Balances

Balances is labeled as a demo for Inform 6 (originally developed for Inform 5), and was distributed as such along with its source code when the language was in its early stages of adoption. Magnus Olsson notes in his review that discussion of the game (for it was widely regarded as a small game instead of a demo) produced "the first big flamewar of rec.arts.int-fiction" due to the "enormous" debate over the fairness of its puzzles.

It is interesting that the copyright notice for the game lists the years 1994, 1995 and 1996. I assume that release 1 made its debut in 1994. The following year saw the release of Nelson's influential essay "The Craft of Adventure," which includes his famed Bill of Player's Rights.

What I'm finding most surprising is the contrast between the two. I wonder how much the debate over this not-quite-game directly shaped Nelson's views about what constitutes fairness. There are several direct contradictions between the game itself and the Bill, namely:

2. Not to be given horribly unclear hints -- (Spoiler - click to show)The historical note from Olsson suggests that this one is arguable. I can't cite anything that qualifies unambiguously, but I can say that I did not find the "critical puzzle that hinges on a pun" to be "delightful."

3. To be able to win without experience of past lives -- (Spoiler - click to show)This may be technically true about Balances, but it seems extremely unlikely in practice. Showing up at the temple and learning after the fact that each cube should have been marked on acquisition (specifically, with their circumstance of origin) was not amusing, though in theory I could have marked them then and then taken 100+ moves to try all combinations. Perhaps those more familiar with Spellbreaker would have found it natural to do this immediately.

4. To be able to win without knowledge of future events -- (Spoiler - click to show)See #3 above.

5. Not to have the game closed off without warning -- (Spoiler - click to show)I hope that when you read 'Now the furniture is matchwood...' in the opening room you decided to >X FURNITURE instead of >X MATCHWOOD, or you might have gotten the impression that no such object was implemented, as is the case for just about every other scenery object. If you didn't, and you later >RIDE HORSE, then congratulations -- you have closed off the game! It's possible to get back to the starting location after the horse only if one has done this, in which case there is no need to do so.

6. Not to need to do unlikely things -- (Spoiler - click to show)To get the most difficult cube, one must take pains to win a stuffed pink elephant, then use a reversed spell on it to try to make it dangerous. Why would anyone be motivated to do that except by metalogic? Also, there is a sharp contrast between the Bill's advice that 'If you intend the player to stay somewhere for a while, put something intriguing there.' and the need to wait an indeterminate amount of time on an empty road to get a key item.

9. To be allowed reasonable synonyms -- (Spoiler - click to show)See #5 above. Also, I spent a frustrating span trying to figure out how to refer to the numbered tickets, which must have the form >TAKE TICKET 1234 instead of just >TAKE 1234.

Notably, at the tail end of the Bill, Nelson admits via footnote that "[L]ike any good dictator, I prefer drafting constitutions to abiding by them." Perhaps the disagreement between theory and practice was intentional. (I can't quite buy into the "it was only ever just a demo" argument; compare and contrast with other early Inform demo programs such as "Toyshop," which make no pretense of being games.)

In the context of its original release, Balances was surely a marvel -- a vignette of Infocom-level quality IF demonstrating techniques that recreated classic gameplay and which would become widely emulated. Olsson's contemporary advice to "current and future IF authors," which urges them to "not to use this spellcasting system in their games," is ironic in view of the numerous Infocom-style spellcasting games that were released in the wake of Balances, many of which no doubt cribbed from the example of its source code. Nelson's Bill of Player's Rights also became hugely influential, shifting trends in the direction of the modern "player-friendly" style very early on in the hobbyist era. My two-star rating reflects the very uneven quality of Balances as a game, which is handily surpassed by any of Nelson's better-known titles. Though I'd recommend this work as an object of study for its historical significance (and for its source code, which is beautifully direct and compact), its value as a game is dubious.

[Side note: Balances release 5 was constantly crashing for me under Gargoyle (i.e. the Bocfel interpreter), though admittedly my version is a bit out of date. I had to play it in Frotz, which produced several error warnings but did not crash.]