567 lines
30 KiB
Plaintext
567 lines
30 KiB
Plaintext
«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»
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/\________ /\___/\______ /\___/\________/\_______________ /\___ __
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/o \ \// \ /o \ \// \ // _______/o \ \_____ \ // \ / \
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// / / /\___// / /\___/\___ \// / /o / _/// / /
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// / / // // / // // / // /\___// \/\___ /
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// / / // // / // // / // / // / // / /
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\ __/_/___ /\ __/\ __/___ /\ __/\ ______ /\ __/[aBn]\ __/___ /\ ______ /
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\/ \/ \/ \/ \/ \/ \/ \/ \/ \/ \/ \/ \/
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Presents
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Dark Seed: Complete Game Manual
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On the screen, you will see an arrow-shaped cursor that you control.
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When your cursor is over a connecting doorway which leads to another
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room or location, this single arrow cursor changes to four
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inwardly-pointing arrows. To make Mike Dawson move, position the
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arrow cursor wherever you want him to go and press the left mouse
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button. Mike will walk to this new position. If there is an
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unavoidable obstruction in his path, he will stop at the closest
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possible point. If you press the left mouse button when the multiple
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arrows are displayed, Mike will walk to the doorway. The game will
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pause while the new location is loaded from disk, and an hourglass
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cursor will be displayed.
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Clicking the right mouse button cycles the cursor shape through a
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"?" (look/inquire) shape, a "hand" (touch/manipulate) shape, and the
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"arrow" (move) cursor shape. When the "?" and "hand" cursors are
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placed over items which have more information available, or which
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Mike can pick up or use, the cursor changes shape. The "?" shape
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changes to an "!", and the "open hand" shape changes to a "pointing
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finger". To examine or manipulate an object, select a "?" or "hand"
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icon using the right mouse button, place it over the desired object,
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and press the left mouse button to activate it. If you use the
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"hand" icon to pick up an object, it is added to your inventory.
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Regardless of the input device you chose (keyboard, joystick or
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mouse), the "T" key can be used during the game to advance the clock
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to the beginning of the next hour; this is useful if you find
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yourself stuck in a situation with a lot of time to kill. Also, you
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may skip past the introduction at the start of the game by pressing
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the space bar. Hint: make sure you 1QQk at everything in each room.
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YOUR INVENTORY
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To view your current inventory, move the cursor to the top of the
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screen. A row of icons will appear at the top of the game window.
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The first icon, a floppy disk, is used for setting game options (see
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GAME OPTIONS). The second icon is the money icon, useful (and
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necessary) if you want to take Mike Dawson shopping. Other inventory
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item icons will appear as you accumulate them.
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To examine an item in your inventory, place the "?" cursor over the
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inventory item and press the left mouse button. To manipulate
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something in your inventory, use the "hand" cursor. To use an
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inventory item, select it using the arrow cursor and the left mouse
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button. The cursor will immediately change to the "hand" shape to
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indicate that you are holding an inventory item. You may then place
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the "hand" cursor over any object or position on the screen, and
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press the left mouse button to use the item. To de- select an
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inventory item after you have selected it, press the right mouse
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button. This item remains in your inventory. If you have more items
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in your inventory than will fit at the top of the display screen,
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scrolling arrow icons will appear next to your inventory icons.
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Selecting these arrows allows you to view and select from your
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entire inventory.
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GAME OPTIONS
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You may access the game options screen by selecting the floppy disk
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icon at the top of the screen. Use your left mouse button to select
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it. The game options screen can be used to save your current game
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position, load a previously saved game, turn the sound on or off,
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exit to DOS, or return to the game. While you are on this screen,
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the game's time clock is suspended. Select the appropriate action
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button on the left-hand side of the screen by positioning the cursor
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over the item and pressing the left mouse button. When you save a
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game, you will be prompted to enter a filename, which can be up to
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eight letters long (the .SAV extension will be added automatically).
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If you re-use an existing name, you will be prompted before the old
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save file is overwritten. When you load a previously saved game, a
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list of filenames is displayed on the right-hand side of the screen.
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If there is not enough room to display all the filenames, select the
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MORE box to display additional names. Up to 75 saved games can be
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viewed this way. If you exceed this limit you will have to exit to
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DOS and delete some old .SAV files first! Prom the available list,
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choose the name of saved game you would like to load and press the
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left mouse button to select. There are two special filenames:
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"RESTART" and "EXIT". Selecting "RESTART" starts the game over from
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the beginning. Select "EXIT" if you change your mind and don't want
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to load a saved game. To return to the game without loading or
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saving a game, select "RESUME".
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If you are experiencing difficulties with DARK SEED and are a
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registered user, you may call technical support for assistance at
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0260 - 299401 for UK. Outside UK 010 - 44 260 299401 between 10:00
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am and 5:30 pm GMT. Please see the background manual for additional
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customer support information.
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DARK SEED and CYBERDREAMS are trademark of CYBERDREAMS, INC.
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1992, CYBERDREAMS, INC.
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All other trademarked products are the trademarks of their
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respective companies.
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DARKSEED
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BACKGROUND MANUAL
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CONTENTS
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CREDITS................................2
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ABOUT H. R. GIGER......................4
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THE CREATION OF DARK SEED..............6
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THE BEGINNING..........................9
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HELPFUL HINTS..........................14
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LIMITED WARRANTY.......................15
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CUSTOMER SERVICE.......................16
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ABOUT H. R. GIGER
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H. R. Giger was born in Chur, Switzerland in 1940. As a child, he
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developed a powerful fascination with all things surreal and
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macabre. His need to express himself and share the unique aspects of
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his vivid imagination, drew him to the visual arts. Giger's own
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dreams and the brilliant imagery of such fantastique geniuses as
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Gustav Meyrink, Jean Cocteau, Alfred Kubin and H. P. Lovecraft,
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combined to form a rich soil from which the amazing imagery of
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Giger's art has come to sprout. It has grown into the vast canon of
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exotic women, wondrously disturbing landscapes and frightening
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creatures that has captured the fascination of millions of fans
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worldwide.
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Meticulously detailed, Giger's paintings are done on large canvases
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and worked and reworked by this maestro of the airbrush. It was
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Giger's popular art book, Necronomicon, that caught the eye of
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director Ridley Scott as he was searching for the right look for a
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creature in his upcoming film. That creature, of course, turned out
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to be the Alien, and Giger's masterful designs for the film of that
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same name garnered him a much deserved Academy Award.
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Giger's fascinating-biomechanical style, that brilliant synthesis of
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flesh and machine, has been realised not only through his paintings,
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but also through sculpture pieces, elegant furniture, and
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architectural and interior design projects. His paintings have been
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displayed in galleries and museums throughout the world. H. R. Giger
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has earned his place in the international art scene. THE CREATION OF
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DARK SEED
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The creation of a ground-breaking computer game like Dark Seed takes
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the time and talents of a team of creative experts. The talents used
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to span a broad range of disciplines from programmers to artists,
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from designers to producers, to a publisher like Cyberdreams,
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willing to support the entire production endeavour until every
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aspect meets the highest standard.
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The original concept for Dark Seed was a collaborative effort between
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Mike Dawson, John Krause and Patrick Ketchum. Later, Michael Cranford
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joined Mike Dawson to do the actual game design. Mike's name was
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eventually used for Dark Seed's main character (designer
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prerogative).
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As fans of the art of H. R. Giger, the team considered ways to
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incorporate his artwork into their game. When the detailing of the
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design and speci- fication was completed, Giger was approached.
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After lengthy negotiations, two trips to Switzerland, dozens of
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faxes and telephone conferences - along with the assistance of
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Giger's U. S. publisher, Jim Cowan - Giger agreed to lend his
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artwork, provided Cyberdreams used only high-resolution graphics
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mode, in order to avoid the "square and jagged" look of
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low-resolution.
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The actual development of Dark Seed from design to completed game
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required the talent and experience of the entire Cyberdreams team.
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Leading the group was senior producer Harald Seeley and junior
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producer Mike Dawson. The programming aspects required two
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programmers, Lennard Pedderson, who had been developing an engine
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for this type of game since September, 1990, and John Krause who
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constructed the promotional disk and the nightmare and title
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sequences. The Art Department comprising Brummbaer, Paul Drzewiecki,
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Joby-Rome Otero, Paul Ryan and Julia Ulano, each brought his own
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skills and areas of expertise to the project. Ultimately, each
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worked on Iocations, characters, game objects and animation.
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Toward the end of production, Michael Cranford returned to the team
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to work with Harald Seeley on fine-tuning the gameplay aspects.
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Dark Seed consists of two entirely distinct locations: the Normal
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World, whose creation involved combining imagery pieced together
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from various architectural sources with original art, in order to
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create that world's unique look - and the Dark World, which was
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constructed from Giger's artwork. One of the significant steps in
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the art design process was to create customised palettes for the
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Dark World locations and finalise the colour selection for the
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Normal World. Due to the precedence of bio-mechanical beings in much
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of Giger's work, the Dark World's colouring was designed to reflect
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the ominous mood of Giger's nightmarish imagery.
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The determination of which pieces of Giger's work were to be
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incorporated within Dark Seed involved extensive research through
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Giger's artwork library - worth millions - to which Cyberdreams had
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access. Some of the works selected and included in Dark Seed are:
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Work No. 45 "N. Y. City III" (straight), Work No. 350 "Hommage a
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Bocklin (1977), and Work No.251 "Li II" (1974). The various
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background locations used in the game were created by first
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selecting a portion of one of Giger's works. Then, using a scanner,
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the image was captured and saved as a computer file. Next,
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considerable time consuming work was done cutting out, cleaning up
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and proportionately sizing each picture for use in the game.
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Electronic Arts Deluxe Paint IIe and Newtek's Digiview 5.00 were
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used extensively during the entire process. By using the perspective
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tool an image could be manipulated to create doors, walls, floors
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and even many of the characters which appear in the Dark World.
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Detailing in the form of highlights, shadows and translucent
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overlays were added to further enhance each picture. In creating the
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animation of all Normal World characters, a video camera was
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employed to record, frame-by-frame, the specific movements which
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make up the animated sequences. Live actors were video-taped
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performing each of the various actions which were to be used within
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the game. These video images were imported to computer disk and then
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cleaned up and sized according to their particular use within Dark
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Seed.
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During production, a special trip was made to Switzerland to allow
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Giger the opportunity to view the game and make suggestions. His
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first comment upon sitting down at the computer and booting-up, was,
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"It's beautiful" Giger, who possessed some previous knowledge of
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computer graphics capability, was very impressed and interested. He
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offered several helpful suggestions about scaling, placement and
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other detailed comments. In addition, he elaborated upon many other
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ideas for future computer games.
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Near the end of development, in order to ensure that the best
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product be created, an extra 6 months of development time was added
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to produce additional locations, objects and programming to further
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enhance the gameplay and look of the game. The entire Cyberdreams
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team dedicated not only their time in creating Dark Seed, but
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collaborated in joining to~ether their continuous creative energies
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to bring into being a game that met their highest standard of
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excellence. Their sole purpose; your gaming enjoyment. :
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THE BEGINNING
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Gregg Cameron and I had just closed one of the biggest deals in our
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combined twenty-one years at the agency, making the prospect of
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staying with Cameron, Dawson and Tillich even more lucrative. I'm
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Mike Dawson. Not only did I claim one third of the firm's name, I am
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the Chairman of the Board. That kind of money is hard to pass up,
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especially when you're the head of one of the biggest ad agencies in
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San Francisco.
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But writing was my calling. And for writing, I needed a quiet spot
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where I could collect my thoughts and be receptive to the ever
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elusive blessing of inspiration.
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The ad in the paper shattered all doubts - a large, fully fumished
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Victorian- style house in Woodland Hills, California. "Seclusion"
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was the first word that caught my eye. No noise, no competition, no
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rat-race. "Bargain" was the second. In fact, it was dirt cheap. I
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couldn't see how the owner could make any profit at the asking
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price. Apparently, the property was just put on the market and it
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was a steal. It was a killing. It was the ideal novel- writing
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environment.
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During a recent business trip, I flew by prop plane to a small
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privately- owned airport just outside of Woodland Hills. I was,
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through a series of embarrassing circumstances, delayed at the
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airport. By the time I got to the house I only had enough time to
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give it a quick walk through. The only impression I was able to get
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of the house was that it was very large and dead quiet. This was the
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only criterion that needed verifying, in my mind. I continued my
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trip confident that I would own that house very soon.
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My eagerness to purchase the house was obviously palpable, as the
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real- estate agent, Beverley, commented over the phone. So palpable,
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in fact, that the sellers offered to pay for the move. How soon? A
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week. Not even enough time to give the house a complete look-over.
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She even offered to activate the utilities and phone, which made the
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offer almost too good to resist. Still, I had some reservations.
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Frankly, the agent seemed a bit over-zealous. I asked her why the
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previ- ous owner had wished to sell the house. Following a long
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pause, during which her breath was ominously audible, she issued the
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noncommittal excuse: "Uh, he had family obligations." This was
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followed by a number of reparative statements obviously aimed at
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mending any doubts I might have had regarding the quality of the
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house. I then asked who the owner was. She stated he was located out
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of state, desired anonymity and that the price was low because he
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didn't want to be bothered by a lon& drawn out transaction. The
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agent suggested that she would take care of everything and move the
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sale along quickly. I was naturally curious, but still, the house
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was in a great neighbourhood, and I had a feeling about it. This was
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the one.
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I hastily wrapped up my current business endeavours and notified my
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partners of my plan. Grudgingly, they agreed to a one year
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sabbatical; the exorbitant raises in pay they received helped
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dissipate their objections. The few belongings I was planning to
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bring with me and some of my favourite furniture would be picked up
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by a moving van and delivered to the new house on the same day that
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I planned to arrive. I was ready for Woodland Hills.
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After arriving at the small airport, I called a taxi to take me the
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rest of the way to my new home. Looking out of the window from my
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back seat vantage, the rural setting was still and refreshing.
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The cab driver and his taxi however, were relics from a long past
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era. The sign on the door said "Andy's Taxi Service." The cab looked
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as if it had seen its best days sometime in the 50's, its chrome
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bumpers peeling and askew, the mohair upholstery threadbare and
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unrelenting in its odour of antiquity. If the cab was old, the
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driver, presumably Andy, was ancient. Thin, bent and balding, his
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stained oversized seersucker slacks were held up by suspenders
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safety-pinned to his tee shirt.
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He seemed noticeably apprehensive when I asked him to take me to my
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new home, the old Victorian house on Ventura Drive. I asked him what
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was wrong. "Oh, just a bit of a migraine," was the feeble and
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obviously emotionless reply. I hoped the rest of the town was better
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cndowed in the hospitality department than Andy.
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It wasn't. As we drove through the narrow byways of "downtown"
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Woodland Hills, I was greeted by fleeting sideways glances and
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suspicious demeanours at every street corner. Strange town. I
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figured I was lucky to be in one of the marginally secluded areas,
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because the small-town mentality which pervaded the heart of
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Woodland Hills was a potential let- down. I asked Andy to speed up
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as I was very excited about getting to my new home.
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To my chagrin, I discovered that my new house was not quite as far
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from the centre of town as I might have wished. It was, however, sur-
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rounded on most sides by trees, which afforded adequate privacy.
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I lost all doubt about outside distraction when viewing the house for
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the first time in the daylight. It was solitary and incongruent with
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its surroundings. It was almost alien. There seemed an apparent
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vacuum l around it, an envelope of silence,which framed it, like a
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painting. It was secluded, all right.
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Visually, the house was an enigma. Strange mixtures of architectural
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components and a bit of missing paint made it seem wanting at first
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glance. It looked like it had not been inhabited for decades,
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although apparently someone had been maintaining it enough to
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prevent deterio- ration. But as I took in the sheer magnitude of it
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I realised that, though a fixer-upper, it was utterly beautiful in
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its antiquity.
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My pleasure was interrupted by the realisation that the moving van I
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had expected to be there when I arrived, wasn't in sight. There was
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no sign of the movers anywhere. Either they got lost, or they must
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have been in a real hurry to finish.
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Also, I had been expecting the agent to meet me to give me a tour. I
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had already bought the house through a series of unbelievably
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convenient overnight delivery transactions. (I meant to thank her
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about that.) She must have been delayed somewhere else.
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Oh, well, I thought, no harm in going in and exploring for myself, I
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paid off the cab driver and walked down the driveway and up the
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entrance stairs.
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The massive oaken double doors yielded easily, revealing a large
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entrance hall. One of the doors from the entrance led to an ornate
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living room. Among many outstanding pieces of antique furniture and
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decoration, one eerie portrait stood out. It was of a hauntingly
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beautiful young woman - beautiful in an other worldly sense, anyway.
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Dark tones and an obscure background highlighted a pale face with
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piercing eyes. I won- dered who she was.
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The fading sunlight filtered through the semi-curtained windows and
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cre- ated yellow bars of light reflecting off thousands of turbulent
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dust motes. I was marvelling at the immaculate but lived-in quality
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of the room when the feeling came over me.
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It wasn't a feeling, so much as a sound. A high, nearly imperceptible
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whine, like someone somewhere was blowing on a broken dog whistle. It
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so bordered on the inaudible that it was easier described as a
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buzzing vibration emanating from the inside of my head. My eyes
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glazed over and my mouth sagged open.
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I was tired. Not just tired, but suddenly exhausted. My eyes felt as
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if they were sandbags, my tongue felt like cotton. There must be a
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bedroom somewhere in here, I thought. As I groped my way up the
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stairs I wondered if I should wait for the agent. What was her name7
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Just a nap, that's all.
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Now, What was her name?
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She had no name - I never asked.
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No, I did ask, I just can't remember. That's odd. I must be sure to
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ask her name when she gets here. But first, sleep. I must find a
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bed. Where are my things? Where did the movers put them?
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Nowhere. The movers never came.
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I've got to remember to tell the agent about that, too.
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After trying several doors, I discovered one of the bedrooms. I was
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hard pressed to keep my legs from giving up their uphill battle for
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support. I collapsed on the bed face first, my palms down. The down
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comforter was cool and resilient under my cheek but unable to
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conceal the bed's underlying lumpiness.
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But now, I need sleep. I must remember to wake up soon for the
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agent, but first, a short nap.
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The whine suddenly crescendoed to a roar. It felt like a waterfall
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had cas- caded, accompanied by a tremendous clangour, into my brain.
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Sleep. A voice in my head that wasn't mine beckoned me to slumber.
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Sleep. Sleep. Sleep...
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HELPFUL HINTS
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1) Save your game regularly. This is not one of those wimpy adven-
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tures where you can't come to grief! If you make a mistake and you
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haven't saved your game, you will have to start over from the begin-
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ning. Also, at the end of every day, it's a good idea to save your
|
|
game before going to bed - just in case you find out later that
|
|
there was some- thing you needed to get done that day, but forgot to
|
|
do!
|
|
|
|
2) Pause your game if you have to step away from your computer.
|
|
Select the "Floppy Disk" icon to go to the load/save/game options
|
|
screen, where time is suspended. If you forget to do this, then time
|
|
will continue to pass, and Dawson doesn't have a lot of it left to
|
|
waste!
|
|
|
|
3) Look at everything. Sometimes you won't learn everything about an
|
|
object on the first look; you may have to look more closely a second
|
|
time. Don't forget to "look" at items you acquire in your inventory.
|
|
Also, some objects won't make their appearance until you have
|
|
obtained the necessary clues to their existence. Remember, it's not
|
|
what you know that counts, it's what Dawson knows that's important.
|
|
|
|
4) Dawson can think much better if he doesn't have a splitting
|
|
headache!
|
|
|
|
5) Pay attention to the changes in the cursor shapes as you move them
|
|
over objects and backgrounds, as they provide important clues about
|
|
your environment.
|
|
|
|
6) If something works one time, don't be afraid to try it again.
|
|
Something different might happen the next time!
|
|
|
|
7) If a character seems to be too busy to talk to you, try tapping
|
|
him or her on the shoulder to get their attention.
|
|
|
|
8) Think things through logically. We have tried to make all of the
|
|
puzzles in the game make logical sense, although sometimes the logic
|
|
may seem a little hard to follow!
|
|
|
|
9) If you get stuck, then try everything in your inventory on
|
|
everything you can see. You just might get lucky!
|
|
|
|
Oh Well thats it!
|
|
Have a Happy And Safe New Year!
|
|
R/\D/\R oF (\/)iNiSTRY
|
|
|
|
«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»
|
|
-+- A NEW REiGN OF TERROR HAS EVOLVED! -+-
|
|
___|__ ____
|
|
/\ __ _______ | | ____ ______/| _____________\ \ ____
|
|
/ \/ \ \ / \ | | \ / / _ | / | _ \ \/ /
|
|
/ \/\/| \| | /\/|/ \|___|/ | | |/ /\ /
|
|
/ / | \ |/ |\___ \/ |___| / / \ /
|
|
/ /\ /\/ | \ / | |\ / | | \ \_ / /
|
|
\ / \/ \____| |\____\____| ______/\____| | |\___//___/[BARD]
|
|
\/ __|___| |/ __|___|
|
|
| H E A D Q U A R T E R S! |
|
|
«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»
|
|
Make sure to call our Headquarters and Distribution Boards
|
|
«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»«»%«»
|
|
|
|
These are the boards of your dreams.. Call them!
|
|
|
|
|
|
Ice Station Zebra [WHQ] 206-927-5211 <M> Schizophrenia [EHQ] +49-308524353
|
|
Danse Macabre [USA] 713-324-2139 <i> Offshore [ENG] +44-534-56292
|
|
Terminal Frost [USA] 612-935-0163 <N> The Mansion [ENG] +44-623825017
|
|
World Chaos [USA] 302-453-0559 <i> Diabolika [ITA] +39-516759422
|
|
D'yer Mak'er [USA] 908-654-0935 <S> Ante Omnian [ITA] +39-30-711476
|
|
First Action [BEL] +32-89753225 <T> Total Kaos [GER] +49-231670240
|
|
Interchange [SWE] +46-86082339 <R> Unforgiven BBS [GER] +49-228318313
|
|
Hallowed Point [SWI] +41-17861121 <Y> Pres. Innocent [GER] +49-637261489
|
|
Last Stop B4 Hell [SWI] +41-34512876 <!> The Pit [USA] +718-397-5520
|
|
--------------------------------------------------------------------------
|
|
|
|
. . . a n d t h e t r a d i t i o n c o n t i n u e s . . .
|
|
. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
|
|
|\_______.._/| ___
|
|
|° °| ||° |/° \. -//- DiaMøNDS & RuST AuSTRiaN HeaDQuaRTeRS -\\-
|
|
|_|o |_| || o|o | | ¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬
|
|
|| || __ ||| __| NøDe 1:+43(0)2-PRiV -[*]- NøDe 2:+43(0)2-PRiV
|
|
|: || || :|: | | °°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
|
|
| _||__||__|\___/[V]
|
|
|/ |\___ |\_. ___ ___ ____|\_.__.____ ___
|
|
|° \|° | ./° \./° \./° |° |° |° °\./° °\. => MaSTeR <=
|
|
|o | |o | |o | | | o| |__| | o|o | |o | | ¤¤¤¤¤¤¤¤¤¤¤¤¤
|
|
C || ___|| |__|| __| ||__ ¬| | ||| <|| __| STe\/e/D&R!
|
|
C A |: | |: | |: | ¬| | :| ¬| | | :|: | |: | |
|
|
A L |_ | |_____|\___/|__|__|____/ \___/|__|_ |\___/ HiS PuPiLS:
|
|
L L \| |\___ ___ __.__ ___ \| ~~~~~~~~~~~~~
|
|
L |° °\./° °\./° | °\./° °\. BøøN KiD & aLi BaBa
|
|
N |o | |o | |o ||| |o | |
|
|
N O || | || | || ||| || __| 6øø MeGS AMiGA & CøNSoLeZ
|
|
O W |: | |: | |: | | |: | | ____________________________
|
|
W |____/ \___/|__| |_ |\___/ DuaL PøWeR øn BøTH LiNeZ
|
|
\| ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
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... there's no need to mention it's speed ...
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|
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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|
|
|
|
_ _____ _ _ ____ ___ _ ___ _ ____ _
|
|
Running on: /.\\. _//.\ /.\\__/ \_//.\\_/ /.\\_ .\ /.\
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~~~~~~~~~~ / / \/ / / / /__ / / / /_/ / / /
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68030/25 MHZ! / / / / / //_/ / / / // / / /
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|
420 MB! /. / /. / /. /__ /. / /. / /. / /. /__
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\_/ \_/ \_//__\ \_/ \_/ \_/ \_//__\
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|
AMI-EXPRESS _ ____ _ _ _ _ _ ____ _ ____ _ _
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|
/.\\__/ /.\ /.\ /.\ /.\ /.\\_ .\ /.\\__/ /.\ /.\
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|
/ / / /_/ / / / / / / /_/ / / / / /_/ /
|
|
/ / / // / / / / / / //. _/ / / / // /
|
|
/. /__ /. / /. / /. /_/. / /. / \ .\ /. /__ /. / /. /
|
|
\_//__\ \_/ \_/ \_//___/ \_/ \_/ \_//__\ \_/ \_/
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|
|
|
>> /X\ETAL CHURCH <<
|
|
|
|
L E P R O S Y - W H Q
|
|
SKILLION - AHQ (IBM)
|
|
---------------------------------------------------------------------
|
|
LINE #1: +43-725-266-402 (2400-57.600 Baud - V.32bis/Zyxel 16.8!)
|
|
LINE #2: +43-725-280-598 (9600-38.400 Baud - V.32, USR-DUAL)
|
|
LINE #3: +43-725-268-6557 (2400-38.400 Baud - USR-HST)
|
|
---------------------------------------------------------------------
|
|
[OVER 30.000 CALLS!]
|
|
>>> 72 HOURS ONLINE PER DAY! <<<
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|
[ALSO NODE-TO-NODE CHAT AVAILABLE!]
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[UP TO 4600 CPS!]
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"/X\ETAL CHURCH - THE AUSTRIAN WAY OF FRIENDSHIP!"
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|
|
Uploaded "Fri Jan 01 21:46:52 1993" at METAL CHURCH !
|
|
|
|
|
|
X-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-X
|
|
Another file downloaded from: The NIRVANAnet(tm) Seven
|
|
|
|
& the Temple of the Screaming Electron Taipan Enigma 510/935-5845
|
|
Burn This Flag Zardoz 408/363-9766
|
|
realitycheck Poindexter Fortran 510/527-1662
|
|
Lies Unlimited Mick Freen 801/278-2699
|
|
The New Dork Sublime Biffnix 415/864-DORK
|
|
The Shrine Rif Raf 206/794-6674
|
|
Planet Mirth Simon Jester 510/786-6560
|
|
|
|
"Raw Data for Raw Nerves"
|
|
X-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-X
|