The Hideout Text Adventure/Source Code
From Austin Improv Community Wiki
This is the source code, in Inform 7, as of 4/1/2013, for The Hideout Text Adventure.
"The Hideout Theatre Adventures: Quest for the Secret Skull" by Peter Rogers et al Section 1 - Global Settings [Tech-y things that apply throughout the whole game.] The story headline is "Thrills and adventure in an Austin-area improv theatre!" The story description is "The Hideout Theatre's skull-on-a-stick has gone missing! Explore the theater, investigate its mysteries, and try not to get killed as you set things to rights." Use verbose room descriptions. Release along with an interpreter. Use no scoring. Use the serial comma and American dialect. A person is either disagreeable or agreeable. A person is usually disagreeable. Rule for deciding whether all includes scenery: it does not. Rule for deciding whether all includes a fixed in place thing while taking: it does not. Include Modified Exit by Emily Short. Understand "upstairs" as up. Understand "downstairs" as down. Before printing the banner text, say "[bold type]You got the message from Roy this morning: 'Something's gone horribly wrong at the Hideout!' he said. 'We can't find the skull anywhere!' Then he finished the message hastily: 'Hold on, Ceej is getting attacked by a grue.' And then ...nothing.[paragraph break]So here you are at the Hideout Theatre, determined to get to the bottom of what's going on.[roman type][paragraph break][line break]" After printing the banner text, say "[line break]Enter 'HELP' at any time for information about how to play this game.[paragraph break]" Section 2 - Help! Include Basic Screen Effects by Emily Short. Include Menus by Emily Short. Understand "menu" or "credits" as asking for help. Understand "help" or "hint" or "hints" or "about" or "info" as asking for help. Asking for help is an action out of world. Carry out asking for help (this is the help request rule): change the current menu to the Table of Basic Help Options; carry out the displaying activity; clear the screen; try looking. Table of Basic Help Options title subtable description toggle "Introduction to [story title]" a table-name "[bold type][story title][roman type][paragraph break]For this game in particular, remember that you can talk to people: 'ASK <person> ABOUT <topic>' is always an option, and one you'll have to use often. (For example, you can 'ASK BRAD ABOUT SEX', though that's not particularly useful to the game.)[paragraph break]Remember to examine everything and to go everywhere; if worse comes to worst, bug Peter for hints." a rule "Instructions for Playing IF in General" Table of Instruction Options -- -- Table of Instruction Options title subtable description toggle "About Interactive Fiction" a table-name "The game you are playing is a work of Interactive Fiction. In interactive fiction you play the main character of a story. You type commands which determine the actions of the character and the flow of the plot. Some IF games include graphics, but most do not: the imagery is provided courtesy of your imagination. On the other hand, there's a wide range of action available: whereas in other games you may be restricted to shooting, movement, or searching items you can click on with a mouse, IF allows you a wide range of verbs." a rule "What to do with [command prompt]" a table-name "The [command prompt] sign is where the game says, 'Okay, what do you want to do now?' You may respond by typing an instruction -- usually an imperative verb, possibly followed by prepositions and objects. So, for instance, LOOK, LOOK AT FISH, TAKE FISH." a rule "Getting Started" -- "The first thing you want to do when starting a game is acquaint yourself with your surroundings and get a sense of your goal. To this end, you should read the introductory text carefully. Sometimes it contains clues. You will also want to look at the room you are in. Notice where the exits from the room are, and what objects are described here. If any of these seem interesting, you may want to EXAMINE them. [paragraph break]You might also want to examine yourself (EXAMINE ME) to see whether the author has left you any clues about your character. TAKE INVENTORY will tell you what you're carrying, as well.[paragraph break]Once you've gotten your bearings, you may want to explore. Move from room to room, and check out every location available." -- "Rooms and Travel" -- "At any given time, you are in a specific location, or room. When you go into a room, the game will print a description of what you can see there. This description will contain two vital kinds of information: things in the room you can interact with or take, and a list of exits, or ways out. If you want to see the description again, you may just type LOOK. [paragraph break]When you want to leave a location and go to another one, you may communicate this to the game using compass directions: eg, GO NORTH. For simplicity's sake, you are allowed to omit the word GO, and to abbreviate the compass directions. So you may use NORTH, SOUTH, EAST, WEST, NORTHEAST, SOUTHEAST, NORTHWEST, SOUTHWEST, UP, and DOWN, or in short form N, S, E, W, NE, SE, NW, SW, U, and D.[paragraph break]In some locations, IN and OUT will also be useful." -- "Objects" -- "Throughout the game there will be assorted objects that you can do things with. Most importantly, you may TAKE or GET items, and (when you are tired of them) DROP them again. INVENTORY (abbreviated I) will list the items you are currently holding. [paragraph break]There are usually assorted things you may do with these objects. OPEN, CLOSE, WEAR, EAT, LOCK, and UNLOCK are especially common.[paragraph break]Occasionally, you will find that the game does not recognize the name of an object even though it has been described as being in the room with you. If this is the case, the object is just there for scenery, and you may assume that you do not need to interact with it." -- "Controlling the Game" -- "There are a few simple commands for controlling the game itself. These are: [paragraph break]SAVE saves a snapshot of the game as it is now. [line break]RESTORE puts the game back to a previous saved state. You may keep as many saved games as you like. [line break]RESTART puts the game back to the way it was at the beginning. [line break]QUIT ends the game." -- "How the World is Assembled" Table of IF Elements -- -- "If You Get Stuck" Table of Stuckness Advice -- -- Table of Stuckness Advice title subtable description toggle "Explore" -- "Examine every object and look at everything in your inventory. Open all the doors you can find, and go through them. Look inside all closed containers. Make sure you've exhausted all the options in your environment. [paragraph break]Try out all your senses. If the game mentions texture, odor, or sound, try touching, smelling, listening to, or tasting objects.[paragraph break]Be thorough. If you still can't figure out what to do, try opening windows, looking under beds, etc. Sometimes objects are well-hidden." "Read carefully" -- "Reread. Look back at things you've already looked at. Sometimes this will trigger an idea you hadn't thought of. [paragraph break]Take hints from the prose of the game. Things that are described in great detail are probably more important than things that are given one-liners. Play with those objects. If a machine is described as having component parts, look at the parts, and try manipulating them. Likewise, notice the verbs that the game itself uses. Try using those yourself. Games often include special verbs -- the names of magic spells, or other special commands. There's no harm in attempting something if the game mentions it.[paragraph break]Check the whole screen. Are there extra windows besides the main window? What's going on in those? Check out the status bar, if there is one -- it may contain the name of the room you're in, your score, the time of day, your character's state of health, or some other important information. If there's something up there, it's worth paying attention to that, too. When and where does it change? Why is it significant? If the bar is describing your character's health, you can bet there is probably a point at which that will be important." "Be creative" -- "Rephrase. If there's something you want to do, but the game doesn't seem to understand you, try alternative wordings. [paragraph break]Try variations. Sometimes an action doesn't work, but does produce some kind of unusual result. These are often indications that you're on the right track, even if you haven't figured out quite the right approach yet. Pressing the red button alone may only cause a grinding noise from inside the wall, so perhaps pressing the blue and then the red will open the secret door.[paragraph break]Consider the genre of the game. Mysteries, romances, and thrillers all have their own types of action and motivation. What are you trying to do, and how do conventional characters go about doing that? What's the right sort of behavior for a detective/romance heroine/spy?" "Cooperate" -- "Play with someone else. Two heads are often better than one. If that doesn't work, try emailing the author or (better yet) posting a request for hints on the newsgroup rec.games.int-fiction. For best results, put the name of the game you want help with in the subject line; then leave a page or so of blank spoiler space (so that no one will read about where you got to in the game unless they've already played it), and describe your problem as clearly as possible. Someone will probably be able to tell you how to get around it." -- Table of IF Elements title subtable description toggle "Space" -- "Most IF games are set in a world made up of rooms without internal division. Movement between rooms is possible; movement within a room does not always amount to anything. >WALK OVER TO THE DESK is rarely a useful sort of command. On the other hand, if something is described as being high or out of reach, it is sometimes relevant to stand on an object to increase your height. This kind of activity tends to be important only if prompted by the game text." -- "Containment" -- "One thing that IF does tend to model thoroughly is containment. Is something in or on something else? The game keeps track of this, and many puzzles have to do with where things are -- in the player's possession, lying on the floor of the room, on a table, in a box, etc." -- "Types of Action" -- "Most of the actions you can perform in the world of IF are brief and specific. >WALK WEST or >OPEN DOOR are likely to be provided. >TAKE A JOURNEY or >BUILD A TABLE are not. Things like >GO TO THE HOTEL are on the borderline: some games allow them, but most do not. In general, abstract, multi-stage behavior usually has to be broken down in order for the game to understand it. " -- "Other Characters" -- "Other characters in IF games are sometimes rather limited. On the other hand, there are also games in which character interaction is the main point of the game. You should be able to get a feel early on for the characters -- if they seem to respond to a lot of questions, remember what they're told, move around on their own, etc., then they may be fairly important. If they have a lot of stock responses and don't seem to have been the game designer's main concern, then they are most likely present either as local color or to provide the solution to a specific puzzle or set of puzzles. Characters in very puzzle-oriented games often have to be bribed, threatened, or cajoled into doing something that the player cannot do -- giving up a piece of information or an object, reaching something high, allowing the player into a restricted area, and so on." -- Table of Basic Help Options (continued) title subtable description toggle "Credits" -- "This was written using Inform 7, which is the work of Graham Nelson. This particular game was designed by Peter Rogers, Marc Majcher, and Kevin Miller, and coded by Peter Rogers. This help system was cribbed from Emily Short." -- "Contacting the Author" -- "If you have any difficulties with [story title], feel free to contact me at peter@austinimprov.com." -- Section 3 - Basic Geography [The basic layout of rooms, plus 'color' objects that aren't related to specific puzzles.] The Hideout Entryway is a room. "To your east stands the entrance to the Hideout Theatre & Coffeehouse. Under normal circumstances, this would be a bright, cheery street scene, with happy passers-by going about their business in the middle of downtown Austin. But everything seems a little... off. The sky looks odd. An occasional chill creeps up your spine. And you sense that something is deeply, deeply Not Right." A ticket is here. "There is a ticket at your feet." The description of the ticket is "This is a ticket to see an Improvised Text Adventure at the Hideout Theatre!" The sky is scenery in the Hideout Entryway. "The sky is an ominous red color, with dark, forbidding clouds slowly swirling into a point neatly centered above the Hideout Theatre & Coffeehouse.[paragraph break]That can't be good." Instead of taking the sky: say "You can't take that. (And while we're at it, you can't boil the sea, either.)" The theater is a backdrop. It is everywhere. Understand "theater", "hideout", "hideout theater" as the theater. The description of the theater is "The Hideout Theatre is an improv theater in the heart of downtown Austin. It has shows Thursday through Friday, offers classes, and includes a lovely café." Instead of entering the theater when the player is in the Hideout Entryway: try going inside. The Hideout Coffeehouse is east of the Hideout Entryway. The Hideout Coffeehouse is inside of the Hideout Entryway. "This is the Hideout's main coffeehouse area. A long, glassed-in counter displays food, and elaborately-drawn blackboards list an extensive drinks menu. Tasteful paintings hang on the opposite wall. All of this would be delightful, except for the ominous chanting and thunder audible from no particular direction, and the faint sense that the walls are slowly breathing. This might explain the strange absence of patrons just now. The theater is above the coffeehouse, accessible via a stairway." The counter and the blackboards are scenery in the Hideout Coffeehouse. Instead of exiting when the player is in the Hideout Coffeehouse: try going outside. The Stairway is above The Hideout Coffeehouse. "You are standing on a long, steep set of stairs with two landings. The walls are dusty, with a few old picture-frame nails hammered into them. You see colorful murals painted along the walls. At the top of the stairs you can see a small room with a ticket table, and you can go downstairs to the coffee shop." The colorful murals are scenery in the Stairway. The description of the colorful murals is "Usually Kaci's murals are quite cheery, but today you can make out the spirits of the damned being tortured in amongst the happy little trees -- probably a side effect of the curse." The stairs are a backdrop. They are in the Hideout Coffeehouse, the Stairway, and the Foyer. The description of the stairs is "It looks like these are the stairs that go up to the theater space." Understand "staircase" and "stairway" as the stairs. Instead of climbing the stairs when the player is in the Foyer, say "You're already at the top of the stairs." Instead of climbing the stairs, try going up. Instead of entering the stairs when the player is in the Hideout Coffeehouse, try going up. Instead of entering the stairs when the player is in the Foyer, try going down. Instead of entering the stairs when the player is in the Stairway, say "You're already on the stairs." The Foyer is above the Stairway. "This is a small, L-shaped foyer at the top of the stairs. Kareem sits at a small desk beneath a pretty chandelier, holding a fancy hole punch. There are doors to the north, south, east, and west, a steep stairway leading down, and a ladder leading up." The chandelier and the desk are scenery in the Foyer. A room called Above the Foyer is above the Foyer. "You are at Above the Foyer that leads to the tech booth. There is a door to the north, with a keypad beside it." The ladder is a backdrop. It is in the Foyer and the Above the Foyer . Instead of climbing the ladder when the player is in the Foyer, try going up. Instead of climbing the ladder when the player is in Above the Foyer , try going down. The Tech Booth is a room. "You are in the tech booth. Large windows overlook the theater, and before you sits a large lighting board. There is a door to the south; outside the door, a ladder leads back down to the foyer." The windows are scenery in the Tech Booth. The tech door is north of the Above the Foyer and south of the Tech Booth. The tech door is a door. The tech door is locked. The tech door is scenery. Instead of going inside while in Above the Foyer , try going north. Instead of going outside in the Tech Booth, try going south. The Green Room is east of the Foyer. "This is a spacious, well-lit room with hardwood floors. There is a door up a short stairway to the east, a door to the west, and a door in the northeast corner of the room." Some chairs are an enterable supporter in the Green Room. The description of the chairs is "There are two sets of chairs -- one red, and one black. The red ones have a sign: 'For Shows Only!'". Understand "chair" as some chairs. Instead of taking some chairs: say "The chairs are far too heavy to take." Instead of entering some chairs: say "But those chairs are for the audience! Besides, aren't you supposed to be on a quest here?". A bell is an object in the Green Room. The description of the bell is "An unremarkable chromed bell like you'd see at an old-timey service desk. This bell is no doubt used in improv games like 'New Choice' and 'More British'." Instead of exiting when the player is in the Green Room: try going east. Instead of going outside in the Green Room, try going east. The Closet is northeast of the Green Room. "This is a small closet packed with a useful supplies for running a theatre. There is a door to the west." Southwest of the Closet is nowhere. West of the Closet is the Green Room. A swiffer is an object in the Closet. The description of the swiffer is "It's an ordinary swiffer. It possesses no special powers, and has no use beyond somewhat-ineffectually dusting things." Test getduster with "in / u / u / e / ne / get swiffer". Understand the command "dust" as something new. Dusting is an action applying to one visible thing. Understand "dust [something]" as dusting. Check dusting: if the swiffer is not carried, say "You'd need some sort of dusting tool for that, right?" instead; if the noun is the player, say "You dust yourself off." instead; if the noun is a person, say "I don't think [the noun] would appreciate being dusted." instead; if the noun is the swiffer, say "I think only M. C. Escher could use a swiffer to dust itself." instead. Report dusting: say "You dust [the noun], feeling a vague suspicion that running around dusting things will in no way help you abolish the Hideout's supernatural curse." The Catwalk Area is above the Green Room. The Catwalk Area is east of the Green Room. "You are standing on a metal catwalk that stretches out behind the Hideout Theatre and over the Downstairs Theatre. You are one story up and can see the tall buildings of downtown Austin surrounding you. To the north you can see 7th street east of Congress. If you walk far enough to the east you can smell the dumpsters in the alley. To the east is a metal staircase leading down. To the west is a door." The metal catwalk is scenery in The Catwalk Area. "The catwalk is a metal lattice with railings. It's rather noisy." Instead of entering the theater when the player is in the Catwalk Area: try going west. The Alleyway is east of the Catwalk Area. The Alleyway is below the Catwalk Area. "This is the alley out behind the Hideout -- dark, smelly, and seemingly afflicted with the same curse as the rest of the building, judging from the faint undulations in the asphalt and the faint, soul-chilling screams of the damned. There is a dumspter here. To the west, you can go up to a catwalk." The Small Bathroom is north of the Foyer. "You are in a small bathroom that contains a toilet and sink. There is a mirror on the wall as well as a large number of photos of various Austin improv troupes and gatherings. There is a door to the south." The toilet, the sink, the mirror, and the photos are scenery in the Small Bathroom. The toilet is an enterable supporter. Instead of entering the toilet: say "You don't feel any pressing need to do that just now.". Instead of going outside in the Small Bathroom: try going south. The plunger is an object in the Small Bathroom. The office door is south of the Foyer and north of the office. The Office door is a door. The office door is lockable and locked. The silver key unlocks the office door. The Office is a room. "You are in the office of the Hideout Theatre. There is a broad desk that contains a computer and a printer. There is a filing cabinet containing class materials. The south wall is covered by shelves that contain a variety of supplies. There are two chairs. The walls are covered with old improv cast photos and show posters." The Audience Seating is west of the Foyer. "You are standing in the theatre's audience area. You see two sets of risers covered in chairs, and split by a central aisle. To the east is a door. To the west is the stage." [Instead of going from the Foyer to the Audience Seating when the player is not carrying the stub, say "Kareem blocks your path. 'Can't get in without a ticket!' he shouts."] The Stage is west of the Audience Seating. "This is where the magic happens... sometimes. You are standing on the stage of the Hideout Theatre. The stage is made of plywood platforms, all painted black. To your west, the wooden backdrop is painted with a Twilight Zone design and contains a door, a curtained door and a window." Backstage is a dark room. Backstage is west of the Stage. "This is the cramped and dim backstage area of the Hideout Theatre. To the west is a brick wall. The east wall is the back of the stage's backdrop." The Maestro Scoreboard is an object in Backstage. Instead of taking the Maestro Scoreboard, say "Criminy, it's heavy. Best to leave it where it is." Departure is south of the Entryway, north of the Entryway, west of the Entryway, northwest of the Entryway, southwest of the Entryway, north of the Alleyway, and south of the Alleyway. Instead of going to Departure: say "You can't leave the Hideout now! You have important theater business to attend to!". Section 4 - People [Basic descriptions of people you encounter, minus any puzzle-specific content.] Brad is a man in the Hideout Entryway. The description of Brad is "Brad Hawkins is a bald, bearded, bespectacled man, neatly dressed and regarding the sky above with some trepidation." After asking Brad about a topic listed in the Table of Brad's Replies, say "[Reply entry][paragraph break]". After asking Brad about a topic, say "Brad just stares at you enigmatically for a long, uncomfortable beat.". Understand "sky", "clouds", "the sky" ,"the clouds", "weather" and "the weather" as "[sky]". Understand "skull", "skull on a stick", "the skull", "the skull on a stick", "the skull-on-a-stick" as "[skull]". Understand "Brad" and "Brad Hawkins" as "[Brad]". Understand "Roy", "Roy Janik", and "Roy Danger" as "[Roy]". Understand "Kaci", "Kaci Beeler", and "Kaci Danger" as "[Kaci]". Understand "grue", "grues", and "the grues" as "[grue]". Understand "ticket", "the ticket" as "[ticket]". Table of Brad's Replies Topic Reply "[sky]" "Brad gives the clouds another worried glance. 'It's looked like that ever since we lost the skull-on-a-stick. Roy claims it's thrown our whole magic of theater into disarray.'" "[skull]" "Brad smiles broadly. 'Ah, the magical talisman of the Hideout Theatre. Nobody knows where it came from, and nobody knows what eldritch powers it contains. More to the point, nobody knows where it is.'" "sex" "Brad just quirks an eyebrow at you." "backstage" "He stops you mid-sentence with a raised hand. 'All I know is, I don't go back there. Since losing the skull, the Hideout has had a bit of a grue problem." "[grue]" "Brad shivers involuntarily, but says nothing." "[Roy]" "'Roy helps run the Hideout. Just follow the sound of goofy laughter and the general feeling of good-natured support; you can't miss him." "himself" or "[Brad]" "'Brad Hawkins? Some say he was a drifter who came from nowhere and was headed for oblivion. Some say he was a myth so often told and retold, he became real. I prefer to think of him as an improvisor with an unhealthy addiction to breakfast tacos.'" "[Kaci]" "'Did you see that latest set she painted? Crazy.'" "Carl" "'Did you see his paintings in the coffeehouse? They're great! You should ask him about them.'" "Kareem" "'My description depends on whether he's drunk or sober.'" "Drunk Kareem" "'He's fairly agreeable.'" "Sober/Not-Drunk Kareem" "'Don't try to get any favors out of sober Kareem.'" "life" "'Life? Don't ask me about life.'" "me/myself" "'You seem a little hung over. Or no -- maybe you always look like that?'" "[ticket]" "'Fat lot of good a ticket will do you now. All the shows are cancelled until we get these supernatural shenanigans sorted out!'" Instead of kissing Brad, say "Brad evades your clumsy advances." Instead of giving the ticket to Brad, say "Brad says, What's the use? The show's cancelled until somebody can find the skull.'" Inside The Hideout Coffeehouse is a man called Carl. The description of Carl is "Carl wears a wistful smile and khaki shorts. He spends most of his time expertly mixing drinks with his espresso machines and his surprisingly extensive collection of bottled syrups." The espresso machines are scenery in the coffeehouse. After asking Carl about a topic listed in the Table of Carl's Replies, say "[Reply entry]". After asking Carl about a topic, say "Carl thinks a moment, then says, 'I'm afraid I don't know much about that.'". Understand "syrups" and "the syrups" as "[syrups]". Table of Carl's Replies Topic Reply "espresso/coffee" "Carl says, 'It's delicious!'" "[syrups]" "'I use those to prepare some of the fancier concoctions.'" "life" "'It's pretty good.'" "me/myself" "'You're alright, friend.'" "sex" "Carl looks a bit offended." "improv" "Carl says, 'I've seen a few shows here and there. Fun!'" Inside the Foyer is a man called Kareem. The description of Kareem is "A bearded gentleman in a three-piece suit, Kareem looks [if agreeable]slightly-buzzed, and content[otherwise]sober and grouchy. He could probably use a drink.[end if]." After asking Kareem about a topic listed in the Table of Kareem's Replies when Kareem is disagreeable, say "[Reply entry][paragraph break]" After asking Kareem about a topic listed in the Table of Kareem's Replies when Kareem is agreeable, say "[Drunk reply entry][paragraph break]" Understand "Pappy Van Winkle" and "pappy" and "van winkle" as "[pappy]". Table of Kareem's Replies Topic Reply Drunk Reply "whisky/whiskey/alcohol/booze/drinks" "'I like whisky.'" "'DRINK!' He raises a fist in the air and imitates a trumpet fanfare. It's hard to tell if he's being ironic or earnest." "[pappy]" "'That's one of the best kinds of whisky in the world.'" "'Bastard owes me twenty bucks,' he mutters." "life" "'It ain't bad.'" "Kareem belches at you. There is no other response." "Tom Waits" "'He's pretty much the best songwriter alive.'" "'Listen. Listen. Listen.' He motions you over, and once you get close enough, he grabs you and sings you the entirety of [italic type]Swordfishtrombones[roman type]." "[grue]" "'I know about them, alright? I'm working on it. It's on the list of tasks to do for the Hideout, which is as long as my arm. I've called an exterminator, but he's not called me back, so... I just don't know. Okay?'" "He lurches unsteadily to his feet just long enough to shout 'BASTARDS!' in the general direction of the theater." "[skull]" "'It's a talisman, mounted on a stick, that has supposedly magical powers. What's so hard to understand here?'" "Kareem suddenly bursts into tears. 'IT'S GONE,' he moans, 'and now it'll open the gates of hell or something.' He goes on, mostly indecipherable except for a few phrases about 'dogs and cats, living together' and 'mass hysteria'." "me/myself" "He shrugs. 'You seem alright,' he says." "'You... you brought me whisky. I will call you [']he-who-brings-me-whisky.[']'" "improv" "'I prefer to call them [']wacky-town make-em-ups[']." "He punches a fist towards the sky. 'IMPROV!' he shouts." "[ticket]" "'Sorry, the show's cancelled 'til further notice.'" "Kareem cries incosolably." Kaci is a woman in the Stage. Kaci carries a paintbrush. The description of Kaci is "A pale twentysomething in neat and curiously-out-of-time attire, Kaci paces intently, not paying much attention to her surroundings.". After asking Kaci about a topic, say "'Can't talk. Gotta destroy this curse.'". Roy is a man in the Stage. The description of Roy is "Even under these dire circumstances, Roy is best described as 'a ball of cheerful energy with shoes.' He must be optimistic about saving the theater.". After asking Roy about a topic when the player does not carry the skull, say "Roy asks, 'Have you found the skull yet?' You sense that this is the only thing he will say to you.". After asking Roy about a topic when the player carries the skull, say "Roy says, 'You found the skull! Quick, gimme!'". Instead of showing the skull to Roy, say "Roy says, 'You found the skull! Quick, gimme!'". Section 5 - Getting The Whisky [You'll use this to ply Kareem later on.] [Each of these test procedures accomplishes one step of the game and returns you to the Hideout Entryway.] test whisky with "in / ask carl about paintings / x syrups / ask carl about whisky / out" The bottle of whisky is fixed in place. Understand "whiskey", "bottle of whiskey" as whisky. The description of the whisky is "The whisky is a bottle of 23-year, 95.6-proof Pappy Van Winkle." The bottled syrups are scenery in the Coffeehouse. The description of the bottled syrups is "These are a collection of bottled syrups of various flavors. [first time]Looking closer, you espy a bottle of whisky hidden amongst the syrups! [only]" After examining the bottled syrups for the first time: move the bottle of whisky to the Coffeehouse. Instead of taking the bottle of whisky while the whisky is fixed in place, say "Carl stops you as you try to cantilever yourself over the glassed-in counter. 'I'm sorry,' he says, 'that whisky's not for sale.'" After asking Carl about "whisky/whiskey" while Carl is disagreeable: say "Carl sighs regretfully. 'I'm afraid that whisky is my personal supply. It's not for customer purchase.'" The tasteful paintings are scenery in the Coffeehouse. The description of the paintings is "These are some heavily art-deco-influenced designs with bright colors and animal motifs. An discreetly-placed label lists the artist as one 'Carl Johannson'." After asking Carl about "paintings": say "Carl grins widely. 'Thanks for asking me about my artworks, friend.' Let me know if there's anything I can do for [italic type]you[roman type]."; now Carl is agreeable. After asking Carl about "whisky/whiskey" while Carl is agreeable and the whisky is visible: say "Carl grins at you conspiratorially. 'Surely an art lover as yourself would appreciate some good whisky,' he says, and slips you the bottle."; now the whisky is portable; move the whisky to the player. Section 6 - Entering the Tech Booth [The tech booth is locked with a coded keypad. To get in, the player must (1) give the whisky to Kareem, and (2) get the keypad code from Kareem.] test keypad with "in / u / u / give whisky to kareem / ask kareem about keypad / u / type 3497 on the keypad / open door / in / out / d / d / d / out" holding the whisky. The keypad is an object in Above the Foyer. The description of the keypad is "This keypad lets you enter a series of numbers.[if the tech door is locked] Presumably if you type the correct code on the keypad, it will unlock the adjacent door.[end if]". The keypad is fixed in place. The keypad code is a number that varies. The keypad code is 0. The keypad can be solved or unsolved. The keypad is unsolved. Typing it on is an action applying to one number and one visible thing. Understand "type [a number] on [something]" as typing it on. Check typing it on: if the second noun is not the keypad, say "You can't type anything on [the second noun]." instead; if the tech door is unlocked, say "Why bother? The door it's attached to is already unlocked." instead; if the keypad is unsolved, say "There's little use messing around with the keypad when you don't know the combination." instead; if the number understood is not the keypad code, say "You enter [the number understood] on the keypad. The keypad makes a 'bzzzt' noise. Nothing else happens." instead. Carry out typing it on: say "You enter [the number understood]. The keypad beeps, and a you hear a satisfying 'ker-chunk' from the tech booth door."; now the tech door is unlocked; Instead of giving the whisky to Kareem: say "Kareem takes and drinks the whisky."; now Kareem is agreeable; remove the whisky from play. After asking Kareem about "keypad" while Kareem is agreeable and the keypad is unsolved: now the keypad code is a random number between 1000 and 9999; say "Kareem slurs, 'Oh yeah, the keypad code is [the keypad code].'"; now the keypad is solved. After asking Kareem about "keypad" while Kareem is agreeable and the keypad is solved: say "'I already told you! It's [the keypad code]!'". Section 7 - Turning on the Board [In this section, the player has to turn on the light board in the tech booth by properly operating a locked breaker box out in the alley.] Test openbox with "in / u / u / e / e / e / x dumpster / unlock box with key / open box" holding the utility key Test boxdeath with "test openbox / turn on switch" Test activateboard with "test openbox / u / w / ne / get schematics / w / e / d / turn on switch / u / w / w / d / d / out." Test turnonboard with "test activateboard / test keypad / in / u / u / u / in / turn on board / out / d / d / d / out" The dumpster is a closed container in the Alleyway. The description of the dumpster is "It's an ordinary dumpster -- this is where they throw the trash from the Hideout." Instead of opening the dumpster: say "Trust me, you don't have to, and you don't want to." The dumpster is fixed in place. After examining the dumpster for the first time: say "And look, there's a little electrical box on the wall next to the dumpster. Neat."; move the electrical box to the Alleyway. The electrical box is a container. The electrical box is closed and lockable and locked. The electrical box is fixed in place. The matching key of the electrical box is the utility key. "There is an electrical box attached to the wall beside the dumpster. [if closed]The box is closed.[otherwise]The box is open." After opening the electrical box: say "The box creaks open, revealing a rat's nest of switches, wires, and smoldering, sparking components. Among them, you make out a switch labeled 'tech booth'." The board switch is a device inside the electrical box. It is switched off. The utility key is in the Tech Booth. "There is a small silver key here." The description of the utility key is "A small, unremarkable utility key." The schematics are in the Closet. "There is a set of schematics here." The description of the schematics is "This is an electrical diagram labeled 'Hideout Breaker Box'. The original printed diagram is scribbled over with lots of handwritten notes, all of which say things like 'Don't touch!' and 'Live, frayed wire -- carries 400 volts!' A few notes just consist of a skull-and-crossbones symbol and an arrow to a particular spot." Check switching on the board switch when the player is not carrying the schematics: say "You blindly reach for the switch, and manage to get yourself electrocuted."; end the game in death. Carry out switching on the board switch: say "You painstakingly follow the instructions on the schematics, avoiding several dangerous loose connections, and carefully lever the switch into position.". Section 8 - Turning on the Blue Light [With the board turned on, the player now has to turn on the blue light.] The lighting board is a device. It is fixed in place in the Tech Booth. The description of the lighting board is "This is a fancy lighting board, with faders for all of the stage lights. It is currently turned [if switched off]off[otherwise]on[end if]." Check switching on the lighting board: If the board switch is switched off, say "You try fiddling with the power switch for the lighting board, but nothing happens. Apparently, it's plugged in, but it's not getting any power." instead. After switching on the lighting board: say "There's a faint electrical hum and little indicator LEDs flicker into life. Looks like you've turned on the light board!"; now the Backstage is lit. After switching off the lighting board: say "The board powers down."; now the Backstage is dark. Section 9 - Retrieving the Skull [Now you can brave the backstage area, get the skull-on-a-stick, and win the game.] test backstagedeath with "in / u / u / w / w / w / w / w". test retrieveskull with "in / u / u / w / w / w / get skull / e / give skull to roy" test wingame with "test keypad / test turnonboard / test retrieveskull" Player warned is a truth state that varies. Player warned is false. Instead of going nowhere from the Backstage when Backstage is dark and player warned is false: say "It's dark. You think you can hear grues. You'd probably better just walk right out the way you walked in."; now player warned is true. Instead of going nowhere from the Backstage when Backstage is dark and player warned is true: say "You continue to stumble blindly around the darkened backstage area, and then you hear them: the unmistakable, slavering sounds of a grue. The last thing you hear is is horrible 'Grarr!' as it opens its pointy-tooth-filled maw to eat you alive."; end the game in death. After going east from the Backstage: now player warned is false; try looking. [Hack: we're assuming that the backstage area is the only darken-able room in the game.] Rule for printing the name of a dark room: say "Backstage, in Darkness". Rule for printing the description of a dark room: say "This is the backstage area, but it's dark. You can't see a thing. You think you can hear grues lurking in the darkness. You don't like this at all." The skull is in the Backstage. "The skull-on-a-stick is here!" The description of the skull is "This is a small skull mounted on an old walking stick. Perhaps it was purchased long ago at the local costume shop -- or perhaps it dates from the times of the Old Ones, and contains unspeakable powers that keep those dark forces at bay. Roy is probably looking for it." Understand "skull-on-a-stick" as the skull. Instead of giving the skull to Roy: say "Roy says, 'Hurrah! The skull-on-a-stick is found again!' He raises it up to the heavens, and light shoots out from the skull in all directions. For a split second, it is as if all the demons in the underworld are screaming in pain simultaneously -- then, that noise ebbs away, and the sound of angelic voices and harps fills the air. The walls stop breathing. The creeping, eldritch dread disappears. Looks like you're all ready to sit down and watch an improvised text adventure at the Hideout."; end the game in victory.
