elevator Controls Once you're inside the elevator, quickly move the joystick handle up or down to move the elevator to the floor you want. Hold down the fire button to stop the elevator, then release the button to open the elevator door and exit. Other Tips To recover stolen property, stand near the goods, then stand up. When the stolen object disappears from view, it's in your possession. If you run out of time and fail to find the criminal, an on-screen bulletin orders you to return to the VMAX and get back on the road to begin your next assignment. If you're an excellent crime fighter and complete your mission in time, you can continue to score by blowing away minor criminals. But that's risky. The best idea is to get out -- while you're still alive. You cannot leave the building until you either deal with the head thug, he escapes, or you run out of time. FATAL INTERACTIONS If you run out of lives, the game is over. Don't squander your five lives on thoughtless mistakes! Instantly fatal experiences include: DOA Head Thug Attack A clanging sound confirms your crime computer's message that you're closing in on this building's big thug. Each of these criminal kingpins has a uniquely diabolical way of welcoming you, and just because he's big doesn't mean he can't move fast. Watch out! Floor Holes Some holes plunge you more than one level, so to be on the safe side, jump over all holes until you know which ones are fatal. -13- Other Dangers Other less-than-fatal but still nasty experiences await you: Thug Attack at Close Range If a thing gets in your face, crouch and shoot to duck the attack while returning fire. Explosive Devices DOA goons want to see you dance! Jump bombs fast or feel the blast. Vicious Rats As big and mean as hungry dogs! Jump over these beasts the moment they come into view, or you suffer a nasty bite that slows your search. SURVIVAL STRATEGIES While you're on the road, don't save your top speeds for the straight- aways. Accelerate through curves by pushing up diagonally on your joystick handle. Once you leave the VMAX, you don't have much time to find the criminal. Try these shortcuts: o Every so often, jump over DOA thugs instead of firing at them. But don't jump too many times in a row, because it tires you out and can show your reaction time when you need to move fast to defend yourself. o For the tougher missions, memorize or map out the locations of elevators and walls to avoid costly delays in trying to locate the criminal. o Search for stolen property or kidnapped victims only after you have found the criminal. o If you've determined it's safe, drop through a hole in the floor to the level below to get there faster than the elevator can take you. -14- When choosing between Gun and Net, select Gun initially, even if your mission is to capture the criminal alive. You can shoot your gun faster than the net and defend yourself better against attacking DOA hit men. When you approach the suspect, you can switch to Net to make the capture. You can shoot your net only from a standing position. When you're riding an elevator, keep an eye on your radar. When the bar stops in the middle section of the radar grid, step the elevator and exit. And remember, although the radar shows you which direction to go to find the head thug or exit the building, you still need to figure out the most direct route. Once you find the head thug, don't let him get away! The moment you see him, open fire or shoot your net. As you proceed through the series of buildings, the thugs get tougher. Because they take longer to destroy, they have more time to get you. It may be faster to stop a single thug with your net than with your gun. When several thugs attack at once, crouch and then shoot your gun. If the action gets too hectic, hide in an elevator to collect your thoughts and plan your strategy. PERFORMANCE ASSESSMENT If you get to the crime scene and capture or eliminate the criminal within the alloted time, you gain a life, receive a promotion, and score points. Promotions follow this progression: 1. Grunt (lowest rank) 7. Sergeant 2. Rookie 8. Enforcer 3. Flat Foot 9. Commander 4. Patrol Man 10. Top Cop 5. Cop 11. Chief 6. Officer 12. Technocop (highest rank) After assessment of your performance, walk toward the exit and the VMAX, DOA thugs are still on the rampage, so be careful! Once in the VMAX, you automatically pull back onto the highway. Rev up the engine and accelerate into your next assignment. -15- SCORING You are awarded for obliterating other vehicles, terminating DOA thugs, and completing phases of your mission. You are penalized for other actions, such as harming innocent bystanders. A summary of awards and penalties follows: Situation Awards Timely arrival at a criminal scene. 50,000 points Blowing up a vehicle or forcing it 500 points per motorcycle off the highway. 1,000 points per car 2,000 points per truck Recovering stolen goods or a 1,000 points kidnapped victim. Destroying a minor thug within 500 points allocated time. Harming an innocent bystander. minus 5,000 points Correctly dealing with the head 50,000 points plus a bonus life thug within allocated time. Incorrectly dealing with the head 25,000 points thug but still within allocated time. Timely arrival at crime scene, and Promotion correctly dealing with head thug within allocated time. Reaching all 11 buildings on time. 100,000 points To save your score, type your initials at the scoring table screen and press Return. ...........Doc provided by THE HELLION & THE CORSAIR............ These are AMIGA docs, but there's no reason why gameplay should be much different for the ST version...S.Possum Docs for TV Sports Football --------------------------- From the clipboard menu(where the pencil is), select a visiting team by moving the pencil to the team and press the joystick button. In One Player and Teammates(which is 2 humans against the computer), the first team you choose is you! If you choose League option, you can edit any player of the 28 teams. All you have to do is select NEW SEASON and choose EDIT TEAM. NOTE: WHEN YOU BEGIN A NEW SEASON YOU ERASE ANY EXISTING SEASONS ON THAT DISK!!!!!! You can give players different Rankings or "talent points". The best player get 24 and so on...The points are divided umong SPEED, STRENGTH, HANDS, and AGILITY. CALLING PLAYS ------------- When your ready to call a play, refer to the joystick icons. Simply move the joystick diagonally toward the formation you want. When you have done that, the PLAYS are displayed, again move your joystick diagonally to choose the PLAY you wish. If you don't call a play in 15 secs, the computer will call one for you. NOTE: YOU CAN DOUBLE THE NUMBER OF PLAYS BY REVERSING THEM. TO DO THIS, HOLD DOWN THE FIREBUTTON WHILE CALLING YOUR PLAY. THE PITCH LEFT NOW BECOMES A PITCH RIGHT, AND SO ON. To call timeout, push the firebutton before a formation is called. OFFENSE ------- To send a man in motion, simply move the joystick left or right before play begins. There are 2 ways to hike the ball: pushing the button, or pulling back on the stick. Pushing the button means you want to follow the diagrammed play and make a handoff. You CANNOT pass the ball if you push the button to hike!!! As soon as the running back has the ball, he will begin to run automactically. To make handoffs from the shotgun position, hole the button down for at least 3 secs.. Pull back on the stick if you want to pass. You can drop back or roll left or right to pass. To throw, "point" the quarterback in the direction you want to throw the ball, and HOLD the joystick button. A green "x" and show you where the ball will land and marks the middle of the "catchable range". As long as you hold the button, the x will continue to move. At the moment you release the button, the nearest receiver will run towards it, and the ball will be halfway between it and the quarterback. Make sure you lead your receivers. CATCHING THE BALL ----------------- The closer the player is to the x when the ball comes down, the better the chance he has to catch it. Watch out for INTERCEPTIONS!!! PUNTING ------- To punt, press the fire button or pull the stick back. Move the joystick left or right to point in the direction you want to kick it. Then hold the firebutton down to kick it. For a long kick, try to release the button just as the ball leaves the punters hand. KICKING FIELD GOALS ------------------- There are 2 ways, by computer or you can do it. To let the computer try hike the ball by pushing the firebutton. For you to do it, pull back on the stick. There is a box in the lower right hand corner. Use this to guide to WHERE on the football you want to kick it. As soon as the ball is hiked, a red line will begin to move from bottom to top. While it is moving, slide the blue line in. Before the red line goes half way point on the ball, push the button to stop it. The spot where the lines meet, is where it will be kicked. DEFENSE ------- The defensive player can be changed by clicking the button before the snap. To make a player BLITZ, choose a player and hold the button down and pull DOWN on the stick. Well, that is about it....hope these help! Docs typed by MR.DOS... Sysop of T H E N I G H T S H I F T Sewer Software presents WANTED instructions...edits by S.Possum Wanted ------------ Arkansas, 1880. You are the toughest and roughest bounty-hunter that ever toted a shootin' iron. But this time you are up against four of the deadliest varmints in the west! What's more, they've got a whole bunch of gunslingers and sharpshooters working for them. So this is no job for greenhorns, partner. The first job is to bring in the outlaw with $5000 on his ugly mug. Next will come his buddy, worth $10000. The third of these no-good twisters has $15000 printed under his picture. Arrest number four and you pocket a coll $20000! When you've made sure those guys are behind bars, their boss will be calling you out for the showdown. When the smoke clears, only one of you will be standing. It is to be YOU or HIM? Folks say he's faster'n a rattle-snake, so, you'll need every ounce of skill and speed you've got to lay him out. Win that last gunfight, partner, and you'll go down in the golden legends of the west as the best there ever was! Commands during Game Presentation: Fire to enter game mode with choice of bounty and which outlaw to gun down keyboard "H" to access score tables. This table will remain displayed untill another key is pressed or untill the programm automatically switches back to the presentation. Choosing the outlaw and the bounty: Use your joystick to move the sight-aim across the screen. Place the sights over the poster of the no-good son of a dawg you want to arrest. Press the Fire button and the game you've chosen will be load up. Now it's between you and him. Game instructions: P Pause Escape to quit the game Space Bar to use Dynamit Joystick to move your hero Options and how to win them: Option B: Boots Option C: Rifle Option D: Dynamite Option E: Sheriff's star Option P: Revolver Winning the Options: During play, you win options by shooting or throwing dynamiye at the barrels. The barrel will be replaced by an option symbol. Just move over the symbol to pick up the option. Danger: Death's Head! Contact with one of these critters loses yo 5 options. Bullets symbolize ammunition. you will be able to stock up! Heart: An extra life. Somebody up there appreciates you! Shield: Temporarily, the bullets just seem to bounce you of. Yellow letter options let you choose the option you want. BE WARNED! If you lose alife, you also lose 1 option for every $5000 which the outlaw you're after is worth. All four outlaws, as well as the big boss, have a defence value which is displayed on the left of the screen during the final gunfights. Zynaps DOCs for Sewer DOC DISC 7. Transferred from AMIGA by S.Possum Zynaps docs by MERKWooD/MAAD SCENARIO Zynaps is a shoot-em-up set in an alien infested planetary system. The game begins with our hero escaping in a Scorpion fighter from an alien space station out into deep space. Battle continues through asteroid storms to a nearby planet from where, equipped with weaponry and hyperspace units taken from destroyed alien craft, he sets out in search of the secret alien stronghold. After many terrifying battles fought throughout the solar system our hero discovers the location of the alien base and the final conflict can begin... CONTROLS Use a joystick to simulate up, down, left, right and fire. During the titles sequence: F1 selects one or two player games F2 selects one or two joysticks During play the fire button fires weapons or when held down activates the fuel scoop. Some weapons require the fire button to be held down before they will fire. To pause the game during play press ESC. Press fire to restart or Q to quit game. THE SCORPION ATTACK FIGHTER: The MK1 Scorpion is supplied with a wider range of sophisticated equipment and weaponry powered by an internally mounted fuel scoop. Propulsion: The main drive units can be operated at four power levels ranging from low power for delicate control in tight spaces, to a maximum setting for high speed combat in deep space. WEAPON SYSTEMS Pulse Lasers: Ideal for heavy duty alien blasting. These wing mounted lasers also have four power settings. Plasma Bombs: Two independent bomb throwers provide awesome destructive power against groundbased targets. Homing Missiles: These self propelled missiles carry scaled down planet bursting warheads and, once locked onto target, will destroy almost any large alien craft. Seeker Missiles: The ultimate in intelligent weaponry. Seeker missiles carry automatic target acquisition circuitry designed to lock onto any target they are able to destroy. THE FUEL SCOOP This provides the power to activate the Scorpion's main systems. To activate a piece of equipment (weapons, propulsion, etc) collect sufficient fuel to highlight the desired equipment in the WEAPONRY ACTIVATION INDICATOR, then collect one more piece of fuel with the scoop in ACTIVATION mode. To go into activation mode hold down the fire button until the ship changes from yellow to blue and keep it depressed while picking up the fuel. The new equipment will be activated, or it's power setting increased and the indicator reset to position one - Speedup. The WEAPONRY ACTIVATION INDICATOR displays, in order: SPEEDUP Increase speed FIREPOWER Increase laser power BOMBS Activate bomb thrower MISSILES Enable missile targeting THE OPPOSITION The opposition in Zynaps comes in five dangerous varieties: Spacecraft: Small flying craft can usually be destroyed with one hit from a laser, bomb or seeker missile. Homming missiles cannot lock-on. Ground Dangerous planet-bound defence installations require Installations: multiple laser hits or a single bomb or seeker missile to destroy them. Alien Command Large flying craft, heavily armed and well protected. Ships: These can be destroyed with multiple laser hits or homming missiles. Mother Ships: Giant aliens - like the command ships only more so! Natural Hazards: These consist largely of asteroids and other flying debris - keep well clear! Warning: Alien craft are known to be well armed with a variety of missiles, homming missiles and mines! Scoring: Points are awarded for blasting individual aliens and special bonuses for destroying complete formations of more dangerous aliens. Bonus lives are awarded at 10,000 points and every 20,000 thereafter. Enjoy the game, hope the docs help MERKWooD/MAAD he compilation process will be completed, and you will be returned to the compiler screen. Exit from the accessory using the QUIT option and type: ACCNEW:REM REMOVE ALL ACCESSORIES (ONLY NEEDED FOR 520's) load "BULLET.CMP" Now place a copy of the STOS Games disc and enter the lines: DIR:REM UPDATE DIRECTORY DIR$ = "\BULLET" RUN Your newly compiled version of Bullet Train will now execute in the usual way. As you can see, compiled programs are much faster than interpreted ones! So far, I 've only shown you how to create a compiled program for use within STOS Basic. But the ability to generate Gem runable programs is much more exciting as it enables to distribute your work with none of the protection problems encountered with a run- only interpreted program. I'll begin with a small example which displays a Neochrome picture on the ST's screen. Type in the following program: 5 mode 0:flash off 10 F$=file select$("*.NEO","Display a NEOCHROME screen") 20 if F$="" or len(F$)<5 then end 30 IF RIGHT$(F$, 4) <> ".NEO" THEN boom: GOTO 10 40 hide: load F$, back: REM load screen 50 wait key:show Put your working copy of the compiler disc into drive A and call up the compiler from the menu. Now click on the box marked BASIC. The title of this box should immediately change to GEM. You can now start the compilation process with the COMPILE button. After a short while, you will be prompted for a filename for your new program. This file will then be written to the disc and the compilation process will be concluded. If you wish to test this program, you will need to leave STOS completely and execute it from the Gem Desktop. Don't forget to save your original program first! On average, Gem-run programs are about 40k larger than the equivalent compiled program. The reason for the increase in size is that Gem-run programs have to be completely self sufficient. This requires them to incorporate large segments of the appropriate compiler libraries. Gem-run programs can be run directly from the Desktop like any other program. They do not need any support from the STOS system. Note that once you have compiled a program in this format, it cannot be subsequently executed from the STOS Basic system. You should therefore ALWAYS retain a copy of your program in its original interpreted form. Finally, I'll provide you with a full-sized example of a Gem- run program. Place a disc containing the sprite editor definer into drive A and load it with: DIR:REM UPDATE CURRENT DIRECTORY load "SPRITE.ACB" Enter a disc containing the compiler libraries into drive A. Since this is a very large program there won't be enough space to compile it directly into memory on a 520 ST. In this case you should specify compilation from memory to disc by clicking on the button below DEST. Now toggle the BASIC icon to GEM and select COMPILE . The disc will be accessed for a couple of minutes as the sprite editor is compiled onto the disc. You have now produced a complete stand-alone version of the sprite editor which can be run independently of the STOS system. this might well prove extremely useful, especially when you are importing graphics directly from neochrome or degas drawing packages. 4 : TROUBLESHOOTING Although you are unlikely to encounter any major problems when using the compiler, it's still possible that an unforeseen difficulty could occur at one time or another, We've therefore provided you with a comprehensive troubleshooting guide which will help you through most of the more common errors. THE COMPILER GENERATES AN OUT OF MEMORY ERROR This can happen if you are trying to compile a large (100k+) program on an unexpanded 520 ST. the compiler provides you with four different options which can be used to conserve memory. Here is a list of the various possibilities in descending order of speed: SOURCE DESTINATION COMMENTS MEMORY MEMORY VERY FAST - USES MAXIMUM AMOUNT OF MEMORY. DISC MEMORY SLOWER BUT USES CONSIDERABLY LESS MEMORY. MEMORY DISC SLIGHTLY SLOWER THAN DISC TO MEMORY BUT THE MEMORY USAGE CAN OCCASIONALLY BE LESS. DISC DISC USES VERY LITTLE MEMORY. The only limit to the size of your programs is the amount of available disc space. This is quite slow on a single floppy. When you get an out of memory error, you should try each of the above options in turn. If you still get an out of memory error, you will need to reduce the size of your program in some way. The easiest solution is to get rid of the permanent memory banks which are used by the program. These can be defined during program initialisation using the RESERVE command and loaded separately from the disc. Your programs initialisation phase will now include the following steps. 1 Define each screen bank with RESERVE AS SCREEN. 2 Load these screens from the disc with LOAD. 3 Define any DATA banks in the original program as WORK banks. Use the RESERVE AS WORK command for this purpose. 4 Load the external data from the disc. Since a large percentage of the space used by many STOS programs is taken up by the memory banks, this technique can lead to dramatic reductions in size, without noticeably affecting the programs performance. Another idea is to split your program into several parts, and load these into memory with RUN when required. This technique is know as overlay programming, and is commonly used in commercial games.If you do use this approach, you will need to remember to compile each program module separately. Don't try to combine interpreted modules with compiled modules or your program will fail when run from the desktop. THE COMPILER RETURNS AN UNDIMENSIONED ARRAY ERROR FOR AN ARRAY WHICH HAS APPARENTLY BEEN CORRECTLY DIMENSIONED. The compiler requires the DIM statement to occur in the listing BEFORE the arrays are used. Take the following example. 10 GOSUB 1000 20 A(10)=50 30 END 1000 DIM a(100): RETURN This causes an error because when the compiler checks line 20, it has yet to encounter the DIM statement at line 1000. It therefore generates an erroneous error message. The solution to this problem is simply to dimension all arrays at the start of the program. So you can fix the above routine by replacing line 10 with: 10 dim a(100) YOU GET A SYNTAX ERROR AT AN ON...GOTO OR ON...GOSUB STATEMENT In order to optimise the speed of the compiler, the line numbers used by on goto and on gosub are required to use constants rather than variables. So a line like: ON A GOTO 1000,10000+A*5,500 will produce a syntax error. This should be replaced by: ON a GOTO 1000, 10010, 500 A PREVIOUSLY ERROR-FREE PROGRAM RETURNS A SYNTAX ERROR WHEN compiled This happens quite often, and is simply a reflection of the improved sensitivity of the compiler to genuine syntax errors. Take the following program: 10 print "hi there" 20 goto 10 30 prunt "This is an error" If you try to run this program using the interpreter, then the spelling mistake at line 30 will be missed, since it is never actually executed. But if you compile it, the compiler will detect the error immediately and ask you to correct it. PROBLEMS OCCUR WHEN YOU TRY TO COMPILE A PROGRAM USING CERTAIN extension commands Any extensions which are to be compiled need to have a separate extension file for the compiler. This has the extension ".ECN" where N is the identifier of the extension file. The appropriate file will normally be included along with the extensions, and should always be placed in the COMPILER folder. THE COLOURS OF A GEM-RUN PROGRAM ARE DIFFERENT FROM THE INTERPRETED version. This problem can occur if you have been altering the default colour settings using the options menu. Remember that when these are saved to disc,they affect all subsequent compilation. Correct by simply restoring the standard options from the original COMPILER disc. A PROGRAM WHICH RESERVES A MEMORY BANK WITHIN A FOR...NEXT LOOP CRASHES INEXPLICABLY. A program which creates a memory bank within a FOR...NEXT loop will behave unpredictably if the bank number is held in an array. This could lead to a total crash of the STOS Basic system. The reasons for these problems are complex, but the sort of code to watch out for is: 10 dim b(15) 20 for b(3)=1 to 10 30 reserve as screen b(3) 40 next b(3) The difficulty can be avoided by either using a simple variable as the index, or defining the banks explicitly outside the FOR...NEXT. For example: 20 for i=1 to 10 30 reserve as screen i 40 next i 5: COMPILER EXTENSION COMMANDS The compiler adds three extended commands to the normal STOS Basic system. These commands are only used in a compiled program, They have no effect whatsoever when the code is interpreted. In a normal STOS Basic program the following tests are performed at regular intervals. .Sprite updates. .Menu checks. .Control+ C tests. The COMPTEST instructions provide you with the fine control over the testing process. COMPTEST ON Checks are only carried out before jump instructions such as GOTO and WHILE, and especially slow commands like PRINT or WAIT. Note that COMPTEST ON is the default setting used by interpreted programs. COMPTEST OFF The COMPTEST OFF command stops the testing completely, improving the speed of the program by up to 10%. This allows you to optimise time critical sections of a compiled program. It is particularly useful for routines which have to perform large numbers of complex calculations in a relatively short space of time. Typical examples of such programs include 3D graphics packages and fractal generators. One dangerous side effect of this command is that it is impossible to interrupt a program until the compiler tests are restored. So try to get into the habit of saving your current program before calling this function. Otherwise, an infinite loop could lock up the system completely, losing all of your valuable data. example: 10 dim a(10000),b(10000) 20 for i=0 to 10000:a(i)=i:next i:rem load an array 30 comptest off:timer=0:print "Compiler test off" 40for i=0 to 10000:b(i)=a(i):next i 50 PRINT "loop executed in "; TIMER / 50!; " seconds" 60 comptest on:timer=0:print "Compiler test on" 70 FOR I = 0 TO 10000: b(I) = a(I): NEXT I 80 PRINT "Loop executed in "; TIMER / 50!; " seconds" Try stopping the program with Control+C after the compiler tests have been switched off. The program will terminate around line 60, since this is the first time the Control+C test has been performed. COMPTEST ALWAYS This adds a test before each and every STOS Basic instruction. It results in slightly smoother sprite movement, and finer control over the menus. The precise effect of this command will entirely depend on the mixture of instructions in your program. If your program makes heavy use of instructions such as GOTO and FOR...NEXT, the difference will be barely noticeable. But if your routine will be performing extensive calculations while also using the sprite commands, this instruction could prove invaluable. 6: THE NEW FLOATING POINT ROUTINES. When STOS Basic was first designed, it used the latest IEEE standard for its floating point numbers. This allowed your program to use numbers between -1.797692 E+308 and +1.797693 E+307. These numbers were accurate to 16 decimal digits. However it was quickly discovered that few users really needed this level of accuracy. The vast majority of arcade games don't use real numbers at all, and restrict themselves to integer arithmetic for the maximum speed. Furthermore, any programs which do need floating point operations usually require the to be performed extremely quickly. This is especially true of programs which generate 3D graphic effects. After much thought, we have therefore decided to replace the existing format with the faster single precision. The new system allows a floating point number to range between 1E-14 to 1E+15, and precision is now limited to seven significant digits. This should be more than adequate for the vast majority of programmers. The speed improvement when using the new format is extremely impressive. All floating point operations are approximately three times faster, with trigonometric functions like SIN and COS being performed at more than 30 times their earlier speed! This applies equally well to both interpreted and compiled programs. Note that this compiler is currently ONLY compatible with the new system. So unless you genuinely need to use double precision arithmetic in your programs, you should upgrade all your copies of STOS Basic to version 2.4 immediately. See the installation guide for further details of this process. Incidentally, if you try to list any of your existing programs which use real numbers, the following text will be displayed on the screen. BAD FLOAT TRAP In order to allow you to run these programs from STOS v2.4 we have included a useful little utility called CONVERT.BAS which will automatically transform your programs into the correct format. You can call this program from the compiler disc by typing: RUN "CONVERT.BAS" You will now be prompted for one of your STOS V2.3 programs. Insert the appropriate disc in drive A and select your program using the STOS file selector. This program will then be quickly converted into STOS V2.4 format, and will be copied back to the original file. It's a good idea to perform this conversion process for every one of your STOS Basic programs which use real numbers. This will avoid the risk of confusion in the future. 7: TECHNICAL DETAILS In this section we will be discussing a large range of advanced topics which will be especially relevant to those with a little programming experience. IMPROVED GARBAGE COLLECTION The problem of "garbage collection" arises in any language which allows the user to manipulate variable-sized pieces of information. The classic example of this problem in STOS Basic occurs with strings. Take the following small Basic program: 10 input a$:rem input string 20 a$=a$+a$:rem double the length of the string 30 b$=a$-" ":rem subtract all spaces from the string 40 c$=left$(a$,3) 50 print a$ 60 GOTO 40 The above program may look extremely simple, but underlying all this casual string manipulation, the STOS interpreter is performing a frantic amount of activity. Like all variables, the characters in a string need to be stored somewhere specific in the Atari ST's memory. But what actually happens if you increase the size of the string? The system can't just tack the extra characters on at the end as this will overwrite any other variables which have been positioned immediately after it. One solution would be to move the entire list of variables so as to create the correct number of spaces at the end of the string. In practice however, this would prove incredibly slow. It's much easier to simply define a new string with the same name, and then insert it at the next free memory location. Of course, the characters making up the old string are now totally useless, and taking up valuable memory space. Another source of potential waste are the intermediate results generated by operations such as "+","-" and SPACE$. As time goes by, this "garbage" will start to clutter up the ST's entire memory. Eventually, the STOS system will be forced to totally reorganize the ST's memory to recover the unused space for your program. This process is known as garbage collection. Since It's impossible to predict when the memory will finally run out, garbage collection can occur at wildly unpredictable intervals. Furthermore, in extreme cases, the process can take up to several whole minutes to complete. This can lead to sudden and inexplicable delays in the execution of your program. The worst problems occur with programs which perform a large amount of string manipulation such as adventure games. Fortunately, the STOS compiler provides you with the perfect solution to this problem. Enter the following program: 10 dim a$(5000) 20 for x=0 to 5000 30 a$(x)=space$(3)+"a"+space$(2):rem this generates a lot of garbage 40 home:print x 50 next x 100 timer=0 110 PRINT free: REM force a garbage collection 120 PRINT TIMER / 50! If you run this program using STOS Basic v2.3 the garbage collection will take several minutes. Now try it on STOS Basic v2.4. You will be delighted to discover that the entire process occurs almost instantaneously. This is because, when Francois Lionet created the compiler, he cleverly optimised all the garbage collection routines for maximum speed. So garbage collection will never be a potential problem for one of your compiled programs. The COMPILER The STOS Basic compiler was designed to use as little memory as possible. In fact, most of the memory needed by the system is borrowed from the sprite background screen. That's why the mouse disappears while the compiler is executing. HOW THE COMPILER WORKS The compiler first reserves some memory in the current background screen, it then looks into the COMPILER folder and opens the main Basic library (BASIC204.LIB). The addresses of all the appropriate library routines are now loaded into the ST's memory. The next action, is to check for the existence of an extension file ending in .EC. These contain all the information required to compile the BASIC commands added by the extension. Whenever an extension is discovered, a full catalogue of additional routines is then added to the current list. The execution of the compiler is split into three separate phases which are known as passes. PASS 0......The first pass checks the STOS Basic program for possible syntax errors, and makes an initial attempt at converting the program into machine code. while it does this, it produces a full list of all the library routines which will be called by the program. Note that no actual code is actually generated by this pass as the intention is merely to estimate the final size of the compiled program. The compiler can now safely reserve the precise amount of space which will be needed, without wasting valuable memory. PASS 1......Analyses the Basic program using exactly the same method as pass 0. It then converts the entire STOS Basic program into machine code, and copies this data to either memory or the disc. At the same time it also creates a number of tables including the relocation table. The compiler now incorporates any library routines which are accessed from the compiled program. It is important to note that only the routines which are actually used by the program will be included in the final code. This reduces the size of the compiled program to the absolute minimum. The following steps are then performed by the compiler in quick succession: 1 If an extension command is used in the program, the extension libraries are searched and the appropriate routines are written into the compiled program. 2 The relocation table is copied into the program. This allows the compiled program to be executed anywhere in the ST's memory. 3 The table used to hold the address of the program lines is then added. 4 Any string constants which are used are tagged onto the end of The program. 5 If the program is to be run from Gem, the compiler copies over the various library routines needed by the sprites, windows, menus, music and floating point arithmetic. These add approximately 40k to the length of the program. PASS 2......This pass simply explores the relocation table created in pass 1, and sets the required addresses in the compiled program. The compiler now closes all the open disc files, and transfers the program to the current program segment if required. Note that the eventual size of a compiled program depends entirely on the precise mix of STOS instructions which are used. there's no real relationship between the complexity of the program and the size of the code. In practice, some of the simplest Basic instructions proved to be the hardest to actually write. A good example of this is the STOS file selector, which involves over 4k of machine code. You can see below the machine code produced by the compiler from a simple plot command. The basic listing: PLOT 320, 100, 1 THE COMPILED PROGRAM: move.l #1,-(a6) move.l #100,-(a6) move,l #320,-(a6) jsr PLOT The subroutine 'plot' is a library routine which will be merged into the compiled program. STOS-RUN STOS-run programs have the standard Basic header and fake line at 65535 with a single instruction which calls the compiled program. The memory banks are handled by the editor in exactly the same way as for a normal interpreted program. This means you can BGRAB or SAVE them in the usual way. Incidentally, it's also possible to execute a compiled program as a STOS accessory. In order to do this, load them into memory and resave them with the extension ".ACB". GEM-RUN Gem-run programs have the same header format as TOS files. There is, however, NO RELOCATABLE TABLE for TOS, and the relocation address points to an empty table. Instead of this, the beginning of the program is written in PC relative code. This contains a small routine which relocates the main program using the STOS relocation table. The first thing a GEM-run program does is to initialise the memory banks which are normally chained to the compiled program. It starts by finding the address of the top of memory using location $42E, it then subtracts 64k for the screens and moves the memory banks (if present) to the end of memory. This provides the compiled program with plenty of free space to work with, situated between the end of the program and the beginning of the memory banks. The program then sets up the standard STOS environment. It first initialises all the Trap routines (sprites, windows, music). Then it activates the normal STOS interrupts and kills the interrupts used by GEM. Finally it erases the screen, activates the mouse pointer and starts executing the compiled program. 8: UTILITY PROGRAMS This package includes a number of small accessory programs for your use. THE RAMDISC ACCESSORY The STOSRAM program allows you to create a ramdisc of any size for up to the maximum available ram. It is especially useful for 1040 users who can copy the COMPILER folder into memory, speeding up the compilation process significantly. See the section in installation for more details. The action of the accessory is to add a separate STOSRAM.PRG program to your current AUTO folder. This will be executed every time STOS Basic is subsequently run, and will be automatically loaded with the contents of any folder on the current disc. Here is a list of the possible options. or Sets the drive on which the ramdisc program will be installed. Chooses the size of the ramdisc. The default is 150k, which is just right for the contents of the COMPILER folder. When this option is selected you will be requested to input the ramdisc's size. This number should be entered in units of K'bytes. Selects the path name for the folder which is to be loaded into the ramdisc on start-up. If this string is empty, or the folder you have requested cannot be found, then the ramdisc will be left vacant. Note that only the individual files in the directory can be copied, NOT the entire folders. Creates a new ramdisc using the options you have previously set. The STOSRAM.PRG program is now copied into the AUTO folder on the disc. If an AUTO folder doesn't currently exist, then one will be created. An important point to remember is that the ramdisc won't be removed from memory by resetting the computer- it must be completely turned off. If you reset and boot up STOS another ramdisc will be created. THE DISC FORMATTER ACCESSORY The FORMAT accessory enables you to format a disc directly from STOS Basic. Discs can be formatted using the following options: or Selects the current drive. <1> or <2> This toggles between 360k single sided (1) and 720k double sided format (2). Formats the disc in the current drive. Well, that concludes yet another huge doc brought to you by Sewer Software. Thanks again to Gary for typing the entire manual in for us. STOS MAESTRO INSTRUCTIONS Complete DOCS typed for Sewer Software by Paul. Brought to you by Sewer Software. Note : These DOCS are huge (over 100K) so make sure your printer is feeling pretty good and you've got a bit of spare time before attempting to print the entire docs. But then again, if you've got that much spare time, why don't you write us some docs and send them to the address in the scrolltext. CONTENTS -------- Introduction................................................... 1 Connecting the STOS maestro cartridge to an ST............... 1 Making a backup.............................................. 2 What is a sampler............................................ 3 Chapter 1: The sound sampler editor............................ 5 Loading and playing a sample................................. 5 The main screen.............................................. 6 Spectrum analysers and pointers......................... 6 Sample display area..................................... 7 Play and record area.................................... 7 The menu bar........................................... 10 Cut and paste....................................... 10 Disc options........................................ 11 FX menu............................................. 13 Special options..................................... 14 Creating your own welcome sample............................ 15 Chapter 2: Disco and Phaser programmes........................ 16 STOS Maestro Disco unit..................................... 16 STOS Phaser programme....................................... 17 Chapter 3: STOS Basic Interface............................... 17 Installing the new STOS Maestro extension file.............. 18 Maestro accessory........................................... 18 Accessory tutorial.......................................... 19 Drum machine................................................ 20 Chapter 4: STOS Maestro commands.............................. 21 Playback commands........................................... 21 Sampler control commands.................................... 29 Chapter 5: Creating your own sampler in STOS Basic............ 30 Initialisation.............................................. 30 Setting the sample speed.................................... 31 Recording a sample.......................................... 31 Playing a sample............................................ 32 through the loudspeaker................................ 32 Chapter 6: Technical appendix................................. 33 Adding sampled sounds to an existing STOS Basic programme... 35 Assembly language interface................................. 36 STOS Maestro Plus cartridge specifications.................. 38 INTRODUCTION ------------ Congratulations for buying STOS Maestro, an exciting new utility which, together with the STOS Compiler, continues Mandarin's commitment to support STOS Basic. STOS Maestro allows you to incorporate "real" sounds of professional quality - speech, music and special effects - into your STOS Basic programmes with the addition of only a few lines of code. Not only will it enhance the style and quality of your games and programmes but is also a fun package to use. The package is available in two formats: STOS Maestro and STOS Maestro Plus. The only difference is that the latter package includes the professionally-designed sampler cartridge. With the STOS Maestro Plus sampler cartridge you can record your sounds as easily as you would play a record or cassette and the whole world of sound is open to you. To get you started, the STOS Maestro package contains over 50 sampled sounds, along with the two discs - one containing the programmes, the other containing the samples. You will also find a registration card and details about the STOS Maestro Plus sampler cartridge and how to order it -if you don't already have one. Connecting the STOS maestro plus sampler cartridge to an ST ----------------------------------------------------------- If your STOS Maestro set up includes the sampler cartridge you must follow the steps below. They detail the proper use of the cartridge. 1 Before inserting or removing the cartridge turn the ST off. Otherwise the cartridge or even the computer could develop a fault. 2 Insert the cartridge into the ST's cartridge port (located on the left side of the system), taking care to ensure that the STOS Maestro sticker is facing up and facing towards you. 3 Now insert the STOS Maestro programmes disc into drive A and turn on the ST. External lead requirements -------------------------- The cartridge links the ST to the outside world of sound. You must now connect an external sound source to the cartridge. We have supplied a female phono port to which you must connect an external lead. For best results take the output from the headphones port of your external source (hi-fi, tape recorder, walkman, musical keyboard). This output can be controlled via the volume control. If you directly transfer the sound from, say, a CD by phono to phono then you'll probably find the sound output is too high and won't be controllable. If you don't have such a lead then any electronic shop will be able to supply you with one - if you're unsure, take the cartridge with you and explain your requirements to the shopkeeper. On the enclosed samples disc are 51 sampled sounds. Here's a quick list for your reference. ------------------------------------------------------------------------- | Synthesiser sounds Voices | | ------------------ ------ | | 5th string violin Bonus points | | Clockwork EEEEERRRRR... | | Easy synth Level | | Fullrank 1, 2, 3, 4, 5 | | Moonsynth Game over | | Orchestra H-e-l-p! | | Piano brass Get ready | | Pitch bend | | Spacy sound Sound effects | | Synth Bass ------------- | | Weird sound Boing | | Yeah sound Bounce | | Computer bleep | | Musical Instruments Electric door | | ------------------- Explosion | | Acoustic guitar Helicopter rotor blades | | Electric guitar Laugh | | Gong Laser gun | | Horn Machine gun | | Orchestral stab Metal bar sound | | Panpipe Pistol shot | | Piano Siren | | Saxophone Smashing | | Strings Spring effect | | Tubular bells Swoosh | | Zangy | ------------------------------------------------------------------------- Making a backup --------------- Stos Maestro is not copy-protected which means you can make backups or load it onto a hard drive if you have one. But please don't give copies to other people. STOS Maestro took many months to produce and it is only by continuing sales that we will able develop new extension discs and accessory programmes. The two STOS Maestro discs have been specially formatted so as to fit the extra music demos on. This means that side two of each disc cannot be copied using the standard Gem Desktop backup procedure. Don't worry about this because copying the discs as single format will backup the other files - it's only the DEMO.TOS files that can't be re-duplicated. If you have a special copying utility such as PROCOPY then you'll be able to back the discs up fully. The following procedure shows how you should backup the discs as single sided. 1 Slide the write protect tab of the original disc so that you can see through the hole. This will guard your disc against possible mistakes during copying. 2 Place a blank disc into drive A and format it as single sided 3 Now put the STOS Maestro programme disc into drive A and drag the drive A icon on to the drive B icon. 4 Follow the prompts displayed in the Gem dialogue boxes. 5 Repeat steps 1 to 4 for the STOS Maestro samples disc. You will now be left with two backup discs, but the DEMO.TOS files won't work. As you read through the manual and experiment with the samples, you may well create some new sounds which you really like. Keep a spare formatted disc to hand for storing your samples but don't you worry if you forget - the STOS Maestro editor has a built in disc formatter. What is a sampler? ------------------ You probably know that sampled sounds are extremely realistic - they are, in fact "real" sounds - and most ST games make a feature of the life-like music and sound effects they contain. But how does the sound get inside the computer in the first place? Here's the theory behind sampling - but don't worry, there's not much of it and it won't hurt a bit. If you know how sampling works you'll get much more out of the programme. If you really don't want to know what's going on you can memorise the following simple rule and skip ahead to Chapter 1: The higher the sampling rate the better the sound quality but the more memory it will take. Simply, sampling is the process of converting analogue sound into digital information, storing it in the computer and then converting it back to analogue sound again so we can hear it. The routines required to do this are known, naturally enough, as analogue-to-digital and digital-to-analogue converters or A-to-D and D-to-A for short. These terms you will come across whenever samplers are mentioned. STOS Maestro does all this conversion work for you automatically so you don't have to worry about it at all. But it will help in understand a little about the mechanics of the conversion process. If you look at sound waves on an oscilloscope you'll see that they consist of lots of smooth curves and continuously varying lines. Computers, as you probably know, aren't very good with curves. At their lowest level they can only store the digits 0 and 1 and when they draw a curve on the monitor you'll notice that it's not a continuous unbroken line but a series of steps, generally pixel size. So how can we represent a continuously varying value (sound waves) as numbers? THe solution is to take samples of the sound wave at regular intervals and store the reading as numbers. Let's put this little bit of theory into practice and see what happens when we sample a sine wave, the purest sound in the universe, it's a little like a plain flat whistle or flute sound and does not contain any "other noises" (the technical term for these is harmonics) which make a sound bright and raspy like brass, thin and reedy like an oboe or hollow like a clarinet (sine in Latin means "without"). If you feed a sine wave into an oscilloscope the display will appear something like this: -------------------------------------- | | | | | | | | | paste figure 1 here | | | | | | | | | -------------------------------------- It tells us that the entire sine wave lasted only four milliseconds (four thousandths of a second). Or to put it another way, 250 of these sine waves will occur every second. The actual pitch produced by this will be an out-of- tune B below middle C, but we'll use this value because it makes things simpler if we stick to round numbers. How many samples do we need to take to convert to digital form? Let's try taking a sample once every thousandth of second. We'd get something like this: -------------------------------------- | | | | | | | | | paste figure 2 here | | | | | | | | | -------------------------------------- It's a nice try but it's not a very good representation of a sine wave, is it? Let's increase the sample rate to four thousandths of second: -------------------------------------- | | | | | | | | | paste figure 3 here | | | | | | | | | -------------------------------------- That's a bit more like it, although it's not quite perfect. To avoid having to talk in terribly small numbers like so-may thousandths of a second, we use the term kiloHerz which is abbreviated to KHz. So we can say our first digital conversion was sampled at 1KHz and the second at 4KHz. The sampling rate in STOS Maestro can be varied from 5KHz to 32KHz. You can see that we were getting pretty close to a sine wave with a sample rate of 4KHz. At 32KHz our digital representation of the wave will be pretty close to the real thing. Great! So you could sample everything at 32KHz. Well you could but I've got some good news and bad news for you. As we've seen, the more samples taken in a given time, the more accurate the digital model will be and consequently the better the sound quality will be on playback, that's the good news. However the more samples you take in a given time, the more data you accumulate, the more memory you will require and the more jerkily your STOS sprites will move because so much processor time is being taken up. That's the bad news. You will find that some samples will sound fine at low sample rates but others will lose their brightness and "edge". Here's the bottom line: Sampling is a trade off between fidelity and memory used. But here's some good news. In order to convert digital data into sound, samplers use a conversion table and the quality of the sample depends upon the precision and accuracy of this table. Maestro incorporates a super quiet, high precision conversion table and you'll find that many samples san be recorded and played back at quite low sampling rates and still sound good. And here's even more good news - STOS Maestro employs a technique called oversampling which enables samples to be taken at low sample rates with greater than average accuracy. It also features a unique pack facility which lets you squeeze more samples into less memory. Oversampling and pack are fully explained in chapter 1. Okay, that's enough theory, now let's get sampling -------------------------------------------------------------------------- | 1: The Sound Sampler Editor | -------------------------------------------------------------------------- Quick Start Guide By now you'll want to see - and hear - what STOS Maestro can do so we'll run through a few basics to get you up and running. WARNING: If you are going to create samples of your own with STOS Maestro Plus sampler cartridge, make sure your Atari ST is switched off before plugging the cartridge into the cartridge port Insert your backup programme disc into the disc drive and turn on your computer. Double-click on the Drive A icon and a window will open. Double click on STOSM.PRG When the loading screen appears, press the 1 key on the ST's keyboard to load the sampler programme. Alternatively the sampler can be loaded by double-clicking on the Phaser programmes described later. Upon loading the display will change to a screen full of icons and a welcome sample will be played. Loading and playing a Sample ---------------------------- Remove the STOS Maestro programme disc and place the back-up sample disc in your drive. To load a sample you must first select the disc menu (we'll explain all about the various menus in a moment) so click on the disc icon on the second line from the bottom: DISC MENU: The Disc menu will roll down on the bottom line. Click on the leftmost icon and a Gem-type file selector box will appear. You will notice that the samples have been divided into four types and stored in four folders: Music, Sound, Synth and Voice. Open a folder by clicking on the folder name. Then load a sample by double- clicking on the sample name or by clicking on it to highlight it and then clicking on the OK box. A message will appear in the middle of the screen telling you which sample file the programme is loading then you will see a small blue and white visual representation of the sound to the left of the central display area. To hear the sample, left click on the Play icon: PLAY: To stop playback press the spacebar. Whenever the programme is sampling or playing back you can always halt the operation by pressing the spacebar. You'll notice that when you do this an orange bar appears in the display area marking the point at which you stopped playback. This helps pinpoint small sections of a sound within a larger sample and is useful during editing. Now that you know how to load and play samples, you can try out some of the other sounds on the disc. Let's now look at all the exciting features STOS Maestro has to offer. The main screen --------------- STOS Maestro only has one main screen so it's very easy to use. At first glance some of the icons may look strange but they will be explained in detail. You will soon master STOS Maestro and using it will quickly become second nature. The STOS Maestro screen is divided into four areas. -------------------------------------- | | | | | | | | | | | paste figure 4 here | | | | | | | | | | | -------------------------------------- Options are selected by moving the arrow around the screen with the mouse and left clicking on an icon. The right button has some special functions which we'll explain when we come to them. 1 Spectrum analysers, position and size displays Spectrum analysers: These are the two large boxes in the top left and right hand corners of the screen. They give a visual representation of the signal which is entering the Audio-In socket of the STOS Maestro Plus cartridge. They will work whenever you aren't doing anything which requires the programmes full attention such as sampling and playing back. Use the indicators as a guide to the volume level of the signal. They are calibrated in decibels (dB) which is how sound levels are measured. The more decibels, the louder the signal. When you're recording a sample, get as much signal into the programme as you can but don't turn the volume up so high that the bars hit the top of the windows and are truncated as this will distort the sample. Here's a useful tip: When you're recording, try to avoid trailing the lead which connects the sound source to the cartridge over your computer or alongside your monitor as it may pick up background noise. Position and size indicators: Underneath the spectrum analysers are the position indicators labeled POS1 and POS2. These show which area of memory you are currently working on and reflect the position of the two white dotted pointers in the sample display area below. In between the position indicators is the size indicator which tells you how much memory (in bytes) lies between the two pointers. This is very useful: Not only does it save you doing complicated sums but it can tell you exactly how large a sample is so you know how much memory it will take up in your STOS programmes. The total amount of memory will depend on the size of your ST's ram. On a 1040 ST you will have a little less than 700k to play with. We'll look at this more in detail now. 2 Sample display area This gives you a visual representation of the sample(s) in memory. Upon loading the programme, this area will show all the free memory - and it will be completely empty. The two white dotted lines at either end of the display area are the pointers. The left mouse button controls the left pointer and the right mouse button controls the right pointer. Using the mouse, position the arrow anywhere in the display area and press the left mouse button. The pointer will move to the arrow position. Move the arrow to the right and press the right button and the right pointer will do likewise. Note that the position and size indicators change as you move the pointers. Also note that the left pointer cannot be further right than the right pointer, and vice versa. In addition you can click and drag the pointers around the display area by keeping the left or right button pressed and moving the mouse. The area between the pointers is the current work area and all recording, playing and editing functions take place between these pointers. If you want to hear just a part of a sample, isolate it with the pointers. Just below the sample display area is the memory bar indicator. This indicates how much of the available memory is actually in view in the display area. It also shows where it lies in relation to the whole of the memory. This will become clear when we look at the magnify and de-magnify facilities. At the moment the bar runs the full width of the display area indicating that the whole of the available memory is on view. 3 The Play and Record area This consists of the two rows of icons below the sample display area. Let's look at them one by one. |<- Moves the left pointer to the extreme left of the sample display area. <- Moves the left pointer to the left of the display by one pixel. If it is already at the extreme left of the display area you won't be able to move it any further. Although the pointer moves one pixel at a time, the actual number of bytes it steps will vary according to the amount of memory represented by the display area. On a 1040 ST, if the whole of available memory is shown in the display area a one-pixel movement will step on by about 2550 bytes. -> Moves the left pointer to the right by one pixel. Using these step functions you can home in accurately on a particular part of a sample. The right pointer can be controlled with similar icons located at the far right of this line of icons. Magnify: This "blows-up" the current work area (that part of memory between the two pointers) to fill the sample display area. Let's try an experiment. Load the BONUSPNT.SAM file in the VOICE folder. Move the right pointer a little to the right of the end of the sample (until the size indicator reads between 15000 and 16000) and click on the Play icon to check that the whole sample is between the pointers. Now click on Magnify. That's more informative, isn't it. Now move the right pointer so that it's just to the left of the last little "blip" in the display area. Click on play. You should now have lost the "s" off "points". It should be easy to see where "Bonus" ends and "Points" begins. Move the right pointer further left until you only hear "Bonus" when you click on Play. Now try something a bit more tricky. See if you can move the right pointer so that the "Bonus" become "Bone". Fun isn't it? You can magnify an area, define another area and magnify that and so on down to a maximum magnification level of about 320 bytes. At this level, the encapsulated sample will be so short it will be little more than a click. You cannot magnify more than 15 times. However if you are working on a specific area of a sample, you will probably find you reach the maximum 320 bytes level after only four or five magnifications. Watch the memory bar indicator as you magnify. It shows exactly where the sample sits in relation to the total memory. De-Magnify: Reverses the magnification process and steps backwards through the various stages of magnification which have been made. Watch the memory bar indicator. Thru: Clicking here turns the mouse pointer from an arrow into a busy bee. Any sound source fed into the stos Maestro Plus sampler cartridge will now sound through your monitor as it plays. The quality of the sounds is determined by the record sample rate (second row, extreme right) - see later). This allows you to check the quality of a sound before recording it. Programme: Used to programme the function keys with samples. Click on the Wipe icon to clear memory and then load the GAMEOVER.SAM sample. Magnify it and use the right pointer to isolate "Game" - its not where you'll probably look for it first. Left click on Programme and `the display area will prompt you to press a function key. Press F1. Right click on Programme, press F1 and you will hear "Game". Unlike normal playback mode you can press the function key before the sample has finished playing to create the famous "N- N-N-N-N-Nineteen" effect - or "G-G-G-Game" in this case. Press the spacebar to escape from playback mode. Now isolator "Over" and store it in F2. If you accidentally select Programme and don't wish to set a function key then you can quit by pressing any other key. Programme doesn't store the actual samples, `rather it keeps a note of the positions of the left and right pointers. We can demonstrate this easily: Click on the Full icon (the very next on on our list) and load GETREADY.SAM Right click on Programme and press F1 and F2. Full: A useful control which you have already used. It restores the pointers to the start and end of memory. Wipe: This wipes (empties) the whole of memory, not just the section between the pointers (use the Cut function which you'll find in the Edit Menu). its non reversible and you get a warning prompt before it proceeds. It resets the pointers to the start and end of available memory. Play (and Play Menu): Left clicking here plays the sample between the two pointers. Right clicking will roll down the Play menu on the bottom line. Load GETREADY.SAM (you may have to click on the disc icon to get the Disc Menu back). Magnify the sample and move the right pointer pretty close the end of the sample. Now for some fun: Right click on Play. Backwards Loop: Play the sample in reverse and loops its. Press spacebar to stop. Forwards Loop: Plays the sample forwards and loops it. Forwards/Backwards Loop: Plays the sample forwards then backwards also in a loop. Backwards: Plays the sample backwards once. Forwards: This is the default Play button and plays the sample forwards. Notice that as you select each of the icons they appear in the second line in place of the Play icon. This allows you to use any of these types of playback during editing without having to call up the Play menu each time. Playback Rate: If you recall the sampling theory from the introduction, you'll remember that the more samples we take in a given time, the better the quality. Its probably occurred to you that you can sample at one rate and play back at another. If you haven't tried this yet lets try it now. The principle involved is rather like speeding up or slowing down an audio recording using a record deck (playing 45s and 33rpm) or a reel-to-reel recorder. You probably know that if you slow down a recording the pitch becomes lower and speeding it up produces Pinky and Perky voices. Its the same with sampling. If you increase the playback speed of a sample -the rate at which the digital information is passed through the D-to A converter - the pitch becomes higher, and vice versa. This is easy to do on a computer. This icon is used to set the playback speed which can be fully varied from 5KHz to 32 KHz. Click on the left and right arrows to adjust the rate and check the result by playing the sample. If you double the playback speed, the pitch of the sample will double. In musical terms it increases by an octave. If you right click on this icon it will change the playback rate to that of the record rate. Playback Plug: This connects the playback routine to the Trigger Level circuitry. Trigger Level: This sets the Trigger Level in decibels (we mentioned dBs briefly in relation to the spectrum analysers). When plugged into the Playback or Record section of the programme it holds up the function until it receives an input signal equal to or high than the dB level. When plugged into a section and activated, the screen will change colour while waiting for a signal of the correct level. You can escape from this, as usual, by pressing the spacebar, Check the dB level of incoming signals on the spectrum analysers. When recording, the Trigger Level can be useful if you want to record a sound with silence in front of it. Record Plug: This connects the Record routine to the Trigger Level circuitry. Record: Click here to begin recording will terminate when the current work area is full Press the spacebar to terminate earlier. Note: Unless the Trigger is "plugged in". STOS Maestro will begin sampling as soon as Record is pressed even if there is no sound at the input. Oversampling: In order to help you make better samples. STOS Maestro uses a process known as Over-sampling. Its completely automatic and you don't e en have to switch it in and out. When STOS Maestro is sampling at 32khz it's running pretty close to flat out. At lower rates, however, it has a little processing power to spare and at sampling rates of 19 khz and less it automatically goes into Oversampling mode. Instead of sampling at the set rate it takes as many samples as it can during the sampling time and the works out an average figure. So if you set the sample rate of 10khz and Maestro oversampled at 50 khz it would take five samples instead of one average them out. This will provide a more accurate representation of the sound during that period of time than just one sample. Record Rate: This determines the rate in KHz at which the recording is samples. It works in exactly the same way as the playback rate icon. If you have the STOS Maestro Plus sampler sampler cartridge, try recording the same sample at different rates and see how much memory each one uses, then compare the quality. 4 The Menu Bar The third line of icons is used to call up various menus onto the bottom line. You've already used the Play menu and part of the Disc menu. Cut & Paste Menu: Rolls the Cut & Paste menu onto the bottom line. It contains a number of tools for manipulating the samples. Load a sample and try out the various editing procedures. Play cut buffer: Click here to play the contents of the cut butter. If you haven't Cut anything yet it will have no effect. Right clicking on this button allows you to edit any sample currently in the cut buffer. All operations in the current work area will only affect the cut buffer data. When you need to return to the full memory sample, simply right click on this icon again. Cut: Cuts the area between the two pointers and stores it in the cut buffer. You can't cut more than 50k of sample (check the size in the size indicator window) and if you try, a dialogue window will appear advising you of the fact. If you haven't done so already, load a sample. Use the right pointer to isolate it, then magnify it. Now click on Cut and sample will vanish from the display area. Clicking on Play will have no effect but if you click on Plays cut buffer you'll hear the sample. Copy: This is similar to Cut but it copies the area into the cut buffer leaving the original intact. Again there is a 50k limit on the size of the area you can copy. Splice: This cuts out the area between the two pointers and stores it in the cut buffer. Then it closes up the gap - useful for swapping samples around memory. Paste: This copies the contents of the cut buffer into memory starting at the position of the left pointer. This overwrites any data which may already be there but the buffer remains intact. If the area between the two pointers is small than the contents of the cut buffer, the contents of the buffer will not be copied. Insert: This is similar to paste but instead of overwriting memory it makes a space for the buffer contents by moving any data to the right of the insertion point (the position of the left pointer) further to the right. It will always insert the full contents of the buffer-any data at the end of memory will be lost the distance between the left and right pointers dictates how much of the buffer will be inserted. Mix: This operation too, begins at the position of the left pointer. It mixes the contents of the cut buffer with the data which is already there. This can produce some stunning effects. For example, copy a complete sample (try one of the voices) into the cut buffer. Move the left pointer a little to the right and hit Mix. Move it further to the right and Mix again. Make sure the right pointer is sufficiently far right so it does not truncate the Mix. Depending upon the offset, this will produce reverb, delay and variations on the N-N-N-Nineteen effect - or a combination of all three. Delete: This simply erases the area between the two pointers. Chop: Erases the sample outside the two pointers and moves the sample (between the pointers) to the start of free memory. Flip: This reverses the sample between the two pointers. Playing it will now have the same effect as clicking on the Play backwards icon in the Play Menu. Disc Menu: Rolls down the Disc menu on the bottom line which is where all file handling takes place. The icons below are available after you click on the icon. Load Sample: Produces a Gem file selector box which allows you to load a file of sample data at the position of the left pointer, allowing you to store several different samples in memory at the same time. If the memory area between the left and right pointers is small than the sample then only this amount will be loaded, so make sure you set them up or use Wipe beforehand. On first access, the routine will look for files with the extension SAM. We recommend you add this extension to all your sample files - but its not compulsory. To search for other extensions, click on the path name so that the txt cursor appears after SAM. Backspace three times to delete SAM and type * don't press Return because a bug in Gem will send you back to the main screen.. Instead, click on the top of the file selector box where it says *.SAM. The directory will now show all files and folders regardless of their extension. A quick tip is to click on the path name press Escape and then click on the file selector box top - this default to drive A and uses *.* search specification. It's interesting to note that the sample files created by most samplers for the Atari ST produce the same kind of data. You will be able to load most samples made with other samplers in Maestro - and vice versa. Even more interesting is the possibility of grabbing samples from commercial games. Files of sample data may have the same extension SAM, SPL, SNG, SND or something else. But beware: Trying to access some protected discs may cause the STOS Maestro programme lock up. You may have discovered that you can load any file into STOS Maestro and it will treat is as sample data. If it's not a sample it will sound terrible - probably like a screech. Save sample: This does not prompt for a filename but saves the area between the pointers with the same name as the last filename used. It will be the name of the last sample loaded or saved, otherwise it will use the default SAMPLE.SAM. This is useful as it allows you to work on a sample and save it quickly without having to type in a filename. If the file already exist on the disc, a dialogue box will appear requesting permission to update the file. A unique STOS Maestro feature means that the playback rate is saved to disc along with the sample data. You've probably noticed the playback rate change when loading various samples. No longer will you have to determine the sample speed by experimentation. However when loading samples from games or created on other samplers you'll have to find the correct playback rate by trial and error. Save sample as: Click here to save the sample between the two pointers. This option allows you to enter a new filename just as you would with any Gem file selector. Insert sample: This works in a similar way to the insert function in the Cut & Paste menu. It reads a file of sample data from disc and inserts it at the left pointer position and moves the sample in memory to the right to make room for it. If you want to combine samples use mix in the Cut & Paste menu. Drive: Prompts for the current drive. When prompted press a letter from A to H. The default depends on the drive from which you booted STOS Maestro. Disc info: Gives information about the current driveL Identifier, total disc space and total free space. Delete File: When the file selector appears, click on the file you wish to delete and then click on OK or just double click on the file. After selecting a file there is a confirmation prompt so that you can have second thoughts about this action. Rename: Use this to rename a file. It can be very useful if you've forgotten to give a file an extension or if you've a list of samples such as WOW1, WOW2, WOW3,...WOW16. Click here and the file selector will appear. Select the file you wish to rename by double clicking on it or by clicking on it once to highlight it and then clicking on OK. A new file selector box will appear with the text cursor on the selection heading. Enter a new filename and press return or click on OK and the file will be renamed. The routine will not allow you to rename a file with a name that already exists. Format: Allow you to format a disc as single or double sided without leaving STOS Maestro. This produces a warning prompt as formatting a disc will erase all the data on it. Get past this and you are asked to select Drive A or B and then the number of sides you want to format. New Folder: Folders are very useful for sorting your samples into types. You will have noticed that the samples on the data disc are stored in four folders. Click here and enter the name of the new folder - eight letters maximum. To escape from this option, press the 'escape' key - a null entry will also terminate the procedure. FX: Rolls down the effects menu onto the bottom line. This reveals the four icons below Echo: An echo is produced by repeating the original signal after a short delay. Although the delay is short you will be able to hear the two (or more) echoes quite distinctly. A characteristic of natural echo is that subsequent echoes decrease in volume. If you click on Echo with the left button, STOS Maestro will automatically add echo to the sample between the pointers. This is irreversible so a dialogue box pops up to warn you. You can repeatedly add more and more echo to a sample for increasingly pronounced effects. As echo effectively extends the length of a sample you may have to move the right pointer further right to accommodate all the repeats. Clicking on echo with the right button adds echo to any sound being fed in from the STOS Maestro sampler cartridge in real time. Reverb: Reverberation, to give it its full title, is produced by thousands of extremely short echoes following hot on the heels of each other. They are so short, in fact, that you cannot tell when one ends and another begins - they blur together and seem to become an extension of the original sound. Reverb produces a ringing, cavernous effect. Try it with voice samples and use it on dripping sounds. If your game is set underground you will need reverb for atmosphere. Do a left click to add reverb to the sample between the pointers and right click to add reverb in real time to a sound being played through the STOS Maestro Plus sampler cartridge. Hall: The type and quality of reverb will vary according to the environment. Compare the reverb qualities of a concert hall with your bathroom, for example. Hall reverb is more pronounced than Maestro's standard reverb - a little slower, perhaps. Left click to apply it to the sample between the pointers, right click to apply it to a sound coming in through the sampler cartridge. Room: This is the third type of reverb effect which STOS Maestro has to offer and it's a little shorter than the others. As usual, left click to add echo between the pointers, right click for the sampler cartridge. Delay FX -------- You can have a lot of fun and create lots of fascinating sounds with reverb and echo. Here are a few suggestions: For a well-pronounced effect, give a sample 3,4, or more doses of echo or reverb Add both echo and reverb to a sample Flip a sample, apply an effect and then flip it back. Move the left pointer slightly before applying subsequent effects. Use mix to create combinations of echo and reverb. Split a sample (insert blank memory) and add an effect only to the middle of it. Don't forget to Magnify the sample in order to home in on selected areas. Amplify: Amplifies the sample between the pointers to make it louder. This can be very useful if you can't record your favourite sound at a high enough volume. You can also apply it to a sample if it has undergone a lot of editing. You will probably have noticed by now that lots of manipulation can reduce the effective volume of the sample. But use Amplify sparingly as it will increase the background noise as well. If you continuously amplify a sample it will soon distort. Pack: This is another unique feature to help you record even better samples. It packs the data between the pointers, effectively halving the size of the sample and saving lots of memory. It also means that your STOS Basic games won't slow down as much when samples are playing. In order to hear a packed sample at its original pitch you only need to play it at half its sampled rate. For example, you could record a sound at 32KHz, Pack it twice and play it back at 8KHz. The quality will be better than if you recorded at 8KHz because the pack routine takes an average reading of the data (like Oversampling). Fade In: Creates a Fade In on the sample between the pointers. The wider apart the pointers, the slower the fade. You'll notice that this drastically reduces the size of the sample in the display area. Fade Out: Creates a Fade Out on the sample between the pointers. The comments relating to Fade In apply here, too. Soft: This is the opposite of amplify and reduces the volume of the sample between the pointers, too much softening and you will probably notice an increase in noise. While you may be able to amplify a softened sample back to its original volume without too much signal deterioration, softening an amplified sample will bring with some of the noise created by Amplify. Filt: Passes the sample between the pointers through a low pass filter. This passes the low frequencies and filters out the high ones. Noise tends to reside in the high frequencies so use this to help reduce the noise level on very noisy samples. It also "softens" a sound. Specials: This rolls down another menu containing more display options. About box: Gives you information about STOS Maestro - the version number and the credits. Filled Waveform: This option and the next two determine how samples are displayed in the sample display area. This is the default option and shows the waveform of the sample with the positive (upper) and negative (lower) cycles filled in white and blue. If you have a musical instrument which can produce sine waves (see the introduction), plug it into the cartridge, sample a sine wave and magnify it. This option will clearly show the sine wave shape in the display area. Synthesisers often use a square wave to produce a clarinet sound. If you can analyse either of these you will see the squarish waveforms (a clarinet will produce waves which are not quite square due to additional harmonics). Brass and string sounds are often constructed from sawtooth waves (sometimes called ramp waves) and make for interesting analysis, too. Envelope: This displays the volume envelope of the sample - in other words it shows how loud it is, rather like the spectrum analysers. You will see that the positive and negative cycles are identical (as if they had been reflected along the central line) as you can't really have a negative volume. Waveform Outline: This is similar to the Filled Waveform option but it shows the waveform of the sample as an outline, just like you'd see it on an oscilloscope. It's often easier to see the exact shape of a waveform when displayed this way. Oscilloscope: The STOS oscilloscope lets you see the shape of the sounds which are entering the sampler cartridge. Most sounds in everyday life, particularly music and the human voice, are very complex indeed and their waveforms are very complex, too. Try it for yourself. If you can produce sine waves you'll be able to see them quite clearly. Low notes produce "longer" waves while higher notes bunch the waves closer together. You will even be able to spot sine wave characteristics in the spectrum analysers. Exit to the main screen by pressing the spacebar. Exit: Click here to exit back to the Gem Desktop. If you have edited the sample in memory, it will give you the option of saving before quitting. Creating your own welcome sample -------------------------------- As you enter STOS Maestro you are welcomed by a voice sample. You can customise your own welcome sample using the following easy procedure: 1 Create a sample using Record at around 10KHz 2 Save the sample from the disc menu under the filename WELCOME.SAM, making sure it's in the same folder from which you run MAESTRO.PRG Every time you now load STOS Maestro it will pick up your sample and play it. If this becomes annoying then just remove the WELCOME.SAM file from the folder. Now you know everything there is to know about STOS Maestro - Have fun! -------------------------------------------------------------------------- | 2: Disco, Phaser and DEMOS | -------------------------------------------------------------------------- STOS Maestro disco unit The STOS Maestro Disco unit is a real- time digital delay programme. You can load it directly from disc by double -clicking on DISCO.PRG or from the STOS loading screen by selecting the 2 key on your Atari ST. You will of course need the STOS sampler cartridge to use this programme. Make sure your ST is switched off before plugging the cartridge into the ST's cartridge port. Plug a sound source into the cartridge. To hear exactly what Disco does, it will help if you have control over the duration of the sound - a microphone or musical keyboard is ideal. If you intend to use music, then compose a piece which is fairly simple. Once you hear what's going on you can try it out on the 1812 Overture! Disco is a digital echo machine but unlike the echo function in STOS Maestro it only plays back a single echo at a time. However the delay time is fully under your control and can be in the range 0 -9.99 seconds. Disco plays the original sound as soon as it enters the cartridge and then it plays it again after the delay period. It's a continuous process so the delayed sound will be heard at the same time as the original sound - trailing behind a little. This can produce some fascinating overlapping effects. Controlling Disco ----------------- Disco is controlled with the function keys which are mainly used to alter the delay: ------------------------------------------------------------------------- | Function key | Effect | |-------------------------------------------------------------------------| | F1 | Increased by 10 milliseconds (100th of a second) | | F2 | Decreased by 10 milliseconds | | F3 | Increased by 100 milliseconds (10th of a second) | | F4 | Decreased by 100 milliseconds | | F5 | Increased by 1 second | | F6 | Decreased by 1 second | | F7 - F9 | Pauses the display when held down | | F10 | Press twice to reset and default back to Desktop | ------------------------------------------------------------------------- You can change the delay time as music is playing through the unit. Very short delays will produce a chorus effect which "thickens" the sound or longer delay times sound very effective if you can match the delay setting to the beat of the music. Alternatively, offsetting the delay time-a little faster or slower than the beat-can produce interesting effects, too, as the music and the repeat move out of sync with each other. Try it with any music of a rhythmic nature. It works extremely well with electronic music and many of Jean Michel Jarre's tunes have suffered at the hands of (or been enhanced by?) the Disco programme. The central area of the screen produces a graphic display (spectrum analyzer) of the sound entering the cartridge port. Plug in some music, turn the lights down, pump up the volume, watch and relax. The STOS Phaser Program The STOS Phaser is a small utility which we have included on the program disc as an extra. Although it's a simple program it can produce some fascinating effects. Load STOS Phaser directly by double-clicking on the PHASER.TOS file or by loading it via STOSM.PRG. Warning in order to use the phaser you require the STOS Maestro sampler cartridge. Make sure your ST is switched off before plugging the hardware into your ST's cartridge port. Phasing is a very popular effect especially in electronic music, producing a sort of sweeping effect. Play some music and listen for yourself. If you want to know what a phaser actually does to a sound and how it produces it's effects you need to know a little about waveforms. A detailed explanation is beyond the scope of this manual and it's not strictly necessary-you can use the programme without knowing the theory behind it. However, if you want a visual analogy, think of a zebra walking behind a black garden fence- sometimes you see different pits appearing and disappearing in a cyclic fashion. A phaser does a similar kind of thing to the harmonics of a sound. Harmonics are the particles of a sound which make it bright, hollow brassy and so on. As it sweep through the harmonics, the tone of the sound Changes. You will hear the effects of the phaser beat with sounds which contain lots of harmonics such as brass and strings. Flutes, on the other hand, don't contain many harmonies so there is less for the phaser to sweep through. Controlling The Phaser The phaser is very easy to control - like the disco it only uses the function keys. f1 Increase the phaser key by one f2 Decrease the phaser key by one The phaser speed determines how quickly the can be very tranquil and relaxing. At a faster speeds it can be quite hectic. f3 Increase the phaser depth by one f4 Decrease the phaser depth by one Phaser depth is the degree or the amount of sweep. A low or shallow setting can produce a very subtle effect. At greater depths it really rakes through those harmonies. f5 Select phaser sweep- SWP f6 Select phaser forward sweep- FDW f7 Select phaser backward sweep- BWD These keys determine the direction of the sweep:f5 (up and down), f6 (down only ) and f7 (up only). f8 Turn phaser off f9 Turn phaser on f10 Reset computer and default to the Gem Desktop (must be pressed twice to work) Try out the Phaser by playing some of your favourite pieces of music through it- using a fairly low depth and slow speed for a subtle effect, then increase both gradually to taste. The DEMO. TOS Files If one of your Atari floppy disc drives is double sided then you will be able to run these demos. Simply double click on a DEMO.TOS icon to play a tune. The two STOS Maestro discs have a special dual format- single drive owners can still use the discs but won't be able to access the demos. The programme run from side one then load up data from side two of each disc. Turn up the volume for an example of what can be achieved with STOS Maestro. 3:STOS MAESTRO BASIC INTERFACE Installing The STOS Basic Extension File Before you can access the sampler from Basic , you first need to install the new commands onto your current STOS language disc. Load up STOS Basic, insert the STOS Maestro programmes disc and enter the following command: LOAD "\BASIC \INSTALL.BAS" Once this has loaded, you should place a copy of your STOS language disc into drive A and type: run The new Maestro extension can now be installed onto all your copies of STOS Basic by pressing the E key. Select a STOS folder to update using the resulting file selector. Once inside a STOS folder press return- the new extension file will now be saved into the STOS folder. Since the installation holds all the extension commands in a STOS memory bank, no disc swapping is required. If you own a copy of the STOS compiler, you should now place your back-up of the compiler disc into drive A and press C. The appropriate compiler extension can now be installed into the COMPILER folders in the same manner as above. You can add sampled sounds to your Basic programmes and compile them in the normal way. The Maestro Accessory A special memory bank system is used by the STOS Basic extension to hold samples. THis makes loading in samples and playing them child's play. To make life as easy as possible we've devised a powerful accessory capable of generating sample banks from pre-recorded sample files. This combines up to 32 separate samples in a single memory bank, which can then be incorporated directly into your STOS Basic programs. You can enter it from the Maestro disk with a line like : accload "\basic\maestro" Here is a breakdown of the various menu options. STOS MENU About Bank Creator : This displays a copyright message. Click on the left mouse button to return to the main menu screen. Quit : Exits back to your current program. Warning! Don't call this option without saving your sample bank first! Quit & Grab : Grabs the current samples installed into the ST's memory, and places them into bank 5 of your current program. This option is only available if Maestro has been loaded as an accessory. DISK MENU : The disk menu allows you to load and save samples onto the disk. Load SAMPLE.??? : Loads a sample into bank number 5. These samples are those which have been directly imported from the STOS Maestro Plus cartridge (or compatible). The Maestro accessory can be use with the output of most sound samplers currently available for the Atari ST. This allows you to enter samples from many commercial games. Look for files with extensions like .SAM, .SMP or .SND. Feel free to experiment with this option as much as you like. The worst thing that can happen in practice is that the sample will not load. Load SAMPLE.MBK : This enters a memory bank previously created with the Maestro accessory. Load SAMPLE FOLDER : Loads an entire folder full of samples into memory. This option is especially useful when using the disk, as it allows you to install all of a folder's contents into a single memory bank in one smooth operation. Save SAMPLE.MBK : Saves all the samples currently installed into memory. This data can be subsequently loaded for use by the SAMPLAY and SAMMUSIC commands. SAMPLE MENU Delete Sample : Deletes one of the 32 possible samples from the ST's memory. The sample to be erased is indicated using the number from 1 to 32. Rename : Changes the name of one of the samples currently installed into the memory. Play Sample : Plays one of the samples which has been loaded into the accessory. Before the sample is played, you will be requested for the speed. This should be input as a number from 5 to 22. MAESTRO TUTORIAL We'll now show you how the various features of the Maestro accessory can be actually used. Start off by loading the accessory from the Maestro disk with : dir$="\basic" accnew:accload "maestro" First enter the accessory from the Help menu by typing . Then place the samples disk into drive A and select the LOAD SAMPLE.??? option from the disk menu. This presents you with a standard STOS file selector. Now load a sample by clicking on the SOUND folder, and choosing the file EXPLSION.SAM. You can play this sample from the Sample menu using a speed setting of around 10. This process can now be repeated for the samples LAZERGUN and PISTOL. Insert a blank disk into drive A and save these samples with the SAVE.MBK option from the disk menu. Use the filename EFFECTS.MBK for this purpose. Now exit to the STOS Basic editor with Quit and type : load "effects.mbk":rem Load samples into bank 5 These samples can be played from STOS Basic using the lines : click off:sound init:rem initialise sound chip samplay 1:rem Play Explosion samplay 2:rem Laser samplay 3:rem Gunshot We'll now show you how you can load an entire folder full of samples in exactly the same way. Call up Maestro using , and select the Load Folder option from the Disk Menu. When the file selector appears, access the VOICES folder in the normal way. Now move the mouse pointer over the filename box and enter the text : SAM The contents of the voices folder will now be automatically loaded into the ST's memory. You can then save the data under the filename of VOICES.MBK by placing a blank disk into drive A and calling the SAVE.MBK option. Finally choose the Quit option to re-enter STOS Basic then type in the following program. load "voices.mbk" 10 click off:sound init:samspeed auto 20 for i=1 to 11 30 samplay i 40 wait key 50 next i This pages through each of the 11 voices stores in memory bank number 5. THE DRUM MACHINE In order to illustrate the possible applications of this package, we have included a simple Drum Machine on the Maestro disk. This can be loaded using the line : load "\basic\drums.bas" When you run the program, you are presented with a picture of a drummer and his dog. The action of the various instruments can be controlled through the keyboard numbers from one to six. As you can see, some of these instruments are fairly unusual! Another feature is the R option which allows you to record long sequences of drum beats into the ST's memory. This performance can be interrupted at any time using the space-bar. Your composition can now be replayed by pressing P. Notice how the program has cleverly preserved the exact timing of your key presses. The Drum Machine was written entirely in STOS Basic. You can therefore list the program to the screen or the printer in the normal way. Interestingly enough, the actual program is remarkably simple. The samples for the drums are held in bank number 5, and the recording itself is stored in bank 6. Each individual sound corresponds to a single entry in bank 6, with the gaps in your music being represented by a Chr$(0) Here are a few ideas for possible extensions : 1. Replace the drum samples in bank 5 with some of your own. Remember that these samples should first be converted into the correct format using the Maestro accessory. 2. Introduce the ability to change the pitch of a note during play. This could be generated by assigning a row of keys to particular notes. You could then simply replace the SAMPLAY instructions with the appropriate SAMMUSIC commands. 3. Extend the number of available instruments. It's possible to add up to 32 different instruments to the drum machine. 4. Add the ability to load and save sequences on the disk. This would involve saving bank 6 using the BSAVE command from STOS Basic. 5. Allow the user to speed up or slow down drum patterns he has recorded. -------------------------------------------------------------------------- | 4 : STOS MAESTRO COMMANDS | -------------------------------------------------------------------------- STOS Maestro instructions The STOS Maestro extension includes a number of powerful instructions which allow you to incorporate samples sounds directly into your own STOS Basic programs. A demonstration of how these commands are used can be found in the programs PLAYER.BAS and DRUMS.BAS on the STOS Maestro program disk. The Playback Commands These commands are used to play back a previously generated sound sample within the STOS Basic system. Any programs which use these commands can run independently of the STOS Maestro Plus cartridge. SOUND INIT (Initialise the ST's sound chip) The SOUND INIT command kills any existing sounds and prepares the sound chip for use by the sampler instructions. It is normally called at the start of a program like so. 10 click off:rem switch off keyboard clicks 20 sound init:rem initialise sound chip The keyboard click will interfere with the sampler system. It is therefore necessary to turn of the keyboard click when using the sampler. SAMPLAY (play a sample from the current memory bank) SAMPLAY plays one of the 32 possible samples stored in the current memory bank (normally bank 5). N is the number of the sample, ranging from 1 to 32. Example: load "effects.mbk" click off:sound init:samspeed auto samplay 1:rem plays an explosion samplay 2:rem laser beam samplay 3:rem gun This example uses the EFFECTS.MBK file created in the tutorial on the STOS Maestro accessory. These samples are played back using the interrupts and are completely independent of the rest of the STOS system. This means that you can happily add sound effects to an arcade game such as Zoltar, without slowing down any of the action. Note that only a single sample can be played at any one time. So if you start a new sample before the existing one has completed, the old sample will immediately be replaced. It's possible to exploit this feature to produce a number of intriguing effects. Take the following example : load "\voices.mbk" 10 click off:sound init:samspeed auto 20 for i=1 to 5 30 samplay i:wait 5 40 next i This generates a noticeable stutter in the sampled voice. VOICES.MBK is an example file created in the section on the Maestro accessory. It contains the entire contents of the VOICE folder on the STOS disk. One minor limitation of the SAMPLAY instruction is that it is unable to work alongside any of the STOS music functions. If your program uses music, this should be suspended with MUSIC FREEZE before a sample is played, then restarted after the sample has been completed. SAMSTOP (Stop the current sample) The SAMSTOP command terminates all current sampling operations. Example: reserve as data 6,12000 bload"A:\sound\explsion.sam":rem load a sample from the samples folder 10 click off:sound init:samspeed auto 20 samraw start(6),start(6)+length(^):rem plays a sample 30 wait key:samstop SAMSPEED (Set the sampling rate) SAMSPEED n SAmspeed enters the rate which will be used for any subsequent sampler commands. N can range between 5 and 22KHz, with 10 KHz as the default. Example: load "voices.mbk":rem created with MAESTRO.ACB 10 click off:sound init 20 for i=5 to 22 30 samspeed i:samplay 1:wait 20 40 next i Incidentally, while the STOS Maestro Plus cartridge is capable of working at speeds of up to 32 KHZ, you are currently restricted to a maximum of 22 KHz in your STOS Basic programs. In order to play 32 KHz samples from STOS Basic you will need to use MAESTRO.PRG and call the Pack option from the FX Menu. The compressed sample can then be played at a speed of 16Khz from STOS BAsic. It's not 32KHz but it's the only alternative - STOS is too busy handling sprites and all the other interrupts to play back samples at a rate faster than 22 KHz. SAMSPEED AUTO (Enter automatic sampling mode) SAMSPEED AUTO automatically selects the appropriate sample speed for the current sample. The automatic sampling mode expects the speed of the sample to be encoded into the current memory bank during the recording process. This information is included with all samples produced using the STOS Maestro sampler programme. However if you try to use this option in conjunction with samples created from another source, such as the SAMRECORD function, a syntax error will be generated. Also note that automatic is effectively canceled the next time you change the sampling rate with SAMSPEED. Example: load"voices.mbk":rem Load some sound effects 10 click off:sound init 20 print"Default speed":samplay 1 30 print"Hit a key to continue":wait key 40 samspeed auto:rem Set appropriate speed automatically 50 print"Recorded speed":samplay 1 60 wait key SAMSPEED MANUAL (Exit automatic sampling mode) SAMSPEED MANUAL exits from automatic playback mode. It immediately returns the sample speed back to the rate which was set by the most recent SAMSPEED n command in the programme. Example: load"voices.mbk":rem Loads some sound effects 10 click off:sound init 20 samspeed 20:rem Set very fast speed 30 print"20 KHz":samplay 1 40 print"Hit a key to continue":wait key 50 samspeed auto:rem Set proper speed 60 print"Recorded speed":samplay 1 70 wait key:samspeed manual:rem Set samspeed back to 20KHz 80 print"20KHz again":samplay 1:wait key SAMMUSIC (Play sample as a note) SAMMUSIC n,'note' The SAMMUSIC instruction allows you to alter the tone of a sample when it is played. It's specifically intended for samples which represent some sort of musical instrument. The effect is to widen the scale of the sound to encompass the full range of musical notes. N can be any one of the 32 possible samples stored in the current memory bank. 'note' must be a string containing one of the following notes: C,C#,D,D#,E,F,F#,G,G#,A,A#,B The current pitch of the sample is assumed to be middle C. Example: load"voices.mbk":rem Load some effects created previously 10 click off:sound init 20 for i=1 to 12 30 read n$:print"Key";N$:sammusic 3,n$ 40 wait key:rem Wait for the voice to be finished 50 next i 60 data "C","C#","D","D#","E","F","F#","G","G#","A","A#","B" A better example of SAMMUSIC can be found in the file PLAYER.BAS on the STOS maestro programme disc. This lets you load a sample into memory, and then 'play' it from the keyboard. PLAYER assumes that the sampled found on the disc is in raw form. It's therefore possible to load samples straight off the samples disc. However, don't try to input .MBK files created with the STOS Maestro accessory as you will generate an error message from the programme. SAMLOOP ON (Repeat a sampled sound) After this command has been performed, any sample which is subsequently played using the SAMPLAY, SAMMUSIC and SAMRAW functions will be continually repeated from beginning to end. reserve as data 6,12000 bload"A:\sound\explosion.sam",6:rem Load a sample from the samples disc 10 click off:sound init:samspeed auto 20 samloop on 30 samraw start(6),start(6)+length(6) 40 print"Press a key to end" 50 wait key:samstop:samloop off:click on Like all the sampling commands, SAMLOOP is accomplished using an interrupt routine. So once you have started the loop your programme can get on with more important work, and forget about the sampler completely. SAMLOOP OFF (Exit from a sample loop) The SAMLOOP OFF command instructs the sample routine to play any future samples exactly once. This instruction has no effect on the sample which is currently being played. If you wish to halt an existing sample you will need to use the SAMSTOP directive instead. Example: reserve as data 6,12000 load"A:\sound\explosion.sam",6:rem Load a sample from the samples disc 10 click off:sound init:samspeed 10 20 samloop on:rem Repeat the next sample 30 samraw start(6),start(6)+length(6):rem Play sample 40 print"Press a key to end" 50 wait key:samstop:samloop off:rem Turn off looping 60 samraw start(6),start(6)+length(6):rem Play a single shot SAMDIR FORWARD (Play a sample from start to finish) Normally all samples are played back in the direction they were originally recorded. However you can change this using the SAMDIR BACKWARD command. SAMDIR BACKWARD (Play a sample backwards) This reverses the action of all future playback commands. Any subsequent samples will now be played backwards until canceled by using SAMDIR FORWARD. Example: reserve as data 6,10000 bload"A:\voice\gameover.sam",6:rem Load a sample from the samples disc 10 click off:sound init 20 samdir backward 40 samraw start(6),start(6)+length(6) 50 wait key:samstop The above programme plays the phrase "game over" back to front. You can also call the SAMLOOP command with a reversed sample. Add the following lines to the above example: 30 samloop on 55 samloop off Although SAMDIR may seem rather pointless at first, it's actually surprisingly useful. You can, for instance, create a convincing impression of an "alien" language, by simply reversing normal speech, and then altering the playback speed. This technique was used to great effect in the radio version of The Hitch-hiker's Guide to the Galaxy. SAMSWEEP ON (Repeatedly play a sample forwards and backwards) The SAMSWEEP command is ideal for the generation of 'swishing' noises like those produced by an aeroplane. The effect is to repeatedly cycle a sample forwards and backwards. Note that, like SAMLOOP, the sweeping action only takes effect from the next sample which is played. Example: reserve as data 6,784 bload"A:\sound\swosh.sam",6:rem Load a sample from the samples disc 10 click off:sound init 20 samsweep on:rem Start sweeping 30 samraw start(6),start(6)+784 50 wait key:samstop SAMSWEEP OFF (Stop sweeping effect for the next sample) This removes the sweeping effect from any sample which is subsequently played with the SAMPLAY, SAMMUSIC, SAMRAW instructions. Like SAMLOOP OFF it has no effect on the sample which is currently being performed. SAMRAW (Plays samples straight from memory) SAMRAW start,end Plays a raw sample stored from addresses start to end. Raw samples can be placed anywhere in memory. So it's perfectly possible to load a sample into a string, and then subsequently manipulate it with normal string functions. Example: 10 SOUND$=string$(chr$(0),12000) 20 bload"\VOICE\GAMEOVER.SAM",varptr(SOUND$) 30 samraw varptr(SOUND$),varptr(SOUND$)+len(SOUND$) 40 wait key 50 rem Chop the word "over" from "game over" 60 OVER$=right$(SOUND$,8000) 70 samraw varptr(OVER$),varptr(OVER$)+len(OVER$) Raw samples can also be looped, reversed and swept using the appropriate sampler commands. Example: 10 reserve as work 8,100000:rem Reserve 100k to hold samples 15 click off:sound init:samloop off:samsweep off 20 F$=file select$("*.sam","Load sample to play") 30 if F$=""then end 40 open in#1,F$:L=lof(#1):close#1:rem Get length of sample 50 bload F$,8:rem Load sample 60 input"Playback speed";s 70 if S<5 or S>22 then print"Invalid Speed":goto 50 80 samspeed S 90 samraw,start(8),start(8)+L 100 print"Hit a key to continue":wait key:goto 20 SAMBANK (Select current bank for SAMPLAY and SAMMUSIC commands) SAMBANK n N is a number from 1 to 15 specifying a STOS memory bank to be used by the sampler. As a default, the SAMPLAY and SAMMUSIC operations expect a list of previously created samples to be available from memory bank number 5. Unfortunately this can cause serious problems for anyone wishing to add sampled sound to an existing programme. Supposing you wanted to include sound effects in a programme such as Zoltar. In this case, you can't place the samples in bank 5, as this is already allocated to one of the screens. You therefore need to change the current sample bank with SAMBANK. See the section called Adding samples to your games for more details of this procedure. Another application is to allow you to incorporate more than the maximum of 32 samples in a STOS Basic programme. Example: load"effects.mbk",5 load"voices.mbk",6 10 click off:sound init:samspeed auto 20 sambank 6:rem Use bank number 6 30 for i=1 to 5 40 samplay i:print"Hit a key to continue":wait key:rem Press a key 50 next i 60 sambank 5:rem Set bank back to 5 70 goto 30:rem Playback 5 sound effects SAMCOPY (Copy a sample from one place to another) SAMCOPY start,end,dest This is just a special version of the standard STOS copy command which allows you to start copying from an odd location - that is, from any location whether it is on a word boundary or not. SCREENCOPY only works on word boundaries for reasons of speed. Start is the beginning of the address which is to be moved. It can take any value you wish, and it does not have to be even. End is the address of the end of the sample which is to be copied. Dest is the destination of the new sample. Example : 10 reserve as work 10,30000:rem reserve 30K 20 input "place the sample disk in drive A";a$ 30 samspeed 12 40 dir$="A:\VOICE\" 50 bload "gameover.sam",10:rem load a sample 55 rem make a second copy of the sample into bank 10 60 samcopy start(10),start(10)+10000,start(10)+10001 65 rem play the entire sample 70 samraw start(10),start(10)+length(10) SAMPLACE (Return the current position in the sample) p=SAMPLACE The SAMPLACE function retrieves the present position in the sample which is currently being played. This number is relative to the start of the sample. The possible values taken by SAMPLACE range from 0 to the total sample size (in bytes). Imagine you had a sample which was 20K long. If you were to get the position at the halfway point, a value of 10000 would be returned. 10 rem simple tape counter 20 click off:sound init:curs off:hide 30 input "Sample number";N 40 input "Sample rate";s 50 samspeed s:samplay n 60 XC=xcurs:YC=ycurs:P=samplace/1000:print"Tape counter:";P;" "; 65 locate XC,YC: if inkey$="" then 60 70 goto 30 The SAMPLACE function is often used to determine when a sample has finished playing. This information is essential if you wish to combine melodies produced from the MUSIC accessory with sampled sounds. Example : load "music.mbk";rem load from the STOS Basic accessory disk load "effects.mbk":rem created previously with MAESTRO accessory 10 click off:music 1:tempo 30 20 if rnd(1000)<>3 then 20:rem produce random sound effects 30 music freeze:sound init:samplay 1 40 if samplace=11842 the samstop:music on:goto 20:rem sample 10K long 50 goto 40 THE SAMPLER CONTROL COMMANDS These functions are designed solely for use with the STOS Maestro Plus cartridge (or equivalent). They give you complete control over the various features provided by the sampler and allow you to create customized sampling programs in STOS BAsic. This opens the door to a bewildering range of possible applications, form speech synthesizers to simple speech recognition systems! SAMRECORD (Records a sample from the sound cartridge) SAMRECORD start,end SAMRECORD starts the sampler running, and records a sample using the current speed setting. the new sample is entered directly into the memory locations between start and end. While the sample is being recorded, the sampled sound is continuously played through your TV or monitor. Start is the address of the start of the sample End is the address of the end of the sample. When this point is reached, the sampling process is automatically terminated. Samples created using this function can be save to the disk and accessed directly from either the Maestro program or the SAMRAW command. Example : 10 rem recording a sample 20 click off:sound init 30 reserve as work 6,1024*50; rem reserve 50K for sample 40 input "SAmple Speed";s 50 if S<5 or S>22 then print "Invalid speed";goto 40 60 samspeed S 70 print "Prepare your recorder" 80 samthru:input "Hit return to start sampling";R$ 85 print "REcording sample" 90 samrecord start(6),start(6)+1024*50 100 if samplace<49999 then 100:rem Wait until recording finished 110 print "Playing back sample" 120 samraw start(6),start(6)+length(6):rem play sample 130 if samplace<1024*50 then 130:rem wait until playback finished 140 input "Play again Y/N";A$:If A$="y" or A$="Y" then 120 150 goto 40 As you might expect, the sampling rate can be set up using the SAMSPEED n instruction, and the sampling can be aborted at any time with SAMSTOP. It's important to note that this instruction does store the recording speed as part of the sample. So if you try to play back a sample using the SAMSPEED AUTO instruction, an error will be generated. SAMTHRU (Play the input from the sampler through the monitor's speaker) The SAMTHRU command simply pipes the current sound output through your TV speaker. This allows you to listen to the input without creating an actual sample. Example: Place a tape in your recorder and press PLAY. Now type: click off:sound init:samthru This THRU mode can be interrupted at any time using the SAMSTOP command. SAMPLE (Read the sample value directly from the cartridge port) s=SAMPLE S holds a value from -127 to +127 which represents the volume of the sound in a digital form. The STOS Maestro Plus cartridge reads this value thousands of times per second and uses it to create a digital representation of the sampled sound. Example: 10 click off:sound init:l=0:mode 1:cls:physic:cls back 20 ink 1:hide:samthru 30 S=sample/2:draw l,100 to 100-S:incl 40 if l>=640 then l=0:cls:physic:goto 30 else 30 Initialisation -------------- This sets up the screen and reserves space for your samples in one of the STOS Basic memory banks. 10 rem Sampler 20 mode 0:click off:sound init:rem Initialise sound chip 25 rem Set up screen 30 cls physic:cls back:windopen 21,5,38,19,0 50 rem reserve maximum available memory 60 MEM=free-50000:if mem>0 then reserve as work 6,MEM else print"Not enough memory":end Most of the above code is fairly obvious but pay special attention to line 60. This reserves all the currently available memory for the sample, leaving 50k for the programme itself. Entering the user's commands ---------------------------- The input routine forms the heart of your sampling programme and interprets the commands as they are entered by the user. You can make this routine as simple or as complex as you wish. Commands can be entered using the keyboard, STOS menus or the mouse. Here is a simple example of input routine. 65 rem Keyboard input routine 70 input"Input command";C$:C$=upper$(C$) 80 if C$="K"then gosub 490:goto 70:rem Set speed 90 if C$="P"then 170:rem Play sample 100 if C$="R"then 250:rem Record sample 110 if C$="T"then 320:rem Thru sample 120 if C$="L"then 450:rem Load sample 130 if C$="S"then 370:rem Save sample 140 if C$="Q"then samstop:default:end 150 print"Command not recognised":goto 70 We'll now go through each of these commands in turn and show you how they can be implemented in STOS Basic. Setting the sample speed ------------------------ 490 rem Set speed 500 input"Sample speed";S 510 if S<5 or S>22 then samstop:boom:goto 500 520 samspeed S 530 return The SET SPEED routine uses samspeed to set a sampling rate between 5 and 22KHz. Note the check in line 510. Recording a sample ------------------ 240 rem Record sample 250 if S=0 then gosub 490 260 gosub 550:rem position 270 samrecord start(6)+BEGIN,start(6)+FINISH 280 gosub 620:samstop:rem Display counter 290 input"Repeat sample ?";A$:if upper$(A$)="Y"then 270 300 input"Reset interval ?";A$:if upper$(A$)=Y"then 250 310 goto 70 This routine uses the SAMRECORD function to enter a sample into memory. The gosub at line 250 is just to call to the set speed routine I showed you earlier. This forces the user to choose a speed before recording the sample. The size and position of the recording is set using a special Set Interval routine like so: 540 rem Get starting point 550 input"Starting point";ST:BEGIN=ST*1000 560 if BEGIN<0 or BEGIN>MEM then print "Number must be between 0 and";MEM/1000:goto 550 570 input"Ending point";SP:FINISH=SP*1000 580 if FINISH<=BEGIN then print"End point must be greater than start":goto 570 590 if FINISH>MEM then print"Number must be between 0 and"MEM/1000:goto 570 600 return Each unit corresponds to a thousand bytes of the sample. So a start point of 5 and an end point of 50 will record from locations START(6)+5000 to START(6)+50000. 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If there are no hostages in the prison when it comes to pay day for the armies, select 'Helping Hand' and kidnap one. Do not try for the Duke of Bedford, though, since this attempt is the one most likely to fail. Remember to pay the Helping Hand well : #20,000 should do. Joan does not need an immense army to succeed : 2,000 archers and 3,000 troops are enough. Mortars are also useful, but don't waste money on knights - they are expensive and aren't really needed. Don't waste time on taxes : collect only the Tithe tax when it is due in September. The amount isn't enough to pay the armies, but at least it avoids any uprisings. If a large army is in evidence, remember to evaporate it during any diplomatic bargaining, or else lots of money is lost unnecessarily. The Arcade Sections :- Entry Into Town Once this has loaded in, and before the screen changes, push right to get the man off to a running start, and keep pushing right all the time. When in combat range, press the fire button and keep it pressed until the enemy is defeated, and release it. The man then runs forward again until in combat range, and so on. Repeat this process until the town is entered. Taking of the Wall Again, start this before the screen changes. Push the joystick forwards continually, and the man should be halfway up the ladder before the first stone is thrown. Keep pushing up for the whole of the game, and use the fire button to shield the soldier from rocks. Defence of the Wall This is the one to master, since more enemy soldiers are destroyed this way than any other. Push the joystick forwards and press fire before the screen changes, to immediately start launching rocks. Use rocks wherever possible; otherwise use oil if time is short. Although the manual states that oil is limited, there are at least six cauldron's of oil at Joan's disposal. start, and keep pushing right all the time. When in combat range, press the fire button and keep it pressed until the enemy is defeated, and release it. The man then runs forward again until in combat range, and so on. Repeat this process until the town is entered. Taking of the Wall Again, start this before the screen changes. Push the joystick forwards continually, and the man should be halfway up the ladder before the first stone is thrown. Keep pushing up for the whole of the game, and use the fire button to shield the soldier from rocks. Defence of the Wall This is the one to master, since more enemy soldier