Invisiclues Hints for "Arthur: The Quest for Excalibur"

Hints for "Arthur: The Quest for Excalibur", adapted (with permission) from Infocom's original Invisiclues hint books.

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"Arthur: The Quest for Excalibur" on IFDB


The Churchyard

How do I keep the soldiers from arresting me?

How do I keep Lot from stealing the stone?

What can I do in the church?

King Lot

Who is King Lot?

Why does Lot ignore me in the Great Hall?

How can I get Lot's attention?

More on getting Lot's attention

How can I defeat Lot in battle?

More on defeating Lot

The Village Idiot

Why is the idiot in the Town Square?

How can I get things from the idiot?

The Tavern

Are the farmers important?

Do I have to get into the locked cupboard?

How do I get into the locked cupboard?

Invisible Knight

How can I get back what the invisible knight steals?

More on the invisible knight

The Brass Egg

What is the solution to the invisible knight's riddle?

Merlin's Bag

What is the magic of Merlin's bag?

The Castle

How can I get into the castle?

More on getting into the castle

How can I get the password?

More on getting the password

Still more on getting the password

How do I use the password?

Do I need to free the prisoner?

How do I free the prisoner?

More on freeing the prisoner

How do I get out of the underground corridor?

How do I get out of the dark passage?

How do I get the prisoner through the fire?

How do I get the prisoner to leave the kitchen?

How do I get the prisoner past the guard?

The Smith's Sword

How can I get the sword from under the tree?

The Red Knight

How do I get past the red knight?

The Badger Maze

Do I have to go through the badger maze?

How do I get through the badger maze?

How can I remove the hawthorn sprig from my fur?

What else can I do on the island?

The Joust

How do I start the joust?

How do I win the joust?

The Conkers

Why do the enchanted trees throw conkers at me?

How do I survive the attack of the enchanted trees?

The Kraken

Do I need the bracelet?

How do I get the bracelet?

More on getting the bracelet

The Glade

What is rustling in the undergrowth?

What is the murmuring below the rock?

How do I catch the leprechaun?

The Raven

Where is the raven's egg?

How can I get the gold egg out of the nest?

More on getting the gold egg

The Ivory Tower

How do I get into the ivory tower?

More on getting into the tower

How can I find out the man's name?

More on the secret name

Still more on the secret name

What is in the cellar?

The Boar

How do I get across the chasm?

How do I get the tusk from the boar?

More on getting the tusk

How do I get the apple where I need it?

The Cottage

What's wrong with the peasant?

How do I awaken the peasant?

The Bog

How do I get through the bog?

How do I get to the island in the middle of the bog?

The Black Knight

How can I get past the black knight?

More on getting past the black knight

Still more on getting past the black knight

The Dragon

How can I kill the dragon?

How can I get past the dragon?

More on getting past the dragon

The Apparitions

How can I kill the apparitions?

How can I stop the apparitions from killing me?

The Basilisk

How can I stop the basilisk from killing me?

The Ice Room

What can I do in the ice room?

The Hot Room

How can I get past the talking door?

More on getting past the talking door

The Demon's Lair

Should I free the girl?

How do I get out of the demon's lair alive?

The Underground Chamber

Who is the sleeping woman?

How can I break the enchantment?

The Endgame

I've defeated King Lot. Now what?

Points

Can I get more than 100 points in some categories?

Yes. There are more opportunities to be chivalrous than you absolutely need; you can acquire a few extra wisdom points along the way; and you can get one extra experience point by eating on Christmas Day.

How do the points affect the play of the game?

Yes. Your experience points affect the fight with the Black Knight; the chivalry and wisdom points are tested by Merlin before he will let you pull the sword from the stone; and the quest points determine your ranking as the game progresses.

Notes

Reality vs. romance

There is inherent conflict built into writing a game about King Arthur. It is the conflict between history and legend - the way things were, versus the way we wish they were.

The historical Arthur probably lived in Post-Roman Britain, and reigned between about 454 and 470 AD, although even this is widely debated.

The bulk of Arthurian legend, however, is based on a series of romances written beginning in the 12th century. The writers of these tales shamelessly projected then-current styles, fashions and culture backwards across the centuries and fastened them to Arthur, where they have stuck firmly ever since.

Thus, the historical Arthur never jousted. Camelot, if it existed, was not a stone castle with crenellated towers, but a reinforced hill fort with a wooden palisades surrounding a few half-timbered, thatched buildings. Chivalry hadn't been invented yet, nor had the idea of courtly love. Armor consisted primarily of chain mail. The cumbersome suits of plate armor one sees in the Tower of London did not come into vogue for at least 500 years after Arthur's death at the battle of Camlann.

Given the fanciful nature of the game, it may seem silly to be concerned with the accuracy of historical detail. Nevertheless, I have tried wherever possible to cleave to the Britain of the true Arthur. A few glaring anachronisms - the jousting scene, for example - have been included to make the game more enjoyable. Others, like calling Britain England (Angle-Land), are included as a bow to modern usage. But by and large, the setting is pre-Norman - and even pre-Saxon - Britain.

Post-Roman Britain

The last Roman legions left England in the year 410. With their departure, the Emperor Honorius authorized the Britons to take up arms to repel the invading Angles and Saxons and Jutes.

A series of leaders including the historic Arthur (who ruled from about 454 to 470) fought with varying degrees of success to keep the invaders at bay. After Arthur's death, however, the barbarians overran the island, and Britain began the long slide into the Dark Ages.

The game is set in this period between the departure of the Romans and the descent into darkness. During this time, central authority became fragmented and regional kings came into power. Coinage passed out of use in favor of a barter economy.

One interesting feature of those years was the curious blend of Christian and pagan beliefs that held sway in Britain. When the Emperor Constantine converted to Christianity in 312, the new faith spread rapidly through the empire. But resident Romans were notorious for incorporating local religious beliefs into their own, and many Britons worshipped both the new god and the old Celtic gods simultaneously (see the appendix item on the Holy Thorn).

Another prominent feature of the times was the crumbling infrastructure. When the Romans left, they took their knowledge of stonemasonry with them. The towns and fortresses fell into disrepair, and no one knew how to build replacements. In the game, I have modelled the town on the old Roman city of Portchester in the south of England. Here there is an encircling town wall (which survives today) with a fortress at one end. My fictional King Lot built his timber Great Hall behind the old stone walls of the fortress, and positioned it so that his throne backed up to the secret passage that led to the cells below.

Book of hours

Before the invention of the mechanical clock (the first public clock that struck the hours wasn't built until 1335), people were far less concerned with the precise measure of time than they are today.

The members of a monastic community, however, had strictly regimented lives consisting of community service, scriptural study, and manual labor that included domestic, garden, and craft work. Moreover, at regular intervals throughout the day they were required to praise the Lord in prayer or song. The periods of time into which they divided the day came to be known as the canonical hours, and the sequence of prayers became known as the divine office.

Through the centuries, as the requirements of monastic life changed, the number, duration, and nomenclature of the canonical hours changed as well. Thus, at one time, Matins was approximately five hours long, beginning around midnight. Later, it became associated with dawn, and was reduced in length to around three hours.

Because of these changes, it is impossible to determine with accuracy the actual system that was in effect during Arthurian times. Instead, I created a composite version of the divine office for the game, using wherever possible the earliest known spelling and sequence of the canonical hours:

Matins: Midnight - 3:00 a.m.
Lauds: 3:00 - 6:00 a.m.
Prime: 6:00 - 9:00 a.m.
Terce: 9:00 a.m. - Noon
Sext: Noon - 3:00 p.m.
None: 3:00 - 6:00 p.m.
Vespers: 6:00 - 9:00 p.m.

Compline: 9:00 p.m. - Midnight

Elaborately illuminated Celtic gospels - such as the Book of Kells - survive from as long ago as the late 600's. These works of art were too rare - and too heavy - for a monk to carry with him as he performed his daily chores. Instead he would carry a smaller devotional book that contained the prayers to be said at the canonical hours. This breviary was called a Book of Hours.

The game has adapted the idea of the Book of Hours to help explain the canonical hours to the modern player. Although the book would have contained prayers written in Latin, we have substituted poems that deal with the various activities appropriate to each canonical hour.

In Arthur's day, centuries before the Norman Invasion, poets neither wrote in rhyme nor counted syllables. The predominant style of poetry was called alliterative verse, and it relied on the frequent repetition of consonant sounds within any given line. The foremost example of this is the masterful 'Sir Gawain and the Green Knight.' The style died out completely when the Conquest brought rhyming, metered poetry to England's shores in 1066.

We have chosen this style over the more familiar rhyming style for the book of hours and for Lot's poem.

Finally, for anyone who is wondering why a Book of Hours contains a poem in praise of the evil King Lot, the explanation lies in the system of patronage and indulgences that was popular in the Middle Ages. Under this frequently corrupt scheme, wealthy individuals could buy forgiveness for their less-than-pious acts by sponsoring the creation of holy works of art. Thus, this particular Book of Hours was financed by Lot, who insisted that the poem (which he also payed for) be included.

Thomas the Rhymer

Thomas the Rhymer was a real man, a seer and poet who lived in the 13th Century. Records of him survive in the form of documents and deeds which he signed as Thomas Rymour de Erceldoune. It is believed that he was the author of the metrical 'Sir Tristrem,' the source from which the great Arthurian romance 'Tristan and Isolde' was later taken.

After his death, his name passed into popular lore, and by the 15th century it was often linked closely with Merlin's.

In legend, Thomas the Rhymer acquired his prophetic powers when he met the Queen of Elfland and followed her into the land of the fairies. There he stayed for seven years, before returning to the outside world with the gift of prophecy. After his return, he lived a long and happy life in Erceldoune until one day, while he was feasting in his castle, word came that a hart and a hind were wandering through his village. He left the castle to look at them, and when they turned and went into the forest, he followed them - never to return. Yet for years thereafter, mortals who ventured into fairyland reported that he lived there still, as a councillor to the queen of the fairies.

In this game, Thomas belongs to the class of supernatural creatures who place tremendous importance on the secrecy of their names. A striking feature of this group of imps is that whenever one of them finds himself alone, he is overwhelmed by an urge to shout out the very name he is trying to conceal. The most famous example of this peculiar behavior can be found in the Grimm fairy tale 'Rumpelstiltskin.' While our Thomas has managed to control the urge to shout his name aloud, perhaps the player will understand his compensatory need to encrypt his name and write it on one of the walls of his tower, while providing the key to the code on another.

Holy thorn

Legend has it that after Joseph of Arimathea placed Jesus in the tomb, he came to Britain with the Holy Grail, the cup used at the Last Supper. When he arrived in Glastonbury, he thrust his staff into the ground on Weary-All Hill, where it miraculously took root and grew into the Holy Thorn tree that blossoms on Christmas day.

Descendents of this tree (the original was cut down in Cromwell's time) still grow around Glastonbury. But ever since the calendar reform of 1752 that involved a shift of eleven days, the trees no longer bloom exactly on Christmas Day itself, but rather sometime around Christmas Week.

In Arthur's day, Glastonbury was surrounded by marshes that flooded each winter, turning the higher ground on which the Holy Thorn grew into an island that the Celts held sacred and called Ynys-wittin - the Island of Glass. Later traditions hold that this is the legendary Island of Avalon.

At the same time, some 100 miles to the east, lay another island with sacred connotations. On it was a small church dedicated to St. Peter. A few centuries later, Westminster Abbey was built on the foundations of that church, and the land on which it stood was called Thorney Island.

The urge to have the game combine these two places into one island that was accessible only through supernatural means proved irresistible, leaving unsolved the mystery whether it was pagan magic or a Christian miracle (or a combination of both) that brought Arthur to the throne of Britain.

Nudd

Nudd is really Gwyn ap Nudd, the Celtic king of the underworld, also known variously as Nodons and Lludd. His name pops up from time to time throughout the body of Arthurian legend. In the tale of St. Collen, for example, the saint goes up to the top of Glastonbury Tor and enters the hill through a magic opening. There he finds Nudd sitting on a golden throne, surrounded by courtiers dressed in red and blue that the saint describes as "the red of burning fire and the blue of cold."

In the Black Book of Carmarthen, Arthur himself ventures into Nudd's realm of Annwn to bring back a miraculous cauldron of inspiration and plenty. In the Old French verse 'Merlin,' written about 1200 by Robert de Boron, we learn that Nudd was also responsible for placing the two dragons underneath the foundations of Vortigern's tower. (It was Merlin's subsequent discovery of these dragons that launched his career as a prophet and magician.)

The game takes bits and pieces of these legends, pastes them together, and then invents a few more for good measure. The first of these inventions is the idea that Nudd's evil influence spreads over all the land east of the river. Merlin's magic has no power there, which explains why the 'cyr' word will not work, and why the bag will no longer hold an impossible number of objects.

Another addition is the "deal with the devil," which is not found in Arthurian tradition. The unusual part of these pacts is that the devil always seems to keep his word. One might think that, since he is evil incarnate, he wouldn't bother to honor his promises. A long tradition of tall tales, however, argues otherwise.

Riothamus

I cannot recommend highly enough a book called The Discovery of King Arthur, by Geoffrey Ashe (copyright 1985, Henry Holt & Co). In it, Ashe puts forward a persuasive argument that identifies King Arthur with a known historical figure named Riothamus.

Riothamus appears in French historical chronicles as the King of the Britons who led a force of 12,000 men onto the continent during the reign of Pope Leo. His existence is well documented, in fact a letter still survives that was written to him in the year 469 or 470 by a man named Sidonius.

If Arthur was Riothamus, why didn't contemporary historians refer to him as King Arthur? In its original British form, Riothamus would have been Rigotamos, which meant "king-most" or "supremely royal." Ashe argues that this was an honorific or title (like 'generalissimo') given to Arthur, by which he was known to his contemporaries. He points out that the same sort of name substitution happened to the Mongol warlord Temujin, who is better known to history by his honorific, "very mighty ruler," or Ghengis Khan.

Nimue

Through the centuries, the Lady of the Lake has had many different names, including Viviane, Eviene, Niviene, and Nina. But in Le Morte D'Arthur, Sir Thomas Malory calls her Nimue. The game follows Malory on this point, despite the fact that other authors cast Nimue as an evil sorceress who sometimes becomes Merlin's nemesis.

In many versions of the legend, it is the Lady of the Lake who gives the mighty Excalibur to Arthur. In some texts, however, Excalibur appears in a churchyard as the sword in the stone, and Arthur must prove his right to the throne by pulling it free on Christmas Day.

This game puts Excalibur into Arthur's hand in a way that satisfies both of these traditions. Arthur does indeed pull the sword from the stone on Christmas Day, but it is the Lady of the Lake who gives him the power to do so by parting the waters of the lake when he calls her name.

The blank gravestone

So many people have asked the meaning of the blank gravestone in the churchyard that I have decided to explain it here, rather than waiting for a possible sequel.

When Sir Lancelot was born, he was taken away from his parents and raised by the Lady of the Lake (which is why he is sometimes called Lancelot du Lac). Like Arthur, he grew up in ignorance of his name and royal parentage.

Lancelot does not learn his true name until he captures Dolorous Gard and breaks the enchantment that lays over the castle. There, in a magic cemetery, he finds a tomb in which he is told he will one day lie. While he stands there, his name magically appears upon the previously blank tombstone, and that is how he learns his true identity.

In this game, this is the tombstone that conceals Arthur from Lot's soldiers. Lancelot and the other Knights of the Round Table do not belong in this game, but I thought it appropriate that before he even comes into the world, Lancelot is already acting as Arthur's friend and protector.

Geography

I have taken great liberties with geography, specifically by implying that all the game's action takes place in Lot's kingdom.

Lot was the king of Lothian, which is in the north of Britain. The location of the sword in the stone is most frequently given as London or Winchester. Merlin's cave was in Carmarthen (Caer Myrddin) in Wales. The Lady of the Lake lived near Glastonbury.

For the sake of convenience, I have moved Lot's kingdom south, Merlin's cave east, and the sword in the stone west (or north), so that they all converge on a spot near the home of the Lady of the Lake, in a setting that can be called Glastonbury-ish.

Bibliography

The following is a partial list of books I found useful and/or interesting in the creation of this game.

FICTION:
Le Morte D'Arthur, by Sir Thomas Mallory
The History of the Kings of Britain, by Geoffrey of Monmouth
Sir Gawain and the Green Knight, translated by J.R.R Tolkein
The Once and Future King, by T.H. White
The Crystal Cave, by Mary Stewart
The Hollow Hills, by Mary Stewart
The Last Enchantment, by Mary Stewart
The Wicked Day, by Mary Stewart

The Acts of King Arthur & His Noble Knights, by John Steinbeck

NON-FICTION:
King Arthur's Avalon, by Geoffrey Ashe
The Quest for Arthur's Britain, by Geoffrey Ashe (Editor)
The Discovery of King Arthur, by Geoffrey Ashe
The Landscape of King Arthur, by Geoffrey Ashe
Arthur's Britain, by Leslie Alcock
Was This Camelot?, by Leslie Alcock
The Arthurian Encyclopedia, by Norris Lacy (Editor)
Folklore, Myths, & Legends of Britain, by Reader's Digest
An Encyclopedia of Fairies, by Katharine Briggs
Brewer's Dictionary of Phrase & Fable, by Ivor Evans (Editor)
Literary Britain, by Frank Morley
Intelligent Travellers Guide to Historic Britain, by Philip A. Crowl
Treasures of Britain, by Drive Publications Ltd. for AA
Art Treasures in the British Isles, by Bernard S. Myers & Trewin Copplestone (Editors)

Credits

Senior programmer: Duane Beck
Technical consultant, friend, & sherpa guide to the parser: Stu Galley
Testers (Alphabetically by first name): Adam Levesque, Amy Briggs, Avril Korman, Byron Goulding, Duncan Blanchard, Elizabeth Langosy, Jacob Galley, James Bates, Joe Prosser, Liz Cyr-Jones, Patti Pizer, Peggy L. Bates, Richard Bates, Shaun Kelly, Steve Watkins, Stuart Kirsch
Producers: Jon Palace, Christopher Erhardt, Mike Kawahara
Computer graphics: Darrell Myers, Tanya Isaacson, Sophie Green, Donna Dennison, Jim Sullivan
Package design: Carl Genatossio, Gayle Syska
Cover art: Greg Hildebrandt
Package poetry: Antonio Alfredo Giarraputo
Book of Hours art: Ed Bradley
Graphics wizard: Tom Veldran
Micro interpreters: Duncan Blanchard, Jon Arnold, Scott Fray
Guru: Tim Anderson

At the last minute and at great expense: Dave Lebling

Special thanks also to Dave Wilt, John May, Joel Berez, and Chris Reeve, who got the whole thing started.