The Imitable Process of Ryan Veeder: Basic Autosaving in Inform 7

Ryan Veeder’s Authentic Fly Fishing autosaves your progress! This is kind of noteworthy, at least in the realm of text adventures. I don’t think Ryan Veeder’s Authentic Fly Fishing is the first text adventure to autosave your progress, but it might be the first game to do it in Inform 7.

Why bother with this feature for this particular game? Well, it was kind of necessary to make another feature work: Ryan Veeder’s Authentic Fly Fishing also uses the real-world date for certain “real-time” elements. The game can’t really keep track of these elements (say, counting how many different days you’ve played) if players are able to “change history” by loading outdated save files.

But there’s another reason, one which may more likely be applicable to your own personal design interests: Ryan Veeder’s Authentic Fly Fishing is supposed to be an extremely casual experience. There is no urgency for the player to reach the ending. (There is no ending.) It’s not supposed to be a battle of wits between the author and the player. You’re meant to visit the world of Ryan Veeder’s Authentic Fly Fishing for however long you want, whenever you feel like it, and maybe you’ll make some “progress” by finding something new, or maybe you won’t. It’s supposed to be very chill.

Requiring players to manually save their state at the end of a play session and then restore their state the next time they show up (being careful not to restore an old file and lose progress!) would detract from the casual experience I wanted to create. So it was doubly important for me to take the burden of progress management off the players’ shoulders.

Maybe you’d like to do something similar with your own Inform 7 project. Here’s how you can do that!

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Profiles in Jazz: Adam Belstrom

Adam Belstrom puts his socks on one at a time. “I don’t know of any other way to do it,” he says.

Adam is shorter than you’d expect, neater and better dressed than you want him to be. An experimental jazz musician should have facial hair; he doesn’t. He should be living in a messy studio apartment, not a duplex near a church.

I show Adam a neat way of putting on both socks at once. He agrees that it’s neat. Then I make him do it a couple of times, so I know he’s internalized it. He thanks me, tentatively. I tell him he should do it that way from now on. He says “sure,” and I can tell he has no such plans.

“It’s a structure built out of chaos.

Bismarck, North Dakota: No epicenter of artistic innovation—or so you’d think. Adam Belstrom is turning that assumption upside down, with a little help from his family. Every Saturday night, at Bismarck’s experimental jazz club The Sponge, Adam Belstrom debuts a new composition. Each piece is 500 notes long, and each note is chosen by Adam’s infant cousin Marquisha.

“My brain is formless,” Marquisha says, in sign language interpreted by her mother Hester, Adam’s aunt. “Jazz is formless. That’s not completely true. Jazz has structure. But it’s a structure built out of chaos. A baby like me is a perfect composer of jazz music.”

Marquisha’s composing process involves throwing ball bearings into a sand pit in Hester’s back yard. (During North Dakota’s frigid winters, the sand pit is brought into the living room.) On Sunday morning, Marquisha is given a bag of 500 ball bearings; over the course of the week, she eventually throws all of them into the sand pit. When the bag is empty, Hester and Adam photograph the pit and use Photoshop to overlay the array of circles onto a blank page of staff paper.

“We don’t have a Photoshop license,” Adam tells me, “so you should probably just say we use an image editing program. Or, just say ‘a computer.'”

“I’m listening to the ball. It’s like a Zen thing.

Once Marquisha’s composition is transcribed, her mother uses a special rake to remove the balls from the sand pit and pours them back into the bag. Adam spends the rest of the week—however long that ends up being—rehearsing the music in preparation for Saturday night’s performance.

The ball bearings don’t always cooperate.

“Sometimes, a ball doesn’t want to be music,” Marquisha, now eighteen months old, explains. “Sometimes I throw the ball at Mommy, and she gets upset. But it’s because I’m listening to the ball. It’s like a Zen thing. I’m throwing it where it needs to be thrown.”

When this happens, Hester puts the steel sphere back in its bag, so that Marquisha can throw it again, hopefully into the sand pit. Her reasoning is simple: “Every song needs to be five hundred notes.”

What if Saturday night rolls around and Marquisha hasn’t thrown all the ball bearings into the sand yet? Hester brushes the question aside; such a thing “would never happen.”

Though he refuses to take even partial credit as composer, Adam does think of himself and Marquisha as creative partners. “Her fingers are too small to play the guitar. We got her a toy guitar for her birthday, but she can only strum an open chord right now.”

“When she’s older, she’ll play her own compositions,” says Hester. But Marquisha flails her arms emphatically, and Hester translates: “Mother, don’t you dare tell me what I’m going to do.”


It’s Saturday night. I and four other music critics are crowded around The Sponge’s tiny stage. Adam Belstrom arrives, ten minutes late. (Later I will deduce that he has just finished an argument with his girlfriend Sam, who will decline to be interviewed.) He arranges the pages of Marquisha’s music, six sheets of paper spread across two music stands. He clears his throat and begins to play.

I’ve heard from Hester that Marquisha only finished this composition this morning. Adam has had, at most, twelve hours to rehearse—and that’s not accounting for his argument with Sam.

The music has no melody, no tonality. Adam’s fingers struggle to accommodate Marquisha’s incredibly dense note clusters; I recall craters in the sand pit where ten or twelve ball bearings had gathered in little heaps.

I turn my attention from the stage for a moment, and I notice that Geof Yards, of Crawdaddy Magazine, is copying my notes. I cover my Moleskine with my hand. He pretends not to notice.

Geof Yards is a plagiarizing piece of garbage.

When the performance is over, I grab Geof’s notebook and throw it across the room. While he’s occupied, I move in for a final interview with Adam. He seems distracted. The only quote I can get out of him is “Thanks a lot for coming all the way out here.”

Outside, it’s dark already, and snowflakes dance under the orange streetlights. What a surprise: It’s snowing in North Dakota.

Trivia Playtesting 2019

I’m hosting another trivia fundraiser for Family & Children’s Council of Black Hawk County in February and I need to test the questions so I can make sure they’re good! I’d like to get a bunch of people—INTERNET PEOPLE who will not be attending the actual event—to help out with this. Whenever I’ve done this in the past it’s been very fun—and not only for me! The playtesters get to have fun too.

Here’s one of the rounds I made for the last event.

Last year’s internet people playtest ended up on a Sunday night so I’m penciling in the following time: Sunday, January 27 at 8:00 PM Central. And I’m planning to do it on Discord (instead of Google Hangouts) to facilitate a bigger group and hopefully multiple teams.

Email me or DM me on Twitter and I’ll hook you up with the Discord invite.

Cragne Manor!

It took longer than we were expecting but it’s done!

CRAGNE MANOR, written by Adam Whybray, Adri, Andrew Plotkin, Andy Holloway, Austin Auclair, Baldur Brückner, Ben Collins-Sussman, Bill Maya, Brian Rushton, Buster Hudson, Caleb Wilson, Carl Muckenhoupt, Chandler Groover, Chris Jones, Christopher Conley, Damon L. Wakes, Daniel Ravipinto, Daniel Stelzer, David Jose, David Petrocco, David Sturgis, Drew Mochak, Edward B, Emily Short, Erica Newman, Feneric, Finn Rosenloev, Gary Butterfield, Gavin Inglis, Greg Frost, Hanon Ondricek, Harkness Munt, Harrison Gerard, Ian Holmes, Ivan Roth, Jack Welch, Jacqueline Ashwell, James Eagle, Jason Dyer, Jason Lautzenheiser, Jason Love, Jenni Polodna, Jeremy Freese, Joey Jones, JP, Justin de Vesine, Justin Melvin, Katherine Morayati, Kenneth Pedersen, Lane Puetz, Llew Mason, Lucian Smith, Marco Innocenti, Marius Müller, Mark Britton, Mark Sample, Marshal Tenner Winter, Matt Schneider, Matt Weiner, Matthew Korson, Michael Fessler, Michael Gentry, Michael Hilborn, Michael Lin, Mike Spivey, Molly Ying, Monique Padelis, Naomi Hinchen, Nate Edwards, Petter Sjölund, Q Pheevr, Rachel Spitler, Reed Lockwood, Reina Adair, Riff Conner, Roberto Colnaghi, Rowan Lipkovits, Ryan Veeder, Sam Kabo Ashwell, Scott Hammack, Sean M. Shore, Wade Clarke, Zach Hodgens, and Zack Johnson, is now available for you to play and enjoy/goggle at in abject horror. It is straight up bonkers.

“Organizing this project was quite the crazy trip for Jenni and me” is how I’d describe the experience if I entered some sort of Olympic Understatement Championship. Corralling all these authors and their many, many, many many wildly different rooms was an extremely nutbars undertaking. Many of the individual rooms, as you shall see, are fairly nutbars considered on their own. Taken as a whole, with everybody’s writing styles and puzzle implementations and ideas of what the weather in the game should be bouncing into each other, it’s—it’s—

I mean, just check out the game.

If you’re in the minority of humans who didn’t work on this game and it brings any joy into your life, make sure you extend your appreciation to the people listed above. They worked very hard, created some amazing stuff, and they deserve to know that their work affected you.

Cragne Manor: An Anchorhead Tribute

We are halfway through 2018 but this is still technically the 20th anniversary of Michael Gentry’s Anchorhead. Close enough.

We would like to mark this occasion, pay tribute to one of our favorite games, and have a ton of fun by creating a sort of companion piece/homage/loving parody/grotesque imitation. When I say “we,” I mean all of us, en masse, including you.

I also mean Ryan Veeder and Jenni Polodna, the organizers of this project.

HERE’S HOW IT WORKS:

A strong female character wanders the halls of a decrepit mansion. Her husband is in danger. She has to help him. Each room into which she points her flickering flashlight teems with arcane danger and unspeakable history. Each room has been designed and written by a different author.

If you volunteer to participate, you’ll receive a prompt that goes something like this:

BOILER ROOM: A staircase leads up to the kitchen. The door to the southwest is locked. The rusty key is in here.

Then you’ll have about a month to make this room. You’ll do this by doing whatever the heck you want. Do you want to design a really nasty puzzle standing between the player and the rusty key? You should do that. Do you hate puzzles, so you want the key to just sit there on the floor? Definitely do that. Should there be a nameless horror from beyond space hanging out in the boiler room? No. Or, yes. It’s your call.

What if the details you implement contradict details written by somebody else for a different room? That’s okay. If it somehow renders the game unplayable we’ll figure something out.

What if the prose in your room is tonally or stylistically inconsistent with the prose in other rooms? Good grief I hope so. Otherwise why would we have a bunch of different people doing this?

I mean, this is an homage, so as you’re doing whatever the heck you want, you should do so within the context of Anchorhead-style cosmic horror. Or, if not within the context of, at least with an awareness of.

OKAY BUT SERIOUSLY HOW DOES THIS WORK:

The rooms you design will be stitched together by the organizers in Inform 7, and once we’ve made it work, we’ll unleash the monstrosity that results. That means the rooms themselves will be built in Inform 7.

If you don’t know from Inform 7 because you use some other authoring device or you’re not a programmer, you can still participate: If you draw up a detailed design document for your room with all the necessary prose, the organizers can translate it into I7 for you.

If you do work in Inform 7 you’ll be given a Compliance Sheet with a long list of Best Practices to ensure that your code can be plopped into the main project without breaking anything in anyone else’s rooms—while hopefully not constraining the content of your room, which, as I say, should consist of whatever the heck you want.

The organizers predict that, even if our Compliance Sheet is very well thought out, and even if every participant follows it exactly, combining all these hunks of code into a single working game may possibly turn out to be a nontrivial task. So expect that part of the process to take a while.

Speaking of time, here is our (still fairly malleable) schedule:

June 22 (Today): We are right now calling for your intent to participate. Email cragne@jennipolodna.com and commit to participating.

July 6 (2 weeks from today): This is the deadline for your intent to participate. When we know how many participants we have, we’ll draw up the game’s map and figure out who’s writing what. This might take a few days.

July 9 (A few days after that): You’ll receive your prompt. If you don’t think you can make it work—because you really hate boiler rooms, or something?—we’ll find you a different prompt.

July 13, 20, and 27: We’ll encourage you to submit a draft of your room each week leading up to the deadline. These check-ins aren’t mandatory, and we’re not necessarily expecting you to have anything presentable ready on the 13th. (I know I wouldn’t.) We do want multiple chances to look at your rooms while they’re in progress, though, so we can identify room-to-room conflicts (like two people both writing about “mud-slick galoshes”) and resolve them earlier rather than later.

August 3 (6 weeks from today): This is the deadline for your room. If you can get a couple people to beta test your room before this, that’s great. If you can’t, that’s fine. We want it to be amazing, but we’ll settle for it being playable.

August 31 (10 weeks from today): After a generously-proportioned period of futzing around, the organizers release the finished game—our finished game.

SO HERE’S WHAT YOU DO NOW:

Email cragne@jennipolodna.com and say “Yes, I want to contribute to a massive, ridiculous, collaborative tribute to Anchorhead, and I can get my room done before August 3, if you give me just under 4 weeks notice of what room I’m supposed to do.”

HOLD ON I HAVE TWO MORE THINGS:

Maybe you’re thinking, “Oh, golly, when Ryan and Jenni say ‘including you,’ I’m ever so sure they don’t really mean little old me.” Whoops! You are wrong. We need as many Anchorhead-heads as we can get to help us out. Remember how many rooms Anchorhead had? We want to have a ton of rooms.

Maybe you’re thinking, “Heck and dang! Ryan and Jenni announced this at the worst possible cussin’ time, because I’m a busy individual and don’t have four blasted weeks to make a good room!” Here’s the thing: You don’t have to craft a huge ridiculous room. You can write up a creepy hallway, add a couple moody details, and be finished in an hour. I wouldn’t actively encourage anybody to go small, but if you want to go small, or you need to go small, let us know, and we’ll assign you a little room. Something that’s on the way to something else. Your room’s smallness will magnify the bigness of what lies beyond. As long as that’s what you feel like doing.

TO REITERATE:

Email cragne@jennipolodna.com and let us know you want to contribute.

2018 MIT Mystery Hunt

In 2017, my MIT Mystery Hunt team, Death and Mayhem, found the Coin first. I wasn’t actually at MIT at the time. I was helping out as best I could from the great state of Iowa.

The horrible fate of each winning team is that they have to design the following year’s Hunt. For me this was a dream come true: I admired the Mystery Hunt from afar for years, and it was really exciting just to be on a competing team when I joined D&M in 2015. Over the course of 2017 I got to help make the MIT Mystery Hunt which feels like a fictional sentence even now.

Then MLK Day Weekend of 2018 appeared, and I went to Boston to help with Hunt operations in whatever way I could. That was the plan, anyway.

I must have caught something on the plane ride, which probably interacted with the incredible stress of the epic undertaking I had involved myself in, and I fell ill. I was out of commission for like 70% of the weekend. WHOOPS

So let’s get back to 2017: I got to contribute a whole bunch of different things to this Mystery Hunt, and I’m very proud of them, and now, four months later for some reason, I’m devoting a blog post to bragging about them.

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The Betsy Morrison Story

a Twitter novel
by Ryan Veeder
copyright Ryan Veeder MMXVII

The wind blew across the elementary school playground. It blew the orange leaves up against the wire fence. The leaves rustled.

Betsy Morrison wrote in her diary.

“I am a twelve-year-old girl,” she wrote, “the wisest creature upon Earth. I understand the languages of birds, the ebb and flow of the seasons, the past and the future and the space beyond time. Today is my birthday, and I am twelve years old.

“We went to Garbaggio’s Pizzeria for my birthday over the weekend because it was Uncle Boscoe’s birthday last week and we celebrated them at the same time but my REAL birthday is today,” Betsy continued to write, leaves swirling around her ankles, “and I am perfect among humans.”

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