Concertgebouw at Amsterdam

December 4, 2012 § 1 Comment

I just got to my hotel from Gil’s concert in Amsterdam at Concertgebouw. The hall was packed – difficult to take photos because they don’t permit but I tried to get a few while entering.

Cochran complete Mazurkas performed at Concertgebouw Amsterdam.

Complete Mazurkas performed at Concertgebouw Amsterdam.


Cochran complete Mazurkas performed at Concertgebouw Amsterdam.

Concertgebouw Amsterdam, Gil Sullivan playing Schumman, Cochran, Beethoven, Mozart, Brahms


My flowers given to me at end of concert - what to do when in hotel only one more day?

My flowers given to me at end of concert – what to do when in hotel only one more day?

Cochran complete Mazurkas performed at Concertgebouw Amsterdam.

Complete Mazurkas performed at Concertgebouw Amsterdam.

The Berlin Konzerthouse concert a few days ago was shorter on ticket sales than Gil’s agent Mary planned partly because of a free concert the same night. It was great to be with my brother James there though and we had a long dinner before.

May has a lot of experience with concerts in Europe and said it is easier to get people to classical concerts in Amsterdam also compared to Berlin.

Tonight’s Amsterdam concert at Concertgebouw was extremely successful. Gil’s playing was so imaginative and sensitive and near the best I have heard from him. The Australian Elder Hall concert last month was the first time he had played the complete 5 Mazurkas as a set in public and now he is starting to find how to unify the works.

I wish I could hear the concert again – alas the tragedy with concerts is that they pass, part of what makes them feel so valuable while there.

The most beautiful hall I had been to was perhaps Mariinsky Theatre in Saint Petersburg and after being there I have wanted to orchestrate my mazurkas and have a ballet performance there. I will do this any many other things over time. But the Concertgebouw tonight, for a chamber setting matches that and maybe even exceeds for sheer visual beauty and acoustics. Photos do not do it justice because it is oval and lighting low. Concertgebouw is now top on my list of places to play in the future if I get time for giving concerts.

The audience normally claps at the end of a set of works but they clapped between every Mazurkas – and heavily – Gil looked at the audience (still sitting) with such a surprise. At this stage no-one knew I was in the audience so I just looked around seeing everyone’s smile. 🙂 So after he finished my works and said that I was in the audience there was an astonishing surprised murmuring sound through the hall, then a standing ovation and I took the flowers from stage which you see in another photo.

Such enthusiasm was later also – all of my CDs I gave Mary were sold and I signed my signature 15 times, actually I lost count – people gave me whatever paper they had in front of them so mostly I signed programme notes or some of the CDs – all while Mary was rushing me to the restaurant after the concert.

It is of course just the music that brings all these feelings to everyone – the hall only amplifies it as the very beautiful picture frame.

I like Amsterdam much more than Berlin as a city – vastly more actually and reminds me of Saint Petersburg because of canals, art and museums everywhere, Saint Petersburg still more majestic though (Winter Palace etc). The canals are as the veins for the city that give a sense of being more alive.

While over here, apart from meeting people I have been able to concentrate on music more than usual so I finished producing the CD that I recorded at Elder Hall in 2011 and happy with the sound and playing – this will be a commercial release some time next year and it was filmed too, they have just been waiting on the sound before producing. I have also been editing my manuscripts a lot – that has been fun while travelling alone because you are working in trains, planes, etc. as well as all the cafes and easy to focus for me, at risk of meeting fewer people though.

I’ll take a train to Brugges tomorrow and the concert there will be filmed.



June 24, 2012 § 3 Comments

While working on a fourth Scherzo the subject for a Waltz suddenly appeared. I promptly added a second subject and then refined the composition which ended as six pages — Valse. Why such a name? I cannot quite describe the reason rationally but something makes it infinitely preferable. The Waltz originated from the Latin word “Volvere” and has since been loaded with so many preconceptions that I would even prefer to call it “Turning Dance”, furthermore the work is aesthetically closer to a Minuet. A clock would likely perform it more beautifully and understandably than an exuberant Waltz dancer – and although I am aware that from outside my mind it will sound quite as a Waltz, I still cannot give it such a name.

I have another five subjects in 3/4 times that fit together perfectly as a second Valse which I will prepare the notation for eventually but not in haste – to keep the works away from paper (as the artist applying the final protective spray) for as long as possible I have found to give the best chance to retain the such valuable fertility.

Valse, Julian Cochran

Valse, Julian Cochran

Mean Reversion

February 26, 2012 § 1 Comment

Financial statisticians should study the following charts of change in some important metric over time. Before giving away what the metric is I’d like you to try to guess what it is after studying the figures for a while. For example, it could be the log scale of a particular stock price through 50 years, aggregate earnings of the S&P500 through some 50-year period, book value of some corporation through 50 years or some other metric. Even if you cannot guess the metric, the important thing is to try to imagine whether the subsequent values will have a greater chance of being falling or rising. Click on one of the charts to view them as a slide show.

While studying each chart, observe carefully how the blue values interact with the orange trend line. For each chart imagine the blue data extending for five more years and write down whether the blue line has (1) a linear trend or whether it is will (2) continually decline, (3) temporarily decline, (4) continually ascend or (5) temporarily ascend. Important: Don’t read the next paragraph below the charts until you have applied your best intuition to make sense of the data in each charts and written down your estimates.

Well to give the answer, the metric is actually a purely random function with slight upwards bias. I placed the orange trend line through the series because this demonstrates four very important things. The first thing is that the slope of the line rarely matches the true upwards trend in the data – thus the slope of the line itself tends to give false confidence as to the long-term trend. Even extending the data series into the future with twice as much data could result in the slope remaining quite incorrect as to the actual bias in the random function, which was identical for all the charts: y’ = y (0.7 + random[0 to 0.7]).

Secondly the orange line encourages the person interpreting the data to imagine that there would likely be some reversion to the mean in the short-term if the data was extended, while there is no such reversion to the mean – extending the chart further to the right has no regard for what occurred before.

The third thing of great interest is that as the data is extended into the future the slope of the new trend line changes so that this extra data, which might have values that were previously unexpected (such as continual upwards movement when recent values were already above trend), becomes expected after it arises owing to the original trend-line being ignored and the new trend line replacing it. It is this phenomenon that makes events appear more reasonable, even predictable, in hindsight – even if they were the opposite of what was originally expected. To illustrate, if the blue data has recent (right-most) values above the trend-line then it might appear likely to fall back to the trend line. If it continues to rise however, the slope of the new orange trend line also rises substantially making these new values appear not so abnormal after the events take place.

The fourth thing relates to the third but is worth distinguishing as follows. With so many charts having exactly the same random function we have a reasonable idea what the true trend line is – some orange slopes are steeper than others but by averaging all of them we have an idea what the true slope of the random function is. However, consider just one chart and observe the slope. From this chart alone, covering 50 years, you will deduce the slope and thus expect that if the chart was extended for another 50 years then it would be likely to have a slope that is similar. Yet look across the various charts at how different the slopes are. Knowing that US corporate earnings over the last 100 years increased 1.6% per year after inflation (a multiple of five times) we are inclined to expect that the next 100 years will provide a similar multiple however the result could be quite different, and our latest position above or below the trend only a mirage.

The act of studying the graphs repeatedly knowing that they are random will gradually help to negate some of these biases and helpfully reduce confidence to allow better decision making in all fields.

Scales and Musical Language

September 3, 2011 § 8 Comments

Playing more than one instrument can encourage perspectives towards composition that might not otherwise arise. I have spent more time with the piano than any other instrument however I have picked up and produced sounds from every instrument that I could lay my hands on.

While playing the guitar I take great pleasure from how the frets have no bias towards the diatonic scale (white notes of the piano). In 1996 I had written the third movement of my first piano sonata and wanted a first movement unlike anything I had written before. I moved up the frets of the guitar in alternating steps of tones and semitones, the symmetry so attractive, and then improvised a variety of melodies keeping to this language.

Identifying a scale of interest is a first step and the least important step. Far more importantly the properties of the scale must be investigated by the composer and with much passing of effort, eventually mastered and only from this is one’s music language genuinely extended. Comparing to the spoken language you can learn the pronunciation (but not the meaning) of new words and your story cannot be enriched in such a way.

This scale of alternating tones and semitones, which I later learned was first used in Persian Music of the 7th Century AD, I found so fruitful. It permits, without needing to include any accidentals, the harmonies of F, Fm, D, Dm, Ab, Abm, B and Bm and striking melodies. Starting with a triad and moving each note one degree upwards in the scale produces the most beautiful harmonic effect. I improvised so richly within this language that the diatonic scale began to feel more foreign and strange. Major harmonies displaced by a diminished fifth (e.g. F# to C) took on a sense of being highly related and I would often modulate in that way, so much more symmetrically than the diatonic dominant to tonic modulation (the notions of the sonic purity of such a cadence largely break down when considering all of the notes in the harmony).

Feeling the alternating single and double semitones links in this scale, I named it “Chain Scale”, unaware that it was known as the perhaps even more ridiculous Octatonic Scale, and I incorporated it into many subsequent works. The following examples that used it strictly (exclusively): the first movement of the first piano sonata, Tin Sentinel, the second movement of Artemis and one of the works within Animation Suite. Many other words however incorporate it during sections.

There is no question that the thorough exploration of the properties and relationships within the Chain Scale and the improvisatory absorption led to a richer output of works.

My musical language continued to develop in various ways since 1996 and in 2008 I started to explore more deeply an equally fascinating scale within my improvisations. This next one used alternating links like the Chain Scale however with the tones replaced by tone-and-a-halves; thus leaving only six notes in the scale: b, c, d#, e, g, and ab.

I investigated this also in 1997 but didn’t find it fruitful – how could any melody of beauty be written for such a scale? – and ignored it until 2008. I then realized that it had some beautiful properties which need to be treated very differently. I perhaps lacked, earlier on, the sufficient richness of surrounding harmonic and rhythmic language to realize these relationships and properties that arise from the scale. From it I wrote this year my third Scherzo and it will unquestionably remain helpful with the stimulation of ideas and increased expressive range.

Scherzo No. 3

August 9, 2011 § 1 Comment

I am quite pleased to have a version of Scherzo No. 3 largely formulated. The main subject (A) is taken from the improvisation posted at below this text. I introduced three more subjects that have motifs shared between each other and the structure that I am presently most happy with runs as [A, A, B, C, D, C, B, A, coda]. The coda references all subjects, A is fast and B, C and D have a lower intensity. Notice the mirror effect of this structure with D at the center. With the subjects played in many ways I decided upon the structure while in a cafe in the same way that I did with Mazurka No. 1. Using this structure it is largely Ternary form although the middle section (all but A) is like a Rondo. Harmonically and melodically it is unusual in that it is largely limited to the notes of C, D#, E, G, Ab, and B. Having explored the properties of this scale thoroughly I am hoping that they will be useful in future works.

With only the words about technique you might think that aesthetics and the nature of the subjects themselves and so on have less importance; this is contrary to the truth however the continuous aesthetic decisions when creating melody, adjusting rhythm and so on within the music are beyond what I am capable to shed any light upon using words. It is more helpful to talk about the things that are created the most consciously. Generally when away from the instrument I concentrate upon resolving rhythmic questions and broader structural decisions. I’ll continue to refine the work for some time and then post a draft recording. I rarely start the notation until entirely satisfied with the work in my mind. Notation leads to greater cementation which can be somewhat destructive (the music becomes less as liquid) in dampening the opportunity for further refinement so I write the music as late as possible.

Music Compositions – Defining a National Style

July 18, 2011 § Leave a comment

Musical nationalism in composition is the use of musical motifs and aesthetic intentions that are identified with a specific region or ethnicity and new works written in correspondence. Well that is the usual way to think about musical nationalism (for example, “English Orchestral Suite”, “Polish Mazurka”, “French Impressionist Style”).

However music nationalism has a different form where the musical style is thought to be associated with the country with some non-musical link, for example Australian composers having their works identified with an Australian National Style – where there is no former musical style having the label ‘Australia’ – thus adjusting their music to take ideas from something uniquely Australian, such as the uninhabited landscape, great distances between cities or for example the Aboriginal culture. This variety of Musical Nationalism arises in places such as Australia where the western music traditions have been carried in but were unable to brew and mutate for long enough in isolation for something distinct to arise – illustrating, a species similarly evolves uniquely upon an island (the time scale expanded) but will initially share the same origin as its family away from the island.

The public attention to national style in music was extremely strong in the late 19th Century, barely existed prior to the 19th Century, and largely died out gradually through the 20th Century. Musical Nationalism obviously died out because it became easy to travel from one country to another, a massive increase in trade, media technologies allowing information to be spread around quickly (especially radio and newspapers) and above all the ability to share recordings of any music between countries. People could suddenly become highly exposed to the music of any culture that one is naturally inclined to take the greatest pleasure from.

The argument that I hear the most to define an Australian Style is to point to its unique landscape or its Aboriginal history. These subjects could be reflected upon to nurture something novel within the imagination. Perhaps that could further iterate and be meditated upon more deeply to produce a creatively resourceful and unique Australian aesthetic.

The first problem with that is that Australians can study the landscape of Tuscany (visiting or watching videos) and Bavarians can study our landscape as deeply as we can. The Bavarians can study Aboriginal folk music about as easily as Australians. The isolation of countries just no longer exists in the way that it once did (owing mostly to the profoundly immediate information transfer rather than the greater ease of travel). Australian composers can listen to a CD of “Fast Hungarian” dance music from the Klézse village in Moldova and be deeply affected and influenced without leaving our country – that CD will probably be more stimulating and create a bigger impression (to a composer) than looking at a Magpie.

The second problem with composing to such things as the unique landscape is one of sincerity. It is of my view that art fails almost instantly when insincere thoughts are involved. Yet most Australians are not actually exposed to the unique landscape (we are mostly exposed to suburbs) – one would need to live in the desert to be affected by it sincerely (for the purpose of creating art) and this would leave the composer as freak rather than as a common Australian and thus it could be argued that the style is no longer reasonably Australian.

My central point is the aesthetic inclination that one takes as an artist must be sincere and impassioned and not formed based on assumed heritage (or citizenship). The German man would be foolish to write traditional German music if he was more familiar with, influenced by and agreeable with Scottish folk music – the melodies in his works must take the form of what is naturally beautiful, interesting and catalytic for further thought. Established music performers will occasionally say to the German, “Why are you writing this music when you are not Scottish?”, whilst raising their eyebrows to imply the upper-hand.

In a sense, no-one in the developed world has an authentic origin in the 21st Century where communication between cultures is largely unhindered. Factual heritage and cultural identify should not be assumed by artists in the 21st Century to be paired.

I hope that I have written enough for any composer reading to feel more spirited and enthusiastic to identify their own Musical National Style in a manner independent of their family background or location of upbringing. Besides this, to produce highly valuable art the music must be created with passion, sincerity, ingenuity, effort and conviction; in order to be productive there are no other conditions that need to be added.

– Julian Cochran

D-Zone Game Re-written

April 6, 2011 § Leave a comment

Destruction Zone, or D-Zone is a computer game written in 1992 during high school. Months after distributing it as Shareware I was receiving distribution legal contracts and over five hundred registrations, mostly from the USA, from enthusiastic D-Zone players. I received an even larger number of letters with wonderful suggestions about what should be included in the next version. I stopped working on the game in 1993.

D-Zone is a tank battle game that allows up to three players and up to six robots to fight through rounds and accumulate money and points. Players shop for new weapons and tools every three rounds. The enormous number of weapons and tools with well balanced prices and properties made the game very addictive. D-Zone became very popular in the early 1990s, back when the fastest PC machine was the Intel 486.

As computers increased ten-fold and eventually one-hundred-fold in speed, the time came when the game began to run too fast. I could not correct this simple problem because the source code was believed to have been lost for many years.

As I was packing up things in my house to move from Adelaide to Melbourne, I went through all of my old 3.5″ diskettes in untouched corners of my cupboards and to my surprise one of the many disks contained a file – A wonderful feeling passed through me, and then as I unzipped the file I found that it was indeed the entire source code (version 1.3 of the game).

Upon re-writing the game for modern computers I actually took none of the original source but retained the same game-play. I improved the AI significantly, wrote my own 3D engine from scratch (I was perhaps a little bit paranoid about making sure the game would now be future proof) and tried to keep the original game-play intact. Writing a game is a bit like writing a musical composition – one small change (such as the shopping price of a weapon) can affect the game as a whole and so it is a kind of art to keep everything incredibly well balanced. You can download D-Zone from here:

D-Zone II for Windows XP/7 Download Instructions for Windows
Just un-zip the files to a new folder and then click dzone.exe (icon with two swords)
D-Zone II for Mac OS X Download Instructions for Mac OS X
Un-zip the download and click ‘Destruction Zone’
D-Zone II for Linux Download Instructions for Linux 

  1. Download D-Zone for Mac OS X and unzip. This version of D-Zone includes dzone.jar which will work on Linux.
  2. Install the Java run-time environment JRE 6.0 (also called 1.6) or higher if not already installed.
  3. Copy the file jl1.0.jar into the /jre/lib/ext folder of the JRE installed above.
  4. Visit the Console and then go to the folder where dzone.jar is located and type “jar -Xmx500m -jar dzone.jar”.
D-Zone II Guidebook Download (100 K)

System Requirements

CPU of at least 1.5 GHz, 384 MB RAM, Windows XP, Windows 7, Linux with Java installed or Mac OS X.

If you are new to D-Zone then you may wish to read the D-Zone introduction or view screen-shots.

By Sancho Lerena, posted 2004.08.10 

I’ll waiting for Linux version…. XP is too hard for me 😉

By Rob Macnee, posted 2004.09.19 

I played the original for countless, countless hours with friends and family, and
have many fond memories associated with playing it, but I never registered. Now I
think is my chance to rectify that, now that I have a job and money of my own (I
played D-Zone mostly back when I was 12-14). You may remember I emailed you a few
years ago asking for the original source code, when I was curious about game
programming. Now I’m glad I didn’t get it, because D-Zone 2 is out, and I can get
my fix from that. To tell you the truth, the wave of nostalgia that accompanied
the shareware message for DZ2 was overwhelming.

Anyway, thanks for sticking with it, I’m sure my reaction and story is a lot like
that of many others. D-Zone will always mean a lot to me, and corny as that
sounds, it’s true.

Rob Macnee

By robert zoccoli, posted 2004.10.16 

Dear Julian,

I thank you for your letter, it was probably the single best piece of mail i have recieved this year. me and my friend loved D-zone and hated the fact that even on it’s slowest setting it ran to fast on my comp. i think i will greatly enjoy this as me and him have spent many hours on the first one. thank you again for letting me know and i’m glad my letter encuraged you to complete this game.

Robert Zoccoli

p.s. i wonder if you reused your master registration code? couse that was the one you gave to me in 1998 possibly due to loss of the others. By robert zoccoli, posted 2004.10.16

Blast it, you weren’t kissing about the system reqs huh? oh well gotta upgrade my comp, been putting it off too long

Robert Zoccoli

By robert zoccoli, posted 2004.10.16 

p.s. i wonder if you reused your master registration code? couse that was the one
you gave to me in 1998 possibly due to loss of the others.
By robert zoccoli, posted 2004.10.16

Blast it, you weren’t kissing about the system reqs huh? oh well gotta upgrade my
comp, been putting it off too long

Robert Zoccoli
By robert zoccoli, posted 2004.10.16

bah, ment to type kidding. man i’m bad :).
By Darren Chan, posted 2004.10.25

Thanx for the letter Julian.. will chk out D-Zone II.. it’s been a looooong time


By robert zoccoli, posted 2004.10.16 

Dear Julian,

I thank you for your letter, it was probably the single best piece of mail i have
recieved this year. me and my friend loved D-zone and hated the fact that even on
it’s slowest setting it ran to fast on my comp. i think i will greatly enjoy this
as me and him have spent many hours on the first one. thank you again for letting
me know and i’m glad my letter encuraged you to complete this game.

Robert Zoccoli

p.s. i wonder if you reused your master registration code? couse that was the one
you gave to me in 1998 possibly due to loss of the others.

By Baldwin Yen, posted 2004.12.18 

Dear Julian,
Just spent the last year in Iraq, was going through mail at my parents’ house when I came upon the letter from you.
Opened the letter, and the first thing I saw was who it’s from, and the first
thought that struck me was, “Hey, it’s the Australian guy who’s the author of D-Zone!”
It being a cherished memory, I ran upstairs and got the original reply letter I received from you, which I had kept in a desk in my old room. Talk about nostalgia.
In anycase, it’s great to know that you’re continuing to work on D-Zone, and I’m downloading D-Zone 2 even as I type. Thanks for the great games and the great memories.
Bobby Yen

By Sansara Giovanni, posted 2005.02.21 
What’s up?

I must tell you, I’ve been waiting in deep silence, listening, and trembling
for the last 6 months.

I AM (not was) a great D-Zone fan. I even have an old computer for playing
such games as Arkanoid, Centurion and D-Zone…

But it’s beggining to fail. I have more & more computer crashes and my new
AMD XP@1800 is running under windows2000

What can I say… terror, anxiety, pain…

Are you still working in D-Zone? Am I biting my nails unnecesarily?…

Anyway, cm’on… some of US are STILL waiting for you!!!

losened_self AT

By Merc, posted 2005.02.21 
Hello Julian

a quick email from Perth: I *love* dzone, I *love* the fact that I can
finally run it now on my fast computer, and I Would *love* to see dzone 2
on my computer 🙂

As soon as you release Dzone 2.0, I will register, no matter what the price
would be – that’s a promise!

When do you think you’ll release it? 🙂

Thank you and bye!!!


By Drew Davis, posted 2005.02.22 

DZone is back! W00t! Time to pwn!

By Peter van Hardenberg, posted 2005.06.05 

D-Zone on LINUX. I would very much like a copy, because how else will I get my electro-buds on?


By robert zoccoli, posted 2005.07.06 

Blast it, you weren’t kissing about the system reqs huh? oh well gotta upgrade my
comp, been putting it off too long

By Darren Chan, posted 2005.08.11 

By Darren Chan, posted 2004.10.25

Thanx for the letter Julian.. will chk out D-Zone II.. it’s been a looooong time


By Julian Cochran, posted 2006.09.10 

After playing D-Zone for five hours with my friend last night I decided to continue with some upgrades. I’ll soon prepare D-Zone version 2.2 for public release with the following upgrades:

1. Red dots introduced (they were in the original version) so that when you cannot fire the currently selected weapon a red glow appears in the middle of the tank.

2. If you try to fire when out of weapon energy there is a special sound effect with emotional impression of trying to fire when you cannot. Combined with 1 this gives a solid feeling that pressing fire lots of times isn’t how the game is played.

3. Music now playing as mp3 and new music included for the title page (my Prelude No. 4, a recent composition).

4. The entire zone is brighter – there was simply not enough light in the game in the first release.

5. Robots don’t fire in the first four seconds – unless you fire yourself in which case they start as soon as you fire. Adds to suspense.

6. Game-play slightly faster.

7. A circular barrier has been added around the entire D-Zone playing field.

By George Ujvary, posted 2006.12.27 

Hi Julian,

Love the game. I remember hours playing with you at your house when we were kids after you wrote it. It seems so weird that so many other people shared the same experiences.

And that stupid message. ‘This message is here to annoy you!’. I remember you laughing about that as a kid as well.

A really good trip down memory Lane.

Well done.

See you soon.

George Ujvary

By Hendell Firehammer, posted 2007.01.08 

I first played D-Zone in 93 and 94 as a friend of mine was distributing the free version that played out an add for where to send money to get the full version, one, slow, character, at a time each time you booted it up. Mind you this was on a 8086 computer in my Computer programing class, an amazing game from any era, well done game play, and hopefully duplicated entertainment as I too am downloading D-zone two as I type this. It is good to see that it not only still exist in a findable way but has an upgrade.

Hendell Firehammer Old school gamer

By Bill Torsky, posted 2007.05.21 

Uh, is this a joke? Why does this game require so much juice to run? I exceed all the requirements but it still runs slower than molasses. I can hardly play the thing. The first one was awesome but I am not digging this new slow-mo version. I am curious as to what could be causing the massive bog down, and by curious I mean it’s the lighting.

By Andrew Airmet, posted 2007.06.18 

I played D-Zone a long time ago. I remember registering and receiving the programs on a disk. They were the two other extra programs that stayed fun the longer you used them. The roots one was a bit hard, and the solar system one was a bit strong in the physics for me. I really enjoyed D-Zone but it’s been awhile since I’ve tried to play it. It was a LOT of fun.

By keith stackhouse, posted 2007.07.21 

I would like to say that me and my friends had a great time playing D-zone against each other growing up. It is a great game! I would like to know if/when d-zone 2 is coming out, or if it is already out, do you know where I can get it at? Thanks for your time.

By Kurtis Kurtis, posted 2007.09.12 

Just wanted to say, great game back in the day. I remember when I was young, around 9, and my dad and I downloaded the demo of this game off of a BBS from the Dayton, Ohio region… I remember saving up money for months to be able to buy a copy of it but I ended up getting some game called “Jetpack” instead. Your game definately was hours and hours of fun. Great job.

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