Benutzer:H.A.L./Inform Code-Beispiele

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zu technischen Aspekten

verschließbare Türen

<!-- source lang="inform" line enclose="div" -->"The everlasting quest for paradise, aka Lockable Doors Demo" by H-A-L

The maximum score is 350.

Section 1 - The gate

The Afterlife is a room. The Gate of Heaven is a locked door. It is west from the afterlife and east from the Paradise.

The gold key is in the afterlife. The gold key unlocks the gate.

The description of the afterlife is "You are in the Afterlife, longing for paradise."
The description of the paradise is "You reached Paradise! Hooray!"
The description of the gate is "It stands between you and Paradise. If you only could unlock it!"
The description of the key is "It emits a magical glimmer."

The plaque is a thing in the afterlife. "The author of this afterlife has left his last message to the players on a plaque." The description is "Welcome to the everlasting quest for paradise, aka a demo on how to write lockable doors for my colleagues. Includes an option to win the game."


Section 2 - Nectar

The cup of nectar is an edible thing in the Paradise. The description is "The cup is  made of shining gold and richly decorated with ornaments depicting a bird, a long stick, a king and a man with a beret and bushy sideburns. It contains a lactic liquid emitting a treacly scent." 

Instead of smelling the nectar:
	say "Its aura bewitches your senses while at the same time clearing your mind."
	
Instead of tasting the nectar:
	say "its taste is a strange mix of purification and sweetness. (Wait, is it just me or does that sound like peppermint with honey?)"

Carry out eating the nectar:
	say "Consumption of the divine delicacy ascends your mind to higher planes of understanding.";
	award 351 points;
	end the game in victory.
Understand "drink [something]" as eating.

Section 3 - Testing

test gate with "open gate / unlock gate / key / w / open gate / w / lock gate with gold key / close gate / lock gate with gold key / unlock gate with gold key"

test nectar with "examine nectar / take it / smell it / taste it / drink it"

test me with "test gate / test nectar"<!-- /source --> 

To say... - Code in Strings einschmuggeln

In Inform7 gibt es die Möglichkeit, in ein Stück Text eine Variable einzufügen, die durch eine Funktion definiert wird, welche mit "To say..." aufgerufen wird. Technisch handelt es sich dabei um einen Spezialfall einer Funktion, mit dessen Hilfe irgendwelcher Code aufgerufen werden kann, es wird einfach angenommen, daß "am Schluß" ein "say"-Befehl aufgerufen wird. Diesen Umstand kann man nutzen, um innerhalb eines Texts Programmcode aufzurufen, was manchmal recht handlich sein kann:

Funktionen in Beschreibungen

Kobolde und Zauberbeschreibungen

<!-- source lang="inform" line enclose="div" -->
"leprechaun gold"

The block giving rule is not listed in any rulebook.

The meadow is a room. The Thousand Year Old Oak is a female person in the meadow. 

The forest is north of the meadow. The kettle of leprechaun gold is in the forest. The description is "As you look at the kettle, it vanishes in a strange glimmer. [magic]"

To say magic:
	remove the noun from play.
	
When play begins:
	say "The Thousand Year Old Oak can lead you out of the forest if you pay her with a kettle of leprechaun gold. The last thing she tells you is never to examine the gold too closely. Then you are on your own."
	
After giving the kettle to the oak: end the game in victory.

test losing with "n / x kettle / l / showme kettle".

test winning with "n / take kettle / s / give kettle to oak".
<!-- /source --> 

Ein trüber Tag im Museum und (Ent)dramatisierung von Beschreibungen

<!-- source lang="inform" line enclose="div" -->
"Musings"

[Using "to say" to add pauses into text.]

Include Basic Screen effects by Emily Short.

To say muse: wait for any key; say line break.

The image gallery is a room.  "The room is full of images. [muse]What makes a picture an artifact is the frame, as Simmel says. [muse]Does that make a work of art a frame-work? [muse]"

Some things in the image gallery are defined by the Table of art.

Table of art
thing	description
a portrait	"A portrait depicting a great king. [muse]Or a great criminal, depending on who you ask. [muse]Some people get framed for eternity. [muse]Some get framed for murder."
a still life	"A still life with fruit and jewellery. [muse]The fruit looks remarkably tasty. The gems, however, are rather dull. [muse]Man's thoughts all revolve around gold. [muse]Still, life revolves around what one eats."
an abstract painting	"An epigone of Mondrian. [muse]The yellow spot reminds you of a rising sun just now. [muse]Does this say anything about the painting?"
a landscape	"A mountain landscape reminiscent of Caspar David Friedrich. [muse]What is ist with places that seem void of all life? [muse]Why does one need to go where one cannot imagine oneself?"
a battle scene	"How fascinating images of violence are to us... [muse]This has been thought a thousand times before, but still you don't know any better. [muse]What are you doing here?"

When play begins: say "The day is that sort of gray that seems to lay a slackening carpet over everything. [muse]Too bored lying around at home, you are wandering around an art gallery. [muse]But are you ready for the images? [muse]Or only ready for your own musings? [muse]"
<!-- /source --> 

Funktionen in Tabellen von Strings

<!-- source lang="inform" line enclose="div" -->
"Indiana Jones and the Ring of Gyges"

[example 156 of the tutorial, slightly adapted. Manipulate the world during a scene rendered by a table by smuggling code into strings.]

Include Basic Screen Effects by Emily Short.

Section 1 - Old stuff

Lecture is a scene. Lecture begins when play begins.

Every turn during Lecture:
	repeat through Table of Lecture Events:
		say "[event entry][paragraph break]";
		blank out the whole row;
		rule succeeds.

[Here we use a table (see subsequent chapters) to keep track of all the events we wish to have occur during the course of the scene.]

Table of Lecture Events
event
"'Welcome to Precolumbian Archaeology 101,' thunders Dr Freitag from the front of the class. 'Miss-- yes, you in the back. If you can't find a free seat, how are you going to find Atlantis? Sit down or leave. Now. Thank you.'"
"Freitag stands behinds his desk and lines up the pile of books there more neatly. 'It has come to my attention over previous years that there are two sorts of person who enroll in my class,' he says.

'Some of you will be members of the swim team or women's lacrosse players who have a distribution requirement to fulfill and are under the mistaken impression that archaeology must be easier than psychology. If that description applies to you, I advise you to drop the class now rather than at the midterm break. Under absolutely no circumstances will I ever sign a withdrawal form for someone who is crying at the time. Make a note of that, please.'"
"'The second sort of person,' Dr Freitag says, getting another wind. 'Yes, the second sort of person takes this class because she imagines that it is going to lead to adventure or possibly to new age encounters with dolphins.'

His eye moves over the class, lingering an especially long time on a girl in a patchwork skirt.

'You should also leave now, but since you are probably lying to yourself about the reasons you're here, you will probably not heed my warning and we will be doomed to a semester of one another's company nonetheless.'" [next some new stuff:]
"Suddenly the doors burst open, and an unkempt guy jumps into the classroom, with a ragged fedora, a tattered leather jacket and a stubbly chin. 'You!' he shouts furiously, cracking a whip at Dr Freitag, who is so startled that he doesn't notice a small ring falling out of his pocket as he stumbles backwards. The stranger glares at the ring frantically, but before he can reach for it a bunch of policemen rushes in and forces him to leave through the window.[ringloss][interval]

Dr Freitag gives them an angry look before he closes the window and continues his lecture." 
"'Whatever you may tell yourself, you are not here to gain a deeper understanding of the world or get in touch with yourself or experience another culture.'

He paces before the first row of desks, hammering on them one at a time. 'I know you probably wrote an admissions statement saying that that is what you hoped to do. Well, too bad. It is not inconceivable that some of you, somehow, will muddle towards a deeper understanding of something thanks to this class, but I am not holding my breath, and neither should you.'"
"Freitag takes a breath. 'No, my dear freshwomen, what you are here to do is learn facts. FACTS. Facts are unpopular in this university and, I am unhappily aware, at most of the institutions of inferior preparation from which you have come. Nonetheless, facts it will be. I will expect you to learn names. I will expect you to learn dates. I will expect you to study maps and I will expect you to produce evidence of exacting geographical knowledge on the exams. I will expect you to learn shapes of pottery and memorize masonry designs. There are no principles you can learn which are more important or more useful than a truly colossal bank of facts right there in your own head.'" [and to give an example with no text defined at all, and possibly inspire a sequel:]
"[grab]"
"'I do not ever want to hear that you do not need to learn things because you will be able to look them up. This is the greatest fallacy of your computer-semi-literate generation, that you can get anything out of Google if you need it. Not only is this demonstrably false, but it overlooks something phenomenally important: you only know to look for something if you already know it EXISTS. In short there is no way to fake knowledge, and I am not going to pretend there is.' He smiles in lupine fashion.

'This class is likely to be the most miserable experience of your four years in university. Clear?'"
"Everyone is silent."
"The lecture is interrupted by the shrill of a bell."

[And then we define the scene so that it ends when the table runs out.]

Lecture ends when the number of filled rows in the Table of Lecture Events is 0.

[One advantage of this is that we can then edit the events in the scene by changing just the table; the scene will always run the right length and end on the turn when the last event occurs.]

[And to add a few additional details:]

Instead of doing something other than waiting, looking, listening or examining during Lecture:
	say "Dr Freitag glares at you so fiercely that you are frozen into inaction."

[Notice the careful phrasing of "doing something other than..." so that we do not mention the objects; if we had written "something other than listening to something...", the instead rule would match only action patterns which involved a noun. We state the rule more generally so that it will also match nounless commands such as JUMP and SING, since Freitag will probably take a dim view of those as well.]

When Lecture ends:
	remove Freitag from play;
	say "There is a flurry of movement as your fellow students begin to put away their books. Dr Freitag makes his way to the door and is gone before anyone can ask him anything."

The Classroom is a room. Dr Freitag is a man in the Classroom. "Dr Freitag paces before the blackboard."

Test me with "listen / x dr / x me / jump / sing / z / z / z / z / x dr".

Section 2 - New stuff

The ring is a wearable thing. After wearing the ring: end the game in victory. The ring is carried by Dr Freitag.
The MacGuffin is in the classroom.

To say ringloss: move the ring to the location.
To say interval: wait for any key.
To say grab: try Freitag taking the MacGuffin.

When play begins: say "The MacGuffin you were after for so long is lying on the lectern in full view, but before you can make for it, the lecturer enters the classroom, forcing you to find yourself a seat to avoid attention. 

It appears to be that pale, wispy tutor who had such a hard time defending his hypothesis against Professor Hadinger's scepticism  in the last [italic type]Freitagsgespräch[roman type]."

[TODO: actions that direct Freitag's attention to the ring, such as attempting to retrieve it, or staring at it too intensely by examining it twice in a row, or too often alltogether, or at all. Dr Freitag will be shocked, then pick it up quickly, probably rushing out at once.
TODO: Now that you have the ring, use it to retrieve the MacGuffin.]
<!-- /source --> 

zu technischen + inhaltlichen Aspekten

Musikalische Erziehung. Entscheidungen, Auswirkungen, zeitliche Abläufe. Und satirische Simulationen.

Anm.: Wenn ich mich recht er innere, habe ich die Low-Tech-Version nach der Mid-Tech geschrieben. Dabei habe ich auch ein paar Details verfeinert. - Der im Text erwähnte Marsch war die Titelmusik zu Monty Python's Flying Circus, deswegen die ganzen Python-Referenzen. Alles Wissenswerte dazu gibt es auf der Wikipedia-Seite.

low-tech-version

<!-- source lang="inform" line enclose="div" -->"It's a man's life at the Cardiff Rooms, Libya" by "H.A.L."

An alternative is a kind of room. The description of an alternative is usually "You have made your choice. Now that it is too late to go back, let's see whether you have chosen wisely. And there is a hostile stranger already approaching with a loaded raspberry! Now all you can do is throw yourself into the battle (-> go inside) and hope you have acquired enough courage!"

The cardiff is a room. The printed name is "The Cardiff Rooms, Libya". Understand "cardiff" or "rooms" or "libya" as the cardiff. The description is "You have to prepare for the big battle. Your task is to choose the music that will teach you the adequate mood for fighting.".
The cohen is an alternative.
The march is an alternative.

The cohen cd is a door. "In the north, you see a [printed name]." The printed name is "CD called 'Leonard Cohen - Greatest Hits'". Understand "Leonard" or "Cohen" or "Greatest" or "Hits" as the cohen cd. The description is "As the booklet says: 'The cover of Greatest Hits was taken in a mirror of a hotel room in Milan - I rarely ever look this good, or bad, depending on your politics.'"It is north of the cardiff. Through it is the cohen.
The march cd is a door. "In the south, you see a [printed name]." The printed name is "CD called 'John Philip Sousa - Liberty Bell March'". Understand "John" or "Philip" or "Sousa" or "Liberty" or "Bell" or "March" as the march cd. The description is "The cover image mainly consists of a huge foot." It is south of the cardiff. Through it is the march.

Depression is inside from the cohen. The description is "You advance the enemy, but then you aren't any sure whether any of this has any meaning at all." 
After going to depression: say description of location; end the game in death.
Vigour is inside from the march. The description is "You vigorously advance the enemy and drop a 16-ton-weight on him! Ha! Take that!"
After going to vigour: say description of location; end the game in victory.

test depression with "x cohen / open it / enter it / in". test vigour with "x march / open it / enter it / in".<!-- /source --> 

mid-tech-version

<!-- source lang="inform" line enclose="div" -->"It's a man's life at the Cardiff Rooms, Libya" by "H.A.L."

A cd is a kind of thing. A cd has some text called title. The title is usually "Oe3 top 20". The printed name of a cd is usually "cd called [title]".

The cohen is a cd. The title is "Leonard Cohen - Greatest hits". 
The description is "As the booklet says: 'The cover of Greatest Hits was taken in a mirror of a hotel room in Milan - I rarely ever look this good, or bad, depending on your politics.'"

The march is a cd. The title is "John Philip Sousa - Liberty Bell March". The description is "The cover image mainly consists of a huge foot."

The player is carrying the march and the cohen.

The gymnasion is a room. The soldier is a man in the gymnasion. The soldier has a number called mood.

Instead of giving something to the soldier:
	say "[The second noun] accepts gladly.";
	now the second noun is carrying the noun;
	increase the mood of the soldier by 1.
Instead of taking something had by the soldier:
	say "The soldier grudgingly returns [the noun] to you.";
	now the player carries the noun;
	decrease the mood of the soldier by 1.
Instead of removing something from the soldier:
	say "[The second noun] reluctantly returns [the noun] to you.";
	now the player carries the noun;
	decrease the mood of the soldier by 1.

Every turn:
	if the soldier has the cohen, decrease the mood of the soldier by 1;
	if the soldier has the march, increase the mood of the soldier by 1;
	if the mood of the soldier is greater than 12, change the mood of the soldier to 12;
	if the mood of the soldier is less than 0, change the mood of the soldier to 0.
	
when play begins:
	change the mood of the soldier to a random number between 5 and 8;
	change the left hand status line to "[mood of the soldier]";
	the attack occurs in 6 minutes from now;
	say "You are chosen to educate the soldier. Your responsibility is to make the right musical choice."

At the time when the attack occurs:
	say "There! A hostile stranger advances with a loaded raspberry!";
	If the mood of the soldier is less than 4:
		say "The soldier just sits there and doesn't do anything. The enemy beats you to pulp.";
		end the game in death;
	else if the mood of the soldier is less than 8:
		say "The soldier attacks the enemy half-heartedly. They kill each other.";
		end the game saying "You have survived, but your army doesn't look too good.";
	else:
		say "The soldier bravely advances the enemy and buries him under a sixteen-ton weight!";
		end the game in victory.
	
test depression with "i / x cohen / give cohen to soldier / z / z / z / z".
test vigour with "i / x march / give march to soldier / z / z / z / z".
test balance with "i / x cohen / x march / give cohen to soldier / give march to soldier / z / z".
test indetermination with "i / x cohen / give cohen to soldier / take cohen / give cohen to soldier / take cohen from soldier / z"
<!-- /source --> 

Ideen und Erscheinungen, Klassen und Objekte, Gruppen und Individuen

In Inform7 kann man tasächlich die Idee von etwas leibhaftig in der Welt herumlaufen lassen. Das hat mich zu ein paar Versuchen zu allgemeinen und speziellen Objekten geführt, die dann in andere Richtungen abgedriftet sind.

Erster Entwurf zur Idee des Pferdes

<!-- source lang="inform" line enclose="div" -->
"Die Idee des Pferdes - basic implementation" by "H.A.L."

[Eben ist mir wieder eingefallen, daß man in Inform ja die Idee von etwas leibhaftig in der Welt herumlaufen lassen kann.]

An animal has a number called Widerrist. An animal has some text called Abmessung. The abmessung is usually "Die Widerristhoehe betraegt [widerrist] cm." An animal has some text called remark. The description of an animal is usually "[remark] [abmessung]".

A Pferd is a kind of animal. The widerrist is usually 160. The remark is usually "Ein vollendetes Pferd."

A Vollblut is a kind of pferd. The widerrist is usually 150. The remark is usually "Ein vollendetes Vollblutpferd, wenn auch ein bißchen klein fuer ein vollendetes Pferd. Und nervoes ist das Vieh, ich sage Ihnen..."

The paddock is a room. One pferd is in the paddock. One vollblut is in the paddock.

Butterblume is a pferd in the paddock. The widerrist is 168. The remark is "Ein Wesen, das Anteil an der Idee des Pferdes hat."

White Fury is a vollblut in the paddock. The widerrist is 155. The remark is "Nur ein Abglanz der Idee des Vollbluts, aber erzählen Sie ihm das bloß nicht!"

[Statistics:
Pferd - av. 160
Vollblut - 140 - 160 - 150
Warmblut - 160 - 170 - 165
Kaltblut - 160-180 - 170
Pony - bit more complicated, still have to look it up.
* In German Warmblut means a type of horse, so to say (medium-sized riding horse), in Englisch it appears to mean a special breed of medium-sized riding horses. Similar with Vollblut and Kaltblut.
* In German, Pony seems to be considered a kind of horse, in English, a Pony seems *not* to be a horse.
* What actually is a horse? The German Wikipedia disambiguation leads, apart from the metaphorcal meanings and such, to "Pferde oder Einhufer" (Equidae), "Wildpferd" (Equus ferus) and "Hauspferd" (Equus ferus caballus), the "Hauspferd" page gives as taxonomy:
* Familie Pferde - Equidae
** Gattung Pferde - Equus
*** Art Wildpferd - Equus ferus
**** Unterart Hauspferd - Equus ferus caballus
Nach dem "Pferde"-Artikel ist Equidae eine Familie mit nur einer Gattung, die - genaue Abgrenzung mal wieder umstritten - diese Arten umfaßt:
    * Wildpferd (Equus ferus)
    * Afrikanischer Esel (Equus asinus)
    * Asiatischer Esel (Equus hemionus)
    * Kiang (Equus kiang)
    * Steppenzebra (Equus quagga)
    * Bergzebra (Equus zebra)
    * Grevyzebra (Equus grevyi)
]
<!-- /source --> 

Things / Kinds of Things

<!-- source lang="inform" line enclose="div" --> "Kinds 1" by "H.A.L."

The disdainful world of transient appearances is a room. A quote by Pindar is in the transient appearances. The description is "'Creatures of a day! What is a man?
What is he not? A dream of a shadow
Is our mortal being. But when there comes to men
A gleam of splendour given of Heaven,
Then rests on them a light of glory
And blesséd are their days.'"
One thing is in the world.

One room is outside from the disdainful world. 

The fire is in the room. The indefinite article is "some".

[One thing, one container, one vehicle, one player's holdall, one supporter, one person, one man, one woman, one animal and one device are in the room.]

[Problem: you can create the room, but you can't put stuff in there.]<!-- /source --> 

<!-- source lang="inform" line enclose="div" --> "Kinds 2" by "H.A.L."

The disdainful world of transient appearances is a room. A quote by Pindar is in the transient appearances. The description is "'Creatures of a day! What is a man?
What is he not? A dream of a shadow
Is our mortal being. But when there comes to men
A gleam of splendour given of Heaven,
Then rests on them a light of glory
And blesséd are their days.'"

The sphere of ideas is up from the disdainful world. 

One room is up from the sphere.

One thing, one container, one vehicle, one player's holdall, one supporter, one person, one man, one woman, one animal and one device are in the sphere.

One door is inside from the sphere and outside from the Memorial for unrealized ideas.

One backdrop is in the sphere and the Memorial.

[The sphere and the chamber are in one region.]

The commemorative plaque is in the memorial. The description is "'ROOM - can be done, but it seems you can't create objects inside.[line break]
THING - unproblematic.[line break]
DOOR - unproblematic but vain if it doesn't connect two Ideas of Rooms, no?[line break]
CONTAINER - unproblematic.[line break]
VEHICLE - unproblematic.[line break]
PLAYER'S HOLDALL - unproblematic.[line break]
SUPPORTER - unproblematic.[line break]
BACKDROP - unproblematic, a bit surprisingly.[line break]
PERSON - unproblematic. To generate at least. But then the trouble will just start...[line break]
ANIMAL - unproblematic.[line break]
MAN - unproblematic.[line break]
WOMAN - unproblematic.[line break]
DEVICE - unproblematic.[line break]
DIRECTION - no idea how I should test this.[line break]
REGION - impossible, at least I have no idea how.'"<!-- /source --> 

Übergang zum Thema Individuum und Kollektiv

<!-- source lang="inform" line enclose="div" --> "Kinds, duplicates, non-defaults - 1" by "H.A.L."  

The description of a thing is usually "A member of the masses."

Individualism is a room. One thing is in individualism. The description is "An example of an individual."

Collectivism is east of individualism. Five things are in collectivism. <!-- /source --> 

<!-- source lang="inform" line enclose="div" --> "Kinds, duplicates, non-defaults - 2" by "H.A.L."

A thing can be individualist, collectivist or queer. A thing is usually queer. 
A room can be individualistic, collectivistic or ambiguous. A room is usually ambiguous.

The description of a thing is usually "[if individualist]An individual.[otherwise if collectivist]A member of the masses.[otherwise]Doesn't fit any description."

[A thing can be drifting or home.]

Definition: a thing is drifting:
	if it is queer then no;
	if it is individualist and the holder of it is individualistic then no;
	if it is collectivist and the holder of it is collectivistic then no;
	otherwise yes.

[To decide whether (item - a thing) is home:
	if item is individualist:
		if the location of item is individualistic, yes;
		no;
	else if the item is collectivist:
		if the location of item is collectivistic, yes;
		no;
	else:
		yes.]

homesickness is a number variable.

Every turn:
	change homesickness to 0;
	repeat with item running through things:
		if item is drifting, increase homesickness by 1;
	if homesickness is 0, end the game saying "Everyone's home!";
	say "There are [homesickness] homesick people."

The can't take other people rule is not listed in any rulebook.

The individual realm is a room. An unopenable open door called socialisation is outside from the realm. A room called the contemporary society in all its complexities and contrarieties is outside from the socialisation.

Individualism is northwest of the society. Collectivism is northeast of the society and east of individualism. Collectivism is collectivistic. Individualism is individualistic.

Three individualist people, three collectivist people and one queer person are in the contemporary society.

When play begins:
	repeat with item running through men in society:
		if a random chance of 1 in 2 succeeds:
			move item to individualism;
		else:
			move item to collectivism.<!-- /source --> 

Mehr zu Individuum/Kollektiv

<!-- source lang="inform" line enclose="div" --> "Variant on individualism and collectivism - 2" by "H.A.L."

Chapter 1 - Rules

A thing can be individualist, collectivist or queer. A thing is usually queer. 
A room can be individualistic, collectivistic or ambiguous. A room is usually ambiguous.

The description of a thing is usually "[if individualist]An individual.[otherwise if collectivist]A member of the masses.[otherwise]Doesn't fit any description."

Definition: a thing is drifting:
	if it is queer then no;
	if it is individualist and the holder of it is individualistic then no;
	if it is collectivist and the holder of it is collectivistic then no;
	otherwise yes.

Definition: a thing is home if it is not drifting.

homesickness is a number variable.

Every turn:
	change homesickness to 0;
	repeat with item running through things:
		if item is drifting, increase homesickness by 1;
	if homesickness is 0, end the game saying "Everyone's home!";
	say "There are [homesickness] homesick people."
	[say "[The list of home individualist people] [is-are] happily self-fulfilled.";
	say "[The list of home collectivist people] gladly blending into society.";
	say "[The list of drifting individualist people] feeling somehow unfulfilled.";
	say "[The list of drifting collectivist people] lost in society.";
	say "[The list of queer people] as half-integrated as ever."]
	[TODO a) implement that goddamn is-are stuff properly. b) One could provide lists of people, which would make sorting easier, or just a total number - the question is what would make sorting more interesting.]

Persuasion rule: persuasion succeeds.

Chapter 2 - World

The contemporary society in all its complexities and contrarieties is room.

Individualism is northwest of the society. Collectivism is northeast of the society and east of individualism. Collectivism is collectivistic. Individualism is individualistic.

Timmy, Pete, George and Linus are men in the society. Mary, Martha, Yvette and Patricia are women in the society. Andrea, Alex and Jessie are neuter persons in the society.

[Three individualist people, three collectivist people and one queer person are in the contemporary society.]

Chapter 3 - Initializing

When play begins:
	repeat with item running through people in society:
		if a random chance of 5 in 12 succeeds:
			now item is individualist;
		else if a random chance of 5 in 7 succeeds:
			now item is collectivist;
		else:
			now item is queer;
		if a random chance of 1 in 2 succeeds:
			move item to individualism;
		else:
			move item to collectivism.<!-- /source --> 

Scheideweg und nach den Regeln spielen

siehe Benutzer:H.A.L./Freiraum#das Prinzip Risiko und die Demo

Zu inhaltlichen Aspekten

Etwas über Jenseitsvorstellungen

Eine Erweiterung der "lockable doors demo" von weiter oben, die näher auf den Aspekt "Jenseits" eingeht. Inspiriert von dem Gyges-Beispiel und unserer Diskussion darüber. Das hat zwar jetzt nicht direkt mit der Debatte über Gerechtigkeit zu tun, über die wir gerade reden, aber mit Platon doch schon auch.

erster Rohschnitt

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"The everlasting quest for paradise, aka Lockable Doors Demo - revision with added prelude" by H-A-L

The maximum score is 350.

Include Basic Screen Effects by Emily Short.

Section 1 - Prelude

Platform 1 is a room. 

The poster is a fixed in place thing in the platform. The description is "'Paradise? Not in this life. If you want to go to paradise, you will have to do the inevitable..."

The warning sign is a fixed in place thing in the platform.  The description is "'Danger! High voltage! Deadly peril! Do not step on the rails! Counteracting will result in penalties up to $ 41,18!'"

The display panel is a fixed in place thing in the platform. The description is "'Next train: IC 399. To: Paradise. Scheduled: Whenever you are ready. Delay: None. Platform: 1.'"

Some rails are an enterable supporter in the platform.

The waste paper basket is a container in the platform.
The scrap metal container is a container in the platform.
The empty beverage can is a thing in the platform.
After inserting the can into the basket for the first time:
	say "One point for care about the environment, but maybe there are better places for that than residual waste.";
	award 5 points.
After inserting the can into the scrap metal for the first time:
	if the can has been in the basket:
		say "Correct, this can is made of recyclable metal!";
		award 4 points;
	else:
		say "Good to see you care about the environment.";
		award 10 points.

The clock is a fixed in place thing in the platform. The description is "[time of day]."

After entering the rails:
	say "You do the inevitable...";
	wait for any key;
	say "
	
	[bold type]  *** You have died ***[roman type]
	
	
	
	In that game you scored 0 out of a possible 350, in 1 turn.
	
	
	
	Would you like to RESTART, RESTORE a saved game or QUIT?[line break]> ";
	wait for any key;
	award 10 points;
	move the player to afterlife.

[
[And let's make the bench a mortal trap to test the fake death properly:]
After entering the bench:
	say "You just wanted to sit down for a rest...";
	wait for any key;
	say "
	
	[bold type]  *** You have died ***[roman type]
	
	
	
	In that game you scored 0 out of a possible 350, in 1 turn.
	
	
	
	Would you like to RESTART, RESTORE a saved game or QUIT?[line break]> ";
	wait for any key;
	end the game in death.]

test platform with "e / enter exit / open exit / x poster / x display / x warning sign / x rails / enter rails"

Section 2 - The gate

The Afterlife is a room. The Gate of Heaven is a locked door. It is west from the afterlife and east from the Paradise. 
The Exit is a locked door. It is west from the Paradise and east from the platform.

The gold key is in the afterlife. The gold key unlocks the gate and the exit.

The description of the afterlife is "You are in the Afterlife, longing for paradise."
The description of the paradise is "You reached Paradise! Hooray!"
The description of the gate is "It stands between you and Paradise. If you only could unlock it!"
The description of the key is "It emits a magical glimmer."

The plaque is a thing in the afterlife. "The author of this afterlife has left his last message to the players on a plaque." The description is "Welcome to the everlasting quest for paradise, aka a demo on how to write lockable doors for my colleagues. Includes an option to win the game."


Section 3 - Nectar

The cup of nectar is an edible thing in the Paradise. The description is "The cup is  made of shining gold and richly decorated with ornaments depicting a bird, a long stick, a king and a man with a beret and bushy sideburns. It contains a lactic liquid emitting a treacly scent." 

Instead of smelling the nectar:
	say "Its aura bewitches your senses while at the same time clearing your mind."
	
Instead of tasting the nectar:
	say "its taste is a strange mix of purification and sweetness. (Wait, is it just me or does that sound like peppermint with honey?)"

Carry out eating the nectar:
	say "Consumption of the divine delicacy ascends your mind to higher planes of understanding.";
	award 351 points;
	end the game in victory.
Understand "drink [something]" as eating.

Section 4 - Testing

test gate with "open gate / unlock gate / key / w / open gate / w / lock gate with gold key / close gate / lock gate with gold key / unlock gate with gold key"

test nectar with "examine nectar / take it / smell it / taste it / drink it"

test me with "test gate / test nectar"

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auf Spielregeln eingehen

eine Variante über das "Akzeptieren der Spielregeln", die mir Beispiel 303 im Tutorial nahegelegt hat.

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"Playing by the rules"

[ex. 303, "Quiz Show" by Mike Tarbert]

Chapter 1 - variables

Answer mode is a truth state that varies.
Current state is a text that varies.

player_score is a number variable. player_score is 5.
bank_score is a number variable. bank_score is 5.
anger is a number variable. anger is 0.

breaking_point is a number variable. breaking_point is 5.
[make breaking_point an actual variable. make it dependent of(?) the quizmaster.]

[Sweating is nervouse action. Shaking is nervous action. Gulping is nervous action. Nervous action counts as a wrong answer. If the quizmaster is generous, the question keeps active for another turn.]

Chapter 2 - Actions and scoring

Guessing is an action applying to one topic.
Understand "[text]" as guessing when answer mode is true.

[Because of the "...when" part of this line, random text is only treated as an answer when a question is being asked.]

Check guessing (this is the default wrong answer rule):
	if the topic understood is not a topic listed in the Table of Dates of Statehood:
		say "Wrong!";
		if player_score is 0:
			end the game saying "You have lost!";
		else:
			decrease player_score by 1;
			increase bank_score by 1;
		now answer mode is false.

Carry out guessing a topic listed in the Table of Dates of Statehood:
	if state entry is the current state:
		say "Correct! ([comment entry], to be exact!)";
		if bank_score is 0:
			end the game in victory;
		else:
			increase player_score by 1;
			decrease bank_score by 1;
	otherwise:
		say "Wrong!";
		if player_score is 0:
			end the game saying "You have lost!";
		else:
			decrease player_score by 1;
			increase bank_score by 1;
	now answer mode is false.

[This next rule allows a player to do something other than answer the question, but then makes him wait for another question before answering.]

Before doing anything other than guessing:
	if answer mode is true:
		say "(ignoring the question)[line break]";
		if anger is breaking_point:
			end the game saying "You have screwed up the game entirely.";
		else:
			increase anger by 1;
	now answer mode is false.

Chapter 3 -  Plot

When play begins:
	change left hand status line to "mysterious number: [anger]";
	change right hand status line to "you vs sam: [player_score]:[bank_score]";
	say "Unless you find out how to influence the mysterious number, your only hope to get out of here is to answer Sam's questions correctly."

Chapter 4 - World

The Lab is a room.  Sam is a man in the lab.

Every turn when in the lab:
	if a random chance of 3 in 5 succeeds:
		choose a random row in the Table of Dates of Statehood;
		say "Sam asks you, 'In what year was [state entry] admitted into the Union?'";
		now current state is state entry;
		now answer mode is true.

Table of Dates of Statehood
State	Topic	Comment
"Florida"	"1845"	"March 3rd"
"Delaware"	"1787"	"December 7th"
"Hawaii"	"1960"	"July 4th"

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Theft by intoxication

siehe Global Mindset V3 (PSI)#ein kleines Taschendiebstahl-Rätsel

Skizzen zum Höhlengleichnis

Private Naming

Durch die Property privately-named kann man den Namen eines Objekts vor der Spielerin verbergen. In Kapitel 16.17 des Tutorial wird vorgeführt, wie man das nutzen kann, um den Namen eines Objekts unterschiedlich erscheinen zu lassen, je nachdem, was der Charakter darüber weiß. Zwei Varianten des Höhlengleichnis.

Unwissen

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"Enlightenment - 1"

[after chapter 16.17 of the tutorial]

A person can  be enlightened or ignorant. A person is usually ignorant.

The cinema is a privately-named room.
The printed name of the cinema is "[if the player is enlightened]cinema[else]dark room".
Understand "dark" and "room" as the cinema. Understand "cinema" as the cinema when the player is enlightened.

The screen is a privately-named fixed in place thing in the cinema. 
The printed name of the screen is "[if the player is enlightened]screen[else]apparition".
Understand "apparition" as the screen. Understand "screen" as the screen when the player is enlightened.

The projector is a privately-named fixed in place unopenable open container in the cinema. 
The printed name is "[if the player is enlightened]projector[else]light source".
Understand "source" and "light" as the projector. Understand "projector" as the projector when the player is enlightened.
[make the projector work like a real projector does. will need a container that is part of the projector etc.]

The box is a privately-named openable closed container in the cinema. 
The printed name is "[if the player is enlightened]film [end if]box".
Understand "box" as the box. Understand "film box" as the box when the player is enlightened. Understand "film" as the box when the player is enlightened and the film is not visible.

The film is in the box. The description is "The title is 'Politeia'."
Understand "politeia" as the film.

Socrates, Glaukon, Adeimantos and Thrasymachos are men in the cinema.

When play begins:
	say "You are trapped in a dark room with Socrates, Glaukon, Adeimantos and Thrasymachos. If only you could find out something about your surroundings! If only you could enlighten yourself and the others! If only you could make yourselves familiar with the wisdom of the 'Politeia'!".

After opening the box for the first time:
	say "It appears to contain... A film of the title 'Politeia'! Of course! This is a film box! And that dark room is a cinema! And the light source is the projector! And the apparition is the screen!";
	now the player is enlightened.

After inserting the film into the projector:
	end the game in victory.
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falsches Wissen

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"Enlightenment - 2"

[after chapter 16.17 of the tutorial]

A person can  be enlightened or ignorant. A person is usually ignorant.

The cinema is a privately-named room. The printed name is "[if the player is enlightened]cinema[else]world". 
Understand "world" as the cinema when the player is ignorant.
Understand "cinema" as the cinema when the player is enlightened.

The screen is a privately-named fixed in place thing in the cinema. 
The printed name is "[if the player is enlightened]screen[else]landscape".
Understand "landscape" as the screen when the player is ignorant. Understand "screen" as the screen when the player is enlightened.
[Instead of the screen the player should see the image of a horse. Note that the word "horse" should be handled differently when the enlightened player is back in the cinema etc.]

The projector is a privately-named fixed in place thing in the cinema.
The printed name is "[if the player is enlightened]projector[else]sun".
Understand "projector" as the projector when the player is enlightened. Understand "sun" as the projector when the player is ignorant.

The world is outside from the cinema.
The sun is a fixed in place thing in the world. The landscape is a fixed in place thing in the world.

Instead of going outside from the cinema when the player is ignorant:
	say "There is nothing outside the world, is there?"

Some facts are in the cinema.
After examining the facts for the first time:
	now the player is enlightened;
	say "Now everything is clear! What you took for the world is only a sphere of illusion, what you took for your surroundings only a projection on a screen, and what you took for the sun only a projector! And you can get outside of that illusion!"

Socrates, Adeimantos, Thrasymachos and Glaukon are men in the cinema.

[You could have to enlighten the others as well, meaning that you should convince them to look at the facts or read the book or whatever. - To win the game you have to interact with the horse and the sun, which of course won't work as long as you only have their images. Note that the fire can be seen as the image of the sun in the same way the shadows can be seen as images of the things.
Also: create a relation between a thing and its image, so the properties of one are automatically used by the other. That way I can have an elaborate description for the sun that shows up when examining the projector without having to write it twice.]
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Positionierung von Machthabern

siehe Benutzer:H.A.L./Notizbuch (PSI)#Skizze: die platonischen Wächter in einer Höhlengleichnis-IF

Agieren im Dunkeln

Emily Short zeigt in Beispiel 324 des Inform-Manual, wie man in dunklen Räumen durch hören, fühlen und riechen agieren kann. Ein Ansatz, den ich gleich mal fortspinnen mußte. Der Hauptunterschied ist, daß in meiner Skizze die Räume von Anfang an dunkel sind und die Spielerin keine Ahnung hat, mit was für Gegenständen sie es zu tun hat. Überhaupt möchte ich mir bei Gelegenheit einmal das Kapitel "Darkness" aus dem Rulebook vornehmen.

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"Blackout"

Chapter 1 - Sounds and scents 

[after ex. 324 from the manual.]

A thing has some text called sound. The sound of a thing is usually "silence".

The block listening rule is not listed in the check listening to rules.

Carry out listening to something:
	say "From [the noun] you hear [the sound of the noun]."

Definition: a thing is audible if the sound of it is not "silence".

Instead of listening to a room:
	if an audible thing (called the message) can be touched by the player, say "You can hear [sound of the message].";
	otherwise say "It is eerily silent."

Before printing the name of something audible while listening to a room:
	say "[sound] from the "


A thing has some text called scent. The scent of a thing is usually "nothing".

The block smelling rule is not listed in the check smelling rulebook.

Carry out smelling something:
	say "A [scent of the noun] scent hangs in the air."

Definition: a thing is scented if the scent of it is not "nothing".

Instead of smelling a room:
	if a scented thing (called odor) can be touched by the player, say "A [scent of odor] scent hangs in the air.";
	else say "At least it doesn't smell funny."

[refine so that several items can be smelled at the same time. Same accounts for audible things. The tutorial example can't do that without printing the name of the items - which should be unknown in the dark. Should be manageable with a repeat-running-through-loop, but at the moment I can't be bothered.]

Chapter 2 - examining and other stuff

[more example 324.]

Instead of touching a device: say "You run your hand over the wall until you discover a switch."
[By the way, this'd need a lot of cover up with private naming and such. The player isn't supposed to know the locations of the devices etc.]

Rule for printing the description of a dark room: try listening; try smelling; rule succeeds.

Instead of examining an audible thing while in darkness: try listening to the noun.
Instead of examining something when in darkness: try touching the noun.

Before touching something when in darkness:
	say "you grope about..."

Before printing the name of a dark room: if the player can touch an audible thing, say "Noisy "; if the player can touch a scented thing, say "Perfumed ".

Visibility rule when in darkness: 
            if examining something, there is sufficient light; 
            there is insufficient light.

Rule for deciding the scope of the player while in darkness: 
	place the location in scope;
	repeat with destination running through adjacent rooms:
		let way be the best route from location to destination;
		if way is a direction, place way in scope.
[Problem: With the "scope" thing, the player won't be able to use directions in darkness. The second rule seems to have fixed that.]

After going: try looking. [print the noise description after entering a dark room. Check if this also works when just writing 'after entering a dark room'.]
[WTF? Now it doesn't execute the look activity when moving between lit rooms!]

Chapter 3 - special kinds

A plant is a kind of thing. A plant is always edible. The scent of a plant is usually "sweet".

A label is a kind of thing. A label is usually fixed in place. The printed name of a label is usually "label saying '[location]'". The description of a label is usually "'[location]'". 
One label is in every room.

A room is usually dark.

A device is usually fixed in place.

An advisor is a kind of person. An advisor has some text called lecture. The lecture is usually "Ah, you wouldn't bother anyway." The sound of an advisor is usually "a voice saying '[lecture]'".
[Wrote that for the person kind, but then the player would hear herself all the time.]

Understand "voice" as a person when in darkness.

Understand "scent" as a plant when in darkness.

Chapter 4 - Topography

Section 1 - Rooms and switches

The featureless boring radiation shielded storm cellar is a room. 
[I'd implement a radio so we'd have another switch, but I'm not sure the code can handle two noises in one room at the moment.]

The maintenance deck is north of the cellar. 
The light switch is a device in the maintenance deck. The light switch is switched off.
Carry out switching on the light switch:
	repeat with item running through rooms:
		now item is lighted.
Carry out switching off the light switch:
	repeat with item running through rooms:
		now item is dark.

The airlock deck is west of the maintenance deck.
The airlock switch is a device in the airlock deck. The airlock switch is switched off.
After switching on the airlock switch:
	say "That was the airlock switch, and you managed to open the door. Well, I didn't bother to implement a door, so let's just call it a day and say...";
	end the game in victory.

The bridge is south of the airlock deck and west of the storm cellar.
The self-destruct switch is a device in the bridge. It is switched off.
After switching on the self-destruct switch:
	say "You activated the self-destruct. Five minutes until the ship blows to smithereens. Five, four, three, two, one -";
	end the game in death.
[actually wait five turns before you blow up. Implement the sound of a countdown.]

[Of course, change the directions to appropriate nautical ones.]

Section 2 - Plants and people

The gualaga is a plant in the maintenance deck. The scent is "acerb".
The qaqgdidom is a plant in the airlock deck.
The prispantatinka tree is a plant in the bridge. The scent is "spicy".
After eating the qaqgdidom:
	say "As it seems, the qaqgdidom doesn't agree with you. Especially with your heart, which has just ceased beating regularly.";
	end the game in death.

The captain is an advisor in the bridge. The lecture is "Okay, so this is the situation: To get out, you must find the airlock switch. The self-destruct switch is to be avoided, though it admittedly would also serve in clearing the way out of the ship. There is a light switch somewhere, but without light you wouldn't find it anyway."

The engineer is an advisor in the maintenance deck. The lecture is "Well, it's all quite simple. The self-destruct is in the bridge, with all the mission control stuff and such. The light switch is in the maintenance deck, together with the other power supply controls. The airlock switch is in the airlock deck. Won't need to explain that. Each deck is clearly labeled, so I don't see the problem. And don't ask me about them goddarn plants. What I remember is that that gualaga thing is in the maintenance deck."

The life support officer is an advisor in the airlock deck. The lecture is "Beteigeuzian flora is known for its remarkable oxygen output, which makes it highly appropriate in places that don't provide the vast quantities of light required by Rigelian plants. And it really ties the room together. Beyond that, the prispantatinka tree, known for its distinct spicy scent, can serve as an additional food source. Unfortunately, this doesn't apply to qaqdidom, which, despite the enjoyable sweet aroma, is highly poisonous. The gualaga is edible, but opinions about its taste differ, as well as about the acerb smell."

[Of course, the people should be rewritten so that you can actually interact with them.]

When play begins:
	say "Uh, well, the objective of the game is to get out of here for whatever reason. Instead of applying the in-game hints, you might want to have a glance at the code, for I'm not quite sure whether I haven't got some of the items mixed up. Same accounts for the test scripts."

Chapter 5 - Hinting system

[List of hints:
In order to escape, you must find the door-opening switch. Avoid self-destruct.
The light switch is in the power generator chamber.
The gualaga plant is in the power generator chamber.
Gualagas have a distinct acerb smell.
I could add that the self-destruct button is sound-activated, but then I'd have to redo the thing with the scope.]

[required topography
power generator chamber - light switch
emergency control chamber - self-destruct
airlock chamber - airlock switch
fourth room - nothing

botanist - tells about plants
game master - tells about light switches
architect - tells about switch locations
furniture remover - tells where he put the plants

acerb plant
sweet plant
spicy plant]

[On second thought, maybe I might rewrite this to an ordinary blackout in an ordinary house. But then, of course, I wouldn't get the second part of the task, to get out of the house.]

Chapter 6 - Testing


test me with "n / w / s / e / n / eat scent / switch switch / w / switch switch".
test death_by_poisoning with "n / w / eat scent".
test death_by_nuclear_chain_reaction with "w / switch switch".
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