Archive for the ‘Interactive Fiction’ Category

Renga in Four Parts (Public release)   Leave a comment

It’s done, or at least I’m calling it done, which is how all these things go, I suppose–

Download Renga in Four Parts here

You’ll need a Hugo interpreter: Hugo interpreters for various platforms. Alternately, you can use an interpreter which runs multiple formats, like Gargoyle.

What should I type? It’s up to you. You can type particular words that occur in the text, or words that are implied. You can be entirely experiential and use word-association. Keep in mind that what you type is much a part of the poem as the verse.

Hovering, unobtrusive
watching over
the grey-sanded beach


Posted April 8, 2014 by Jason Dyer in Interactive Fiction, Poetry

Acheton: Big   Leave a comment

This is the “central” portion of the Acheton map (click to enlarge):


The most striking difference between Old-IF and New-IF is sheer size. I’ve already gone into the issue with Zork. However, unlike Zork, the size in Acheton doesn’t give me a feel of world-immersion. I’ve been trying to figure out why.

Zork has some random bits like Hades or a robot, but the general intent seems to be a unified dungeon one can lovingly map on a single page. Acheton essentially demands segmentation: there’s an entire hedge maze, an entire ocean, an entire desert, an entire temple, and an entire wizard house complete with two mazes.

Moreover, the setting-as-backstory in Zork, while minimal, goes a long way to providing a unified environment. Flood Control Dam #3 is iconic enough to make a graphical appearance much later. Even the much-reviled Bank of Zork was memorable. I can’t think of any locations in Acheton that move past the merely generic.

Posted April 3, 2013 by Jason Dyer in Interactive Fiction

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Acheton: Cruelty   Leave a comment

For your perusal, one of the most evil parts of the game:

> s

You are in a large room with a polished floor and smooth walls. The only visible exits are an upwards passage to the north, and a downwards sloping corridor to the southwest. There is a 15 foot high triangular rubber object leaning against the east wall, with the words “ONE NINGY” embossed on it.

> get ningy

You pull the ningy away from the wall, but then discover that it is far too heavy for you to support. You jump away just in time to avoid being crushed by it, and then see that there were several holes in the wall behind the ningy, the largest of which is about four feet across and directly to the east.

> e

A hideous mocking voice sneers: “I suppose you think you’re clever, don’t you!”

You are in a long east-west corridor, the ends of which are out of sight.

There is a three foot black rod with a rusty star on the end nearby.

How obvious was it that you just lost the game? (You can incidentally get in about 5 hours or so in before realizing that fact.)

Test yourself: based on the text, what should you have done instead?


You are in a large room with a polished floor and smooth walls. The only visible exits are an upwards passage to the north, and a downwards sloping corridor to the southwest. There is a 15 foot high triangular rubber object leaning against the east wall, with the words “ONE NINGY” embossed on it.
> climb ningy
You’re in a contorted passage which ends abruptly in a two foot wide hole to the west. In the other direction the passage turns two full circles before exiting to the north.

The relevant map section:


A few extra comments:

1. The long time period before realizing there’s a mistake isn’t quite as bad as it sounds given that the optimizing-lamp-time aspect to Acheton means you’re likely need to a restart somewhere along the way. However, it is quite possible to have done that restart and still not know about the ningy trick.

2. The mocking voice is supposed to be a hint you messed up. So helpful.

3. The holes in the wall described in the text are behind the ningy. Not above. I suppose because you can’t see the one above. How lovely.

4. There really seems to be no way to even have a chance at knowing what to do without screwing up first. This hence represents five simultaneous violations of Graham Nelson’s Player’s Bill of Rights all in one go:

Not to be given horribly unclear hints
To be able to win without experience of past lives
To be able to win without knowledge of future events
Not to have the game closed off without warning
Not to need to do unlikely things

Posted March 15, 2013 by Jason Dyer in Interactive Fiction

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Acheton: Mazes (and mazes and mazes)   7 comments

The first maze you're likely to encounter. Click to enlarge.

The first maze you’re likely to encounter. Click to enlarge.

When the player is tempted to write a Java program to discover a Hamiltonian path through a maze, the maze is perhaps a bit too difficult.
Matthew T. Russotto

There’s a lot of mazes. Acheton might hold the world record.

I’m going to spoil them thoroughly below.

I haven’t hit all of them in my current playthrough, but from memory there’s:

a.) The lodestone maze depicted in the map above. The “unique” trick here is the treasures are randomly arranged at the start of a game so a walkthrough needs to give a route that passes through every room (hence Matthew’s desire for a Hamiltonian path).

b.) An ice maze consisting only of two exit choices (SE and SW) but lots of deadly thin ice. The trick here is to take a (magical) item that will point in the correct direction to get to the single hidden treasure.

c.) A wizard’s maze with a start that involves going in circles trying every exit out of a room and returning to the start. After trying every door, the player enters the maze. The maze is generated at the moment it is entered. The way to get out is to use the same order of the exits tried before entering. It’s quite possible to get all the way through the maze without realizing this until the end. This marks (excluding the “room reassignment” used in Mystery Mansion as a memory cheat) the first adventure game with dynamic room generation.

d.) A maze with deadly snakes which I can only describe as a turn-based version of Pac-Man (although before Pac-Man was invented). Very tricky timing is involved.

e.) A fairly mundane hedge maze that you can burn down if you like. You might get tired of mazes and want to go ahead and destroy one.

f.) A section in the desert that might marginally be termed a “maze”. It’s based on a transport-based-on-limited-resource puzzles, rather like this one from Martin Gardner:

A group of airplanes is based on a small island. The tank of each plane holds just enough fuel to take it halfway around the world. Any desired amount of fuel can be transferred from the tank of one plane to the tank of another while the planes are in flight. The only source of fuel is on the island, and for the purposes of the problem it is assumed that there is no time lost in refueling either in the air or on the ground.

What is the smallest number of planes that will ensure the flight of one plane around the world in a great circle, assuming that the planes have the same constant ground speed and rate of fuel consumption and that all planes return safely to their island base?

(The Martin Gardner puzzle is incidentally top-flight and I’d recommend everyone giving it a go.)

In any case, the interactive fiction version requires wrangling water in the desert in appropriate places to avoid death.

g.) Was there another one? I don’t remember. I suppose I’ll find out.

In any case, the only maze I’d call “straight” would be the lodestone maze. It honestly isn’t that traumatic to map compared with that evil one from Adventure and the only reason I see the Hamiltonian path being necessary is that in order to optimize the number of turns (given the low life on the lamp compared with how many steps are needed) there is a good chance a game restart is needed somewhere. Still, once someone gets to the “cave” portion of the game they can just save, wander through using the map noting where all the treasures are, then restore and go only for the important rooms.

Posted January 30, 2013 by Jason Dyer in Interactive Fiction

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Acheton: Darkness and death   3 comments


> e
You find yourself surrounded by gently swaying silver birches which appear to change position when you’re not looking. Plenty of openings are visible between them, but these close up in some mysterious way whenever you approach them. The trees give off a heavy scent which becomes almost overpowering at times.
> dig
You start to dig a small hole with your hands. As you do so a strange high pitched musical laughter can be heard all around. The branches of the nearby trees shake, although there is no wind blowing. I think you must be tickling the tree roots!

Just like Adventure and Zork, Acheton features caverns in darkness; you need a lamp to see. Unlike the former, darkness is not immediately deadly.

You’re in the sandstone room.
> e
It is pitch dark.
> e
It is pitch dark.
> w
It is pitch dark.
> e
It is pitch dark.
> w
It is pitch dark.
> e
It is pitch dark.
> w
You fell into a pit and broke every bone in your body.

In other words, there is a random chance of death, rather than guaranteed immediate death via grue or falling in a pit.

One thing I remember from playing Acheton the first time around is that I ran out of lamp time but I was very close to the end of the game. So for about the 20 steps it took to walk to the endgame portion I was having to walk through darkness, saving every few steps and reloading if I died. Given I was efficient in that playthrough, the lamp has a VERY tight timer. I’ll try to be as careful as possible.

Speaking of death, there are plenty of instant deaths in Acheton. Modern gamers would call them “unfair” but many were clearly intended as “funny”. For instance, there’s keys and grate identical to the start of Adventure, except for one slight detail:

You are in the hallway of a disused farmhouse. Once there were doorways leading off into several other rooms, but these were all securely boarded up long ago. Outside is a road leading off to the west.
There is a small aerosol can of white paint here.
There is an empty bottle on the ground.
There is a bunch of keys here.
There is a brass lamp on the ground nearby.
It is off.
> get keys
> get lamp
> s
You are on the road near the farmhouse.
> s
You are at the bottom of a slight hollow, from which a path leads north.
There is a 3×3 steel grate set in the ground nearby.
The grate is locked.
> unlock grate
You are standing in the depression.
There is a 3×3 steel grate set in the ground nearby.
The grate is open.
> d
You fall into a well. The water is icy cold, and you rapidly die of hypothermia.

I’m afraid you haven’t got far enough to qualify for reincarnation yet.

A second tempting entrance (a tunnel into a deserted mine) also leads to instant death. Once finally locating the real entrance, followed by the first treasure (noted with a (!)), well–

> n
It is pitch dark.
> light lamp
The lamp is now on and burning brightly.
You are in a small room with a narrow counter running most of the way across it. At the end of the counter is a sign reading “CLOAKROOM” and there is a row of broken hooks on the wall.
The only exit is to the south. There is a mink coat (with bulging pockets) lying below the hooks!
> get coat
As you take the coat, a couple of ferrets leap out of its pockets and savage you. You die shortly later from loss of blood.

–that likely could have gone better.

Death really is the mildest thing the game can do, though. The problems are the points where the player can make the game unwinnable without realizing it (that is, Cruel on the Zarfian scale). I’ll talk about one of those parts next time.

Posted January 29, 2013 by Jason Dyer in Interactive Fiction

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Acheton (1978)   Leave a comment

The portions-of-the-map-closing parts of Stuga are getting to be a pain (there’s a part that doesn’t seem to have any way in now — I’m not sure if it’s a bug, or if there’s some strange timed thing, but it looks like I’ll have to restart) so I’m diving into Acheton.


Perhaps the first adventure game written outside the U.S. was “Acheton” (c. 1979), by Jon Thackray and David Seal, with contributions by Jonathan Partington, working in the mathematics department of Cambridge University, England. “Acheton” is an enormous cave game, whose name is a confection of “Acheron” (the river that dead used to cross in order to get to Hades) and “Achates” (minor character in Virgil’s “Aeneid”), based around exploration and collecting treasures.

[ FAQ]

I’m using the Z-code port (courtesy Graham Nelson, Adam Atkinson and David Kinder), which is about as authentic as I could hope for (and reports a start date of 1978, not 1979):

Our aim has been to restore and not to modernise or “improve” the work: the original parser has been recreated and all textual responses are authentic. Our only additions have been the following commands: “inform”, producing this text; “restore”, which allows saved games to be restored (the Phoenix originals instead asked about this at the start of each session of play); and “script”, which allows the transcript of play to be written to a file.

The only catch here is this was a mainframe game where the original 1978 version is lost, so this is the last part from 1981. This is semi-frustrating for the true gaming archaeologist, but really, I’m just here to play. In this case, play again — I finished Acheton a few years ago (for fun, not part of any project) and still have my maps. I have a deep and possibly unnatural fondness for hand-drawn maps, so I’ll see about popping some scans up as my game progresses. Since this is a replay, it won’t be quite the same as my prior games; pretty much everything I solved myself I still remember, although there were a couple sections I relied heavily on walkthroughs and hence my memory as to actual puzzle solutions is foggy.

Late in the game there’s one of the coolest yet also impossibly unfair puzzles I’ve ever experienced. So there’s that to look forward to. Onward!

Posted January 27, 2013 by Jason Dyer in Interactive Fiction

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Stuga: Map tension   1 comment


I’m nearing the end and a new feature has hit (I don’t know exactly when it happens, but I’m guessing when your score reaches a certain point) where map exits start closing off. Two examples:

You are in a room with an upward escalator and a door forward.


Just as you’re approaching the escalator, it stops and a man runs in and closes it.
You are in a room with an upward escalator and a door forward.
The escalator has been closed by Cottage’s highways department.


You are in the Studio.


The lock of the door has jammed so you won’t get out that way!
Your keys don’t fit the keyhole.
You are in the Studio.

Mind you, there’s still a way to get where is necessary, but it starts to be more circuitous as the game goes on. The portions of the map that involve (more or less) random travel start to get more appealing.

This led to a welcome kind of tension, lending a modicum of atmosphere and the feeling of other presences, rather like when entering the trapdoor from Zork it gets closed and barred from the other side. It’s not exactly a horror tension (the game is too silly for that) but more of a strategic tension.; I felt like I needed to do some actual planning.

Posted January 17, 2013 by Jason Dyer in Interactive Fiction

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Stuga: Resurrection   2 comments


There is a particular art to reviving a half-finished adventure game. Quite often I find I have to restart because I have a.) lost my maps or b.) lost the thread of the plot.

b.) is no worry: there’s no plot. As for a.), I posted my most recent map on the last post on this blog (back in 2011) so I don’t have to reconstruct everything. I still have the same sluggish feeling about this game though, so I need a battle plan.

I went to the hint file and pulled out the list of all the treasures as well as all the things that get points. Fingers crossed: a checklist might help me psychologically get through this thing.

Posted January 11, 2013 by Jason Dyer in Interactive Fiction

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Stuga: Puzzles   5 comments

Two puzzles are spoiled below.

Click on the image for a PDF version of the map.

Work has delayed me a bit in finishing Stuga, but also Stuga itself has been stalling me; I’ve been having a hard time working up the energy to play it in my spare moments. I’ve being trying to isolate why. One reason is the puzzles (more on that in a second) but also because Stuga turns out to be another “find the treasures and gather them in the right location” plot, but without any time limit via expiring lantern batteries or otherwise. This seems like it ought to make it easier for me to want to play, but oddly once I realized there was no time pressure it was causing the opposite. I think it’s perhaps because there’s appeal in these old games still (and uniquely for the era) as an optimization puzzle, and I was having fun in Zork (for example) plotting out the best route to take to grab the diamond, like I was a real adventurer plotting over a dusty map. Stuga makes me feel not like I’m a character in some world, but an avatar of an avatar; like LASH, controlling someone not myself who is themselves controlling a robot from a distance. This is all weird and irrational and imprecise but that’s the best way I can express how it feels.

The puzzles, also, to use the words of Jimmy Maher, are either extremely simple or blatantly unfair. In my last post the word SESAME was mentioned in a room, prompting David Welbourn to say his next command would be OPEN SESAME. Well, it’s almost as easy as that — it’s just SESAME, and you use it at a locked gate and that’s that.

On the other hand, there’s a dark room. If you type TAKE (not TAKE ALL or any other variation) you will pick up a hidden lamp, and then be told the lamp will disappear if you leave the room so you should “stay put”. So you type STAY and then wait (in real time, yes, you actually sit still for 30 seconds) and then you get scooped out of the room and get to keep the lamp.

The Muppet sequence in my last post has been the best puzzle so far, just because it turned out to be a Choose-Your-Own-Adventure interlude with binary choices where figuring out the correct route led to a treasure. It was so unique and weird it was oddly fun to work out.

Posted July 2, 2011 by Jason Dyer in Interactive Fiction

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Stuga: Seriously?   2 comments

In the midst of mapping a maze I came across this:

You are on the edge of a deep well. If you jump down you won’t get back up!


Little you is winding.
Fozzi the bear is sitting here asking:
What’s your name ? Jason
Someone says: This is THE MUPPET SHOW with tonight’s guest artist: jason
The curtain rises and you are on a stage with Kermit the frog. The puppet audience is applauding.
Answer RUN or PERFORM : perform

Kermit asks you if you want to sing or tell a story.
Answer SING or TELL : sing

You start singing: I’m a poor lonesome cowboy and a long way from home…
The audience is cheering but the singers Wayne & Wanda are angry with you for taking their place. They want to kill you!
Answer PEACE (with Wayne & Wanda) or FOLLOW (Kermit) : peace

You approach Wayne & Wanda to make your peace with them.
You decide not to sing anymore so that W&W can keep their job. Fozzi comes up and says:
Enter an interest that you have! Dice
Fozzi gives his thanks and leaves. There is a door to your left.
Answer FOLLOW (Fozzi) or LEFT : follow

Now Fozzi enters a door. There’s also a door forward.
Answer FOLLOW (Fozzi) or FORWARD : follow

You are inside a torture-chamber. The door locked itself behind you! The walls are closing in. The only way out is blocked by a monster!
Answer RUN (out) or STAY : run

You run straight into a monster devouring vegetables! He grabs you and throws you high into the air.
You are in the loft, a small nook at the top of the house. From here you can go everywhere. On the wall it says: SESAME

Posted June 11, 2011 by Jason Dyer in Interactive Fiction

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