915 lines
46 KiB
Plaintext
915 lines
46 KiB
Plaintext
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IV TAWALA'S LAST REDOUBT
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The cruel Emperor Tawala has been forced from his throne on the world of
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Galactica and has fled for his life to the planet of Farside, where he and a
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small bank of adherents prepare to make their last stand. Extreme solar
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conditions have isolated Farside from the rest of the galaxy, and so it
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remains to Benthi, leader of the local insurrectionists, to press the final
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assault on Tawala and his minions.
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TAWALA'S LAST REDOUBT puts you in the position of rebel leader. You must
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intercept and decipher Tawala's secret messages to his supporters, form
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alliances with local chiefs, detect Tawala's spies in your midst, separate
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hard intelligence from enemy disinformation, avoid Tawala's military forays
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against you and, finally, lead the assault against the Prince's stronghold.
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Minimum Configuration:
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APPLE Disk, 48K with APPLESOFT, Boots directly on either 13 or 16 sector
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systems.
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The Story
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This is the fourth tale of the Galactic Saga. The first three episodes
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traced the early life of Julian du Buque of Sparta, starting with his
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appointment as commander of the armed forces of Tawala Mundo,
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Emperor of the small world of Galactica.
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GALACTIC EMPIRE followed du Buque's efforts to conquer the 20
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inhabited worlds of the Central Galactic System and join them all into
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a single empire under the rule of Prince Tawala.
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Upon successfully completing this assignment, du Buque was
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cashiered (for reasons which were never fully revealed), and in
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GALACTIC TRADER we participated in du Buque's effort to use his
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substantial planning and logistical skills in the world of trade.
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Prince Tawala had not been blessed with any such skills and so was
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hard put to keep together the empire which du Buque had gained
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him. GALACTIC REVOLUTION is the story of Tawala's overthrow in
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a revolt sparked by the discontented merchant class and ultimately
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led by Julian du Buque.
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Upon his defeat by du Buque's forces, Tawala fled Galactica and for
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a time disappeared from view. It is at this point that the fourth
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episode begins.
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She is known to most historians as Lorato, which means love. Her
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name is inextricably entwined with that of Julian du Buque, and in-
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deed their partnership is a fixture in any tapestry of the history of our
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people. But few know that this name was not the one given her. She
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took it for herself when she left Farside with du Buque.
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Before then she was Benthi, earth woman, fire and steel, the rebel
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leader who led her small band against the still-powerful forces of
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Prince Tawala on the remote planet of Farside. Her origins are
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known, for she wrote of them herself in a diary which she always
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referred to as "my confessions." Indeed, there is little in the life she
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led as Benthi which we would wish upon our own daughters - even
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the small excerpt from her diary which is appended hereto may not
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be suitable reading for the young. Benthi was by all accounts the
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coldest woman imaginable, except in the heat of battle. Although
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not one of them, she led her band of blue-eyed aborigines with a
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ferocity that seemed to elicit from them a loyalty based half on fear
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and half on respect. It would not seem that this was her battle to
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fight. Yet none doubts the depth of her animosity towards Tawala
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and his cohorts.
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She came to Farside with her young husband, Thloka, intending to
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become farmers. Farside was a newly opened planet, and land was
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cheap and plentiful. The aborigines, a lightskinned, blue-eyed
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people, were indentured to the farmers and performed the hardest
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tasks, essentially as slaves. Even the poorest outworlders had five or
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ten of the aborigines to serve them - this peculiar state of affairs
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often existed for a time on newly colonized worlds.
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Their foreman was a huge native called Rick. He fled the farm after
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committing a capital offense and joined a small band of guerrillas in
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the hills, who hoped to free their countrymen from the yoke of these
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star-flung oppressors by raids upon the farms and weaker outposts.
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When Benthi left her farm and attempted to join the rebels, she
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found Rick in charge. Although suspected at first, she was finally
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accepted into the cadre and when Rick was killed in an ambush, she
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took command of the group. The story is told that she taunted her
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nearest rival into a suicidally dangerous raid, but this seems out of
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character. And no one denies that she was an unparalleled leader, a
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brilliant tactician and an utterly ruthless opponent.
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She beat Tawala in the end of course, joined by the bandit Vyl-
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ourmani in the final battle of Mallard Pass, where Tawala was
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cornered and killed. It was only after the Redoubt had been seized
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that du Buque managed to break the barrier of isolation which
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Tawala had cast around Farside and to land his forces on the planet.
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Farside brought these three together, two fighting men and a
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fighting woman. And from Farside too came the discovery that broke
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them apart, taking one on a quest across the universe for a gift
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sought through all ages, and the other two on a journey into
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themselves, a journey taken by countless others for as long as man
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has loved. But these are other stories, to be told another time. This
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one has been too long in the telling as it is.
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The Game
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Place the program disk in your disk drive and turn the computer
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on. After a short pause the program name will appear and,
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underneath it, the question, "HOW QUICKLY DO YOU WISH TIME
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TO PASS ON TAWALA'S LAST REDOUBT? Your answer to this
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question will set the speed of the clock which controls all the
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activities of the game (although you can recalibrate the clock from
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within the game quite easily). The speed scale runs from 1 (very
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slow) to 9 (very fast). Three is suggested as a good starting speed
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for most games, although you may set it slower if you are just begin-
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ning.
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Once you have selected game speed, press = RETURN =, You will
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now see:
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1) NEW GAME
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2) RESTORE PREVIOUS GAME
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1 2
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Pressing = 1 = will continue immediately to game setup. If you have
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played previously and want to continue the same game from the
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point at which it was last saved, press =2 =. You will then see:
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ENTER NUMBER OF GAME (OR PRESS
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<RETURN> FOR NEW GAME):
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R 1 2 3 4 5 6 7 8 9
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Press = R = if you had intended to ask for a new game and made a
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mistake. Otherwise choose the number under which you saved your
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game previously, press that number and then = RETURN =. As you
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may imagine, the program can save up to nine games simultaneous-
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ly. After loading the first game module, the computer will prompt
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you to insert your data disk. When finished, it will ask you to replace
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the program disk.
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Now settle down for a fairly long wait. The disk will whir and clack
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for a while, stop to do some start up computations (and play you a
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little ditty, just so you know it hasn't gone to sleep), and then finally
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load up the game. If this is a new game, you will find yourself located
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at Benthi's Camp, with the mountains in the background and her tent
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off to the right. Your location (Camp) is displayed in the upper left-
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hand corner of the screen. The time and date appears in the upper
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right-hand corner, and three controls appear in the lower right part.
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These are M)essenger, I)ntelligence, and O)rders. The right paren-
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thesis indicates that each of these functions can be called by typing
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only the first letter of the word. This list of three functions is called
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the "Master Menu" from now on.
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Before settling into a discussion of the control functions, there are a
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few things you should know about the program. First, there are lots
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of things going on that you don't control. The fiendish usurper, also
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known as Prince Tawala, will soon start sending out raiding parties
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from his stronghold. If you leave the computer at this point and go
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have dinner, you are likely to find the game over by the time you
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return, your forces ambushed and decimated, with nothing left on
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the screen but a lone saluting sentinel standing under the stars. If
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this does happen to you, press any key on the computer and the
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words "PLAY AGAIN?" will appear on the screen. Pressing Y)es will
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restart the program from the beginning and save you the trouble of
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rebooting.
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Second, you can alter the speed of the clock on the screen. In real
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life, you are stuck with whatever time sense your metabolism gives
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you, and you may find that most events consist of nine parts
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unremitting boredom to one part terror, pleasure, or hope. The com-
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puter allows you to step outside these real life constraints. Typing
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any number while the Master Menu is on the screen will change the
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clock speed. For example, if you are very anxious to witness your
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own demise, press =9 = and sit back. The hours will whirl away and
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in no time at all, Benthi will become a footnote in Farside history
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books.
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There aren't many sound effects in the game, but some people
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prefer to suppress the clock ticks, especially in the games played at
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high speeds. Pressing the CONTROL button and then the = Q = key
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(referred to hereafter as =CNTRL Q=) will suppress them, at least
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for a time. =CNTRL S= will bring them back.
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If you would like to save the game configuration you have been
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given before you start play (or at any point during the game), press
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=Q=, for Q)uit. You will then be asked to choose a number from 1
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to 9, and the game will be saved under that number. If you want to
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quit, but don't want to save your game, just turn the computer off.
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Works every time.
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Now we are ready to take you through a tour of the control keys.
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Rather than taking them in the order in which then appear on the
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screen, we will treat them in the order you might expect to use them
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in a game. The last page of this booklet has an outline of all the con-
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trol keys for quick reference.
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The Master-Menu: I)ntelligence
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You have little information at the beginning of the game, other than
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your location and the time of day. It would be a good idea to get
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oriented. The only place to start is with your intelligence officer,
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Chief Paoli. Press = I =. This invaluable man keeps on his person or
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in his head all sorts of vital information. He has the only map of the
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area. He has dossiers on every person and everything under the sun.
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And he even has a couple of assistants who can run out and get
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more information if what he has isn't enough!
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Let's start by taking a look at the map. Press = M =. Benthi's Camp
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is located at the bottom part of the screen. Underneath the word
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CAMP you should see three green symbols followed by numbers.
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The top symbol represents a rifle, the middle one a coin and the bot-
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tom one a soldier. As you can see, Benthi has one hundred troops at
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her disposal but only one hundred Credits and only enough weapons
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for fifteen of her men. Tawala is located in the upper left corner of
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the screen. If you had an agent in the Redoubt, Tawala's strength
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there would also be shown on the map. Tawala's assets are
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displayed with red symbols. Red and green are impossible to
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distinguish on most black and white television sets. However, when
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Tawala's resources are shown, the world AGENT will also appear
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next to the same location, indicating the presence of one of
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Chief Paoli's spies. (Incidentally, this map will not automatically up-
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date itself while you are watching it - it only reflects dispositions in
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effect at the moment it is called to the screen.)
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To get a feeling for distances on this map, press = C = for Camp and
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then = H = for Hollywood. Small arrows should appear next to both
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names and the words "7 hours" should appear in the lower left
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corner of the map, framed by a box. This is the amount of time it
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would take a messenger to run from Camp to Hollywood (it would
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take an armed force twice as long to cover the same distance). Try
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other combinations of letters. When you are satisfied that you have
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seen enough of the map for the time being, press = R = or
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=RETURN= to return to the list of Chief Paoli's functions. Use
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either of these two keys whenever you want to back out of a routine
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or to return to the previous menu of controls. For example, if you
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press = R = one more time, you will dismiss Chief Paoli and find
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yourself staring at the Master Menu once again. (If you actually did
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this, press = I = to get back to Chief Paoli. We aren't done with him
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yet.)
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One of the first things we need to do is to send Paoli's two agents
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where they can observe the movements of Tawala's troops and
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report these movements back to us. If we like, we can even try to in-
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filtrate an agent into the Redoubt to report to us on Tawala's overall
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strength. There are two drawbacks to this: one, the risk of exposure
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and capture is far greater inside the Redoubt itself; and two, there is
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no way to recall an agent who has been sent all the way into the
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lion's den. Sooner or later, he is bound to be exposed. We must
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weigh the value of his information against the certainty of his future
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loss.
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However, in our first game it would be advantageous to know
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Tawala's exact strength, even at the cost of one of Paoli's two
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agents. So press = S = for S)end agent. Paoli will then ask you
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where to send his spy. Press =T= for Tawala's Redoubt. Paoli will
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send the agent off immediately and with luck he should start re-
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porting back in about 16 hours (the length of time it takes to run be-
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tween Camp and the Redoubt). It would also be advisable to station
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an agent at Janus, the interior crossroads city through which all of
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Tawala's forces must march on their way to other destinations.
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Next we must concern ourselves with building up the strength of
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Benthi's tiny force. Obviously the first concern is to secure arms for
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the unarmed men in the cadre, then to increase the overall strength
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of the force. There are several ways to do this. Tawala is rumored to
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have buried an arms cache for use by his men if they should ever be
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cut off from the Redoubt. We will have to rely upon Chief Paoli's
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agent to uncover the location of this cache and the code word that
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unlocks it. Also, the brigand Vyl-ourmani has a substantial band of
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armed men. If he can be located and the password for entry into his
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camp discovered, he might be persuaded to join in the fight against
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Tawala, for whom he has no love. Again, we can do little until we
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receive additional intelligence from Paoli's spies.
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What we can do immediately is look for support among Farside's
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village chiefs. Four chiefs control the villages in this part of Farside:
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Anson, Beonj, Covoi, and Dumas. Paoli has a dossier on each one,
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and any approach should take into consideration the personal
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characteristics of the Chief whose favor is sought. Press = D = for
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D)ossiers and, when the word FILE appears, press the first letter of
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the name of the person whose dossier we want. Pressing any key
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will `page' through the dossier until it is finished and the Intelligence
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Menu reappears. If we desire specific information about any of the
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towns, pressing = G = and then the first letter of any of the village
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names will reveal current information on the local population and
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economy, as well as the identity of the village Chief.
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It is not the purpose of these rules to instruct the reader how to
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evaluate the information presented, nor to reveal the `correct'
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approach to be made in every case. Therefore, the following
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examples are intentionally vague. It is your responsibility to deter-
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mine the tactics which led Benthi to ultimate success.
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The Master Menu: M)essenger
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Press = R = or = RETURN = until you are returned to the Master
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Menu. Then press = M =. On the right side of the screen four names
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will appear. These are your four messengers. Press the letter = L =.
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The messenger Lanai will cross to the tent, salute, and prepare to
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receive your orders. First of all, you must tell him for whom the
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message is intended. Messengers may be sent with offers to the four
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village Chiefs. They also may be used to convey instructions to
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Benthi's forces stationed in various villages (for example, to tell one
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of Paoli's spies to return to Camp). Let's assume for the present that
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you wish to convey an offer to Chief Dumas. Press the letter = D =
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The following should then appear on the screen:
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Options:
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N)othing
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M)oney
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Offer him...
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If you press = N =, Lanai will carry no money to Dumas. If you press
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= M =, the bottom line will change to read:
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Offer him money, specifically:
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You will then be expected to enter a sum of money, less than the
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sum on hand (you may recall from viewing the map that you started
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with 100 CR), which sum Lanai will take with him for transfer to
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Chief Dumas. This sum can be viewed as payment for the goods you
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will request or as a bribe. There is little likelihood of the money being
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returned if your request is refused. In deciding whether or not to
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offer the Chief money in return for his assistance, please examine
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Dumas' personality profile carefully! One note about entering sums:
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type the numbers in slowly <20> there is a good deal of processing go-
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ing on during keyboard entry, and if you type too fast, some of the
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numerals can be lost. If you make a mistake, you can use the left
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arrow to backspace. When you are finished entering the number,
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press = RETURN
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At this point the following screen should appear:
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Options:
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A)rms
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M)oney
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T)roops
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Tell him we
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require...
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You must select the type of goods you wish to have delivered. (Do
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not try to buy money. Your messengers have very deep-seated
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notions of propriety.) You must then enter the quantity of goods you
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would like. All three commodities have intrinsic values which do not
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change: rifles are worth 5 Credits each, soldiers 3 Credits, and
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|
Credits (not surprisingly) 1 Credit exactly. This information may or
|
|||
|
may not be of any value.
|
|||
|
|
|||
|
You must then tell the messenger where to return with the goods,
|
|||
|
provided he is able to acquire them. If you plan on moving your base
|
|||
|
of operations to one of the villages, you might prefer to have the
|
|||
|
goods sent directly there. Or if one of your bases is understaffed, it
|
|||
|
might save time to reinforce it directly.
|
|||
|
|
|||
|
Finally, you must instruct your messenger as to whether or not your
|
|||
|
offer should be accompanied by a threat of reprisals against the
|
|||
|
Chief if he should refuse to deal with you. There are several factors
|
|||
|
which you should take into the balance before making this instruc-
|
|||
|
tion: the strength and personality of the Chief, the proximity of his
|
|||
|
domicile to your nearest troops, and the size of his militia, to name a
|
|||
|
few. The size of the local militia varies from one half percent to one
|
|||
|
and a half percent of the village population, dependent largely upon
|
|||
|
the calibre of the Chief's leadership.
|
|||
|
|
|||
|
If Benthi's messenger threatens reprisals and the Chief repulses the
|
|||
|
offer nevertheless, failure to take action within four or five days will
|
|||
|
cause a diminution in respect among all of the Chiefs. Yet, however
|
|||
|
desirable it might be, it is very hard to create a reliable supply source
|
|||
|
based entirely upon good will.
|
|||
|
|
|||
|
After Benthi has told Lanai whether or not to threaten reprisals, Lanai
|
|||
|
will salute and leave on his mission. The screen will clear and then
|
|||
|
return to the Master Menu. If, instead of sending a message to Chief
|
|||
|
Dumas, we had wished to recall our spy in Janus, we would have
|
|||
|
proceeded a little differently. After selecting Lanai, we would have
|
|||
|
instructed him to take a message to our people (by pressing =0=)
|
|||
|
in the town of ____ (by pressing the first letter of the town name).
|
|||
|
Messengers don't get union wages, however, and if there aren't any
|
|||
|
friendlies in the village you direct him to go to, you are going to find
|
|||
|
him somewhat recalcitrant about leaving.
|
|||
|
|
|||
|
|
|||
|
The Master Menu: O)rders
|
|||
|
|
|||
|
The final control on the Master Menu is O)rders. Press =0= and the
|
|||
|
Master Menu will be replaced by:
|
|||
|
|
|||
|
T)roop movement
|
|||
|
B)reak camp
|
|||
|
|
|||
|
Press =T=. A soldier will appear and ask, "Where shall we go,
|
|||
|
Benthi?" Respond by indicating the name of the village to which you
|
|||
|
want to send troops. The soldier will then ask, "How many men will
|
|||
|
you send?" Enter the number of armed men you want to move. You
|
|||
|
cannot send out unarmed men. The screen will then clear and the
|
|||
|
following appear:
|
|||
|
|
|||
|
Options:
|
|||
|
S)ecure town
|
|||
|
L)oot & pillage
|
|||
|
What are our orders?
|
|||
|
|
|||
|
If you press =S=, your troops will go to the indicated town and
|
|||
|
fight only if the town is occupied by Tawala's forces. If you press
|
|||
|
<EFBFBD> L =, the troops will attack the local militia, sack the town, and take
|
|||
|
as much booty as possible.
|
|||
|
|
|||
|
S)tay on station
|
|||
|
R)eturn to base
|
|||
|
M)ove to...
|
|||
|
And when finished?
|
|||
|
|
|||
|
Again, choose the option you wish. If you press = M =, you will be
|
|||
|
asked to designate the cadre's final destination. The screen will then
|
|||
|
clear and return to Master Menu.
|
|||
|
|
|||
|
The second option under O)rders was B)reak camp. Press =0=
|
|||
|
again, and this time press =B= next. "Where to?" will appear and
|
|||
|
as soon as you respond, your troops (and you) will set off. Unless,
|
|||
|
that is, you answer anything but L)em or H)ollywood, the only two
|
|||
|
towns connected directly to Camp by roads. If you answer with any
|
|||
|
other town, your subordinate will ask the name of the first town you
|
|||
|
will pass through on your way to your ultimate destination.
|
|||
|
|
|||
|
There is one other option in the O)rders menu, but it appears only
|
|||
|
when Benthi's headquarters have been relocated to Janus. The third
|
|||
|
option is A)ttack redoubt. This command will cause the final, all-or-
|
|||
|
nothing battle to begin, from which there is no retreat, no second
|
|||
|
chance. All of your efforts in the game culminate in this, your final
|
|||
|
command, with which you order your legions to follow you to the
|
|||
|
very gates of Tawala's close, there to do final battle.
|
|||
|
|
|||
|
It is perhaps ironic that in this, the final battle, you are essentially a
|
|||
|
bystander. You can watch, from a vantage point high above the
|
|||
|
defile in which the battle takes place, but once the fray has begun,
|
|||
|
you cannot alter or in any way further affect the outcome. For true
|
|||
|
leadership rests not upon the moment of conflict but in the hours and
|
|||
|
toils leading up to the crucial moment.
|
|||
|
|
|||
|
There is no score at the end of Tawala's Last Redoubt. The situation
|
|||
|
permits of no partial victories, no salvaged defeats. Either Tawala is
|
|||
|
destroyed or Benthi. There is no middle ground.
|
|||
|
|
|||
|
|
|||
|
The Messages
|
|||
|
|
|||
|
From time to time during the progress of the game, messages will
|
|||
|
scroll across the bottom of the screen. These messages include all
|
|||
|
reports based on the activities of your messengers, spies and troops
|
|||
|
while away from headquarters. If you find the messages hard to read
|
|||
|
while they are scrolling, you may stop their motion by pressing any
|
|||
|
key. A second keypress will start them up again. Occasionally, you
|
|||
|
may attempt to enter a command just as a message begins to scroll.
|
|||
|
If the keyboard does not seem responsive, check the lower right
|
|||
|
corner to see if a message has begun to scroll across the screen.
|
|||
|
|
|||
|
Paoli's secret agents report to Benthi by one-way wireless, so they
|
|||
|
can often provide sufficient advance warning of Tawala's troop
|
|||
|
movements to allow Benthi to avoid unwanted confrontations or to
|
|||
|
reinforce beleaguered outposts. They also sometimes intercept
|
|||
|
coded messages between Tawala and his minions.
|
|||
|
|
|||
|
Breaking Tawala's ciphers can greatly benefit the rebel cause, for
|
|||
|
these messages often contain valuable information. Sometimes they
|
|||
|
reveal Tawala's immediate plans. Sometimes they expose the loca-
|
|||
|
tion of hidden arms caches or of Vyl-ourmani's men. And sometimes
|
|||
|
they provide the code words that must be keyed in from the Master
|
|||
|
Menu in order to unlock hidden doors. Each new game will use a dif-
|
|||
|
ferent cipher, but all messages within a game will be coded using the
|
|||
|
same cipher.
|
|||
|
|
|||
|
The coded messages are often quite long and use of the wireless is
|
|||
|
very dangerous, so it is imperative that these messages be copied
|
|||
|
down with the greatest possible speed. It is possible to break the
|
|||
|
wireless connection at any time by pressing any key during com-
|
|||
|
munication (and thus lowering the risk of exposing Benthi's agent),
|
|||
|
but the agent will also break the connection in an unreasonably short
|
|||
|
period of time, so be forewarned.
|
|||
|
|
|||
|
Winning this game is not easy, especially if you make minimal use of
|
|||
|
the very slow pacing speeds. But then any effort to simplify the pro-
|
|||
|
cess by which Benthi overcame Tawala might cheapen her
|
|||
|
accomplishment, and that would never do.
|
|||
|
|
|||
|
|
|||
|
Appendix A: The Diary
|
|||
|
|
|||
|
The following excerpt from the diary of Benthi covers a period of
|
|||
|
time substantially before Tawala's final defeat. Although it is not
|
|||
|
necessary to understand the source of the rebel leader's astounding
|
|||
|
power in order to replicate her actions on the battlefield, such com-
|
|||
|
prehension may help one to understand her choice of tactics and the
|
|||
|
fierce intensity of her will.
|
|||
|
|
|||
|
Monothr 1
|
|||
|
|
|||
|
Three seasons ago this month they took away my baby. I see it all so
|
|||
|
fresh still in my mind, the picture sharp as desert moonlight. It had
|
|||
|
been hot and dry. The summer rains had not yet come, and Margit
|
|||
|
was sleeping badly. I called her Margit. Thloka never called her
|
|||
|
anything, never admitted that she even existed. It is just as well, I
|
|||
|
imagine. He could never have pretended to love her.
|
|||
|
|
|||
|
I wish I could train my mind not to drift like this. It always ends up
|
|||
|
floating back to those barren days and sends shivers of remem-
|
|||
|
brance up my spine. Even now, when there is so much danger, if I
|
|||
|
shudder Rick knows that it is not fear that chills me, but memories.
|
|||
|
That is why he changed my name.
|
|||
|
|
|||
|
Bambi Knoch I was once - the forest fawn wed to a stolid Teuton.
|
|||
|
Benthi, Rick renamed me, full woman, and commanded me to put
|
|||
|
aside my past. Oh how I wished upon him such a power to remake
|
|||
|
me!
|
|||
|
|
|||
|
But when the air grows hot and dusty this time of year, those old
|
|||
|
images swell up before my eyes, so hard and stark I cannot shut
|
|||
|
them out. I remember. Margit, my child, pale skin, dark eyes, her hair
|
|||
|
just a fuzz of brown. And Thloka. The man I once loved more than I
|
|||
|
had ever loved, whom I followed to a world I never dreamed of,
|
|||
|
where he left me.
|
|||
|
|
|||
|
Five years we had together, years of poverty, hope and sharing. I
|
|||
|
bore him no son, a terrible failing, and yet he never gave me reason
|
|||
|
to know it. He was good to be with, a strong man with a happy, rip-
|
|||
|
pling laugh. When he spoke of this new land and its promise, with
|
|||
|
opportunities for all with strong backs and strong wills, it sounded
|
|||
|
like the heaven of our dreams. On Farside, he said, we could
|
|||
|
homestead, start our own farm, build our own clan. No longer would
|
|||
|
he have to watch me age so young from menial labor in others'
|
|||
|
homes. Oh how he cared for my welfare and happiness!!
|
|||
|
|
|||
|
Perhaps the dream was dying even then, but I failed to see it. The
|
|||
|
great clan he was to head was slow to spring from my reluctant
|
|||
|
womb and surely meant more to him than he ever allowed. Of his
|
|||
|
own large family, only his sister Lorato and he had survived the war,
|
|||
|
the two youngest. And then Lorato's death one April night - Thloka
|
|||
|
and I had been married only two months. We took the trader for Far-
|
|||
|
side on the next pass. Too many memories, too many failures on
|
|||
|
Zoe, Thloka had said, and I had agreed.
|
|||
|
|
|||
|
I fight for freedom now. Once I scorned freedom, hated it and feared
|
|||
|
it, with a fear that would tighten about my heart like a kingsnake
|
|||
|
wrapped around a desert squirrel. I was too much a part of others
|
|||
|
then, too little a part of myself. I was the smallest knot in a web that
|
|||
|
crossed eons and worlds, that bound me to a duty and did not even
|
|||
|
acknowledge my existence in return.
|
|||
|
|
|||
|
We take up arms for countless causes and against innumerable
|
|||
|
oppressions, but our struggle is at heart the same - for self-respect.
|
|||
|
This weapon in my hand is not a license. No, I am responsible for my
|
|||
|
own actions now. I hold myself strictly accountable.
|
|||
|
|
|||
|
Four years ago one night I stopped by the kraal to speak with Rick.
|
|||
|
He was our foreman then, a man of immense energy and natural
|
|||
|
authority. I used to watch him drive the others, told Thloka that they
|
|||
|
worked harder under my eye. (Rick said - much later - that my
|
|||
|
fascination was not with his efficiency.) How it happened I cannot
|
|||
|
say even today, although I do not deny responsibility. He took me,
|
|||
|
there on the dusty sands, whether by force or otherwise does not
|
|||
|
matter any more.
|
|||
|
|
|||
|
I told not a soul of that night, and Rick did not come to work the next
|
|||
|
day or thereafter. We had a hard time of it for a while, for Rick had
|
|||
|
virtually run the farm, but when Thloka noted my increase he bent
|
|||
|
his back to the task with extra vigor and a lightness of step that
|
|||
|
belied his pretended indifference to coming fatherhood.
|
|||
|
|
|||
|
Margit broke his heart, a beautiful, shy earth-toned baby with
|
|||
|
nothing of Thloka about her. He continued as before, acting as
|
|||
|
though he lived only for his work, but Margit shamed him, and when
|
|||
|
one day the authorities came to take her away, Thloka would not
|
|||
|
meet my eye, and I knew that he had betrayed me.
|
|||
|
|
|||
|
Rick came down from the mountains one night shortly thereafter and
|
|||
|
took the rest of our workers away. From the window in my bedroom,
|
|||
|
I watched them as they drifted silently westward under the brilliant
|
|||
|
moons, wraiths scudding before the cleansing broom. I too was
|
|||
|
seized with the urge to flee our desolate homestead, and gathering
|
|||
|
together a few things, I set out after them.
|
|||
|
|
|||
|
(We fight together now, a single well-honed unit, but I know that
|
|||
|
each among us carries a personal pain we hope in some way to ex-
|
|||
|
tinguish. That our liberation is but a matter of time I have no doubt,
|
|||
|
but sometimes I wonder in my heart what will fill the emptiness
|
|||
|
within me when our struggle is over.)
|
|||
|
|
|||
|
I am stationed on a butte overlooking the wastes of Char-al-Nee,
|
|||
|
standing watch for the column which Tawala must send to rescue
|
|||
|
his beleaguered outpost in the Kraal foothills. It is beneath my
|
|||
|
position perhaps, this tour of sentry duty, but it breeds respect
|
|||
|
among the cadre, and besides, I need the time alone.
|
|||
|
|
|||
|
How strange to think of such considerations! When first I caught up
|
|||
|
with Rick, he ignored me and his people rebuffed me. Two weeks I
|
|||
|
followed the column, sleeping apart from the rest (but always with
|
|||
|
an eye open to see that they did not slip off), eating alone such
|
|||
|
nourishment as I was able to secure from the land and my rapidly
|
|||
|
depleting provisions, content (if they had known it!) merely to be in
|
|||
|
journey, each day's progress removing me one step from a life which
|
|||
|
had abandoned me.
|
|||
|
|
|||
|
I would not have survived without Ketumetse's help. She brought
|
|||
|
me scraps of food from the camp to supplement the thin diet I was
|
|||
|
able to provide myself. A slight wisp of a girl, no more than fourteen I
|
|||
|
imagine, she had been our housegirl at the farm and didn't seem to
|
|||
|
fit in well with the others. Perhaps that was why she sympathized
|
|||
|
with my isolation. The others doubtless saw what she was doing but
|
|||
|
made no effort to interfere. The terrain was hard enough to occupy
|
|||
|
most of our attentions.
|
|||
|
|
|||
|
The Karalan escarpment forms an austere wall marking the edge of
|
|||
|
the high savanna and the most fertile areas where the farms have
|
|||
|
sprung up. Beyond the escarpment the earth becomes grey dust, a
|
|||
|
fine soot that enters every pore and chokes the unmuffled throat.
|
|||
|
This is the Char-al-Nez, a hundred kis wide, a desolation inhabited
|
|||
|
only by the wind. It is said that men once lived there and that grass
|
|||
|
grew deep over that sterile land, but I do not believe it.
|
|||
|
|
|||
|
Beyond the wastelands lie the foothills and then the snow-white
|
|||
|
peaks of the Maziwa Range. Streams still chuckle there, disappear-
|
|||
|
ing into the ground at the edge of the Char. Few people venture into
|
|||
|
these hills, as the terrain is difficult and not suited to farming. That
|
|||
|
may have been one of the reasons Rick chose them for his base.
|
|||
|
|
|||
|
Early on the morning of the fifteenth day of our journey we reached
|
|||
|
the far edge of the Char and entered a narrow wadi leading into the
|
|||
|
highlands. Here the company stopped to enjoy the smells and
|
|||
|
sounds of living soil and to drink fresh water scooped from holes dug
|
|||
|
in the sand in low parts of the wadi. But no sooner had most laid
|
|||
|
down their packs than a band of marauders fell upon them from the
|
|||
|
high banks on each side. Many of Rick's people fell immediately,
|
|||
|
while the rest fled helter-skelter. I could hear Rick's bellow as he
|
|||
|
tried to pull his panicked flock together.
|
|||
|
|
|||
|
I had trailed behind the main body half a ki or so, for even after a
|
|||
|
hardy farm life I was no match for the field hands in endurance. As a
|
|||
|
result I was not involved in the fray, although I saw it clearly from the
|
|||
|
edge of the wadi, which I climbed to avoid the raiders.
|
|||
|
|
|||
|
Once the great part of Rick's people had been driven off, their
|
|||
|
assailants swooped down on the fallen and started to strip them of
|
|||
|
their possessions, killing the wounded as they came upon them. I
|
|||
|
watched as if at a film, frozen with the shock and horror of it all (how
|
|||
|
time changes one!). Then the nearest of the victims shifted so I could
|
|||
|
see her face. It was Ketumetse, her face distorted by pain and fear.
|
|||
|
She appeared unable to walk but tried instead to crawl away from
|
|||
|
the melee. One of the raiders saw her and ran over to stop her
|
|||
|
escape. And suddenly I saw before me the image of my own lost
|
|||
|
daughter, grown up in a strange and forbidding world without my
|
|||
|
protection, and in my mind Ketumetse and she became one. From
|
|||
|
some hidden wellspring within me then gushed such a fount of rage
|
|||
|
that I lost all sense of time or place.
|
|||
|
|
|||
|
I have no recollection of what followed. Rick said that he saw me
|
|||
|
sweep down the side of the wadi and impale the bandit with my own
|
|||
|
small hunting knife, then turn on the remainder with so implacable an
|
|||
|
expression upon my face that they hesitated for a moment in indeci-
|
|||
|
sion. Rick seized that moment, with some few of the hands whom he
|
|||
|
had collected, to attack the raiders from the other side, and they,
|
|||
|
having largely gained their objective, withdrew.
|
|||
|
|
|||
|
From that day my isolation was ended and if Ketumetse was still my
|
|||
|
most loyal supporter, my acceptance by the others did not appear
|
|||
|
grudging. It was as if, having decided now to trust me, they denied
|
|||
|
that they had ever failed to. It was not Rick's doing, of that I am cer-
|
|||
|
tain. If his people had not accepted me, he would have kept his
|
|||
|
distance. He could lead his cadre - he explained it so plainly to me
|
|||
|
- only if they were absolutely certain that he always placed their
|
|||
|
interests before his own. If they did not trust me, neither could he.
|
|||
|
|
|||
|
I shared his tent for the rest of that long trek, until at last we reached
|
|||
|
his first redoubt, a small box-shaped valley backed up against
|
|||
|
Ghasialima, most northly of the Maziwa Range, where a full five
|
|||
|
hundred battle-proven men and women were already encamped. He
|
|||
|
was drawn away then by the responsibilities he must assume, but
|
|||
|
our small group must have spoken for me, for I was treated with
|
|||
|
courtesy by the entire camp. The cadre's position was in many ways
|
|||
|
less unsettling than Rick's. I was at least allowed to be one with
|
|||
|
them, if not one of them. I still did not know what Rick wanted of
|
|||
|
me.
|
|||
|
|
|||
|
During the months of training which followed I stayed with the same
|
|||
|
group, until I could no longer see in any of them the faces of my
|
|||
|
former "hands." We all grew together during this time, for Rick
|
|||
|
blended us skillfully into a single unit. And when the time came for
|
|||
|
our first battle testing, Rick led us personally.
|
|||
|
|
|||
|
We raided a farm, not unlike the one from which we had all originally
|
|||
|
come. We had been expertly prepared and thoroughly rehearsed in
|
|||
|
each phase of the operation. Some among us were designated to
|
|||
|
approach the farmhands and recruit as many as possible to our
|
|||
|
cause. Others were to lead the meat animals away. Still others were
|
|||
|
to secure communications, disarm the owner and his family and
|
|||
|
search for weapons. We were ready for our test, and yet we failed,
|
|||
|
for we were expected. Tawala's men were waiting for us and took
|
|||
|
us by surprise. Fully half the cadre was killed or left behind, and I
|
|||
|
would certainly have numbered among the casualties had not
|
|||
|
Ketumetse pulled me aside from the main body because of some dif-
|
|||
|
ficulty with her pack, so that we were at the very rear when the trap
|
|||
|
was sprung.
|
|||
|
|
|||
|
Rick was wounded very slightly in the arm, but on the return trek he
|
|||
|
angrily refused my offer to bind it up. I was the more hurt then when
|
|||
|
he allowed Ketumetse to stanch the bleeding. And my hurt grew
|
|||
|
greater when he avoided me utterly on the return journey, as if my
|
|||
|
presence had somehow been the cause of our failure.
|
|||
|
|
|||
|
I had not shared Rick's tent after we first reached Ghasialima, but he
|
|||
|
would frequently appear at mine late into the night and often not
|
|||
|
leave my arms until the morning light drove us into wakefulness. But
|
|||
|
after the raid these visits ceased. It was evident that Rick felt that I
|
|||
|
had failed him in some way, but I was unable to ask him directly. If I
|
|||
|
had needed any final proof of my fall from favor, however, I received
|
|||
|
it presently, when I woke one day to find most of the camp gone on
|
|||
|
another raid of which I had not even been aware.
|
|||
|
|
|||
|
They were gone three days. As the sun was disappearing over the
|
|||
|
western rim of the valley, the remnants of the raiding party straggled
|
|||
|
into camp, no more than two thirds the size of the original band, and
|
|||
|
many of them wounded. I joined those easing the pain of the injured
|
|||
|
and was changing dressings when Rick sent for me.
|
|||
|
|
|||
|
He apologized immediately. I had not been informed of this last raid,
|
|||
|
he told me, in order to clear me of certain charges which he had en-
|
|||
|
countered running with foul energy through the camp - that I had
|
|||
|
somehow communicated warning of the previous raid to the
|
|||
|
authorities and was therefore responsible for the ambush which had
|
|||
|
caught us by surprise, with such devastating consequences. Since I
|
|||
|
had not known of this second raid and since it too had been am-
|
|||
|
bushed, if there were a spy in the camp, as seemed likely, I was
|
|||
|
really the only person now above suspicion.
|
|||
|
|
|||
|
I still can recall the crushing impact of this revelation. No, I was not
|
|||
|
overjoyed to learn of my own innocence. I had not realized that it
|
|||
|
was in question. But to have been suspected without cause before
|
|||
|
any others - that was cruel. And even worse, to have been ab-
|
|||
|
solved through being denied a piece of information all the camp
|
|||
|
knew...
|
|||
|
|
|||
|
How could he know that no one in the entire camp had told me of
|
|||
|
this second raid, I challenged him. What kind of proof was that? I
|
|||
|
might indeed be his spy. What gave him such assurance that I could
|
|||
|
be kept ignorant of a secret shared even with the children! His bland
|
|||
|
certainty humiliated me more than I could tell.
|
|||
|
|
|||
|
How did he know that Ketumetse, my devoted follower, had not
|
|||
|
revealed the raid to me? Because it was she who had suspected me
|
|||
|
in the first raid, Rick had answered. It was she who told him how I
|
|||
|
had dropped out of the advancing column so that I wasn't in my
|
|||
|
proper position when the trap which caught us was sprung. It was
|
|||
|
Ketumetse who pointed out that when we were attacked after
|
|||
|
leaving Thloka's farm, I stepped into the open and yet was not
|
|||
|
harmed. She is grateful that you saved her life, he said, but she is not
|
|||
|
a fool.
|
|||
|
|
|||
|
No, not such a fool as men can be! His tone as he spoke told me what
|
|||
|
I had not known, and then the pieces began. to fit together at last. I
|
|||
|
understood then why I had seen so little of Ketumetse over the past
|
|||
|
two months, why Rick had come less often to my tent, even before
|
|||
|
the first raid, why the women in camp deferred to a wisp of a girl a
|
|||
|
fraction of their age.
|
|||
|
|
|||
|
How can I separate the turmoil of my feelings at that time? - yet I do
|
|||
|
not believe that jealousy or spite colored what I then did. I have
|
|||
|
always had a facility for cutting off my emotions when they interfere
|
|||
|
with what must be done. It was as Rick himself said. The interest of
|
|||
|
the cadre must come first - and if our leader's judgment was im-
|
|||
|
paired by his male foolishness, then it was my responsibility to take
|
|||
|
steps to protect us.
|
|||
|
|
|||
|
I am not hasty. I did not waste my knowledge on unyielding ears. In-
|
|||
|
stead I begged Rick to allow me to lead the next raid, to erase any
|
|||
|
lingering suspicions over my loyalty to the cadre. A little to my sur-
|
|||
|
prise, he agreed. He too realized that it was necessary. My skin
|
|||
|
tainted me yet.
|
|||
|
|
|||
|
We studied the maps together and ultimately selected a brazen
|
|||
|
target, the huge Mani-kor estate, on the third night before the next
|
|||
|
conjunction of the moons. I occupied him until past the evening meal
|
|||
|
and the sun had already set when finally I left his tent. But I did not
|
|||
|
return to my own.
|
|||
|
|
|||
|
There is a nook in the boulders nearby. I squatted there until I saw a
|
|||
|
lithe form slip through the tent folds. Then I wandered in the
|
|||
|
darkness for a time, for their private pleasures were no concern of
|
|||
|
mine. I returned only when I felt that Rick would be sleeping - he
|
|||
|
was not a great talker and slept quickly and deep. In the chill of the
|
|||
|
night I waited. Of what was to come I had no doubt.
|
|||
|
|
|||
|
The dawn greyed about me presently. I was sore and cramped from
|
|||
|
the vigil. I rose and began to move about as if upon some little
|
|||
|
errands, so that my purpose would not be evident to the early camp
|
|||
|
risers. But Ketumetse did not emerge until the sun was full upon the
|
|||
|
tent and with such radiance in her face that I was at last pierced by
|
|||
|
doubt. Could this frail creature be our betrayer? Could anyone shine
|
|||
|
so with life and send her comrades to their deaths?
|
|||
|
|
|||
|
She spied me then and greeted me with warmth, and had I not re-
|
|||
|
called her words denouncing me, I should have put my suspicions
|
|||
|
behind me. It is well that I did not.
|
|||
|
|
|||
|
(I see a great stirring of dust on the far horizon. Tawala's
|
|||
|
unimaginative commander has reacted as anticipated. We shall
|
|||
|
prepare the ambush. but there is time yet. The column cannot march
|
|||
|
in the full heat of the day and will not reach the place where we shall
|
|||
|
destroy it before evening.)
|
|||
|
|
|||
|
Three days I watched her, even as I put the cadre through final drill in
|
|||
|
preparation for the raid. Three nights I lay sleepless in the rocks by
|
|||
|
Rick's tent. And just as dawn began to lighten the valley tops on the
|
|||
|
fourth day, I was rewarded.
|
|||
|
|
|||
|
She slipped out the back of the tent so silently I would surely have
|
|||
|
missed her had my attention not been attracted by a burst of song
|
|||
|
from a nightthrush. She climbed with sure feet toward the canyon
|
|||
|
headwall. I followed her with my eyes, and only when she dipped
|
|||
|
behind the short rhiolan growth did I rise to follow her.
|
|||
|
|
|||
|
She was crouching behind the bushes in the middle of the path,
|
|||
|
speaking softly as if to herself, and in my haste I tripped over her.
|
|||
|
She would have scrambled away, but I held her by the ankle until I
|
|||
|
could pinion her to the ground with my body. She was strong but
|
|||
|
very light and no match for me in strength.
|
|||
|
|
|||
|
I could hear her breath coming in quick little gasps beneath me. Why,
|
|||
|
I asked? Why do you do this, Ketumetse? presently she started to
|
|||
|
weep. She said nothing but sobbed as if her heart were torn asunder.
|
|||
|
After a time, I lifted her and carried her back to the camp. She lay
|
|||
|
limp as rags in my arms, not resisting, already a stranger to this
|
|||
|
world.
|
|||
|
|
|||
|
At morning call, I showed my prize. They jeered me. Blinded by nar-
|
|||
|
row thoughts, they applauded my loudest skeptics. Ketumetse did
|
|||
|
not speak. Carefully, I laid the evidence before them, one point at a
|
|||
|
time. None would hear me out, particularly not Rick, who made as if
|
|||
|
to stop me. Then a rage took me, and I denounced them all for what
|
|||
|
they made me do.
|
|||
|
|
|||
|
With my knife I cut open her throat to reveal the device I knew was
|
|||
|
there. The glint of wire and metal from within the bloody wound
|
|||
|
silenced them then. But anger and sorrow took my voice away, and
|
|||
|
it was left to Rick to come and inspect the body of the woman he had
|
|||
|
known, to separate the transmike from the shards of surrounding
|
|||
|
tissue and display it for all to view. He had the decency to weep for
|
|||
|
her, which is the reason I forgave him for being such a fool.
|
|||
|
|
|||
|
Outline of Control Functions
|
|||
|
= M = Messenger
|
|||
|
=H= Haka =J= Juma =K= Keetse =L= Lanai
|
|||
|
1) ... take this message to .
|
|||
|
<EFBFBD>0= our people
|
|||
|
...in ... (one of the villages)
|
|||
|
...Tell them to move to ... (village name)
|
|||
|
=A=, =B=, =C= OR =D= (one of the four chiefs)
|
|||
|
|
|||
|
2) Offer him...
|
|||
|
<EFBFBD> N = Nothing
|
|||
|
=M= Money
|
|||
|
... specifically ... (enter sum)
|
|||
|
|
|||
|
3) Tell him we require...
|
|||
|
=A= Arms
|
|||
|
=M= Money
|
|||
|
=T= Troops
|
|||
|
|
|||
|
4) ... specifically ... (enter sum)
|
|||
|
5) To be sent to: (one of the villages)
|
|||
|
6) Should I threaten reprisals for failure to comply?
|
|||
|
|
|||
|
= I = Intelligence
|
|||
|
=M= Map
|
|||
|
= D = Dossiers
|
|||
|
= G = Geographical
|
|||
|
= S = Send Agent
|
|||
|
|
|||
|
=0= Orders
|
|||
|
= T = Troop Movement
|
|||
|
1) Where shall we go? (one of the villages)
|
|||
|
2) How many men will you send? (enter sum)
|
|||
|
3) What are our orders?
|
|||
|
= S = Secure town
|
|||
|
=L= Loot & pillage
|
|||
|
4) And when finished?
|
|||
|
= S = Stay on station
|
|||
|
=R= Return to base
|
|||
|
= M = Move to... (one of the villages)
|
|||
|
=B= Break camp
|
|||
|
1) where to? (one of the villages)
|
|||
|
|
|||
|
Non-listed controls:
|
|||
|
Q Quit game
|
|||
|
=CNTRL Q= Turn sound off
|
|||
|
=CNTRL S= Turn sound on
|
|||
|
1 = to = 9 = Change tempo of game
|
|||
|
|
|||
|
The names of the villages:
|
|||
|
=A= Anaxis =D= Delphi =J= Janus
|
|||
|
=B= BahI =F= Ffahr =K= Koku
|
|||
|
=C= Camp =H= Hollywood =L= Lem
|
|||
|
and sometimes: =T= Tawala's Last Redoubt
|
|||
|
|
|||
|
The names of the Chiefs:
|
|||
|
=A= Anson =B= Beonj =C= Covoi =D= Dumas
|
|||
|
|
|||
|
The names of the messengers:
|
|||
|
=H= Haka =J= Juma =K= Keetse =1= Lanai
|
|||
|
|
|||
|
Originally (c) 1981 Broderbund Software
|
|||
|
Converted by Textbridge Pro
|