"Sting" by Mike Russo The story headline is "An interactive memoir". The story creation year is 2021. The story genre is "Non-Fiction". The release number is 2. The story description is "Six bees. Five bags of groceries. A four-pound dumbbell. Three sailboats. One twin." Use the serial comma. Include Quip-Based Conversation by Michael Martin. [As of this writing (early 2023), this extension, as well as Reactable Quips, which it relies on, can be found here: https://github.com/i7/extensions/tree/10.1/Michael%20Martin] Include Basic Screen Effects by Emily Short. Release along with a solution. Chapter 0 - Preparatory Matter [Since I wrote TEM, I got a little better at structuring my code, and actually included some headings!] Convo-lock is a truth state that varies. Convo-lock is false. [I used this variable to prevent the player from wandering off or taking inappropriate actions during some important conversations] Use DICT_WORD_SIZE of 12. A person can be stung or unstung. The examine devices rule is not listed in any rulebook. [This is to get rid of that extra line say "the X is switched on" -- feels clunky outside the context of a puzzlefest] A bee is a kind of animal. A bee can be alive or dead. A bee is usually alive. A bee is neuter. Understand "bee" as a bee. [I know, I know, technically they should all be female, but nobody says "watch out for that bee, she's coming right for us!"] Instead of searching something, try examining the noun. Understand "kick [something]" as attacking. Understand "look around" as looking. Understand "climb on [something]" as climbing. Understand "lift [something]" as taking. understand "go [down]stairs" as going. Understand "go [down] stairs" as going. Understand "go [up]stairs" as going. Understand "go [up] stairs" as going. Understand "downstairs" as down. Understand "upstairs" as up. Understand "knock on [door]" as opening. Understand "check out [something]" as examining. [All of these are fairly logical, I think, except "check out" -- I must have had some specific noun in mind, probably in Chapter 4 given that's where the go up/downstairs stuff is from?] Understand "talk [someone]" as talking to. Understand "talk with [someone]" as talking to. Understand "hail [someone]" as talking to when sailing is happening. Understand "hail [sailboat]" as talking to when sailing is happening. [I know, conditional understands are bad practice, but I think few players will try to walk up to the girl they have a crush on and say "hail"] Understand "go to [text]" as a mistake ("You can move around using the compass directions (N, E, S, W) and IN and OUT.") Understand "take stinger" as a mistake ("You don't have tweezers on you -- better do that later.") when the player is stung. Understand "get stinger" as a mistake ("You don't have tweezers on you -- better do that later.") when the player is stung. [And look, it's the first overuse of understand... as a mistake! This is an easy cheat to get out of full implementation, but it's a definite kludge ("mistakes" don't advance the time rules by default, for one thing-- though it occurs to me one could get around that with a to-say phrase...] Chapter 0.1 - Responses [...so yeah, I got a little better at organization, but not much better. Surely I know you could use things other than just chapters?] Understand "score" as a mistake ("There is no score in this game.") Instead of talking to someone when QBC is active, try qbc recapping. Instead of talking to someone when RQ is active, try requesting a recap. The parser error internal rule response (D) is "[if toddlerhood is happening]You don't know how to do that (or at least you haven't learned how yet)[otherwise]That's not an action you've ever really contemplated[end if]." Understand "ask [someone]" as a mistake ("[bracket]Use TALK TO to interact with characters.[close bracket]"). Understand "tell [someone]" as a mistake ("[bracket]Use TALK TO to interact with characters.[close bracket]"). Understand "hello [someone]" as a mistake ("[bracket]Use TALK TO to interact with characters.[close bracket]"). Understand "greet [someone]" as a mistake ("[bracket]Use TALK TO to interact with characters.[close bracket]"). The block attacking rule response (A) is "[if toddlerhood is happening]Liz is the one who sometimes hits, not you[otherwise if the player is sailing-mike]Sailing may be frustrating, but wild flailing won't help things[otherwise]Your history as a wrestler notwithstanding, you really abhor violence[end if]." [I implemented a few age-specific responses, though mostly just toggled between toddlerhood and all others -- if I'd had more time and energy (my son was born a month before the IF Comp submission deadline) this is something I would have tried to expand] The can't take scenery rule response (A) is "You've never been that acquisitive, so even if you could take that, you'd rather not." The can't take component parts rule response (A) is "You've never been that acquisitive, so even if you could take that, you'd rather not." The can't take what's fixed in place rule response (A) is "You've never been that acquisitive, so even if you could take that, you'd rather not." The parser nothing error internal rule response (B) is "[if finale is happening]You've always been more of a step-by-step person[otherwise]Liz is an everything-at-once kind of person; you like to take things step by step[end if]." The parser error internal rule response (O) is "[if toddlerhood is happening]You're not really sure what that is[otherwise]Despite your hypertrophied vocabulary, you don't know what that is[end if]." The parser error internal rule response (N) is "[if toddlerhood is happening]You don't know how to do that (or at least you haven't learned how yet)[otherwise]That's not an action you've ever really contemplated[end if]." The parser error internal rule response (A) is "[if toddlerhood is happening]That didn't make any sense (though that's not too surprising since you're only a toddler!)[otherwise]Despite your hypertrophied vocabulary, you're worried that didn't make any sense." The parser error internal rule response (E) is "[We] [can't] see that anywhere around (or maybe you just won't remember it being there)." The parser error internal rule response (K) is "[We] [can't] see ['][pronoun i6 dictionary word]['] ([the noun]) anywhere around (or maybe you just won't remember it being there)." The requested actions require persuasion rule response (A) is "You are definitely too smart to try to order [the noun] around!" The report listening rule response (A) is "[if toddlerhood is happening]Except for you and Liz, it's pretty quiet[otherwise if sailing is happening]The slap of the wind on your sails and the churn of your bow cutting through the water make it surprisingly loud[otherwise if exeter is happening]There's a generalized hubbub as friends catch up with each other[otherwise if the player is grocery-mike or the player is dumbbell-mike]It's pretty quiet right now[otherwise]The world seems much quieter, mid-pandemic[end if]." [Probably would have been better to do this as a carry out listening rule, but I have a weakness for stacking multiple if clauses in a single say/response statement] The report smelling rule response (A) is "[if toddlerhood is happening]No matter how close you put your nose, you still can't smell much interesting[otherwise]Your sense of smell kind of sucks so you don't get much out of that[end if]." The examine directions rule response (A) is "Trying to look at something as abstract as a direction makes your head hurt." The RQ options prologue is "You can say:". The RQ reaction demand is "It'd be very impolite to just drop the conversation here." The RQ no options is "You're not currently talking to anyone." An RQ out of range rule for a number (called max) (this is the new RQ out of range rule): say "[bracket]Please choose an option between 1 and [max]. Type REPEAT to relist the options.[close bracket][paragraph break]" The new RQ out of range rule is listed instead of the basic RQ out of range rule in the RQ out of range rulebook. [All these are responses defined in the quip-based conversation extension, and are hopefully clear enough] The can't go that way rule response (A) is "[if Toddlerhood is happening]You're not supposed to leave the back yard unless someone is with with you, because there are cars (Liz doesn't count).[otherwise if exeter is happening]You haven't seen your friends all summer, you're not just going to go wandering off the first day back![otherwise if dumbbell-scene is happening]That's a wall, not a door.[otherwise if grocery-scene is happening and the location is el molino ave or the location is california ave]It's way too hot to go randomly wandering around Pasadena.[otherwise if grocery-scene is happening]You can't go that way.[otherwise if Finale is happening]Ditching your pregnant wife to go on an aimless meander around town is neither in your short-term or long-term interest.[end if]". Chapter 1 - Toddlerhood Toddlerhood is a scene. Toddlerhood begins when play begins. Toddlerhood ends when toddler-liz is stung. [Wait, when toddler-liz is stung?, you might be asking -- since of course she never actually gets stung. What's going on is that here, as is often the case, I wanted to be able to end a scene in a rule, but since you can't directly say "now scene X ends" or "now scene Y begins" I just used the stung property as a dummy way to toggle the scene] Play-count is a number that varies. Play-count is 0. When toddlerhood begins: Say "[bold type]Port Washington, NY -- 1985[roman type][paragraph break]"; Say "Mom said you and Liz can play for ten more minutes, because that's how long it is until lunchtime. Sometimes ten minutes feels very long and sometimes it feels very short." The Back Yard is a room. Inside from the Back Yard is the back door. The description of the Back Yard is "The back yard of your family's house is really big. The garden, with a pagoda, is on one side[if the swing set is in the Back Yard], the swing set is on the other,[end if] and a fence runs around it. The back door goes into the kitchen, and you could go north past the house to the front yard except you're not supposed to go there by yourself." After looking in the Back Yard for the first time, say "(Type ABOUT for some general information about the game or CREDITS for the acknowledgments. If you haven't played interactive fiction before, you can type BASICS for some of the simple commands used to play the game)." The player is toddler-mike. Toddler-mike is a man in the Back Yard. The description is "You're four (just like Liz, since being twins means you're the same age). Your hair is quite blond, though that will start changing in a year or two. You're small, or at least smaller than Liz. You've got on a yellow (that's a hard word to pronounce) polo shirt and khaki shorts, both a bit dirty." The greeting of toddler-mike is t-selftalk. Understand "your/my/-- hair" as toddler-mike. The toddler-clothes are a plural-named object. The toddler-clothes are part of toddler-mike. The description of the toddler-clothes is "Your clothes have gotten dirty since you've been playing outside for a while." Instead of taking off the toddler-clothes, say "Mom doesn't like it when you do that." Understand "yellow/polo/shirt/khakis/khaki/shorts/clothes" as the toddler-clothes. Understand "khaki shorts" as the toddler-clothes. Understand "yellow/-- polo shirt/--" as the toddler-clothes. Understand "yellow/-- polo/-- shirt" as the toddler-clothes. The ball is an object. Toddler-mike is carrying the ball. The description of the ball is "A pink rubber ball, less bouncy than when it was new." Understand "catch" as the ball. [That last is so that PLAY CATCH becomes PLAY WITH BALL] Instead of dropping the ball: Say "You dribble the ball onto the ground, and grab it back after an unsatisfying bounce."; Increase play-count by 1. Understand "bounce [ball]" as dropping. Understand "bounce [ball] at/to [something]" as throwing it at. Understand "throw [ball] to [someone]" as throwing it at. Instead of throwing the ball at toddler-liz: say "You call out to Liz and throw the ball to her, but it goes too far away from her. She rolls her eyes as you trot over to pick the ball back up."; Increase play-count by 1. [This is a place where I could have defined a kind of action like "playful behavior" and avoided a bunch of copy and pasting] Instead of throwing the ball at scenery: say "You throw the ball and it bounces back towards you, though much slower than you threw it so you need to run over to pick it back up."; Increase play-count by 1. The house is scenery in the Back Yard. The description is "Your house is very big. You like it." Instead of entering the house, try going inside. The front yard is scenery in the back yard. The description is "The front yard is green and has lots of grass, but you're not supposed to play there." Understand "ground/grass/dirt" as the front yard. Does the player mean entering the front yard: it is likely. The printed name of the front yard is "ground". Instead of entering the front yard, try sleeping. Instead of eating the front yard, say "You ate a bit of pinecone last year, but it didn't taste good, so since then you're pickier about what you try to eat." Understand "sit down on [something]" as entering. The swing set is scenery in the Back Yard. The description is "Wait, there wasn't a swing set yet when this happened -- my mistake." Understand "swings/swingset" as the swing set. Instead of doing anything other than examining to the swing set, try examining the swing set. Instead of throwing something at the swing set, try examining the swing set. The block swinging rule does nothing when toddlerhood is happening. [I'd forgotten that SWING is in the Standard Rules -- curious why that is since it seems fairly niche] Understand "swing on [swing set]" as swinging. Understand "play on/-- [swing set] with/-- liz/--" as swinging. Understand "ride on/-- [swing set]" as swinging. Check swinging: If the swing set is in the location, try examining the swing set instead; Say "On what?" Does the player mean swinging the swing set: it is very likely. Rule for clarifying the parser's choice of the swing set: Say "(on the swing set)[line break]". [I think this is needed because I just used the swinging action; probably would have been easier to just make my own new swinging on action instead] Understand "swing" as a mistake ("On what?") when toddlerhood is happening and the swing set is not in the location. [Another drink, if you're playing the overuse-of-as-a-mistake drinking game] Carry out examining the swing set: Now the swing set is nowhere. The block attacking rule does nothing when toddlerhood is happening. Carry out attacking when the player is toddler-mike: Say "Liz is the one who sometimes hits things, not you. Besides, you'd get in big trouble!" The block kissing rule does nothing when toddlerhood is happening. Understand "kiss [something]" as kissing when toddlerhood is happening. Carry out kissing when toddlerhood is happening: If the noun is toddler-Liz, say "You hug Liz, and she hugs you back." instead; Say "Eww, gross!" The garden is scenery in the Back Yard. The description is "It's a nice small flower-garden, with dandelions and snapdragons and lots of other flowers you don't know the names of yet." Understand "dandelion/dandelions/flower/flowers/snapdragon/snapdragons garden/--" as the garden. Instead of smelling the garden, say "They're nice!" Instead of eating the garden, say "Suddenly you wonder what the flowers taste like -- but if you're not allowed to pick them, you're probably not allowed to eat them either." Instead of taking the garden, say "You're not supposed to pick the flowers." Understand "pick [garden]" as taking. Understand "dig in/-- [garden]" as playing with. Understand "weed [garden]" as playing with. Understand "play in/with/-- [garden] with/-- liz/--" as playing with. Instead of entering the garden, try playing with the garden. Instead of eating the garden, say "You ate a bit of pinecone last year, but it didn't taste good, so since then you're pickier about what you try to eat." No-weeds are scenery in the back yard. They are plural-named. Understand "weeds" as the no-weeds. Instead of doing anything to the no-weeds, say "(There aren't actually weeds in the garden)." The fence is scenery in the Back Yard. The description is "It's made of solid wooden planks. The neighbors live behind it but they're old so they don't like to play." Instead of pushing or pulling or playing with or climbing the fence, say "The fence is big and flat and sturdy, so you can't think of a way to play with it." Understand "plank/planks" as the fence. The pagoda is scenery in the Back Yard. The description is "The pagoda is made out of concrete and looks like a little temple ('pagoda' is probably the fanciest word you know right now, though there are lots more to come). It's maybe half as tall as you are." Instead of taking or pushing or pulling or climbing or entering the pagoda, say "The pagoda looks really neat, but it's heavy and the roof comes off and it can fall over, so Mom says not to play with it." Understand "concrete/-- concrete/statue/structure/temple" as the pagoda. The toddler-cars are scenery in the back yard. The description is "You don't see any cars now because you're in the back yard!" Understand "cars" as the toddler-cars. They are plural-named. Instead of doing anything other than examining to the toddler-cars, try examining the toddler-cars. The printed name of the toddler-cars is "cars". Toddler-liz is a woman in the Back Yard. "Liz is here, [one of]singing to herself[or]smelling the flowers[or]standing on one leg[or]sticking out her tongue at you[at random]." The description is "Liz is a little taller than you are, even though you're older by one minute." The printed name of toddler-liz is "Liz". Understand "Liz/sister/twin" as toddler-liz. Instead of talking to toddler-liz when play-count is less than 4 and toddler-mike is unstung, say "[one of]You'd rather play than talk right now.[paragraph break](If you have a game in mind, you can just try playing it with Liz).[or]You'd rather play than talk right now.[stopping]". Instead of talking to toddler-liz when play-count is greater than 3 and toddler-mike is unstung, say "You ask Liz if she's ready to go inside for lunch, since you're getting tired, but she says she's going to keep playing." Instead of talking to toddler-liz when toddler-mike is stung, say "She's as little as you are, she can't make you feel better right now." Taunting is an action applying to one visible thing. Understand "taunt [someone]" as taunting. Understand "stick out/-- tongue out/-- at [someone]" as taunting. After reading a command when the player's command includes "tongue/stick": Now the parser clarification internal rule response (D) is "Whom do you want to taunt?[no line break]" Before reading a command when toddlerhood is happening: Now the parser clarification internal rule response (D) is "Whom do you want [if the noun is not the player][the noun] [end if]to [parser command so far]?" [...I don't really remember why this bit was needed -- clearly something was wrong with the default response to trying to STICK OUT TONGUE with AT PERSON indicated] Check taunting: If the player is not toddler-mike, say "That's awfully juvenile." instead. Carry out taunting: If the noun is toddler-liz, say "You stick your tongue out at Liz and waggle it around to try to make her mad, but she just pretends to ignore you."; If the noun is mom, say "But you love your mom!"; If the noun is toddler-mike, say "Your heart's not in it." Understand "dance" as jumping. After jumping when toddlerhood is happening: Say "You hop around the yard for a minute."; Increment play-count. Understand "race with/against/-- [someone]" as racing. Understand "run with/against [someone]" as racing. understand "play race with [someone]" as racing. understand "run race with/against [someone]" as racing. Understand "run around" as racing. Racing is an action applying to one visible thing. Check racing: If Sailing is happening and the noun is not sailing-Liz, say "Yes, that's the idea." instead; If Sailing is happening and the noun is sailing-Liz, say "You're in the same boat so you can hardly race against her." instead; If Toddlerhood is not happening, say "This doesn't seem like the time or place for a footrace." instead; If the location is not the back yard, say "You don't feel like running." instead. Carry out racing: Say "You challenge Liz to a race across the yard, but her legs are longer so she wins handily."; Increment play-count. i-spying is an action applying to one visible thing. Understand "play I spy with [someone]" as i-spying. Understand "play i-spy with [someone]" as i-spying. Understand "play 20/twenty questions with [someone]" as i-spying. Check i-spying: If toddlerhood is not happening, say "You're a little old to be playing around." Carry out i-spying: Increment play-count; If a random chance of 1 in 2 succeeds: Say "You pick [one of]the pagoda[or]the door[or]the grass[or]the sky[at random], [one of]but Liz guesses it right away[or]and you manage to stump Liz[or]and Liz guesses it after a couple of questions[at random]."; Otherwise: Say "[one of]You figure out right away that Liz picked[or]After a couple of questions you guess the object Liz picked, which was[or]You run out of questions before you figure out that Liz picked[at random] [one of]the pagoda[or]the door[or]the grass[or]the sky[at random]." Does the player mean playing with toddler-Liz: it is very likely. Playing with is an action applying to one visible thing. Understand "play game/-- with/on/in [something]" as playing with. Understand "play" as a mistake ("It's much more fun to play with something or someone else.") while toddlerhood is happening. Understand "play house" as a mistake ("But you're outside!") while toddlerhood is happening. Understand "play dodgeball" as a mistake ("If you throw the ball at Liz, then she'll throw it at you -- and she can throw harder than you can.") while toddlerhood is happening. Understand "play tennis/baseball" as a mistake ("You don't have the stuff for that.") while toddlerhood is happening. Understand "play calvinball" as a mistake ("Calvin and Hobbes isn't going to start for a few more months, so you don't know what that is.") when toddlerhood is happening. [More drinks!] Check playing with: If the noun is the xbox, say "Katie seems like she's having fun watching the bees, but you'd still feel bad leaving her alone while you play video games." instead; [This is in part 5] If toddlerhood is not happening, say "You're a little old to be playing around." instead. Carry out playing with: If the noun is toddler-mike, try dropping the ball instead; If the noun is the ball, try dropping the ball instead; [THROW remaps to the dropping action per the standard rules] If the noun is the swing set, try examining the swing set instead; If the noun is the pagoda, try taking the pagoda instead; If the noun is the garden, say "You and Liz go into the garden and take turns pulling out what you think are weeds." instead; If the noun is toddler-liz: Say "[one of]You do a race across the yard; she's faster so she wins[or]You go into the garden and take turns pulling out what you think are weeds[or]You and Liz hug each other than start jumping up and down, giggling[or]You and Liz take turns sticking your tongues out at each other[or]You and Liz run around the yard -- you're not sure if you're chasing her or she's chasing you[or]Liz takes your hands, and you both spin around in a circle until you're dizzy[at random]."; Increase play-count by 1; Otherwise: say "That doesn't seem like it would be very much fun." Understand "play [ball] with [toddler-liz]" as throwing it at. Does the player mean throwing the ball at toddler-liz: it is very unlikely. Instead of giving the ball to toddler-liz, try throwing the ball at toddler-liz. Understand "stand on one/-- leg" as a mistake ("You try to balance on one leg, but you can't do it and fall over. Liz laughs, then helps you up.") when toddlerhood is happening and toddler-mike is unstung. Tagging is an action applying to one visible thing. Understand "tag [something]" as tagging. Understand "play tag with [something]" as tagging. Understand "chase [someone]" as tagging. Does the player mean tagging toddler-liz: it is very likely. Check tagging: If toddlerhood is not happening, say "You're a little old to be playing around." instead. Carry out tagging: If the noun is toddler-Liz: Say "You touch Liz, cry a shrill 'you're it!', and race away from her. Her legs are longer than yours so she catches you and makes you it, and then you're too slow to catch her so you don't feel like playing tag any more now."; Increase play-count by 1; Otherwise: Say "You can only play tag with other kids." Understand "play rock paper scissors" as a mistake ("You only do that if you need to decide which of you gets first pick of something.") Hide-and-seeking is an action applying to one visible thing. Understand "play hide and go/-- seek with [someone]" as hide-and-seeking. Understand "hide from [someone]" as hide-and-seeking. Understand "play hide-and-seek with [someone]" as hide-and-seeking. Does the player mean hide-and-seeking toddler-liz: it is very likely. Does the player mean hide-and-seeking the ball: it is very unlikely. Does the player mean doing anything other than throwing to the ball: it is very unlikely. Understand "hide behind/under [something]" as hide-and-seeking. Does the player mean hide-and-seeking: it is very likely. Understand "hide [someone]" as hide-and-seeking. Rule for clarifying the parser's choice of toddler-liz when hide-and-seeking: say "(from Liz)[line break]". [This is so the response to the single word HIDE makes sense] Check hide-and-seeking: If grocery-bee-attack is happening, say "You can't escape the bees so easily." instead; If toddlerhood is not happening, say "You're a little old to be playing around." instead. Carry out hide-and-seeking: If the noun is toddler-Liz: Say "Liz chooses to be it first, probably because it's easier since there aren't many good places to hide in the yard. You look around indecisively until her count gets to 7, then you panic and [one of]dash behind the pagoda[or]throw yourself down in the garden[or]press up against the fence[at random]. She catches you almost immediately, then proclaims this a dumb game so you don't even get to take a turn seeking."; Increase play-count by 1; Otherwise: Say "You can only play hide and seek with other kids." Understand "hide behind/under [something]" as a mistake ("[if toddlerhood is happening]That doesn't seem like much fun, but you could play hide and seek with Liz[otherwise]You can't escape that easily[end if].") when toddlerhood is not happening and grocery-bee-attack is not happening. scenery-hiding is an action applying to one visible thing. Understand "hide behind/under [something]" as scenery-hiding when toddlerhood is happening. Carry out scenery-hiding: try hide-and-seeking toddler-liz instead. Does the player mean scenery-hiding: it is very unlikely. [Probably could have just used alternate Understand tokens and made do with one action, I think] blind-bluffing is an action applying to one visible thing. Understand "play blind man's bluff with [something]" as blind-bluffing. Understand "play blind-man's-bluff/blind-man's bluff/-- with [something]" as blind-bluffing. Does the player mean blind-bluffing toddler-liz: it is very likely. Check blind-bluffing: If toddlerhood is not happening, say "You're a little old to be playing around." instead. Carry out blind-bluffing: If the noun is toddler-Liz: Say "Liz agrees to play blind man's bluff, [one of]but says you need to be it. It's really hard to catch her when you can't see since she's already faster than you, though, so after a while she gets bored of watching you stumble around and says the game is over[or]and says she'll be it. Even though she's faster, since she can't see you're able to run away from her really easily, and after a while she just opens her eyes and catches you (this seems like cheating)[at random]."; Increase play-count by 1; Otherwise: Say "You can only play blind man's bluff with other kids." Understand "play freeze/freeze-tag tag/-- with [toddler-liz]" as a mistake ("You can't play freeze tag with only two people!") when toddlerhood is happening and toddler-mike is unstung. Understand "play hopscotch with [toddler-liz]" as a mistake ("You don't have any chalk, and if you go inside to get some Mom might just tell you to stop playing and have lunch.") when toddlerhood is happening and toddler-mike is unstung. Understand "play tic-tack-toe/tic-tac-toe/tic tack/tac/-- toe/-- with [toddler-liz]" as a mistake ("You don't have any chalk, and if you go inside to get some Mom might just tell you to stop playing and have lunch.") when toddlerhood is happening and toddler-mike is unstung. Understand "play marbles with [toddler-liz]" as a mistake ("You don't have any marbles (you're not old enough yet to get why that's funny).") when toddlerhood is happening and toddler-mike is unstung. Leapfrogging is an action applying to one visible thing. Understand "play leapfrog with [something]" as leapfrogging. Understand "jump over/-- [something]" as leapfrogging. Understand "leap over/-- [something]" as leapfrogging. Does the player mean leapfrogging toddler-liz: it is very likely. Check leapfrogging: If toddlerhood is not happening, say "You're a little old to be playing around." instead. Carry out leapfrogging: If the noun is the pagoda, say "You tried that once but the top of the roof hit you in a really uncomfortable place so you're not doing that again." instead; If the noun is toddler-Liz: Say "You and Liz take turns jumping over each other -- she's bigger than you are, but you're really good at jumping so it's easy!"; Increase play-count by 1; Otherwise: Say "You can only play leapfrog with other kids." Make-believing is an action applying to one visible thing. Understand "play make/make-believe believe/-- with [something]" as make-believing. Understand "play pretend with [something]" as make-believing. Does the player mean make-believing toddler-liz: it is very likely. After waiting when toddlerhood is happening: Say "Why do that when you can play?" Check make-believing: If toddlerhood is not happening, say "You're a little old to be playing pretend." instead. Carry out make-believing: If the noun is toddler-Liz: Say "You and Liz pretend [one of]that you're Mickey and Minnie Mouse[or]that you live in a castle[or]that you're a dog and a cat chasing each other[at random]."; Increase play-count by 1; Otherwise: Say "You can only play pretend with other kids." Simon-saysing is an action applying to one visible thing. Understand "play simon/simon-says says/-- with [something]" as simon-saysing. Understand "play follow/follow-the-leader the/-- leader/-- with [something]" as simon-saysing. Does the player mean simon-saysing toddler-liz: it is very likely. Check simon-saysing: If toddlerhood is not happening, say "You're a little old to be playing around." instead. Carry out simon-saysing: If the noun is toddler-Liz: Say "You and Liz play Simon Says: [one of]she wins when she unties and reties her shoe, since you're not good at tying a bow yet[or]you win when you hop on one foot a bunch, since your balance is better than hers[at random]."; Increase play-count by 1; Otherwise: Say "You can only play that with other kids." Pattycaking is an action applying to one visible thing. Understand "play pattycake/pat-a-cake/pat/patty/patty-cake a/-- cake/-- with [something]" as pattycaking. Does the player mean pattycaking toddler-liz: it is very likely. Check pattycaking: If toddlerhood is not happening, say "You're a little old to be playing around." instead. Carry out pattycaking: If the noun is toddler-Liz: Say "You and Liz play pattycake, clapping your hands along with the rhyme (her claps are a little hard)."; Increase play-count by 1; Otherwise: Say "You can only play that with other kids." Singwithing is an action applying to one visible thing. Understand "sing along/-- at/to/with [something]" as singwithing. Check singwithing: If toddlerhood is not happening, say "You don't really go in for duets." instead. Carry out singwithing: If the noun is toddler-Liz: Say "You go over to Liz, and the two of you sing [one of]Twinkle, Twinkle, Little Star[or]The Itsy Bitsy Spider[or]The Wheels on the Bus[at random]."; Increase play-count by 1; Otherwise: Say "You can't sing with that!" [This all feels fairly exhaustive, but I seem to recall many of these are post-comp additions based on seeing what folks typed in their transcripts. Hopefully it's pretty robust now!] Every turn while toddlerhood is happening and play-count is greater than 3 and toddler-mike is unstung: If play-count is greater than 5: say "You're tired and thirsty -- maybe Mom will give you some juice if you go inside."; Otherwise: Say "You're starting to get a bit tired from all this playing." The back door is a door. It is inside from the Back Yard. Inside from the back door is the toddler-kitchen. The back door is unlocked. It is scenery. The description is "The door into your house, with an outer screen door and an inner real door." Understand "outer/inner/-- screen/real/-- outer/inner/screen/real/door/kitchen" as the back door. Understand "screen/outer/inner" as the back door. Mom is a woman in the toddler-kitchen. The description is "You love your mom so so much. She is much bigger than you, and giving you a big hug that's slowly starting to make you feel better." The litany of Mom is the table of Mom Conversation. The toddler-bee is a bee. The toddler-bee is dead. The printed name is "dead bee". The description is "The dead bee lies forgotten in the gap between the screen door and the real door." [Since the bee sting happens in the middle of an action, there's no moment when it's actually on-stage and alive, so I figured I'd just have it start dead for simplicity's sake. Poor bee!] Instead of opening the back door when play-count is less than 4, say "You just started playing and your mom isn't calling you in for lunch yet." After opening the back door: Say "'I'm done playing,' you call over to Liz, then trot to the back door to go inside. You reach up to pull open the screen door, then drop your ball and use your other hand to open the regular door. Suddenly you hear a loud buzzing -- there was a bee stuck behind the screen door --[paragraph break]'MOOOM', you sob, as your hand explodes with the worst pain you've ever felt.[paragraph break]"; Now the description of toddler-mike is "Your hand is all red where the bee stung you. It really hurts!"; Now toddler-mike is stung; Now the ball is in the Back Yard; silently try going inside; Now the toddler-bee is in the toddler-kitchen; Deliver the mom-greeting quip; Run a conversation on the Table of Mom Conversation. The describe room gone into rule does nothing when the location is the toddler-kitchen. [I didn't want to interrupt the dialogue here with the bog-standard location description, which would seem awfully cold-blooded given the context] Instead of doing something other than examining or quipping or responding with or qbc responding with or looking or talking to when the location is the toddler-kitchen, say "You're too upset to do that!" The toddler-kitchen is a room. The printed name is "Kitchen". The description is "You can't see the kitchen very well through your tears, but your [mom] is holding you, and there must be a [toddler-bee] in the doorway[if toddler-Liz is in the toddler-kitchen]. [toddler-Liz] is standing near you, looking curiously at what's happening[end if]." When Toddlerhood ends: Say "Your hand stops hurting so much after a minute or two, and then your mom says you can have ice cream even though you haven't had your lunch yet, so you don't think about it again until after you finish eating.[paragraph break]'Did it hurt?' Liz asks, and you think for a minute, then nod your head. 'You cried a lot,' she continues, and you flush because you're not a crybaby.[paragraph break]'I hope you get stung by a bee too!' you say back at her. 'Then you'd cry a lot -- you'd cry even more.' She sticks her tongue out, but then your mom tells you to apologize to Liz, and tells Liz to apologize to you, so you do, and then you hug her to show you're sorry.[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; clear only the main screen. Singing is an action applying to nothing. Understand "sing to/-- myself/--" as singing. Understand "hum to/-- myself/--" as singing. Understand "play music" as singing. Carry out singing when the player is toddler-mike: Say "You sing a snatch of [one of]Twinkle, Twinkle, Little Star[or]The Itsy Bitsy Spider[or]The Wheels on the Bus[at random] to yourself[if toddler-liz is in the location]; Liz joins in for the last few lines[end if]."; increment play-count. The block sleeping rule does nothing when toddlerhood is happening. Understand "rest" as sleeping. Understand "lie down" as sleeping. Carry out sleeping when toddlerhood is happening: If toddler-mike is stung, say "It hurts too much!" instead; Otherwise if play-count is greater than 3: Say "You are a little sleepy, but you can't take a nap outside!" instead; Otherwise: Say "Why nap when you can play!" Cursing is an action applying to nothing. Understand "curse" as cursing. Understand "swear" as cursing. Understand "fuck" as cursing. Understand "shit" as cursing. Understand "motherfucker" as cursing. [Teenaged me uses a fair bit of profanity, so I figured I should implement these] Carry out cursing when the player is toddler-mike: Say "You don't know any curse words yet." Yelling is an action applying to nothing. Understand "shout" as yelling. Understand "scream" as yelling. Understand "yell" as yelling. Carry out yelling: If the player is toddler-mike, say "Liz sometimes yells, but you don't (or at least not very often)."; Otherwise: Try cursing. Chapter 1.5 - Toddlerhood Conversations Table of Quip Texts (continued) quip quiptext mom-greeting "Your mom hears your wail from inside in the kitchen -- she pops open the door and scoops you up into her arms. 'What's wrong, pumpkin?' she asks, brow creased with worry." mom-symp "'Oh no, a bee sting!' she says." mom-nice "'I know, honey,' your mom says. She kisses your hand, then gathers you and Liz in for a hug." mom-mad "She frowns slightly and rubs your back. You feel bad -- you didn't really mean it and you know you shouldn't have said that." t-selftalk "[one of]You sing a snatch of Twinkle Twinkle Little Star to yourself[if toddler-liz is in the location]; Liz joins in for the last few lines[end if][or]You practice saying 'yellow' but no, it still comes out 'ye-yow'[at random]." Table of Mom Conversation prompt response enabled "'IT HURTS!'" mom-symp 1 "'Ah- ah- a bee.'" mom-symp 1 "(Inarticulate with sobbing, you present your burning hand to her)" mom-symp 1 "'Oh no, the poor bee! It didn't mean to sting me.'" mom-nice 0 "'Good! I'm glad it's dead!'" mom-mad 0 After quipping when the current quip is mom-symp: Say "Your mom sets you down, then rummages around in the first aid kit under the sink and finds some cream and tweezers. Liz heard you yell and ran over -- she's standing behind you, craning her neck to see as your mom plucks out the stinger. She smears the cream on the sting; it's cold and feels weird on your skin.[paragraph break]'You're OK,' your mom says, rubbing your back. 'Anyway it's hurt worse than you are. It must have been very scared, because a bee can only sting once -- then it dies.'[paragraph break]"; Now toddler-Liz is in the toddler-kitchen; [ha! Bug made toddler-liz show up in Bayville kitchen since I just called that one "kitchen"] Disable the mom-symp quip; Enable the mom-nice quip; Enable the mom-mad quip. [So this is a good example of how quip-based conversation works -- it's generally pretty slick with a table of stuff the player can say, a corresponding table of character responses, and then the ability to enable or disable quips dynamically via after quipping rules. There are only one or two tricky implementation bits, which I'll cover when they rear their heads.] After quipping when the current quip is mom-nice or the current quip is mom-mad: Disable the mom-nice quip; Disable the mom-mad quip; Now toddler-liz is stung. Chapter 1.99 - Russo 420 [This should really be chapter 2.something, but I ran into trouble here because I wanted to use the standalone-numbered chapters to declare the main geography and objects of each section -- the compiler didn't like me creating a bunch of stuff before I'd declared the kinds they belonged to, though, so I came up with this kludge instead. Using books or volumes or some other label other than chapter would have probably been the better thing to do] Nantucket Harbor is a room. A sailboat is a kind of vehicle. A sailboat has a real number called the speed. The speed of a sailboat is usually 5. A sailboat has a direction called the heading. A sailboat has an object called the checkpoint. A sailboat has a real number called the progress. The progress of a sailboat is usually 0. A sailboat is either heeling or stable. A sailboat is usually stable. A sailboat has some text called the place. The Russo 420 is a sailboat in Nantucket Harbor. The description is "This two-person dinghy is called a 420 because it's 420 centimeters long (you don't yet know about the pot thing). [sailing-liz] is skippering, meaning she's sitting at the stern, in charge of using the tiller to steer and trimming the mainsail. You're crewing, so you're sitting forward of her, in charge of the jib, [if going-upwind is happening]plus the spinnaker once you hit the downwind part of the race -- it's stuffed in a pouch by the bow when not in use, with the pole secured in the bilge[otherwise]though you're more focused on the spinnaker right now[end if].[paragraph break]Right now you're headed [if the heading of the Russo 420 is north]upwind[otherwise]downwind[end if], moving [if the speed of the Russo 420 is less than 4.9]pretty slowly[end if][if the speed of the Russo 420 is greater than 4.9 and the speed of the Russo 420 is less than 5.9]fairly quickly[end if][if the speed of the Russo 420 is greater than 5.9]really fast[end if], and you're in [place of the russo 420]. [if the Russo 420 is heeling]A gust of wind has made the boat start heeling, bringing the windward side up into the air and threatening to capsize you.[end if]". Understand "boat/mast/bow/keel/stern" as the russo 420. The place of the russo 420 is "third". [The initial implementation of this section had a bunch of hard-coded numbers for things like the length of each race's leg -- I mosty rewrote things to cue off of variables instead to allow for easier tuning, but a couple things, like the speed checks, remain inelegantly hard-coded] The examine containers rule does nothing when the noun is a sailboat. Does the player mean examining the russo 420: it is very likely. Does the player mean talking to sailing-liz: it is very likely. Does the player mean answering sailing-liz that: it is very likely. Does the player mean asking sailing-liz about: it is very likely. Does the player mean telling sailing-liz about: it is very likely. [I think this is all needed because there are a bunch of other boats, and one other Liz, in this sequence] The 420-miscellany is part of the Russo 420. The description is "You don't need to do anything with that part of the 420 right now." Understand "cleat/cleats/halyards/anchor/line" as the 420-miscellany. Instead of doing something other than examining to the 420-miscellany, try examining the 420-miscellany. The telltale is part of the Russo 420. The description is "[one of]The telltale is a little piece of orange ribbon is tied to one of the stays, and shows you exactly which way the wind is blowing -- right now it's coming from the [prevailing wind]. Liz sees you checking it out. 'Yeah, keep an eye on the wind,' she says[or]The wind is blowing from the [prevailing wind].[stopping][if the jib is near-tight] The telltale's showing the wind's just shifted a bit, and now that you're looking for it, you can tell the jib's a little too tight[otherwise if the jib is near-luffing] The telltale's showing the wind's just shifted a bit, and now that you're looking for it, you can tell the jib's a little too loose[otherwise if the jib is overtight] The telltale's at too much of an angle to the jib, indicating you've got it trimmed too tightly[otherwise if the jib is luffing] The telltale's at too small of an angle to the jib, indicating you've got it trimmed too loosely[end if].". Understand "stay/stays/wind" as the telltale. [The "near" conditions are there so the player potentially has time to react to subtle wind changes before losing speed (of course, if they're in the middle of a spinnaker set or something else higher priority, they won't get the chance] The jib is part of the Russo 420. The jib is either overtight, perfect, or luffing. The jib is perfect. The jib is either near-tight, static, or near-luffing. The jib is static. The description is "The jib is a small sail at the front of the boat, and if you don't keep it properly trimmed -- by pulling or letting out the jib sheet when you need to -- you'll slow down and you'll lose (again) and Liz will be pissed. Right now [if the jib is perfect]it's catching the wind just right[otherwise if the jib is overtight]it's pulled too tight, leaving some wind spilling off its overtaut surface[otherwise]the jib is too loose, flapping in the wind[end if]." Understand "sail" as the jib. [I probably could have done the sail states as one property with five potential values rather than two distinct ones] Instead of pulling the jib, try pulling the jib-sheet. Understand "tighten [jib]" as pulling. Understand "tighten [jib-sheet]" as pulling. Understand "pull in/-- [jib] in/--" as pulling. Understand "pull in/-- [jib-sheet] in/--" as pulling. Understand "bring in/-- [jib-sheet] in/--" as pulling. Understand "trim [jib]" as pulling. Understand "trim [jib-sheet]" as pulling. Understand "crank in/-- [jib] in/--" as pulling. Understand "crank in/-- [jib-sheet] in/--" as pulling. Understand "adjust [jib-sheet]" as pulling. Understand "adjust [jib]" as pulling. Understand "take in [jib-sheet]" as pulling. Understand "take in [jib]" as pulling. The jib-sheet is part of the Russo 420. The printed name is "jib sheet". Understand "jib/-- sheet" as the jib-sheet. The description is "This rope tightens the jib with a pull, or loosens it when you let it out." After pulling the jib-sheet: If the jib is overtight, say "Even putting all your strength into it, the jib won't come any tighter." instead; Say "You haul in on the sheet, pulling it in a few inches and tightening the jib. [if the jib is near-luffing or the jib is luffing]'Good,' Liz says, 'let's keep everything trimmed right.' [end if][paragraph break]"; If the jib is perfect and the jib is static, now the jib is overtight; If the jib is near-luffing, now the jib is static; If the jib is luffing, now the jib is perfect; Now sail-chitchat is false. ["Sail chit-chat" is a truth state I used to make it so the player needs to do some sailing in between spamming TALK TO LIZ, in case they're so inclined; setting up a kind of action rather than a manually copied-and-pasted truth state would have been the better approach] Loosening is an action applying to one touchable thing. Understand "loosen [something]" as loosening. Understand "let out [something]" as loosening. Understand "luff [something]" as loosening. Understand "loose [something]" as loosening. Understand "let [something] out" as loosening. Understand "bring out/-- [something] out/--" as loosening. Understand "push out/-- [jib]" as loosening. Understand "push out/-- [jib-sheet]" as loosening. Understand "push out/-- [spinnaker]" as loosening. Understand "push out/-- [spinnaker-sheets]" as loosening. Understand "push out/-- [mainsail]" as loosening. Understand "luff [something]" as loosening. Instead of loosening the jib, try loosening the jib-sheet. Check loosening: If the noun is the player, say "If only it were that easy to loosen up." instead; If the noun is a person, say "That's not something you can do for anyone else." instead; If the noun is the mainsail, say "That's Liz's job." instead; If the noun is not the jib-sheet and the noun is not the spinnaker-sheets, say "Liz told you a million times you're bad at loosening up, and you should probably work on yourself before trying it on anything else." Carry out loosening the jib-sheet: If the jib is luffing, say "It's already completely luffed out." instead; Say "You play the sheet out an inch or two, loosening the jib[if the jib is near-tight or the jib is overtight]. Liz sees what you're doing and adjusts the mainsail to match[end if]."; If the jib is perfect and the jib is static, now the jib is luffing; If the jib is near-tight, now the jib is static; If the jib is overtight, now the jib is perfect; Now sail-chitchat is false. Does the player mean loosening the jib-sheet when going-upwind is happening: it is very likely. Does the player mean loosening the spinnaker-sheets when going-downwind is happening: it is very likely. Does the player mean pulling the jib-sheet when going-upwind is happening: it is very likely. Does the player mean pulling the spinnaker-sheets when going-downwind is happening: it is very likely. Does the player mean hoisting the spinnaker: it is very likely. Does the player mean doing something to the mainsail: it is very unlikely. Does the player mean taking the spinnaker-pole: it is unlikely. Does the player mean pulling the mainsail: it is very unlikely. Does the player mean pulling the spinnaker-pole: it is very unlikely. Does the player mean taking the spinnaker-pole when going-upwind is happening: it is very unlikely. does the player mean pulling the spinnaker-sheets when going-downwind is happening: it is very likely. Rule for supplying a missing noun while pulling and going-downwind is happening: Now the noun is the spinnaker-sheets. Rule for supplying a missing noun while taking and going-downwind is happening: Now the noun is the spinnaker-sheets. [All this apparatus is needed because the default assumptions for what the player would be pulling, loosening, or taking will shift dramatically depending on what stage of the race they're at!] The mainsail is part of the Russo 420. The description is "You spare a glance at the main -- looks like Liz is doing a good job trimming it, keeping it [if going-upwind is happening]tight as you head upwind[end if][if going-downwind is happening]bellied full to catch the wind from behind you[end if]." Understand "main/mainsheet/boom sheet/sail/--" as the mainsail. Understand "tighten [mainsail]" as pulling. Understand "pull in/-- [mainsail] in/--" as pulling. Understand "trim [mainsail]" as pulling. Understand "crank in/-- [mainsail] in/--" as pulling. Understand "adjust [mainsail]" as pulling. Understand "take in [mainsail]" as pulling. Instead of pulling the mainsail, say "That's Liz's job." The tiller is part of the Russo 420. The description is "This metal rod controls the rudder and lets Liz steer." Instead of doing anything other than examining to the tiller, say "That's Liz's department." Understand "rudder" as the tiller. The hiking straps are part of the Russo 420. The description is "These canvas straps run across the bottom of the 420; you jam your feet under them so you don't fall overboard when hiking out." Instead of doing anything other than examining to the hiking straps, say "All you need to do with the straps is make sure they keep you in the boat when you hike out -- and you've practiced this a bunch, so your feet will know what to do." The pouch is a container. It is part of the Russo 420. The description is "This pouch holds the big, colorful spinnaker when it's not being used[if the spinnaker is in the pouch], like now[end if]." Instead of opening the pouch, try hoisting the spinnaker. Instead of closing the pouch, say "The pouch is held open by a bungee cord, so you can't close it." The examine containers rule does nothing when the noun is the pouch. The spinnaker is in the pouch. The spinnaker is either hoisted or unhoisted. The spinnaker is unhoisted. The spinnaker is either overtight, perfect, or luffing. The spinnaker is perfect. The description of the spinnaker is "This giant sail has big bands of red and blue running across it, though you can't see them very well right now inasmuch as it's balled up in the pouch. The halyard you use to hoist it up and set it loose is anchored in a nearby cleat." Understand "chute" as the spinnaker. Instead of doing anything other than examining or hoisting to the spinnaker while going-upwind is happening, say "You don't need to do anything with the chute when you're going upwind." The halyard is part of the spinnaker. Instead of examining the halyard, try examining the spinnaker. Instead of loosening the halyard, try taking the spinnaker. Instead of pulling the halyard, try hoisting the spinnaker. Instead of hoisting the halyard, try hoisting the spinnaker. Instead of taking the halyard, try hoisting the spinnaker. Instead of taking the spinnaker: If the checkpoint of the Russo 420 is the third buoy, say "It's already doused." instead; If the spinnaker is unhoisted, say "If you take it out of the pouch without hoisting it, the spinnaker will just flap around and slow you down." instead; If the spinnaker-pole is hoisted, say "You need to get the pole out of the way first." instead; Say "You let loose the halyard and pull down the chute, stuffing it into the pouch as you go[if the distance of the third buoy minus the progress of the russo 420 is greater than the speed of the russo 420]. 'Why'd you douse so early?' Liz shouts at you, gesturing at the buoy, which is still a ways off[otherwise]. 'Good timing on the douse!' Liz shouts in encouragement[end if]."; Now the spinnaker is unhoisted; Now the spinnaker is in the pouch; Now the description of the spinnaker is "This giant sail has big bands of red and blue running across it, though you can't see them very well right now inasmuch as it's balled up in the pouch. The halyard you use to hoist it up and set it loose is anchored in a nearby cleat."; Now sail-chitchat is false. Understand "douse [spinnaker]" as taking. Understand "drop [spinnaker] down/--" as taking. Understand "lower [spinnaker]" as taking. Understand "get [spinnaker] down" as taking. Understand "take [spinnaker] down" as taking. Understand "take down [spinnaker]" as taking. Understand "get down [spinnaker]" as taking. Instead of pulling the spinnaker when the spinnaker is unhoisted, try hoisting the noun. Hoisting is an action applying to one visible thing. Understand "hoist [something]" as hoisting. Understand "haul up/-- on/-- [something]" as hoisting. Understand "get [something] up" as hoisting. Understand "raise [something]" as hoisting. Understand "pull [something] up" as hoisting. Understand "put [something] up" as hoisting. Understand "put up [something]" as hoisting. Understand "pull up [something]" as hoisting. Understand "get up [something]" as hoisting. Understand "raise up [something]" as hoisting. Understand "lift [spinnaker]" as hoisting. Understand "put up [something]" as hoisting. Understand "set up/-- [spinnaker]" as hoisting. Understand "set [spinnaker] up/--" as hoisting. [I really missed a step here by not having HOIST PETARD as an easter egg] Check hoisting: If the noun is the spinnaker-pole, try taking the noun instead; If the noun is the mainsail or the noun is the jib, say "That's already up." instead; If the noun is not the spinnaker, say "That doesn't seem especially hoistable." instead. Carry out hoisting: If going-upwind is happening, say "That would lead to chaos -- very slow, race-losing chaos -- since the chute would catch the wind and push you backward." instead; If jibe-flag is true, say "You're about to jibe -- this is no time to mess around with the spinnaker!" instead; If the spinnaker is unhoisted and jibe-flag is false and the progress of the russo 420 is greater than (the distance of the third buoy minus 20): Say "It's time for the last upwind leg -- you don't need the chute back up!" instead; Now sail-chitchat is false; If the spinnaker-pole is unhoisted: Say "You pull the chute out of the pouch and crank back on the halyard. It's looking like a good set, but you realize your mistake half a second before Liz does -- 'Russo! You forgot the pole! Fuck!' Hastily you cram the spinnaker back down, trying not to let the hot flush of embarrassment throw your head too far out of the race."; Now the speed of the russo 420 is the speed of the russo 420 minus 2; Stop the action; If the spinnaker is hoisted, say "You've already gotten the chute up." instead; Say "You haul up on the halyard and pull the chute out of the pouch as the rope lifts it up. With the pole keeping it clear of the mainsail's wind-shadow, the spinnaker catches the breeze with a loud thump -- and the boat starts going faster, kicking up spray as it cuts through the waves[if the progress of the russo 420 minus the distance of the first buoy is greater than 14]. 'Ugh, that set took forever,' Liz complains. 'No it didn't!' you yell back, though you're pretty sure she's right[otherwise]. 'Good set,' Liz says, which is a rare nice word from her[end if]."; Now the speed of the russo 420 is the speed of the russo 420 plus 2; now the spinnaker is hoisted; now the description of the spinnaker is "The chute is a giant splash of blue and red at the front of your 420, pulling you downwind at a solid clip. Just like the jib, you need to keep it trimmed to catch the wind right, using the sheet and guy. Right now [if the spinnaker is perfect]it's set perfectly, billowing full-bellied[otherwise if the spinnaker is overtight]you've got it pulled too far in, making it too flat to channel the full force of the wind[otherwise]the chute is too far out, leaving the bottom edge luffing[end if]." The spinnaker-sheets are part of the Russo 420. They are plural-named. The printed name is "spinnaker sheet and guy". Understand "spinnaker/-- guy/sheets" as the spinnaker-sheets. Understand "spinnaker/-- sheet" as the spinnaker-sheets when the spinnaker is hoisted. Understand "spinnaker sheet" as the spinnaker-sheets. The description is "These ropes let you pull in the spinnaker if it's luffing, or let it out if it's too flat." Instead of doing something other than examining to the spinnaker-sheets when the spinnaker is unhoisted, say "The spinnaker sheets won't do much if the chute's not hoisted." Instead of pulling the spinnaker when the spinnaker is hoisted, try pulling the spinnaker-sheets. Understand "tighten [spinnaker]" as pulling. Understand "tighten [spinnaker-sheets]" as pulling. Understand "pull in/-- [spinnaker] in/--" as pulling. Understand "pull in/-- [spinnaker-sheets] in/--" as pulling. Understand "bring in/-- [spinnaker-sheets] in/--" as pulling. Understand "bring in/-- [spinnaker] in/--" as pulling. Understand "trim [spinnaker]" as pulling. Understand "trim [spinnaker-sheets]" as pulling. Understand "crank in/-- [spinnaker] in/--" as pulling. Understand "crank in/-- [spinnaker-sheets] in/--" as pulling. Understand "adjust [spinnaker]" as pulling. Understand "adjust [spinnaker-sheets]" as pulling. Understand "take in [spinnaker]" as pulling. Understand "take in [spinnaker-sheets]" as pulling. After pulling the spinnaker-sheets: Now sail-chitchat is false; If the spinnaker is overtight, say "The chute's as far in as it'll go in this wind." instead; Say "You crank the sheet in, bringing the spinnaker closer to the bow[if the spinnaker is luffing]. 'Nice and tight, stay nice and tight!' Liz yells in approval[end if]."; If the spinnaker is perfect, now the spinnaker is overtight; If the spinnaker is luffing, now the spinnaker is perfect. Instead of loosening the spinnaker, try loosening the spinnaker-sheets. Carry out loosening the spinnaker-sheets: Now sail-chitchat is false; If the spinnaker is luffing, say "You give the spinnaker more rope, but it's already so loose that it doesn't take up the slack." instead; Say "You ease the chute out so it catches more of the wind[if the spinnaker is overtight]. 'Ha, there we go!' you yell back at Liz, feeling the acceleration[end if]."; If the spinnaker is perfect, now the spinnaker is luffing; If the spinnaker is overtight: now the spinnaker is perfect; increment the speed of the russo 420. Does the player mean pulling the spinnaker-sheets while going-downwind is happening: it is very likely. Does the player mean loosening the spinnaker-sheets while going-downwind is happening: it is very likely. [Try making pole of the 420?] [This comment is from the original release; your guess is as good as mine] The spinnaker-pole is part of the Russo 420. Understand "pole" as the spinnaker-pole. The spinnaker-pole is either hoisted or unhoisted. The spinnaker-pole is unhoisted. The description is "This pole clips onto the mast and the far corner of the spinnaker when you're running downwind, which helps the chute catch more wind." Instead of doing anything other than examining to the spinnaker-pole when going-upwind is happening, say "You don't need to mess with the pole when you're going upwind." The printed name of the spinnaker-pole is "pole". Instead of putting the spinnaker-pole on the Russo 420, try taking the spinnaker-pole. Understand "clip [spinnaker-pole] on/onto/to/-- mast/boat/--" as taking. Understand "unclip [spinnaker-pole] from/-- mast/boat/--" as taking when the spinnaker-pole is hoisted. Understand "swap [spinnaker-pole] over/--" as taking when the jibe-flag is true and the spinnaker-pole is hoisted. Understand "switch [spinnaker-pole] over/--" as taking when the jibe-flag is true and the spinnaker-pole is hoisted. Understand "douse [spinnaker-pole]" as taking when the spinnaker-pole is hoisted. Understand "put up [spinnaker-pole]" as taking. Understand "move over/-- [spinnaker-pole]" as taking. Understand "move [spinnaker-pole] over/--" as taking. Understand "lift [spinnaker-pole]" as taking. Understand "pull [spinnaker-pole]" as taking when going-downwind is happening and jibe-flag is true. Understand "pull [spinnaker-pole]" as taking when the distance of the third buoy minus the progress of the russo 420 is less than 20. Understand "grab [spinnaker-pole]" as taking. Understand "get [spinnaker-pole] down" as taking. Understand "take [spinnaker-pole] down" as taking. Understand "take down [spinnaker-pole]" as taking. Understand "get down [spinnaker-pole]" as taking. Understand "set up/-- [spinnaker-pole]" as taking. Understand "set [spinnaker-pole] up/--" as taking. Instead of pushing the spinnaker-pole, try taking the noun. Instead of switching on the spinnaker-pole, try taking the noun. [xxupdate to location of new buoys, then modify to new leg-progress figures] [Likewise. I think I must have done this?] jibe-preempt-ridgie is initially false. jibe-preempt-dave is initially false. jibe-preempt-both-ridgie is initially false. jibe-preempt-both-dave is initially false. [I think these are needed if one or more other boats are also trying to jibe around the second buoy when the player gets there] Instead of taking the spinnaker-pole: Now sail-chitchat is false; If the spinnaker-pole is hoisted and the spinnaker is unhoisted and jibe-flag is false and the progress of the russo 420 is less than (the distance of the third buoy minus 20): Say "The pole's where it needs to be -- now you need to get the chute up!"; If the spinnaker-pole is unhoisted and the spinnaker is unhoisted and jibe-flag is false and the progress of the russo 420 is less than (the distance of the third buoy minus 20): Say "You pull the pole out of its clip and snap it into place on the mast -- now you're ready to hoist the chute."; Now the spinnaker-pole is hoisted; If the spinnaker-pole is unhoisted and the spinnaker is unhoisted and jibe-flag is false and the progress of the russo 420 is greater than (the distance of the third buoy minus 20): Say "It's time for the last upwind leg -- you don't need the pole back up!"; If the spinnaker-pole is unhoisted and the spinnaker is hoisted: Say "You need to douse the chute, not put the pole back up!"; If the spinnaker-pole is hoisted and the spinnaker is hoisted and jibe-flag is false: If the distance of the third buoy minus the progress of the russo 420 is less than 28: Say "You unclip the pole and stow it, so it'll be out of the way when you douse the chute."; Now the spinnaker-pole is unhoisted; Otherwise: Say "The chute will get all messed up if you take the pole down now!"; If jibe-flag is true: if the checkpoint of the ridgie-emily 420 is the first buoy and the checkpoint of the dave-liz 420 is the first buoy: if the progress of the ridgie-emily 420 plus the speed of the ridgie-emily 420 is greater than the distance of the second buoy: if the progress of the dave-liz 420 plus the speed of the dave-liz 420 is greater than the distance of the second buoy: if the progress of the ridgie-emily 420 plus the speed of the ridgie-emily 420 is greater than the progress of the dave-liz 420 plus the speed of the dave-liz 420: Now jibe-preempt-both-dave is true; stop the action; otherwise: now jibe-preempt-both-ridgie is true; stop the action; if the progress of the ridgie-emily 420 plus the speed of the ridgie-emily 420 is greater than the progress of the russo 420 plus the speed of the russo 420: now jibe-preempt-ridgie is true; stop the action; if the checkpoint of the ridgie-emily 420 is the first buoy: if the progress of the ridgie-emily 420 plus the speed of the ridgie-emily 420 is greater than the progress of the russo 420 plus the speed of the russo 420: now jibe-preempt-ridgie is true; stop the action; if the checkpoint of the dave-liz 420 is the first buoy: if the progress of the dave-liz 420 plus the speed of the dave-liz 420 is greater than the progress of the russo 420 plus the speed of the russo 420: now jibe-preempt-dave is true; stop the action; Say "You unclip the pole from the mast so you're ready to swap it, and nod to Liz. 'Jibe ho!' she yells, and turns you around the second buoy.[paragraph break]You duck the boom as it rushes across to the other side of the boat, and clip in the pole into the new windward side, keeping the spinnaker pretty full throughout. 'Ha!' you crow, 'that was a good jibe!' Liz rolls her eyes at you and calls you a dork, but who cares."; Now the checkpoint of the russo 420 is the second buoy; Now jibe-flag is false; Now the jib is static; Now the jib is perfect; Now the spinnaker is perfect; Now the description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a moderate breeze.[paragraph break]You're on the last downwind leg, [if the distance of the third buoy minus the progress of the Russo 420 is greater than 66]though the third buoy's still far away[otherwise if the distance of the third buoy minus the progress of the Russo 420 is greater than 33]about midway through[otherwise]and you've almost reached the buoy[end if]."; Now the heading of the Russo 420 is southeast. [Ooof, probably should have spun out that logic for figuring out whether the jibe preempts are true into a freestanding "to decide whether" phrase or two (I think the actual game effect of what happens if the action is stopped due to a pre-empt gets handled in an every turn rule, since that's where the progress of the other boats is usually noted)] Understand "drop [spinnaker-pole]" as taking when the spinnaker-pole is hoisted. Understand "move [spinnaker-pole] over/--" as taking when the spinnaker-pole is hoisted. Understand "lower [spinnaker-pole]" as taking when the spinnaker-pole is hoisted. Understand "get [spinnaker-pole] down" as taking when the spinnaker-pole is hoisted. Jibing is an action applying to nothing. Understand "jibe" as jibing. Carry out jibing: If jibe-flag is true, try taking the spinnaker-pole instead; Say "You don't need to do that right now." [Whew! That's most of the player-facing mechanics for this part done -- lots more to go, though!] Chapter 2 - Sailing the_last_command is a text that varies. [Not sure why I used underscores here - usually I like hyphens for this sort of thing] Every turn while sailing is happening: now the_last_command is the player's command. Before waiting while sailing is happening and sailing-mike is unstung: If the_last_command is "z" or the_last_command is "wait": Say "Waiting like this is boring -- you could at least talk to Liz to pass the time." instead. Sailing is a scene. Sailing begins when Toddlerhood ends. Sailing ends when the checkpoint of the Russo 420 is the final buoy. Understand "jump overboard" as jumping when sailing is happening. Understand "swim" as jumping when sailing is happening. Understand "row boat/--" as a mistake ("That would probably count as cheating.") when sailing is happening. Understand "sail boat/--" as a mistake ("Yes, that's the general idea.") when sailing is happening. Understand "yell at [someone]" as talking when sailing is happening. Understand "shout at [someone]" as talking when sailing is happening. Understand "scream at [someone]" as talking when sailing is happening. [I think there's a HAIL (someone) understand statement up above -- not sure why it's there and not here] The you-can-also-see rule does nothing when sailing is happening. A room has a number called the wind-strength. The wind-strength is usually 0. The prevailing wind is a direction that varies. North-northwest is a direction. North-northeast is a direction. [I don't think I wound up using the wind direction that much, since intercting with that is the job of the skipper, not the crew, but I started out with some of the infrastructure just in case] Event-flag is a number that varies. Event-timer is a number that varies. Wind-shift-timer is a number that varies. Going-upwind is a recurring scene. Going-upwind begins when Sailing begins. Going-upwind begins when going-downwind ends. Going-upwind ends when the checkpoint of the Russo 420 is the first buoy. Going-upwind ends when Sailing ends. Going-downwind is a scene. Going-downwind begins when the checkpoint of the Russo 420 is the first buoy. Going-downwind ends when the checkpoint of the Russo 420 is the third buoy. [xx update to distance of first buoy] [Again, comments I failed to clean up towards the end of the original release!] The wind-strength of Nantucket Harbor is 5. The description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a [if the wind-strength of nantucket harbor is less than 5]weak[otherwise if the wind-strength of nantucket harbor is greater than 5]stiff[otherwise]moderate[end if] breeze.[paragraph break]The first buoy is upwind to the north, [if the progress of the Russo 420 is less than 25]still a good way away[otherwise if the progress of the Russo 420 is less than 50]and you've covered maybe half the distance to it[otherwise]and it's getting pretty close[end if]." To say place of (B - a sailboat): If the first-place boat is B, say "first"; If the second-place boat is B, say "second"; If the third-place boat is B, say "third". [I think this is the first to say phrase I ever wrote -- nothing much to look at, but I was excited to figure out how this stuff works!] When Sailing begins: Say "[bold type]Nantucket, MA -- Summer 1995[roman type][paragraph break]"; Say "'We're going to win this race,' Liz says, a mutter only barely audible over the sound of the mainsail snapping taut. Just as well she's talking to herself and not to you, because if forced to reply you'd point out that Ridgie and Emily won the last race, and the one before that, and probably like 80% of all the practice races the team's done this summer -- and of course Dave and the other Liz won the remaining 20-odd percent so the exact breakdown between them doesn't change the 0.0% chance statistics gives you of winning this time.[paragraph break]But math annoys Liz in the best of circumstances, all the more so when it's getting in the way of her competitive streak, so you keep your mouth shut and your eyes on the jib. Maybe if you're lucky you'll get second place this time? Second place would be nice."; Now the block showing rule response (A) is "[The second noun] [are] too busy to pay any attention to that."; Now the player is sailing-mike; Let event-flag be 0; Let event-timer be 0; Now the prevailing wind is north; Now the heading of the Russo 420 is north; The first tack happens in four turns from now. A buoy is a kind of thing. A buoy is scenery. A buoy has a real number called the distance. The first buoy is a buoy in Nantucket Harbor. The description is "A bright orange buoy bobs in the harbor, marking the end of the first upwind leg of the course." The distance of the first buoy is 80. The second buoy is a buoy in Nantucket Harbor. The description is "Another bright orange buoy, denoting the place, midway through the downwind part of the race, where you need to jibe." The distance of the second buoy is 160. The third buoy is a buoy in Nantucket Harbor. The description is "This buoy -- yes, bright and orange and floating, just like all the others -- is the end of the downwind leg." The distance of the third buoy is 240. The final buoy is a buoy in Nantucket Harbor. Understand "finish line/--" as the final buoy. Understand "whaler/motorboat/motor boat/--" as the final buoy. Understand "last buoy/--" as the final buoy. The description is "The line between a final buoy and a Whaler motorboat indicates where the race will wrap up." The distance of the final buoy is 320. Instead of taking the first buoy, say "The buoys are anchored pretty good, so that'd just slow you down." Instead of taking the second buoy, say "The buoys are anchored pretty good, so that'd just slow you down." Instead of taking the third buoy, say "The buoys are anchored pretty good, so that'd just slow you down." Instead of taking the final buoy, say "The buoys are anchored pretty good, so that'd just slow you down." The ocean is scenery in Nantucket Harbor. Understand "open/-- water/harbor/sea/waves/clump/seaweed/wave/chop/glare/ferry/jetties/jetty/motorboat/wake/fish/minnows/spray/foam" as the ocean. The description is "[one of]The wind isn't too heavy today so neither are the waves, though there's definitely a bit of chop.[or]You see a big clump of seaweed slip by under your keel.[or]The water's more gray than blue today, with maybe a hint of green.[or]The sun reflects off the water in a patch of glare that hits you in the eyes, and you stifle a sneeze.[or]In the distance, well past where you're racing, you see the ferry leaving the jetties and heading for the open ocean.[or]You notice a passing motorboat slow, watching you sail, then speed up again (you don't think their wake will be heavy enough to matter).[or]Tiny fish -- minnows -- swirl around as you speed through their school.[or]A bit of spray catches you in the face, and you turn to look at the white foam being churned up by your bow, momentarily mesmerized.[at random][if the darker patch is in Nantucket Harbor] It looks like there's a small patch of slightly-darker water moving towards you -- that usually means the wind's faster over there.[end if]". Instead of taking the ocean, say "Your reach rather exceeds your grasp." The beach is scenery in nantucket harbor. Understand "land/beaches" as the beach. The description is "Liz catches you looking over at the beach. 'This race not interesting enough for you, Russo?'". Instead of taking the beach, say "Your reach rather exceeds your grasp." The darker patch is scenery in Nantucket Harbor. The description is "This darker patch of water indicates there's more wind over there, though it won't do you much good unless Liz sees it too." Understand "dark patch/--" as the darker patch. The no-darker-patch is scenery. Understand "dark/darker/patch patch/--" as the no-darker-patch. The description is "Strain your eyes as you might, you don't see another dark patch of water anywhere." Darker-patch-flag is initially false. Carry out examining the darker patch: Now darker-patch-flag is true; Now the greeting of sailing-Liz is sl-wind. Carry out examining the ocean when the darker patch is in nantucket harbor: Now darker-patch-flag is true; Now the greeting of sailing-liz is sl-wind. Instead of exiting or jumping while Sailing is happening, say "You'd get very wet, and Liz would get very pissed." Instead of going a direction while Sailing is happening, say "Liz is skippering, so she's steering the boat and you're along for the ride." Sailing-mike is a man in the Russo 420. The description is "You're a scrawny 14[if going-upwind is happening], perched on the rail of the 420 with your feet tucked securely into the hiking straps[end if][if going-downwind is happening], sitting in the middle of the 420 trying to keep your weight balanced[end if]. Besides your clothes, you're wearing a life jacket and a pair of hiking boots, and you've got your BBR hat pulled over your sun-lightened hair." The greeting of sailing-mike is s-selftalk. Understand "hair" as sailing-mike. The sailing-clothes are part of sailing-mike. Understand "clothes/tee/t-shirt/shirt/shorts/khakis" as the sailing-clothes. The printed name is "your clothes". The sailing-clothes are plural-named. The description of the sailing-clothes is "You've got on a Far Side t-shirt ('Mr. Osborne, may I be excused? My brain is full') and some khaki shorts, damp and salt-stained." Sailing-mike is wearing your BBR hat. Understand "my/mike's/-- cap/hat" as your BBR hat. The description of your BBR hat is "The height of Cape Cod sailing cachet, this cap reads 'Mount Gay Barbados Rum Buzzards Bay Regatta [apostrophe]95'. Ideally long exposure to salt air would have faded it into a pale pink, but since you just got yours a few weeks ago, it remains lobster-red.[paragraph break]You are wearing yours backwards, which at a distance of several decades you now find very embarrassing." Sailing-mike is wearing your life jacket. Understand "my/mike's/-- life/-- vest/jacket/lifejacket" as your life jacket. The description of your life jacket is "Your life jacket, with alternating yellow and red flotation ribs. Even pulled as tight as it will go, it's still a little big on you." Sailing-mike is wearing your hiking boots. Understand "my/mike's/-- hiking/-- boots" as your hiking boots. The description of your hiking boots is "These rubber boots have a thick tread to help you keep your footing on slippery surfaces." Instead of taking off something when the player is sailing-mike, say "Stripping in the middle of a race isn't fast, and besides you'd probably lose [noun] overboard." Sailing-liz is a woman in the Russo 420. Understand "Liz/sister/twin" as sailing-liz. Understand "liz's/sister's hat/boots/jacket/life/hiking/lifejacket boots/jacket/--" as sailing-liz. The printed name of sailing-liz is "Liz". The litany of sailing-liz is the Table of Sailing-Liz Comments. The greeting of sailing-liz is sl-intro. The description of sailing-liz is "Liz is completely focused on skippering, her eyes continually moving between the mainsail, the telltale, and the other boats while making tiny adjustments to the tiller and mainsheet every few seconds. She's wearing the same kind of life jacket, boots, and hat as you -- except for the time mom dressed the two of you in matching sailor-suits when you were two, you've rarely looked more twinlike." Instead of doing anything other than examining or talking to or showing or racing to sailing-liz, say "You really don't want to mess with her while she's skippering." Understand "push [sailing-liz] overboard" as pushing. The sailing-bee is a bee. The description is "The bee is long gone." Instead of doing anything other than examining to the sailing-bee, try examining the sailing-bee. Sailing-sting is nowhere. The description is "A big red welt on your arm." Understand "arm/sleeve/sting" as the sailing-sting. Instead of rubbing the sailing-sting, say "It really hurts!" [I think I did the stings as conditional understand statements in other chapters? That's probably a better way to go] Carry out singing when the player is sailing-mike: Say "It's inaudible over the wind -- which is good, since this way Liz won't notice and make fun of you -- but you mumble-sing [one of]a bit of Comfortably Numb[or]the chorus of Free Falling[or]the beginning of Wish You Were Here[or]the fast bit of Ants Marching[at random] to yourself." Carry out cursing when the player is sailing-mike: Say "You curse -- the older kids do it all the time when sailing, regardless of whether they're winning or losing -- but you don't do it with much conviction. 'Gotta get that Tourette's looked at, Russo,' Liz says." Ooching is an action applying to nothing. Understand "ooch" as ooching. Check ooching: If the player is not sailing-mike, say "That only works when you're on a boat." instead. Carry out ooching: Say "Ooching is technically illegal in a race, even though Liz does it sometimes." Chapter 2.2 - Other Boats The Ridgie-Emily 420 is a sailboat in Nantucket Harbor. The printed name is "Ridgie and Emily's 420". The speed of the Ridgie-Emily 420 is 5. The progress of the ridgie-emily 420 is 12. The description is "Ridgie and Emily are the fastest ones on the team -- they're a couple years older than you and Liz, and are just flat-out better. Their boat is [if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 20]way ahead of you[otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 7]enjoying a solid lead over yours[otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than -7]relatively close to yours[otherwise]lagging yours, which violates all known laws of the universe[end if]. They're in [place of the ridgie-emily 420]." Understand "ridgie's/emily's boat/420" as the ridgie-emily 420. Understand "ridgie and emily" as the ridgie-emily 420. Understand "ridgie/emily and emily's/ridgie's boat/420" as the ridgie-emily 420. The place of the ridgie-emily 420 is "first". Rule for writing a paragraph about the Ridgie-Emily 420: If the checkpoint of the Ridgie-Emily 420 is the final buoy, say "Ridgie and Emily have already crossed the finish line."; Otherwise say "Ridgie and Emily are going to win. They're currently in [place of the ridgie-emily 420] place, [if the checkpoint of the ridgie-emily 420 is nothing]heading upwind to the first buoy[otherwise if the checkpoint of the ridgie-emily 420 is the first buoy]flying downwind on their way to the second buoy[otherwise if the checkpoint of the ridgie-emily 420 is the second buoy]on their way to the third buoy[otherwise]beating up towards the finish line[end if], and they're [if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 20]way ahead of you[otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 7]surprisingly close[otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than -7]somehow neck and neck with you[otherwise]behind you, which violates all known laws of the universe[end if]." Ridgie is a man in the Ridgie-Emily 420. The description is "Ridgie is very tall and -- it's obvious even at this distance -- very cool. His boat is [if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 20]way ahead of you[otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 7]surprisingly close[otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than -7]somehow neck and neck with yours[otherwise]lagging yours, which violates all known laws of the universe[end if]." The greeting of ridgie is m-sailing-block. Emily is a woman in the Ridgie-Emily 420. The description is "From this distance all you can see of Emily is her shock of red hair. Her boat is [if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 20]way ahead of you[otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 7]surprisingly close[otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than -7]somehow neck and neck with yours[otherwise]lagging yours, which violates all known laws of the universe[end if]." The greeting of emily is f-sailing-block. Understand "red hair" as emily. Instead of doing something other than talking to or examining or racing to ridgie, say "He's too far away for that." Instead of doing something other than talking to or examining or racing to emily, say "She's too far away for that." Instead of doing anything other than talking to or examining or racing to dave, say "He's too far away for that." Instead of doing anything other than talking to or examining or racing to other-liz, say "She's too far away for that." Instead of doing anything other than examining to the ridgie-emily 420, say "They're too far away for that." Instead of doing anything other than examining to the dave-liz 420, say "They're too far away for that." The Dave-Liz 420 is a sailboat in Nantucket Harbor. The printed name is "Dave and (the other) Liz's 420". The speed of the Dave-Liz 420 is 5. The progress of the Dave-Liz 420 is 9. The description is "Dave and Liz (not your sister, the other Liz) are in their boat, [if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 20]beating you by a comfortable margin[otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 7]not too far ahead[otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than -7]jostling with you and (your sister) Liz for position[otherwise]eating your wake[end if]. Now they're in [place of the dave-liz 420] place." Understand "dave's/liz's boat/420" as the dave-liz 420. Understand "dave/Liz and dave's/liz's boat/420" as the dave-liz 420. Understand "dave and liz" as the dave-liz 420. The place of the dave-liz 420 is "second". Rule for writing a paragraph about the Dave-Liz 420: If the checkpoint of the Dave-Liz 420 is the final buoy, say "Dave and Liz beat you, the jerks."; Otherwise say "You might have a shot at beating Dave and (the other) Liz, who are currently in [place of the dave-liz 420] -- [if the checkpoint of the dave-liz 420 is nothing]they're still in the first part of the race, going upwind[otherwise if the checkpoint of the dave-liz 420 is the first buoy]they have their spinnaker up, on their way to the second buoy[otherwise if the checkpoint of the dave-liz 420 is the second buoy]they're on the last downwind leg[otherwise]they're making their final run upwind[end if]. [if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 20]Right now they're beating you by a comfortable margin, though[otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 7]They're not too far ahead of you[otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than -7]They're jostling with you and (your sister) Liz for position right now[otherwise]You're ahead of them[end if]." Dave is a man in the Dave-Liz 420. The description is "Dave's a pretty laid-back guy, but still a really good skipper. He's [if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 20]beating you by a comfortable margin[otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 7]not too far ahead[otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than -7]jostling with you and Liz for position[otherwise]eating your wake[end if]." Other-Liz is a woman in the Dave-Liz 420. Understand "other liz/--" as other-liz. The description of other-liz is "The other Liz, Liz A., crews for Dave ('Elizabeth', as it turns out, was the 9th most popular American girls[apostrophe] name in 1980, so this sort of thing happens regularly. Of course 'Michael' was the single most popular boys[apostrophe] name, so you don't have a leg to stand on here). [paragraph break]She's [if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 20]beating you by a comfortable margin[otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 7]not too far ahead[otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than -7]jostling with you and your-Liz for position[otherwise]eating your wake[end if]." [Oh wait, did I not give Dave and other Liz a greeting? Oops!] Does the player mean examining other-liz: it is very likely. Does the player mean examining sailing-liz: it is very unlikely. [These were attempts to deal with the fact that X OTHER LIZ kept failing, for deep inscrutable Inform reasons -- turns out OTHER is a reserved word for dealing with certain obscure disambiguation scenarios? ArdiMaster on the IntFiction forums gave me some cryptic I6 code to fix the issue, which is at the way bottom of this file] Chapter 2.3 - Sailing Rules [Here we've got the actions that aren't tied to interacting just with the boat -- those are in the Russo 420 section -- as well as the updating logic that actually runs the race. Strap in!] Hiking is an action applying to one thing. Understand "hike to/-- [outside]" as hiking. Understand "hike to/-- [inside]" as hiking. Understand "lean to/-- [outside]" as hiking. Understand "lean to/-- [inside]" as hiking. Instead of going inside when sailing is happening, try hiking inside. Instead of going outside when sailing is happening, try hiking outside. Instead of hiking outside when tack-flag is true, try rolling. Understand "leeward" as inside when sailing is happening. Understand "windward" as outside when sailing is happening. The basic accessibility rule does nothing when hiking. Check hiking: If sailing is not happening, say "Trying that on dry land would just make you fall over." Carry out hiking outside: Now sail-chitchat is false; Say "You throw the full 100 pounds of your weight back, trusting the hiking straps to keep you in[if the Russo 420 is heeling], which, combined with Liz doing the same behind you, brings the boat back to an even keel[otherwise] but since the boat isn't heeling at the moment, that doesn't do much[end if]."; If the Russo 420 is heeling, now the Russo 420 is stable. Hiked-in is initially false. Carry out hiking inside: If hiked-in is true, say "You're not doing that again." instead; Say "You throw your weight forward, into the boat. This starts to heel the 420 over until Liz, who's heavier than you by a good 20 pounds, hikes out to bring the boat level again. 'What the fuck!' she yells your way, and you blush. 'I slipped!' you lie, not very convincingly."; Now hiked-in is true; Now sail-chitchat is false. Does the player mean hiking inside: it is very unlikely. Does the player mean hiking outside: it is very likely. Rule for clarifying the parser's choice of outside: If sailing is happening, say "(out)[line break]". Tack-flag is a truth state that varies. Tack-flag is false. Last-tack-location is a real number that varies. At the time when the first tack happens: Say "'Ready about,' Liz calls, and you nod, getting ready for the tack."; Now event-flag is 1; Now event-timer is 2; Now tack-flag is true. Rolling is an action applying to nothing. Understand "roll tack/out/--" as rolling. Understand "tack" as rolling. Understand "come about" as rolling. Understand "move weight" as rolling. Instead of rolling when tack-flag is false and the russo 420 is heeling, try hiking outside. Check rolling: If sailing is not happening, say "You're not on fire, and anyway your understanding is you're supposed to stop and drop first." instead; If going-downwind is happening, say "You haven't practiced roll-jibes much, and if you do them wrong you can fall overboard or get clocked in the face by the boom as it flies across the boat -- better stick to just rolling through tacks." instead; If tack-flag is false: Say "You bump your butt down into the rail, but since you're not about to tack, that only turns you slightly to windward and bleeds off some speed. Liz corrects course and scowls at you, as you mutter a lame 'sorry.'"; Decrement the speed of the russo 420; Now sail-chitchat is false; Stop the action. Carry out rolling: Say "[one of]You look at Liz and time your roll with hers, throwing your weight out as she steers the boat through the wind -- the roll helps you turn that much faster[if the Russo 420 is heeling] and also levels out the heeling[end if], so you don't lose much speed from the tack. You flip the jib over to the new leeward side and take your seat on the new windward rail. 'Nice tack,' Liz grunts[or]You roll through the tack, keeping up your speed[if the russo 420 is heeling]and leveling out your heel[end if][stopping]."; Now the russo 420 is stable; Now the jib is static; Now the last-tack-location is the progress of the Russo 420; Now tack-flag is false; Now sail-chitchat is false. Every turn when tack-flag is true (this is the tacking rule): Say "As Liz turns your boat's bow through the wind and rolls out to help roll through the tack faster[if the russo 420 is heeling]and level out your heel[end if], you duck under the boom and flip the jib over to the new leeward side. It's a slow tack since you didn't help with the roll, though. 'What the hell, Russo?' she yells. 'Are we racing together or am I just doing this by myself?'"; Now tack-flag is false; Now the russo 420 is stable; Now the jib is static; Now last-tack-location is the progress of the Russo 420; Now the speed of the russo 420 is the speed of the russo 420 minus 1. [There isn't an analagous jibe rule since that only happens once, at a set part of the course; tacking happens many times, at irregular intervals -- I think it's handled during the sailing event rule?] Every turn when sailing is happening (this is the sailing-progress rule): Repeat with B running through sailboats in nantucket harbor: Now the progress of B is the progress of B plus the speed of B; Let L be the list of sailboats in nantucket harbor; Sort L in reverse progress order; Repeat with B running through L: If the progress of B is greater than the distance of the first buoy and the checkpoint of B is nothing: Now the checkpoint of B is the first buoy; If B is the ridgie-Emily 420, say "Ridgie and Emily round the first buoy, and Emily's spinnaker set is textbook -- they accelerate, and you know you're never going to beat them.[paragraph break]"; If B is the Dave-liz 420, say "Dave and (other) Liz get to the first buoy. Liz gets the pole a little tangled in the halyards, so it takes longer for her to get the chute up, but they quickly start making up the lost time.[paragraph break]"; If B is the Russo 420: say "You've reached the first buoy, and Liz rounds it nicely, turning the boat downwind[if the russo 420 is heeling] which levels out the heeling boat, though that slows you down a little[end if]. 'OK, get that chute up!' Liz yells, and you nod, getting ready for the set.[paragraph break]"; If the Russo 420 is heeling: Now the Russo 420 is stable; Decrement the speed of the Russo 420; Now the description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a moderate breeze.[paragraph break]You're racing downwind towards the second buoy, [if the distance of the second buoy minus the progress of the Russo 420 is greater than 50]with a ways to go yet[otherwise if the distance of the second buoy minus the progress of the Russo 420 is greater than 25]maybe halfway through this leg[otherwise]which you've almost reached[end if]."; Now the heading of the Russo 420 is southwest; If the progress of B is greater than the distance of the second buoy and the checkpoint of B is the first buoy: Now the checkpoint of B is the second buoy; If B is the ridgie-emily 420: Say "Ridgie and Emily pull off a nice jibe as they pass the second buoy, Emily smoothly moving the spinnaker pole from one side to the other and Ridgie keeping the boom under control as it sweeps all the way across the boat.[paragraph break]"; If jibe-preempt-ridgie is true or jibe-preempt-both-ridgie is true: Say "You unclip the pole from the mast so you're ready to swap it, and nod to Liz. 'Jibe ho!' she yells, and turns you around the second buoy.[paragraph break]You duck the boom as it rushes across to the other side of the boat, and clip in the pole into the new windward side, keeping the spinnaker pretty full throughout. 'Ha!' you crow, 'that was a good jibe!' Liz rolls her eyes at you and calls you a dork, but who cares."; Now the checkpoint of the russo 420 is the second buoy; Now jibe-flag is false; Now the jib is static; Now the jib is perfect; Now the spinnaker is perfect; Now the description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a moderate breeze.[paragraph break]You're on the last downwind leg, [if the distance of the third buoy minus the progress of the Russo 420 is greater than 66]though the third buoy's still far away[otherwise if the distance of the third buoy minus the progress of the Russo 420 is greater than 33]about midway through[otherwise]and you've almost reached the buoy[end if]."; Now the heading of the Russo 420 is southeast; Now jibe-preempt-ridgie is false; now jibe-preempt-both-ridgie is false; If B is the dave-liz 420: say "Dave and (other) Liz do a cautious jibe around the second buoy, cranking the mainsail all the way to the center of the boat so it doesn't fly far as it shifts through the wind.[paragraph break]"; If jibe-preempt-dave is true or jibe-preempt-both-dave is true: Say "You unclip the pole from the mast so you're ready to swap it, and nod to Liz. 'Jibe ho!' she yells, and turns you around the second buoy.[paragraph break]You duck the boom as it rushes across to the other side of the boat, and clip in the pole into the new windward side, keeping the spinnaker pretty full throughout. 'Ha!' you crow, 'that was a good jibe!' Liz rolls her eyes at you and calls you a dork, but who cares."; Now the checkpoint of the russo 420 is the second buoy; Now jibe-flag is false; Now the jib is static; Now the jib is perfect; Now the spinnaker is perfect; Now the description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a moderate breeze.[paragraph break]You're on the last downwind leg, [if the distance of the third buoy minus the progress of the Russo 420 is greater than 66]though the third buoy's still far away[otherwise if the distance of the third buoy minus the progress of the Russo 420 is greater than 33]about midway through[otherwise]and you've almost reached the buoy[end if]."; Now the heading of the Russo 420 is southeast; Now jibe-preempt-dave is false; now jibe-preempt-both-dave is false; If B is the Russo 420 and jibe-flag is true: say "You're moving past the second buoy, but you haven't got the spinnaker pole ready to switch. 'Jibe ho!' Liz calls out anyway, impatient with your delay, and moves the tiller, forcing you to rush to swap the pole as the boom comes crashing across the boat. You just manage to duck out of the way, but the spinnaker's been left to luff and it takes you a while to get the pole clipped back into the right place.[paragraph break]'Why'd you do that?' you scream at Liz, 'I wasn't ready!'[paragraph break]'You should have been,' she shrugs. 'I don't want to lose because you're spacing out.'"; Now jibe-flag is false; Now the speed of the russo 420 is the speed of the russo 420 minus 1.5; Now the description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a moderate breeze.[paragraph break]You're on the last downwind leg, [if the distance of the third buoy minus the progress of the Russo 420 is greater than 50]though the third buoy's still far away[otherwise if the distance of the third buoy minus the progress of the Russo 420 is greater than 25]about midway through[otherwise]and you've almost reached the buoy[end if]."; Now the heading of the Russo 420 is southeast; Now the spinnaker is perfect; If B is the Russo 420 and jibe-flag is false and the spinnaker is unhoisted: Say "'Jibe ho!' Liz calls, and you move to the other side of the boat as the boom sweeps across. 'Now will you try and get the fucking chute up?' she yells once she's settled into the new course.[paragraph break]"; Now the description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a moderate breeze.[paragraph break]You're on the last downwind leg, [if the distance of the third buoy minus the progress of the Russo 420 is greater than 50]though the third buoy's still far away[otherwise if the distance of the third buoy minus the progress of the Russo 420 is greater than 25]about midway through[otherwise]and you've almost reached the buoy[end if]."; Now the heading of the Russo 420 is southeast; If the progress of B is greater than the distance of the third buoy and the checkpoint of B is the second buoy: Now the checkpoint of B is the third buoy; If B is the ridgie-emily 420, say "Ridgie's boat gets to the third buoy. Emily gets the spinnaker down in a flash, and soon they're heading upwind again, on their way to the finish line.[paragraph break]"; If B is the dave-Liz 420, say "Dave and Liz round the third buoy, but they doused their chute a little too early.[paragraph break]"; If B is the Russo 420: if the spinnaker is hoisted: Say "You're coming up on the last buoy, but you've misjudged the timing and the chute is still up -- if you turn upwind like this, the spinnaker will act like a big, flying anchor. 'Russo!' Liz screams in frustration, as you desperately try to bring [if the spinnaker-pole is hoisted]the pole, and then [end if]the chute down -- you get a little tangled in the halyards but eventually you manage it. You've lost a bunch of speed, though, and Liz isn't happy (neither are you but that's less important).[paragraph break]"; Now the spinnaker is unhoisted; Now the spinnaker is in the pouch; Now the spinnaker-pole is unhoisted; Now the description of the spinnaker is "This giant sail has big bands of red and blue running across it, though you can't see them very well right now inasmuch as it's balled up in the pouch. The halyard you use to hoist it up and set it loose is anchored in a nearby cleat."; Now the speed of the russo 420 is the speed of the russo 420 minus 2; Otherwise: Say "You're coming up on the last buoy, and Liz cuts the turn around it tight, sending you speeding upwind towards the finish. 'Come on, we can do this,' she calls at you.[paragraph break]"; Now the description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a moderate breeze.[paragraph break]This is it -- the final leg, heading upwind to the finish line, [if the distance of the final buoy minus the progress of the Russo 420 is greater than 50]which is still a ways off.[otherwise if the distance of the final buoy minus the progress of the Russo 420 is greater than 25]with not too far left to go.[otherwise]and you're almost there![end if]"; Now the heading of the Russo 420 is north; If the progress of B is greater than the distance of the final buoy and the checkpoint of B is the third buoy: Now the checkpoint of B is the final buoy; If the jib is luffing and the speed of the russo 420 is greater than the wind-strength of nantucket harbor minus two, now the speed of the Russo 420 is the speed of the Russo 420 minus 1; If the jib is overtight and the speed of the russo 420 is greater than the wind-strength of nantucket harbor minus two, now the speed of the Russo 420 is the speed of the Russo 420 minus 0.5; If the jib is perfect and the speed of the Russo 420 is less than the wind-strength of nantucket harbor plus one, now the speed of the Russo 420 is the speed of the Russo 420 plus 0.5; If the spinnaker is hoisted: If the spinnaker is perfect and the spinnaker-pole is hoisted and the speed of the Russo 420 is less than two times the wind-strength of nantucket harbor: Now the speed of the Russo 420 is the speed of the russo 420 plus 1; If the spinnaker is not perfect and the speed of the russo 420 is greater than two plus the wind-strength of nantucket harbor: Now the speed of the Russo 420 is the speed of the russo 420 minus 0.5; If the spinnaker-pole is not hoisted: Now the speed of the russo 420 is the speed of the russo 420 minus 0.25; If the speed of the russo 420 is greater than the wind-strength of nantucket harbor and the spinnaker is unhoisted: now the speed of the Russo 420 is the speed of the russo 420 minus 0.25; If the speed of the russo 420 is greater than two times the wind-strength of nantucket harbor and the spinnaker is hoisted: now the speed of the Russo 420 is the speed of the russo 420 minus 0.25; If the speed of the Russo 420 is less than the wind-strength of nantucket harbor: now the speed of the Russo 420 is the speed of the russo 420 plus 0.25; If the checkpoint of the ridgie-emily 420 is nothing or the checkpoint of the ridgie-emily 420 is the third buoy: If the speed of the ridgie-emily 420 is less than the wind-strength of nantucket harbor plus 0.5: Now the speed of the ridgie-emily 420 is the speed of the ridgie-emily 420 plus 0.2; If the speed of the ridgie-emily 420 is greater than the wind-strength of nantucket harbor plus 1.5: Now the speed of the ridgie-emily 420 is the speed of the ridgie-emily 420 minus 0.5; If the checkpoint of the ridgie-emily 420 is the first buoy or the checkpoint of the ridgie-emily 420 is the second buoy: If the speed of the ridgie-emily 420 is less than two times the wind-strength of nantucket harbor plus one: Now the speed of the ridgie-emily 420 is the speed of the ridgie-emily 420 plus 0.8; If the speed of the ridgie-emily 420 is greater than two times the wind-strength of nantucket harbor plus two: Now the speed of the ridgie-emily 420 is the speed of the ridgie-emily 420 minus 0.75; If the checkpoint of the dave-liz 420 is nothing or the checkpoint of the dave-liz 420 is the third buoy: If the speed of the dave-liz 420 is less than the wind-strength of nantucket harbor: Now the speed of the dave-liz 420 is the speed of the dave-liz 420 plus 0.25; If the speed of the dave-liz 420 is greater than the wind-strength of nantucket harbor plus one: Now the speed of the dave-liz 420 is the speed of the dave-liz 420 minus 0.5; If the checkpoint of the dave-liz 420 is the first buoy or the checkpoint of the dave-liz 420 is the second buoy: If the speed of the dave-liz 420 is less than two times the wind-strength of nantucket harbor: Now the speed of the dave-liz 420 is the speed of the dave-liz 420 plus 1; If the speed of the dave-liz 420 is greater than two times the wind-strength of nantucket harbor plus one: Now the speed of the dave-liz 420 is the speed of the dave-liz 420 minus 0.5; Now event-timer is event-timer minus one; Now wind-shift-timer is wind-shift-timer minus one; If the distance of the first buoy minus the progress of the russo 420 is less than 5 and the checkpoint of the russo 420 is nothing, say "You're almost on the first buoy."; Otherwise: if the distance of the first buoy minus the progress of the russo 420 is less than 10 and the checkpoint of the russo 420 is nothing, say "You're getting pretty close to the first buoy."; if the distance of the second buoy minus the progress of the russo 420 is less than the speed of the russo 420 and the checkpoint of the russo 420 is the first buoy and the spinnaker is hoisted: Say "'Ready to jibe,' Liz calls out as you near the second buoy -- you prepare to move the pole over and jibe.[paragraph break]('Jibe' and 'jib' are completely different things, but names that make sense aren't a major feature of sailing)."; Now jibe-flag is true; Otherwise if the distance of the second buoy minus the progress of the russo 420 is less than 3 and the checkpoint of the russo 420 is the first buoy and the spinnaker is unhoisted: Say "'Ready to jibe,' Liz calls out as you near the second buoy -- since you haven't got the chute up, there isn't much for you to do now."; Otherwise: If the distance of the second buoy minus the progress of the russo 420 is less than 20 and the checkpoint of the russo 420 is the first buoy, say "You're closing in on the second buoy -- Liz will be calling the jibe soon."; If the distance of the third buoy minus the progress of the russo 420 is less than 10 and the checkpoint of the russo 420 is the second buoy and the spinnaker is hoisted, say "You're pretty much on top of the third buoy -- you need to get that chute down!"; Otherwise if the distance of the third buoy minus the progress of the russo 420 is less than 5 and the checkpoint of the russo 420 is the second buoy and the spinnaker is unhoisted: Say "You're pretty much on top of the third buoy."; Otherwise: if the distance of the third buoy minus the progress of the russo 420 is less than 20 and the checkpoint of the russo 420 is the second buoy, say "The third buoy is getting pretty close[if the spinnaker is hoisted] so you should get ready to douse the spinnaker[end if]."; [Whew! In retrospect, throwing all the distance update stuff, the buoy-rounding code, and the speed shifting into a single rule was more than a bit unwieldy] Jibe-flag is a truth state that varies. Jibe-flag is false. Upwind-dave-flag is a truth state that varies. Upwind-dave-flag is false. Upwind-ridgie-flag is a truth state that varies. Upwind-ridgie-flag is false. Downwind-dave-flag is a truth state that varies. Downwind-dave-flag is false. Downwind-ridgie-flag is a truth state that varies. Downwind-ridgie-flag is false. [...I think these have something to do with one of the random events?] Every turn when sailing is happening and going-downwind is happening and the spinnaker is unhoisted and the distance of the third buoy minus the progress of the russo 420 is greater than 15: If a random chance of 1 in 3 succeeds: Say "[one of]'Come on, get the spinnaker up!' Liz exhorts you.[or]'We're wasting wind, hoist the chute!' Liz screams at you.[or]'Do you want to lose?' Liz yells. 'Get the fucking chute up!'[or]Liz is reduced to bargaining: 'I won't tease you about Laura for a month if you just get the spinnaker up, okay?'[or]Liz eyes the spinnaker in its pouch, clearly contemplating whether she can just drop the tiller, push past you, and hoist it herself.[or]Liz glares at you wordlessly, defeated by your stubborn refusal to get the chute up.[stopping]". [xxreview for tack distance given new distances] [...again, hopefully I did this!] Every turn when sailing is happening (this is the random-event rule): Now the greeting of dave is m-sailing-block; Now the greeting of other-liz is f-sailing-block; Now the greeting of ridgie is m-sailing-block; Now the greeting of emily is f-sailing-block; [Oh, I see, this is why I didn't set the greetings -- the conversations for the other sailors change depending on one random event, so I was setting and resetting them in this code. I think I have a male and femal version here since I didn't know how the him/her token works] if the greeting of sailing-liz is downwind-liz or the greeting of sailing-liz is upwind-liz: if darker-patch-flag is false, now the greeting of sailing-liz is sl-intro; if darker-patch-flag is true, now the greeting of sailing-liz is sl-wind; If sailing-mike is stung, rule succeeds; If the jib is near-tight and wind-shift-timer is less than 1: Now the jib is overtight; Now the jib is static; Say "You see the jib's looking too tight -- the wind must have shifted slightly without you noticing. 'Russo, come on!' Liz shouts in frustration. 'Eyes on the telltale!'[paragraph break]"; If the jib is near-luffing and wind-shift-timer is less than 1: Now the jib is luffing; Now the jib is static; Say "You see the jib's luffing -- the wind must have shifted slightly without you noticing. Better get that tightened before Liz sees.[paragraph break]"; If progress of Russo 420 is greater than (the distance of the final buoy minus 16): Say "You're closing in on the finish line, and you lean forward, trying to get every bit of speed you can --[paragraph break]And then suddenly there's a super loud buzzing and it's like somebody just punched you in the arm, and you yell out a 'fuck!' and slap your hand over the hurt, only to cup a fluttering, buzzing thing clinging to your sleeve. Just as you process that you're holding a bee, it comes loose and falls into the water."; Now sailing-mike is stung; Now sailing-sting is part of sailing-mike; Now sailing-bee is in nantucket harbor; Rule succeeds; If catchup-failsafe is true: rule succeeds; If the darker patch is not in nantucket harbor: If a random chance of 1 in 5 succeeds: Now the no-darker-patch is nowhere; Now the darker patch is in nantucket harbor; If the darker patch is in nantucket harbor and the greeting of sailing-liz is not sl-wind and the progress of the russo 420 is greater than 40: If a random chance of 1 in 5 succeeds: Now the darker patch is nowhere; Now the no-darker-patch is in nantucket harbor; Let X be a random number between 1 and 100; If event-flag is 0, rule succeeds; If event-timer is greater than 0, rule succeeds; If going-upwind is happening: If the progress of the Russo 420 minus last-tack-location is greater than 23: If the checkpoint of the Russo 420 is nothing and the progress of the Russo 420 is less than (the distance of the first buoy minus 15): Say "[one of]'Think we should tack?' Liz asks -- you look at the buoy, and yeah, you're getting pretty far to one side, so you nod. [or]You and Liz see the patch of dead wind ahead at the same time -- it's just about time to tack anyway so better to do it now and avoid the lull. [or]'I think the other side's faster,' Liz says, squinting at the water to try to read the wind. [or]'Time to tack?' you ask Liz, since it's been a while, and she nods. [or]'We might be able to cut off [if the progress of the russo 420 is greater than the progress of the dave-liz 420]Ridgie[otherwise]Dave[end if] if we tack now,' Liz says. [or]'Looks like some current there,' Liz says, and prepares to tack. [at random]'Ready about,' she announces, and [one of]pulls in the mainsheet to get ready for the tack[or]shifts her weight to prepare to roll[or]looks around to make sure you're clear of the other boats[at random]."; Now tack-flag is true; Rule succeeds; If the checkpoint of the Russo 420 is the third buoy and the progress of the Russo 420 is less than (the distance of the final buoy minus 20) and the progress of the Russo 420 is greater than (the distance of the third buoy plus 15): Say "[one of]'Think we should tack?' Liz asks -- you look at the buoy, and yeah, you're getting pretty far to one side, so you nod. [or]You and Liz see the patch of dead wind ahead at the same time -- it's just about time to tack anyway so better to it now and avoid the lull. [or]'I think the other side's faster,' Liz says, squinting at the water to try to read the wind. [at random]'Ready about,' she announces, and [one of]pulls in the mainsheet to get ready for the tack[or]shifts her weight to prepare to roll[or]looks around to make sure you're clear of the other boats[at random]."; Now tack-flag is true; Rule succeeds; [All the above was stuff that if it happens, pre-empts the occurrence of a random event -- tacking takes precedence when going upwind, the bee sting obviously trumps all else, etc. This next bit is the boardgamey pick-a-card-to-see-what-happened mechanic] If X is less than 26: If the progress of the russo 420 minus the progress of the dave-liz 420 is less than 15 and the progress of the dave-liz 420 is greater than the progress of the russo 420 and the absolute value of the distance of the first buoy minus the progress of the russo 420 is greater than 10 and the checkpoint of the dave-liz 420 is the checkpoint of the russo 420 and the progress of the russo 420 is greater than 40 and upwind-dave-flag is false: [XX"50" should be halfway through the first leg] [Another errant comment -- there's no 50 here any more so I guess I made the changes] Say "You wind up running alongside Dave and the other Liz's boat. They're to windward, and you've got the right of way, so your sister tries to take advantage: 'go up!' she shouts, steering into them so they're forced to head into the wind. They lose some speed, leaving Dave cursing in frustration."; If the greeting of sailing-liz is not sl-wind, now the greeting of sailing-liz is upwind-liz; Now the greeting of dave is upwind-dave-liz; Now the greeting of other-liz is upwind-dave-liz; Now the speed of the russo 420 is the speed of the russo 420 plus 0.5; Now the speed of the dave-liz 420 is the speed of the dave-liz 420 minus 1; Now upwind-dave-flag is true; Otherwise if the absolute value of the progress of the russo 420 minus the progress of the ridgie-emily 420 is less than 15 and the absolute value of the distance of the first buoy minus the progress of the russo 420 is greater than 10 and the checkpoint of the ridgie-emily 420 is the checkpoint of the russo 420 and upwind-ridgie-flag is false: Say "You see Ridgie and Emily's boat coming at you from the opposite tack, holding a course that would run straight through yours. 'Are we going to cross ahead or behind?' Liz asks you, and you do some mental math to try to figure it out -- 'It's going to be close,' you call back to her.[paragraph break]'Fuck,' she yells, 'I'm tacking, let's not risk it. Ready about!'"; Now tack-flag is true; Now upwind-ridgie-flag is true; Otherwise: Rule succeeds; Otherwise if X is less than 35: If the checkpoint of the ridgie-emily 420 is the final buoy, rule succeeds; If a random chance of 1 in 2 succeeds: say "[one of]You see Emily pointing out a patch of darker water to Ridgie, where the wind must be stronger. They head over there and pick up speed, though it's too far away for you to take advantage. [or][if the checkpoint of the ridgie-emily 420 is nothing or the checkpoint of the ridgie-emily 420 is the third buoy]Ridgie and Emily pull off a perfect roll tack, gaining speed through the turn. [otherwise]You're not sure why, but Ridgie and Emily suddenly seem to be going faster (maybe if you were a better sailor you'd be able to tell?) [end if][at random]'Shit -- why do they always get lucky?' Liz spits when she sees what's happened."; Now the speed of the Ridgie-Emily 420 is the speed of the Ridgie-Emily 420 plus 1; Otherwise: Say "[one of]The sails of Ridgie and Emily's boat suddenly go slack, like they hit a small lull -- they quickly trim the sheets in, but they've lost some speed[or][if the checkpoint of the ridgie-emily 420 is nothing or the checkpoint of the ridgie-emily 420 is the third buoy]The wind shifts over by Ridgie and Emily, putting them head-to-wind and bleeding off their speed until they adjust course[otherwise]Ridgie and Emily must have run into a bad current, though you can't see it -- anyway they've slowed down a bit[end if][at random]. Liz barks out a laugh at their bad luck, and you want to tell her that they're still going to win, but decide that'd be a bad idea."; Now the speed of the Ridgie-Emily 420 is the speed of the Ridgie-Emily 420 minus 1; Otherwise if X is less than 44: If the checkpoint of the dave-liz 420 is the final buoy, rule succeeds; If a random chance of 1 in 2 succeeds: say "[one of]A gust fills the sails of Dave and Liz's boat, making them faster. [or][if the checkpoint of the dave-liz 420 is nothing or the checkpoint of the dave-liz 420 is the third buoy]The wind shifts slightly over by Dave and Liz, letting them go a little closer to the wind and giving them some extra speed. [otherwise]You see Dave and Liz moving a little faster all of a sudden -- maybe they caught a current? [end if][at random]'It's OK,' Liz says, reassuring herself more than you, 'we still got them.'"; Now the speed of the Dave-Liz 420 is the speed of the Dave-Liz 420 plus 1; Otherwise: Say "[one of]Over in Dave's boat, you see him stumble, like he stepped on a sheet or something. The jolt slows him down[or][if the checkpoint of the dave-liz 420 is nothing or the checkpoint of the dave-liz 420 is the third buoy]Looks like Dave and (other) Liz rolled a little too late on a tack -- they spent more time head-to-wind than usual, bleeding off some of their speed[otherwise]You hear Dave and (other) Liz cursing -- looks like the wind shifted and put their spinnaker in the shadow of the mainsail, sending it luffing and making them go slower[end if][at random]. 'Suckers!' Liz mouths to herself."; Now the speed of the Dave-Liz 420 is the speed of the Dave-Liz 420 minus 1; Otherwise if X is less than 68 and the checkpoint of the russo 420 is not the first buoy: Say "Suddenly the wind gusts, speeding up your boat but also making it start to heel over, tipping the side you're sitting on up and the leeward side down!"; Now the russo 420 is heeling; Otherwise if X is less than 81: If a random chance of 1 in 2 succeeds: Say "The wind momentarily strengthens -- you need to let out the jib or you'll lose speed."; Now the speed of the russo 420 is the speed of the Russo 420 plus 0.5; Now the jib is overtight; Otherwise: Say "The jib starts to luff as the wind flags for a moment. 'Crank it in!' Liz shouts, as she tightens the mainsheet."; Now the speed of the russo 420 is the speed of the russo 420 minus 0.25; Now the jib is luffing; Otherwise if X is less than 91: If a random chance of 1 in 2 succeeds: Say "The wind freshens, growing steadily stronger. 'All right, let's go fast!' Liz shouts."; Now the wind-strength of nantucket harbor is the wind-strength of nantucket harbor plus one; Otherwise if the wind-strength of nantucket harbor is greater than 3: Say "The wind starts to flag, getting calmer and slower. Liz snorts: 'ugh, this blows.'"; Now the wind-strength of nantucket harbor is the wind-strength of nantucket harbor minus one; Otherwise if X is less than 101: If a random chance of 1 in 2 succeeds: If the jib is perfect, now the jib is near-tight; Now wind-shift-timer is 2; Otherwise: If the jib is perfect, now the jib is near-luffing; Now wind-shift-timer is 2; Now event-timer is 3; [Once again, a lot of events with a lot of code that probably could have been shunted off into phrases -- would have also made it easier to reuse the ones that also show up in the downwind table] If going-downwind is happening: If X is less than 34: If the absolute value of the progress of the russo 420 minus the progress of the dave-liz 420 is less than 15 and the absolute value of the distance of the second buoy minus the progress of the russo 420 is greater than 15 and the absolute value of the distance of the third buoy minus the progress of the russo 420 is greater than 15 and the checkpoint of the dave-liz 420 is the checkpoint of the russo 420 and downwind-dave-flag is false: Say "You come next to Dave and the other Liz's boat, both of you shearing through the waves as you fly downwind. Your speeds are nearly matched, and you're only a few feet away. 'Nice day,' Dave says to you and Liz, just to make conversation you guess."; Now the greeting of dave is downwind-dave-liz; Now the greeting of other-liz is downwind-dave-liz; Now downwind-dave-flag is true; Otherwise if the absolute value of the progress of the russo 420 minus the progress of the ridgie-emily 420 is less than 20 and the absolute value of the distance of the second buoy minus the progress of the russo 420 is greater than 15 and the absolute value of the distance of the third buoy minus the progress of the russo 420 is greater than 15 and the checkpoint of the ridgie-emily 420 is the checkpoint of the russo 420 and the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than zero and downwind-ridgie-flag is false and the spinnaker is hoisted: Say "You're coming up behind Ridgie and Emily. Since you're upwind from them your giant spinnaker robs them of their breeze, and their sails start luffing. 'Goddamn Russo twins!' Ridgie yells as you close in on them."; Now the greeting of ridgie is downwind-ridgie-emily; Now the greeting of emily is downwind-ridgie-emily; If the greeting of sailing-liz is not sl-wind, now the greeting of sailing-liz is downwind-liz; Now downwind-ridgie-flag is true; Now the speed of the ridgie-emily 420 is the speed of the ridgie-emily 420 minus 2; Otherwise: Rule succeeds; Otherwise if X is less than 44: If the checkpoint of the ridgie-emily 420 is the final buoy, rule succeeds; If a random chance of 1 in 2 succeeds: say "[one of]You see Emily pointing out a patch of darker water to Ridgie, where the wind must be stronger. They head over there and pick up speed, though it's too far away for you to take advantage. [or][if the checkpoint of the ridgie-emily 420 is nothing or the checkpoint of the ridgie-emily 420 is the third buoy]Ridgie and Emily pull off a perfect roll tack, gaining speed through the turn. [otherwise]You're not sure why, but Ridgie and Emily suddenly seem to be going faster (maybe if you were a better sailor you'd be able to tell?) [end if][at random]'All -- the -- fucking -- breaks,' Liz grunts, keeping her eyes locked on the buoy."; Now the speed of the Ridgie-Emily 420 is the speed of the Ridgie-Emily 420 plus 1; Otherwise: Say "[one of]The sails of Ridgie and Emily's boat suddenly go slack, like they hit a small lull -- they quickly trim the sheets in, but they've lost some speed[or][if the checkpoint of the ridgie-emily 420 is nothing or the checkpoint of the ridgie-emily 420 is the third buoy]The wind shifts over by Ridgie and Emily, putting them head-to-wind and bleeding off their speed until they adjust course[otherwise]Ridgie and Emily must have run into a bad current, though you can't see it -- anyway they've slowed down a bit[end if][at random]. Liz leans forward, wanting to make sure she catches every detail."; Now the speed of the Ridgie-Emily 420 is the speed of the Ridgie-Emily 420 minus 1; Otherwise if X is less than 54: If the checkpoint of the dave-liz 420 is the final buoy, rule succeeds; If a random chance of 1 in 2 succeeds: say "[one of]A gust fills the sails of Dave and Liz's boat, making them faster. [or][if the checkpoint of the dave-liz 420 is nothing or the checkpoint of the dave-liz 420 is the third buoy]The wind shifts slightly over by Dave and Liz, letting them go a little closer to the wind and giving them some extra speed. [otherwise]You see Dave and Liz moving a little faster all of a sudden -- maybe they caught a current? [end if][at random]You're not sure Liz notices, but there's not any upside to pointing it out."; Now the speed of the Dave-Liz 420 is the speed of the Dave-Liz 420 plus 1; Otherwise: Say "[one of]Over in Dave's boat, you see him stumble, like he stepped on a sheet or something. The jolt slows him down[or][if the checkpoint of the dave-liz 420 is nothing or the checkpoint of the dave-liz 420 is the third buoy]Looks like Dave and (other) Liz rolled a little too late on a tack -- they spent more time head-to-wind than usual, bleeding off some of their speed[otherwise]You hear Dave and (other) Liz cursing -- looks like the wind shifted and put their spinnaker in the shadow of the mainsail, sending it luffing and making them go slower[end if][at random]. 'Sucks for them,' Liz says, maybe 15% sympathetic and 85% gloating."; Now the speed of the Dave-Liz 420 is the speed of the Dave-Liz 420 minus 1; Otherwise if X is less than 81 and the spinnaker is hoisted: If a random chance of 1 in 2 succeeds: Say "You feel the spinnaker sheets slacken in your hands -- maybe you're in a wind-shadow or something, but it's starting to luff! 'In in in!' Liz calls."; Now the spinnaker is luffing; Otherwise: Say "The chute gives a powerful surge as a gust hits you from behind; Liz is steering you through it, surfing the crest of a wave, but you should let out the sheets to get the benefit of more wind!"; Now the spinnaker is overtight; Otherwise if X is less than 91: If a random chance of 1 in 2 succeeds: Say "The wind freshens, growing steadily stronger. At least you'll be done with this race sooner."; Now the wind-strength of nantucket harbor is the wind-strength of nantucket harbor plus one; Otherwise if the wind-strength of nantucket harbor is greater than 3: Say "The wind starts to flag, getting calmer and slower. 'This is the opposite of fast,' Liz groans."; Now the wind-strength of nantucket harbor is the wind-strength of nantucket harbor minus one; Otherwise if X is less than 101: If a random chance of 1 in 2 succeeds: If the jib is perfect, now the jib is near-tight; Now wind-shift-timer is 2; Otherwise: If the jib is perfect, now the jib is near-luffing; Now wind-shift-timer is 2; Now event-timer is 2. The placeholder sailboat is a sailboat. The first-place boat is a sailboat that varies. The first-place boat is the ridgie-emily 420. The second-place boat is a sailboat that varies. The second-place boat is the dave-liz 420. The third-place boat is a sailboat that varies. The third-place boat is the Russo 420. The first-place-finisher is a sailboat that varies. The first-place-finisher is the placeholder sailboat. The second-place-finisher is a sailboat that varies. The second-place-finisher is the placeholder sailboat. The third-place-finisher is a sailboat that varies. The third-place-finisher is the placeholder sailboat. [Ah, another hack! I think I needed this because variables need to be initialized to a value; I could have used one of the actually-existing boats and then had more complicated code to trigger having them finish the race, but I think the hack is justified] Every turn when sailing is happening (this is the place-calculation rule): Let old-place be the place of the Russo 420; Let L be the list of sailboats in Nantucket Harbor; Sort L in reverse progress order; Now the first-place boat is entry 1 of L; Now the place of the first-place boat is "first"; Now the second-place boat is entry 2 of L; Now the place of the second-place boat is "second"; Now the third-place boat is entry 3 of L; Now the place of the third-place boat is "third"; If the place of the russo 420 is not old-place: If the place of the russo 420 is "second" and old-place is "third": Say "You surge past [third-place boat], taking [place of the russo 420] place -- Liz grins at you, purely happy, though you know the lead might not last."; If the place of the russo 420 is "first" and old-place is "second": Say "Somehow, you've clawed your way to [place of the russo 420], just edging out [second-place boat]. You stare at Liz in disbelief, but she's completely focused, barely acknowledging your existence.[paragraph break]"; If the place of the russo 420 is "second" and old-place is "first": Say "You've lost the lead, not that you're surprised -- [first-place boat] pushes past you as you and Liz drift back into [place of the russo 420]."; If the place of the russo 420 is "third": Say "You're back in last place now, with [second-place boat] blowing past you. 'Not again!' Liz groans."; If the checkpoint of entry 1 of L is the final buoy: If the first-place-finisher is the placeholder sailboat: now the first-place-finisher is Entry 1 of L; If Entry 1 of L is the Ridgie-Emily 420, say "Ridgie and Emily glide through the finish line, winning the race. 'Not again,' Liz says, her voice cracking with frustration, but you're not surprised.[paragraph break]"; If Entry 1 of L is the Dave-Liz 420, say "Dave and Liz pull off an upset, gliding through the finish line and winning first place.[paragraph break]"; If Entry 1 of L is the Russo 420: Say "You can't believe that you're going to win, and even through the last few seconds you think Ridgie and Emily are going to swoop in and take the lead -- but they don't, and you and Liz glide across the finish line, and into first place. 'Russo!' Liz crows. 'That was awesome.' She claps you on the shoulder, and the warm rush of pride makes your arm hurt a little (okay, a lot) less.[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; clear only the main screen; stop the action; [Here you go, proof that there actually is text if you manage to win the race (it's physically possible to do too, if you get a bit lucky and know all the mechanics!] Otherwise if the first-place-finisher is not entry 1 of L and the second-place-finisher is the placeholder sailboat: now the second-place-finisher is entry 1 of L; If Entry 1 of L is the Ridgie-Emily 420, say "Ridgie and Emily cross the finish line, getting second place. [if sailing-mike is unstung]'At least someone beat them,' you say to Liz, but it's not much consolation. [end if][paragraph break]"; If Entry 1 of L is the Dave-Liz 420, say "Dave and the other Liz have reached the finish line, getting their usual second place.[paragraph break]"; If Entry 1 of L is the Russo 420: say "You hit the finish line, and getting second place instead of dead last takes some of the pain out of your sting. [If the first-place-finisher is the Ridgie-Emily 420]'We'll get Ridgie and Emily next time,' Liz says. 'If your spinnaker set was a little faster, and if I'd found a better current on the second leg, we totally would have pulled it off.' You're not so sure about that, but you smile back.[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; Clear only the main screen; Stop the action; Otherwise if the first-place-finisher is not entry 1 of L and the second-place-finisher is not entry 1 of L: Now the third-place-finisher is entry 1 of L; Say "Finally, you cross the line and finish the race. You're cold and your arm really hurts, but at least the day's over and you can go ashore and take a warm bath once you get home. You look over to Liz to console her, but from the set of her jaw you can tell she doesn't want to hear it -- she's not as good at rolling with the punches as you are.[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; Clear only the main screen; Stop the action; If the checkpoint of entry 2 of L is the final buoy: If the second-place-finisher is the placeholder sailboat: now the second-place-finisher is Entry 2 of L; If Entry 2 of L is the Ridgie-Emily 420, say "Ridgie and Emily cross the finish line, getting second place.[if sailing-mike is unstung]'At least someone beat them,' you say to Liz, but it's not much consolation.[paragraph break]"; If Entry 2 of L is the Dave-Liz 420, say "Dave and the other Liz have reached the finish line, getting their usual second place.[paragraph break]"; If Entry 2 of L is the Russo 420: say "You hit the finish line, and getting second place instead of dead last takes some of the pain out of your sting. [If the first-place-finisher is the Ridgie-Emily 420]'We'll get Ridgie and Emily next time,' Liz says. 'If your spinnaker set was a little faster, and if I'd found a better current on the second leg, we totally would have pulled it off.' You're not so sure about that, but you smile back.[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; Clear only the main screen; Stop the action; If the second-place-finisher is not Entry 2 of L: now the third-place-finisher is Entry 2 of L; say "Finally, you cross the line and finish the race. You're cold and your arm really hurts, but at least the day's over and you can go ashore and take a warm bath once you get home. You look over to Liz to console her, but from the set of her jaw you can tell she doesn't want to hear it -- she's not as good at rolling with the punches as you are.[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; Clear only the main screen; Stop the action; If the checkpoint of entry 3 of L is the final buoy: if the third-place-finisher is the placeholder sailboat: now the third-place-finisher is entry 3 of L; say "Finally, you cross the line and finish the race. You're cold and your arm really hurts, but at least the day's over and you can go ashore and take a warm bath once you get home. You look over to Liz to console her, but from the set of her jaw you can tell she doesn't want to hear it -- she's not as good at rolling with the punches as you are.[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; Clear only the main screen; stop the action. Every turn when the Russo 420 is heeling and sailing is happening (this is the hiking-needed rule): Say "[one of]The heel starts to go out of control and though Liz is hiking out as hard as she can, by herself it isn't enough to flatten. She steers into the wind to level out, at the cost of some speed. 'Do you not feel like winning today?' she yells at you, pissed. 'Hike out when we start to heel!'[or]The heel starts to go out of control, and since once again you're not hiking out with Liz, she has to steer into the wind to level out. 'Let me know when you're ready to start sailing, Russo,' she says acidly.[stopping]"; If the speed of the Russo 420 is greater than 1.9: Now the speed of the Russo 420 is the speed of the Russo 420 minus 1; Now the Russo 420 is stable. Catchup-failsafe is initially false. Every turn when catchup-failsafe is false and the first-place-finisher is not the placeholder sailboat and the second-place-finisher is not the placeholder sailboat and the distance of the final buoy minus the progress of the russo 420 is greater than 40 (this is the catchup rule): Say "With both the other boats across the finish line, there's no point to trying hard anymore, but you still need to complete the race before you can all head back ashore. Liz, upset at coming last, doesn't talk much and you're not in a chatty mood either, so you zone out as you go through the motions of sailing[if going-downwind is happening and the spinnaker is hoisted], mechanically taking down the spinnaker as you turn upwind for the final leg[end if]. Your attention only sharpens again as you come close to the finish line."; Now the checkpoint of the Russo 420 is the third buoy; Now the heading of the Russo 420 is north; Now the progress of the Russo 420 is the distance of the final buoy minus 20; Now the jib is perfect; Now the jib is static; Now catchup-failsafe is true; Now the russo 420 is stable; Now the spinnaker is unhoisted; Now the spinnaker is in the pouch; Now the description of the spinnaker is "This giant sail has big bands of red and blue running across it, though you can't see them very well right now inasmuch as it's balled up in the pouch. The halyard you use to hoist it up and set it loose is anchored in a nearby cleat."; Now the spinnaker-pole is unhoisted; Now the speed of the russo 420 is the wind-strength of nantucket harbor; Now the description of Nantucket Harbor is "You're in a 420 with [sailing-liz], inside the harbor. There are three buoys marking the race course, plus a final buoy across from the Whaler marking the finish line. You're a couple hundred yards off the shore, with beach to the east and south and open water to the west and north. The wind's blowing a moderate breeze.[paragraph break]This is it -- the final leg, heading upwind to the finish line, [if the distance of the final buoy minus the progress of the Russo 420 is greater than 50]which is still a ways off.[otherwise if the distance of the final buoy minus the progress of the Russo 420 is greater than 25]with not too far left to go.[otherwise]and you're almost there![end if]". The tacking rule is listed before the hiking-needed rule in the every turn rulebook. The hiking-needed rule is listed before the sailing-progress rule in the every turn rulebook. The place-calculation rule is listed after the sailing-progress rule in the every turn rulebook. The place-calculation rule is listed before the catchup rule in the every turn rulebook. The catchup rule is listed after the place-calculation rule in the every turn rulebook. The sailing-progress rule is listed before the place-calculation rule in the every turn rulebook. The random-event rule is listed last in the every turn rulebook. Instead of doing anything other than responding with or qbc responding with or quipping or rubbing while the player is sailing-mike and sailing-mike is stung: Say "[one of]You're too distracted by pain to do anything except yelp again. 'What's wrong?' Liz says.[paragraph break]'A fucking bee just stung me!' you shout, your words whipped back to her by the wind. You drop the jib-sheet and rub the sting.[or]The race is almost over, and you can't get over that you just got stung by a bee this far out on the water. 'Only you could get stung by a bee in the middle of the harbor, Russo,' Liz says, having the same thought but in less charitable terms.[or]'Fucking bee,' you say, still too rattled to focus on sailing, then rub some water on the sting in case that'll make it feel better. It doesn't, and you yelp again. 'That's salt water, genius,' Liz says, shifting her focus back to the race.[or]The race is almost over -- might as well just wait for the end.[stopping]". [Whew! Astonishingly, I think this all pretty much works; I'm not aware of any bugs at least] Chapter 2.5 - Sailing Conversations Table of Quip Texts (continued) quip quiptext sl-intro "You turn your head back to look at Liz." sl-wind "You point out the patch of darker water. Liz crows 'nice!' and steers you to it -- with a lurch, you feel the boat pick up speed." s-selftalk "'We're going to win this race,' you mutter quietly, though you don't succeed at convincing yourself." m-sailing-block "He's too far away to hear you." f-sailing-block "She's too far away to hear you." upwind-dave-liz "'Eat our wake!' you shout at Dave and the other Liz as they slow down. Dave shoots you a pained look, and you feel abashed -- you like Dave, he's a nice guy, and this is a friendly practice race so taunting him was unwarranted." upwind-liz "'You got [']em! Sweet!' you call to Liz, and she stops scowling for a minute to smile at your praise." downwind-dave-liz "'Yeah, nice,' you reply, but then can't think of what else to say. It's a little weird." downwind-ridgie-emily "'That's goddamn Russos, sir!' you excitedly shout back at Ridgie and Emily." downwind-liz "'Wow, that was amazing!' you shout to Liz, and she smiles back, the biggest smile you've seen from her all summer."; Table of Sailing-Liz Comments prompt response enabled "'There's a patch of wind over there,' you shout at Liz and point." sl-wind 0 Last-sailing-topic is a number that varies. Last-sailing-topic is 10. After quipping when the current quip is sl-intro: If the Russo 420 is heeling, say "'We're heeling, hike out!' Liz snaps at you." instead; If going-downwind is happening and the spinnaker is unhoisted and the distance of the third buoy minus the progress of the russo 420 is greater than 20, say "'Why aren't you getting the chute up?' Liz yells." instead; Now sail-chitchat is true; Let X be a random number between 1 and 12; If X is 12, now X is 11; [This effectively double-weights the last entry, though of course there are easier ways to do that] If last-sailing-topic is X: Decrement X; If X is 0, now X is 11; Now last-sailing-topic is X; If X is 1: If the first-place-finisher is the ridgie-emily 420 or the second-place-finisher is the ridgie-emily 420, say "'Ugh, Ridgie and Emily beat us again,' you say. Liz just clenches her teeth." instead; If the progress of the Ridgie-emily 420 minus the progress of the russo 420 is greater than 15, say "'I don't think we're going to catch them,' you say, jerking your chin at Ridgie and Emily.[paragraph break]'Christ, Russo, why do you say shit like that?' Liz says. 'They're not any better than you or me, they've just been sailing a little longer. So let's keep sailing and beat them!'"; Otherwise if the progress of the ridgie-emily 420 minus the progress of the russo 420 is greater than 0: say "'We're catching them!' Liz exults, pointing to Ridgie and Emily.[paragraph break]'Stay on target!' you answer, and she's in a good mood so she doesn't pretend not to get the Star Wars reference, and actually laughs a little."; Otherwise: Say "'We're beating Ridgie and Emily!' you shout.[paragraph break]'We're beating Ridgie and Emily!' she whoops right back."; If X is 2: If the first-place-finisher is the dave-liz 420 or the second-place-finisher is the dave-liz 420, say "'We're getting last again, huh,' you say, but Liz doesn't answer (probably for the best)." instead; If the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 15, say "'How do we suck so bad that Dave and Liz are beating us by this much?' you ask, annoyed.[paragraph break]'Fucked if I know,' Liz snaps back at you. 'Maybe you could read the answer in a book?'"; Otherwise if the progress of the dave-liz 420 minus the progress of the russo 420 is greater than 0: say "'We're getting close to Dave!' you yell, indicating their boat. 'Steer clear!'[paragraph break]'Are you driving or am I?' she snaps."; Otherwise: Say "'One down,' you say, indicating Dave and the other Liz, 'one to go,' you continue with a bravura you don't actually feel. Of course Liz can tell you're fronting, but she doesn't call you on it."; If X is 3: If going-upwind is happening: If the speed of the russo 420 is greater than the wind-strength of nantucket harbor, say "'This is fast!' you say, and Liz smiles."; Otherwise if the speed of the russo 420 is greater than the wind-strength of nantucket harbor minus 1: say "'Do you think we should be going faster?' you ask, trying to gauge your speed against the wind strength to see if you've caught a bad current or something.[paragraph break]'Gee, I dunno, now you mention it that does sound like a good idea!' Liz says and rolls her eyes. You start to explain what you meant, but she's ignoring you to focus on steering."; Otherwise: Say "'Shit, we're so slow!' she moans, before you can say anything. 'Don't even talk to me."; If going-downwind is happening: If the speed of the russo 420 is greater than two times the wind-strength of nantucket harbor, say "Instead of saying anything you just cackle out a laugh, and Liz joins in -- it feels good to be flying so fast."; Otherwise if the speed of the russo 420 is greater than two times the wind-strength of nantucket harbor minus 2: say "'[if the third-place boat is the russo 420]See if you can get Dave in our wind-shadow,[otherwise]Make sure Dave doesn't get us in his wind-shadow,[end if]' you say.[paragraph break]'Oh awesome, helpful thought,' Liz bites out her words. 'I'm skippering, I can handle it!'"; Otherwise: Say "'Why are we going so slow?' you say.[paragraph break]'Maybe because you're yapping your mouth-hole at me instead of checking the jib!' she yells."; If X is 4: If going-upwind is happening: Say "'Summer's almost over,' you say. 'You looking forward to going back to Exeter?'[paragraph break][If the speed of the russo 420 is less than the wind-strength of nantucket harbor minus 1]Liz blinks at you. 'Looking forward to studying, tests, and no more sailing? No[otherwise]'I guess,' Liz shrugs. 'Having friends around will be good, but not being able to go anywhere sucks[end if].'"; If going-downwind is happening: Say "'I was thinking about my classes for Fall term,' you say. 'I'm not looking forward the fetal pig dissection!'[paragraph break][If the speed of the russo 420 is less than two times the wind-strength of nantucket harbor minus 2]'You just need to suck it up, Russo,' Liz says. 'Don't be a wuss[otherwise]'I know,' she says in sympathy, 'poor piggie[end if].'"; If X is 5: If going-upwind is happening: Say "'Did you think mom seemed annoyed this morning?' you ask.[paragraph break][If the speed of the russo 420 is less than the wind-strength of nantucket harbor minus 1]'Not as annoyed as I'll be with you if we don't win this race,' Liz barks.[otherwise]'She was on the phone with the lawyer right before you came down,' Liz answers. 'Dad's probably being a dick.'[end if]"; If going-downwind is happening: Say "'Mom asked us to give Godiva and Emily a bath today,' you remind Liz.[paragraph break][If the speed of the russo 420 is less than two times the wind-strength of nantucket harbor minus 2]'Okay, Rain Man,' Liz says, and you flush -- you just wanted to make sure not to forget[otherwise]'That's easy, I can do it,' Liz offers[end if]."; If X is 6: If going-upwind is happening: Say "'Our tacks have been getting better,' you say, looking for encouragement.[paragraph break][If the third-place boat is the Russo 420]'And yet here we are, DFL,' she snorts (Ridgie says that all the time, for dead fucking last).[otherwise]'Yeah,' she nods. 'Just keep following my lead on the timing.'[end if]"; If going-downwind is happening: Say "[if the checkpoint of the russo 420 is the second buoy]'The jibe went OK, right?' you say.[paragraph break]'Any jibe where you don't get clocked by the boom is an OK jibe,' Liz allows[otherwise]'You getting ready for the jibe?' you ask. 'Make sure the boom doesn't go flying!'[paragraph break]'Russo, division of labor! I'll handle the main, you just worry about getting the chute across,' Liz replies[end if]."; If X is 7: Say "[if the wind-strength of nantucket harbor is greater than 5]You gauge the wind strength. 'This is about how hard it was blowing for that last race at the Hyannis Regatta,' you say.[paragraph break]'Yeah,' Liz says, wrinkling her nose. That race was a mess, everybody clumping up at the starting line and playing high-speed bumper boats[otherwise if the wind-strength of nantucket harbor is less than 5]'It's not blowing very hard,' you say, looking at the limp telltale.[paragraph break]'Ugh, I know,' Liz says. 'At least we're not completely becalmed, like at that race on the Vineyard.' You nod in forceful agreement -- it took like half an hour to get through the upwind leg, pure torture[otherwise]'Wind's pretty steady,' you say.[paragraph break]'Yeah, but watch out for gusts. No repeats of Hyannis!' You flush -- during the first race of the regatta, you got knocked over by a gust just as you were turning around the third buoy, and between getting the boat back upright and bailing out the water, you missed the second race too[end if]."; If X is 8: Say "'[if the third-place boat is the Russo 420]Do you think we can catch Dave?' you ask.[paragraph break]'We can if you let me concentrate!' Liz snaps.[otherwise if the second-place boat is the Russo 420]Second place feels pretty good!' you say to Liz.[paragraph break]She smiles at you. 'Yeah, but not as good as first is going to feel.'[otherwise]I can't believe we're winning!' you crow at Liz.[paragraph break]You expect her to be happy, but for some reason she's frowning. 'That's exactly why we don't ever win!' she yells back, and you turn away from her until she gets less mad.[end if]"; If X is 9: If going-upwind is happening: Say "'Do you think we'll see the Dunns before school starts again?' you ask Liz.[paragraph break]She rolls her eyes at you. 'You mean, do you think you'll see Laura? [if the speed of the russo 420 is less than the wind-strength of nantucket harbor minus 1]Try to concentrate on what you're doing, lover-boy.'[otherwise]Yeah, probably we'll visit them that last week when we're with dad. You actually going to make anything happen, though?' You blush really really red and go back to staring at the jib.[end if]"; If going-downwind is happening: Say "'I was thinking of writing Laura a letter,' you say.[paragraph break][if the speed of the russo 420 is less than two times the wind-strength of nantucket harbor minus two]'Oh what, you want to be pen-pals with her? That's it?' Liz taunts you, and you flush[otherwise]'That's nice. Just think, one more year and she'll probably be at Exeter too, and you can go see her anytime you want!' You say huh, like you'd never thought of that before, though of course you think of it like twice a day[end if]."; If X is 10: Say "[one of]You don't say anything, because honestly there wasn't much talking in a race that wasn't directly sailing-related, and of course 25 years on you're just making all of this up out of a general feeling like this is the type of stuff you and Liz would have said, which after a while starts to feel odd and maybe even dishonest? Though if you think too hard about [italic type]that[roman type] this whole memoir-as-game project threatens to collapse, so perhaps it's better to get back to sailing.[paragraph break](Maybe try talking to her again later)[or]'You ever feel like none of this matters?' you ask Liz, gesturing with your free hand to your 420, the other boats, and the race course. 'Like win or lose, our lives just go the way they're going to?'[paragraph break]Liz frowns at you. 'You were weird when you were super into being Catholic, but now that you're not, you're sometimes even weirder,' she says[stopping]."; If X is 11: Say "[one of]Liz sighs at your attempt at conversation. 'If you don't have anything else to do, why don't you check out the water to try to find better wind?'[or][if the checkpoint of the Russo 420 is nothing]'Be sure you get the pole up before hoisting the chute when we round the first buoy, okay?' she says, and you nod, though of course you know that, you only forgot it the one time![otherwise if the checkpoint of the Russo 420 is not the third buoy]'When it's time to get the chute down, it's pole then douse, same as hoisting,' Liz says. Duh![otherwise]'Make sure you help me out and roll through the tacks, okay?' Liz says.[end if][or][if going-upwind is happening]'You need to hike out really hard if a gust makes us heel, you're too light for half-assing it to do anything,' Liz says, which is a little mean but fair enough.[otherwise]'You gotta keep an eye on both the chute and the jib, don't get too focused on just one!' Liz yells.[end if][at random]". [You know, I could model Liz's mood with different sailing factors increasing or decreasing it... eh, maybe if I have time at the end] [Another original-recipe comment -- spoiler, I did not have time at the end, so these awkward heterogenous checks to see whether the race is going well or poorly remain. It would have been a good idea to have a coherent mood slider based on a bunch of different factors, though!] Sail-chitchat is a truth state that varies. Sail-chitchat is false. After doing anything other than talking to when sailing is happening: Now sail-chitchat is false; continue the action. Instead of talking to sailing-liz when the greeting of sailing-liz is sl-intro and sail-chitchat is true and sailing-mike is unstung: say "[one of]'Stay focused, Russo!' Liz yells. [or]'Russo! Not the time for chit-chat,' she says. [or]Liz just groans and shakes her head at you. [or]'Oh my god, you spend all day with your head buried in a book but now, in the middle of a race, you suddenly want to talk?' Liz says. [or]'Zip it, Rus,' Liz says, her eyes tracking Ridgie's course. [at random]Probably you should do some more sailing before trying to talk to her again." After quipping when the current quip is upwind-dave-liz: Say "'Yeah, eat it!' Liz shouts, piling on, and smiles at you. Well, so much for taunting being unwarranted." After quipping when the current quip is downwind-dave-liz: Say "'Russo, can we concentrate on sailing? This isn't the time for you to come out of your shell,' Liz says, then nods to Dave and the other Liz. 'Sorry, he's socially awkward.'" After quipping when the current quip is downwind-ridgie-emily: Say "'You mean ma'am,' Liz interjects, and you shrug in acquiescence since she has a point. Under his breath, Ridgie mutters 'the both of them are such nerds,' but eh, you've heard that one before (Liz, less accustomed to this particular barb, blushes)." After quipping when the current quip is sl-wind: Increase the speed of the Russo 420 by 0.85; Now the darker patch is nowhere; Now the no-darker-patch is in Nantucket Harbor; Now the greeting of sailing-liz is sl-intro; Now darker-patch-flag is false. Instead of showing the darker patch to sailing-liz, try talking to sailing-liz. Instead of showing the ocean to sailing-liz when the darker patch is in nantucket harbor and darker-patch-flag is true, try talking to sailing-liz. Rule for implicitly taking the darker patch: Rule succeeds. Rule for implicitly taking the ocean: Rule succeeds. [...this is needed to make the above showing rule work OK -- they just make the rule return a success, they don't actually mean the player can take the ocean!] The can't show what you haven't got rule does nothing when the noun is the ocean. The can't show what you haven't got rule does nothing when the noun is the darker patch. The carrying requirements rule does nothing when the noun is the ocean or the noun is sailing-liz or the noun is the darker patch. Pointing at is an action applying to one visible thing. Understand "point at/to [something]" as pointing at. Carry out pointing at: If the noun is the darker patch, try talking to sailing-liz instead; If the noun is the ocean and darker-patch-flag is true and the darker patch is in nantucket harbor, try talking to sailing-liz instead; Say "It would be impolite to draw attention to [the noun]." Understand "call [sailing-liz] a dork/nerd/loser/jerk" as a mistake ("'I swear, sometimes it's like you're five years younger than me,' Liz says with a withering look. You're about to protest -- she makes fun of you all the damn time! -- but a spray of wave gets you to concentrate on sailing again."). Understand "tell [sailing-liz] to shut/be up/quiet" as a mistake ("She'll definitely tell mom if you say that!"). [Drink!] Chapter 3 - Exeter Exeter is a scene. Exeter begins when Sailing ends. Exeter ends when the location is the academic quad. Exeter-trigger is a number that varies. Exeter-trigger is 0. Exeter-liz-talked is a truth state that varies. Exeter-liz-talked is false. Haircut-global is a truth state that varies. Haircut-global is false. Laura-sting-finished is a truth state that varies. Laura-sting-finished is false. [Oh, lovely, I have something labeled "global", that's going to be elegantly coded] When Exeter begins: Say "[bold type]Exeter, NH -- September 1997[roman type][paragraph break]"; Now the player is Exeter-mike; Now the block showing rule response (A) is "[The second noun] [are] unimpressed."; Say "You know that it's lame to be happy that you're back at school. But as Liz has never tired of informing you, you are lame, and after sixteen years you've finally learned to embrace it.[paragraph break]It's awesome to see your friends again, it's awesome that you're not working that busboy summer job anymore, it's awesome Liz is going to be here instead of in France like she was last year, and it's awesome that it's senior year: you might actually make varsity on the wrestling team this time, you get to take AP classes -- and after what happened on the beach last month, this might even be the year you finally get together with Laura. Sure, it ended a little weird, but it was still progress![paragraph break]I mean, you're pretty sure it was progress.[paragraph break]Anyway, you haven't seen her since then, but she's at this welcome-back barbecue, so there's nothing stopping you from asking her out." The Residential Quad is a room. The description is "The barbecue spreads across the residential quad, with hundreds of students clustering around the tables and buffet. Your dorm, Soule, is to the south, with other dorms, including Wheelwright (that's Laura's) to the north. The Academic Quad is west.[paragraph break]You're eating with [your friends] -- [Chew], [Nikhil], [Baek] -- and you can see [Exeter-Liz] over on the other side of the quad, probably telling her friends wild stories about her year in France.[paragraph break]Of course you know exactly where [Laura] is, though you're mostly succeeding at not looking at her." The quad-placeholder is scenery in the residential quad. Understand "quad" as the quad-placeholder. Instead of doing anything to the quad-placeholder, try looking. After smelling when the location is the residential quad: Say "It's a good thing there's a crisp autumn breeze blowing through the quad, as otherwise the smell of cooking meat and sweaty teenagers could be overwhelming." Instead of smelling the barbeque, try smelling. Exeter-mike is a man in the Residential Quad. The description is "[if exeter-mike is unstung]At 17 you look the same as you always do -- short, brown-blond hair, wearing khakis and a sailing t-shirt -- though since you started wrestling last year, you've developed some muscles, which still feels weird. You've got contacts on instead of glasses, and they must not have gotten completely clean overnight since your eyes feel a little irritated[otherwise]You'd rather not contemplate what you must look like right now[end if]." Understand "hair" as exeter-mike. Understand "sting/stinger" as exeter-mike when exeter-mike is stung. Exeter-mike is wearing the exeter-clothes. Understand "khakis/clothes" as the exeter-clothes. Understand "sailing/-- t-shirt" as the exeter-clothes. The printed name of the exeter-clothes is "clothes". The indefinite article of the exeter-clothes is "your". The description of the exeter-clothes is "You're wearing your usual outfit when you're not in classes, khakis and a t-shirt (you'll miss Exeter when you graduate, but you definitely won't miss the dress code)." Instead of taking off the exeter-clothes, say "You're happy enough with where you've landed in the Exeter social hierarchy -- nothing wrong with 'occasionally-funny nerd', though you're hoping wrestling will up your cachet this year -- OK so you wouldn't mind moving up a bit, and getting naked in the middle of the back-to-school barbecue would not help with that, at least unless you were much much less scrawny than you are." The greeting of exeter-mike is e-selftalk. The contact lenses are a part of exeter-mike. Understand "my/-- face/eye/eyes/contacts/lens" as the contact lenses. The description is "[if exeter-mike is unstung]You can tell your eyes are red from the slightly-acidic contacts you're wearing. Better than being blind, though, and contacts are cooler than glasses[otherwise]The skin around your eye feels warm from the sting (it also hurts to poke, so you stop)[end if]." Instead of taking the contact lenses, say "That'll only make your eyes even more irritated." Instead of taking off the contact lenses, say "That'll only make your eyes more irritated." Crying is an action applying to nothing. Understand "cry" as crying. Understand "sob" as crying. Understand "ouch" as crying. Check crying: If the player is exeter-mike and exeter-mike is unstung, say "Sometimes tears do make your contacts feel less irritating, but no matter how good a reason you have, you are not bursting into tears in front of the whole school!"; Otherwise if the player is stung: say "Your eyes well with tears from the pain of the sting."; Otherwise if the player is finale-mike: say "You've cried a whole lot this past year, and it's not exactly something you're excited to do more of."; Otherwise: say "What's there to cry about?" [I should have put this back at the top of the code rather than just writing it as I thought of it -- still, at least it's an isolated occurrence here, in TEM this is how I wrote basically all the actions] The block attacking rule does nothing when the location is the residential quad. Carry out attacking when the location is the residential quad: Say "If Coach heard you were doing that sort of thing, you'd be off the team so fast!" The block kissing rule does nothing when the location is the residential quad. Carry out kissing when exeter is happening: If the noun is Laura and exeter-mike is unstung, say "She wouldn't really like it if you just did that, would she? Like shouldn't you at least ask permission first?" instead; If the noun is laura and exeter-mike is unstung, say "This [italic type]really[roman type]doesn't feel like the moment for a first kiss." instead; If the noun is Chew, say "You did once on a dare, but that's not happening again." instead; If the noun is exeter-Liz, say "Eww, gross." instead; Say "You're not on nearly close enough terms for that!" [Oops, that second condition should be "stung", not "unstung"!] The dorms are scenery in the Residential Quad. They are plural-named. The description is "Red-brick dorms enclose this appropriately-named quad, with your dorm (Soule) and Laura's (Wheelwright) being the closest." Soule Hall is scenery in the Residential Quad. The description is "Your red-brick dorm, home for the last three years, famous on campus for its group showers and -- well, that's about it, sadly. There are speakers set up in the window of Omar's room, blasting out music." Understand "omar/omar's room/--" as Soule Hall. Understand "your/-- dorm/window/windows" as Soule Hall. Wheelwright is scenery in the Residential Quad. The description is "Wheelwright looks pretty much the same as all the other dorms, distinguished in your mind only by the fact that Laura lives there." Instead of entering wheelwright, try going north. Understand "laura's dorm" as wheelwright. The speakers are part of soule hall. Instead of examining the speakers, try listening. After listening while the location is the Residential Quad: Say "Omar's playing the Pulp Fiction soundtrack; right now it's [one of]Jungle Boogie[or]Son of a Preacher Man[or]You Never Can Tell[or]Flower on the Wall[or]Girl, You'll be a Woman Soon[at random]." The students are people in the residential quad. They are plural-named. They are scenery. The description is "The whole Exeter student body is here, stuffing their faces as they catch up with their friends. You recognize most everybody -- there's [one of]Gabe Mironov, shoving a hot dog into his giant mouth[or]that cute girl who lives in Hoyt, you forget her name[or]Noah, one of your friends from wrestling[or]Win Butler, who was in your English classes last year[at random] -- except the newly-arrived preps, who are tiny and scared-looking and not at all like you were when you got here three years ago, definitely not.[paragraph break]People mostly hang out with other people from their dorms, and that's doubly true for this back-to-school barbecue since mostly nobody's seen each other all summer. You've been eating with your friends, Liz is in a cluster with other girls from Dunbar on the far side of the quad, and Laura's sitting with her dormmates in Wheelwright." Understand "gabe/noah/win/butler/mironov/preps butler/mironov/--" as the students. Instead of talking to the students, say "You'd rather talk to your friends. Or Liz. Or Laura -- though [italic type]rather[roman type] might be the wrong word since that idea's as terrifying as it is urgent." The tables are scenery in the residential quad. The description is "The tables are the same round, foldable ones they used at the country club where you worked as a busboy last summer. They're big and heavy, but surprisingly rollable if you know what you're doing." Understand "table" as the tables. Understand "roll tables" as a mistake ("What, now, with people eating off of them?"). The barbeque is scenery in the residential quad. The description is "Burgers, hot dogs -- all the typical cookout stuff, and a cut above the regular dining-hall fare, which tends towards the overcooked and/or greasy." Understand "buffet/barbecue/food/burger/burgers/hot dog/dogs/--" as the barbeque. Instead of eating the barbeque, say "You've eaten a bunch already, and you don't want to gain too much weight before wrestling season starts again." Instead of taking the barbeque, try eating the barbeque. Your friends are people in the residential quad. They are plural-named. The description is "You've been eating with Chew, Nikhil, and Baek." They are undescribed. Understand "my friends" as your friends. Does the player mean doing something to your friends: it is very likely. Does the player mean answering exeter-liz that: it is very likely. Does the player mean talking to exeter-liz: it is very likely. Instead of talking to your friends: Let X be a random number between 1 and 3; If X is 1, try talking to Chew instead; If X is 2, try talking to Nikhil instead; If X is 3, try talking to Baek instead. Chew is a man in the residential quad. The description of Chew is "Chew is probably your best friend, not that guys have best friends. You're on the wrestling team together, though he's much bigger (he wrestles 160, while you're at 125) and better (he's varsity, you were JV but you've got a good feeling about this year). He's also a giant nerd who loves D&D and video games." The greeting of Chew is chew-banter. Chew is undescribed. Nikhil is a man in the residential quad. The description of Nikhil is "Nikhil, wearing a vest and nice pants, stands out from your as-a-rule slovenly friends. He's both way nerdier than you -- he's a wizard on a Star Wars MUSH, for god's sake -- and way cooler -- he has friends in other dorms, some of whom are girls! -- which is very confusing." The greeting of Nikhil is nikhil-banter. Nikhil is undescribed. Baek is a man in the residential quad. The description of Baek is "Baek was one of the first guys you made friends with three years ago, when you first got to Exeter. He lives in New Jersey, so you hung out a few times over the summer, meeting up in Manhattan, although since your job had you working nights and weekends it wasn't that often." The greeting of Baek is baek-banter. Baek is undescribed. Liz's friends are people in the residential quad. They are plural-named. The description is "Liz is catching up with some of her friends from Dunbar." Instead of talking to Liz's friends, say "Oh no, even the thought of that is enough to make you blush." They are scenery. Exeter-liz is a woman in the Residential Quad. Understand "liz's/-- liz/sister/twin/hair" as Exeter-liz. The greeting of exeter-liz is el-intro. The litany of exeter-liz is the Table of Exeter-Liz Comments. The printed name of exeter-liz is "Liz". The description of Exeter-Liz is "Liz isn't taller than you anymore (nor are you taller than her; you've wound up at pretty much the same height). While she was in France she got a hilariously awful haircut, spikily short in an awkward way and dyed an unconvincing pink. Months later, her hair's still recovering." Exeter-liz is undescribed. Before talking to exeter-liz for the first time: now exeter-liz-talked is true. [Pretty sure Inform keeps track of this stuff and this truth state is unneccessary] Laura's friends are people in the residential quad. They are plural-named. The description is "You don't know any of Laura's friends that well, since they're mostly two years below you." Instead of talking to Laura's friends, say "You don't know them and they don't know you -- unless, wait, maybe Laura's talked to them about you? Better not think about that." They are scenery. Laura is a woman in the Residential Quad. The greeting of Laura is laura-intro. The litany of Laura is the Table of Laura Comments. The description of Laura is "[one of]You've known Laura since you were both kids, and you always thought she was awesome because she's really nice and into the same nerdy stuff as you (like, she's the one who introduced you to D&D). And then she got really pretty too, with amazing hazel eyes and her hair cut into a sexy bob, and alright yes, as your friends always get you to admit, she's completely stacked too. A smile forms on your lips as you look at her -- wait, did she notice you? You blush and turn aside[or]She's just so, so pretty[stopping]." Laura is undescribed. Before talking to Laura for the first time: If exeter-liz-talked is false: Say "Your footsteps slow as you get closer to Laura, but your heart makes up for it by accelerating fast -- do you even know what you're going to say? She hasn't seen you yet, you could turn off and talk to Liz instead, since she might be able to give you some advice..."; Stop the action; Otherwise: Say "Chew sees you walking towards Laura, and shoots you a big grin and a thumbs up. You smile back at him -- then worry whether she noticed." Before talking to Laura for the second time: If exeter-liz-talked is false: Say "Chew sees you walking towards Laura, and shoots you a big grin and a thumbs up. You smile back at him -- then worry whether she noticed." [Oh yeah, see, I used the built-in action tracking here, not sure why I rolled my own version a couple paragraphs up] The exeter-bee is a bee. It is dead. It is nowhere. Understand "dead/-- bee" as the exeter-bee. The description is "You're not going to get down on your hands and knees to scrabble around looking for a dead bee in front of Laura, your sister, and literally everyone at the school -- your social capital couldn't take the hit." Instead of doing anything other than examining to the exeter-bee, try examining the exeter-bee. The exeter-bee is scenery. [Another perma-dead bee] After quipping when exeter-trigger is greater than 8 and exeter-mike is unstung: Say "You open your mouth, thinking what to say next --[paragraph break]Wait, what's that buzzing? --[paragraph break]You jerk your head back, but it's too late, as you feel something small and furry smack into your eye-socket --[paragraph break]'MOTHERFUCKER!' you shout, as pain blossoms through your face. The bastard didn't sting you in the [italic type]actual[roman type] eye, but not for lack of trying; you probe gently with a finger and pull the stinger out of some soft tissue that's maybe only half an inch away.[paragraph break]'You're not allergic, are you?' In pain and with one eye closed, you're not really alive to the nuances of her tone, so you can't tell if Laura's worried about you (good!) or just finds you pathetic (bad!)[paragraph break]'No, I'm not,' you say, after swallowing once or twice. 'Or I wasn't,' you amend, 'you can develop an allergy any time you get stung.' Yes, even now you're trying to impress her with your knowledge of bee facts.[paragraph break]'Your face is pretty red,' she says, peering closely at you -- in other circumstances, you'd be thrilled to be so near to her -- 'maybe you should go to the infirmary?'"; Now exeter-bee is in the residential quad; Now the current quip is quip_null; Now the pertinent quip is quip_null; Disable the laura-hi quip; disable the laura-summer quip; disable the laura-classes quip; disable the laura-books quip; disable the laura-dragonlance quip; disable the laura-like quip; disable the laura-really quip; disable the laura-friends quip; disable the laura-love quip; disable the laura-beautiful quip; disable the laura-badsorry quip; disable the laura-goodpath quip; Now the description of the Residential Quad is "You're rather less interested in the barbecue now that your face is all red and burning, and giving your friends the chance to make fun of you doesn't exactly appeal either. Liz seems to have noticed there's something wrong (she must have been watching you talk to Laura, who's still looking at you with concern).[paragraph break]The way to the infirmary is through the Academic Quad, to the west." [There's probably a "repeat running through" phrase that would have saved me from this annoying one-at-a-time approach] Every turn when exeter-trigger is greater than 8 and exeter-mike is unstung: Now exeter-mike is stung; Run a conversation on the Table of Exeter Stings. Before talking to someone when laura-sting-finished is true and the player is exeter-mike: Say "You'd rather not draw any more attention to how embarrassed you are right now, thanks." instead. Before talking to Laura when laura-sting-finished is true: Say "All things considered, you're lucky you got out of that conversation with only a bee-sting to the face to show for it -- better not tempt fate." instead. Before talking to exeter-Liz when laura-sting-finished is true: Say "[one of]'That was the smoothest thing I've ever seen in my life, Russo,' she says, and wrinkles her nose. 'Your face does not look awesome right now -- maybe get some lotion?'[or]You've bugged her enough for today.[stopping]" instead. Before going west when the location is the residential quad and exeter-mike is unstung: Say "All your friends -- and Laura -- are here, and there's nothing over there except empty classrooms." instead. Instead of going south when the location is the residential quad, say "You do want to play some video games later -- you're looking forward to showing Dungeon Keeper to Chew, it's awesome -- but that can wait until after the barbeque." Inside from the residential quad is interior-Soule. Instead of going inside when the location is the residential quad, try going south. Instead of going north when the location is the residential quad, say "Wheelwright is a girl's dorm so you can't just walk right in -- and besides, Laura's right here." Instead of talking to chew when convo-lock is true, say "You're already talking to Laura!" Instead of talking to baek when convo-lock is true, say "You're already talking to Laura!" Instead of talking to nikhil when convo-lock is true, say "You're already talking to Laura!" Instead of talking to the students when convo-lock is true, say "You're already talking to Laura!" Instead of talking to your friends when convo-lock is true, say "You're already talking to Laura!" Instead of talking to liz's friends when convo-lock is true, say "You're already talking to Laura!" Instead of talking to laura's friends when convo-lock is true, say "You're already talking to Laura!" The Academic Quad is west of the Residential Quad. When Exeter ends: Say "You trudge away from the barbeque. Liz shoots you a sympathetic smile as you walk past her, then goes back to talking to her friends, but that's OK, you don't mind being alone for a minute -- this way you can think about Laura. [if exeter-liz-advice is true]Maybe you're fooling yourself, but it seemed like you were starting to make some progress there? [end if]It's hard to figure out exactly how you feel about her right now, or what's going to happen -- you've had a crush on her from afar for so so long, you almost can't imagine your life if that changed (a weird thought pops into your head: you'd been thinking it'd change if you started dating, but the crush could go away someday, too).[paragraph break]Your face throbs again, jolting you back to reality. You're walking through the Academic Quad now, tall brick buildings rising all around you, and the sun's starting to go down, cooling off the day. The infirmary's a five minute walk away, and halfway there the sting is already not throbbing so much, so you probably don't need anything for it.[paragraph break]Still, you don't go back immediately: it feels nice to be away from the hubbub, much as you missed your friends over the summer, and much as you missed Liz over the year before that. It's kind of rare you ever get a chance to be alone, what with living with 40 other guys 9 months of the year and living with your twin for the rest of it. Might as well enjoy it while you can.[paragraph break]And, uh, give Laura time to leave the quad.[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; Clear only the main screen. The room description heading rule does nothing when the location is the academic quad. The room description body text rule does nothing when the location is the academic quad. The room description paragraphs about objects rule does nothing when the location is the academic quad. [Needed because I wanted just the outro text to play -- I should have just handled this with an instead of going rule rather than building a whole dummy room, I suppose] Carry out singing when the player is exeter-mike: If exeter-mike is unstung, say "You sing along to the music blasting out of the speaker in the window."; If exeter-mike is stung, say "You don't exactly have a song in your heart right now." Carry out cursing when the player is exeter-mike: If exeter-mike is unstung, say "What's there to swear about?"; If exeter-mike is stung, say "You mutter a curse, contemplating how that fucking bee messed up your conversation with Laura." After jumping when the player is exeter-mike or the player is grocery-mike or the player is finale-mike: Say "This doesn't seem like a moment for hopping." Chapter 3.5 - Exeter Conversations exeter-liz-advice is a truth state that varies. Exeter-liz-advice is false. Table of Quip Texts (continued) quip quiptext e-selftalk "'Laura, I want to go out with you,' you mumble to yourself. That wasn't so hard!" chew-banter "[one of]You tell Chew about some of the video games you played over the summer[or]'So are you going to talk to Law-ra?' Chew asks. You gulp and look away[or]Chew is still eating, and you've already talked to him a bunch today[stopping]." nikhil-banter "[one of]Nikhil's in the DC intern program in the fall, and he tells you all about the stuff he's going to be doing -- you try to seem interested but you find politics really boring[or]Nikhil is talking animatedly to his old roommate Gabe -- they don't always get along so you don't want to interrupt[stopping]." baek-banter "You spend a couple of aimless minutes talking about music -- Baek's been trying to get you into [one of]Bjork[or]Portishead[or]Radiohead[or]Ben Folds Five[at random]." el-intro "'What's up,' Liz nods at you as you come over to where she's sitting." el-france "'Aww, Russo, you're getting sentimental in your old age,' she says, then looks around the quad. 'I definitely did not miss this place, but I missed you too.'" el-drivers "'I haven't asked them yet, I was too busy telling them about how you made the driver's ed instructor scream,' she says." el-laura-1 "'Oh Jesus,' Liz says -- she rolls her eyes at you like she usually does when you talk to her about Laura, but at least she turns away from her friends so you've got a little bit of privacy. 'Please just kiss her and get it over with.'" el-laura-2 "'Russo, you're killing me. It's time to make a move. Actually,' she clarifies, 'the time to make a move was like two years ago.'" el-laura-3 "Liz has that look in her eyes that she gets when she thinks you're being stupid, but she's being polite so she doesn't want to say it. 'You know Laura likes you. Unless you were making up that she told you that when you had your weird meeting of the minds.'" el-laura-4 "'Umm, you know most people don't need their sisters around to help them get a girlfriend, right? Especially since the girl already told you she likes you,' Liz says." el-laura-5 "Liz sighs. 'How long ago did the beach thing happen again?'" el-laura-6 "'Russo, Russo, Russo,' she shakes her head. 'No call, no letter, no pony fucking express. She opened her heart up to you and you left her hanging.'" el-laura-7 "'Fucked if I know,' she snorts, then softens her tone when she sees how stricken you look. 'She's not going to be happy, I can tell you that, but girls have gotten over worse. And listen, Russo, she should be so lucky to wind up with you. You're super nice and super smart and occasionally slightly funny. And you're starting to get cute, though you need to stop dressing like a slob. Just go over there and tell her how you feel. And if that isn't working, like I told you, just French her and see what happens.'" el-laura-8 "'Oh, for fuck's sake,' she sighs. 'This is your entire problem right here, you psych yourself out and get too afraid to do anything. Look, it's scary, but Russo, you're super smart and apparently tough enough to join the wrestling team last year, even though I wasn't here to tell you to do it. Stop worrying -- you deserve to be happy, and you're more than good enough for Laura. So just go over there and tell her how you feel. And if that isn't working, like I told you, just French her and see what happens.'" el-laura-bad "'Sounds good,' Liz says, and turns back to her friends. 'Knock her dead, cowboy.'" el-badend "'Stop bugging me, Russo, I'm talking to my actual friends,' Liz says." el-goodend "Liz smiles at you -- you don't need any more advice from her." el-bye "'Later, Russo,' Liz says." Table of Exeter-Liz Comments prompt response enabled "'I'm glad we're going to be together this year. I missed you when you were in France.'" el-france 1 "'So what do your friends think of your new haircut?'" el-drivers 1 "'I'm going to go over and talk to Laura.'" el-laura-1 1 "'How do you tell if a girl likes you? Just out of curiosity.'" el-laura-1 1 "'Anyway, bye.'" el-bye 1 Table of Quip Followups (continued) quip option result el-laura-1 "'What? Of course not!'" el-laura-2 el-laura-1 "'Would that actually work?'" el-laura-3 el-laura-1 "(Blush silently)." el-laura-2 el-laura-2 "'She wasn't at Exeter two years ago. And last year you weren't around to help me.'" el-laura-4 el-laura-2 "'Great, I'm not going to talk to her, I'll just invent a time machine instead. Thanks for the suggestion!'" el-laura-bad el-laura-2 "'OK fine, but I didn't, so now all there is is now. So what do I do?'" el-laura-3 el-laura-3 "'So, assuming she likes me, what should I say?'" el-laura-5 el-laura-3 "'You're right, this shouldn't be hard!'" el-laura-5 el-laura-3 "'If you don't want to help me anymore, fine! I can do this myself.'" el-laura-bad el-laura-4 "'All right, assuming she likes me, what should I say?'" el-laura-5 el-laura-4 "'You're right, this shouldn't be hard!'" el-laura-5 el-laura-4 "'If you don't want to help me anymore, fine! I can do this myself.'" el-laura-bad el-laura-5 "'I just hate talking on the phone.'" el-laura-6 el-laura-5 "'It felt like it would be super awkward?'" el-laura-6 el-laura-5 "'...I don't actually know.'" el-laura-6 el-laura-6 "'Wait, I can fix this though, right?'" el-laura-7 el-laura-6 "'Come on, you're wrong -- there's no way she's pissed. I'll just talk to her, it'll be fine.'" el-laura-bad el-laura-6 "'Oh shit, how could I be so dumb?'" el-laura-8 el-laura-6 "(Moan with incompletely-suppressed self-loathing)." el-laura-8 [OK, the quip followup thing. The quip-based conversation extension is built off of a "reactable quips" one, which presents situations where the player has to respond to something with a menu choice (usually conversation). That idea of a "quick reaction" is still present in the bigger extension, and makes it easy to have dialogue options that lead to new choices that don't include the original ones -- sort of a deeper node in the tree. Using them for anything other than an isolated response is a little tricky, though, and requires some manual shuffling of available quips. They also don't fire the timing rules by default, which creates some issues in this scene and the fifth one] After quipping when the current quip is el-bye: terminate the conversation; enable the el-bye quip for exeter-liz. After quipping when the current quip is el-drivers: say "'He didn't scream,' you protest (this is technically true, it was more like a sharp inhale). 'The turn was a little tight but I totally would have made it.'[paragraph break]'Oh yeah, I remember that. I actually meant the other time.'[paragraph break]'I got a perfect score on the written test,' you reply lamely.[paragraph break]". After quipping when the current quip is el-laura-1: Disable the el-laura-1 quip. After quipping when the current quip is el-laura-3 or the current quip is el-laura-4: Say "'She didn't tell me,' you say, annoyed. 'When Saul said that we were obviously crazy about each other, she nodded right after I did. And then Saul went to the other side of the beach, and she let me hold her hand and we watched the sunset. I told you this like ten times!'[paragraph break]'Russo, the fine details of your love life, or lack thereof, are not as interesting to the rest of us as you think,' she says. She goes to run her hand through her hair, but she's not used to how short it is so it looks weird. 'Count yourself lucky that so many people are trying to help you get laid, but at some point you're gonna need to do some of the work.'[paragraph break]" After quipping when the current quip is el-laura-bad: Disable the el-france quip; Disable the el-drivers quip; Disable the el-laura-1 quip; Now the greeting of Exeter-Liz is el-badend. After quipping when the current quip is el-laura-5: Say "You do some quick math in your head. 'Four weeks and three days. Thirty-one days.'[paragraph break]'Well if your precision timekeeping doesn't get her panties wet, I don't know what will.' You blush fit to beat a tomato as Liz shakes her head at you. 'Russo, you schmuck, this girl told you she likes you a month ago. How many times have you talked to her since then?'[paragraph break]This one doesn't take any math. 'Zero,' you admit. 'But we were with mom after that, so this is the first time I've seen her since!'[paragraph break]'And you didn't call why?'[paragraph break]" After quipping when the current quip is el-laura-6: Say "You suddenly have a sour feeling in your stomach, the same one you always used to feel right before going in to confession. 'That's not a big deal, though. She knew we'd meet up once school started again. And now she knows I like her too!'[paragraph break]Liz just sighs. 'Yeah, that part makes it even worse.'[paragraph break]" After quipping when the current quip is el-laura-7: Say "'Who are you, and what have you done with my sister?' you say, then immediately regret your reflexive jokiness. 'Sorry. That's just seriously the nicest thing I can remember you saying to me. Thanks.'[paragraph break]The moment's gone, though. 'Sure, whatever,' she says, 'I just want you guys to get together so you can stop bugging me about her.'"; Now exeter-liz-advice is true; disable the el-france quip; disable the el-drivers quip; Now the greeting of exeter-liz is el-goodend. After quipping when the current quip is el-laura-8: Say "'Who are you, and what have you done with my sister?' you say, then immediately regret your reflexive jokiness. 'Sorry. That's just seriously the nicest thing I can remember you saying to me. Thanks.'[paragraph break]The moment's gone, though. 'Sure, whatever,' she says, 'I just want you guys to get together so you can stop bugging me about her.'"; Now exeter-liz-advice is true; disable the el-france quip; disable the el-drivers quip; Now the greeting of exeter-liz is el-goodend. Table of Quip Texts (continued) quip quiptext laura-intro "Laura pretends not to notice you coming up to her until you're close enough to talk. 'Hey Mike,' she says, eying you -- is that warily? She must be nervous too." laura-hi "'Hi,' she repeats, then waits to see what you're going to say (you're sort of curious about that too)." laura-summer "'Umm, complicated,' she says, and blushes slightly." Laura-books "She takes a second to answer, and you start to squirm under the flat look she's giving you -- then her body releases some tension, like she was holding her breath. 'Not really. Did you?'" Laura-meany "Actually, it's a little hard to sum up. Vietnam and predestination, maybe? You're not sure those are the topics of conversation you want right now." Laura-GoT "You start to wax rhapsodic, then remember the incestuous twins -- wait, will she think you're weird for recommending this?" laura-blarg "[one of]This is going [italic type]awesome[roman type].[or]Now she's just looking at you.[or]Why did you think this was a good idea?[stopping]" Laura-like "You lack the nerve when it comes to the crucial moment." Laura-july "'July?' she says, her voice thick. 'I was hoping I'd get a chance to see you.'" Laura-badsorry "'It's OK,' she says -- yes, she's definitely holding back tears now. 'I figured you didn't mean it.'" Laura-it "'That you liked me,' she says simply." Laura-classes "'We're going to read L'Étranger in French,' she says. 'And I got Mangan for English.'" Laura-existentialism "(You really loved that class, though many years later there'll be posthumous revelations that Mangan engaged in inappropriate sexual behavior with students, which will take the bloom off that particular rose quite thoroughly)." Laura-morte "She looks nonplussed -- right, she hasn't actually read it yet." Laura-goodpath "She flushes instantly and looks around, but her dormmates are studiously pretending they can't see you. 'What's the second thing?' she asks as she regains her composure." Laura-infirmary "'Okay. Bye,' she says. Her forehead wrinkles, like she's thinking of saying something else, but she doesn't." Laura-dragonlance "She doesn't seem as excited as you think she'd be -- she loves Dragonlance! But she still asks 'D&D or SAGA rules?'" Laura-DL2 "'That makes sense.'" Laura-DL3 "'Uh huh?'" Laura-DL4 "'Uh huh.'" Table of Laura Comments prompt response enabled "'Uh, hi.'" Laura-hi 1 "'How was your summer?'" Laura-summer 0 "'Read any good books lately?'" Laura-books 0 "'Taking any fun classes this year?'" Laura-classes 0 "'You know, I really like you.'" Laura-like 0 "'I'm thinking of starting a Dragonlance game.'" Laura-dragonlance 0 "'I am so so sorry -- I didn't mean to do that.'" Laura-badsorry 0 "'Okay, so first thing, I'm a schmuck for not calling you -- I was freaked out but that's no excuse.'" Laura-goodpath 0 After quipping when the current quip is laura-intro: now convo-lock is true. Instead of doing something other than examining or quipping or responding with or qbc responding with or looking or talking to when convo-lock is true and the location is the residential quad, say "You can't just walk off in the middle of talking to the girl you've got a crush on!" Instead of talking to exeter-liz when convo-lock is true, say "You're already talking to Laura!" After quipping when the current quip is laura-intro or the current quip is laura-hi or the current quip is laura-summer or the current quip is laura-books or the current quip is laura-meany or the current quip is laura-got or the current quip is laura-blarg or the current quip is laura-like or the current quip is laura-july or the current quip is laura-it or the current quip is laura-classes or the current quip is laura-goodpath or the current quip is laura-badsorry or the current quip is laura-existentialism or the current quip is laura-morte or the current quip is laura-dragonlance or the current quip is laura-dl2 or the current quip is laura-dl3 or the current quip is laura-dl4: Increase exeter-trigger by 1. [Ooof, another awkward hack, needed so that the bee-sting-timer doesn't go up when talking to the other characters -- I think there's an easier way to check who the conversation partner is?] After quipping when the current quip is laura-hi: enable the laura-summer quip; enable the laura-books quip; enable the laura-classes quip; enable the laura-like quip; enable the laura-dragonlance quip; If exeter-liz-advice is true: enable the laura-goodpath quip; Disable the laura-like quip. after quipping when the current quip is laura-summer: say "Of course, you know how one part of her summer was: the part where a month ago you told her you liked her and held her hand, then never called or talked to her until just now.[paragraph break]" After quipping when the current quip is laura-july: Enable the laura-badsorry quip. After quipping when the current quip is laura-it: Say "'Oh, no no no,' you hurriedly say, I did! I mean I do. It's just -- um.' You have no idea how to finish that sentence, and as longed-for declarations of love go, the ones before were no great shakes either.[paragraph break]" laura-goodpath-flip is a truth state that varies. Laura-goodpath-flip is false. After quipping when the current quip is laura-goodpath: Say "Right. The second thing.[paragraph break]"; Now the litany of laura is Table of Better Laura Comments; Now the current quip is quip_null; Now the pertinent quip is quip_null; disable the laura-hi quip; disable the laura-summer quip; disable the laura-classes quip; disable the laura-books quip; disable the laura-dragonlance quip; disable the laura-like quip; disable the laura-badsorry quip; Now laura-goodpath-flip is true. Every turn when laura-goodpath-flip is true: Now laura-goodpath-flip is false; Run a conversation on the table of better Laura comments. Table of quip followups (continued) quip option result Laura-summer "'I mean, like June, July, early summer.'" Laura-july Laura-summer "'I mean, I'm sorry I didn't call -- it was just really intense, you know?'" Laura-badsorry Laura-summer "'I mean, maybe let's not talk about the summer?'" laura-blarg Laura-books "'Oh, yeah! Have you read A Prayer for Owen Meany? It's about, like....'" Laura-meany Laura-books "'Did you hear about Game of Thrones yet? It's like Wheel of Time but way more awesome -- you should read it!'" Laura-GoT Laura-books "'Er, me either, I guess.'" Laura-blarg Laura-badsorry "'...wait, what do you mean by it?'" Laura-it laura-classes "'Oh, cool, Mangan's great, I had him two years ago. We read Grendel, which is also kinda Existentialist...'" laura-existentialism laura-classes "'Aujourd'hui maman est morte.'" laura-morte Laura-dragonlance "'I'm not really sure yet -- the SAGA rules seem like they're less focused on combat, so you can tell a better story.'" Laura-DL2 Laura-DL2 "'But I'm not sure how balanced they are -- I did a playtest, and the spells seem overpowered.'" Laura-DL3 Laura-DL3 "'Yeah, like if a sorcerer chooses their best cards to cast an armor spell, nothing short of a minotaur can scratch the party.'" Laura-DL4 Laura-DL4 "'But maybe the rules in the magic supplement fix that. With like errata.'" Laura-blarg After quipping when the current quip is laura-existentialism: say "Anyway, Laura doesn't seem that interested in talking about Existentialism right now.[paragraph break]" After quipping when the current quip is laura-DL2: Say "Weird Laura's not saying much -- you used to spend tons of time talking about this stuff, once you debated how to pronounce 'Takhisis' for like an hour (she was right).[paragraph break]" After quipping when the current quip is laura-DL3: Say "You should stop talking about this. Why are you still talking about this?[paragraph break]" After quipping when the current quip is laura-DL4: Say "[italic type]What are you doing[roman type]?[paragraph break]" Table of Quip Texts (continued) quip quiptext laura-really "'That's two reallys, so you must mean it,' she says, but you think she's smiling a little?" Laura-friends "'Yeah, I feel that way too.' You're hoping she'll say more -- this is really hard! -- but she stops." Laura-love "'Actually I don't just like you,' you continue -- wait, are you really saying this?" Laura-beautiful "Wait, you should say something more specific because otherwise that's not a very good compliment." laura-freakout "You see the panic in her eyes, which must be the mirror of the terror in your own." laura-smart "'Oh.' She doesn't deflate as much as you thought she might? 'That's nice. You're really smart too.'" laura-eyes "'Thanks,' she says, giving you a shy little smile. 'I notice you looking at them sometimes,' she admits." laura-smile "She brushes her hair behind her ear. 'You're going to make me too self-conscious to smile around you.' Is she being coy?" laura-boobs "'You have an amazing body,' you say. Hopefully that gives you plausible deniability?" [Ah yes, the laura-boobs quip, just the classy sort of thing one wants in one's project Index] Table of Better Laura Comments prompt response enabled "'The second thing is that I really really like you.'" laura-really 1 "'We've been friends for so long, trying to be something different is scary.'" laura-friends 0 "'I do mean it.'" laura-love 0 "'You are just, like, so beautiful.'" laura-beautiful 0 After quipping when the current quip is laura-really: Enable the laura-friends quip; enable the laura-love quip; enable the laura-beautiful quip. After quipping when the current quip is laura-freakout: say "'Sorry! Sorry!' you say, belatedly checking whether any of Laura's friends heard that (if so, they're pretending they didn't). 'I know that's a crazy thing to say. But that's how I feel when I think about you.' Her mouth is slightly open and her face is red. 'You don't need to say anything, I know this is a lot,' you say, which sounds like it's letting her off the hook but is really letting you off the hook, since you have no idea what she was going to say.[paragraph break]" After quipping when the current quip is laura-really or the current quip is laura-friends or the current quip is laura-friends or the current quip is laura-love or the current quip is laura-beautiful or the current quip is laura-freakout or the current quip is laura-smart or the current quip is laura-eyes or the current quip is laura-smile or the current quip is laura-boobs: Increase exeter-trigger by 2. [I think this is to force the bee sting to happen as soon as you hit one of these natural conversation endpoints -- probably a more elegant way to do that than hardcoding the jump based on me counting the fewest steps needed to get to one of them!] Table of quip followups (continued) quip option result laura-love "Yes, you are: 'I love you.'" laura-freakout laura-love "Of course you're not: 'I, um, think you're really smart too?'" laura-smart laura-beautiful "'I could get lost in your eyes.'" laura-eyes laura-beautiful "'Your smile makes my heart skip a beat.'" laura-smile Laura-beautiful "Don't mention her boobs. Don't mention her boobs." laura-boobs Table of Exeter Stings prompt response enabled "'Uh, yeah, I should probably go to the infirmary.'" laura-infirmary 1 After quipping when the current quip is laura-infirmary: Say "(At least the infirmary is close -- you just need to head west through the Academic Quad)."; Now laura-sting-finished is true; Now convo-lock is false. Chapter 4 - Dumbbell A person is either sated or hungry. A person is usually hungry. Dumbbell-scene is a scene. Dumbbell-scene begins when Exeter ends. Dumbbell-scene ends when the player is in the loft. When Dumbbell-scene begins: Say "[bold type]Bayville, NY -- Summer 1998[roman type][paragraph break]"; Say "Since summers stopped being sailing in Nantucket and started being bussing tables on Long Island, you've stopped liking them nearly as much. For one thing, there's no one to hang out with except Liz, unless you're able to align your days off with Chew and then take the train into the city to meet him. For two, a busboy's work so far as you've made it out is hard, long, dirty, and markedly lacking in intellectual stimulation -- plus while the paycheck isn't bad, all you want to buy with your earnings is video games, and you're working so much you don't have much time to play them. And three, with just a few weeks to go before you leave for college (you're going to California, Liz to Boston) and get to meet new people and study hard math, every day is dragging.[paragraph break]You slept in because you're only working a night shift today, and you're alone in the house since everyone else is out shopping (Liz totaled her car in the mall parking lot last month, so she's been reduced to asking your mom for rides, same as you have to). You begged off -- shopping is the worst -- and now you get to play video games with no one around to bother you![paragraph break]You pull yourself out of bed, wincing slightly at a dull headache. Okay, first down to the kitchen to get tea (to get ahead of this caffeine-withdrawal headache) and breakfast (to stop the tea from giving you a stomachache), then there's a dungeon in Might and Magic VI with your name on it.[paragraph break](Actually, it has Ethric the Mad's name on it, since it's his tomb, but same diff)."; Now the player is dumbbell-mike. A bayville-door is a kind of door. The description of a bayville-door is usually "It's a wooden door, painted a plain white." Instead of closing a bayville-door (called the foo) when the foo is open, say "The house stays cooler when the air can circulate, so better to keep it open." A bayville-door is usually open. [I hate doors, so this is the minimum viable implementation I could come up with (I only needed to make one of 'em for the whole house, and the main thing it does is tell you not to mess with it] Understand "play video/computer/-- game/might/mm/mmvi/mm6/computer and/-- magic/-- 6/vi/six/--" as a mistake ("You'll need to boot up the computer in the loft in your mom's room to play.") when the player is dumbbell-mike. Your Bedroom is a room. The description is "The house your mom moved into after the divorce is much smaller than the one you grew up in. You have your own bedroom, but it's smaller than your old dorm room was, and since Liz called dibs on the room with a closet, half of it's taken up by a giant armoire.[paragraph break]Your bookshelves and bed see to most of the remaining space between them, leaving just a little postage-stamp of carpet leading south to the landing." Instead of exiting when the location is your bedroom, try going south. Dumbbell-mike is a man in Your Bedroom. The description is "You're wearing a plain gray t-shirt and khakis, no socks or shoes since you're not going out. After wrestling ended in the spring, you made up for all those months of cutting weight and gained maybe ten pounds, so at 17 you weigh the most you ever have (and ever will, so far). But you decided to go vegetarian right after graduation, and that's helped get your waistline back to normal." Understand "my/your/-- foot/welt/sting/stinger" as dumbbell-mike when dumbbell-mike is stung. The greeting of dumbbell-mike is d-selftalk. Understand "my/your/-- feet/foot" as dumbbell-mike. Dumbbell-mike is wearing the dumbbell-clothes. Understand "my/-- clothes/khakis/pants/t-shirt/shirt" as the dumbbell-clothes. The description of the dumbbell-clothes is "Khakis, plain t-shirt -- your overall look is probably best described as 'very boring person not making much effort.'" Instead of taking off the dumbbell-clothes, say "You're home alone, so you suppose you could wander around naked and no one would know. Except nosy neighbors. And God, to the extent an omniscient God exists. And the dogs. And you.[paragraph break]You stop the list there and decide to keep your pants on." The printed name of the dumbbell-clothes is "your clothes". The dumbbell-clothes are proper-named. dumbbell-mike is wearing the dumbbell-glasses. Understand "my/-- glasses" as the dumbbell-glasses. Instead of taking off the dumbbell-glasses, say "You've decided you mostly want to stick to wearing your glasses -- contacts hurt your eyes and frankly you were never that comfortable poking your fingers around to get them in and out." The description of the dumbbell-glasses is "Liz says your glasses are nerdy, though you're not really sure why -- they just look like normal glasses to you." The printed name of the dumbbell-glasses is "your glasses". The dumbbell-glasses are proper-named. The landing-placeholder is scenery in your bedroom. Understand "landing" as the landing-placeholder. The description is "The landing's just a bit of carpeted floor above the stairs." The bookshelves are scenery in your bedroom. They are plural-named. The description is "You've only ever had one kind of bookshelf: overstuffed. There's one shelf with your to-read pile -- Ulysses is on top -- and then a whole mass of books, loosely sorted by category and author. You glance over [one of]A Prayer for Owen Meany. This is the book that got you to start reading literary fiction; it's about God and Exeter (though less wrestling than Irving's other books that you've read) so of course you loved it[or]your run of Dragon magazine issues 189 to 240[or]far too many Star Trek paperbacks -- most aren't very good, but they got you through those long Nantucket summers[or]all Asimov's Foundation and Robots books[or]The Cartoon History of the Universe -- you love this book, especially the Peloponnesian War bits[at random]." Understand "dragon/-- mass/book/books/shelves/magazine/magazines/dragons/bookshelf/paperbacks" as the bookshelves. Understand "Asimov/Foundation/Robots books/--" as the bookshelves. Understand "cartoon/-- history/-- cartoon/history/universe of/-- the/-- universe/--" as the bookshelves. Understand "star trek books/paperbacks/--" as the bookshelves. Understand "prayer/owen for/-- owen/-- meany/--" as the bookshelves. Instead of taking the bookshelves, try taking the to-read pile. Understand "read [bookshelves]" as examining. Understand "dragon" as the bookshelves. The to-read pile is scenery in your bedroom. Understand "Ulysses" as the to-read pile. The description is "[one of]After way too many years of reading nothing but sci-fi and fantasy, in the past year or so you've started to get what's fun about non-genre books. Ulysses is supposed to be like the best, or at least most complex, book ever so you figured why not give that a shot?[or]The to-read pile is actually more of a queue, so while there's other good stuff down there -- some Thich Nhat Hanh, the sequel to Catch-22 -- you don't want to displace Ulysses to check.[stopping]". Before taking the to-read pile, say "The book actually starts with a court decision ruling it's not obscene (duh), which seems like a bit of a slog to get through -- you're more in a goblin-killing mood." instead. Understand "read [to-read pile]" as taking. The armoire is scenery in your bedroom. It is a container. It is closed. It is opaque. The description is "This wooden armoire is bigger and heavier than you'd expect from something that came from IKEA (it was precisely as much of a pain to assemble as you'd expect from something that came from IKEA)." Understand "wardrobe/closet" as the armoire. Instead of opening the armoire, say "You'll change for work before your shift, but you've got hours yet." A bed is a kind of thing. A bed is either made or unmade. [...is there actually a second bed in the game?] Your bed is a bed in your bedroom. Your bed is scenery. Your bed is unmade. The description is "Your bed is crammed into the room, with maybe three inches of clearance on either end. [if your bed is unmade]The bedclothes are pretty rumpled[otherwise]The quilt, bedclothes, and pillows are now pleasingly tidy[end if]." Understand "mattress/quilt/bedclothes/sheet/sheets/pillows/pillow" as your bed. Instead of entering the bed, try sleeping. The block sleeping rule does nothing when the player is dumbbell-mike. Carry out sleeping when the player is dumbbell-mike: Say "Nah, you just woke up." Instead of looking under your bed: Say "[one of]You're not sure you want to do that...[or]Nah, you're not in the mood right now.[or]Look, it's not exactly a mystery what teenaged boys were likely to keep under their beds in the days before broadband, and at the remove of years it'd be more embarrassing to pretend you were an exception -- but at the same time there's not much to be gained from dwelling on the details.[stopping]" Bed-making is an action applying to one thing. Understand "make [bed]" as bed-making. Understand "tidy [bed]" as bed-making. Understand "clean [bed]" as bed-making. Check bed-making: If the noun is made, say "You're not sufficiently bored to want to make your bed a second time." instead. Carry out bed-making: Say "It's hard to make the bed given that there's only one side of it that isn't jammed up against a wall, but after five minutes of pulling and tucking, you're satisfied that you've done a good-enough job."; Now the noun is made. [Yes, there's just the one bed. Points for full implementation I guess, penalty for just baking the one noun it applies to into the carry out rule] Your bedroom door is a bayville-door. It is scenery. It is south of your bedroom and north of the landing. Landing is a room. The printed name is "Landing". The description is "The small landing has doors leading north to your room, south to Liz's, and northwest to the bathroom, plus stairs going down to the first floor." Before going south to the landing for the first time: Say "The high-pile carpet feels nice on your bare feet." [Foreshadowing!] Liz's door is a closed bayville-door. It is scenery. It is south of the landing. It is closed. Instead of opening Liz's door, try examining liz's door. The description is "Liz's stuff is a) hers and b) honestly pretty boring, just clothes and jewelry and that sort of thing, while her room is almost always c) a godawful mess, so you don't see much reason to go in.[if liz's door is unexamined] It'll be weird that you won't be around to see whether she learns how to pick up after herself when she's at college, though. Sure, she spent Upper year in France, but that was temporary -- this will be the last time you live so near to her, probably. Anyway, you won't miss all the dirty laundry and dirty plates stinking up the place.[end if]". Understand "liz's/liz room/--" as liz's door. Instead of going south from the landing, try silently opening liz's door. The bathroom is scenery. It is in the landing. The description is "The previous owners of this house decided to do the bathroom fittings in a dreadful olive-green color, and also made it bizarrely large -- it's noticeably bigger than your bedroom -- as though they wanted to show off their dreadful taste to the world." Understand "bathroom door" as the bathroom. Instead of going northwest from the landing, say "You've already brushed your teeth and showered." Instead of entering the bathroom, try going northwest. The bathroomplaceholder is a room. It is northwest from the landing. [Since I have the instead rules, I don't think I actually needed this placeholder room?] The bayville-stairs are a backdrop. They are plural-named. They are in the landing. They are in the living room. Understand "stairs/landing" as the bayville-stairs. The description is "Carpeted stairs, not much to look at." The Living Room is below the landing. The printed name is "Living Room". The description is "Your mom's living room is comfortable but snug, since her half of the furniture from the divorce overfills this smaller house. There's a couch and loveseat, several side tables, and lots of knick-knacks, plus the TV.[paragraph break]The front door's to the west, the kitchen is east, and the dining room and your mom's bedroom are north (the computer is in the loft in her room). You can go back up to the second-floor landing, and the stairs to the basement are tucked away around a corner behind the TV." Instead of going north from the living room when dumbbell-mike is hungry, say "You're eager to play some more Might and Magic, but not so eager to skip breakfast." The basement is scenery in the living room. The description is "There's no reason to go down into the basement. It's small and unfinished, crammed with boxes and pieces of furniture that your mom couldn't find a place for, plus the laundry machines. The only interesting thing about it is that it gives onto a crawlspace running under the rest of the house, which you spent a bunch of quality time in when you helped your uncle install some security cameras last month (the neighbor kid was sneaking in and stealing cash)." Instead of going down while the player is in the living room, try examining the basement. Understand "basement stairs" as the basement. Understand "corner" as the basement. The knick-knacks are scenery in the living room. They are plural-named. The description is "Little decorative pieces your mom's accumulated over the years. There's [one of]a Nantucket lighthouse basket, the wicker darkening with age[or]a glass -- or crystal? You're vague on the distinction -- swan[or]a little porcelain Labrador, sitting on a tiny bean-bag bed[at random]." Understand "knicknack/knicknacks/knickknack/knickknacks/knick-knack" as the knick-knacks. Understand "nantucket/-- lighthouse/-- basket" as the knick-knacks. Understand "glass/crystal/-- swan" as the knick-knacks. Understand "little/-- porcelain/-- labrador/lab" as the knick-knacks. Understand "bean/bean-bag/-- bag/-- bed" as the knick-knacks. Understand "glass/crystal" as the knick-knacks. Understand "knick knacks/knack" as the knick-knacks. Understand "knick/knicks" as the knick-knacks. Instead of doing anything other than examining to the knick-knacks, say "Your mom's got them arranged how she likes." [Lotta ways to say and abbreviate knick-knacks, I learned from my testers] The couch is scenery in the living room. It is a vehicle. Understand "loveseat/furniture/love seat/--" as the couch. "The couch and loveseat came from the Nantucket house; they're sunbleached but comfy." Instead of entering the couch, say "Maybe you'll watch some TV later, but not now." [....I guess I was somehow vague on the concept of "supporters", is why this is a vehicle?] The side tables are scenery in the living room. The description is "Your mom's got one or two side-tables in every corner of the room to provide a place for all the knick-knacks." Understand "side/-- table" as the side tables. They are plural-named. The TV is a device in the living room. It is scenery. The description is "You haven't watched much TV over the last four years -- except for Saturday night, the dorm TV had to be turned off by 8, and picking anything required negotiating with a dozen other teenaged boys, so mostly you just wound up watching the Simpsons and Star Wars. Now that watching TV only requires negotiation with one teenaged girl (and actually Liz's taste is surprisingly not bad), you've been working your way through a bunch of movies this summer. You saw The Thing a couple days ago, which was great, but given the way it messed with your sleep, maybe no more horror for a bit." Instead of switching on the TV, say "Maybe later, you'd rather play a video game now." The front door is a bayville-door. It is scenery. It is west of the living room. It is closed. Instead of opening the front door, say "It's hot and muggy today, and you have neither car nor driver's license, so there's not much appealing about the prospect of heading outside." The Kitchen is east of the living room. The description is "Your mom's kitchen gets the job done, with the usual fridge, sink, oven, toaster, kettle, trash can, etc., plus a [phone] on the wall. Today's [newspaper] is on the table[if the note is on the kitchen-table], alongside a [note][end if]. [Godiva] and [Emma] are snoring on their dog-beds in the corner, enjoying their mid-morning naps.[if the bagel is in the kitchen and the tea is in the kitchen and the tea is uncooked][paragraph break]You've put out a [bagel] and packet of [tea] on the counter for your breakfast.[end if][if the bagel is in the kitchen and the tea is in the kitchen and the tea is cooked][paragraph break]You've put out a [bagel] and mug of [tea] on the counter for your breakfast.[end if][if the bagel is in the kitchen and the tea is not in the kitchen][paragraph break]Your [bagel] is on the counter.[end if][if the tea is in the kitchen and the tea is cooked and the bagel is not in the kitchen][paragraph break]There's a mug of hot [tea] on the counter.[end if][if the tea is in the kitchen and the tea is uncooked and the bagel is not in the kitchen][paragraph break]There's a packet of [tea] on the counter.[end if][paragraph break]The living room is back to the west." Instead of dropping the tea when the location is not the kitchen, say "You wouldn't want to get a ring on any of the tables -- Mom would notice." Instead of dropping the bagel when the location is not the kitchen, say "You probably wouldn't want to eat if after doing that, so since you're hungry you don't." Food is a kind of thing. Food is either cooked or uncooked. Food is usually uncooked. Food is either eaten or uneaten. Food is usually uneaten. Food is either drinkable or undrinkable. Food is usually undrinkable. The fixtures are open containers in the kitchen. They are scenery. Understand "fridge/oven/stove/counter/cabinet/cabinets/cupboard/cupboards/pantry" as the fixtures. The description is "Food is in the fridge and cabinets, toaster and stove cook, kettle makes hot water and sink gives you cold, trash goes in the trash can -- one day you should learn to cook, at which point you might have more informed opinions about this stuff, but that day has yet to arrive." Instead of closing the fixtures, say "They're already closed." The examine containers rule does nothing when the noun is the fixtures. The freezer is a closed container in the kitchen. The description is "Food is in the fridge and cabinets, toaster and stove cook, kettle makes hot water and sink gives you cold, trash goes in the trash can -- one day you should learn to cook, at which point you might have more informed opinions about this stuff, but that day has yet to arrive." Understand "ice" as the freezer. Instead of taking the freezer, try opening the noun. It is scenery. Instead of opening the freezer: if dumbbell-mike is stung: Say "[one of]You grab some ice and slap it on the sting -- it numbs the pain but melts quickly[or]You've already iced the sting[stopping]."; Otherwise: Say "You don't need any ice." [Oh, forgot I put this in! Kind of a fun touch] Instead of switching on the fixtures, say "You can toast a bagel, but that's about the limit of your ambitions when it comes to cooking." Understand "eat breakfast" as a mistake ("You'll need to make your bagel and tea before you can have your breakfast.") when the tea is in the fixtures. Understand "get breakfast" as a mistake ("You'll need to make your bagel and tea before you can have your breakfast.") when the tea is in the fixtures. Understand "make breakfast" as a mistake ("You'll need to make your bagel and tea before you can have your breakfast.") when the tea is in the fixtures. Understand "cook breakfast" as a mistake ("You'll need to make your bagel and tea before you can have your breakfast.") when the tea is in the fixtures. Understand "cook breakfast" as a mistake ("That usually works better if you take it step by step.") when dumbbell-mike is hungry and the tea is not in the fixtures. Understand "get breakfast" as a mistake ("That usually works better if you take it step by step.") when dumbbell-mike is hungry and the tea is not in the fixtures. Understand "make breakfast" as a mistake ("That usually works better if you take it step by step.") when dumbbell-mike is hungry and the tea is not in the fixtures. Understand "eat breakfast" as a mistake ("That usually works better if you take it step by step.") when dumbbell-mike is hungry and the tea is not in the fixtures. Understand "cook breakfast" as a mistake ("You've already eaten.") when dumbbell-mike is sated and the player is dumbbell-mike. Understand "eat breakfast" as a mistake ("You've already eaten.") when dumbbell-mike is sated and the player is dumbbell-mike. Understand "make breakfast" as a mistake ("You've already eaten.") when dumbbell-mike is sated and the player is dumbbell-mike. Understand "get breakfast" as a mistake ("You've already eaten.") when dumbbell-mike is sated and the player is dumbbell-mike. Understand "eat bagel" as a mistake ("You've already eaten.") when dumbbell-mike is sated and the player is dumbbell-mike. Understand "drink tea" as a mistake ("You already drank it.") when dumbbell-mike is sated and the player is dumbbell-mike. [Drink!] [Please don't, you'll die] Instead of taking the tea when the tea is in the fixtures, try opening the fixtures. Instead of taking the bagel when the bagel is in the fixtures, try opening the fixtures. Instead of opening the fixtures: If the tea is in the fixtures: Say "Your breakfast every morning is a bagel, washed down with some Earl Grey tea, so you take them out of the freezer and cupboard respectively."; Now the tea is in the kitchen; Now the bagel is in the kitchen; Otherwise: Say "You've already gotten everything you need for breakfast." Check inserting something into the fixtures: If the noun is food: Say "You just took [the noun] out!" instead; Otherwise: Say "Your mom wouldn't appreciate finding [the noun] in with the food." instead. The toaster is an open opaque container in the kitchen. It is scenery. The description is "Food is in the fridge and cabinets, toaster and stove cook, kettle makes hot water and sink gives you cold, trash goes in the trash can -- one day you should learn to cook, at which point you might have more informed opinions about this stuff, but that day has yet to arrive." Instead of switching on the toaster, say "You can toast a bagel, but that's about the limit of your ambitions when it comes to cooking (it still puts you ahead of Liz)." Instead of opening the toaster, say "You can just put in whatever you want to toast." Instead of closing the toaster, say "It's already closed." Check inserting something into the toaster: If the noun is the bagel and the bagel is uncooked, try silently cooking the bagel instead; If the noun is the bagel and the bagel is cooked, say "It's already as toasted as you like it." instead; Say "That seems like a potential fire hazard." instead. The kettle is a device in the kitchen. It is scenery. The description is "Food is in the fridge and cabinets, toaster and stove cook, kettle makes hot water and sink gives you cold, trash goes in the trash can -- one day you should learn to cook, at which point you might have more informed opinions about this stuff, but that day has yet to arrive." Instead of taking the kettle, try switching on the kettle. Understand "boil [kettle]" as switching on. Check switching on the kettle: If the tea is not in the fixtures and the tea is undrinkable, try silently cooking the tea instead; Say "You should probably get the tea out of the cabinet first." instead. Instead of putting the kettle on the fixtures, say "It's an electric kettle, so that would be a very bad idea." Instead of opening the kettle, say "It's already half-full -- your mom must have made tea before she left." Instead of inserting the tea into the kettle, try cooking the tea. Understand "pour water in/into kettle" as a mistake ("It's already half-full -- your mom must have made tea before she left."). Understand "put water in/into kettle" as a mistake ("It's already half-full -- your mom must have made tea before she left."). Understand "fill kettle with/-- water/--" as a mistake ("It's already half-full -- your mom must have made tea before she left."). Understand "put kettle in/into sink" as a mistake ("It's already half-full -- your mom must have made tea before she left."). [Drink!] [The idea of the implementation here is that the player can do the traditional parser step-by-step thing -- TURN ON KETTLE, PUT TEA IN MUG -- or bottom-line things if they're less experienced with parser foolishness -- MAKE TEA -- and either way the process gets bottom-lined. Not sure I quite achieved that, though -- the details are quite devilish] The sink is a device in the kitchen. It is scenery. The description is "Food is in the fridge and cabinets, toaster and stove cook, kettle makes hot water and sink gives you cold, trash goes in the trash can -- one day you should learn to cook, at which point you might have more informed opinions about this stuff, but that day has yet to arrive." Instead of switching on the sink, say "There's no need to waste water." Understand "water" as the sink. The mug is scenery in the kitchen. The description is "Your mom has an array of mugs -- your favorite is the maroon Exeter Class of 1998 one you got after graduation." Understand "mugs" as the mug. Instead of taking the mug, try cooking the tea. Instead of inserting the tea into the mug, try cooking the tea. Instead of inserting the kettle into the mug, try cooking the tea. Instead of inserting the sink into the mug, try cooking the tea. The tea is food in the fixtures. The indefinite article is "some". The description is "[if the tea is undrinkable]A packet of Earl Grey tea. You may have made drinking it part of your morning routine because of Captain Picard[otherwise]A steaming mug of Earl Grey[end if]." Understand "maroon/-- exeter/-- mug" as the tea when the tea is cooked. Understand "packet of/-- earl/-- grey/gray/--" as the tea when the tea is undrinkable. Understand "earl grey/gray" as the tea. The tea is edible. Understand "tea bag" as the tea. Understand "make tea" as a mistake ("You need to get it out of the cabinets first.") when the tea is in the fixtures. Understand "brew tea" as a mistake ("You need to get it out of the cabinets first.") when the tea is in the fixtures. [Understand "take cup/mug" as a mistake ("You should get water heating up first.") when the tea is uncooked.] [I forget why this is commented out] The bagel is food in the fixtures. The bagel is edible. The description is "An everything bagel[if the bagel is cooked], lightly toasted with some veggie cream cheese[otherwise], sliced but as yet untoasted[end if]." Understand "cream cheese" as the bagel when the bagel is cooked. Understand "breakfast/food" as the bagel when the bagel is cooked. Cooking is an action applying to one visible thing. Understand "make [food]" as cooking. Understand "cook [food]" as cooking. Understand "brew [food]" as cooking. Understand "toast [food]" as cooking. Understand "boil [food]" as cooking. Understand "prepare [food]" as cooking. Understand "bake [food]" as cooking. Understand "pour [sink] into [something]" as inserting it into. Understand "pour [kettle] into something" as inserting it into. Check cooking: If the noun is cooked, say "No need to do that again, [the noun] is ready now." instead. Carry out cooking: If the location is not the kitchen, say "That's best done in the kitchen." instead; If the noun is in the fixtures, try opening the fixtures; If the noun is the tea: Say "You put the kettle on and grab your maroon Exeter mug for the tea. Idly, you leaf through the newspaper as the kettle boils and the tea brews -- must be a slow news day since the lead stories are all just speculation about what Starr is going to write in his report."; Now the tea is cooked; Now the tea is drinkable; now the mug is nowhere; If the noun is the bagel: Say "You toast the bagel, flipping through the newspaper as you wait -- there's a review of Saving Private Ryan, which sounds intense. Once the toaster dings, you smear some veggie cream cheese on both sides."; Now the bagel is cooked. [I know, you don't really cook tea, but reusing the action infrastructure seems defensible] Understand "boil water" as waterboiling. Waterboiling is an action applying to nothing. Check waterboiling: If the location is the molino-kitchen, say "Maybe you'll have some tea later." instead; if the location is not the kitchen, say "How?" instead. Carry out waterboiling: Try switching on the kettle. Check eating: If the noun is the bagel: If the bagel is uncooked, say "What kind of New Yorker eats an untoasted bagel?" instead; If the tea is not enclosed by the location or the tea is uncooked: Say "You'd like some tea to wash down the bagel." instead; If the location is not the kitchen, say "Better eat in the kitchen -- no need to annoy your mom getting crumbs everywhere." instead; If the noun is the tea: if the tea is uncooked, say "You've always wondered what dry tea-leaves taste like, but not enough to risk a stomachache to find out." instead; try silently drinking the tea instead. The block drinking rule does nothing. Check drinking: If the noun is not the tea, say "That doesn't seem especially drinkable." instead; If the tea is uncooked, say "You've always wondered what dry tea-leaves taste like, but not enough to risk a stomachache to find out." instead; If the bagel is not enclosed by the location or the bagel is uncooked: Say "Your stomach gets upset if you have your first cup of tea without any solid food -- better have a bagel too." instead; If the location is not the kitchen, say "Better eat in the kitchen -- no need to annoy your mom getting crumbs everywhere." instead. Carry out eating the bagel: Try silently drinking the tea instead. The standard report eating rule does nothing when the noun is the bagel. Carry out drinking the tea: Say "You sit down at the kitchen table with your freshly-toasted bagel and nicely-steeped tea, and open up the newspaper, which you've recently made your habit for breakfast -- it makes you feel grown-up. Today there's a science supplement, so you read an article about the implications of the recent experiment proving that neutrinos have mass, and another one about ongoing work to nail down the cosmological constant.[paragraph break]You flip through the headlines as you finish -- these are much less interesting, mostly about this Clinton blowjob stuff, which makes you embarrassed to read about -- then clean up."; Now the tea is nowhere; Now the bagel is nowhere; Now dumbbell-mike is sated. The kitchen-table is scenery in the kitchen. It is a supporter. The printed name is "kitchen table". Understand "kitchen/-- table/chair/chairs" as the kitchen-table. The description is "A nice, somewhat-battered wood table, with accompanying chairs. The bottom parts of the legs are somewhat scratched up, having survived both Godiva and Emma's puppyhoods." Instead of entering the kitchen-table, say "[if dumbbell-mike is sated]You already ate[otherwise]You should get your breakfast together first[end if]." Understand "sit at [kitchen-table]" as entering. The newspaper is on the kitchen-table. Understand "read [newspaper]" as examining. The description is "Today's Times. You like to read it over breakfast." Understand "new/-- york/-- times" as the newspaper. Understand "NYT/paper" as the newspaper. Instead of taking the newspaper, say "Your mom might want to read it, better leave it on the table." Understand "do crossword" as a mistake ("You're not (currently) into crosswords.") when the newspaper is in the location. Understand "solve crossword" as a mistake ("You're not (currently) into crosswords.") when the newspaper is in the location. The note is on the kitchen-table. Understand "read [note]" as examining. The description is "It's in your mom's handwriting: 'Mike -- Liz and I went out to do some shopping. Back around noon.'" The note is either examined or unexamined. Instead of taking the note: If the note is in the trash can, say "You know what it says, and it's in the garbage, so that's a hard pass." instead; If the note is unexamined: Say "You first take a quick look at it. [description of the note]"; Now the note is examined; Say " Having read the note, you crumple it up and drop it in the trash."; Now the note is in the trash can. After examining the note: Now the note is examined. [...This is probably the dumbest, most useless rule I've ever written in the history of writing dumb, useless rules] The trash can is an open transparent container in the kitchen. It is scenery. The description is "[if the dumbbell-bee is in the trash can]While part of you regrets throwing the bee away so that you can confront Liz with the sordid proof, a much bigger part of you recognizes that your firm no-rummaging-through-garbage policy is a firm policy for a reason[otherwise]You don't really have much desire to look at the trash that closely[end if]." Instead of opening the trash can, try silently examining the trash can. Instead of closing the trash can, say "It's one of those that pops open when you step on a pedal, then closes when you step off." The examine containers rule does nothing when the noun is the trash can. Understand "garbage bin/can/--" as the trash can. Instead of inserting the bagel into the trash can, say "That's not garbage." Instead of inserting the tea into the trash can, say "That's not garbage." Instead of inserting the dumbbell into the trash can, say "That's not garbage." Instead of giving something to godiva, say "The dogs want for nothing right now." Instead of giving something to emily, say "The dogs want for nothing right now." Instead of giving something to the dogs-placeholder, say "The dogs want for nothing right now." The phone is scenery in the kitchen. The description is "A beige push-button phone." Instead of taking the phone when dumbbell-mike is unstung, say "You shouldn't pick up the phone unless you want to call someone." Instead of taking the phone when dumbbell-mike is stung, try calling "liz" instead. Godiva is a female animal in the kitchen. The description is "Godiva's the older of your two Chocolate Labs, with some gray filling in around her muzzle. Technically she's Liz's dog, but she's definitely the smarter one and more reserved than her half-sister, so you feel a certain kinship. Right now she's snoring quietly." Emma is a female animal in the kitchen. The description is "Emma is the younger of your two Chocolate Labs -- her name is really Emily, sticking with the English-noblewoman theme, but her excitable personality makes her feel more like an Emma. Technically she's your dog (since after Liz got Godiva, of course you got one too). She's sleeping, and her legs are twitching like she's dreaming of chasing something." Understand "emily" as emma. Petting is an action applying to one thing. Understand "pet [animal]" as petting. Understand "pat [animal]" as petting. Understand "stroke [animal]" as petting. Check petting: If the noun is a bee, say "The bee is too small -- and stinger-y -- to pet." instead; Say "You gently run a hand across the top of [noun]'s head, and she [one of]snuffles a little in her sleep[or]twitches slightly at your touch[or]keeps slumbering, oblivious to you[at random]." instead. Instead of listening when the location is the kitchen, say "The even thrum of Godiva's snores mark a pleasant rhythm." Instead of doing something other than petting or examining to Godiva, say "Better leave her to her nap." Instead of doing something other than petting or examining to Emma, say "Better leave her to her nap." The dog beds are scenery in the kitchen. They are plural-named. The description is "The dogs['] bean-bag beds are actually pretty comfy -- when you were kids and the dogs were puppies, you and Liz would sleep on them sometimes." Understand "bean/bean-bag/-- bag/-- bed/beds/dog-bed/dog-beds" as the dog beds. The dogs-placeholder is scenery in the kitchen. They are privately-named. They are animals. Understand "dog/dogs" as the dogs-placeholder. The description is "Godiva and Emma are sprawled out, napping on their beds." Instead of doing anything other than examining or petting to the dogs-placeholder, say "Better leave them to their naps." Does the player mean doing something to the dog beds: it is unlikely. The printed name of the dogs-placeholder is "Godiva and Emily". It is proper-named. [This is here so the player can refer generically to "dogs" without having the pedantic autodisambiguator ask which one you mean] Instead of petting the dogs-placeholder: If a random chance of 1 in 2 succeeds: Try petting godiva; Otherwise: try petting emma. The can't enter what's not enterable rule does nothing when the noun is the dog beds. Instead of entering the dog beds, say "They're rather full up with dogs at present." The Dining Room is north of the living room. The description is "The dining room doesn't see much use outside of the rare holiday gathering, so serves more as an intermediate hallway between the living room to the south and your mom's bedroom and loft to the north. Of course, there's a bunch more furniture, including a yellow sofa that came from the Nantucket house, and the nice dining table.[if the dumbbell has not been handled][paragraph break][one of]That's strange -- o[or]O[stopping]ne of your mom's bright-orange [dumbbell]s is stood on its end in the middle of the carpet.[end if]" Instead of going north from the dining room when dumbbell-mike is unstung, say "The real-world mystery of what the hell the dumbbell is doing here is momentarily more compelling than the prospect of virtual dungeon-delving." Instead of going north from the dining room when dumbbell-mike is stung: If dumbbell-mike carries the dumbbell: Say "As you leave the dining room, you drop the dumbbell off by its mate next to your mom's bed.[paragraph break]"; Now the dumbbell is nowhere; Say "If music hath charms to soothe a savage breast, so too does a dungeon-crawler hath charms to soothe a savaged foot. You go up the spiral stairs in your mom's bedroom and boot up the PC in the loft, then load your MM VI save and take stock of the situation. Your doughty party are midway through a raid on the Tomb of Ethric the Mad, in search of the skull of the eponymous maniac, but after a run-in with some power liches you're wondering if you're here too early. Some quick healing patches up your front-liners, but your starting to run low on magic points...[paragraph break]Suddenly the house phone rings -- you groan, your concentration broken, and consider letting the answering machine get it, but then you see from the ID that it's Liz.[paragraph break]"; Now dumbbell-call-preempt is true; Run a conversation on the Table of Dumbbell Stings. The dining-room furniture is scenery in the dining room. The description is "Yet more of your mom's furniture -- pretty much nobody uses this stuff." Understand "yellow/sofa sofa/--" as the dining-room furniture. Understand "nice/-- dining/-- table" as the dining-room furniture. Instead of entering the dining-room furniture, say "This stuff isn't that comfortable, and this room is boring." The dumbbell is in the dining room. The description is "It's one of a pair of light dumbbells, maybe three or four pounds, coated in orange plastic to make it easier to grip.[if the dumbbell has not been handled] For some reason it's standing on end in the middle of the room, and now that you look closer, there's a paper towel under it, scrunched up into a kind of pouch. What is this doing here?[end if]". Understand "paper/towel/pouch/dumbbells towel/--" as the dumbbell when dumbbell-mike is unstung. Instead of looking under the dumbbell, try examining the noun. Instead of pushing the dumbbell when the dumbbell has not been handled, try taking the noun. Instead of pulling the dumbbell when the dumbbell has not been handled, try taking the noun. After taking the dumbbell for the first time: Say "Without consciously thinking about who put the dumbbell here or why, you reach for it -- it belongs in your mom's room with the other one, not weirdly on its own like this -- but just as you dislodge it and free a bit of paper towel stuck under it, you think wait, there must be some [italic type]reason[roman type] it's here -- and then you hear the buzzing --[paragraph break]There's frantic pressure against your foot as it brushes against the paper towel, and then you feel the sting, hitting the thin vein-rich skin at the top of your foot and making you yelp and hop into the air (it's not a very helpful reflex, your foot hurts even more once you land).[paragraph break]Gingerly you probe the paper towel that had been trapped under the dumbbell with your other foot, and sure enough, there's a once-living, now very dead, bee in there. You're torn between being impressed that someone -- I mean, it was Liz, obviously -- managed to catch a bee like that, and incredulous anger that she just left it there."; Now dumbbell-mike is stung; Now the description of dumbbell-mike is "You have a giant red welt slowly expanding across the top of your foot."; Now dumbbell-bee is in the dining room; Now dumbbell-bee is dead; Dumbbell-Liz-Call happens in seven turns from now. [I'm not positive about this, but am like 85% sure that that "for the first time" wasn't in the initial testing version, so you could just keep getting restung by picking up and dropping the dumbbell] Dumbbell-bee is a bee. The printed name is "a bee (dead and wadded up in a paper towel)". The description is "[if the dumbbell-bee is in the trash can]It's in the trash now[otherwise]A dead bee, wrapped in a paper towel[end if]." The can't take other people rule does nothing when the noun is the dumbbell-bee. Instead of doing something other than examining or dropping or taking to the dumbbell-bee, say "The poor thing has suffered enough." Understand "paper/towel towel/--" as the dumbbell-bee when dumbbell-mike is stung. Understand "throw out [dumbbell-bee]" as dropping. Instead of inserting the dumbbell-bee into the trash can, try dropping the dumbbell-bee. Check dropping the dumbbell-bee: If the location is not the kitchen, say "Probably that should go in the trash." instead. Instead of dropping the dumbbell-bee when the player is in the kitchen: Say "You drop the crumpled-up paper towel in the trash. It's not much of a funeral for the bee, but despite the pain it caused you, you try to feel a moment of compassion for its brief life and imagine its terror while trapped under the dumbbell (though, do bees actually feel terror?)"; Now the dumbbell-bee is in the trash can. Report taking the dumbbell-bee: Say "You carefully crumple the paper towel around the bee and pick it up -- then wonder why you were so careful about it, since it's not like the dead bee can sting you again." The standard report taking rule does nothing when the noun is the dumbbell-bee. [...there's an After rule right above this, why didn't I just use another one here too???] Instead of taking the dumbbell-bee when the dumbbell-bee is in the trash can, say "While part of you regrets throwing the bee away so that you can confront Liz with the sordid proof, a much bigger part of you recognizes that your firm no-rummaging-through-garbage policy is a firm policy for a reason." Dumbbell-call-preempt is a truth state that varies. Dumbbell-call-preempt is false. At the time when Dumbbell-Liz-Call happens: If dumbbell-call-preempt is false: Say "Suddenly the house phone rings. [if the location is not the kitchen]You hurry to the kitchen to [otherwise]You [end if]pick it up.[paragraph break]"; Now dumbbell-bee is alive; If the location is not the kitchen, move the player to the kitchen; Now dumbbell-bee is dead; [hack to prevent the room description printing here] Now convo-lock is true; Run a conversation on the Table of Dumbbell Stings. The room description heading rule does nothing when dumbbell-mike is stung and dumbbell-bee is alive. The room description body text rule does nothing when dumbbell-mike is stung and dumbbell-bee is alive. The room description paragraphs about objects rule does nothing when dumbbell-mike is stung and dumbbell-bee is alive.[second part of the hack] [Oi, when even I am calling something a hack you know it's bad -- this is to prevent the kitchen description from firing when the player gets moved there to have the conversation. I suppose I could have just modified scope to allow the conversation to happen wherever the player is when the timer goes off instead, but modifying scope is scary] The loft is a room. The room description heading rule does nothing when the location is the loft. The loft is north of the dining room. Bayville-house is a region. Your bedroom, the landing, the dining room, the living room, and the loft are in Bayville-house. The carpet is a backdrop in Bayville-house. The description is "This high-pile beige carpet is stain-prone but feels nice on your bare feet." When dumbbell-scene ends: Say "You're quickly sucked into the game -- it's been years since there's been a good RPG to play -- and your foot doesn't really hurt that much, thankfully, so it's not too distracting as you kill liches, pick locks, and level up, getting in the zone.[paragraph break]'I'm up here,' you call down when you hear the door open, and Liz comes into your mom's room, drops off some shopping bags, then clomps up the stairs to the loft.[paragraph break]After apologizing again, she looks over at the game and asks how it's going. You tell her about your progress, maybe a little over-enthusiastically. 'You're pretty cheerful for someone who might need their foot amputated at the knee,' she says.[paragraph break]'Oh, I am,' you reply. 'It's because no matter how far apart we are, no matter whatever happens from this day forward, I am never, ever going to let you live this down.'[paragraph break](Press any key to continue)[paragraph break]"; Wait for any key; Clear only the main screen. Carry out singing when the player is dumbbell-mike: If dumbbell-mike is unstung, say "[one of]You belt out the chorus to Oye Como Va, as loud as you like[or]You know maybe 10 percent of the words to P-Funk (Wants to Get Funked Up), but it is still really fun to sing them[or]For whatever reason, you start singing something you loved in middle school: 'Valjean, at last, we see each other plain...'[or]Thinking of how you used to get yourself psyched up before wrestling matches, you sing the refrain of Bulls on Parade[or]Attempting something like a falsetto, you embark of a full rendition of Silent All These Years[at random]."; If dumbbell-mike is stung, say "You don't exactly have a song in your heart right now." Carry out cursing when the player is dumbbell-mike: If dumbbell-mike is unstung, say "Swearing to yourself for no reason would be weird."; If dumbbell-mike is stung, say "'Fucking Liz and fucking bee,' you mutter to yourself." After jumping when the player is dumbbell-mike: If dumbbell-mike is unstung, say "This doesn't seem like a moment for hopping."; If dumbbell-mike is stung, say "That seems like a bad idea, given the condition of your foot." Chapter 4.5 - Dumbbell Conversations Table of Quip Texts (continued) quip quiptext d-selftalk "You do sometimes talk to yourself when nobody else is around, or even narrate your own actions in third person (referring to yourself as 'our hero' rather than just 'Mike', more often than not). But this is the sort of thing that could be very embarrassing if anyone were to notice, so you're trying to stop." dumbbell-greet "'Hey Russo,' Liz says. The connection's scratchy, and you can hear the sound of traffic in the background. 'What's up?'" dumbbell-headsup "'Well, heads up, be careful in the dining room,' she warns. 'I caught a bee in a paper towel and left it under one of mom's dumbbells so it couldn't get out.'" dumbbell-sarcasm "'Oh, you found it, huh?' she says, with the slight drawl she gets when she's trying to downplay doing something wrong." dumbbell-found "'Ah crap, sorry dude.' The line crackles as she continues: 'Totally my bad.'" dumbbell-why "'I don't know, it was scary and I panicked!' she says. 'Mom was already in the car and annoyed because I was taking too long to get ready, and I wasn't sure what to do with the bee once I caught it. Bees freak me out!'" dumbbell-wtf "'Language!' your mom's voice puts in -- right, the crappy connection is because you're on speaker. Awesome.[paragraph break]'Russo, you're breaking your mother's heart with your bad manners,' Liz says. 'Anyway, I don't know, it was scary and I panicked, okay? I wasn't sure what to do with it once I caught it. Bees freak me out!'" dumbbell-painful "'Aww, I'm sorry, Rus. Try to breathe through it, I hear that works,' she says." Dumbbell-no-big "'Of course it didn't, you're a big tough wrestler now,' she says, her voice only like 50% mocking. 'Glad it was no big deal.'" dumbbell-bye "'Yeah. We've got some more shopping to do, but we should be home in like an hour,' Liz says. 'And mom said I can borrow the car to drive us to work, assuming you can still fit your foot into your dress shoes.'" Table of Dumbbell Stings prompt response enabled "'Hello?'" dumbbell-greet 1 "'Oh, nothing much.'" dumbbell-headsup 0 "'Oh, nothing much, except a bee trapped under a dumbbell just stung me. You know, normal stuff.'" dumbbell-sarcasm 0 "'Yeah, found that out the hard way.'" dumbbell-found 0 "'Why did you do that? You didn't even leave a note!'" dumbbell-why 0 "'Why the fuck did you do that? You didn't even leave a note!'" dumbbell-wtf 0 "'It's really quite painful.'" dumbbell-painful 0 "'The sting didn't hurt so much, don't worry.'" dumbbell-no-big 0 "'Anyway. See you later.'" dumbbell-bye 0 Understand "talk to liz" as qbc recapping when the player is dumbbell-mike and convo-lock is true. After quipping when the current quip is dumbbell-greet: enable the dumbbell-headsup quip; enable the dumbbell-sarcasm quip; now convo-lock is true. Instead of doing something other than examining or quipping or qbc responding with or responding with or looking or talking to when the player is dumbbell-mike and convo-lock is true, say "You're tempted to just hang up on Liz, but better to enjoy the moral high ground while you've got it." After quipping when the current quip is dumbbell-headsup: disable the dumbbell-sarcasm quip; enable the dumbbell-found quip. After quipping when the current quip is dumbbell-sarcasm: disable the dumbbell-headsup quip; enable the dumbbell-why quip; enable the dumbbell-wtf quip. After quipping when the current quip is dumbbell-found: enable the dumbbell-why quip; enable the dumbbell-wtf quip. After quipping when the current quip is dumbbell-why or the current quip is dumbbell-wtf: Say "That's weird -- Liz is the one who's never afraid of anything, why would she be scared of bees?[paragraph break]"; disable the dumbbell-why quip; disable the dumbbell-wtf quip; enable the dumbbell-painful quip; enable the dumbbell-no-big quip. After quipping when the current quip is dumbbell-painful or the current quip is dumbbell-no-big: disable the dumbbell-painful quip; disable the dumbbell-no-big quip; enable the dumbbell-bye quip. After quipping when the current quip is dumbbell-bye: Now convo-lock is false; Say "You hang up the phone. There's still a couple of hours before you need to get ready for work, so might as well try to salvage the day. [if the location is the kitchen and the player carries the dumbbell]You head up to the loft, dropping off the dumbbell with its mate by your mom's bed on the way, and start up Might and Magic VI.[otherwise if the location is the kitchen]You head up to the loft and start up Might and Magic VI.[otherwise][paragraph break][end if]"; now the player is in the loft. [I think this last move is necessary to trigger the scene-changing mechanism] Chapter 5 - Grocery Grocery-scene is a scene. Grocery-scene begins when dumbbell-scene ends. Grocery-scene ends when grocery-mike is stung and grocery-mike is in the apartment. Grocery-timer is a number that varies. Grocery-timer is 0. Report waiting while grocery-scene is happening and grocery-mike is unstung and the location is el molino ave: Say "[one of]You're at a loss for what to do here.[or]You're stymied trying to get Kaylee to get away from the bees -- maybe you'll get an idea soon?[or]With no good ideas for what to do, you let more time pass.[stopping]"; Stop the action. Grocery-bee-attack is a scene. Grocery-bee-attack begins when grocery-timer is 14 and grocery-mike is in El Molino Ave. Grocery-bee-attack ends when grocery-mike is stung. When grocery-scene begins: Say "[bold type]Pasadena, CA -- August 2011[roman type][paragraph break]"; Say "It's hot, and these groceries are heavy. Most of the time not driving is no big deal -- LA's public transit isn't as bad as everyone says -- but food-shopping in the summer does make you wish you and Kaylee had a car, even though the store is only like four blocks from your apartment. Sweat's stinging your eyes, but you can't wipe them clear without putting down the grocery bags and you'd feel dumb telling Kaylee you need a break. Anyway the apartment is just around the corner to the north."; Now the player is grocery-mike. California Ave is a room. It is south of El Molino Ave. The description is "This block of California Avenue never feels as long as it does when you're hauling your groceries back home in the middle of August. There are houses and cars and stuff, but all you're paying attention to is the intersection with El Molino just to the north, since that's the last turn before your apartment." The california-ave-scenery is scenery in California Ave. Understand "car/cars/house/houses/street/road/California/ave/avenue/stuff/intersection ave/avenue/--" as the california-ave-scenery. The description is "Everything that should be there is all present and accounted for, you assume, but there's sweat stinging your eyes and grocery-bag handles digging into your fingers so you're not inclined to slow down and smell the proverbial roses." Instead of going north from California Ave: Say "As you turn onto El Molino, Kaylee slows to look at a strange sight.[paragraph break]There's a beekeeper (I mean, you assume he's a beekeeper based on his outfit of coveralls and veil) up on a ladder, futzing with one of the palm trees -- that's right, you'd noticed a bee hive up there a couple of days ago, so it's good that he's getting rid of it before the bees sting somebody, like for example you.[paragraph break]You start to walk up the path into your building, but then you realize Kaylee's not following. 'Hi,' she calls up to the guy. 'What are you doing?'[paragraph break]A flush comes over your face, over and above the strain of carrying heavy groceries in this heat -- you always feel so awkward when she starts conversations with strangers like this, but the beekeeper doesn't seem fazed: 'The city's having me move this hive since it's in a residential area,' he says. 'You ever see a hive moved before?' Kaylee hasn't and starts peppering the guy with questions, as oblivious to your physical and social discomfort as she is to the obvious risks of hanging out next to a soon-to-be-disturbed bee hive."; Now grocery-mike is in El Molino Ave; Now kaylee is in El Molino Ave; Now the beekeeper is in El Molino Ave; Now the initial appearance of Kaylee is "[One of]Kaylee cranes her neck to get a better view of what the beekeeper is doing[or]Kaylee's staring up at the beekeeper and bee hive, rapt[or]Kaylee's still asking the beekeeper stuff and he's doing the best he can to answer as he works[or]Kaylee fidgets with the strap of her heavy backpack -- she should really go inside and drop the groceries off[or]Oblivious to the danger, Kaylee steps right under the hive to take a closer look[or]Kaylee's staring at the bee stuff and completely ignoring you[stopping]."; Now the litany of Kaylee is the Table of Kaylee Comments; Now the greeting of Kaylee is k-cool. Kaylee is a woman in California Ave. "Kaylee's walking next to you, carrying her share of the groceries in her backpack." The description is "Kaylee's sweating only a little less than you are, with the straps of her heavy backpack starting to cut into her shoulders and her short black hair visibly damp." The greeting of Kaylee is k-almost. Understand "girlfriend/partner" as kaylee. Instead of kissing Kaylee, say "You don't have the kind of relationship where you'd just kiss her in the middle of the street." Kaylee is carrying the backpack. Understand "kaylee's/her/-- backpack" as the backpack. The description of the backpack is "There's something about this crappy, bright-teal backpack that makes you embarrassed to be seen in public alongside it, even though intellectually you recognize it's a convenient way for Kaylee to carry groceries home and you shouldn't care what it looks like." Understand "kaylee's arm/arms/wrist/wrists/hand/hands/sting/stings/welt/welts/shoulder/shoulders" as kaylee when grocery-mike is stung. Grocery-mike is a man in California Ave. The description is "[if grocery-mike is not wearing the sweater]You're sweaty from lugging the groceries the four blocks home in the August heat, even though you're just wearing a light t-shirt (and your habitual khakis). For the first time in your life, you've been jogging -- what with turning 30 last year, you figured it was about time to take up exercising -- but you still weigh the same 125 pounds you've weighed since college, and you pretty much look the way you've always looked[otherwise]With the sweater on over your t-shirt, you're feeling the heat even more. For the first time in your life, you've been jogging -- what with turning 30 last year, you figured it was about time to take up exercising -- but you still weigh the same 125 pounds you've weighed since college, and you pretty much look the way you've always looked[end if]." The greeting of grocery-mike is g-selftalk. Understand "my/-- arm/arms/wrist/wrists/hand/hands/sting/stings/welt/welts/stinger/stingers" as grocery-mike when grocery-mike is stung. Grocery-mike wears the grocery-clothes. Understand "tee/t/my/-- clothes/shirt/khakis/pants/t-shirt" as the grocery-clothes. The description of the grocery-clothes is "[if grocery-mike is not wearing the sweater]You're wearing a plain gray-and-blue t-shirt and a pair of khakis, which is what you pretty much always wear (except it's too hot today for your usual sweater)[otherwise]You've got a green sweater thrown on over your t-shirt, and are wearing your habitual khakis[end if]." Instead of taking off the grocery-clothes, say "[if the location is el molino ave]There are lots of bees here, so that seems dumb?[otherwise]You've never really understood the nudist impulse, and today is not the day that changes.[end if]". The printed name of the grocery-clothes is "your clothes". The grocery-clothes are proper-named. Grocery-mike wears the grocery-glasses. The grocery-glasses are plural-named. Instead of taking off the grocery-glasses, say "Being blind and sweaty isn't an improvement over just being sweaty." The description of the grocery-glasses is "You can't really look at them, inasmuch as you're wearing them (there's a sort of epistemological analogy you could craft here, or maybe a quantum mechanical one, but it's too hot)." The printed name of the grocery-glasses is "your glasses". The grocery-glasses are proper-named. Understand "your/my/-- glasses" as the grocery-glasses. The grocery-phone is a device. It is switched on. It is proper-named. Grocery-mike carries the grocery-phone. The printed name of the grocery-phone is "your phone". Understand "my/-- phone" as the grocery-phone. The description of the grocery-phone is "You got this, your first smartphone, last year, but haven't yet figured out much to do with it other than check email and call people." Instead of switching off the grocery-phone, say "You'd just need to turn it on again later." Instead of dropping the grocery-phone, say "Better to hang on to it -- you usually talk to your mom on Sundays and you wouldn't want to miss her call." The groceries are food. They are plural-named. They are carried by grocery-mike. The description is "[if grocery-mike carries the groceries]Five bags of groceries from Pavilions, an assortment of fruits, vegetables, legumes, and paper products that are growing heavier by the minute[otherwise if the groceries are in El Molino Ave]Some of the jars must be broken, and some dirt's gotten into the bags -- what a mess[otherwise]The various foodstuffs have been stowed in their proper places[end if]." Instead of taking the groceries while the groceries are part of the fridge, say "You just put them away!" Understand "jar/jars/can/cans/bean/beans/food/foodstuff/foodstuffs" as the groceries. Understand "jar/-- of/-- peanut butter" as the groceries. Understand "can/cans of beans" as the groceries. Understand "grocery/bag/bags" as the groceries. Understand "grocery bag/bags" as the groceries. Instead of cooking the groceries when the location is not the molino-kitchen, say "You tend to prefer to do your cooking in a kitchen." Instead of cooking the groceries when the location is the molino-kitchen, try switching on the stove. Instead of eating the groceries, say "You'll cook later -- maybe that pasta with sage butter and an egg, or the tomato and tofu stir-fry?" After taking the groceries: say "You scoop the various groceries back into their bags -- you'll have to throw most of this stuff away but the cans and stuff should be salvageable."; Now the description of the groceries is "The groceries are rather hors de combat." Before dropping the groceries: If the player does not carry the groceries, say "You haven't got those." instead; If the location is El Molino Ave or the location is California Ave, say "Here, in the street?" instead; If the location is not the molino-kitchen, say "This kind of goes without saying, but of course the groceries belong in the kitchen." instead; If the location is the molino-kitchen: Say "You quickly stow the groceries in the fridge and cabinets."; Now the groceries are part of the fridge; now the enabled in Row 4 of the Table of Kaylee Comments is 0; Stop the action. [This disables a quip -- kind of awkard syntax but that's Inform tables for you] Understand "put [groceries] away" as dropping. Understand "put away [groceries]" as dropping. Understand "unpack [groceries]" as dropping. Every turn when the location is el molino ave and grocery-timer is greater than 5 and grocery-timer is less than 12 and the groceries are carried: Say "[one of]These groceries really feel heavy[or]The strap on the grocery bag is really digging into your hand[or]It occurs to you that in addition to growing increasingly heavy, the groceries are getting warm too[or]Who knows how long Kaylee is going to be out here watching bees -- you should probably bring the groceries in[stopping]." El Molino Ave is a room. The description is "The stretch of El Molino Avenue outside your -- well, technically Kaylee's is the only name on the lease -- apartment building presents a green and pleasant prospect, with a wide lawn, a grass-bordered sidewalk, and gently-swaying palm trees. California Avenue is to the south and Del Mar is to the north, but now that you're done running your errands you'd rather head inside the apartment than wander around any more.[paragraph break]The main excitement is around the palm tree right in front of your apartment. The beekeeper's got a ladder set up against the tree so he can get to the hive, and his bag of tools and a giant box are set down on the sidewalk within easy reach." The el-molino-scenery is scenery in El Molino Ave. Understand "lawn/sidewalk/road/California/Del Avenue/Mar/Ave/--" as the el-molino-scenery. The description is "You've been looking at this stuff every day for the past four years, so the scenery's long since been bled of any intrinsic interest." The apartment-placeholder is scenery in El Molino Ave. Understand "your/kaylee's/-- balcony/apartment/building/bedroom building/--" as the apartment-placeholder. Instead of entering the apartment-placeholder, try going inside. The description is "Your apartment's one of five units in a mid-sized converted house, done up in the typical SoCal villa or hacienda or whatever style, with a red-tile roof and stucco walls. There's also a nice front balcony, which goes to your unit's bedroom." Del Mar Ave is north of El Molino Ave. Instead of going north from El Molino Ave, say "It's way too hot to go randomly wandering around Pasadena." Instead of going south from El Molino Ave, say "It's way too hot to go randomly wandering around Pasadena." The beekeeper is a man. "[one of]The beekeeper comes down the ladder, pulls a recondite tool out of his bag, then climbs back up.[or]The beekeeper, perched atop his ladder, is doing something to the hive in the palm tree, but you lack the expertise to know what it is (you suspect the bees won't like it, though).[or]The beekeeper's paused what he's doing and seems to be thinking, which you're not sure is good.[or]The beekeeper is sort of humming as he works, which maybe mimics the buzzing of the bees and lulls them into docility, or maybe is irritating them?[or]The beekeeper continues to beekeep.[stopping]". The description is "He's probably 40 or 50 -- a little hard to tell under the veil and coveralls, since as it turns out real beekeepers actually do wear the stereotypical get-up." The greeting of the beekeeper is bk-greet. Understand "bee-keeper/veil/coverall/outfit/coveralls/get-up/keeper" as the beekeeper. Instead of kissing the beekeeper, say "It's hard to think of someone you'd like to kiss less, even leaving aside the veil." Instead of talking to the beekeeper when qbc is active, say "You're already talking to Kaylee, but you're sure he'll butt in if he has something to share." Instead of talking to the beekeeper when rq is active, say "You're already talking to Kaylee, but you're sure he'll butt in if he has something to share." The ladder is an object. The beekeeper is carrying the ladder. The description of the ladder is "It's the kind of metal utility ladder owned by pretty much everybody with a real-world skill of some type (you do not own such a ladder).[if the beekeeper carries the ladder] The beekeeper's perched on the very top, which you think is unsafe but the hive is pretty high up there so what else is he supposed to do?" Instead of climbing the ladder, say "[if grocery-mike is unstung]Crowding the beekeeper while he's messing with the hive seems aggressively stupid[otherwise]It's fallen over[end if]." Instead of taking or pushing or pulling the ladder, say "[if grocery-mike is unstung]Messing with the beekeeper mid-beekeeping would be a great way to get stung[otherwise]There's not much point to that, now that it's all over[end if]." The bk-bag is a closed opaque container in El Molino Ave. It is scenery. The printed name is "beekeeper's bag". The description is "A big canvas bag, with lots of pockets and crammed with tools whose purpose is not especially obvious at first glance." Understand "beekeeper's/-- bag/tool/tools" as the bk-bag. Instead of taking the bk-bag, say "You're not big on stealing, and regardless you're unlikely to take up beekeeping anytime soon which rather obviates the upside of any notional theft." The bk-box is an open transparent container in El Molino Ave. It is scenery. "[if the bee hive is not in the bk-box]There's a wide, shallow wooden box next to the beekeeper's ladder and bag, with a screen cover. Presumably this is where the hive is meant to wind up.[otherwise if the bk-box is open]The hive is in the box, but the bees have swarmed out before the beekeeper could close the screen cover.[otherwise]The hive is in the box now, but at what cost?[end if]". Understand "beekeeper's/-- box" as the bk-box. The printed name is "beekeeper's box". The examine containers rule does nothing when the noun is the bk-box. Instead of opening or taking the bk-box, say "You really don't think messing with that would be a good idea!" The palm tree is scenery in El Molino Ave. Understand "palm/-- trees" as the palm tree. The description is "There are a couple of palm trees on this stretch of street, all maybe fifteen feet tall.[if the bee hive is part of the palm tree] A truly massive bee hive is slung under one of them, and the beekeeper's perched atop a ladder doing beekeeper stuff to it.[end if]". Instead of climbing the tree, say "[if the bee hive is part of the palm tree]You don't want to get closer to the bees![otherwise]What would be the point?[end if]". The bee hive is part of the palm tree. The description is "A big clump of wax, honey, and bees. It's close enough to a sphere, with maybe an 18-inch diameter... you do some math in your head and confirm that yes, that would hold a ton of bees. There are a few bees flying around it, and they look big, angry, and dangerous[if the bee hive is in the bk-box] Bees are crawling and flying all over it, angry at its relocation into the box[end if].". Instead of taking the bee hive, say "[if grocery-mike is stung]You're pretty much full-up on your daily bee sting quota, thanks[otherwise]That's the beekeeper's job[end if]." Understand "bees" as the bee hive when the bee hive is not in the bk-box. Instead of attacking the bee hive, say "That sure seems like it would make things worse." The swarm of bees is a bee. The description is "FUCKING BEES ARE EVERYWHERE!" Does the player mean hide-and-seeking the swarm of bees: it is very likely. Rule for clarifying the parser's choice of the swarm of bees when hide-and-seeking: say "(from the swarm of bees)[line break]". does the player mean doing something to the swarm of bees: it is very likely. Does the player mean hide-and-seeking the ladder: it is very unlikely. Does the player mean hide-and-seeking the beekeeper: it is very unlikely. Does the player mean hide-and-seeking kaylee: it is very unlikely. Instead of touching the swarm of bees, say "You desperately try to fend off the swarm, but only succeed in giving them more places to sting you." Instead of attacking the swarm of bees, say "You desperately try to fend off the swarm, but only succeed in giving them more places to sting you." The dead-bees are a bee. The description is "A few dozen bees litter the sidewalk, their stingers spent (uselessly) on the beekeeper and (with rather more effect) on you and Kaylee." The dead-bees are plural-named. The printed name is "dead bees". Understand "dead/-- bees" as the dead-bees. Instead of doing anything other than examining to the dead-bees, say "Truly, you have had more than enough of bees for today." [Notably, the dead-bees are one of the few bees that actually start out alive] Swarm-countdown is initially 999. When grocery-bee-attack begins: Say "The beekeeper finally grabs the hive and quickly brings it down into the box. The bees are kicking up a bigger fuss, which doesn't surprise you, but the beekeeper leans away from the hive -- even under the hood and all that padding, it's clear he's a bit alarmed, so maybe you should be alarmed too?[paragraph break]Yes, you should definitely be alarmed: a swarm of bees boils out of the hive, rising towards him, Kaylee, and, of course, despite your best efforts, they're descending all over you."; Now the description of the beekeeper is "You can tell the beekeeper is trying not to freak out, which freaks you out."; Now the ladder is in El Molino Ave; Now the description of El Molino Ave is "This once-serene stretch of road has become a scene of chaos, with [a swarm of bees] roiling out of the hive and descending on [the beekeeper], [Kaylee], and, inevitably, you."; Now the ladder is undescribed; Now the bee hive is in the bk-box; Now the description of Kaylee is "Kaylee's still gawking at the hive, despite the imminent danger."; Now the swarm of bees are in El Molino Ave; Now the initial appearance of Kaylee is ""; now the initial appearance of the beekeeper is ""; Now the greeting of Kaylee is k-swarm; Disable the k-interesting quip; Disable the k-interesting1 quip; Disable the k-groceries quip; Disable the k-inside quip; Disable the k-dangerous quip; Disable the k-while quip; disable the k-bye quip; terminate the conversation; Now the greeting of the beekeeper is bk-swarm; Now swarm-countdown is 1. Every turn when the location is el molino ave (this is the swarm-failsafe rule): decrement swarm-countdown. [Oh yay, another failsure rule. I think this is here because I couldn't get the after quipping rule timing to work right -- it wound up running into the related timing issue where regular quips and reacting quips behave differently, which led to a really bad bug in the initial IF Comp release that led to this bee attack never ending] Instead of doing anything other than talking to or looking or examining or waiting or aiding or bee-fleeing or hide-and-seeking or cursing or yelling or touching or attacking while grocery-bee-attack is happening: Say "You can't manage that, since you're COVERED IN BEES." Instead of waiting while grocery-bee-attack is happening: Say "You stay as still as you can, hoping that will prevent the bees from getting any angrier. It seems like it mostly works, but since they're already plenty angry it's not the resounding success you hoped for." Every turn when grocery-timer is greater than 14 and grocery-mike is unstung and swarm-countdown is less than 1 (this is the grocery-sting rule): if grocery-mike is not wearing the sweater: Say "The bees are everywhere, swarming around you -- you've got enough presence of mind to realize trying to swat them away will only get you more stings, but you're not sure what to do instead, so you just stand there thinking [italic type]not in the face, not in the face[roman type] and trying not to panic too much as one flash of pain after another welts your arms[if the player carries the groceries], causing you to drop the groceries. Cans of beans and a jar of peanut butter roll out, adding to the chaos[end if]. Next to you, Kaylee is crying out as they sting her, too. The beekeeper's relatively safe in his protective gear, luckily for him.[paragraph break]Finally, finally it stops, well past the point that you've stopped counting the stings, as the bees -- the ones that haven't killed themselves to spite you, at least -- settle back down into their hive. Your arms are in quite a lot of pain, but you don't feel like you're going into anaphylactic shock or anything so at least you're still not allergic. Neither is Kaylee, though she looks as bad as you feel, with red, swollen shoulders and wet eyes.[paragraph break]'They usually don't do that,' the beekeeper says, slamming closed the door on his box and sealing the hive inside. 'Sorry folks, I really didn't think they were going to be dangerous.' He sinks down onto his haunches, breathing heavily."; Now the description of grocery-mike is "You've got at least half a dozen big, red welts on your arms and hands where the bees stung you."; If grocery-mike is wearing the sweater: Say "The bees are everywhere, swarming around you -- you've got enough presence of mind to realize trying to swat them away will only get you more stings, but you're not sure what to do instead, so you just stand there thinking [italic type]not in the face, not in the face[roman type] and trying not to panic. Your sweater blocks the bees from getting your arms, but they just turn to your exposed wrists instead[if the player carries the groceries], causing you to drop the groceries. Cans of beans and a jar of peanut butter roll out, adding to the chaos[end if]. Next to you, Kaylee is crying out as they sting her, too. The beekeeper's relatively safe in his protective gear, luckily for him.[paragraph break]Finally, finally it stops, well past the point that you've stopped counting the stings, as the bees -- the ones that haven't killed themselves to spite you, at least -- settle back down into their hive. Your wrists are in quite a lot of pain, but you don't feel like you're going into anaphylactic shock or anything so at least you're still not allergic. Neither is Kaylee, though she looks as bad as you feel, with red, swollen shoulders and wet eyes.[paragraph break]'They usually don't do that,' the beekeeper says, slamming closed the door on his box and sealing the hive inside. 'Sorry folks, I really didn't think they were going to be dangerous.' He sinks down onto his haunches, breathing heavily."; Now the description of grocery-mike is "You've got at least half a dozen big, red welts on your wrists and hands where the bees stung you."; If the player is carrying the groceries, move the groceries to El Molino Ave; Now the groceries are undescribed; Now grocery-mike is stung; Now the description of El Molino Ave is "This is the calm after the storm. The [ladder] lies fallen against the palm tree, and [dead-bees] are scattered around like the world's worst confetti.[if the groceries are in el molino ave] The grocery bags lie fallen and scattered, with foodstuffs spilled out onto the sidewalk."; Now the description of the ladder is "The ladder lies fallen in the street."; Now kaylee is stung; Now the description of kaylee is "The bees got her arms, but fortunately not her face."; Now the swarm of bees are nowhere; Now the bk-box is closed; Now the initial appearance of Kaylee is "Kaylee is rubbing her hands across the big red welts on her shoulders and upper arms."; Now the initial appearance of the beekeeper is "The beekeeper leans against the tree, catching his breath."; Now the description of the beekeeper is "Despite his outfit, he seems to have picked up a sting or two, but beyond that, he looks rattled by his self-evident failure at beekeepery."; Now the dead-bees are in El Molino Ave; Now the greeting of the beekeeper is bk-stung; Now the greeting of kaylee is k-stung; If the sweater is in the apartment, now the sweater is nowhere; Now the litany of kaylee is Table of Stung-Kaylee Comments; Now the description of the apartment is "". [Yup, here's the issue -- that first condition used to be "equals 14", and since depending on the exact conversation choices made, the timer could jump from 13 to 15 before the every turn rule got a chance to fire, the logic broke] The swarm-failsafe rule is listed before the grocery-sting rule in the every turn rulebook. The grocery-timer rule is listed before the swarm-failsafe rule in the every turn rulebook. [I remember getting the order of all these rules correct was a big pain -- for once maybe I should have made them one rule with nested conditionals?] Before going inside from El Molino Ave: If grocery-bee-attack is happening, say "Everything's moving too fast for that." instead; If grocery-mike is unstung, say "You walk into the building and trudge up the stairs to the apartment you've shared with Kaylee for the last four years."; If grocery-mike is stung, say "You're still annoyed with her, but you help Kaylee inside and up the stairs to the apartment.[paragraph break]"; terminate the conversation. Before going from El Molino Ave: If grocery-bee-attack is happening, say "Everything's moving too fast for that." instead. Before going up from El Molino Ave: If grocery-bee-attack is happening, say "Everything's moving too fast for that." instead; If grocery-mike is unstung, say "You walk into the building and trudge up the stairs to the apartment you've shared with Kaylee for the last four years."; If grocery-mike is stung, say "You're still annoyed with her, but you help Kaylee inside and up the stairs to the apartment.[paragraph break]". Bee-fleeing is an action applying to nothing. Understand "run away/-- from/-- swarm/-- of/-- bees/--" as bee-fleeing when grocery-bee-attack is happening. Understand "hide from/-- swarm/-- of/-- bees/--" as bee-fleeing when grocery-bee-attack is happening. Does the player mean going inside when grocery-bee-attack is happening: it is very likely. Does the player mean hide-and-seeking the swarm of bees: it is very likely. The revised-block-going rule is listed instead of the block vaguely going rule in the for supplying a missing noun rulebook. Rule for supplying a missing noun while an actor going (this is the revised-block-going rule): if grocery-bee-attack is happening, now the noun is inside; otherwise: say "You'll have to say which compass direction to go in." (A). Carry out bee-fleeing: Say "You take a few steps to try to run away and hide from the bees, but they're already all around you, so this just earns you a couple more stings." Aiding is an action applying to one visible thing. Understand "help [someone]" as aiding when grocery-bee-attack is happening. Carry out aiding: Say "How? You're both covered in bees." [Perhaps the most fatalistic, depressing implementation of a HELP SOMEONE action in any game ever] When grocery-scene ends: Say "The rest of the day is an exercise in tongue-biting. After cleaning yourself up and dousing your arm in calamine lotion, you call your mom and tell her the story, playing it off like it's just a funny anecdote. And then there's cleaning the apartment, and making dinner, and for the evening you settle in front of the PC to play Dragon Age 2 while Kaylee messes around with the Xbox in the other room. The whole time you're pleasant enough (you hope) but inside you're seething.[paragraph break]The bee stings don't hurt so badly now, but Jesus, what an entirely avoidable clusterfuck. She just didn't listen to you -- though, to be honest, you also didn't flat-out tell her you wanted her to come in and kept beating around the bush. And if the two of you suck so much at communicating that you can't even avoid so obvious a hazard as this, how the hell are you going to navigate marriage, or having a kid?[paragraph break][if we have examined the laptop or we have checked email]Of course, Liz has been telling you for years that the answer is that you shouldn't, which isn't what you've wanted to hear. But maybe she's right.[paragraph break][end if](Press any key to continue)[paragraph break]"; Wait for any key; Clear only the main screen. The room description heading rule does nothing when the location is the apartment and grocery-mike is stung. [Again, dropping the location descriptions when the scene change is happening] Every turn while grocery-scene is happening and the player is in El Molino Ave and grocery-mike is unstung (this is the grocery-timer rule): Increment grocery-timer. The apartment is inside from El Molino Ave. The printed name is "Kaylee's Apartment". It is above El Molino Ave. Instead of going down from the apartment, try going outside. The description is "Kaylee'd lived in this apartment for a year before you moved in, and it still mostly feels like it's hers. Partly it's the anime posters and dragon knick-knacks, which you find embarrassing even though your interests are mostly just as nerdy as hers. Partly it's the gray cat fur that drifts everywhere (Cordelia's not underfoot now, at least -- she's shut in the bedroom). Partly it's that all the furniture is hers -- not that you'd wanted to lug any cross-country.[paragraph break]But for whatever reason, despite the piles of your books overflowing their shelves[if the sweater is in the apartment], the [sweater] you've left tossed across a chair,[end if] and the pictures of your family you keep on the desk next to your [laptop], you've never felt at home here.[paragraph break]The kitchen is off to the west, and the closed bedroom door is south. Kaylee and the beekeeper are visible through the windows, if you want to go back down to join them." The sweater is in the apartment. It is wearable. The description is "This green, long-sleeved sweater is fraying about the wrists, but it's comfortable so it's one of your favorites." After wearing the sweater for the first time: Say "It's very hot out, but you figure that in the [italic type]incredibly unlikely[roman type] event that the bees attack, the sweater might provide some protection, so you shrug it on." Instead of dropping the sweater when the location is not the apartment: Say "You shouldn't leave your sweater just lying around." The anime posters are scenery in the apartment. They are plural-named. The description is "One is for Cowboy Bebop, and there's a smaller Utena one Kaylee got signed when she went to Anime Expo a couple years ago -- the others are from shows you haven't seen." Understand "cowboy/-- bebop/-- poster" as the anime posters. Understand "utena poster/--" as the anime posters. Understand "cowboy bebop" as the anime posters. The dragon knick-knacks are scenery in the apartment. They are plural-named. The description is "There's a silver paperweight, and a couple goblets with dragon designs that Kaylee loves -- you've never had the heart to tell her that they're tacky beyond belief." Understand "silver/-- paperweight" as the dragon knick-knacks. Understand "silver" as the dragon knick-knacks. Understand "goblet/goblets with/-- dragon/-- design/designs/--" as the dragon knick-knacks. Instead of taking the dragon knick-knacks, say "Not for all the money in the world." Understand "knicknack/knicknacks/knickknack/knickknacks/knick-knack" as the dragon knick-knacks. Instead of doing anything other than examining to the dragon knick-knacks, say "You'd rather have as little to do with them as possible." The gray cat fur is scenery in the apartment. The description is "Cordelia is a long-furred cat, and ergo there's always some of her gray fur swirling around the apartment. Thank God you're not allergic." Instead of taking the gray cat fur, say "There's way, way, way too much fur for that to be plausible." Understand "clean [gray cat fur]" as taking. Understand "sweep [gray cat fur]" as taking. The el-molino-books are scenery in the apartment. They are plural-named. The description is "Kaylee's shelves were already full when you moved in, and even though you only brought a couple favorite books with you, you've of course read enough in the time since to completely overrun the furniture -- you see [one of]House of Leaves (you loved this book, and even tried to make a text adventure version of it a few years back)[or]Wedgewood's history of the Thirty Years War (which is really zippy considering the overall grim vibe)[or]Being Peace (you went to one of Thich Nhat Hanh's dharma talks with your mom a few years back)[or]The Sinews of Power (completely fascinating, it traces early modern Britain's global domination to its public finance systems)[or]Mr Fox (a trippy, modernist fairy-tale which you'll realize owes a debt to Angela Carter when you read her next year)[or]Wolf Hall (Thomas Cromwell is your new historical crush)[at random] [one of]jammed into a space too small for it[or]balanced on the windowsill[or]piled on your desk[or]stacked on top of the bookshelf[at random]." Understand "pile/piles/book/books/shelf/shelves/bookshelf/bookshelves/wedgewood" as the el-molino-books. Understand "pile/piles of/-- books/--" as the el-molino-books. Understand "House of Leaves" as the el-molino-books. Understand "wedgewood's/-- history/-- of/-- the/-- thirty years war" as the el-molino-books. Understand "being/mr/wolf peace/fox/hall" as the el-molino-books. Understand "the/-- sinews of/-- power/--" as the el-molino-books. Understand "the/-- sinews/-- of/-- power" as the el-molino-books. The printed name is "books". Instead of taking the el-molino-books, say "You might try to get some reading done later." Understand "read [el-molino-books]" as taking. The pictures of family are scenery in the apartment. They are plural-named. Understand "pictures/picture/photo/photos/-- of/-- my/-- family/liz/photo/photos" as the pictures of family. Understand "desk/photo/photos/drawer" as the pictures of family. The description is "You keep a couple photos on the desk, next to your laptop -- there's one of you and Liz, taken when you were home from college for Christmas (you forget exactly which year -- your haircut and fashion sense are tragic, but that doesn't really narrow it down)." Instead of opening the pictures of family, say "The desk doesn't have a drawer." The laptop is in the apartment. The laptop is scenery. Instead of taking the laptop, say "It's actually surprisingly heavy for a laptop, and anyway you don't need to lug it around now." Instead of switching off the laptop, say "Eh, you prefer to keep the laptop on -- it takes forever to reboot." Instead of switching on the laptop, try examining the laptop. Instead of playing with the laptop, say "Maybe you'll play some video games later." The description of the laptop is "Your Gmail window is pulled up. In amongst the usual spam, there's an email from Liz saying she had a great time hanging out with you when she was in town two weeks ago. It was really nice -- you rarely get to see each other these days since she's in DC and you're in LA, and you almost never get to hang out just the two of you anymore. But her husband had to work most of the time and Kaylee was out of town for a conference, so you could actually talk. The memory still makes you smile, even though it was mostly just catching up and you telling her how weird it is that she's married now.[paragraph break]There was an awkward minute when she asked how things were with Kaylee, and when you said 'fine,' she got a little intense and asked if you were really happy. Even you could tell your 'yes' was unconvincing, but while Liz can see through you as easily as you can see through her, she didn't call you on it, just said a couple times that you deserve to be happy, and then let it drop." Instead of closing the laptop, say "Eh, you prefer to keep the laptop on -- it takes forever to reboot." Instead of opening the laptop, try examining the laptop. Emailing is an action applying to nothing. Understand "write email/reply to/-- liz/liz's/mom/mom's/kaylee/kaylee's/paria/paria's/laura/laura's/dad/dad's/chew/chew's/nikhil/nikhil's/baek/baek's/-- email/message/--" as emailing. Understand "send email/reply to/-- liz/liz's/mom/mom's/kaylee/kaylee's/paria/paria's/laura/laura's/dad/dad's/chew/chew's/nikhil/nikhil's/baek/baek's/-- email/message/--" as emailing. Understand "email liz/liz's/mom/mom's/kaylee/kaylee's/paria/paria's/laura/laura's/dad/dad's/chew/chew's/nikhil/nikhil's/baek/baek's/--" as emailing. Understand "reply to liz/liz's/mom/mom's/kaylee/kaylee's/paria/paria's/laura/laura's/dad/dad's/chew/chew's/nikhil/nikhil's/baek/baek's/-- email/message/--" as emailing. Check emailing: If the player is toddler-mike, say "What's that?" instead; If the player is sailing-mike, say "You'd need to sail back to the yacht club, bike home, turn on the computer, dial into Prodigy, and then find someone you want to email and whose address you know." instead; If the player is exeter-mike, say "Basically everyone you know is right here." instead; If the player is dumbbell-mike, say "Maybe you'll write some emails after you play your game." instead; If the player is grocery-mike and the laptop is not in the location, say "You're not fast enough typing on the phone yet to use it for non-emergency email -- better to use your laptop."; If the player is grocery-mike and the laptop is in the location, say "You'll write back tonight or tomorrow -- there's no rush." instead; If the player is finale-mike, say "You've been reading and sending email all day -- you'd rather enjoy being outdoors." instead. [A fairly bare-bones implementation -- calling on the phone is much more robust -- but for something very few players were ever likely to mess around with, it seemed a reasonable corner to cut given the time pressure] The molino-furniture is scenery in the apartment. It is plural-named. The printed name is "furniture". The description is "A kitchen table, some chairs, a TV stand -- it's furniture, who cares?" Understand "kitchen/some/TV/-- table/chair/chairs/stand/furniture" as the molino-furniture. instead of putting something on the molino-furniture, try dropping the noun. Instead of entering the molino-furniture, say "This isn't a moment to get comfortable." The molino-TV is scenery in the apartment. The description is "The TV. It's reasonably big and has an Xbox attached." Understand "TV" as the molino-tv. Instead of switching on the molino-tv, try playing with the xbox. The xbox is scenery in the apartment. The description is "You split the price of the Xbox 360 when you picked it up a couple years back -- you and Kaylee played through Halo 3 and a couple other games together, though it doesn't see much use." Understand "play [xbox]" as playing with. Instead of switching on the xbox, try playing with the xbox. Understand "x-box/box" as the xbox. [...since there's already a general PLAY action I'm not sure why I thought I needed that understand statement] The windows are a door. They are undescribed. They are plural-named. They are east of the apartment. It is closed. The description is "Through the windows, you can see nothing's changed since you came up to the apartment -- the beekeeper is still messing around with the hive, and Kaylee is still watching him." Instead of opening the windows, say "It's hotter outside than it is in here, so better to keep them closed." Understand "window/beekeeper/kaylee/bees/bee/hive" as the windows. Understand "out window/windows" as the windows. ["The windows are a door" is some A+ Inform programming, let me tell you] The molino-door is a door. It is undescribed. It is south of the apartment. It is closed. Understand "bedroom/-- door" as the molino-door. Understand "bedroom door/--" as the molino-door. The description is "Kaylee closed the cat in the bedroom before you left, since Cordelia has a bad habit of trying to run out when the apartment door is opened and grocery-laden people are too slow to catch her." Instead of opening the molino-door, say "You and Cordelia both prefer it when you leave each other alone." Instead of going south when the location is the apartment, try opening the molino-door. The molino-kitchen is west of the apartment. The printed name is "Kitchen". The description is "[one of]As far as you can tell, everyone in your socioeconomic bracket (overeducated, slightly underearning cusp-of-thirtysomethings) who lives in LA has some version of this kitchen: the cabinets look Sixties-vintage, with ever-thicker coats of white paint the only concession to modernity, while the tile and stove lack even that. At least you've never had any problems with the fridge[or]You pause for a moment to take in the kitchen: cabinets, stove, and fridge are all accounted for[stopping].[paragraph break]The main part of the apartment is back east." The fridge is a scenery container in the molino-kitchen. Instead of inserting the groceries into the fridge, try dropping the noun. It is closed. Understand "refrigerator/refridgerator" as the fridge. Instead of opening the fridge, say "[if the groceries are part of the fridge]You crack the fridge to confirm that the groceries are still where you stowed them[otherwise]The fridge is rather bare (thus the grocery trip)[end if]." The description is "The fridge is short, white, and relatively quiet -- rather like you, now that you think of it! It has a bunch of RPG magnets on it, which you do not, though." Instead of inserting something into the fridge, say "You don't need that chilled." The RPG magnets are scenery in the molino-kitchen. They are plural-named. The description is "Your friend Jenny made a set of these magnets for everyone in the gaming group as a Christmas present a few years back, drawing everyone's characters in the long-running Mage campaign. Ichiro turned out well, you think." Instead of taking the RPG magnets, say "Magnets belong on the fridge, those are just the rules." The Ichiro magnet is scenery in the molino-kitchen. The description is "A magnet with a drawing of your Mage character, Ichiro, bald and scowling in a kung-fu pose like the action Buddhist he is (you'd created him as a kind of aspirational figure. The stereotype is, in retrospect, embarrassing, though you were 19 so hopefully that's forgivable)." Instead of taking the Ichiro magnet, say "Magnets belong on the fridge, those are just the rules." The molino-cabinets are a scenery container in the molino-kitchen. They are plural-named. They are closed. The printed name is "cabinets". The description is "These unobtrusive cabinets hold food, plates, and yes, another embarrassing dragon goblet." Understand "pantry/cabinet/cabinets/cupboard/cupboards/paint" as the molino-cabinets. Instead of opening the molino-cabinets, say "You don't need anything out of them right now." Instead of inserting the groceries into the molino-cabinets, try dropping the noun. The molino-goblet is scenery in the molino-kitchen. The printed name is "another embarrassing dragon goblet". Understand "embarrassing/-- dragon/-- goblet" as the molino-goblet. Understand "dragon goblet/--" as the molino-goblet. The description is "Somehow this one's even worse than the first." Instead of doing something other than examining to the molino-goblet, try examining the molino-goblet. Instead of taking the molino-goblet, say "Heavens, no." The tile is scenery in the molino-kitchen. The description is "Up to today, you've never spared much of a thought for kitchen tile -- and as it turns out, that unbroken streak is going to continue." The stove is scenery in the molino-kitchen. The description is "The stove is jammed rather awkwardly next to the fridge, making for rather close quarters when cooking." Instead of switching on the stove, say "You'll cook later -- maybe that pasta with sage butter and an egg, or the tomato and tofu stir-fry?" Understand "oven" as the stove. Instead of opening the stove, try switching on the stove. Carry out singing when the player is grocery-mike: If Kaylee is in the location, say "You're too embarrassed -- Kaylee's right next to you." instead; If grocery-mike is stung, say "You don't exactly have a song in your heart right now." instead; Say "You've been on a heavy Mountain Goats kick for the last six, seven years, so you half-sing a bit of [one of]Waving at You: 'four long years come to nothing, it's all right..'[or]Raja Vocative: 'your laughter tore through the New Jersey night/and I can't stand it but I'm all right...'[or]No Children: 'I hope that our few remaining friends give up on trying to save us...'[or]Woke Up new: 'what do I do, what do I do, what do I do without you?'[or]Someone Else's Parking Lot in Sebastopol (it'd taken you a while to realize this was a city in NorCal, not the giant region next to the Black Sea on the Diplomacy board): 'we did our manners proud/the night we said goodbye...'[at random]". Carry out cursing when the player is grocery-mike or the player is finale-mike: If grocery-bee-attack is happening, say "You start to shout -- but you have just enough presence of mind to contemplate how it would feel to have bees [italic type]inside your mouth [roman type]and glue your lips shut again."; Otherwise: Say "You don't curse much these days." Chapter 5.5 - Groceries Conversations Table of Quip Texts (continued) quip quiptext g-selftalk "[if the player is in california ave]You're too out of breath from hauling the groceries to waste it talking to yourself[otherwise]'Those bees are going to sting us,' you mutter to yourself glumly[end if]." bk-greet "'Sorry, but I need to concentrate here,' the beekeeper says, and dismissively turns back to the hive. He's happy to talk to Kaylee, apparently, but not you." bk-swarm "He's a bit too focused on the roiling swarm of bees to be a good conversation partner (to be fair, the same is true for you)." k-swarm "Kaylee's backing away, trying to get some distance from the bees." bk-stung "The beekeeper is catching his breath -- he waves you away." k-stung "Kaylee looks at you with an expression glum enough to make clear you shouldn't say 'I told you so' (though you still want to, because you did. Didn't you?)" k-almost "You can't think of anything you want to talk to her about (the heat and the heavy groceries admittedly might have something to do with that)." k-cool "'Isn't this cool?' Kaylee asks, completely focused on the bees and not looking at you even a little." k-inside "'Nah,' Kaylee says. 'I want to watch him move the hive.'" k-interesting "'They are!' she says. 'Their behavior is so complex, and it's almost all emergent.'" k-interesting1 "'They are!' she says. 'Their behavior is so complex, and it's almost all emergent.'" k-blarg "She doesn't reply to your nothingburger of a comment." k-octopi "'They're cool too,' she says equably. You're not sure why you tried to make it a competition." k-groceries "'I'm OK. You can go inside and drop them off if you want,' she says, staying rooted where she is." k-dangerous "'Bees usually aren't aggressive,' she says, waving off your concern. 'Most of the time, if you get stung by a bee you deserved it.'" k-dangerous1 "'Bees usually aren't aggressive,' she says, waving off your concern. 'Most of the time, if you get stung by a bee you deserved it.'" k-while "'Oh, I'm just about ready to move the hive,' the beekeeper says. 'It shouldn't be more than another minute or two.'" k-ok "'No,' she says, face as red as her arms." k-told-so "She looks at you angrily, tears beading her eyes, but doesn't say anything. Okay, it maybe wasn't [italic type]completely[roman type] necessary to point that out." k-snark "'Don't be an asshole,' she snaps, which is fair -- you feel a little bad for saying that." k-bye "Kaylee gives you a slight nod as you stop talking to her, but remains wrapped up in the beekeepery." k-done "You've said enough -- best to just go inside and try to recover." Table of Kaylee Comments prompt response enabled "'Are the bees really that interesting?'" k-interesting 1 "'Are the bees really that interesting?'" k-interesting1 0 "'Don't you want to come inside and get out of the heat?'" k-inside 1 "'The groceries are heavy. Maybe we should drop them off?'" k-groceries 1 "'Aren't you worried it'll be dangerous if the bees get angry?'" k-dangerous 1 "'This looks like it's going to take a while -- why not watch from the windows in the apartment?'" k-while 1 "(Turn away from her)" k-bye 1 Table of Quip Followups (continued) quip option result k-interesting "'I guess so.'" k-blarg k-interesting "'Sure, but what if the behavior that emerges after he takes their hive is stinging us?'" k-dangerous1 k-interesting "'When it comes to behaviorally-complex invertebrates, they don't have anything on octopi.'" k-octopi k-interesting1 "'I guess so.'" k-blarg k-interesting1 "'When it comes to behaviorally-complex invertebrates, they don't have anything on octopi.'" k-octopi [The k-interesting vs k-intersting1 thing is an annoying hack because I wanted that second quip ("what if the behavior that emerges...") to lead back to the "bees aren't usually that aggressive" response which could also be accessed through the "root" menu -- but then remove it from the options if it'd already been asked, since otherwise it'd feel weird and redundant. Probably would have been easier to do this in a true node-based conversation system, this was a bit tricky to stage-manage for being a relatively simple concept] After quipping when the current quip is k-cool and grocery-timer is greater than 11: disable the k-inside quip; disable the k-interesting quip; disable the k-groceries quip; disable the k-dangerous quip; disable the k-interesting1 quip; disable the k-while quip; disable the k-bye quip; now the enabled in Row 1 of the Table of Kaylee Comments is 0; now the enabled in Row 2 of the Table of Kaylee Comments is 0; now the enabled in Row 3 of the Table of Kaylee Comments is 0; now the enabled in Row 4 of the Table of Kaylee Comments is 0; now the enabled in Row 5 of the Table of Kaylee Comments is 0; now the enabled in Row 6 of the Table of Kaylee Comments is 0; now the enabled in Row 7 of the Table of Kaylee Comments is 0; terminate the conversation. k-interesting-flag is initially false. After quipping when the current quip is k-interesting: Now k-interesting-flag is true. After quipping when the current quip is k-dangerous: If k-interesting-flag is false and grocery-timer is less than 12: disable the k-interesting quip; enable the k-interesting1 quip. After quipping when grocery-scene is happening and grocery-mike is unstung: increment grocery-timer; if grocery-timer is greater than 13, now grocery-timer is 13; if grocery-timer is greater than 12: disable the k-inside quip; disable the k-interesting quip; disable the k-groceries quip; disable the k-dangerous quip; disable the k-interesting1 quip; disable the k-while quip; disable the k-bye quip. [Yet more hacks to get the timing to work right -- there's some redundant belt-and-suspenders stuff here but I didn't want to mess around with it once it was working] After quipping when the current quip is k-while: Say "Kaylee smiles, eager for the big event. This beekeeper sure strikes you as irresponsible -- maybe he likes the attention?[paragraph break]" After quipping when the current quip is k-bye: terminate the conversation; enable the k-bye quip for kaylee. After quipping when the current quip is k-dangerous or the current quip is k-dangerous1: say "'That's true,' the beekeeper pipes in. 'Unless they're Africanized, of course, but these aren't.'[paragraph break]You have between two and four reasons to disagree with that assessment, depending on how you score the first one and the time with the dumbbell, but you let it go.[paragraph break]"; now the enabled in Row 3 of the Table of Stung-Kaylee Comments is 1; disable the k-dangerous quip. Instead of talking to kaylee when the greeting of kaylee is k-swarm, say "Kaylee's backing away, trying to get some distance from the bees." Table of Stung-Kaylee Comments prompt response enabled "'Are you OK?'" k-ok 1 "'That sure seemed like it was avoidable.'" k-told-so 1 "'I've heard that if you get stung by a bee, you probably deserved it.'" k-snark 0 After quipping when the current quip is k-ok or the current quip is k-told-so or the current quip is k-snark: Disable the k-ok quip; Disable the k-told-so quip; Disable the k-snark quip; Say "'I'm sorry,' you say. You start to put your hand on Kaylee's shoulder to comfort her, but then you see the bee stings, and stop. 'Come on, let's go in.' This time she doesn't protest."; Now the greeting of kaylee is k-done. Chapter 6 - Finale Finale is a scene. Finale begins when grocery-scene ends. When finale begins: Say "[bold type]Pasadena, CA -- April 2021[roman type][paragraph break]"; Say "Since last March, there are fewer cars and more people in your neighborhood, which is about the only thing about the past year that's a change for the better -- well, you revise your thought after glancing down at Paria's belly, maybe one of two."; Now the player is finale-mike. Wilson-and-Green is a room. The printed name is "Wilson and Green". The description is "An unexceptional bit of Wilson Avenue running outside your building, tucked between the main commercial artery of Colorado Avenue to the north and the leafiness of the appropriately-named Green Street off to the south, with the typical palm trees and high curbs of a SoCal thoroughfare. It's pretty much just houses and apartments here, save for the weird pop-up art gallery across the street." Colorado Avenue is north of wilson-and-green. Instead of going north from wilson-and-green, say "That way's the main commercial drag, which isn't as pleasant a route for your midafternoon walk." colorado-placeholder is scenery in wilson-and-green. Understand "colorado avenue/ave/--" as the colorado-placeholder. Instead of doing something other than examining to the colorado-placeholder, try examining the colorado-placeholder. The description is "That way's the main commercial drag, which isn't as pleasant a route for your midafternoon walk." Green-placeholder is scenery in wilson-and-green. Understand "Green street/st/--" as the green-placeholder. Instead of doing something other than examining to the green-placeholder, try examining the green-placeholder. The description is "There's a nice walk that way, too, but today you're heading down to Tech." Gallery is a room. It is east of wilson-and-green. It is inside of wilson-and-green. Instead of going east from wilson-and-green, try examining the gallery-placeholder. Instead of going inside from wilson-and-green, try going east. The gallery-placeholder is scenery in wilson-and-green. The description is "You went inside this gallery a couple years ago, on one of the rare occasions when it was open. Turns out it's run by your downstairs neighbors. The wife showed off some of her homemade insect-themed jewelry that wouldn't be out of place in one of your creepier Call of Cthulhu campaigns, and the husband pressed a flyer on you advertising an upcoming talk by Chuck D.[paragraph break]You haven't been back since, and anyway it's closed today." Understand "weird/-- pop/pop-up/-- up/art/-- art/-- gallery/art" as the gallery-placeholder. The printed name is "gallery". Instead of entering the gallery-placeholder, try going east. Wilson-apartment is scenery in wilson-and-green. The description is "Home sweet home for the past five years -- you and Paria moved here right after you got married -- though with the baby on the way, you'll need to start looking for a new place soon." Understand "your/-- apartment/building" as the wilson-apartment. The printed name is "your apartment building". Instead of opening or entering the wilson-apartment, say "You've just started your walk." Does the player mean examining the finale-backdrop: it is unlikely. The walk button is scenery in wilson-and-green. The description is "You always push the button when you need to cross the street, though you've read a couple of articles saying that they don't actually speed up the light changing most of the time." Understand "traffic/walk signal/button" as the walk button. Instead of pushing the walk button: If name-counter is less than 4, say "You'll push it when you get to the end of the block."; Otherwise: Say "You've already pushed it." Finale-mike is a man in wilson-and-green. The description is "You'd developed quite the mane over the course of the lockdown, but since Paria gave you your first haircut of the pandemic last week, you're back to looking like you usually look -- though you turned 40 a few months ago so you've more gray around your temples than you did a decade ago. And you didn't wear a mask back then either, you suppose." Understand "hand/finger/fingers/sting/stinger" as finale-mike when finale-mike is stung. The greeting of finale-mike is f-selftalk. The finale-phone is a device. It is switched on. Finale-mike carries the finale-phone. The printed name of the finale-phone is "your phone". The finale-phone is proper-named. Understand "my/-- phone/iphone" as the finale-phone. The description of the finale-phone is "Your iPhone is like half a decade old at this point, and after years of OS update its storage and memory are both pretty clogged up, but you've stubbornly refused to upgrade." Instead of switching off the finale-phone, say "You'd just need to turn it on again later." Instead of dropping the finale-phone, say "It's seen better days but that's no reason to just drop it in the street!" Your mask is a wearable object. It is worn by finale-mike. The printed name of your mask is "your mask". It is proper-named. The description of your mask is "A plain blue mask, relatively comfortable though it does tend to fog up your glasses." Instead of taking off your mask, say "You're not vaccinated yet -- hopefully in a couple of weeks -- so for now the mask stays on." Understand "my mask" as your mask. Your glasses is a wearable object. It is worn by finale-mike. It is proper-named. The glasses are plural-named. The description of your glasses is "Your glasses -- it's probably time to update the prescription but you haven't wanted to go to the optometrist what with all the COVID." Instead of taking off your glasses, say "You're sufficiently near-sighted that taking off your glasses would make the world dangerously fuzzy." Your wedding ring is a wearable object. It is worn by finale-mike. Your wedding ring is proper-named. The description is "A simple gold ring that sits comfortably on your finger, you can't not think of the One Ring whenever you look at it." Instead of taking off your wedding ring, say "Paria might take that the wrong way." Paria is a woman in wilson-and-green. "[one of]Paria's holding your hand as you walk together[or]Paria adjusts her mask to extract an errant strand of hair[or]You've outpaced Paria, so you slow your stride a bit to let her catch up[or]Paria notices you looking at her, and from the crinkles around her eyes you can tell she's smiling at you under her mask[or]Paria checks that no one is around, then pulls her mask off for a second so she can breathe easier[at random]." The description of Paria is "You thought Paria was the most beautiful woman you'd ever seen when you first met her, and ten years on you'll stick to your guns on that -- though admittedly the mask covering most of her face means your memory is filling in some details. She has lovely eyes, a delightful smile, and a just-visible baby bump." The greeting of Paria is p-name. The litany of Paria is the Table of Finale First Comments. Instead of touching or rubbing Paria, try rubbing the baby bump. Instead of attacking Paria, say "Are you out of your mind?" Instead of kissing paria, say "That'll be way more fun if you wait until you're no longer wearing masks." Paria's mask is a wearable object. It is worn by Paria. The description of Paria's mask is "Her mask has a nice floral pattern." Does the player mean examining your mask: it is unlikely. The baby bump is part of Paria. The description is "Paria's about four months along, and she's only started to show in the last couple of weeks." Instead of touching or rubbing the baby bump, say "The baby won't start moving around for another few months, so there's nothing to feel yet." Understand "belly/stomach" as the baby bump. Instead of going when the player is finale-mike, say "Outpacing your pregnant wife during your evening stroll around the neighborhood wouldn't be a very nice thing to do -- anyway talking passes the time more pleasantly than power-walking." Wilson-and-del-mar is south of wilson-and-green. The description is "This is the northern edge of the Caltech campus, and it always feels weird to be back though it's changed a lot over the years -- in fact they only finished putting up the shiny neuroscience building across the street a few months ago. It's a welcome bit of novelty among the houses, trees, and parking lots that you've gotten rather sick of over the last year (you've been taking a [italic type]lot[roman type] of walks)." The printed name is "Wilson and Del Mar". The parking lots are scenery in wilson-and-del-mar. The description is "There used to be a recycling center here, but they turned it into parking for the new construction on this part of campus." Understand "parking/-- lot" as the parking lots. The parking lots are plural-named. The shiny neuroscience building is scenery in wilson-and-del-mar. The description is "Tech's newer buildings have tended to be eyesores, gigantic steel monstrosities lurking awkwardly next to the Mediterranean flourishes of the older halls and houses, but this one actually looks nice, with graceful lines and plenty of windows. Of course, even though the building's technically open, those windows have mostly shown empty space rather than much in the way of neuroscience research." Understand "caltech/-- window/windows/campus" as the shiny neuroscience building. Every turn when Paria is in wilson-and-del-mar: Now the litany of Paria is the table of Finale Second Comments. [Would have been more elegant to do this as a one-time after rule or something, but hey, low-effort resource-inefficient hacks are kind of my jam, as you will have realized by now] Caltech Entrance is south of wilson-and-del-mar. The description is "It's definitely weird that you wound up living just a couple blocks away from Tech so many years after graduating, but it's a nice place to walk so you get over the oddness. The big black tower of Millikan Library -- actually, it's just administrative offices now, you correct yourself -- looms through the gate to the east, with chemistry and geology buildings flanking the path to the northeast and southeast, respectively.[paragraph break]The sidewalk also passes a bunch of smaller houses, running past bushes that have just started to bloom now that spring is in full swing." The bushes are scenery in Caltech Entrance. The description is "The sidewalk is lined with bushes, heavy with leaves and newly-budded flowers." Instead of smelling the bushes, try smelling. Understand "sidewalk/bush/flower/flowers/bud/buds/leaf/leaves" as the bushes. The bushes are plural-named. Instead of smelling when the player is in Caltech entrance, say "The air is heavy with pollen and the smell of newly-budded flowers." Millikan is scenery in caltech entrance. Understand "millikan/-- library/tower" as millikan. Understand "admin/administrative/offices/office office/offices/--" as millikan. The description is "Millikan used to be the central library for the campus, but your senior year they decided to turn it into offices and ship the books off to different departments or to storage. The first real campaign you ever ran was getting signatures to save the library, and you did get a good chunk of the student body to support (still lost, though).[paragraph break]After the George Floyd protests last year, a bunch of current students brought up the awkward fact that the building's namesake, in addition to having calculated the charge of the electorn, was also kind of a giant eugenicist, so now it's called something else, though you don't remember what they changed it to." Instead of entering millikan, try going east. The gate is scenery in caltech entrance. The description is "It's not really a gate, just two low pillars framing the walkway." Understand "pillar/pillars" as the gate. The chemistry buildings are scenery in Caltech entrance. Understand "chemistry/chem building/buildings/--" as the chemistry buildings. The description is "You never took many chem classes after you finished your freshman requirements, so this low sprawl of buildings is mostly terra incognita." The chemistry buildings are plural-named. Instead of entering the chemistry buildings, try going east. The geology buildings are scenery in Caltech entrance. Understand "geology/geo building/buildings/--" as the geology buildings. The description is "You forget the name of the main geo building, but you took a couple planetary science classes in it back in the day (even when they're in space, rocks are rocks so the geologists got dibs over the astronomers)." Instead of entering the geology buildings, try going east. Finale-bee is a bee. The description is "The poor thing is lying dead under the bushes. You feel a twinge of pity -- it was just trying to gather pollen for its hive when you scared it." The printed name is "a dead bee". Instead of doing anything other than examining to the finale-bee, say "You've done enough to it." Finale-region is a region. wilson-and-green, wilson-and-del-mar, and caltech entrance are in finale-region. Finale-backdrop is a backdrop in finale-region. The description is "A smattering of houses and small apartment buildings, in the eclectic mix of styles -- Cape Cod! Ranch! Tudor! -- that characterizes L.A.[']s architectural milieu." Understand "house/houses/home/homes/apartment/apartments" as finale-backdrop. The printed name of finale-backdrop is "various houses and apartments". The finale-trees are a backdrop in finale-region. They are plural-named. The description is "Mostly palm trees, natch, though there's a rare oak or two scattered amongst them." Understand "palm/oak/-- tree/trees" as the finale-trees. Understand "palm/palms/oak/oaks" as the finale-trees. The printed name of the finale-trees is "various trees". Instead of entering or opening the finale-backdrop, say "You don't know anybody who lives in any of the other houses around here." No-cars are a backdrop in finale-region. They are plural-named. Understand "street/curb/curbs/streets/cars/people/person/walker/pedestrian/walkers/pedestrians" as no-cars. The description is "The occasional car drives through, but at this post-work hour, there are more people taking walks." Instead of singing when the player is finale-mike, say "You don't exactly have a song in your heart right now." Chapter 6.5 - Finale Conversations Table of Quip Texts (continued) quip quiptext f-selftalk "Paria doesn't mind too much when you soliloquize, but conversation is probably more polite." p-name "'Have you had any other ideas for names?' Paria asks.[paragraph break]'Hmm. How about...'" p-aaron "'He'd always be first when they do a roll-call,' she says.[paragraph break]'I'm not sure whether that'd be good or bad,' you say, having second thoughts." p-adam "'That means [']man['] in Farsi,' she objects, 'it'd sound silly.'" p-alexander "'I kind of like that,' Paria says, but you're having second thoughts.[paragraph break]'Actually, your family might not like it, given what Alexander the Great did to Persia,' you say.[paragraph break]'Burning Persepolis and everything?' Paria frowns. 'Yeah, not great.'" p-ardashir "This is your favorite Persian name -- Ardashir I founded the Sasanian Empire, which was a major rival of the late Roman Empire. 'I like it, but white people will always mispronounce it,' Paria says.[paragraph break]'It's not that bad,' you protest.[paragraph break]'You just mispronounced it,' she replies." p-benjamin "Paria sighs. 'Yeah, I really like that one. Too bad my sister picked it first.'" p-david "'I dunno, I guess it's OK,' she says. You're not really excited about it either." p-george "'I feel like [']George['] is the name of a 40 year old, not a little kid,' she says." p-henry "'Not bad, but it feels a little random,' Paria says.[paragraph break]'Does it? It's a family name,' you say. She looks confused, so you explain: 'My grandfather was named Henry, and so's my uncle.' Now she looks even more confused. 'Hank is a nickname for Henry.'" p-john "'Oooh, I like that -- we could call him Jack!' she says.[paragraph break]'What? No, Jack is terrible,' you protest. 'We can't call him Jack.'" p-joshua "She says the name back in a silly voice, like 'Josh-shwah,' then starts giggling. 'It's a joke from Friends,' she explains, noticing your utter disorientation. 'Everyone will be thinking about it, it'll ruin his life.' You're not so sure about the continuing hegemonic influence of Friends, but you don't raise an objection." p-lincoln "Paria doesn't look like she likes the name. 'It'd be like a presidential theme,' you say, but she remains unmoved." p-miles "'Miles sounds like the name of someone hideously uncool,' she says.[paragraph break]'Huh? The most famous person named Miles is Miles Davis -- very cool. Okay, after that, you've got Miles Teller, forgettable actor, and Myles Standish, one of the Pilgrims...' You see her point." p-nathan "'Eh, my parents couldn't pronounce it, the [']th['] is hard for them,' she says." p-thomas "'Thomas isn't bad,' she says.[paragraph break]'Yeah, and Tom's a good nickname,' you add.[paragraph break]'Ugh, no, Tom is terrible,' she says." p-william "'I guess,' Paria says. 'It feels really popular, like he'd be one of a million Williams in his class.' As one of five Michaels in your elementary school grade, you get the downsides." p-girl "Paria sighs, knowing what you mean. 'Yeah, we'd just name her after Liz, and there are a million pretty Persian girls['] names we could use for a middle name.'" Name-counter is a number that varies. Name-counter is 0. Table of Finale First Comments prompt response enabled "'Aaron?'" p-aaron 1 "'Adam?'" p-adam 1 "'Alexander?'" p-alexander 1 "'Ardashir?'" p-ardashir 1 "'Benjamin?'" p-benjamin 1 "'David?'" p-david 1 "'George?'" p-george 1 "'Henry?'" p-henry 1 "'John?'" p-john 1 "'Joshua?'" p-joshua 1 "'Lincoln?'" p-lincoln 1 "'Miles?'" p-miles 1 "'Nathan?'" p-nathan 1 "'Thomas?'" p-thomas 1 "'William?'" p-william 1 "'This would be so much easier if we were having a girl.'" p-girl 0 After quipping when the current quip is p-aaron or the current quip is p-adam or the current quip is p-alexander or the current quip is p-ardashir or the current quip is p-benjamin or the current quip is p-david or the current quip is p-george or the current quip is p-henry or the current quip is p-john or the current quip is p-joshua or the current quip is p-lincoln or the current quip is p-miles or the current quip is p-nathan or the current quip is p-thomas or the current quip is p-william: Increment name-counter; If name-counter is 6, say "You've gotten to the end of the block, so you hit the walk button with your elbow (you know now that COVID doesn't really spread from surfaces, especially outdoors, but it's hard to break the habit).[paragraph break]"; If name-counter is 7: enable the p-girl quip; If name-counter is 9: terminate the conversation; Say "The light changes, so you take Paria's hand and walk across the street.[paragraph break]"; Move paria to wilson-and-del-mar; Move the player to wilson-and-del-mar; Now the greeting of paria is p-greet2; Now the litany of paria is the table of finale second comments. [Again, fragile and annoying implementation -- there has to have been a better way!] After quipping when the current quip is p-girl: terminate the conversation; Say "The light changes, so you take Paria's hand and walk across the street."; Now the litany of paria is the table of finale second comments; Move paria to wilson-and-del-mar; Now the greeting of paria is p-greet2; Move the player to wilson-and-del-mar. Table of Quip Texts (continued) quip quiptext p-greet2 "Paria's a little quiet now." p-liz1 "'Yeah.' Paria squeezes your hand. 'Fuck cancer.'" p-liz2 "'I know,' she says. 'It's only been a year, and honestly even when more time passes, I'm not sure that will ever change.'" p-liz3 "'Feeling less sad doesn't mean you're letting her down or loved her any less, though,' Paria says." p-liz4a "'I know what you mean, but you're never alone,' Paria says, and puts her arm on your shoulder. 'Especially these days when neither of us goes anywhere.' You smile at her joke (though of course she can't see it through the mask)." p-liz4b "'She'll still be your sister, and a huge part of who you are,' Paria says. 'You can't ever forget her.'[paragraph break]That goes without saying, but it's nice to hear it out loud." p-liz4c "'That was a two-way street,' Paria jokes. 'You telling her [']Beckett['] was a good name because then he'd be named after Thomas à Becket wasn't much help to her.'" p-liz5 "You kick some ideas around -- Paria very enthusiastic since she's finally feeling less nauseated and can enjoy food again -- as you cross Del Mar and start walking south, along the edge of the Caltech campus." Table of Finale Second Comments prompt response enabled "'I've been missing Liz a lot today.'" p-liz1 1 "'I don't really [italic type]want[roman type] it to change.'" p-liz3 0 "'Anyway. What do you want to do for dinner?'" p-liz5 0 Table of Quip Followups (continued) quip option result p-liz1 "'...I mean, the memorial was only a couple weeks ago.'" p-liz2 p-liz1 "'...I always have dreams about her around the 20th of the month.'" p-liz2 p-liz1 "'...I keep imagining how she'd make fun of me when I do something dumb.'" p-liz2 p-liz3 "'It's really comforting, like I'm never alone.'" p-liz4a p-liz3 "'But what happens when that model starts to break down?'" p-liz4b p-liz3 "'Of course, her taste in names was really different, so that's of limited usefulness to us.'" p-liz4c After quipping when the current quip is p-liz2: Enable the p-liz3 quip. After quipping when the current quip is p-liz3: Say "'Okay, yeah, some of it's my Catholic-instilled sense of guilt,' you admit. 'But it's also that we spent so much time together, and knew each other so well, that I feel like I've always had a mental model of her living in my head. And I can consult it and know what baby names she'd like, and exactly what she'd sound like when suggesting some.'[paragraph break]"; enable the p-liz5 quip. After quipping when the current quip is p-liz5: Terminate the conversation; Move paria to the room south of the location; Move finale-mike to the room south of the location; Now the greeting of Paria is p-greet3; Now the litany of Paria is the table of finale wrap-up. Table of Quip Texts (continued) quip quiptext p-greet3 "Paria starts telling you about the Harry Potter fanfic she's been reading. It's interesting, but you're not really keeping track of the plot -- you just smile and enjoy the pleasant spring evening. As you pass a tree, you walk a little more to the right so Paria has an easier time squeezing past. Your fingers wind up brushing up against the bushes, and the leaves feel cool and pleasant at your touch --" p-greet4 "'Are you sure you're okay?' Paria asks, her face screwed up with concern." p-first "'Six sure seems like a lot,' Paria says." p-second "'Aww, baby-Mike was basically the same as grown-up Mike,' Paria replies, and goes to kiss you (but of course you're both masked, so you just lightly touch foreheads)." p-third "'And the third?' Paria asks (you're pretty sure she's interested and not just humoring you)." p-fourth "'Is the dumbbell one next?'" p-fourth-a "Paria raises an eyebrow, clearly about to tease you. 'Er, not that it matters since it all came right in the end,' you finish, squeezing her hand for emphasis.[paragraph break]'Is the dumbbell one next?' she asks." p-fifth "Paria smiles at you, because she can tell you're getting sad again." p-end "'So that's your lot, except for today,' you say, and lapse into silence for a moment, thinking." After quipping when the current quip is p-greet3: Say "Suddenly you feel something furry on your finger -- it's buzzing loudly, and you realize it's a bee -- you try to jerk your hand back, but it's clinging to you -- and then it stings you, falling to the ground as pain runs up your finger. 'Agh, I got stung by a bee,' you tell Paria, who's still processing what just happened.[paragraph break]'Oh no! Does it hurt? Is it swelling?'[paragraph break]You check yourself. 'No, I'm fine -- the bee got the worst of it,' you say."; Terminate the conversation; Now the greeting of paria is p-greet4; Now finale-mike is stung; Now finale-bee is dead; Now finale-bee is in Caltech entrance; Now the description of finale-mike is "Your finger hurts a bit, but it's not too bad." Before talking to paria when the greeting of paria is p-greet4: now the enabled in Row 1 of the Table of finale wrap-up is 1. After quipping when the current quip is p-greet4: Say "'Yeah, I'm fine,' you reassure her. 'But maybe this is a sign we should head back home.'[paragraph break]". Table of Finale Wrap-Up prompt response enabled "'You know, this was the sixth time I've been stung by a bee.'" p-first 0 Table of Quip Followups (continued) quip option result p-first "'I remember, I told my mom I was happy it was dead, even though I immediately felt bad.'" p-second p-first "'I knew the bee didn't mean to sting me, so I felt sorry that it died.'" p-second p-second "'I think we won the race anyway.'" p-third p-second "'It didn't matter, though, we were losing the race already.'" p-third p-third "'It's funny, Liz had just given me some good advice, so maybe if not for that bee, we would have wound up dating?'" p-fourth-a p-third "'That is an incredibly painful place to get stung.'" p-fourth p-third "'Liz saw what happened and laughed so, so hard.'" p-fourth p-fourth "'The pain was well worth all the teasing I got out of that sting.'" p-fifth p-fourth "'She was the toughest person, but she was still so scared of bees.'" p-fifth p-fourth-a "'The pain was well worth all the teasing I got out of that sting.'" p-fifth p-fourth-a "'She was the toughest person, but she was still so scared of bees.'" p-fifth p-fifth "'I should have just gone inside.'" p-end p-fifth "'I'm glad I stuck with her, though.'" p-end After quipping when the current quip is p-first: Say "'I guess,' you say. 'I think there are a lot more bees on the east coast. And maybe I've had some bad luck? The first time I was a toddler, maybe three or four. I was playing with Liz, and when I opened the door to go in, a bee that'd been caught behind the screen stung me.'[paragraph break]" After quipping when the current quip is p-second: Say "'The second time, I was sailing with Liz, and a bee somehow got blown into me.'[paragraph break]" After quipping when the current quip is p-third: Say "'Oh, yeah, the third. Remember that girl Laura I had a crush on all through high school, but never made a move on? I was talking to her and all of a sudden I got stung right under my eye.'[paragraph break]" After quipping when the current quip is p-fourth: Say "'Yup,' you reply. Paria's heard you tell the dumbbell story it must be dozens of times, including just a couple of weeks ago at Liz's Zoom memorial.[paragraph break]" After quipping when the current quip is p-fourth-a: Say "'Yup,' you reply. Paria's heard you tell the dumbbell story it must be dozens of times, including just a couple of weeks ago at Liz's Zoom memorial.[paragraph break]" After quipping when the current quip is p-fifth: Say "'Anyway the last time before today was maybe ten years ago,' you continue. 'Kaylee and I were walking home from the grocery store and saw a hive getting removed from the tree in front of our apartment -- I kept telling her we should go inside, but she was fascinated and wanted to watch, so despite my better judgment I stayed with her and then the bees freaked out and stung us both.'[paragraph break]" After quipping when the current quip is p-end: Say "'Those used to be my stories about getting stung by a bee,' you tell your wife. 'But now those stories are mostly about Liz -- except that last one, since we didn't see each other as much once I moved here.'[paragraph break]'Hey,' Paria says, slowing to a stop. She puts her arms around you and holds you tight. 'I'm sorry, I know it's so hard.'[paragraph break](These are cliches, but you've learned over the last year that nobody has much language other than cliches for this -- and come to appreciate how differently they land when you're in it rather than listening from afar).[paragraph break]'Yeah. Thanks,' you say, rubbing her back and resting your hand on her belly -- it's way too early to feel the baby move, of course, but it makes you feel better. She takes your (unstung) hand, and you keep walking back home.[paragraph break](Press any key)"; Wait for any key; Clear only the main screen; Say "You stay quiet, thinking about your twin sister the whole way.[paragraph break]Just as you walk through the door, you realize something: in all her 39 years, Liz wasn't stung by a bee even once."; End the story finally. Chapter 97 - Smiling and laughing Laughing is an action applying to nothing. Understand "smile" as laughing. Understand "laugh" as laughing. Understand "giggle" as laughing. Check laughing: If the player is stung, say "You're not happy enough to do that right now." instead. Carry out laughing: If the player is toddler-mike, say "You giggle to yourself because you're having so much fun playing."; If the player is sailing-mike, say "Liz hears you laugh, [if the first-place boat is not the russo 420]and snaps 'what's funny about losing, Russo?'[otherwise]and joins in."; If the player is exeter-mike, say "You're happy to see your friends again, but showing it like that would be weird."; If the player is dumbbell-mike, say "You're happy you get to play video games today, but not that happy."; If the player is grocery-mike, say "You're not happy enough to do that right now."; If the player is finale-mike, say "You're not happy enough to do that right now." Smiling is an action applying to one visible thing. Understand "smile at/with [someone]" as smiling. Understand "laugh at/with [someone]" as smiling. Understand "giggle with/at [someone]" as smiling. Check smiling: if the noun is the player, try laughing instead; If the noun is a bee, say "To a bee, your happiness is immaterial." instead; If the player is stung, say "You're not happy enough to that right now." instead. Carry out smiling: If the noun is toddler-liz, say "You smile at Liz, and after a half-second of suspicion, her face breaks into a smile too."; If the noun is sailing-liz, say "No, you shouldn't distract her (or you)."; If the player is exeter-mike: If the noun is laura, say "You shoot Laura a smile, but look away before you can tell whether she saw."; If the noun is exeter-liz, say "You smile at Liz -- it's nice to be back at Exeter with her."; If the noun is chew or the noun is baek or the noun is nikhil or the noun is your friends, say "You smile at your friend."; If the noun is students or the noun is liz's friends or the noun is laura's friends, say "That'd be weird."; If the noun is kaylee, say "You and Kaylee don't smile or laugh together much these days."; If the noun is the beekeeper, say "No, you're not happy this guy's here and you don't want him thinking otherwise."; If the noun is Paria, say "You catch Paria's eye and smile at her; she must be able to tell what you're doing from the way your eyes are crinkling, because hers start crinkling too." [...if you're wondering why these two actions are fairly robustly worked out, and appended to the end of the source rather than being in that catchall section up top, you and I are in the same boat] Chapter 98 - Email Checking email is an action applying to nothing. Understand "check email/emails/texts/text message/-- on/with/-- phone/--" as checking email. Understand "X messages/email/emails/texts/text messages/--" as checking email. Understand "examine messages/email/text/texts messages/--" as checking email. Understand "read messages/email/emails/text/texts messages/--" as checking email. Carry out checking email: If the player is grocery-mike, say "You pull out your smartphone to check your email (the novelty still hasn't worn off). In amongst the usual spam, there's an email from Liz saying she had a great time hanging out with you when she was in town two weeks ago. It was really nice -- you rarely get to see each other these days since she's in DC and you're in LA, and you almost never get to hang out just the two of you anymore. But her husband had to work most of the time and Kaylee was out of town for a conference, so you could actually talk. The memory still makes you smile, even though it was mostly just catching up and you telling her how weird it is that she's married now.[paragraph break]There was an awkward minute when she asked how things were with Kaylee, and when you said 'fine,' she got a little intense and asked if you were really happy. Even you could tell your 'yes' was unconvincing, but while Liz can see through you as easily as you can see through her, she didn't call you on it, just said a couple times that you deserve to be happy, and then let it drop." instead; If the player is finale-mike, say "You've been working all day, you don't need to check your email again. And it's too late on the East Coast for you to email or text your mom." instead; If the player is dumbbell-mike, say "You'll probably check your email after you get some Might and Magic in." instead; If the player is Exeter-mike, say "You just saw your mom, Liz and your friends are all here, classes haven't started yet, and there's no internet in the dorms yet (they say they're putting it in this spring) so you'd have to walk all the way over to the library, which seems dumb." instead; Say "What's email?" instead. [Ditto this] Chapter 99 -- Calling People Calling is an action applying to a topic. Understand "call [text]" as calling. Understand "phone [text]" as calling. Understand "text [text]" as calling when the player is grocery-mike or the player is finale-mike. Understand "send text to [text]" as calling when the player is grocery-mike or the player is finale-mike. Understand "write text to [text]" as calling when the player is grocery-mike or the player is finale-mike. Check calling: If the player is toddler-mike or the player is sailing-mike or the player is exeter-mike, say "There's no phone around."; If the player is dumbbell-mike and the location is not the kitchen, say "The phone is the sine qua non for that, and it's in the kitchen." instead. Carry out calling: If the player is dumbbell-Mike: If dumbbell-mike is stung and the topic understood matches "Liz/mom/sister": Now dumbbell-call-preempt is true; Say "You dial your mom's cell phone, and Liz picks up.[paragraph break]"; now convo-lock is true; run a conversation on the Table of Dumbbell stings; Rule succeeds; Repeat through Table of Calling People (Dumbbell): If the topic understood includes topic entry: say "[commentary entry][paragraph break]"; Rule succeeds; Say "Who?"; If the player is grocery-mike: If grocery-bee-attack is happening, say "'Hi, guess what, I'm covered in bees!' is not how you typically like to start your phone conversations." instead; Repeat through Table of Calling People (Grocery): If the topic understood includes topic entry: say "[commentary entry][paragraph break]"; Rule succeeds; Say "Who?"; If the player is finale-mike: Repeat through Table of Calling People (Finale): If the topic understood includes topic entry: say "[commentary entry][paragraph break]"; Rule succeeds; Say "Who?"; Table of Calling People (Dumbbell) topic commentary "Godiva/Emma" "They're sleeping now, no need to wake them." "other liz" "You haven't stayed in touch with the other kids from sailing since you stopped going to Nantucket for summers after the divorce." "Liz/sister" "She and mom are out shopping, no need to bother them." "Mom" "She and Liz are out shopping, no need to bother them." "Dad" "You're not exactly close to your dad -- he gets along with because everyone gets along with you, but he hasn't treated your mom well in the divorce, and he's usually a real asshole with Liz. You'll probably see him one or two more times before you head west to college, but no need to seek out more opportunities to talk to him." "Laura" "Ugh, you probably should -- you kind of want to? -- but after the two of you resolutely ignored each other the whole year, calling her is about the most awkward thing you can imagine. Anyway it feels liberating not to be hung up on the one girl you'd been thinking about for like six years straight, so why dig things up again right before you head off to college and meet a bunch of new people?" "Chew" "He's working now -- he somehow finagled an internship at DC Comics, the bastard. You've been heading into the city to hang out with him like two or three times a month, and he always has some free comics for you." "Baek" "Maybe later -- you've been talking about meeting up in the city one of these days, and it'd be good to figure that out before the summer's over and you go west." "Nikhil" "You think about giving Nikhil a ring, but decide to send him an email later instead." "Ridgie/Emily/Dave" "You haven't stayed in touch with the other kids from sailing since you stopped going to Nantucket for summers after the divorce." "police/911/cops" "The neighbor kid did still a couple things earlier in the summer, you think, but he's stopped since your uncle put the security system in (and anyway that's not an emergency)." "doctor/hospital" "[if dumbbell-mike is not stung]Why?[otherwise]It's just a bee sting, no need for that." Table of Calling People (Grocery) topic commentary "other liz" "Wow, you haven't thought about sailing in forever -- but of course you don't have any of their numbers." "Liz/sister" "You mostly just email these days." "Mom" "Sunday is the day when you talk, but she's usually the one that calls you." "Dad" "You haven't talked to him in over ten years, and today's not going to be any different." "Laura" "Even if you still had her number, there's no way that would be a good idea." "Chew/Nikhil" "You've kind of lost track of him -- probably there's an old number you could dig up somewhere, but maybe you could write an email later and see how he's doing?" "Baek" "You and Baek hung out a lot those three years you were in New York for law school, but you've never been big on just chatting on the phone." "Ridgie/Emily/Dave" "Wow, you haven't thought about sailing in forever -- but of course you don't have any of their numbers." "Kaylee" "You can just go over and talk to her." "police/911/cops" "'Bee hive' does not qualify as an emergency, you don't think." Table of Calling People (Finale) topic commentary "other liz" "Wow, you haven't thought about sailing in forever -- but of course you don't have any of their numbers." "Liz/sister" "If only." "Mom" "It's too late on the east coast, but you'll send her a text first thing when you wake up." "Dad" "He died a couple of years back, too." "Laura" "Even if you still had her number, there's no way that would be a good idea." "Chew" "You've kind of lost track of him -- probably there's an old number you could dig up somewhere, but maybe you could write an email later and see how he's doing?" "Baek/Nikhil" "You hung out a couple times pre-pandemic, and talked on the phone a bunch right after Liz passed -- it was really nice to talk to someone else who knew her when she was younger. Maybe it'd be good to set up another call soon?" "Ridgie/Emily/Dave" "Wow, you haven't thought about sailing in forever -- but of course you don't have any of their numbers." "Kaylee" "After how that breakup went, you'd have to be both crazy and cruel. She still lives somewhere close by, you think -- you almost walked past her once a year ago, but thankfully she turned off before your paths crossed." "police/911/cops" "Why?" [Given how worked-out this is, and the way it refers to other characters in the game -- though as topics, not as objects, of course, since that's way easier than messing with scope and the different Liz characters and what not -- it makes sense to put this at the end. Don't think any players tried using the phones this assiduously, but I think there are some nice Easter Eggs here] Chapter 100 - About and Credits Understand the command "about" as something new. Understand "about" as aboutening. Aboutening is an action out of world applying to nothing. Carry out aboutening: Say "This is the post-Comp release of Sting, which was originally entered into 2021[']s 27th Interactive Fiction Competition. It is a memoir, though a few characters have been given different names and some incidents have been condensed or rearranged. Content warnings: the game includes some profanity and multiple bee attacks described in moderate detail.[line break][line break]Interaction with other people is exclusively handled using TALK TO (someone). If you lose track of your options mid-conversation, you can type REPEAT to list them again. There are no sounds or images.[line break][line break]If this is your first time playing a piece of interactive fiction, you can type BASICS for information on how to play the game. While there are no puzzles in Sting, the HELP command will provide direction and some suggested commands if a sequence is proving frustrating, and a separate walkthrough file is available on the game's IFDB page for players['] convenience. Full credits are available via CREDITS.[paragraph break]If you come across any bugs, or have a comment you'd like to share, please send along to russo2116@gmail.com." Understand "basics" as basicening. Basicening is an action out of world applying to nothing. Carry out basicening: Say "Sting uses the same basic modes of interacting as most pieces of interactive fiction. You can get a sense of your immediate surroundings by typing LOOK (abbreviated L), or take a closer look at a particular object by typing EXAMINE and then the name of the object (EXAMINE can be abbreviated as X). You might want to start each scene by looking around with L, then examining yourself by typing X ME, for example. Similarly, you can see what you're currently carrying by typing INVENTORY, or I. [line break][line break]You can move around via the compass directions, NORTH (or N), SOUTH (or S), EAST (or E), and WEST (or W), or in some cases you can go IN or OUT -- location descriptions will list any exits that are available. You can TAKE and DROP some objects, and OPEN or CLOSE containers (you might also want to PUT objects INTO them). As mentioned in the ABOUT text, to interact with other characters, just type TALK TO (someone). [line break][line break]Sting recognizes many other commands, many of which just provide flavor though some are required to move through the story. If you're having a hard time getting the parser to understand what you're trying to do, try typing HELP -- that will provide some tips on the particular commands that are needed in each section of the story." Understand "help" as helpening. Understand "hint" as helpening. Helpening is an action out of world applying to nothing. Carry out helpening: If the player is toddler-mike: Say "In this sequence, you can play however you like -- with things in the yard (e.g. PLAY WITH BALL), with your sister in a general way (PLAY WITH LIZ), or you can try specific games (e.g. PLAY TAG WITH LIZ). After you're tired of playing, you can go inside."; If the player is sailing-mike: Say "There are an awful lot of sailing words here, and a lot of timed events, that can make getting your bearings tricky. Here are a few commands that should help make things simpler: you can ROLL or HIKE OUT to throw your weight backwards (which can be helpful when tacking through the wind, among other situations). You can PULL a sail IN, or LET it OUT. For the downwind leg of the race, you'll need to deal with an additional big sail called a spinnaker (or chute), which you can put up via HOIST and bring down via DOUSE. To get the spinnaker's pole up and down, you can simply type TAKE POLE at the appropriate times.[paragraph break]If all that's too much trouble, you can also simply WAIT until the race is over."; If the player is exeter-mike: Say "Laura is the girl you have a crush on, so you'll want to talk to her (talking to Liz first might provide some helpful advice, though)."; If the player is dumbbell-mike: Say "The computer where you can play video games is in your mom's loft -- which is downstairs, then north to the dining room then north again -- but you'll need to eat breakfast first. You'll first need to open the cupboards or fridge to get your bagel and tea, then toast the former and brew the latter."; If the player is grocery-mike: Say "To progress, you just need to spend enough time in El Molino Ave (sorry)."; If the player is finale-mike: Say "All you need to do here is TALK TO PARIA; you'll automatically walk between locations as you talk (you'll need to re-start the conversation after some occasional lulls)."; Understand the command "credits" as something new. Understand "credits" as creditening. Creditening is an action out of world applying to nothing. Carry out Creditening: Say "Sting was written in Inform 7, by Graham Nelson. It uses the extensions Basic Screen Effects by Emily Short, and Quip-Based Conversation and Reactable Quips by Michael Martin, so thanks are due to them. Thanks too to Adrian Welcker on the IntFiction.org forum for a clever bit of Inform 6 hacking I don't understand to enable a minor bon mot. The cover art is courtesy of my wife.[paragraph break]It's difficult to adequately express my gratitude to my testers, who put Sting through its paces with great diligence and great sympathy: Andrew Schultz, Christopher Merriner, Daniel River, J. J. Guest, Peter M.J. Gross, Travis Moy, and Truthcraze.[paragraph break]This post-Comp version benefitted from all those who wrote reviews, wrote feedback, and sent bug reports -- that's too many folks to list, but if you were one of them, thank you as well!" Understand "Walkthrough" as a mistake ("You can find a walkthrough on the game's IFDB page, but if a sequence is proving frustrating, the HELP command will provide direction and some suggested commands."). Understand "Walkthru" as a mistake ("You can find a walkthrough on the game's IFDB page, but if a sequence is proving frustrating, the HELP command will provide direction and some suggested commands."). When play begins: choose row 3 in the table of final question options; blank out the whole row. [I think that's to set up the replacement for the default AMUSING option -- it was easiest to use that machinery for the afterword, but obviously the label doesn't really work given the tone of the game!] Rule for amusing a victorious player: Say "I hope you enjoyed Sting! The version of the game submitted to IF Comp had an afterword asking players not to feel bad about reviewing or rating the game low if they didn't like it that much, since I thought it could feel challenging to do that given the real-world events of the game. Since the Comp is no longer running, that request is no longer that relevant -- I could have just omitted any afterword, but since I wrote up a detailed set of post-Comp author's notes, I thought I'd provide a link to that in case players are interested in reading more about the genesis and implementation of the game. You can find that here:[line break][line break]https://intfiction.org/t/sting-authors-notes/53479.[line break][line break]Thanks again for playing!" Table of Final Question Options (continued) final question wording only if victorious topic final response rule final response activity "read a short AFTERWORD" true "afterword" -- amusing a victorious player Chapter 998 - Not for release Understand "* [text]" as commenting. Commenting is an action applying to one topic. Carry out commenting: Say "Noted, thank you!" Chapter 999 - Technical Other Liz Fix I Don't Understand by ArdiMaster Include (- [ Descriptors o x flag cto type n; ResetDescriptors(); if (wn > num_words) return 0; for (flag=true : flag :) { o = NextWordStopped(); flag = false; for (x=1 : x<=LanguageDescriptors-->0 : x=x+4) if (o == LanguageDescriptors-->x) { flag = true; type = LanguageDescriptors-->(x+2); if (type ~= DEFART_PK) indef_mode = true; indef_possambig = true; indef_cases = indef_cases & (LanguageDescriptors-->(x+1)); if (type == POSSESS_PK) { cto = LanguageDescriptors-->(x+3); switch (cto) { 0: indef_type = indef_type | MY_BIT; 1: indef_type = indef_type | THAT_BIT; default: indef_owner = PronounValue(cto); if (indef_owner == NULL) indef_owner = InformParser; } } if (type == light) indef_type = indef_type | LIT_BIT; if (type == -light) indef_type = indef_type | UNLIT_BIT; } ! CHANGES MADE HERE ! if (o == OTHER1__WD or OTHER2__WD or OTHER3__WD) { ! indef_mode = 1; flag = 1; ! indef_type = indef_type | OTHER_BIT; ! } if (o == ALL1__WD or ALL2__WD or ALL3__WD or ALL4__WD or ALL5__WD) { indef_mode = 1; flag = 1; indef_wanted = INDEF_ALL_WANTED; if (take_all_rule == 1) take_all_rule = 2; indef_type = indef_type | PLURAL_BIT; } if (allow_plurals) { if (NextWordStopped() ~= -1 or THEN1__WD) { wn--; n = TryNumber(wn-1); } else { n=0; wn--; } if (n == 1) { indef_mode = 1; flag = 1; } if (n > 1) { indef_guess_p = 1; indef_mode = 1; flag = 1; indef_wanted = n; indef_nspec_at = wn-1; indef_type = indef_type | PLURAL_BIT; } } if (flag == 1 && NextWordStopped() ~= OF1__WD or OF2__WD or OF3__WD or OF4__WD) wn--; ! Skip 'of' after these } wn--; return 0; ]; [ SafeSkipDescriptors; @push indef_mode; @push indef_type; @push indef_wanted; @push indef_guess_p; @push indef_possambig; @push indef_owner; @push indef_cases; @push indef_nspec_at; Descriptors(); @pull indef_nspec_at; @pull indef_cases; @pull indef_owner; @pull indef_possambig; @pull indef_guess_p; @pull indef_wanted; @pull indef_type; @pull indef_mode; ]; -) instead of "Parsing Descriptors" in "Parser.i6t". [The heading there acurrately conveys the substance, I think -- this is the hack to make "other liz" a valid thing you can type. Whew!] [Thanks for reading!]