From: David Griffith Date: Fri, 22 Apr 2016 03:21:09 +0000 (-0700) Subject: Added chapter 16. X-Git-Url: https://jxself.org/git/?a=commitdiff_plain;h=88629eb252422d4b562d6970ab16c48dc94bb435;p=ibg.git Added chapter 16. --- diff --git a/chapters/16.rst b/chapters/16.rst new file mode 100644 index 0000000..35c8f06 --- /dev/null +++ b/chapters/16.rst @@ -0,0 +1,470 @@ +=================== +Debugging your game +=================== + +.. only:: html + + .. image:: /images/picN.png + :align: left + +.. raw:: latex + + \dropcap{n} + +obody understands the phrase *errare humanum est* quite in the same way +as a programmer does. Computers are highly efficient machines capable of +wondrous calculations, but they lack imagination and insist that every +single item thrown at them must be presented according to certain rules +previously defined. You can't negotiate with a computer; you either bow +in submission or bite the dust. + +Inform behaves no differently. If you make a typing or syntax mistake, +the compiler will send you back to revise your work. "It was just a +lousy comma!" you cry in disgust. The compiler remains silent. It has +nothing to gain by argument, because it’s always right. So you go and +change the lousy comma. No harm done except perhaps to your pride. + +Errors that are found during compilation may be tedious to correct, but +are usually easy to find; after all, the compiler tries politely to +point out what and where the mistake was. Trouble begins after you've +managed to satisfy all of the compiler's complaints. You are rewarded by +a clean screen, devoid of a list of errors, and you are offered -- a +gift! + +A new file has appeared in your folder. A story file. Yes, *the* game. +You quickly open your favourite interpreter and begin to play -- only to +discover the dark side of errors, the bugs. Bugs come in all shapes, +colours and sizes: big, small, stupid, absurd, minor, disturbing, +nerve-wracking and catastrophic. They are often unpredictable: they +regale our eyes with surprising, unexpected behaviour. They defy logic: +I can TAKE the key, and the game even says "Taken", but the key remains +in the same place and won't appear in my inventory. Or: opening the door +while wearing the fur coat causes a programming error and a cryptic +message "tried to find the attribute of nothing". And many, many others. + +When designing a game you try to take into consideration the states that +your objects will find themselves in, but any medium-sized game has such +a number of objects and actions that it's almost impossible to think of +all the possible variations, permutations and possibilities. + +Debugging consists in finding run-time errors, and then correcting them. +Pretty easy, you might think, but no. Detection of such errors is not +straightforward, since they tend to manifest themselves only under +precise circumstances. Then you have to investigate your code to find +out what is causing them. And then, if you discover the offending lines, +you must make the appropriate changes. (There is also the case when you +can't find the mistake. Don't worry, it's there somewhere. Persistence +always pays off in the end.) + +To help you out in this daunting task, Inform has a stock of special +actions: the debugging verbs. They become available at run-time when the +source file is compiled in **Debug mode** (``-D switch``). When you are +ready to release your game, you’ll have to recompile, switching off +Debug to avoid allowing the players to benefit from the debugging verbs. +We'll cover briefly a few of these actions, and tell you what they do. + + +Command lists +============= + +The only way to test a game is to play it. As you make progress writing +code, the game grows complicated, and it becomes really tiresome to +repeat all the commands every time you play. Not unusually, when you fix +the behaviour of some object, you are also affecting the behaviour of +other objects or actions, so it's a good idea to test everything now and +then; you have to make sure that your recent changes and fixes didn't +spoil something that previously worked fine. + +The RECORDING command (RECORDING ON and RECORDING OFF) saves the +commands that you type as you play into a text file (you'll probably be +prompted for a file name). When you add a new section to the game, you +can play to that point, type RECORDING ON to capture (in another file) +the commands which exercise that section, and then later use your editor +to append those new commands to the existing list. + +The REPLAY command runs the text file created by RECORDING, playing all +the stored commands in one go. This way you can very quickly check +whether everything is working as it should. + +You can open the file of commands with any text editor program and +modify the contents as need arises: for instance, if you want to delete +some commands no longer necessary because of a change to the game, or if +you forgot to test some particular object and you need to add new +commands. + +This technique (the use of recorded lists of commands) is, and we can't +emphasise it too strongly, one of the most useful testing features for a +game designer. + + +Spill them guts +=============== + +Some debugging verbs offer information about the current state of things. + +TREE + + This action lists all the objects in the game and how they contain + each other. You can discover the possessions of just one object by + typing TREE *object*. All the objects that you have defined in the + source file are turned into numbers by Inform when it compiles the + story file; this command also lists those internal + :samp:`{obj_id}` numbers. + +SHOWOBJ *object* + + Displays information about the *object*, the attributes it currently + has and the value of its properties. The *object* can be anywhere, + not necessarily in scope. For instance, in "Heidi": + + .. code-block:: transcript + + >SHOWOBJ NEST + Object "bird's nest" (29) in "yourself" + has container moved open workflag + with name 'bird's' 'nest' 'twigs' 'moss', + description "The nest is carefully woven of twigs and moss." (19230), + +SHOWVERB *verb* + + Displays the grammar of the *verb*, just like a standard ``Verb`` + definition. This comes in handy when you have tampered with ``Extend`` + and are not sure about the final results of your machinations. An + example from "William Tell": + + .. code-block:: transcript + + >SHOWVERB GIVE + Verb 'feed' 'give' 'offer' 'pay' + * held 'to' creature -> Give + * creature held -> Give reverse + * 'over' held 'to' creature -> Give + * 'homage' 'to' noun -> Salute + + The first lines reproduce the verb definition as it's written in the + library. The last line, however, is the direct consequence of our + tailored ``Extend``: + + .. code-block:: inform6 + + Extend 'give' + * 'homage' 'to' noun -> Salute; + +SCOPE + + Lists all of the objects currently in scope (in general terms, visible + to the player character). More powerfully, you can type SCOPE *object* + to discover which objects are in scope for the named *object*. This + feature becomes useful when you have NPCs capable of tampering with + their surroundings. + + +What on earth is going on? +========================== + +There comes the time when some actions don't produce the desired effects +and you don't know why. The following debugging verbs offer information +about what the interpreter is up to, which might enable you to identify +the moment when things started to go awry. + +ACTIONS (or ACTIONS ON ) and ACTIONS OFF + + Gives information about all the actions going on. Some actions get + redirected to others, and this becomes at times a source of mischief + and mystery; here you get a clue what's happening. For example, take + this transcript from "William Tell": + + .. code-block:: transcript + + Further along the street + People are still pushing and shoving their way from the southern gate towards + the town square, just a little further north. You recognise the owner of a fruit + and vegetable stall. + + Helga pauses from sorting potatoes to give you a cheery wave. + + >SEARCH STALL + [ Action Search with noun 35 (fruit and vegetable stall) ] + [ Action Examine with noun 35 (fruit and vegetable stall) (from < > statement) ] + It's really only a small table, with a big heap of potatoes, some carrots and + turnips, and a few apples. + ... + +CHANGES (or CHANGES ON ) and CHANGES OFF + + Tracks object movements, and changes to properties and attributes: + + .. code-block:: transcript + + Middle of the square + There is less of a crush in the middle of the square; most people prefer to + keep as far away as possible from the pole which towers here, topped with that + absurd ceremonial hat. A group of soldiers stands nearby, watching everyone who + passes. + + >GO NORTH + [Setting Middle of the square.warnings_count to 1] + A soldier bars your way. + + "Oi, you, lofty; forgot yer manners, didn't you? How's about a nice salute for + the vogt's hat?" + + >AGAIN + [Setting Middle of the square.warnings_count to 2] + + "I know you, Tell, yer a troublemaker, ain't you? Well, we don't want no bovver + here, so just be a good boy and salute the friggin' hat. Do it now: I ain't + gonna ask you again..." + + >SALUTE HAT + [Setting hat on a pole.has_been_saluted to 1] + You salute the hat on the pole. + + "Why, thank you, sir," sneers the soldier. + + >GO SOUTH + [Setting Middle of the square.warnings_count to 0] + [Setting hat on a pole.has_been_saluted to 0] + [Moving yourself to South side of the square] + ... + +TIMERS (or TIMERS ON ) and TIMERS OFF + + This verb shows you the state of all active timers and daemons at the + end of each turn. We haven't mentioned timers -- similar to daemons -- + in this guide; you might perhaps use one to explode a bomb ten turns + after lighting its fuse. + +TRACE (or TRACE ON ), TRACE *number* and TRACE OFF + + If you turn on this powerful verb, you'll be able to follow the + activity of the **parser** -- that part of the library which tries to + make sense of what the player types -- and this will indeed be a + wonderful moment of gratitude that someone else took the trouble of + writing it. Since the parser does so many things, you can decide the + level of detail about the displayed information with the *number* + parameter, which can go from 1 (minimum info) to 5 (maximum info). By + default, TRACE ON and TRACE with no number sets level 1. Trace level + 1 shows the grammar line that the parser is thinking about, while + level 2 shows each individual token on each grammar line that it + tries. The information displayed with higher levels may become quite + hacky, and you are advised to use this feature only if nothing else + helps. + + +Super-powers +============ + +GONEAR *object* + + This action lets you teleport to the room where the *object* is. This + is useful when, for example, certain parts of the map are closed + until the player character solves some puzzle, or if the game map is + divided in different areas. If the room you want to visit has no + objects, you can use... + +GOTO *number* + + Teleports you to the room with that internal *number*. Since rooms + usually have no name, you'll have to discover the internal number of + the room object (with the command TREE, for instance). + +PURLOIN *object* + + PURLOIN works exactly as TAKE , with the nice addition that it doesn't + matter where the object is: in another room, inside a locked + container, in the claws of the bloodthirsty dragon. More dangerously, + it doesn't matter if the object is takeable, so you may purloin + ``static`` or ``scenery`` objects. PURLOIN is useful in a variety of + situations, basically when you want to test a particular feature of + the game that requires the player character to have some objects + handy. Instead of tediously collecting them, you may simply PURLOIN + them. Be careful: it's unwise to PURLOIN objects not meant to be + taken, as the game's behaviour may become unpredictable. + +ABSTRACT *object* TO *object* + + This verb enables you to move the first *object* to the second + *object*. As with PURLOIN , both objects can be anywhere in the game. + Bear in mind that the second object should logically be a + ``container``, a ``supporter`` , or something ``animate``. + + +Infix: the harlot's perogative +============================== + +The basic debugging verbs are fairly versatile, easy to use, and don't +consume a lot of memory. Occasionally though, you'll meet a bug which +you simply can't catch using regular techniques, and that’s when you +might want to investigate the Infix debugger. You'll need to compile +using the ``-X`` switch, and you'll then be able to monitor and modify +almost all of your game’s data and objects. For instance, you can use +";" to inspect -- and change -- a variable: + +.. code-block:: transcript + + Inside Benny's cafe + Benny's offers the FINEST selection of pastries and sandwiches. Customers clog + the counter, where Benny himself manages to serve, cook and charge without + missing a step. At the north side of the cafe you can see a red door connecting + with the toilet. + + >; deadflag + ; == 0 + + >; deadflag = 4 + ; == 4 + + *** You have been SHAMEFULLY defeated *** + + In that game you scored 0 out of a possible 2, in 2 turns. + +It's often quite maddening to realise that some variable is still +``false`` because the Chalk puzzle didn't work properly, and that you +can't test the Cheese puzzle until the variable becomes ``true``. Rather +than quit, fix the Chalk, recompile, play back to the current position +and only *then* tackle the Cheese, how much easier to just change the +variable in mid-stream, and carry right on. + +You can use ``;WATCH`` to monitor an object; you'll see it receive +messages and you'll be told when its property and attribute values +change: + +.. code-block:: transcript + + >;WATCH MID_SQUARE + ; Watching object "Middle of the square" (43). + + >NORTH + [Moving yourself to Middle of the square] + [Moving local people to Middle of the square] + [Moving Gessler's soldiers to Middle of the square] + [Moving your son to Middle of the square] + + Middle of the square + There is less of a crush in the middle of the square; most people prefer to + keep as far away as possible from the pole which towers here, topped with that + absurd ceremonial hat. A group of soldiers stands nearby, watching everyone who + passes. + [Giving Middle of the square visited] + + >NORTH + [ "Middle of the square".before() ] + [ mid_square.before() ] + [Setting Middle of the square.warnings_count to 1] + A soldier bars your way. + + "Oi, you, lofty; forgot yer manners, didn't you? How's about a nice salute for + the vogt's hat?" + + >NORTH + [ "Middle of the square".before() ] + [ mid_square.before() ] + [Setting Middle of the square.warnings_count to 2] + + "I know you, Tell, yer a troublemaker, ain't you? Well, we don't want no bovver + here, so just be a good boy and salute the friggin' hat. Do it now: I ain't + gonna ask you again..." + + >NORTH + [ "Middle of the square".before() ] + [ mid_square.before() ] + [Setting Middle of the square.warnings_count to 3] + + "OK, Herr Tell, now you're in real trouble. + ... + +.. todo:: "Herr" above is italicized. Was that a mistake in the original text? + +Infix is quite complex -- there are more commands than those we have +shown you -- so while it's good to have available, it's not really a +tool for novices. If you do use it, be careful: you get a lot of runtime +power, and may easily screw up the state of the game. Remember, however, +that the changes affect only the current story file while it’s running; +to make permanent amendments, you still need to edit the source file. + +You won't need it often, but Infix can sometimes provide quick answers +to tricky problems. + + +No matter what +============== + +Your game will still have some undetected bugs despite all your efforts +to clean it up. This is normal, even for experienced designers; don't +feel discouraged or demoralised. You might find it reassuring to know +that our own example games in this guide -- which certainly don't +qualify as "complex programming" -- were far from perfect at the First +Edition. We blush at the following report from an extremely diligent +play-tester: + + I found these things when playing “Captain Fate”: + + * player is able to wear clothes over the costume, + + * player can change into costume in the dark unlocked bathroom without + being interrupted, + + * player can drop clothes in the dark unlocked bathroom. Try REMOVE + CLOTHES. X SELF. REMOVE COSTUME. INV -- X SELF says that you + are wearing the costume, but the inventory does not reflect this. + +The Second Edition fixed those problems, and quite a few more besides. +"That's it;" we thought, "after all this time, our example games are +sure to be squeaky clean." In our dreams... Another diligent play-tester +then wrote: + + While reading I took notes of some mistakes and inconsistencies: + + * BENNY, GIVE KEY TO CUSTOMERS and BENNY, GIVE KEY will + make Benny give the key to the player. The same goes for coffee. + + * Benny will force the player back into the cafe even when the key is + dropped in the café, or put on the counter (in Benny's plain sight!). + +Of course, the code we've offered you in this edition takes care of +those embarrassing issues, but it might very well happen that a few more +undetected absurdities pop up from now on. + +The final stage of debugging must happen elsewhere, at the hands of some +wilful, headstrong and determined beta-testers; these are the people +who, if you’re lucky, will methodically tear your game to shreds and +make extensive reports of things that don't work reliably, things that +don't work as smoothly as they might, things that ought to work but +don't, things that never even crossed your mind (like, uh, dropping the +costume in the dark). Once you think your game is finished -- in that it +does all that you think it should, and you've run out of ideas on how +else to test it -- look for a few beta-testers; three or four is good. +The IF community offers some beta-testing resources, or you can always +ask in RAIF for kind souls willing to have a go at your game. Remember +the golden rules: + + * **Expect no mercy**. Although it hurts, a merciless approach is what + you need at this time; much better to discover your errors and + oversights now, before you release the game more widely. And don't + forget to acknowledge your testers' assistance somewhere within the + game. + + * **Never say never**. If your testers suggest that the game should + respond better to an attempted action, don't automatically respond + with "No one's going to try that!" They already have, and will again + -- be grateful for your testers' devious minds and twisted psyches. + Although a normal player won't try all of those oddball things, + every player is bound to try at least one, and their enjoyment will + be greater, the reality enhanced, if the game "understands". + + * **Ask for more**. Don't treat your testers simply as validators of + your programming skills, but rather as reviewers of your + storytelling abilities. Encourage them to comment on how well the + pieces fit together, and to make suggestions -- small or radical -- + for improvement; don't necessarily reject good ideas just because + implementing them "will take too long". For example: "the scene in + the Tower of London doesn't somehow seem to belong in an Arabian + Nights game", or "having to solve three puzzles in a row just to + discover the plate of sheep's eyes is a little over the top", or + "this five-room trek across the desert really is a bit dull; + perhaps you could add a quicksand or something to liven it up?", or + "the character of the eunuch in the harem seems to be lacking in + something". That is, view the testers collectively not as simple + spell-checkers, but rather as collaborative editors on your latest + novel. diff --git a/images/picN.png b/images/picN.png new file mode 100644 index 0000000..bb1e535 Binary files /dev/null and b/images/picN.png differ