Endspurt (PSI): Unterschied zwischen den Versionen

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K (Diskussion zum Szenario-Ende: signatur nachgetragen)
(Entwurf Dialogtext: - unterteilung)
 
(32 dazwischenliegende Versionen von 5 Benutzern werden nicht angezeigt)
Zeile 11: Zeile 11:
 
--[[Benutzer:Thai|Thai]] 11:39, 26. Jul. 2009 (UTC)
 
--[[Benutzer:Thai|Thai]] 11:39, 26. Jul. 2009 (UTC)
 
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= Anleitung zum Testen =
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Zum Testen bitte nicht die online-Version verwenden, sondern einen [[PSI_PR_Tech_HowToPlay#Offline Interpreter]] runterladen!
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Ein Testspiel bitte mit dem folgenden Befehl starten (damit alle Eingaben aufgezeichnet werden - das Spiel wird nach einem Speicherort für das Transkript fragen):
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>SCRIPT ON
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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)
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Over their, you see a button and an umbrella.
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>[WHOOPS. 'THEIR' SHOULD BE 'THERE']
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I don't understand the punctuation '['.
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seid mit Kommentaren ruhig verschwenderisch, weist uns auf alles hin, was noch verbessert werden könnte, aber auch darauf, was euch gefällt...
  
 
= Szenarien =
 
= Szenarien =
Zeile 21: Zeile 34:
  
 
==== Allgemeine Bemerkungen: ====
 
==== Allgemeine Bemerkungen: ====
 
Habe eine Topographie implementiert. Ich glaube, das ist jetzt alles, was nicht schon zu "enter Geisterbahn" gehört. --[[Benutzer:H.A.L.|H.A.L.]] 14:26, 30. Okt. 2009 (UTC)
 
  
 
==== Bugs: ====
 
==== Bugs: ====
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* '''r206''': <s>Für den Müllcontainer noch ein Verb definieren. Beispiele: jump on container, jump container, climb on container</s>
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* Wenn dich der Owner der Geisterbahn schlägt: Kommando fight / hit implementieren
  
 
== Enter Geisterbahn ==
 
== Enter Geisterbahn ==
 
* verantwortlich: Alex
 
* verantwortlich: Alex
 
* dev:  
 
* dev:  
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==== Text "Enter Ghost Ride" ====
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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.
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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.
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<font color="#008000">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.</font>
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Option 1 Try to sneak past the Owner of the ghost train
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[[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.
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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.
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Grundüberlegung hinter Gyges Handlungen ist, dass er ein Dieb ist.]]
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[OWNER ASKS]
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Owner: Did your bastard try to sneak into my specacular ghost train?
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[GYGES ANSWERS]
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Gyges:
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[GYGES NO]
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OPTION A1 : No! That must be a terrible mistake! I just tried to protect my head from the almost unbearable sun’s rays.
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[GYGES YES]
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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.
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[GYGES TRIES TO RUN AWAY]
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OPTION C1 : Let me go! I did nothing wrong! That’s deprivation of liberty!
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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.
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Owner:
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[ANSWER FROM OWNER TO GYGES SAYING NO]
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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.
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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.
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[ANSWER FROM OWNER TO GYGES SAYING YES]
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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?
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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.
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[ANSWER FROM OWNER TO GYGES ATTEMPT TO RUN AWAY]
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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.
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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. 
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Option 2 Ask the owner of the ghost train to let you into his attraction for free
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[GYGES AKS OWNER]
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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.
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[GYGES ASKS OWNER]
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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.
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Owner: Thank You my Son. Do you want to buy an entrance ticket to explore the blood-curdling world of horror?
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[GYGES SAYS NO]
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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.
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[[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]]
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<font color="#008000">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.</font>
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[GYGES RUNS]
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You turn around and walk away very fast. The brutal behaviour of the owner took you all your self-confidence and illusion. 
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Option 3 Looking for an alternative entrance
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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.
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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.
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[POLICEWOMAN SAYS]
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Policewoman: Looks like I caught you red-handed commiting burglary.
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[GYGES SAYS]
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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.
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[POLICEWOMAN SAYS]
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Policewoman: Whatever. You can tell the story to the owner of the ghost train. Stand up and come with me.
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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.
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[OWNER SAYS]
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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.
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[GYGES SAYS]
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Gyges: No, that’s not the truth. It just seems a communication problem. Please allow me to clear up the misunderstandings.
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[POLICEWOMAN SAYS]
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Policewoman: That’s not necessary, Sir. You can explain everything to us at the police station.
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(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.
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[OWNER SAYS]
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Owner: Yes, I want to report the burglary to the police. I go to my office to get the demanded documents.
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The owner of the ghost train walks away.
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[POLICEWOMAN SAYS]
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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.
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[GYGES SAYS]
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Gyges: Sorry Miss, but what shall I do now?
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[POLICE WOMAN SAYS]
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Policewoman (sighing): You really have to do all the work on your own.
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The Policewoman takes your arm and shoves you in the ghost train. Have a nice ride Gyges!
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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.
  
 
==== Allgemeine Bemerkungen: ====
 
==== Allgemeine Bemerkungen: ====
  
 
==== Bugs: ====
 
==== Bugs: ====
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* Beschreibung des Geisterbahn-Eingangs und der Dinge darin verbessern
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* evtl. im Dialog mehr zum Verhältns zwischen Skoraste und dem Bestzer
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*
  
 
== Tables: kranker Tischler ==
 
== Tables: kranker Tischler ==
Zeile 38: Zeile 161:
 
* dev: [[Benutzer:Andyk|Andyk]]
 
* dev: [[Benutzer:Andyk|Andyk]]
  
<s>
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==== Allgemeine Bemerkungen: ====
<pre>
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* Idee (nicht-arg-dringend): beim marketplace brauchen wir noch irgend ein Kommentar zur Situation.
>shoemaker, hello
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Man könnte die Leute nach dem ghost train fragen?
"Hello," you say.
 
  
"Hello," the shoemaker answers.
 
 
What unique start for a conversation.
 
 
>g
 
You are already talking to the shoemaker.
 
</pre>
 
:: ist g eine legitime Abkürzung für goodbye? Weil <pre>goodbye</pre> selbst funktioniert.
 
</s>
 
::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.
 
 
==== Allgemeine Bemerkungen: ====
 
  
 
==== Bugs: ====
 
==== Bugs: ====
*gibt man <tt>ask for shoes</tt> 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 ;) --[[Benutzer:Andyk|Andyk]] 15:04, 22. Okt. 2009 (UTC)
 
*shadowy figure korrekt implementieren (und dadurch Tisch-Bestellung motivieren)
 
:: Done. Seid ihr damit zufrieden? --[[Benutzer:Andyk|Andyk]] 15:04, 22. Okt. 2009 (UTC)
 
 
*you can see THE carpenter there (oder: initial appearance - s.u.)
 
*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)
 
*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. --[[Benutzer:Andyk|Andyk]] 15:04, 22. Okt. 2009 (UTC)
 
 
*"He packs you on the upper arm." - proper English?
 
*"He packs you on the upper arm." - proper English?
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* Es gibt eine Node-Continuation "The Owner looks deep into..." die zu einem unpassenden Zeitpunkt ausgegeben wird (in Szenario 1, wenn man den carpenter shop betritt, soweit ich mich erinnere)
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* Wenn man "topics" eingibt und sich nicht in einem Gespräch befindet, werden aus meiner Perspektive völlig willkürlich irgendwelche Gesprächspartner ausgewählt, z.B. der "official" wenn man am marktplatz ist.
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* Es könnte sein, dass es conversation-node bei der strange figure nicht abgeschlossen wird (dass man z.B. den Spieler von der Straße in den Marktplatz verschiebt, jedoch vergessen hat, das Gespräch mit der strange figure ordnungsgemäß zu beenden -- nochmal überprüfen)
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* "contract" ersetzen mit "bill". (hab ich schon ein bisschen was geändert, aber noch nicht konsistent)
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* Shoemaker soll man nach doctor (und nicht nach carpenter) fragen können, wenn man im Scenario RescueWorker ist...
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* implement "order table", "buy table"
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* responses für carpenter: shadowy figure
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* ist die shadowy figure scenery? street to the market scheint nach dem bestellen der tische leer zu sein
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* description des carpenters: triggert "say hello"?
  
 
=== Gyges Revival ===
 
=== Gyges Revival ===
  
 
==== Bugs: ====
 
==== 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? --[[Benutzer:H.A.L.|H.A.L.]] 22:17, 23. Okt. 2009 (UTC)
 
  
 
== One-armed: einarmiger Soldat ==
 
== One-armed: einarmiger Soldat ==
Zeile 83: Zeile 192:
  
 
==== Bugs: ====
 
==== Bugs: ====
*<s> evtl einen Satz über den Platz zwischen Lazarett und Arbeitsamt</s>
 
*<s> pallet-Beschreibung behübschen</s>
 
*<s> "The official looks slightly confused..." wird nach show arm getriggert</s>
 
  
 
== WarMusic: ermutigende Musik ==
 
== WarMusic: ermutigende Musik ==
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==== Allgemeine Bemerkungen: ====
 
==== 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...) --[[Benutzer:H.A.L.|H.A.L.]] 22:23, 23. Okt. 2009 (UTC)
 
  
 
==== Bugs: ====
 
==== Bugs: ====
'''Done?'''
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* '''r206''': <s>Bread is inedible</s>: essen verhindern oder Alternativ-Lösungsweg
*<s>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.
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* '''r206''': <s>calmful ersetzen mit calm</s>
::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?
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* '''r206''': <s>play <CD> als möglicher Command</s>
::Nachdem "x (platte)" die Listen-Aktion triggert und es zu den goldenen Regeln von IF gehört, alles zu untersuchen, sehe ich da kein Problem. --[[Benutzer:H.A.L.|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?</s>
 
'''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.
 
*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. --[[Benutzer:H.A.L.|H.A.L.]] 08:24, 24. Okt. 2009 (UTC)
 
**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. --[[Benutzer:H.A.L.|H.A.L.]] 08:24, 24. Okt. 2009 (UTC)
*<s>Start des Szenarios an die anderen anpassen (keine eigene Tür)</s>
 
*<s>response for baker when asked for/about cakes, sugary things, bread, food</s>
 
*<s>description/initial appearance und default response für baker nach der Perfomance anpassen</s>
 
*<s>Dialog mit shop assistant ausbauen oder diesen nach der Konversation entfernen</s>
 
 
*evtl. Dialog im Konzert mit dem neighbour (als Alternative zum Warten)
 
*evtl. Dialog im Konzert mit dem neighbour (als Alternative zum Warten)
  
Zeile 119: Zeile 212:
  
 
==== Todo ====
 
==== Todo ====
 
+
* hug girl-option, wenn sie erzählt, wie traurig sie ist.
* Überleitung zum nächsten Szenario
+
* <s>Überleitung zum nächsten Szenario</s> - erstmal nach meinen Vorstellungen implementiert
 
* Keywords für die watchtower-conversation
 
* Keywords für die watchtower-conversation
** apologize
 
** herself
 
** sad, sadness
 
 
** beautiful, beauty
 
** beautiful, beauty
** sorry
 
** explanation
 
** pregnancy, pregnant
 
** child
 
** help
 
** father
 
** husband
 
** orphan
 
 
** love
 
** love
* watchtower-conversation - default response
+
** evtl. die "husband"-antwort umschreiben auf ein generischeres 'was ist passiert?' - Oder eigene Antworten für "husband" und "child"/"pregnancy".
*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 --[[Benutzer:Andyk|Andyk]] 21:34, 30. Aug. 2009 (UTC)
 
:: Ich finde, die Spielerin sollte zumindest das Mädchen überlegen, 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. --[[Benutzer:H.A.L.|H.A.L.]] 10:54, 4. Nov. 2009 (UTC)
 
  
 
== Final ==
 
== Final ==
Zeile 152: Zeile 224:
  
 
==== Allgemeine Bemerkungen: ====
 
==== Allgemeine Bemerkungen: ====
 +
* eine Basic Help Extension einbauen
 +
  
  
 
==== Entwurf Dialogtext ====
 
==== Entwurf Dialogtext ====
  
 +
===== Node-introduction =====
  
 
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.  
 
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 is this?
+
GYGES: Yes, I am indeed baffled and I find it hard to find a common denominator between those various episodes.  
  
SKORASTE: Some people are in fact concerned with excessive luxury. They wonder wether society is not corrupted by wealth and leisure. Our commonwealth is built upon hard work and a 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.
+
===== all the prohibitions =====
  
GYGES: Is it excessive then, or bad, to dine on tables comfortably and festively?
+
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: Homer, at least, was of this opinion. His heroes do not eat fish, even though the sea is close by, but cooked meat, which can be procured for the soldiers more easily. He does not write about cooking dishes and neither does he mention spices. Also, to be a successful athlete with a healthy body you must renounce all luxury.
+
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: And how is it that young man and women all live together, even when couples have had children? Is it wrong care for one's children separatly from the rest of the community?
+
===== ... =====
  
SKORASTE: 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. By this arrangement we undercut the distinction between "mine" and "not-mine" and make the state hold together like one single body.
+
GYGES: Is it excessive then, or bad, to earn money by working hard?
  
GYGES: But you do not seem to care for sick people as far as I found out!
+
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.
  
SKORASTE: In this we follow the example of Asklepios. He taught us how to deal with people who were basically healthy but were befallen by certain illnesses. He proposed remedies th heal their sickness and to reintegrate them into ordinary life, so that they would not disturb the life of the state. But he did not advise us to develop complicated, drawn-out cures that prolong a wretched life for people that are chronically ill, nor for their offspring that is a burden to the state.
+
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?
 
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. Now, ionic and lydian keys are soft and unsuited for brave men and warriors. Myxolydian and syntonolydian keys, on the other hand, stimulate a complaining and moaning state of mind. For these reason we allow only the Lyra and the Kithara in our palace. Their tunes are in the Doric and the Phrygian key, rousing the first one and serenely contemplative the other. Courageous and sensitive men, in luck and misfortune, can find the appropriate posture supported by them.
+
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.
  
 
==== Bugs: ====
 
==== Bugs: ====
Zeile 190: Zeile 279:
  
 
* Property auto-suggesting vereinheitlichen (momentan sind einige convnodes auto-suggesting, andere nicht).
 
* Property auto-suggesting vereinheitlichen (momentan sind einige convnodes auto-suggesting, andere nicht).
 +
* <s>Befehle "try beaming" / "startx" vereinheitlichen / debuggen - manche funktionieren silently, andere nicht.</s>
 +
* brauchen wir den player's forename noch?
  
 
= Allgemeine Bugs =
 
= Allgemeine Bugs =

Aktuelle Version vom 14. November 2009, 01:02 Uhr

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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

Zum Testen bitte nicht die online-Version verwenden, sondern einen PSI_PR_Tech_HowToPlay#Offline Interpreter runterladen!

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

Plotübersicht

Rummelplatz

  • verantwortlich: anna
  • dev:

Allgemeine Bemerkungen:

Bugs:

  • r206: Für den Müllcontainer noch ein Verb definieren. Beispiele: jump on container, jump container, climb on container
  • Wenn dich der Owner der Geisterbahn schlägt: Kommando fight / hit implementieren

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.

Allgemeine Bemerkungen:

Bugs:

  • Beschreibung des Geisterbahn-Eingangs und der Dinge darin verbessern
  • evtl. im Dialog mehr zum Verhältns zwischen Skoraste und dem Bestzer

Tables: kranker Tischler

  • verantwortlich:
  • dev: Andyk

Allgemeine Bemerkungen:

  • Idee (nicht-arg-dringend): beim marketplace brauchen wir noch irgend ein Kommentar zur Situation.

Man könnte die Leute nach dem ghost train fragen?


Bugs:

  • 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)
  • "He packs you on the upper arm." - proper English?
  • Es gibt eine Node-Continuation "The Owner looks deep into..." die zu einem unpassenden Zeitpunkt ausgegeben wird (in Szenario 1, wenn man den carpenter shop betritt, soweit ich mich erinnere)
  • Wenn man "topics" eingibt und sich nicht in einem Gespräch befindet, werden aus meiner Perspektive völlig willkürlich irgendwelche Gesprächspartner ausgewählt, z.B. der "official" wenn man am marktplatz ist.
  • Es könnte sein, dass es conversation-node bei der strange figure nicht abgeschlossen wird (dass man z.B. den Spieler von der Straße in den Marktplatz verschiebt, jedoch vergessen hat, das Gespräch mit der strange figure ordnungsgemäß zu beenden -- nochmal überprüfen)
  • "contract" ersetzen mit "bill". (hab ich schon ein bisschen was geändert, aber noch nicht konsistent)
  • Shoemaker soll man nach doctor (und nicht nach carpenter) fragen können, wenn man im Scenario RescueWorker ist...
  • implement "order table", "buy table"
  • responses für carpenter: shadowy figure
  • ist die shadowy figure scenery? street to the market scheint nach dem bestellen der tische leer zu sein
  • description des carpenters: triggert "say hello"?

Gyges Revival

Bugs:

One-armed: einarmiger Soldat

Ablauf der Konversation

Allgemeine Bemerkungen:

Bugs:

WarMusic: ermutigende Musik

Allgemeine Bemerkungen:

Bugs:

  • r206: Bread is inedible: essen verhindern oder Alternativ-Lösungsweg
  • r206: calmful ersetzen mit calm
  • r206: play <CD> als möglicher Command
  • 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)
  • evtl. Dialog im Konzert mit dem neighbour (als Alternative zum Warten)

ElitistCommunism: traurige Wächterin

Todo

  • hug girl-option, wenn sie erzählt, wie traurig sie ist.
  • Überleitung zum nächsten Szenario - erstmal nach meinen Vorstellungen implementiert
  • Keywords für die watchtower-conversation
    • beautiful, beauty
    • love
    • evtl. die "husband"-antwort umschreiben auf ein generischeres 'was ist passiert?' - Oder eigene Antworten für "husband" und "child"/"pregnancy".

Final

  • verantwortlich: anna
  • dev: Andyk

Allgemeine Bemerkungen:

  • eine Basic Help Extension einbauen


Entwurf Dialogtext

Node-introduction

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.

all the prohibitions

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.

Bugs:

Allgemein: Verknüpfung der Szenarien

  • verantwortlich:
  • dev:

Allgemeine Bemerkungen:

Bugs:

  • Property auto-suggesting vereinheitlichen (momentan sind einige convnodes auto-suggesting, andere nicht).
  • Befehle "try beaming" / "startx" vereinheitlichen / debuggen - manche funktionieren silently, andere nicht.
  • brauchen wir den player's forename noch?

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.