Paths and Gates

For my first creative project I decided to created an IF game with Inform7. During the brainstorming process I kept revisiting the idea of creating an allegorical game such as Passage. I appreciated Passage so much for its simplicity and its message that I decided to create an IF that had the same qualities. I chose to create my game based on the outdoors and hiking because I enjoy them both so much. I came up with “Paths and Gates” and I feel that with the time I spent on it, I created something that was close to what I desired. I do not want to fully reveal the meaning of this work (as Jason Rohrer did with his game here), but I do wish to provide some insight for anyone who plays the game.

The overall message of the game pertains to life and the different “paths” that people take. These paths can be viewed as ways of life (excuse the cliché). I have boiled these paths down to three (the names of the paths are very important to the understanding of each path).  Also take note of the description of the trails on the signposts, and pay attention to the size of each trail. Frustration might occur regarding certain gates, but that is not by accident, it is part of the message I am trying to convey. The paths names, as well as their characteristics, are all carefully chosen to depict an aspect of that “path” of life. For example, there is a reason that two of the gates are at the end of the trail, and one gate is at the head of the trail.

The objects you encounter are also allegorical. The keys and the backpack play an integral role in the meaning of the work, namely when one seeks to open the Charis Gate. In the same regard, the point system is also set up in such a way to represent a truth about life (Ok I might have stolen Jason Rohrer’s mentality of the point system in Passage). When I say that these things play an integral role in the meaning of the work, I certainly do not mean that they are essential in winning the game.

Reaching the Summit is the ultimate goal of the game, and truthfully only one trail will take you there. The only way to lose the game is to give up, or to never try taking that trail to the top. Now here’s what I came up with. Happy hiking!

Respecting the Authors of Elit

I chose Inform 7 for my creative project because the idea of a text adventure fascinates me.  Playing Colossal Cave Adventure for class was my first experience with a text adventure game, and I absolutely loved it.  It surprised me.  It is such a seemingly simple game, with only words to convey the story and world that you are interacting with, and yet I enjoyed playing it almost as much as I enjoy playing Assassin’s Creed or Skyrim.  I was hooked.  I wanted to be able to do the same thing – create an enriching, interactive world with nothing but words.  As a writer, I figured it would be easy.  Just a little bit of Inform programming language to learn.  No biggie.

Oh, how the mighty have fallen.

My creative project, “Murder So Sweet,” did not turn out to be what I’d hoped for.  I had so many issues battling Inform for correct wording that I almost flung my computer out the window and then spit on it a few times.  I had one idea where the player would have to retrieve a flashlight to light up a dark room, otherwise they wouldn’t be able to see what was in the room and thus miss out on part of the story.  Two days later, and I finally managed to beat Inform 7 into complacency.  While the included guidebook was relatively useful for the simpler mechanics, I was left mostly on my own to figure out specifics.  I finally found the section on lit/unlit objects, and was finally able to make the flashlight work as it supposed to, and had a mini dance party after I’d figured it out, but the fact that I spent two days trying to work a flashlight resonated.  It was so simple.  Only a few lines of text in programming for a measly two seconds of interaction in the game, and yet I had spent two complete, full, frustrating days on it.

I grew immediate respect for the creators of complex text adventures like Colossal Cave Adventure, or Shade, or Everything Dies.  I had enough problems making the fairly simplistic storyline of my own text adventure; how had these authors fared with theirs, which were so much more complicated than mine?  Inform 7 is not as intuitive as I’d hoped it would be – you have to actually know what you’re doing if you want to get anything done.  I have major respect (not that I didn’t have any before, but now it’s been multiplied by about nine thousand) for anyone who tries to program anything.

Electronic literature – and I mean good, complex, deep electronic literature – is hard to make, possibly moreso than any other form of literature.  It takes a certain amount of talent, skill, and hours of practice to make anything that can be considered good art or literature.  But a creator of Elit has to also deal with the complexities of computers, which are difficult enough depending on one’s level of interaction with them, and has to make it interactive enough so the reader doesn’t just get bored and click away to another screen.  And computers are ornery little things.  They get viruses, work slow if you put too much on them, work slow if they’re really old, run out of power when you are five million miles from an outlet, kill batteries so that you either have to plug it in an outlet if you want to go anywhere or spend the money to buy a new battery, blue screen for the tiniest of reasons, freeze if you accidentally run iTunes and Pandora at the same time, and the list goes on and on.  Yes, they are awesome machines and can create amazing works of art and literature and technology, but they’re more likely to explode in your face than cooperate with what you’re trying to do.  Electronic literature deserves some major respect, not only for taking normal literature above and beyond by adding an interactive feature, but also for being created on one of the most difficult machines the modern era has ever created.

So even if my attempt at a text adventure didn’t turn out as successfully as I’d hoped, I at least learned a lot about the effort it takes to create a piece of electronic literature and how difficult it actually is.  So bravo, Elit authors.  You deserve an applause.

Inform 7; Even plainer English: Dark rooms, Vehicles, and Scenes.

I don’t know about you all, but while working on my creative project I found the rulebook/guide to be less than helpful at times. Though I eventually figured out how to make some of the things that I wanted to do work, I figured I’d explain a few of them here step by step with simpler terms and explanations than the guide.

Dark rooms:

As Jeremy Douglass shares in his essay regarding dark rooms, Enlightening IF, “You can’t see anything; you can do very little indeed. All objects except those in your inventory are out of scope, unreachable, as if non-existent.”

There are ways to lighten up dark rooms, however; whether by turning a light on in the room, or by having some item on hand that provides light.

The first method: Using a device, such as a lantern, flashlight, or match, is significantly easier than creating a light within the room.

           To begin, create the object and identify it within Inform7 as a device.

                        e.g. The lantern is a device in the cave entrance. 

           Inform7 usually assumes that devices are “on” normally. So make sure that you label it as off if you want the player to have to turn it on.

                      e.g. The lantern is switched off. 

                                Note: The syntax here is rather picky as the word “switched” is necessary or it won’t understand what you’re saying.

          In order for the lantern to provide it light, you have to tell it to provide light of course and can be accomplished via an “after” phrase.

                    e.g. After switching on the lantern, now the lantern is lit. 

Note:

  • Again, the syntax is picky. switching on and lit are necessary unless you’ve defined otherwise with separate code. Also, be wary of word order, as “After the lantern is switched on” will not work. A verb ending in “ing” is necessary in order for Inform to understand.

While the device is on, any room the player is in that was previously dark, or that was coded as dark, will be illuminated.

The second method: In order to create a light-switch/light that can be turned on within a room, a few things need to happen.

First, you must create a dark room. This is done very easily and only requires that you label the room as “dark.”

                 e.g. The cave is a dark room.

Now, if the player enters the cave he’ll get the message, “It is pitch dark, and you can’t see a thing,” and as Douglass explains, won’t actually have anything in scope, but you can make it so.

In order to place an object in scope, you must first create the object. In this case, I’ll use matches. Then, use the following,

                e.g. After deciding the scope of the player when the location is cave:
                                                 place the matches in scope.

The player must also have created a source in the room for light, like a torch on the wall. Then, use the following to light the object within the room.

               e.g. Instead of  taking the matches:
                                      Now the torch is lit;
                                     say “You strike a match against a nearby rock and light the torch on the wall, luckily for you it was freshly soaked in gasoline.”
 

I made a short game, that can be accessed by clicking on this sentence, which has both cases.

A few notes:

  • Devices can also work for turning on lights, as shown in the game.
  • While in a dark room, if the creator of the game placed any objects in scope, read the description or try typing in the command, scope.
  • It is a good idea to fix light sources in place if you intend to have a light that can turn on and off.
  • It is easy to make words such as “light-switch” be understood and made interact-able via others: 
                            Understand “light” and “switch” as the light-switch.

Vehicles:

Creating a vehicle is actually very simple.  In fact, Inform already understands what a vehicle is!

e.g. In the frontyard is a vehicle called the sedan. 

Inform will understand that the character can get inside of “the sedan” and can then move around while inside of it. Other common syntax works for vehicles as well, such as describing.

Basic Scene Creation:

In order to create a scene, or, some event that occurs based on time passing or a certain event happening, the event must be described as such.

   e.g. The Play is a scene. 

Then, a condition must be met in order for the scene to begin.

e.g. The Play beings when the player is in the theater for 5 turns. 

To define what happens in a scene, simply put When [the scene] begins: and then on a new line, begin defining.

           e.g. When The Play begins:
                         say “The actors come on stage and perform their show for you. You are astounded.”

Ending the scene is exactly the same, only the words ends and ending must be used.

             e.g. When The Play ends:
                         say “You clap.”
               The Play ends when the player is in the theater for 5 turns.              
 

Here is an example of a scene.

A few notes:

  • If you plan on listing time or turns for scene length, keep in mind that Inform counts both simultaneously. Therefore, if the scene starts in 2 turns, and you want the chances to last for 2 turns, make sure that it ends after 4 turns.
  • Within the scene, you can apply as much or as little change as you desire.

Hope this is helpful!

Murder So Sweet

I went with Inform 7 for my creative project, if only because a text adventure game allowed me to do what I wanted with the story I had in mind.  After a two day battle of epic proportions trying to get a flashlight to work in game, I almost regret that decision.  Almost.  I think I was successful, though.  Hopefully.  Check it out here.

Manor- Interactive Fiction

The premise of my interactive fiction is that you are a kitchen maid working in a large British manor house at the turn of the 20th century. The objective of the game is in two parts: to find out the mystery of the house and to figure out your character’s desire and fulfill it.

Manor

The inspiration for my interactive fiction comes from the television show Downton Abbey, the second season of which just finished airing on PBS. As with most of the English department, I am completely obsessed with the show so I figured the 1910′s era British manor house would serve as a fantastic setting for my story. I wanted the game to be from the perspective of a low status person overwhelmed by the grandeur of a lofty house, so I chose a kitchen maid, similar to Daisy on the show. The plot of my game is not based off of Downton Abbey and I really enjoyed creating a plot around character development and their desires.

Inform 7 was a lot of fun for me especially because I liked the concept of manipulating the English language to serve as computer code. Understanding the specifics of wording the code was frustrating at first but it got much easier with practice (and a lot of Google searches).

My largest difficulty both technically and with story line was the fact that I wanted to write my story chronologically, but I had to write the code allowing the flexibility of the player. So I had to write the code with actions unlocking only after multiple other actions had already been performed or I had to make the same sentence make sense in multiple stages of game play. After having played Shade, I can see that there is a way to have a lot more control over the sequence of events and how items and commands reveal themselves, like the plant changing and the to do list developing new items. I hope to learn more about how the author of Shade accomplished this. I also liked how Shade only took place in one room (for a while at least) whereas my story had many different rooms which may have added unnecessary complication.

Some of the initial feedback that I got was very positive as far as understanding how to traverse through the room and understand the plot at the same time. Other players, however, seemed to be getting stuck in places that I wouldn’t have expected. I do know that other students who did interactive fiction created hints in their text as to how to move or what to pick up or look at. I didn’t do that very often because the text adventures that we have played in class did not do that very often.  It was wonderful to feel like I had developed a work of the electronic fiction that was intriguing to play and to know that process from start to finish. It definitely makes me appreciate the hard work that goes into the interactive fictions that we play in class.

Hope you enjoy!

Emily Brenton

Optimizing room descriptions and object lists in Inform 7

Once you start building games in Inform 7, you may notice that the basic process of describing a room and then putting things in it will default to a somewhat rigid or mechanical output. So a common question I get is, “How do I hide things”? Or, “How do I get rid of that long list of items?” I’ve given various bits of advice for different games and situations, but since this is such a common question, I thought I’d summarize some common situations I’ve seen and methods for dealing with them. In preparing these snippets, I’ve put together a small game in my Playfic account, so if you’d prefer to skip to the final product you can play it there. Otherwise, read on!

[Read more...]

Thinking outside the box

Everytime I sit down to work on something in Inform7, I get this image of myself at my own pannel at ComicCon, answering questions from ravenous fans about my amazing game, “Faction 11″.

I’m using Inform to explore the world of a story I orignially had in mind for a novel. I’ve never written science fiction before, and I needed all of the resources I could get my hands on to try and flesh out my new universe. I’m using Inform to explore the world I’ve created, and using the map function to get a graphic idea of where things are located physically. It’s working kind of brilliantly.

The map function is magnificent in its own right, because I find this method of mapping to be the easiest when planning an Inform story. Plus, it gives me a list of objects in each room, so I can make sure everything is where its supposed to be.

After coding the game, I love getting a chance to play it. The coding and the playing allow me to explore character actions and plot points I may not have thought of before. This method of brainstorming for a story gives me the chance to see what details are necessary when telling a story, expecially when foreshadowing. If I know that a code is needed to enter a room, I know I have to plant the code in the world at some point beforehand, where I know the player will be able to find it. This same logic transfers nicely when I’m writing the story in traditional form, because I get a sense of when I should reveal certain information to the reader. I pretty much love everything about working with Inform.

I plan on creating a game, a hypertext story, and perhaps another electronic medium (twitterature?!) to explore every facet of “Faction 11″. Not only is elit a marvelous tool to use when writing t

Inform 7 Help

Here are some tutorials I’ve found helpful for using Inform7:

http://if1.home.comcast.net/~if1/inform_7.htm

http://newmedia.hpiweb.com/

And the Inform 7 handbook:

http://www.musicwords.net/if/InformHandbook.pdf