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A New Way of Looking at MU*s

Perception and Sensory Input



The humble 'look' command has existed since the first interactive

fiction games, and is still used in almost every MU*, regardless of

type. Despite this seemingly overwhelming popularity, the term arose

from an unfortunate and mistaken emphasis of the visual sense over all

others. It is mistaken because the other senses are vitally important

in almost every aspect of life, from eating and verbal communication

to holding on to objects and judging position. 'Look', being such

a general command, - looking at a room gives a description of the

room, plus usually some indication of its contents - is deceiving in

its specific reference to one sense. In many games, both MU*s and the

more traditional interactive fiction, this one command is enough, and

it is well known to represent all the senses.

However, where a more complicated system for sensing database objects

is used (such as the system presented later in this article), a clash

of terminology is inevitable.



The system that I propose for sensing the world of the MU* is designed

with the ability to cope with large amounts of specific detail,

without losing ease of use. It uses two levels of commands, the simple

"look" command, and the more detailed "sensory" commands.

Look can be applied to any object (this includes rooms,

characters and exits/directions), and gives information equivalent to

looking at, smelling and listening (those senses which work without

physical contact with the object sensed) to the object from a short

distance away. In the case of rooms, the remaining senses could also

be added, given that the medium around the character might well have

texture/feel and taste (such as the floor and the atmosphere). The

information given is not very detailed.



Detailed information is gained through the second level of commands.

These five commands each apply to a single sense, and are the

equivalent of a close scrutiny of the object using the specified

sense, without any input from the remaining senses. For example, when

touching an object, only tactile information is given. The information

presented is ideally as detailed as is possible to discern.



There is one problem involved with the restriction placed on the

sensory commands that they include no information relating to the

other senses, and it relates to object position. If an object is

resting on a surface, it is not possible to sense that part of the

object in contact with the surface (except under limited conditions).

Therefore, unless the game is sophisticated enough to know which parts

of a description to withhold due to obscurity, there are two possible

solutions - the first is to assume that the character can sense the

entirety of the object regardless of its position, or to assume that

the character picks up the object when engaging any of the sensory

commands. The first option is simple but inaccurate, while the second

removes a little of the purpose behind the sensory commands.



Scheme:



 Overall "sense" command



  Gives object, room, or exit description

  Exits being `open' to the next room



 All senses

 Of a general nature



  Equivalent to "looking" around a room, or "spotting" an object in

  a room, or "looking" in a direction



 Specific sensory commands



  Detailed inspection of object or room feature

  Uses only the single sense specified



Jamieson Norrish (jamie@akeake.its.vuw.ac.nz)