Iron ChIF: Season One Episode 2 (Lancelot vs. SomeOne2, using ZIL)

Worth observing here:

SYNTAX defines a new verb, using a simple grammar description, a handler routine, and (optionally) a preaction routine. The handlers V-SCAN and V-SSCAN are presumably defined elsewhere, along with the preaction routine PRE-SSCAN.

Preactions are able to intercept an action before the nouns’ ACTION routines are called, and are useful for checking conditions that apply universally to all nouns, like “you can’t drop something you aren’t holding”. The standard library uses preactions sparingly, since it’s hard to be sure that no author will want to make an exception to such a condition, but in one’s own project it can be easier to identify when a verb could benefit from a preaction.

This seems to be another… highly spirited interaction, this time in Borogove. You can select version 4 by changing <VERSION ZIP> to <VERSION EZIP>, but it looks like Borogove doesn’t find the .z4 output and will keep playing the last compiled .z3.

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Going out for a few hours to escape my attic and get some sunlight. To be continued!

WARNING: Teaser upcoming…

You step out of the transporter. The chameleon circuitry
has done its job: your transporter now perfectly matches
a neat row of identical red boxes on the premises.
To any passerby, it is entirely unremarkable.
 
The environment is quiet. Too quiet. Something is wrong.
You activate your Coordinated Space-Time Synchronous
Reorganizer, affectionately known as the Time Swapper.
Almost immediately, it emits a warning:
"Anomalies detected in this time period."
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It sounds as though this contest is putting Borogrove through its paces, too!

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Almost the end of day 4. I am at peace. It is quiet here.

“Water is all around us. It is within us. It is eternal. It binds us all across space and time. It is the gateway.”

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As the last day looms, the countdown sprints, the deadline ticks down, we enter the final dawn.

I used to find deadlines clarifying. Knowing that it’s now or never. Just one more push to the end. But as I’ve got older, I don’t feel them as forcefully. A part of me whispers “go to sleep, you’ll have more energy in the morning” and then in the morning “just a little bit more of a lie in” and then “I can work on this in the evening when everyone else is sleeping I’ll be able to concentrate properly” but evening rolls around and the loop starts up again. Then, before I know it several days, weeks, months have passed and not much has been done and the cost of missing a deadline wasn’t so great after all.

Hopefully though, you both are feeling the true force of it. Don’t listen to any whispering self-sabotage. The more you can do now, the better it will be. And then you can rest!

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Funny, I used to find deadlines terrifying.

Granted, I still do, and these days more than ever, lmao.

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So, from the code snippets and teasers, it seems like we’ll be herding passengers in SomeOne2’s game, and fixing time anomalies in Lancelot’s game? I wonder what the stakes will be in each case!

As the deadline approaches, I find myself a bit nervous, even though I’m not the one cooking the dishes against harsh time constraints. To both contestants – stay strong during this final sprint to the finish line. I think we all want your dishes to be as good as possible, but we’ve also seen, with examples, how ambitious and challenging your task was. I’m crossing my fingers for both of you.

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We enter the final stretch! Deadlines are nightmares but also genuinely helpful guardrails. I wish both of our chefs luck during these crucial last few hours.

Looking back at the entire thread, we’ve received some tantalizing tidbits about both games, but nothing concrete enough that I can tell anything for certain about what it is we’ll be playing!

Lancelot’s game starts (or at one point started) somewhere called Parliament Square, which is only one room in a map that, to me, still feels dauntingly huge to have implemented with these time constraints (without even getting into the GLASH/TWAM of it all!). There’s at least one NPC, with the aurally-satisfying name Miyamoto Musashi. Players will be dealing with anomalies across time, with the help of an artifact that seems to have ended up TARDIS-esqe after all.

Max’s game takes place on a space ship over the course of three days (Earth days? Some custom time system’s worth?), and involves multiple wandering NPCs that must be avoided. Also involved is an organization called Betelgeuse Pharmaceuticals, Inc. I’m sure they’re on the up and up! The required artifact is called Arkanen, which is also the title of the game. There is at least one other gadget accessible to the player, which somehow scans the ship.

These tidbits show the shape of things, but really only comprise an amuse-bouche that has whetted my appetite to dive into the finalized dishes!

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The thing about games created under these conditions is that you wouldn’t have made them like this if you were given a zillion years to work on them, it takes the special ingredients, the pressure cooker, to make them in zileven days.

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‘Good artists copy; great artists steal.’ Or, in what seems to be the actual source of that aphorism:

“One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.” -T. S. Eliot

Back when we were all posting what the ingredient reminded us of, several people mentioned Dr. Who’s TARDIS, including Onno. And here, we see that this wasn’t solely a passing thought: he has stolen at least one element of that iconic ship: the chameleon circuit (and ‘red box’ isn’t far from ‘blue box’, either).

I doubt we are in for genuine Dr. Who fanfic with this entry (though I wouldn’t mark it down if it was!) But we see here Onno’s choice to wear his influences on his sleeve, reminding me of my own choice to steal ‘rezrov’, ‘throck’, and ‘igram’ from the (extended) Enchanter series.

It’s a risk! I’m reminded of a review of ‘Ready Player One’ that said something like “It’s a bold move to make a core part of your aesthetic ‘hey, remember better movies?’” You make promises when you steal from something beloved, and invite comparisons to the original. The key, I think is right there in the Eliot quote: you have to be “better, or at least different”. With a grand total of five days to completely implement a whole game, I would assume that ‘better’ is probably off the table (it certainly was for me!) But ‘different’ is achievable.

And it’s not just pop cultural references you have to watch out for. I remember after I posted something about my dish in my episode, one of the judges said, “Oh, that reminds me of Sub Rosa,” and I immediately thought, “Oh, crap,” because I had not played that game, had no time to play that game, and now my own game was going to be judged in comparison to something beloved by the community (hi, @Joey!). Here, both chef’s games are almost inevitably going to be compared to other games that have similar ‘moving through time and space’ vibes, like the Little Match Girl series or First Things First. You put your game on a spaceship, you’re going to be compared to spaceship games; you put your game in London, you’re going to be compared to Trinity (aiee!).

So you just have to double down on your vision. Unless your goal going in is to be ‘better than X’, you’re not going to be better than X, and you’re going to have to instead just be different. And the best way to do that is to… be yourself? Did I just write five paragraphs to end on that old chestnut? Ah, well. It’s still true![1] Steal liberally, and then make it your own. And I think the key to that last bit is just confidence. Yeah, people liked what you’re stealing from. You did too; it’s why you stole it! But it’s your vision that people are here for. And that’s enough.


  1. ‘When writing advice, it is perhaps inevitable that people will compare your advice to other well-known suggestions…’ ↩︎

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Nothing to fear I hope. I might as well state that “transporter” was copied from Star Trek, another favorite SF show of mine. It is hard to come up with more original names. But the TARDIS (I explicitly did not call it THAT because of copyright) does not feature largely in this game. It is NOT the “artifact”…

Instead of using a chameleon circuit I might use a cloaking device… but that is ALSO blatantly stolen from Star Trek. How does someone drop into London without being noticed upon arrival? :smiley: An Improbability Drive? Bistromath?

If copying a show’s thing is a problem, I can try to rewrite that part, but its only in the intro and outtro the references are made. Maybe Ally can shed some light on this (she got a peek preview)

The game itself is totally original (famous last words; I wouldn’t be surprised if someone goes “hey this is just like IFComp game XYZ”…) but the mechanic has been portrayed in at least a few sources I am aware of, but for different reasons. So I think it is unique enough to stand out. That is the one thing I wanted to achieve here: take that artifact idea and create something new which revolves around it. We will see if that vision worked…

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Ha, no, it is not at all a problem. You should know that as a judge, I am mostly just riffing off of your updates, and trying to say something with somewhat wider applicability based on what you reminded me of. Here, it was simply that ‘in any act of creation, we have to deal with the fact that previous creations exist, and some of them will be similar to what we just created’!

In a sense, putting in deliberate references (like ‘chameleon circuit’) inoculates you against a certain level of criticism: you have acknowledged that the thing you’re doing is similar to a thing your audience knows and loves; you both smile and move on.

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Six hours left. When I hit this point on my episode, I thought, “Enh, I’ll fix bugs for a couple hours until midnight in my time zone, then be done.”

Reader, I was up until the final deadline, at 4:00 AM for me. I finished workshopping the last sentence of the game at 3:54, with barely enough time to do a final compile and zip before sending it off.

There’s just so many things left undone, and you feel you owe it to your players to tackle every last one of them. And you do, knocking down issue after issue after issue in a sort of fugue. I have one last piece of advice for our chefs that I also gave myself as the deadline loomed:

[2:40 AM] Lucian: OK, what can I do quick.
[2:40 AM] Lucian: Actually, you know what? That’s a SUPER DANGEROUS PHRASE.
[2:41 AM] Lucian: I’m leaving it as-is.

I did still tackle wording fixes after that, but changed no code logic. It worked; you could get from the beginning to the end; it would have to be enough.

[4:06 AM] Lucian: I am SO GLAD I did. This was absolutely amazing.
[4:07 AM] Lucian: This’ll be much more memorable than many other vacations I’ve had, and I have great vacations.

Good luck on this final sprint, you two! And remember: only one will be crowned, but you both will be winners. In fact, you already are.

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Right now I don’t feel much of anything. I lost three hours in finding a missing comma. I am going to bed. My apologies to everyone who offered their beta testing services to me.

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No apologies! You’ve done what you could, and you found your missing comma. Those are wins! We’re all proud of both of you.

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As the deadline is approaching, I think I am super glad I went for a very small idea because I would already consider the game done. Like, I don’t think I have anything to add to mine anymore…

Kinda anticlimactic, heh?

Actually, fine. Let me give a bit of backstory to my game.

So, for those of you who don’t know, Dark is by far my favourite series of all time. It’s a truly brilliant story and incredibly executed. However, the whole thing is nearly incomprehensible until a second watch. It’s truly the best, and anyone who hasn’t watched it, do it now - and bring a pen and paper while you’re at it. I also love Westworld season 1, where reality is a true challenge to follow (even when it seems like they’re infodumping, there’s probably a lot more to it than you think). So it’s no surprise that I went for that approach with this, creating a story designed to keep players going, “Oh, wait is that what I’m meant to be…? Nope, but there’s something about that…” up until the end. At least, I tried.

Now, no-spoiler:

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A map! Lovely, since I have no sense of direction, both in real life and in games.

Sadly, I’m not familiar with either of Iron Chef’s inspirations. We’ll see if it affects my understanding of his dish, but since it’s designed to keep players guessing… probably not?

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Dang you had time to put a MAP in your game??? I stand in awe.

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You both sound like you’ve taken a promising approach with this. The best way to finish something is to manage your own expectations before you even begin, think about what you most want to accomplish and prioritise that. A small thing that does one unique thing well is better than a huge incomplete thing.


With the end point in sight, I’m really looking forward to playing these games!

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