Monday, July 16, 2012

Let's Make Us A Game II: Tic-Tac-Toe

Back in 2010, I ran a short Let's Make Us A Game! series in which we actually designed and implemented a simple text adventure using Inform.  I'd like to do that again, but this time I'm using the Moai framework and Lua scripting to build something a little more visual.  (There are lots of good engines out there, but Moai and Lua have the distinct advantage of being free for our purposes.  Lua is always free, Moai has some restrictions for commercial use but the "sandbox" level is free to play around with.)  If you want to play along, you can pick up the Moai SDK by registering at www.getmoai.com.

I'm going to be learning as we go, so I expect to document quite a few missteps and considerable rework during this process.  To keep the project's scope reasonable, I'm reaching deep into personal nostalgia to remember the very first interactive computer game I ever played.  It was a Tic-Tac-Toe system at a science museum -- the player would hit one of the squares on the grid, and the computer would respond with a move of its own.  It was simple, but still fascinating at the time -- the idea that a machine could "think" and play intelligently was mind-blowing for a little boy in the mid-1970s.

As an homage to Lance Micklus' classic TRS-80 checkers program, The Mean Checkers Machine, I'm going to call our experimental Moai/Lua game Tic-Tac-Toe Bastard.

Here's what I have so far -- I've decided on a 320 x 240 screen layout; this is very tiny by modern standards, but Moai will let us scale it to the display, and keeping the resolution low keeps the pixel art easier to handle.  Sketching it by hand on graph paper, I've mapped out a rough idea of the display:



As you can see, there aren't a lot of controls here.  There's a difficulty slider, allowing us to adjust the CPU's "intelligence" level, a QUIT button to exit the game, and a RESTART button to start a new match.  The player will simply click on a square in the 3 x 3 grid to place a smiley face, while the CPU will place death's heads in response.  A scoreboard at the left will chalk up Player and CPU wins during this session, with RESTART wiping out the accumulated scores and resetting the grid.

I'm devoting the largest chunk of screen real estate to the 3 x 3 game grid.  Because we're not really constrained by old-fashioned tiles and sprites, I'm making the grid 160 x 160 pixels -- this gives us 9 53 x 53 pixel blocks which include their own outlines, plus an outline border on the right and bottom edges.  (At least that's how I think this is going to work, prior to actually building anything.)

Here's a rough to-do list for getting this very simple game up and running:

-- Design and create game data structures (scores, play grid)
-- Script the basic game loop
-- Implement and test tic-tac-toe CPU algorithm
-- Implement the user interface and wire it into the game logic
-- Implement and test victory detection
-- Draw graphical elements in .PNG format
-- Design and produce sound effects

We'll be tackling each of these steps, though not necessarily in sequence -- I may jump around a bit depending on what I feel like doing in each installment.

Off we go!


Sunday, July 15, 2012

Cover to Cover: Jaguar EGM Promo (pp. 6-7)

Our pagethrough of the 1994 Atari Jaguar ad insert in Electronic Gaming Monthly continues, with pages 6 and 7.

Page 6 features one of the most innovative and technically impressive games to grace the Jaguar's lineup -- Iron Soldier, casting the player as the pilot of a giant robot.  The missions were varied and challenging, from seek-and-destroy to escort duty, and there were upgrades along the way to keep the basic mechanics interesting.  The largely-untextured polygon graphics look dated now, but seeing buildings disintegrate into what seemed like an impossible number of tiny cubes still looks pretty unique and cool.  The game saw a CD sequel on the Jaguar, and another sequel on the Playstation, titled Iron Soldier 3 though it seems more like a graphically updated version of this original game.  And, to the game's credit, the ad doesn't have to exaggerate the game's features:



Page 7 features one of Atari's ill-fated attempts to get in on the one-on-one fighting craze, with a shameless ripoff of Midway's Mortal Kombat franchise.  The digitized graphics and backgrounds were somewhat impressive at the time -- the Jaguar's color depth outdid the SNES and Genesis -- but the action was uninspired and poorly balanced.  The ad does its best to drum up some excitement, but even in 1994, "Use a fatality move to finish him!" sounded almost as lame as the preceding "Ooo, that's gotta hurt!":


More to come -- there are 16 pages of Atari promotion in this brochure.

Friday, July 13, 2012

Of Import: Slot Gambler (1995)

Nichibutsu is best known in the West for the arcade game Crazy Climber, but in Japan the company's output seems to have been dominated by risque pachinko and mahjong titles.  Slot Gambler, a similar game involving slot machines, was released in 1995 for the PC Engine's Super CD-ROM format.

Many of the images in this game are NSFW -- there's nothing X-rated, but for propriety's sake I'm going to put the later parts of this post below the fold, including the title screen that usually serves as my lead. I'll try to describe the gameplay first, so people with scruples and dignity can avoid the seedier side of the game.

I've never been a big fan of gambling videogames -- there's nothing at stake, really, and most of the time the results are completely dependent on chance.  This game features two types of slot machines -- 3 x 3 grids where success can be scored in numerous ways a la Tic-Tac Toe, and separate single-window machines where a row must be matched.   The slot machines look different on each island, but the seem to fall into these two categories consistently.




The player can bet one to three medals on each round, with the rewards scaled accordingly; some games allow better chances of success if we lose bet more on a given round.

The game's Story Mode is structured as a series of islands in a manner reminiscent of Super Mario Bros. 3:




Oddly, the game casts the player as a totally 80s American boy, with blonde hair, a backwards baseball cap, blue jeans and a hot pink jacket.  There is a little bit of skill involved here, as to clear each island we have to visit all the establishments there, sliding map tiles around on occasion to open up pathways.



Beyond the cheesecake and slot machines, sometimes we find bonus round kiosks on the island that offer more traditional game-like activities:



And... below the fold you'll find further discussion of Slot Gambler's aesthetic.


Thursday, July 12, 2012

The LoadDown -- 07/12/2012

Activity levels are picking up a little bit this week, with multiple new downloadable games on several channels...


WiiWare -- Hey, some activity!  Konami's Frogger: Hyper Arcade Edition also arrives on the Wii!  See the XBLA section below for details.

Wii Virtual Console --  This platform is active too, with SNK's Neo*Geo one-on-one brawling classic The King of Fighters '96!

DSiWare --  2 games are available for the DSi and 3DS.  Candle Route is a colorful casual puzzle game, where the player must collect candles and find each level's exit in a limited number of moves; the hero is a little flame, and the game takes place in Crayon Castle, so somebody's probably going to find their Burnt Sienna in a messy little puddle.  Ace Mathician (try saying that five times fast) stars a Koala bear who must move platforms to gain access to fruit, by entering mathematical formulas.  What I like about this concept is that, unlike most math "education" games which focus on computation drills, this one actually uses the equations to affect the game world -- ideally, kids can gain an appreciation for math, something that's always been hard to inspire.

3DS eShop --  A bunch of new 3DS games all of a sudden - 4 in total.  Johnny Kung Fu pits the player's hero against Mr. Wang Gang in what sounds like a very 70s experience - it even does something new as retro-inspired games go, with limited-motion Game & Watch LCD matrix-style rounds included.  Sweet Memories: Black Jack features simulated gambling and suggestive themes for its T rating, as the player plays blackjack with attractive girls.  There are also two more 8-Bit Summer releases, both from the Game Boy era -- Kirby's Pinball Land and RPG The Sword of Hope II, which combines traditional combat and level-up mechanics with some rudimentary adventure game puzzles.

XBox Live Arcade -- Three new titles this week.  Quantum Conundrum is a time-traveling first-person puzzle/platform game, with lots of switches to pull, pitfalls to avoid, and dimensions to explore, with creative direction by Kim Swift (Portal).  Frogger: Hyper Arcade Edition is another vintage coin-op update, bringing Konami's road-crossing amphibian into the fast-paced, skin-swappable, particle-spewing modern era.  And PopCap's Zuma's Revenge! is more casual ball-banging fun; sorry, the official marketing term is apparently "ball-blasting action," which sounds much less entertaining but still kind of smarmy.

PS3 on PSN -- Three new titles here. Quantum Conundrum and Frogger: Hyper Arcade Edition also hit the PS3 this week. And Rainbow Moon is an old-fashioned isometric turn-based RPG that's sure to call Grandia to mind.

Notable on PC -- The Steam Summer Sale is on!  Ready your wishlists and your wallets!

Wednesday, July 11, 2012

At Random: Mecarobot Golf (SNES, 1993)

Grabbing randomly among some recent flea market finds, I came up with Toho Co. Ltd.'s Mecarobot Golf for the Super Nintendo Entertainment System, released in 1993 in the United States.  The game made its original Japanese appearance as Serizawa Nobuo no Birdie Try, or Nobuo Serizawa's Birdie Try, on the Super Famicom.  Nobuo Serizawa was a Japanese pro golfer in the 1980s and 90s, so this is actually a mundane console golf game, dressed up with robots for sale in the West where Mr. Serizawa was relatively unknown.  The title screen originally featured a digitized image of Serizawa, replaced here by Eagle the Robot:




Sorry, did I say it was "dressed up with robots"?  As it turns out, Eagle is the only robot in evidence here.  If I hadn't researched the origin of this game, I would have been really puzzled about why there are so many humans willing to play support roles for the Mecarobot Golf tournament -- the groundskeeper, preparing the course on an early, foggy morning:




The sign-in official:






And the player's own onscreen avatar, competing with the lead robot:






Gameplay is -- wait for it -- par for the course.  We pick a bag of clubs, and select a hole to play.  We use the traditional three-click console golf control mechanism -- one button press to start the swing, one to set the maximum power, and one more precisely timed to hit the ball with a bit of left or right bias if we like.  Like most of these games, the swing presents the primary challenge here -- the power bar indicator sweeps back and forth pretty quickly, and I found it easiest to just hit the button three times as fast as I could; this usually gave me a reasonable distance and a fairly straight shot.


The SNES hardware's unique Mode 7 was always useful for rendering backgrounds in zooming, rotating perspective, but its fundamental flatness doesn't suit this golf game very well.  The software uses interrupt-driven parameter changes to lend some rolling inclination to the green, but the display changes so slowly when the ball is in flight that all of the technique's low-resolution, non-anti-aliased chunkiness shows.  It's not that the green looks bad, so much as that it looks out of place next to the relatively detailed golfers and GUI elements.


Things improve a bit when we get to the putting green -- the course layout is nicely done without obvious tiling, and the putting interface works well, with a similar three-press mechanic.  The display zooms in for a closeup when we're close to the hole, with a nice digitized ball-in sound, and it's easy to just miss the putt if we're too hasty with our actions.




And then we go on to the next hole, in the standard manner.  

As a golf game, Mecarobot Golf is not bad -- it's generic, but comprehensive, with a variety of holes to play and clubs to use, and it plays acceptably well.  It also has a driving range mini-game, and a family multiplayer tournament mode if we would rather play against other human beings.


But dang it, I wanted more robots!  Or at least, I wanted to play as a robot with super cybernetic swinging powers and laser-guided hole sighting and rocket-fueled flight from the tee to the green.  I don't think this is an unreasonable expectation for a game called Mecarobot Golf -- especially because it was produced and released by Toho, the movie studio behind Godzilla and Rodan!  Where's Jet Jaguar when you need him?  Didn't these people ever play SNK's Neo*Geo Super Baseball 2020?

Ah, well, such is not to be.  Instead, we get to play as an ordinary golfer, while the only robot around trundles around on foot just like we do, and dispenses basic advice about the course.



At first I was distressed over the obvious waste of advanced cybernetic technology here, but then I figured out what's really going on -- Toho has just dressed Nobuo Serizawa up in a robot costume.  Domo arigato, Mr. Nobuo.



Tuesday, July 10, 2012

Adventure of the Week: Cutthroats (1984)


This week, we're playing through a 1984 Infocom text adventure, a seafaring tale that's miles from Pirate's Isle or Monkey Island -- Cutthroats, created by Michael Berlyn (Oo-Topos, Infidel) and Jerry Wolper.  Cutthroats was the second game in the short-lived Tales of Adventure series (Infidel being the first); it takes place on and around the fictional Hardscrabble Island, and despite the title it has more to do with treasure hunting and salvage than anything piratey.  It's regarded today as one of the minor Infocom efforts -- it's more linear than some of the classics, and the copy protection is more intrusive than usual.  Also, while there is substantial replay value built-in, it's not necessarily apparent to the player and I'd guess most people who have finished the game missed a good chunk of its content.

I'm playing release 23 of the game using the modern WinFrotz interpreter, which allowed me to shrink the font down enough to fit the dramatic intro into a single screenshot -- clicking to enlarge is advisable:



Interested readers are encouraged to tackle Cutthroats independently before proceeding with my detailed comments below; it's not as straightforward as Infidel, but most of the physical puzzles are logical, and there are two randomized, distinct scenarios involved so your experience may vary considerably from mine.  However, I did run into a problem at the very end of the game that could only be resolved by restoring and doing something right near the beginning of the game.  So if you find that sort of classic "gotcha" puzzle frustrating, you may just want to charge into the...

***** SPOILERS AHEAD! *****

The story opens late at night, as a drunken acquaintance named Hevlin staggers into the player's room at the Red Boar Inn, leaving us with a slim shipwreck book for safekeeping; it has new locations marked for two long-coveted wrecks.  Of course, shortly after he leaves he is attacked and killed; the police arrive to tell us this, and then leave us alone, sitting on the bed, dismayed but apparently free of official suspicion.

As the game gets underway, our first order of business is to reexamine Hevlin's book, which we casually slid into a dresser drawer during the night, and read a note apparently slipped under the door later on.  The note says, "If you're interested in a big deal, be at The Shanty at 8:30 this morning -- Johnny."  We can check the status bar for the time, or our own watch -- in my playthrough, it was 8:05 AM at this point.  Each turn consumes one minute on the clock, so we need to move quickly.  The dresser also contains a Mariners' Trust passbook (we have $603 in the bank, presumably to supplement the $20 in our pocket), a room key, and some clothes we won't be needing.

The shipwreck book is itself included in the original packaging, or on the Internet these days.  The closet contains diving gear for shallower waters -- a wet suit, air tank, diving mask and a pair of flippers.

At 8:20 AM, the Weasel walks in to see if we're coming to the meeting.  We start getting hungry and thirsty, but time's a-wasting so it makes sense to follow Weasel, since we haven't had a chance to map the world out and find The Shanty, an establishment with which we are clearly supposed to be familiar.  It's probably good to lock the door to our room before we head out -- in my playthrough, I'm carrying the shipwreck book and am now wondering if that's a good idea, but we'll see what happens.  The walk gives us a brief tour of this seafaring town, but there isn't time to explore.  Fortunately (or so I thought), the clock seems to freeze for a while as we make the journey.

The Shanty is a seedy, dirty bar; the bartender polishes glasses, and the Weasel picks his teeth with a knife.  A parrot with an eyepatch apparently belongs to the bartender; a man sporting similar gear named Pete the Rat is also present, and our motley crew's leader Johnny Red says, "Sit down and we'll talk."  He repeats this if we spend time doing anything else, so it's probably wise to SIT DOWN.  He whispers something about buried treasure.

Hunger is beginning to overtake our character, so we can ORDER A MEAL for a non-negotiable $5.  Johnny indicates that money is needed to fund the expedition, and we're chosen because we're a great diver... and, of course, because we have some cash salted away.  JOHNNY, NO seems like the wiser choice at the moment, though I'll probably regret it -- "We'll find someone else," he says, and then ignores us.  It's too late for a JOHNNY, YES; clearly a restart is called for, but we might as well map out the area a bit before we dive back into the narrative from the beginning.

An alley runs behind the establishments on the south side of Wharf Road, which may be useful to know.  An abandoned field borders the alley to the south, but "You can't get through the weeds," so it doesn't appear we'll be doing anything interesting there so this is just a way of bordering the town map without being too obvious about it.

We can enter McGinty's Salvage Office through a window from the back alley, but if we go north again into the Wharf Road, we can't reenter because it is closed.  We need to do this early in the game, as McGinty eventually comes back and shoots us as an intruder (which, in truth, we probably are.)  This was my first death, with 0 points out of a 250, ranked as a "chicken of the sea."  And my second death, too, as if we don't stop in at the Shanty before trying his window, McGinty also catches us trying to sneak in.

Leaving the Red Boar with plenty of time to reach the Shanty, I try to GIVE THE ROOM KEY TO THE CLERK, but he won't accept it; "You've paid for another week."  There's a lighthouse to the southwest, locked of course, and the geography is as odd as usual for an adventure game; we can't seem to get into the back alley from this side of the Red Boar.


At the Shanty again, JOHNNY, YES commits us to a second appointment at the lighthouse at 9:30; McGinty, we are warned, is not to find out about this.


The ocean road runs north-south along the east side of town, and leads to a couple of other roads -- the Shore Road to the southwest, and a narrow path that leads up higher to Point Lookout, affording a view of the ocean.  It's choppy today.  The Shore Road leads to a ferry landing, with a ferry to the mainland running every two hours.  We can't board the ferry, as we don't have a token, and there doesn't appear to be any place to purchase one.

Back in town, some establishments are now open for business.  We can visit Outfitters International where a salesman and a price list offer various supplies (again, the price list is in the package, as a bit of copy protection.)  Available supplies include flashlights, nautical charts, tubes of putty, nets, spear guns, and lots of other paraphernalia... but we don't have a clue as to what equipment we might actually need at this early stage of the game.

McGinty is also open for business, and it's not wise to betray Johnny and SHOW THE BOOK TO MCGINTY -- he's pretty trigger-happy, as he simply shoots us to get at the info.  I'm beginning to suspect he will be our primary obstacle.  If we stop in to his establishment with Hevlin's shipwreck book in our possession, or even run into him in town, he seems to notice, and follows us out of town, so perhaps we should just avoid him at this stage.

Getting into McGinty's office when he's not there is simply a matter of LOOKing THROUGH THE WINDOW until we see his office, but don't see McGinty sitting at his desk.  We can't open his locked desk or smash it, and there are no other details here of interest; nothing on the desk, nothing on the floor or walls.  So whatever we might have to do here, it's too early to do it now.

The town's wharf, on the north side, currently hosts a trawler named the Night Wind and a deep-sea salvage ship called the Mary Margaret.  The Mary Margaret is fairly large, and while we can navigate with N/S/E/W it makes more nautical sense to work in terms of AFT, PORT and STARBOARD.  The ship's wheelhouse is dominated by a large air compressor, presumably for diving.  Below the Fore Deck is the Crew's Quarters, a cramped collection of bunks.

The Night Wind on the other side of the wharf is almost identical in structure, so perhaps we will have to make a choice as to which craft to take on our salvage trip.  This ship lacks an air compressor, so it's likely not as suitable for diving.

During my playthrough, I notice again that time seems to be standing still -- I don't know if it's just the WinFrotz interpreter or a design choice, but when we're between key events we're free to explore and take up turns at will.  Oh, no!  That's not what's happening.  I neglected to WIND WATCH and so I've been behind schedule for a good long time, wandering around and wasting time without a care in the world.  So I've probably missed the boat; it's time to restore an earlier save, or rather restart and wind my watch before 8:20 AM arrives.  This does seem to work much better

The lighthouse door provides four brief lines of credits -- "This lighthouse is part of / CUTTHROATS / an Infocom Tale of Adventure / by Michael Berlyn and Jerry Wolper / (c) 1984 Infocom, Inc."  The Shanty's parrot is for comic relief -- if we listen to him, he "would gladly accept a hard biscuit today, if you would accept payment Tuesday." And he'll say "Hello Sailor" too.


Converging on the lighthouse, if McGinty has spotted us, he follows us toward the meeting, which proves fatal as the others assume we have tipped him off intentionally.  If we avoid that situation, then Pete, the Weasel and Johnny Red turn up on schedule.  In my playthrough (this can vary randomly between two very separate scenarios), Johnny shows off a Portuguese coin circa 1680, and says we're not sure which of the two wrecks marked on the map to salvage.  Johnny asks us to decide and provide him the shipwreck's location, expressed in minutes of longitude and latitude, and bring $500 to meet him at Point Lookout at 10:45.  Then we'll all meet at the Shanty at 11:45.  Johnny will captain, Pete will cook, the Weasel will crew, and we will dive.

So it's off to the bank to pull $500.  In a rare challenge for the reliable Infocom parser, we can't WRITE A CHECK or CASH A CHECK (CHECK is recognized as a verb only) but we can WITHDRAW $500.  Actually, it's a passbook, not a checkbook, so I was on the wrong track anyway.  The ferry happens to pull in at 10:00, but we have no business with it, and we're feeling thirsty again, so we'd better stop into the Shanty for a drink.

And now it's almost time to meet Johnny.  While we're waiting, we can see McGinty from a distance wandering down to the ferry landing or the bank, but he doesn't see us.  When Johnny arrives, he wants to see the money -- JOHNNY, YES to his "Did you bring the money?" is not sufficient, but SHOW JOHNNY THE MONEY gets him into a good mood.

Cutthroats has a weakness compared to most of the Infocom games -- it's very linear, and the copy protection is a little too intrusive.  Here, we need to decide which boat to take by seeing if the treasure is more than 200 feet deep.  This we do by referencing the pack-in documentation, which, while a practical puzzle of sorts, makes this feel more like a chore or a guide than an actual game task.  We can see that the two newly-marked shipwreck locations refer to the S.S. Leviathan and the Sao Vera -- given the Portuguese coin and its date in my playthrough, it seems we should check out the Sao Vera as the most likely candidate.  It's at 45 degrees longitude, 40 degrees latitude, and the topographical map shows it's at 400 feet deep.

So the Mary Margaret it is, then.  Now we're off to provision the boat -- except we run into McGinty at the outfitters, and he again does a double-take looking at our possessions.  I tried hiding the book in our room back at the Red Boar Inn, but he still reacts the same way, so maybe he's just noticing that we're clearly going diving.  If we buy something at the store while McGinty is there, such as shark repellent, he figures out something is up and rents the necessary boat out from under us.  Can we wait until he leaves to conduct our business?  LISTEN TO JOHNNY suggests that -- "Let's wait out McGinty.  He should leave soon."  But he doesn't, actually, and as the 11:45 meeting draws near Johnny gives up on the whole thing, ending the story.

Trying to lead McGinty out doesn't work -- once he's seen our possessions, he sticks close, so when we reenter the shop Johnny's conversation with the salesman is interrupted.  We have to limit our inventory to avoid this problem, but he's a nosy and greedy fellow -- only the watch and the room key don't seem to trigger McGinty's suspicions.  If we're suitably "clean", then McGinty leaves by 11:07 AM and we have time to do our own provisioning.  We have to chip in $441 plus money for our own stuff, which apparently means we have about $59 to spend ourselves, though we can withdraw a little bit of extra money from the bank.  Whatever our budget in hand, we have to PAY $441 before we can do our own shopping.

We're scheduled to depart half an hour before high tide, but reading that from the packed-in chart requires knowing today's date.  The hotel clerk will give us the time, but the parser doesn't recognize the word DATE.  So we'd better just be quick with the remainder of our preparations, I guess, and be ready to wait around for a while if need be.  We can learn a few things by trial and error when deciding what to buy, although we can't return things; the diving book is a waste, as it says nothing you don't already know.  I opted to buy the flashlight, a dry cell, tube of putty, "C" battery, net, and shark repellent.  The store is out of stock on the spear gun and compass, so maybe these are the right things to buy; everything else is out of our price range, it seems.

The Outfitters International delivery boy shows up dockside at about 1:45 AM, and if we follow him we get a tour of the Mary Margaret.  This was useful, as I had missed the passage down from the Aft Deck to the Lounge and Galley areas; finally, our supplies are left in the Storage Locker and the delivery boy departs. 

I'm concerned that our air tank is still empty, but the deep-see diving suit and air compressor may be all we need.  Johnny shows up at 2:30 AM and needs the latitude and longitude information.  JOHNNY, LATITUDE IS 40 and JOHNNY, LONGITUDE IS 45 communicate successfully.  We're advised to get some sleep, though the game is a little inconsistent here; at one moment, your mind is too active to let you sleep, but a few minutes later, In no time, the rhythm of the ocean lulls you to sleep.

Johnny wakes us up at 5:59 AM.  "You're up as soon as you're ready," he says, So we'd better get ready.  The SWANZO BRAND SHARK REPELLENT has a label advising us that it will work for five hours and must be opened underwater, as the fumes above the surface may be hazardous.  We're also getting hungry again.  A small machine has a worn, unreadable label, but takes a dry cell; if we turn it on, it clicks slowly. Is it a Geiger counter?

We can eat stew and drink some water in the Galley.  On the Aft Deck, the Weasel tosses an orange line over the side; we're to tie it to the treasure, and then pull on it to signal the crew onboard can pull it up.  I'm not sure I'm comfortable with this arrangement, but it seems we have no say in the operation.

Trying to connect the deep-sea diving suit to the compressor is a problem, because there's no hose here.  Backtracking to check confirms that we can't buy any at the Outfitters International store.  Ah - I was looking at the compressor from inside the wheelhouse.  On the Aft Deck we can see that it has a retractable air hose built in.

Once we're in the water with the compressor running, we can't TAKE LINE -- You can't reach the line.  Worry about it when you've found the treasure.  Fair enough.  Diving down one step, to 50 feet, it's now too dark to see.  We can TURN ON FLASHLIGHT, just in time to see a shark as it swims up to you and starts nibbling.  So we ought to use the repellent before we dive too far.

Fortunately, the Mary Margaret is very precisely anchored, and all we have to do is dive straight down until we reach the rotting shipwreck's Top Deck.  The aft end of the Middle Deck has a doorway, blocked by fallen bunks that we can't move.  A cask that is still in one piece is in the Galley, and a wall plaque confirms that this is indeed the Sao Vera.

There's a rope wrapped around the lower part of the fore mast; is that our rope?  We can't quite reach it from the middle deck, and if we try to climb up, the centuries-old ladder collapses.  Actually, we can't climb up at the other end either -- so we probably should have freed the rope when we first got here.  Ack... except, no, we can't access it from above either.  Maybe it's just a rope that's part of the ship, distinct from the line we'll be looking for later; this is indeed the case.

The tube of putty we brought along is Frobizz waterproof putty.  Might come in handy.  The cask is confusing -- we can't open it, as it's already open, but if we try to look inside the cask, There's nothing on the wooden cask.  So it's not really a container?  Is it the treasure?

If we don't enter the ship at all but come back up to the Mary Margaret, it's now grown too late for another dive and the game ends with disappointment.  If we DROP EVERYTHING in an attempt to lighten our load enough to swim up from the Sao Vera's middle deck, we also drop the suit and drown; if we drop everything but the suit, eventually we run into something in the darkness that seems to be an aquatic grue.  There are some iron bars below deck that were probably used as pikes; throwing and poking a bar at things doesn't seem to do anything.  The bunks at the aft end of the Middle Deck remain unmovable, though they are blocking a doorway that ought to be interesting to explore.

Well, another old Infocom tradition is the Invisiclues, and I seem to be in need of a hint here.  And yes, they suggest that we need to move the bunks, and the next level of detail suggests we need a lever.  The iron bar ought to work for that (I have to remember to picture these iron bars as pikes and not rectangles) -- MOVE BUNKS WITH BAR was not intuitive for me, but does the trick.

Next, as we move aft, the row of bunks starts to fall, threatening to pinch the airhose if we've gone through the passage.  If we stay near the bunks, they fall and we can move them again, but they continue to fall every time.  Could we secure them with the rope?  We still can't acquire the rope.  There's just time to explore below decks and discover a giant squid sleeping in a lower cabin before the airhose gets cut off by the collapsing pile of bunks.

So we need to secure the bunks somehow.  I tried to JAM BAR BETWEEN BUNKS AND FLOOR and INSERT BAR BETWEEN BUNKS AND WALL to hold them in place, to no avail.  But PUT THE BAR UNDER THE BUNKS works -- thanks again, Invisiclues!  Now the iron bar is wedging the bunks up, and we can go further below decks -- this ladder is more usable than the other.

We can, of course, get killed by the giant squid as its tentacles envelop us and disconnect the airhose.  THROW NET OVER SQUID doesn't do any good, it just slides off.  But we can just bypass the squid if we move quickly past and avoid waking it up.   

The Below Decks area contains an oak chest, and a lounge area with about fifty skeletons of the Sao Vera's unfortunate crew.  One has a scabbard on its hip, with a sword that may come in handy.   There's also a maple chest at the forward end of the ship.

We can't open either chest, so it may be a 50/50 chance as to which one we salvage.  Both have convenient holes in the hull nearby, and if we swim through the holes we can catch the orange salvage line from above swinging through.  But in both locations, The orange line isn't long enough to take with you.  Dang.  And we can't PUSH CHEST THROUGH HOLE either.  We can't KILL SQUID WITH SWORD.  And we can't explore outside the ship, as our airhose trails along through the hole and tends to get caught and torn.

Can we draw more of the line down from above?  DRAW LINE doesn't work, nor does CUT LINE WITH SWORD, though I don't know why we'd want to do that.  And again, we are running out of air.  We can't fix the broken ladder with the waterproof putty, unfortunately, despite the rung remnants lying about.

I was disappointed when I found out just why I needed the Invisiclues again -- while PUSH CHEST THROUGH HOLE yields You don't have the oak chest, PUSH CHEST TO THE WEST works!!!  (We can similarly PUSH MAPLE CHEST TO PORT.)  Now we can TIE LINE TO CHEST and send one of the chests upwards, though I don't know which is the right one at this point so I'll keep a save handy at the decision point.


Trying to swim back up to the Mary Margaret runs into an old problem -- even though the lower ladder is relatively sturdy, the bottom rungs are broken and You can't reach high enough to get past the two broken rungs.  The cask from the middle deck can't be moved down here, so maybe we can push the remaining chest down to the aft end of the ship.  That works -- we can climb onto the chest and then climb the ladder.

Now we're back to the other ladder, where we now know we can push the cask aft to make the hole accessible.  Except, no, this hole is still unreachable -- too high, and there's no usable ladder here -- so we'd better push it forward instead.  The ladder still breaks if we try to climb it (I came down through the other hole, so it was still intact.)  But while we can't TAKE ROPE from atop the cask, we can CUT ROPE WITH SWORD, allowing its end to fall within reach.  CLIMB ROPE is a challenge with a load of equipment.  We can drop most of the stuff and climb up, but as we ascend back to the boat, the airhose trailing behind tears again?!?

EXAMINE AIRHOSE along the way doesn't show any damage or snagging.  Could our compatriots above be cutting the line?  Maybe I should not pull the line until later, I ought to find the line again when I get up to the ship.  Nope, that doesn't work either, the line is still getting torn along the way.  What am I doing wrong here?  I shouldn't be running out of air from the compressor yet.  PULL HOSE (my attempt to reel it in) yields a puzzling response: I don't juggle objects!

D'oh!!!  I entered the boat the other way, at the aft end where we can't climb up again -- so I've looped the airhose through the vessel and am breaking it as I try to swim back up.  I wish there was a way to observe the hose's behavior in more detail, so this wouldn't be so mysterious, but I suspect that would have been very complex to code.

So it's back to an earlier save to come down the ladder-breaking route when I enter the Sao Vera.  Now I can make it back to the boat -- and the maple chest I selected is full of old Portuguese newspapers.  Another try, bringing up the oak chest this time...  and it's full of gold escudos! 

But I am exhausted, and when I sleep, my throat is cut by one of our gang!  Keeping the sword for the return swim does not seem to help.  And DIAGNOSE before we start the ascent to the surface indicates we are not hungry, not thirsty, and wide-awake.  And this appears to stay true all the way up.  Hmmmm.  So how we keep ourselves from falling asleep?  Or could we have ferreted out a traitor earlier in the story?

The Invisiclues' leading questions weren't pointing me anywhere specifically, so I had to consult a walkthrough to learn that I was supposed to have witnessed a meeting between the Weasel and McGinty at the Ferry Landing, and found an envelope in McGinty's sometime after buying provisions for the trip.  (I also learned that there are two randomized shipwreck scenarios -- the Leviathan is also a viable dive candidate, though only one is available per playthrough, the correct choice based on the evidence Johnny presents at the meeting.)


The envelope found in McGinty's office while he steps out reads, "Weasel's Merchant Seaman's Card - collateral for deal" in McGinty's handwriting.  Looks suspicious to me.  Showing Johnny the envelope before we depart gets Johnny to say he'll "take care of him."  But in a short while, he returns to say, "I've taken care of the Weasel, but we can't go without a crew.  Maybe next time."  So maybe I am doing this too early.

If we have the envelope in hand as the rest of the crew begins arriving, though, the Weasel kills us -- "That's one of McGinty's envelopes! Traitor!"  So are we falsely accusing him?  I guess we'll find out if our throat still gets cut at the end after getting him out of the way.  We need to hide the envelope and show it to Johnny after we're at sea -- we can HIDE ENVELOPE UNDER BUNK before going to sleep.

In the morning, we can retrieve the envelope -- though we still need to avoid the Weasel, who's hanging out on the Aft Deck, and see Johnny (visiting Pete is okay, he confirms the card is the Weasel's.)  We can find Johnny in the Captain's Cabin, and he promises to take care of the Weasel; since we're already at sea, there doesn't seem to be any concern about crewing the boat.

Since I'm replaying anyway, this time I'll take the small machine from the storage room, though I suspect that some of these items are only needed for the alternate S.S. Leviathan scenario.  It does click faster near the oak chest, so that confirms this hasn't been re-randomized.  This time we get safely back on board, with our remaining, trustworthy crew at hand.  (No information is provided about exactly how Johnny took care of the Weasel, and perhaps it's best that we not know.)  A tear is shed for the late Hevlin, and we're rich!  Rich!



I didn't play through the alternate scenario -- it's not a choice made by the player, so only one case will randomly apply in any given playthrough.  But research indicates that the it's a shallow dive, involving the salvage of some rare stamps from the S.S. Leviathan where mines must be demagnetized, a lock drilled, and a stamp case resealed in an air pocket using the waterproof putty.

Cutthroats is a bit misleading, titlewise, as other than Weasel and McGinty we never actually deal with any villainous or explicitly piratical types.  And the game marches us along a fairy fixed schedule -- while there's some interesting storytelling going on, and many possible situations are appropriately handled, the plot's time pressure means we can't explore the game's world very thoroughly and win at the same time.  It's a shame that the intended replay value is so much out of the player's hands -- since we don't know which scenario is in effect until we get to the 9:30 meeting at the lighthouse, we have to go through the motions for a while just to see if we're getting a crack at the second path.  I would wager that most  honest players, fighting through without benefit of walkthroughs or guides, never know there is an alternate scenario; it just appears that the other wreck is a red herring, not a separate playable situation.

I've been meaning to play Sorceror, sequel to Enchanter, and perhaps I should tackle that one next time the Infocom bug bites.

Monday, July 9, 2012

At Random: Young Merlin (SNES, 1994)

I always think of the Super Nintendo Entertainment System as the epitome of the 2-D pixel-art era -- while the Playstation and later consoles had better color depth, higher resolution and superior sound capabilities, the SNES had a solid library of games, many of which are still considered classics today.

Of course, not everything was Chrono Trigger or Super Metroid, and a recent flea market trip allowed me to pick up a couple of random, lesser-known SNES titles.  So I sat down this past weekend to sample Young Merlin, developed by Westwood Studios in 1993 and published in early 1994 by Virgin Entertainment.  It's an action/adventure game that feels rather like the British Dizzy games -- lots of wandering around to find objects matching images delivered via word balloons, and some minimal but punishing combat.  (Fortunately, Young Merlin seems to have infinite lives, unlike Codemaster's egg hero.)

The title screen, with the benefit of hindsight, provides a pretty good summary of what we're going to get here -- some beautiful graphics, with a blue void of emptiness underneath:


The story begins as Young Merlin (I presume he's that Merlin) witnesses a young woman being swept downriver, and sets out to rescue her, ready to conquer any obstacles thrown in his way, building up his magical powers with various artifacts as the story progresses.

Westwood Studios clearly lavished care on this game from a production standpoint -- it takes up a full 8-megabits (one megabyte) of cartridge data, and the animation is fluid and detailed.  There are a lot of special-case animations, and some very funny moments, like this one where we face a tiny enemy who keeps drawing a line and daring Merlin to cross it, all the while muttering high-pitched fighting words like a 1930's prizefighter:


The feel is a bit like Nintendo's Legend of Zelda series crossed with Westwood's Legend of Kyrandia adventures.  Merlin's life force is measured in hearts, and he can pick up additional containers in open and hidden areas.  And the early enemies are rather pig-like -- we have to alternately freeze and fire at this chubby punk pig to defeat him, before his thrown axes kill Merlin first:


Incidental characters are nicely detailed and animated -- this blue fairy delivers passwords after we defeat a boss:


But the gameplay hasn't aged well.  We spend most of our time wandering around the sprawling levels, looking for specific objects that will allow us to progress.   Combat is sporadic and frustrating -- some enemies are sitting ducks, while others move and fire so fast that it takes fancy evasive footwork and dumb luck to get a spell fired off successfully without getting Merlin killed in the process.  The extra hearts we can pick up don't really help very much because they get used up so quickly in the heat of battle.  Fortunately, when the inevitable happens and Merlin grasps his throat and falls to his knees (he seems to suffer asphyxiation no matter what sort of threat he is facing), we can resume at the frequent checkpoints:


The adventuring element gives the game some structure, but it starts to become tedious fairly quickly.  Unable to get past a rapid-firing rock-throwing tree that was tougher than the first one I'd encountered, and guessing that I needed to improve my weaponry's range, I went wandering elsewhere.

I managed to find a lantern so I could enter a dark dwarven mine, and I figured out the right approach to kill the well-armored residents.  But the mine is a large maze, with some one-way broken ladders and lots of dead ends, and the sheer sameness of the limited background tileset makes the going monotonous.  I managed to locate a mine cart -- missing a wheel, naturally -- at a northern dead end, and then managed to make my way into a new area in the south.  And then, just where I was hoping I might find the necessary wheel, I found myself staring into the abyss, literally:


I know there's an answer, and I could have pulled out the graph paper to work on this, but I decided to leave Young Merlin to his fate.  It took me a while to put my finger on what's wrong with Young Merlin -- it's a nice-looking game, but while the ability to explore the world fairly freely is appreciated, the action isn't ultimately compelling.  The enemies we can readily defeat become nuisances, and the ones we can't are frustrating obstacles, as are many of the object-based puzzles, some of which make no inherent sense beyond following the clues we are shown.  The urgency of Merlin's quest fades quickly as we wander the world looking for the one object we need to progress, and it's easy to assume that the young woman he's set out to rescue will have either drowned, been abducted or gone off to college by the time he catches up with the situation.  Young Merlin does a lot of things right visually, but it's ultimately generic and tedious.  An easy one to put down.