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The Roots of Sir-tech

The story of Sir-tech, the software publisher that brought the Wizardry franchise to the world, is inseparable from the story of the family that founded it. To properly trace the company’s roots, we have to go to a time and place far removed from the dawning American microcomputer industry: to Czechoslovakia during the interwar period. Appropriately enough, a castle figures prominently.

Czechoslovakia was patched together from scraps of the Austro-Hungarian Empire at the end of World War I. Composed of three separate and not always friendly ethnolinguistic groups — Czechs, Slovaks, and Germans — the new country had a somewhat fractious start. Within a few years, however, things stabilized nicely, and there followed an all-too-brief happy time in the country’s short and generally vexed history. Having inherited much of the old Austro-Hungarian Empire’s industrial heartland and being possessed of an unusually well-educated population, Czechoslovakia became one of the top ten economies in the world. With business booming, a prosperous populace eager to buy homes, and a burgeoning national reputation for innovative architecture, it was a good time to be a talented and industrious Czech builder. That’s exactly what Bedrich Sirotek was, and he prospered accordingly.

The good times ended for Czechoslovakia in 1938 with the Munich Agreement, in which the country’s alleged allies conspired with Nazi Germany to strip it of its border defenses, of 3.5 million of its citizens, of many of its most valuable natural resources, and of its dignity as a sovereign nation. Sirotek was as proud a Czech as anyone, but he was also a pragmatic businessman. The uncertainty — in some sectors, verging on panic — that followed the loss of the Sudetenland led to a drastic decline in property values. Sirotek started methodically buying up land, hedging against the time when peace and prosperity would return again. Sadly, that would be a long, long time in coming for Czechoslovakia.

One of the properties Sirotek bought was special: a 12th-century Romanesque castle in the village of Stráž nad Nežárkou. It had sat empty for almost a decade following the death of its previous owner, the ill-starred opera diva Emmy Destinn, who in her time had sung with the likes of Enrico Caruso. Decrepit as it was, Sirotek envisioned the castle as the perfect seat of the business dynasty he was building. He moved in right away with his wife, son, and daughter, and started making renovation plans. But within weeks the Germans arrived to gobble up the rest of the helpless country. Sirotek’s son, Bedrich Jr., describes the scene:

“Aside from a garage door falling on me when I was 7 in Smichov, my first real memory is as a 9-year-old boy on March 15, 1939. My sister Miluska and I started out to school, but the streetcars weren’t running and there were strange-looking guys in strange-looking uniforms and strange-looking vehicles driving on the wrong side of the street. [Prewar Czechoslovakia used to have British-style left-hand driving until it became a “protectorate” of right-driving Nazi Germany.] So we went home and found my father listening to the radio. And he took us both aside and said: ‘Now hear this. The Germans have arrived. From here on out, nothing you hear in the family gets repeated.'”

Sirotek’s family continued living in the castle, which he strove to make as livable as he could given the privations of life under the Nazis. Sirotek himself, however, spent much of his time in Prague, where he became heavily involved with the resistance. On several occasions the Gestapo seemed on to him and the game seemed to be up, but, unlike virtually all of Czechoslovakia’s Jewish population, Sirotek was lucky. He survived to see the country liberated by the Soviets.

For a time it looked like Czechoslovakia might be allowed to become again the happy, prosperous little country it had been before the war, as the Soviets stepped back and allowed the people to conduct elections and form a new republic. Sirotek returned to his business interests with gusto, and finally began the extensive renovations of the family castle he had been planning to do so many years before. Bedrich Jr. names his happiest memory there as his sister’s wedding on New Year’s Eve, 1947, when he was 17. But less than two months later, the Czech Communist Party, with the encouragement and support of the Soviets, executed a coup d’état to seize absolute control of the country. Sirotek, well known for his opposition to the Communists, was in danger once again. I’ll let Bedrich Jr. tell the rest of the story, which reads like an episode from a John Le Carré novel:

One weekend soon after the commies seized power, my dad got a call from his bank manager, who’d joined the party to protect himself – and, I guess, his clients. He said: ‘Mr. Sirotek, I’d advise you to leave before dawn on Monday because that’s when they’re coming to pick you up.’ So we loaded up our Tatra and headed out to Frantiskovy Lazne, the spa nearest the West German border. My dad still had contacts from his underground days and had been negotiating with a people-smuggler even before he got the warning.

“We checked into a good hotel and, a day or two later, my mother and father and sister and I got our marching orders to go to a station nearer the frontier; my sister’s husband was already in Geneva on business.

“The smuggler wasn’t there to meet our train. It was market day, so my mother and sister just melted into the crowd of women going to shop. But my father and I stood out like sore thumbs in that closely watched station, so some cops took us in to meet the chief of police himself.

“The chief asked what we were there for, and my father said we wanted to look at the local carpet factory. But he advised us it had been closed for several years. Now he asked if we had any weapons. My father reached into his pocket and came up with a .45-caliber revolver. The chief emptied the bullets and pocketed them. Then he asked my father if he had a permit. Dad produced one.

“The chief was very polite. ‘But, Mr. Sirotek,’ he said. ‘This permit is for a .38, not a .45. Do you happen to have the .38 with you?’

“My father reached into his other pocket and produced the .38. I thought for sure we would leave that room only in handcuffs. But the chief then called our hotel to verify whether we were registered there and had we checked out? We hadn’t – and the manager told him, wrongly, that my mother and sister were still there. So the chief said: ‘Mr. Sirotek, I’m going to keep your weapons. There’s a train back to your family in an hour and I want you both to be on it.’

“We said we would and then headed for the town pub, where my mother and sister and the smuggler were waiting and worrying. By train time, we were hiding in an unused chicken coop, waiting for darkness. It was right on the Iron Curtain; we could hear the guards talking and sometimes there were gunshots. But that night we walked out of the lion’s cage and clear of the zoo.”

The Sirotek family arrived in Canada with little more than the proverbial clothes on their backs; their entire fortune, castle included, was left to the Communists back in Czechoslovakia. Undaunted, Sirotek started over. Both he and his son changed their first names to the more English-friendly Frederick, and by 1951 they had formed their own home-building business. Once again they were on hand for a great economic moment, the prosperity of the 1950s in which a generation of ex-soldiers found good jobs, married, and started buying houses. The company moved on from home-building to gas stations to major commercial projects all over eastern Canada and the northeastern United States, including such prestige projects as a wind tunnel for Ottawa Airport and a linear accelerator and ion lab for the Canadian National Research Council. Frederick Jr., now married and with three children of his own, took over complete control of the family’s numerous business concerns after his father died in 1974.

Those concerns had by this point diversified far beyond construction. The family had, for example, for many years owned a factory manufacturing those little souvenir spoons sold in gift shops. During the mid-1970s, Sirotek became aware of a small industrial-resin manufacturer in Ogdensburg, New York, looking for an outside partner to invest. The owner of the company was a woman named Janice Woodhead, a British émigré to the United States by way of Canada. The husband with whom she had founded the business had recently died, and she needed a partner to continue. Sirotek, who saw an opportunity to acquire the resin his spoon-factory needed at a much cheaper price, signed on.

The partnership eased one link in his chain of supply, but there was still a problem further up the line. The base of the resin manufactured by Woodhead’s company was ordinary sand. That might seem a cheap and plentiful commodity, but this wasn’t generally the case. Prices for the stuff kept changing from week to week, largely in response to changing railroad-shipping rates. Every time that happened, Woodhead would have to recalculate by hand manufacturing costs and pricing. Sirotek didn’t really know anything about computers, but he did know enough to wonder aloud one day whether it might not be possible to program one to do all of this for them, and to do it much more quickly.

As it happened, Janice had a son named Robert who knew a thing or two about computers. Robert was attending Cornell University, allegedly majoring in psychology, but making very slow progress. The reason: Janice had been unwise enough to send Robert to a university on the PLATO network. Like an alarming number of other students, Robert became totally and helplessly addicted, cutting classes and neglecting his assignments in favor of endless hours of online socializing, games, and hacking. As he later said, “PLATO was like crack for computer nerds.” To make the situation even worse, Robert had recently acquired another dangerously addictive device: a TRS-80. Robert had already begun an alternate career in computers, working in a Computerland, programming business applications on contract, even making programs for his own university’s School of Hotel Administration.

At Janice’s suggestion, Sirotek talked to Robert about their problem. Robert’s programming resume and immediately positive response impressed him enough that Sirotek went out and paid $7000 for a top-of-the-line Apple II system to be shared by the two companies. Robert made the program as promised. As a bonus, he also implemented a mailing-list database to help the spoon manufacturer stay in contact with its suppliers and distributors. Wonderful, money well spent, time to move on, etc. Except now the wheels were beginning to turn in Sirotek’s head. His family hadn’t gotten to where it was without a keen business instinct and a nose for opportunity. Certainly lots of other businesses must have similar software needs, and Robert was a smart, personable kid he felt happy to help. As an experiment, they polished up the in-house mailing-list program, named it Info-Tree, and put some packaging together. They agreed that Robert would take the $7000 Apple II system along with the program to the Trenton Computer Festival of April 1979. (The keynote that year was delivered by Wayne Green, and had the perfect theme: “Remarkable Opportunities for Hobbyists.”)

But there was a problem: Sirotek wasn’t willing to ship his expensive computer by air, and Robert didn’t drive. Sirotek therefore decided to ask one of his sons, Norman, if he would be willing to drive Robert out to New Jersey for the show. At the time, Norman was having a bit of trouble deciding what he wanted for his life. After high school he’d enrolled in a business-management program at Clarkson College, only to decide it wasn’t for him after two years. He’d tried engineering for a time, but dropped out of that program as well. Recently he’d been managing construction jobs for his father’s companies while taking some engineering-drafting courses on the side. Norman had no particular interest in computers, and wasn’t thrilled about spending a weekend at a trade show for the things. However, his father was able to convince him by mentioning that Trenton was very close to the casinos and nightlife of Atlantic City.

Norman did spend some time that weekend in Atlantic City, but he also spent much more time than expected with Robert at the show. In fact, he was fascinated by what he saw there. On the drive home, he proposed to Robert that they officially go into the software business together: he would market the programs using his family’s wealth and connections, and Robert would write them. “Siro-tech” Software was born. The proposal came at a perfect time for Robert, who had just been suspended from university for a full year due to his poor grades.

The senior Sirotek officially took the role of president of the new company, but was happy to largely let the young men run with their ideas on their own, figuring the venture would if nothing else make a good learning experience:

“It was a good starter for the boys, learning from the ground up,” Fred Sirotek observes. “Neither Robert Woodhead nor Norman had too much business experience. I guess they both had some credits from the university on the subject, but in terms of hands-on experience they didn’t have any. So Norman would come to me for help — you know, ‘What do I do with this, Dad?’ I’d either produce a suggestion or direct him to what he needed.”

Robert and Norman had a long discussion about what they should do for their second product, after Info-Tree. Robert told Norman that — as if it hadn’t been obvious from the software on display at the show — games were hot. And they certainly sounded a lot more fun to write and market than business software. Norman was not, however, initially thrilled with the idea of selling games:

“I remember late one evening telling Bob Woodhead to forget the new game and put his efforts into something worthwhile, like a business package. I said nobody needs or wants the game. Bob looked straight at me and said I was wrong and went back to work.”

And so, over Norman’s mild objections, the die was cast. Siro-tech would try to make its name as a games publisher.

One of the most popular games on PLATO at the time (and one of the system’s legendary titles even today) was a space wargame called Empire. It’s a game we’ve brushed up against before on this blog: Silas Warner helped its designer, John Daleske, with its early development, and later developed a variant of his own. Robert believed it would be possible to write a somewhat stripped-down version of the game for the Apple II. Progress was slow at first, but after a few months Robert bought the brand-new Apple Pascal and fell in love with it. He designed and programmed Galactic Attack in Pascal during the latter half of 1979. Demonstrating that blissful ignorance of copyright that marked the early software industry, he not only swiped the design pretty much whole-cloth from Daleske but made his alien enemies the Kzinti, a warlike race from Larry Niven’s Known Space books.

The game was complete, but now the would-be company had a problem, a big one: they had no way to release it. Apple had promised upon the release of Apple Pascal that a “run-time system” — a way to allow ordinary Apple IIs without the Apple Pascal software or the language card to run programs written in Pascal — would be coming shortly. (The run-time system would be, in other words, a standalone P-Machine interpreter.) Robert had taken them at their word, figuring the run-time would be available by the time Galactic Attack was ready. Now it was, and the run-time wasn’t. Apple continued to promise that it was in the works, but for now Siro-tech was stuck with a game they couldn’t distribute. All they could do was wait, pester Apple from time to time, and have faith. Luckily, the deep pockets of the Sirotek family gave them that luxury. In fact, they showed quite a lot of faith: Robert was such a fan of Pascal that, in spite of all the uncertainty, he plunged into a new Pascal project even as Galactic Attack sat on the shelf. This one would be bigger, more ambitious, and more original. We’ll see where that led next time.

But before we do that, know that the Sirotek family did eventually get their castle back. It was officially returned to Frederick by the Czech government as part of its restitution for the Communist years in the early 1990s.

(In addition to the links imbedded above, this article is based heavily upon articles in the March 1982 Softline, August 1982 Softalk, and December 1992 Computer Gaming World.)

 
 

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Pascal and the P-Machine

Working with a small team of assistants, Niklaus Wirth designed Pascal between 1968 and 1970 at the Swiss Federal Institute of Technology in Zürich. His specification was implemented for the first time on the university’s CDC Cyber mainframe in mid-1970, and the system was finally considered complete and robust enough to introduce in beginning programming classes there in 1972. With his language essentially complete and with a working proof of concept in daily use, Wirth now shifted roles, from design and implementation to the equally daunting task of convincing computer-science departments around the world to give up their old languages and give his new one a shot. Like the PC industry of a decade later, the world of institutional computing was full of incompatible systems that often had trouble even exchanging data, much less programs. And yet Pascal needed to be available on all or most of these machines — or at least the ones commonly chosen by computer-science departments for pedagogical use — to have a chance of realizing Wirth’s goal of Pascal serving as an antidote to the deadly virus of BASIC. Porting the compiler by hand to all of those disparate architectures looked to be a daunting task indeed.

Wirth’s next epiphany should sound familiar if you read my earlier posts about Infocom: working closely with a graduate student, Urs Amman, he created a virtual machine, named the P-Machine, that could be hosted on all of these physical machines. They rewrote the Pascal compiler to output P-Code that could run under the P-Machine, just as Infocom later did in designing ZIL and the Z-Machine. (That’s of course no big surprise, as the P-Machine was the inspiration for the Z-Machine. If you’ve been reading these posts chronologically, I’m afraid we’ve rather put the cart before the horse.) Wirth, however, went one step further: he rewrote the Pascal compiler and other development tools themselves in P-Code, thus completing the circle. Once a P-Machine interpreter was written for any given platform, that platform could not only run the whole universe of already extant Pascal software, but also run the compiler, allowing users to create more software that could not only run on that platform but on all others for which P-Machine interpreters had been written. Similarly, updates to Pascal could be made instantly available on every platform hosting the language. Neat trick, no?

Beginning in 1973, Wirth began offering a “P-Kit” to anyone who wanted one. It consisted of the P-Code Pascal compiler and the source code, itself written in Pascal, for a P-Machine interpreter. The recipient need only (?) translate this source into a program runnable on their platform, working in assembly or some other high-level language, to get a complete Pascal environment up and running. To further encourage as many implementations as possible, Wirth published the specifications for the P-Machine in his book Algorithms + Data Structures = Programs, published in German in 1975 and in English the following year. The P-Machine did its job. By the mid-1970s universities were increasingly adapting Pascal as their standard beginning pedagogical language in lieu of comparative dinosaurs like BASIC and FORTRAN.

Meanwhile, the PC revolution was beginning, a development of which Wirth remained virtually unaware. He was after all firmly entrenched in the established institutional computing culture, and, further, he was working from Europe, where microcomputer technology was oddly slow in arriving. It would therefore be someone else, Ken Bowles of the University of California San Diego, who would spearhead a drive to bring Pascal and the P-Machine to microcomputers.

Bowles was an angry, frustrated man when he received his P-Kit in 1974. A devotee of interactive, time-shared computing over the old batch-processing model, Bowles had ascended to director of UCSD’s computer center in 1968. One of his first actions had been to replace the mainframe at the core of the center, an aged, batch-processing-bound Control Data system, with a state-of-the-art Burroughs capable of timesharing. Incredibly, however, Bowles got word from a lecturing stint in Oxford, England, in mid-1974 that the university’s administrators had decided, without even consulting him, to replace the Burroughs system with another big, traditional, batch-processing IBM mainframe. Even better, he got this news not from the university but from contacts at Burroughs, who contacted him asking why UCSD was pulling its contract. Bowles resigned his position as director in protest, going back to being just an ordinary professor, but could only watch helplessly as the trucks arrived to cart away the Burroughs system that had been essential to much of the research of him and his students. Worse, his programming classes would now have to be taught in the old way once again: instead of being able to write a program, compile it, and instantly see the result, students would have to type it out onto punched cards, deliver it to the computer center, then return the next day — if they were lucky — to see if it had actually worked. And rinse and repeat, ad nauseum.

Bowles saw the P-Kit as a possible solution to his woes, a chance to get a proper development environment back into the hands of his students. He would let the administrators have their mainframe, and try to get Pascal running on smaller, cheaper machines. Unlike his colleague in Switzerland, Bowles could even in 1974 see where the new generation of microchip technology was leading; he realized that desktop computers were on the horizon. While he would initially implement his P-Machine on a PDP-11 minicomputer, he could already envision the day when every student would have her own private computer to program. Thus the portability of the P-Machine was key to his project.

By mid-1976, Bowles and a small group of students had already come a long way, with a working PDP-11 Pascal environment that they had begun using to teach introduction-to-programming classes. (It replaced, not without controversy from traditionalists, the older FORTRAN-based curriculum.) And they had not just created a clone of Wirth’s compiler but had gone far beyond it. They had expanded greatly upon Wirth’s relatively stripped-down language, adding everyday conveniences such as better string handling and easier file access. Around it they had built what amounted to an entire Pascal operating system, all running in virtualized P-Code, similar to the interactive BASIC environments of the time but better; the text editor, for instance, was something of a marvel for its time. When UCSD Pascal began to spread, their tinkering with Pascal raised a fair amount of ire from some quarters, not least from Wirth himself, a pedantic sort who regarded the language in its original form as perfect, with everything it needed and nothing it didn’t. Still, UCSD Pascal would soon supersede Wirth’s own implementation as the standard, most notably inspiring what became the commercial juggernaut Turbo Pascal. And whatever his misgivings at the time, Wirth has since come to acknowledge the enormous role UCSD Pascal played in popularizing his design in the PC world.

In July of 1976, Bowles and his students brought their Pascal up for the first time on a microcomputer, a Z80-based system built from a kit. He describes this moment as a “revelation”; all of the software his team had created for the PDP-11 version just worked, immediately, with no changes whatsoever.

Bowles had begun his project to provide a better tool for his students, but it was soon obvious that UCSD Pascal had commercial potential outside the university. The first partnership was with a tiny startup called Terak, who had developed a workstation called the 8510/a that was basically a stripped-down, semi-compatible clone of the PDP-11 minicomputer with added bitmapped graphics capabilities that were stunning for their time. Having been first implemented on a PDP-11, UCSD Pascal was of course a natural fit there. Bowles went on the road with Terak to demonstrate the system, where the programming environment combined with the machine’s display capabilities inspired “gasps of amazement.” Terak machines soon became the standard platforms for running UCSD Pascal at UCSD itself.

The greenest pastures, however, beckoned from the burgeoning PC market. Microcomputer users and programmers were already as early as 1977 trying to reckon with the incompatible machines on the market: the TRS-80, Apple II, and Commodore PET, not to mention the dozens of kit and boutique computers, were all incompatible with one another, fragmenting an already tiny software market. Yes, these machines all ran BASIC, but each hosted a subtly different version of the language, crafted in response to the hardware’s capabilities and the whims of the machine’s manufacturer, enough to guarantee that all but the simplest BASIC programs would need some translation to move from platform to platform.

Every programmer had to deal with this reality, whether by coding in BASIC and translating as necessary (as did the general-purpose magazines, who often published type-in listings footnoted with the changes needed to run the program on platforms X, Y, and Z), developing some sort of portable game engine (as did Scott Adams, Automated Simulations, and Infocom), or just focusing on a single platform and hoping it was enough to sustain a business (as did the Apple II-specific supercoders I mentioned in my last post). The UCSD system offered another solution. Beginning in 1978, Bowles and his students started a quasi-business selling versions of the system for S-100-bus PCs to anyone who asked for one for $15. Those machines, descendents of the original Altair and generally either built from kits or provided by boutique manufacturers, inhabited a somewhat different ecosystem than the friendlier, more mass-market trinity of 1977, being the domain of the hardcore technical set that made up the core of Byte magazine’s readership and, increasingly, business users. (Tellingly, games, which dominated early software on the trinity of 1977, were few and far between on these machines.) For all that, however, there were quite a lot of them out there, and quite lot of their owners were eager to experiment with UCSD Pascal in lieu of their normal operating system of choice, Digital Research’s CP/M.

Bowles first met Steve Jobs and Steve Wozniak at the very West Coast Computer Faire at which they unveiled the Apple II. Jobs was already eying the education market, eager to forge “respectable” ties for Apple, and eager to bring professional-level software to the platform, and so the two men remained in intermittent contact. The relationship was given a boost the following year when Bill Atkinson, a UCSD alum, came to work for Apple. Atkinson, a computer engineer whose word held a great deal of sway with the un-technical Jobs, was greatly enamored of UCSD Pascal, convinced it would be a great booster for the Apple II. Still, that remained a problematic proposition at this point. Although UCSD Pascal had been designed to run on tiny machines in comparison to its inspiration, there were inevitable limits. The system was designed for a machine with at least 64 K of memory. By contrast, the first Apple IIs could be purchased with as little as 4 K, and seldom exceeded 16 K. It was an obvious nonstarter. And so the relationship between Apple and UCSD remained just talk for the moment.

In mid-1979 Apple introduced the dramatically improved Apple II Plus, which generally sold with what was taken at the time as the machine’s maximum possible memory of 48 K; the 6502 CPU used in the Apple II can only address 64 K at one time, of which 16 K was used by the ROM memory that hosted the machine’s BASIC-based operating system. They were getting close, but an Apple II version of UCSD Pascal still seemed out of reach. As it turned out, however, they were close enough that some clever hacking could get the job done.

The UCSD system would by design completely take over the machine. This meant that the 16 K of BASIC ROM would be superfluous when the machine was running the new operating system. Therefore Apple came up with a new expansion card (reason to bless Woz’s insistence on having all those slots again!) containing 16 K of RAM memory. The user could choose whether the CPU addressed this RAM (for running UCSD Pascal), or the standard 16 K of ROM (for running other software). Just like that, they had their 64 K machine.

The USCD Pascal software, renamed to Apple Pascal, was sold as a single package along with this “Language Card” for about $500 from shortly after the arrival of the Apple II Plus. It transformed just about everything about the Apple II; even its disks used their own format, unreadable under the normal Apple II environment. It would not be an exaggeration to say that an Apple II equipped with Apple Pascal was a completely new and different machine from Woz’s original creation, with a personality all its own. The inability to exchange programs and data with users who hadn’t purchased the system was, undeniably, a drawback. On the plus side, however, the user got easily the most advanced development environment available on any microcomputer of this era. Not only did she have access to the Pascal language in lieu of BASIC, but Apple and UCSD worked in quite a lot of extensions to take advantage of the Apple II’s unique bitmapped graphics capabilities, borrowing from the older Terak implementation. I’ll come back to that a couple of posts from now, when I demonstrate a concrete example of Apple Pascal in action. And we’ll start on the story that will lead to that next time.

 
 

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A Tale of Three Languages

If I had to name one winner amongst the thousands of programming languages that have been created over the last 60 years, the obvious choice would be C. Developed by Dennis Ritchie from 1969 as the foundation of the Unix operating system, C remains one of the most commonly used languages even today; the Linux kernel, for example, is implemented in C. Yet that only tells part of the story. Dozens of other languages have borrowed the basic syntax of C while adding bells and whistles of their own. This group includes the most commonly used languages in computing, such as Java, C++, and Perl; quickly growing upstarts like C# and Objective C; and plenty of more esoteric domain-specific languages, like the interactive-fiction development system TADS 3. For a whole generation of programmers, C’s syntax, so cryptic and off-putting to newcomers with its parenthesis, curly braces, and general preference for mathematical symbols in lieu of words, has become a sort of comfort food. “This new language can’t be that bad,” we think. “After all, it’s really just C with…” (“these new things called classes that hold functions as well as variables”; “a bunch of libraries to make text-adventure development easy”; etc.). For obvious reasons, “C-like syntax” always seems to be near the top of the feature list of new languages that have it. (And for those who don’t: congratulations on sticking to your aesthetic guns, but you’ve chosen a much harder road to acceptance. Good luck!)

When we jump back 30 years, however, we find in this domain of computing like in so many others a very different situation. In this time C was the standard language of the fast-growing institutional operating system Unix, but had yet to really escape the Unix ghetto to join the top tier of languages in the computing world at large. Microcomputers boasted only a few experimental and/or stripped-down C compilers, and the language was seldom even granted a mention when magazines like Byte did one of their periodic surveys of the state of programming. The biggest buzz in Byte went instead to Niklaus Wirth’s Pascal, named after the 17th-century scientist, inventor, and philosopher who invented an early mechanical calculating machine. Even after C arrived on PCs in strength, Pascal, pushed along by Borland’s magnificent Turbo Pascal development environment, would compete with and often even overshadow it as the language of choice for serious programmers. Only in the mid-1990s did C finally and definitively win the war and become the inescapable standard we all know today.

While I was researching this post I came across an article by Chip Weems of Oregon State University. I found it kind of fascinating, so much that I’m going to quote from it at some length.

In the early days of the computer industry, the most expensive part of owning a computer was the machine itself. Of all the components in such a machine, the memory was the most costly because of the number of parts it contained. Early computer memories were thus small: 16 K was considered large and 64 K could only be found in supercomputers. All of this meant that programs had to take advantage of what little space was available.

On the other hand, programs had to be written to run as quickly as possible in order to make the most efficient use of the large computers. Of course these two goals almost always contradicted each other, which led to the concept of the speed versus space tradeoff. Programmers were prized for the ability to write tricky, efficient code which took advantage of special idiosyncrasies in the machine. Supercoders were in vogue.

Fortunately, hardware evolved and became less expensive. Large memories and high speed became common features of most systems. Suddenly people discovered that speed and space were no longer important. In fact roles had reversed and hardware had become the least expensive part of owning a computer.

The costliest part of owning a computer today is programming it. With the advent of less expensive hardware, the emphasis has shifted from speed versus space to a new tradeoff: programmer cost versus machine cost. The new goal is to make the most efficient use of a programmer’s time, and program efficiency has become less important — it’s easier to add more hardware.

If you know something about the history of the PC, you’re probably nodding along right now, as we’re seemingly on very familiar ground. If you’re a crotchety old timer, you may even be mulling over a rant about programmers today who solve all their problems just by throwing more hardware at them. (When old programmers talk about the metaphorical equivalent of having to walk both ways uphill in the snow to school every morning, they’re actually pretty much telling the truth…) Early Apple II magazines featured fawning profiles of fast-graphics programming maestros like Nasir Gebelli (so famous everyone just knew him by his first name), Bill Budge, and Ken Williams, the very picture of Weems’s “supercoders” who wrote “tricky, efficient code which took advantage of special idiosyncrasies in the machine.” If no one, including themselves after a few weeks, could quite understand how their programs did their magic, well, so be it. It certainly added to the mystique.

Yet here’s the surprising thing: Weems is not describing PC history at all. In fact, the article predates the fame of the aforementioned three wizards. It appeared in the August, 1978, issue of Byte, and is describing the evolution of programming to that point on the big institutional systems. Which leads us to the realization that the history of the PC is in many ways a repeat of the history of institutional computing. The earliest PCs being far too primitive to support the relatively sophisticated programming languages and operating systems of the institutional world, early microcomputer afficionados were thrown back into a much earlier era, the same that Weems is bidding a not-very-fond farewell to above. Like the punk-rock movement that was exploding just as the trinity of 1977 hit the market, they ripped it up and started again, only here by necessity rather than choice. This explains the reaction, somewhere between bemused contempt and horror, that so many in the institutional world had to the tiny new machines. (Remember the unofficial motto of MIT’s Dynamic Modeling Group: “We hate micros!”) It also explains the fact that I’m constantly forced to go delving into the history of computing on the big machines to explain developments there that belatedly made it to PCs. In fact, I’m going to do that again, and just very quickly look at how institutional programming got to the relatively sophisticated place at which it had arrived by the time the PC entered the scene.

The processor at the heart of any computer can ultimately understand only the most simplistic of instructions. Said instructions, known as “opcodes,” do such things as moving a single number from memory into a register of the processor; or adding a number already stored in a register to another; or putting the result from an operation back into memory. Each opcode is identified by a unique sequence of bits, or on/off switches. Thus the first programmers were literally bit flippers, laboriously entering long sequences of 1s and 0s by hand. (If they were lucky, that is; some early machines could only be programmed by physically rewiring their internals.) Assemblers were soon developed, which allowed programmers to replace 1s and 0s with unique textual identifiers: “STO” to store a number in memory, “ADD” to do the obvious, etc. After writing her program using this system of mnemonics, the programmer just had to pass it through the assembler to generate the 1s and 0s the computer needed. That was certainly an improvement, but still, programming a computer at the processor level is very time consuming. Sure, it’s efficient in that the computer does what you tell it to and only what you tell it to, but it’s also extremely tedious. It’s very difficult to write a program of real complexity from so far down in the weeds, hard to keep track of the forest of what you’re trying to accomplish when surrounded by trees made up of endless low-level STOs and ADDs. And even if you’re a supercoder who’s up to the task, good luck figuring out what you’ve done after you’ve slept on it. And as for others figuring it out… forget about it.

And so people started to develop high-level languages that would let them program at a much greater level of abstraction from the hardware, to focus more on the logic of what they were trying to achieve and less on which byte they’d stuck where 2000 opcodes ago. The first really complete example of such a language arrived in 1954. We’ve actually met it before on this blog: FORTRAN, the language Will Crowther chose to code the original Adventure more than 20 years later. LISP, the ancestor of MIT’s MDL and Infocom’s ZIL, arrived in 1958. COBOL, language of a million dull-but-necessary IBM mainframe business programs, appeared in 1959. And they just kept coming from there, right up until the present.

As the 1960s wore on, increasing numbers of people who were not engineers or programmers were beginning to make use of computers, often logging on to timesharing systems where they could work interactively in lieu of the older batch-processing model, in which the computer was fed some data, did its magic, and output some result at the other end without ever interacting with the user in between. While they certainly represented a huge step above assembly language, the early high-level languages were still somewhat difficult for the novice to pick up. In addition, they were compiled languages, meaning that the programmer wrote and saved them as plain text files, then passed them through another program called a compiler which, much like an assembler, turned them into native code. That was all well and good for the professionals, but what about the students and other amateurs who also deserved a chance to experience the wonder of having a machine do their bidding? For them, a group of computer scientists at Dartmouth University led by John Kemeny and Thomas Kurtz developed the Beginner’s All-Purpose Symbolic Instruction Code: BASIC. It first appeared on Dartmouth’s systems in 1964.

As its name would imply, BASIC was designed to be easy for the beginner to pick up. Another aspect, somewhat less recognized, is that it was designed for the new generation of time-sharing systems: BASIC was interactive. In fact, it wasn’t just a standalone language, but rather a complete computing environment which the would-be programmer logged into. Within this environment, there was no separation between statements used to accomplish something immediately, like LISTing a program or LOADing one, and those used within the program itself. Entering “PRINT ‘JIMMY'” prints “JIMMY” to the screen immediately; put a line number in front of it (“10 PRINT ‘JIMMY'”) and it’s part of a program. BASIC gave the programmer a chance to play. Rather than having to type in and save a complete program, then run it through a compiler hoping she hadn’t made any typos, and finally run the result, she could tinker with a line or two, run her program to see what happened, ad infinitum. Heck, if she wasn’t sure how a given statement worked or whether it was valid, she could just type it in by itself and see what happened. Because BASIC programs were interpreted at run-time rather than compiled beforehand into native code, they necessarily ran much, much slower than programs written in other languages. But still, for the simple experiments BASIC was designed to facilitate that wasn’t really so awful. It’s not like anyone was going to try to program anything all that elaborate in BASIC… was it?

Well, here’s where it all starts to get problematic. For very simple programs, BASIC is pretty straightforward and readable, easy to understand and fun to just play with. Take everybody’s first program:

10 PRINT "JIMMY RULES!"
20 GOTO 10

It’s pretty obvious even to someone who’s never seen a line of code before what that does, it took me about 15 seconds to type it in and run it, and in response I get to watch it fill the screen with my propaganda for as long as I care to look at it. Compared to any other contemporary language, the effort-to-reward ratio is off the charts. The trouble only starts if we try to implement something really substantial. By way of example, let’s jump to a much later time and have a look at the first few lines of the dungeon-delving program in Richard Garriott’s Ultima:

0 ONERR GOTO 9900
10 POKE 105, PEEK (30720): POKE 106, PEEK (30721): POKE 107, PEEK (30722): POKE 108, PEEK (30723): POKE 109, PEEK (30724): POKE 110, PEEK (30725): POKE 111, PEEK (30726): POKE 112, PEEK (30727)
20 PRINT "BLOAD SET"; INT (IN / 2 + .6)
30 T1 = 0:T2 = 0:T3 = 0:T4 = 0:T5 = 0:T6 = 0:T7 = 0:T8 = 0:T9 = 0: POKE - 16301,0: POKE - 16297,0: POKE - 16300,0: POKE - 16304,0: SCALE= 1: ROT= 0: HCOLOR= 3: DEF FN PN(RA) = DNG%(PX + DX * RA,PY + DY * RA)
152 DEF FN MX(MN) = DN%(MX(MN) + XX,MY(MN)): DEF FN MY(MN) = DN%(MX(MN),MY(MN) + YY): DEF FN L(RA) = DNG%(PX + DX * RA + DY,PY + DY * RA - DX) - INT (DN%(PX + DX * RA + DY,PY + DY * RA - DX) / 100) * 100: DEF FN R(RA) = DNG%(PX + DX * RA - DY,PY + DY * RA + DX) - INT (DN%(PX + DX * RA - DY,PY + DY * RA + DX) / 100) * 100
190 IF PX = 0 OR PY = 0 THEN PX = 1:PY = 1:DX = 0:DY = 1:HP = 0: GOSUB 500
195 GOSUB 600: GOSUB 300: GOTO 1000
300 HGR :DIS = 0: HCOLOR= 3

Yes, given the entire program so that you could figure out where all those line-number references actually lead, you could theoretically find the relatively simple logic veiled behind all this tangled syntax, but would you really want to? It’s not much fun trying to sort out where all those GOTOs and GOSUBs actually get you, nor what all those cryptic one- and two-letter variables refer to. And because BASIC is interpreted, comments use precious memory, meaning that a program of real complexity like the one above will probably have to dispense with even this aid. (Granted, Garriott was also likely not interested in advertising to his competition how his program’s logic worked…)

Now, everyone can probably agree that BASIC was often stretched by programmers like Garriott beyond its ostensible purpose, resulting in near gibberish like the above. When you have a choice between BASIC and assembly language, and you don’t know assembly language, necessity becomes the mother of invention. Yet even if we take BASIC at its word and assume it was intended as a beginner’s language, to let a student play around with this programming thing and get an idea of how it works and whether it’s for her, opinions are divided about its worth. One school of thought says that, yes, BASIC’s deficiencies for more complex programming tasks are obvious, but if used as a primer or taster of sorts for programming it has its place. Another is not only not convinced by that argument but downright outraged by BASIC, seeing it as an incubator of generations of awful programmers.

Niklaus Wirth was an early member of the latter group. Indeed, it was largely in reaction to BASIC’s deficiencies that he developed Pascal between 1968 and 1970. He never mentions BASIC by name, but his justification for Pascal in the Pascal User Manual and Report makes it pretty obvious of which language he’s thinking.

The desire for a new language for the purpose of teaching programming is due to my dissatisfaction with the presently used major languages whose features and constructs too often cannot be explained logically and convincingly and which too often defy systematic reasoning. Along with this dissatisfaction goes my conviction that the language in which the student is taught to express his ideas profoundly influences his habits of thought and invention, and that the disorder governing these languages imposes itself into the programming style of the students.

There is of course plenty of reason to be cautious with the introduction of yet another programming language, and the objection against teaching programming in a language which is not widely used and accepted has undoubtedly some justification, at least based on short-term commercial reasoning. However, the choice of a language for teaching based on its widespread acceptance and availability, together with the fact that the language most taught is thereafter going to be the one most widely used, forms the safest recipe for stagnation in a subject of such profound pedagogical influence. I consider it therefore well worthwhile to make an effort to break this vicious cycle.

If BASIC, at least once a program gets beyond a certain level of complexity, seems to actively resist every effort to make one’s code readable and maintainable, Pascal swings hard in the opposite direction. “You’re going to structure your code properly,” it tells the programmer, “or I’m just not going to let you compile it at all.” (Yes, Pascal, unlike BASIC, is generally a compiled language.) Okay, that’s not quite true; it’s possible to write ugly code in any language, just as it’s at least theoretically possible to write well-structured BASIC. But certainly Pascal works hard to enforce what Wirth sees as proper programming habits. The opinions of others on Wirth’s approach have, inevitably, varied, some seeing Pascal and its descendants as to this day the only really elegant programming languages ever created and others seeing them as straitjackets that enforce a certain inflexible structural vision that just isn’t appropriate for every program or programmer.

For my part, I don’t agree with Wirth and so many others that BASIC automatically ruins every programmer who comes into contact with it; people are more flexible than that, I think. And I see a bit of both sides of the Pascal argument, finding myself alternately awed by its structural rigorousness and infuriated by it every time I’ve dabbled in the language. Since I seem to be fond of music analogies today: Pascal will let you write a beautiful programming symphony, but it won’t let you swing or improvise. Still, when compared to a typical BASIC listing or, God forbid, an assembly-language program, Pascal’s clarity is enchanting. Considering the alternatives, which mostly consisted of BASIC, assembly, and (on some platforms) creaky old FORTRAN, it’s not hard to see why Byte and many others in the early PC world saw it as the next big thing, a possible successor to BASIC as the lingua franca of the microcomputer world. Here’s the heart of a roulette game implemented in Pascal, taken from another article in that August 1978 issue:

begin 
     askhowmany  (players); 
     for  player :  =  1  to players do 
          getname  (player ,  playerlist) ; 
     askif (yes); 
     if  yes  then  printinstructions; 
     playersleft : =  true ; 
     while  playersleft do 
          begin  
          for  player :  =  1  to players do 
          repeat 
               getbet (player,  playerlist);
               scanbet (player, playerlist); 
               checkbet  (player, playerlist, valid);
          until valid; 
          determine (winningnumber); 
          for  player : =  1 to  players do 
               begin  
               if  quit (player, playerlist) 
                    then  processquit  (player, playerlist, players, playersleft); 
               if  pass  (player, playerlist) 
                    then  processpass (player, playerlist); 
               if  bet  (player , playerlist) 
                    then  processbet  (player, playerlist, winningnumber)
               end
     end  
end.

The ideal of Wirth was to create a programming language capable of supporting self-commenting code: code so clean and readable that comments became superfluous, that the code itself was little more difficult to follow than a simple textual description of the program’s logic. He perhaps didn’t quite get there, but the program above is nevertheless surprisingly understandable even if you’ve never seen Pascal before. Just to make it clear, here’s the pseudocode summary which the code extract above used as its model:

Begin program. 
     Ask how many  players. 
     For  as many players as there are, 
          Get each player's name. 
     Ask if instructions are needed. 
     If  yes, output  the  instructions. 
     While there are still any players left, 
          For as many  players as there are, 
               Repeat until a valid bet is obtained: 
                    Get the player's bet. 
                         Scan the bet. 
                         Check bet for validity. 
          Determine the winning number. 
          For as many players as there are, 
               If player quit, process  the quit. 
               If  player passed , process the  pass. 
               If  player bet, 
                    Determine whether player won or lost. 
                    Process  this accordingly.
End program.

Yet Pascal’s readability and by extension maintainability was only part of the reason that Byte was so excited. We’ll look at the other next time… and yes, this tangent will eventually lead us back to games.

 
 

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Softporn

As I mentioned at the end of my last post, Softporn has to be among the most discussed and least played games of all time. The idea of it — and of course that iconic cover photo, and the stories behind that — is such an interesting jumping-off point that one can easily forget to even boot the simple text adventure at the root of it all. But I strive to give you more here at The Digital Antiquarian, so I played through the game in all its raunchy entirety. I expected that to be a bit of a chore, but turned out to be rather pleasantly surprised — and no, it wasn’t all down to the sex.

The game begins, as any good sex romp should, in a sleazy bar.

The screenshot above, with the screen divided into a window for the room description and a window for all other text, plainly shows Softporn‘s main influence, the Scott Adams adventures. The prose likewise trends more toward Adams’s lazy exuberance than, say, Infocom’s comparative polish. Still, Benton had the luxury of working with 48 K of memory to Adams’s 16 K, and also had a disk drive to fetch text from a file during play. These factors let him include far more text than Adams could ever manage, and thus to surpass his influence in crafting a more full-bodied (if still very comedic) virtual world.

As long as we’re making comparisons: if you’re familiar with the original Leisure Suit Larry, this scene, along with much else, will look somewhat familiar, what with Larry having been loosely modeled on Softporn. I don’t want to read Softporn entirely through the lens of Larry, but some comparison feels unavoidable. Larry was a very strongly characterized protagonist, a (lovable?) loser who couldn’t seem to unstick himself from the Age of Disco. Softporn is different, and not just because, in keeping with its era and inspirations, its hero is only cursorily characterized as the player’s “puppet” (a word lifted straight from Scott Adams). Softporn, you see, is itself a product of nightclub culture at the tail-end of the disco era. It does state in the manual that “the year is 2020 A.D.,” and the game makes the occasional halfhearted stab at reflecting a futuristic dystopia, most notably via a series of ultra-violent programs available for viewing on a television. But still, the milieu that is in Larry a cheesy obsession of the hopelessly unhip protagonist is here just everyday life. There was after all a time when the hip and beautiful people really did wear polyester leisure suits. Softporn is from that time, and something of a time capsule of the late disco era, best experienced with a little Chic playing in the background.

Chuck Benton says today that parts of the game were drawn straight from his own experiences, although he’s not telling exactly which parts. There’s almost always an element of real, if exaggerated, lived experience to its humor that makes at least some of us laugh and wince at the same time. For instance, every suburban boy’s worst nightmare plays out when you try to buy a condom in the drugstore.

This gag also got recycled for Leisure Suit Larry, but there it’s something that happens at Larry’s expense; here it feels like it’s really happening to us. (Or is that just the childhood trauma speaking?)

And here we come to something that really surprised me: I found Softporn really, genuinely funny. Yes, it’s all very much guy humor, and not exactly sophisticated stuff… but (and much to my wife’s dismay) I still find Beavis and Butthead about the funniest thing ever, so that kind of humor suits me just fine.

Softporn as a whole is much better than I expected it to be. It’s actually very fair. There are no absurd puzzles here, no parser games, not even any mazes or tangled geography. Yes, it’s written in BASIC and uses a two-word parser, with all the limitations those things imply, but Softporn does a shockingly good job of playing within its limitations and delivering a good time regardless. The puzzles stay simple, never straining the technology beyond its breaking point, and wherever the limited parser does necessitate an unusual syntax, the game bends over backward to make the player aware of it, even at the risk of spoiling puzzles. While it is very possible to die, even the deaths are usually clued in a way that just wasn’t normally done in this era.

Even many years later Leisure Suit Larry would not be so kind in warning about this danger and others. Anyone designing an old-school text adventure today using a limited engine — and for better or for worse, I know you’re out there — could do worse than to have a look at Softporn. I’m amazed to be saying this, but at least in design terms it’s the most fair, modern-feeling text adventure I’ve looked at for these history posts. Yes, more so even than Zork. Partly this is likely due to the development process Benton used; he would let a few of his buddies play the game every weekend or so, collecting their feedback and asking which puzzles worked — and were solvable — and which did not, a seemingly commonsensical step that the majority of old-school developers neglected entirely. And partly it was just down to a forward-looking design philosophy that held “100 simple puzzles better than 1 killer.” The biggest complaint one might level against Softporn‘s design in the context of its time is its brevity. Even approached completely cold as I did, sans prior knowledge, hints, or walkthrough, one is unlikely to get more than two or three hours out of the game. Today that’s of course fine; in 1981, after having paid $30 for the experience, one might be a bit upset. As I’ve pointed out before, commercial concerns often pulled against good design.

So, yes, Softporn is a very likable game. Which isn’t to say that its mind isn’t in the gutter. It soon becomes clear that the goal is to score with three different women in one night (which sounds like quite a tax on a man’s stamina, but then I’m not in my twenties anymore), ascending in desirability from a rough hooker to a girl-next-door type who — fantasy or nightmare, take your pick — turns out to be a dominatrix to an exotic goddess. Thus Ken Williams’s choice to feature three women in his cover photo, although presumably they weren’t told which woman represented which from the game…

As you can see above, the actual sex is pretty much left to the imagination; staying period specific, Softporn is very much Porky’s rather than Debbie Does Dallas. Most of the offensiveness, such as it is, rather comes from dirty words and lots and lots of innuendo, leaving the actual moments of truth as anticlimaxes. We get Biblical for the final (anti)climax.

But at least the game ends before the rest of the story of Eve and the apple (and children and a mortgage) set in.

Ken Williams published Softporn knowing full well it was likely to provoke some controversy, and he wasn’t disappointed. Many of the more conservative residents of Coarsegold and Oakhurst, who had been suspicious of this gang of newcomers from the start, now found all of their initial prejudices amply confirmed. Other sensitive souls from around the country expressed their opinions in hate mail — according to Steven Levy “some of it full of Bible scripture and prophecy of the damnation ahead.” But for the most part the controversy worked as Ken had hoped it would, getting On-Line and entertainment software in general noticed outside of the still tiny ghetto of active Apple II gamers. People in general might not have really understood the burgeoning PC revolution yet, but they all understood what sex was. A story went out over the UPI wire, and, best of all, the game and its cover photo were featured in a Time magazine story on this new concept of selling “Software for the Masses.” (The magazine felt it had to start with the very basics: “The programs, which are mainly recorded on vinyl discs about the size of a 45 r.p.m. record, are instructions written in a mathematical code the machine can ingest.”) With publicity like this, Softporn sold. It sold very well.

At the same time as it was getting such welcome mainstream exposure, though, Softporn is oddly absent from the computer press of the period. Most computer magazines, which were widely read by teens and preteens and whose editors had nightmares of outraged letters from parents, mentioned Softporn cursorily if at all. Computer retailers were also spooked. From Hackers:

Computer stores that wanted it would be reluctant to order just that one program. So, like the teenager who goes to the drugstore and says, “I’d like a comb, toothpaste, aspirin, suntan oil, stationary, and, oh, while I’m here I might as well pick up this Playboy,” the store owners would order a whole sampling of On-Line products… and some Softporn too.

Of course, the same scenario played out again with the customers who frequented those stores; they would sandwich Softporn in amongst other games or more “serious” software before making their way to the checkout stand, another scenario ironically reminiscent of the drugstore scene from within the game itself. Ken estimated Softporn and all the associated sales of “toothpaste” software that it generated to have doubled On-Line’s sales for a time, and some sources estimate Softporn alone to have topped 50,000 in sales over its commercial lifetime, an absolutely huge number for this period. There’s probably a nice discussion of shifting social mores between then and now to be had in all this, but I’ll leave that as an exercise for the reader.

Chuck Benton, a very modest, unassuming sort of fellow, became a celebrity of sorts within Apple II circles, with people even flagging him down to ask for autographs. His mother was left aghast by the Time article in particular, but such is the life of a purveyor of naughty software. And there were plenty of upsides in addition to the big royalty checks On-Line was soon sending him. He started to have more luck with women as a result of the game; after all, he had asked for it.

But always in videogames, as in any creative industry, the question quickly becomes what will you do next. A fair amount of customers had actually written in asking for a female version, which if nothing else proves that at least some women as well as men were buying Apple IIs by this point. However, Benton, for obvious reasons, didn’t feel quite up to the task. He hunted about for a female collaborator to help him get the tone right, and even told Time that a female version was forthcoming when interviewed for their article, but Benton never found the right person and never really got the project started. Another idea, for more of a straight-up sequel that took place at a university and was inspired by Animal House, likewise went nowhere. Benton rather worked for On-Line for a few years as a programmer for hire rather than a designer, doing action games such as Frogger, B.C.’s Quest for Tires, and Micky Mouse’s Space Adventure. Yet Benton, very much a New England boy, never quite fit in with the laid-back California culture of On-Line. Having gotten into all of this as something of a lark, Benton was never hugely passionate about games as a long-term career choice in the first place, and as time went on and marketing budgets increased in relation to development budgets, he became increasingly dissatisfied with the game industry in general. He dropped out circa 1985 to found Technology Systems, Inc., which does research and development work, often for the military, to this day.

If you’d like to play Softporn yourself, I’ve got sort of a special treat for you: the original Blue Sky software release and its accompanying documentation. Thanks go to Howard Feldman’s amazing Museum of Computer Adventure Game History for the latter.

Oh, and before we leave Benton and Softporn, here’s a final piece of trivia for all techno-thriller fans. Long before he published The Hunt for Red October and went from mild-mannered insurance salesman to bestselling author, Tom Clancy was acquainted with Chuck Benton. Jones, the quirky sonar operator from that book, “knew a few people from college who drew up game programs for personal computers; one of them was making good money with Sierra On-Line Systems…” Well, that anecdote was inspired by none other than Chuck Benton.

But next we’ll leave all this sex stuff behind and get back into the dungeon where nerds like us feel most comfortable. No, not that kind of dungeon. Sheesh…

 
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Posted by on February 29, 2012 in Digital Antiquaria, Interactive Fiction

 

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Sex Comes to the Micros

If you asked the average man on the street circa 1981, he’d probably be hard put to imagine two nouns so divorced from one another as sex and computer. Most people still saw computers as dully esoteric tools maintained by a priesthood of little gnomes seeking refuge from the real world of playground bullies, gym teachers, and, most terrifying of all, women. Stereotypes generally being stereotypes for a reason, that description may arguably apply to plenty of folks we’ve met on this blog before, at least if we insist on casting these characters in their most unfavorable possible light. But still, gnomes have needs too — as do hackers. One had only to look at the chainmail bikinis on the covers of fantasy novels, Dungeons and Dragons boxes, and, soon enough, computer games to know that nerds were far from asexual, even if many of them weren’t actually getting much of it. Rather than being separate universes, sex and computers were at worst adjacent galaxies, which orbited into contact with one another more often than our man on the street would ever suspect.

During the mid-1960s, Ken Knowlton was working with computer graphics at the legendary Bell Labs, home of such diverse achievements as the development of the C programming language and the Unix operating system and the detection of the background radiation from the Big Bang among a thousand others. He had developed a primitive video digitizer, the forerunner of the digital cameras of today, which could scan a photograph, sorting it into a grid of light and dark pixels. However, Knowlton did not have access to a proper bitmapped display, only text-oriented teletypes. He therefore developed software to convert the scanned pixels into individual letters chosen for their relative brightness and similarity to the patterns in the photograph. One day in 1966 when their boss was away on holiday, Knowlton and a colleague, Leon Harmon, conspired to scan in a nude photo of dancer Deborah Hay, blow it up to truly mammoth proportions, and plaster their (apparently very easygoing) boss’s wall with it.

The picture was quickly retired after the boss’s return, but nevertheless propagated electronically through the computer industry. Finally it came to attention of The New York Times, who printed it along with an article on the bizarre new idea of “computer art” in October of 1967. It was allegedly the first nude image of any stripe that the famously decorous Gray Lady had ever printed. On the basis of that exposure, this elaborate practical joke found its way into The Machine as Seen at the End of the Mechanical Age, a 1968-69 exhibition at the Museum of Modern Art in New York that featured some of the first examples of computer art to appear in a gallery setting. For the show it was given the appropriately pretentious moniker Studies in Perception #1. Today it resides in the collection of the Victoria and Albert Museum in London. In demonstrating that ordinary letters could be, well, sexy, Knowlton and Harmon kickstarted the practice of ASCII art, a practice that still has devoted adherents today.

Knowlton tells a story typical of many artists and engineers working in new mediums:

We did make similar pictures — of a gargoyle, of seagulls, of people sitting at computers — which have appeared here and there. But it was our Nude who would dolphin again and again into public view in dozens of books and magazines.

The earliest artwork produced on microcomputers was ASCII art — the PET and TRS-80 in particular were capable of little else — and much of it likewise featured nudes. These tiny files, traded about over the ARPANET, on disks, and through the first computerized bulletin-board systems, represent some of the first digital pornographic images.

Anyone who studies the history of technology comes to understand quickly that just about any new technology that can conceivably be applied to sex will be in pretty short order. Many subjects of early photographers were featured sans clothing; many of the earliest movies were peepshows; many or most early VCRs were bought to watch porn movies at home without the discomfort and embarrassment of visiting a theater. And porn drove the early growth of the Internet to an extent few are comfortable acknowledging, dwarfing everything else in profitability during those heady early days of the mid-1990s. The microcomputer itself was no real exception to the rule, even if the mixing of computers and sex was initially awkward and, like all those ASCII images of naked women, of decidedly limited fidelity.

The first commercial program I know of that dealt explicitly in sex appeared in early 1980 and was called Interlude: The Ultimate Experience. You may have heard of it before; one of its marvelously kitschy advertisements made PC World‘s “25 Funniest Vintage Tech Ads” list a few years ago, and got some general Internet exposure as a result.

As indicated by the female models in its ads, Interlude was marketed toward the males who were much more likely to own computers and buy software, yet it was at least ostensibly for couples. The idea here is that each partner tells the program what sort of mood he or she is in, and the program then directs the couple to a section of an accompanying booklet that contains the perfect experience to satisfy them both, delivered in instructions to one or both. The experiences are fairly typical sex-manual fantasies. This being a family blog, here’s one of the least explicit:

Surprise your lady with roses… but not in the usual way. Buy several dozen roses. While your lady is taking a bath, scatter the rose petals over the sheets. When she comes from her bath, lay her down in a bed of roses and make love amid the fragrance.

For contrary sorts like me, some of the best fun is to be had by playing both male and female, telling the program they are in wildly incompatible moods, and watching it desperately struggle to come up with something — as in, saying the man wants to cuddle and talk and the woman wants to act out a rape fantasy. (“One of the most common female fantasies is rape — being taken by force against her will,” the booklet helpfully tells us. “She doesn’t really want to be raped,” it continues; good to know.) The dirty little secret about Interlude is that its simple computer component is not really doing anything a printed questionnaire couldn’t do. In the end, it’s an ordinary couple’s manual with an accompanying computer program that’s really just a convenience; the whole project could have been implemented using nothing more high-tech than print without too much difficulty.

A year or so after Interlude, Scott Adams’s Adventure International unveiled a pair of real sex games, at least of sorts: Strip Dice and Concentration. The catalog says that they “vaguely resemble the time-tested games on which they are based.” Actually there’s no “vaguely” about it; each is a simple BASIC implementation of an old party game which occasionally tells the loser(s) to remove articles of clothing. A prominent disclaimer on the package states, “NOTE: CONTAINS EXPLICIT SEXUAL DIALOGE [sic] WHICH MAY BE OFFENSIVE TO SOME USERS!!!!” That’s not really true either; I don’t think terms like “tush” were considered X-rated even in 1981. Again, one has to ask just what the computer really adds to the equation. Presumably most couples or libertine partygoers are capable of keeping track of what articles of clothing are still in play, as it were, and which should be removed next. Visual evidence alone should allow for that. Isn’t that sort of the whole point of the endeavor?

Another potential problem with both Interlude and the AI games is that they are aimed at couples who will presumably use them to have real sex. Plenty of computer owners inevitably lacked a better half, and were perhaps looking for more, shall we say, solo pursuits. Unfortunately, that was a problematic proposition. It was very difficult to portray an image even remotely arousing using the microcomputer display technology of the early 1980s; even ASCII art, for all the dedication of its practitioners, had its limitations. Thus visual representations of sex in gaming were limited to the most cartoonlike of portrayals that played for adolescent giggles rather than attempting the hopeless task of actually arousing anyone — stuff like the famously awful and utterly tasteless Atari 2600 game Custer’s Revenge, in which the player’s goal is to rape a Native American woman. (The company behind Custer’s Revenge, Mystique, actually published a whole line of “adult” games, each of which strives in its own way to be just as offensive.)

But what about text adventures? Certainly textual erotica had been a thriving literary genre for centuries. What looked promising on the surface was, however, much more problematic when examined in depth. Even presuming the existence of authors with the skill to make their subject matter come to life, the technology of 1981 did not permit anything like a realistic, erotic interactive sexual encounter. Sex after all involves people, and text adventures — even the very best ones, such as Zork — necessarily built deserted virtual worlds filled with inanimate objects and, perhaps here and there, people that behaved like inanimate objects. (Which does I guess give the phrase “objectification of women” a whole new meaning…) The author of the first widely distributed text adventure to deal in sex therefore wisely decided to play it for laughs. And even that, like so much else in the young industry, happened sort of by accident.

Chuck Benton was living in a small town near Boston and working as a field engineer for a New England flight-simulator manufacturer when he, like increasing numbers of other young tech-savvy people with disposable income, purchased an Apple II in 1980. Also like so many others, Benton quickly found himself entranced with his new toy. Amongst his favorite games were the Scott Adams adventures.

As he grew more familiar with his home computer’s capabilities, Benton started to notice how laborious many of the administrative processes at his job currently were, especially those used to schedule and track the field-engineering group of which he was a member. He began to evangelize the Apple II with his superiors as a way to save huge amounts of time and drudgery. In the end he perhaps got more than he bargained for: not only did management decide to buy their own Apple II for the business, but they offered Benton the chance to program a customized scheduling application to run on it. Being an ambitious sort, Benton agreed — and then wondered just what he had gotten himself into. He was an engineer by trade, with little background in programming. Now he needed to learn BASIC as quickly as possible. He decided that learning by doing is best, and that the best approach would therefore be to create a more modest learning program that would nevertheless require many of the skills his company’s application would require. After a bit more thought, he decided that a text adventure would be just about ideal. He would design it in such a way that it would require extensive file access, just like his company’s application, and make his design large enough to require him to write and structure quite a few lines of code without being so large as to be uncompletable in the few months he allocated for the project. Besides, he liked playing text adventures, and liked the idea of creating one of his own.

Benton was hardly unique in proceeding through this thought process to arrive at a text-adventure project. You may remember that Scott Adams, the reigning king of microcomputer adventure games at the time, had originally started on Adventureland as an exercise in learning BASIC and learning how to manipulate strings. A whole generation of books and articles that followed advertised text-adventure programming as a fun way to learn the art and science of programming in general. What was unique was the subject matter that Benton chose for his learning game. Instead of writing about dungeons and dragons or even rockets and rayguns, he decided to write about his own experiences as a single guy in his late 20s trying to navigate the Boston night life, have a good time, and, yes, hopefully get laid every once in a while. Why not? He was just writing the game for fun and for education. Maybe he would share it with a few buddies, but that was it.

After working on the game for a couple of months, though, Benton couldn’t help but notice that said buddies really, really liked the game. They found it hilarious, and were always asking how it was coming along and whether they could play the latest version. Benton was well aware of others, like the Williams and for that matter Scott Adams himself, who were making real money selling text adventures. And certainly he had a game with what could only be described as its own unique appeal. The wheels turned, until Benton made the decision to forget about the idea of the game as a modest training exercise and develop it into a complete, polished work he could try to sell. He abandoned the current, patched-together version and started over from scratch with a more rigorous approach.

As he cleaned up the game’s underlying technology, he also cleaned up the content somewhat in the realization that, while he might be able to market a risque game, as a self-described “conservative New Englander” there were limits to how far he wanted to push the envelope. Benton excised almost entirely one part of the plot, involving drugs and and a drug dealer; only a relatively innocuous magic mushroom was allowed to stay. And what had started out with the working title of Super Stud Adventure was given the gentler — and much more clever — title of Softporn Adventure. The former part of the title was a play on the habit of working “Soft” into the title of anything and everything computer-related in those days: Microsoft, DataSoft, CompuSoft, Applesoft, Softalk, Softline, etc. Why not Softporn? As for the Adventure, well, this was still a time when Benton’s major model, Scott Adams’s Adventure International, appended that word to every adventure game as a matter of course: Pirate Adventure, Mission Impossible Adventure, etc.

With this revised version of the game complete after about four or five months of work, it was now time to consider how to go about selling it. Benton guessed that few or no publishers would want to touch the game due to its content, so he decided to try to sell it himself, adopting for the purpose the company name Blue Sky Software. Like so many before him, he improvised packaging using Ziploc baggies, colored paper, and a mimeograph machine, and just like that he was in business. However, Benton’s efforts were not rewarded with the immediate success that had greeted Adams or the Williams. Part of his problem was unique to Softporn: the obvious way to advertise a new piece of software was to take out advertisements in magazines, but virtually all of them were too spooked by the content (not to mention the title) of Softporn to take Benton’s money. But in addition, the road Benton had chosen was becoming a much harder one by this point, early 1981. In establishing the first proper software distributor, Ken Williams had, even as he made it easier for established publishers to get their products into stores, made it much harder for lone wolves like Benton, who lacked connections and distribution agreements with the likes of Softsel, to get their software noticed and available in the rapidly expanding retail-computer ecosystem. Ken had in other words made it much harder for others to do what he had done with Mystery House; an historic window of opportunity was slowly closing as business-as-usual moved in. Luckily, it was also Ken that rode to Benton’s rescue.

On June 6, 1981, the first computer show devoted exclusively to Apple products, AppleFest, took place in Boston. Figuring that at least here no prudish press could get between him and potential customers, Benton rented space to try to drum up some attention and sales for Softporn. Also there, in much more prominent fashion, were Ken Williams and his rapidly growing company On-Line Systems. Wandering the show floor, Ken came across Benton’s little display, chatted briefly with its owner, and bought a copy of Softporn to take back to California with him. The game became a huge hit amongst Ken and his staffers; they thought it a “riot.” Ken of course knew that any attempt to market the game would lead to mass controversy, but he also understood well the old maxim that any publicity is good publicity, particularly when trying to get an empire off the ground. Besides, he thought the controversy would be “fun,” in a time when On-Line Systems was still young and freewheeling enough that that counted as a valid argument. And with major and growing clout in the software industry, Ken felt On-Line would be able to overcome the qualms of magazines and retailers where Benton had failed, and thereby get the game noticed and get it onto shelves. Within days Ken called Benton to ask him if he would let On-Line Systems publish his game. For Benton, just about ready to give up on the idea of making anything at all from Softporn, Ken’s call out of the blue was like an answered prayer. He of course said yes, and On-Line set to work to make it happen.

Ken toyed with the idea of revising the game to fit into On-Line’s Hi-Res Adventures line with the addition of graphics, but that would take considerable time, and would of course also open the whole new can of worms of trying to decide just what level of visual explicitness would be appropriate. So he shelved the idea of a graphical Softporn, although, as those familiar with later history know, never quite abandoned it. For now, he decided, the game was fine as-is.

Ken may have been happy with the game itself, but he wasn’t impressed with Benton’s simple homemade packaging. He felt it needed artwork that made a… bolder statement of intent. The endgame of Softporn involves a beautiful woman and a hot tub, and that gave the jacuzzi-loving Ken all the inspiration he needed. He convinced three women at the company to come to his house for a topless photo shoot in his hot tub. This being On-Line Systems, where nepotism ruled, all were married to men also working at the company. There was Dianne Siegel, a technician and eventual production manager who was married to head accountant Larry Bain; the wife of Bob Davis of Ulysses and the Golden Fleece fame, who worked in accounting; and, most famously, Roberta Williams herself. Ken hired to join them a waiter from the only decent restaurant in town, a steakhouse with a name ironically appropriate for the local economy On-Line was rapidly transforming: The Golden Bit. This fellow was flamboyantly gay and thus considered an acceptable risk to join the three topless wives in the hot tub. The final touch of kitsch came from an Apple II presumably acting as master of ceremonies to the sexy proceedings.

As a generation of teenage boys would soon discover, the photo promised much, much more than the actual game delivered. But then that was already becoming something of a tradition in computer-game packaging, where countless luridly drawn dragons battled knights in armor in scenes that showed little obvious connection to the sparsely rendered virtual worlds found inside the boxes. In the long run this particular picture became more famous than anything in the game it promoted, the enduring icon of this wild early era in On-Line’s history.

With the photo taken, Ken put it and Benton’s game out there within weeks of that initial phone call. He then settled back and waited for the controversy to ensue. We’ll get to that, and have a look at the contents of the game itself (something that oddly almost always goes undone in discussions of Softporn), next time.

(Along with John Williams and the gift that just keeps on giving, Steven Levy’s Hackers, Jason Scott’s interview with Chuck Benton for Get Lamp provided much of the material on Softporn for this article and the next.)

 
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Posted by on February 27, 2012 in Digital Antiquaria, Interactive Fiction

 

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