Ep 31: No School Like The Old School Is Live!

Ep 31: No school like the old school with Henry Hyde is live!

https://soundcloud.com/user-989538417/episode-31-no-school-like-the-old-school

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Music courtesy bensound.com. Recorded with zencastr.com. Edited with Audacity. Make your town beautiful; get a haircut.

Camouflaging The Imperial Guard Armoured Company

Not many updates but I've been slogging through the camouflage on the Armoured Company these past weeks. The base colors and shading are done, I'm now onto tidying. That should finish up this week and hopefully I can start on the highlights.

The green and tan each get a base, wash, neaten up, and two highlights. The black and metal get a wash and a highlight or two, depending on how they look.

I also painted this guy up over the course of a couple hours this week. He's a battle wizard from my last Kickstarter. He's meant to be a gold wizard/alchemist.

Game 378: Goodcode's Cavern (1982) And Romero/Carmack Corrections

            

Goodcode's Cavern

United States
Gebelli Software (publisher)

Released 1982 for Atari 800

Date Started: 3 September 2020

Date Ended: 3 September 2020

Total Hours: 2

Difficulty: Easy (2/5)

Final Rating: (to come later)

Ranking at time of posting: (to come later)

     

In today's edition of "If It Were Any Good, It Wouldn't Have Taken 10 Years to Show Up on MobyGames," we have Goodcode's Cavern, also known as Dr. Goodcode's Cavern (the box cover, title screen, and manual all slightly disagree). This all-text game plays like a combination of The Devil's Dungeon (1978), with its numbered rooms and magic wand as the only piece of player inventory, and Rodney Nelsen's Dragon Fire (1981), with its randomly-generated room descriptions. Its concepts are basic enough, however, that it might have been influenced by neither.

     

The setup is that Doctor Goodcode has purchased a mansion and found the caverns beneath it inhabited by monsters. He wants you, an adventurer, to clean it out. Thus begins your exploration of a randomly-generated three-level dungeon with 80 rooms per level. Your goal is to make it to the exit with as much treasure and as many kills as possible.

             

Stepping into the first room.

        

There's no character creation process. Everyone seems to start with a strength of 86 and no assets except a magic wand with three charges. The dungeon is laid out like a node map, with each room connecting to up to four others in the four cardinal directions. You can wind your way through all 80 rooms on each level in numerical order or watch for the occasional opportunity to jump from, say, Room 40 to Room 57. That's about the only "choice" you get in the game.

  

As you enter each room, the game draws from a collection of random terms and phrases, so one might be described as a "light blue room with a wooden floor" and the next a "ruby red room with a dirt floor." A selection of atmospheric effects finalizes the description: "There is a pool of blood"; "It smells like a fire"; "It is very musty in here." Each room can have nothing, some gold pieces strewn about, or an encounter with a monster.

          

This room is pink with a thick carpet and there's moaning.

           

Monsters include snakes, orcs, alligators, tigers, vampires, wild dogs, frogs, and cave bears. Each has a randomly-selected descriptor and color, so you might get a "mean white snake" or a "gruesome russet wild dog" or a "mammoth yellow vampire." Not only that, but there's a random exclamation before the monster ("Hot tacos!"; "Jiminy Cricket!") and each monster has a random behavioral descriptor after his name; for instance, "he is starting towards you" or "he is looking hungry." Each monster also has a strength level. Your only options are to "Defend" (which seems to do nothing), "Attack," or zap the creature with your magic wand. The latter kills everything instantly, but you only have three charges to start.

              

Hot tacos indeed. Although I suspect if I saw a blue grizzly bear, I'd start blaming something else I got in Mexico.

             

Attacking pits your strength against the monster level, and behind a bunch of colorful flashes, the game calculates how much health you and the monster lose. Some battles take up to three rounds. If you win, you get whatever treasure that monster was carrying, which again is drawn from a list of random descriptions and values. You might find an "ugly iron ring" worth nothing or a "bright gold chalice" worth 11,000 gold pieces. You only have 20 treasure slots, so you often find yourself discarding cheap treasures to make room for more expensive ones. There are no other inventory items in the game.

          

Finding a "nickel headband" and then checking my status.

        

As you defeat monsters, your level goes up, and I guess maybe it improves your odds in future combats. If so, it's not really palpable. Leveling is a bit weird, because it's expressed as two numbers, like "1-40" or "2-67." I couldn't tell where the first number rolls over; I think my winning character got to "2-110." Equally mysterious is how health regenerates. Your health is represented as a percentage--the higher the more you're wounded--and sometimes it seems to drop as you move between safe areas, but other times it remains stubbornly the same.

        

The mammoth russet vampire was a little too much for me, so I zapped him with the wand. I'm glad I did, because the colossal gold knife was worth a lot of money.

        

In addition to regular monsters, demons of various colors and descriptions (e.g., "yellow cave demon"; "pink sewer demon") pop up randomly and extort gold from you under a variety of excuses, including loans, protection money, and buying tickets to the "demon's ball." They ask for relatively little gold, and you can't fight them anyway, so there's nothing to do but hit B)ribe and pay them. Their demands don't even get more expensive on lower levels. It's a very weird dynamic.

          

A demon convinces me to pay reparations.

         

The game has an odd fixation with color. Not only do you get color descriptions for the rooms, monsters, and treasure, but the main screen frequently changes color, flashes different colors when combat is happening, and sticks different colored boxes randomly on the sides of the screen. I guess the developer was just showing off the capabilities of the system. It didn't affect my experience either way; I just found it strange.

    

If you die at any point, you can quickly hit the joystick button to resurrect in the same room for a minimal cost, but it fails about half the time.

              

No, but you can resurrect me.

         

Room 80 of the first two levels is a special room where a demon will buy your treasures for cash and then sell you food, a compass, information, or an extra two "zaps" for the wand. I have no idea what food does; buying it seemed to have no effect. Ditto the compass. "Information" resulted in nonsense clues (e.g., "you will meet a tall dark stranger") whenever I tried. The extra zaps are priceless, though, and you can make more than enough money on Level 1 to ensure that you can just use your wand to blast through the next two levels, although using the wand nets you no experience.

         

Room 80 on Level 1.

        

Room 80 on Level 3 presents you with a "wizened old man" seated at an organ. The door slams shut behind you, and your wand starts to flicker. This seems like an obvious clue to Z)ap the wand, but in fact it doesn't matter what action you take; the outcome is the same: you win the game and the program recaps the amount of treasure you collected and the number and strength of monsters you killed. Presumably, you're meant to keep replaying for higher scores.

    

The winning screens.

         

This is the sort of game that I would have seen in a bargain bin at Electronics Boutique in 1984. I would have been suspicious of its $7.95 price sticker, assuming it couldn't possibly deliver much content for that price, but I would have bought it with hope anyway, taken it home, and tried my best to supplement my wanderings with my own imagination, pretending I was having fun, but feeling in some vague way that there must be more to life than this.

           

Cavern barely passes as an RPG. It has one inventory item that you can choose to use; I guess it has some statistics behind the combat; and there is that mysterious "level." It gets only a 10 on the GIMLET, with 2s in economy, interface, and gameplay and 0s and 1s in everything else. I can't find the game even mentioned in a contemporary source, let alone reviewed.

         

I have no idea what's happening here.

                  

Dr. Goodcode, whoever he was, never made another appearance (search the name without Cavern and you get nothing). The rest of the title screen is equally mysterious. If the dedicatee, "Kitty Goodcode," wasn't a James Bond girl, she also wasn't anyone else as far as I can tell. Perhaps the only notable thing is that it was published by Gebelli Software, which was a short-lived California-based enterprise from Nasir Gebelli, the famed Apple II developer who went on to work on the Final Fantasy series at Square. I'm participating in a podcast with John Romero later in September, and I know he knows Gebelli, and I suppose I could ask him to ask Gebelli to confirm who Dr. Goodcode was, but .  . . there are times that tracking down the original developers to some of these 1980s games honors them, and there are times that it doxxes them. This seems like one of the latter.

   

But since I was only able to get 1,200 words out of Goodcode's Cavern, let me use the rest of this space to explore a lesson that I recently learned about secondhand journalism. A few years ago, in writing about Dark Designs III: Retribution! (1991), I wrote the following:

            

1991 was a major transition year for Carmack and his new partner, John Romero. At the age of 20, Carmack had gotten a job two years prior at Softdisk, largely on the strength of his Dark Designs series. But he and the other developers grew to despise the sweatshop-like atmosphere of Softdisk and the monthly programming demands. He and Romero began moonlighting by selling their own games--principally the Commander Keen series--as shareware on bulletin board services. When Softdisk found out about these games, and that the pair had been using the company's computers to write them, both threats of a lawsuit and offers of a contract followed. The messy result was that Carmack and Romero left the company but agreed to continue to produce one game every 2 months for Softdisk's magazines. Thus, a couple years later, after the team had changed the gaming world forever with Wolfenstein 3D and DOOM, you see them credited on the occasional diskmag title like Cyberchess and Dangerous Dave Goes Nutz!

            

I had consulted several sources to assemble that paragraph, including one that purported to have interviewed both Carmack and Romero in detail, and I was pretty confident in what I had. Fast forward to a few weeks ago, when John Romero (who I didn't even know was aware of my blog) invited me to participate in a podcast interview of Stuart Smith. (We're recording in mid-September; I'll let you know when it's out.) I took the opportunity to run the paragraph by him and found out that almost everything I'd written was wrong. To wit:

          

• I was a year late; 1990 was the year most of this happened. Romero worked at Softdisk prior to Carmack and was actually the one who hired Carmack, not because of Dark Designs but because of a tennis game plus his obvious facility with programming.

• Romero and Carmack loved working at Softdisk and only left because it was the wrong sort of publisher to take advantage of the horizontal scrolling technology that the duo would use in Wolfenstein 3D and DOOM.

• It was actually the president of Softdisk, Al Vekovius, who suggested that Carmack, Romero, and Tom Hall start their own company. There were no lawsuits and no threats; Carmack and Romero kept working for Softdisk for a year to avoid leaving the company in a lurch.

• The reason Carmack and Romero are credited on so many Softdisk titles stretching into the mid-1990s is that those titles used technology and code that Carmack and Romero had created. They otherwise had no involvement in games like Cyberchess and Dangerous Dave Goes Nutz!

      

All of this has been a lesson in putting too much faith in secondary sources, even when they agree and everything seems to fit together logically. I didn't get into this gig to be a journalist, and I have no formal training in journalism, but clearly my blog has veered in that direction at least occasionally, and as such, I need to adopt stricter rules for my use of sources, to make it clear when I'm speculating based on limited evidence, and to always see primary sources when they're available. I'm still working on these "rules," but they stopped me here in speculating on the identity of Dr. Goodcode even though I have a pretty good idea of who he is.

     

Sorry for the otherwise short entry, but you'll see a few more of these in September, as I have to devote more time to getting my classes going. Hopefully for the next entry, I can make some progress on The Summoning.

    

Sister Tempest By Joe Badon, Movie Review

Anne Hutchinson promised Karen, her younger sister, when they were orphaned that she would take care of her and always be with her till the day they died. As they grew up, Anne worked hard to be the parent she knew Karen needed. They grew older and grew apart as Karen developed a relationship with a young man. He had his problems and Anne didn't like him or what it would mean for Karen. They argued and Karen left, vowing to never return. That night Karen's boyfriend was murdered and Karen was missing.

That is the starting premise of Sister Tempest,which is written and directed by Joe Badon (IMDb link). What happens after is a rollercoaster ride through Anne's psyche. As she deals with the trauma of her missing sister, her internal tempest swirls.

The Story Side

Sister Tempest is summarized with the following.

"Anne Hutchinson's troubled relationship with her missing sister is under alien tribunal. Meanwhile, her new roommate's mysterious illness causes her to go on a cannibalistic killing spree."

I'm not going to say much about the plot. The story constantly weaves back on itself with flashbacks and flash-forwards, along with jumps through dimensions, as Anne recites her tale of events to a panel of "judges." They want to know the story from her point of view so they can get to the truth as Anne perceives it. And, that is the real question as the story unfolds.

Badon tells his story of Anne in an art house style. Throughout the movie, scenes are cut into and out of to produce chapters set apart by short scenes giving foreshadowing to the events about to unfold. This is a film that needs to be watched carefully. The story seems rough and a little hard to follow at first. But, as the chapters unfold, the pieces of the puzzle of Anne's stormy mind settles.

The Production Side

I first met Joe Badon at the FilmQuest Film Festival (website) when he was screening his first feature film, The God Inside My Ear(IMDb link). If you liked his first film, you will enjoy Sister Tempest. Both have the aspect(?) of mental self-discovery.

Badon provides a lot of little tidbits in his film. Along with the foreshadowing within the chapter headers, there are a number of symbols, metaphors, and tokens used to bring the story full circle from the opening scenes through the "flashback" telling of the story by Anne to the final scene of discovery. It is because of these elements woven into the plot that it would be unfair to give an outline without giving away the end.

Sister Tempest is a low budget film. Instead of detracting from the film, if allowed, the level of technical special effects adds to the story. We are being told the story through Anne's viewpoint, her perception of events, her reality, which is not a good place. The special effects are reminiscent of older movies and Sister Tempest includes scenes from sci-fi, horror, and other classic films. Many times when people think of low budget, they think there isn't much talent involved. That is not the case.

The cast of Sister Tempest has a broad range of experience. The combination of talent provides depth for the style and budget. Two of the main roles are Anne and her new roommate after Karen leaves, Ginger.

Anne Hutchinson is played by Kali Russell (IMDb link). This is her second listed credit and her first feature film. Her portrayal of Anne gives us a woman facing a breakdown. Everything she has worked to maintain in her life for her and her sister is gone. The sense of loss is palpable. She brings this out in her dealings with the events of her daily routine and when dealing with new possibilities and other characters. For a first major role, I like what Kali Russell brings to the story and to the screen.

Ginger is portrayed by Linnea Gregg (IMDb link), who is returning to work with Joe Badon after playing the lead role of Elizia in The God Inside My Ear. She also brings an insight to the mental stresses taking place and how they are dealt with. She provides an excellent counterpoint to Russell's Anne. They show their connection to each other on screen and allow the story to grow.

Sister Tempest is prepared to be on the film festival circuit. At the time of this review, there was no mention of where Sister Tempest will be screened.

I recommend Sister Tempest for people who want to see a film that is different, thought provoking, and requires you to pay attention to what is happening on the screen.

You can find out more about Sister Tempest on IMDb (IMDb link).

 

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Monthly Progress Report For My Twitch Channel, FuzzyJCats, Nov 25 Through Dec 24

Twitch Channel FuzzyJCats

During this month of streaming, I continued to work on improving the usual chatting and gaming at the same time, and not using filler words, though I noticed I constantly slip into using a lot of filler words as they help to fill dead air.

I was also trying to find out how we can tell if we're entertaining. Certainly watching your VoDs help you notice if you're articulate or not, if you move around too much such that you're off the facecam, but I still can't tell if my streams are entertaining.

However, I started having an inkling as to what's entertaining to viewers this month. Since the entertainment is in real-time, and people are chatting, like with everything, people find you very interesting if you ask about them and talk about their issues. This is try-hard but cbenni.com can let you review your logs so you can remember what your viewers say, so when they show up the next time, you can ask them about that specific thing. 

For instance, if they mention that they're starting a new job, you can ask them how work is coming along, if they like their new boss, coworkers, and so on and so forth.

So another try-hard method is after each stream, I have been more or less writing these topics to talk about when the viewer shows up next.

Again, this is very try-hard, but it can help not only make your chat more entertaining for specific viewers, but with these topics on hand, it will help reduce dead air.

Aside from the usual goal of chat and gaming ratio, working on dead air, and removing filler words while streaming, improvements to be made is to be more aware of my viewers so I can ask them about issues next stream. 

The How of Happiness Review