"An Escape To Remember" by the IF Whispers Team. The story headline is "An Interactive Collaboration". Release along with the source text and a website. Part 0 - Shared Definitions The story genre is "Surreal". The story description is "An Escape To Remember is a collaborative 'Chinese Whispers' / 'Telephone' style interactive fiction piece, written by 14 authors each of whom only saw the preceding section of the the game." The story creation year is 2006. Use American dialect, the serial comma, and full-length room descriptions. Include (- Constant DEATH_MENTION_UNDO=1; -) before the library. Use memory economy. [Otherwise we exceed readable memory][Thanks Emily] Include Rideable Vehicles by Graham Nelson. When Whisper 1 ends, award 10 points. When Whisper 2 ends, award 10 points. When Whisper 3 ends, award 10 points. When Whisper 4 ends, award 10 points. When Whisper 5 ends, award 10 points. When Whisper 6 ends, award 10 points. When Whisper 7 ends, award 10 points. When Whisper 8 ends, award 10 points. When Whisper 9 ends, award 10 points. When Whisper 10 ends, award 10 points. When Whisper 11 ends, award 10 points. When Whisper 12 ends, award 10 points. When Whisper 13 ends, award 10 points. When Whisper 14 ends, award 10 points. The maximum score is 140. The starting room is a room. [just here as a dummy] Hiding relates one thing to one thing. The verb to hide (he hides, they hide, he hid, it is hidden, he is hiding) implies the hiding relation. Hiding it in is an action applying to one carried thing and one thing. Understand "hide [something] in/under/behind [something]" as hiding it in. Understand "conceal [something] in/under/behind [something]" as hiding it in. Instead of hiding something in something, try inserting the noun into the second noun. Understand "shake [something]" as waving. Understand "rattle [something]" as waving. Prying it from is an action applying to two things. Understand "pry [something] from [something]" as prying it from. Understand "remove [something] from [something]" as prying it from. Understand "get [something] from [something]" as prying it from. Understand "prise [something] from [something]" as prying it from. Understand "pry [something] with [something]" as prying it from (with nouns reversed). Understand "prise [something] with [something]" as prying it from (with nouns reversed). Instead of prying something from something, try taking the noun. Understand "climb through [something]" as climbing. Filling it with is an action applying to two things. Understand "fill [something] from/with [something]" as filling it with. Instead of filling something with something, try inserting the second noun into the noun. Pouxing is an action applying to one thing. Understand "pour [something]" as pouxing. Understand "pour [something] out" as pouxing. Pouring it on is an action applying to two things. Understand "pour [something] on [something]" as pouring it on. Instead of pouring something on something, try inserting the noun into the second noun. Instead of pouxing something, try dropping the noun. Jumping to is an action applying to one thing. Understand "jump through/to [something]" as jumping to. Instead of jumping to something, try climbing the noun. xselfswinging is an action applying to nothing. Understand "swing" as xselfswinging. Selfswinging to is an action applying to one thing. Understand "swing to [something]" as selfswinging to. Selfswinging through is an action applying to one thing. Understand "swing through [something]" as selfswinging through. Selfswinging on is an action applying to one thing. Understand "swing on [something]" as selfswinging on. Check xselfswinging: say "You can't do that right now." instead. Check selfswinging to: say "You can't do that right now." instead. Check selfswinging through: say "You can't do that right now." instead. Check selfswinging on: say "You can't swing on that." instead. Turning left is an action applying to one thing. Understand "turn [something] left" as turning left. Turning right is an action applying to one thing. Understand "turn [something] right" as turning right. Check turning left: Try turning the noun instead. Check turning right: Try turning the noun instead. A thing has some text called printing. The printing of a thing is usually "blank". Definition: a thing is legible if the printing of it is not "blank". Understand the command "read" as something new. Understand "read about [text] in [something]" as consulting it about (with nouns reversed). Understand "read [something] about/on [text]" as consulting it about. Understand "read [text] in [something]" as consulting it about (with nouns reversed). Understand "read [something]" as reading. Reading is an action applying to one thing, requiring light. Check reading: if the printing of the noun is "blank", say "Nothing is written on [the noun]." instead. Carry out reading: let typing be the printing of the noun; say "[fixed letter spacing][typing][variable letter spacing][paragraph break]". Report reading: do nothing. Looking At It In is an action applying to two things. Understand "look at [something] in [something]" as looking at it in. Understand "examine [something] in [something]" as looking at it in. Understand "x [something] in [something]" as looking at it in. Instead of looking at something in something, say "That's not sufficiently reflective." Understand the command "throw" as something new. Understand "Throw [something]" as throwing. Throwing is an action applying to one thing. Carry out throwing: say "Thrown."; move noun to location. Report throwing: do nothing. Hitting it with is an action applying to two things. Understand "hit [something] with [something]" as hitting it with. Check hitting with: say "You can't do that right now." instead. Unrandomizing is an action out of world. Understand "unrandomize" as unrandomizing. Carry out unrandomizing: say "Bing, the world is now deterministic. Or as deterministic as it gets, anyway."; seed the random-number generator with 31337. Table of Whispers Num Author Title 1 "Dan Shiovitz" "The Divan Comedy" 2 "Sean Barrett" "Doors Aplenty" 3 "N B Horvath" "Shadowy Figures" 4 "Mark J Musante" "Splish Splash" 5 "Roger Carbol" "Stone Cold Regrets" 6 "Mordechai Shinefield" "Because It is Bitter and Because It Is" 7 "Tom Blawgus" "The Chow, The Whistle, and The Big Bird" 8 "Lucian Smith" "Recap" 9 "Ricardo Dague" "GUDepot" 10 "Carl Muckenhoupt" "The Great Underground Stone Head" 11 "Josh Giesbrecht" "Some Title" 12 "Karl Parakenings" "Home Security, Ltd." 13 "John Cater" "Archaeology" 14 "Jeremy Douglass" "Reflections" Seeing the author is an action out of world. Understand "author" as seeing the author. Carry out seeing the author: let idx be the score divided by 10; change idx to idx + 1; if there is an author corresponding to a num of idx in the Table of Whispers begin; choose row with a num of idx in the Table of Whispers; say "Scene [num entry], '[title entry]', was written by [author entry]."; otherwise; say "Hmm, there seems to be no author set at this point. Well, maybe this part was written by monkeys."; end if. Getting game info is an action out of world. Understand "about" as getting game info. Understand "help" as getting game info. Understand "credits" as getting game info. Carry out getting game info: say "[story description][paragraph break]To see the author and subtitle of the current section, type 'author'. If you're interested in contacting the authors, send mail to me (Dan Shiovitz) at dbs@cs.wisc.edu and I will forward it on. You can find the website for this project at http://www.drizzle.com/~dans/if/ifw2/ if you'd like to view the source code or see more information about the game.[paragraph break]Thanks to Radical Al for assistance on updating the source code to 3Z95." [This was an out of world action, but it turns out to be better for the scene machinery if this takes a turn.] Skipping ahead is an action applying to nothing. Understand "skip ahead" as skipping ahead. The last carry out skipping ahead rule: say "Since we should always be in a scene, there's no reason to see this text, unless someone forgot to define an override for their scene." [ Add back in all the actions removed from the standard library -- well, most of them ] Digging is an action applying to one thing. Filling is an action applying to one thing. Understand "fill [something]" as filling. Jumping over is an action applying to one thing. Understand "jump over [something]" as jumping over. Swimming in is an action applying to one thing. Understand "swim in [something]" as swimming in. Blowing is an action applying to one thing. Understand "blow [something]" and "blow in [something]" as blowing. Section 1 - Useful playtesting verbs - Not for release Test wh0 with "test wh1 / test wh2 / test wh3 / test wh4 / test wh5 / test wh6 / test wh7 / test wh8 / test wh9 / test wh10 / test wh11 / test wh12 / test wh13 / test wh14" Part 1 - The Divan Comedy by Dan Shiovitz Whisper 1 is a scene. Whisper 1 begins when play begins. When Whisper 1 begins: say "You step back off the balcony and walk into the main room of your suite. It can't be long now, and frankly, you're looking forward to a little action."; move the player to your suite, without printing a room description; the gong gongs in two turns from now. Escaped from balcony is a number variable. Escaped from balcony is 0. Whisper 1 ends when escaped from balcony is 1. Carry out skipping ahead during Whisper 1: say "Skipping scene 1."; Move the amulet to the player; Move the crystal to the player; Change escaped from balcony to 1; Rule succeeds. Section 0 - Testing stuff - Not for release Test wh1 with "SEARCH THE DIVAN / S / TAKE AMULET / SEARCH THE CASE / TAKE CRYSTAL / UNLOCK BOX WITH AMULET / GET DEVICE / N / W / SHAKE DEVICE / TIE ROPE TO BALCONY / PUSH BUTTON / D" Section 1 Your Suite is a room. "Your suite is luxurious enough, given the circumstances, but after several weeks living here, you're starting to get a little sick of it. A lumpy divan lies against the south wall, next to the curtains that cover the doorway to your bedroom, while the main door to the suite leads east. The balcony is through an archway to the west." Instead of going nowhere from the suite, say "Your bedroom is south, the balcony is west, and the main door out of the suite is east." Instead of going east in your suite, try opening the suite door. The suite door is scenery in your suite. The description of the suite door is "The suite door is made of dark, long-grained wood with a polished handle. You eye it a little suspiciously." Instead of entering the suite door, try opening the suite door. The suite door can be tried, untried, or unavailable. The suite door is unavailable. Instead of opening the suite door: if the suite door is unavailable begin; say "It's not quite time yet. But the signal should be coming any minute now, unless something's gone wrong."; otherwise; if the suite door is untried begin; say "You reach out your hand for the doorknob, then pause. There's no possibility that ... You brush your nails carefully against the doorknob, and seem to hear a vague echo on the other side. Perhaps. Your eyes flit to the balcony archway."; now the suite door is tried; otherwise; say "You shrug. Perhaps not. Still, you're enough on your guard to hear the faint snap as the door opens, but in the moment it takes to process this, the explosion has gone off."; end the game in death; end if; end if. When the gong gongs: say "Abruptly, there is a sound like a distant gong. It sounds three times, then falls silent again. That's your cue; time to move."; now the suite door is untried. The suite curtains are scenery in your suite. The description of the suite curtains is "The heavy curtains muffle sound and light between the two rooms." Instead of opening or entering the suite curtains, try going south. A divan is an enterable supporter in your suite. It is scenery. The description of the divan is "[if the divan does not hide anything]The divan pillows are still a little rumpled, but there's nothing for anyone to find now.[otherwise]For obvious reasons the pillows on the divan are a little lumpy, but it should be good enough to pass a casual inspection." Understand "couch" as the divan. Instead of looking under the divan, try searching the divan. Instead of searching the divan: if the divan does not hide anything begin; say "You search the divan carefully, but of course there's nothing there now."; otherwise; let the discovery be a random thing hidden by the divan; now the discovery is carried by the player; now the divan hides 0; say "Lifting up the heavy pillows with one hand, you reach all the way underneath them with the other, and just manage to reach [the discovery]. You slide it out."; end if. Instead of inserting into the divan: if the noun is not the flat box begin; say "There's really only one thing you want to hide in there."; otherwise; say "You lift the cushions and carefully slide [the noun] as far in as you can."; now the divan hides the noun; remove the noun from play; end if. Some crimson pillows are scenery in your suite. The description of the pillows is "The pillows are mostly shades of crimson, artfully arranged on the divan." Instead of taking the pillows, say "The pillows are too unwieldy to lift more than a few inches." Understand "pillows" as the pillows. Instead of searching or looking under the pillows, try searching the divan. Instead of inserting into the pillows, try inserting into the divan. A marigold-yellow cushion is on the divan. "A marigold-yellow cushion sits on the divan." Understand "marigold" and "yellow" and "pillow" as the marigold-yellow cushion. The description of the cushion is "An unassuming yellow cushion, though of a natty color." The flat box is an openable lockable container hidden by the divan. The flat box is closed and locked. The description of the flat box is "A flat wooden box, perhaps twice as big as your outstretched hand. [if the flat box is closed]A thin seam runs around the side, but of course the brass lock on top is the only way to open it.[otherwise]Inside the box you see [list of things in the flat box]." After closing the flat box: say "You close the box and the lock clicks shut."; now the flat box is locked. Instead of unlocking the flat box with the amulet: if the crystal is part of the amulet begin; say "The prongs should line up nicely, but the crystal is in the way, keeping you from inserting them."; otherwise; say "You slide the prongs of the amulet into the holes and twist. There is a click, and the box opens, revealing [list of things in the box]."; now the flat box is unlocked; now the flat box is open; end if. The brass lock is part of the flat box. The description of the brass lock is "The brass lock is engraved with a soaring hawk, but the important part is the five holes that make up parts of the design." Understand "five" and "holes" as the brass lock. Instead of unlocking the brass lock with something, try unlocking the flat box with the second noun. Instead of searching the brass lock, try examining the brass lock. The dark metal device is in the flat box. The description of the dark metal device is "The device is heavier than it looks, made of some dull-dark metal and shaped like a U. [if the dark metal device is uncharged]It rattles slightly when moved, and t[otherwise]T[end if]here is a small white button at the base of the U[if the dark metal device is charging]. The device is humming[end if][if the dark metal device is charged]. The device is humming and vibrating, and seems almost on the verge of flying apart[end if]." The dark metal device is either uncharged, charging, or charged. The dark metal device is uncharged. Instead of pushing the dark metal device, try waving the dark metal device. Instead of waving the dark metal device: if the dark metal device is uncharged begin; say "There is a click as something rattles into place. Then the device begins to hum, first faintly, then growing to a higher pitch."; now the dark metal device is charging; the device charges in one turn from now; otherwise; if the dark metal device is charging begin; say "Nothing happens except, perhaps, the hum of the device gets even louder."; otherwise; say "Your hand is jolted by a static charge and you almost drop the device. The humming drops to nothing, and there is a final, sad rattle."; now the dark metal device is uncharged; end if; end if. When the device charges: if the dark metal device is charging begin; if the player can see the dark metal device, say "The humming of the device rises to a shriek -- the metal seems on the verge of flying to pieces."; now the dark metal device is charged; the device overcharges in zero turns from now; end if. When the device overcharges: if the dark metal device is charged begin; if the player can see the dark metal device, say "There is a hiss and pop, and the humming of the device abruptly drops to nothing."; now the dark metal device is uncharged; end if. A small white button is part of the the dark metal device. The description of the white button is "A small white button." Instead of pushing the small white button: if the dark metal device is not carried by the player begin; say "(first taking [the dark metal device])"; try silently taking the dark metal device; if the dark metal device is not carried by the player, stop the action; end if; if the dark metal device is uncharged begin; say "The button clicks in briefly, but nothing happens."; otherwise; if the dark metal device is charging begin; say "There is a muted sizzle and crack. The device jolts in your hand, and the humming fades[if the player can see the ripple]. The ripple shimmers briefly[end if]."; now the dark metal device is uncharged; otherwise; say "There is a sudden sizzling crack, and the device burns hot in your hand for a moment."; now the dark metal device is uncharged; if the player can see the ripple begin; say "[line break]The ripple shimmers and then winks out. A breeze from outside brushes against your face for a moment.[line break]"; remove the ripple from play; the ripple returns in three turns from now; end if; end if; end if. [Overridden by nothings' code:] [When the ripple returns: if the ripple is not in the balcony begin; if the player is in the balcony, say "A faint shimmer in the air is the only thing that announces the ripple has reformed."; now the ripple is in the balcony; end if. ] Your Bedroom is south of your suite. "There is clearly no intention for this room to be used for anything other than sleeping or dressing. There is a bed, a small end-table, a high-up window, and nothing else of note." Instead of going nowhere from the bedroom, say "The main part of the suite is back north." The bedroom curtains are scenery in your bedroom. The description of the bedroom curtains is "The heavy curtains muffle sound and light between the two rooms." Instead of opening or entering the bedroom curtains, try going north. Your bed is an enterable supporter in your bedroom. Your bed is scenery. The description of your bed is "Too soft for your tastes, but you've slept on worse." Instead of searching the bed, say "Nothing, naturally. People [italic type]always[roman type] look there." Instead of looking under the bed, try searching the bed. Instead of sleeping during Whisper 1, say "There's no time. You've got work to do." The small end table is a supporter in your bedroom. The end table is scenery. The description of the small end table is "Made of dark-grained wood, with the legs carved with elaborate geometric shapes." Understand "bedside" as the small end table. The amulet is a wearable thing on the end table. The description of the amulet is "Five silver strands cleverly plaited together, [if the crystal is part of the amulet]bent to hold a crystal between their tips, [end if]and hung from a thin chain." Understand "chain", "silver", and "strands" as the amulet. Instead of inserting something into the amulet, say "The amulet can't hold that." Instead of inserting the crystal into the amulet: say "You slide the crystal back into the amulet until the prongs grasp it firmly."; now the crystal is part of the amulet. Instead of prying something from the amulet: say "You give [the noun] a familiar twist, and it slides free from the amulet."; now the noun is carried by the player. A procedural rule: if the second noun is the amulet, ignore the can't take component parts rule. The crystal is part of the amulet. The description of the crystal is "A clear and sparkling crystal, the size of a nut." Instead of turning the crystal when the crystal is part of the amulet, try prying the crystal from the amulet. Instead of taking the crystal when the crystal is part of the amulet, try prying the crystal from the amulet. Instead of opening the amulet: if the crystal is part of the amulet begin; try prying the crystal from the amulet; otherwise; say "The amulet has already been opened."; end if; The high-up window is scenery in your bedroom. The description of the high-up window is "Despite the bars, it lets in enough sunlight for you to see." Your travelling case is an openable container in your bedroom. "Your travelling case sits at the foot of the bed." The travelling case is closed. Understand "traveling" and "luggage" as the travelling case. The description of the travelling case is "The case is bound in black leather, somewhat scuffed from your travelling[if the case is open]. Inside the case you see [list of things in the case][end if]." The rope discussion flag is a number variable. The rope discussion flag is 0. Instead of searching the travelling case: if the travelling case is not open begin; say "(first opening the case)"; try silently opening the travelling case; if the travelling case is not open, stop the action; end if; if the travelling case does not hide anything begin; say "You search the case carefully, but of course there's nothing there now."; otherwise; let the discovery be a random thing hidden by the travelling case; now the discovery is carried by the player; now the travelling case hides 0; if the discovery is the rope and the rope discussion flag is 0 begin; change the rope discussion flag to 1; say "You search under the clothes in the case and then pull out the only kind of rope you've been able to improvise in your time here -- a chain of brightly-colored sashes, tied together."; otherwise; say "You reach under the clothes and pull out [the discovery]."; end if; end if. Instead of hiding in the travelling case: if the travelling case is hiding something begin; say "There's only room for one thing in there."; otherwise; say "You tuck [the noun] away beneath the clothes."; now the travelling case hides the noun; remove the noun from play; end if. Some clothes are in the travelling case. The description of the clothes is "You chose your outfits carefully, knowing you'd need to be prepared for a variety of circumstances, and knowing your possessions would almost certainly be searched." Understand "clothing" as the clothes. Instead of searching or looking under the clothes, try searching the travelling case. Instead of taking or wearing the clothes, say "You're dressed appropriately for the moment." A rope of brightly-colored sashes is a thing hidden by the travelling case. Understand "sash" as the rope. The description of the rope is "The sashes are each a different color, and taken as a whole, the effect is a little startling. But after all, in cases like these, necessity is the mother of invention, and fashion sense is at best a second cousin." Instead of tying the rope to something, say "There's only one thing you really need to tie the rope to." Instead of tying the rope to the suite door, say "Clever. But they'll doubtlessly be waiting out there. Better stick with the previous plan." Instead of tying the rope to the player, say "I've heard of security blankets, but this is ridiculous." The Balcony is west of your suite. "This platform isn't huge, but some days being out here is the most freedom you get. It's certainly got the best view. A wide railing curves around the edge, preventing accidental tumbles." Instead of going nowhere from the Balcony, say "Unless you're feeling athletic (or foolish) the only way is back east." Instead of going down in the Balcony: if the player is carrying the rope begin; if the ripple is in the Balcony begin; say "The rope would get you down, if you had some way of getting rid of that ripple-field."; otherwise; say "You tie the sash rope to the balcony railing, give it a few tugs to make sure the knots are secure, and start down."; change escaped from balcony to 1; end if; otherwise; if the ripple is in the Balcony begin; say "The fall won't kill you, because hitting that ripple-field will first."; otherwise; say "The fall would break your neck."; end if; end if. Instead of jumping in the Balcony, try going down. A wide railing is scenery in the Balcony. "The railing is made from dark wood and carved with geometric shapes. It is wide on top and seems fairly sturdy." Instead of taking or attacking the railing, say "Yep, seems pretty sturdy." Instead of tying the rope to the railing, try going down. Understand "balcony" as the railing. Instead of climbing the rope in the Balcony, try going down. The ripple is fixed in place in the Balcony. "A faint ripple in the air is the only sign of the bubble that surrounds this balcony." The description of the ripple is "It's hard to see, but nonetheless manages to seem like it's pressing in on you." Understand "bubble" and "field" as the ripple. Instead of touching the ripple, say "It's just out of reach. Probably for the best." Instead of throwing something at the ripple, say "[The noun] will probably be blasted to pieces, [italic type]and[roman type] you'll set off an alarm." Instead of doing something other than examining or throwing or touching with the ripple, say "Attention is exactly what you don't need at this point." Part 2 - Doors Aplenty by Sean Barrett Section 0 - Polishing up Part 1 Instead of searching or looking under the cushion, try searching the divan. Section 1 - Transitioning from Part 1 Whisper 2 is a scene. Whisper 2 begins when Whisper 1 ends. When Whisper 2 begins: move brightly-colored sashes to dangling; now brightly-colored sashes is scenery; move player to dangling. To decide if it's ok to leave part 1: if the ripple is in the Balcony, decide yes; if the player does not have the amulet, decide no; if the crystal is part of the amulet, decide yes; if the player has the crystal, decide yes; decide no. Before going down when the location is the Balcony: if it's ok to leave part 1, continue the action; say "There's no coming back after this, so you better make sure you bring the amulet and crystal."; Stop the action. When play begins, say "You sure hope Maurice's insider is for real." Section 2 - Dangling on the rope Dangling is a room. The printed name of dangling is "On the rope". "A light breeze rocks you gently back and forth as you dangle near the end of the colored sashes. In front of you is an open window." Instead of selfswinging on the brightly-colored sashes in Dangling, try xselfswinging. Instead of going down from Dangling, say "That'll happen soon enough." Instead of going up from Dangling, say "No turning back now." Instead of taking the brightly-colored sashes when in Dangling, say "You can do that [italic type]after[roman type] you lift yourself up with your bootstraps." The exterior window is an open scenery door. It is east of Dangling. Through it is the Former Lab. The description is "Looks like Maurice's insider [italic type]was[roman type] for real." Instead of climbing the exterior window, try entering the exterior window. Instead of going through the closed exterior window, say "The window is shut." When the ripple returns: now the ripple is in the balcony; if the player is in the balcony, say "A faint shimmer in the air is the only thing that announces the ripple has reformed."; if the player is in dangling begin; say "A faint shimmer in the air announces that the ripple has reformed; the sudden reassertion of gravity upon your person confirms it.[line break]That is to say: you are falling.[line break]"; the player falls to her death in zero turns from now; end if. When the player falls to her death: if in dangling begin; say "The fall breaks your neck."; end the game in death; end if. swinging2 is a number that varies. swinging2 is 0. Before going through the exterior window when in Dangling: if swinging2 is 0 begin; say "The window is just out of reach."; stop the action; end if; say "Swinging on the make-shift rope, you just manage to reach the window and dive through it.[line break]". Instead of selfswinging through the exterior window when in Dangling: say "You swing through the window, almost hoping someone will be inside to see your daring maneuver."; move player to Former Lab. Instead of selfswinging to the exterior window when in Dangling: say "[if swinging2 is 1]You swing over to the window.[otherwise]You begin swinging yourself back and forth, dangling from the sashes, until you swing close to the window."; change swinging2 to 1. Instead of xselfswinging when in Dangling: say "You [if swinging2 is 1]swing[otherwise]begin swinging[end if] yourself back and forth, dangling from the sashes."; change swinging2 to 1. Instead of swinging the sashes, try xselfswinging. Instead of jumping in Dangling, try climbing the exterior window. After dropping something (called the X) in Dangling: say "[The X] slips from your hand and falls out of your sight."; remove the X from play. Section 3 - In the lab Every turn when in the Former Lab for the first turn: if we have not examined the exterior window, say "Seems Maurice's insider [italic type]was[roman type] for real." Former Lab is a room. "You can't say for sure what use this chemistry laboratory may have had before the equipment in it was wrecked, but given why you're here, you've got plenty of suspicions. A path through the mess on the floor has been cleared from the window to the west to the [if lab door is closed]closed [end if]door to the east." An froomble window is an enterable scenery thing in Former Lab. It has printed name "exterior window". It has the description "Lets in more than just light and fresh air, eh?" Instead of going through the closed froomble window, say "The window is closed." Instead of entering the froomble window, say "The fall would break your neck." Understand "exterior" as the froomble window. Instead of going west in the Former Lab, try entering the froomble window. A scenery thing called the wrecked equipment is here. It has the description "Various laboratory equipment has been smashed and strewn about throughout the room. Trashed test tubes, bashed beakers, demolished dessicators, munged microscopes; it's all here, scattered about the floor and the countertops. Cabinet doors lie open, their contents removed or destroyed." Understand "trashed" and "test" and "tube" and "tubes" and "bashed" and "beaker" and "demolished" and "dessicator" and "munged" and "microscope" and "laboratory" and "mess" and "detritus" and "cabinets" as the wrecked equipment. Instead of searching the wrecked equipment: if the noun does not hide anything begin; say "You search the detritus carefully, but can find nothing of further interest."; otherwise; let the discovery be a random thing hidden by the noun; now the discovery is carried by the player; now the noun hides 0; say "Searching through the detritus in the room, you eventually discovered an intact [discovery]. You lift it free."; end if. A thing can be oversized or test-tube-sized. The crystal is test-tube-sized. A test tube is a container hidden by the wrecked equipment. The description is "Clear, unblemished glass shaped into a tube wide enough to contain a nut." Instead of inserting something oversized into the test tube, say "That won't fit." Report examining the test tube when the test tube contains something: say "In [the noun] [is/are list of things in the noun]." To stick (X - thing) in (Y - thing): if Y is a container, try silently inserting X into Y; if Y is a supporter, try silently putting X on Y; if X is not in Y and X is not on Y, move X to location. A tiny puddle is a thing. The description is "A tiny puddle of [if reactive]red [end if]liquid." The printed name is "tiny puddle of liquid". When puddle dissipates: if player can see puddle, say "The tiny puddle of [if puddle is reactive]red [end if]liquid seeps away."; remove puddle from play. To puddleify (X - object): move tiny puddle to X; now tiny puddle is not reactive; if thimbleful is reactive, now tiny puddle is reactive; remove thimbleful from play; now thimbleful is not reactive; puddle dissipates in two turns from now. Instead of pouring the test tube on something (called target): if the test tube contains something begin; say "You pour [the list of things in the noun] on [the target]."; if thimbleful is in test tube and target is not a container, puddleify location; if crystal is in test tube begin; stick crystal in target; end if; otherwise; say "There's nothing in the test tube."; end if. Instead of pouxing the test tube: if the test tube contains something begin; say "You pour [the list of things in the noun] on the ground."; if thimbleful is in test tube, puddleify location; if crystal is in test tube begin; move crystal to location; end if; otherwise; say "There's nothing in the test tube."; end if. Instead of pouring something in the test tube on something (called target), try pouring the test tube on the target. Instead of pouxing something in the test tube, try pouxing the test tube. Instead of filling the test tube in the presence of the tiny puddle, try filling the test tube with the tiny puddle. A lab door is east of Former Lab and west of Elevator Access. It is a door and closed and scenery. Instead of going nowhere from the Former Lab, say "The only exit from the lab is through the door to the east." Section 4 - By the elevator Elevator Access is a room. "An elevator can be accessed here, at least by someone who isn't worried about being caught. A corridor leads away north. There are doors to the west and south[if lab door is closed and service door is closed], both closed[if lab door is open and service door is closed]; the former is open[if lab door is closed and service door is open]; the latter is open[otherwise], both open[end if]." Instead of going nowhere from Elevator Access, say "The corridor leads north; the elevator is east, and there are doors west and south." A puddle of liquid is a fixed in place thing. It is here. "A puddle of liquid spreads outward from the door to the south." The description is "The puddle of clear liquid is only a few feet wide." Instead of taking the puddle of liquid, say "That's not something you can take." Instead of tasting the puddle of liquid, say "Tasteless." Instead of smelling the puddle of liquid, say "Odorless." Instead of drinking the puddle of liquid, say "Stay on target, Luke." Understand "water" as the puddle. Instead of inserting the puddle of liquid into the test tube: if the thimbleful of liquid is not in the test tube begin; say "You drag the test tube through the puddle, gathering a little liquid."; move thimbleful of liquid to test tube; rule succeeds; otherwise; say "The test tube is already full."; end if. Instead of filling the test tube in the presence of the puddle of liquid, try filling the test tube with the puddle of liquid. A thing can be reactive. A thimbleful of liquid is a thing. The description is "A thimbleful of [if reactive]red liquid[otherwise]clear liquid[end if] lies at the bottom of the test tube[if crystal is in the test tube], bubbling around the crystal[end if]." The printed name is "thimbleful of [if reactive]red [end if]liquid". Instead of doing something other than pouring, pouxing, or examining with the thimbleful, say "You shouldn't handle that directly." Table of Reaction Messages reaction "The crystal reacts vigorously with the liquid, bubbling furiously" "The crystal continues to react with the liquid, bubbling slowly" "The crystal shrinks inside as it reacts with the liquid, which is turning red" "The crystal dissolves away entirely within the liquid" Reaction turn count is a number that varies. Every turn when the thimbleful is in the test tube and the crystal is in the tube: change reaction turn count to reaction turn count plus one; if reaction turn count <= the number of rows in Table of Reaction Messages begin; if the test tube is visible begin; choose row reaction turn count in Table of Reaction Messages; say "[reaction entry]."; end if; end if; if reaction turn count is the number of rows in Table of Reaction Messages begin; remove crystal from play; now thimbleful of liquid is reactive; end if; A scenery thing called the elevator components is here. The description is "There is a closed elevator door. Above it is a sequence of numbers. Beside the elevator are two buttons, one with an up arrow and one with a down arrow." Understand "call button" and "button" and "up" and "down" and "numbers" and "number" and "circle" and "door" as the elevator components. Instead of doing something other than examining with the elevator components, say "Better to not call any attention to your activities." Service Access is a room. A service door is south of Elevator Access and west of Closet. It is a door and scenery. The service door is locked. Section 5 - The Extended Corridor Corridor is north of Elevator Access. "The corridor continues north and south. [If closet door is open]An open door in the east wall reveals a closet.[otherwise]In the east wall is a closed door." A white sheen is here. The sheen is either pristine, puddled, or mopped. The sheen is a fixed in place supporter. "A sheen of white covers the floor of the corridor northward for many feet[if mopped]. A clear path leads through the center of it[end if]." The description is "A white glazing covers the floor from wall to wall heading northward[if pristine]. Some sort of tracking or trapping material; the Sultan is notorious for that sort of thing. Fortunately you came prepared[if puddled]; it is reacting slightly to the liquid[otherwise]. There is a clear path through the center of it[end if]." The printed name is "sheen of white". Instead of jumping over the sheen, say "It's too far to jump." Instead of going north from Corridor: if the sheen is not mopped, say "You'd better not step through that stuff. You're not positive what would happen, but it couldn't be good."; otherwise continue the action. A closet door is east of Corridor and west of Maintenance Closet. It is an open scenery door. Instead of pouxing something in Corridor, try pouring the noun on the white sheen. Instead of pouring the tube on the white sheen: if the test tube contains something begin; say "You pour [the list of things in the noun] on [the white sheen]."; if thimbleful is in test tube begin; puddleify location; if tiny puddle is reactive begin; now sheen is puddled; otherwise; say "[line break]The liquid seems to have no effect on the white glazing.[line break]"; end if; remove tiny puddle from play; end if; if crystal is in test tube begin; move crystal to location; end if; otherwise; say "There's nothing in the test tube."; end if. gone north from the corridor is a number that varies. gone north from the corridor is 0. After going north from Corridor: change gone north from the corridor to 1; continue the action. Section 6 - Maintenance Closet Maintenance Closet is a room. "The stained floors and shelving suggests this closet was once well-used, if not well-maintained; but it was cleaned out some time ago, if not cleaned up." A closet shelf is a scenery supporter. Understand "shelves" and "shelving" as the closet shelf. A battered mop is here. The mop is either wet or dry. "A battered mop leans in one corner." The description is "Well-worn. [if dry]The mop is quite dry; it hasn't been used in some time.[otherwise]The mop is slightly damp." Instead of pouring something on the mop, say "It would be more effective to pour [the noun] directly on some surface and then mop it." Mopping is an action applying to one thing. Understand "mop [something]" as mopping. Mopxing it with is an action applying to two things. Understand "mop [something] with [something]" as mopxing it with. Instead of mopxing something with something: if the second noun is not the mop, say "You can't mop with that."; otherwise try mopping the noun. Before mopping something: if player has the mop, continue the action; say "You don't have anything to mop with."; stop the action. Instead of mopping the puddle of liquid: say "You mop the puddle for a while, but to no avail; more liquid must be leaking out from behind the door."; now the mop is wet. Instead of mopping the white sheen: if the sheen is mopped, say "You've done enough!"; if the sheen is pristine, say "You push the mop over the white sheen, but to no effect."; if the sheen is puddled begin; now the sheen is mopped; say "You mop a strip up through the center of the white sheen, offering egress to the north."; end if. Every turn when the sheen is puddled for the first time, say "The red liquid reacts slowly with the white sheen." Every turn when the sheen is puddled for the second time, say "The red liquid continues to react with the white sheen." Section 7 - Ending, Notes Whisper 2 ends when gone north from the corridor is 1. Carry out skipping ahead during Whisper 2: say "Skipping scene 2."; now the sheen is mopped; remove crystal from play; now the wrecked equipment hides 0; move the test tube to the player; move the mop to the player; move the player to the corridor, without printing a room description; try going north; rule succeeds. Section 8 - Debug stuff - Not for release Test wh2 with "swing / e / search mess / open door/ e / fill tube / put crystal in tube / n / e / get mop / w / pour tube on sheen / z / mop sheen / n" [Test Place is north of Corridor. When Whisper 2 ends, say "Fini!"] [ Note for Part 3: the following items are explicitly under-implemented and available for your use * the locked door south of the corridor leads to an undescribed Service Access (you can even rename that using 'the printed name of'). There is no key for the locked door, so you can either create one in your part, or just ignore the whole thing. * the elevator system is not used, but probably hard to try to make use of, since you'd need to override my definitions. * there's not much in the maintenence closet * define a room north of Corridor. Whisper 2 ends when the player travels there; but the player is then still free to go back through my rooms to access the above things (unless you choose to prevent that), or anything else you should choose to add to my area. Other then the last one, there is no harm if you choose not to use them, they just become red herrings. ] Part 3 - Shadowy Figures by N B Horvath Section 0 - Polishing up Part 2 Whisper 3 is a scene. Whisper 3 begins when Whisper 2 ends. [ When Whisper 3 begins: say "Some cool stuff happens that you decide!" ] Section 1 - Empty Lab Empty Lab is north of Corridor. "This lab has been cleaned out entirely. Exits are to the east and south." Section 2 - Office [Never mind that the office is not adjacent to the empty lab of Section 1.] A folding metal chair is a kind of supporter with carrying capacity 1. "The chairs look only moderately uncomfortable." It is enterable. It is usually scenery. Understand "chair" as a chair. Office is a room. "You are in a cramped office. A small metal chair here sits at a table. The only exit is to the west." The small chair is a folding metal chair in Office. "The chair looks painful to sit in." The office table is a supporter in Office. The office table is scenery. "The table is painted a faded orange. The paint has faded so deeply in places that you can see the wood underneath. Hunh. Teak." The petrified lemon is on the office table. The description of the lemon is "A whole lemon, but with a dull stone finish in place of the expected lemony brightness. This must be the result of one of the sultan's experiments." Instead of eating the lemon, say "You would accomplish nothing by that feat. Except contributing to your dentist's retirement fund." The speakerphone is a fixed in place thing on the office table. Understand "phone" as the speakerphone. The description of the speakerphone is "The speakerphone is made of an impossibly thick black plastic. It contains a receptacle." The receptacle is a container. It is part of the speakerphone. The description of the receptacle is "The receptacle is amulet-shaped. Come to think of it, Maurice did say that the amulet was a key for a secure teleconnection with him, in case it was needed." The carrying capacity of the receptacle is 1. The phoned amulet flag is a number variable. The phoned amulet flag is 0. After inserting the amulet into the receptacle: if the phoned amulet flag is 1 begin; Say "Nothing else happens."; Otherwise; Say "Click. [paragraph break]After a pause, Maurice's voice floats into the room. You tell him everything that has happened, everything you know or guess. There is a pause, then a muffled click from Maurice's end of the line. 'There!' Maurice says. 'I've just unlocked the service door for you. Keep on keepin[apostrophe] on. Avoid the [italic type]Punakawan[roman type].' [paragraph break]You wonder, not for the first time, whom you're betraying: The sultan? The prince? the princess? Maurice? Yourself?[line break]"; Change the phoned amulet flag to 1; Now the service door is unlocked; End if. Section 3 - Theater Theater is west from the Office and east from the empty lab. "You are in a tiny theater. At the southern end of the room is a complex track[if the projector is not done] with some sculpture on it[end if]. At the northern end of the room are some folding chairs and an industrial strength lamp, mounted on a battered projector, facing south. There are exits to the east and west." Three folding metal chairs are in the theater. The battered projector is a device in the Theater. It is scenery. Understand "lamp", "industrial", "strength", "light" and "machine" as the battered projector. The battered projector can be ready, playing, or done. The battered projector is ready. The description of the projector is "The projector looks the worse for wear, but somehow it supports a convex lamp that could be a baby searchlight." The complex track is a supporter in the Theater. It is scenery. On the complex track is a group of metal figures. "The track forms a base for some metal sculpture." The group of metal figures is scenery. Understand "figure", "humanoid", "shape", "figures", "shapes", "sculptures" and "sculpture" as a group of metal figures. The description of the group of metal figures is "Three vaguely humanoid shapes, silvery and pancake-thin, [if projector is ready]stand still on[end if][if projector is playing]slide along[end if] the track." Table of Performance Messages performance "A bright beam leaps from the lamp. You pull your head back reflexively, then turn to look at the south wall. The shadows of the sculpture resolve into silhouettes of a father, a young son, and a young daughter. You recognize the figures as the Sultan and his progeny. [line break] [line break]The shadow children sway back and forth, while the sultan looks down upon them benevolently" "Two of the metal pieces slide outwards on the track, towards the lamp. The prince and the princess grow up" "By some alchemy, the largest metal piece wilts. The shadow children's heads turn to their fallen father, then to each other. [line break] [line break]The heirs[apostrophe] outlines start whirring like chainsaws. The princess reaches toward the prince, takes something from him. The prince's body stiffens" "The prince and princess storm out of the picture. The lamp clicks off" Instead of switching off the battered projector when the projector is playing: Say "No effect. The show goes on." Instead of switching on the battered projector when the battered projector is done: Say "Show's over." After switching on battered projector: change the battered projector to playing; Performance turn count is a number that varies. Every turn when battered projector is switched on: change performance turn count to performance turn count plus one; if performance turn count <= the number of rows in Table of Performance Messages begin; if the battered projector is visible begin; choose row performance turn count in Table of Performance Messages; say "[performance entry].[line break]"; end if; end if; if performance turn count is the number of rows in Table of Performance Messages begin; change the battered projector to done; change the battered projector to switched off; remove the group of metal figures from play; end if; Section 4 - Atmosphere NBH is a region. The Office, the Empty Lab and the Theater are in NBH. Table of NBH Events event "You hear a CLANG from the south and west. Must be some wrecked lab equipment hitting the floor." "Water drips down a pipe someplace. Tap, tap, tap ..." "Click! A door someplace on this floor opened. Or closed. The sound was too muffled to tell, really." "You feel flushed, for no reason." "Your stomach growls." "You brush a lock of hair out of your eye." Every turn when a random chance of 1 in 8 succeeds: if player is in a room in NBH begin; choose a random row in the Table of NBH Events; say "[event entry][paragraph break]"; end if. Section 5 - Ending, Notes The gone south from Elevator Access flag is a number variable. The gone south from Elevator Access flag is 0. After going south from Elevator Access: move the player to Service Access; say "The puddle of liquid seems to have dried up."; change the gone south from Elevator Access flag to 1. North from Service Access is Elevator Access. Whisper 3 ends when the gone south from Elevator Access flag is 1. Carry out skipping ahead during Whisper 3: say "Skipping scene 3."; change the gone south from Elevator Access flag to 1; change the phoned amulet flag to 1; now the service door is unlocked; move the player to Service Access; rule succeeds. Section 6 - Debug stuff - Not for release Test wh3 with "e / turn on projector / z / z / z / e / open drawer/ get all / read letter / get all / put amulet in receptacle / w / w / s / s / open service door / s" [A note to the Part 4 author: * The Elevator Access room, and the Service Access room to its south, are disconnected from the empty lab/theater/office that I defined. Earlier on in the game, the Service Access room is inaccessible; the door to it is locked. At the end of Part 3, that door should be unlocked, and the player should be able to enter the Service Access room. * I didn't do anything with the petrified lemon. It's yours to build on. * Likewise for the Punakawan. I took the name from a Wikipedia article. ] Part 4 - Splish Splash by Mark J Musante Whisper 4 is a scene. Whisper 4 begins when Whisper 3 ends. Whisper 4 ends when the player is in Secluded Garden for the first time. Carry out skipping ahead during Whisper 4: say "Skipping scene 4."; now the silver key is carried by the player; now the metal gate is unlocked; now the metal gate is open; move the player to Secluded Garden; rule succeeds. Section 1 - Debug stuff - Not for release Test wh4 with "test grating / test machine / test rubble" Test grating with "open grating / d / e / s / w / s / e / unrandomize / open door/ get all cards / x yellow / turn knob left / x display / put lemon on surface / push machine button / x green card / turn knob left / x display / put grape on surface / push machine button" Test machine with "x red card / turn knob left / x display / put apple on surface / push machine button / x orange card / turn knob left / x display / put petrified orange on surface / push machine button" Test rubble with "get all rubble / put all rubble in curious device / get key / w / unlock gate with key / open gate / unrandomize / s" Chapter 1 - Objects Section 1 - Nouns [A thing can be petrified. Things are usually not petrified.] The petrified orange is on the office table. The description of the orange is "A whole orange, but with a dull stone finish in place of the expected orangey brightness. This must be the result of one of the sultan's experiments." Instead of eating the orange, say "You would accomplish nothing by that feat, except contributing to your dentist's retirement fund." The petrified grape is on the office table. The description of the grape is "A whole grape, but with a dull stone finish in place of the expected grapey brightness. This must be the result of one of the sultan's experiments." Instead of eating the grape, say "You would accomplish nothing by that feat, except contributing to your dentist's retirement fund." The petrified apple is on the office table. The description of the apple is "A whole apple, but with a dull stone finish in place of the expected appley brightness. This must be the result of one of the sultan's experiments." Instead of eating the apple, say "You would accomplish nothing by that feat, except contributing to your dentist's retirement fund." The broken machine flag is a number variable. The broken machine flag is 0. The great huge machine is in Machine Room. "A great huge machine takes up most of this room. The metal-clad behemoth sports a knob (above which is a display) and a button. [if the broken machine flag is 1]A hard flat surface sits beside a little door[otherwise]Attached to it is a giant hammer which is suspended above a flat hard surface, and on one side is a little door[end if]." It is scenery. The flat hard surface is part of the great huge machine. The flat hard surface is a supporter. Understand "table" as the flat hard surface. The little door is part of the great huge machine. The little door is a closed openable container. A knob is part of the great huge machine. The description of the knob is "Just a simple knob, which can be turned left and right. There are no markings on it whatsoever." The display is part of the great huge machine. The machine button is part of the great huge machine. The description of the machine button is "Perfectly designed for pushing." A giant hammer is part of the great huge machine. The description of the giant hammer is "Poised above the flat surface, a giant hammer waits, ready to destroy anything in its path." Inside the little door are a yellow card, an orange card, a green card, and a red card. Instead of putting something on the great huge machine, try putting the noun on the flat hard surface. Markm's Void is a container. The plural of rubbly rubble is piles of rubble. A rubbly rubble is a kind of thing. Four piles of rubble are in Markm's Void. The indefinite article of rubbly rubble is "some". The printed name of rubbly rubble is "rubble". Understand "pile of rubble" as rubbly rubble. A narrow bench is a scenery supporter in Machine Room. "A low, narrow bench has been pushed up along one wall. On it you see [contents of narrow bench]." A curious device full of bubbly liquid is on the narrow bench. It is scenery open container. The description of it is "The liquid bubbles and burbles in a most curious manner." Instead of drinking the curious device full of bubbly liquid, say "It looks (and smells) poisonous." The silver key is a thing. The metal gate is a scenery closed locked door. It is south of Sewer Exit. Through it is Secluded Garden. Understand "large metal gate" as metal gate. The silver key unlocks the metal gate. The pipes, water ripples, and sewer water are backdrops. The pipes, water ripples, and sewer water are in the Great Sewers. Understand "filthy water" as sewer water. A painting is a kind of thing. Paintings are scenery. Understand "paintings" as paintings. The painting of the prince is a painting in Machine Room. "The prince is standing in front of a large window with flowers and vines growing about. He is wearing his full military regalia and a sword that appears much too large for him. Something looks odd about it... in a moment you figure it out: his face appears too chubby for the rest of his body." Understand "sword", "flowers", "vines", and "chubby" as the painting of the prince. The painting of the princess is a painting in Machine Room. "The princess is lounging on a purple velvet padded bench, handmaidens all around. She appears to be getting ready for a party and looks incredibly bored with the whole process." Understand "handmaidens" as the painting of the princess. The painting of the sultan is a painting in Machine Room. "The sultan has been painted as a large, burly, happy man with a white outfit to match his white hair. On every finger is two rings, and around his neck is an enormous pendant with the largest ruby you've ever seen set into it." Understand "white", "outfit", "hair", "rings", "pendant", and "ruby" as the painting of the sultan. Chapter 2 - Tables Table MM1 - What To Do With Fruit fruit action code result petrified lemon "pulverize" 16 "The hammer comes down and completely pulverizes the fruit. All that's left is a bit of rubble." petrified orange "smash" 19 "The hammer smashes the fruit into rubble." petrified grape "crush" 3 "With a terrific [bold type]whomp[roman type], the fruit is completely crushed. Rubble is all that remains." petrified apple "bash" 2 "The hammer bashes the fruit, which splinters, breaks and, finally, turns into rubble." Table MM2 - Sewer Room Atmospheric Sounds sound "A sudden squeaking sounds startles you." "Water drips annoyingly from pipes overhead." "The echo of rats fighting -- or mating -- washes over you." "A burst of movement catches your eye. You spin quickly to see what it is, but it's gone." "Something dives into the water nearby, glides under the surface, and disappears. Nothing but ripples remain." Chapter 3 - Puzzles Current setting is a number that varies. The current setting is 1. Instead of turning left the knob: if current setting is 1, change current setting to the number of rows in Table MM1; otherwise change current setting to current setting minus 1; choose row current setting in Table MM1; say "You turn the knob to the left, and the display flickers and changes to '[action entry]'." Instead of turning right the knob: if current setting is the number of rows in Table MM1, change current setting to 1; otherwise change current setting to current setting plus 1; choose row current setting in Table MM1; say "You turn the knob to the right, and the display flickers and changes to '[action entry]'." Instead of turning the knob, try turning right the knob. Instead of examining the display: choose row current setting in Table MM1; say "The display reads '[action entry]'." Before opening the little door for the first time: let cnt be the number of rows in Table MM1; repeat with N running from 1 to cnt begin; choose row N in Table MM1; let choice-a be the fruit entry; let swprow be a random number from 1 to cnt; if swprow is not N begin; choose row swprow in Table MM1; let choice-b be the fruit entry; change the fruit entry to choice-a; choose row N in Table MM1; change the fruit entry to choice-b; end if; end repeat; [There's gotta be a better way to do this; begin;] Instead of examining the yellow card, say "Written on the yellow card is the number [yellow card desc]." Instead of examining the orange card, say "Written on the orange card is the number [orange card desc]." Instead of examining the green card, say "Written on the green card is the number [green card desc]." Instead of examining the red card, say "Written on the red card is the number [red card desc]." To say yellow card desc: let mycode be the code corresponding to a fruit of petrified lemon in Table MM1; say mycode. To say orange card desc: let mycode be the code corresponding to a fruit of petrified orange in Table MM1; say mycode. To say green card desc: let mycode be the code corresponding to a fruit of petrified grape in Table MM1; say mycode. To say red card desc: let mycode be the code corresponding to a fruit of petrified apple in Table MM1; say mycode. [end not a better way;] Before putting something on the flat hard surface when the flat hard surface supports something: say "The machine only holds one thing at a time."; stop the action. Instead of pushing the great huge machine, try pushing the machine button. Before pushing the machine button when the broken machine flag is 1: say "Alas, the behemoth is irreparably damaged."; stop the action. Instead of pushing the machine button when the flat hard surface supports something (called fitem): choose row current setting in Table MM1; if fruit entry is fitem begin; say "[result entry][paragraph break]"; remove fruit entry from play; move a random rubbly rubble in Markm's Void to the Machine Room; otherwise; if fitem is rubbly rubble begin; say "Rubble is already rubble. You can't do much more to it."; otherwise; say "The giant hammer comes down in an attempt to [action entry] [the fitem], but amazingly it is undamaged. Instead, the hammer breaks off into a thousand tiny shards!"; change the broken machine flag to 1; remove the giant hammer from play; end if; end if; Rubble count is a number that varies. Rubble count is 0. Instead of inserting something (called fput) into the curious device full of bubbly liquid: if fput is rubbly rubble begin; remove fput from play; change rubble count to rubble count plus 1; if rubble count is the number of rows in Table MM1 begin; move the silver key to the narrow bench; remove the curious device full of bubbly liquid from play; say "As the last bit of rubble sinks into the liquid, the device glows with an unearthly light! Brighter and brighter it gets until, at last, you have to shield your eyes. Slowly, the glow dies down and, when you look again, you see a key."; otherwise; say "The rubble sinks slowly into the liquid."; end if; otherwise; say "[The fput] bounces off the surface of the liquid!"; end if; Chapter 4 - Map Section 1 - Connection with part 3 A metal grating is a container in Service Access. The metal grating is fixed in place, openable, and closed. "[grating desc]." Understand "hole" as the metal grating. To say grating desc: if the metal grating is closed, say "A metal grating is the only thing stopping you from falling into the dark hole in the floor"; otherwise say "The open grating allows access through a dark hole in the floor" Instead of entering the metal grating, try going down. Instead of going down from Service Access while the metal grating is closed: say "The metal grating is in your way." Section 2 - The Sewers Sewerroom is a kind of room. The printed name of a sewerroom is "Sewer". Sewer A is a sewerroom. "Some light, barely enough to see by, oozes out of the hole above you. The dim shadows indicate that the sewers lead, eastwards and westwards, into darkness." Sewer B is a sewerroom. "The filthy water flows to the west and south here, although west is the only direction that light is actually coming from." Sewer C is a sewerroom. "The filthy water flows to the east and south here, although east is the only direction that light is actually coming from." Sewer D is a sewerroom. "Off to the east you can barely make out a flicker of light, although the tunnel also heads northwards." Sewer E is a sewerroom. "You blink in the near-dark, and you come to the conclusion that the light you see off to the west is not a figment of your imagination." Sewer F is a sewerroom. "Two sewage-filled rivers meet here from the east and west, combining to flow southwards." Sewer Exit is a sewerroom. "A stream of sewage-filled water flows from the north through a large metal gate to the south. To the east, shedding a bit of light in the area, is a small doorway." Sewer A is down from Service Access. Sewer B is east from Sewer A. Sewer C is west from Sewer A. Sewer D is south from Sewer C. Sewer E is south from Sewer B. Sewer F is east from Sewer D. Sewer F is west from Sewer E. Sewer Exit is south from Sewer F. The Great Sewers is a region. Sewer A, Sewer B, Sewer C, Sewer D, Sewer E, Sewer F, and Sewer Exit are in the Great Sewers. Every turn when a random chance of 1 in 5 succeeds: if player is in a sewerroom begin; choose a random row in Table MM2; say "[sound entry][paragraph break]"; end if. Section 3 - The Machine Room Machine Room is east from Sewer Exit. "Although your eye is initially drawn to a narrow bench along one wall, you slowly come to realize that the huge hulking blackness on the far wall is not, in fact, empty space, but a great huge machine. A doorway westwards leads back out to the sewers and above it are three paintings." Section 4 - The Outside Secluded Garden is a room. "A dirty, sludgy stream flows from a man-made gash in the rocky hillside here. A large green meadow spreads out southwards, and far off in the distance, to the east, you see the edge of Punakawan Forest." Part 5 - Stone Cold Regrets by Roger Carbol Whisper 5 is a scene. Whisper 5 begins when Whisper 4 ends. Whisper 5 ends when the player is in the Forest for the first time. Carry out skipping ahead during Whisper 5: say "Skipping scene 5."; remove the toll machine from play; remove the sprig of rue from play; now the weasel is following; move the player to Forest; move the weasel to Forest; remove the cockatrice from play; rule succeeds. Section 1 - Debug stuff - Not for release Test wh5 with "e / s / x display / read plaque / turn red card / put red in white slot / g / g / g / put yellow in black / s / give rue to weasel / sw / z / z / z / up / get egg / d / se " Chapter 0 - That Which Has Gone Before [In which our author abuses the objects defined by the previous author, but adds a few new ones. --RC] Section 1 - Nice Office Table You Have There -- Shame If Something Were To Happen To It Carry out examining the office table: If the office table has a description begin; say "[description] On it [is/are list of things on the office table]. It seems to have a small drawer."; otherwise; say "There is an office table here. On it [is/are list of things on the office table]. It seems to have a small drawer."; end if; Rule succeeds. [That should preserve any office table description given by its creator, but not fail if, for some reason, that person decided a non-described object would be a good idea. --RC] [Part 1 - Show Us Your Drawers] The drawer is part of the office table. The description of the drawer is "A small drawer is built into the desk. It is [if the drawer is closed]closed[otherwise]open[end if]." The drawer is an openable container. The drawer is closed. [Part 2 - The Memo] The memo is in the drawer. The description of the memo is "At first glance, it would seem to be a formal memorandum." The printing of the memo is "Smyth: I expect to see a full report on your resolution of the orchard problem two days hence. Overseer Cooper " [Just a bit of foreshadowing. --RC] [Part 3 - The Letter, and the Thyme and Rue] The letter is in the drawer. The description of the letter is "This letter is written in a flowing cursive script, imparting a friendly, even romantic, sense." The printing of the letter is "My dearest R, I shall never forget you, but I'm afraid Father will never stand for his royal daughter to be seen with a mere sewer labourer. Always, S. " The letter can be disturbed or undisturbed. The letter is undisturbed. After taking the letter: if the letter is undisturbed begin; say "As you pick up the letter, a few small items fall out."; now the leaf of thyme is on the table; now the sprig of rue is on the table; now the letter is disturbed; end if; continue the action. After reading the letter: if the letter is undisturbed begin; say "As you open the letter to read it, a few small items fall out."; now the leaf of thyme is on the table; now the sprig of rue is on the table; now the letter is disturbed; end if; continue the action. [I tried to figure out how to do this with "handled", but failed. --RC] The leaf of thyme is a thing. The description of the leaf of thyme is "Still slightly fragrant, but the years have not been kind. It's dry as a bone." The sprig of rue is a thing. The description of the sprig of rue is "This small piece of the hearty herb looks as though it could have been picked yesterday. A single yellow petal even remains." [* http://en.wikipedia.org/wiki/Rue] Instead of removing or taking the leaf of thyme: say "At your slightest touch, it disintegrates into dust."; remove the leaf of thyme from play. [I got no thyme for you. --RC] Chapter 1 - The Secluded Garden Section 1 - Scenery The stream is scenery. Understand "creek" as the stream. The description of the stream is "The sluggish sewer water takes on an alarming speed here, as it bends towards the east. You stand on the north (and east) bank." The stream is in the Secluded Garden. The hill is scenery. Understand "hillside" as the hill. The description of the hill is "The jagged rocks of the hillside make the prospect of climbing them untenablel." The hill is in the Secluded Garden. The bank is scenery. Understand "banks" as the bank. The description of the bank is "Muddy and slippery -- some day, the stream will erode this ground away entirely." The bank is in the Secluded Garden. Section 2 - Coming and Going (Mostly Going) [Part 1 - North and Northish] [The following hack is required because someone defined the metal gate as being one-way, and now I can't just treat it like a two-way door. --RC] North from the Secluded Garden is Impossible Room. Northwest from the Secluded Garden is Impossible Room. Northeast from the Secluded Garden is Impossible Room. Instead of going north from the Secluded garden: if the weasel is following begin; say "The weasel isn't [italic type]that[roman type] hungry. It refuses to follow you any further. "; now the weasel is not following; end if; say "It takes a few moments for your eyes to adjust to the dimness of the sewers after being outside."; move player to Sewer Exit. [LS DEBUG addition:] After going south from the Sewer Exit: if the weasel is in the secluded garden begin; say "The weasel seems delighted at your return, and twines around your legs."; now the weasel is following; end if; continue the action. Instead of going northwest from the Secluded Garden, try going north. Instead of going northeast from the Secluded Garden, try going north. [This may be the best way of doing this. --RC] [Part 2 - South and Southish, and West] [Is there some better way of doing this other than creating a fake room? --RC] [Yes! Instead of using "Instead of going *from*" use "Instead of going *in*" will apparently absolve you from using all these fake rooms. Knowing is half the battle. --RC] South from the Secluded Garden is Impossible Room. Southwest from the Secluded Garden is Impossible Room. Southeast from the Secluded Garden is Impossible Room. West from the Secluded Garden is Impossible Room. Instead of going south from the Secluded Garden, say "The creek blocks your way. It's far too treacherous to ford or swim." Instead of going southwest from the Secluded Garden, try going south. Instead of going southeast from the Secluded Garden, try going south. Instead of going west from the Secluded Garden, try going south. [This may still be the best way of doing this. --RC] [Part 3 - Miscellaneous Forbidden Directions and Other Movement] Up from the Secluded Garden is Impossible Room. Instead of going up from the Secluded Garden, say "The hill is far too dangerous to climb." Instead of climbing the hill, say "The hill is far too dangerous to climb." Instead of jumping in the Secluded Garden , say "You'd never make the far bank." Instead of jumping over the stream , say "You'd never make the far bank." Instead of swimming in the Secluded Garden, say "You'd never make the far bank." Inside from the Secluded Garden is Impossible Room. Instead of going inside from the Secluded Garden, try going north. [I could add 'out' as a direction from the Sewer Exit, but, ehhh. --RC] [Part 4 - East and Eastish] East from the Secluded Garden is the NorthEnd. Before going east from the Secluded Garden for the first time, say "You take a rather pleasant stroll along the north bank of the river, until you come to a bridge." Chapter 2 - The North End of the Bridge [Nothing very interesting happens here. --RC] The NorthEnd is a room. "The ground rapidly falls away along a fissure running from the northeast to the southwest. A bridge crosses the river to the south, just before the waters plunge over a ravine as a waterfall." The printed name of NorthEnd is "The North End of the Bridge". [You might think "The North End of the Bridge" is a good name for this room, but you'd be wrong. --RC] Section 1 - Scenery [There's probably a better way to do this, too, than using a bunch of duplicate objects, but ehhh. --RC] The stream2 is scenery. Understand "creek" as the stream2. Understand "stream" as the stream2. Understand "waterfall" as the stream2. The description of the stream2 is "If anything, the stream appears even more dangerous here than ever." The stream2 is in the NorthEnd. The bridgeNorth is scenery. Understand "bridge" as the bridgeNorth. The description of the bridgeNorth is "Its fine stone workmanship has withstood the ravages of time." The bridgeNorth is in the NorthEnd. The ravineNorth is scenery. Understand "ravine" as the ravineNorth. Understand "fissure" as the ravineNorth. The description of the ravineNorth is "A treacherous fissure that extends from north to south. Attempting to climb down it would be suicidal." The ravineNorth is in the NorthEnd. Section 2 - Coming and Going (Mostly Going) [Part 1 - North and Northish, and East and Eastish] North from the NorthEnd is Impossible Room. Northwest from the NorthEnd is Impossible Room. Northeast from the NorthEnd is Impossible Room. East from the NorthEnd is Impossible Room. Southeast from the NorthEnd is Impossible Room. Instead of going north from the NorthEnd, say "You can't fly over the ravine, and you're not ready to die quite yet."; Instead of going northwest from the NorthEnd, try going north. Instead of going northeast from the NorthEnd, try going north. Instead of going east from the NorthEnd, try going north. Instead of going southeast from the NorthEnd, try going north. [Part 2 - Southwest] Southwest from the NorthEnd is Impossible Room. Instead of going southwest from the NorthEnd, say "The creek still blocks your way. It's still far too treacherous to ford or swim." [Part 3 - Miscellaneous Forbidden Directions and Other Movement] Down from the NorthEnd is Impossible Room. Instead of going down from the NorthEnd, say "The ravine is far too steep to climb." Instead of climbing the ravineNorth, say "The ravine is far too steep to climb." Instead of jumping in the NorthEnd , say "You'd never make the far bank." Instead of jumping over the stream2 , say "You'd never make the far bank." Instead of swimming in the NorthEnd, say "You'd never make the far bank." [Part 4 - West] West from the NorthEnd is the Secluded Garden. [Not required, but I like it for completeness. --RC] [Part 5 - South] South from the NorthEnd is the Bridge. Chapter 3 - The Bridge The Bridge is a room. "This sturdy bridge affords an amazing view of the surrounding countryside[if the toll machine is in the Bridge]. An enormous machine blocks the way south across the bridge.[otherwise]." Section 1 - Scenery The stream3 is scenery. Understand "creek" as the stream3. Understand "stream" as the stream3. Understand "waterfall" as the stream3. The description of the stream3 is "The water seems somewhat calmer from above, but perhaps that's only in contrast to the waterfall." The stream3 is in the Bridge. The bridgeItself is scenery. Understand "bridge" as the bridgeItself. The description of the bridgeItself is "Merely walking upon it gives you an appreciation for the craftsmen of old." The bridgeItself is in the Bridge. Section 2 - Coming and Going (Mostly Going) [This room will be somewhat cleaner, since I don't really need to handle the various directions any differently.] [Part 1 - Neither North nor South] Instead of going nowhere from the Bridge, say "You've always expected a more dignified death than flinging yourself from a bridge." [Part 2 - North] North from the Bridge is NorthEnd. [Part 3 - South] South from the Bridge is SouthEnd. Instead of going south from the Bridge when the toll machine is on-stage, say "The large machine on the bridge completely blocks your way." Section 4 - The Toll Machine and Associated Hacks [This starts off alright, but gets progressively worse. --RC] [Part 1 - The Machine Proper] The toll machine is scenery. The description of the toll machine is "This massive steel construction is obviously of much newer design than the bridge on which it sits. Built into its side are a display, a plaque, and two slots -- one white, the other black." The toll machine is in the Bridge. The toll machine has a number called the total. The total of the toll machine is 0. The toll machine has a number called the goal. When Whisper 5 begins: change the goal of the toll machine to a random number from 153 to 303; change the total of the toll machine to a random number from -12 to 12. The plaque is part of the toll machine. The description of the plaque is "A sturdy brass plaque is bolted to the machine. Writing is engraved right into its surface." The printing of the plaque is "Heed Now This Royal Proclaimation: In order to secure entrance to The Holy Sultanate to worthy supplicants, and, we trust, worthy supplicants alone, the following hurdle has been erected as a test of skill. Inserting any numbered card into the white slot will increase the tally of this machine; while using the black slot will decrease the tally a similar amount. The tally to be reached, as alluded to in the Sacred Scriptures of G'Tarr, is the holy number of [goal of the toll machine]. May the Peace of Heaven guide you." [The rules of the puzzle, and a bit of colour besides. --RC] The displayScreen is part of the toll machine. The description of the displayScreen is "It reads: [total of the toll machine]." Understand "display" as the displayScreen. Understand "tally" as the displayScreen. [I think 'display' may be a keyword of some sort. --RC] Every turn when the location is the Bridge: If the total of the toll machine is the goal of the toll machine and the toll machine is in the Bridge begin; say "The machine begins to emit a strange moan, which grows increasingly louder. As it approaches an intolerable volume, the entire object inexplicably and literally throws itself off the bridge."; remove the toll machine from play; end if. [It seems more polite to only run this daemon while I'm at the bridge, rather than Every Turn throughout the whole game. Whether this really makes any runtime difference is not entirely clear. --RC] [Part 2 - Playing The Slots] [A thing can be slotlike. Things are usually not slotlike.] [A hack, but not a terribly bad hack, I don't think. --RC] [ revised for space ] Definition: A thing is slotlike if it is the white slot or it is the black slot. The white slot is part of the toll machine. The description of the white slot is "The white slot is wide but thin." The white slot is an open container. The white slot is not openable. The black slot is part of the toll machine. The description of the black slot is "The black slot is wide but thin." The black slot is an open container. The black slot is not openable. [I wish "not closeable" was a synonym for "not openable" in these sorts of situations. I'll probably write another short-and-dirty little expansion for it. --RC] [Also, don't be tempted to try "X is *a* part of Y" because that won't work. --RC] Instead of inserting something into something slotlike, say "That doesn't seem to fit into the slot." [Part 3 - The Horror of the Cards] [I would like to blame most of this on the author who defined the cards in the first place, but I'm at least equally to blame here. --RC] [A thing can be cardlike. Things are usually not cardlike. The yellow card is cardlike. The orange card is cardlike. The green card is cardlike. The red card is cardlike.] [ revised for space ] Definition: A thing is cardlike if it is the yellow card or it is the orange card or it is the green card or it is the red card. Instead of inserting something cardlike into the white slot: say "The machine processes the card for a moment, and then spits it out. You pick it up off the bridge before it blows away. You notice that the display seems to have changed."; If the noun is the red card, increase the total of the toll machine by the code corresponding to a fruit of petrified apple in Table MM1; If the noun is the green card, increase the total of the toll machine by the code corresponding to a fruit of petrified grape in Table MM1; If the noun is the orange card, increase the total of the toll machine by the code corresponding to a fruit of petrified orange in Table MM1; If the noun is the yellow card, increase the total of the toll machine by the code corresponding to a fruit of petrified lemon in Table MM1; now the player has the noun. Instead of inserting something cardlike into the black slot: say "The machine processes the card for a moment, and then spits it out. You pick it up off the bridge before it blows away. You notice that the display seems to have changed."; If the noun is the red card, decrease the total of the toll machine by the code corresponding to a fruit of petrified apple in Table MM1; If the noun is the green card, decrease the total of the toll machine by the code corresponding to a fruit of petrified grape in Table MM1; If the noun is the orange card, decrease the total of the toll machine by the code corresponding to a fruit of petrified orange in Table MM1; If the noun is the yellow card, decrease the total of the toll machine by the code corresponding to a fruit of petrified lemon in Table MM1; now the player has the noun. Instead of turning the red card: If the code corresponding to a fruit of petrified apple in Table MM1 is 91 begin; choose row with a fruit of petrified apple in Table MM1; change code entry to 16; say "You spin the card around, and now it seems to read 16."; stop; end if; If the code corresponding to a fruit of petrified apple in Table MM1 is 61 begin; choose row with a fruit of petrified apple in Table MM1; change code entry to 19; say "You spin the card around, and now it seems to read 19."; stop; end if; If the code corresponding to a fruit of petrified apple in Table MM1 is 19 begin; choose row with a fruit of petrified apple in Table MM1; change code entry to 61; say "You spin the card around, and now it seems to read 61."; stop; end if; If the code corresponding to a fruit of petrified apple in Table MM1 is 16 begin; choose row with a fruit of petrified apple in Table MM1; change code entry to 91; say "You spin the card around, and now it seems to read 91."; stop; end if; If the code corresponding to a fruit of petrified apple in Table MM1 is 3 begin; say "You spin the card around, but an upside-down '3' doesn't really look like anything other than a funny 'E', so you turn it right-side up again."; end if; If the code corresponding to a fruit of petrified apple in Table MM1 is 2 begin; say "You spin the card around, but an upside-down '2' doesn't really look like anything, so you turn it right-side up again."; end if. Instead of turning the orange card: If the code corresponding to a fruit of petrified orange in Table MM1 is 91 begin; choose row with a fruit of petrified orange in Table MM1; change code entry to 16; say "You spin the card around, and now it seems to read 16."; end if; If the code corresponding to a fruit of petrified orange in Table MM1 is 61 begin; choose row with a fruit of petrified orange in Table MM1; change code entry to 19; say "You spin the card around, and now it seems to read 19."; end if; If the code corresponding to a fruit of petrified orange in Table MM1 is 19 begin; choose row with a fruit of petrified orange in Table MM1; change code entry to 61; say "You spin the card around, and now it seems to read 61."; end if; If the code corresponding to a fruit of petrified orange in Table MM1 is 16 begin; choose row with a fruit of petrified orange in Table MM1; change code entry to 91; say "You spin the card around, and now it seems to read 91."; end if; If the code corresponding to a fruit of petrified orange in Table MM1 is 3 begin; say "You spin the card around, but an upside-down '3' doesn't really look like anything other than a funny 'E', so you turn it right-side up again."; end if; If the code corresponding to a fruit of petrified orange in Table MM1 is 2 begin; say "You spin the card around, but an upside-down '2' doesn't really look like anything, so you turn it right-side up again."; end if. Instead of turning the yellow card: If the code corresponding to a fruit of petrified lemon in Table MM1 is 91 begin; choose row with a fruit of petrified lemon in Table MM1; change code entry to 16; say "You spin the card around, and now it seems to read 16."; end if; If the code corresponding to a fruit of petrified lemon in Table MM1 is 61 begin; choose row with a fruit of petrified lemon in Table MM1; change code entry to 19; say "You spin the card around, and now it seems to read 19."; end if; If the code corresponding to a fruit of petrified lemon in Table MM1 is 19 begin; choose row with a fruit of petrified lemon in Table MM1; change code entry to 61; say "You spin the card around, and now it seems to read 61."; end if; If the code corresponding to a fruit of petrified lemon in Table MM1 is 16 begin; choose row with a fruit of petrified lemon in Table MM1; change code entry to 91; say "You spin the card around, and now it seems to read 91."; end if; If the code corresponding to a fruit of petrified lemon in Table MM1 is 3 begin; say "You spin the card around, but an upside-down '3' doesn't really look like anything other than a funny 'E', so you turn it right-side up again."; end if; If the code corresponding to a fruit of petrified lemon in Table MM1 is 2 begin; say "You spin the card around, but an upside-down '2' doesn't really look like anything, so you turn it right-side up again."; end if. Instead of turning the green card: If the code corresponding to a fruit of petrified grape in Table MM1 is 91 begin; choose row with a fruit of petrified grape in Table MM1; change code entry to 16; say "You spin the card around, and now it seems to read 16."; end if; If the code corresponding to a fruit of petrified grape in Table MM1 is 61 begin; choose row with a fruit of petrified grape in Table MM1; change code entry to 19; say "You spin the card around, and now it seems to read 19."; end if; If the code corresponding to a fruit of petrified grape in Table MM1 is 19 begin; choose row with a fruit of petrified grape in Table MM1; change code entry to 61; say "You spin the card around, and now it seems to read 61."; end if; If the code corresponding to a fruit of petrified grape in Table MM1 is 16 begin; choose row with a fruit of petrified grape in Table MM1; change code entry to 91; say "You spin the card around, and now it seems to read 91."; end if; If the code corresponding to a fruit of petrified grape in Table MM1 is 3 begin; say "You spin the card around, but an upside-down '3' doesn't really look like anything other than a funny 'E', so you turn it right-side up again."; end if; If the code corresponding to a fruit of petrified grape in Table MM1 is 2 begin; say "You spin the card around, but an upside-down '2' doesn't really look like anything, so you turn it right-side up again."; end if. [Yes, yes, yes -- I know that was horrid. --RC] [In defense of the 'turning the cards' puzzle -- this part is optional, really. It just makes the goal easier to get to. With 'G' (again) it shouldn't be that much of a burden on the player to reach the goal even without figuring to turn the cards around. --RC] Chapter 4 - The South End of the Bridge The SouthEnd is a room. "The ravine seems no less daunting from this location. The bridge crosses the river to the north, just before the waters plunge over a ravine as a waterfall. A winding path leads to the southwest." The printed name of SouthEnd is "The South End of the Bridge". Section 1 - Scenery The stream4 is scenery. Understand "creek" as the stream4. Understand "stream" as the stream4. Understand "waterfall" as the stream4. The description of the stream4 is "If anything, the stream appears even more dangerous here than ever." The stream4 is in the SouthEnd. The bridgeSouth is scenery. Understand "bridge" as the bridgeSouth. The description of the bridgeSouth is "Its fine stone workmanship has withstood the ravages of time." The bridgeSouth is in the SouthEnd. The ravineSouth is scenery. Understand "ravine" as the ravineSouth. The description of the ravineSouth is "A treacherous cliff that extends from north to south. Attempting to climb down it would be suicidal." The ravineSouth is in the SouthEnd. Section 2 - Coming and Going (Mostly Going) [Part 1 - North and Northish, and East and Eastish] Northeast from the NorthEnd is Impossible Room. East from the NorthEnd is Impossible Room. Southeast from the NorthEnd is Impossible Room. Instead of going east from the SouthEnd, say "You can't fly over the ravine, and you're not ready to die quite yet."; Instead of going northeast from the NorthEnd, try going east. Instead of going southeast from the NorthEnd, try going east. [Part 2 - Northwest] Northwest from the SouthEnd is Impossible Room. Instead of going northwest from the SouthEnd, say "The creek still blocks your way. It's still far too treacherous to ford or swim." [Part 3 - Miscellaneous Forbidden Directions and Other Movement] Down from the SouthEnd is Impossible Room. Instead of going down from the SouthEnd, say "The ravine is far too steep to climb." Instead of climbing the ravineSouth, say "The ravine is far too steep to climb." Instead of jumping in the SouthEnd , say "You'd never make the far bank." Instead of jumping over the stream4 , say "You'd never make the far bank." Instead of swimming in the SouthEnd, say "You'd never make the far bank." [Part 4 - Southwest] Southwest from the SouthEnd is the Stone Orchard. Instead of going west in the SouthEnd, try going southwest instead. Instead of going south in the SouthEnd, try going southwest instead. [Part 5 - North] North from the SouthEnd is the Bridge. Section 2 - The Weasel The weasel is an animal. The description of the weasel is "This small creature looks up at you without the slightest trace of fear. It seems famished." The weasel is in SouthEnd. [Awww... how cute is that? Also I'm hoping the weasel manages to follow along until the endgame. --RC] Instead of giving the sprig of rue to the weasel: say "You give the herb to the weasel, who consumes it with great relish. It looks at you expectantly."; remove the sprig of rue from play; now the weasel is following. An animal can be following or not following. An animal is usually not following. After going somewhere: if the weasel is following begin; if the location is the Treetop begin; say "The weasel's claws cannot gain purchase on the stone, so it waits below."; otherwise; if the location of the weasel is not the location begin; say "The weasel, perhaps eager for more food, follows."; now the weasel is in the location; end if; end if; end if; continue the action. Chapter 4 - The Stone Orchard The Stone Orchard is a room. "This area seems to have been intentionally cleared, but it is now incongruously surrounded broken stone. A solitary tree remains, but it appears to be entirely petrified. The path winds around the tree and carries on to the southeast." Section 1 - Scenery The rubbleRC is scenery. Understand "rubble" as the rubbleRC. Understand "stone" as the rubbleRC. Understand "stones" as the rubbleRC. Understand "broken stone" as the rubbleRC. Understand "broken stones" as the rubbleRC. The description of the rubbleRC is "Upon closer examination, it seems to consist of the broken, petrified remains of various trees, shrubs, and other plants. You see a bit that looks like a finger, but decide it's probably just a thin branch, and quickly look away." The rubbleRC is in the Stone Orchard. [Poor R Smyth. --RC] The tree is scenery. The description of the tree is "This large tree, perhaps once bearing apples or oranges, has been turned completely to stone. A nest of some sort seems to rest in its branches." The tree is in the Stone Orchard. Instead of climbing the tree, try going up instead. The nestFar is scenery. Understand "nest" as the nestFar. The description of the nestFar is "You can't really get a good look at it from here, but it's certainly not made of stone. A few yellow flowers still attached to its component twigs provide the only colour in this grey waste." The nestFar is in the Stone Orchard. The printed name of nestFar is "nest". Section 2 - Coming and Going (Mostly Going) [Part 1 - Not the Path] Instead of going nowhere from the Stone Orchard, say "You don't think you're up to traversing the broken rocks that surround the path." [Part 2 - Northeast] Northeast from the Stone Orchard is SouthEnd. Instead of going north in the Stone Orchard, try going northeast instead. Instead of going east in the Stone Orchard, try going northeast instead. [Part 3 - Southeast] Southeast from the Stone Orchard is the Forest. Instead of going south in the Stone Orchard, try going southeast instead. Instead of going southeast from the Stone Orchard when the cockatrice is in the Stone Orchard, say "One glare from the cockatrice freezes you in your tracks. Not literally, thankfully." [Part 4 - Up, Up, and Away] Up from the StoneOrchard is the Treetop. Instead of going up from the Stone Orchard when the cockatrice is in the Stone Orchard, say "One glare from the cockatrice freezes you in your tracks. Not literally, thankfully." Section 3 - The Cockatrice The cockatrice is an animal. The description of the cockatrice is "This foul creature seems to be half-chicken, half-snake, and all venom. Surely it is the dreaded cockatrice, whose slightest touch can turn anything to dead stone." The cockatrice is in the Stone Orchard. [* http://www.bartleby.com/181/363.html] [Part 1 - When Cockatrices Attack] Attack of the Cockatrice is a Scene. Attack of the Cockatrice begins when the player is in the Stone Orchard and the cockatrice is in the Stone Orchard. Attack of the Cockatrice ends when the player is not in the Stone Orchard. When Attack of the Cockatrice begins: CockatriceWary in one turn from now; CockatriceHisses in two turns from now; CockatriceKills in three turns from now. When CockatriceWary: if the location is the Stone Orchard begin; if Attack of the Cockatrice is happening begin; say "The cockatrice eyes you warily."; if the weasel is in the location, say "The weasel takes notice of the cockatrice."; end if; end if. When CockatriceHisses: if the location is the Stone Orchard begin; if Attack of the Cockatrice is happening begin; say "The cockatrice hisses at you alarmingly!"; [A nethack hint. --RC] if the weasel is in the location, say "The weasel seems prepared to pounce."; end if; end if. When CockatriceKills: if the location is the Stone Orchard begin; if Attack of the Cockatrice is happening begin; if the weasel is in the location begin; say "The cockatrice swoops down to attack you, but somehow, the weasel fights it off. The cockatrice, disgruntled, flies off into the distance."; remove the cockatrice from play; otherwise; say "The cockatrice swoops down and attacks you. You try to dodge out of its way, but its only a matter of time before it manages to touch you."; end the game saying "You have been turned to stone."; [I wonder if I'm the only author so far to give the PC a way to die? --RC] end if; end if; end if. [Part 2 - The Treetop, the Nest, and the Egg] [Yes, this is a location, should it should really have its own chapter, but its a very small location. --RC] The Treetop is a room. "The branches of a petrified tree might be safer than those of a living tree, yet you're still rather nervous, for they might not. Nestled in the stone branches of the tree is a nest." Instead of going nowhere from the Treetop, say "The only sensible direction is down to terra firma." Down from the Treetop is the Stone Orchard. The nest is scenery. The nest is an open container. The nest is not openable. The nest is in the Treetop. The egg is a thing. The egg is in the nest. The description of the egg is "At first glance it appears to be just an egg-shaped stone." The inventory listing of the egg is "a cockatrice egg". [I'm sure /someone/ will have fun with this. --RC] Before taking the egg for the first time: say "Half-expecting to be turned to stone, you gingerly take the egg. You still seem fleshy enough."; continue the action. Chapter 5 - The Forest The Forest is a room. "Ah, the fabled Punakawan Forest. Who can say what mysteries are held within its shadows?" Part 6 - Because It is Bitter and Because It Is by Mordechai Shinefield Section 1 - Shinefield's Part Whisper 6 is a scene. Whisper 6 begins when Whisper 5 ends. When Whisper 6 begins: say "Through the foilage to the north you spy the entrance to a hut. Perhaps in there are some of the answers you've been seeking." North of The Forest is Deformed Hut. Instead of looking at something in the mirror, say "You see the [noun], with a weird aura of blue around it." Instead of looking at the player in the mirror, say "You look tired in the mirror, always questing forward." Instead of looking at a stool in the mirror, say "In the light of the mirror, the stool looks longer - straighter - as though it were slowly turning into a ladder to the heavens." Instead of looking at gin in the mirror, say "In the light of the mirror, the gin sparkles. It looks very tempting in the blue glow." Instead of looking at bankcheck in the mirror, say "Though in the light of the mirror the bankbook still looks like a bankbook, a note on the bottom is visible. It seems to say, 'Never take a check without a discreet call to the bank." Instead of looking at roof in the mirror, say "When you look at the roof through the mirror, it still looks like a roof. Yet it seems as though if you squint, stars and moonlight gush through." Instead of looking at weasel in the mirror, say "He looks so very familiar when you see him through the light of the mirror. Like someone very important to you.". Instead of looking at letter in the mirror, say "Though the words still say the same things when viewed in the light of the mirror, the word 'liar' looks like it has been scribbled over the contents, dozens of times." Instead of looking at mirror in the mirror, say "Things are not generally reflected in themselves." North of The Forest is Deformed Hut. The description of Deformed Hut is "Cobwebs cover the curtains and counters of this contrary chamber that smells of orange and dust. [if fabric is in Hut]Red velveteen pieces of fabric have been flung over a bulky object in the corner of the room. Over the bulky object, words have been written in bold.[otherwise]A mirror has a dim blue glow in the crowded hut. Though you can't place your finger on it, everything it touches looks different. Words in red italic script sweep over the mirror.[end if]" A stool is in the hut. A stool is a supporter and enterable. Before going north from the Forest for the first time, say "You push back the insect-chewed curtain that covers this hut, and step forward." The Words are in the Hut. They are scenery. The description of Words are "[line break]'With him, life was routine; without him, life was unbearable. I stayed miserable for two days.'" Understand "quote" and "writing" as Words. Instead of reading the mirror, try examining the words. Instead of reading the words, try examining the words. Instead of examining Words for the first time, say "[line break]They read, 'With him, life was routine; without him, life was unbearable. I stayed miserable for two days.'[line break]You remember the quote, faintly, like the scent of orange grove trees in the tiny hut. Something at the tip of your tongue.[line break]" The Words2 are scenery. The description of Words2 are "[line break]'Every Third Merriweather Is Morbid, The Truth Is Not in the Delafields.'" The printed name of words2 is "words". Instead of reading words2, try examining words2. Instead of examining Words2 for the first time: say "[line break]They read, 'Every Third Merriweather Is Morbid, The Truth Is Not in the Delafields.'[line break]You read the words silently, moving your lips, remembering. As you finish, you see below the mirror: a shot of gin, and a bankcheck.[line break]"; move shot of gin to hut; move bankcheck to hut. Understand "words", "writing" and "quote" as Words2. The gaping roof flag is a number variable. The gaping roof flag is 0. shot of gin is a thing. The description of shot of gin is "A simple shotglass filled to the brim with gin. Inscribed on the side of the glass are the words 'Ad Astra Per Aspera.'" Instead of drinking shot of gin: if the player is on the stool begin; say "As you sip the gin, a stray blue ray from the mirror shines against the glass and slips through to the hatched roof. It is met there by the gleam of moonlight, and as the two lights bisect, the roof vanishes. The stars fill the hut with light. You think you could crawl out."; remove shot of gin from play; change the gaping roof flag to 1; otherwise; say "You sip the gin, waiting. Nothing."; end if. A roof is in the hut. It is scenery. The description of roof is "[if the gaping roof flag is 0]Thatched straw spans the length of the hut.[otherwise]A gaping hole is in the roof." Up from the Hut is a room called Top of the Hut. The description of Top of the Hut is "From the view up here it looks like the gardens and foilage stretch on forever. Orange groves and apple orchards line the vanishing points in all directions. The view is exhausting, as if the act of looking alone could tire you." Instead of going up from Deformed Hut when player is on the stool: if the gaping roof flag is 1 begin; if player encloses the bankcheck begin; say "You feel like the bankcheck is pulling you towards Earth. Its weight keeps you from climbing out to the heavens."; otherwise; say "You reach out and grab onto the side of the roof and pull yourself onto the hut."; move the player to the Top of the Hut; rule succeeds; end if; otherwise; say "The hatched roof is in the way."; end if. Instead of going up in Deformed Hut, say "The roof is too far off the ground for you to reach." a bankcheck is a thing. The description of the bankcheck is "A crisp brand new bankcheck. It is made out to you - surprise! - but the signature is blurred and unreadable. It is made out for more than you've ever needed in your life." fabric is in the hut. It is scenery. Understand "velveteen", "pieces", "bulky", and "object" as the fabric. The description of the fabric is "Something bulky is underneath the velveteen fabric." Instead of taking or pushing or pulling the fabric: say "You grasp the covering with both hands and pull it harshly, revealing a mirror beneath. The fabric coughs up a cloud of dust that wraps around you - causing you to cough - before settling to the ground. As you wipe your eyes of the particles, you notice the room has changed."; remove the fabric from play; remove Words from play; move Words2 to hut; move the mirror to hut. Instead of pulling fabric, try taking the fabric. mirror is scenery. The description of the mirror is "The mirror glows with a soft blue aura in the crowded hut. In it, you see a weary, tired person. Eyes are downcast, mouth is turned in a sigh, breathing is labored - it is not how you generally look, but closer to how you feel." Instead of searching the mirror, try examining the mirror. Whisper 6 ends when player is in the Top of the Hut for the first time. Carry out skipping ahead during Whisper 6: say "Skipping scene 6."; change the gaping roof flag to 1; remove the fabric from play; remove Words from play; move Words2 to hut; move the mirror to hut; move the player to Top of the Hut, without printing a room description; Rule succeeds. Section 2 - Debug stuff - Not for release Test wh6 with "n / move fabric / x words / get gin / stand on stool / drink gin / u" Part 7 - The Chow, the whistle, and the big bird by Tom Blawgus Section 1 - Blawgus's Part Whisper 7 is a scene. Whisper 7 begins when Whisper 6 ends. [LS DEBUG: Limax's original version of the following rule didn't work at all; this works but for firing before the 'you reach out and grab...' message. To actually fix this would mean adding this rule to the original 'instead', but that feels like it violates the spirit of IF Whispers--I've been fixing bugs that would be bugs in *within* a section, and bugs where things have unintended side-effects in another section, but this is pure "I want to do this." "And I want to do this." So anyway.] Before going up from Deformed Hut when player was in the stool: if the gaping roof flag is 1 and the player is not holding bankcheck begin; say "The weasel grows wings and follows you!"; move the weasel to Top of the Hut; end if; The chow is a thing. It is in the Top of the Hut. It is a container and closed. It is openable. The printed name of the chow is "bag of weasel chow". Understand "bag", "canvas", "weasel chow", and "bag of weasel chow" as the chow. The description of the chow is "The bag reads 'Weasel Chow.' [if chow is closed]It is currently closed.[otherwise]It is open and all the food that was in it is now in the weasel's stomach.[end if][if the chow is open and number of things in the chow is greater than zero][line break]You can see [list of things in the chow] at the bottom of the bag." Rule for writing a paragraph about chow when in Top of the Hut: say "At the corner of the roof, you spot a canvas bag." After opening the chow for the first time: say "As you open up the bag, the weasel runs in under your arms and devours all the food in sight! He must have been pretty hungry.[line break]You see something glinting in the light at the bottom of the bag.[line break]" A whistle is a thing. It is in the chow. Understand "glinting" and "roc whistle" as the whistle. The description of the whistle is "It's a whistle about six inches in length and as thick as your finger. It appears to be made of silver, and there's writing on it." Instead of reading the whistle: say "The whistle reads, 'Roc Whistle.'". Instead of blowing the whistle: say "[line break]You blow a long, loud note on the whistle. From beyond the forest, a giant bird flies overhead and grabs you in its talons and takes you with it across the trees. In alarm, you drop the whistle and watch it fade from view.[line break]Not to be left behind, the weasel again sprouts wings and follows you.[line break]"; Move the player to the Copse.; Remove the whistle from play. The Copse is a room. "Trees of all sizes surround you, as if in a giant chess match. Between the pawn and queen, you can see a path leading southeast, and you can make out another one to the southwest between the bishop and knight." The pawn is scenery in the Copse. "It is a small, squat tree with broad leaves." The queen is scenery in the Copse. "The queen stands majectically over all other trees in the area, its leaves reaching out like tendrils holding everything in check." The bishop is scenery in the Copse. "It is a medium-sized pine with needles that look like cleric's robes." The knight is scenery in the Copse. "[if golf club is not handled]With a golf club that reaches out like a lance, it points to the southwest, as if insisting that it is the right direction to travel.[otherwise]With a hand that reaches out, it gestures to the southwest, as if insisting that is the right direction to travel." Instead of examining the knight for the first time: say "With a branch that reaches out like a lance, it points to the southwest, as if insisting that it is the right direction to travel.[line break]Hm. That lance looks more like a golf club.[line break]"; move golf club to Copse. The king is scenery in the Copse. "You cannot see the king here. It appears to have been toppled." A golf club is a thing. "[if golf club is not handled]Jutting out from the knight's hand is a golf club, held like a lance." The description of the golf club is "It appears to be a club for hitting golf balls." Instead of hitting the golf ball with the golf club: If the golf club is not carried by the player begin; say "You're not holding the golf club."; otherwise; If the golf ball is carried by the player begin; say "You cannot swing at the golf ball while holding it"; otherwise; If player is not in the Tee begin; say "You hit the ball mightiliy, it bounces off of a couple of trees, and returns to your feet."; otherwise; say "You hit the ball through the gap in the trees, and hear a loud crash of falling rock."; remove ball from play; remove cairn from play; move pile of stones to clearing; end if; end if; end if. Instead of swinging the golf club: say "[if the golf club is not in player]You're not holding the club.[otherwise]You take a few practice swings with the club." The Clearing is southeast of the Copse. "Filtered light through the leaves gives this area an almost underwater feel as you gaze about. You can see a path leading to the northwest." A cairn is in the Clearing. It is a supporter. "A stone cairn sits in the middle of the clearing." The description of the cairn is "The cairn is rectangular in shape with a square top. It stands about four feet high and made up of stones of various sizes." After examining the cairn for the first time: say "You see a white sphere sitting on top of the cairn."; Move the golf ball to the cairn. A pile of stones is fixed in place. "A pile of stones sits in the middle of the clearing, revealing steps going down." The description of the pile of stones is "Unless you knew it, you could never tell it was once a cairn. Steps lead down from where the middle of the cairn used to be." A golf ball is a thing. Understand "sphere" as the golf ball. Understand "white sphere" as the golf ball. The description of the golf ball is "It's a small sphere about two inches in diameter with dimples all over the surface." Report throwing the golf ball: say "As you throw the golf ball, it bounces off of a couple of trees, and then rolls to your feet." The Tee is southwest of the Copse. "A rectangular grassy area stands before you, with a break in the trees to the east. You can see two blue spheres on either side of the area." spheres is scenery in the Tee. "They stand pefectly opposite one another on either side of the grassy area." Understand "blue spheres" as the spheres. Antechamber is down from the Clearing. "This is a small room below the cairn. Light filters down from above and not quite reaching into the corners of the room." Instead of going down from the Clearing: If pile of stones is in clearing begin; say "You descend down the steps into the room below."; move player to Antechamber; otherwise; Say "You can't go that way."; end if. Instead of going up from the Antechamber: say "You ascend the stairs into the light."; move player to Clearing. Whisper 7 ends when player is in the Antechamber for the first time. Carry out skipping ahead during Whisper 7: say "Skipping scene 7."; remove cairn from play; move pile of stones to Clearing; move golf club to player; move player to the Antechamber, without printing a room description; rule succeeds. Section 2 - Debug stuff - Not for release Test wh7 with "open bag / get whistle / blow whistle / x knight / get club / se / x cairn / get sphere / nw / sw / drop ball / hit ball with club / ne / se / unrandomize / d". Part 8 - Recap by Lucian Smith Section 1 - Smith's Part Whisper 8 is a scene. Whisper 8 begins when Whisper 7 ends. After looking when in the antechamber, say "An archway in the rocks beckons southeast." An archway is scenery in the antechamber. Instead of entering the archway, try going southeast. A tracked room is a kind of a room. Definition: a room is off the tracks if it is not a tracked room. Instead of going by something to somewhere off the tracks when the location of the player is tracked, say "The tracks do not extend in that direction." The Station Area is a region. The Copse, the Clearing, the Tee, and The antechamber is in the station area. Southeast of the antechamber is a tracked room called the Great Underground Train Station #7. It is in the station area. "A spacious cavern opens before you, with a ten-glomit wide set of train tracks stretching out to the east and the west." Some train tracks are scenery in the train station. The description is "Ten glomits wide. You've been told that this is the exact width of six Ancient Remian battle-grues, but given the fact that the Ancient Remian grue-training progam is widely believed to be the cause of the fall of Ancient Reme two weeks after it began, this seems apocryphal." A push-cart is a rideable vehicle in the train station. "A push-cart sits here on the tracks[if a random chance of 1 in 3 succeeds]. The weasel darts around the handles, curious[end if]." The description is "It looks like you could get in the cart and then simply go along the tracks." Understand "pushcart", "push" and "cart" as push-cart. A handle is part of the push-cart. The description is "The handle sticks up out of the middle of the push-cart. By moving it up and down, the user can go anywhere on the tracks." Instead of doing anything except examining the handle, say "[bracket]To move the push-cart, just stand on it and type the direction you want to go[close bracket][paragraph break]". After mounting the push-cart: If the weasel is following begin; now the weasel is in the push-cart; say "The weasel darts between your legs as you step aboard the push-cart, then chirrups and bounces up and down on the handle, ready to go."; end if. Instead of going from a tracked room to a tracked room when the player is not on the push-cart, say "There's a perfectly good push-cart around here somewhere." Instead of going west in the train station when the player is not on the push-cart, say "On closer examination, the tracks seem to go straight into the solid rock." Instead of going inside in the presence of the push-cart, try mounting the push-cart. Instead of going west in the train station when the player is on the push-cart: move the player to the location, without printing a room description; say "WHAM! You get knocked off the push-cart as it slams into the painted-black west wall. Ha ha, very funny." After going to a tracked room: if the player is on the push-cart begin; say "You grab a handle and start working it up and down[if the weasel is following], much to the delight of the weasel, who clings with terror and delight to the opposite handle[end if]."; end if; continue the action. East of the train station is a tracked room called the GUE-Toll. The printed name of the GUE-toll is "Great Underground Toll Booth #568". It is in the station area. "A narrow tunnel of rock surrounds you, dimly lit by glowing moss. The track continues east-west." Some glowing moss is scenery in the GUE-toll. The description is "Mmm, phosphorescence." Instead of taking the moss, say "Some of the moss comes off onto your fingers, making them glow briefly before it crumbles away." A toll booth is fixed in place in the GUE-toll. It can be pointing up. It is not pointing up. "Built into the side of the tunnel is a toll booth. The gate beside it is [if pointing up]up, allowing access east[otherwise]down, blocking further passage east[end if]. A slot sits in the middle of the booth." The description is "The toll booth is built into the side of the tunnel. The salient features are a slot (at shoulder height next to you) and a gate[if pointing up], which has swung upwards[otherwise] pointing over the tracks, blocking your cart from further movement[end if]." Instead of going east in the GUE-toll: If the booth is pointing up begin; say "The bell clangs as you pass under the gate."; continue the action; Otherwise; say "The gate blocks your way east."; end if; Instead of dismounting in the GUE-toll, say "There's not enough room here to get off of the push-cart." Sufficiency relates one thing to one thing. The verb to be sufficient for implies the sufficiency relation. A toll slot is part of the toll booth. It is fixed in place, a container, open, and not openable. When Whisper 8 begins: Move the ball to the antechamber; If at least one thing is held begin; let payment be a random thing that is held; otherwise; let payment be the ball; end if; Now the payment is sufficient for the toll slot. The description is "Above the slot is a picture of [a random thing that is sufficient for the toll slot]." Instead of inserting something into the toll slot: if the noun is sufficient for the toll slot begin; Now the booth is pointing up; Remove the noun from play; Say "With a clunk, [the noun] disappears into the slot. As it does, the gate swings upwards and a hidden bell rings once."; rule succeeds; Otherwise; Now the noun is in the push-cart; say "[The noun] disappears into the slot, and you hear a rattling. After a moment, with a rude *blaap*, [the noun] is ejected from the slot and lands with a clunk on the push-cart."; rule fails; end if. A toll gate is part of the toll booth. The description is "[if the booth is pointing up]The gate stands upright, allowing passage further east[otherwise]The gate is down, blocking your cart from moving further east[end if]." East of GUE-toll is a tracked room called Way Station. It is in the station area . "The tunnel widens here enough to allow room for a small platform. The track from the west splits here, continuing east and southeast." The platform is scenery in the way station. The description is "Not much more than a few planks fitted together." Instead of entering the platform, try dismounting. A large lever is in the way station. It is a fixed in place device. It is switched on. "Mounted to the wall is a large lever, [if switched on]pointed up[otherwise]pointed down[end if]." The description is "The large lever is mounted in the rock, just above the platform by the tracks. It looks extremely corroded and rusty. It points [if switched on]up towards the ceiling[otherwise]down towards the tracks[end if]." Instead of turning or pulling or pushing or switching on or switching off the lever, say "Try as you might, the lever won't budge." Carry out examining the large lever: say "[description]"; stop the action; The switch tracks are scenery in the way station. The description is "Tracks run east-west here, with a spur heading off to the southeast. It looks like the track can be switched from the east track to the spur, but there's no obvious way to do so. The tracks currently head [if the large lever is switched on]east[otherwise]southeast[end if]." Instead of turning or pulling or switching on or switching off the switch tracks, say "You know, there's something else around here that might do the trick." Instead of going east in the way station when the player is not on the push-cart, say "Upon closer examination, those tracks seem to travel directly into solid rock." Instead of going east in the way station when the player is on the push-cart: if the large lever is switched on begin; move the player to the location, without printing a room description; say "WHAM! You get knocked off the push-cart as it slams into the painted-black east wall. Ha ha, very funny."; otherwise; say "The tracks don't currently go that direction."; end if; Instead of going southeast in the way station when the player is on the push-cart: if the large lever is switched on begin; say "The tracks don't currently go that direction."; stop the action; otherwise; continue the action; end if; A small shelf is in the way station. It is fixed in place and a supporter. On the small shelf is a miniature lever. It is a device and switched on. Understand "small", "mini" and "minature" as the miniature lever. The description of the miniature lever is "The miniature lever is an exact replica of the large lever, except that it's not mounted on anything." Instead of turning or pulling or pushing or switching on or switching off the miniature lever, say "*ZZZT* Yeouch! Your finger gets zapped as you try to manipulate the miniature lever[if the player can see the large lever]. Just as it happened, you saw the large lever wiggle a bit, which is more than you got it to do directly[end if]." Destining relates one room to one thing. The verb to be the destiny of implies the destining relation. A glowing portal is in the way station. "Half of the north wall is taken up with a huge wall of glowing light." Understand "huge", "wall", "glowing", "light", "wall of glowing light", and "wall of light" as the glowing portal. The description is "You peer carefully into the light. It looks vaguely familiar... [The random room that is the destiny of the portal], maybe?" A light button is a thing. "A small button of light, the same color as the glowing portal, lies here at your feet." Understand "small" and "button of light" as the light button. The description is "It glows invitingly." Instead of taking or touching or pushing the light button: say "As you touch the button, you are suddenly sucked inside[if the weasel is following]! Delightedly, the weasel pounces on the button as you disappear.[otherwise]!"; Now the player is in the way station; if the weasel is following, now the weasel is in the way station; Instead of entering or touching or climbing the glowing portal: say "Boldly, you stride towards the wall of light[if the weasel is following]. It would be a bit more dramatic if the weasel didn't bound in front of you and disappear first[end if]."; Let where-to be a random room that is the destiny of the portal; If the weasel is following, now the weasel is in the where-to; Now the light button is in the where-to; Now the player is in the where-to; stop the action; Instead of going north in the way station, try entering the glowing portal. Flippering relates one thing to one device. The verb to be the flipper of implies the flippering relation. A thing can be available. A thing is usually not available. When Whisper 8 begins: [First, let's try to choose a random person from someone else's section:] Let proxy be the queen; Repeat with seen-before running through people begin; if the location of the seen-before is a visited room, now the seen-before is available; end repeat; Now the player is not available; now the weasel is not available; If the number of available people is at least one begin; let proxy be a random available person; otherwise; [We'll have to make do with an inanimate object] Repeat with seen-before running through things begin; If the location of the seen-before is a visited room that is not in the station area, now the seen-before is available; end repeat; Now the player is not available; now the weasel is not available; If the number of available things is at least one begin; let proxy be a random available thing that is not scenery; Now the proxy is an Inform library animate object; end if; end if; If the proxy is the queen, now the queen is an Inform library animate object; Now the proxy is the flipper of the miniature lever; [Now we need to make sure we know where they are:] let destiny be the location of the proxy; if the number of visited rooms adjacent to destiny is at least one begin; let near-destiny be a random visited room adjacent to destiny; otherwise; let near-destiny be destiny; end if; Now the near-destiny is the destiny of the glowing portal. . The description of the small shelf is "[if the number of things on the shelf is at least one]On the shelf you can see [list of things on the small shelf]. [end if]It looks like someone's drawn a picture of [a random thing that is the flipper of the miniature lever] in the dust on the shelf." Instead of giving or showing the miniature lever to someone: if the second noun is the flipper of the miniature lever begin; if the miniature lever is switched on begin; Now the miniature lever is switched off; Now the large lever is switched off; Say "[The second noun] looks over [the noun] with interest, before casually flipping it, and handing it back to you."; otherwise; Say "[The second noun] is no longer interested in [the noun]."; end if; otherwise; let pronoun be "he"; if the second noun is not male, let pronoun be "it"; if the second noun is female, let pronoun be "she"; Say "[The second noun] peers at [the noun] curiously, but as [pronoun] reaches out to touch it, [pronoun] seems to sense danger, looks at you sharply, an