                        HOUND OF SHADOW CODES

Typed in by PARASITE, originals supplied by VULCAN.


THE SOFTWARE PROTECTION
        The Hound Of Shadow disks are not copy protected, but at
several stages of the game you will be asked to enter train times from
the manual.
        You must enter the four digits (including zeros) and press
return eg.:
        "Look in the game manual at the top of page 16. When does the
first train of the day depart?", you would type 0653 and press return


PAGE 5: TOP
LONDON                  Departs         0500    1000    1230    1520
HALESWORTH              Arrives         0840    1328    1540    1830

PAGE 5: BOTTOM
SOUTHWOLD               Departs         0743    1014    1426    1727
HALESWORTH              Arrives         0817    1047    1500    1802

PAGE 6: TOP
LONDON (Liverpool St.)  Departs         0501    1002    1233    1524
WENHASTON               Arrives         0849    1337    1549    1839

PAGE 6: BOTTOM
SOUTHWOLD               Departs         0742    1013    1425    1726
WENHASTON               Arrives         0836    1036    1449    1751

PAGE 7: TOP
LONDON (Liverpool St.)  Departs         0502    1003    1234    1525
BLYTHBURGH              Arrives         0900    1348    1600    1850

PAGE 7: BOTTOM
SOUTHWOLD               Departs         0741    1012    1424    1725
BLYTHBURGH              Arrives         0755    1025    1438    1739

PAGE 8: TOP
LONDON (Liverpool St.)  Departs         0503    1004    1235    1526
Walberswick             Arrives         0912    1400    1612    1902

PAGE 8: BOTTOM
SOUTHWOLD               Departs         0740    1015    1423    1723
WALBERSWICK             Arrives         0745    1020    1428    1728

PAGE 9: TOP
LONDON (Liverpool St.)  Departs         0504    1005    1236    1527
SOUTHWOLD               Arrives         0917    1405    1617    1907

PAGE 9: BOTTOM
SOUTHWOLD               Departs         0744    1016    1427    1729
LONDON (Liverpool St.)  Arrives         2322    0158    0555    0929

PAGE 10: TOP
NORWICH                 Departs         0643    0822    1304    1944
TIVETSHALL              Arrives         0738    0926    1347    2024

PAGE 10: BOTTOM
BECCLES                 Departs         1219    1522    1804    1925
TIVETSHALL              Arrives         1344    1602    1849    2007

PAGE 11: TOP
NORWICH                 Departs         0644    0825    1306    1947
PULHAM MARKET           Arrives         0746    0932    1353    2030

PAGE 11: BOTTOM
BECCLES                 Departs         1218    1521    1801    1922
PULHAM MARKET           Arrives         1258    1556    1843    2001

PAGE 12: TOP
NORWICH                 Departs         0645    0826    1307    1948
PULHAM ST. MARY         Arrives         0747    0935    1356    2033

PAGE 12: BOTTOM
BECCLES                 Departs         1217    1519    1800    1921
PULHAM ST. MARY         Arrives         1255    1553    1840    1957

PAGE 13: TOP
NORWICH                 Departs         0646    0827    1308    1949
HARLESTON               Arrives         0754    0942    1403    2041

PAGE 13: BOTTOM
BECCLES                 Departs         1216    1518    1759    1920
HARLESTON               Arrives         1249    1547    1834    1950

PAGE 14: TOP
NORWICH                 Departs         0649    0830    1311    1952
BUNGAY                  Arrives         0815    0958    1420    2057

PAGE 14: BOTTOM
BECCLES                 Departs         1215    1517    1758    1919
BUNGAY                  Arrives         1232    1531    1817    1931

PAGE 15: TOP
NORWICH                 Departs         0652    0833    1314    1955
GELDESTON HALT          Arrives         0823    1011    1433    2109

PAGE 15: BOTTOM
BECCLES                 Departs         1214    1510    1757    1910
GELDESTON HALT          Arrives         1220    1516    1803    1916

PAGE 16: Top
NORWICH                 Departs         0653    0834    1315    1956
BECCLES                 Arrives         0835    1017    1439    2115

PAGE 16: BOTTOM
BECCLES                 Departs         1221    1523    1805    1926
NORWICH                 Arrives         1354    1637    1924    2042

==========================================================================
                   T H E   H O U N D   O F   S H A D O W
                   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                                  MANUAL


------------
INTRODUCTION
------------

 The Hound Of Shadow is set in England in the 1920s, a country
recovering from the ravages of the Great War, when extremes of wealth
and poverty rubbed shoulders, when it was fashionable to cultivate an
interest in spiritualism and magic. In the course of the game you
become involved with murder, revengem the occult, daemonic possession
and other horrors that  should have died a very long time ago. You will
discover many of the awful things that lurk behind a seemingly humdrum
existence, and learn through bitter experience that ignorance really
can be bliss.

The Hound Of Shadow uses the Timeline computer role-playing system to
create a Cthulhu Nythos story, inspired by the works of H.P. Lovecraft
and set in the 1920s. The following introduction explains that
role-playing game are and how the Timeline system works. At the back
this manual there is a brief introduction to the strange life and works
of H.P. Lovecraft.

Role Playing Games
 These evolved when the seperate elements of fantasy fiction and
wargaming moved together. When these two strands met, a revolutionary
new type of game emerged - the role-playing game.

In a role-playing game, players take the part of a character in an
imaginary setting, which can be anything from fantasy to sci-fi, horror
to espionage. The characters have skills and abilities, which are given
numerical values and dice rolls are used to determine success or
failure when they are used.

Role-playing games also need a referee, who goes under a variety of
names (Dungeon Master, Game Master, etc.). They create the situations
in which the players' characters find themselves and decide how
successful characters are in doing what they want to, and how this
affects the course of events.

It is the interaction between players and referee that makes 'tabletop'
role-playing fun and allows the characters created by players to become
personalities. In the course of play, they acquire a history, and
experience, and become easier, and much more fun, to identify with,
Computers are well suited to the numerical side of the referee's
function, like dice-rolling. But even more important, they are superb
at the job of helping players to build and then identify with their
characters - which is where Timeline comes in.

-----------------------------------------------------------
| LONDON..... |  Departs ..... | 0500 | 1000 | 1230 | 1520 |
| HALESWORTH..|  Arrives ..... | 0840 | 1328 | 1540 | 1830 |
-----------------------------------------------------------

---------
TIMELINE
---------

 When you create a Timeline character, you give them a detailed
background, including their date of birth, sex, attributes, skills and
profession. The key to the system is that any Timeline game will
recognize this and adapt to the character. In the real world, people
know whether you're a man or a woman and use your name if they know it.
If they don't, they may still get to know you by sight if you go
somewhere often enough and if  you are famous they may even recognise
you and know of your reputation. This game works the same way, as
you'll find out - particularly if you spend some time in the British
Museum Reading Room.

Your character's profession and skills, and how they are at them, will
be important in the game. Two characters may find out the same thing in
different ways and what is easy for one may be more difficult for
another. A scholar who is expert in Latin will be able to translate
ancient manuscripts easily, but won't be as successful as the
streetwise detective in bluffing their way into a library when they've
forgotten their pass. When a character completes a scenario some of
their skills will have improved with use, making the next scenario
easier, but the events that they have been through may also have taken
their toll in less obvious ways.

The Timeline system also means that if a character completes one
scenario and goes on to others, they will automatically follow in
sequence; there is no set order to the scenarios and each one becomes a
part of the character's history.

Playing Instructions
 This is not a conventional computer adventure, where the gameplay
relies heavily on object collection, manipulation and logical puzzle
solving.

The Hound Of Shadow is a role-playing game - a realistic simulation of
an imaginary world. You type in commands from the keyboard and text is
displayed on the screen. In a horror game with a complex plot, where
atmosphere is important, nothing works quite as well as text. (There
are full screen graphics as well, of course.)


---------------------
CHARACTER GENERATIONS
---------------------

Please refer to your Hound Of Shadow reference card for specific
instructions on creating a user disk.

SHOULD FOLLOW WITH THIS MANUL signed TWINS..

Male Or Female?
 The first choice you have to make is whether to be a male or female
character. There are no special advantages or disadvantages to either
although women could not have seen active service in the Great War and
some professions are only open to men. (Sorry, but that's the way it
was.) Choose your sex by moving the pointer to the appropriate
character and selecting it.

Who Are You?
 The next step in creating a character is to decide on your name, age
and date of birth. You can be a Mr, Mrs (but not Ms), Dr, Professor,
Sir, Lord or Lady. The name of your character is entirely up to you,
but bear in mind that if you choose something ridiculous you will be
stuck with it. Type in your choices and select continue to leave this
screen, If you choose a British character and use the title Lord or
Lady then you are limited to the Aristocrat profession.

You Are...
 This screen gives you a thumbnail sketch of your character and offers
a number of alternatives of you are not happy with the first one
generated. Use the pointer to select 'Yes' or 'No'.

Choose Your Nationality
 Your character can be British or American. Choose a nationality by
moving the pointer to the appropriate flag then selecting it.


-----------
PROFESSIONS
-----------


 The next step in creating a character is to choose a profession. If
you want to be able to delve into the unknown it's no use having a 9 to
5 job. So in this game you can be an Aristocrat, Freelance Reporter,
Gentleman Adventurer (men only), Novelist, Private Eye, Psychic
Investigator, Scholar, Sleuth or Socialite. These all allow characters
to be self-emplyed or independently wealthy and not to have to explain 
why they were late for work (again).

To help you decide which profession you want to follow, there are brief
descriptions below of the sort of characters each could include and
appropriate skills for them. These are only guidelines; try to create a
personality for your character and then choose the skills that they
would have. Some skills will be more useful than others but none are
essential.

ARISTOCRAT (British characters only!) The 'pure' aristocrat is the sort
of person who would have been educated at a major public school such as
Eton or Harrow, then at Oxford or Cambridge, but would not have picked
up much more than a basic proficiency in the Classics (written in Latin
and Greek). Utterly assured of their social position, Aristocrats can
breeze past the lower orders with the equivalent of Bluff while years
of "huntin' shootin' and fishin'" have made them good sportsmen and
women. They have enough money to be able to afford expensive hobbies
like Photography, Driving Cars and Piloting Planes.

FREELANCE REPORTER Always on the lookout for a big story, reporters
have to be able to do their own Research, Write it up, and even be
their own Photographer. The ability to Bluff or Persuade people is
important. You might want to give them a specialist skill to reflect
their interests or past experience.

GENTLEMAN ADVENTURER Inspired by thrillers of the period, especially
the Bulldog Drummond stories, these characters are uniquely British.
Well off members of the upper middle class were gentlemen but not
aristocrats, and would have seen action as officers in the Great War.
Keen sportsmen but no intellectuals, they were even ready to answer the
call of a maiden in distress, but scorned logic and deduction in favour
of direct action. Concentrate on active skills rather than academic
ones.

NOVELIST For a professional writer, the most important skill is going
to be Written English, but good Research skill is also important. Try
to think what sort of novelist your character is and give them skills
representing their background and interests. Aleister Crowley, the
magician, infamous in the Twenties as The Great Beast, wrote stories
about the Occult; a writer of historical romances would hav studied
History and the Classics.

PRIVATE EYE The classic gumshoe of Chandler and Hammett, or their
equally hard-boiled female equivalent. Shrewd judges of human nature,
they learned their Psychology the hard way. they can't pull rank on
people, and have to rely on Bluff or Persuasion to get their way. They
are  observant (high Perception) but don't underestimate their
intellect or learning.

PSYCHIC INVESTIGATOR Believer or non-believer? This was the great
question in the 1920s. On the one hand were those like Sir Arthur Conan
Doyle who believed in Spiritualism and the occult and spent their time
trying to prove the objective existence of psychic phenomenon; on the
other were people like Eric Weiss, better known as the Great Houdini,
who viewed all such manifestations as fraud and were the scourge of
mediums. A knowledge of the Occult is important for both, and Conjuring
skill allows them to recognise many of the tricks employed to fake the
paranormal.

SCHOLAR To be a scholar you need an 'ology'. Any such character should
concentrate on skills like Archaeology, Anthropology, History, Natural
History, and Research. You can choose three sorts  of title for a
scholar character. Plain Mr, Mrs, or Miss would make them proficient in
two or three academic skills. The title of Dr. would make them a PhD;
they should then have specialist knowledge of one or two academic
skills. The title of Professor means that they are an expert and should
have maximum possible skill in one academic subject (if you don't mind
them being hopeless at most other things.) Academics don't have to be
limited to academic skills - just remember the original scholar and
Victorian explorer Sir Richard Burton.

SLEUTH The British equivalent of the Private Eye, but more likely to be
a gentleman amateur or even an aristocrat rather than a seedy
professional. Sherlock Holmes, Lord Peter Wimsey, and Harriet Vane are
good fictional models. Well educated, skilled in applied Psychology,
highly observant, and often able to read and write several languages.

SOCIALITE The American equivalent of the British Aristocrat. Harvard or
Yale educated, perhaps the cultured heir to East Coast old money, or
the offspring of an oil, cattle or mining magnate, equipped with the
airs and graces that their parents never had.

What Did You Do In The War?
 Characters have to be at least 25 years old or they would be too young
to have been involved in the Great War. Women don't get the choice of
active service but male characters can opt to have seen action. An
american character can choose to have bought War Bonds or to have seen
up to two years active service. A British male character can opt for
service at the Home Front (perhaps because they failed the medical) or
for two, three, or four years active service. Active service brings
advantages and penalties for both British and American characters.
Choosing it increases the points available for allocation to specific
skills later on, representing Army training and the experience of war,
but it also brings the subtle effects of shell shock and despair at the
meaningless slaughter. These effects are not obvious but they are there
nonetheless. British women are assumed to have chosen Home Front
service, and they receive extra points representing their experience in
traditionally male occupations.


------
SKILLS
------


 Skills in The Hound Of Shadow have been grouped into seven areas:
Physical (50pb dumbells), Social (wine bottle), Investigative
(magnifying glass), Academic (motherboard and spectacles), Logical
(open book and glass phial), Creative (artists palette) and Spiritual
(scroll). The new few pages will show you which skills are covered by
which skill area. before choosing the skills themselves you need to
decide what sort of character you are creating and what they have most
aptitude for, most experience in, or have studied most. For example, is
it someone who is academically gifted, and can write many languages,
but has no experience of speaking them? In this case you would put more
points into the academic area than the social one.

To allocate the fund to each of the seven skill areas, simply use the
pointer to select the required level on each of the rheostats situated
below the icons. You can alter the level and reallocate the fund if you
are unhappy with your initial selection. When all of the fund is used
up and are happy with the balance between each area, select the done
icon. NOTE: that you can't leave the screen until all of the fund has
been allocated.

After allocating the fund to each of the seven areas you then step
through each of these seven areas you then step through each of these
skill areas selecting specific skils from within them. The specific
skills are listed over the following pages in their general areas,
there is a brief description where necessary. To allocate fund to a
skill simply select it with the pointer, a box displaying the skill and
rheostat will appear. Use the pointer to select the level on the
rheostat that you require and then select the done icon when you are
finished. Again the levels can be altered until you are finally
satisfied with the balance of skills in this area. NOTE: that you can't
leave the screen until all of the fund has been allocated. Select the
done icon with the pointer to continue to the next screen.


PHYSICAL SKILLS

BRAWLING This is best defined as hand-to-hand combat with the minimum
use of weapons. It may not be pretty, but it is effective. But be
careful who you use it on; they could be better than you.

CLIMB Useful for getting up rockfaces or buildings.

EVADE The ability to avoid a blow, runaway car or the like and to be
able to throw off pursuit.

DRIVING This mainly applies to cars but can also extend to other
vehicles with simple controls, such as motor launches.

HANDGUN This covers general familiarity with all handguns, whether
revolvers or automatics.

PILOT The ability to fly an aeroplane. Depending on the level of skill
this will cover more types of plane, and allow the pilot a better
chance of succeeding in what they want to do.

RIDE Normally applies to horses, but skilled riders also have a good
chance of riding more unsual mounts such as camels or water buffalo.

RIFLE General familiarity with all shoulder weapons firing a solid
projectile.

SHOTGUN Familiarity with the use of shoguns, both breech loading and
pump action. Classed as a separate skill from Rifle because of the
different techniques involved.

SWIM A useful skill when there's water around, but there probably won't
be much call for it in Soho...

SWORD A knowledge of the use of foils, sabres and straight edged
swords.


SOCIAL SKILLS

HAGGLE The skill of informal face-to-face negotiation.

BLUFF The ability to convince someone by the techniques of high
pressure salesmanship. It is essentially a short-term solution and will
seldom work twice with the same person once they have had a chance to
think over what they have heard. More difficult, but more effective in
the longer term, is the use of Persuasion. (See over.)

PERSUADE The ability to convince someone to help you by use of reasoned
argument. A longer term solution than Bluff because the person who has
been persuaded now understands and accepts the player character's
reasons for doing something.

WRITTEN ENGLISH All characters are given a fairly high level of basic
literacy to reflect the fact that they are educated professionals.

SPOKEN LANGUAGES These are indicated by a speech bubble with the name
of the language in it.


INVESTIGATIVE SKILLS

ELECTRICAL ENGINEERING This covers knowledge of the design.
manufacture, operation and repair of electrical and electromechanical
equipment. The chances of success will of course depend on the level of
skill and the availability of tools and components.

HISTORY A general knowledge or world history and also of the techniques
of historical investigation and evaluation.

RESEARCH The skill of consulting published sources to discover relevant
facts.

LINGUIST The ability to analyse a person's speech patterns, accent or
other aspects of their speech. This is not the same as being able to
speak a language. A linguist could listen to someone and decide what
type of language they were speaking, possibly even the language itself,
without being able to talk it themselves.

LISTEN This is an indication of how keen the character's hearing is and
how attentive they are.

MECHANICAL ENGINEERING Knowledge of the design, manufacture, operation
and repair of mechanical systems. The chances of success in using this
skill will depend on the player character's level of skill and the
availability of tools and components.

ESCAPOLOGY This is a knowledge of locks, knots and the physical
techniques of escaping from restraints. For player characters it would
be a hobby skill, but they could still be extremely good at it.

CONJURING A knowledge of the techniques of stage magic, including
sleight of hand and misdirection. Learned as a hobby by player
characters.

PHYCHOLOGY The understanding of the workings of the human mind and the
ability to make judgements based on this.

PERCEPTION The ability to notice things that other people might miss.
You could define it as the difference between looking at something
andseeing it.

WOODCRAFT The skills of outdoor survival, including being able to track
and live off the land.


ACADEMIC SKILLS

ARCHAEOLOGY This skill will help in identifying ancient sites and
buildings.

NATURAL HISTORY The ability to identify flora and fauna.

WRITTEN LANGUAGES These are indicated by an open book with the name of
the language written on it.


LOGICAL SKILLS

ANTHROPOLOGY Classed as a logical skill because it will generally be
used by player characters to make deductions about unfamiliar ethnic
groups that they come across, based on their knowledge of the science.

CHEMISTRY The ability to analyse unknown compounds or to work out what
chemicals would be useful in a given situation, and if they can be made
from available ingredients.

LAW Not only a knowledge of the facrs and relavant laws, but the
ability to analyse them and make out a logical argument.

FIRST AID The skill of assessing the type and seriousness of a person's
illness or injury and giving them on-the-spot treatment. All player
characters have a basic skill in First Aid.

MEDICINE More extensive than First Aid, being the ability to diagnose
and treat illness or injury.


CREATIVE SKILLS

HIDE Finding a good hiding place, especially in a hurry, requires a
special flair; this can't be taught although it can be improved with
practice.

NAVIGATION Not just the ability to read and follow maps and charts but
the ability to hold a mental picture of where you are in relation to
somewhere else.

PHOTOGRAPHY The ability to take and develop photographs.

STEALTH More than just the ability to move quitly, this is the knack of
passing unnoticed or detecting hazards they are encountered.


SPIRITUAL SKILLS
 Only the first two spiritual skills are available to newly created
characters in this game.

ASTROLOGY Depending on the level of this skill a player character can
range from a general awareness of the theory and elements of Astrology
up to a familiarity with their use.

OCCULT This does not represent the active use of occult skills but a
knowledge of occult beliefs and practices.

USE GATES Knowledge of this spell allows the use of a magical Gate to
transfer between two places. This does not allow the creation of new
gates, since this would involve corrupting knowledge and depraved
practices.

CORRUPT KNOWLEDGE All knowledge is power and, as Lord Acton observed,
power tends to corrupt. In the course of a game, your character will
learn about the things that lurk behind the thin facade of everyday
life, and about those that serve them. Such knowledge enables them to
fight such horrors more effectively, but it brings with it the taint of
evil. Characters must know what they are fighting and how to stop it,
but the more the scale of the horror is understood, the greater the
likeihood that the character will be unable to cope with the
realisation and will succumb to despair. You can't examine this aspect
of your character directly but you will notice the subtle effects of
corruption and despair as they complete more than one game...


A Thumbnail Sketch
 Once you have finished allocating skills the next screen gives you a
summary of your character, their abilities and skills.

Saving And Loading Characters
 Once a character has been created you must save him or her to a user
disk before you can begin a scenario. On-screen prompts will tell you
what to do at each stage. Any character that has been saved to disk can
be examined by using the 'Select Character' option on the main menu
that is displayed when the game is first loaded. This will bring up a
sub-menu which offers the choice of Examining the character, Beginning
a scenario or Returning to the main menu. Choosing to examine a
character means that you can look at their skills but not change them
in any way. A character who has successfully completed a scenario
cannot be used in that scenario again, but can still be examined to see
how their experiences have changed them.

Playing the Scenario
 As far as possible the game behaves ralistically. You will not need to
solve complicated puzzles in order to carry out simple tasks. As in the
real world, you can't just go anywhere you want and do anything you
like, and you can't act on knowledge that your character doesn't already
have. There are other people in the game; to survive it you will need
their help, so be polite to them. The game is designed so you can talk
to other people simply by typing in what you want to say.

Commands
 To avoid the frustration of not finding exactly the right word you
need, the main verbs used in The Hound of Shadow are listed below in
alphabetical order, together with their synonyms. Not all of them are
there because that would give too much away about the game. If you're
trying to do something that won't work, check to see if the verb you're
using is included; if it is not, see if there is another that would do
the job. Remember that you can use these commands: Wait until..., What
is the time?, What do I know?, Where am I?, and Go to the...(e.g.
kitchen, lounge, flat, etc.)

Bluff 		      Exits               Open	    	 Show (Present)
Buy(Purchase)         Fill		  Order (Request) Sit
Copy		      Get		  Persuade	 Sleep
Cut		      Give		  Photograph	 South (S)
Date		      Help		  Pick	    	 Stand  
Develop(Print)        Inventory(Inv,List) Push		 Time
Down(D,Downstairs)    Knock		  Quit		 Up(U,Upstairs)
Drink		      Leave	  	  Read		 Wait
Drop		      Load		  Redescribe(R)  Wear
East(E)		      Look(Examine)	  Relax(Meditate) West(W)
Eat		      Make		  Save		 Write
Enter(Go In, Go Into) North(N)		  Search


Talking to People
 As well as direct commands, your character can talk to other people,
and they will talk to you. This aspect is crucial as you will need
other' help to complete the game. Interaction with people in The Hound
of Shadow is usually in the form of question and answer, but you don't
need to use the form 'Say to Jasper...', and you don't need to enclose
the sentence in quotes. Just use clear simple sentences in plain
English, and they should work. For example, you might be looking for
someone, and go to where they work. Onve there, you would simply say
Does John Smith work here?, or I'm looking for John Smith, is he here?
Another important point is to listen to what people are saying to you.


 So now you are ready to enter the strange and sinister world of H.P.
Lovecraft, to unravel the secrets of arcane lore, to delve beneath the
surface to discover the loathsome horrors and corruption of London in
the 1920s. The Hound of Shadow is a powerful force of evil, summoned by
servants no less wicked; only your courage and wit can hope defeat the
horror stalking the streets.


			      * * *


-------------------------
THE MAN BEHIND THE MYTHOS
-------------------------
Howard Phillips Lovecraft 1890-1937

Lovecraft ia a paradox from beginning to end. A hopelessly
unprofessional writer who shunned commercial success, his entire output
is in print years after his death; an author with major technical
weaknesses who is still recognized as one of the greatest creators of
macabre fiction; an eccentric recluse who managed to be a charming and
witty penfriend to a large circle of people.

	"It came as I droned aloud the ninth verse of that primal lay,
	 and I knew admidst my shudders what it meant. For he who
	 passes the gateways always wins a shadow, and never again can
	 he be alone."

			THE BOOK

Lovecraft was born in 1890 and was only eight when his father died,
having become violently insane some years earlier and been confined to
an institution. Reading at three and writing at four, Lovecraft was
soon working his way through the 2,000 volume library of his
grandfather. He developed a lifelong passion for the eighteenth century
and affected the style and language of the era.
His earliest story, 'The Beast in the Cave', was written in 1905. But
he then abandoned fiction for nine years, concentrating instead on
verse and essays. In 1918 he began to write his own fiction again and
in 1922 his first professional work was published - 'Herbert Wets -
Reanimator' - a six part series about a ghoulish experimenter who
eventually falls victim to his own creations. The year after this, he
started to write for the magazine which published many of his best
stories - Weird Tales.

	"To Yian-Ho, that lost and forbidden city of countless eons
	 whose place may not be told, I have been in the veritable
	 flesh of this body, as none other among the living has been.
	 Therein have I found, and thence have I borne away, that
	 knowledge which I would gladly lose, though I may not."

			The Diary of Alonzo Typer

Lovecraft, along with other writers who were to contribute to what
became known as the Cthulhu Mythos, was a regular contributor to the
magazine. The Mythos evolved gradually from Lovecraft's writing and he
never used the term himself, but his readers, friends and fellow
writers came to cecognise common names and recurring themes. they saw
in his stories an emerging private mythology, involving rotting towns
where dreadful secrets lurked, books of forbidden lore such as the
hideous Necronomicon of the mad Arab Abdul Alhazred and, finally, the
idea that the workship had persisted into modern times of blasphemous
deites - the Great Old Ones - who had been expelled from the cosmos
unimaginable eons ago, but whose reutrn was plotted by their followers.


	"There was a formula - a sort of list of things to say and do -
	 which I had recognised as something black and forbidden;
	 something which I had read of before in furtive paragraphs of
	 mixed abhorrence and facination penned by those strange
	 ancient delvers into the universe's guarded secrets whose
	 decaying texts I loved to absorb."

			THE BOOK

One of these deities was the subject of a story written in 1926 from
which the Mythos took its name - The Call of Cthulhu. Bringing all
these elements together, and running through Lovecraft's macabre
stories, is the idea that the only thing which preserves people's
sanity is the fact that they are unaware of the horrors that lurk
behind the thin veneer of everyday reality.
Lovecraft died of cancer in 1937. For all his faults as a writer his
work has endured. In spite of the references to ancient cults and lore,
his stories are firmly based in the present and gain much of their
power from this. The true horror in his stories is that the universe
does not care, that we are very small, insignificant - and alone.


			     * * *


             Brought to YOU by Midnight Maniac & Mayday
=========================================================================
                   T H E   H O U N D   O F   S H A D O W
                   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                              REFERENCE CARD




--------------------
CREATING A USER DISK
--------------------

It is necessary to have a user disk ready before starting play, simply
format a blank disk using the initialize command.

Insert the Hound of Shadow Disk 2 into drive 0(df0:) and turn on your
computer.

The disk starts normally up, then it prompts for an empty disk to
initialize. 

After initializing it prompts for the Hound of Shadow Disk 2 (DiskB).
Then the computer copies the character files into your RAM.
After prompting for your User Disk it will copy the character files
into your User Disk from the RAM:

Now you have an User Disk and the game can commence.
Have Fun... The Twins



---------------
GETTING STARTED
---------------

Before you can start playing a scenario it is necessary to select a
character with which to play.
 If you have previously created characters or wish to use the
pre-designed characters then choose Select Character from the main
menu. You are then prompted to insert your user disk and select the
character of your choice. Having selected your character you may either
Begin A Scenario or Examine This Character.
If you wish to create a new character then see below.


--------------------
CREATING A CHARACTER
--------------------

Choose the Create Character option from the main menu. You will find
the instructions on how to create a character in the manual. Once you
have finished you will be asked to save the character record to disk.
Simply enter a name of up to 8 characters you must use the Select
Character option from the main menu before you can Begin A Scenario.


--------------------
BEGINNING A SCENARIO
--------------------

Once you have chosen your character select Begin A Scenario. You will
be asked to insert your user disk. 


------------------
PLAYING A SCENARIO
------------------

This is a role-playing game that uses a traditional adventure-style
parser system. This means that you must use the keyboard to type in
commands that the game interprets. Since this is an investigative
horror role-playing adventure, you must be careful to remember the
information presented and unravel the plot if you are to succeed. To
help you do this, the game has a command to summarise the extent of
your plot knowledge - type "What do I know" to get this information. Do
not rely on it to store all of your knowledge, just use it as a helpful
reminder.

To help you, here are a number of commands relating to the game:

EXITS	Lists all possible routes from one place, this includes ways of
	getting lost and stranger less substantial routes.
HELP	This offers some quick advice about conversation.
R	This describes the location that you currently are in. It will
	also display the picture for the location again, if there is
	one.
INV	This gives you a list of the objects that you are carrying.
GRAPHICS/TEXT
	These switch the graphics on or off, although when switched off
	the picture will be displayed once when you enter that location
	for the first time.
PAUSE	Forces a pause and waits for a key press.

Press the Escape key to return from the full screen graphics.
At the ------=====oOo=====------ pause marker press any key to
continue. Press any key to continue when "[more]" is displayed on the
screen.

The function keys have some pre-programmed responses:

F1	Get			F2	Drop

F3	Inv (+return)		F4	Examine

F5	Time (+return)  	F9	Load Saved Position

F10	Save Position		CURSOR	can be used to input 
				KEYS	Directional Movement
HELP	echoes "Help" 

INSERT	echoes the last entry

At the "ENTER FILENAME" prompt during load saved position enter a "?"
to catalogue the saved positions on your user disk.

There are a number of conventions  that allow you to move about and
live in the real world, rather than a problematic adventure world. You
are able to 'Go To...' places simply. For example typing 'Go To The
Bedroom', will take you straight into the bedroom, allowing you to move
quickly and easily between locations. Sometimes this facility is
disabled due to circumstance. If you are having a conversation you will
probably be able to walk out. However, you can't use the 'Go To...'
command, whilst you are in the middle of a conversation, you must end
it first. The game relies on meetings and events taking place at
certain times and places, in fact peoples lives depend on it. To help
with your control of time there is a simple 'Wait Until...' command.
This allows you to wait for up to 12 hours at a time.



-------------------------
SAVING, LOADING AND DEATH
-------------------------


 Three things that are not usually connected. When your character dies
in this game they are really dead and this fact is saved to their
character record. You cannot use them in this or any other Timeline
game.

You can save your position to paues the Scenario at any point, allowing
you to switch off the machine or take a break. A saved position is
limited to the specific character that was playing at the time of
saving. To load a saved position you must be playing the scenario with
the same living character that was used to save the game. This means
that when your characters die they are dead.



------------------------------
COMPLETING THE HOUND OF SHADOW
------------------------------


 Once a particular character has completed the Hound of Shadow they
will not be able to play the Hound of Shadow scenario again. Completion
of a scenario does not always mean successful completion. You can
finish a scenario in a number of ways, most of which are unsuccessful.



---------------------------------------------
THE PRE-DESIGNED CHARACTERS: A BRIEF SYNOPSIS
---------------------------------------------


BRIAN O'DONELLY

Filename: Brian
 The young Brian O'Donelly grew up on the streets of New York, and what
he lacked in formal schooling he made up for in street smarts and
native toughness. It was all too easy to use his natural charm and
Irish blarney to make money from backroom card games and, but for the
intervention of a brother in the Priesthood, he might have ended up
rose to the rank of Sergeant in the Police force. One of the first to
volunteer for service in France, he survived the carnage in the
trenches, only to find on his return that the politicians were in the
pockets of the mobsters. Disillusioned with the Police, he left two
years ago to become a Private Eye. Now, 1925 finds him in London....


SALLY CHEVERTON

Filename: Sally
 The daughter of a prominent surgeon, Sally grew up helping her father
in his charity work in the slums of Southampton. No shrinking violet,
she can take care of herself in most situations and has inherited her
father's strength of will. Educated at a progressive ladies college,
she chose not to follow a scientific or medical career but instead
aimed to become a Historian. Frustrated by the conservatism and
chauvinism of the academic establishment and unable to earn a living
from her first love Photography, she has decided to follow the example
of Mary Anne Evans, who became famous as the novelist George Eliot, and
write. She however, is not going to use an assumed name. By 1921 sha
hass already had one book published and is ambitious for greater
success....


SIR EDWARD BEAUCHAMP-SMYTHE

Filename: Edward
 Born in India, Sir Edward's family moved back to England when he was
only six months old. Expelled from half a dozen schools for wild
pranks, the only academic subject that interested him was the classics.
The young Edward was the despair of his parents, university was out of
the question and his natural talent for things mechanical was hardly
the basis of a fitting career for a baronet. It was not until a trip to
France in 1909 that he found his true vocation, when he saw Bleriot's
triumphant cross-channel flight. For the next five years, his time was
evenly divided between flying and High Society. When the Defence of The
Realm Act outlawed civil aviation for the duration of the Great War, he
had only one option, and for the next four years flew over the Western
Front. Not as famous as Ball, Rickenbauer or Lafayette, he was none the
less decorated for valour, and more than that came back alive. Four
years later, he is toying with the idea of attempts on several long
distance aviation records, and is waiting for Mrs. Sopwith to finish
the BS Special....


        Spread by Midnight Maniac and Mayday of Trilogy