2165 lines
59 KiB
Plaintext
2165 lines
59 KiB
Plaintext
;"***************************************************************************"
|
|
; "game : Arthur"
|
|
; "file : HINTS.ZIL"
|
|
; "auth : $Author: RAB $"
|
|
; "date : $Date: 15 May 1989 19:40:14 $"
|
|
; "revs : $Revision: 1.50 $"
|
|
; "vers : 1.0"
|
|
;"---------------------------------------------------------------------------"
|
|
; "Hints"
|
|
; "Copyright (C) 1989 Infocom, Inc. All rights reserved."
|
|
;"***************************************************************************"
|
|
|
|
<FILE-FLAGS CLEAN-STACK?>
|
|
|
|
<GLOBAL GL-HINT-WARNING <> <> BYTE>
|
|
<GLOBAL GL-HINTS-OFF <> <> BYTE>
|
|
|
|
<SYNTAX HELP OFF OBJECT (FIND FL-ROOMS) = V-HINTS-NO>
|
|
|
|
<CONSTANT K-NO-HINTS-MSG "Hints have been disallowed for this session.">
|
|
|
|
<ROUTINE V-HINTS-NO ()
|
|
<COND
|
|
(<NOT <MC-PRSO? ,ROOMS>>
|
|
<DONT-UNDERSTAND>
|
|
)
|
|
(T
|
|
<SETG GL-HINTS-OFF T>
|
|
<RT-AUTHOR-MSG ,K-NO-HINTS-MSG>
|
|
)
|
|
>
|
|
<SETG CLOCK-WAIT T>
|
|
<RFATAL>
|
|
>
|
|
|
|
%<DEBUG-CODE <SYNTAX $HINT = V-HINT>>
|
|
|
|
<ROUTINE V-HINT ("AUX" N (WHO <>))
|
|
<COND
|
|
(,GL-HINTS-OFF
|
|
; <RT-AUTHOR-MSG ,K-NO-HINTS-MSG>
|
|
<TELL
|
|
"You look inside the crystal, but it has gone dark. Merlin's voice
|
|
echoes in your mind, \"Earlier, in the true spirit of adventure, you
|
|
disabled the hints. Go forward, therefore, and continue your quest.\"" CR
|
|
>
|
|
)
|
|
(T
|
|
<TELL
|
|
"You look inside the ball and see the hazy outline of a hint menu."
|
|
>
|
|
<COND
|
|
(<NOT ,GL-HINT-WARNING>
|
|
<SETG GL-HINT-WARNING T>
|
|
<TELL
|
|
"||Merlin comes into the cave and says, \"You can get a hint simply by looking
|
|
in the crystal. But I know that sometimes you will be tempted to get a hint
|
|
before you really want or need to. Therefore, you may at any time during your
|
|
adventure type HINTS OFF, and I will make the crystal go dark. This will
|
|
disallow the seeking of help for the remainder of that session. If you still
|
|
want a hint now, then look once more into the crystal.\"||Merlin disappears.|"
|
|
>
|
|
)
|
|
(T
|
|
<TELL "..|">
|
|
<INPUT 1 50 ,RT-STOP-READ>
|
|
<DO-HINTS>
|
|
; <REPEAT ()
|
|
<RT-INIT-HINT-SCREEN>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET 5 1>
|
|
)
|
|
(T
|
|
<CURSET 5 1>
|
|
)
|
|
>
|
|
<RT-PUT-UP-QUESTIONS <>> ; "Put up chapters."
|
|
<COND
|
|
(<SET N <RT-SELECT-ONE ,GL-CHAPT-NUM>>
|
|
<COND
|
|
(<NOT <EQUAL? .N ,GL-CHAPT-NUM>>
|
|
<SETG GL-QUEST-NUM 1>
|
|
)
|
|
>
|
|
<SETG GL-CHAPT-NUM .N>
|
|
<RT-PICK-QUESTION>
|
|
)
|
|
(T
|
|
<RETURN>
|
|
)
|
|
>
|
|
>
|
|
<V-REFRESH <>>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
<SETG CLOCK-WAIT T>
|
|
<RFATAL>
|
|
>
|
|
|
|
;[ ;"Start of commented-out block."
|
|
|
|
<CONSTANT K-RETURN-SEE-HINT " RETURN = see hint">
|
|
<CONSTANT K-RETURN-SEE-HINT-LEN <LENGTH " RETURN = see hint">>
|
|
|
|
<CONSTANT K-Q-MAIN-MENU "Q = main menu">
|
|
<CONSTANT K-Q-MAIN-MENU-LEN <LENGTH "Q = main menu">>
|
|
|
|
<CONSTANT K-Q-RESUME-STORY "Q = Resume story">
|
|
<CONSTANT K-Q-RESUME-STORY-LEN <LENGTH "Q = Resume story">>
|
|
|
|
<CONSTANT K-INTELLI-HINTS "INTELLI-HINTS (tm)">
|
|
<CONSTANT K-INTELLI-HINTS-LEN <LENGTH "INTELLI-HINTS (tm)">>
|
|
|
|
<CONSTANT K-NEXT " N = Next">
|
|
<CONSTANT K-NEXT-LEN <LENGTH " N = Next">>
|
|
|
|
<CONSTANT K-PREVIOUS "P = Previous">
|
|
<CONSTANT K-PREVIOUS-LEN <LENGTH "P = Previous">>
|
|
|
|
;"zeroth (first) element is 5"
|
|
<GLOBAL GL-LINE-TABLE
|
|
<PTABLE
|
|
5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
|
|
5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
|
|
>
|
|
>
|
|
|
|
;"zeroth (first) element is 4"
|
|
<CONSTANT GL-COLUMN-TABLE
|
|
<PTABLE
|
|
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
|
|
23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23
|
|
>
|
|
>
|
|
|
|
; "If the first argument is non-false, build a parallel impure table
|
|
for storing the count of answers already seen; make it a constant
|
|
under the given name."
|
|
|
|
<DEFINE20 CONSTRUCT-HINTS (COUNT-NAME "TUPLE" STUFF "AUX" (SS <>) (HL (T)) (HLL .HL) V (CL (T)) (CLL .CL) TCL TCLL)
|
|
<REPEAT ((CT 0))
|
|
<COND
|
|
(<OR <EMPTY? .STUFF>
|
|
<TYPE? <1 .STUFF> STRING>
|
|
>
|
|
; "Chapter break"
|
|
<COND
|
|
(<NOT .SS>
|
|
; "First one, just do setup"
|
|
<SET SS .STUFF>
|
|
<SET TCL (T)>
|
|
<SET TCLL .TCL>
|
|
<SET CT 0>
|
|
)
|
|
(T
|
|
<SET V <SUBSTRUC .SS 0 <- <LENGTH .SS> <LENGTH .STUFF>>>>
|
|
; "One chapter's worth"
|
|
<SET HLL <REST <PUTREST .HLL (<EVAL <FORM PLTABLE !.V>>)>>>
|
|
<COND
|
|
(.COUNT-NAME
|
|
<SET CLL
|
|
<REST
|
|
<PUTREST .CLL
|
|
(<EVAL <FORM TABLE (BYTE) !<REST .TCL>>>)
|
|
>
|
|
>
|
|
>
|
|
<SET TCL (T)>
|
|
<SET TCLL .TCL>
|
|
<SET CT 0>
|
|
)
|
|
>
|
|
<SET SS .STUFF>
|
|
)
|
|
>
|
|
<COND
|
|
(<EMPTY? .STUFF>
|
|
<RETURN>
|
|
)
|
|
>
|
|
<SET STUFF <REST .STUFF>>
|
|
)
|
|
(T
|
|
<COND
|
|
(.COUNT-NAME
|
|
<COND
|
|
(<1? <MOD <SET CT <+ .CT 1>> 2>>
|
|
<SET TCLL <REST <PUTREST .TCLL (0)>>>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
<SET STUFF <REST .STUFF>>
|
|
)
|
|
>
|
|
>
|
|
<COND
|
|
(.COUNT-NAME
|
|
<EVAL
|
|
<FORM CONSTANT .COUNT-NAME
|
|
<EVAL <FORM PTABLE !<REST .CL>>>
|
|
>
|
|
>
|
|
)
|
|
>
|
|
<EVAL <FORM PLTABLE !<REST .HL>>>
|
|
>
|
|
|
|
;"shows in HINT-TBL ltable which QUESTION it's on."
|
|
<GLOBAL GL-QUEST-NUM 1 <> BYTE>
|
|
|
|
;"shows in HINT-TBL ltable which CHAPTER it's on."
|
|
<GLOBAL GL-CHAPT-NUM 1 <> BYTE>
|
|
|
|
<ROUTINE RT-SELECT-ONE (N "AUX" (Q 1) P (MAX <ZGET ,K-HINT-ITEMS 0>))
|
|
<REPEAT ((I 0))
|
|
<COND
|
|
(<IGRTR? I .MAX>
|
|
<RETURN>
|
|
)
|
|
(<EQUAL? .N <ZGET ,K-HINT-ITEMS .I>>
|
|
<SET Q .I>
|
|
<RETURN>
|
|
)
|
|
>
|
|
>
|
|
<RT-NEW-CURSOR .Q>
|
|
<REPEAT (CHR)
|
|
<SET CHR <INPUT 1>>
|
|
<COND
|
|
(<EQUAL? .CHR ,K-CLICK1 ,K-CLICK2>
|
|
<COND
|
|
(<SET P <RT-MOUSE-SELECT>>
|
|
<COND
|
|
(<NOT <EQUAL? .P .Q>>
|
|
<RT-ERASE-CURSOR .Q>
|
|
<COND
|
|
(<G? .P 0>
|
|
<SET Q .P>
|
|
)
|
|
(<EQUAL? .P -1> ; "Clicked next"
|
|
<COND
|
|
(<EQUAL? .Q .MAX> ; "Wrap around on N"
|
|
<SET Q 1>
|
|
)
|
|
(T
|
|
<INC Q>
|
|
)
|
|
>
|
|
)
|
|
(<EQUAL? .P -2> ; "Clicked previous"
|
|
<COND
|
|
(<EQUAL? .Q 1>
|
|
<SET Q .MAX>
|
|
)
|
|
(T
|
|
<DEC Q>
|
|
)
|
|
>
|
|
)
|
|
(<EQUAL? .P -3> ; "Clicked see hint"
|
|
<RETURN>
|
|
)
|
|
(<EQUAL? .P -4> ; "Clicked quit"
|
|
<RFALSE>
|
|
)
|
|
>
|
|
<RT-NEW-CURSOR .Q>
|
|
)
|
|
>
|
|
<COND
|
|
(<G? .P 0>
|
|
<COND
|
|
(<EQUAL? .CHR ,K-CLICK2>
|
|
<RETURN>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
)
|
|
(<EQUAL? .CHR !\Q !\q 27>
|
|
<RFALSE>
|
|
)
|
|
(<EQUAL? .CHR !\N !\n ,K-DOWN>
|
|
<RT-ERASE-CURSOR .Q>
|
|
<COND
|
|
(<EQUAL? .Q .MAX> ; "Wrap around on N"
|
|
<SET Q 1>
|
|
)
|
|
(T
|
|
<INC Q>
|
|
)
|
|
>
|
|
<RT-NEW-CURSOR .Q>
|
|
)
|
|
(<EQUAL? .CHR !\P !\p ,K-UP>
|
|
<RT-ERASE-CURSOR .Q>
|
|
<COND
|
|
(<EQUAL? .Q 1>
|
|
<SET Q .MAX>
|
|
)
|
|
(T
|
|
<DEC Q>
|
|
)
|
|
>
|
|
<RT-NEW-CURSOR .Q>
|
|
)
|
|
(<EQUAL? .CHR 13 10 !\ >
|
|
<RETURN>
|
|
)
|
|
>
|
|
>
|
|
<RETURN <GET ,K-HINT-ITEMS .Q>>
|
|
>
|
|
|
|
<ROUTINE RT-MOUSE-SELECT ("OPT" (HINT? <>) "AUX" X Y N)
|
|
<SET Y </ <LOWCORE MSLOCY> ,GL-FONT-Y>>
|
|
<SET X </ <LOWCORE MSLOCX> ,GL-FONT-X>>
|
|
<COND
|
|
(<EQUAL? .Y 2>
|
|
<COND
|
|
(.HINT?
|
|
<RFALSE>
|
|
)
|
|
(<L? .X </ <LOWCORE SCRH> 2>>
|
|
<RETURN -1>
|
|
)
|
|
(T
|
|
<RETURN -2>
|
|
)
|
|
>
|
|
)
|
|
(<EQUAL? .Y 3>
|
|
<COND
|
|
(<L? .X </ <LOWCORE SCRH> 2>>
|
|
<RETURN -3>
|
|
)
|
|
(T
|
|
<RETURN -4>
|
|
)
|
|
>
|
|
)
|
|
(.HINT?
|
|
<RFALSE>
|
|
)
|
|
(<AND <G=? .Y 5>
|
|
<L=? .Y 22>
|
|
>
|
|
<SET N <- .Y 4>>
|
|
<COND
|
|
(<G=? .X 23>
|
|
<SET N <+ .N 18>>
|
|
)
|
|
>
|
|
<RETURN .N>
|
|
)
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-PICK-QUESTION ("AUX" N)
|
|
<RT-INIT-HINT-SCREEN <>>
|
|
<RT-JUSTIFY-LINE 3 ,K-RETURN-SEE-HINT ,K-J-LEFT>
|
|
<RT-JUSTIFY-LINE 3 ,K-Q-MAIN-MENU ,K-J-RIGHT ,K-Q-MAIN-MENU-LEN>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET 5 1>
|
|
)
|
|
(T
|
|
<CURSET 5 1>
|
|
)
|
|
>
|
|
<RT-PUT-UP-QUESTIONS>
|
|
<COND
|
|
(<SET N <RT-SELECT-ONE ,GL-QUEST-NUM>>
|
|
<SETG GL-QUEST-NUM .N>
|
|
<RT-DISPLAY-HINT>
|
|
<AGAIN>
|
|
)
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-ERASE-CURSOR (N)
|
|
<DEC N>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET
|
|
<GET ,GL-LINE-TABLE .N>
|
|
<- <GET ,GL-COLUMN-TABLE .N> 2>
|
|
>
|
|
)
|
|
(T
|
|
<CURSET
|
|
<GET ,GL-LINE-TABLE .N>
|
|
<- <GET ,GL-COLUMN-TABLE .N> 2>
|
|
>
|
|
)
|
|
>
|
|
<TELL " "> ; "erase previous highlight cursor"
|
|
>
|
|
|
|
; "go back 2 spaces from question text, print cursor and flash is between
|
|
the cursor and text"
|
|
|
|
<ROUTINE RT-NEW-CURSOR (N)
|
|
<DEC N>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET
|
|
<GET ,GL-LINE-TABLE .N>
|
|
<- <GET ,GL-COLUMN-TABLE .N> 2>
|
|
>
|
|
)
|
|
(T
|
|
<CURSET
|
|
<GET ,GL-LINE-TABLE .N>
|
|
<- <GET ,GL-COLUMN-TABLE .N> 2>
|
|
>
|
|
)
|
|
>
|
|
<TELL ">"> ; "print the new cursor"
|
|
>
|
|
|
|
<ROUTINE RT-INVERSE-LINE ("AUX" TBL N)
|
|
<HLIGHT ,K-H-INV>
|
|
<SET N ,GL-SCR-WID>
|
|
<SET TBL <REST ,K-DIROUT-TBL 2>>
|
|
<PUTB .TBL 0 !\ >
|
|
<COPYT .TBL <REST .TBL 1> <- .N>>
|
|
<PRINTT .TBL .N>
|
|
<HLIGHT ,K-H-NRM>
|
|
>
|
|
|
|
<ROUTINE RT-DISPLAY-HINT ("AUX" H MX (CNT 3) CHR (FLG T) N P CV SHIFT? COUNT-OFFS)
|
|
<CLEAR -1>
|
|
<VERSION?
|
|
(YZIP
|
|
<CSPLIT 3>
|
|
)
|
|
(T
|
|
<SPLIT 3>
|
|
)
|
|
>
|
|
<SCREEN ,K-S-WIN>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET 1 1>
|
|
)
|
|
(T
|
|
<CURSET 1 1>
|
|
)
|
|
>
|
|
<RT-INVERSE-LINE>
|
|
<RT-JUSTIFY-LINE 1 ,K-INTELLI-HINTS ,K-J-CENTER ,K-INTELLI-HINTS-LEN>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET 2 1>
|
|
)
|
|
(T
|
|
<CURSET 2 1>
|
|
)
|
|
>
|
|
<RT-INVERSE-LINE>
|
|
<HLIGHT ,K-H-BLD>
|
|
<SET H <GET <GET ,K-HINTS ,GL-CHAPT-NUM> <+ ,GL-QUEST-NUM 1>>>
|
|
; "Byte table to use for showing questions already seen"
|
|
; "Actually a nibble table. The high four bits of each byte are for
|
|
quest-num odd; the low for bits are for quest-num even. See SHIFT?
|
|
and COUNT-OFFS."
|
|
<SET CV <GET ,K-HINT-COUNTS <- ,GL-CHAPT-NUM 1>>>
|
|
<RT-JUSTIFY-LINE 2 <GET .H 2> ,K-J-CENTER>
|
|
<HLIGHT ,K-H-NRM>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET 3 1>
|
|
)
|
|
(T
|
|
<CURSET 3 1>
|
|
)
|
|
>
|
|
<RT-INVERSE-LINE>
|
|
<RT-JUSTIFY-LINE 3 "RETURN = see new hint" ,K-J-LEFT>
|
|
<RT-JUSTIFY-LINE 3 "Q = see hint menu" ,K-J-RIGHT %<LENGTH "Q = see hint menu">>
|
|
<SET MX <GET .H 0>>
|
|
<SCREEN ,K-S-NOR>
|
|
<CRLF>
|
|
<SET SHIFT? <MOD ,GL-QUEST-NUM 2>>
|
|
<SET COUNT-OFFS </ <- ,GL-QUEST-NUM 1> 2>>
|
|
<REPEAT ((CURCX <GETB .CV .COUNT-OFFS>)
|
|
(CURC <+ 2 <ANDB <COND (.SHIFT? <LSH .CURCX -4>) (T .CURCX)> *17*>>))
|
|
<COND
|
|
(<G=? .CNT .CURC>
|
|
<RETURN>
|
|
)
|
|
(T
|
|
<TELL <GET .H .CNT> CR ;CR>
|
|
<SET CNT <+ .CNT 1>>
|
|
)
|
|
>
|
|
>
|
|
<REPEAT ()
|
|
<COND
|
|
(<AND .FLG <G? .CNT .MX>>
|
|
<SET FLG <>>
|
|
<TELL "[That's all.]" CR>
|
|
)
|
|
(.FLG
|
|
<SET N <+ <- .MX .CNT> 1>>
|
|
<TELL N .N ;" hint">
|
|
; <COND
|
|
(<NOT <EQUAL? .N 1>>
|
|
<TELL "s">
|
|
)
|
|
>
|
|
<TELL " left > ">
|
|
<SET FLG <>>
|
|
)
|
|
>
|
|
<REPEAT ()
|
|
<SET CHR <INPUT 1>>
|
|
<COND
|
|
(<EQUAL? .CHR ,K-CLICK1 ,K-CLICK2>
|
|
<COND
|
|
(<SET P <RT-MOUSE-SELECT T>>
|
|
<COND
|
|
(<EQUAL? .P -3>
|
|
<SET CHR 13>
|
|
)
|
|
(<EQUAL? .P -4>
|
|
<SET CHR !\Q>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
<COND
|
|
(<EQUAL? .CHR !\Q !\q 27 13 10 !\ >
|
|
<RETURN>
|
|
)
|
|
>
|
|
>
|
|
<COND
|
|
(<EQUAL? .CHR !\Q !\q 27>
|
|
<COND
|
|
(.SHIFT?
|
|
<PUTB .CV .COUNT-OFFS
|
|
<ORB
|
|
<ANDB <GETB .CV .COUNT-OFFS> *17*>
|
|
<LSH <- .CNT 2> 4>
|
|
>
|
|
>
|
|
)
|
|
(T
|
|
<PUTB .CV .COUNT-OFFS
|
|
<ORB
|
|
<ANDB <GETB .CV .COUNT-OFFS> *360*>
|
|
<- .CNT 2>
|
|
>
|
|
>
|
|
)
|
|
>
|
|
<RETURN>
|
|
)
|
|
(<EQUAL? .CHR 13 10 !\ >
|
|
<COND
|
|
(<L=? .CNT .MX>
|
|
<SET FLG T> ;".cnt starts as 2"
|
|
<TELL <GET .H .CNT> ;CR CR>
|
|
; "3rd = line 7, 4th = line 9, ect"
|
|
<COND
|
|
(<IGRTR? CNT .MX>
|
|
<SET FLG <>>
|
|
<TELL "[Final hint]" CR>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
>
|
|
>
|
|
|
|
<CONSTANT K-HINT-ITEMS
|
|
<TABLE
|
|
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
|
|
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-SEE-QST? (OBJ)
|
|
<COND
|
|
(<NOT .OBJ>
|
|
T
|
|
)
|
|
(<OR <L=? .OBJ 0>
|
|
<G? .OBJ ,LAST-OBJECT>
|
|
>
|
|
<APPLY .OBJ>
|
|
)
|
|
(<IN? .OBJ ,ROOMS>
|
|
<FSET? .OBJ ,FL-TOUCHED>
|
|
)
|
|
(T
|
|
<FSET? .OBJ ,FL-SEEN>
|
|
)
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-PUT-UP-QUESTIONS ("OPT" (QST? T) "AUX" MXQ MXL)
|
|
<COND
|
|
(.QST?
|
|
<SET MXQ <- <GET <GET ,K-HINTS ,GL-CHAPT-NUM> 0> 1>>
|
|
)
|
|
(T
|
|
<SET MXQ <GET ,K-HINTS 0>>
|
|
)
|
|
>
|
|
<SET MXL <- <LOWCORE SCRV> 1>>
|
|
<REPEAT ((N 0) (QN 1) OBJ QST P?)
|
|
<COND
|
|
(<IGRTR? .N .MXQ>
|
|
<RETURN>
|
|
)
|
|
(T
|
|
<COND
|
|
(.QST?
|
|
<SET OBJ <GET <GET <GET ,K-HINTS ,GL-CHAPT-NUM> <+ .N 1>> 1>>
|
|
<SET P? <RT-SEE-QST? .OBJ>>
|
|
)
|
|
(T
|
|
<SET P? <>>
|
|
<REPEAT ((I 0) (MAX <- <GET <GET ,K-HINTS .N> 0> 1>))
|
|
<COND
|
|
(<IGRTR? .I .MAX>
|
|
<RETURN>
|
|
)
|
|
(T
|
|
<SET OBJ <GET <GET <GET ,K-HINTS .N> <+ .I 1>> 1>>
|
|
<COND
|
|
(<SET P? <RT-SEE-QST? .OBJ>>
|
|
<RETURN>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
>
|
|
)
|
|
>
|
|
<COND
|
|
(.P?
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET
|
|
<GET ,GL-LINE-TABLE <- .QN 1>>
|
|
<- <GET ,GL-COLUMN-TABLE <- .QN 1>> 1>
|
|
>
|
|
)
|
|
(T
|
|
<CURSET
|
|
<GET ,GL-LINE-TABLE <- .QN 1>>
|
|
<- <GET ,GL-COLUMN-TABLE <- .QN 1>> 1>
|
|
>
|
|
)
|
|
>
|
|
<COND
|
|
(.QST?
|
|
<SET QST <GET <GET <GET ,K-HINTS ,GL-CHAPT-NUM> <+ .N 1>> 2>>
|
|
)
|
|
(T
|
|
<SET QST <GET <GET ,K-HINTS .N> 1>>
|
|
)
|
|
>
|
|
<TELL " " .QST>
|
|
<ZPUT ,K-HINT-ITEMS .QN .N>
|
|
<ZPUT ,K-HINT-ITEMS 0 .QN>
|
|
<INC QN>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-INIT-HINT-SCREEN ("OPTIONAL" (THIRD T))
|
|
<CLEAR -1>
|
|
<VERSION?
|
|
(YZIP
|
|
<CSPLIT <- <LOWCORE SCRV> 1>>
|
|
)
|
|
(T
|
|
<SPLIT <- <LOWCORE SCRV> 1>>
|
|
)
|
|
>
|
|
<SCREEN ,K-S-WIN>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET 1 1>
|
|
)
|
|
(T
|
|
<CURSET 1 1>
|
|
)
|
|
>
|
|
<RT-INVERSE-LINE>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET 2 1>
|
|
)
|
|
(T
|
|
<CURSET 2 1>
|
|
)
|
|
>
|
|
<RT-INVERSE-LINE>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET 3 1>
|
|
)
|
|
(T
|
|
<CURSET 3 1>
|
|
)
|
|
>
|
|
<RT-INVERSE-LINE>
|
|
<RT-JUSTIFY-LINE 1 ,K-INTELLI-HINTS ,K-J-CENTER ,K-INTELLI-HINTS-LEN>
|
|
<RT-JUSTIFY-LINE 2 ,K-NEXT ,K-J-LEFT>
|
|
<RT-JUSTIFY-LINE 2 ,K-PREVIOUS ,K-J-RIGHT ,K-PREVIOUS-LEN>
|
|
<COND
|
|
(.THIRD
|
|
<RT-JUSTIFY-LINE 3 ,K-RETURN-SEE-HINT ,K-J-LEFT>
|
|
<RT-JUSTIFY-LINE 3 ,K-Q-RESUME-STORY ,K-J-RIGHT ,K-Q-RESUME-STORY-LEN>
|
|
)
|
|
>
|
|
>
|
|
|
|
<CONSTANT K-J-LEFT 0>
|
|
<CONSTANT K-J-CENTER 1>
|
|
<CONSTANT K-J-RIGHT 2>
|
|
|
|
<ROUTINE RT-JUSTIFY-LINE (LN STR TYPE "OPTIONAL" (LEN 0) (INV T) "AUX" COL)
|
|
<COND
|
|
(<ZERO? .LEN>
|
|
<COND
|
|
(<NOT <EQUAL? .TYPE ,K-J-LEFT>>
|
|
<DIROUT ,K-D-TBL-ON ,K-DIROUT-TBL>
|
|
<TELL .STR>
|
|
<DIROUT ,K-D-TBL-OFF>
|
|
<SET LEN <GET ,K-DIROUT-TBL 0>>
|
|
)
|
|
>
|
|
)
|
|
>
|
|
<COND
|
|
(<EQUAL? .TYPE ,K-J-LEFT>
|
|
<SET COL 1>
|
|
)
|
|
(<EQUAL? .TYPE ,K-J-CENTER>
|
|
<SET COL </ <- ,GL-SCR-WID .LEN> 2>>
|
|
)
|
|
(<EQUAL? .TYPE ,K-J-RIGHT>
|
|
<SET COL <- ,GL-SCR-WID .LEN>>
|
|
)
|
|
>
|
|
<VERSION?
|
|
(YZIP
|
|
<CCURSET .LN .COL>
|
|
)
|
|
(T
|
|
<CURSET .LN .COL>
|
|
)
|
|
>
|
|
<COND
|
|
(.INV
|
|
<HLIGHT ,K-H-INV>
|
|
)
|
|
>
|
|
<TELL .STR>
|
|
<COND
|
|
(.INV
|
|
<HLIGHT ,K-H-NRM>
|
|
)
|
|
>
|
|
>
|
|
|
|
] ;"End of commented-out block."
|
|
|
|
<ROUTINE RT-H-STONE-STOLEN? ()
|
|
<RETURN <NOT <IN? ,TH-STONE ,RM-CHURCHYARD>>>
|
|
>
|
|
|
|
;<ROUTINE RT-H-LOT-ATTENTION-1? ()
|
|
<RETURN <FSET? ,RM-GREAT-HALL ,FL-TOUCHED>>
|
|
>
|
|
|
|
<ROUTINE RT-H-LOT-ATTENTION-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-GREAT-HALL ,FL-TOUCHED>
|
|
<FSET? ,TH-GAUNTLET ,FL-SEEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-FIGHT-LOT? ()
|
|
<RETURN <IN? ,CH-LOT ,RM-FIELD-OF-HONOUR>>
|
|
>
|
|
|
|
<ROUTINE RT-H-BEAT-LOT? ()
|
|
<RETURN <FSET? ,CH-LOT ,FL-LOCKED>>
|
|
>
|
|
|
|
<ROUTINE RT-H-DEFEAT-LOT? ()
|
|
<RETURN <AND <FSET? ,CH-LOT ,FL-BROKEN> <FSET? ,CH-LOT ,FL-LOCKED>>>
|
|
>
|
|
|
|
;<ROUTINE RT-H-I-KNIGHT-1? ()
|
|
<RETURN <FSET? ,RM-MEADOW ,FL-TOUCHED>>
|
|
>
|
|
|
|
<ROUTINE RT-H-I-KNIGHT-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-MEADOW ,FL-TOUCHED>
|
|
<FSET? ,TH-MAGIC-RING ,FL-SEEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
;<ROUTINE RT-H-CASTLE-1? ()
|
|
<RETURN <FSET? ,RM-CASTLE-GATE ,FL-TOUCHED>>
|
|
>
|
|
|
|
<ROUTINE RT-H-CASTLE-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-CASTLE-GATE ,FL-TOUCHED>
|
|
<FSET? ,RM-HOLE ,FL-TOUCHED>
|
|
>
|
|
>
|
|
>
|
|
|
|
;<ROUTINE RT-H-PASSWORD-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-CASTLE-GATE ,FL-TOUCHED>
|
|
; <NOT <FSET? ,RM-CELL ,FL-TOUCHED>>
|
|
; <NOT <FSET? ,RM-HALL ,FL-TOUCHED>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-PASSWORD-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-CASTLE-GATE ,FL-TOUCHED>
|
|
<FSET? ,RM-CELL ,FL-TOUCHED>
|
|
; <NOT <FSET? ,RM-HALL ,FL-TOUCHED>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-PASSWORD-3? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-CASTLE-GATE ,FL-TOUCHED>
|
|
<FSET? ,RM-HALL ,FL-TOUCHED>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-HEARD-PASSWORD? ()
|
|
<RETURN <FSET? ,TH-PASSWORD ,FL-TOUCHED>>
|
|
>
|
|
|
|
<ROUTINE RT-H-PRISONER-OUT? ()
|
|
<RETURN <FSET? ,CH-PRISONER ,FL-AIR>>
|
|
>
|
|
|
|
;<ROUTINE RT-H-PRISONER-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-CELL ,FL-TOUCHED>
|
|
; <NOT <FSET? ,CH-CELL-GUARD ,FL-SEEN>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-PRISONER-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-CELL ,FL-TOUCHED>
|
|
<FSET? ,CH-CELL-GUARD ,FL-SEEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-SWORD? ()
|
|
<RETURN <NOT <FSET? ,TH-SWORD ,FL-LOCKED>>>
|
|
>
|
|
|
|
;<ROUTINE RT-H-BRACELET-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-KRAKEN ,FL-SEEN>
|
|
; <LOC ,CH-KRAKEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-BRACELET-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-KRAKEN ,FL-SEEN>
|
|
<NOT <LOC ,CH-KRAKEN>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-HEARD-MURMUR? ()
|
|
<RETURN <FSET? ,TH-ROCK ,FL-BROKEN>>
|
|
>
|
|
|
|
;<ROUTINE RT-H-EGG-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,TH-RAVEN-EGG ,FL-SEEN>
|
|
; <NOT <FSET? ,TH-BRASS-EGG ,FL-SEEN>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-EGG-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,TH-RAVEN-EGG ,FL-SEEN>
|
|
<FSET? ,TH-BRASS-EGG ,FL-SEEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
;<ROUTINE RT-H-TOWER-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-TOW-CLEARING ,FL-TOUCHED>
|
|
; <NOT <FSET? ,TH-IVORY-KEY ,FL-SEEN>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-TOWER-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-TOW-CLEARING ,FL-TOUCHED>
|
|
<FSET? ,TH-IVORY-KEY ,FL-SEEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
;<ROUTINE RT-H-NAME-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-RHYMER ,FL-SEEN>
|
|
; <NOT <FSET? ,RM-CRACK-ROOM ,FL-TOUCHED>>
|
|
; <NOT <FSET? ,RM-CELLAR ,FL-SEEN>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-NAME-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-RHYMER ,FL-SEEN>
|
|
<FSET? ,RM-CRACK-ROOM ,FL-TOUCHED>
|
|
; <NOT <FSET? ,RM-CELLAR ,FL-SEEN>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-NAME-3? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-RHYMER ,FL-SEEN>
|
|
<FSET? ,RM-CRACK-ROOM ,FL-TOUCHED>
|
|
<FSET? ,RM-CELLAR ,FL-SEEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
;<ROUTINE RT-H-TUSK-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-NORTH-OF-CHASM ,FL-TOUCHED>
|
|
; <FSET? ,TH-BOAR ,FL-ALIVE>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-TUSK-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-NORTH-OF-CHASM ,FL-TOUCHED>
|
|
<NOT <FSET? ,TH-BOAR ,FL-ALIVE>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-SEEN-BOG? ()
|
|
<RETURN <FSET? ,RM-BOG ,FL-SEEN>>
|
|
>
|
|
|
|
<ROUTINE RT-H-SEEN-THORNY-ISLAND? ()
|
|
<RETURN <FSET? ,RM-THORNEY-ISLAND ,FL-SEEN>>
|
|
>
|
|
|
|
;<ROUTINE RT-H-BLACK-KNIGHT-1? ()
|
|
<RETURN <FSET? ,CH-BLACK-KNIGHT ,FL-SEEN>>
|
|
>
|
|
|
|
<ROUTINE RT-H-BLACK-KNIGHT-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-BLACK-KNIGHT ,FL-SEEN>
|
|
<FSET? ,TH-SWORD ,FL-SEEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-BLACK-KNIGHT-3? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-BLACK-KNIGHT ,FL-SEEN>
|
|
<FSET? ,TH-SWORD ,FL-SEEN>
|
|
<G=? ,GL-SC-EXP 66>
|
|
>
|
|
>
|
|
>
|
|
|
|
;<ROUTINE RT-H-DRAGON-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-DRAGON ,FL-SEEN>
|
|
; <NOT <FSET? ,TH-WHISKY-JUG ,FL-SEEN>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-DRAGON-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,CH-DRAGON ,FL-SEEN>
|
|
<FSET? ,TH-WHISKY-JUG ,FL-SEEN>
|
|
>
|
|
>
|
|
>
|
|
|
|
;<ROUTINE RT-H-TALKING-DOOR-1? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-HOT-ROOM ,FL-TOUCHED>
|
|
; <NOT <FSET? ,RM-ICE-ROOM ,FL-TOUCHED>>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-TALKING-DOOR-2? ()
|
|
<RETURN
|
|
<AND
|
|
<FSET? ,RM-HOT-ROOM ,FL-TOUCHED>
|
|
<FSET? ,RM-ICE-ROOM ,FL-TOUCHED>
|
|
>
|
|
>
|
|
>
|
|
|
|
<ROUTINE RT-H-SEEN-DEMON? ()
|
|
<RETURN <NOT <FSET? ,CH-DEMON ,FL-LOCKED>>>
|
|
>
|
|
|
|
<ROUTINE RT-H-APPENDIX? ()
|
|
<RETURN <NOT <IN? ,TH-EXCALIBUR ,TH-STONE>>>
|
|
>
|
|
|
|
;"longest hint topic can be 17 chars"
|
|
|
|
<CONSTANT HINTS
|
|
<CONSTRUCT-HINTS HINT-COUNTS
|
|
|
|
"THE CHURCHYARD"
|
|
|
|
<PLTABLE
|
|
<>
|
|
"How do I keep the soldiers from arresting me?"
|
|
"Hide where they can't see you."
|
|
"You can't hide in the church."
|
|
"Hmmm. Doesn't that gravestone look pretty big?"
|
|
"Hide behind the gravestone."
|
|
>
|
|
<PLTABLE
|
|
RT-H-STONE-STOLEN?
|
|
"How do I keep Lot from stealing the stone?"
|
|
"You can't."
|
|
>
|
|
<PLTABLE
|
|
<>
|
|
"What can I do in the church?"
|
|
"What should any chivalrous knight do when starting a quest?"
|
|
"Pray."
|
|
>
|
|
|
|
"KING LOT"
|
|
|
|
<PLTABLE
|
|
<>
|
|
"Who is King Lot?"
|
|
"He is one of the many lesser kings who live in Britain. He wants to be High
|
|
King."
|
|
>
|
|
<PLTABLE
|
|
RM-GREAT-HALL
|
|
"Why does Lot ignore me in the great hall?"
|
|
"You are but a boy - insignificant in his eyes."
|
|
>
|
|
<PLTABLE
|
|
RM-GREAT-HALL
|
|
"How can I get Lot's attention?"
|
|
"You need to challenge him in the traditional way."
|
|
"Unless the next hint topic begins, \"More on getting Lot's attention,\" then
|
|
someplace in the game there is some object or information that you have not
|
|
yet discovered. Until you do, it is unlikely that you will solve this
|
|
puzzle."
|
|
>
|
|
<PLTABLE
|
|
RT-H-LOT-ATTENTION-2?
|
|
"More on getting Lot's attention"
|
|
"Take the gauntlet to the Great Hall and hit Lot with it."
|
|
>
|
|
<PLTABLE
|
|
RT-H-FIGHT-LOT?
|
|
"How can I defeat Lot in battle?"
|
|
"Lot is a better swordsman than you."
|
|
"You'll have to resort to something other than swordplay."
|
|
"You'll have to distract him."
|
|
"Have you noticed his dominant personality characteristic?"
|
|
"Have you noticed how greedy he is?"
|
|
"Throw the bracelet on the ground."
|
|
>
|
|
<PLTABLE
|
|
RT-H-BEAT-LOT?
|
|
"More on defeating Lot"
|
|
"Once you have him at your mercy, you must spare his life."
|
|
>
|
|
|
|
"THE VILLAGE IDIOT"
|
|
|
|
<PLTABLE
|
|
CH-IDIOT
|
|
"Why is the idiot in the Town Square?"
|
|
"The idiot is a metaphor for the angst of the human condition. He has
|
|
positioned himself in the Town Square as a silent protest against man's
|
|
inhumanity to man, and as a constant reminder of society's responsibility to
|
|
care for its intellectually inferior elements."
|
|
"Actually, he just likes it there."
|
|
>
|
|
<PLTABLE
|
|
CH-IDIOT
|
|
"How can I get things from the idiot?"
|
|
"The idiot isn't too bright."
|
|
"He has no concept of value."
|
|
"He'll trade you anything he's got for anything you've got."
|
|
>
|
|
|
|
"THE TAVERN"
|
|
|
|
<PLTABLE
|
|
RM-TAVERN
|
|
"Are the farmers important?"
|
|
"Without farmers there would be no crops, and eventually everyone would die."
|
|
"Oh! You mean in the GAME?"
|
|
"Yes."
|
|
"Their conversation provides an important clue."
|
|
>
|
|
<PLTABLE
|
|
RM-TAV-KITCHEN
|
|
"Do I have to get into the locked cupboard?"
|
|
"Is the Queen English?"
|
|
"Are wild bears Catholic?"
|
|
"Does the Pope....(well, never mind)."
|
|
"Yes."
|
|
>
|
|
<PLTABLE
|
|
RM-TAV-KITCHEN
|
|
"How do I get into the locked cupboard?"
|
|
"Have you asked the cook to open it for you?"
|
|
"Of course, he's such a jerk that he probably wouldn't help you."
|
|
"The wooden key opens the locked cupboard."
|
|
"Have you asked the cook where the key is?"
|
|
"Oh yeah. We forgot. He's a jerk."
|
|
"Do not read the next clue until you have paid a visit to Merlin."
|
|
"Have you asked the bird about the key?"
|
|
"Turn yourself into an owl and see what the bird has to say."
|
|
"(But wait until that jerk leaves the room.)"
|
|
>
|
|
|
|
"INVISIBLE KNIGHT"
|
|
|
|
<PLTABLE
|
|
RM-MEADOW
|
|
"How can I get back what the invisible knight steals?"
|
|
"He trades away some of the things he steals to another character in the game."
|
|
"The other character is the idiot."
|
|
"You can trade with the idiot for whatever he has."
|
|
"The Invisible Knight will keep the rest of your possessions until you track
|
|
him to his lair."
|
|
"Unless the next hint topic begins, \"More on the invisible knight,\" then
|
|
someplace in the game, there is some object or information that you have not
|
|
yet discovered. Until you do, it is unlikely that you will solve this
|
|
puzzle."
|
|
>
|
|
<PLTABLE
|
|
RT-H-I-KNIGHT-2?
|
|
"More on the invisible knight"
|
|
"Think of the Invisible Knight as an unseen force."
|
|
"Go to the meadow and rub the magic ring."
|
|
>
|
|
|
|
"THE BRASS EGG"
|
|
|
|
<PLTABLE
|
|
CH-I-KNIGHT
|
|
"What is the solution to the invisible knight's riddle?"
|
|
"This is the first clue"
|
|
"This is the second clue"
|
|
"This is the third clue"
|
|
"This is the fourth clue"
|
|
"Examine the first four clues carefully"
|
|
"The first four clues form a sequence"
|
|
"The clue after the first four clues would be the fifth clue"
|
|
"Look at the last two letters of the words in the first four clues"
|
|
"The letters the knight is looking for are TH (as in fifTH)"
|
|
>
|
|
|
|
"MERLIN'S BAG"
|
|
|
|
<PLTABLE
|
|
TH-BAG
|
|
"What is the magic of Merlin's bag?"
|
|
"No matter what you put into it, it never fills up."
|
|
>
|
|
|
|
"ENTERING THE CASTLE"
|
|
|
|
<PLTABLE
|
|
RM-CASTLE-GATE
|
|
"How can I get into the castle?"
|
|
"Give the guard at the gate the password."
|
|
>
|
|
<PLTABLE
|
|
RT-H-CASTLE-2?
|
|
"More on getting into the castle"
|
|
"You must go down the badger hole to get into the castle."
|
|
"Push the stone."
|
|
>
|
|
<PLTABLE
|
|
RM-CASTLE-GATE ; "(has the guard blocked entry or exit)"
|
|
"How can I get the password?"
|
|
"Strangely enough, you will have to get into the castle before you can learn
|
|
the password."
|
|
"Don't read the next hint until you have visited Merlin."
|
|
"You need to turn yourself into an animal in order to get into the castle."
|
|
"You must enter the castle as a badger."
|
|
"Unless the next hint topic begins, \"More on getting the password,\" then
|
|
you should come back after you've explored more thoroughly as a badger."
|
|
>
|
|
<PLTABLE
|
|
RT-H-PASSWORD-2?
|
|
"More on getting the password"
|
|
"Have you listened to the farmers in the tavern?"
|
|
"The \"He\" they are referring to is Lot."
|
|
"The poem they are referring to is in your documentation."
|
|
"Lot announces the password every canonical hour."
|
|
"You have to be where you can hear Lot set the password."
|
|
"You have to be somewhere other than in the Great Hall."
|
|
"Unless the next hint topic begins, \"Still more on getting the password,\"
|
|
then you should come back after you have escaped from the cell."
|
|
>
|
|
<PLTABLE
|
|
RT-H-PASSWORD-3?
|
|
"Still more on getting the password"
|
|
"Have you found a dark passage yet?"
|
|
"Perhaps the small chamber at the end of the hall bears closer examination."
|
|
"Perhaps there is a secret exit from the small chamber."
|
|
"Look behind the tapestry."
|
|
"The next hint will be the very last hint on how to get the password."
|
|
"Wait behind the throne until the canonical hour changes. You will hear Lot
|
|
announce a verse and a line. That line is the password."
|
|
>
|
|
<PLTABLE
|
|
RT-H-HEARD-PASSWORD?
|
|
"How do I use the password?"
|
|
"In your documentation, you will find a poem about King Lot. Look up the
|
|
verse and line that you overheard from Lot. Then go to the guard and repeat
|
|
that line using the following format:| >Say \"Correct line from poem\""
|
|
>
|
|
|
|
"THE CELL"
|
|
|
|
<PLTABLE
|
|
RM-CELL
|
|
"Do I need to free the prisoner?"
|
|
"It would be the chivalrous thing to do."
|
|
"Yes. You need to free the prisoner."
|
|
>
|
|
<PLTABLE
|
|
RM-CELL
|
|
"How do I free the prisoner?"
|
|
"The chains and the padlock can't be broken."
|
|
"You have to unlock the padlock."
|
|
"Guards generally have keys to padlocks."
|
|
"Have you asked the prisoner about the guards?"
|
|
"Call the guard."
|
|
>
|
|
<PLTABLE
|
|
RT-H-PRISONER-2?
|
|
"More on freeing the prisoner"
|
|
"Did we mention that you should hide behind the door before you call the guard?"
|
|
"Did we mention that you will have to hit the guard in order to get the key?"
|
|
"Did we mention that you need to use the stone in order to knock out the guard?"
|
|
"Are you sick of us forgetting to mention things?"
|
|
>
|
|
|
|
"LEAVING THE CASTLE"
|
|
|
|
<PLTABLE
|
|
RM-HALL
|
|
"How do I get out of the underground corridor?"
|
|
"Forget the guard at the top of the stairs. He'll kill you every time."
|
|
"Look around the small chamber."
|
|
"How about that tapestry."
|
|
"Look behind the tapestry."
|
|
>
|
|
<PLTABLE
|
|
RM-PASSAGE-1
|
|
"How do I get out of the dark passage?"
|
|
"If you emerge from behind the throne, you'll always get killed."
|
|
"You'll have to get through that fire somehow."
|
|
"Gee....what animal was it that walks through fire?"
|
|
"Turn yourself into a salamander."
|
|
>
|
|
<PLTABLE
|
|
RM-CAS-KITCHEN
|
|
"How do I get the prisoner through the fire?"
|
|
"The prisoner can't turn himself into a salamander."
|
|
"You can't turn him into a salamander."
|
|
"It looks like you'll have to put out that fire."
|
|
"Push over the barrel of water."
|
|
>
|
|
<PLTABLE
|
|
RM-CAS-KITCHEN
|
|
"How do I get the prisoner to leave the kitchen?"
|
|
"He needs a disguise so the guards won't recognize him."
|
|
"Perhaps something that will cover part of his face."
|
|
"Remember that guard you knocked out?"
|
|
"Give him the guard's helmet."
|
|
>
|
|
<PLTABLE
|
|
RT-H-PRISONER-OUT?
|
|
"How do I get the prisoner past the guard at the gate?"
|
|
"Give the guard the password."
|
|
"See the hints on getting and using the password."
|
|
>
|
|
|
|
"THE SMITH'S SWORD"
|
|
|
|
<PLTABLE
|
|
RT-H-SWORD?
|
|
"How can I get the sword from under the tree?"
|
|
"The smith said he buried it."
|
|
"Perhaps you should try digging."
|
|
"Perhaps you should try digging as another animal."
|
|
"Turn yourself into a badger, then dig."
|
|
>
|
|
|
|
"THE RED KNIGHT"
|
|
|
|
<PLTABLE
|
|
CH-RED-KNIGHT
|
|
"How do I get past the red knight?"
|
|
"Give him what he wants."
|
|
>
|
|
|
|
"THE BADGER MAZE"
|
|
|
|
<PLTABLE
|
|
RM-BADGER-TUNNEL
|
|
"Do I have to go through the badger maze?"
|
|
"Yes."
|
|
>
|
|
<PLTABLE
|
|
RM-BADGER-TUNNEL
|
|
"How do I get through the badger maze?"
|
|
"The maze can be mapped."
|
|
"Although you cannot carry anything as a badger, you can still map the maze."
|
|
"You need some way to distinguish one room from another."
|
|
"You need to find a unique way to mark each room."
|
|
"What natural tools does a badger have?"
|
|
"Use your claws to mark each room."
|
|
"When you enter the first room, put one claw mark on the wall. When you enter
|
|
the next room, put two claw marks on the wall. Keep doing that and you will
|
|
soon be able to map the entire maze."
|
|
"The next two hints will give you the exact directions through the maze."
|
|
"From the smithy, go down, south, up, down, and up."
|
|
"From Thorney Island, go down, north, north, and up."
|
|
>
|
|
|
|
"THORNEY ISLAND"
|
|
|
|
<PLTABLE
|
|
RM-THORNEY-ISLAND
|
|
"How can I remove the hawthorn sprig from my fur?"
|
|
"You can't reach it with your claws."
|
|
"When you change back to human form, the sprig will fall to the ground."
|
|
>
|
|
<PLTABLE
|
|
RM-THORNEY-ISLAND
|
|
"What else can I do on the island?"
|
|
"Lie on the beach?"
|
|
"Sing 'Goodbye My Thorney Island Baby'?"
|
|
"Nothing."
|
|
>
|
|
|
|
"THE JOUST"
|
|
|
|
<PLTABLE
|
|
CH-BLUE-KNIGHT
|
|
"How do I start the joust?"
|
|
"First you'll have to find some armour...."
|
|
"Then of course you'll need a shield...."
|
|
"And you'll need to polish the shield...."
|
|
"With the pumice stone...."
|
|
"And then get on the horse."
|
|
>
|
|
<PLTABLE
|
|
CH-BLUE-KNIGHT
|
|
"How do I win the joust?"
|
|
"The blue knight seems to place a great deal of importance on honourable behaviour."
|
|
"Don't think of the joust as a fight. Think of it as a gentleman's sport,
|
|
with gentleman's rules and conventions."
|
|
"A gentleman wouldn't truly try to hurt another gentleman."
|
|
"Have you noticed where the blue knight always ends up aiming?"
|
|
"The blue knight will always end up aiming at your body."
|
|
"You must always end up shielding your body...."
|
|
"And you must always end up aiming at his body."
|
|
>
|
|
|
|
"THE CONKERS"
|
|
|
|
<PLTABLE
|
|
RM-CHESTNUT-PATH
|
|
"Why do the enchanted trees throw conkers at me?"
|
|
"They don't need a reason. They're enchanted."
|
|
>
|
|
<PLTABLE
|
|
RM-CHESTNUT-PATH
|
|
"How do I survive the attack of the enchanted trees?"
|
|
"You can't destroy the trees."
|
|
"Find a way to protect yourself."
|
|
"Your armour and shield can't quite protect all of your body."
|
|
"Turn into a turtle."
|
|
"Retract your head and legs into your shell."
|
|
"Wait until the trees stop throwing the conkers."
|
|
>
|
|
|
|
"THE KRAKEN"
|
|
|
|
<PLTABLE
|
|
CH-KRAKEN
|
|
"Do I need the bracelet?"
|
|
"Yes."
|
|
>
|
|
<PLTABLE
|
|
CH-KRAKEN
|
|
"How do I get the bracelet?"
|
|
"The Kraken won't give it to you."
|
|
"You'll have to take it from him."
|
|
"You'll have to use violence."
|
|
"You'll have to cut it off with your sword."
|
|
"You can't carry a sword while you're swimming."
|
|
"If you can't get the sword to the kraken, you'll have to get the kraken to
|
|
the sword."
|
|
"If you zap the kraken as an eel, he'll start to chase you."
|
|
"Leave the sword in the ford or the shallows."
|
|
"Zap the kraken and go back to where you left the sword. Change back to human
|
|
form, take the sword, and cut off the bracelet."
|
|
>
|
|
<PLTABLE
|
|
RT-H-BRACELET-2?
|
|
"More on getting the bracelet"
|
|
"Think of the bracelet as a hoop."
|
|
"Swim through the bracelet."
|
|
"Swim through the bracelet as a turtle."
|
|
"Take the bracelet to the shallows or the ford and then pull your head inside
|
|
your shell."
|
|
>
|
|
|
|
"THE GLADE"
|
|
|
|
<PLTABLE
|
|
RM-GLADE
|
|
"What is rustling in the undergrowth?"
|
|
"Perhaps it is something that is afraid of you."
|
|
"Maybe you should hide somewhere."
|
|
"Hide behind the rock."
|
|
>
|
|
<PLTABLE
|
|
RT-H-HEARD-MURMUR?
|
|
"What is the murmuring below the rock?"
|
|
"Listen to it."
|
|
"It's a leprechaun complaining about something."
|
|
>
|
|
<PLTABLE
|
|
CH-LEPRECHAUN
|
|
"How do I catch the leprechaun?"
|
|
"Listen to the murmuring from below the rock."
|
|
"Don't read the next clue until you have opened the cupboard in the tavern."
|
|
"The leprechaun is complaining about the lack of spice in his Irish stew."
|
|
"Leave the spice in the glade, then hide behind the rock."
|
|
"Catch the leprechaun while he is looking at the bottle of spice."
|
|
>
|
|
|
|
"THE RAVEN"
|
|
|
|
<PLTABLE
|
|
CH-RAVEN
|
|
"Where is the raven's egg?"
|
|
"Where do ravens usually keep eggs?"
|
|
"It's in the raven's nest."
|
|
"The nest is at the top of the tall tree in the grove."
|
|
>
|
|
<PLTABLE
|
|
TH-RAVEN-EGG
|
|
"How can I get the gold egg out of the nest?"
|
|
"You need to get into the nest...."
|
|
"Then you need to distract the raven long enough to get the egg."
|
|
"Unless the next hint topic begins, \"More on getting the gold egg,\" then
|
|
someplace in the game, there is some object or information that you have not
|
|
yet discovered. Until you do, it is unlikely that you will solve this
|
|
puzzle."
|
|
>
|
|
<PLTABLE
|
|
RT-H-EGG-2?
|
|
"More on getting the gold egg"
|
|
"The raven likes bright objects."
|
|
"The bird may even think the brass egg is real."
|
|
"Drop the brass egg in the grove."
|
|
"Fly up to the nest."
|
|
"Push the egg out of the nest."
|
|
"Get out of there before the raven kills you."
|
|
>
|
|
|
|
"THE IVORY TOWER"
|
|
|
|
<PLTABLE
|
|
RM-TOW-CLEARING
|
|
"How do I get into the ivory tower?"
|
|
"You need a key."
|
|
"Unless the next hint topic begins, \"More on getting into the tower,\" then
|
|
someplace in the game, there is some object or information that you have not
|
|
yet discovered. Until you do, it is unlikely that you will solve this
|
|
puzzle."
|
|
>
|
|
<PLTABLE
|
|
RT-H-TOWER-2?
|
|
"More on getting into the tower"
|
|
"The Blue Knight gave you an ivory key. Use it."
|
|
>
|
|
<PLTABLE
|
|
CH-RHYMER
|
|
"How can I find out the man's name?"
|
|
"It isn't Rumplestiltskin."
|
|
"Magical creatures who have secret names usually have an irresistable urge to
|
|
write it down somewhere."
|
|
"There's more than one room on this floor of the tower."
|
|
"Crawl through the crack in the wall on the landing."
|
|
>
|
|
<PLTABLE
|
|
RT-H-NAME-2?
|
|
"More on the secret name"
|
|
"The letters on the wall of the abandoned room are a cryptogram."
|
|
"The key to cryptogram is somewhere else."
|
|
>
|
|
<PLTABLE
|
|
RT-H-NAME-3?
|
|
"Still more on the secret name"
|
|
"Think of the writing on the cellar wall as two strings of letters, rather
|
|
than words."
|
|
"The writing on the cellar wall is the key to the cryptogram in the abandoned
|
|
room."
|
|
"It is a substitution cypher."
|
|
"Every letter that appears in the phrase AMHTIR AMU SMOTUS also appears in
|
|
the name RIOTHAMUS."
|
|
"Substitute the letters in the phrase AMHTIR AMU SMOTUS with the letters
|
|
in SAYMOTHER that appear above the corresponding letters in RIOTHAMUS."
|
|
"For example, the 'S' of SAYMOTHER appears directly above the 'R' of
|
|
RIOTHAMUS, so wherever you see an 'R' in AMHTIR AMU SMOTUS, substitute
|
|
the letter 'S.'"
|
|
"The man's name is Thomas The Rhymer."
|
|
>
|
|
<PLTABLE
|
|
RM-CELLAR
|
|
"What is in the cellar?"
|
|
"It's too dark to see."
|
|
"Actually, it's only too dark for a human to see."
|
|
"Turn yourself into an owl."
|
|
>
|
|
|
|
"THE BOAR"
|
|
|
|
<PLTABLE
|
|
TH-BOAR
|
|
"How do I get across the chasm?"
|
|
"You can't jump over it."
|
|
"Don't read the next clue until you have visited Merlin."
|
|
"Fly over the chasm as an owl."
|
|
>
|
|
<PLTABLE
|
|
RM-NORTH-OF-CHASM
|
|
"How do I get the tusk from the boar?"
|
|
"You'll have to kill the boar."
|
|
"You can't kill it with your bare hands."
|
|
"And it looks too big to kill with a conventional weapon."
|
|
"So maybe you could poison it."
|
|
"Gee. If only there were a poison apple in the game."
|
|
"But wait! What luck! There IS a poison apple - conveniently located just
|
|
east of the ford."
|
|
"That's really all you need to know, unless you're having difficulty getting
|
|
the apple to where the boar is - in which case, read on."
|
|
"Well, first you'll have to get the apple safely out of the Badlands, which
|
|
is covered in a separate hint topic."
|
|
"But once you've done that, you've still got to get the apple to the other
|
|
side of the chasm."
|
|
"Of course, the chasm really isn't all that wide."
|
|
"Throw the apple over the chasm."
|
|
>
|
|
<PLTABLE
|
|
RT-H-TUSK-2?
|
|
"More on getting the tusk"
|
|
"Have you tried pulling the tusk out?"
|
|
"Cut off the tusk with the sword."
|
|
"Then throw everything back over the chasm."
|
|
>
|
|
|
|
"THE COTTAGE"
|
|
|
|
<PLTABLE
|
|
RM-COTTAGE
|
|
"What's wrong with the peasant?"
|
|
"He has passed out from the cold."
|
|
>
|
|
<PLTABLE
|
|
RM-COTTAGE
|
|
"How do I awaken the peasant?"
|
|
"He has passed out from the cold."
|
|
"You need to warm him up."
|
|
"The fire has gone out."
|
|
"You need to restart the fire."
|
|
"You need some new fuel for the fire."
|
|
"Peat is a good fuel."
|
|
"Go to the bog and cut some peat."
|
|
"Use the slean."
|
|
>
|
|
|
|
"THE BOG"
|
|
|
|
<PLTABLE
|
|
RT-H-SEEN-BOG?
|
|
"How do I get through the bog?"
|
|
"You need expert guidance."
|
|
"Ask the peasant in the cottage."
|
|
>
|
|
<PLTABLE
|
|
RT-H-SEEN-THORNY-ISLAND?
|
|
"How do I get to the island in the middle of the bog?"
|
|
"You can't get to it from the bog."
|
|
"You can't get to it from the air."
|
|
"Do not read the next clue until you are really stumped."
|
|
"You have to solve the badger maze to get to the island."
|
|
>
|
|
|
|
"THE BLACK KNIGHT"
|
|
|
|
<PLTABLE
|
|
CH-BLACK-KNIGHT
|
|
"How can I get past the black knight?"
|
|
"You'll have to defeat him in battle."
|
|
"You'll need a good weapon."
|
|
"Unless the next hint topic begins, \"More on getting past the black knight,\"
|
|
then someplace in the game there is some object or information that you have
|
|
not yet discovered. Until you do, it is unlikely that you will solve this
|
|
puzzle."
|
|
>
|
|
<PLTABLE
|
|
RT-H-BLACK-KNIGHT-2?
|
|
"More on getting past the black knight"
|
|
"You have to attack the knight with your sword."
|
|
"Unless the next hint topic begins, \"Still more on getting past the black
|
|
knight,\" then you don't have enough experience to defeat him yet."
|
|
>
|
|
<PLTABLE
|
|
RT-H-BLACK-KNIGHT-3?
|
|
"Still more on getting past the black knight"
|
|
"You now have all the experience you need to defeat the black knight."
|
|
"However, you have to do more than simply attack him."
|
|
"The black knight is enchanted."
|
|
"Have you looked at him?"
|
|
"The medallion is the source of his enchanted power."
|
|
"Wait until you have knocked the sword from his hand, then cut off the medallion."
|
|
>
|
|
|
|
"THE DRAGON"
|
|
|
|
<PLTABLE
|
|
CH-DRAGON
|
|
"How can I kill the dragon?"
|
|
"Bloodthirsty sort, aren't you?"
|
|
"You can't kill the dragon."
|
|
>
|
|
<PLTABLE
|
|
CH-DRAGON
|
|
"How can I get past the dragon?"
|
|
"Unless the next hint topic begins, \"More on getting past the dragon,\" then
|
|
someplace in the game there is some object or information that you have not
|
|
yet discovered. Until you do, it is unlikely that you will solve this
|
|
puzzle."
|
|
>
|
|
<PLTABLE
|
|
RT-H-DRAGON-2?
|
|
"More on getting past the dragon."
|
|
"Does the dragon remind you of anyone?"
|
|
"Like someone who would rather be in Philadelphia?"
|
|
"Like someone known for his alcoholic intake?"
|
|
"Give him the jug of whisky."
|
|
>
|
|
|
|
"THE APPARITIONS"
|
|
|
|
<PLTABLE
|
|
TH-GHOSTS
|
|
"How can I kill the apparitions?"
|
|
"You can't. They're already dead."
|
|
>
|
|
<PLTABLE
|
|
TH-GHOSTS
|
|
"How can I stop the apparitions from killing me?"
|
|
"The apparitions aren't real."
|
|
"They are being created in your mind by an evil force."
|
|
"If you leave them alone, they'll leave you alone."
|
|
>
|
|
|
|
"THE BASILISK"
|
|
|
|
<PLTABLE
|
|
CH-BASILISK
|
|
"How can I stop the basilisk from killing me?"
|
|
"The basilisk turns everything it sees into stone."
|
|
"Perhaps if it caught a glimpse of itself...."
|
|
"Like in a mirror, perhaps..."
|
|
"Or something that was sort of like a mirror."
|
|
"Point your shield at the basilisk."
|
|
>
|
|
|
|
"THE ICE ROOM"
|
|
|
|
<PLTABLE
|
|
RM-ICE-ROOM
|
|
"What can I do in the ice room?"
|
|
"Make ice cream?"
|
|
"Freeze things."
|
|
"See the hints for the Hot Room."
|
|
>
|
|
|
|
"THE HOT ROOM"
|
|
|
|
<PLTABLE
|
|
RM-HOT-ROOM
|
|
"How can I get past the talking door?"
|
|
"Just say the word and the door will open."
|
|
"Oh yeah. We forgot. You can't talk."
|
|
"Unless the next hint topic begins, \"More on getting past the talking door,\"
|
|
then someplace in the game there is some object or information that you
|
|
have not yet discovered. Until you do, it is unlikely that you will solve
|
|
this puzzle."
|
|
>
|
|
<PLTABLE
|
|
RT-H-TALKING-DOOR-2?
|
|
"More on getting past the talking door"
|
|
"It sure is hot in here."
|
|
"Real hot."
|
|
"Hot enough to melt almost anything."
|
|
"Especially ice."
|
|
"Especially ice that contained a frozen word."
|
|
"Like Nudd."
|
|
"Go to the ice room, say \"Nudd,\" catch the block of ice before it falls,
|
|
and bring it back to the hot room."
|
|
>
|
|
|
|
"THE DEMON'S LAIR"
|
|
|
|
<PLTABLE
|
|
RM-DEMON-HALL
|
|
"Should I free the girl?"
|
|
"Have you tried kissing her?"
|
|
"Take our word for it. You don't want to free her."
|
|
"She's not what she pretends to be."
|
|
"If you show her that you know who she is, her disguise will disappear."
|
|
"She's really the demon himself."
|
|
"Either attack her, or address her as Nudd."
|
|
>
|
|
<PLTABLE
|
|
RT-H-SEEN-DEMON?
|
|
"How do I get out of the demon's lair alive?"
|
|
"Well, you could turn down the demon's deal and simply leave."
|
|
"Of course, in that case you wouldn't get the fleece."
|
|
"It looks as if you'll have to accept his offer."
|
|
"But perhaps you could outsmart him."
|
|
"Like if you fulfilled the letter - but not the spirit - of the contract."
|
|
"All you have to do is open the manacles."
|
|
"He didn't say anything about not being able to close them again."
|
|
"Of course, you'd have to open them one at a time."
|
|
>
|
|
|
|
"THE UNDERGROUND CHAMBER"
|
|
|
|
<PLTABLE
|
|
CH-NIMUE
|
|
"Who is the sleeping woman?"
|
|
"She is Nimue. The Lady of the Lake."
|
|
>
|
|
<PLTABLE
|
|
CH-NIMUE
|
|
"How can I break the enchantment?"
|
|
"You must heed Merlin's message in the documentation."
|
|
>
|
|
|
|
"THE ENDGAME"
|
|
|
|
<PLTABLE
|
|
RT-H-DEFEAT-LOT?
|
|
"I've defeated King Lot. Now what?"
|
|
"Remember the instructions of the lady of the lake?"
|
|
"Call Nimue."
|
|
>
|
|
|
|
"THE MEANING OF LIFE"
|
|
|
|
<PLTABLE
|
|
<>
|
|
"What is the meaning of life?"
|
|
"Gee. We were sorta hoping you'd know."
|
|
>
|
|
<PLTABLE
|
|
<>
|
|
"How high is up?"
|
|
"Twice as far as half way."
|
|
>
|
|
|
|
"APPENDIX"
|
|
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Reality vs. romance"
|
|
" There is inherent conflict built in to writing a game about King Arthur.
|
|
It is the conflict between history and legend - the way things were, versus
|
|
the way we wish they were.| The historical Arthur probably lived in
|
|
Post-Roman Britain, and reigned between about 454 and 470 AD, although even
|
|
this is widely debated.| The bulk of Arthurian legend, however, is based on
|
|
a series of romances written beginning in the 12th century. The writers of
|
|
these tales shamelessly projected then-current styles, fashions, and culture,
|
|
backwards across the centuries and fastened them to Arthur, where they have
|
|
stuck firmly ever since.| Thus, the historical Arthur never jousted.
|
|
Camelot, if it existed, was not a stone castle with crenellated towers, but a
|
|
reinforced hill fort with a wooden palisades surrounding a few half-timbered,
|
|
thatched buildings. Chivalry hadn't been invented yet, nor had the idea of
|
|
courtly love. Armor consisted primarily of chain mail. The cumbersome suits
|
|
of plate armor one sees in the Tower of London did not come into vogue for at
|
|
least 500 years after Arthur's death at the battle of Camlann.| Given the
|
|
fanciful nature of the game, it may seem silly to be concerned with the
|
|
accuracy of historical detail. Nevertheless, I have tried wherever possible
|
|
to cleave to the Britain of the true Arthur. A few glaring anachronisms - the
|
|
jousting scene, for example - have been included to make the game more
|
|
enjoyable. Others, like calling Britain England (Angle-Land), are included as
|
|
a bow to modern usage. But by and large, the setting is pre-Norman - and even
|
|
pre-Saxon - Britain."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Post-Roman Britain"
|
|
"The last Roman legions left England in the year 410. With their departure,
|
|
the Emperor Honorius authorized the Britons to take up arms to repel the
|
|
invading Angles and Saxons and Jutes.| A series of leaders including the
|
|
historic Arthur (who ruled from about 454 to 470) fought with varying degrees
|
|
of success to keep the invaders at bay. After Arthur's death, however, the
|
|
barbarians overran the island, and Britain began the long slide into the Dark
|
|
Ages.| The game is set in this period between the departure of the Romans
|
|
and the descent into darkness. During this time, central authority became
|
|
fragmented and regional kings came into power. Coinage passed out of use in
|
|
favor of a barter economy.| One interesting feature of those years was the
|
|
curious blend of Christian and pagan beliefs that held sway in Britain. When
|
|
the Emperor Constantine converted to Christianity in 312, the new faith
|
|
spread rapidly through the empire. But resident Romans were notorious for
|
|
incorporating local religious beliefs into their own, and many Britons
|
|
worshipped both the new god and the old Celtic gods simultaneously (see the
|
|
appendix item on the Holy Thorn).| Another prominent feature of the times
|
|
was the crumbling infrastructure. When the Romans left, they took their
|
|
knowledge of stonemasonry with them. The towns and fortresses fell into
|
|
disrepair, and no one knew how to build replacements. In the game, I have
|
|
modelled the town on the old Roman city of Portchester in the south of
|
|
England. Here there is an encircling town wall (which survives today) with a
|
|
fortress at one end. My fictional King Lot built his timber Great Hall behind
|
|
the old stone walls of the fortress, and positioned it so that his throne
|
|
backed up to the secret passage that led to the cells below."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Book of hours"
|
|
"Before the invention of the mechanical clock (the first public clock that
|
|
struck the hours wasn't built until 1335), people were far less concerned
|
|
with the precise measure of time than they are today.| The members of a
|
|
monastic community, however, had strictly regimented lives consisting of
|
|
community service, scriptural study, and manual labor that included domestic,
|
|
garden, and craft work. Moreover, at regular intervals throughout the day
|
|
they were required to praise the Lord in prayer or song. The periods of time
|
|
into which they divided the day came to be known as the canonical hours, and
|
|
the sequence of prayers became known as the divine office.| Through the
|
|
centuries, as the requirements of monastic life changed, the number,
|
|
duration, and nomenclature of the canonical hours changed as well. Thus, at
|
|
one time, Matins was approximately five hours long, beginning around
|
|
midnight. Later, it became associated with dawn, and was reduced in length to
|
|
around three hours.| Because of these changes, it is impossible to determine
|
|
with accuracy the actual system that was in effect during Arthurian times.
|
|
Instead, I created a composite version of the divine office for the game,
|
|
using wherever possible the earliest known spelling and sequence of the
|
|
canonical hours:| Matins: Midnight - 3:00 a.m.| Lauds: 3:00 - 6:00
|
|
a.m.| Prime: 6:00 - 9:00 a.m.| Terce: 9:00 a.m. - Noon| Sext: Noon -
|
|
3:00 p.m.| None: 3:00 - 6:00 p.m.| Vespers: 6:00 - 9:00 p.m.| Compline:
|
|
9:00 p.m. - Midnight| Elaborately illuminated Celtic gospels - such as the
|
|
Book of Kells - survive from as long ago as the late 600's. These works of
|
|
art were too rare - and too heavy - for a monk to carry with him as he
|
|
performed his daily chores. Instead he would carry a smaller devotional book
|
|
that contained the prayers to be said at the canonical hours. This breviary
|
|
was called a Book of Hours.| The game has adapted the idea of the Book of
|
|
Hours to help explain the canonical hours to the modern player. Although the
|
|
book would have contained prayers written in Latin, we have substituted poems
|
|
that deal with the various activities appropriate to each canonical hour.| In
|
|
Arthur's day, centuries before the Norman Invasion, poets neither wrote in
|
|
rhyme nor counted syllables. The predominant style of poetry was called
|
|
alliterative verse, and it relied on the frequent repetition of consonant
|
|
sounds within any given line. The foremost example of this is the masterful
|
|
'Sir Gawain and the Green Knight.' The style died out completely when the
|
|
Conquest brought rhyming, metered poetry to England's shores in 1066.| We
|
|
have chosen this style over the more familiar rhyming style for the book of
|
|
hours and for Lot's poem.| Finally, for anyone who is wondering why a Book of
|
|
Hours contains a poem in praise of the evil King Lot, the explanation lies in
|
|
the system of patronage and indulgences that was popular in the Middle Ages.
|
|
Under this frequently corrupt scheme, wealthy individuals could buy
|
|
forgiveness for their less-than-pious acts by sponsoring the creation of holy
|
|
works of art. Thus, this particular Book of Hours was financed by Lot, who
|
|
insisted that the poem (which he also payed for) be included."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Thomas the Rhymer"
|
|
"Thomas the Rhymer was a real man, a seer and poet who lived in the 13th
|
|
Century. Records of him survive in the form of documents and deeds which he
|
|
signed as Thomas Rymour de Erceldoune. It is believed that he was the author
|
|
of the metrical 'Sir Tristrem,' the source from which the great Arthurian
|
|
romance 'Tristan and Isolde' was later taken.| After his death, his name
|
|
passed into popular lore, and by the 15th century it was often linked closely
|
|
with Merlin's.| In legend, Thomas the Rhymer acquired his prophetic powers
|
|
when he met the Queen of Elfland and followed her into the land of the
|
|
fairies. There he stayed for seven years, before returning to the outside
|
|
world with the gift of prophecy. After his return, he lived a long and happy
|
|
life in Erceldoune until one day, while he was feasting in his castle, word
|
|
came that a hart and a hind were wandering through his village. He left the
|
|
castle to look at them, and when they turned and went into the forest, he
|
|
followed them - never to return. Yet for years thereafter, mortals who
|
|
ventured into fairyland reported that he lived there still, as a councillor
|
|
to the queen of the fairies.| In this game, Thomas belongs to the class of
|
|
supernatural creatures who place tremendous importance on the secrecy of
|
|
their names. A striking feature of this group of imps is that whenever one of
|
|
them finds himself alone, he is overwhelmed by an urge to shout out the very
|
|
name he is trying to conceal. The most famous example of this peculiar
|
|
behaviour can be found in the Grimm fairy tale 'Rumpelstiltskin.' While our
|
|
Thomas has managed to control the urge to shout his name aloud, perhaps the
|
|
player will understand his compensatory need to encrypt his name and write it
|
|
on one of the walls of his tower, while providing the key to the code on
|
|
another."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Holy thorn"
|
|
"Legend has it that after Joseph of Arimathea placed Jesus in the tomb, he
|
|
came to Britain with the Holy Grail, the cup used at the Last Supper. When he
|
|
arrived in Glastonbury, he thrust his staff into the ground on Weary-All
|
|
Hill, where it miraculously took root and grew into the Holy Thorn tree that
|
|
blossoms on Christmas day.| Descendents of this tree (the original was cut
|
|
down in Cromwell's time) still grow around Glastonbury. But ever since the
|
|
calendar reform of 1752 that involved a shift of eleven days, the trees no
|
|
longer bloom exactly on Christmas Day itself, but rather sometime around
|
|
Christmas Week.| In Arthur's day, Glastonbury was surrounded by marshes that
|
|
flooded each winter, turning the higher ground on which the Holy Thorn grew
|
|
into an island that the Celts held sacred and called Ynys-wittin - the Island
|
|
of Glass. Later traditions hold that this is the legendary Island of
|
|
Avalon.| At the same time, some 100 miles to the east, lay another island
|
|
with sacred connotations. On it was a small church dedicated to St. Peter. A
|
|
few centuries later, Westminster Abbey was built on the foundations of that
|
|
church, and the land on which it stood was called Thorney Island.| The urge
|
|
to have the game combine these two places into one island that was accessible
|
|
only through supernatural means proved irresistable, leaving unsolved the
|
|
mystery whether it was pagan magic or a Christian miracle (or a combination
|
|
of both) that brought Arthur to the throne of Britain."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Nudd"
|
|
"Nudd is really Gwyn ap Nudd, the Celtic king of the underworld, also known
|
|
variously as Nodons and Lludd. His name pops up from time to time throughout
|
|
the body of Arthurian legend. In the tale of St. Collen, for example, the
|
|
saint goes up to the top of Glastonbury Tor and enters the hill through a
|
|
magic opening. There he finds Nudd sitting on a golden throne, surrounded by
|
|
courtiers dressed in red and blue that the saint describes as \"the red of
|
|
burning fire and the blue of cold.\"| In the Black Book of Carmarthen,
|
|
Arthur himself ventures into Nudd's realm of Annwn to bring back a miraculous
|
|
cauldron of inspiration and plenty. In the Old French verse 'Merlin,' written
|
|
about 1200 by Robert de Boron, we learn that Nudd was also responsible for
|
|
placing the two dragons underneath the foundations of Vortigern's tower. (It
|
|
was Merlin's subsequent discovery of these dragons that launched his career
|
|
as a prophet and magician.)| The game takes bits and pieces of these
|
|
legends, pastes them together, and then invents a few more for good measure.
|
|
The first of these inventions is the idea that Nudd's evil influence spreads
|
|
over all the land east of the river. Merlin's magic has no power there, which
|
|
explains why the 'cyr' word will not work, and why the bag will no longer
|
|
hold an impossible number of objects.| Another addition is the \"deal with
|
|
the devil,\" which is not found in Arthurian tradition. The unusual part of
|
|
these pacts is that the devil always seems to keep his word. One might think
|
|
that, since he is evil incarnate, he wouldn't bother to honor his promises. A
|
|
long tradition of tall tales, however, argues otherwise."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Riothamus"
|
|
"I cannot recommend highly enough a book called The Discovery of King Arthur,
|
|
by Geoffrey Ashe (copyright 1985, Henry Holt & Co). In it, Ashe puts forward
|
|
a persuasive argument that identifies King Arthur with a known historical
|
|
figure named Riothamus.| Riothamus appears in French historical chronicles
|
|
as the King of the Britons who led a force of 12,000 men onto the continent
|
|
during the reign of Pope Leo. His existence is well documented, in fact a
|
|
letter still survives that was written to him in the year 469 or 470 by a man
|
|
named Sidonius.| If Arthur was Riothamus, why didn't contemporary historians
|
|
refer to him as King Arthur? In its original British form, Riothamus would
|
|
have been Rigotamos, which meant \"king-most\" or \"supremely royal.\" Ashe
|
|
argues that this was an honorific or title (like 'generalissimo') given to
|
|
Arthur, by which he was known to his contemporaries. He points out that the
|
|
same sort of name substitution happened to the Mongol warlord Temujin, who
|
|
is better known to history by his honorific, \"very mighty ruler,\" or
|
|
Ghengis Khan."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Nimue"
|
|
"Through the centuries, the Lady of the Lake has had many different names,
|
|
including Viviane, Eviene, Niviene, and Nina. But in Le Morte D'Arthur, Sir
|
|
Thomas Malory calls her Nimue. The game follows Malory on this point, despite
|
|
the fact that other authors cast Nimue as an evil sorceress who sometimes
|
|
becomes Merlin's nemesis.| In many versions of the legend, it is the Lady of
|
|
the Lake who gives the mighty Excalibur to Arthur. In some texts, however,
|
|
Excalibur appears in a churchyard as the sword in the stone, and Arthur must
|
|
prove his right to the throne by pulling it free on Christmas Day.| This
|
|
game puts Excalibur into Arthur's hand in a way that satisfies both of these
|
|
traditions. Arthur does indeed pull the sword from the stone on Christmas
|
|
Day, but it is the Lady of the Lake who gives him the power to do so by
|
|
parting the waters of the lake when he calls her name."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"The blank gravestone"
|
|
"So many people have asked the meaning of the blank gravestone in the
|
|
churchyard that I have decided to explain it here, rather than waiting for a
|
|
possible sequel.| When Sir Lancelot was born, he was taken away from his
|
|
parents and raised by the Lady of the Lake (which is why he is sometimes
|
|
called Lancelot du Lac). Like Arthur, he grew up in ignorance of his name and
|
|
royal parentage.| Lancelot does not learn his true name until he captures
|
|
Dolorous Gard and breaks the enchantment that lays over the castle. There, in
|
|
a magic cemetery, he finds a tomb in which he is told he will one day lie.
|
|
While he stands there, his name magically appears upon the previously blank
|
|
tombstone, and that is how he learns his true identity.| In this game, this
|
|
is the tombstone that conceals Arthur from Lot's soldiers. Lancelot and the
|
|
other Knights of the Round Table do not belong in this game, but I thought it
|
|
appropriate that before he even comes into the world, Lancelot is already
|
|
acting as Arthur's friend and protector."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Geography"
|
|
"I have taken great liberties with geography, specifically by implying that
|
|
all the game's action takes place in Lot's kingdom.| Lot was the king of
|
|
Lothian, which is in the north of Britain. The location of the sword in the
|
|
stone is most frequently given as London or Winchester. Merlin's cave was in
|
|
Carmarthen (Caer Myrddin) in Wales. The Lady of the Lake lived near
|
|
Glastonbury.| For the sake of convenience, I have moved Lot's kingdom south,
|
|
Merlin's cave east, and the sword in the stone west (or north), so that they
|
|
all converge on a spot near the home of the Lady of the Lake, in a setting
|
|
that can be called Glastonbury-ish.| One minor geographical note - the
|
|
precious spice that the cook keeps under lock and key is cinnamon, and it is
|
|
simply a coincidence that the ancient road that still runs from Glastonbury
|
|
to Glastonbury Tor is called Cinnamon Lane."
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Bibliography"
|
|
"The following is a partial list of books I found useful and/or interesting
|
|
in the creation of this game.|| FICTION:|| Le Morte D'Arthur, by Sir Thomas
|
|
Mallory| The History of the Kings of Britain, by Geoffrey of Monmouth| Sir
|
|
Gawain and the Green Knight, translated by J.R.R Tolkein| The Once and
|
|
Future King, by T.H. White| The Crystal Cave, by Mary Stewart| The Hollow
|
|
Hills, by Mary Stewart| The Last Enchantment, by Mary Stewart| The Wicked
|
|
Day, by Mary Stewart| The Acts of King Arthur & His Noble Knights, by John
|
|
Steinbeck|| NON-FICTION:|| King Arthur's Avalon, by Geoffrey Ashe| The
|
|
Quest for Arthur's Britain, by Geoffrey Ashe (Editor)| The Discovery of
|
|
King Arthur, by Geoffrey Ashe| The Landscape of King Arthur, by Geoffrey
|
|
Ashe| Arthur's Britain, by Leslie Alcock| Was This Camelot?, by Leslie
|
|
Alcock| The Arthurian Encyclopedia, by Norris Lacy (Editor)|| Folklore,
|
|
Myths, & Legends of Britain, by Reader's Digest| An Encyclopedia of
|
|
Fairies, by Katharine Briggs| Brewer's Dictionary of Phrase & Fable, by Ivor
|
|
Evans (Editor)| Literary Britain, by Frank Morley| Intelligent Travellers
|
|
Guide to Historic Britain, by Philip A. Crowl| Treasures of Britain, by
|
|
Drive Publications Ltd. for AA| Art Treasures in the British Isles, by
|
|
Bernard S. Myers & Trewin Copplestone (Editors)"
|
|
>
|
|
<PLTABLE
|
|
RT-H-APPENDIX?
|
|
"Credits"
|
|
<CONSTANT K-CREDITS-MSG
|
|
"SENIOR PROGRAMMER|Duane Beck||TECHNICAL CONSULTANT, FRIEND, & SHERPA GUIDE
|
|
TO THE PARSER|Stu Galley||TESTERS (Alphabetically by first name)|Adam
|
|
Levesque, Amy Briggs, Avril Korman, Byron Goulding, Duncan Blanchard,
|
|
Elizabeth Langosy, Jake Galley, James Bates, Joe Prosser, Liz Cyr-Jones,
|
|
Patti Pizer, Peggy L. Bates, Richard Bates, Shaun Kelly, Steve Watkins,
|
|
Stuart Kirsch||PRODUCERS|Jon Palace, Christopher Erhardt, Mike Kawahara,
|
|
Jon Palace||COMPUTER GRAPHICS|Darrell Myers, Tanya Isaacson, Sophie Green,
|
|
Donna Dennison, Jim Sullivan||PACKAGE DESIGN|Carl Genatossio, Gayle
|
|
Syska||COVER ART|Greg Hildebrandt||PACKAGE POETRY|Antonio Alfredo
|
|
Giarraputo||BOOK OF HOURS ART|Ed Bradley||GRAPHICS WIZARD|Tom Veldran||MICRO
|
|
INTERPRETERS|Duncan Blanchard, Jon Arnold, Scott Fray||LATE INNING
|
|
RELIEVER|Dave Lebling||GURU|Tim Anderson||Special thanks also to Dave Wilt,
|
|
John May, Joel Berez, and Chris Reeve, who got the whole thing started.">
|
|
>
|
|
>
|
|
>
|
|
|
|
;"***************************************************************************"
|
|
; "end of file"
|
|
;"***************************************************************************"
|
|
|