text:
Lit2Go
by FCIT
"Intelligence and Luck"
Year Published: 0
Source: Richard Mercer Dorson, ed., Sixty Folk Tales, from Exclusively Slavonic Sources
Readability:
Flesch–Kincaid Level: 6.2
Genre: Fairy Tale/Folk Tale
✎ Cite This
Passage PDF
Traditional, . (0). "Intelligence and Luck". Stories from Around the World (Lit2Go Edition). Retrieved July 16, 2019, from https://etc.usf.edu/lit2go/134/stories-from-around-the-world/5256/intelligence-and-luck/
Traditional, . ""Intelligence and Luck"." Stories from Around the World. Lit2Go Edition. 0. Web. <https://etc.usf.edu/lit2go/134/stories-from-around-the-world/5256/intelligence-and-luck/>. July 16, 2019.
Traditional, ""Intelligence and Luck"," Stories from Around the World, Lit2Go Edition, (0), accessed July 16, 2019, https://etc.usf.edu/lit2go/134/stories-from-around-the-world/5256/intelligence-and-luck/.
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Once upon a time Luck met Intelligence on a garden-seat. "Make room for me!" said Luck.
Intelligence was then as yet inexperienced, and didn't know who ought to make room for whom. He said: "Why should I make room for you? you're no better than I."
"He's the better man," answered Luck, "who performs most. See you there yon peasant's son who's ploughing in the field? Enter into him, and if he gets on better through you than through me, I'll always submissively make way for you, whensoever and wheresoever we meet." Intelligence agreed, and entered at once into the ploughboy's head.
As soon as the ploughboy felt that he had intelligence in his head, he began to think: "Why must I follow the plough to the day of my death? I can go somewhere else and make my fortune more easily." He left off ploughing, put up the plough, and drove home. "Daddy," says he, "I don't like this peasant's life; I'd rather learn to be a gardener."
His father said: "What ails you, Vanek? Have you lost your wits?" However, he bethought himself and said: "Well, if you will, learn, and God be with you! Your brother will be heir to the cottage after me."
Vanek lost the cottage, but he didn't care for that, but went and put himself apprentice to the king's gardener. For every little that the gardener showed him, Vanek comprehended ever so much more. Ere long he didn't even obey the gardener's orders as to how he ought to do anything, but did everything his own way. At first the gardener was angry, but, seeing everything thus getting on better, he was content. "I see that you've more intelligence than I," said he, and henceforth let Vanek garden as he thought fit. In no long space of time Vanek made the garden so beautiful that the king took great delight in it, and frequently walked in it with the queen and with his only daughter.
The princess was a very beautiful damsel, but ever since she was twelve years old she had ceased speaking, and no one ever heard a single word from her. The king was much grieved, and caused a proclamation to be made that whoever should bring it to pass that she should speak again, should be her husband. Many young kings, princes, and other great lords announced themselves one after the other, but all went away as they had come; no one succeeded in causing her to speak. "Why shouldn't I try my luck?" thought Vanek; "who knows whether I mayn't succeed in bringing her to answer when I ask her a question?"
He at once caused himself to be announced at the palace, and the king and his councillors conducted him into the room where the princess was. The king's daughter had a pretty little dog, and was very fond of him, because he was so clever, understanding everything that she wanted.
When Vanek went into the room with the king and his councillors, he made as if he didn't even see the princess, but turned to the dog and said: "I have heard, doggie, that you are very clever, and I come to you for advice. We are three companions in travel, a sculptor, a tailor, and myself. Once upon a time we were going through a forest and were obliged to pass the night in it. To be safe from wolves, we made a fire, and agreed to keep watch one after the other. The sculptor kept watch first, and for amusement to kill time took a log and carved a damsel out of it. When it was finished, he woke the tailor to keep watch in his turn. The tailor, seeing the wooden damsel, asked what it meant. 'As you see,' said the sculptor, 'I was weary, and didn't know what to do with myself, so I carved a damsel out of a log; if you find time hang heavy on your hands, you can dress her.' The tailor at once took out his scissors, needle and thread, cut out the clothes, stitched away, and, when they were ready, dressed the damsel in them. He then called me to come and keep watch. I, too, asked him what the meaning of all this was. 'As you see,' said the tailor, 'the sculptor found time hang heavy on his hands and carved a damsel out of a log, and I for the same reason clothed her; and if you find time hanging on your hands, you can teach her to speak.' And by morning dawn I had actually taught her to speak. But in the morning when my companions woke up, each wanted to possess the damsel. The sculptor said, 'I made her;' the tailor, 'I clothed her.' I, too, maintained my right. Tell me, therefore, doggie, to which of us the damsel belongs."
The dog said nothing, but instead of the dog the princess replied: "To whom can she belong but to yourself? What's the good of the sculptor's damsel without life? What's the good of the tailor's dressing without speech? You gave her the best gift, life and speech, and therefore she by right belongs to you."
"You have passed your own sentence," said Vanek; "I have given you speech again and a new life, and you therefore by right belong to me."
Then said one of the king's councillors: "His Royal Grace will give you a plenteous reward for succeeding in unloosing his daughter's tongue; but you cannot have her to wife, as you are of mean lineage."
The king said: "You are of mean lineage; I will give you a plenteous reward instead of our daughter."
But Vanek wouldn't hear of any other reward, and said: "The king promised without any exception, that whoever caused his daughter to speak again should be her husband. A king's word is law; and if the king wants others to observe his laws, he must first keep them himself. Therefore the king must give me his daughter."
"Seize and bind him!" shouted the councillor. "Whoever says the king must do anything, offers an insult to his Majesty, and is worthy of death. May it please your Majesty to order this malefactor to be executed with the sword?"
The king said: "Let him be executed."
Vanek was immediately bound and led to execution. When they came to the place of execution Luck was there waiting for him, and said secretly to Intelligence: "See how this man has got on through you, till he has to lose his head! Make way, and let me take your place!"
As soon as Luck entered Vanek, the executioners sword broke against the scaffold, just as if some one had snapped it; and before they brought him another, up rode a trumpeter on horseback from the city, galloping as swift as a bird, trumpeted merrily, and waved a white flag, and after him came the royal carriage for Vanek. This is what had happened: The princess had told her father at home that Vanek had but spoken the truth, and the king's word ought not to be broken. If Vanek were of mean lineage the king could easily make him a prince.
The king said: "You're right; let him be a prince!"
The royal carriage was immediately sent for Vanek, and the councillor who had irritated the king against him was executed in his stead. Afterward, when Vanek and the princess were going together in a carriage from the wedding, Intelligence happened to be somewhere on the road, and seeing that he couldn't help meeting Luck, bent his head and slipped on one side, just as if cold water had been thrown upon him. And from that time forth it is said that Intelligence has always given a wide berth to Luck whenever he has had to meet him.
This collection of children's literature is a part of the Educational Technology Clearinghouse and is funded by various grants.
Copyright © 2006—2019 by the Florida Center for Instructional Technology, College of Education, University of South Florida.
This document was downloaded from Lit2Go, a free online collection of stories and poems in Mp3 (audiobook) format published by the Florida Center for Instructional Technology. For more information, including classroom activities, readability data, and original sources, please visit https://etc.usf.edu/lit2go/134/stories-from-around-the-world/5256/intelligence-and-luck/.
Lit2Go: Stories from Around the World


text:
Press Release, Sponsoring
Washington Justice Announces Events DC As First 2019 Season Sponsor
By Press
In Press Release, Sponsoring
Washington Esports Ventures, led by businessman, investor, and entrepreneur Mark Ein, today announced Events DC, the District's official convention and sports authority, as Washington Justice's signature sponsor for the team's inaugural Overwatch season.
"Washingtonians are excited to cheer on the Washington Justice during their inaugural season and we are looking forward to welcoming the team home next year," said Mayor Bowser. "With the help of Events DC, we are once again showing why Washington, DC is both the sports capital and the capital of inclusive innovation."
"We are proud to welcome Events DC as a founding partner of the Washington Justice," said Mr. Ein. "Events DC has been at the forefront of the esports revolution and their support was critical to bringing the team to our community."
As a part of the agreement, Events DC will be the exclusive patch sponsor on the front of the player jerseys. Throughout the season, their partnership will also provide live event experiences, content and access to the greater DC region's Overwatch community and beyond. Washington Esports Ventures and Events DC together will bring local Washington, DC-based fans live watch party experiences to interact and cheer on the Washington Justice team together. The team's inaugural season will be played at Blizzard Arena in Burbank, CA, and in the future will play at home in a venue location in Washington, DC.
"As the official convention and sports authority for Washington, DC, we couldn't be more excited to sponsor DC's Overwatch team, Washington Justice. This partnership is a natural fit for us, as a part of the city's greater vision to position the District as an esports capital," said Gregory A. O'Dell, president and chief executive officer of Events DC. "DC's first Overwatch team is a prime example of our strategic efforts with our partners across the city to grow and reinforce our commitment to DC's esports market and exploding fanbase. We look forward to growing our partnership and bringing even more esports live event experiences to the District. Best of luck to the Washington Justice, as they get ready to kick off their inaugural season."
Over the past three years, Events DC has made a strategic long-term investment in the esports industry in an effort to growing the local esports landscape and its ecosystem within the nation's capital. Washington, DC, joined the Overwatch League's global, city-based league as one of eight new expansion franchises following a widely-successful inaugural season.
For more information about Washington Justice, visit washington-justice.com or follow the team on Twitter @WashJustice, Instagram @WashingtonDCJustice or like Washington Justice on Facebook at Facebook.com/WashJustice.
The 2019 Overwatch League season kicks off February 14, 2019. For more information on the Overwatch League, visit overwatchleague.com.
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About Washington Esports Ventures
Washington Esports Ventures was founded to purchase an Overwatch League Team and build other esports teams that will represent the thriving Capital Region incorporating all of Washington, DC, Maryland, and Virginia—from Baltimore to Richmond. The Company is led by Mark Ein, a Washington-area businessman, civic leader, philanthropist, sports team owner, and native Washingtonian. Mark and his ownership group believe in the power of sports as a platform to inspire people and bring communities together. The Company's esports assets, including the Overwatch League team, will be part of Mr. Ein's existing sports platform that owns the Washington Kastles, one of the most successful teams in the 45-year history of World TeamTennis, embraced by the Capital Region since its founding in 2008. Joining Mr. Ein as investors and board members are Artist Capital Management, a New York-based growth equity firm as the lead financial partner and Dyson Dryden, Mr. Ein's business partner and a Baltimore native. Events DC, the official convention and sports authority for the District of Columbia, is an anchor supporter of the team. Additional investors and corporate sponsors will be announced soon.
About Mark Ein
Mark D. Ein is the founder, Chairman, and Chief Executive Officer of Venturehouse Group, LLC and Capitol Investment Corp IV. He is an investor, entrepreneur, and philanthropist, who has created, acquired, invested in, and built a series of growth companies across a diverse set of industries over the course of his 25-year career. During this time, Mr. Ein has been involved in the founding or early stages of six companies that have been worth over one billion dollars and has led over $1.5 billion of private equity, venture capital, and public company investments. Among the current majority-owned companies in the portfolios are Kastle Systems, LLC, the country's leading provider of building and office security systems acquired in January 2007. Mr. Ein currently serves as Chairman of the Boards of Kastle, Lindblad Expeditions Holdings, Inc., Capitol Investment Corp IV, VSGi, Inc., and is Vice-Chairman of the Board of Cision Ltd. and Soho House UK Ltd.
Mr. Ein, a native of the Washington area, is also the founder and owner of the Washington Kastles World TeamTennis (WTT) franchise that has won the league championship six of its eleven years since its founding. The Kastles also set the record for the longest winning streak in US pro team sports history, winning 34 straight matches from 2011 through 2013.
A native of the Washington area, he actively supports many community, charitable and cultural organizations and currently serves on the boards of the DC Public Education Fund (as Chairman since 2010, the Fund has raised $120 million of philanthropic support for DC Public Schools), the Smithsonian National Museum of Natural History, International Tennis Hall of Fame, DC College Access Program (DC-CAP), and DC Policy Center (Co-Founder). He is also a Presidential Appointee to the board of the United States Tennis Association (USTA) (where he previously served for two terms as a member at large and then a term as Vice President of the Board). He has won numerous awards including the Washington Business Hall of Fame 2018 Laureates Award, Washington DC Business Leader of the Year from the Chamber of Commerce, the Jefferson Award (the nation's highest honor for public service), Washington Business Journal Top Corporation for Philanthropy (Small Companies), Washington Business Journal Power 100, Entrepreneur of the Year Awards from Ernst and Young and the National Foundation for Teaching Entrepreneurship (NFTE). In September 2009, Washington DC Mayor Adrian Fenty presented Mr. Ein with the Key to the City, highlighting not only his Washington Kastles success on the court, "but for their commitment to the District's communities and our youth."
Prior to starting his firm, Mr. Ein worked for The Carlyle Group, Brentwood Associates and Goldman Sachs. He received his BS in Economics with a concentration in finance from The Wharton School of the University of Pennsylvania and his MBA from The Harvard Business School. For more about Mr. Ein, visit www.capinvestment.com.
OVERWATCH, OVERWATCH LEAGUE, BLIZZARD, and BLIZZARD ENTERTAINMENT are trademarks of Blizzard Entertainment, Inc.
About Events DC
Events DC, the official convention and sports authority for the District of Columbia, delivers premier event services and flexible venues across the nation's capital. Leveraging the power of a world-class destination and creating amazing attendee experiences, Events DC generates economic and community benefits through the attraction and promotion of business, athletic, entertainment and cultural activities. Events DC oversees the Walter E. Washington Convention Center, an anchor of the District's hospitality and tourism economy that hosts more than 1.7 million visitors and generates more than $400 million annually in total economic impact, and the historic Carnegie Library at Mt. Vernon Square. Events DC manages the RFK Stadium-Armory Campus (RFK Campus), including Robert F. Kennedy Memorial Stadium, Festival Grounds at RFK Campus, the non-military functions of the DC Armory and the Skate Park at RFK Stadium. Stay current on the 190-acre RFK Campus Redevelopment Project at www.RFKCampus.com. Events DC also built and serves as landlord for Nationals Park, the first LEED-certified major professional sports stadium in the United States. Events DC manages Gateway DC, R.I.S.E. Demonstration Center and the Entertainment and Sports Arena (www.ESAontheRise.com), all conveniently located in the Congress Heights neighborhood of Washington, DC. For more information, please visit www.eventsdc.com and find us on social media – Facebook, Instagram and YouTube (Events DC), and Twitter (@TheEventsDC).
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This is an unedited press release. If you want to share your services, innovations or news with our community, feel free to contact us.
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redpajama_set_name: RedPajamaCommonCrawl


The Texas Cowboys' Christmas Ball Association is proud to announce that the Texas Historical Commission has designated the legendary Texas Cowboys' Christmas Ball and Pioneer Hall as an Official Texas Historical Event and Site to promote historic preservation and the celebration of Texas history.
"In 1885, M.G. Rhodes hosted a wedding party and dance at his Star Hotel in Anson. One guest was Larry Chittenden, a salesman and writer visiting his uncle in Jones County. He was so inspired by the dance held that night for the cowboys and ladies that he composed a poem commemorating the occasion, "The Cowboys' Christmas Ball." The poem, first printed in Anson's Texas Western newspaper in 1890, also appeared in Chittenden's 1893 poetry collection Ranch Verses. Over the years the poem was remembered and anthologized many times in print and song.
In 1934, Lenora Barrett and Hybernia Grace revived the historic ball and its folklore. Their group performed during the 1936 Texas Centennial Exposition in Dallas and at the National Folk Festival in Washington, D.C. in 1938, when they danced on the White House lawn. As annual interest increased, the group copyrighted the event and named a board of directors for the Texas Cowboys' Christmas Ball Association. A new venue, Pioneer Hall, was built in 1938-40 with help from the Work Projects Administration. The dance has been a three-day event since 1940, and the following year Jenne Magagan's mural in the Anson Post Office depicted the historic "Cowboy Dance." Chittenden's poem records real people and ranches of 1880s Jones County, along with observations of dress and customs which influence some of the formal rules and decorum of the ball today. Ladies must wear dresses and gentlemen must check their hats, and some attendees dress in period clothing. The event draws national and international visitors, while some participants are direct descendants of those immortalized in the poem. With such 19th century dances as the Grand March, Waltz, Cotton-Eye Joe, Polka, Virginia Reel and Schottische, this Anson tradition helps perpetuate an important aspect of life in frontier Tex"


Great Way To Liven Up "Tuesdays"
Super excited about the promos!
Thanks for thinking outside the box.
UFC nice ; thanks Kohler.
YES THIS IS WONDERFUL!!!!! WHOOO HOOOO!
Thanks much! I do have to say that this helps build my interest in sports and being able to converse with family/friends about it!
huzzah! Now I know when not to miss the promos!


Marlinespike, Macrame, and Tying Fancy.
Knot Tyer, Fancy knotwork, rigger, marlinespike work, macrame.. These are all words we hear at the shop. I get to tell some stories about the differences between the words, but it all starts in relatively recent history.
Two historic knotting styles exist aboard ship during the time period known as the 'Age of Sail,' a time that ended approximately the same time as the US Civil War began in 1861. Like any historic epoch, the Age of Sail describes a mindset and set of tools more than years of history.
Macrame itself has an interesting history. Even during the age of sail, it was primarily a way to occupy time and be a hobby. Along with wood carving, painting, needle point, and on specific ships, scrimshaw; it was a hobby to pass the time when off duty on a boat. The commonality of the hobbies aboard ship were the ability to challenge and distract the mind without taking up much space. Time passed slow on a square rigger, but space was at a premium as provisions were replaced by harvest from the seas.
Macrame gets it's root from the word "migramah" which is Arabic for 'fringe.' Turkish and Persian rugs are still woven with the warp fibers loose. After removing from the loom, the ends are collected with square knots, half hitches, and other simple knots.
Seamen were exposed to these rugs during the trading with Europe and later the coast of the US Colonies. The bosun and riggers were busy at their tasks, but did start to share the how-to with the rest of the boat so they could pass the time with the hobby of recreating these edging forms with found materials aboard, and macrame as a hobby was born in the west..
Suffice it to say that the original macrame, an arrangement of simple knotting to create complicated pattern, started as fine as lace or tatting. As recreated in the early 1900's, through until today, the generations have been making the designs out of bigger and bigger material, but at it's root, it's all simple knots arranged to make intricate and beautiful patterns.
The Marlinespike is a tool of trade. It's usually a metal spike with a flattened point used for working up and tightening knots for practical use. The term has stretched to include the results of work that should use such a 'spike.
Rigging is the trade of using rope and hardware to hold the sails and structures of a ship for use. I am NOT qualified for this topic, but it's a specialty of the bosun and belongs in the domain of a marlinespike seaman.
The other side of marlinespike work is often called 'fancy knotting,' and consists of protective gear on the boat, gaskets, pads, chafe gear, whippings and seizings, etc. All the knots in fancy work, at it's core, have practical use aboard. This is where Mystic Knotwork gets its ethos. My goal is for our work to originate from some practical purpose.
Fancy work became a competition. Different bosuns aboard different ships would work to create the fanciest pieces, challenging each others, and creating artistic benefit for captains, ships, and crews. This fancy work served as tactile resume pieces. If a rigger can create such fancy work, imagine his skill in the practical functions of equipment aboard.
I'll cut this short and pick the topic up later. Everything above was made by either my grandfather Alton Beaudoin or my grandmother Ethel Beaudoin. I ask any links attribute to their names as well as our family business Mystic Knotwork.


text:
Temple of Apshai (also known as Dunjonquest: Temple of Apshai) is a dungeon crawl role-playing video game developed and published by Automated Simulations (later renamed to Epyx) in 1979. Originating on the TRS-80 and Commodore PET, it was followed by several updated versions for other computers between 1980 and 1986.

Temple of Apshai is considered one of the first graphical role-playing games for home computers, predating even the commercial release of Richard Garriott's Akalabeth: World of Doom. It was an enormous success for its era, selling 20,000 copies by the end of 1981, and 30,000 copies by 30 June 1982 and remaining a best-seller for at least four years.

It was followed by several sequels and two expansions. The latter were bundled with the main game into the remake Temple of Apshai Trilogy in 1985. Games using the Apshai engine were collectively known as the Dunjonquest series.

Gameplay

The player in Temple of Apshai assumes the role of an adventurer who explores the mysterious ruins of the Temple of Apshai. The player character investigates room after room of the dungeon crawl while seeking treasure and combatting monsters. Along the way, the player discovers powerful weapons and armor with which to overcome the Temple's inhabitants. The game consists of four dungeons with over 200 rooms in total and features 30 monster types.

Temple of Apshai consists of two programs: the Innkeeper and the Dunjonmaster. The game starts with the Innkeeper and the choice to either generate a new character or input an existing one. The game uses six base values taken from Dungeons & Dragons Early tape versions of the game had no means to save progress. The player was prompted to write down all statistics when quitting the game and had to type them in when resuming play. Later floppy versions fixed this by saving the status on the disk. Weapons and armor are purchased in a shop, where it is possible to haggle with the shopkeeper for a discount. Character stats determine which items can be worn. Finally, the player chooses between four dungeons of increasing difficulty to enter the Dunjonmaster part.

In the Dunjonmaster program, the screen is divided into a birds-eye view representation of the surroundings and a status summary for the character. Traps, treasures and secret doors are hidden inside the dungeons. Temple of Apshai uses a hybrid between a turn-based and a real time combat system. A player's turn can be used to walk up to 9 steps in the direction the character is facing, turning towards either direction, trying to talk the monster out of the fight, or executing a number of different attacks. A bow and arrows can be used to attack enemies from afar. If the player doesn't make any input for a while, the enemies continue to move and attack in set intervals regardless. All actions decrease the player character's fatigue rating, depending on stats and carrying weight. When this value sinks below zero, the character cannot act anymore before resting. The player gains experience points while adventuring, which raise a number of hidden statistics.

Temple of Apshai was the first computer role-playing game with room descriptions. Detailed descriptions of all the rooms in the game's manual complement the sparse graphics and provide vital information. Pen-and-paper games like Dungeons & Dragons frequently make use of verbal depictions given by dungeon masters to suggest to players what is of interest in a setting. Similarly, in Temple of Apshai the player matches an on-screen room number to its entry in the manual that accompanies the game. One sample entry reads: "The aroma of vanilla makes the senses reel and the floor of the room is covered with the shiny stuff previously observed. Bones lie scattered across the floor and the clicking sound grows fainter from within. Gems stud the south wall." A vanilla scent is used in the game to suggests the presence of Antmen, the dominant monster type in the temple.

When beaten by a monster, the player character may be rescued by one of several non-player characters. Depending on the rescuer, a portion of the player's inventory is removed as payment.

The game has no particular goal other than fighting monsters, collecting treasure and gaining experience points.

Development and releases

Temple of Apshai was originally programmed by Jim Connelley, founder and president of Automated Simulations / Epyx Software, for TRS-80 and Commodore PET, using BASIC. The role-playing system, named Dunjonquest was designed by Jon Freeman, while the level design of the dungeons was provided by Jeff Johnson (Roadwar 2000).

According to Connelley, his motivations to create Temple of Apshai were "the popularity of noncomputer role-playing games" and the opportunity "to create a graphics-oriented adventure game". Like most early computer RPGs, Temple of Apshai was influenced by Dungeons & Dragons. Both Connelley and Freeman played Dungeons & Dragons in a group where Connelley acted as the Dungeon Master. An advertisement for Temple of Apshai called the game a "version of Dungeons and Dragons" and described Connelly as an experienced "Dungeon Master, running continuous D & D campaigns". The game's documentation included instructions for importing pen-and-paper role-playing game player characters.

Temple of Apshai was first released in August 1979. The original release contained the program cassette and the manual in a plastic bag, an unusually professional packaging for the time. Early advertisements promoted versions for TRS-80 and Commodore PET, but a version for the Apple II followed in 1980. The TRS-80, Apple II, and PET versions were sold for $24.95 on cassette and $29.95 on disk.

A port to Atari 8-bit computers was advertised by retailers from winter 1981, while Epyx announced a version for IBM PC compatibles to be released in March 1982. Aric Wilmunder coded the Atari program, while Connelley himself is credited for the IBM PC version. In 1983, the game was released for the VIC-20 and Commodore 64, sold at $39.95. Connelley identified Steve Bryson as the programmer of the Commodore 64 version.

In 1983, Gessler Educational Software distributed a French language version with the title Le Temple D'Apshaï for the purpose of French language education. Both the game and manual were translated entirely, kept in a French Canadian writing style.

in 1984, a Version was made for the Mac Classic under contract with Applied Computer Technology, Inc. located in Las Vegas, Nevada. It was authored by Louis Castle.

Legacy

Temple of Apshai was the first game in Automated Simulations' Dunjonquest series, which span ten individual titles, including expansions, smaller games, and a full sequel, Hellfire Warrior.

Two of the releases, Upper Reaches of Apshai and Curse of Ra, were add-ons to Temple of Apshai which required the original program to run. The level design and room descriptions for both were created by Tim Bird, Mark Madrid and Andrew Martin. Upper Reaches of Apshai contains four new dungeon levels for beginning characters, and conveys a more humorous tone with suburban environments like a vegetable garden and enemies like killer tomatoes. Curse of Ra is set in ancient Egypt and has higher difficulty. It also consists of four dungeon levels, with 179 rooms total.

In 1983, Epyx released the action-oriented Gateway to Apshai, a prequel to Temple of Apshai whose story is set at a time before the Temple of Apshai, where the original game took place, was rediscovered.

In 1985, Epyx published the remake Temple of Apshai Trilogy.

Reception

Temple of Apshai was very successful. Automated Simulations reported that it had sold 20,000 copies of the game by 1981. By 30 June 1982, it was 30,000 copies. Sales reached 400,000 copies by 1986. After the Commodore 64 Version was released in 1983, it appeared on top of the Compute! Gazette list of best-selling Commodore 64 Entertainment programs, generated from surveys with retailers and distributors. It constantly remained among the five best-selling Commodore 64 games according to that list until the column was discontinued after March 1984. The VIC-20 version also appeared on the list of best-selling games for that system from December 1983 onwards. At the middle of June 1983, the wholesale software distributor Softsel International placed Temple of Apshai seventh in a list of best-selling computer games, compiled from sales to 4,000 retail outlets in 50 states and 30 countries. By that time, the game had been in the distributor's top 50 chart for 38 weeks. Temple of Apshai was Epyx's third best-selling Commodore game as of late 1987.

Early reviews of Temple of Apshai praised the game's graphics and unusual complexity, while criticizing long loading times and slow screen build-up for the dungeon graphics. Compute! stated that Temple of Apshai for the PET "is for anyone who is tired of simple 'video games' ... [it] is quite an experience". It advised readers to be aware that "this is a serious game. Be prepared to THINK". Jerry Pournelle in BYTE called it "an excellent real-time dungeon game", and later reported that his sons had "nearly worn out the Dungeons of Apshai". Kilobaud Microcomputing criticized the long load times, but liked the game's graphics and "excellent" documentation. PC Magazine stated that the IBM PC version did not fully exploit the computer's graphics capability, but that players "will find excitement and entertainment ... it's certainly worth the silver to grab this game for the PC". The magazine was also favorable towards Upper Reaches of Apshai, which it called "better than Temple of Apshai in some ways". Popular Science called Temple of Apshai "a good example of a graphic adventure game", but also stated that in it and other games like it "the play seems to drag" because "it takes time to draw the pictures". The Addison-Wesley Book of Atari Software 1984 gave Temple of Apshai an overall B rating, concluding that it was "an excellent game, one that's very involving", and gave the same grade to Hellfire Warrior and Curse of Ra.

Robert Plamondon reviewed Temple of Apshai for Different Worlds magazine and stated that "I found both Datestones of Ryn and Temple of Apshai highly enjoyable. Temple of Apshai is more expensive, but well worth the extra cost because it is so much bigger than Datestones of Ryn."

In 1991 and 1993 Computer Gaming Worlds Scorpia stated that the graphics "caused a sensation when it first appeared", but also criticized a lack of polish in the programming and slow speed due to the use of BASIC, issues which were improved upon in the Atari 8-bit version. A 2012 overview of TRS-80 games described it as "slow, clunky and crash-prone ... this early attempt at an action role-playing game managed little of either", and inferior to later Atari and Commodore versions, but "quite clearly compelling" as an early dungeon crawl.

Temple of Apshai was awarded the Origins Award for "Best Computer Game of 1980", the first to receive this distinction.

References

External links

Temple of Apshai at Lemon64
Temple of Apshai at Commodore 64 Boxed Sets

1979 video games
Amiga games
Amstrad CPC games
Apple II games
Atari 8-bit family games
Atari ST games
Classic Mac OS games
Commodore 64 games
Commodore PET games
Dungeon crawler video games
Epyx games
Fantasy video games
Origins Award winners
Role-playing video games
Single-player video games
VIC-20 games
Video games based on Egyptian mythology
Video games developed in the United States
Video games set in Egypt
Video games with expansion packs

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