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Category Archives: Interactive Fiction

IBM’s New Flavor

The PS/2 lineup

IBM’s greatest triumph was inextricably linked with what by 1986 was turning into their biggest problem. Following its introduction five years before, the IBM PC had remade the face of corporate computing in its image, legitimizing personal computing in the eyes of the Fortune 500 and all those smaller companies who dreamed of someday joining their ranks. The ecosystem that surrounded the IBM PC and its successors was now worth countless billions, the greatest story of American business success of them all to play out during Ronald Reagan’s storied Morning in America.

The problem, at least as IBM and many of their worried stockholders perceived it, was that they now seemed on the verge of losing control of the very standard they had created. A combination of the decisions that had allowed the original IBM PC to become a standard in the first place — its simple, workmanlike design that utilized only off-the-shelf components; the scrupulously thorough documentation of said design; the decision to outsource the machine’s operating system to Microsoft, a third party all too willing to license the same operating system to other parties as well — had led to a thriving market in so-called “clone” machines whose combined revenues now far exceeded IBM’s personal-computer sales. IBM believed that the clonesters were lifting billions out of their pockets every year, even as they saw their own sales, which had broken record after record in the first few years following the IBM PC’s launch, beginning to show signs of stagnation.

Compaq of Houston, Texas, the most aggressive and innovative of the clonesters, had first begun to collect for themselves a reputation to rival IBM’s own with their very first product back in 1983, a portable — or, perhaps better said, “luggable” — all-in-one IBM-compatible. The Compaq Portable had forced IBM for the first time to play catch-up with a personal-computing rival, rushing to market a luggable of their own. To make matters worse, the IBM version of portable computing had proved far less practical than the Compaq, as many a reviewer wasn’t shy about pointing out.

Now, in 1986, Compaq threatened to wrangle away from IBM the mantle of technological leadership via a machine that represented a more fundamental advance than a new form factor. After hearing that IBM didn’t have any immediate plans to release a machine built around the Intel 80386, a new 32-bit processor that was sending waves of excitement rippling through the industry, Compaq decided to push ahead with a 386-based machine of their own — right now, this very year. The public launch of the Compaq Deskpro 386 on September 9, 1986 — almost exactly five years after the debut of the original IBM PC — was another watershed moment, the first time one of the clonesters had released a machine more powerful than anything in IBM’s stable. Compaq’s CEO Rod Canion, never a shrinking violet under any circumstances, outdid himself at the launch, declaring the Deskpro 386 “the third generation of the personal-computer revolution” after the Apple II and the IBM PC, thus implicitly placing his own Compaq on a par with those two storied companies.

The clone market was getting so big that there seemed a danger that the clones wouldn’t be dismissed under that selfsame moniker much longer. People in the business world were beginning to replace the phrase “IBM clone” with phrases like “the MS-DOS standard” or “the Intel standard,” giving no credit to the company that had really created that standard. As was well attested by their checkered history of antitrust investigations and allegations of unfair competitive practices, IBM had never been known as a bastion of corporate generosity. It may not be exaggerating the case to say that they felt themselves to have a moral right to the PC standard they’d created, a right that encompassed not just an acknowledgement that said standard was still the IBM standard but also the ability to continue to steer every aspect of the further development of that standard. And by all rights the right should also encompass — and this was the sticking point that really irked — their fair share of all those billions that all those other companies were making from IBM’s standard.

In addition to furnishing what they saw as ample evidence of a need for them to reassert control of their industry, this period found IBM at another, more purely technical crossroads. The imminent move from 16-bit to 32-bit computing represented by the new 80386 would have to bring with it some elaborations on IBM’s tried-and-true architecture — elaborations that would undoubtedly define the face of mainstream business computing into the 1990s. IBM saw in those elaborations a way to remedy the ongoing problem of the clonesters as well. Unknown to everyone outside the company, they were about to initiate the so-called “bus wars,” a premeditated strike aimed directly at what they saw as parasites like Compaq.

The bus in this context referred not to a mode of public transportation but rather to the system of expansion slots that allowed the innermost core of an IBM-compatible computer — little more than the processor and memory — to communicate with just about everything else that made up a full-fledged PC: floppy and hard disk drives, monitors, modems, printers, ad infinitum, from the most generalized components found in just about every office to the most specialized for the most esoteric of tasks. The original IBM PC, built around a hybrid 8-bit and 16-bit chip called the Intel 8088, had used an 8-bit bus, meaning the electronic “channel” it used to talk to all these myriad devices was just 8 bits wide. In 1984, IBM had released the PC/AT, built around the newer fully 16-bit Intel 80286, and in that machine had expanded the original bus to support 16-bit devices while remaining backward compatible with the older 8-bit standard. The result retroactively came to be known as the Industry Standard Architecture, or ISA.

Now, with the 32-bit 80386 a reality, it was time to think about revisiting the bus again, to make it support 32-bit communications. To fail to do so would be to cripple the 386, forcing it to act like a 16-bit chip every time it wanted to communicate with a peripheral; impressive as they were in many ways, the Compaq Deskpro 386 and other early 386 clones saw their performance limited by exactly this problem. Most people expected IBM to do for the 386 what they had previously done for the 286, delivering a new bus which would support 32-bit peripherals but remain compatible with older 16-bit and even 8-bit devices. Instead they delivered something they called the Micro Channel Architecture, or MCA, a complete break with the past which supported only 32-bit peripherals.

So much controversy over something barely noticeable. The four Micro Channel slots sit at the left rear of this PS/2 Model 50.

So much controversy over something barely noticeable. The four Micro Channel slots sit at the left rear of this PS/2 Model 50. Many of the components that would have been housed in expansion cards in earlier IBM systems, such as the video card and hard-drive controller, were moved onto the motherboard with the PS/2 line.

MCA debuted as a key component in a new line of personal computers in April of 1987, the most ambitious such IBM had ever or would ever introduce. The Personal System/2 lineup — better known as the PS/2 — was envisioned as exactly the next generation in personal computing that an ebullient Rod Canion had perhaps overenthusiastically declared the Compaq Deskpro 386 to represent barely six months before. IBM was determined to once again remake the computer industry in their image — and to get it right this time, avoiding the perceived mistakes that had led to the rise of the clonesters. The PS/2 lineup did encompass lower-end machines using the old 16-bit PC/AT bus, but the real point of the effort lay with the higher-end models, IBM’s first to use the 80386 and their first to use the new MCA bus architecture to take advantage of all of the 32 bits of throughput offered by that chip. IBM offered various technical justifications for the failure of MCA to support their older bus standards, but they always rang false. As the more astute industry observers quickly realized, MCA had more to do with business and marketing than it did with technology in the abstract.

IBM was attempting a delicate trick with MCA. They wanted to be able to continue to reap the enormous benefits of the business-computing standard they had birthed, with its huge constellation of compatible software that by now even more so than IBM’s reputation made an MS-DOS machine the only kind to be seriously considered by the vast majority of corporate purchasing departments. At the same time, though, they wanted to cut off the oxygen to the clonesters who were also benefiting so conspicuously from that same universal acceptance, and to reassert their role as the ultimate authorities on the direction business computing would take in the future. They believed they could accomplish all of that, in the long term at least, by threading the needle of compatibility — keeping the 386-based PS/2 lineup software-compatible with the older machines while deliberately breaking the hardware compatibility so relied on by the clonesters. In doing so, they would take the hardware to a place the clonesters couldn’t follow, thus securing for themselves all those billions the clonesters had heretofore been stealing out of their pockets.

Unlike the original IBM bus architecture, MCA was locked up inside an ironclad cage of patents, making it legally uncloneable unless one could somehow negotiate a license to do so through IBM. The patents even extended to add-on cards and other peripherals that might be compatible with MCA, meaning that absolutely anyone who wanted to make a hardware add-on for an MCA machine would have to negotiate a license and pay for the privilege. The result should be not only a lucrative new revenue stream but also complete control of business computing’s further evolution. Yes, the clonesters would be able to survive for a few more years making machines using the older 16-bit bus architecture. In the longer term, however, as personal computing inevitably transitioned into a realm of 32 bits, they would survive purely at IBM’s whim, their fate predicated on IBM’s willingness to grant them a patent license for MCA and their own willingness to pay dearly for it.

The clonesters rightly and immediately saw MCA as nothing less than an existential threat, and were thrown into a tizzy trying to figure out how to respond to it. It was the ever-quotable Rod Canion who came up with the best line of attack, drawing an analogy between MCA and the recent soft-drink marketing disaster of New Coke. (What with Pepsi alumnus John Sculley in charge over at Apple, computers and soft drinks seemed to be running oddly in parallel during this era.) Clever, pithy, and blessedly non-technical, Canion’s comparison spread like wildfire through the business press, regurgitated ad nauseam by journalists who often had little to no idea what this MCA thing that it referenced actually was. IBM never quite managed to formulate a response that didn’t sound nefariously evasive.

With the “New Coke” meme setting the tone, just about everything about the PS/2 line turned into an unexpected uphill struggle for IBM. While plenty of early reviewers dutifully toed the line, doubtless mindful that if no one ever got fired for buying IBM no one was likely to get fired for giving them a positive review either, a surprising number of the reviews were distinctly lukewarm. The complaints started and often ended with the prices. Even the low-end 16-bit PS/2 models started at a suggested list price of $2295 without monitor, while the high-end models topped out at almost $7000. Insider reports had it that IBM was enjoying profit margins of 40 percent or more, leading to rampant speculation on what the cost of entry into business-friendly personal computing might become if they really should manage to stamp out the clonesters.

The high-end models in particular struck many as a pointless waste of money given that IBM didn’t have an operating system ready to take advantage of their capabilities. The machines were all still saddled with MS-DOS, clunky and archaic and barely worthy of the name “operating system” even in the terms of 1987. In one of the more striking examples of hardware running away from software in computing history, the higher-end models shipped with 1 MB of memory, but couldn’t actually use more than 640 K of it thanks to MS-DOS’s built-in limitations. IBM promised a new, next-generation operating system called OS/2 to unlock the real potential of these next-generation machines. But OS/2, a project they had once again chosen to turn over to Microsoft, was still an unknown number of months away, with the so-called “Presentation Manager” that would add to it a Macintosh-style GUI due yet further months after that. [1]The full story of OS/2 and the Presentation Manager and their relationship to Microsoft Windows and even Apple’s MacOS is a complex yet fascinating one, but also one best reserved for a future article where I can give it its proper due. And, as a final little bit of buyer discouragement, IBM planned to charge the people who had already spent many thousands on their PS/2 hardware another $800 or so for the privilege of using the eventual OS/2 to take advantage of it.

The PS/2 launch prompted constant comparisons with the original IBM PC launch of five and a half years before, and constantly came up wanting. IBM’s publicity campaign was lavish — as it ought to have been, given those profit margins — but unfocused and uninspired. Its centerpiece was a series of commercials involving much of the cast from M*A*S*H, playing their old sitcom characters inexplicably transported from the Korean War to a modern office. With M*A*S*H still a beloved cultural touchstone only a few years removed from its record-shattering final episode, the spots had plenty of sheer star power, but lacked even a modicum of the charm or creativity that had characterized the award-winning “Charlie Chaplin” advertisements for the original IBM PC.

Likewise, it was hard not to compare the unexpected spirit of openness that had suffused the 1981 IBM PC with the domination and control IBM so plainly intended to assert with the 1987 PS/2 launch. Apple’s iconic old “Big Brother” Macintosh advertisement, a soaring triumph of rhetoric over substance back in its day, would have fit much better to the PS/2 line than it had to the state of business computing back in 1984. Many chose to blame the change in tone on the loss of Don Estridge, the leader of the small team that had built the original IBM PC. An unusually charismatic personality and independent thinker for the famously conservative and bureaucratic IBM — enough so that he had been courted by Steve Jobs to fill the CEO role John Sculley ended up taking at Apple — Estridge had been killed in a plane crash in 1985. His stewardship over IBM’s microcomputer division had been succeeded by that of William Lowe, a much more traditional rank-and-file, buttoned-down IBM man. Whether due to this reason or some other, the shift in tone and direction from 1981 to 1987 was striking.

In the months following the PS/2 line’s release, the media narrative drifted from one of uncertain excitement to reports of the new machines’ disappointing reception in many quarters. IBM sold around 200,000 MCA-equipped PS/2s in the first six months, mostly to the biggest of big business; United Airlines alone, for example, bought 40,000 of them as part of a complete revamping of their reservations system. But far too many even within the Fortune 500 proved stubbornly, unexpectedly resistant to IBM’s unsubtle prodding to jump onto the PS/2 train. Many chose to invest in the clonesters’ cheaper 80386 offerings instead; the 16-bit bus used by those machines, while far from ideal from a purely technical standpoint, did at least have the advantage of compatibility with existing peripherals. Seventeen months after MCA’s debut, 66 percent of all business computers being sold each month were still using the old bus architecture, versus just 20 percent that used MCA. (The remainder was largely accounted for by the Macintosh.) Survey after survey reported IBM to be losing market share rather than gaining it since the arrival of the PS/2. By this point OS/2 and its “Presentation Manager” GUI were finally available, but, hampered by that high price tag, the new operating system’s uptake had also been limited at best.

And then, just when it seemed the news couldn’t get much worse for IBM, much of the industry went into unthinkable open revolt against their ongoing hegemony. On September 13, 1988, a group of the clonesters, driven as usual by Compaq and with the tacit support of Intel and Microsoft, announced the creation of a new 32-bit bus standard, to be called the Extended Industry Standard Architecture, or EISA. Unlike MCA, EISA would be compatible with older 16-bit and 8-bit peripherals. And it would manage to be so without performing notably worse than MCA, thus giving the lie to IBM’s claims that their decision to abandon bus compatibility had been motivated by technical rather than business concerns. The press promptly dubbed the budding consortium, which included virtually every manufacturer of IBM-compatible computers not named IBM, the “Gang of Nine” after the allegedly traitorous Gang of Four of the Chinese Cultural Revolution. Machines using the new EISA bus entered production within a year.

This shot of an EISA card illustrates the unique two-layer connection that allowed the same sockets to work for both the older ISA standard and the newer EISA. The shorter pins correspond to the older 16-bit standard; the longer extend it to 32 bits.

This shot of an EISA card illustrates the unique two-layer connection devised by the Gang of Nine to extend the old ISA standard without requiring ridiculously long, unwieldy cards and sockets. The shorter pins correspond to the older 16-bit standard; the longer extend it to 32 bits.

In the end, EISA would prove of limited technical importance in the evolution of the Intel architecture. The new standard didn’t have much more luck than had MCA in establishing itself as the market’s default. Instead, by the time a 32-bit bus became a truly commonplace need among ordinary computer users, EISA and MCA alike were replaced by a still newer and better standard than either called the Peripheral Component Interconnect, or PCI. The bus wars of the late 1980s and very early 1990s can thus all too easily be seen as just another of the industry’s tempests in a teapot, an obscure squabble over technical esoterica of interest only to hardcore hackers.

Look a little harder at EISA, however, and we see a watershed moment in the history of the personal computer that dwarfs even the arrival of the Compaq Portable or the Deskpro 386. The Gang of Nine’s announcement brought with it a torrent of press coverage that for the first time openly questioned IBM’s continuing dominance of business-oriented computing. CNN’s Moneyline, the most-watched business report on cable television, dredged up Canion’s evergreen New Coke analogy yet again, going so far as to open its reports on the Gang of Nine’s announcement with a shot of soda bottles moving down a production line. IBM was “faced with overwhelming resistance to the flavor of ‘New Compute,'” declared the breathless report that followed; September 13, 1988, “was a day that left Big Blue looking black and blue.” An only slightly more sober Wall Street Journal article had it that the Gang of Nine “was joining forces in an audacious attempt to wrest away from IBM the power of setting the standard for how personal computers are designed, and they seem to have a chance of succeeding.” The article threw all its metaphors in a blender for the big conclusion: “For IBM, the Gang’s announcement yesterday is at best a dust storm of confusion, and, at worst, a dagger to the heart of its PC strategy.” When the Wall Street Journal threatens to turn against your big business, you know you have problems.

And, indeed, September 13, 1988, wound up representing everything the pundits and journalists said it might and more. Simply put, this was the instant that IBM finally and definitively lost control of the business-computing industry, the moment when the architecture they had created back in 1981 left the nest to go its own way. After this instant, no one would ever defer to IBM again. In January of 1989, Arlan Levitan, a columnist for the big consumer-computing magazine Compute! — like most such magazines, not particularly known for the boldness of its editorial stances — signaled the shifting conventional wisdom. His editors empowered him to launch a satirical broadside at IBM, the PS/2, MCA, and even all those who had bought into the hype, a group that very much included their own magazine.

During a Monday morning press breakfast hosted by IBM, over a thousand representatives of the computing press were shocked to hear newly hired Entry Systems Division president P.W. Herman declare that the firm’s PS/2 computer systems and its associated products were part of an elaborate psychological study undertaken at the behest of the National Institute of Mental Health. “I sure am glad the American people haven’t lost their sense of humor. It’s good to know that in these times everybody still appreciates a good joke.” According to Herman, the study was intended to quantify the limits of the operational parameters associated with Abraham Lincoln’s most famous aphorism. Said Herman, “I guess you really can’t fool all of the people all of the time. I’ll tell ya, though — the Micro Channel Architecture even had me going for a while.” All PS/2 owners will receive a letter signed by Herman and thanking them for their personal contribution toward furthering the present-day understanding of aberrant behavior. Corporate executives who committed their firms to IBM’s $800 OS/2 operating system will receive free remedial therapy in DOS reeducation centers. Those who took advantage of IBM’s trade-in policy, whereby users gave up their XTs or ATs for a PS/2, will receive their weight in PCjr computers. According to internal IBM sources, all costs associated with manufacturing and promoting PS/2s will cumulatively qualify as a tax-deductible research grant.

In terms of hardware if not software — Microsoft’s long, often damaging domination was just beginning in the latter realm — the industry was now a meritocracy, bound together only by a set of mutually if often only tacitly agreed-upon standards. That could only mean hard times for IBM, who were hardly used to competing on such a level playing field. In 1993, they posted a loss of a staggering $8 billion, the largest to that point in American business history, prompting a long, painful process of reinvention as a smaller, nimbler, dare I say it even humbler company. In 2004, in another watershed moment symbolic of many things, IBM stopped making PCs altogether, selling what was left of their personal-computer division to the Chinese computer manufacturer Lenovo in order to focus on consulting services.

The PS/2 story has rightfully gone down in business history as a classic tale of overweening arrogance that received its justified comeuppance. In attempting so aggressively to seize complete control of business computing — all of it — IBM pissed away the enviable dominance they already enjoyed. In attempting to build an empire that stood utterly alone and unchallenged, they burned the one they already had.

Yet there is another side to the PS/2 story that also deserves its due. Existing in those seemingly misbegotten machines alongside MCA and the cynicism it represented was a more positive, one might even say technically idealistic determination to advance the state of the art for this architecture that had long since become the mainstream face of computing, dwarfing in terms of the sheer money it generated any other platform.

And make no mistake: the world of the IBM compatibles was in sore need of advancement on multiple fronts. While machines like the Apple Macintosh and Commodore Amiga had opened whole new paradigms of computing — the former with its friendly GUI interface and crisp almost print-quality display, the latter with its multitasking operating system and implementation of the ideal of multimedia computing long before “multimedia” became a buzzword — the world of the clones had remained as bland as ever, a land of green or amber text-only displays, unpleasant beeps and squawks, and inscrutable command lines. For all the apparently proud users and sellers who took all this ugliness as a sign of serious businesslike intent, there were others who recognized that IBM and the clonesters had long since ceded the high ground of real, fundamental innovation in computing to rival platforms. Thankfully, some inside IBM were included in the latter group, and the results could be seen in the PS/2 machines.

Given how far the IBM-compatible world had fallen behind, it’s not surprising that many or most of the alleged innovations of the PS/2 were really a case of playing catch-up. For example, IBM finally produced their first-ever mouse for the line. They also switched over from the old, fragile 5.25-inch floppy-disk format to the newer, more robust and higher-capacity 3.5-inch format already being used by machines like the Macintosh and Amiga.

But undoubtedly the most welcome and significant of all the PS/2’s new technical developments were some desperately needed display improvements. The Video Graphics Array, or VGA, was included with the higher-end PS/2 models; lower-end models shipped with something called the Multi-Color Graphics Array (MCGA), with many but not quite all of the capabilities of VGA. After allowing their machines’ graphics capabilities to languish for years, IBM through VGA and to some extent MCGA finally brought them up to a level that compared very favorably with the Amiga. VGA and MCGA defined a palette of fully 262,144 colors, a huge leap over the 64 offered by the Enhanced Graphics Adapter (EGA), IBM’s previous best display option for their mainstream machines. The Amiga, by contrast, offered just 4096 colors, although its blitter and other custom hardware still gave it some notable advantages in the realm of fast animation.

All of these new developments marked IBM’s last great gifts to the standard they had birthed — gifts destined to long outlive the PS/2 line itself. The mouse connection IBM developed, for instance, remained a standard well beyond the millennium, with so-called “PS/2” connectors remaining common jargon, used by younger tech-heads and system builders who likely had only the vaguest idea from whence the usage derived. The VGA standard proved even longer-lived. It still survives today as the lowest-common-denominator baseline for computer displays, while ports matching the specification defined by IBM all those years ago remain on the back of every monitor and television set.

Ironically given IBM’s laser focus on using the PS/2 line to secure their dominance of business computing, its technical innovations ultimately proved most important in making the architecture viable as a proposition for the home, paving the way for the Microsoft-dominated second home-computer revolution of the 1990s. With good graphics falling into place at last thanks to VGA and the raw power of the 32-bit 80386, only two barriers remained to making PC-compatible machines realistic rivals to the likes of the Amiga as compelling home computers: decent sound to replace those atrocious beeps and squawks, and a decent price.

The first problem wouldn’t be a problem at all for very much longer. The first gaming-focused sound cards began to reach the market within a year of the PS/2 line’s debut, and by 1989 Creative Music Systems and Ad Lib both offered popular cards at street prices of $200 or less.

But the prices of home-oriented systems incorporating all of the PS/2 line’s innovations — MCA excepted — would, alas, take a little longer to fall. As late as July of 1989, when the VGA standard was already more than two years old, Computer Gaming World ran an article titled “Is VGA Worth It?” that seriously questioned whether it was indeed worth the still very considerable expense — VGA boards still cost $500 or more — to so equip a machine, especially given how few games supported VGA at that point. Nor did the 80386 find an immediate place in homes. As the 1980s turned into the 1990s, the newer chip was still a piece of pricey exotica in terms of the average consumer’s budget; the vast majority of the Intel-based PCs that were in consumers’ homes were still built around the 80286 or even the venerable old 8088.

Still, in the long run prices could only fall in such a hyper-competitive market. Given Commodore’s lackadaisical attitude toward improving the Amiga and Apple’s almost complete neglect of the consumer market in their eagerness to force the Macintosh into the offices of corporate America, the emerging standard of a 32-bit Intel-based PC with VGA graphics and a sound card came to the fore effectively unopposed. With the Internet having yet to emerge as home computing’s killer app to end all killer apps, it was games that drove this shift. In 1989, an Amiga was still the ultimate gaming computer. By 1991, it was an afterthought for American game publishers, the market being absolutely dominated by what was now starting to be called the “Wintel” standard. While game consoles and mobile devices have come and gone by the handful over the years since, in the realm of desktop- and laptop-based personal computing the heirs of the original IBM PC remain the overwhelming standard to this day. How ironic that this decades-long dominance was ensured by the PS/2, simultaneously the downfall of IBM and the savior of the inadvertently standard architecture IBM created.

(Sources: the books Big Blues: The Unmaking of IBM by Paul Carroll, Open: How Compaq Ended IBM’s PC Domination and Helped Invent Modern Computing by Rod Canion, and Hard Drive: Bill Gates and Making of the Microsoft Empire by James Wallace and Jim Erickson; Byte of June 1987, July 1987, August 1987, and December 1987; Compute! of June 1988, January 1989, and March 1989; Computer Gaming World of July 1989 and September 1989; Wall Street Journal of September 14 1988; the episodes of The Computer Chronicles titled “Intel 386 — The Fast Lane,” “IBM Personal System/2,” and “Bus Wars.”)

Footnotes

Footnotes
1 The full story of OS/2 and the Presentation Manager and their relationship to Microsoft Windows and even Apple’s MacOS is a complex yet fascinating one, but also one best reserved for a future article where I can give it its proper due.
 
 

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A Conversation with Lane Barrow

Although I seem to find myself talking to more and more people in researching this history I’m in the middle of, I don’t often publish the results as straight-up interviews. In fact, I’ve published just one interview in the entire history of this blog, and a very short one at that, done during the early days when I was still finding my way to some extent. I have a number of reasons for avoiding interviews, starting with the fallibility of all human memory and ending with the fact that I consider myself a writer, not a transcriber.

Still, almost any policy ought to have its reasoned exceptions, and this anti-interview policy of mine is itself no exception to that rule. Having just introduced you to AGT and the era of more personal text adventures it ushered in in my last article, it seems appropriate today to let one AGT author tell his own very personal story. So, I’d like to introduce you to Lane Barrow, author of A Dudley Dilemma, the winner of the first of David Malmberg’s eventual six annual AGT competitions. Unique (and uniquely interesting) though it is in so many ways, I trust that some of the more generalized overtones of Lane’s story apply to many of the others who found through AGT a way to make the switch from being text-adventure consumers to text-adventure creators.

If what follows should tempt you to give A Dudley Dilemma a play — something I highly recommend! — do be sure to go with the “remastered” version Lane has provided, which cleans up the design here and there and works properly with modern interpreters like AGiliTy and Gargoyle. You can download this definitive version from this very site or from the Interactive Fiction Archive.


Lane Barrow, 1988

Lane Barrow, 1988

Thank you so much for talking with me today! Maybe we could start with a bit of your personal background. I believe I read somewhere that you spent some time in the Air Force?

Yes, I was in the Air Force from 1966 to 1970 – two tours in Vietnam. When I rejoined civilian life, I lived in California for all of the 70’s, which was a perfect time to be there (a decade of great music and horrible clothing). I even had a brief encounter with members of the Manson family. Interesting story, but probably not relevant to what you’re looking for.

Sorry, but I can’t just let that one fly by. Please, tell!

It’s not as sinister as it sounds. When I first moved to LA after the Air Force, I hung out with a nascent rock band. We liked to party a lot, and one of the places we frequented belonged to a guy named T.J. and his on-again, off-again girlfriend Jo. I got along really well with T.J. For one thing, he was also a Vietnam vet turned hippy, plus he was creative and outgoing. Turns out he was also an ex-Manson family member. In fact, he was with Manson when Charlie shot some North Hollywood drug dealer. This didn’t sit well with T.J. so he basically left the family soon after.

Anyway, we went over to T.J.’s one night (this was sometime in the summer of 1970) and there were these four girls sitting around the living room with shaved heads and “X”s cut into their foreheads. Apparently these girls were still faithful to Manson and kept a vigil outside the county courthouse while his trial was in session . They had come to see if T.J. could put them up for the night. After a few minutes, T.J. whisked us into the kitchen and suggested that it wasn’t a good idea to party that night, so we left. I still remember the cold stares those girls gave us the whole time we were there. And they never said a single word. So that was my Manson family experience. As I said, living in LA in those days was never boring.

Okay, thanks! So, how did you go from being a Southern California hippie to a Harvard PhD candidate?

I knocked around LA for several years, and then settled in Santa Barbara, where I worked as a baker at Sunrise Bakery (a small co-op enterprise). At the same time, I attended Santa Barbara City College and then UCSB on the GI Bill. I majored in English Lit, and did well enough to get accepted to graduate school at Harvard, also in English.

I was 33 years old when I entered Harvard, so I was a little older than most of my classmates, although there were several other Vietnam vets in the English Dept at the time. I was single then, but I met my future wife there (we’re still together by the way), and her long luxurious hair was the reason I included the sentient hairball in the first part of A Dudley Dilemma.

Bear in mind that my life as a grad student was pretty uneventful compared to Vietnam and California, but that was OK with me. Of course, uneventful isn’t the same thing as stress-free. Grad school can be pretty intense. I actually had more anxiety dreams about the classroom than I ever did about combat. Go figure. Working on the Dudley game was a real stress-reliever for me. It introduced me to programming, which I still enjoy, mostly in Excel these days.

Long before you started to write A Dudley Dilemma, I understand that you discovered text adventures at Harvard?

Yes. In the early ’80s I discovered a couple of fun games on the mainframe while I was learning how to work with computers. These were, of course, Colossal Cave and Zork. If I remember correctly, Zork had just been released commercially, but I didn’t get my first PC until Leading Edge came on the scene in 1985, so the mainframe was my only access. At first, I played both games pretty much equally but Zork slowly took over as my favorite, largely because of its sense of humor.

Why did you come to buy that first PC? Were you intending to use it to play more games like Zork from the beginning?

I’m afraid I had a fairly utilitarian motive for buying my first PC. I was beginning my dissertation at the time, and using the mainframe was a nightmare. If you’ve ever worked with printer “dot commands”, you understand. So I bought a Leading Edge Model D for purely academic work. The computer games were just icing on the cake.

Since I never finished Zork on the mainframe, that was the first game I purchased. I still have the receipt for Zork I tucked into the box ($29.95 purchased on March 31, 1986). Zork II and Zork III were next.

After that, I went on an Infocom binge. I think I bought every title they had at the time, and would wait expectantly for their new releases. I still have many of those boxed sets, complete with tchotchkes. Needless to say, this slowed down my progress on my dissertation…

Did you have any particular favorites among the Infocom catalog?

I liked them all. I gravitated toward the sci-fi / fantasy titles, but I got a big kick out of Bureaucracy also.

Did you play any games from other publishers — whether text adventures or games in other genres — or were you strictly an Infocom guy?

Infocom was pretty much my only focus at first, but eventually I tried other games. However, I don’t remember any specific titles, so obviously they didn’t have the same impact on me as the Infocom offerings. For me, the biggest attraction of the AGT toolkit was its ability to create an Infocom-type game. I had plans to write a second AGT game, but never got around to it. By that time, I was wrapping up grad school and engaged in job-hunting.

I continue to enjoy computer games, post-Infocom, and prefer adventure games, with an emphasis on puzzle-solving. I don’t care much for platform games, or timed puzzles. As you know, that somewhat limits my choices these days, although the Portal games are fun.

How exactly did you become an early AGT adopter? Do you recall how you first learned about the system?

I don’t remember how I learned about AGT, but I was pretty active in various bulletin board chat rooms in those days, so it was probably via one of those. At any rate, I decided to try my hand at creating an Infocom-type game for Dudley House, where I was a resident tutor. I wanted to cram in as many recognizable people, events, places as possible, since the game was going to be on the computer in Dudley House Library. So, I ordered the AGT toolkit, and got to it. I found the language pretty easy to pick up, since it’s very logical. Plus, whenever I had a problem or question, I would email Dave Malmberg, and he would get back to me quickly. I believe I even spoke with him on the phone once or twice, but I might be mis-remembering that (growing old has its advantages, but memory isn’t one of them).

It took me several months to finish the original Dudley Dilemma, and when I put it on the library computer, it caused a bit of a conflict between students who wanted to play the game, and students who wanted to use the on-line card catalog. We even had a competition to see who could finish the game the fastest. I don’t recall the winner’s name, but she was a Junior English major.

I had a ball writing the game, and tried to capture the quirky feel that Infocom was so good at. I ripped off their ideas shamelessly. As you probably noticed, the WHISTLE-CLAP hedge maze sequence is straight out of Leather Goddesses of Phobos (Clap-Hop-Kweepa).

To what extent did you feel yourself to be a part of an AGT community?

If there was an AGT community in those days, I wasn’t aware of it. I did play a couple of other AGT games from time to time (I remember one that had a carnival setting) . If I recall, they were in the overall package that came with the toolkit, or maybe they came later, when Dave mailed out a compilation of AGT contest winners. I don’t remember the chronology all that distinctly.

So, we might even say that you felt yourself to be developing your game largely in a vacuum?

Yes. I really developed Dudley by the seat of my pants, through trial and error. There were times when I was trying to work out a tricky bit of coding that I found myself dreaming about flags and variables. As I mentioned earlier, I wanted to incorporate a lot of actual detail that Dudley students would recognize, so I would jot down notes on a particular incident or individual and then figure out how to code that into the game. Of course I added an exaggerated quality to everything to give it a more whimsical feel, but the vast majority of A Dudley Dilemma is based on reality.

Going back over those days has helped me remember how much fun I had creating the game in the first place. Or maybe nostalgia is a selective process that filters out the “bad.” I’m sure there were probably times when I wondered why I had gotten myself into this project, but obviously I stuck with it.

In general, Dudley is a quite fair game for its day, with few instances of guess-the-verb or read-the-author’s-mind puzzles. There are adventure games that seem designed to frustrate and defeat the player and those that prioritize fun, fair play, and solubility. A Dudley Dilemma is, within the limitations of its era and its technology, very much in the latter category for me. Do you have any comments to make on your general design approach or methodology?

I’m not sure I had a coherent design methodology beyond what I’ve already mentioned: making it accessible to the students of Dudley House. Pretty much all the people and places in the game have their counterparts in the Harvard of the day, and these would have been evident to my core audience. Of course, this dates the game in that respect, but I also tried to make the situations broad enough to have some shelf life, and to be enjoyable even if you didn’t get the “in jokes.” Beyond that, there was a certain random quality to my choices. One thing seemed to flow out of another, maybe just by association of ideas.

You refer to adventure games that frustrate or defeat the player. In the years since I wrote Dudley, I’ve encountered a few of those, and I felt like a bit of the enjoyment was leached out. For example, some of the puzzles in Schizm or The Witness (the recent Jonathan Blow game, not the Infocom title) would challenge Einstein. Infocom games never took that road, which is one of the reasons I like them to this day. They are infused with a focus on fun and entertainment, and that’s what I tried to do in Dudley. However, there IS one overall design element that I’d change if I were re-writing the game today: I would make it impossible to render the game un-winnable.

A few puzzles that might raise some eyebrows today are those relying on outside knowledge. I’m thinking particularly here of the Arabian Nights, Waste Land, and Kingston Trio puzzles. These sorts of “outside research” puzzles were not commonly found in Infocom games (other than puzzles that required information included in the feelies, of course). Any comments on these?

I think I must have been a little ambivalent about those even when I included them. In one of the Dudley re-writes, I added a couple of books in the opening room that, if read, gave the solutions to the Arabian Nights puzzle and to the Waste Land puzzle. I also gave a more detailed hint about the Kingston Trio puzzle, but I don’t recall where that is in the game. Maybe when you first encounter the Kingston Trio album in the giant cockroach maze.

Just a side note: Obviously, the MBTA references have a Boston connection, and since Dudley House was the administrative center for commuting students, a lot of them rode the “T” on a daily basis, so that’s why I added that component. As for the Waste Land bit, this is more obscure. The game opens in Apley Court, which is where T.S. Eliot lived when he was a graduate student at Harvard. Some scholars believe that he began early drafts of The Waste Land at that time, so I couldn’t resist slipping that in.

What audience did you envision playing the game? You said that it was often played on a computer in a library at Harvard. Were you therefore writing primarily for fellow Harvard students? In short, what did you envision doing with the game, as far as distribution, after it was completed, given that you didn’t really feel yourself to be a member of any broader AGT community?

My main audience for the game was always the students of Dudley House, which helped me keep a certain focus to the action. I wanted them to undergo the “shock of recognition” while playing. I didn’t really envision a wider audience, and entering the AGT contest was an afterthought. I was thrilled to win it, which inspired me to “improve” the game over several versions, with pictures, sounds, etc. In retrospect, the original plain vanilla version is still my favorite.

I believe I even thought about applying for a job at Infocom, which was just down the road in Cambridge. That fantasy lasted for about 5 minutes. My only excursions into game design since Dudley are creating some Community Test Chambers in Portal 2. Also fun, but a whole different experience than AGT.

I thought it might be fun — for me and hopefully for you as well as for our readers (especially those who have begun to play the game) — if we could really dig into some of those aspects of daily life at Harvard that inspired so much of Dudley. This is the sort of thing that can make interactive fiction so uniquely personal in contrast to other sorts of games, and that can make amateur efforts like many of the AGT games more interesting in some ways than the slicker, more impersonal games of Infocom. So, I thought we could perhaps play a little game of free association. I’m going to try to jog your memory with various elements of Dudley, and maybe you could respond with their real-life antecedents (if any). Perhaps together we can create a sort of Annotated Dudley Dilemma to go with the Annotated Lurking Horror — the latter was an unusually personal game by Infocom standards — that Janice Eisen and I created earlier. Indeed, it feels particularly appropriate given that The Lurking Horror took place at (a thinly fictionalized) MIT, while A Dudley Dilemma plays out at MIT’s cross-town counterpart Harvard. So…

The scruffy pigeon?

Every adventurer needs a sidekick, right? Of course if I were entirely faithful to that idea, I would have kept the bird nearby for the entire game. Actually, in a later rewrite, I had the pigeon come to the rescue when you face the punk in the mean streets of Cambridge.

The genesis of this character involves an incident in the English Department around Christmas of 1987. One of the senior professors, Barbara Lewalski, was in her office with an advisee, when a soot-covered bird fell into the (unlit) fireplace and started fluttering around the room. Professor Lewalski opened a window and tried to shoo it out to no avail. After a few minutes, the bird fluttered back up the chimney. To make sure the bird was gone, the professor (who was an ample woman) got down on hands and knees to look up the chimney. Right then another senior professor, William Alfred, walked by the office door and did a double-take. According to the advisee, he leaned into the office and said “I don’t believe Santa is due for another week”, and strolled off chuckling. Trust me, Mr. Alfred was one of the only people I ever met who actually chuckled. Obviously this story made the rounds pretty quickly. The original bird wasn’t a pigeon, but since pigeons flock all over Harvard Square and Yard, I had to go with what works. All the rooms in Apley court have fireplaces, which I had already planned to use for roof access. I wanted the player to see early on that the fireplace was also an exit point, so I hoped that the pigeon would help establish that. Once the bird was in the room, I couldn’t resist expanding its role a bit.

The silverfish?

In order to get from the opening site (Apley Court) to the next location (Lehman Hall), you enter the silverfish maze. The maze is actually based on a system of steam tunnels that connect a number of Harvard buildings. Historical note: back in 1968, Harvard security used the steam tunnels to whisk Alabama Governor George Wallace out of Sanders Theater past a large crowd of protesters. That incident was still pretty infamous when I wrote Dudley, so I had to use the steam tunnels somehow. The silverfish guardian evolved out of the large number of those disgusting insects that swarmed around the basement storage area of Apley Court. I just converted the thousands of little ones into one huge one.

The nude tutors on the roof?

Apley Court was originally a residence hall for students (remember T.S. Eliot), but by the time I was there, it only housed the resident tutors for Dudley House. It had a flat roof that was perfect for sunbathing, so we would occasionally sneak up there for that purpose. I say sneak, because technically the roof was off-limits for safety’s sake. To my knowledge, no nude sunbathing ever took place up there, since the building across the street was much taller and afforded an unobstructed view, but I took some poetic license just for comic effect.

The statue in the dining hall?

Ah, Delmar Leighton. He was the first Master of Dudley House and around the time I was writing the game, a large wooden statue of the man was placed in one corner of the dining hall, where it gazed out on the students. I don’t know if the statue was moved from some other location or whether it was commissioned at that time, but it was quite a presence when you were trying to eat. Here’s a picture so you can see what I mean. I concocted the “touch and be touched by all” quote as a gameplay hint, since there’s no such thing on the original.

Delmar Leighton

Mike the guard?

Mike was a real security guard, and I’m really pissed at myself for forgetting his last name. It was something like Moretti or Frascetti. Sigh. Anyway, the real Mike was, if anything, even more diligent and proprietary about his building than my depiction of him. He was the mother hen of Lehman Hall, and I don’t mean that in a negative way. He was chatty and helpful and ever-vigilant. When I was designing the Lehman Hall section, it would have been sacrilege to omit Mike. It took me a while to figure out how to code in Mike’s eventual acceptance of you as a legit student, but using two different ID cards did the trick.

The crazy woman in Harvard Yard?

We called her “The Flapper.” She was rail-thin, about 60 years old or so, and dressed all in black head-to-toe (even in the summer). She mostly wandered around Harvard Square and just inside the gate beside Lehman Hall. She usually had a bag full of scavenged cans and other cast-off stuff, and she was always armed with a little square of folded newspaper that she would “flap” at you if you came too close. I don’t recall if she actually cursed at anyone, so obviously I took some liberties with that. This sequence was my first attempt at creating a random response to player interaction, so I had fun coming up with various curses. As for getting rid of her, I was concerned that the solution might be a bit obscure, (spoilers: highlight to read) but then I reasoned that most of us ignore strange street people anyway, so that part of the game really wrote itself.

Brother Blue in Harvard Yard?

Another real person. He was actually Dr. Hugh Morgan Hill, but his street moniker was Brother Blue, and he was a Boston institution (you can look him up in Wikipedia if you want more detail on his amazing life). When I was there, he would cruise around Harvard Square on roller skates and gather a crowd together so he could tell stories. He referred to himself as a “griot,” a kind of African poet and storyteller. His stories always had an inspirational point to them, but I didn’t think I could do justice to that aspect of his persona, so I made up my own little snippets. I wanted to create the impression of a complete story just by giving the ending. This is another random interaction, so the stories vary depending on the probabilities. I think there are maybe three or four different endings.

The hordes of lawyers?

Not much to say about this. I was looking for a way to “trap” the player with no obvious way out, so I could have done that in any number of ways. Since personal-injury lawyers are always a convenient target, I went for the obvious over-the-top joke. Harvard Law School is just down the walkway from the Science Center, so the internal geography worked out as well.

The professor explaining Hellenic warrior culture to a “class of large young men with no necks?”

Every university, even Harvard (gasp!) has its Easy A or “gut” classes. The class I’m referring to here was officially called Literature & Arts C-14: “The Concept of the Hero in Greek Civilization,” but was universally referred to as “Heroes for Zeros” because of the above-average concentration of jocks. It was taught by Professor Gregory Nagy, who is actually a world-renowned classical scholar. I think it must have come as a shock to many of the students that the class wasn’t as easy as reputation had it. But again, I was going for humor, and I needed a way to introduce a “zero” for later use in the game.

The GreenHouse Grill?

In reality, the Greenhouse Cafe in the Science Center. The Science Center is a massive building with computer rooms (in the 80’s anyway), offices, and classrooms, so having an in-house cafe was a real luxury. It gets the name from a glassed-in atrium section, and it’s a real resting-place, hang-out, meeting spot for students. I don’t recall that it plays a significant role in the game, so I probably included it just for local color and because I used to frequent it myself.

The aging, irate alumnus in the food line?

Well, I think I was channeling my future self when I came up with this guy. Scary! Anyway, the cafe in Dudley House was a tiny little area that served a lot of people every day. It was open to the public, so the students were only a part of the customer base. On any given day, the line at the cash register was clogged at lunch time and tempers would occasionally get frayed. The aging alum was based on a Dudley student’s parents who were visiting him. Things weren’t moving efficiently enough for the father, and he kept muttering about how much better it was when he was a student there. I was behind him in line, so I had to listen to him for many long minutes. That memory stuck with me, so I used it in the game. Trust me, I made the fictional alum a lot more pleasant than the real thing. Helen the cashier is also a real person, and dealt very patiently with the daily chaos.

Paul and Cynthia Hanson?

They were the Co-Masters of Dudley House. Maybe a little explanation is needed here. After their freshman year, the vast majority of Harvard students move into a residential “House” that creates a smaller space within the larger university. These houses have distinct characters, and students tend to form long-lasting loyalties to them. At the time of the game, Dudley House was the center for non-residential or commuter students. Like the residential houses, Dudley had a tutorial staff, dining facilities, lounges, a game room, a library, etc. The houses are overseen by Harvard faculty, often a married couple, called Masters who act “in loco parentis” for the students. House Masters are kind of omnipresent, so I coded them in a way similar to Mike. In other words, they pop up all the time until you figure out how to get rid of them. Talking to them provides a major hint which should be evident after you discover the conundrum dispenser. This machine is obviously based on a different kind of dispenser commonly found in men’s bathrooms of the day. Couldn’t resist the pun!

The Center for High-Energy Metaphysics and their potluck dinner?

Okay, I know I said that Dudley was a non-residential house, but there were a couple of exceptions. About a half-mile or so off campus, near Porter Square, were two old Cambridge Victorians that housed about 15-20 Dudley students between them. These were begun back in the 60’s as commune-type alternatives for students who weren’t attracted to the typical Harvard House experience. One of these houses had a sign at the entrance proclaiming that you were about to enter “The Center for High-Energy Metaphysics,” an obvious pun on experimental physics labs. As a Dudley tutor, I would visit from time to time for potluck dinners, which were largely vegetarian. Seems that the character of those houses hadn’t changed much from the 60’s. Of course, I added the “militant vegetarian” quality just for laughs.

An interesting bit of film trivia here: the Joe Pesci character in the 1994 film With Honors was based on a homeless man who crashed off and on for years at the High-Energy Center. One of the students who lived there at the time wrote the basis of the screenplay. But of course by the time it made it to theaters, the true story was completely unrecognizable.

The party animal?

This character was based on one of my fellow tutors, a mathematician named Yang Wang. Actually, there’s almost no resemblance between them except for the nickname. We used to call Yang a party animal because he so clearly wasn’t. But the location is correct, Yang’s apartment in Peabody Terrace near the Charles River.

The History of Boston Harbor by George Bush?

In the 1988 presidential election between George Bush Sr. and Michael Dukakis, the Bush team hammered Dukakis on how Boston Harbor had turned into a toxic sewage dump under his watch. Since another part of the game involves how polluted the Charles River had become, I threw this in both as a contemporary reference and as an echo of another part of the game. Bostonians used to revel in the bad reputation of the Charles. Maybe you remember the Standell’s song “Love That Dirty Water.” It was a staple between innings at Fenway Park.

The two secretaries, Mrs. J and Mrs. Handy?

These were two of the sweetest people on earth – Louise Janowicz and Margaret Handy. They ran Dudley House on a day-to-day basis and were truly loved by generations of students. Various Masters came and went, but Mrs. J and Mrs Handy kept the place from falling apart. They were the institutional memory and the beating heart of Dudley. There’s no way I could have written the game without including them. The bit of business involving the key to the bathroom is fact-based. Since Dudley House (Lehman Hall) abutted Harvard Square, there were occasions when our men’s room attracted a less than savory element. So in order to gain access, you had to get the key from a hook beside Mrs. J’s desk. And woe is you if you forgot to return it! As I once did.

The queer old dean?

That’s a reference to William Archibald Spooner, Dean of New College, Oxford, and famous for his unintentionally humorous mangling of the English language. As you probably know, the term “spoonerism” refers to him, and “queer old dean” was apparently a reference he once made about “dear old Queen” Victoria. I’ve been a closet fan of puns and spoonerism my whole life, so I had to figure out a way to include him in Dudley. It seemed to me that having his little problem extend beyond the verbal and into the “real” world would be a great way to play around with morphing some of the objects in the game. I confess that I was influenced by Infocom again here (Nord and Bert is full of spoonerisms).

John Marquand?

John Marquand was Senior Tutor at Dudley House during my time there. He was an institution at Dudley and really was a kind of Father Confessor to the undergrads. He was also a bottomless reservoir of knowledge about food and wine, so if you needed advice on a great restaurant, he was your guy. In the game, I actually have him give you a tip about Bartley’s Burgers (another Harvard institution). He is NOT John P. Marquand, the creator of the Mr. Moto detective novels, but they were related. I originally planned to work the Mr. Moto connection in somehow, but that one slipped through the cracks.

Thanks for all that! It really deepens and enriches the game’s “time capsule” quality all these years later.

It was mentioned at the time that A Dudley Dilemma won the competition that you planned to make another game, this one to be based on Charles Dickens, the subject of your dissertation. Whatever became of that idea?

It never really made it out of the concept stage, but my hope was to mingle characters from various novels together in a sort of “through the looking glass” romp. It seemed to me that having, for example, David Copperfield knock some sense into Pip would be satisfying. Or having Scrooge hire Uriah Heep instead of Bob Cratchet would act as a form of karmic justice. I made some notes at the time, but I have no idea where they are today.

Interesting. I’ve often toyed with an idea similar to this one. There’s a long tradition of time-travel text adventures that have you visiting different time periods, using things collected in one time in another to solve puzzles, etc. I’ve often thought to do something similar, but to have you visiting worlds out of literature — an idea partly inspired by Jasper Fforde’s Thursday Next books. Like you, though, I’ve never gotten around to it. The blog sucks up too much time and energy, I’m afraid.

I haven’t read the Fforde books, but I’ll check them out. By the way, if you’re not already familiar with them, you might look for a couple of stories from the 40’s by L. Sprague de Camp and Fletcher Pratt, called The Incomplete Enchanter. These have been in and out of print for years, so I expect they’re available somewhere. The protagonist, Harold Shea, is able to enter parallel worlds based on literary works: Norse Edda in one story and Spenser’s Faerie Queene in another. Side note here: when I was studying for my PhD orals, I had to read The Faerie Queene, and I kept looking around the corners of that text for Harold. Sadly, he was nowhere to be found.

Ah, The Faerie Queene… “A gentle knight was pricking on the plain…”

I have a beautiful old Victorian edition that I love to take out and look at. I must confess that I’ve never gotten through the whole thing, though. There’s only so much allegory one man can take I reckon.

I didn’t mind Spenser, but Pilgrim’s Progress did me in. What is it Mrs. Malaprop says – “As headstrong as an allegory on the banks of the Nile.”

Before we wrap up, maybe you could tell just briefly where life took you after the days of Harvard and A Dudley Dilemma.

After I completed Dudley, I dove back into teaching and working on my dissertation, which I never did complete (can’t blame Dudley for this, however). A year or so later, I moved to Connecticut and took a job in the UConn School of Business. My wife was in the English Department at UConn, so this actually allowed us to live under the same roof. In the world of academic marriages, having jobs at the same institution is pretty rare, so we jumped at the chance. I also reasoned that having one English professor in the family was enough, so the transition to business was fairly smooth. Besides, I used to sneak across the Charles to the cafe at the Harvard B-School (the food was really good there), so I must have had a premonition.

My work at the UConn B-School involved corporate consulting and teaching business writing to undergrads and MBA students. Just so we’re clear on this, I taught my students how to write clean English prose, without business jargon. Eventually, I served as MBA Director for 10 years. And yes, there was a certain Dickensian quality to the business school. I’ll leave the interpretation of that remark up to you! I retired from my full-time job in 2012, but I currently work part-time with a UConn program called the EBV (Entrepreneurial Bootcamp for Disabled Veterans). We hold workshops for vets who want to start their own businesses. My contribution is helping them create a business plan.

Thank you! And congratulations on making it to retirement after such an interesting and varied working life. I hope that this article and the “remastered” version of A Dudley Dilemma which we released last week will lead more people to play this very clever game and inadvertent time capsule of life at Harvard in the late 1980s.

Thanks, Jimmy. For my part, this entire exchange has been a real pleasure and has allowed me to relive an enjoyable past experience. Thanks again for putting the final version of the game out there. I thought about doing that myself over the years, but didn’t think there’d be an audience for it.

I continue to read and enjoy your blog, and I’ll probably go back and do it in chronological order to see how it develops over time. I’m sure you’ll be expanding it for many years to come. I hope we can keep in touch, and if I ever decide to follow up with the Dickens game (unlikely), I’ll let you know.

I hope so too! Take care!

Lane Barrow, 2016. He's a man who likes to sleep with his hat on, which I suppose is better than dying with his boots on.

Lane Barrow, 2016. He’s a man who likes to sleep with his hat on, which I suppose is better than dying with his boots on.

 
 

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AGT

AGT

What with our love of specialization and our tendency to place societal value only on those activities that earn their doers money, the modern world is not terribly kind to the idea of amateurism. See, for example, the popular adjective “amateurish,” which has doubtless crept into a few of my own reviews of one misbegotten game or another over the years. Yet there was a time when amateurism had a more positive connotation, connected to its root in the Latin “amatorem”: “lover.” This view of amateurism celebrates the amateur as someone who does something not for material gain or social prestige, but purely for the love of it. It’s this view which lies behind the requirement that persisted for so many decades that only amateurs — pure of mind, intent, and spirit — could take part in the Olympic Games, a requirement so out of keeping with the currents of modern thought that we now find it difficult to even parse.

But really, truly, sometimes amateurism can bring out the best in us. Leaving to the sports bloggers the question of whether the Olympics lost something when they gave up on amateurism, I’ll say here today that the rise of the amateurs may just have been the best thing ever to happen to the text adventure. Interactive fiction had come just about as far as it could as a slave to the commercial marketplace by the time Infocom died in 1989. Free from the need to shoehorn in graphics, to artificially extend the length of the game, to avoid controversial topics and interesting formal experiments, the amateurs were now primed to take over. With this article, we’ll begin the deeply amateurish story of how that came to be — a story every bit as fascinating and inspiring as the history of Infocom that has consumed so much of my attention over the last four and a half years of blogging.

I mentioned already in my last article my fondness for Jeremy Douglass’s alternative take on interactive-fiction history, which replaces the tragic narrative of a lost commercial golden age with a more even-keeled thoroughgoing narrative of inspired amateurism, leaving the commercial era as an anomalous interstitial period within a longstanding non-commercial “literary salon culture.” Yet I’m not sure that even the anomalous commercial era was quite so anomalous as Douglass might lead us to believe, for the vast majority of people writing text adventures even during the 1980s weren’t trying to make a living at it. Right from the moment that Adventure inspired teams of institutional hackers in various places around the country and the world to try to make a better version of their own, the text adventure has been almost unique in the way it has inspired so many consumers to become producers of their favorite ludic genre. Indeed, that might just be the text adventure’s most inspiring aspect of all. And, far from being strictly a post-1980s phenomenon, it was as true during the alleged commercial era as it remains today.

We’ve seen already how enabling others to roll their own text adventures became something of a cottage industry of its own almost as soon as Scott Adams’s Adventureland, the first microcomputer-based game of its type, arrived on the TRS-80 in late 1978. In the May 1979 issue of SoftSide magazine, Lance Micklus published the BASIC code to his Dog Star Adventure, which would go on to become the sturdy framework for tens of thousands of similar games created in bedrooms, high-school computer labs, and home offices, most of which never traveled much further than the computer used to create them. There followed heaps more magazine listings of BASIC-based text adventures, many of them based on Micklus’s original, along with enough books on the crafting of them to fill a long library shelf.

At the same time, other more specialized text-adventure-creation systems also began to emerge. Only shortly after Dog Star Adventure appeared, Donald Brown began to distribute Eamon, a construction set for “adventure scenarios” that combined elements of text adventures and CRPGs in a way that strikes us as stranger today than it did players back in 1979, when genres were still in flux and the lines between the largely deterministic adventure game and the largely emergent CRPG had not yet been clearly demarcated. In 1982, Allan Moluf and Bruce Hanson released The Adventure System, an authoring system for new games that used the now well-documented Scott Adams format. (Such clever retro-fitting of new technologies onto old would become another thoroughgoing theme of interactive-fiction history, with perhaps the most notable example becoming Graham Nelson’s decision to make his new Inform compiler target the old Infocom Z-Machine in the early 1990s.) But the really big winner among the early text-adventure construction kits was an entry from across the pond: Graeme Yaendle’s The Quill, which almost from the instant of its late 1983 release became the basis for more than one out of every two text adventures released in Britain, thus helping the adventuring culture of Britain and the wider Europe become even more a culture of inspired amateurism than was that of the United States. (The Quill was briefly sold in the United States under the name AdventureWriter, but, being poorly marketed and distributed, never caught on.)

With Infocom being universally regarded as the gold standard in text adventures by 1983 even in Europe (where their games would remain pricey, disk-drive-requiring pieces of foreign exotica for some years yet), the ultimate dream for makers and users of systems like The Quill was a construction kit capable of making Infocom-quality games. That dream would, alas, go unrealized for quite some time. Even the Professional Adventure Writing System (PAWS), Yeandle’s 1986 follow-up to The Quill, had a long way to go to meet that standard. The first popular construction kit capable of fooling a player even momentarily into believing she was playing an Infocom game would rather be an American system called the Adventure Game Toolkit, or AGT, the first system of its kind to be widely used in the United States since Eamon. But before AGT there was the less auspiciously named Generic Adventure Game System, or GAGS, which never became all that popular and was capable of fooling absolutely no one. Nevertheless, any history of AGT must begin with GAGS.

The man behind GAGS was one Mark J. Welch, a go-getter who had started working as a freelance technology journalist just a year out of high school in 1976. By the mid-1980s, he was an editor and product reviewer for Byte, the most influential periodical in the computer industry. In his spare time, he tinkered with text adventures, first in BASIC, then in a Pascal-like language called Ada, finally in a new programming environment that was taking the industry by storm, Borland’s Turbo Pascal. He eventually made the leap that Scott Adams and so many professional adventure developers after him had already made, from writing each new game as a custom program on an ad hoc basis to developing a database-driven engine capable of playing many games. That engine became GAGS, which Welch first released in 1985 under the new software-distribution model of shareware; the system was free to copy or download, but happy users were encouraged to register their copy for $15. Welch would also sell the Turbo Pascal source code to those looking to hack the system a bit for themselves for $25, on the condition that they not distribute it further.

Working on business-focused MS-DOS machines with disk drives, relatively fast processors, 80 columns of text, and 256 K or more of memory, Welch was far less constrained than the likes of Graeme Yeandle had been in writing The Quill on a little Sinclair Spectrum. Yet, far from actively chasing the Holy Grail of an Infocom-like game, he kept his goals for GAGS deliberately modest. In a passage as commendable for its honesty as it is questionable in terms of marketing, Welch wrote bluntly in his manual’s introduction that GAGS “cannot be used to write an adventure game with as many complex features as Infocom’s. To do so would require developing a complete adventure-game programming language, as Infocom has done, and would require adventure-game writers to learn a very complex set of rules.” With Welch having thus explicitly rejected the idea of a true programming language for creating text adventures, working with GAGS, like working with The Quill, felt more like an exercise in data entry than it did an exercise in programming. Let’s briefly see how it worked.

A GAGS game is made up of three elements: “rooms,” “nouns,” and “creatures.” All are defined in a single text file, which is then passed to the compiler for transformation into an Infocom-style story file, playable via the GAGS interpreter. The examples that follow are taken from the most popular game ever made with GAGS, a Lewis Carroll pastiche with the appropriately Victorian long-winded title of The Adventures of Alice Who Went through the Looking Glass and Came Back Not Much Changed. [1]I have tinkered here and there with this example game and the next to better illustrate my points. Let’s first look at a room definition.

ROOM 9
  Denser Forest
  East      35 - Dense Forest
  Points 12
END_ROOM 9

ROOM_DESCR 9 -- Denser Forest
The forest is even denser here.  You think perhaps you should turn around and
go back to the garden.  Suddenly you realize the solution to a mathematics
problem that has been eluding you for days.
END_ROOM_DESCR 9

I trust that none of what you see here is terribly hard to divine. Room 9 is called “Denser Forest,” and is a dead end lying to the west of “Dense Forest.” The player receives 12 points upon entering this room for the first time. And after these details we have the text of the room’s description.

Just a couple of other optional details beyond what you see here can be provided in a room definition, defining potentially locked doors blocking departure and the keys that unlock them as well as whether the room is lit or unlit (it’s lit by default). GAGS also lets us end the game, in either victory or death, as soon as the player enters a given room; in fact, this is the only way to declare victory.

“Nouns,” meaning inanimate objects really, are a bit more complicated. Here we have an umbrella.

NOUN 204
  UMBRELLA
  OLD
  There is an old umbrella here.
  Weight    1
  Size    1
  Location  5 - Drawing Room
  Points    0
  Key       0
  ** Can't shoot
  Num_Shots 0
  Unpushable
  Unreadable
  Turnable
  Unplayable
  Unpullable
  Off
  Closable
  Closed
  Unlockable
  Unlocked
  Undrinkable
  Inedible
  Nonpoisonous
  Unmovable
  ** Not_a_light
END_NOUN

NOUN_DESCR 204 -- UMBRELLA
The umbrella has obviously seen better days.  It is frayed around the edges,
the handle is warped, and it bulges unnaturally in several places.
END_NOUN_DESCR 204

TURN_DESCR 204 -- UMBRELLA
You spin the umbrella around a few times. Wasn't that fun?
END_TURN_DESCR 204

I should first of all note that nouns are numbered from 201, so this is actually only the fourth object defined in the game. We see here that “umbrella,” the one-word name of the noun, can be prefaced by the adjective “old,” which could potentially be very useful for parser disambiguation if there happen to be two umbrellas in the game. “There is an old umbrella here” is the message which will be appended to the description of a room that happens to contain the umbrella. It has a weight and a size of 1 for purposes of inventory juggling, and it begins the game in room 5, the “Drawing Room.” The umbrella awards the player no points for picking it up for the first time.

The parameters that come next neatly summarize virtually every possibility for object interaction in a GAGS game. A noun can be a key unlocking a certain door or another noun; this one is not. A noun can be shootable, possibly with limited ammunition. A noun can be pushable, readable, turnable, playable, or pullable, each verb leading to a simple textual description of the result; in this case, turning the umbrella yields, “You spin the umbrella around a few times. Wasn’t that fun?” A noun can be turned off or on, can be closable and if so either closed or open, can be lockable and if so either locked or unlocked, can be drinkable or edible and if one or the other can be poisonous. A noun can be moveable or unmoveable; in this case, somewhat oddly, the player can’t actually pick the umbrella up, which renders the weight and size parameters moot. Finally, a noun can be a light source.

Let’s look at one more noun.

NOUN 205
  DAGGER
  SMALL
  There is a small dagger here.
  Weight    1
  Size    1
  Location  204 - UMBRELLA
  Key       0
  Points    5
  ** Can't shoot
  Num_Shots 0
  Unpushable
  Unreadable
  Unturnable
  Unplayable
  Unpullable
  Off
  Unclosable
  Open
  Unlockable
  Unlocked
  Undrinkable
  Inedible
  Nonpoisonous
  Movable
  ** Not_a_light
END_NOUN

NOUN_DESCR 205 -- DAGGER
The dagger is small but very sharp.
END_NOUN_DESCR 205

So, the dagger is a moveable object found inside the closed umbrella. This is the sort of thing that often passes for a puzzle in a GAGS game; note that the player is awarded 5 points just for picking the dagger up for the first time.

Let’s now have a look at a creature.

CREATURE 301
  BANDERSNATCH
  FROOBIOUS
  There is a Froobious Bandersnatch here.
  Location 9
  Weapon   205
  Threshhold 5
  Time_Thresh 5
  Hostile
END_CREATURE

CREATURE_DESCR 301
The Bandersnatch is snorting and drooling.  It seem to harbor no very
honorable intentions towards you.
END_CREATURE_DESCR 301

Creatures are numbered from 301, so our froobious bandersnatch is actually the first creature to be described. He lives in room 9, our aforedescribed Denser Forest. The parameters that follow “Location” serve to drive home the real main interest of the GAGS system: combat. In that respect, GAGS would seem to owe more philosophically to Eamon than it does to Infocom. Yet its combat is implemented in a rather peculiarly  unsatisfying way even in comparison to that less than ideal older system. Each hostile creature has a single noun — a key to a different sort of lock, one might say — that is capable of killing it instantly. All others are useless against it. In the case of the bandersnatch, then, said noun is the dagger. The “Threshold” parameter tells us that the player can make up to 5 unsuccessful attacks — presumably, using various objects to poke at it, hoping to find the right one — before the bandersnatch gets aggravated enough to kill her. The “Time_Thresh” of 5 tells us that the bandersnatch will kill the player anyway if she remains in his presence for 5 turns; in other words, no matter what the player does, if she doesn’t attack the bandersnatch with the dagger within 5 turns of arriving in the Denser Forest, she’s a goner. And “Hostile” of course tells us that the bandersnatch is, well, hostile; if he was “Friendly” instead, the “Threshold” and “Time_Thresh” would be meaningless.

With all possible verbs and interactions hard-coded into the engine, authors working with GAGS were largely restricted to the hoariest of hoary text-adventure chestnuts: locks and keys, light and darkness, the inevitable mazes. But most of all, games tended to develop (devolve?) into an exercise in finding the right thing to use to bash each monster in the player’s way. That’s certainly the case in the game we’ve just been looking at, which sees Alice cutting a bloody swathe through Wonderland, taking out jabberwocks and knaves with a violent aplomb that would make even the makers of the recent girl-powery films blush. Even a croquet ball gets coded up as a monster to be bashed with an “umbrolly” — a different umbrella from the inexplicably unmovable one we saw earlier — in a clumsy attempt to work around the limitations of GAGS.

Unsatisfactory though it was in so many ways as a piece of hard technology, GAGS did have a number of softer qualities going for it. Young though he still was, Mark Welch had been working for almost a decade already as a technical writer by the time he released GAGS. He knew how to describe how his system worked clearly and completely, and how to put his best foot forward generally when it came to every aspect of GAGS’s presentation. One might even say that his extensive documentation of GAGS marks the beginning of the tradition of literate, thoughtful writing about the art and technology of interactive fiction that remains a welcome aspect of the amateur community to this day.

Another move by Welch would prove if anything even more influential. Looking to encourage people to use his system, he decided to sponsor a contest for GAGS games, with a submission deadline of September 30, 1986. His justification for doing so rings in concert with the justifications for the hundreds of interactive-fiction contests that have been held since, not least the big one that began in 1995: to get people to actually finish and publish their games. “The main purpose of the contest was to encourage people to share the games they’d written using GAGS,” he says. “A lot of people had started games, spending quite a few hours on them, but stopped before they’d really finished them, or before they’d really made them playable.” Entrants were mailed on disk to Welch, who judged them personally, selecting Alice as the winner. (There is unfortunately no historical record of how many and which other games were submitted for judging.) The author of Alice, one Douglas Asherman, received $100 for his efforts and got to see his game distributed with GAGS from then on. Alice received a further boost when some enterprising hackers worked out how to make the GAGS interpreter output and input text over a modem connection. The game became a fixture among so-called “door games” — simple, text-based games hosted by computer bulletin-board services — for several years thereafter, thereby becoming available for play by many owners of the non-MS-DOS computers that still made up the vast majority of the home market going into the second half of the 1980s.

David M. Malmberg

David Malmberg

It was shortly after Welch’s first and only GAGS contest that David Malmberg, the real hero of our story today, entered the scene. A business analyst by day at the San Francisco headquarters of Foremost-McKesson — a $4 billion corporation with fingers in such diverse pies as chemicals, liquor, food, and pharmaceuticals — Malmberg had long since become a microcomputer convert by night, having purchased his first Commodore PET well before the 1970s were history. He contributed regularly to the magazines, beginning with the very first issue of Compute!, the magazine destined to become home computing’s biggest, in the fall of 1979. With two small children at home, he developed a special interest in computers as teaching tools, particularly as tools for teaching programming. In 1982, he wrote and published through Human Engineered Software— a company he had been instrumental in funding as part of his day job — an application/toy for the Commodore VIC-20 called Turtle Graphics, a simple language for graphics programming aimed at children. Eventually ported to the Commodore 64 as well, Turtle Graphics wound up selling 80,000 copies in the heyday of the first home-computer boom. Meanwhile Malmberg also nurtured a strong interest in text adventures, publishing a few of his experiments in that direction as BASIC and PILOT type-in listings in the magazines.

Given his interest in text adventures and programming systems suitable for the non-expert, Malmberg was the perfect candidate to embrace and extend GAGS. As soon as he encountered Mark Welch’s simple adventure system, he mailed off for the source code and started studying it on his daily one-hour rail commute to and from work, teaching himself Turbo Pascal as he did so. He soon contacted Welch to inform him of the enhancements he had already begun to implement, looking to see if a partnership might be a possibility. But when he met Welch for lunch he found the latter interested not so much in partnering as in washing his hands of the whole endeavor. Welch, who had recently scaled back his work as a tech journalist to begin attending law school at Berkeley, was simply burnt-out on a system that, despite the contest and the relative popularity of Alice among BBS sysops and public-domain software traders, had never quite taken off as he had hoped. Malmberg promptly made him a very generous offer indeed: he would take the entire operation off his hands, assuming all responsibility for enhancing and supporting the system, but continue to pay Welch 50 percent of all the profits it generated. Welch, unsurprisingly, jumped at it. The sharply limited GAGS was about to become the much more useful AGT.

The core of Malmberg’s enhancements is a system of something he called “meta-commands,” which allow the author to make things happen that aren’t hard-coded into the system’s preconceptions. An AGT game which uses meta-commands has a new “command file” and a “message file” to go with the standard GAGS database definitions. The command file consists of a long string of entries to be checked against the player’s typed command. When matches are found, customized things of the author’s choosing can happen, possibly outputting custom text from the message file.

The examples that follow are drawn from the source code to A Dudley Dilemma, an early AGT game for which I’ll be providing more context soon. We’ll look at some of the code which implements Dudley‘s light source, a flashlight, in a much more sophisticated way than would have been possible in GAGS. Since A Dudley Dilemma is still very old-school in spirit, the implementation will include a dwindling battery, a complication that wouldn’t have been possible in GAGS.

In the standard database-definition file, we have two versions of the flashlight, representing it in its unlit and lit states. (While you read over the definitions that follow, do note the new ability to provide additional synonyms for nouns beyond a simple name and adjective — one of Malmberg’s various other modest but welcome enhancements to the core of the old GAGS system.)

NOUN 201
  Flashlight
  Black
  There is a rechargeable flashlight here.
  LOCATION 0
  SIZE 9
  NOUN_SYNONYMS Light Flash
END_NOUN

NOUN_DESCR 201
The flashlight is one of the rechargeable kind that never seems to work when
you need it.  It is off at the moment.
END_NOUN_DESCR

NOUN 202
  Flashlight
  Black
  There is a rechargeable flashlight here.
  LOCATION 0
  IS_LIGHT
  ON
  SIZE 9
  NOUN_SYNONYMS Light Flash
END_NOUN

NOUN_DESCR 202
The flashlight is one of the rechargeable kind that never seems to work when
you need it.  It is presently on.
END_NOUN_DESCR

Now, let’s turn to the command file.

COMMAND LIGHT FLASHLIGHT
  Present 201
  TurnFlagON 2
  SwapLocations 201 202
  PrintMessage 14
  DoneWithTurn
END_COMMAND

Every turn, the game checks to see whether the player’s command matches “light flashlight,” or appropriate synonyms thereof, as it works its way down through the list of meta-commands. If so, a script written in a custom programming language of about 170 possible commands is run — exactly the “complete adventure-game programming language” that Welch had so explicitly disavowed in his original GAGS documentation. If we have a match, we first check to see if noun 201, the unlit flashlight, is “Present,” meaning it is in the current room or being carried or worn by the player. If it isn’t, the script is terminated right here, and the game proceeds on to test the player’s command against the remaining commands in the file. If it is, we continue with the script by turning flag 2 on. The flags, another of Malmberg’s additions, are 255 on/off switches that the author can use to keep track of whatever she wishes. In this case, flag 2 tracks the state of the flashlight.

The next command, “SwapLocation,” swaps the locations of the unlit flashlight, which is being carried by the player or at least in the room with her, with the lit flashlight, which is presumably in room 0, an inaccessible holding area for nouns and creatures not currently in play. Next we print message 14 from the custom-message file. It looks like this:

MESSAGE 14
You turn the $NOUN$ on.
END_MESSAGE

“$NOUN$” here is, as you may have gathered, a stand-in for the object of the player’s command, in this case the flashlight.

The final line of the script, “DoneWithTurn,” informs the game that we’ve successfully carried out the player’s command and that it should not continue working its way through the command file checking for further matches, as it would have done had we bailed on the first line of the script. Thus we can effectively prioritize certain reactions over others by placing them earlier in the command file.

So, we now have a flashlight that we can turn off and on, but we still need to figure out how to make its battery run down. In addition to the 255 flags at our disposal, we have 25 variables, each capable of storing an integer. We use variable 1 to represent the current charge of the flashlight; it starts at 100 and should decrement by 1 each turn that the flashlight is lit. Thus very early in the command file, we have this:

COMMAND ANY
  FlagON 2
  SubtractFromVariable 1 1
END_COMMAND

“COMMAND ANY” means that this script will fire every single turn, regardless of what command the player has entered. In the script that follows, we first check to see if flag 2, representing the state of the flashlight, is set. If it isn’t, meaning the flashlight is turned off, we bail, continuing with the later command entries. If it is, meaning the flashlight is turned on, we proceed to subtract 1 from variable 1. Note that there is no “DoneWithTurn” entry in this script, meaning processing of the command file will always continue whether we’ve actually done anything here or not.

The command definitions that immediately follow the one above give warnings to the player as the battery runs lower and the flashlight dims. I’ll leave decoding them as an exercise for you.

COMMAND ANY
  FlagON 2
  Present 202
  VariableEquals 1 50
  PrintMessage 10
END_COMMAND

MESSAGE 10
** The flashlight seems to be getting dimmer! **
END_MESSAGE

COMMAND ANY
  FlagON 2
  Present 202
  VariableEquals 1 20
  PrintMessage 11
END_COMMAND

MESSAGE 11
** The flashlight is definitely much dimmer now. **
END_MESSAGE

COMMAND ANY
  FlagON 2
  Present 202
  VariableEquals 1 5
  PrintMessage 12
END_COMMAND

MESSAGE 12
** The flashlight fades to a dull orange. **
END_MESSAGE

Finally, the flashlight may expire entirely:

COMMAND ANY
FlagON 2
VariableEquals 1 0
TurnFlagOFF 2
SwapLocations 202 233
Present 233
PrintMessage 13
END_COMMAND

MESSAGE 13
** The flashlight sputters and goes out! **
END_MESSAGE

Note that in this case we swap out the lit flashlight for yet another noun representing the same object, this time a dead version of the flashlight.

NOUN 233
  Flashlight
  Dead
  There is a dead flashlight here.
  LOCATION 0
  SIZE 9
  NOUN_SYNONYMS Light Flash
END_NOUN

I’d like to look at just one more aspect of Dudley‘s handling of light and darkness, one that illuminates (sorry!) yet one more of Malmberg’s critical additions to the GAGS template. For the first time with AGT, it became possible for the author to define her own new verbs to augment the modest suite of text-adventure staples that are built into the system. Malmberg gave custom verbs the counter-intuitive name of “dummy verbs,” presumably because they do nothing if the author doesn’t explicitly handle them in her game’s command file. A Dudley Dilemma uses 30 dummy verbs, of which we’ll look at just one: “charge,” also known as “recharge,” “plug,” and “insert.” For A Dudley Dilemma, being old-school but not completely heartless, does give the player a way to recharge her flashlight.

DUMMY_VERB16 CHARGE RECHARGE PLUG INSERT

In the original version of A Dudley Dilemma, the flashlight can be recharged from only one location, one which happens to be equipped with a handy electrical outlet.

ROOM 48
  Round Room
  NORTH 24
  SOUTH 47
  EAST 50
  WEST 49
  LIGHT 1
END_ROOM

ROOM_DESCR 48
This is a roughly circular room with exits to the north, south, east and west.
There are several old steam pipes and cracked conduits running through here,
and the fumes from one of them make you slightly dizzy.
There is an electrical outlet here.
END_ROOM_DESCR

I won’t belabor the implementation of charging unnecessarily, as the code is quite readable on its own. When the player types something like “recharge flashlight,” we first step through a series of possible failure states and their resulting messages, arriving eventually if none of them apply at actually topping off the flashlight and sending her on her way. Once again, I encourage you to take a few minutes to work your way through it if you’re at all interested in getting a feel for how AGT really worked in practice. And besides, if you’re like me you might just find this sort of thing fun.

COMMAND CHARGE LIGHT
  IsCarrying 201
  PrintMessage 81
  DoneWithTurn
END_COMMAND

MESSAGE 81
The flashlight must be ON to be recharged.
END_MESSAGE

COMMAND CHARGE LIGHT
  IsCarrying 202
  VariableGT 1 20
  PrintMessage 67
  DoneWithTurn
END_COMMAND

MESSAGE 67
The flashlight doesn't need to be recharged (yet).
END_MESSAGE

COMMAND CHARGE LIGHT
  NOT AtLocation 48
  IsCarrying 233
  OR
  IsCarrying 202
  VariableLT 1 20
  PrintMessage 68
  DoneWithTurn
END_COMMAND

MESSAGE 68
Guess you'd better find someplace to plug it in!
END_MESSAGE

COMMAND CHARGE LIGHT
  AtLocation 48
  IsCarrying 202
  VariableLT 1 20
  SetVariableTo 1 100
  PrintMessage 66
  DoneWithTurn
END_COMMAND

MESSAGE 66
You plug the flashlight in and recharge it.
END_MESSAGE

COMMAND CHARGE LIGHT
  AtLocation 48
  IsCarrying 233
  SwapLocations 233 202
  TurnFlagON 2
  SetVariableTo 1 100
  PrintMessage 66
  DoneWithTurn
END_COMMAND

I hope these examples may begin to convey how ingenious Malmberg’s extensions to GAGS really were; they turned a system useful only for making the most simplistic of games into one of the most powerful systems for making amateur text adventures that had yet been seen.

But AGT had still more going for it beyond its technical affordances. Perhaps even more so than Mark Welch, David Malmberg had the skills to present his brainchild in the best possible light. He registered a little company, which he dubbed Softworks, to handle the system, and expanded Welch’s original documentation to fully explain all of his own new additions, replete with examples. Asked in an interview years after AGT’s heyday what aspects of the system he was proudest of, he placed “the quality of the documentation” on the same level as the meta-commands. Justifiably so: the instruction manual ballooned to 223 printed pages of friendly, readable prose, dwarfing in both quality and quantity the manuals included with most boxed commercial software. In fact, AGT became in a sense a physical product. Those who paid the $35 registration fee were shipped not only three disks full of the latest version of the compiler along with heaps of sample code and sample games but also the manual in spiral-bound hardcopy. All the effort spent in looking serious paid off in others choosing to take AGT seriously. In what can only be described as a major coup for Malmberg, AGT was given a full-fledged and generally very positive review in the February 1989 issue of the glossy newsstand magazine Computer Gaming World, an achievement of which very few other shareware products could boast.

Despite such welcome exposure, Malmberg quickly learned, as would many text-adventure fans who attempted to turn their loves into business propositions after him, that there just wasn’t a lot of money to be made in text-only adventure games. Able to encourage his users to register only by offering them the hardcopy documentation, telephone support, and, as he put it, “a warm glow from having supported at least one of the many shareware products you probably use” along with his own “eternal gratitude,” he would over the lifetime of AGT average only 100 or so copies “sold” per year — and even that income he of course had to split equally with his silent partner Mark Welch. At least an order of magnitude more people used unregistered copies to experiment with game design, and often to make and release complete games without ever bothering to pay the registration fee. Superficially professional though Malmberg’s presentation managed to be, AGT was always at heart a labor of love; it certainly never gave him cause to think of quitting his day job in favor of becoming a text-adventure mogul.

The people who made games with AGT, especially in the earliest years, were a far-flung, disconnected group by any standard, and doubly so in comparison to the close-knit Internet-based community that would follow them. I spoke to two former AGT authors in preparing this article and the next, and was surprised to learn that neither felt himself to be a part of any community at all really. With modems still fairly scarce and online services still fairly expensive in the late 1980s, Malmberg himself became the principal conduit binding many AGT users together, to whatever extent they were bound together at all. In 1988, shortly after releasing the first version of AGT, he made the hugely important decision to reconstitute Mark Welch’s one-off 1986 GAGS contest as an annual event. The rules were simple: all entrants had to have been made using AGT, had to have been first publicly released during the calendar year of the contest in question, and had to be posted to Softworks by December 31 of said year. Malmberg personally would, as he put it, “consider each game’s originality, cleverness, fiendishness, humor, raw cunning, and professionalism” to arrive at a winner.

The institution of the AGT contest as an ongoing annual tradition was a landmark event. Since 1989, the year when the 1988 batch of AGT games was judged, not a year has passed without a major annual contest dominating the interactive-fiction calendar. Until 1994, that contest would be Malmberg’s AGT competition, which would be held six times in all. Picking up neatly thereafter in 1995, it would be the Interactive Fiction Competition, which is closing in on its 22nd iteration as of this writing.

In due course, amateur interactive-fiction authors would begin to probe relentlessly at the boundaries of the medium, experimenting wildly and discovering many worthy (and a fair number of unworthy) new approaches to the art of the humble text adventure. In these early days, however, with Infocom dying, the text-adventure corpus was more in need of triage than surgery. Accordingly, early AGT authors didn’t concern themselves overmuch with new frontiers. They rather applied themselves diligently to simply, as a later interactive-fiction publication would put it, “helping to keep text adventures alive.”

In short, if the only way for them to have new text adventures was to make them themselves, then that’s exactly what they’d do. The AGT user base was overwhelmingly made up of diehard Infocom fans, drawn from that hardcore of a few tens of thousands who never abandoned the company as graphics got better and other, flashier genres stole the hearts of the vast majority of the computer-gaming public. Their numbers may not have been large enough to support a company like Infocom anymore, but there were more than enough of them to keep the flame burning via amateur creations in the Infocom tradition.

Given the circumstances of their creation, it’s not surprising to find that most early AGT games can be described to one degree or another as Infocom homages. Indeed, some of them are perhaps better described as Infocom pastiches, absolutely crammed full of echoes of the puzzles and environments their makers fairly worshiped. But this hardly invalidates them as experiences. Personally, having spent the last four and a half years intermittently immersed in the lore of Infocom in writing this blog, I feel myself all too much in tune with the mindset that led to the early AGT games.

And there is I think a unique quality to even many of the most slavish of the AGT Infocom homages that’s worth mentioning. To a much greater degree than the games of Infocom and other commercial publishers, AGT games feel like personal expressions of their creators. In later years, jokes and no small amount of scoffing would be attached to Everyone’s First Game, which inevitably begins in said everyperson’s bedroom and proceeds to play out in an environment interesting and meaningful to absolutely no one beyond the author’s friends and family. Yet the same tendency that spawns that phenomenon constitutes I think an important part of the text adventure’s ongoing fascination. In a ludic world obsessed with high-concept, world-saving, galaxy-spanning plots, text adventures can provide a window into the more modest but — for me, anyway — far more interesting lives of real people. If we agree with the folks who say that one of the most important functions of art is to provide a glimpse at how the proverbial other half lives, then that’s a noble quality indeed. When we look back today to the AGT games of decades ago, they take on an additional layer of interest as historical documents in their own right of the times and places that spawned them.

These are qualities that both of the early AGT games I’d like to introduce and recommend to you today evince in spades. Both are old-school puzzlefests in the Infocom tradition, but both were created by clever, interesting people who give us a chance to walk in the shoes they were wearing in the vanished United States of almost three decades ago.

The first game I’ll heartily recommend is the one we’ve been using as an example of AGT programming: A Dudley Dilemma, winner of the 1988 AGT Competition. Written by Lane Barrow, at the time a PhD candidate in literature at Harvard, it takes place in and around the very same university; the name of the game is a play on Harvard’s Dudley House for nonresident undergraduates. A Dudley Dilemma is a fine addition to the longstanding tradition of collegiate interactive fiction, its depiction of life at Harvard as loving and entertaining in its own way as were The Lurking Horror‘s homages to Harvard’s cross-town counterpart MIT — a university which, incidentally, also makes a cameo appearance in A Dudley Dilemma; it is, after all, just a short subway ride away.

The second game is Son of Stagefright, the winner of the 1989 AGT Competition (Malmberg was, in addition to his other qualities, a very good judge). It was written by Mike McCauley, an avid participant in another inspiring form of amateur creativity: community theater. The theater in which Son of Stagefright is set isn’t based directly on any one real place, being rather a conglomeration of various playhouses McCauley had known. But it’s a fascinating place to explore nevertheless, dripping with McCauley’s love for thespianism and his great good humor in all its many nooks and crannies.

Both of these games will seem a little rough around the edges in comparison to a more polished modern work created with a more polished modern programming language, but I do urge you to give them a fair chance. Being written in the tradition of Infocom means among other things that they are interested in challenging you but not in stymieing you entirely. Their puzzles are almost entirely fair and reasonable, and occasionally inspired. Son of Stagefright even offers a very clever embodied hint system that dribbles out nudges via a magic book you discover.

Both games will run in AGiliTy, a modern interpreter for AGT story files, or the one-size-fits-all interpreter Gargoyle; the latter would be my first recommendation. In either case, the file ending in “.D$$” is the one you want to open with the interpreter. There is, however, an important caveat in the case of A Dudley Dilemma: the original Competition-winning version of the game doesn’t play quite correctly in AGiliTy or Gargoyle, rendering it unwinnable. But never fear: I’ve been in touch with Lane Barrow, and he’s provided a newer version which we’ve tested and found to work perfectly in the modern interpreters. Along the way, he’s also cleaned up a few of the original game’s less felicitous old-school puzzles, and packaged the whole together with DOSBox to make it a one-click play for those running Windows who’d prefer to play it through the original AGT interpreter rather than AGiliTy or Gargoyle. If you do choose to play through DOSBox, you’ll get to enjoy some pictures of the scenes described; these aren’t essential by any means, but they do add a little something to the experience. Regardless of how you play, just please make sure to use this new “remastered” version if you wish to play A Dudley Dilemma for reasons of fun (as opposed to historical investigation) today. (I’ll be uploading this version to the IF Archive as well to assure that it’s preserved in perpetuity.)

I have something special planned for my next article which I hope will deepen still further your enjoyment of A Dudley Dilemma. But there’s no need to wait for that to get started. Just go ahead and play these games — either or both of them. They’re both worth it, fine testaments to the new era of creative empowerment spawned by AGT. In later years, when still better systems became available, many proponents of those newer systems would come to scoff at AGT for the many limitations that Malmberg couldn’t quite manage to overcome, and even at those authors who continued to stick with the system well beyond its real or perceived sell-by date. In its day, however, AGT represented a wonderful advance that empowered text-adventure fans to take the medium into their own keeping just in the nick of time, just as Infocom collapsed. Had AGT (or something equivalent to it) not come along when it did, the post-Infocom history of adventures in text would read very, very differently. AGT laid the groundwork for the decades of proud amateurism — amateurism in the very best sense — that were still to come. I look forward to continuing to explore its legacy in future articles.

(Sources: Computer Gaming World of February 1989 and May 1989; Commodore Power/Play of Fall 1982, Summer 1983, Fall 1983, Winter 1983, Spring 1984, June/July 1984, August/September 1984, and April/May 1985; Compute! of Fall 1979, March 1981, July 1981, and April 1982; Micro of April 1981, October 1981, September 1982, November 1982, and September 1983; Personal Computing of September 1982; The Games Machine of September 1982; Byte of February 1985; New York Times of March 18 1981 and January 10 1982; the various documentation included with the various versions of GAGS and AGT; Stephen Granade’s interview with David Malmberg; Mark Welch’s blog post about GAGS and AGT. Most of all, my thanks to Lane Barrow and Mike McCauley for corresponding with me about their fondly remembered time as AGT authors.)

Footnotes

Footnotes
1 I have tinkered here and there with this example game and the next to better illustrate my points.
 
 

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Moving to California

The work week of May 1, 1989, started off much like any other inside the beleaguered latter-day Infocom. In the cavernous 18,000 square feet of their office space at 125 CambridgePark Drive — its sheer size was an ever-present reminder of more optimistic times, when Infocom had thought themselves poised to become the next Lotus — the shrunken staff of just 26 souls puttered through another Monday, pausing now and again to chat about the weekend just passed. The old days when CambridgePark would buzz during off-hours with parties and socializing and passionate programmers and testers burning the midnight oil were now a memory of the past. Changing life circumstances — the majority of the remaining staff were now married, many with small children — had done as much as the generalized malaise now afflicting the place to put an end to all that. CambridgePark now felt much like any other office, albeit a peculiarly empty one, and one over which hung an almost palpable sense of impending doom. Still, when the axe finally fell it came as a shock. It always does.

A memo went out early that week asking everyone to attend a meeting on Thursday, May 4, “to discuss the next generation of internal products.” More ominously, the memo said that the 3:00 P.M. meeting would “go as late as necessary.” And evidently management expected that to mean quite late, for they would be “ordering out for dinner.”

The axe fell over the course of that long afternoon and evening. Infocom would be “moving” to California, where it was to be reconstituted and re-imagined as a more closely coupled subsidiary of Mediagenic, [1]Mediagenic was known as Activision until mid-1988. To avoid confusion, I just stick with the name “Mediagenic” in this article. under a “general manager” named Rob Sears. Just 11 of the 26 current employees were offered positions at this new version of Infocom. Exactly whose name was and wasn’t on that list of job offers is neither necessary nor appropriate to discuss here. Suffice to say that those Mediagenic decided were desirable to retain often weren’t the pivotal creative voices you might expect, and that only 5 of the 11 accepted the offer anyway. Only one long-serving employee from Infocom’s glory days would end up making the move: Duncan Blanchard, a longstanding interpreter programmer and the last leader of the old Micro Group before it was assimilated into the Systems Group in 1987. For the other old-timers, it was all over. Another six weeks or so to finish a few final projects and tidy up the place, and that would be that.

Bob Bates, working on his licensed Abyss game from suburban Maryland, had planned to fly up to Cambridge for one of his regular design meetings on Monday, May 8. But Infocom’s new Mediagenic-installed head Joe Ybarra called him early in the week of May 1, saying he really needed him to come up this same week if at all possible. When Bates arrived on Friday, May 5, to a curiously subdued CambridgePark, he was ushered immediately into Ybarra’s office. Infocom was moving to California without most of its current employees, Ybarra informed him, and his Abyss project was being cancelled. Nor would Infocom be requiring Bates’s services again; his development contract was officially terminated as of today. When a shell-shocked Bates returned home on the red eye that same rainy night, he found that his roof was leaking buckets. It had turned into that sort of week for everyone.

Steve Meretzky had been scheduled to attend the Computer Game Developers’ Conference that very weekend in Sunnyvale, California. He was still allowed to fly out on Infocom’s dime, but replaced the company’s name on his badge with “Make Me an Offer!” It was at this event that word of the fate of Infocom, which everyone knew had long been troubled but which still remained one of the most respected names in computer games, was first spread within the industry.

News of Infocom’s fate first reached the world at large via an announcement in the May 22, 1989, issue of the Boston Globe Magazine. The understated headline has become oddly iconic among fans: “Computer-Games Firm Moving to California.” A “new consumer preference for games with graphics and sound,” went the workmanlike report, was responsible for Infocom’s travails, along with Nintendo and “the aging of Infocom’s traditional audience, composed of early computer users who spent evenings and weekends hunched over a terminal drawing maps in text-only games that took 20 to 50 hours to solve.”

When word reached the trade press, Mediagenic held tightly to the story that this was simply a move, not a shutdown. Rob Sears made the counter-intuitive claim that Mediagenic was doing what they were “not so much to close Infocom down as to ensure it survives.” “The Great Underground Empire, curiously enough, has not been shut down,” insisted Joe Ybarra. “What’s happened is we’re in the process of relocating it to the West Coast.” At the same time, though, Ybarra did have to quietly admit that none of the Imps who had built the Great Underground Empire would remain a part of it. He could only offer some unconvincingly vague suggestions that some of the former Imps might “do projects” at some point as outside contractors. Certainly anyone wedded to the idea of Infocom as a maker first and foremost of text adventures was given little reason for hope.

You’ll probably see a shift in direction that’s commensurate with which way the market is headed. If you look at all the successful products, they’re graphics- and sound-intensive. Products as a whole are pushing more toward role-playing than toward our classic adventure game. I think we’ll be building more hybrids that share elements of all these different genres. In particular, one of the areas I find most exciting is getting into more interactive graphics, the idea of doing things that are object-oriented… a cross between Manhole and the HyperCard environment and our traditional object-oriented ZIL environment.

(In case Ybarra’s comments don’t make it clear, know that “object-oriented” was one of the sexiest buzzwords of the period, to be applied to anything and everything possible.)

The personnel inside CambridgePark continued to perform their duties in desultory fashion during those final weeks following the meeting that informed them of their fate. There was still plenty to do; Infocom had still not delivered finalized versions of their four most recent works of graphical interactive fiction for MS-DOS, the most important platform in the industry. Yet there was, understandably, little enthusiasm for doing it. Employees spent a lot of time picking out free games from the collection around the office, bidding on the office furniture and computers, and indulging their black humor via vehicles like a lunchtime “slideshow history of Infocom” entitled “Cornerstone through Tombstone.” And then the last day came, and the lights inside CambridgePark were extinguished forever — or at least until the next corporate tenant arrived.

By the point of that final closure, a considerable amount of back-channel sniping by the people of the former Infocom had begun toward Mediagenic. Not coincidentally, Mediagenic’s own take on recent events also became less sanguine. Sources from Infocom claimed that Mediagenic had pulled the plug just as the money spigots were about to open, just before the all-important MS-DOS versions of their graphical interactive fictions finally hit the market; as it was, these versions would all be released by Mediagenic as un-promoted afterthoughts within weeks of the closure. Mediagenic, for whom Infocom’s slow progress on their MS-DOS interpreter had been a huge frustration and a significant factor in their decision to finally wash their hands of CambridgePark altogether, replied that “the consolidation might not have become necessary if the IBM SKUs could have been released initially.” Likewise, Joe Ybarra’s characterization of the fundamental failings of Infocom’s games grew more pointed: “We cannot continue, in the marketplace, living off products that take eight hours to play well and up to 200 hours to complete.”

The view of the decision of May 4, 1989, that prevails universally today, as representative of a definitive ending rather than a move or consolidation, was already taking hold. Mediagenic stopped giving even lip service to Infocom as an ongoing operation of its own in the spring of 1990, when Rob Sears left and the remaining handful of personnel who had worked under him were either let go or absorbed into the parent company. From now on, Infocom would be a mere label under which Mediagenic would release some of their more narrative-oriented games.

In the long run, the people who had made up the old Infocom would all be just fine. After all, they were one hell of an impressive group, with credentials and talents that made them eminently employable. For those stalwarts in positions of business or creative leadership, who had been forced to bear up under the ever more crushing burden of Infocom’s troubled finances since 1985, the final, sharply definitive ending to it all felt like something of a relief as soon as the shock and pain of the initial announcement had faded.

The majority of the old Infocom staff exited the games industry at the same time that they exited Infocom, never to return. The limited or nonexistent applicability of the skills of some of Infocom’s most essential employees to the games being made by other companies — like, for instance, those of editor, producer, and all-around unsung hero Jon Palace — says much about just how unique Infocom really was. For others, though, the decision to get out of games had more to do with their fatigue with such an eternally tormented and tormenting industry than it did with job opportunities or a lack thereof inside it. Put simply, there are easier ways to make a living than by making computer games, and masterful programmers like Tim Anderson, Dave Lebling, and Stu Galley reckoned they were ready for more ordinary jobs. They and many others like them went on to live happy lives, building good, enjoyable careers that needn’t consume them. But there were also some gluttons for punishment who hadn’t yet burnt out on games. Marc Blank, Steve Meretzky, Mike Berlyn, Brian Moriarty, Mike Dornbrook, and Bob Bates would all be stubborn and passionate enough to remain in the industry. We’ll thus be meeting at least some of them again in future articles.

Seen purely as a business proposition, Infocom had been a colossal, unadulterated failure. Whether as independent company or Mediagenic subsidiary, Infocom never enjoyed a single profitable year after 1983, and its final ledger shows it to be millions in the red over the course of its relatively brief lifetime. But very few of those who had worked there thought of Infocom as a failure in the aftermath of its death — not even those former employees whose jobs had entailed fretting about the endless cavalcade of quarterly and yearly losses.

For some former employees, including many who might have had little to no interest in the company’s actual products, Infocom remains forever in their memories just a really fun office to work in — indeed, the best they could ever imagine. Plenty of these people would be shocked to learn of the aura of awed respect and love that still surrounds the very name of Infocom in the minds of fans today; they never realized they were creating timeless games. Others, of course, including virtually everyone who played a major creative role in making the games, did realize, at least after the fact, that they had done something very special indeed. Some former employees accept the bad decisions and missed opportunities that so frustrate fans peaceably, as karma, fate, or just plain old learning experiences. Others, thankfully a minority, still curse the names of either or both Al Vezza and Bruce Davis, the two great villains of the story, and are intermittently tormented by thoughts of what might have been.

What might have been… it’s a fraught question, isn’t it? Yet it’s a question that we as humans, confronted with something as special and noble as Infocom that seems so self-evidently to have died too soon, can hardly resist asking. The historian in me knows to be very leery of setting off down that road. Still, just this once, coming as we are to the end of the most detailed story I’ve ever told on this blog, maybe we can indulge in a little bit of counter-factualizing.

It seems to me that the first and perhaps most important thing we need to do to come to grips with the might-have-beens that surround Infocom is to separate the company itself from the medium of the text adventure. Such a separation can be weirdly difficult to actually accomplish. Infocom didn’t create the text adventure, nor did the company’s end mark the medium’s end — far from it, as years of articles that are hopefully still to come right here on this site will underline — but the name of Infocom would always remain all but synonymous with the form. Jason Scott has told how, when he was making his Get Lamp documentary about the life and times of the text adventure, he was constantly asked by friends how his “Infocom movie” was coming. At a certain point, he just gave up on correcting them.

Given this close connection, it can be jarring to consider that few to none of the people working at Infocom, even among those who weren’t on Team Cornerstone, thought of their company as an exclusive maker of text adventures. The story of how Infocom first came to make text adventures almost accidentally — that of needing a product to bootstrap their operation, and pulling good old MIT Zork down off the shelf as the fastest way to make one — has of course been well-documented, here and in plenty of other places. But even after they had become identified as makers of the world’s most sophisticated text adventures, they were very reluctant to settle for that niche. A research project into cross-platform graphics was begun already in 1983, at the same time that they were running all those iconic “anti-graphics” advertisements; said advertisements were merely clever promotions, not the expression of an absolute corporate philosophy. In 1984, Mike Berlyn and Marc Blank poured considerable time and effort into another innovative research project that came to naught in the end, a multi-player MUD-like environment to be hosted by the online service CompuServe. The following year brought the multi-player computerized board game Fooblitzky, Infocom’s first graphical product and one of the oddest they ever released. In short, Infocom always had ambitions beyond the text adventure, but those ambitions were consistently crippled by the lack of money for game development that plagued the company beginning as early as 1983, when Cornerstone first began to suck all the oxygen out of the room.

The counter-factual scenario most likely to yield an Infocom that survives beyond the 1980s is, as fan wisdom has long attested, one in which they never start down the Cornerstone wormhole. Yet the same best-case scenario is also possessed of a trait that fans may be less eager to acknowledge: in it, the money not spent on Cornerstone isn’t spent on making ever more elaborate text adventures, but rather on embracing new genres, new paradigms of play. Infocom could quite likely have survived if they’d avoided Cornerstone and made smart business decisions, and the world of gaming would doubtless have been a better place for their tradition of literacy, thoughtfulness, and innovation. But unfortunately, those same smart business decisions would likely have to entail branching out from the text adventure early, and eventually moving on completely. Dave Lebling:

I think in terms of continuing to produce the kind of thing we had been producing — i.e., text adventures with lots of cool technology to make them more realistic, lots of plot value, etc. — we could have gone on forever. I’m less sure whether the market would have continued to buy those. We had big arguments about this even before the Mediagenic/Activision acquisition. If you’ve spent several thousand dollars for a computer with a color screen and a video card and you want to display lots of pretty pictures, are you going to settle for a text adventure?

In my opinion, that was sort of a minority taste, just like reading is somewhat of a minority taste. People would much rather look at pictures than read as a rule. There’s a subculture of people who love to read, who are passionate about reading, passionate about books, but it’s not the majority of the public. The same thing is true in computers. There are people who like pictures and action and so forth, and there are people who like reading. And again, they are a minority.

So, I don’t think Infocom could have continued to go on from strength to strength the way we seemed to have been doing initially; we would have plateaued out. I think we eventually would have had to branch out into other kinds of games ourselves. The advantage would have been that we would have decided what to do, rather than some other company.

For proof of Lebling’s assertions, we need only look to what happened in the broader computer-game industry of our own timeline during the mid- to late-1980s. In 1984, at the height of the bookware frenzy, at least a dozen publishers in the United States alone could lay claim to major initiatives in the realm of text adventures, a medium that, being in most people’s mind the ultimate anti-action game, seemed the perfect fit for post-Great Videogame Crash electronic entertainment. Every single one of those initiatives, excepting only the games Infocom released that year, disappointed to one degree or another. To imagine that a counter-factual Infocom — even one with the resources to improve their technology, to offer even bigger and better games than the ones we know, to include pictures and interface conveniences years before the Infocom of our own timeline — could have continued to buck the trend for very long seems a stretch. And indeed, many of Infocom’s financial travails, which began already in 1985 when a subtle but worrisome sales slowdown on the part of many of their games first became evident alongside the obvious disaster that was Cornerstone, had far more to do with the wider market for text adventures than it did with Cornerstone. Put another way: if their games business had continued to explode as it had in 1983 and 1984, Infocom could have weathered the storm of Cornerstone’s failure bruised but solvent. It was a perfect storm, a combination of their slackening games business and the fiasco that was Cornerstone, that cast them into Mediagenic’s arms in 1986.

So, to understand the reasons for Infocom’s collapse we need to ask why it was that the bookware boom, during which they were the shining example to be emulated by all those other publishers, so comprehensively failed to meet expectations. I think there are two reasons really, involving two D-words I tend to dwell on a lot around here: Demographics and Design.

Simply put, the games industry of the mid- to late-1980s wasn’t populated by enough readers to sustain a vibrant culture of commercial text adventures. The overwhelming computer-game demographic by 1985 was teenage boys, who have never been known as a terribly thoughtful group. The dominance enjoyed by text adventures during the earlier years of the decade owed much to the fact that computer gaming was a much more exclusive hobby during that period, practiced only by those with a restless bent of mind and the financial resources to invest thousands of dollars in an object as ultimately useless as an early microcomputer for the home. Mike Dornbrook and others involved with Infocom near the beginning have often mentioned their wonder at the sheer number of doctors and lawyers on their mailing lists. The demographics of gaming began to change with the arrival of the inexpensive Commodore 64 as a major market force in 1983. Within the next year or two, it remade the entire industry in its image — and most definitely not to the text adventure’s benefit.

At the same time that this demographic shift was underway, Infocom and the various bookware bandwagon jumpers were allowing themselves to become confused about the reasons for the text adventure’s ascendancy even among the relatively cerebral home-computer constituency of the early 1980s. Companies making text adventures in those early days can be divided into two groups: those like Sierra who were working in text because nothing else was practical at the time, and those like Infocom who saw the text adventure as a worthy new ludic and/or literary form unto itself. Sierra got away from text adventures just as soon as they could, and went on to become one of the biggest and most important game publishers of the 1990s. Infocom stuck with the form, and we know what happened to them. There is I think a lesson to be found therein. Infocom craved a sort of player who didn’t exist in the numbers they believed them to even in the early years, and who came to make up a smaller and smaller percentage of the gaming public as time went by. By 1987, some of Infocom’s experiments were aimed at a computer-game customer who was all but nonexistent: like a fan of New Yorker-style verbal wit in the case of Nord and Bert Couldn’t Make Head or Tail of It, or a romance-novel fan in the case of Plundered Hearts.

A tantalizing question must be whether a healthier Infocom could have created a market for such games among non-gaming, possibly non-computer-owning lovers of books and puzzles. Clearly their games did have appeal to some well outside of the typical computer-game demographic. Infocom during their halcyon days had enjoyed glowing write-ups in such places as the Boston Globe, the New York Times Review of Books, Discovery magazine, and even Rolling Stone. Still, the fact remained that their games threw up tremendous barriers to entry, beginning with the sheer cost of the equipment needed to run them and ending with the learning curve for interacting with them. While it’s tempting to imagine a world of interactive fiction existing entirely outside the rest of the games industry with its bash-and-crash take on existence — a world where literary sophisticates pick up a copy of the latest Infocom release from a kiosk in a trendy bookstore — it’s hard to imagine even a healthy Infocom creating such a milieu from scratch. It’s also doubtful, for that matter, whether most of their precious remaining base of customers really wanted to see them moving in that direction. The Infocom games that are most notable for their literary ambition, like A Mind Forever Voyaging and Trinity, were never among their biggest sellers. A substantial percentage of their customer base, as various Imps have wryly noted over the years, would have been quite happy if Infocom had churned out nothing but endless iterations on the original Zork. It was at least as much the Imps’ own creative restlessness as it was the need to serve the market that led them to dabble in so many different literary genres.

But what of those customers who were perfectly content with new iterations of Zork? Where did they disappear to as the years went by? After all, Infocom continued to indulge them with plenty of traditional games right up until the end, and plenty of other companies were equally willing to serve them. I think that it may be when we come to the Zorkian traditionalists that we especially have to consider that other D-word.

If you ask gaming old-timers about text adventures today, most will recall them as creaky, virtually unplayable things riddled with guess-the-verb issues and incomprehensible puzzles. And here’s the thing: such conventional wisdom really isn’t wrong. When I first began to write the history that this blog has become, I hoped I would be able to unearth a lot of hidden text-adventure gems from publishers other than Infocom to share with you. I did find some games that fit that description, but I also found that even the good games from other publishers stand as deviations from the norm of terrible design, sometimes fostered by an unusually dedicated development team, sometimes by the stars just seeming to align in the right way. It seems impossible to imagine that the bad design that was so endemic to the medium throughout the 1980s didn’t play a major role in turning many players away permanently. Infocom’s games were vastly better than those of their competitors, a fact which played a huge role in fostering the company’s small but legendarily loyal group of hardcore fans. Yet even Infocom’s games were hardly guaranteed to be completely free of design issues. Indeed, as Infocom’s personnel pool shrank and the pressure from Mediagenic to release more games more quickly increased, design issues that they once seemed to have put behind them began to creep back into their games to a rather disconcerting degree. With almost all of the trade-magazine reviewers uninterested in really delving into issues of design, playability, and solubility, players had no real way of knowing which games they could trust and which they couldn’t. The graphic adventures that came to supersede text featured lots of terrible design choices in their own right, but they at least had the virtue of novelty, and that of serving as showcases for the graphics and sound of the latest home computers. (In the longer run, there’s a strong argument to be made that the graphic adventure would wind up shooting itself in the head via poor design by the end of the 1990s exactly as the text adventure had ten years before.)

But rather than unspooling further counter-factual speculations on how it all could have turned out differently, maybe we should ask ourselves another important question that’s less frequently discussed: that of whether an Infocom that survived and continued making text adventures of one sort or another would really have been the best thing for the still burgeoning art of interactive fiction. It’s hard not to remark the sense of creative exhaustion that imbues Infocom’s last gasp, their final four attempts at “graphical interactive fiction.” Much of that is doubtless down to the strain of their ever-worsening relationship with Bruce Davis and Mediagenic, and the long run of commercial disappointments that had prompted that strain. But is that all that was going on? Both Dave Lebling and Marc Blank have spoken of a sense of not really knowing what to do next with interactive fiction after having innovated so relentlessly for so long. Lebling:

I think the space of what can be done in text adventures has been well-explored by a variety of very creative people (by no means all of whom worked at Infocom). It would take, I fear, a qualitative leap in the development language or environment to expand that space. We never got very good at doing conversation, for example. There’s a long way to go before realistic conversations exist in games. We were okay but not spectacular at giving people more than one way to solve a problem. You need a more advanced input method to solve that one. People are just not that interested in typing to the game to simulate physical actions. A virtual-reality suit would solve that but they’re a long way off.

No one has yet solved the primary problem of adventure games, which is, what happens when the player doesn’t do what you expected? Once progress is made on that one, it might be fun to write an adventure game again.

And Blank:

To me, the problem was where it could go, whether we had reached some kind of practical limit in terms of writing a story that way. People used to always ask whether you could have a more powerful parser. Could you have a parser that understood different kinds of sentences? Questions, statements to other characters like “I’m hungry.” Better interaction than the very stilted kind of thing we did in the mysteries, or in Suspended where you could only say things like “go to this room” — where you’re basically just adding the name of a character and a comma at the beginning of a sentence, but everything else is the same.

The problem is that the more things you want to handle the more cases you have to handle, and it becomes very open-ended. You end up much more with the guess-the-word problem. If all of a sudden you can ask any question, but there are really only three questions that are important to the story, you’re either going to spend all this time coming up with answers that don’t mean anything or you’re going to have a lot of “I don’t know that,” which is frustrating. I always suspected it was a dead end. The nice thing about the command-oriented game is that you can come up with a pretty complete vocabulary and a pretty complete set of responses. As soon as it becomes more open-ended — if I can say, “I’m hungry” or “I like blue rubber balls” — how do you respond to that? It’s like Eliza. You get an answer, but it has nothing to do with what you asked, and at some point you realize it’s a fraud, that there’s no information there. What happens is that the worlds get bigger as you open up the vocabulary, but they get sparser. There’s less real information; it’s mostly noise just there to convince you of the world. I think that’s when it gets boring.

I worried about this a lot because people would always ask about the next step, the next thing we could do. It really wasn’t clear to me. Okay, you can make the writing better, and you can make puzzles that are more interesting. But as far as pushing toward a real interactive story — in a real story, you don’t just give everyone commands, right? — that was an issue. We worked on some of those issues for quite a while before we realized that we just weren’t getting anywhere. It was hard to know where to go with it, what was going to be the interesting part of it. Or were you turning it into a simulation, a world you can wander around in but not much happens? I always kind of hit a wall trying to move forward there.

So we said, okay, there are new [literary] genres. So then we had Amy doing Plundered Hearts, Jeff doing Nord and Bert, etc. We don’t know what the next step is technically, so instead we’re going to just kind of mess with the format. So we’ll do a satire and a pulp romance and a horror story. But there was a real issue of creative burnout. You’ve done all these things. Do you just keep doing them? Where does it go? Where does it lead? By the time Infocom closed down, I think it’s fair to say that it wasn’t obvious. I got the sense that some of the games were just an excuse to try something else: “I don’t know what to do, let’s try this.”

To some extent, Lebling and especially Blank fall victim here to their need, being technologists at heart, to always measure the progress of the medium of the text adventure in technological terms. No one declares the novel to be a dead form because the technology of printed text hasn’t advanced in hundreds of years. As many of my earlier articles attest, I see immense value in many of the literary experiments of Infocom’s later years that Blank is a bit too eager to dismiss.

I see evidence in Lebling and Blank’s comments of two creatively exhausted people rather than a creatively exhausted medium. I suspect that the group of people who made up Infocom, brilliant as they were, had taken the art of interactive fiction just about as far as they were personally able to by 1989. The innovations that would follow — and, contrary to both men’s statements above, they most definitely do exist — would largely come out of a very different culture, one free of the commercial pressures that had begun more and more to hamstring Infocom by the end. A work that is to be sold for $30 or more as a boxed computer game has to meet certain requirements, certain player expectations, that often worked at cross-purposes to the medium’s artistic evolution. Must a game require many hours to play? Must a game have puzzles? Can a game feel like a personal testament? Is an interactive-fiction game necessarily a game at all? To paraphrase that famous old Electronic Arts advertisement, can a work of interactive fiction make you cry? These were questions that Infocom — especially but not exclusively an Infocom under Mediagenic, laser-focused as the latter was on delivering conventional hit games — wasn’t in any position to further explore. The medium’s creative future would have to be left to the amateurs.

If we begin to see Infocom as, rather than a beautiful thing that was strangled far too soon, a beautiful thing that simply ran its course, we might just begin to upend the narrative of tragedy that surrounds the legendary company to this day. Among many fans of text adventures today, there’s still a marked tendency to look back on the heyday of Infocom and the commercial text adventure in general as the pivotal era in the medium’s history, a lost golden age that ended far too soon. That’s understandable on one level. This brief era marks the only period in history when it was realistically conceivable to make a living authoring text adventures, a career that plenty of hardcore fans would rate as their absolute first choice in careers out of all of them. We’ve thus seen the tragic version of the medium’s history repeated again and again for far longer than the alleged golden age actually lasted. Ironically, we tend to see it especially in those summations of interactive fiction and its history that try to reach beyond the insular community of present-day enthusiasts to serve as introductions for the uninitiated. Such articles almost always begin with Infocom, proceed to dwell at length on those glory days gone by, then mention the modern community — “but wait, interactive fiction isn’t dead!” — in a way that inevitably smacks of a lingering population of diehards. It seems rather a shabby way to frame the history of a living literary form, doesn’t it? Perhaps we can learn to do better.

In his 2007 PhD thesis on interactive fiction, Jeremy Douglass proposed recasting the commercial era as “an important anomaly, a brief big-business deviation from the otherwise constant association of the IF genre with individual authors each networked into a kind of literary salon culture.” This was what interactive fiction largely was before Infocom, and what it became again after them. Seeing the medium’s history in this way doesn’t mean minimizing the accomplishments of Infocom, whose 35-game canon deserves always to be regarded as the text adventure’s version of The Complete Works of William Shakespeare, the wellspring and constant source of inspiration for everything that followed. It does, however, mean recognizing that, in terms of great games that delight and amuse and tantalize and sometimes move their players, the text adventure was really just getting started even as Infocom died. Because this blog has long since begun to reach readers from well outside the interactive-fiction community from which it first sprang, I’m going to guess that some of you may have little experience with what came after Infocom. It’s for those readers among you especially that I plan to cover what came next with the same care I lavished on Infocom’s history. So, never fear. I plan to spend a lot more time praising the humble text adventure in the time to come, and I’m far from ready to bury it alongside Infocom.

(Sources: As usual with my Infocom articles, much of this one is drawn from the full Get Lamp interview archives which Jason Scott so kindly shared with me. Some of it is also drawn from Jason’s “Infocom Cabinet” of vintage documents. Periodical sources include Computer Gaming World of September 1989; The Boston Globe Magazine of May 22 1989; Questbusters of July 1989; The Games Machine of October 1989, December 1989, and July 1990. See also Adventure Classic Gaming’s interview with Dave Lebling and Jeremy Douglass’s PhD thesis. And my huge thanks go out to Bob Bates, who granted me an extended interview about his work with Infocom.)

Footnotes

Footnotes
1 Mediagenic was known as Activision until mid-1988. To avoid confusion, I just stick with the name “Mediagenic” in this article.
 

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Arthur: The Quest for Excalibur

Arthur

And so at last, twelve years after a group of MIT hackers had started working on a game to best Crowther and Woods’s original Adventure, it all came down to Arthur: The Quest for Excalibur, Infocom’s 35th and final work of interactive fiction. Somewhat ironically, this era-ending game wasn’t written by one of Infocom’s own long-serving Imps, but rather by the relatively fresh and inexperienced Bob Bates and his company Challenge, Incorporated, for whom Arthur represented only their second game. On the other hand, though, Bates and Challenge did already have some experience with era-ending games. Their previous effort, Sherlock: The Riddle of the Crown Jewels, had been the last text-only Infocom game to be published. As Bates’s buddy Steve Meretzky delights in saying, it’s lucky that Challenge would never get the chance to make a third game. What with them having already “single-handedly killed” the all-text Infocom game with Sherlock and then Infocom as a whole with Arthur, a third Challenge game “probably would have killed the entire computer-game industry.” We kid, Bob, we kid.

The story of Arthur‘s birth is the story of one of the few things to go according to plan through the chaos of Infocom’s final couple of years. When he’d first pitched the idea of Challenge becoming Infocom’s first outside developer back in 1986, Bates had sealed the deal with his plan for his first three games: a Sherlock Holmes game, a King Arthur game, and a Robin Hood game, in that order. Each was a universally recognizable character from fiction or myth who also had the advantage of being out of copyright. The games would amount to licensed works — always music to corporate parent Mediagenic’s [1]Mediagenic was known as Activision until mid-1988. To avoid confusion, I just stick with the name “Mediagenic” in this article. ears — which didn’t require that anyone actually, you know, negotiate or pay for a license. It seemed truly the best of both worlds. And indeed, after Bates finished the Sherlock Holmes game, to very good creative if somewhat more mixed commercial results, his original plan still seemed strong enough that he was allowed to proceed to phase two and do his King Arthur game.

He chose to make his game the superhero origin story, if you will, of the once and future king: his boyhood trials leading up to his pulling the sword Excalibur from the stone in which it’s been embedded, thereby proving himself the rightful king of England. That last act would, naturally, constitute the climax of the game. In confining himself to the very beginning of the story of King Arthur, Bates left open the possibility for sequels should the game be successful — another move calculated to warm hearts inside Mediagenic’s offices, whose emerging business model in the wake of the Bruce Davis takeover revolved largely around sequels and licenses.

From the perspective of Challenge, Arthur was created the same way as had been Sherlock, from their offices in suburban Virginia as an all-text game, using a cloned version of Infocom’s DEC-hosted development environment that ran on their own local DEC minicomputer. But after Challenge had delivered their game to Infocom this time around, it went through a lengthy post-production period in the latter’s Cambridge, Massachusetts, offices, during which it was moved to Infocom’s new Macintosh-hosted development environment, then married to graphics created by a team of artists. Due at least to some extent to the nature of its development process, Arthur can be seen as a less ambitious game than any of the three works of graphical interactive fiction that preceded it. Its pictures were used only as ultimately superfluous eye candy, static illustrations of each location without even the innovative scrolling page design of Shogun. A few niceties like an onscreen map and an in-game hint menu aside, this was graphical interactive fiction as companies like Level 9 and Magnetic Scrolls had been doing it for years, the graphics plainly secondary to the very traditional text adventure at the game’s core.

Created by a team of several outside contractors, Arthur's pictures are perhaps best described as workmanlike in comparison to the lusher graphics of Shogun and especially Journey.

Created by a team of several outside contractors, Arthur‘s pictures are perhaps best described as “workmanlike” in comparison to the lusher graphics of Shogun and especially Journey.

Far from faulting Arthur for its lack of ambition, many fans then as well as now saw the game’s traditionalism as something of a relief after the overambitious and/or commercially compromised games that had preceded it. Infocom knew very well how to make this sort of game, the very sort on which they’d built their reputation. Doubtless for that reason, Arthur acquits itself quite well in comparison to its immediate predecessors. It’s certainly far more playable than any of Infocom’s other muddled final efforts, lacking any of their various ruinous failings or, for that matter, any truly ruinous failings of its own.

That said, the critical verdict becomes less positive as soon as we widen the field of competition to include Infocom’s catalog as a whole. In comparison to many of the games Infocom had been making just a couple of years prior to Arthur, the latter has an awful lot of niggling failings, enough so that in the final judgment it qualifies at best only as one of their more middling efforts.

A certain cognitive dissonance is woven through every aspect of Arthur. In his detailed and thoughtful designer’s notes for the game, which are sadly hidden inside the hint menu where many conscientious players likely never realized they existed, Bates notes that “there is an inherent conflict built into writing a game about King Arthur. It is the conflict between history and legend — the way things were versus the way we wish they were.” Bates took the unusual course of “cleaving to the true Arthur,” the king of post-Roman Britain who may have reigned between 454 and 470, when the island was already sliding into the long Dark Ages. He modeled the town in which the game is set on the ancient Roman British settlement of Portchester, just northwest of Portsmouth, which by the time of the historical Arthur would likely have been a jumble of new dwellings made out of timber and thatch built in the shadow of the decaying stonework left behind by the Romans. A shabby environment fitting just this description, then, becomes the scene of the game. Bates invested considerable research into making the lovely Book of Hours included with the game as reflective of the real monastical divine office of the period as possible. And he even wrote some snippets of poetry in the Old English style, based on alliteration rather than rhyme. I must say that this approach strikes me as somewhat problematic on its face. It seems to me that very few people pick up an Arthurian adventure game dreaming of reenacting the life and times of a grubby Dark Ages warlord; they want crenelated castles and pomp and pageantry, jousts and chivalry and courtly love.

But far more problematically, having made his decision, Bates then failed to stick to it. For instance, he decided that jousting, first anachronistically imposed upon the real Arthur many centuries after his death, had to be in his own more historically conscientious version of the story “to make the game more enjoyable.” The central mechanic to much of the gameplay, that of being able to turn yourself into various animals, is lifted from a twentieth-century work, T.H. White’s The Sword in the Stone, as is the game’s characterization of Arthur as a put-upon boy. Other anachronisms have more to do with Monty Python than written literature, like the village idiot who sings about his “schizophrenia” and the kraken who says he “floats like a butterfly, stings like a bee.” I should say that I don’t object to such a pastiche on principle. Writers who play in the world of King Arthur have always, as Bates himself puts it, “projected then-current styles, fashions, and culture backwards across the centuries and fastened them to Arthur.” Far from being objectionable, this is the sign of a myth that truly lives, that has relevance down through the ages; it’s exactly what great writers from Geoffrey of Monmouth to Thomas Malory, T.H. White to Mary Stewart have always done. The myth of King Arthur will always be far more compelling than the historical reality, whatever it may be. What I object to is the way that Bates gums up the works by blending his pseudo-historical approach with the grander traditions of myth and fiction. The contrast between the Arthur of history and the Arthur of imagination makes the game feel like a community-theater production that spent all its money on a few good props — for instance, for the jousts — and can’t afford a proper stage. Far from feeling faithful to history, the shabby timber-and-thatch environs of his would-be Portchester just feel low-rent.

A similar cognitive dissonance afflicts the game and puzzle design. In some ways, Arthur is very progressive, as feels appropriate for the very last Infocom text adventure, presumably the culmination of everything they’d learned. For the first time here, the hint menu is context-sensitive, opening up new categories of questions only after you encounter those puzzles for the first time. (It’s also integrated into the structure of the story in a very clever way, taking the form of Merlin’s future-scrying crystal ball.) The auto-map is useful if not quite as useful as Infocom’s marketing might have liked it to be, and for the first time here the new parser, rewritten from the ground up for this final run of graphical games, does sometimes evince a practical qualitative difference from the old. In these respects and others, Arthur represents the state of the art in text adventures as of 1989.

In other ways, however, Arthur is profoundly old-school, not to say regressive. There is, for instance, an unadulteratedly traditional maze in here, the first such seen in an Infocom game since Zork I‘s “maze of twisty little passages, all alike.” There is a trick to figure out at the beginning of the one in Arthur — the old drop ‘n’ plot isn’t possible, necessitating the finding of another method for distinguishing one room from another — but after that moment of inspiration you can look forward to the tedious perspiration of plotting out ten rooms and the hundred separate connections that bind them. How odd to think that the only Infocom games to include traditional mazes were their very first and their very last. And while we’re on the subject of Zork I, I should mention that there’s a thief character of sorts in Arthur who’s every bit as annoying as his shifty progenitor. When you first wander innocently into his domain, he steals all your stuff with no warning. (Thankfully, undo is among the game’s modern conveniences.) But perhaps the best illustration of Arthur‘s weird mixing of new- and old-school is the magic bag you find in Merlin’s cave. It can hold an infinite amount of stuff, thus relieving you of the object-juggling so endemic to so many early text adventures from Infocom and others. Unfortunately, though, the bag is stuck behind the domain of the aforementioned thief, who steals it as soon as you try to walk out with it. Thus this huge convenience is kept out of your hands for what may for many players — Arthur is quite nonlinear — amount to the bulk of the game. Progression and regression, all in one would-be handy bag of holding.

In marrying its puzzles to its plot, Arthur is once again best described as confused. Instead of a single score, Arthur has four separate tallies, measuring how “wise and chivalrous,” “strong and courageous” you’ve so far become. In common with a number of late Infocom games, there’s a slight CRPG element at play here: your scores actually affect your ability to perform certain actions. The goal, naturally, is to “gain the experience you need to claim the sword,” in the course of which you “must demonstrate them [your knightly virtues] for all to see.” So, when it comes down to the final climactic duel with King Lot, the villain of the game, what do you do? You distract him and sucker-punch him, that’s what. How’s that for chivalry?

Arthur

Before wrapping up my litany of complaints, I do have to also mention a low-level bugginess that’s not awful by the standards of the industry at large but is quite surprising to find in an Infocom game. The bugs seem to largely fall into the category of glitches rather than showstoppers: if you immediately wear some armor you’ve just discovered instead of picking it up first and then wearing it, you don’t get the points you’re supposed to; another character who normally won’t follow you into a certain location will suddenly do so if you lead him in animal form, which allows you to bypass a puzzle; etc. Relatively minor as such glitches may appear on their face, Arthur‘s CRPG-like qualities make them potentially deadly nevertheless. Because your success at certain necessary actions is dependent on your score, the points you fail to earn thanks to the bugs could make victory impossible.

Scorpia, Computer Gaming World‘s influential adventure-game columnist, called Arthur nothing less than “Infocom’s most poorly produced game ever,” labeling the disk-swapping required by the Apple II version “simply outrageous”: “When you have to change disks because part of a paragraph is on one, and the rest on another, you know something is wrong with the design. This is also sometimes necessary within a single sentence.” These problems made the much-vaunted auto-map feature essentially unusable on the Apple II, requiring as that version did a disk swap almost every time you wanted to take a peek at the map. Granted, the Apple II was by this point the weak sister among the machines Infocom continued to support, the only remaining 8-bit in the stable — but still, it’s hard to imagine the Infocom of two or three years before allowing an experience as unpolished as this into the wild on any platform.

During Arthur‘s lengthy post-production period, Bates already turned his mind to his next project. It was here that that surprisingly durable original plan of his finally fell victim to the chaos and uncertainty surrounding Infocom in these final months. Still searching desperately for that magic bullet that would yield a hit, Infocom and Mediagenic decided they didn’t feel all that confident after all that the Robin Hood game would provide it. Bates delivered a number of alternative proposals, including a sequel to Leather Goddesses of Phobos and a game based on The Wizard of Oz — yet another licensed game that wouldn’t actually require a license thanks to an expired copyright. Most intriguingly, or at least amusingly, he proposed a mash-up of the two ideas, a Wizard of Oz with “more suggestive language, racier insinuations, and a sub-stratum of sex running throughout. We could substitute a whip for the striped socks and dress Dorothy in leather.” History doesn’t record what Mediagenic’s executives said to that transgressive idea.

In the end, Bates had his next project chosen for him. In a development they trumpeted in inter-office memoranda as a major coup, Mediagenic had secured the rights to The Abyss, the upcoming summer blockbuster from James Cameron of Terminator and Aliens fame. This time Bates drew the short straw for this latest Mediagenic-imposed project that no one at Infocom particularly wanted to do. He was provided with a top-secret signed and numbered copy of the shooting script, and dispatched to Gaffney, South Carolina, where filming for the underwater action-epic was taking place inside the reactor-containment vessel of a nuclear power plant which had been abandoned midway through its construction. After meeting briefly there with Cameron himself, he returned to Virginia to purchase an expensive set of Macintosh IIs through which to clone Infocom’s latest development system. (With Infocom’s DEC system being decommissioned and sent to the scrapyard at the end of 1988, he now didn’t have any other choice but to adapt Challenge’s own technology to the changing times.) The beginning of the Abyss game he started on his new machines, a bare stub of a thing with no graphics and little gameplay, would later escape into the wild; it’s been passed around among fans for many years.

But events which I’ll document in my next article would ensure that the interactive Abyss would never become more than a stub and that the money spent on all that new equipment would be wasted. Bob Bates’s Infocom legacy would be limited to just two games, the first a very satisfying play, the second a little less so. Lest we be tempted to judge him too harshly for Arthur‘s various infelicities, we should note again that the three most prolific Imps of all — Steve Meretzky, Dave Lebling, and Marc Blank — had all delivered designs that failed far more comprehensively in the months immediately preceding the release of Bates’s effort, Infocom as a whole’s last gasp, in June of 1989. By the time of its release, Arthur was already a lame duck; the Infocom we’ve come to know through the past four and a half years worth of articles on this blog was in the final stages of official dissolution. With its anticlimactic release having been more a product of institutional inertia than any real enthusiasm for the game on Mediagenic’s part, Arthur‘s sales barely registered.

So, it remains for us only to tell how the final curtain (shroud?) came to be drawn over the short, happy, inspiring, infuriating life of Infocom. And, perhaps more importantly, we should also take one final glance back, to ask ourselves what we know, what we’ve recently learned, and what will always remain in the realm of speculation when it comes to this most beloved, influential, and unique of 1980s game-makers. We’ll endeavor to do all that next time, when we’ll visit Infocom for the last time.

(Sources: As usual with my Infocom articles, much of this one is drawn from the full Get Lamp interview archives which Jason Scott so kindly shared with me. Some of it is also drawn from Jason’s “Infocom Cabinet” of vintage documents. Plus the September 1989 issue of Computer Gaming World, and the very last issue of Infocom’s The Status Line newsletter, from Spring 1989. And my huge thanks go out to Bob Bates, who granted me an extended interview about his work with Infocom.)

Footnotes

Footnotes
1 Mediagenic was known as Activision until mid-1988. To avoid confusion, I just stick with the name “Mediagenic” in this article.
 

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