Monday, April 8, 2013

The Golden Skull

Another long-simmering mini-gamebook post for you folks (who I must thank for, whoopee!, my thought-impossible 4000th blog view!), but first an echo of my previous entry with its musical CYOA -- a non-interactive song entitled "C.Y.O.A." whose visual offerings of abstract potential possibilities nonetheless make it a bold spokesman for the movement. There's lots going on in the CYOA world -- a new Choice Of Games piece coming out shortly, endless leaps and bounds in the fertile Twine fields, but all I have for you is more backward-looking simple stuffs, even the crudest of which entails a pile of work on my part. Surely it would be easier to just roll my own!

This game began as sample code included in the TADS Author's Manual © 1987-98 by Michael J. Roberts. This version also incorporates TADS, HTML, and HTML-TADS tweaks fleshing it out, especially for hyperfiction play, by Garth Dighton (2001) and especially N. K. Guy (1998), who regretfully failed to authorize our use of the wonderful graphics he came up with for his multimedia version -- do check them out (plus sound effects and some complicated gadgets!) in an HTML-TADS interpreter! Between them, they provided the set-up and the conclusion, but I had to clumsily connect a few of the dots needed to bring us there. I hope the transitions between the various authors aren't as jarring as the river crossing in Firetop Mountain! (Also: just plain stole the below ASCII art from Daniel C. Au. Thanks!) Where possible, choices were groomed to appear in the in-text hyperfiction style, following the HTML-TADS lead, rather than the standard "description, options" layout. But enough stalling, on with the game, such as it is!

. . .

The Golden Skull
A miniature demonstration game for HTML. Version 0.8 March 2013.

       _,.-------.,_
     ,;~'             '~;,
   ,;                     ;,
  ;                         ;
 ,'                         ',
,;                           ;,
; ;      .           .      ; ;
| ;   ______       ______   ; |
|  `/~"     ~" . "~     "~\'  |
|  ~  ,-~~~^~, | ,~^~~~-,  ~  |
 |   |        }:{        |   |
 |   l       / | \       !   |
 .~  (__,.--" .^. "--.,__)  ~.
 |     ---;' / | \ `;---     |
  \__.       \/^\/       .__/
   V| \                 / |V
    | |T~\___!___!___/~T| |
    | |`IIII_I_I_I_IIII'| |
    |  \,III I I I III,/  |
     \   `~~~~~~~~~~'    /
       \   .       .   /
         \.    ^    ./
           ^~~~^~~~^
       -dcau (4/15/95)

Outside Cave

You're standing in bright sunlight just outside of a large, dark, foreboding cave which lies to the north.To the south a winding trail leads back to civilization. You are carrying nothing save your to-do list.

. . .

Examine Cave

The cave looks rather dark and forbidding, but you know there is a skull made of solid gold somewhere in that cave. You also know it is probably guarded by a trap!

. . .

Back to Town

Having retrieved the ancient skull, you decide to head back to town.

You trudge back down the trail, gold skull firmly in hand, and soon make it to civilization the next day. Fame! Fortune! Riches!

But the store is out of milk. Rats.

*** You have won! ***

. . .

Cave

You're inside a dark, damp cave. Sunlight pours in from a passage to the south. Some distance from the entrance you notice a large stone pedestal, and there's a big sign on the wall.

. . .

Ask the skull how to avoid the trap

"Do you know how I can avoid these oh-so-deadly arrows?" you ask the skull.

"But of course - all you have to do is place another weight on the pedestal first - like, say, that small rock in the corner."

"That's fascinating. Please excuse me, I just remembered something I need to attend to."

. . .

The ol' switcheroo

You visually scan the top of the pedestal as you approach it, pondering which brick conceals the scale that could spell your doom. Holding your breath, you attempt to roll the skull away with one hand while rolling the cave rock into its exact position with the other hand.

The exchange completed, you pause for a moment, only to find yourself... still alive, with a heavy golden skull filling your hand! As you cram it into your caryall (oh, the subtle distinction between subject and object) you could almost swear it winks at you, but of course that is strictly impossible. You hear no complaints, so no harm, no foul, right?

No point in temping fate -- the odds are slim you'll locate a platinum femur if you hang around here long enough, so it's probably time to depart.

. . .

Examine Sign

A large sign, carved into the very living rock of the wall of the cave itself. It reads:

Trespassers Will Be
Persecuted and
Probably Summarily Shot *

* This Sign Brought to You by the Committee for Fair Warnings of Sudden Death in Adventure Games.

. . .

Examine Pedestal

The pedestal is unremarkable, a structure of masonry erected in the gloomy cave. Positioned carefully so as to intercept a shaft of sunlight entering from outside, a golden skull nestles in the slightly concave top of the pedestal.

. . .

To Do Today

  1. Plunder ancient civilization.
  2. Avoid gruesome death.
  3. Buy milk.
That's it, then, time to get out of this hole in the ground!

. . .

Talk to the Skull

The skull heads you off at the pass, getting in the opening words in your verbal exchange: "Beware, for I am guarded by a most dangerous trap! Should all weight be removed from the pedestal, deadly poisonous arrows will kill the thief."

Though what you really want to know is how much it's worth, it might be worth your while to ask the skull how to avoid the trap. (Not that the knowledge helped it much -- for all you know, it used to be a golden intact man!)

. . .

Ask the skull how much it's worth

"So how much are you worth, Mr. Skull?" you ask.

"I weigh about 3 pounds, and the current price of gold is about 300 dollars per ounce, so you can figure the minimum price from that. However, I am worth much more than the mere metal contained within me - after all, how many golden skulls actually speak?"

This is compelling testimony, and already filled with ideas of how to spend the proceeds, you're tempted to just nab that chatty trinket and get out of Dodge, but wasn't there something else you wanted to ask about first?

. . .

Ask the skull how to avoid the trap

"Do you know how I can avoid these oh-so-deadly arrows?" you ask the skull.

"But of course - all you have to do is place another weight on the pedestal first - like, say, that small rock in the corner."

If not for one last question you have, that would be your cue to wrap up your kleptomaniacal business here.

. . .

Ask the skull how much it's worth

"So how much are you worth, Mr. Skull?" you ask.

"I weigh about 3 pounds, and the current price of gold is about 300 dollars per ounce, so you can figure the minimum price from that. However, I am worth much more than the mere metal contained within me - after all, how many golden skulls actually speak?"

Your curiosity satisfied, you excuse yourself to attend to a related matter.

. . .

Take rock

You feel a bit silly, wondering if the eyeless skull can watch you as effectively as it can speak without lips and hear without ears, but nevertheless its advice seems sound. Admittedly you wouldn't have noticed this rock if it hadn't been brought to your attention -- after all, what is one more rock in a room hewn from living stone? Hefting it up, you determine that it is larger than the skull, but, of course, it is not composed of a material as dense as gold -- so hopefully, it will be effective as a substitute weight for the skull when you swap the two.

. . .

Take the skull

As you lift the skull, a volley of poisonous arrows bursts out the walls! You try to dodge the arrows, but they take you by surprise!

Shucks.

*** You Have Died ***

Would you like to restart the game?

. . .

Outside Cave

You're standing in bright sunlight just outside of a large, dark, foreboding cave which lies to the north.To the south a winding trail leads back to civilization.

. . .

Back to Town

You briefly consider heading for the comforts of home, but a strange and burning compulsion to learn more about the wonders of HTML dissuades you. Onwards, into the cave!

. . .

Cave

You're still inside that dark, damp cave. Sunlight pours in from a welcoming passage to the south. Some distance from the entrance that large stone pedestal remains, empty save a chunk of worthless tock, and that sign is on the wall. Hoping to prove it wrong, your to-do list probably indicates it's about time to make yourself scarce while your skin remains intact.

. . .

Examine skull

It's a small skull, the size of your clenched fist and cast from solid gold. (Is that a single human tooth embedded in its lower jaw, spectacularly failing to reflect the beam of sun?) It grins back at you, undoubtedly well aware of its priceless value.

It might be best to grab the skull and run before cave security gets wind of you, but are you focused enough to follow through without making a flippant remark to the object of your attention and getting caught up in a conversation with an inanimate object?

. . .

To Do Today

  1. Plunder ancient civilization.
  2. Avoid gruesome death.
  3. Buy milk.
Now, where were we?

. . .

Outside Cave

You stand in the bright sunlight, shielding your eyes with your hand, with the yawning entrance to that dark, foreboding cave behind you. Ahead, to the south, a winding trail leads back to civilization.

Tuesday, April 2, 2013

Classified - Self Explanatory

Not much to report beyond my own navel: Twine auteur (and Anna Anthropy protegee, or is the sequence only apparent and not actual?) Porpentine made a splash at the GDC, inheriting the booth of the IGF winner Cart Life, and also presenting on worthy games that were flying under the radar due to their engagement of outsider (well, non-cis-) topics, especially the bonfire. Additionally, visual novel flag-bearer Christine Love presents a Twine work of her own, the stylish and seemingly on-rails (as befits visual novel design!) Even Cowgirls Bleed. Also, Squinky's musical graphical adventure game Dominique Pamplemousse is now available for sale! That's only tangentially related, but musical adventure games are a growing preoccupation of mine. (I was very excited to play through a prototype of one this week that I'll eventually be providing a speaking and singing voice to!)

Now on to the meat of the matter. Here's something novel. As part of my own ongoing inquiry and investigation into audio CYOA material, I found in my archives the 2009 album "Self Explanatory" by Canadian rapper "Classified". It peaked at #25 in the Canadian charts and rated a Wikipedia article, but it is of interest to us because six of its tracks, strewn throughout the album's corpus, explicitly constitute a six-section Choose-Your-Own-Adventure, enhanced here by the music videos for every segment embedded above the lyrics, which you can read for your enjoyment. It may be surprising that, being so textually-focused, the gamebook and rapping genres hadn't synthesized earlier; all the same, this is the only species I know of this rare hybrid breed.

(You choose your own path or you'll have it chosen for you)
(Welcome to today!)

Get 'em up! (Get 'em up!) [x8]

[alarm ringing]

Ahhh, shit, is it morning already?

[Verse 1: Classified]
Rise and shine, damn 9:30
Got to start my journey but it's feelin' kind of early
Tired and I'm feelin' just a little malnourished
So I watch a bit of TV and I do some channel surfin'
Flip through, then get up, shower to freshen up
Shave off my peach fuzz and then get my teeth brushed
I do my push ups, forty every other morning
It feels good to say but I don't think it's that rewardin'
Turn on my computer, check messages
E-mail, friend requests, all before breakfast
Handle my biz before the day gets high paced
And I don't fuck with Facebook 'cause I need MySpace (ha)
Now off to the kitchen for some cereal or toast
Eggs fried or poached but I only eat the yolk
Feelin' like a million bucks, set to get it goin'
Now off to the studio to set this day in motion

Damn, it's nice out

[beat changes]

[Verse 2: Classified (White Mic)]
First I kick open the door, take the phone off the hook
Turn the beat machine on, crack open my notebook
Made a beat yesterday but still ain't convinced
I'll take another listen 'cause I haven't heard it since
[beat changes temporarily]
Mmm, nah scrap it, wack shit
Must of been too high when I craft it
Back to the drum machine, kick, snare and hihat
Bunch of old records, tryin' to find where the fire's at
You spend a third of life in bed
I spend a third of my life in studios instead
Okay, I got somethin' here, I like how it's soundin'
Couple ideas, so I write it down when
(Class, what's up?), White Mic, what the fuck?
(Shit, I left work early, I don't mean to interrupt
But I got this bag of weed, would you care to have a puff?)
Okay, grind it, (mix it), roll it, (light it up)

[lighter flickers, they inhale and exhale]

[beat changes]

[Break: Classified - talking (White Mic)]
Inhale, (exhale), feels good, (as hell)
Pass that, (here take this), well how's that, (it's good shit)
Well okay, (well alright), sky's clear, (let's take flight)
Well I'm high (and I'm baked)
[Both], now let it take us away

[Verse 3: White Mic]
Blowin' O's with the smoke as it goes out my mouth
(It happens everydayyyy)
And I grow all the dope that I smoke in my house
(So we don't have to payyyy)
I feel relief from the weed, I believe THC
(Helps us self medicateeee)
We don't need to agree
You do you, I'll do me, it helps me meditate

[Verse 4: Classified (White Mic)]
Huh, anyway, all my motivation to make this beat just went away
Then again, it's kind of early to end the day, I'll put the pen away
But what you sayin', (well, the sky's clear, my bike's here
It's a beautiful day and you're inside here
That's quite weird (what?)
Let's go for a bike ride before the night's here)
Ah shit, it slipped my mind, I got to drop off this disc of mine
Go the city and meet with Jay Bizzy, get him beats, so he can script his rhymes
But I know I could use the exercise, so high, I just wanna rest my eyes
I don't know, make a move, to the city or bike riding
(What ya goin' to do?)

. . .

(Choose your own adventureeeeeee!)

[Verse 1: Classified (White Mic)]
Yeah, yeah [beat starts]
Ou got the water? (check), weed? (check, ready to roll)
Look ma, no hands, I'm a never get old
(I pedal like the gas pedals got stuck to the floor)
In other words (nope), we ain't goin' slow (so)
Quickly down the road we go, poppin' wheelies and indos
And I notice my bro and he's puffin' some endo (yo!)
(Stopped quick, tires started to skid, wanted a hit
But there was nothin' left of the spliff)

[beat stops]

[Break Mic Boyd - talking (Classified)]
Sorry boys, just missed it! (ahh)
(What are you doin? What are you up to?)
Aw, not much
(Goin' for a bike ride, wanna come?)

[beat starts back up]

[Verse 2: Classified (White Mic) {Classified}]
Hell yeah, another motherfucker up in here
Rollin' down the road with the wind in my hair
Bunny hop, both tires up into the air
I'm bad ass, biker boy, yo you better beware
(Okay Mic, you take this bike shit way too serious)
'Cause I'm the best biker in Enfield period
Fuck with me! (what?) I drove the deepest ditches (huh?)
Scaled the steepest slopes and road the meanest roads
Left skid marks all over the east coast
(OH, WATCH OUT!), shit that was close, woo hoo
{Mic you're a fuckin' joke
But guys it's almost five, I'm hungry, I think I'm out}

[beat fades away]

Alright later man, peace out
Later

[new beat starts]

[Verse 3: Classified (Classified's Wife)]
I get back to my place and put my bicycle away
Feelin' burnt out and tired but I try not to complain
My girl pulls up, how was work? (oh, just great)
You hungry? (umm, a little bit), we start to conversate
Both of us are kind of tired and neither wanna cook
So let's go out for dinner, maybe catch a motion picture
We go down to the local spot, check out what the menu got
Donair with extra sauce but keep the tomatoes off
She gets a calamari or chicken tetrazzini
She likes to keep it healthy, but me I keep it greasy
Believe me, if I could see me from the inside
Then I would probably never feed on somethin' deep fried
We finished up, paid the bill, then took off to the city
I had a gram or two, she twisted it and sparked a doob
That's just the way that me and my lady partner do
Besides we was goin' to see "Harold And Kumar Part 2"
We finished that, got in line and got our tickets
Showed up kind of late, missed the first ten minutes
Bumped into a couple co-workers of the Missus
My girl got the munchies like (your liquorice looks delicious)
My eyes bloodshot but I feel it ain't a factor
I felt like they expected it, they know that I'm a rapper
We watched the movie, had a couple laughs
And on the way out, signed a couple autographs
Back in the car and that's it, headed home
Then I noticed Martin Finch on the road, talkin' on his phone
Standin' outside of this club that we know
You wanna go? (Yeah, it'd be nice but I gotta work early tomorrow)
That's true and we probably won't get home until four or so
(Yeah but you can go, I'll drop you at the front door
Just let me know what you wanna do, wanna do) ...

[beat stops]

    [Outro: Narrator - talking]
  • If you want to call it a night and head back home, proceed to Track 22
  • If you want to get dropped off at the club and see what's new with Martin Finch, proceed to Track 17

. . .

(Choose your own adventureeeeeee!)

[tires screeching]

[Intro: Classified]
And now we head into the big city, Mic Boyd and white Mic with me
We on the 102 cruisin' doin' 150
Clownin' around with the music loud, lip syncin'
Yo, turn the music down, my phone's ringin'
Hello

[Verse 1: J-Bru (Classified)]
What up Class, can you make it to my show tonight? (Bru!)
I'd love it if you came through, maybe blessed the mic (through)
But don't stress it right, 'cause the promoter's shady
He gonna have me on some "fuck you, pay me!" (oh, you mean the...)
The last time I did a show with this dude (alright, alright, alright)
There was twenty people there, really I don't think it's rude
I'll understand though, if you got things to do
(Yo, you guys want to see Bru? [yeah, yeah], alright we'll swing through)
Ok, ok, well, if you're showin' up then
I'm a throw you on the list, Classified plus ten (alright)
So who's rollin' with you? (Well both Mics and I got to pick up Bizzy)
Ah shit, tell them I say "what's up?"
Well if you're comin' dog, creep up to the back door
If you hit the front, I think they'll make you take your hats off
(Alright man but yo, you got drink tickets?)
Yeah, I got them with me (alright, we'll see you in a minute)
Peace

[Break: Classified]
We said our goodbyes and see you laters
Then pulled up to Jay Bizzy's next door neighbor
Gotta out of the car, I could hear his dog barkin' [dog barking]
Before we even rang the doorbell to his apartment
[doorbell rings]

[beat stops]

Shut up dog, I know who it is, shit

[new beat starts]

[Verse 2: Jay Bizzy (Classified)]
Yo! What up Classy, Mic and Mic?
Already know you brought some heaters, that's exactly why I'm hyped to write
(Check it out), pick up the pen, I ain't the type to type
I throw punches and right hooks, so much you swear I like to fight
Don't worry about the pit, that's Cali, she's a sweetheart
I like you, then it's cool but if I don't, she leavin' teeth marks
I like the way this beat starts, it sounds epic
Just get me in the studio, you know I'm down to wreck it
Anyway, what's goin' on tonight? Heard Bru had a show
(Yeah, he's on around twelve), alright cool, let's go, let's smoke
Come on in, yeah don't worry, leave your shoes on
We'll have a couple drinks, we got some time before Bru's on

[Break: Classified - talking (Jay Bizzy)] [beat stops halfway through]
Yo, you feelin' that?
Yeah man, I think, I think I could fuck with this one man
Alright, I got a couple more beats, check this out man
Check this one out

[another new beats starts]

[Verse 3: Jay Bizzy (Classified)]
Yeah, yeah, I'm thinkin' about a new song
But I can't write or flip the beat, I'll let it move on
This one for me excited, got to roll somethin' fat to this
But I ain't got a light and I don't know where my matches is
My little brother always snatches it, I'm easy to adapt to this
'Cause I just light it off the stove
The back burner been there for half my life I do suppose
Stay fresh like new clothes, write rhymes and do shows
Who knows maybe this blue nose can probably win some Junos
(Yeah but when the album comin' out?), not anytime soon though
I'm busy on the regular and everyday I'm hustlin'
No matter what the outcome is, you know that it's a must we win

[Break: Jay Bizzy - talking (Classified)]
Yeah, yeah, yeah, man
I really like this shit (alright man)
But we got, we got to get to the fuckin' club man
'Cause Bru's on any minute now
(Yeah, check this shit later, just check it later)
Come on man, let's go (Yo Mic), just shut my door
(Mic, grab the door)

[beat stops]

(Yo, jump in)
(Shotgun!)

[engine revs and tires peel away]

[another new beat starts]

[Verse 4: Classified (DJ IV) {Martin Finch}]
Ok, right back where we left off
Piled in the ride then it's on to the next stop
Pull up to the club, hit the back door, sneakin' in
Hit the VIP, where IV's rollin' weed again
(Yo, what's up?), this is it, how you feelin' man?
(Shit I'm good, you know, wheelin' and dealin' man)
Well when you on? (Soon but I could be wrong)
Alright, well I'm a get a beer, I'll see you back out there
Now when I'm in the club, I play the wall
Or I roll my marijuana in the bathroom stall
And honestly I never dance unless I'm intoxicated
I never contemplate it 'til my mind's inebriated
That's just me, yo, is that Martin Finch? Shit it must be
I thought that he was gone away, didn't he just leave?
And join the Army or something, was he frontin'?
Mr. Finch! {Class, what's up cousin? }
Yo, how you doin'? {What? }, I said how you doin'?
{What you went canoein'? That's stupid}
Man meet me outside so we can catch up for a second
He hit the side door, then the DJ cut the record

[Break: DJ at the club - talking]
Yo, up next, we got my man Jordan Croucher doin' his new song
Produced by the homie Classified

[Break 2 - Classified - talking]
Shit, I gotta hear the new song live
For the very first time but Martin's waitin' outside
Now, what the hell am I supposed to do?
I'll leave it up to you, here's your choices, choose

[beat stops]

    [Outro: Narrator - talking]
  • If you'd like to go outside and see what's up with Martin Finch, proceed to Track 17
  • If you'd like to stay in the bar and hear the new Jordan Croucher song, proceed to Track 21

. . .

(Choose your own adventureeeeeee!)

[Intro: Classified - talking (Martin Finch)]
Martin Finch
(What's up man? What are you doin' here?)
What are YOU doin' here?
I thought you were at boot camp the last two months?

[Verse 1: Martin Finch (Classified)]
Hey Class, I'm back, I'm back in the 'fax, I'm back with a bad back
I was trapped in shallow Manitoba, where everything is flat
I can't even find it on a map
I was surrounded by MC's but none of them rapped
Everyday I was doin' laps around the track
Every drill I was catchin' flack for bein' slack
I tried so hard that I had an asthma attack
And cracked my back, left it blue and black
(Man don't give me that, just keep it real, come on, it's Class)
No man, this massive motherfucker woke me up
To do sit ups and push ups, 'til I threw up
Imagine bein' depressed as fuck, pressed for luck
Like nothing's enough, life is tough
When these ranks are rippin' your stuff, boot camp sucks
Plus you got to dig a trench in the muck
Basic is two months of bein' stuck and brain fucked
Shucks, it's worth the bucks but when you're goin' through it it fuckin'
Sucks

[Verse 2: Classified]
Man, that's tough luck
You sound like you could use a drink, come on, let's go get fucked up!
(yeah!)
So back into the club we went and got some liquor
We downed a pitcher, then I made my way towards the pisser
The mood is right, the music's tight, the atmosphere better
The crowd's buildin' and they feelin' each and every record
Then I see Ghetto Child chillin' in the back but
Lookin' kind of tense, a little stressed out in fact

[Break: Ghetto Child - talking (Classified)]
What up Class?
(Ghetto Child man, what's happenin'? What's goin' on?)
Man you should leave, trust me it's about to get ugly

[Verse 3: Ghetto Child (Sample)]
Alright, it's a motherfuckin' stick up!
(Gun-gun-gun-gun's still loaded)
I'm ready to empty the semi on any who envy
Got plenty of deadly ammo for anyone tried to tempt me
The cannibalistic animal in me
Is the reason there's no manager with me
'Cause (the gun's still loaded)
Pour me a draft, empty the till and give me the cash
'Cause it's a stick up!
From pennies to bills, the bartender's tip cup
The ice in his grill got knocked out and picked up
(The gun's still loaded)
Still waitin' to bust it, they prayin' I tuck it
But that shit don't relate to my subject
Disturbin' the peace; invadin' the club with a ratchet
Attackin' any rapper that think he sayin' somethin' but sayin' nothin!
(Bo!, bo!) [gunshots] (the gun's still loaded)
Shots rang out, rang out, bang out, bang out
Got the club runnin' like a track meet
You trip, you trampled like jockies in a stampede
Exits in every direction, everyone except me
Is leapin' and creepin', duckin' and dodgin',
runnin' and gunnin', runnin' for safety
"Run for your life! He's gone crazy!"
That's why that lady screamed, that's her in the club, right outside
Them all shots fly but (the gun's still loaded, blow out your brain)

[gunshot and screaming]

    [Outro: Narrator - talking]
  • If the bullet hit you, turn off the CD, you're dead!
  • If the bullet missed you, please proceed to Track 22

. . .

(Choose your own adventureeeeeee!)

(Ladies and gentlemen, Jordan Croucher)

[Sample of Jordan's new song playing in the club]

[Beat starts]

[Verse 1: Jordan Croucher]
Whoaaa, whoaaa
See my world, I share it with no one, hope you know
You're my girl, so there's no other way I can go
When we got together I didn't know for sure
But it's alright (it's alright), it's alright (it's alright)
See girl I'm the type of guy who used to creep on the low
Now my playin' days are gone girl, I don't need them no more
'Cause I found me somebody (woo!)
Uh, and she's all mine (I, I), she's all mine

[Chorus: Jordan Croucher - w/ ad libs]
I never thought that I (never thought I'd feel this way)
Could ever feel this way (and there's nothin' I can say
See you came into my life and now my love don't have to stray)
I never thought that IIIII (never thought I'd feel this way)
Could ever feel this way (and there's nothin' I can say
See you came into my life and now my love don't have to stray)
You got me goin' (you got me goin' all the way girl)
I can't control it (and there ain't nothin' I can say girl)
You got me goin' (you got me goin' all the way girl)
I can't control it (and there ain't nothin' I can say girl)

[Verse 2: Classified]
Ye-ye-ye-yeah, that shit sound alright
Got the whole club gettin' down all night
Fellas in the back dr-drinking and smokin'
Ladies front row sc-screamin' and shoutin'
I observe with a bit of a smirk
'Cause it feels good seein' people feel my work
Drink all gone, gotta refresh
Jordan's last song, Bru is on next [beat fades out]
He hit the stage and kept movin'
With a perfect execution
He rocked it, closed the show
Had the ladies sayin' "hey!" and the fellas yellin' "ho!"

[Sample of J-Bru's live performance]

[New beat starts]

[Break: J-Bru - talking]
Now somebody say "ho" (ho!), say "ho, ho" (ho! ho!)
Now anybody, everybody scream [yelling]
Peace

[Verse 3: Classified]
So all in all it was a good night
Nobody fightin', no one knocked out like Suge Knight (ha)
See our clubs are usually hesitant to book our type
I guess hip hop has built a name that they don't like, but it's alright
We gonna make it happen, left the club, then we took off
Then hit Pizza Corner for kabobs and hot sauce
Four in the morning, this becomes a hot spot
Last real chance for you to get your rocks off
But me, I think I had enough
Alright one last puff [inhale], that's the stuff [exhale]
Taxi, alright fellas, I'm gone
It's almost 4:30 in the morn', catch ya later on

    *** The End ***

. . .

Yeah

They might say I lead a simple life, the type that don't excite
And yes, I like to smoke more than light till night
I realize I got a problem, I'm high way too often
And only seem to acknowledge it after I indulge in it

Pull in my driveway, walk through my front door
Then make a bowl of cereal to conquer my hunger
See I like to eat before I slumber
Brushin' my teeth and gettin' clean helps me to find my comfort

Jump in my bed and turn the TV back on
I feel like I was just here, the day don't ever last long
I feel like everyday's a cycle, I've learned to accept it
There's a lot of scenes to see, I need to learn to direct it

I turn the TV off and start brainstormin'
Try to figure what I'm gonna do in the mornin'
I know what it brings, I wonder what's in store though
I wonder what the hell I'm gonna do for tomorrow

Goodnight, we'll see you tomorrow

    *** The End ***

Saturday, March 16, 2013

Library of the Future Conversation Kit 4

First up, obligatory related links: Choice of Games' latest, Life of a Wizard (warning: free demo ends just after somewhat extensive character generation) and Mike Naylor's awesome decision-tree-generated poem.
Now, where were we? This next piece is an odd duck, to be sure. It seems to be part of a larger effort to generate public interest and input in my local library system's future planning (a future which, surely, will be unimaginable -- I sure couldn't have predicted how comics and computers are as big a part of it as books today!). Interest specifically harvested from youth, targeted by this somewhat twee would-be gamebook, and their nostalgic parental cohort, me and my slice of the demographic pie. ChooseCo's trademark appears to have been licensed but I imagine the library came up with the contents themselves, as the result... is not entirely successful, even by R.A. Montgomery mixed-bag standards. The aesthetic is there, down to the typeface used, and the humour hits the kid nail right on its goofy head. On the other hand, I girded my loins for the worst when I saw the adventure boasted two endings. This is in itself an overstatement: it presents two possible stories arising from the same initial seed, presented in totally sequential order. At the end of every pair of pages you get a message like "Please turn to page 8", but that from page 6, where page 7 has an illustration. At the end of the first story-arc, you are asked if you'd like to read the next one, which follows immediately. That's not a choose-your-own-adventure, that's a... book. Even the (totally awesome) single-thread Love is not constantly wondering if you are making the biggest mistake of your life at least jumbles up the sections (as well as the chronology) to interfere with a totally conventional reading experience. I'm sure Pulp Fiction also wouldn't have worked as well if its threads were woven first-to-last. But I digress.
CYOA is a great property for a library to jump on, since where after all leads to as many different kinds of adventures as the shelves of a library do?  Anyhow, since it's related to the theme of the blog, and since I went to the effort of scanning it, and after going off about it like that... here the piece is:


CHOOSE YOUR OWN ADVENTURE
YOU'RE THE STAR OF THE STORY!
CHOOSE FROM 2 POSSIBLE ENDINGS!
LIBRARY OF THE FUTURE
CONVERSATION KIT 4
HURRAY! Today is your birthday!
Well, to be accurate, today is your birthday and your twin sister Charlotte's birthday. You were born first, so you are the oldest. And according to you, you are also the smartest. Charlotte does not agree.
When you woke up this morning, your mom said "Something came in the mail for you. It is from your grandma." You read the tag on the large box. It says, "Wishing you a happy bithday and many happy travels. Please take lots of pictures! P.S. Always wear your helmet and look both ways before crossing the galaxy." You open your present and find a spacesuit and a rocketship!
Charlotte also received a birthday present from grandma. She reads the tag on her box. It says, "Journey to the stars! Happy birthday and I hope you enjoy the adventure. P.S. Always wear a helmet and be careful playing near the planets." She opens her present and finds two spacesuits, one for her and one for Trout, her dog.
The rocket is fast and before long, Charlotte and Trout arrive at a tiny planet at the end of the solar system. It looks like a nice place to take a space walk. "Come along, Trout, and let's get some fresh air." Trout wags her tail while Charlotte attaches her leash. Trout has a keen sense of smell, and she begins to sniff the ground. Then she starts to bark. Trout smells an alien nearby!
(Go to page 7.)
"Hello," says Charlotte to the little creature. "I'm Charlotte and this is my dog, Trout. We're from planet Earth. Would you like some marmalade?" The alien blinks a large, black eye at the visitors but does not speak.
"Would you like to play ball with us?" Charlotte asks. The alien blinks twice, and hurries over to give the ball a closer look. It blinks some more, then finally speaks. "My name is Cam. I come from the planet Zorkfritz. Is that Earth?" he asks, pointing to the plastic ball. "Of course not, that is a ball," Charlotte says with a laugh.
"Is that your leader?" asks Cam, pointing to Trout. "No," she answers, "That is a dog. She sleeps and plays and rolls in the mud. Sometimes she chases squirrels."
"Is this magic fuel?" asks Cam, holding the jar of marmalade close to his eye.
"No, she says, beginning to get annoyed with all these silly questions. "You put it on your toast for breakfast." Cam blinks slowly, absorbing the information.
(Go to page 9.)
"I will take your leader to my people. And this magic fuel too," says Cam, holding the jar of marmalade. "You are free to return to your planet." He points to the plastic ball. "Good-bye."
"I told you," Charlotte sighs, "I don't live in a toy ball. Trout is my dog, and marmalade is for eating. Do you understand?"
Suddenly, Cam creates a force field around Charlotte. It is impossible to move! Grabbing Trout and the marmalade, Cam runs to his spaceship and flies away. "Come back!" Charlotte yells. She struggles free of the force field and jumps into her rocket. "I'm coming to get you Trout. That little alien is no match for me!"
(Go to page 11.)
Charlotte is chasing Cam as he speeds away in his spaceship.
Charlotte is not looking behind. But if she did, she would see Cam's big brother Ev, in his spaceship, getting closer and closer.
Ev is not a friendly alien. He would not help with chores, eat broccoli or finish homework. He likes to eat entire planets for breakfast. With marmalade. Unfortunately for Charlotte, Earth is on today's menu.
The end
Now, if you want to have your turn and take the rocket to outer space, go to page 13.
Charlotte agrees that you can take the first rocket ride. "But you should come back soon," she warns. "I have to work on my science project this afternoon and I need a friendly alien to help me."
Soon, you are blasting off into outer space. Looking outside the window of the rocket, you see a planet that reminds you of a giant sugar cookie. Looking closer, you think you see lights twinkling on the planet's surface. Do aliens live here? It is worth getting out of the spaceship to take a closer look.
(Go to page 15.)
Meanwhile, the inhabitants on planet Nilla are watching you approach. Victron the leader calls for his new cadet, Voltron. "For your first mission, you have been chosen to meet the intruder," says Victron. Voltron is nervous and excited. Maybe he will be a hero and get a medal! "Use the laser. It works like this." Victron sends a bolt of energy to Voltron, causing a powerful tickling sensation on the bottoms of his feet. Voltron cannot stop laughing! "The intruder will be unable to move. Set your laser to the highest giggle setting. Good luck."
(Go to page 17.)
You land your rocket on the planet's surface. There is a flag nearby, waving in the wind, with a picture of a sugar cookie. But you are here to look for aliens that might invade Earth. A sugar cookie is not a big threat. Maybe you have come to the wrong planet.
A small alien approaches, hiding something behind his back. "Greetings, intruder. My name is Voltron. Nilla is our home. What cookie is your home?"
"Earth is my home. It is a planet. I do not live on a cookie," you explain to Voltron. He looks confused.
"We eat cookies," you add, trying to be helpful.
That is a big mistake.
"You EAT cookies!?" gasps Voltron. "Silence! I will stop intruders from eating our home!"
(Go to page 19.)
Voltron points a laser at you and fires a bolt of energy into your body. You feel a tickle from the tip of your nose to the bottom of your toes. You feel it from the inside out, and the outside in. You laugh as if you are hearing the best joke in the universe! You laugh until you have tears in your eyes. Will the tickling ever stop? "Hey," you gasp, "this is not funny." You roll on the ground laughing and crying at the same time.
"Earthlings were sent here to eat planet Nilla," says Voltron. "Now, Victron will send troops to your cookie. If you try to invade us again, we will join planet Earth to planet Nilla with intergalactic icing. The only way to separate planets is to dump them in the Milky Way."
(Go to page 21.)
Troops from planet Nill a prepare to leave for Earth. You wish you could warn Charlotte and everyone else back home. These aliens are not friends. And do not mention a single word about cookies!
The tickle laser is wearing off, and you catch your breath. "I am tired of laughing," you tell Voltron. "My eyes are watering and my tummy feels funny from shaking up and down." "Ok," says Voltron, with a mean look in his eye. "You will make others laugh. Ka-ZAM!" In a blinding flash of light, you are sent into darkness. You are in a tight space, with little room to move. You can hear familiar music playing. "POP goes the weasel..." Nearby, a baby alien giggles and claps his hands. And POP. Your body zooms up and out on a spring. You have become a toy jack-in-the-box!
The end
If you want to read Charlotte's adventure, go to page 3.



Sunday, February 24, 2013

The man-eating, halitosic gorilla of Brazil

Before the main attraction, at long last another hyperfiction conversion (the last one was, well, a tough act to follow, instantly this blog's most popular post by a factor of 2 and rising), first a couple of CYO-related links. Select an Adventure appears to provide a framework for user-created, web-shared choose-your-own-adventure storygames. The logo is excellent and the included stories are much as one might expect. Also, I found an interesting biographical Twine piece by David Gallant I found inspirational, exploring his creative rebirth from being a frustrated gamer to a creative game-maker. Since both of these already play fine in your web browser without much additional technology, I haven't pulled them in for "conversion" here, but there is another piece presented below.

A curious storygame indeed presented for your approval today. Despite goofy in-game messages to the contrary, I have it on good authority that this is the work of one Marius Müller, aka "Taleslinger", whose approval for this venture I have sought and received. It's a work that was produced in early April 2011, after this blog itself here was well underway, under constraints. As best as I can glean, the rules of the Speed-IF Jacket 4 contest this was part of dictated that participants would start with silly book-jacket style blurbs provided by other IF authors, and would have to quickly (within a week) create a game matching their ridiculous praise. As you will see... mission accomplished! The game's original format was an Inform data-file (using an extension allowing it to be used like Jon Ingold's Adventure Book -- with its conspicuous, Chekhovian inventory item support) intended to be played in an interpreter program, hence (SPOILER ALERT) its bizarre (but intentional) conclusion imitating a computer glitch. With a build-up such as this game had, really anything beyond that point would have just been disappointing. I put in some extra work here implementing the Adventure Book extension's inventory support (used minimally here) and trying to revise the original work so as to remove most instances where readers return to the same juncture and are offered a choice already picked. The result, the gilded lily you see below!

. . .

The man-eating, halitosic gorilla of Brazil
An interactive fiction by Leaner Gilts, "Strangle" Lei, Gain Tellers and Slat Leering
Release 1 / Serial number 110416 / Inform 7 build 6G60 (I6/v6.32 lib 6/12N)
-- Created using Adventure Book for Inform 7 by Edward Griffiths
Based on Adventure Book by Jon Ingold

Start

There is darkness, and pain at the back of your head. Basic urges flow through your lizard brain, air, food, rest, smoochies, video games. After who knows how long you open your eyes. You're in some kind of interrogation room, small, cramped. The stone carvings on the moss-covered walls make this look like a lazily designed secret room from a videogame. With you in the room is a gorilla in a suit, who looks a bit like Ron Perlman. Only this gorilla has rocket launchers for arms. You close your eyes. "Oh no," you think to yourself, "not again."

And then you remember. The secret mission, from the new boss, who does look something like Michael Gambon: "Somewhere in the Brazilian jungle, there is a new mastermind at work. We know very little, only that he killed our best agent, Bonathan Jlask. And that he's hidden in some secret temple. Well, we've heard you know how to find such places. And how to get into them." You told him you're retired. "No," he said, firmly. "People like you never are." You were about to respond, but his secretary, the spitting image of Kirsten Dunst, already handed you the tickets.

Flash forward. The gorilla is looking at you. "What were you doing here?"

. . .

A direct hit by the rocket launcher. Your last thoughts go out to the cleaning crew here. You feel sorry for them.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

The gorilla sighs. "So, that's it? I don't even need to torture you! Well, goodbye." He aims one of his rocket launchers at you. For a second you ponder ducking.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

Blurbs used:
"Dude, even if you somehow get a movie deal out of this, it's rude to be picking out the actors already."

    -- Sam Kabo Ashwell
"Unreliable narrator. Unreliable parser. For the love of little green eyeballs, why isn't anything in this game reliable?!?"
    -- Carolyn VanEseltine
"The game's eponymous animal proved to be NONE of the adjectives the title proclaimed him to be, thank goodness.
    -- Colin Sandel
"Smells like team spirit."
    --Tanga
"The spiritual successor to Galatea, if Galatea had been about a gorilla with rocket launchers for arms."
    -- C.E.J. Pacian
"Seemingly engineered to punch you right in the green slimy guts of your lizard brain."
    --Sarah Morayati
"The minutely detailed simulation of the plant life was remarkable, if somewhat overwhelming."
    -- David Fletcher
"The chariot race was one of the most thrilling, timed puzzles that I've ever enjoyed."
    -- Royce Odle

Restart the game.

. . .

A direct hit by the rocket launcher. Your last thoughts go out to the cleaning crew here. You feel sorry for them.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

"I left the next biggest town a few days ago. My only companion was my guide, who did look a bit like Alfred Molina. Anyhoo, soon we arrived here and after some searching we found the plant. But then my guide fell into a hole. Some guide, I told myself as I attached my rope to a nearby statue. Only the statue had to be weighed down with sand from the nearby beach first, which I put in the linen bags which carried the clothes. Then I climbed down the hole. Down there, I felt like being eaten by a grue so I switched on my lamp. Only it didn't have any batteries. And my box full of batteries was guarded by a snake. I found a toy mouse to distract it, so I got my batteries. They were the wrong size. But with them, I could switch on the ventilator for Professor Bunglay, who in turn gave me his electric shaver, which did hold the right batteries. So I went back down there again, but when I finally could see, I didn't see my guide, I saw a sleeping tiger!"

. . .

Coca (Erythroxylum coca) is a plant in the family Erythroxylaceae,native to western South America. The plant plays a significant role in traditional Andean culture. Coca is best known throughout the world because of its alkaloids, which include cocaine, a powerful stimulant.

The plant resembles a blackthorn bush, and grows to a height of 2-3 m (7-10 ft). The branches are straight, and the leaves, which have a green tint, are thin, opaque, oval, and taper at the extremities. A marked characteristic of the leaf is an areolated portion bounded by two longitudinal curved lines, one line on each side of the midrib, and more conspicuous on the under face of the leaf.

The flowers are small, and disposed in little clusters on short stalks; the corolla is composed of five yellowish-white petals, the anthers are heart-shaped, and the pistil consists of three carpels united to form a three-chambered ovary. The flowers mature into red berries.

The leaves are sometimes eaten by the larvae of the moth Eloria noyesi.

Species and classification

There are twelve main species and varieties. Two subspecies, Erythroxylum coca var. coca and Erythroxylum coca var. ipadu, are almost indistinguishable phenotypically; a related high cocaine-bearing species has two subspecies, Erythroxylum novogranatense var. novogranatense and Erythroxylum novogranatense var. truxillense that are phenotypically similar, but morphologically distinguishable. Under the older Cronquist system of classifying flowering plants, this was placed in an order Linales; more modern systems place it in the order Malpighiales.

Cultivation

Coca is traditionally cultivated in the lower altitudes of the eastern slopes of the Andes (the Yungas), or the highlands depending on the species grown. Since ancient times, its leaves have been an important trade commodity between the lowlands where it is grown and the higher altitudes where it is widely consumed by the Andean peoples of Peru, Colombia, Ecuador, Venezuela, Bolivia and northwestern Argentina.

. . .

Some papers you picked up three adventures ago. They are held together by a paperclip. Some intendations in your pack reflect where you very briefly counted among your possessions a brass lantern, an elven sword and a platinum bar, but alas, they are yours no longer.

. . .

A direct hit by the rocket launcher. Your last thoughts go out to the cleaning crew here. You feel sorry for them.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

With a back-to-basics roar the gorilla storms up to you. He growls, inches from your face. Finally he then hits you on the nose with a rocket launcher. Which is far less funny than it sounds. "STOP STALLING, HUMAN!"

. . .

Fresh samples of the dried leaves are uncurled, are of a deep green on the upper, and a grey-green on the lower surface, and have a strong tea-like odor. When chewed, they produce a pleasurable numbness in the mouth, and have a pleasant, pungent taste. They are traditionally chewed with lime to increase the release of the active ingredients from the leaf. Older species have a camphoraceous smell and a brownish color, and lack the pungent taste.

The seeds are sown from December to January in small plots (almacigas) sheltered from the sun, and the young plants when at 40-60 cm in height are placed in final planting holes (aspi), or if the ground is level, in furrows (uachos) in carefully weeded soil. The plants thrive best in hot, damp and humid locations, such as the clearings of forests; but the leaves most preferred are obtained in drier areas, on the hillsides. The leaves are gathered from plants varying in age from one and a half to upwards of forty years, but only the new fresh growth is harvested. They are considered ready for plucking when they break on being bent. The first and most abundant harvest is in March after the rainy season, the second is at the end of June, and the third in October or November. The green leaves (matu) are spread in thin layers on coarse woollen cloths and dried in the sun; they are then packed in sacks, which must be kept dry in order to preserve the quality of the leaves.

. . .

A direct hit by the rocket launcher. Your last thoughts go out to the cleaning crew here. You feel sorry for them.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

The gorilla tries to wave his rocket launchers dismissively. He fails. He then says, "Who are you trying to fool? You wouldn't approach a dangerous animal if you were, indeed, a renowned botanist. You know what I think you are? You are AFGNCAAP, the famous IF agent. I have a hard time making out anything specific about you, and that's just odd for a fictional world that has something as weird as a me, a gorilla with rocket launchers for hands! So tell me, am I right?"

. . .

"So?" says the Gorilla, irritated. "Then what? Did you lie around all day? What happened? Nothing? Are you still there?"

. . .

A direct hit by the rocket launcher. Your last thoughts go out to the cleaning crew here. You feel sorry for them.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

The gorilla, moving his rocket launcher not unlike someone handling chopsticks for the first time, puts three items down before you. A brass lantern, an elven sword and a platinum bar. Sweat breaks out on your brow. Oh no. He's on to you. "Now tell me, Mr. or Mrs. AFGNCAAP... what would be your first action if I do this...?"

And, pressing a button on his one launcher with his other launcher, your cuffs click open. Free. But it's no use.

. . .

Some papers you picked up three adventures ago. They are held together by a paperclip. You think that if you shift your load carefully, you can find room for a brass lantern, an elven sword and a platinum bar.

. . .

"So?" says the Gorilla, irritated. "Then what? Did you lie around all day? What happened? What? Eh? Speak up!"

. . .

Quicker than you can say cutscene, you're tied up again. The gorilla looks at you. "You know, I always envied you. Getting all the treasures, defending all those thieves. Solving all those fiendish puzzles. But now look. What has the world come to? All these angsty protagonists with their guilt-ridden backstories, all these branching narratives. You live in a world that no longer needs you. The puzzle is dead. But don't worry, soon you will be as well!"

With that, he lifts his rocket launcher!

. . .

"So?" says the Gorilla, irritated. "Then what? Did you lie around all day? What happened? What? Eh?"

. . .

"Oh yeah, I bet you'd like a dialogue tree now? Lots of options to choose from? Maybe suggested topics? A long and involved talk, with me switching moods? Well, lemme tell you. Right now I am in a KILLING MOOD!"

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

Quicker than you can say cutscene, you're tied up again. The gorilla looks at you. "You know, I always envied you. Getting all the treasures, defending all those thieves. Solving all those fiendish puzzles. But now look. What has the world come to? All these angsty protagonists with their guilt-ridden backstories, all these branching narratives. You live in a world that no longer needs you. The puzzle is dead. But don't worry, soon you will be as well!"

With that, he lifts his rocket launcher!

. . .

Some papers you picked up three adventures ago. They are held together by a paperclip.

. . .

"So?" says the Gorilla, irritated. "Then what? Did you lie around all day? What happened?"

. . .

Okay, you finally reconcile with all she has said and done. After all those items in her old house triggered those memories, you feel like you finally understood her. You have grown yourself, in the intervening years. You now longer wear the innocent face of a child or the self-righteous, stern look of a teenager. You're grown. Maybe you have grown to forgive. Who kno... Sorry to interrupt, but you're being blown apart by a rocket launcher.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

"So?" says the Gorilla, irritated. "Then what? Did you lie around all day?"

. . .

Hey, you found a schematic for a rocket launcher in that one game on that space station with the pirates. It said if someone said "Niereleelrieleilieleelieleilieleiii", the rocket launcher would deactivate.

. . .

Quicker than you can say cutscene, you're tied up again. The gorilla looks at you. "You know, I always envied you. Getting all the treasures, defending all those thieves. Solving all those fiendish puzzles. But now look. What has the world come to? All these angsty protagonists with their guilt-ridden backstories, all these branching narratives. You live in a world that no longer needs you. The puzzle is dead. But don't worry, soon you will be as well!"

With that, he lifts his rocket launcher!

. . .

Some papers you picked up three adventures ago. They are held together by a paperclip.

. . .

"So?" says the Gorilla, irritated. "Then what?"

. . .

"Many a year ago, I was a happy AI in a rocket launcher, the newest and deadliest in weapons technology. Straight on our way to SkyNet, we were. But then some crazy scientist attached a gorilla to me. And now see how I look. Completely stupid! That's why I want to take over the world. Anyway, let me reiterate my question."

The gorilla tries to wave his rocket launchers dismissively. He fails. He then says, "Who are you trying to fool? You wouldn't approach a dangerous animal if you were, indeed, a renowned botanist. You know what I think you are? You are AFGNCAAP, the famous IF agent. I have a hard time making out anything specific about you, and that's just odd for a fictional world that has something as weird as a me, a gorilla with rocket launchers for hands! So tell me, am I right?"

. . .

"So?" says the Gorilla, irritated.

. . .

Like a stubborn idea hammered into a pupil's head by a determined teacher, the rocket launcher clicks. "Uh?" says the gorilla. "Must reactivate it.

Sorry for the hassle. This'll just take a second."

. . .

A direct hit by the rocket launcher. Your last thoughts go out to the cleaning crew here. You feel sorry for them.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

While the gorilla is distracted, you bend the paperclip into a lockpick and you are free. As he sees this, the brute follows cliche instead of logic and runs away! You are right behind him , through endless, winding catacombs, always nearly but never quite losing him, as he rounds a corner or climbs some vines. Finally, there is blinding daylight! You blink into it, as you see your enemy jump into one of two waiting, ostrich-pulled chariots. You jump into the second one and whip the ostriches into moving! (Probably breaking some Protection of Animals Act.) Speaking of harmed animals, there is a ridiculously cute baby sloth in the middle of the road!

. . .

Some papers you picked up three adventures ago. They are held together by a paperclip.

. . .

Squish! This will have no gameplay consequences whatsoever. I am making an important point about morality in games here!

The exciting chase (music not included) leads you up a stony mountain path. It grows smaller and smaller, but you gain on the gorilla. He sees you behind him and pulls his reins to the right, to crash, er, right into you! You have to make a quick decision!1! No time to lose !11!1

. . .

Woosh! The baby sloth looks at you with big, thankful eyes. This will have no gameplay consequences whatsoever. I am making an important point about morality in games here!

The exciting chase (music not included) leads you up a stony mountain path. It grows smaller and smaller, but you gain on the gorilla. He sees you behind him and pulls his reins to the right, to crash, er, right into you! You have to make a quick decision!1! No time to lose !11!1

. . .

You decide to ram the gorilla! This works better than expected. Both chariots get wedged into each other, and soon you both swerve off the road and tumble down the mountain in a twisted mass of ostrich, chariot, gorilla and player character. You are swallowed by the green of the jungle. You are food for the insects, etc. This is not the optimal ending, in case you're wondering.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

Some papers from 3 adventures ago that you never dropped.

. . .

You slow down, and predictably, the gorilla swerves his chariot - right into thin air! Ostriches and chariot dance the same old, short and painful dance with gravity, but the gorilla clinges to the edge of the rock. He can't really get a grip with his rocket launcher, though, and he slides downwards ever so slowly. "LISTEN!" he screams, scrambling. "This is bigger than you and me. Bigger than everything! I can give you names, addresses, phone numbers, twitter names, flickr links."

"Who is it, primate? Who is behind this sketchily defined 'this'?"

"It's the Player-PC divsion, they're onto us, the implementors are on to us, but it's too late it's
***Source file ended in the middle of quoted text: main source text. This probably means that a quotation mark is missing somewhere. If you are using Inform with syntax colouring, look for where the quoted-text colour starts. (Sometimes this problem turns up because a piece of quoted text contains a text substitution in square brackets which in turn contains another piece of quoted text -- this is not allowed, and causes me to lose track.)***

You have won!

. . .

You try to pass the gorilla, but her accelerates his swerving maneuver and crashes into you. Your chariot looses ground, and you tumble down the mountain in a twisted mass of ostrich, chariot, and player character. You are swallowed by the green of the jungle. You are food for the insects, etc. This is not the optimal ending, in case you're wondering.

    *** You have died ***
Would you like to Restart or Look at what others had to say about this?

. . .

Some papers you picked up three adventures ago. They are held together by a paperclip.

. . .

While the gorilla is distracted, you bend the paperclip into a lockpick and you are free. As he sees this, the brute follows cliche instead of logic and runs away! You are right behind him, through endless, winding catacombs, always nearly but never quite losing him, as he rounds a corner or climbs some vines. Finally, there is blinding daylight! You blink into it, as you see your enemy jump into one of two waiting, ostrich-pulled chariots. You jump into the second one and whip the ostriches into moving! (Probably breaking some Protection of Animals Act.) Speaking of harmed animals, there is a ridiculously cute baby sloth in the middle of the road!

. . .

Start

There is darkness, and pain at the back of your head. Basic urges flow through your lizard brain, air, food, rest, smoochies, video games. After who knows how long you open your eyes. You're in some kind of interrogation room, small, cramped. The stone carvings on the moss-covered walls make this look like a lazily designed secret room from a videogame. With you in the room is a gorilla in a suit, who looks a bit like Ron Perlman. Only this gorilla has rocket launchers for arms. You close your eyes. "Oh no," you think to yourself, "not again."

And then you remember. The secret mission, from the new boss, who does look something like Michael Gambon: "Somewhere in the Brazilian jungle, there is a new mastermind at work. We know very little, only that he killed our best agent, Bonathan Jlask. And that he's hidden in some secret temple. Well, we've heard you know how to find such places. And how to get into them." You told him you're retired. "No," he said, firmly. "People like you never are." You were about to respond, but his secretary, the spitting image of Kirsten Dunst, already handed you the tickets.

Flash forward. The gorilla is looking at you. "What were you doing here?"

. . .

"I left the next biggest town a few days ago. My only companion was my guide, who did look a bit like Alfred Molina. Anyhoo, soon we arrived here and after some searching we found the plant. But then my guide fell into a hole. Some guide, I told myself as I attached my rope to a nearby statue. Only the statue had to be weighed down with sand from the nearby beach first, which I put in the linen bags which carried the clothes. Then I climbed down the hole. Down there, I felt like being eaten by a grue so I switched on my lamp. Only it didn't have any batteries. And my box full of batteries was guarded by a snake. I found a toy mouse to distract it, so I got my batteries. They were the wrong size. But with them, I could switch on the ventilator for Professor Bunglay, who in turn gave me his electric shaver, which did hold the right batteries. So I went back down there again, but when I finally could see, I didn't see my guide, I saw a sleeping tiger!"

. . .

The gorilla tries to wave his rocket launchers dismissively. He fails. He then says, "Who are you trying to fool? You wouldn't approach a dangerous animal if you were, indeed, a renowned botanist. You know what I think you are? You are AFGNCAAP, the famous IF agent. I have a hard time making out anything specific about you, and that's just odd for a fictional world that has something as weird as a me, a gorilla with rocket launchers for hands! So tell me, am I right?"

. . .

The gorilla, moving his rocket launcher not unlike someone handling chopsticks for the first time, puts three items down before you. A brass lantern, an elven sword and a platinum bar. Sweat breaks out on your brow. Oh no. He's on to you. "Now tell me, Mr. or Mrs. AFGNCAAP... what would be your first action if I do this...?"

And, pressing a button on his one launcher with his other launcher, your cuffs click open. Free. But it's no use.

. . .

Quicker than you can say cutscene, you're tied up again. The gorilla looks at you. "You know, I always envied you. Getting all the treasures, defending all those thieves. Solving all those fiendish puzzles. But now look. What has the world come to? All these angsty protagonists with their guilt-ridden backstories, all these branching narratives. You live in a world that no longer needs you. The puzzle is dead. But don't worry, soon you will be as well!"

With that, he lifts his rocket launcher!

. . .

A direct hit by the rocket launcher. Your last thoughts go out to the cleaning crew here. You feel sorry for them.

    *** You have died ***
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Tuesday, February 12, 2013

Grab Bag redux

Though no one has gone so far as to actually comment on my recent RFC blog post, I have received some interesting suggestions on Google+ and Facebook for audience-led decision-making mechanisms in live musical performance. In addition to revisitations of the card and text-messaging systems, some of the new highlights include...

"Darts!" A wheel-of-fortune-esque random determinant, perhaps invoked by audience throwing ability. Also lends a degree of knife-thrower suspense, especially if the dart board is mounted on an instrument! But only with extraordinary throwing skill can the selection said to be "chosen" rather than "arrived at". If we just wanted random seeds, there are all sorts of ways we could generate them. (Chickenshit bingo!)

M Mike Dowler volunteered a cavalcade of different ideas, yielding a species of choose-your-own choose-your-own-adventure adventure:

Programmes are red on one side, green on the other. Audience holds them up to vote.
Giant blow up ball tossed into the audience. Whichever side of the room it's on at the given moment, dictates the choice.
A soloist stands up and solos as long as at least one member of the audience is standing as well.
Key members of the audience are given different coloured balloons with helium. When they are released to the ceiling, different events happen.
A dog is allowed to run freely around the room. It's actions affect the score.
Audience sings. Higher notes give one choice, Lower another. Volume and enthusiasm sway the vote.
Audience is encouraged to get up and move a prop on stage to affect the direction of the music. Ie. a rock in or out of a circle, a figurine in a diorama, an angel and a devil to indicate what the main character would do.
And if any of that fails, live tweeting via smart phones.
Matthew Schuler presented a brilliant scheme that not only involves the audience in the decision-making, but also in the performance itself:
"are you intending to present the choices in the chorus, then use that decision to select the text of the next verse? a call and response maybe, giving one choice one line to sing either against or after the other?"
These are all valuable food for thought, confronting me to question which elements of the performance and interactivity are most important to me. There will be further reports in the future, to be sure.

In the meantime, between this scheming and the runaway success of my most recent CYO conversion here (well on track to be the blog's most popular post by a factor of two despite the long tail advantage the other posts cherish) this blog is overall well on the way to achieving its next thousand-views milestone, a kingly 3000 views. (I know, we're no Slashdot here, but considering that's roughly 2998 more views than I ever expected to garner, I think we're doing pretty well here.) At our last millennial milestone I turned over a leaf from my video game ad blog and posted an ad for a gamebook series. Well, while perusing a pile of '80s basement Dragon magazines for lack of comic books to cannibalize, I've since found a much better quality version of that ad -- oftentimes you'll find two versions of the same ad for printing on different grades of paper stock: good ad on the inside cover, crappy ad in the middle. This version is so swell it makes the earlier post look like a water-damaged cocktail napkin concept sketch!

They may have been waiting a while to come up with enough scratch to pay for the higher-quality version of the ad (did TSR really take money out of one pocket into another to advertise their own projects in their house organs? a zero-sum philosophy I often opine upon when observing Ripley's Believe It Or Not promoted on Pattison billboards -- ah, but I digress!), as this ad features later books in the series in the thumbnails at top centre.

These gamebooks weren't such valuable commodities however that we don't see them a few pages later being given away for free -- including the very volume featured in the rough-sketch's showcase spot, Rose Estes' Circus of Fear, a volume I credit with imparting into myself most of the (admittedly scant) carnie knowledge ("Hey, rube!") I relied on when writing a (abandoned) circus-themed comic book series a decade ago. But only one digression per post!