Add glossary references in the correct places.

[ibg.git] / chapters / 16.rst

===================
Debugging your game
===================

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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 :term:`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:: inform

    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 :term:`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.