Then in my early teens, when the home computer bubble was blowing, I had one of the first, an Acorn Atom, and used to write primitive adventures on that.

Then in my early teens, when the home computer bubble was blowing, I had one of the first, an Acorn Atom, and used to write primitive adventures on that.

A deliberate choice on my part was for the player to continue to find new possibilities in the early Attic rooms far into the game. I think this builds atmosphere, though it means there's no neat division of the prologue from the middle game.

Writing a really general parser is a major but different undertaking, by far the hardest points being sensitivity to context and resolution of ambiguity.

Eventually I found it had been working all along-but didn't show anything on screen until it had the first full page of text. I inserted 30 new lines, and suddenly my toy said 'hEllO woRlD'. An hour later I understood alphabet shifting rather better!

By the new year of 1994, it had grown up into Inform 4 and could produce games twice as large.

The most frequent complaint is that it's hard. True. it's a hard game to win Also, many people ask me how to use the secret debugging commands, apparently under the impression that I'll tell them.

I'm rather pleased with the new manuals. I see Inform now as a gauche young adult, having got past the stage of growing out of his shoes every few months.

For a fortnight nobody at all emailed me, or posted a follow-up. Doesn't anyone care, I thought? It turned out my newsreader was broken, and hadn't posted at all.

At the end of April I archived 'Curses' and Inform, and announced them on the newsgroups.

This means keeping many trails open at once, inevitably requiring a fairly 'parallel' plot. This plot should be discovered rather than announced, so show, don't tell.

If you're setting a game during the Cuban Missile Crisis, look through a library. find out what people were wearing, what other issues were in the news, how houses were furnished, what cars were being driven. Especially include things which now seem foreign.

I try to make puzzles range all the way from easy to hard, and to leave many open at once.

I don't really believe in 'directions' in art; the rope twists as you follow it, that's all.

The 'interactive fiction' format hasn't changed in any fundamental way since the early 1970s, in the same way that the format of the novel hasn't since 1700.

I like to employ a form of repetition, in which the same elements recur but in different and unexpected ways. rather than being discarded as soon as they are understood or passed over.

Players very widely disagree with me about what's hard and what's easy. and in a way, 'I won, but it was a fight' is the best compliment a game can receive.

The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.

What I would pay much more attention to are the few points where the player can inadvertently make a career decision. Most players end up back-tracking, though some actually enjoy this.

If pushed, though, I'd say that the next stage will be reached when it it's no longer true that about 75% of the best games were written in 1980's on the way to that.

I'm thinking of going to programming school. Learn how to sit down at any computer and learn to do anything on it. That's all I have left and have interest in.

I said, 'Okay, it's the year 2000, I'm getting a computer and a Palm Pilot.' I know how to check my e-mail, and I've listed some phone numbers on it. Half the time the battery has gone out so I can't use it.

To better understand why you need a personal computer, let's take a look at the pathetic mess you call your life.

I've got a computer, but I won't go near it.

All sorts of computer errors are now turning up. You'd be surprised to know the number of doctors who claim they are treating pregnant men.

All we can do when we think of kids today is think of more hours of school, earlier age at the computer, and curfews. Who would want to grow up in that world?

In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.

If you put garbage in a computer nothing comes out but garbage. But this garbage, having passed through a very expensive machine, is somehow ennobled and none dare criticize it.

Then in my early teens, when the home computer bubble was blowing, I had one of the first, an Acorn Atom, and used to write primitive adventures on that.

I compose my own stuff. I've been writing songs with words. I've been playing more on the keyboard because I can transpose it to sheet music on the computer.

I always say that my favorite game was Original Adventure, published by both Microsoft and Apple Computer back in 1980.

To err is human - and to blame it on a computer is even more so.

I think computer science, by and large, is still stuck in the Modern age.

It would be nice to design a real briefcase - you open it up and it's your computer but it also stores your books.

I am the farthest thing from a computer genius.

I wish I could have 25,000 years of my personal family history documented in a very powerful computer or a CD-ROM that I could just pop in and my computer would never crash.

The basis of computer work is predicated on the idea that only the brain makes decisions and only the index finger does the work.

In my second year in graduate school, I took a computer course and that was like lightening striking.

Some people may have noticed the new computer shelf at the anchor desk. Rather than phone calls, we want to take real time e-mails, and we'll be starting that very soon.

The cloning of humans is on most of the lists of things to worry about from Science, along with behaviour control, genetic engineering, transplanted heads, computer poetry and the unrestrained growth of plastic flowers.

The fact that biological, or "natural" rules might help in the creation of a computer generated work of art is interesting, but even a wonderful work of art made in this fashion isn't the same as a person, with all his or her experiences and emotions involved, making art.

Computer modelling for weather forecasting, and indeed for climate forecasting, has reached its limits.

The computer can't tell you the emotional story. It can give you the exact mathematical design, but what's missing is the eyebrows.

I have a son, Mason, who is disabled - cerebral palsy - and he does not walk independently, sit independently or speak. He uses a talking computer. I started becoming an advocate for him when he was 3 years old.

At the risk of being a fuddy-duddy I don't have a computer; I don't have e-mail; and I really don't need something in my house that I would be sitting in front of for hours.

A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.

Stories where the author has known very little, but run a computer program that tells him how to construct a planet, and looked up specific things about rocketry and so on, really suck.

Never ask what sort of computer a guy drives. If he's a Mac user, he'll tell you. If not, why embarrass him?

People think that computer science is the art of geniuses but the actual reality is the opposite, just many people doing things that build on eachother, like a wall of mini stones.