1523 lines
50 KiB
Plaintext
1523 lines
50 KiB
Plaintext
"DUNGEON for
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DEMO
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(c) Copyright 1984 Infocom, Inc. All Rights Reserved."
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;"This set replaced by following set from Planetfall"
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;<DIRECTIONS NORTH EAST WEST SOUTH NE NW SE SW UP DOWN IN OUT LAND>
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;"REM OFFSETS 31 30 29 28 27 26 25 24 23 22 21 20 ,LOW-DIRECTION "
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<DIRECTIONS NORTH NE EAST SE SOUTH SW WEST NW UP DOWN IN OUT>
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<OBJECT SAILOR
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(IN GLOBAL-OBJECTS)
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(SYNONYM SAILOR FOOTPAD AVIATOR)
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(DESC "sailor")
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(FLAGS NDESCBIT)
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(ACTION SAILOR-FCN)>
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<ROUTINE SAILOR-FCN ()
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<COND (<VERB? HELLO>
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<SETG HS <+ ,HS 1>>
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<COND (<0? <MOD ,HS 20>>
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<TELL "You seem to be repeating yourself." CR>)
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(<0? <MOD ,HS 10>>
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<TELL
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"I think that phrase is getting a bit worn out." CR>)
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(T
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<TELL "Nothing happens here." CR>)>)>>
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<OBJECT ZORKMID
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(IN GLOBAL-OBJECTS)
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(SYNONYM ZORKMID)
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(DESC "zorkmid")
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(ACTION ZORKMID-FUNCTION)>
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<ROUTINE ZORKMID-FUNCTION ()
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<COND (<VERB? EXAMINE>
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<TELL
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"The zorkmid is the unit of currency of the Great Underground Empire." CR>)
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(<VERB? FIND>
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<TELL
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"The best way to find zorkmids is to go out and look for them." CR>)>>
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<OBJECT LUNGS
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(IN GLOBAL-OBJECTS)
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(SYNONYM LUNGS AIR MOUTH BREATH)
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(DESC "blast of air")
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(FLAGS NDESCBIT)>
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<OBJECT BLESSINGS
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(IN GLOBAL-OBJECTS)
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(SYNONYM BLESSINGS GRACES)
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(DESC "blessings")
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(FLAGS NDESCBIT)>
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<OBJECT BOARD
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(IN LOCAL-GLOBALS)
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(SYNONYM BOARDS BOARD)
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(DESC "board")
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(FLAGS NDESCBIT)
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(ACTION BOARD-F)>
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<OBJECT TEETH
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(IN GLOBAL-OBJECTS)
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(SYNONYM OVERBOARD TEETH)
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(DESC "set of teeth")
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(FLAGS NDESCBIT)
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(ACTION TEETH-F)>
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<OBJECT WALL
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(IN GLOBAL-OBJECTS)
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(SYNONYM WALL WALLS)
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(ADJECTIVE SURROUNDING)
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(DESC "surrounding wall")>
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<OBJECT SONGBIRD
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(IN LOCAL-GLOBALS)
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(SYNONYM BIRD SONGBIRD)
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(ADJECTIVE SONG)
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(DESC "songbird")
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(FLAGS NDESCBIT)
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(ACTION SONGBIRD-F)>
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<OBJECT WHITE-HOUSE
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(IN LOCAL-GLOBALS)
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(SYNONYM HOUSE)
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(ADJECTIVE WHITE BEAUTI COLONI)
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(DESC "white house")
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(FLAGS NDESCBIT)
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(ACTION WHITE-HOUSE-F)>
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<OBJECT FOREST
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(IN LOCAL-GLOBALS)
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(SYNONYM FOREST TREES PINES HEMLOCKS)
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(DESC "forest")
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(FLAGS NDESCBIT)
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(ACTION FOREST-F)>
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<OBJECT TREE
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(IN LOCAL-GLOBALS)
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(SYNONYM TREE BRANCH)
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(ADJECTIVE LARGE STORM)
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(DESC "tree")
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(FLAGS NDESCBIT CLIMBBIT)>
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<OBJECT MOUNTAIN-RANGE
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(IN MOUNTAINS)
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(DESC "mountain range")
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(SYNONYM MOUNTAIN RANGE)
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(ADJECTIVE IMPASSABLE FLATHEAD)
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(FLAGS NDESCBIT CLIMBBIT)
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(ACTION MOUNTAIN-RANGE-F)>
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<OBJECT GLOBAL-WATER
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(IN LOCAL-GLOBALS)
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(SYNONYM WATER QUANTITY)
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(DESC "water")
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(FLAGS DRINKBIT)
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(ACTION WATER-F)>
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<OBJECT WATER
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(IN BOTTLE)
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(SYNONYM WATER QUANTITY LIQUID H2O)
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(DESC "quantity of water")
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(FLAGS TRYTAKEBIT TAKEBIT DRINKBIT)
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(ACTION WATER-F)
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(SIZE 4)>
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<OBJECT KITCHEN-WINDOW
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(IN LOCAL-GLOBALS)
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(SYNONYM WINDOW)
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(ADJECTIVE KITCHEN SMALL)
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(DESC "kitchen window")
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(FLAGS DOORBIT NDESCBIT)
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(ACTION KITCHEN-WINDOW-F)>
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<OBJECT CHIMNEY
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(IN LOCAL-GLOBALS)
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(SYNONYM CHIMNEY)
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(ADJECTIVE DARK NARROW)
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(DESC "chimney")
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(ACTION CHIMNEY-F)
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(FLAGS CLIMBBIT NDESCBIT)>
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<OBJECT LUNCH
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(IN SANDWICH-BAG)
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(SYNONYM FOOD SANDWICH LUNCH DINNER)
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(ADJECTIVE HOT PEPPER)
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(DESC "lunch")
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(FLAGS TAKEBIT FOODBIT)
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(LDESC "A hot pepper sandwich is here.")>
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<OBJECT AXE
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(IN TROLL)
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(SYNONYM AXE AX)
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(ADJECTIVE BLOODY)
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(DESC "bloody axe")
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(FLAGS WEAPONBIT TRYTAKEBIT TAKEBIT NDESCBIT)
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(ACTION AXE-F)
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(SIZE 25)>
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<OBJECT BROKEN-LAMP
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(SYNONYM LAMP LANTERN)
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(ADJECTIVE BROKEN)
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(DESC "broken lantern")
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(FLAGS TAKEBIT)>
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<OBJECT SLIDE
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(IN LOCAL-GLOBALS)
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(SYNONYM CHUTE RAMP SLIDE)
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(ADJECTIVE STEEP METAL TWISTING)
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(DESC "chute")
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(FLAGS CLIMBBIT)
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(ACTION SLIDE-FUNCTION)>
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<OBJECT KITCHEN-TABLE
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(IN KITCHEN)
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(SYNONYM TABLE)
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(ADJECTIVE KITCHEN)
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(DESC "kitchen table")
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(FLAGS NDESCBIT CONTBIT OPENBIT SURFACEBIT)
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(CAPACITY 50)>
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<OBJECT ATTIC-TABLE
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(IN ATTIC)
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(SYNONYM TABLE)
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(DESC "table")
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(FLAGS NDESCBIT CONTBIT OPENBIT SURFACEBIT)
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(CAPACITY 40)>
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<OBJECT SANDWICH-BAG
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(IN KITCHEN-TABLE)
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(SYNONYM BAG SACK)
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(ADJECTIVE BROWN ELONGATED SMELLY)
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(DESC "brown sack")
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(FLAGS TAKEBIT CONTBIT BURNBIT)
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(FDESC
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"On the table is an elongated brown sack, smelling of hot peppers.")
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(CAPACITY 15)
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(SIZE 3)
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(ACTION SANDWICH-BAG-FCN)>
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<OBJECT TROPHY-CASE ;"first obj so L.R. desc looks right."
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(IN LIVING-ROOM)
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(SYNONYM CASE)
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(ADJECTIVE TROPHY)
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(DESC "trophy case")
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(FLAGS TRANSBIT CONTBIT NDESCBIT TRYTAKEBIT SEARCHBIT)
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(ACTION TROPHY-CASE-FCN)
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(CAPACITY 10000)>
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<OBJECT RUG
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(IN LIVING-ROOM)
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(SYNONYM RUG CARPET)
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(ADJECTIVE LARGE ORIENTAL)
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(DESC "carpet")
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(FLAGS NDESCBIT TRYTAKEBIT)
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(ACTION RUG-FCN)>
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<OBJECT GARLIC
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(IN SANDWICH-BAG)
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(SYNONYM GARLIC CLOVE)
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(DESC "clove of garlic")
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(FLAGS TAKEBIT FOODBIT)
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(ACTION GARLIC-F)>
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<OBJECT TRAP-DOOR
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(IN LIVING-ROOM)
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(SYNONYM DOOR TRAPDOOR TRAP-DOOR COVER)
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(ADJECTIVE TRAP DUSTY)
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(DESC "trap door")
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(FLAGS DOORBIT NDESCBIT INVISIBLE)
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(ACTION TRAP-DOOR-FCN)>
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<OBJECT BOARDED-WINDOW
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(IN LOCAL-GLOBALS)
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(SYNONYM WINDOW)
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(ADJECTIVE BOARDED)
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(DESC "boarded window")
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(FLAGS NDESCBIT)
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(ACTION BOARDED-WINDOW-FCN)>
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<OBJECT FRONT-DOOR
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(IN WEST-OF-HOUSE)
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(SYNONYM DOOR)
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(ADJECTIVE FRONT BOARDED)
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(DESC "door")
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(FLAGS DOORBIT NDESCBIT)
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(ACTION FRONT-DOOR-FCN)>
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<OBJECT BOTTLE
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(IN KITCHEN-TABLE)
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(SYNONYM BOTTLE CONTAINER)
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(ADJECTIVE CLEAR GLASS)
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(DESC "glass bottle")
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(FLAGS TAKEBIT TRANSBIT CONTBIT)
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(ACTION BOTTLE-FUNCTION)
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(FDESC "A bottle is sitting on the table.")
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(CAPACITY 4)>
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<OBJECT CRACK
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(IN LOCAL-GLOBALS)
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(SYNONYM CRACK)
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(ADJECTIVE NARROW)
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(DESC "crack")
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(FLAGS NDESCBIT)
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(ACTION CRACK-FCN)>
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<OBJECT GRATE
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(IN LOCAL-GLOBALS)
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(SYNONYM GRATE GRATING)
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(DESC "grating")
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(FLAGS DOORBIT NDESCBIT INVISIBLE)
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(ACTION GRATE-FUNCTION)>
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<OBJECT KNIFE
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(IN ATTIC-TABLE)
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(SYNONYM KNIVES KNIFE BLADE)
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(ADJECTIVE NASTY UNRUSTY)
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(DESC "nasty knife")
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(FLAGS TAKEBIT WEAPONBIT TRYTAKEBIT)
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(FDESC "On a table is a nasty-looking knife.")
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(ACTION KNIFE-F)>
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<OBJECT LAMP
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(IN LIVING-ROOM)
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(SYNONYM LAMP LANTERN LIGHT)
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(ADJECTIVE BRASS)
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(DESC "brass lantern")
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(FLAGS TAKEBIT LIGHTBIT)
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(ACTION LANTERN)
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(FDESC "A battery-powered brass lantern is on the trophy case.")
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(LDESC "There is a brass lantern (battery-powered) here.")
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(SIZE 15)>
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<OBJECT ADVERTISEMENT
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(IN MAILBOX)
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(SYNONYM ADVERTISEMENT LEAFLET BOOKLET MAIL)
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(ADJECTIVE SMALL)
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(DESC "leaflet")
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(FLAGS READBIT TAKEBIT BURNBIT)
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(LDESC "A small leaflet is on the ground.")
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(TEXT
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"\"WELCOME TO ZORK!|
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ZORK is a game of adventure, danger, and low cunning. In it you
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will explore some of the most amazing territory ever seen by mortals.
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No computer should be without one!\"|
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")
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(SIZE 2)>
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<OBJECT MAILBOX
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(IN WEST-OF-HOUSE)
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(SYNONYM MAILBOX BOX)
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(ADJECTIVE SMALL)
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(DESC "small mailbox")
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(FLAGS CONTBIT TRYTAKEBIT)
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(CAPACITY 10)
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(ACTION MAILBOX-F)>
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<OBJECT PAINTING
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(IN GALLERY)
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(SYNONYM PAINTING ART CANVAS TREASURE)
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(ADJECTIVE BEAUTI)
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(DESC "painting")
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(FLAGS TAKEBIT BURNBIT)
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(ACTION PAINTING-FCN)
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(FDESC
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"Fortunately, there is still one chance for you to be a vandal, for on
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the far wall is a painting of unparalleled beauty.")
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(LDESC "A painting by a neglected genius is here.")
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(SIZE 15)
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(VALUE 4)
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(TVALUE 6)>
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<OBJECT LEAVES
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(IN GRATING-CLEARING)
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(SYNONYM LEAVES LEAF PILE)
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(DESC "pile of leaves")
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(FLAGS TAKEBIT BURNBIT TRYTAKEBIT)
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(ACTION LEAF-PILE)
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(LDESC "On the ground is a pile of leaves.")
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(SIZE 25)>
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<OBJECT RAINBOW
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(IN LOCAL-GLOBALS)
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(SYNONYM RAINBOW)
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(DESC "rainbow")
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(FLAGS NDESCBIT CLIMBBIT)
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(ACTION RAINBOW-FCN)>
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<OBJECT RIVER
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(IN LOCAL-GLOBALS)
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(DESC "river")
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(SYNONYM RIVER)
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(ADJECTIVE FRIGID)
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(ACTION RIVER-FUNCTION)
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(FLAGS NDESCBIT)>
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<OBJECT ZORK-ROPE
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(IN ATTIC)
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(SYNONYM ROPE HEMP COIL)
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(ADJECTIVE LARGE)
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(DESC "rope")
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(FLAGS TAKEBIT TRYTAKEBIT)
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(ACTION ROPE-FUNCTION)
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(FDESC "A large coil of rope is lying in the corner.")
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(SIZE 10)>
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<OBJECT WOODEN-DOOR
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(IN LIVING-ROOM)
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(SYNONYM DOOR LETTER WRITING)
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(ADJECTIVE WOODEN GOTHIC STRANGE WEST)
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(DESC "wooden door")
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(FLAGS READBIT DOORBIT NDESCBIT TRANSBIT)
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(ACTION FRONT-DOOR-FCN)
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(TEXT
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"The engravings translate to \"This space intentionally left blank.\"")>
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<OBJECT SWORD
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(IN LIVING-ROOM)
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(SYNONYM SWORD ORCRIST GLAMDRING BLADE)
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(ADJECTIVE ELVISH OLD ANTIQUE)
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(DESC "sword")
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(FLAGS TAKEBIT WEAPONBIT TRYTAKEBIT)
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(ACTION SWORD-FCN)
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(FDESC
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"Above the trophy case hangs an elvish sword of great antiquity.")
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(SIZE 30)
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(TVALUE 0)>
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<OBJECT TROLL
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(IN TROLL-ROOM)
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(SYNONYM TROLL)
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(ADJECTIVE NASTY)
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(DESC "troll")
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(FLAGS ACTORBIT OPENBIT TRYTAKEBIT)
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(ACTION TROLL-FCN)
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(LDESC
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"A nasty-looking troll, brandishing a bloody axe, blocks all passages
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out of the room.")
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(STRENGTH 2)>
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<OBJECT OWNERS-MANUAL
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(IN STUDIO)
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(SYNONYM MANUAL PIECE PAPER)
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(ADJECTIVE ZORK OWNERS SMALL)
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(DESC "ZORK owner's manual")
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(FLAGS READBIT TAKEBIT)
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(FDESC "Loosely attached to a wall is a small piece of paper.")
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(TEXT
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"|
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Congratulations!|
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You are the privileged owner of ZORK I: The Great Underground Empire,
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a self-contained and self-maintaining universe. If used and maintained
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in accordance with normal operating practices for small universes, ZORK
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will provide many months of trouble-free operation.")>
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<OBJECT NEST
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(IN UP-A-TREE)
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(SYNONYM NEST)
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(ADJECTIVE BIRDS)
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(DESC "bird's nest")
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(FLAGS TAKEBIT BURNBIT CONTBIT OPENBIT SEARCHBIT)
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(FDESC "Beside you on the branch is a small bird's nest.")
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(CAPACITY 20)>
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<OBJECT EGG
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(IN NEST)
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(SYNONYM EGG TREASURE)
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(ADJECTIVE BIRDS ENCRUSTED JEWELED)
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(DESC "jewel-encrusted egg")
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(FLAGS TAKEBIT CONTBIT SEARCHBIT)
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(ACTION EGG-OBJECT)
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(VALUE 5)
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(TVALUE 5)
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(CAPACITY 6)
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(FDESC
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"In the bird's nest is a large egg encrusted with precious jewels,
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apparently scavenged by a childless songbird. The egg is covered with
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fine gold inlay, and ornamented in lapis lazuli and mother-of-pearl.
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Unlike most eggs, this one is hinged and closed with a delicate looking
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clasp. The egg appears extremely fragile.")>
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<OBJECT BROKEN-EGG
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(SYNONYM EGG TREASURE)
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(ADJECTIVE BROKEN BIRDS ENCRUSTED JEWEL)
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(DESC "broken jewel-encrusted egg")
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(FLAGS TAKEBIT CONTBIT OPENBIT)
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(CAPACITY 6)
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(TVALUE 2)
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(LDESC "There is a somewhat ruined egg here.")>
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<OBJECT CANARY
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(IN EGG)
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(SYNONYM CANARY TREASURE)
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(ADJECTIVE CLOCKWORK GOLD GOLDEN)
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(DESC "golden clockwork canary")
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(FLAGS TAKEBIT SEARCHBIT)
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(ACTION CANARY-OBJECT)
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(VALUE 6)
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(TVALUE 4)
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(FDESC
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"There is a golden clockwork canary nestled in the egg. It has ruby
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eyes and a silver beak. Through a crystal window below its left
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wing you can see intricate machinery inside. It appears to have
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wound down.")>
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<OBJECT BROKEN-CANARY
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(IN BROKEN-EGG)
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(SYNONYM CANARY TREASURE)
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(ADJECTIVE BROKEN CLOCKWORK GOLD GOLDEN)
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(DESC "broken clockwork canary")
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(FLAGS TAKEBIT)
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(ACTION CANARY-OBJECT)
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(TVALUE 1)
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(FDESC
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"There is a golden clockwork canary nestled in the egg. It seems to
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have recently had a bad experience. The mountings for its jewel-like
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eyes are empty, and its silver beak is crumpled. Through a cracked
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crystal window below its left wing you can see the remains of
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intricate machinery. It is not clear what result winding it would
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have, as the mainspring seems sprung.")>
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<GLOBAL TROLL-FLAG <>>
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<ROOM WEST-OF-HOUSE
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(IN ROOMS)
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(DESC "West of House")
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(LDESC
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"You are standing in an open field west of a white house, with a boarded
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front door.")
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(NORTH TO NORTH-OF-HOUSE)
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(SOUTH TO SOUTH-OF-HOUSE)
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(NE TO NORTH-OF-HOUSE)
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(SE TO SOUTH-OF-HOUSE)
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(WEST TO FOREST-1)
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(EAST "The door is boarded and you can't remove the boards.")
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(FLAGS RLANDBIT ONBIT)
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(GLOBAL WHITE-HOUSE BOARD)>
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<ROOM NORTH-OF-HOUSE
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(IN ROOMS)
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(LDESC
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"You are facing the north side of a white house. There is no door here,
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and all the windows are boarded up. To the north a narrow path winds through
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the trees.")
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(DESC "North of House")
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(SW TO WEST-OF-HOUSE)
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(SE TO EAST-OF-HOUSE)
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(WEST TO WEST-OF-HOUSE)
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(EAST TO EAST-OF-HOUSE)
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(NORTH TO PATH)
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(SOUTH "The windows are all boarded.")
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(FLAGS RLANDBIT ONBIT)
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(GLOBAL BOARDED-WINDOW BOARD WHITE-HOUSE)>
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<ROOM SOUTH-OF-HOUSE
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"You are facing the south side of a white house. There is no door here,
|
|
and all the windows are boarded.")
|
|
(DESC "South of House")
|
|
(WEST TO WEST-OF-HOUSE)
|
|
(EAST TO EAST-OF-HOUSE)
|
|
(NE TO EAST-OF-HOUSE)
|
|
(NW TO WEST-OF-HOUSE)
|
|
(SOUTH TO FOREST-3)
|
|
(NORTH "The windows are all boarded.")
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL BOARDED-WINDOW BOARD WHITE-HOUSE)>
|
|
|
|
<ROOM EAST-OF-HOUSE
|
|
(IN ROOMS)
|
|
(DESC "Behind House")
|
|
(NORTH TO NORTH-OF-HOUSE)
|
|
(SOUTH TO SOUTH-OF-HOUSE)
|
|
(SW TO SOUTH-OF-HOUSE)
|
|
(NW TO NORTH-OF-HOUSE)
|
|
(EAST TO CLEARING)
|
|
(WEST TO KITCHEN IF KITCHEN-WINDOW IS OPEN)
|
|
(IN TO KITCHEN IF KITCHEN-WINDOW IS OPEN)
|
|
(ACTION EAST-HOUSE)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL WHITE-HOUSE KITCHEN-WINDOW)>
|
|
|
|
<ROOM FOREST-1
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"This is a forest, with trees in all directions. To the east,
|
|
there appears to be sunlight.")
|
|
(DESC "Forest")
|
|
(UP "There is no tree here suitable for climbing.")
|
|
(NORTH TO GRATING-CLEARING)
|
|
(EAST TO PATH)
|
|
(SOUTH TO FOREST-3)
|
|
(WEST "You would need a machete to go further west.")
|
|
(ACTION FOREST-ROOM)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL TREE SONGBIRD WHITE-HOUSE FOREST)>
|
|
|
|
<ROOM FOREST-2
|
|
(IN ROOMS)
|
|
(LDESC "This is a dimly lit forest, with large trees all around.")
|
|
(DESC "Forest")
|
|
(UP "There is no tree here suitable for climbing.")
|
|
(NORTH "The forest becomes impenetrable to the north.")
|
|
(EAST TO MOUNTAINS)
|
|
(SOUTH TO CLEARING)
|
|
(WEST TO PATH)
|
|
(ACTION FOREST-ROOM)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL TREE SONGBIRD WHITE-HOUSE FOREST)>
|
|
|
|
<ROOM MOUNTAINS
|
|
(IN ROOMS)
|
|
(LDESC "The forest thins out, revealing impassable mountains.")
|
|
(DESC "Forest")
|
|
(UP "The mountains are impassable.")
|
|
(NORTH TO FOREST-2)
|
|
(EAST "The mountains are impassable.")
|
|
(SOUTH TO FOREST-2)
|
|
(WEST TO FOREST-2)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL TREE WHITE-HOUSE)
|
|
(ACTION MOUNTAINS-ROOM)>
|
|
|
|
<ROOM FOREST-3
|
|
(IN ROOMS)
|
|
(LDESC "This is a dimly lit forest, with large trees all around.")
|
|
(DESC "Forest")
|
|
(UP "There is no tree here suitable for climbing.")
|
|
(NORTH TO CLEARING)
|
|
(EAST "The rank undergrowth prevents eastward movement.")
|
|
(SOUTH "Storm-tossed trees block your way.")
|
|
(WEST TO FOREST-1)
|
|
(NW TO SOUTH-OF-HOUSE)
|
|
(ACTION FOREST-ROOM)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL TREE SONGBIRD WHITE-HOUSE FOREST)>
|
|
|
|
<ROOM PATH
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"This is a path winding through a dimly lit forest. The path heads
|
|
north-south here. One particularly large tree with some low branches
|
|
stands at the edge of the path.")
|
|
(DESC "Forest Path")
|
|
(UP TO UP-A-TREE)
|
|
(NORTH TO GRATING-CLEARING)
|
|
(EAST TO FOREST-2)
|
|
(SOUTH TO NORTH-OF-HOUSE)
|
|
(WEST TO FOREST-1)
|
|
(ACTION FOREST-ROOM)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL TREE SONGBIRD WHITE-HOUSE FOREST)>
|
|
|
|
<ROOM UP-A-TREE
|
|
(IN ROOMS)
|
|
(DESC "Up a Tree")
|
|
(DOWN TO PATH)
|
|
(UP "You cannot climb any higher.")
|
|
(ACTION TREE-ROOM)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL TREE FOREST SONGBIRD WHITE-HOUSE)>
|
|
|
|
<ROOM GRATING-CLEARING
|
|
(IN ROOMS)
|
|
(DESC "Clearing")
|
|
(NORTH "The forest becomes impenetrable to the north.")
|
|
(EAST TO FOREST-2)
|
|
(WEST TO FOREST-1)
|
|
(SOUTH TO PATH)
|
|
(DOWN PER GRATING-EXIT)
|
|
(ACTION CLEARING-FCN)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL WHITE-HOUSE GRATE)>
|
|
|
|
<ROUTINE GRATING-EXIT ()
|
|
<COND (,GRATE-REVEALED
|
|
<TELL "The grating is closed!" CR>
|
|
<THIS-IS-IT ,GRATE>
|
|
<RFALSE>)
|
|
(T
|
|
<TELL ,CANT-GO CR>
|
|
<RFALSE>)>>
|
|
|
|
<ROOM CLEARING
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"You are in a small clearing in a well marked forest path that
|
|
extends to the east and west.")
|
|
(DESC "Clearing")
|
|
(UP "There is no tree here suitable for climbing.")
|
|
(EAST TO CANYON-VIEW)
|
|
(NORTH TO FOREST-2)
|
|
(SOUTH TO FOREST-3)
|
|
(WEST TO EAST-OF-HOUSE)
|
|
(ACTION FOREST-ROOM)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL TREE SONGBIRD WHITE-HOUSE FOREST)>
|
|
|
|
<GLOBAL FALSE-FLAG <>>
|
|
|
|
<ROOM KITCHEN
|
|
(IN ROOMS)
|
|
(DESC "Kitchen")
|
|
(EAST TO EAST-OF-HOUSE IF KITCHEN-WINDOW IS OPEN)
|
|
(WEST TO LIVING-ROOM)
|
|
(OUT TO EAST-OF-HOUSE IF KITCHEN-WINDOW IS OPEN)
|
|
(UP TO ATTIC)
|
|
(DOWN TO STUDIO IF FALSE-FLAG ELSE
|
|
"Only Santa Claus climbs down chimneys.")
|
|
(ACTION KITCHEN-FCN)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(VALUE 10)
|
|
(GLOBAL KITCHEN-WINDOW CHIMNEY STAIRS)>
|
|
|
|
<ROOM ATTIC
|
|
(IN ROOMS)
|
|
(LDESC "This is the attic. The only exit is a staircase leading down.")
|
|
(DESC "Attic")
|
|
(DOWN TO KITCHEN)
|
|
(FLAGS RLANDBIT)
|
|
(GLOBAL STAIRS)>
|
|
|
|
<ROOM LIVING-ROOM
|
|
(IN ROOMS)
|
|
(DESC "Living Room")
|
|
(EAST TO KITCHEN)
|
|
(WEST "The door is nailed shut.")
|
|
(DOWN PER TRAP-DOOR-EXIT)
|
|
(ACTION LIVING-ROOM-FCN)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL STAIRS)
|
|
(PSEUDO "NAILS" NAILS-PSEUDO "NAIL" NAILS-PSEUDO)>
|
|
|
|
<ROOM CELLAR
|
|
(IN ROOMS)
|
|
(DESC "Cellar")
|
|
(NORTH TO TROLL-ROOM)
|
|
(SOUTH TO EAST-OF-CHASM)
|
|
(UP TO LIVING-ROOM IF TRAP-DOOR IS OPEN)
|
|
(WEST
|
|
"You try to ascend the ramp, but it is impossible, and you slide back down.")
|
|
(ACTION CELLAR-FCN)
|
|
(FLAGS RLANDBIT)
|
|
(VALUE 25)
|
|
(GLOBAL TRAP-DOOR SLIDE STAIRS)>
|
|
|
|
<ROOM TROLL-ROOM
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"This is a small room with passages to the east and south and a
|
|
forbidding hole leading west. Bloodstains and deep scratches
|
|
(perhaps made by an axe) mar the walls.")
|
|
(DESC "The Troll Room")
|
|
(SOUTH TO CELLAR)
|
|
(EAST "The troll fends you off with a menacing gesture.")
|
|
(WEST "The troll fends you off with a menacing gesture.")
|
|
(FLAGS RLANDBIT)
|
|
(ACTION TROLL-ROOM-F)>
|
|
|
|
<ROOM EAST-OF-CHASM
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"You are on the east edge of a chasm, the bottom of which cannot be
|
|
seen. A narrow passage goes north, and the path you are on continues
|
|
to the east.")
|
|
(DESC "East of Chasm")
|
|
(NORTH TO CELLAR)
|
|
(EAST TO GALLERY)
|
|
(DOWN "The chasm probably leads straight to the infernal regions.")
|
|
(FLAGS RLANDBIT)
|
|
(PSEUDO "CHASM" CHASM-PSEUDO)>
|
|
|
|
<ROOM GALLERY
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"This is an art gallery. Most of the paintings have been stolen by
|
|
vandals with exceptional taste. The vandals left through either the
|
|
north or west exits.")
|
|
(DESC "Gallery")
|
|
(WEST TO EAST-OF-CHASM)
|
|
(NORTH TO STUDIO)
|
|
(FLAGS RLANDBIT ONBIT)>
|
|
|
|
<ROOM STUDIO
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"This appears to have been an artist's studio. The walls and floors are
|
|
splattered with paints of 69 different colors. Strangely enough, nothing
|
|
of value is hanging here. At the south end of the room is an open door
|
|
(also covered with paint). A dark and narrow chimney leads up from a
|
|
fireplace; although you might be able to get up it, it seems unlikely
|
|
you could get back down.")
|
|
(DESC "Studio")
|
|
(SOUTH TO GALLERY)
|
|
(UP PER UP-CHIMNEY-FUNCTION)
|
|
(FLAGS RLANDBIT)
|
|
(GLOBAL CHIMNEY)
|
|
(PSEUDO "DOOR" DOOR-PSEUDO "PAINT" PAINT-PSEUDO)>
|
|
|
|
<ROOM END-OF-RAINBOW ;"was POG"
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"You are on a small, rocky beach on the continuation of the Frigid
|
|
River past the Falls. The beach is narrow due to the presence of the
|
|
White Cliffs. The river canyon opens here and sunlight shines in
|
|
from above. A rainbow crosses over the falls to the east and a narrow
|
|
path continues to the southwest.")
|
|
(DESC "End of Rainbow")
|
|
(SW TO CANYON-BOTTOM)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL GLOBAL-WATER RAINBOW RIVER)>
|
|
|
|
<ROOM CANYON-BOTTOM ;"was CLBOT"
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"You are beneath the walls of the river canyon which may be climbable
|
|
here. The lesser part of the runoff of Aragain Falls flows by below.
|
|
To the north is a narrow path.")
|
|
(DESC "Canyon Bottom")
|
|
(UP TO CLIFF-MIDDLE)
|
|
(NORTH TO END-OF-RAINBOW)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL GLOBAL-WATER CLIMBABLE-CLIFF RIVER)>
|
|
|
|
<OBJECT CLIMBABLE-CLIFF
|
|
(IN LOCAL-GLOBALS)
|
|
(SYNONYM WALL CLIFF WALLS LEDGE)
|
|
(ADJECTIVE ROCKY SHEER)
|
|
(DESC "cliff")
|
|
(ACTION CLIFF-OBJECT)
|
|
(FLAGS NDESCBIT CLIMBBIT)>
|
|
|
|
<ROOM CLIFF-MIDDLE ;"was CLMID"
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"You are on a ledge about halfway up the wall of the river canyon.
|
|
You can see from here that the main flow from Aragain Falls twists
|
|
along a passage which it is impossible to enter. Below you is the
|
|
canyon bottom. Above you is more cliff, which appears
|
|
climbable.")
|
|
(DESC "Rocky Ledge")
|
|
(UP TO CANYON-VIEW)
|
|
(DOWN TO CANYON-BOTTOM)
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL CLIMBABLE-CLIFF RIVER)>
|
|
|
|
<ROOM CANYON-VIEW ;"was CLTOP"
|
|
(IN ROOMS)
|
|
(LDESC
|
|
"You are at the top of the Great Canyon on its west wall. From here
|
|
there is a marvelous view of the canyon and parts of the Frigid River
|
|
upstream. Across the canyon, the walls of the White Cliffs join the
|
|
mighty ramparts of the Flathead Mountains to the east. Following the
|
|
Canyon upstream to the north, Aragain Falls may be seen, complete with
|
|
rainbow. The mighty Frigid River flows out from a great dark cavern. To
|
|
the west and south can be seen an immense forest, stretching for miles
|
|
around. A path leads northwest. It is possible to climb down into
|
|
the canyon from here.")
|
|
(DESC "Canyon View")
|
|
(EAST TO CLIFF-MIDDLE)
|
|
(DOWN TO CLIFF-MIDDLE)
|
|
(NW TO CLEARING)
|
|
(WEST TO FOREST-3)
|
|
(SOUTH "Storm-tossed trees block your way.")
|
|
(FLAGS RLANDBIT ONBIT)
|
|
(GLOBAL CLIMBABLE-CLIFF RIVER ;RAINBOW)
|
|
(ACTION CANYON-VIEW-F)>
|
|
|
|
<ROUTINE CANYON-VIEW-F (RARG)
|
|
<COND (<AND <==? .RARG ,M-BEG>
|
|
<VERB? LEAP>
|
|
<NOT ,PRSO>>
|
|
<JIGS-UP "Nice view, lousy place to jump.">
|
|
<RTRUE>)>>
|
|
|
|
<GLOBAL HOUSE-AROUND
|
|
<LTABLE WEST-OF-HOUSE NORTH-OF-HOUSE EAST-OF-HOUSE SOUTH-OF-HOUSE
|
|
WEST-OF-HOUSE>>
|
|
|
|
<GLOBAL FOREST-AROUND
|
|
<LTABLE FOREST-1 FOREST-2 FOREST-3 PATH CLEARING FOREST-1>>
|
|
|
|
<GLOBAL IN-HOUSE-AROUND
|
|
<LTABLE LIVING-ROOM KITCHEN ATTIC KITCHEN>>
|
|
|
|
<GLOBAL ABOVE-GROUND
|
|
<LTABLE WEST-OF-HOUSE NORTH-OF-HOUSE EAST-OF-HOUSE SOUTH-OF-HOUSE
|
|
FOREST-1 FOREST-2 FOREST-3 PATH CLEARING GRATING-CLEARING
|
|
CANYON-VIEW>>
|
|
|
|
;"The GO routine must live here."
|
|
|
|
<ROUTINE GO ()
|
|
<PUTB ,P-LEXV 0 59>
|
|
<ENABLE <QUEUE I-FIGHT -1>>
|
|
<QUEUE I-SWORD -1>
|
|
<QUEUE I-LANTERN 200>
|
|
<PUT ,DEF1-RES 1 <REST ,DEF1 2>>
|
|
<PUT ,DEF1-RES 2 <REST ,DEF1 4>>
|
|
<PUT ,DEF2-RES 2 <REST ,DEF2B 2>>
|
|
<PUT ,DEF2-RES 3 <REST ,DEF2B 4>>
|
|
<PUT ,DEF3-RES 1 <REST ,DEF3A 2>>
|
|
<PUT ,DEF3-RES 3 <REST ,DEF3B 2>>
|
|
<SETG LIT T>
|
|
<SETG WINNER ,ADVENTURER>
|
|
<SETG PLAYER ,WINNER>
|
|
<MOVE ,WINNER ,WELCOME-MAT>
|
|
<SETG HERE ,WELCOME-MAT>
|
|
<COND (<WANTS-TUTORIAL?>
|
|
<SETG HERE ,T-LIVING-ROOM>
|
|
<MOVE ,WINNER ,HERE>
|
|
<SETG TUTORIAL-MODE T>
|
|
<CRLF> <CRLF> <CRLF> <CRLF> <CRLF> <CRLF> <CRLF> <CRLF> <CRLF>
|
|
<INTRO>)
|
|
(T
|
|
<CRLF> <CRLF> <CRLF> <CRLF> <CRLF> <CRLF> <CRLF> <CRLF> <CRLF>
|
|
<SETG TUTORIAL-MODE <>>
|
|
<COND (<EQUAL? ,GAME-FLAG 1>
|
|
<TELL ,ZORK-INSTRUCTIONS CR>
|
|
<TELL ,LUCK-STR CR CR>
|
|
<SETG HERE ,WEST-OF-HOUSE>
|
|
<MOVE ,WINNER ,HERE>
|
|
<THIS-IS-IT ,MAILBOX>
|
|
<MOVE ,WATER ,BOTTLE>
|
|
<COND (<NOT <FSET? ,HERE ,TOUCHBIT>>
|
|
<V-VERSION>
|
|
<CRLF>)>)
|
|
(<EQUAL? ,GAME-FLAG 2>
|
|
<TELL ,PLANETFALL-INSTRUCTIONS CR>
|
|
<TELL ,LUCK-STR CR CR>
|
|
<SETG HERE ,CORRIDOR-JUNCTION>
|
|
<ENABLE <QUEUE I-SLEEP-WARNINGS 1500>>
|
|
<ENABLE <QUEUE I-HUNGER-WARNINGS 1680>>
|
|
<MOVE ,WINNER ,HERE>
|
|
<SETG INTERNAL-MOVES <+ 6450 <RANDOM 180>>>
|
|
<SETG MOVES ,INTERNAL-MOVES>
|
|
<SETG SCORE 6>
|
|
<SETG LIT T>
|
|
<MOVE ,CHRONOMETER ,WINNER>
|
|
<MOVE ,PATROL-UNIFORM ,WINNER>
|
|
<MOVE ,FOOD-KIT ,WINNER>
|
|
<MOVE ,DUST ,ADMIN-CORRIDOR-S>
|
|
<SETG P-IT-LOC ,CORRIDOR-JUNCTION>
|
|
<SETG P-IT-OBJECT <>>
|
|
<SETG SPOUT-PLACED ,GROUND>
|
|
<COND (<NOT <FSET? ,HERE ,TOUCHBIT>>
|
|
<V-VERSION>
|
|
<CRLF>)>)
|
|
(<EQUAL? ,GAME-FLAG 3>
|
|
<TELL ,INFIDEL-INSTRUCTIONS CR>
|
|
<TELL ,LUCK-STR CR CR>
|
|
<RANDOMIZE-HOLES>
|
|
<ENABLE <QUEUE I-GINANDTONIC -1>>
|
|
<ENABLE <QUEUE I-PARACHUTE -1>>
|
|
<ENABLE <QUEUE I-GROWL -1>>
|
|
<REMOVE ,WATER>
|
|
<REMOVE ,GLOBAL-DOORWAY>
|
|
<SETG LIT T>
|
|
<SETG HERE ,TENT>
|
|
<SETG P-IT-LOC ,HERE>
|
|
<SETG P-IT-OBJECT <>>
|
|
<THIS-IS-IT ,COT>
|
|
<COND (<NOT <FSET? ,HERE ,TOUCHBIT>>
|
|
<TELL ,INFI-INTRO CR>
|
|
<CRLF>
|
|
<V-VERSION>
|
|
<CRLF>)>
|
|
<MOVE ,WINNER ,COT>)
|
|
(T
|
|
<MOVE ,WINNER ,WITNESS-ROOM>
|
|
<SETG HERE ,WITNESS-ROOM>
|
|
<USL>
|
|
<WITNESS>
|
|
<FINISH <>>)>
|
|
<V-LOOK>)>
|
|
<MAIN-LOOP>
|
|
<AGAIN>>
|
|
|
|
<GLOBAL INFI-INTRO
|
|
"You wake slowly, sit up in your bunk, look around the tent, and try to ignore
|
|
the pounding in your head, the cottony taste in your mouth, and the ache in
|
|
your stomach. The droning of a plane's engine breaks the stillness and you
|
|
realize that things outside are quiet -- too quiet. You know that this can
|
|
mean only one thing: your workmen have deserted you. They complained over the
|
|
last few weeks, grumbling about the small pay and lack of food, and your
|
|
inability to locate the pyramid. And after what you stupidly did yesterday,
|
|
trying to make them work on a holy day, their leaving is understandable.|
|
|
|
|
|
The Professor's map was just an ancient map -- as worthless as an ice cube in
|
|
the Arctic without an instrument fine enough to accurately measure longitude
|
|
and latitude. You knew that the site was nearby. You dug, and you ordered the
|
|
workers to dig, even without the box. As you listen to the plane and rub your
|
|
aching eyes, you pray they left you supplies enough to find the pyramid and to
|
|
survive, and that the plane's carrying the long-overdue box.">
|
|
|
|
<ROUTINE WITNESS ()
|
|
<TELL
|
|
"In The Witness, you are chief police detective in the suburb of Cabeza Plana.
|
|
You just received a telegram from a Mr. Linder, saying that his life
|
|
is in danger and asking for your help. His name \"rang a bell,\" and you
|
|
consulted a police file on the case of his wife's recent suicide.
|
|
Now you are ready to meet him for the first time.|
|
|
|
|
|
The Witness is so
|
|
richly interwoven that we were unable to pull out a
|
|
small portion to use as an interactive part of this Sampler. Therefore,
|
|
we'll show you one possible transcript for a section of the story. The
|
|
lines in capital letters (like RING THE DOORBELL) are those typed in by
|
|
our hypothetical player. The following lines show what happened as a
|
|
result. Here, then, is one possible opening to The Witness ...|
|
|
|
|
|
Somewhere near Los Angeles. A cold Friday evening in February 1938.
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In this climate, cold is anywhere below about fifty degrees. Storm
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clouds are swimming across the sky, their bottoms glowing faintly from
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the city lights in the distance. A search light pans slowly under the
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clouds, heralding another film premiere. The air seems expectant, waiting
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for the rain to begin, like a cat waiting for the ineffable moment
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to ambush.|
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">
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<TELL "|
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The taxi has just dropped you off at the entrance to the Linders' driveway.
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The driver didn't seem to like venturing into this maze of twisty streets
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any more than you did. But the house windows are full of light, and
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radio music drifts toward you. Your favorite pistol, a snub-nosed Colt
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.32, is snug in its holster. The long week is finished, except
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for this appointment. But why does an ominous feeling grip you?|
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The WITNESS: an interactive fiction mystery|
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Copyright (c) 1983 Infocom, Inc. All rights reserved.|
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WITNESS is a trademark of Infocom, Inc.|
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What next?|
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>RING THE DOORBELL|
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Someone turns off the radio. You hear footsteps inside the house. Then
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the door swings open.
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\"Good evening,\" says a smiling face, \"I am Phong. Please come in.\"
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He leads you into the house and closes the door behind you.|
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|
">
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<TELL "|
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You are now in the entry.|
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Here in the entry is a small Shinto shrine, with a hanging scroll and
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an arrangement of flowers, as well as a coat closet and a platform
|
|
for storing shoes. You can see a hallway to the east.|
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Phong's straight black hair and folded eyelids make him obviously Asian,
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but no definite nationality. His open, almost gentle face holds a quick
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smile and eyes that seem to miss nothing. He carries his stout body
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lightly, but you can see great strength under his light shirt and dark
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trousers. You guess his age at about fifty, but who knows how many
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lifetimes of experience he carries?|
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>HELLO MR. PHONG|
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Mr. Phong nods at you.|
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Phong says, \"I believe the Linders are in the living room. Please follow
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me.\" He leads you into a hallway and turns left. This hallway seems
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to run the length of the house, from the garage at the south end to
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the living room at the north. There is enough warm yellow light flooding
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from the living room for you to see a few doors on each side of the
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hall. As you get near the living room, you hear voices talking, half-loud
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and fast.|
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">
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<TELL "|
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You are now in the living room.|
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A huge fieldstone fireplace on the south wall holds a blazing fire,
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filling the living room with warmth and light. Grouped in front of
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the fire are a glass-topped coffee table and a rattan davenport and
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club chair, with cushions covered in a print showing bamboo plants
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in the style of Japanese brush-painting. A lamp with a printed shade
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and a telephone sit on the table.
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On the north wall are a console radio and a liquor cabinet made of
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light-colored wood.|
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\"Excuse me, sir,\" says Phong, \"but the detective has arrived.\"|
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Monica stops talking and looks at you sharply. She is a woman in her
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mid-twenties. Her grey eyes flash, emphasizing her dark waved hair
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and light but effective make-up. She wears a navy Rayon blouse, tan
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slacks, and tan pumps with Cuban heels. She acts as though you were
|
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a masher who just gave her a whistle.|
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|
Linder stands at least six foot, with a powerful frame but quick actions,
|
|
like a cat. His eyeglasses sit on top of his head, where thin strands
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|
of long black hair go here and there, mostly combed backward. His wide-set
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hazel eyes size you up quickly from within their pouches in his ruddy
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|
face. He wears a silk peach-colored Mandarin shirt and chocolate trousers,
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impeccably tailored and laundered, but sweat gleams on his high forehead,
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and he looks as though he hasn't slept much lately." CR>
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<TELL CR "Linder turns to you and says, \"Detective, am I glad to see you! This
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is my daughter, Monica, and of course you've met Phong already.\" He
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looks at a wrist watch with a gleaming silver bracelet. \"I see you're
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|
right on time. I'll be with you as soon as I finish my drink.\"
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Mr. Phong heads off to the south.|
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What next?|
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>ASK MONICA FOR A DRINK|
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\"So you want to dip your beak? Go ahead.\"|
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>LISTEN TO THE RADIO|
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You turn on the radio, spin the dial and find an Amos 'n Andy serial.|
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Suddenly, a clap of thunder rolls across the hills outside.|
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>WAIT|
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Without warning, lightning flashes outside, and a few seconds later
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thunder rattles the house.|
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Rain begins to fall outside in a sprinkle.|
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Linder gulps down the rest of his drink. \"Well, Detective,\" he says,
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\"I'm anxious to get on with our business. Let's you and I go to my
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office so we can talk undisturbed.\" He takes you by the arm and leads
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|
you through the hallway. Just south of the entry, he opens a door to
|
|
the east and leads you through it.|">
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<TELL "|
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|
(office)|
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|
This is obviously the office of Mr. Linder's company, Pacific Trade
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|
Associates. At the west end of the office, a massive desk of teak and
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|
mahogany faces toward the window. It has no drawers, but the top is
|
|
covered with piles of letters, some newspapers, a telephone, and various
|
|
souvenirs from the Far East.|
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|
Behind it is a large ornately-carved chair, like a cruiser escorting
|
|
a battle ship. A simple wooden chair, polished smooth by visitors,
|
|
flanks the desk on the other side. On the north wall is a lounge, upholstered
|
|
in green velvet and a bit lumpy, with a framed wood-block picture hanging
|
|
over it. On the outside wall, next to a door and window, stands a grandfather
|
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clock, ticking relentlessly. A file cabinet stands in the corner.|
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|
A cat is sleeping in the corner.|
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|
Linder sits down in the carved chair.|
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|
It's now 8:13 p.m.|
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>SIT ON WOODEN CHAIR|
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|
You are now sitting on the wooden chair.|
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|
Linder begins his story. \"My late wife, may she rest in peace, got
|
|
involved with a young man named Stiles. Naturally I tried to stop this
|
|
affair, but without much success. Since my wife passed away, this Stiles
|
|
fellow has gone off the deep end, I'm afraid, and blamed me for her
|
|
death. I tried my best to ignore him, but he seems to have lost his
|
|
senses. This morning I received this note and decided to ask your help.\"
|
|
He hands the note to you.|
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|
">
|
|
<TELL "|
|
|
The rain outside is falling heavily now.|
|
|
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|
|
>READ THE THREATENING NOTE|
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|
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|
|
The note is written in a spidery hand on fine rag paper. It says:|
|
|
\"Linder --|
|
|
Since Virginia died, I've lost too much sleep because of you and
|
|
your harrassments. The time has come to put this matter to rest
|
|
once and for all. I'll be seeing you sooner than you imagine.|
|
|
-- Stiles\"|
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|
|
>LINDER, TELL ME ABOUT STILES|
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|
|
\"All I know about Stiles is that he's a writer of some kind, and
|
|
sometimes he plays bit parts in films. I've never really met the man.\"|
|
|
|
|
|
>WAKE UP THE CAT|
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|
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|
|
The cat yawns, licks its lips, and settles down again.|
|
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|
|
>WAIT|
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|
Time passes...|
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|
|
The rain outside begins to taper off.|
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|
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|
|
The rain storm outside has passed now.|
|
|
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|
|
The clock chimes once to mark the half hour.|
|
|
|
|
|
Monica bursts into the office, wearing a felt hat and wool coat, and
|
|
struggling to get her driving gloves on. She glances icily in your
|
|
direction and then back to her father. \"I'm off to the pictures with
|
|
Terry, Dad. Good-bye.\" She hugs him briefly but firmly, burying her
|
|
head in his shoulder.|
|
|
He pushes her away and says, \"You're leaving
|
|
now?! I thought you'd be talking to the detective here. What about
|
|
the threat on my life?\" He has the hurt look of an orphan pup.|
|
|
She
|
|
answers, \"You don't need me here. I need to get away now and then.
|
|
I'm not like Mother, you know.\" Tears well up in her eyes but she brushes
|
|
them away before they drop. She turns to leave.|
|
|
">
|
|
<TELL "|
|
|
It's now 8:36 p.m.|
|
|
|
|
|
>WAIT|
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|
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|
|
Time passes...|
|
|
|
|
|
Monica heads off to the west.|
|
|
|
|
|
Outside somewhere, a car roars to life and speeds away.|
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|
|
The clock chimes 9 times to mark the hour.|
|
|
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|
|
You hear the door bell ring.|
|
|
|
|
|
Linder looks toward the window and says, \"I don't think Phong has answered
|
|
the door bell yet.\" He reaches toward the butler's button and at the
|
|
same instant shouts \"Stiles!\" You turn around and dimly see a figure
|
|
outside. Suddenly there is a flash of light and an explosion, and the
|
|
window falls into dozens of shiny shards. The cat bolts and disappears
|
|
somewhere. The figure outside turns and runs before you can see the
|
|
face. When you turn back around, you see Linder slumping down in his
|
|
chair, with a bloody stain spreading across his silk shirt. He teeters
|
|
on the edge of the seat, then falls onto the floor, quite dead.|
|
|
It's now 9:03 p.m.|
|
|
|
|
|
(Now you have a murder to investigate. In the complete story, you'll
|
|
have to search for evidence, make analyses, question suspects, and arrest
|
|
your suspect before 8:00 a.m. when your time runs out!)">>
|
|
|
|
<GLOBAL ZORK-INSTRUCTIONS
|
|
"Briefly, here are the instructions for Zork I: The Great Underground
|
|
Empire. You, a treasure hunter, have heard of a nearby underground labyrinth
|
|
that contains vast amounts of treasure. Naturally, you wish to obtain as much
|
|
as possible. To measure your success in this treasure hunt, a score is kept.
|
|
You get points both for finding treasures and for placing them in the trophy
|
|
case that you will find during the story. Obstacles will lie in your way, but
|
|
you can overcome them by observation and clear thinking.|
|
|
|
|
|
You start the story in front of a large white house, with the entrance to
|
|
the underground hidden nearby. In this sample of Zork I, your
|
|
goal is to find your way underground and get past a rather nasty obstacle to
|
|
reach the main underground chambers.">
|
|
|
|
<GLOBAL PLANETFALL-INSTRUCTIONS
|
|
"Briefly, here are the instructions for Planetfall. You are a lowly Ensign
|
|
Seventh Class in the Stellar Patrol of the Third Galactic Union, and after
|
|
the mysterious destruction of your ship, the SPS Feinstein, you were stranded
|
|
in an island complex on a deserted world.|
|
|
|
|
|
In this excerpt, your goal will be to find a way to cross the gaping rift
|
|
that you'll come across in one of the corridors. Time, which is shown at
|
|
the right-hand side of your status line, is in millichrons. Ten thousand
|
|
millichrons make up a day.|
|
|
|
|
|
You may also meet a character that you might want to talk to. To do this,
|
|
type the character's name (or description) followed by a comma followed
|
|
by what you want to say. For example:|
|
|
|
|
|
ROBOT, GO NORTH|">
|
|
|
|
<GLOBAL INFIDEL-INSTRUCTIONS
|
|
"Briefly, here are the instructions for Infidel. You are an
|
|
explorer, out in search of an ancient, lost pyramid. Your workers have
|
|
deserted you due to the way you've treated them, and have taken most
|
|
of your supplies along with them. As you wander about your encampment,
|
|
try to gather materials you think may be helpful in finding the lost pyramid,
|
|
buried deep beneath the sands. Once you've found it, however, your real
|
|
exploration and challenge begins as you try to unravel the mysteries of the
|
|
pyramid.|
|
|
|
|
|
In this sample, your goal will be to survive the rigors
|
|
of the desert and to locate the hidden pyramid.">
|
|
|
|
<GLOBAL LUCK-STR
|
|
;"If you have not seen the Tutorial and have difficulty in this scenario,
|
|
type TUTORIAL at the prompt, \">\". Good luck!"
|
|
"If you have difficulty with this excerpt, you may wish to review the Tutorial.
|
|
Type RESTART at the prompt, \">\", to return to the menu.">
|
|
|
|
<ROUTINE WANTS-TUTORIAL? ("AUX" WRD)
|
|
<TELL "|
|
|
Welcome to the world of Infocom's interactive fiction! This Sampler
|
|
contains an interactive fiction Tutorial and excerpts from four Infocom
|
|
titles: Zork I, Planetfall, Infidel, and The Witness.|
|
|
|
|
|
The Tutorial introduces you to the concept of interactive fiction. In
|
|
it, you'll be taken through a brief sample scenario. You'll learn how
|
|
to communicate with the story and pick up tips for solving the types of
|
|
puzzles you'll encounter in the excerpts.|
|
|
|
|
|
The excerpt from Zork I, Infocom's classic fantasy story, includes your
|
|
discovery of the ancient caverns of the Great Underground Empire. In
|
|
the sample of Planetfall, a science fiction comedy, you'll find yourself
|
|
stranded on a deserted alien planet. In Infidel, a challenging Tale of
|
|
Adventure, you'll be taken to the heart of the Egyptian desert, where
|
|
you'll search for a great lost pyramid. A sample transcript from The
|
|
Witness will give you a glimpse of the action in this 30's-style
|
|
detective thriller.|
|
|
|
|
|
Now, press the RETURN (or ENTER) key to see a list of the things you can
|
|
do next.">
|
|
<READ ,P-INBUF ,P-LEXV>
|
|
<TELL
|
|
"|
|
|
WHAT DO YOU WANT TO SEE?|
|
|
|
|
|
If you haven't had any experience with interactive fiction, we suggest
|
|
you try the Tutorial first. The Tutorial is designed to provide you
|
|
with whatever help you might need as you explore its sample scenario.
|
|
In the story excerpts, you'll be on your own.|
|
|
|
|
|
T - The Tutorial|
|
|
|
|
|
I - Infidel excerpt -- a Tale of Adventure|
|
|
P - Planetfall excerpt -- science fiction|
|
|
W - Sample transcript from The Witness -- a mystery|
|
|
Z - Zork I excerpt -- a fantasy|
|
|
|
|
|
B - Blatantly self-serving propaganda|
|
|
N - Nothing; I'm done with this Sampler for now|
|
|
|
|
|
Whenever you want to start the Sampler over from the beginning, just type
|
|
RESTART and press the RETURN (or ENTER) key. To leave the Sampler, type QUIT.|
|
|
|
|
|
(Please type in the appropriate letter and press the RETURN or ENTER key.)>">
|
|
<REPEAT ()
|
|
<READ ,P-INBUF ,P-LEXV>
|
|
<COND (<EQUAL? <SET WRD <GET ,P-LEXV 1>> ,W?TUTORIAL ,W?T>
|
|
<RTRUE>)
|
|
(<EQUAL? .WRD ,W?ZORK ,W?Z>
|
|
<SETG GAME-FLAG 1>
|
|
<RFALSE>)
|
|
(<EQUAL? .WRD ,W?PLANET ,W?P>
|
|
<SETG GAME-FLAG 2>
|
|
<RFALSE>)
|
|
(<EQUAL? .WRD ,W?INFIDE ,W?I>
|
|
<MOVE ,CRATE ,GLOBAL-OBJECTS>
|
|
<SETG GAME-FLAG 3>
|
|
<RFALSE>)
|
|
(<EQUAL? .WRD ,W?WITNES ,W?W>
|
|
<SETG GAME-FLAG 4>
|
|
<RFALSE>)
|
|
(<EQUAL? .WRD ,W?PROPAG ,W?B ,W?BLATAN>
|
|
<SELF-PROMOTE>
|
|
<CRLF>
|
|
<CRLF>
|
|
<DO-RESTART>
|
|
; <FINISH <>>)
|
|
(<OR <EQUAL? .WRD ,W?QUIT ,W?Q ,W?N>
|
|
<EQUAL? .WRD ,W?NOTHIN>>
|
|
<TELL
|
|
"Thanks for playing!" CR CR>
|
|
<QUIT>)
|
|
(T
|
|
<TELL
|
|
"(Please type in the appropriate letter and press the RETURN or ENTER key.)>">
|
|
<AGAIN>)>>>
|
|
|
|
<GLOBAL TUTORIAL-MODE <>>
|
|
|
|
<GLOBAL GAME-FLAG 0>
|
|
|
|
<ROUTINE SELF-PROMOTE ()
|
|
<SETG HERE ,BULLSHIT-LAND>
|
|
<USL>
|
|
<CRLF>
|
|
<TELL
|
|
"HAVE WE GOT A STORY FOR YOU!|
|
|
|
|
|
Here at Infocom, we make stories for everyone, from the first-time
|
|
adventurer to the experienced sleuth. Our four levels of difficulty,
|
|
listed below, make it easy for you to decide which stories are right for
|
|
you.|
|
|
|
|
|
INTRODUCTORY: Best introduction to interactive fiction, with some
|
|
built-in hints. Written for everyone from age 9 up.|
|
|
|
|
|
STANDARD: This is Infocom's most popular level of interactive fiction,
|
|
enjoyed by both first-time and experienced players.|
|
|
|
|
|
ADVANCED: A greater level of challenge. Recommended for those who've
|
|
already experienced Infocom's interactive fiction.|
|
|
|
|
|
EXPERT: The ultimate in interactive fiction.|
|
|
|
|
|
You choose not only the level of difficulty that's right for you, but
|
|
also the kind of story that interests you most. Whether you like
|
|
mysteries, adventures, fantasies, or science fiction, Infocom has a
|
|
challenging story for you.|
|
|
|
|
|
In our Fantasy line, you can pick from our classic Zork trilogy -- Zork
|
|
I (standard level), Zork II (advanced level), or Zork III (advanced level) --
|
|
and explore the puzzling caverns of the Great Underground Empire, collecting
|
|
long-lost treasures and battling trolls and wizards.
|
|
In the Enchanter trilogy -- Enchanter (standard level), Sorcerer
|
|
(advanced level), and Spellbreaker (expert level) -- you use magic
|
|
spells to fight ever more dangerous enemies, until at last the fate of
|
|
magic itself hangs in the balance.
|
|
Or play Wishbringer (introductory level), where
|
|
you can use the Magick Stone of Dreams to rescue your little village from
|
|
the skewed reign of the Evil One.|
|
|
|
|
|
If Tales of Adventure turn you on, try Seastalker (introductory level)
|
|
and save the Aquadome, an underwater research lab, from perils of
|
|
terrifying dimensions. Or plunge into Cutthroats (standard level), in
|
|
which you're a deep-sea diver attempting to loot a couple of shipwrecks.
|
|
Or brave the Egyptian desert in Infidel (advanced level), and discover
|
|
(if you can!) an ancient buried pyramid, laden with priceless treasures.|
|
|
|
|
|
Ever think you'd make a pretty good detective? If so, then our mystery
|
|
stories are for you. In The Witness (standard level), blackmail leads to
|
|
murder in 1938 Los Angeles, and you have 12 hours to solve the crime. In
|
|
Suspect (advanced level), the hostess at an elegant costume ball is
|
|
found strangled, and you're the prime suspect. In Deadline (expert
|
|
level), you investigate the suspicious suicide of a wealthy businessman.|
|
|
|
|
|
Fans of science fiction have plenty to choose from. There's the hilarious
|
|
best-seller called The Hitchhiker's Guide to the Galaxy (standard level),
|
|
our most mind-boggling story, co-authored by the equally mind-boggling
|
|
Douglas Adams. Planetfall (standard level) teleports you 120 centuries
|
|
into the future and maroons you on a deserted planet with a friendly
|
|
little robot named Floyd.
|
|
A Mind Forever Voyaging (advanced level), reminiscent of such classic
|
|
works of science fiction as Brave New World and 1984, puts you in the
|
|
role of the world's first conscious, intelligent computer.
|
|
In Starcross (expert level), you encounter a
|
|
gargantuan alien spaceship and come face-to-face with bizarre
|
|
intelligent creatures from all corners of the galaxy. And in Suspended
|
|
(expert level), while in a deep-freeze you manipulate six highly
|
|
specialized robots, who are as different from each other as they are
|
|
from you.|
|
|
|
|
|
We're constantly writing new stories of different genres and varying
|
|
difficulty levels. So there's always something new to try from Infocom!"
|
|
CR CR CR>
|
|
<TELL
|
|
"YOU MAKE THE PICTURES|
|
|
|
|
|
You might be wondering why there are no pictures in our stories. The
|
|
reason is simple: we know we can't compete with your imagination.
|
|
Computer graphics can't match the image your mind will create when you
|
|
first encounter the nasty troll in Zork I. Or gaze out upon the vast
|
|
Egyptian desert in Infidel. Or walk into Linder's souvenir-filled
|
|
office in The Witness. Besides, graphics require a large amount of disk
|
|
space, so there is little room left for detailed text descriptions or
|
|
for a wide variety of choices at each move.|
|
|
|
|
|
Infocom stories give you rich, detailed descriptions of characters and
|
|
locations and the maximum amount of interaction, right from the start.
|
|
You'll become engrossed in your role as the main character. And your
|
|
imagination will create the pictures, just as it does when you read any
|
|
good book." CR CR CR>
|
|
<TELL
|
|
"YOU INFLUENCE THE PLOT|
|
|
|
|
|
Traditional fiction introduces you to another world. Interactive
|
|
fiction puts you right into that world, making you the main character
|
|
and letting you shape the course of events. You influence the story by
|
|
responding to it in the form of conversational English commands typed
|
|
into your computer. As in real life, what happens later on will depend
|
|
upon the decisions you make along the way.|
|
|
|
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Infocom's sophisticated technology makes it easy for you to lose
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yourself in our stories. The stories recognize nouns, verbs,
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prepositions, adjectives and adverbs, thus allowing you to use
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full-sentence commands. Less sophisticated games recognize only verbs
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and nouns, requiring you to use two-word, verb-noun commands,
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like \"LOOK BOOK\". Some other programs CLAIM to understand full sentences but
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actually only pull out one or two words and discard the rest of the
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command.|
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For example, suppose you wanted to know how much money you had in a
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certain story. You might type COUNT THE MONEY, and you'd be told \"You
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have $15 in your pocket.\" Great. But what if you wanted to count
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something else, like the money in a piggy bank? You might type COUNT
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THE MONEY IN THE PIGGY BANK; in a less sophisticated game, you'd be
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told \"You have $15 in your pocket.\" Worse yet, if you typed COUNT THE
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COOKIES IN THE COOKIE JAR, you'd be told \"You have $15 in your pocket.\"|
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Infocom stories are smart. Your whole sentence is understood, not just
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one or two words. So you can count your pennies in the piggy bank, you
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can count your ice cubes, count your pink rubber duckies, count the dodo
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birds under the sink ... and we won't tell you that you've got $15 in
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your pocket." CR CR CR>
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<TELL
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"WE PUT YOU IN THE MOOD|
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With Infocom stories, you explore bizarre new worlds, encounter
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treacherous characters, and experience untold dangers. But we make sure
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you're well taken care of before you go.|
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We want you to know where you're going and how to get there. That's why
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we bind a wealth of information into every Infocom package. For
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example, the Nat'l Detective Gazette included with The Witness provides
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tips for greenhorn detectives as well as a guide to the best watering
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holes in L.A. in 1938. Planetfall contains a Stellar Patrol recruitment
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brochure. And Enchanter gives you a brief history of magic. Along with
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these handy items comes a detailed down-to-earth instruction manual.|
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A special recessed insert in the back of each package contains other
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items to accompany you on your interactive journey. For example,
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Planetfall includes a copy of your diary on the Stellar Patrol Ship
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Feinstein, a plastic Stellar Patrol I.D. card, and three souvenir
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postcards from outer space. Infidel contains a map of the Nile River
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Valley, a hieroglyphic stone rubbing, and a two-page letter with an
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envelope bearing an authentic Egyptian stamp." CR CR CR>
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<TELL
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"WE'LL HELP YOU OUT|
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There's a solution to every Infocom puzzle and a way through every
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Infocom maze. But sometimes even the most brilliant adventurer gets
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stumped. That's when InvisiClues Hint Books and Maps come in handy.
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They're the only hints written by the same people who write our
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interactive stories, so you know they're complete, accurate, witty and
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fun. And they're the only ones with the amazing InvisiClues invisible
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ink process that gives you only as much of a hint as you need, when you
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need it -- without revealing anything that might spoil your enjoyment of
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the story.|
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InvisiClues Hint Books and Maps are also a great source of fun for those
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who have successfully completed our interactive stories. After all,
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it's virtually impossible to experience everything that can happen in an
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Infocom story the first time you venture through it. But with our
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hints, and particularly with the \"For Your Amusement\" section of the
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hint books, you'll be able to extract full enjoyment from each story.|
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There's an InvisiClues Hint Book for every Infocom story, each
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containing hundreds of valuable hints. And each hint book comes with a
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handsomely illustrated, informative map (except Seastalker and Suspended,
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for which maps are included in the story package).|
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The greatest pleasure to be gained from an Infocom story is in solving
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the puzzles and problems all on your own. So please don't turn to any
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hints until you've exhausted all other alternatives. But when you do
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need help, we recommend the hint books written by the people who write
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the stories. Infocom InvisiClues Hint Books are available for $7.95 at
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your local software store. You can also order InvisiClues by writing to
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Infocom Fulfillment, P.O. Box 478, Cresskill, NJ 07626, or by calling
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1-800-262-6868.|
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Here's another number to remember: 617-576-3190. It's a direct line to
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our dedicated Infocom Customer Support representatives, who will help
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you solve technical problems." CR CR CR>
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<TELL
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"HERE'S HOW TO GET A FREE SUBSCRIPTION TO THE NEW ZORK TIMES|
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Now that you've discovered our interactive fiction, wouldn't you like
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to become an Infocom Insider? To learn of our latest breakthroughs? To
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find out how an interactive story is made? To get first chance at
|
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special offers and try your hand at fiendish puzzles?|
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You can also read about our strange birthday parties! Why an army of
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Infocom employees spent endless weekends in a dusty warehouse! Whether
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wild yaks are an endangered species!|
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You'll find such juicy tidbits of gossip and information in every issue
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of The New Zork Times. And a subscription is yours -- absolutely free! --
|
|
when you mail in the completed warranty/registration card from any
|
|
full-length Infocom title.">>
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<ROOM BULLSHIT-LAND
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(IN ROOMS)
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(DESC "You Asked for It")> |