In 1397, a Byzantine scholar named Manuel Chrysoloras arrived in Florence, Italy. He brought with him knowledge of Greek, along with many ancient manuscripts in Greek and Latin that had been lost to the West in the chaos following the collapse of the Roman Empire. This event is considered by many historians to mark the first stirrings of the Italian Renaissance, and with them the beginning of the epoch of scientific, material, and social Progress which has persisted right up to the present day.
In 1993, an Oxford graduate student named Graham Nelson released a text adventure calledCursesthat, among other things, functioned as an advertisement for a programming language he called Inform, which targeted Infocom’s old Z-Machine. This event is considered by most of us who have seriously thought about the history of text adventures in the post-Infocom era to mark the first stirrings of the Interactive Fiction Renaissance, and with them the beginning of an interactive-fiction community that remains as artistically vibrant as ever today.
Yes, I can see you rolling your eyes at the foregoing. On one level, it is indeed an unbearably pretentious formulation, this comparing of one of the most earthshaking events in human culture writ large with the activities of a small community of niche enthusiasts. Yet, if we can agree to set aside the differences in scale and importance for the moment, the analogy really is a surprisingly apt one. Like the greater Renaissance in Europe, the Interactive Fiction Renaissance prepared a group of people to begin moving forward again by resurfacing old things that had been presumed lost forever. Taking pride of place among those things, being inextricably bound up with everything that followed, was the Z-Machine, functioning first as a means of running Infocom’s classic games, as we saw in the first article in this series; and then as a means of running new games, as we began to see in the second article and will examine in still more detail today.
As Graham Nelson began to pursue the dream of writing new software to run on Infocom’s old virtual machine, he had no access to the refined tools Infocom had used for that task. Thus he was forced to start from nothing – from what amounted to a bare chunk of (virtual) computing hardware, with no compilers or any other software helpers to aid his efforts. He had to start, in other words, at the bare metal, working in assembly language.
Assembly language is the lowest level at which any computer, whether real or virtual, can be (semi-) practically programmed. Its statements correspond to the individual opcodes of the processor itself, which normally encompass only the most granular of commands: add, subtract, multiply, or divide these numbers together; grab the number from this local register and put it into that memory location; etc. Assembly language is the primordial language which underpins everything, the one which must be utilized first to write the compilers that allow programmers to develop software in less granular, more structured, more human-friendly languages such as C, Pascal, and BASIC.
Already at this level, however, the Z-Machine separates itself from an ordinary computer. Alongside the rudimentary, granular opcodes that are common to any Turing-complete computer, it implements other opcodes that are absurdly baroque. The “read” opcode, for example, does all of the work of accepting a full line of text from the keyboard, then separating out its individual words and “tokenizing” them: ie, looking them up in a dictionary table stored at a defined location in the virtual machine’s memory and converting them into the codes listed there. Another opcode, “save,” simply orders the interpreter to save the current state of the machine to disk, however it prefers to go about it; ditto the “restore” opcode. These complex and highly specialized opcodes exist because the Z-Machine, while it is indeed a Turing-complete, fully programmable anything machine in the abstract, is nevertheless heavily optimized toward the practical needs of text adventures. Thus an object table meant to represent rooms and things in the world of a game is hard-coded right into its memory map, and there are other single opcodes which encapsulate relatively complex tasks like looking up or changing the properties in the world , or moving one object into another object.
Strictly speaking, none of this is really necessary; the Z-Machine is far more complicated than it needs to be in abstract terms. Infocom could have created a robust virtual machine which implemented only traditional low-level opcodes, building everything else out in the form of software libraries running on said virtual machine. But they had a strong motivation for hard-coding so many of the needs of a text adventure right into the virtual hardware: efficiency. A baroque opcode like “read” meant that all of the many steps and stages which went into accepting the player’s command could take place at the interpreter level, running natively on the host computer. Implementing a virtual machine of any sort was a serious challenge on a 1 MHz 8-bit computer like an Apple II or Commodore 64; Infocom needed every advantage they could get.
By the time of Graham Nelson’s experimentation with the Z-Machine, most of the concerns that had led Infocom to design it in this way had already fallen by the wayside. The average computer of the early 1990 s would have been perfectly capable of running text adventures through a simpler and more generic virtual machine where the vagaries of the specific application were implemented in software. Nevertheless, the Z-Machine was the technology Graham had inherited and the one he was determined to utilize. When he began to work on Inform, he tailored it to the assumptions and affordances of the Z-Machine. The result was a high-level programming language with an unusual degree of correspondence to its underlying (virtual) hardware. Most obviously, the earliest versions of Inform couldn’t make games whose total compiled size exceeded 128 K, the limit for the version 3 Z-Machine they targeted. (This figure would be raised to 256 K once Inform began to target the version 4 and 5 Z-Machine.
Yet this limitation was only the tip of the iceberg. Each function in Inform was limited to a maximum of 15 local variables because that was all that the stack mechanism built into the Z-Machine allowed. Meanwhile only 240 global variables could exist because that was the maximum length of the table of same hard-coded into the Z-Machine’s memory map. Much of Inform came to revolve around the Z-Machine’s similarly hard-coded object table, which was limited to just 255 objects in version 3 of the virtual machine. (This limitation was raised to 65, 535 objects in the version 4 and 5 Z-Machine, thus becoming in practice a non-issue.) Further, each object could have just 32 attributes, or states of being – its weight, its open or closed status, its lit or unlit status, etc. – because that was all that was allowed by the Z-Machine’s standard object table. (Starting with version 4 of the Z-Machine, objects could have up to 48 attributes.) All of the dynamic data in a game – ie, data that could change during play, as opposed to static data like code and text strings – had to fit into the first 64 K of the story file, an artifact of the Z-Machine’s implementation of virtual memory, which had allowed it to pack 128 K or more of game into computers with far less physical memory than that. This limitation too was inherited by Inform despite the fact that by the early 1990 s the virtual-memory system had become superfluous, a mere phantom limb which Inform nevertheless had to accept as part of the bargain with the past which it had struck.
Indeed, having been confronted with so many undeniable disadvantages arising from the use of the Z-Machine, it’s natural for us to ask what actual advantages accrued from the use of a fifteen-year-old virtual machine designed around the restrictions of long-obsolete computers, as opposed to taking theTADSroute of designing a brand new virtual machine better suited to the modern world . One obvious answer is portability. By the early 1990 s, several different open-source Z-Machine interpreters already existed, which between them had already been ported to virtually every computing platform in the world with any active user base at all. Any Inform game that Graham Nelson or anyone else chose to write would become instantly playable on all of these computers, whose combined numbers far exceeded those to which Mike Roberts, working virtually alone on TADS, had so far managed to port his interpreter. (The only really robust platform for running TADS games at the time was MS-DOS; even the Macintosh interpreters were dogged by bugs and infelicities. And as for Graham’s favored platform, the British-to-the-coreAcorn Archimedes… forget about it.)
In reality, though, Inform’s use of the Z-Machine appealed at least as much to the emotions as to technical or practical considerations. The idea of writing new games to run on Infocom’s old virtual machine had a romantic and symbolic allure that many found all but irresistible. What better place to build a Renaissance than on the very foundations left behind by the storied ancients? Many or most of the people who came to use Inform did so because they wanted to feel like the heirs to Infocom’s legacy. Poor TADS never had a chance against that appeal to naked sentimentality.
Even as Inform was first gaining traction, it was widely known that Infocom had had a programming language of their own for the Z-Machine, which they had called ZIL: the “ZorkImplementation Language. ”Yet no one outside of Infocom had ever seen any actual ZIL code. How closely did Inform, a language that, like ZIL, was designed around the affordances and constraints of the Z-Machine, resemble its older sibling? It wasn’t until some years after Inform had kick-started the Interactive Fiction Renaissance that enough ZIL code was recovered to give a reasonable basis for comparison. The answer, we now know, is that Inform resembles ZIL not at all in terms of syntax. Indeed, the two make for a fascinating case study in how different minds, working on the same problem and equipped with pretty much the same set of tools for doing so, can arrive at radically different solutions.
As I described inan article long ago, ZIL was essentially a subset of the general-purpose programming language MDL, which was used heavily during the 1970 s by the Dynamic Modeling Group at MIT, the cradlefrom which Infocom sprang. (MDL was itself a variant of LISP, for many years the language of choice among artificial-intelligence researchers.) A bare-bones implementation of the famous brass lantern inZork Ilooked like this in ZIL:
Inform has a fairly idiosyncratic syntax, but most resembles C, a language which was initially most popular among Unix systems programmers, but which was becoming by the early 1990 s the language of choice for serious software of many stripes running under many different operating systems. The same lantern would look something like this in a bare-bones Inform implementation:
Object ->lantern "brass lantern" with name 'lamp' 'lantern' 'light' 'brass', initial "A battery-powered lantern is on the trophy case.", description "There is a brass lantern (battery-powered) here.", after [; SwitchOn: give self light; StartDaemon(self); SwitchOff: give self ~light; ], size 15, has switchable;
After enough information about ZIL finally emerged to allow comparisons like the above, many Infocom zealots couldn’t help but feel a little disappointed about how poorly Infocom’s language actually fared in contrast to Graham Nelson’s. Having been designed when the gospel of object-oriented programming was still in its infancy, ZIL, while remarkable for embracing object-oriented principles to the extent it does, utilizes them in a slightly sketchy way, via pointers to functions which have to be defined elsewhere in the code. (This is the purpose of the “ACTION LANTERN-F” statement in the ZIL code above – to serve as a pointer to the routine that should run when the player tries to light the lantern.) Inform, on the other hand, allows all of the code and data associated with an object such as the brass lantern to be neatly encapsulated into its description. (The “SwitchOn” and “SwitchOff” statements in the Inform excerpt above explain what should happen when the player tries to light or extinguish the lantern.) A complete implementation of theZork Ilantern in Inform would probably fill a dozen or more lines than what we see above, monitoring the charge of the battery, allowing the player to swap in a new battery, etc. – all neatly organized in one chunk of code. In ZIL, it would be scattered all over the place, wired together via a confusing network of pointers. In terms of readability alone, then, Inform excels in comparison to ZIL.
Most shockingly of all given the the Infocom principals’ strong grounding in computer science, they never developed a standard library for ZIL – ie, a standardized body of code to take care of the details that most text adventures have in common , such as rooms and compass directions, inventory and light sources, as well as the vagaries of parsing the player’s commands and keeping score. Instead the author of each new game began by cannibalizing some of the code to do these things from whatever previous game was deemed to be most like this latest one. From there, the author simply improvised. The Inform standard library, by contrast, was full-featured, rigorous, and exacting by the time the language reached maturity – in many ways a more impressive achievement than the actual programming language which undergirded it.
Because it was coded so much more efficiently than Infocom’s ad-hoc efforts, this standard library allowed an Inform game to pack notably more content into a given number of kilobytes. The early versions ofCurses, for example, were already sprawling games by most standards, yet fit inside the 128 K Z-Machine. Later versions did move to, and eventually all but fill, the version 5 Z-Machine with its 256 K memory map. Still, the finalCursesoffers vastly more content than anything Infocom ever released, with the possible exception only ofZork Zero(a game which was itself designed for a version 6 Z-Machine that took the ceiling to K). Certainly any comparison ofA Mind Forever VoyagingandTrinity– both famously big games with a story-file size pegged to the version 4 and 5 limit of 256 K – to the final version ofCurses– story-file size: 253 K – must reveal the last to be an even more complex, even more expansive experience.
So, the Inform development system could hold its head up proudly next to ZIL; in fact, it was so well-thought-through that ZIL would thoroughly disappoint by comparison once hobbyists finally learned more about it. But what ofCursesitself, the game with which Inform was so indelibly linked during the first few years of its existence? Was it also up to the Infocom standard?
Before delving into that question in earnest, I should perhaps elaborate a bit on Graham Nelson’s own description ofCursesfrom the previous article.
In the game, then, you play the role of a rather hapless scion of a faded aristocratic family. Aristocratic life not being what it once was, you’ve long since been forced to register the familial mansion with the National Trust and open it up to visitors on the weekends in order to pay the bills. As the game proper begins, your family is about to take a jaunt to Paris, and you’ve come up to the attic – a place in as shabby a state as the rest of the house – to look for a tourist map you just know is lying around up here somewhere.
It's become a matter of pride now not to give up. That tourist map of Paris must be up here somewhere in all this clutter, even if it has been five years since your last trip. And it's your own fault. It looks as if your great-grandfather was the last person to tidy up these lofts ...
The attics, full of low beams and awkward angles, begin here in a relatively tidy area which extends north, south and east. The wooden floorboards seem fairly sound, just as well considering how heavy all these teachests are. But the old wiring went years ago, and there's no electric light.
A hinged trapdoor in the floor stands open, and light streams in from below.
In the best tradition of shaggy-dog stories, your search for the map turns into an extended adventure through space and time. You just keep finding more and more secret areas and secret things in the attics and the grounds surrounding the house, including a disconcerting number of portals to other times and places. The whole thing eventually comes to revolve around an ancient familial curse reaching back to the time of Stonehenge. If you manage to get to the end of the game – no small feat, believe me! – you can finally lift the curse. And, yes, you can finally find the bloody Paris tourist map.
It’s hard to know where to start or end any discussion ofCurses. It’s one of those works that sends one off on many tangents: its technology, its historical importance, its literary worth as a writing exercise or its ludic worth as an exercise in design. Faced with this confusion, we might as well start with whatCurseshas meant to me.
ForCursesis indeed a game which carries a lot of personal importance for me. I first discovered it about four or five years after its original release, when I was working a painfully dull job as a night-shift system administrator – a job which paid not so much for what I did each night as for my justbeingthere if something should go wrong. I had, in other words, copious amounts of free time on my hands. I used some of it playing a bunch of post-Infocom text adventures which I hadn’t previously realized existed. Because they looked – or could be made to look – like just another scrolling terminal window, they suited my purposes perfectly. Thus my memory of many a 1990 s classic is bound up with those nights in a deserted data center – with the strange rhythm of being awake when everyone else is asleep, and vice versa.
Of all the games I played during that time,Cursesmade one of the greatest impressions on me. I was still young enough then to be profoundly impressionable in general, and I found its casual erudition, its willingness to blend science with poetry, mathematics with history, to be absolutely entrancing. Having been a hopeless Anglophile ever since I first heard a Beatles record at circa six years old, I was well-primed to fall in love with Graham Nelson’s dryly ironic and oh-so-English diction. In fact, as I began to write more seriously and extensively myself in the years that followed, I shamelessly co-opted some of his style as my own. I like to think that I’ve become my own writer in the time since that formative period, but some piece of Graham is undoubtedly still hiding out down there somewhere in the mishmash of little ticks and techniques that constitute my writer’s voice.
For all thatCursesentranced me, however, I never came close to completing it. At some point I’d get bogged down by its combinatorial explosion of puzzles and places, by its long chains of dependencies where a single missed or misplaced link would lock me out of victory without my realizing it, and I’d drift away to something else. Eventually, I just stopped coming back altogether.
I was therefore curious and maybe even slightly trepiditious to revisitCursesfor this article some two decades after I last attempted to play it. How would it hold up? The answer is, better than I feared but somewhat worse than I might have hoped.
The design certainly shows its age. I have less patience than ever today for walking-dead scenarios that are as easy to stumble into as they are here. I wholeheartedly agree with Graham’s own statement that “Cursesis by any reasonable standard too hard.”
So far, so expected. But I was somewhat more surprised by my crotchety middle-aged take on the writing. Mind you, some aspects of it still bring a smile to my face; I still can’t resist saying, “It’s a wrench, but I’ll take it,” every time I pick up a wrench in real life, much to my wife’s disgust. (Luckily, as she’d be the first to point out, I’m not much of a handyman, so I don’t tend to pick up too many of them.) In other places, though, what used to strike me as delightful now seems just a little bit too precious for its own good. I can still recognize the influence it had over me and my own writing, but it does feel at times like an influence I’ve ever so slightly outgrown. Today, things like the game’s quotation of the lovely Dorothy Parker poem “Inventory” – “Four be the things I’d been better without: Love, curiosity, freckles, and doubt.” – when you first type the command of the same name can feel just a little bit facile.Cursesis constantly making cultural cross-connections like these, but they’re ultimately more clever than they are profound. It’s a game packed with a lot of culturalstuff, but not one with much to really say about any of it. It instead treats its cultural name-dropping as an end unto itself.
Cursesstrikes me as a young man’s game, in spite of its showy erudition – or perhaps because of it. It was written by a prodigious young man in that wonderful time of life when the whole world of the intellect –allof it – is fresh and new and exciting, when unexpected pathways of intellectual discovery seem to be opening up everywhere one looks. In this light, Emily Short’s description of it as a game about the sheer joy of cultural discovery rings decidedly true. Graham himself recognizes that he could never hope to write a game like it today; thus his wise decision not to return to the well for a sequel.
But to fairly evaluateCurses, we need to understand its place in the timeline of interactive fiction as well as in the life of the man who created it . It’s often billed – not least by myself, in this very article’s introduction – as the game which kicked off the Interactive Fiction Renaissance, the first of a new breed which didn’t have to settle for being the next best thing to more Infocom games. It was the first hobbyist game which could stand proudly shoulder to shoulder with the best works of Infocom in terms of both technical and literary quality.
On the face of it, this is a fair evaluation – which is, after all, the reason I’ve deployed it. Yet the fact remains thatCurses‘s mode of production and overall design aesthetic mark it as a distinctly different beast from the best later works of the Renaissance it heralded. While the games of Infocom certainly were an influence on it, they weren’t the only influence. Indeed, their influence was perhaps less marked in reality than one might imagine from the game’s intimate connection to the Z-Machine, or from its borrowing of some fairly superficial aesthetic elements from Infocom, such as the letterboxed literary quotations which were first employed to such good effect byTrinity. WhileCurses‘s technology and its prose were unquestionably up to the Infocom standard, in spirit it verged on something else entirely.
In the beginning – theverybeginning – text adventures were written on big institutional computers by unabashed eggheads for a very small audience of other eggheads. Games of this type were expected to behard; questions of fairness rarely even entered the conversation. For these games weren’t just designed for single eggheads to play and conquer – they were rather designed for entireteamsof same; adventure gaming in these early days was regarded as a group activity. These games were made publicly available while still works-in-progress; their mode of production bore an ironic resemblance to modern attitudes about “software as a service,” as manifested in modern gaming in things like the Steam Early Access program. In fact, these text-adventures-as-a-service tended not to ever really get finished by their designers; they simply stopped growing one day when their designers left the institution where they lived or simply got bored with them. Graham Nelson was exposed to this tradition early on, via his first encounters with the Crowther and WoodsAdventure. (Remember his telling reminiscence: “It seemed like something you were exploring, not something you were trying to win.”) When he came to Cambridge in 1987, he was immersed in a sustained late flowering of this design aesthetic, in the form of thetext adventures made for the Phoenix mainframe there.
This attitude cut against the one which Infocom had long since come to embrace by the time Graham arrived at Cambridge: the notion that text adventures should beinteractive fictions, soluble by any single player of reasonable intelligence in a reasonable amount of time. As the name “interactive fiction” would imply, Infocom adopted a fundamentallyliterarymode of production: a game was written, went through lots of internal testing to arrive at some consciously complete state, and then and only then was sent out into the world as the final, definitive work. Infocom might release subsequent versions to fix bugs and incongruities that had slipped through testing, just as the text of a book might receive some additional correcting and polishing between print runs, but Infocom’s games were never dramatically expanded or overhauled after their release. Post –Curses, the hobbyist interactive-fiction community would embrace this Infocom model of production almost excl usively. In fact, a game released “before its time,” still riddled with bugs and sketchily written and implemented, would attract the most scathing of rebukes, and could damage the reputation of its author to the point that she would have a hard time getting anyone to even look at a subsequent game.
YetCurseswas anything but an exemplar of this allegedly enlightened interactive-fiction production function. Graham Nelson’s game grew up in public like the institutional games of yore, being expanded and improved in six major stages, with more than two years elapsing from its first release to its last. Betwixt and between them, Graham shared yet more versions on a more private basis, both among his local peer group and among the burgeoning community ofCursessuperfans on the Internet. As each new version appeared, these armies of players would jump into it to find the new puzzles and give their feedback on what else might be added to or improved, just as an army of MIT students once did every time the people who would eventually found Infocom put up a new build ofthe PDP – 10Zork. There are, for example, seven separate ways to solve an early puzzle involving the opening of a stubborn medicine bottle in the final version ofCurses, most of them the result of player suggestions.
So,Cursesshould be understood as anongoingcreative effort – almost, one might say, a collaboration between Graham Nelson and his players – that grew as big as it could and then stopped. A scrupulous commitment to fairness just wasn’t ever in the cards, any more than a rigorously pre-planned plot line. In a telling anecdote, Graham once let slip that he was surprised how many people had finishedCursesat all over the years. It was designed, like his beloved Crowther and WoodsAdventure, to be aplacewhich you came back to again and again, exploring new nooks and crannies as the fancy took you. If you actually wanted tosolvethe thing… well, you’d probably need to get yourself a group for that. Even the hint system, grudgingly added in one of the later versions, is oblique; many of the hints come from a devil who tells you the exact opposite of what you ought to be doing. And all of the hints are obscure, and you’re only allowed three of them in any given session.
All of which is to say that, even as it heralded a new era in interactive fiction which would prove every bit as exciting as what had come before,Cursesbecame the last great publicworldimplemented as a single-player text adventure. It’s an archetypal Renaissance work, perched happily on the crossroads between past and future. Its shared debt to the institutional tradition that had stamped so much of interactive fiction’s past and to the Infocom approach that would dictate its future is made most explicit in the name of the language which Graham developed alongside the game. As he told us in the previous article in this series, the first syllable of “Inform” does indeed refer to Infocom, but the second syllable reflect the habit among users of the Cambridge Phoenix mainframe of appending the suffix “-form” to the name of any compiler.
Speaking of Inform:Cursesalso needs to be understood in light of its most obvious practical purpose at the time of its creation. Most new text-adventure creation systems, reaching all the way back to the time ofScott Adams, have been developed alongside the first game to be written using them. As we’ve seen at some length now in this article and the previous one, Inform was no exception. As Graham would add new features to his language, he would finds ways to utilize them inCursesin order to test them out for himself and demonstrate them to the public. So, just as Inform reflect the Z-Machine’s core capabilities,Cursesreflect Inform’s –allof them . And because Inform was designed to be a powerful, complete system capable of producing games equal in technical quality to those of Infocom or anyone else, the puzzles which found their way intoCursesbecame dizzying in their sheer multifariousness. Anything ZIL could do, Graham was not so subtly implying, Inform could do as well or better.
Here, then, the Infocom influence onCursesis much more pronounced. You can almost go through the Infocom catalog game by game, looking at the unique new interactive possibilities each release implemented and then finding a demonstration somewhere inCursesof Inform’s ability to do the same thing.Zork IIintroduced a robot to which the player’s avatar could issue verbal commands, soCursesdoes the same thing with a robot mouse ;Enchanterhad anunderground mazewhose interconnections the player could alter dynamically, soCurseshas a hedge maze which let its player do the same thing ;Infideldrew hieroglyphic symbols on the screen using groups of ASCII characters, soCurseshas to demonstrate the same capability; etc., etc. (One of the few Infocom affordances that doesn’t show up anywhere inCursesis a detailed spell-casting system, the linchpin of the belovedEnchantertrilogy – but never fear, Graham wrotean entirely separate gamejust to demonstrate Inform’s capabilities in that area.) If all this doesn’t always do much for the game’s internal coherence, so be it: there were other motivations at work.
Graham Nelson’s own story of the first release ofCursesis stamped with the unassuming personality of the man. On May 9, 1993, he uploaded it to an FTP site connected with the Gesellschaft für Mathematik und Datenverarbeitung – a research institute in Bonn, Germany , where a friendly system administrator named Volker Blasius had started an archive for all things interactive fiction. He then wrote up a modest announcement, and posted it to the Usenet newsgroup rec.arts.int-fiction – a group originally set up by stuffy academic hypertext enthusiasts of theEastgatestripe, which had since been rudely invaded and repurposed by unwashed masses of text-adventure enthusiasts. After doing these things, Graham heard… nothing. Feeling a little disappointed, but realizing that he had after all written a game in a genre whose best days seemed to be behind it, he went about his business – only to discover some days later that his incoming Usenet feed was bollixed. When he got it fixed, he found that his little game had in fact prompted a deluge of excitement. No one had ever seen anything like it. Just where had this mysterious new game that somehow ran on Infocom’s own Z-Machine come from? And where on earth had its equally mysterious author gone to after releasing it?
It really is hard to overstate the impact whichCurses, and shortly after it Inform, had on the interactive-fiction community of 1993. Text adventures at that time were largely an exercise in nostalgia; even all of the work that had been done to understand the Z-Machine and make new interpreters for it, which had been such a necessary prerequisite for Graham’s own work, had been done strictly to let people play theoldgames. While some people were still making new games, none of them could comprehensively stand up next to Infocom at their best. Yes, some of them evincedconsiderable creativity, even a degree ofreal literary ambition, but these were held back by the limitations ofAGT, the most popular text-adventure development system at the time. Meanwhile Adventions, the makers of the most polished games of this period, who were wise enough to use the technically excellent TADS rather than the more ramshackle AGT, were more competent than inspired in churning out slavish homages toZork. All of the absolute best text adventures, the ones which combined literary excellence and technical quality, were still those of Infocom, and were all more than half a decade old.
And then along cameCursesas a bolt out of the blue. Even if we wish to argue that some aspects of it haven’t aged terribly well, we cannot deny how amazing it was in 1993, with its robust determination to do everything Infocom had done and more, with its distinct and confident literary sensibility, and not least – the appeal this held really cannot be emphasized enough – the fact that it ran on Infocom’s own virtual machine. It dominated all online discussion of text adventures throughout the two years Graham spent continuing to improve and expand it in public. The gravitational pull ofCurseswas such that when Mike Roberts, the creator of TADS, released an epic of his own later in 1993, it went oddly unremarked – this despite the fact thatPerdition’s Flameswas progressive in many ways thatCursesdistinctly wasn’t, making it impossible to lock yourself out of victory, prioritizing fairness above all other considerations. It stands today as the better game in mechanical terms at least, recommendable without the caveats that must accompany Graham’s effort. Yet it never stood a chance in 1993 against the allure ofCurses.
And so it was that the quiet, thoughtful Englishman Graham Nelson – hardly the most likely leader of a cultural movement – usedCursesand Inform to sculpt a new community of creation in his own image.
Graham’s technological choices became the community’s standards to a well-nigh shocking extent. The version 5 Z-Machine, the last and most advanced of its text-only iterations to come out of Infocom, had only been used by a few late Infocom games, none of them hugely beloved. Thus its implementation had tended to be a somewhat low priority among interpreter writers. But whenCursesoutgrew the 128 K memory space of the version 3 Z-Machine fairly early in its release cycle, and Graham stepped up to the 256 K version 5 Z-Machine, that decision drove interpreter writers to add support for it; after all, any Z-Machine interpreter worth its salt simply had to be able to playCurses, the sensation of the text-adventure world. Thus the version 5 Z-Machine became the new standard for the hobbyist games that followed, thanks not only to its expanded memory space but also to its more advanced typography and presentation options. (Graham would later define two new versions of the Z-Machine forreallybig games: an experimental and seldom-used version 7 and a version 8 which did come into common use. Both would allow story files of up to 512 K, just like Infocom’s graphical version 6 Z -Machine.)
Graham was utterly disinterested in making money from his projects. He made Inform entirely free, destroying the shareware model of AGT and TADS. David Malmberg, the longtime steward of AGT, stepped down from that role and released that system as well as freeware in 1994, signalling the end of its active development. Mike Roberts did continue to maintain and improve TADS, but soon bowed to the new world order ushered in by Inform and made it free as well. Not coincidentally, the end of the era of shareware text adventures as well as shareware text-adventure development systems coincided with Graham’s arrival on the scene; from now on, people would almost universally release their games for free. It’s also of more than symbolic significance that, unlike earlier hotbeds of text-adventure fandom which had coalesced aroundprivate commercial online servicessuch as CompuServe and GEnie, this latest and most enduring community found its home on the free-and -open Internet.
It’s important to note that Graham’s disinterest in making money in no way implied a lack of seriousness. He approached everything he did in interactive fiction with the attitude that it wasworthdoing, and worth doing well. In the long run, his careful attention to detail and belief in the medium as something worthy of serious effort and serious study left as pronounced a stamp on the culture of interactive fiction as Inform orCursesthemselves.
In 1995, he produced“The Z-Machine Standards Document,”which replaced years of speculation, experimentation, and received hacker wisdom with a codified specification for all extant versions of the Z-Machine. At the same that that he worked on that project, he embarked onThe Inform Designer’s Manual, which not only explained the nuts and bolts of coding in the language but also delved deep into questions of design. “The Craft of Adventure,” its included essay on the subject, remains to this daytheclassic work of its type. Working with what was by now an enthusiastic hobbyist community which tempered its nostalgia for the medium’s commercial past with a belief in its possibilities for the present and future, Graham even saw theThe Inform Designer’s Manual– all 500 – plus pages of it – printed as a physical book, at a time when self-publishing was a much more fraught endeavor than it is today.
But the most amusing tribute to the man’s sheer, well-earned ubiquity may be the way that his personality kept peeking through the cracks of every game made with Inform, unless its author went to truly heroic lengths to prevent it. His wryly ironic standard responses to various commands, as coded into the Inform standard library – “As good-looking as ever” when you examined yourself; “Violence isn’t the answer to this one” when you gave in to frustration and started trying to beat on something; “You are always self-possessed” when you attempted to take yourself – proved damnably difficult to comprehensively stamp out. Thus you’d see such distinctly non-Nelsonian efforts as zombie apocalypses or hardcore erotica suddenly lapsing from time to the persona of the bemused Oxford don wandering about behind the scenes, wondering what the heck he’d gotten himself into this time.
Seen with the hindsight of the historian, the necessary prerequisites to an Interactive Fiction Renaissance aren’t hard to identify. The Internet gave text-adventure fans a place to gather and discuss the games of the past, as well as to distribute new ones, all unbeholden to any commercial entity. Free Z-Machine interpreters made it easy to play Infocom’s games, widely recognized as the best of their type ever made, in convenient ways on virtually every computer in existence. Activision’s twoLost Treasures of Infocomcollections made the complete Infocom canon easy to acquire, placing all text-adventure fans on an even footing in the course of providing them with their equivalent ofThe Complete Works of William Shakespeare. And then Graham Nelson came along and gave so much: a superb programming language in Inform, a superb demonstration of where interactive fiction could go in the post-Infocom era inCurses, documentation that exceeded the standard of most professional efforts, and, perhaps most of all, a living example of how interactive fiction was worth taking seriously in all its aspects, worth doing completely and well – and forget worrying about making money out of it. So, my next statement is as cringe-worthy as it is inevitable: Graham Nelson became interactive fiction’s Renaissance Man.
Now, it was just a matter of time before all of these forces forged something rather extraordinary. The year after Graham arrived on the scene in such exciting fashion was actually one of the quietest in the history of text adventures in terms of new releases; AGT was dying, while Inform was just beginning to pick up steam as an entity separate fromCurses. But the following year, 1995, would see an embarrassment of worthy releases, large and small, trying all sorts of things, even as the cultural capstone to the new edifice of post-Infocom interactive fiction – an annualInteractive Fiction Competition– arrived to complete the construction process. The events of 1993 had been the harbinger; 1995 would become the true Year One of the Interactive Fiction Renaissance.
Sources:the bookThe Inform Designer’s Manualby Graham Nelson; Stephen Granade’s timeline of interactive fiction onBrass Lantern; archives ofrec.arts.int-fictionandrec.games.int- fiction, available on the IF Archive. My warmest thanks go once again to Graham Nelson for sharing so much of his story for these articles.