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

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

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

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.

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.

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.