Endspurt (PSI)

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Wie geht es weiter? Den neuen Gesamtentwurf gibt es unter Global Mindset V4. Bitte tragt in die untenstehende Liste alles ein, was auch beim Spielen auffällt. Wo gibt es noch Fehler? Was ist unlogisch? Was gehört verbessert? Hinweis: Verwendet das Kommando beam, um zum Testen schnell zu einzelnen Szenen zu springen! --Thai 11:39, 26. Jul. 2009 (UTC)

Anleitung zum Testen

Ein Testspiel bitte mit dem folgenden Befehl starten (damit alle Eingaben aufgezeichnet werden - das Spiel wird nach einem Speicherort für das Transkript fragen):

>SCRIPT ON

bei allem, was euch auffällt, schreibt eure Kommentare direkt in die Kommandozeile, am besten hervorgehoben durch eckige Klammern (die Fehlermeldungen des Interpreters könnt ihr getrost ignorieren)

Over their, you see a button and an umbrella.

>[WHOOPS. 'THEIR' SHOULD BE 'THERE']

I don't understand the punctuation '['.

seid mit Kommentaren ruhig verschwenderisch, weist uns auf alles hin, was noch verbessert werden könnte, aber auch darauf, was euch gefällt...

Szenarien

Rummelplatz

• verantwortlich: anna
• dev:

Allgemeine Bemerkungen:

Habe eine Topographie implementiert. Ich glaube, das ist jetzt alles, was nicht schon zu "enter Geisterbahn" gehört. --H.A.L. 14:26, 30. Okt. 2009 (UTC)

Enter Geisterbahn

• verantwortlich: Alex
• dev:

Text "Enter Ghost Ride"

In front of you raises a two storied building. It seemed to be a factory building in former times for the simple reason that you can’t recognize windows. In the middle of the house front hangs a huge billboard with the inscription „Slimers Ghost Train“. Next to it salience a big zombie figure out of the wall, which is covered with ghosts and other horrible paintings.

Below the billboard is the entrance and the pay window. In the pay window sit a tall and mean looking man. Right now he is distracted selling tickets to the waiting customers. Maybe it’s a good moment to sneak into the ghost train.

Zweiter Teil umgesetzt, den ersten haben wir nicht gebraucht, weil wir für die Geisterbahn schon eine Beschreibung hatten. An der Beschreibung müßten wir noch feilen, so daß sie besser mit der Situation interagiert, z.B. kann man "look" befehlen und den Besitzer im Kartenhäuschen sehen, während er einen grad am Kragen hat.

Option 1 Try to sneak past the Owner of the ghost train

[[You move very quick to the left side of the ghost train where the cashier can’t see you. You hide behind a paperback statue of a ghost. You are very close to the entrance now.

The cashier seems to be very busy seeling rides to waiting crowd. You seize your chance and sneak by the pay window. But your attempt is hopeless because of the owner of the ghost train, who observed your delinquent from a safe distance. You throw the cover, consisting of paperback, at the threatening offender and run away. But you never really got a chance to escape from the unfortunate situation. The owner grabs you by your collar and pulls you up easily.

Grundüberlegung hinter Gyges Handlungen ist, dass er ein Dieb ist.]]

[OWNER ASKS] Owner: Did your bastard try to sneak into my specacular ghost train?

[GYGES ANSWERS] Gyges: [GYGES NO] OPTION A1 : No! That must be a terrible mistake! I just tried to protect my head from the almost unbearable sun’s rays.

[GYGES YES] OPTION B1 : You got me. I am so sorry. You catched me trying to sneak into your ghost train with my pants down. Please don’t do me any harm. I know I made a mistake but your ghost train looks so spectacular and I can’t afford the entrance.

[GYGES TRIES TO RUN AWAY] OPTION C1 : Let me go! I did nothing wrong! That’s deprivation of liberty! While you are screaming around like nympholeptic pitchmen do to distract the owner of the ghost train, you set up a counter-attack and hit your ellbow in his chest. But the brawny owner doesn’t relief his strangelhold. Your attempt to escape failed. The owner still detains you.

Owner: [ANSWER FROM OWNER TO GYGES SAYING NO] A2 : I don’t believe you. I have met to many dishonest people who took advantage of my magnanimity. However, I have learnt my lesson and I am going to teach you one too. The owner looks deep into to your eyes and then, all of a sudden, punshes you in the face. He throws you on the ground and walks back to the entrance of the ghost train. That will be a black eye.

[ANSWER FROM OWNER TO GYGES SAYING YES] B2 : I hate criminals but what I hate the most are chicken-hearted crooks such as you. What makes you believe that you could get into my ghost train for free? The owner looks deep into to your eyes and then, all of a sudden, punshes you in the face. He throws you on the ground and walks back to the entrance of the ghost train. That will be a black eye.

[ANSWER FROM OWNER TO GYGES ATTEMPT TO RUN AWAY] C2 : Ha-ha. Did you wimpy crook really think that you could beat up a guy like me? I will give you a friendly nudge to think about the situation again. The owner of the ghost train turny sou around and gives you a kick in the arse. The guy must have tremendous powers. You fly a couple of meters in the air and crash headfirst on the ground.

Option 2 Ask the owner of the ghost train to let you into his attraction for free

[GYGES AKS OWNER] You take a deep breath and close your eyes for an second. Now you focus the pay window and walk, full of self-confidence, in the direction of the ghost train.

[GYGES ASKS OWNER] Gyges: Excuse me Sir. I remarked your amazing marvel of technology. It is the most spectacular ghost train I haven seen in my young and innocent life.

Owner: Thank You my Son. Do you want to buy an entrance ticket to explore the blood-curdling world of horror?

[GYGES SAYS NO] Gyges: No, that isn’t my intention. My idea was to offer you an unique chance. I get a ride for free and in exchange for your generosity you become a very profound analysis about the strenghts and weaknesses of your ghost train.

[[Owner (very annoyied and angry): What are you talkin about? Who are you little boy to ask me for such a favour? I didn’t build this ghost train whithout comparison to make people happy, but to earn a lot of money with it. Get out of my sight you freaky communist! Diese Antwort ergibt nur Sinn, wenn der Rummelplatz keine „platonische Welt“ ist]]

Da ließe sich noch was machen. Es ist Skoraste, die aus der Geisterbahn eine platonische Welt macht, nicht der Besitzer. Vielleicht würde er gern sein Geld verdienen, aber sie läßt ihn nicht. Das hieße, daß er sich selbst auf dünnem Eis bewegt.

[GYGES RUNS] You turn around and walk away very fast. The brutal behaviour of the owner took you all your self-confidence and illusion.

Option 3 Looking for an alternative entrance

I looks like it is impossible to get into the ghost train from the front side. So you decide to walk around the building to find an alternative entrance. Your instinct didn’t let you down this time and you find an open window on the opposite site of the building. You wouldn’t let such an opportunity pass and try to climb in through the window. Suddenly somebody starts to scream and two strong hands catch your legs. Now everything happens very fast. Your face crushes on the floor and you recognize, after an moment of disorientation, the angry face of a policewoman staring at you.

[POLICEWOMAN SAYS] Policewoman: Looks like I caught you red-handed commiting burglary.

[GYGES SAYS] Gyges: Not at all! You misinterpret the situation. Please allow me to introduce myself, I am Gyges, a wealthy catle dealer from lydia. I am in the market for this building and wanted to catch a glimpse of it’s overall condition.

[POLICEWOMAN SAYS] Policewoman: Whatever. You can tell the story to the owner of the ghost train. Stand up and come with me.

The Policewoman helps you up and walks with you around the building to the pay window. She summons the owner of the ghost train with a subtle but decisive finger movement and whispers something in his ear.

[OWNER SAYS] Owner: The police officer told me your story. She said that you want to buy my ghost train. Though, I haven’t seen you before and I never received a price quote. For this reason I think you tried to steal from me and in addition lied right to my face. I am going to report your infamous action to the police.

[GYGES SAYS] Gyges: No, that’s not the truth. It just seems a communication problem. Please allow me to clear up the misunderstandings.

[POLICEWOMAN SAYS] Policewoman: That’s not necessary, Sir. You can explain everything to us at the police station. (at the owner of the ghost train): Regarding your concern Sir. If you want to press charges against Mr. Gyges, then I need a valid photo identification, your entry in the land register and your certificate of marriage.

[OWNER SAYS] Owner: Yes, I want to report the burglary to the police. I go to my office to get the demanded documents. The owner of the ghost train walks away.

[POLICEWOMAN SAYS] Policewoman (says in a different voice): I thought that he will never be quiet. Now he is busy with finding the papers. You can enter the ghost train by now Gyges.

[GYGES SAYS] Gyges: Sorry Miss, but what shall I do now?

[POLICE WOMAN SAYS] Policewoman (sighing): You really have to do all the work on your own. The Policewoman takes your arm and shoves you in the ghost train. Have a nice ride Gyges!

You are distraught because of the suddenly provided chance but you regain the control of yourself very quickly. You get on the forthcoming wagon and start your trip.

Code: Enter Ghost ride

Das ist der umgesetzte Code für den Ghost ride, wie er momentan verwendet wird. --H.A.L. 11:34, 10. Nov. 2009 (UTC)

<source lang="inform" line enclose="div"> Book - The magic kingdom

Part - Topography

The Magic Kingdom is an entrance.

The attraction is "You are struck with the sight of a marvelous piece of fake architecture. It turns out to be the terminal of a ghost train. The lovely facade reminds you of a greek temple and a huge banner proclaims it to be the entrance to a 'Magic Kingdom'." The price of the magic kingdom is €7.95.

The description is "[attraction][p]The entrance and pay window are located below the banner. A sign informs you that the admission is [price]. The owner, a tall and mean man, is sitting in the pay window. At the moment he is distracted selling tickets to the waiting customers. Maybe it’s a good moment to sneak inside.[p]Or maybe you could try and talk to him. Or take a look around. Sometimes one can sneak in through some side entrance."

The owner is a man in the magic kingdom. The description is "He doesn't seem to deserve much sympathy. And obviously he isn't searching for it."

Before listing nondescript items of the magic kingdom: if the owner is marked for listing: now the owner is not marked for listing.

Part - sneaking in

Before going inside in the magic kingdom: say "You move very quickly to the left side of the ghost train where the cashier can’t see you. You hide behind a paperboard statue of a ghost. You are very close to the entrance now.[p]The cashier seems to be very busy selling tickets to the waiting crowd. You seize your chance and sneak past the pay window. But your attempt is hopeless because of the owner of the ghost train, who observed your delinquent from a safe distance. You throw the cover, consisting of cardboard, at the threatening offender and run away. But you never really got a chance to escape from the unfortunate situation. The owner grabs you by your collar and pulls you up easily.[p]'Did you bastard try to sneak into my spectacular ghost train?' he barks."; initiate a conversation with the owner at owner-sneak-node; stop the action.

Run-suggestion is a misc-suggestion. The printed name is "run away".

Owner-sneak-node is a closed convnode. The other-suggestions are { yes-no-suggestion, Run-suggestion }.

Response of owner-sneak-node when saying yes: say "'You got me,' you answer. 'I am so sorry. You caught me trying to sneak into your ghost train with my pants down. Please don’t do me any harm. I know I made a mistake but your ghost train looks so spectacular and I can’t afford the entrance.'[p]'I hate criminals but what I hate the most are chicken-hearted crooks like you. What makes you believe that you could get into my ghost train for free?'[p]The owner looks deep into to your eyes and then, all of a sudden, punches you in the face. He throws you on the ground and walks back to the entrance of the ghost train. That will be a black eye.[leavenode]"

Response of owner-sneak-node when saying no: say "'No! That must be a terrible mistake!' you cry out. 'I just tried to protect my head from the almost unbearable sun’s rays.'[p]'I don’t believe you. I have met too many dishonest people who took advantage of my magnanimity. However, I have learnt my lesson and I am going to teach you one too.'[p]The owner looks deep into to your eyes and then, all of a sudden, punches you in the face. He throws you on the ground and walks back to the entrance of the ghost train. That will be a black eye.[leavenode]"

Instead of running away when the current node is owner-sneak-node: now conversed-this-turn is true; say "'Let me go! I did nothing wrong! That’s deprivation of liberty!' you shout out.[p]While you are screaming around like nympholeptic pitchmen do to distract the owner of the ghost train, you set up a counter-attack and hit your elbow in his chest. But the brawny owner doesn’t relief his stranglehold. Your attempt to escape failed. The owner still detains you.[p]'Ha-ha,' he gloats. 'Did you wimpy crook really think that you could beat up a guy like me? I will give you a friendly nudge to think about the situation again.'[p]The owner of the ghost train turns you around and gives you a kick in the arse. The guy must have tremendous powers. You fly a couple of meters in the air and crash headfirst on the ground.[leavenode]"

[Die Änderung von 'The owner turns you around' zu 'the owner turns around' verstehe ich nicht. Der Besitzer dreht ja nicht sich selbst um.]

Default response for owner-sneak-node: say "'Won't you give me a straight answer?' the owner shouts. 'I hate criminals, but what I hate more are criminals who don't have the guts to account bear the consequences when caught!'[p]The owner looks deep into to your eyes and then, all of a sudden, punches you in the face. He throws you on the ground and walks back to the entrance of the ghost train. That will be a black eye.[leavenode]"

Node-continuation for owner-sneak-node: say "'Won't you give me a straight answer?' the owner shouts. 'I hate criminals, but what I hate more are criminals who don't have the guts to account bear the consequences when caught!'[p]The owner looks deep into to your eyes and then, all of a sudden, punches you in the face. He throws you on the ground and walks back to the entrance of the ghost train. That will be a black eye.[leavenode]"

Part - ask the owner

Greeting response for the owner: say "You take a deep breath and close your eyes for an second. Now you focus the pay window and walk, full of self-confidence, in the direction of the ghost train.[p]'Excuse me, sir,' you begin. I remarked your amazing marvel of technology. It is the most spectacular ghost train I haven seen in my young and innocent life.'[p]'Thank You my Son. Do you want to buy an entrance ticket to explore the blood-curdling world of horror?'[node owner-ask-node]".

Implicit greeting response for the owner: say "You take a deep breath and close your eyes for an second. Now you focus the pay window and walk, full of self-confidence, in the direction of the ghost train.[p]'Excuse me, sir,' you begin. I remarked your amazing marvel of technology. It is the most spectacular ghost train I haven seen in my young and innocent life.'[p]'Thank You my Son. Do you want to buy an entrance ticket to explore the blood-curdling world of horror?'[node owner-ask-node]".

Owner-ask-node is a closed convnode. The other-suggestions are { no-suggestion }. [The node of owner is owner-ask-node.]

Response of owner-ask-node when saying no: say "'No, that isn’t my intention. My idea was to offer you an unique chance. I get a ride for free and in exchange for your generosity you become a very profound analysis about the strenghts and weaknesses of your ghost train.'[p]The owner is very annoyed about that. 'What are you talkin about? Who are you little boy to ask me for such a favour? I didn’t build this ghost train whithout comparison to make people happy, but to earn a lot of money with it. Get out of my sight you freaky communist!'[remove no-suggestion other suggestion][add Run-suggestion other suggestion]"

Response of owner-ask-node when saying yes: say "You gladly agree to buy a ticket. Your wallet, however, doesn't. As you search it rather helplessly, the owner gets impatient. 'Now, do you want a ticket or not?'"

Instead of running away in the presence of the owner: say "You turn around and walk away very fast. The brutal behaviour of the owner took you all your self-confidence and illusion."; let x be a random adjacent room; move the player to x.

Default response of owner-ask-node: say "The owner gets impatient. 'Now, do you want a ticket or not?'"

Node-continuation of owner-ask-node: if a random chance of 1 in 3 succeeds: say "The owner gets impatient. 'Now, do you want a ticket or not?'"

Part - side entrance

Behind the Magic Kingdom is east of Magic Kingdom. "This is the back yard of the park, so to say. You're not really supposed to be here, but, well, doors get left open."

Some waste containers are a portable enterable supporter in behind the magic kingdom. The description is "A waste container can smell quite odd when it is right next to a candy floss stand."

The skylight is an open door. It is inside from Behind the Magic Kingdom and outside from magic_kingdom_dummy. "Your instincts didn't let you down. An open skylight leads inside." [Problem: There is already a door called "window" in the elitistcommunism-scenario. We ought to do something about the naming, but I didn't want to do too much before that's all decided.]

Instead of going through the skylight: say "The skylight is far too high to reach."

Instead of going through the skylight when the player is on the waste containers: say "It takes some effort to reach the skylight, but once you've managed to get a grip and pull yourself up...[key] Suddenly somebody starts to scream and two strong hands catch your legs. Now everything happens very fast. Your face crushes on the floor and you recognize, after an moment of disorientation, the angry face of a policewoman staring at you.[p] 'Looks like I caught you red-handed commiting burglary.'[p] 'Not at all! You misinterpret the situation. Please allow me to introduce myself, I am, er, Gyges, a wealthy cattle dealer from lydia. I am in the market for this building and, uh, wanted to catch a glimpse of it’s overall condition.'[p] 'Whatever. You can tell the story to the owner of the ghost train. Stand up and come with me.'[p] The Policewoman helps you up and walks with you around the building to the pay window. She summons the owner of the ghost train with a subtle but decisive finger movement and whispers something in his ear.[p] 'The police officer told me your story,' he remarks. 'She said that you want to buy my ghost train. Though, I haven’t seen you before and I never received a price quote. For this reason I think you tried to steal from me and in addition lied right to my face. I am going to report your infamous action to the police.'[p] 'No, that’s not the truth. It just seems a communication problem. Please allow me to clear up the misunderstandings.'[p] The owner is about to make a sally, but the policewoman just cuts him short. 'That’s not necessary, sir. You can explain everything to us at the police station. - Regarding your concern, sir, if you want to press charges against Mr. Gyges, then I need a valid photo identification, your entry in the land register and your certificate of marriage.'[p] 'Yes, I want to report the burglary to the police. I go to my office to get the demanded documents.' The owner walks away, muttering somthing under his breath.[key] 'I thought that he will never be quiet.' The policewoman is somehow talking with a different voice. 'Now he is busy with finding the papers. You can enter the ghost train by now, Mister [italic type]er, Gyges[roman type].'[p] 'Sorry Miss, but what shall I do now?'[p] The policewoman sighs. 'You really have to do all the work on your own.' She takes your arm and shoves you in the ghost train. 'Have a nice ride, Er-Gyges!'[key] It is pitch dark inside. You stumble through a small gap between whatever it is you keep bumping into left and right, until you hear the familiar rumble and trip right into some moving thing that can only be a forthcoming wagon.[key] Your orientation is gone entirely. You could try and find out where up and down is, or just lay back and wait for the attractions...[key]...[key]...[paragraph break]...[key]"; try beaming to "tables".

</source>

Bugs:

• Beschreibung des Geisterbahn-Eingangs und der Dinge darin verbessern

"paperboard" durch "paperback" im Code ersetzt --Alex Plank 15:12, 11. Nov. 2009 (UTC)

• evtl. im Dialog mehr zum Verhältns zwischen Skoraste und dem Bestzer

Tables: kranker Tischler

• verantwortlich:
• dev: Andyk

>shoemaker, hello
"Hello," you say.

"Hello," the shoemaker answers.

What unique start for a conversation.

>g
You are already talking to the shoemaker.

ist g eine legitime Abkürzung für goodbye? Weil

goodbye

selbst funktioniert.

g ist eine Abkürzung für "again", d.h. wiederholt das oben eingegebene Kommando. Das ist in diesem Fall "shoemaker, hello", obwohl man schon mit dem Schuhmacher redet, insofern ist das Verhalten ganz korrekt.

Bugs:

• gibt man ask for shoes am marktplatz ein, kommt "the absent minded guest isn't here" oder "the guard isn't here" u.ä.

konnte ich nicht reproduzieren. Dürfte sich selbst gelöst haben ;) --Andyk 15:04, 22. Okt. 2009 (UTC)

• shadowy figure korrekt implementieren (und dadurch Tisch-Bestellung motivieren)

Done. Seid ihr damit zufrieden? --Andyk 15:04, 22. Okt. 2009 (UTC)

• you can see THE carpenter there (oder: initial appearance - s.u.)
• Dialog für den shoemaker ausbauen (mind. Default Responses!) (responses for shoemaker when asked about stupid carpenter, tables, table, shoes, shoe, work)
• initial appearance bzw. description für carpenter (die sich beim zweiten Besuch ändern muss)

Done. --Andyk 15:04, 22. Okt. 2009 (UTC)

• "He packs you on the upper arm." - proper English?

Gyges Revival

Bugs:

Problem. The sentence 'The visibilities are seeable and unseeable' appears to say two things are the same - I am reading 'visibilities' and 'seeable' as two different things, and therefore it makes no sense to say that one is the other: it would be like saying that 'Tarzan is Jane'. It would be all right if the second thing were the name of a kind, perhaps with properties: for instance 'Treehouse is a lighted room' says that something called Treehouse exists and that it is a 'room', which is a kind I know about, combined with a property called 'lighted' which I also know about.

Workaround: "Visibility" auf "Seeability" geändert (wenn Terry Pratchett Protagonisten hat, die Expertinnen in headology sind, kann ich das auch). Vielleicht ist der Ausdruck visibility schon anderweitig in Verwendung? --H.A.L. 22:17, 23. Okt. 2009 (UTC)

One-armed: einarmiger Soldat

Ablauf der Konversation

• verantwortlich:
• dev: H.A.L.

Bugs:

• evtl einen Satz über den Platz zwischen Lazarett und Arbeitsamt
• pallet-Beschreibung behübschen
• "The official looks slightly confused..." wird nach show arm getriggert

WarMusic: ermutigende Musik

• verantwortlich: Jakobk?
• dev: Thai

Allgemeine Bemerkungen:

wie versprochen mein senf dazu. habe die szene jetzt einmal durchgespielt und finde die umsetzung des entwurfs abolut gelungen. werde sie noch öfter spielen und mehr dinge ausprobieren. im anschluss nur ein paar kleinigkeiten, die mir aufgefallen sind. (s.u.)

Habe jetzt den Szenariostart angepaßt. Der Spieler erfährt alles aus dem Zeitungsartikel. Ich wollte noch einen brief hinzufügen, in dem er explizit beauftragt hat, aber ich glaube, das ist gar nicht notwendig. Der Spieler weiß, daß er mit dem Zug ankommt, daß ein ganzer Haufen Leute daran interessiert sein kann, was hier vorgeht, und außerdem, daß er den Artikel ausgeschnitten hat, der darauf hinweist. (Für Version 2: Der Spieler kann Künstler sein, Journalist, Psychologe, Spion,... und je nachdem organisiert er das Brot auf andere Weise...) --H.A.L. 22:23, 23. Okt. 2009 (UTC)

Bugs:

Done?

• sollte man im music store vielleicht darauf hinweisen, dass man sich die musik anhören kann? bin ein unerfahrener IF-ler, vielleicht nimmt das auch den spass, wenn man alles so vorkaut.

Man kann den Music store nicht mehr verlassen, ohne sich alle Platten angehört zu haben. Stattdessen kommt die Meldung: "Halfway through the door you remember your task: Find out something about this people's music. Maybe there's something else to explore in this store. So you stay to have a closer look." - reicht das, oder sollte es deiner Meinung nach noch expliziter sein?

Nachdem "x (platte)" die Listen-Aktion triggert und es zu den goldenen Regeln von IF gehört, alles zu untersuchen, sehe ich da kein Problem. --H.A.L. 08:24, 24. Okt. 2009 (UTC)

• die beschreibung der optionen des spielers nachdem der bäcker den brotpreis nennt sind nicht ganz ideal. ich würde eher so was wie "pretend to be poor and starving/try to make a deal" nehmen. wenn da nur ask for help steht, ist nicht ganz klar worum es geht.

Ich glaube, hier kann man die Spielerin durchaus damit überraschen, was passiert, wenn sie eine der Optionen wählt, oder?

Todo

• gleich danach bei der frage "what profession are you?" fehlen überhaupt die optionen. aber, wie gesagt, vielleicht ist es auch hier besser den/die spielerIn ein bisschen herumtapsen zu lassen. Ob man jedoch ohne Hinweis auf die Idee kommt vorzugeben man sei Soldat und das Brot kriegswichtig bezweifle ich.
  • Nachdem gerade nicht ganz klar ist, in welcher Eigenschaft der Spieler die Musik erforscht, sollte man ihn ein paar Berufe durchprobieren lassen (Psychologe, Militärstratege, Journalist, Spion,...), dann müssen wir halt noch ein paar responses schreiben. Die Frage ist, wie wir das glaubhaft machen, daß er einen Beruf angibt und dann, wenn das nichts bringt, die Meinung ändert. (a) "Where I come from, people try several professions. We believe that seeing things from varying viewpoints helps you broaden your mind. Also, how could you choose a profession without trying?" (b) (plumper) der Spieler trägt einen Geigenkasten. Wenn er etwas anderes als Musiker sagt, glaubt ihm der Bäcker nicht. Wenn er als Beruf "godfather" angibt, wird der Bäcker ziemlich nervös, verweist aber auf die gutausgebildeten Wächter. --H.A.L. 08:24, 24. Okt. 2009 (UTC)
• Start des Szenarios an die anderen anpassen (keine eigene Tür)
• response for baker when asked for/about cakes, sugary things, bread, food
• description/initial appearance und default response für baker nach der Perfomance anpassen
• Dialog mit shop assistant ausbauen oder diesen nach der Konversation entfernen
• evtl. Dialog im Konzert mit dem neighbour (als Alternative zum Warten)

ElitistCommunism: traurige Wächterin

• verantwortlich: Stb?
• dev: Thai

Todo

• Überleitung zum nächsten Szenario - erstmal nach meinen Vorstellungen implementiert
• Keywords für die watchtower-conversation
  • apologize
  • herself
  • sad, sadness
  • beautiful, beauty
  • sorry
  • explanation
  • pregnancy, pregnant
  • child
  • help
  • father
  • husband
  • orphan
  • love
  • evtl. die "husband"-antwort umschreiben auf ein generischeres 'was ist passiert?' - Oder eigene Antworten für "husband" und "child"/"pregnancy".
• watchtower-conversation - default response
• description/initial appearance von watchtower und girl nach start der Konversation anpassen
• girl's description widersprüchlich (black dress?)
  • Wo steht das, was dem widerspricht?

Diskussion zum Szenario-Ende

• das Szenario ist noch nicht vollständig: to be continued...
• das Szenario wird (derzeit) beendet, indem man sich im Wachturm vom Mädchen verabschiedet

Ich habe zur zeit die FinalDecision so eingeleitet, dass die Spielerin in Ohnmacht fällt und sich dann im Garten wieder findet, wo es dann zur finalen Entscheidung kommt. Vielleicht lässt sich hier die Szene mit der Ohnmacht einbauen. Ist zwar etwas seltsam, da er das Mädchen retten will, wenn ich mich richtig erinnere. Die Ohnmacht erleichtert uns auf jeden Fall das Leben, da du in dieser Szene nicht mehr so viel implementieren bräuchtest :P --Andyk 21:34, 30. Aug. 2009 (UTC)

Ich finde, die Spielerin sollte zumindest das Mädchen überreden, mit ihr zu kommen, sie verlassen den Turm, der Wächter verfolgt sie, die Spielerin stolpert und verliert das Bewußtsein (wie im Übergang von tables zu one-armed) und wacht im FinalScenario auf. --H.A.L. 10:54, 4. Nov. 2009 (UTC)

Final

• verantwortlich: anna
• dev: Andyk

Entwurf Dialogtext

SKORASTE: You seem confused. Well, this is what you get for sneaking into the building without an entrance ticket. But I am here to help. You have undergone four different sets of experience which might seem pretty strange to you. Yet, all of them relate to one single issue. I wonder whether you can guess what it is.

GYGES: Yes, I am indeed baffled and I find it hard to find a common denominator between those various episodes. There are, to begin with, a great number of prohibitions. One is reminded of a military training camp or of a monastry. What kind of regime have I been seeing? A lot of strange behaviour has been displayed.

SKORASTE: Well certainly, its not your usual easygoing nonchalance and private luxury. Have you ever thought about the downside of excessive amenities? One might wonder whether society is not corrupted by wealth and leisure. The episodes you have been partizipating in are built upon hard work and the comittment to the well-being of future generations. If someone only cares for one's own comfort the social bond is broken and all kind of selfish and destructive thoughts are likely to arise.

GYGES: Is it excessive then, or bad, to earn money by working hard?

SKORESTE: Greed seems to be a fairly common human trait. Craftsmen may certainly demand a fair price for their products that cost them a definite amount of time and effort. But beware of putting too much emphasis on money. One might prefer the elite not to have personal property and therefore to avoid corruption and flattery. Some have objected that this puts the best at a disadvantage because they have to renounce the comfort of owning their own stuff. But consider: the most important thing is for the state as a whole to be set up in an adequate way. Its aim is not to guarantee the well-being of a particular group of people, but rather to provide a framework for all citicens to cooperate to advance the common good.

GYGES: I see. So this is why the education I have encountered is so severe and why kids are not allowed to listen to pop music and to flirt with each other. As far as I can see they are fed success stories in athletics and all sort of competitve games. Don't you think that they are missing something this way?

SKORASTE: What kind of entertainment do you have in mind? It seems to me that they can easily do without morbid films like "Pulp Fiction" or "Reservoir Dogs". And if you look at the daily news I do not seen any necessity form them to know every details of Natascha Kampusch been locked away in a cellar or some choir boy accusing a cardinal for abusing them. What they should learn is how to become a well-integrated member of society and since young kids are very susceptible to what they are told they should be made familiar with good and beautiful things.

GYGES: And how is it that young man and women all live together, even when couples have had children? Is it wrong to care for one's children seperately from the rest of the community?

SKORASTE: The family is a very conservative institution. It is mainly concerned with the personal well-being of its members and not very interested in the public good. The community of the citizens is, to our mind, the biggest asset of a state. If fathers and sons are unknown to each other everyone can regard every companion as a brother, a sister, a father or a mother, a son or a daughter or their grandson and forefather. All are part of a big social web.

GYGES: And what is wrong in playing alternative sorts of music?

SKORASTE: Our citizens are educated according to the highest principles of beauty and goodness and their musical education is extremely important because rhythm and harmony penetrate most deeply into the soul. They strongly form their attitude and determine their character. If one is properly educated he will achieve a noble position, if not, the opposite occurs.

GYGES: And how do you pick your leaders? I understand that they should be consolidated persons, dependable and attentive to the needs of their fellow citizens - but how does this translate into an actual process of selection? There are dependable mafia bosses and very attentive hedge fund managers. You have been telling me that the aim of education is to make young people familiar with the beautiful and decent life, with the query for truth. But this sounds pretty much like a cliche. What kind of test do you apply to find the best available statesmen?

SKORASTE: Well, we start with the observation that most citizens have a lot of sometimes conflicting interests. They are striving for different aims that change according to changing circumstances. It is not common to stop and ask what's behind this whole bunch of activities. There are, on the other hand, persons that look out for truth. They want to know what is behind mere appearances and inquire about truth, beauty and fairness, not just about true sentences or beautiful things. The aim is to develop these extraordinary abilities.

GYGES: And how do you call the capacity you try to promote?

SKORASTE: You tell me.

Allgemein: Verknüpfung der Szenarien

• verantwortlich:
• dev:

Bugs:

• Property auto-suggesting vereinheitlichen (momentan sind einige convnodes auto-suggesting, andere nicht).
• Befehle "try beaming" / "startx" vereinheitlichen / debuggen - manche funktionieren silently, andere nicht.

Allgemeine Bugs

Nicht erwünschtes Verhalten oder unplausible Beschreibungen etc. hier eintragen.

• Commas with direct speech:
  • Use a comma after the introductory clause. - She said, “I was in London last year.”
  • If the direct speech is at the beginning of the sentence, put the comma before the final quotation mark. (Don’t use a full stop here.) - “I was in London last year,” she said.
  • Don’t use a comma after direct speech if the direct speech ends with a question mark or exclamation mark. - “Were you in London last year?” he asked. (but: He asked, “Were you in London last year?”)

Zusätzliche Features zur Verbesserung der Usability

Um die Rätsel philosophisch und kognitiv plausibler zu machen, sind noch einige Änderungen nötig. Bitte zahlreich Ideen eintragen.