Cauldron II: The Pumpkin Strikes Back is a computer game developed and published by British developer Palace Software (Palace) as a sequel to their 1985 title Cauldron. The two-dimensional (2D) platform game was released in 1986 for the ZX Spectrum, Commodore 64 and Amstrad CPC home computers. Players control a bouncing pumpkin that is on a quest of vengeance against the "Witch Queen". The roles of the two were reversed from the first game, in which the witch defeated a monster pumpkin.
Following the success of Cauldron, Palace employee Steve Brown began work on a sequel. To provide fans of the original title with a new experience, a very different gameplay was implemented for the sequel, although several minor features retained connections to the first. Inspired by the bouncing pumpkin character in Cauldron, Brown designed the game around the character's movement. The bouncing mechanic proved problematic for the programmers who were unable to perfect its implementation. Technical limitations also prevented them from implementing certain animations, such as turning pages of a book.
Cauldron II was first released on the Commodore 64. It was released in the following years on other systems and as re-releases. The game received praise, mainly for its audio-visuals, in video game magazines. Difficulty in handling the bouncing pumpkin's movement was a common complaint, although reviewers felt the overall package was of good value.
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Famous quotes containing the words cauldron, pumpkin and/or strikes:
“Double, double, toil and trouble
Fire burn, and cauldron bubble.”
—William Shakespeare (1564–1616)
“Their hotels are bad. Their pumpkin pies are delicious. Their poetry is not so good.”
—Edgar Allan Poe (1809–1845)
“What is line? It is life. A line must live at each point along its course in such a way that the artist’s presence makes itself felt above that of the model.... With the writer, line takes precedence over form and content. It runs through the words he assembles. It strikes a continuous note unperceived by ear or eye. It is, in a way, the soul’s style, and if the line ceases to have a life of its own, if it only describes an arabesque, the soul is missing and the writing dies.”
—Jean Cocteau (1889–1963)